Dwell by Cheryl: "Project Reveal: Navy Nautical Boy's Room"
Needless to say, my favorite blogs to write are those in which I get to reveal my latest client projects. I'm sure you recall the Navy nautical room that I blogged about here.
With this project I was hoping to achieve a nautical vibe without coming off too "themed".
I'm pleased to report that on this past weekend, I received a literal thumbs up from the room's resident and that always makes the work worth it.
The room was virtually a blank slate. I took the before pictures on the day of the install when the room had been cleared out. We opted for a better space plan that actually made the room feel larger. Tip: Avoid placing all of the furniture on the perimeter walls. Doing so creates a huge void in the center of the room.
I'm always amazed at how the simple things make such a HUGE difference, like drapes. Take these simple navy blue panels away and the room immediately looks unfinished.
I used a number of budget friendly accessories in this project which I plan to discuss on my next Goodwill guest blogger post, so stay tuned.
Just an FYI, this room happens to be connected to this one (my first boy's room). I have a new found respect for the challenges that decorating for boys creates.
Please leave me a comment with your feedback. It's always welcome.
Simply click the words Click Here to Join the Conversation just below this post. Need help? Read this.
P.S. Thanks so much for your comments yesterday. Looks like the white chair it is.
Lol! Ok and Distance decorating is starting in 2012.


It's been a strange day today. Yesterday I finally handed over the keys (read manual, documents and passwords) to all the Aspergers Victoria systems and accounts I have been managing to the new Technology Coordinator. A month ago, after the AGM, I handed over the President. I am now, officially, no longer on the board.
I'm not sure if this feeling is a little bit of separation anxiety, or something like the lurch in your chest when your child moves out of home. I'm sure they'll be absolutely fine without me, as it's a truly marvellous team of experienced and enthusiastic volunteers we've built over the years. The program of events for 2016 is the biggest yet, and sure to have something to tempt overy member of the Aspergers family.
But for me, after nearly 8 years of volunteering with AV, often up to 30 hours per week, I'm hoping to find some balance in my life, and finally, time to finish the Hidden Diffability book series I started back in 2010. And time to update this website, and resume communicating with you! Thank you for your patience while I've neglected you so badly.


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A South Carolina judge declared a mistrial in a case against Johnson & Johnson alleging that exposure to asbestos in its Johnson's Baby Powder caused a woman's fatal cancer.
Jurors in Darlington County state court were unable to reach a unanimous decision on Friday in the case brought by the husband of Bertila Boyd-Bostic, according to Judge Jean Toal. The judge said she didn't know when a retrial would take place.
Boyd-Bostic, 30, and her husband ran a three-person law firm in Columbia, South Carolina. The woman died of mesothelioma, a cancer linked to asbestos exposure. Her husband alleged it was caused by trace amounts of the mineral in baby powder she used regularly.
"We continue to believe that the daily use of talcum powder on Bertila from birth led to her death," lawyers for Boyd-Bostic at Motley Rice LLC said in a statement. "She ultimately wanted to share her story with others through her suit," they said. "We look forward to retrying this case at the earliest opportunity."

redpajama_set_name: RedPajamaCommonCrawl


text:
Potten End är en by i Hertfordshire i England. Byn är belägen 30,6 km
från Hertford. Orten har 1 361 invånare (2015).

Referenser

Orter i Hertfordshire

redpajama_set_name: RedPajamaWikipedia


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St Nicholaus will come on Sunday 6th of December to the club.
After the "official" part there will be a bouncy castle, entertainment and crafts for the children.
Volunteers are needed: Crafts, Colouring, Singing etc.


Community Bio: A residence hall with up to 8 people per suite. Large suites and a diverse population provide a unique sense of community in McConnell.
Theater, singing, eating, going to concerts, dogspotting, camping and hiking.


our neighborhood literally has architecture for everyone.
And, of course, our namesake, the Joslyn Castle, highlights the historic importance of our part of the city.
We proudly support our neighborhood businesses, and we rely on them to support us in return.
Locally owned restaurants, ethnic groceries, a hardware store geared to old-home owners, Omaha's only traditional bed and breakfast, and many service-oriented companies call JCNA home.
Not to be outdone, the Arts & Crafts home primarily west of 40th offer some outstanding examples of craftsman architecture, boasting everything from bungalows to Victorians.
JCNA prides ourselves on improving our neighborhood with projects like creating and maintaining Clarkson Park; building and offering programming in the park through our Pocket Stage Productions; adding bike racks, recycling containers, bus benches and doggie waste stations; and securing approval and funding for a historic marker at Joslyn Castle.
As was true when JCNA was founded in 1989, we focus on these goals: To strengthen the fabric of our community, to preserve and promote the historic character of our unique neighborhood and to nurture and participate in its economic vitality.
To take a walking tour along 40th Street, download the guide here.
Welcome to the Joslyn Castle Neighborhood!


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Scum and villainy
For today's Fiction Friday, let's consider: Bad Guys.
One of the problems I find with a lot of writing is that the antagonists are completely unbelievable. Take, for example, the Orcs in The Lord of the Rings. I know I'm stepping on hallowed ground by even suggesting a criticism of Tolkien, but have you ever asked yourself why the Orcs were so pissed off at everyone? Now, I'm not talking about Saruman's Orcs, who were promised rewards; but just your run-of-the-mill, cave-dwelling, dull-witted nose-picker sort of Orc who lived in the Misty Mountains and who presumably didn't give a rat's ass who won the Battle of Helm's Deep. They somehow still hated the Elves and all the rest, just 'cuz, and were willing to die by the thousands because of it.
Well, I'm not buying it.
That kind of villain becomes almost a Snidely Whiplash caricature, mwa-ha-ha-ha-ing over the predicament of the protagonist for no obvious reason. And while this worked to comic effect in Dudley Do-Right, it kind of falls flat in a serious story.
Stories which carry some emotional weight -- which, presumably, is what most authors are aiming for -- need to have an antagonist with as much depth as the protagonist. To me, the best stories are the ones where you end up feeling some understanding for the antagonist. You still don't want him/her to win, but you think at the end, "I almost felt sorry, there, when (s)he was ripped apart and eaten by rabid weasels."
Take Darth Vader, for example. How much less powerful would that story have been had you not felt a little sad that he had taken the path he did, when he died in Luke's arms?
A writer I know, who shall remain nameless, suffers from the worst case of One-Dimensional Villain Syndrome I've ever seen. Every story she's ever written has an arrogant, patriarchal, middle-aged white male as the villain. Furthermore, these APMAWMs are always guilty of victimizing and demeaning women, but the women always end up Showing Them A Thing Or Two, leaving the APMAWM in question to retreat in disarray. It's as predictable as clockwork. The result, unfortunately, is that besides the stories appearing completely formulaic, it leaves us wondering about what the APMAWMs do in their spare time, when they're not looking around for women to degrade. Nothing, is my guess, because these dudes seem to have no other characteristics than (1) the required anatomical equipment and ethnic group identification, (2) arrogance, and (3) patriarchiality. They have no other motivation, no other personality traits, and (most importantly) no sympathetic characteristics at all.
Note that I am not objecting to this on the grounds of my meeting three of the above-mentioned characteristics of APMAWMs. Nor am I saying that men who do those sort of horrible things don't exist. (Much though I wish that were true.) It's the fact that their villainy is all they have; there's nothing else to them. For what it's worth, I respond with equal eyerolling when I read a story from the 30s or 40s which features the femme fatale stereotype. I want to find out what these women do, when they're not lounging on the tops of barroom pianos smoking cigarettes in long holders, looking for naïve young men to lure into fornication. What do they like to eat for dinner? How do they pay the rent? Do they get together with friends on Saturday morning to drink coffee and discuss how the fornication went that week? Do they subscribe to Femme Fatale Weekly?
Saying that a character is evil "just because this character is evil" isn't enough. What motivates him/her? Power? Revenge? Lust? Greed? And why has this become a driving motivation? Just as no one is evil "just because," no one becomes evil "just because." An antagonist needs a backstory, a reason for their actions.
As my college creative writing teacher put it, "Always remember that all villains are the heroes of their own stories."
And they can't be thoroughly evil. Sauron aside, no one is 100% evil. Even the worst of the worst have some positive traits, and those can be used to set off the bad things they do, to heighten the tragedy of their characters and actions. Maybe the bad guy hates his neighbors, but loves his dog. Maybe she is greedy as King Midas but never forgets to send her mother a gift on her birthday. Maybe he's a thoroughgoing APMAWM but has given everything to the family business, so he can pass it along to his children. And so on.
Life is full of contradictions, and good writing reflects life. This applies to the bad guys as well as the good guys. Antagonists should be as richly three-dimensional as protagonists -- it's one of the hallmarks of deep, interesting, and believable fiction.
One of the most devastating psychological diagnoses is schizophrenia. United by the common characteristic of "loss of touch with reality," this phrase belies how horrible the various kinds of schizophrenia are, both for the sufferers and their families. Immersed in a pseudo-reality where the voices, hallucinations, and perceptions created by their minds seem as vivid as the actual reality around them, schizophrenics live in a terrifying world where they literally can't tell their own imaginings from what they're really seeing and hearing.
The origins of schizophrenia are still poorly understood, and largely because of a lack of knowledge of its causes, treatment and prognosis are iffy at best. But much of what we know about this horrible disorder comes from families where it seems to be common -- where, apparently, there is a genetic predisposition for the psychosis that is schizophrenia's most frightening characteristic.
One of the first studies of this kind was of the Galvin family of Colorado, who had ten children born between 1945 and 1965 of whom six eventually were diagnosed as schizophrenic. This tragic situation is the subject of the riveting book Hidden Valley Road: Inside the Mind of an American Family, by Robert Kolker. Kolker looks at the study done by the National Institute of Health of the Galvin family, which provided the first insight into the genetic basis of schizophrenia, but along the way gives us a touching and compassionate view of a family devastated by this mysterious disease. It's brilliant reading, and leaves you with a greater understanding of the impact of psychiatric illness -- and hope for a future where this diagnosis has better options for treatment.
[Note: if you purchase this book from the image/link below, part of the proceeds goes to support Skeptophilia!]
Labels: antagonists, character development, fiction, novels, protagonists, stories, villains
Jan Sikes July 3, 2021 at 6:33 AM
An interesting posts on villains!
Fast modules, slow modules, and ghost photographs
Working titles
The cost of personal courage
Bad news from the future
Untruth and consequences
The odds of creation
Psychic genomics
We'll discuss this at the meeting
Earth angel
The attraction of the terrifying
Asteroid astrology
Loop-the-loop
Unexpected depths
Letting sleeping dogs lie
Doggie determination
Eat like a werewolf
The evolution of clumps
F-word origin
On being seen
Art (pre)history
The birds and the bees and the flowers and the trees
The invention of Philip
Lost in the shadows
The mental starburst


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Foundation Blog
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IJM
4th Grade Mission Projects
Covenant fourth graders are getting a lesson on how to live out Covenant's mission statement: "Encouraging one another to follow Jesus wherever we live, work, and play." The group of about 25 boys and girls learns about a local mission every six weeks.
Covenant's Children and Family Ministry (CFM) team started a new curriculum for fourth graders this fall. Titled "Connect," it takes the kids through the Old Testament and, as is the case with many church curriculum plans, comes a few Sundays short of filling the entire schedule. Staff and the four dedicated fourth grade teachers met to figure out how to best fill the remaining Sundays. Many options were considered but filling them with service projects was the resounding favorite. It's proving to be a favorite Sunday for the kids, as well.
"We've noticed that there is a surge in attendance for these special mission Sundays," CFM Director Christy Milam said. "Covenant kids are coming and some are inviting friends."
Associate Director Rachael McConnell, who was instrumental in starting the program, agreed. "We see our families connecting with the missional portion of this. They are our highest attendance days.
"We knew there was a desire to do mission and we needed to figure out how to do that on a regular basis," Rachael continued. "We felt like this plan would keep us on track for kids to have opportunities to serve outside our walls with a dedicated time and place. Every six weeks, our fourth graders have a break in their curriculum; that's when they do this mission project."
"So far, God has given us missions that track to the Bible stories the kids have been learning about," Rachael said.
Rachael explained at the beginning of the year the kids were learning about creation and the first group they heard from was Street Youth Ministry.
"The kids learned to see all people as the children of God and to treat other people with dignity. They learned about other children who are homeless whose lives may have started out similar to their lives, but now are quite different."
The next six weeks, the kids were still in the book of Genesis learning about Jacob and also Joseph and his family. They learned about Above Being Under, a ministry that assists families experiencing a financial hardship to stay housed. The organization provides basic necessities, laundry supplies, toiletries, cleaning supplies, and a set of tires or preventative car maintenance to ease the burden and help families stay in their homes.
As part of the Above Being Under lesson, Covenant kids made "dignity bags," bags filled with the items needed to survive if you have to leave your home.
The third lesson was presented by Carrying Hope, an organization with a goal of giving a "Hope Pack" filled with comfort items and necessities to every child entering the foster care system in Central Texas. This lesson followed the kids' study of Exodus, of wandering in the wilderness. The kids discussed what it would feel like to be taken from their homes and put in constantly changing situations. Covenant kids filled backpacks with the needed items and included personal notes.
Rachael said the presenters have been impressed with our kids. "Every presenter has talked about how empathetic the children are, how much they want to understand about the people they are serving, that they really have a heart to make sure they are doing helpful things."
Rachael provided an example: "The kids were so thoughtful in the assembly of the backpacks; they were thinking about the child who would receive it. They were looking through the socks, clothes and books, and being thoughtful about the color of the backpack and adding things for a specific child that they created in their minds."
Four dedicated teachers serve our Covenant fourth graders. "They are pretty amazing, committing to a full year," Christy said of Cherrylynn Burris, Allison Crutchfield, Daniel Campbell and Elizabeth McBride.
Cherrylynn said she has really enjoyed the kids and the curriculum. "Part of the appeal of teaching this curriculum is that it makes me read my Bible in a different way. I am more disciplined because know I am accountable to a group of fourth graders and I anticipate their questions."
The CFM team is looking for more support for its popular program. The team is hoping to get some older adults to engage with fourth and fifth graders. "There's no planning," Christy said. "We just need a loving person to show up and assist the teachers. In fact, participants of Men in the Word, our men's Bible study, are talking about how they can help."
The new curriculum has fourth graders learning to read the Bible. "It's a shift for them to be in the Bible, using the Bible, finding different books of the Bible, writing in their Bibles and really making it their own. The fourth graders are going through the entire Old Testament. Next year, as fifth graders, they will read the New Testament.
"It moves fast and it's challenging," Christy continued. "We want Sunday school to be an engaging and fun experience. The kids are spending a lot of in-depth time with the Bible. They are creating routines in their life. They have the space to wonder about the content and ask a lot of questions."
As for the mission projects, Christy said, "We're excited to see what God brings us and to start working more with Whitney (Bell, the new Missions Director). Whitney is excited because so far two of the organizations are new to us but are connected through members of our community."
If you are interested in helping Covenant fourth or fifth graders next fall, contact Rachael.
Posted by Stephanie Schultz at 2:25 PM
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Covenant Hall is open Monday to Thursday from 8 a.m. to 6 p.m. and Friday from 8 a.m. to noon.
3003 Northland Drive, Austin, TX 78757
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text:
using System.Xml.Serialization;

namespace MpzMail.Api.Model
{
    public class FileRequest
    {
        [XmlElement("fileExtension")]
        public string Extension { get; set; }
        [XmlElement("base64")]
        public string ImageBase64 { get; set; }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Tag: J.R.R. Tolkien
Tolkien Manuscripts and Artwork On Display in Oxford
Wednesday, August 22, 2018 Sean McLachlan Comments 5 comments
Bilbo comes to the Huts of the Raft-elves, a watercolor Tolkien
painted for the first edition of The Hobbit, published in 1937.
Bilbo is seen sitting astride a barrel floating down the forest river,
having helped the dwarves (who are hidden inside the wine barrels) to
escape from the dungeons of the Elvenking. This was Tolkien's favorite
watercolor and he was disappointed to find that it had been omitted from
the first American edition. Credit: © The Tolkien Estate Limited 1937.
The University of Oxford's Bodleian Library has launched the largest exhibition on J.R.R. Tolkien in a generation.
Tolkien: Maker of Middle-Earth showcases the library's extensive collection of Tolkien's papers, manuscripts, letters, and artwork, the largest of its kind in the world. The exhibition, which includes some 200 items, also brings together items from private collections and Marquette University's Tolkien Collection.
J.R.R. Tolkien (1892–1973) spent most of his adult life in Oxford. He came to Oxford University in 1911, aged nineteen, to study Classics at Exeter College, but later switched to English. After serving in France during World War One, he returned to Oxford to work on the New English Dictionary (later the Oxford English Dictionary), while tutoring in English. After five years at Leeds University as Reader and then Professor of English Language, he returned to Oxford in 1925 and remained there for the rest of his working life, first as Professor of Anglo-Saxon from 1925 to 1945, and later as Professor of English Language and Literature from 1945 to 1959. He is buried with his wife, Edith, in Wolvercote Cemetery in Oxford.
The Thrill of the Unexpected: Why I Edit Clockwork Phoenix
Wednesday, August 1, 2012 Mike Allen Comments 6 comments
Hi, folks! Mike Allen here. When I last came through, I blogged about monsters. I want to thank Black Gate overlord John O'Neill for granting me leave to return to this space and shill my new project.
Among the many things I do, I'm the editor of a series of fantasy anthologies called Clockwork Phoenix. At least, the first three books were marketed as fantasy by my previous publisher, even though I included some strange science fiction in their pages as well. (Though I'm someone who sees science fiction as a subset of fantasy rather than a whole separate thing, one of the reasons I'll use them if they're odd enough.)
One of the rewards we're offering is a signed, numbered, limited edition chapbook of Cherie Priest's fantasy tale "The Immigrant."
And I'm going to be editing and publishing a fourth volume in the series, thanks to a Kickstarter campaign that's still underway. As of this writing I'm closing in on an $8,000 goal that will let me for the first time pay five cents a word for fiction – we're going pro. If we keep going past that, I hope to launch a webzine that will be a companion to Clockwork Phoenix and the poetry journal I also edit and publish, Mythic Delirium, creating even more space for the kind of writing I love to thrive. But we'll blow up that bridge when we come to it, eh?
John suggested I talk to you folks about how Clockwork Phoenix functions as a fantasy market, and I think that's a fair question, given what Black Gate is all about.
Put bluntly, Clockwork Phoenix is a market for those who want to push the boundaries of what fantasy can be. I encourage stylistic experiments but insist the stories should also be compelling.
I want to point out that this gives me also sorts of freedom to include material that can't be easily classified, I wouldn't call it a break with long standing tradition in our field, at least as I've experienced said traditions.
I want to tell you how I was first introduced to short fiction that carries the fantasy label. I'm pretty sure then you'll see what I mean.
Through Mordor to the Unreal City: A National Poetry Month Post
Monday, April 18, 2011 Mike Allen Comments 3 comments
Today, for a little while, I remove my monster mask (sort of) and don my Purple Hat of Poetry.
Over at my new homepage, I've been sharing some of my poetry stock in honor of National Poetry Month. I started with a poem of mine called "Phase Shift," that's half upside down, and recently paired with an awesome space vortex illustration.
Now, because I can, I'm taking a series of poems gathered in my 2008 collection The Journey to Kailash and I'm running them, with accompanying audio readings, one a day on my new WordPress blog until the end of the month.
The Enchantress of the Black Gate, on learning I was doing this, asked me to write a blog entry on Poetry and Fantasy.
"Wow, that's an immense topic," I replied.
Cooney the Enchantress
"Write it about your own relationship to it," she said.
Okay, that I can do.
True statement: I discovered poetry through heroic fantasy.
I had no idea at the time, of course, what a curious path this would lead me down.
The Hobbit: The 1977 Animated Television Movie
Tuesday, March 29, 2011 Ryan Harvey Comments 7 comments
The Hobbit (NBC TV, 1977)
Directed by Jules Bass and Arthur Rankin Jr. Featuring the Voices of John Huston, Orson Bean, Hans Conried, Richard Boone, Theodore Gottlieb, Otto Preminger, Cyril Ritchard, Paul Frees, Don Messick.
A few years ago, in my early posting days on Black Gate, I wrote a lengthy overview of Rankin/Bass's strange but oddly likable animated television movie of The Return of the King. I intended to review Rankin/Bass's other Tolkien TV movie, The Hobbit, some time later. "Later" took the form of two years, give or take a day, but has become "now," thanks to Peter Jackson.
With The Hobbit back in the front lines of entertainment news because of the start — finally! — of production on Peter Jackson's two-movie adaptation of the book, it's the appropriate time to re-visit the first film version of the story. A Long Expected Party for an old friend.
Full disclosure: I have an enormous nostalgic fondness for the 1977 animated Hobbit, since it introduced me to one of my favorite authors at a young age. This movie was my first exposure to anything related to J. R. R. Tolkien when I saw it at age five on its second network broadcast. I already adored monsters of any kind, branching off from a natural adoration of dinosaurs, and my mother told me that The Hobbit was a book chock-a-block full of strange beasts: goblins, trolls, dragons, giant spiders, giant eagles. Since I was still too young to read the book, I took up the movie as my Middle Earth introduction and loved every minute of it. When I read the book myself for the first time three years later, it was in a coffee table edition that used stills and production art from the Rankin/Bass production to illustrate Tolkien's text. The combination of the TV broadcast and this edition of the book have made the Rankin/Bass movie an inseparable part of my Tolkien experience.
The Return of the King (1980)
Tuesday, January 20, 2009 Ryan Harvey Comments 10 comments
The Return of the King (ABC TV, 1980)
Directed by Jules Bass and Arthur Rankin Jr. Featuring the Voices of John Huston, Roddy McDowall, Orson Bean, William Conrad, Casey Casem, Theodore Gottlieb, Theodore Bikel, Glenn Yarbrough, Paul Frees
"Listen as we speak of the fall of the Lord of Darkness, and the return of a King of Light."
The novel The Lord of the Rings has had an important place in my life even before I actually read it in ninth grade. As a young child, I already loved monsters and tales of fantasy, and my parents were glad to feed my monster obsession. They both knew about the books The Hobbit and The Lord of the Rings (although neither had read them) and told me their pages were filled with dragons and trolls and all sorts of wonderful beasties; they showed me the Greg and Tim Hildebrandt calendars to whet my appetite. At age five, I had my first "Tolkien" experience with the television broadcast of the animated movie The Hobbit from Rankin/Bass. My mother then read the book to me. The moment I was old enough, I read it for myself. The enormity of The Lord of the Rings was still too far off, but there were movie versions to fill the gap. I was confused but somewhat dazzled by the odd, unfinished The Lord of the Rings film by Ralph Bakshi when it premiered on cable, but it was the 1980 animated television movie The Return of the King that really gave me a sense of what the epic novel was about.


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Mississauga Entering Nationwide Smart Cities Challenge
Mississauga participating in cross-Canadian program focused on improving lives of residents by implementing innovative technologies.
Business and innovation | December 7, 2017
The City of Mississauga will be participating in the Government of Canada's Smart Cities Challenge. Officially announced at the end of November, the Smart Cities Challenge encourages communities to adopt a smart cities approach to improve the lives of their residents through innovation, data and connected technology.
The Challenge is a cross-Canadian initiative open to communities of all sizes, including municipalities, regional governments and Indigenous communities (First Nations, Métis and Inuit). Successful applicants will receive prizing based on population size.
Prizing includes:
One prize of up to $50 million open to all communities, regardless of population;
Two prizes of up to $10 million open to all communities with populations under 500,000 people; and
One prize of up to $5 million open to all communities with populations under 30,000 people.
"We are very excited to see the official launch of this Challenge. Smart Cities use technology to develop more liveable, workable and sustainable communities. Mississauga is a Smart City," said Mayor Bonnie Crombie. "I've no doubt that this challenge will bring out the best and the brightest ideas that we can offer. We welcome the opportunity to share our innovative solutions to create an engaged and connected city."
According to program details released by Infrastructure Canada, the Challenge will be an open and transparent process. Communities that submit proposals will also post them online, so that residents and stakeholders can see them. An independent jury will be appointed to select finalists and winners.
"When the Smart Cities Challenge was initially announced in June 2017, we began a consultation process with our senior management and Council in preparation for the official kick-off of the program," said Janice Baker, City Manager and Chief Administrative Officer. "Now that the details have been released, we'll begin the work to craft our submission in consultation with our residents, businesses and community partners."
"As part of the submission process, we will be preparing a Smart City Master Plan," said Shawn Slack, Director of IT and Chief Information Officer. "This will not only inform the submission for the Smart Cities Challenge but will also provide a framework for the City. The plan will create Smart City strategies and actions for a three to five year period."
The City's IT Master Plan, endorsed by Council in 2015, included a series of strategic actions that have already advanced the City of Mississauga's smart city framework and is a good foundation to build on leading into the Smart Cities Challenge. Some of the successes from the IT Master Plan include:
The City of Mississauga was the first in Canada to become a Virtual Campus in May 2017.
More than 100 Open Data sets are now available on the City's new and modern Open Data Portal.
Code and the City and Tech and the City were two major Open Data hackathon events held in partnership with the University of Toronto Mississauga, Sheridan and several private sector sponsors.
The City of Mississauga has expanded its free public Wi-Fi "wireless Mississauga" which is available at all City buildings, many public spaces and some parks.
The City has had the foresight to build a publicly owned fibre optic network known as the PSN in partnership with the Region of Peel, Caledon and Brampton resulting in the largest publicly owned and operated fibre network in Canada. With over 800 kilometres of high speed fibre connecting 291 City sites and critical City infrastructure, the City-owned fibre network is essential to connecting smart city technologies.
Smart Cities Challenge submissions are due April 24, 2018. The Jury will select finalists by Summer 2018. Each finalist will receive a $250,000 grant to develop their final proposal which must be submitted in Winter 2019. Winners will be announced Spring 2019.
Plans and strategies
Lindsay Noronha
Lindsay.Noronha@mississauga.ca


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How a mathematical equation opened a new frontier in nanotechnology
Monday, Aug 31, 2015, 12:34 AM | Source: Pursuit
By John Sader
Professor John Sader
A University of Melbourne mathematician has opened up a new frontier in mass spectrometry with a simple mathematical trick that for the first time simultaneously reveals both the shape and weight of tiny objects like viruses, bacteria and proteins.
Professor John Sader gained mathematical immortality in the 1990s when a method – really a series of equations – he developed to calibrate the miniature tips of atomic force microscopes was named after him.
Continuing his research into the mathematics of the very small, he has now crafted an elegant mathematical algorithm that allows scientists to tell both the shape and weight of a single molecule, using devices one-thousandth the width of a single human hair.
For a century, scientists have been measuring the weight of very small particles using a technique called mass spectrometry (MS). They add electrical charges to a group of particles and then accelerate them using an electromagnetic field. By measuring the rate of acceleration, they can determine the weight of the particles.
Prof. Sader explains that traditional mass spectrometry is like pushing a car.
If you push a light car, it will shift relatively easily, but if you try to push a bus with the same force it's harder to move. So they apply a force, accelerate the molecule and measure how long it takes to hit a target. Newton's Law tells us the heavier ones take longer than the light ones to get there.
Mass spectrometry is brilliant at differentiating between particles of different weight, such as between carbon and nitrogen, or even the different isotopes of nitrogen, or between a large and a small protein or virus particle. But this method can't distinguish between totally different particles if they have the same weight.
For example, using only the weight of an object as a measurement might trick scientists into thinking something is an orange when it's actually a banana. The molecules can weigh the same, but have shapes that are completely different. It has been impossible to tell them apart using this technique – until now.
At the nano-scale it's not easy to tell which is which. Image by FinnWikiNo (CC-BY-SA-3.0, via Wikimedia Commons)
The first breakthrough came when a team at the California University of Technology, led by Professor Michael Roukes, developed completely new way to do mass spectrometry. They built a system that uses tiny vibrating devices, called Nanoelectromechanical systems (NEMS), to precisely weigh single molecules, like proteins, one at a time.
When a particle or molecule lands on a NEMS, the additional weight changes the frequencies at which the device vibrates.
If traditional mass spectrometry is like pushing a car, Prof Sader says NEMS mass spectrometry (NEMS-MS) is more like plucking a guitar string. When plucked, a guitar string doesn't just vibrate at one frequency; it has many frequencies that combine to give the string its pitch and tone. If on object, like a drop of solder, attaches to the string, the pitch and tone of the string change because the frequencies of the string change.
Every object creates a unique 'frequency signature' when placed on a vibrating platform
The same thing happens when a molecule attaches to the NEMS. The changes in the frequencies of the NEMS – the frequency shift signature – can be used to determine the molecule's weight.
The second breakthrough came in 2012-2013 when Prof. Sader was invited to Caltech as the Kavli Nanoscience Institute Distinguished Visiting Professor in Physics. While there, he started thinking about NEMS-MS and whether there was a better way of calculating the weight of a particle, and what other information the frequency shift signature could give about the particle.
He soon came up with a way to drastically simplify the mathematics required to calculate the weight of an object using NEMS-MS.
Prof. Sader then realised that the frequency shift signature gave not only a unique 'fingerprint' for the weight of the object, it also contained information about how the weight was distributed in three-dimensions – in other words its shape.
Suddenly bananas and oranges began to look very different.
The set of mathematical equations that Prof. Sader developed, called the 'inertial imaging' algorithm, has revolutionised the field of mass spectrometry. This research was recently published in Nature Nanotechnology.
"The new approach uses state-of-the art nanodevices and frequency measurements. The inertial imaging algorithm reinterprets those measurements to get new information about the molecule's shape," Prof. Sader says.
If you can start to identify shapes, then you can build up a database of what single molecules on a surface look like. Then you can start building up libraries and try to understand why molecules behave the way they do.
Prof. Sader and his collaborators are working hard to realise this new technology. He says that great ideas can be discovered in an instant, but technological revolutions take longer.
"We've proposed the technique, we've done the engineering design, demonstrated proof-of-principle measurements, and it tells us we can go all the way down to the atomic level," he said.
"This gives us the blueprint to now make a working nanodevice that can simultaneously weigh and image single molecules, with atomic-scale resolution."
So far, the new technique has been validated using particles scientists already know the shape and size of, such as polymer nanodroplets.
The 'inertial imaging' algorithm
Prof. Sadar says refining the technology to a point where it can achieve atomic scale resolution to categorise objects with unknown shapes will take time, but he's confident it will happen.
Professor Michael Roukes, who leads the team at Caltech who are refining this technology, describes it as putting together a composite sketch of a criminal. Every piece of information you can gather helps. He explains that Prof Sader's discovery will markedly speed up the discovery process.
"You can imagine situations where you don't know exactly what you are looking for, where you are trying to figure out the body's immune response to a particular pathogen, for example," Prof Roukes said.
"A suspect is much more likely to be identified from a composite sketch that accurately depicts their brown crew-cut hair, blue eyes, aquiline nose, and goatee beard, than from one showing a largely featureless blob with a smattering of facial hair.
If you are looking to identify someone, every separate bit of information that we can add to the picture is important, especially when you are trying to identify only one individual from a crowd.
"We say that cancer begins often with a single cell, so there is something different about the molecular composition of that one cell. With this technique, we potentially have a new tool to figure out what is unique."
In the nano-world, sometimes you need to play a guitar to tell an orange from a banana.
John Sader Mathematics and Statistics


Why are so many apps garbage?
Bold 9900-App for Calculating Avg WPM?
Is the Gmail app working in OS 7?
New App., MyOwnIcons, for Public Trial and Beta Testing!
Social scope invite kindly requested!
Data not working for apps, but working for browser?


Welcome to another This Week in Legacy! This week, after our big update last week, we will be looking at a few more large tournaments in the form of MKM Paris and the SCG Classic in Syracuse and the new technology each of these events debuted. In particular, last week I hinted at a new breed of Miracles list coming to the fore and this week I'll delve into that a little deeper, along with presenting other new takes on existing archetypes – including an interview!
So first let's dive into MKM Paris!
Most interesting is the prevalence of Death & Taxes, which although I imagine has a strong matchup against Death's Shadow, the Grixis Control matchup is perhaps a little difficult with Kolaghan's Command still a force in the metagame. As always, Death & Taxes has the "budget" Legacy deck appeal, which gives a bit of a boost to its numbers. Grixis Control and Miracles seem to be very close now as the Blue control decks of choice, with Grixis slightly edging out Miracles who was the eventually winner of the tournament. In terms of tempo strategies, as expected, Shadow had plentiful numbers, but surprisingly Blue-Red Delver equaled it, a deck not really on people's radar in previous tournaments. I think Blue-Red Delver is looking like more and more of an exciting choice in the metagame, and I will outline why in a moment. Following these decks is a mix of the usual hyper-proactive combo decks (Sneak & Show, Reanimator) and prison decks (Eldrazi, Dragon Stompy).
This is a Miracles list that looks surprisingly dated, utilizing old technology like a boatload of Counterspells and Unexpectedly Absent as flexible removal of choice. This list also really highlights Predict as a centrepiece of its strategy, unlike newer Miracles lists which are gravitating to different card advantage engines. It does however utilize Counterbalance as a permanent-based card advantage engine like recent lists. I also like Search for Azcanta in the main, which has often found itself in the sideboard recently, as an enchantment that really puts a wrench in the Grixis decks' plans.
In the sideboard, we also find quite a suite of Red cards, including Blood Moon, Blasts, a card quite uncommon in Miracles sideboards (but certainly could be a little more popular!) – Izzet Staticaster!
Young Pyromancer is very castable under a Blood Moon if you have a basic Island in your deck, and can create chump blockers for days that can stop a Shadow or Angler from smashing apart a player's life total. True-Name Nemesis is another headache for the Shadow decks that this deck gets to take advantage of. I also like Dead// Gone as further outs to Anglers (and giant Marit Lages).
I am less a fan of these two cards, however. Stifle feels like it is a frustrating card to take advantage of in this deck when you are utilizing mana-intensive threats like Pyromancer (often a three drop) and True-Name Nemesis. Pyromancer in particular I don't like with Stifle. Playing Pyromancer and then holding up Stifle on turn three can lead to some wasted value, especially if Pyromancer is killed and you wished you'd cantripped instead. I am sure this can work, especially when Stifle is used and obtains value in turns one and two, and then a Pyromancer goes haywire against a mana-screwed opponent, but it leads to enough awkward draws that I'd sooner utilize more versatile cards like Spell Pierce or even just some more cantrips.
Bedlam Reveler also is quite dissynergistic with situationally useful cards like Stifle and Spell Pierce. Not only can these cards rot in your hand and lead to Reveler being uncastable, but a Reveler cast can lead to a pile of useless Stifles and Pierces drawn in the late-game. This is quite different to Reveler's role in traditional Burn Blue-Red Delver, where he can be a huge threat and a pile of freshly drawn burn spells to close out the game. He also clashes with the two main deck Grim Lavamancer!
The last incredibly exciting list comes from the ever-crazy Mr. Jean-Mary Accart with… Blue-Black OmniTell?!
The big appeal to the Black splash has always been, of course, Thoughtseize (which synergizes excellently with Show and Tell, carving away any nasty things the opponent could put into play), along with the two-mana pseudo-tutor Lim-Dul's Vault, which can find any missing combo piece, typically, but put it on top of the library. It's notable that it also allows setting up a chain of spells that can easily lead to an Omniscience kill.
Most notable in this list though is the inclusion of more creatures than just Emrakul! [[Baleful Strix] finds its place in these lists as a bit of value against fair decks (particularly Delver) while being a cantrip when Omniscience is in play and a pitch card to Force of Will. It seems like a very reasonable addition as the metagame gets more and more fair.
The sideboard is also pretty crazy, including some Wishboard standards but also fun cards like Flash of Insight for raw card advantage against fair decks, I imagine, and the most flexible Blue cards in Magic that's typically a bit too expensive for Legacy – Cryptic Command.
There's also a pile of creatures too – from Snapcaster Mage and an extra Strix to turn further into a Blue-Black combo-control deck to Nightscape Familiar to… Ramp out Show and Tell, Intuitions and Cunning Wishes, I guess? I'm a bit lost on this one.
Yessir, that is four Accumulated Knowledge finding their way to Legacy.
The Miracles hivemind have been at it again trialing a new card advantage engine which found prominence on Magic Online initially as can be seen here. Although a little clunky looking, Accumulated Knowledge is excellent to fill out turns in a similar way to Predict. Unlike Predict, however, Accumulated Knowledge requires very little setup other than the deckbuilding costs of having it as a four-of, as can be seen with Zac's slimmer cantrip suite. It also is a little more advantageous than cards like Search for Azcanta and Counterbalance because it cannot be interacted with other than on the stack or via graveyard hate. It also has some great synergy with Snapcaster Mage and Teferi, Hero of Dominaria who appreciate AK's instant speed.
I'd lastly like to talk on the deck of Jeffrey White – Blue-White Helm! This deck has been on everyone's radar for some amount of time, with it consistently appearing on Magic Online and Top 8'ing and Top 16'ing Paper events. Jeffrey approached me because he felt the deck needed a bit more exposure – and I totally agree. Here's my interview with Jeffrey White about his experience with Blue-White Helm and his Syracuse event. Enjoy!
Sean: Hey Jeff! Please tell us a bit about how you began playing Magic, and what led you to play Legacy?
Jeff: Hi Sean. First off, thanks for the interview! I began playing Magic during the summer before my senior year of college, right when M15 was coming out. A friend of mine was in my town to Draft and invited me down to the LGS. He taught me the basics of the game and the color identities. I had known of Magic but having a friend to play with really helped me take the first steps into the game and stay hooked.
For me, Magic is a competitive outlet, so Legacy was always a goal for me to play because of the intricate sequencing decisions and the variance reduction of the cantrips. I eventually bought into the format around the time Top was banned.
Sean: How do you feel about the format in the wake of the Deathrite and Probe banning?
Jeff: Well, I know I'm hopelessly biased here as I was a Grixis Delver main before the ban announcements, but I'll still throw in my two cents. I think the new format is better for spectators, but worse from a grinder's perspective. While Grixis Delver had bad matchups, you were still around 30-35% in them. Currently I don't feel there is a deck you can play that doesn't have a sub 20% win-rate vs. some part of the meta, which leads to more games decided by matchup variance and less by in game decisions. Maybe that's more in line with what Magic should be though, and I was just coddled by having such a strong, consistent deck.
Sean: Let's move on to the decks you've been playing in Legacy since. How did you come to play Blue-White Helm in the Syracuse Classic?
Jeff: I basically started working on Helm when the bans were announced. Early on Red-Black Reanimator and RUG Delver were both decks on everyone's minds. I had some experience playing Miracles but was never that impressed with its Red-Black matchup; Nimble Mongoose being a one-mana True-Name Nemesis against you isn't great either. However, I remembered that Joe Lossett had been playing a Helm deck even before the ban announcement, and it was kind of an "aha!" moment for me, because Rest in Peace is great against both of those strategies! Joe's deck was more all in, omitting powerful cards like Swords to Plowshares, Terminus, and Counterbalance to combo quicker and more consistently. I felt that was incorrect, and basically built the deck to be a control deck with a combo finish, as opposed to a dedicated combo deck.
Jeff: Sure thing! One of the biggest differences between Helm and Miracles is that you can't play Snapcaster Mage, meaning that you're going to Brainstorm less over the course of a game. Because of this I wanted nineteen lands and eleven cantrips to reduce the chances of both flooding and drawing redundant combo pieces. Brainstorm and Ponder are auto-includes, and I went with Preordain over Portent because this deck plays a lot fewer instants than regular Miracles, so the delayed draw is a much bigger downside. Preordain is a lot better when you're behind, which is where you want your cards to be good. Predict does a great job of getting rid of extra RIP's or lands, and has nice synergy with Counterbalance. As a side note, you can't really play Accumulated Knowledge and Rest in Peace in the same deck, so Predict is the best two-mana option by far.
I feel that three Swords to Plowshares and two Terminus is the right amount of creature removal. Because Rest in Peace + Energy Field is sort of the ultimate removal spell against most creature decks (Death & Taxes being a notable exception) you don't need to load up on as much. Again, not playing Snapcaster means fewer Brainstorms, so I didn't want to overdo it with the amount of Terminus I ran.
Jeff: Aside from the ubiquitous Force of Will, I play a counter suit of a couple one mana soft counters (Spell Pierce, Flusterstorm, and most recently a Spell Snare) along with three Counterbalance. Legacy can be a very fast format so cheap interaction is a must. Counterbalance works very well with the deck, as it allows you to tap out later in the game for your enchantments or Jace while still having interaction for your opponent. This deck also doesn't play that much in the way of raw card advantage, so having a card that slowly accrues value over the course of a game is very welcome.
Rest in Peace + Energy Field: Energy Field prevents you from taking damage from your opponent until a card hits your graveyard, which Rest in Peace prevents from happening. In game one, this is lights out for a lot of strategies, such as Delver decks, Goblins, Lands, and Eldrazi Aggro.
Rest in Peace + Helm of Obedience: Helm is one of those old cards that's worded weirdly, and its activated ability won't end until the opponent puts X cards into their graveyard (X being what you paid for Helm's activation cost). Because Rest in Peace stops cards from ever being placed in a graveyard, activating Helm with RIP out will cause your opponent to mill their whole library.
Aside from this core, I added Counterbalance for the reasons mentioned above, Back to Basics as another lock piece/must counter threat, and Humility to combat Sneak & Show and Death & Taxes.
Back to Basics and Humility were definite overperformers, sometimes winning games single handedly. On the other side of the coin, Search for Azcanta was a failed experiment. It just has too much anti-synergy with the deck and doesn't belong in this archetype. The list I ran at SCG Syracuse is what I would run going forward. The changes there mainly reflect the fact that Sneak & Show, RUG Delver, and Death & Taxes are less represented in the meta, and have been replaced with more Death's Shadow, Grixis Control, and Miracles.
The Daze… man I could write paragraphs about the Daze, but I'll try to keep in concise. You bring in Daze vs Delver variants, and it's one of your best cards in the matchup. The way Delver decks are currently constructed, I think it's often incorrect to play around their Dazes. Delver has a wide range of disruption and from a pure numbers perspective you're more likely to get your key card Spell Pierced or Force of Willed or Thoughtseized or Pyroblasted than Dazed, so it isn't worth time-walking yourself. Because of this you jam/tap out more often, and in these situations you really want to have zero mana interaction to push through your spell.
Sean: Why should you play this over more typical Miracles or other Blue-White control decks?
Jeff: The Helm deck usually plays shorter games (great for large events/mental stamina) and can steal wins from positions that Miracles never could. You also generally have to answer fewer cards that the opponent plays. Miracles has to answer nearly all of the threat's from the opponent and establish complete control of the game. With Helm, you always have a straightforward path to victory (combo) which means that you have some leeway with what cards you let resolve, and being able to end the game with one five mana play (Helm + activate) gives combo players less time to draw the cards they need to win. Main deck Rest in Peace is also an insane boon in some matchups even disregarding Helm and Energy Field (this is the case vs Temur Delver, Miracles, Lands, Grixis Control, Storm, and of course Red-Black Reanimator).
Also if I'm being honest, this deck is a lot easier to play than Miracles, and I've always had the philosophy that you shouldn't make things harder on yourself if you can avoid it.
Sean: Feel free to leave any shout-outs and comments!
Jeff: I definitely have to give a big shout-out to my brother, Michael White. Michael has spent a lot of time playtesting with me and helping me figure out certain matchups/sideboard plans, even though practicing vs. a fringe deck isn't the most relevant experience for him. If that's not love then I don't know what is.
And how Guilds of Ravnica will be shaping the metagame moving forward.
Reid talks Grixis after GP Richmond at Channel Fireball.
Mengucci plays some of Owen's Blue-White Delverblade and Rector Nic Fit at CFB.
Here on Goldfish Seth plays some Nic Fit with Panharmonicon?! Find that here.
Podcast-wise, Eternal Durdles have some new content, as do Leaving a Legacy.
I'm a huge fan of the Blue-Red Delver list that appeared in MKM Paris, and so I thought I'd do a little tinkering. I think this list is very well-suited to a world of Assassin's Trophy we may soon enter, especially the card Young Pyromancer!
I think the sideboard Snapcaster and Search are exciting experiments I'd like to try in these style of Delver decks, that don't have access to planeswalkers like Liliana, the Last Hope or enchantments like Sylvan Library. I also really like Price of Progress as a supremely powerful burn out plan for matchups like Shadow, Grixis Control, Eldrazi and of course Lands.
I'm a big fan of this archetype moving forward and I think there's a lot of unexplored space that's seen success in Modern that can be transported to Legacy. Interestingly, this list took a purely Blue-White route, giving it a cleaner mana base but avoiding cards like Kitesail Freebooter, of course. One card I'm surprised to see (but speculative of) is the Thalia before Thalia existed – good ol' Glowrider. A little underpowered for recent Legacy, but perhaps due to the Human synergies in this list he's worth it as supplementary disruption.
You can find MTGGoldfish's outline of the deck in the recent Instant Deck Tech here!


text:
Le soir du 17 septembre 2021, Sabina Nessa, disparaît alors qu'elle se rend chez une amie près de Greenwich à Londres.

Faits et enquête
Elle marche à la rencontre d'une amie lorsqu'elle est attaquée.

Son corps est retrouvé sous un tas de feuilles par un promeneur à Cator Park, l'après-midi suivant, près du centre communautaire One Space sur Kidbrooke Park Road.

La police diffuse des images de vidéosurveillance dans le cadre de l'enquête.

Le 26 septembre, la police annonce avoir arrêté un homme de 36 ans d'origine albanaise en relation avec l'affaire.

Réactions
La mort de Nessa génère une large couverture médiatique et augmente la pression pour que des mesures soient prises pour lutter contre la violence à l'égard des femmes à Londres. Le maire de Londres, Sadiq Khan, qualifie la violence à l'égard des femmes d'« épidémie » nationale.

Article connexe

 Mort de Sarah Everard

Notes et références

2021 à Londres
Années 2020
Affaire criminelle au Royaume-Uni
Décès à 28 ans
Mort assassiné en Angleterre
Violence contre les femmes en Angleterre
Septembre 2021


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Galway County Council - search results
Developer appeals rejection of expansion plans for Claregalway quarry
An appeal to An Bord Pleanála has been made against the county council's decision to refuse planning permission for an expansion of a Claregalway...
Planning application made for solar farm outside Claregalway
Plans have been submitted to the county council for the construction of a new solar farm outside of Claregalway that is intended to run...
Fallen trees reported across Galway as Storm Ellen cleanup begins
Crews in Galway City and County are dealing with multiple fallen trees and other debris caused by heavy winds from Storm Ellen which battered...
Galway libraries to share in €2.8 million COVID-19 fund
Public libraries in Galway and around the country will benefit from €2.8 million in funding to adapt to the new circumstances of COVID-19 and...
Over €4 million in Housing Adaptation Grant funding announced for Galway
Briain Kelly - August 9, 2020 0
Almost €4 million in funding for the Housing Adaptation Grant has been announced for Galway to help older people and those with a disability...
City and County councils resume bulky goods waste collection
Galway City and County councils are resuming their bulky goods waste collection service this month, with an extended collection period in recycling centres.Bulky Goods...
Galway receives over €1 million to refurbish vacant social housing
Galway City and County Councils have been allocated more than €1 million between them for the refurbishment of vacant social housing so they can...
Permission refused again for expansion of Claregalway quarry
Planning permission has been refused once again for the expansion of extraction works from a quarry at Ardgaineen Claregalway after heavy local opposition.Harrington Concrete...
County Council urges pet owners to take precautions after increase in dog thefts
Galway County Council has issued a fresh warning for pet owners to take precautions after an increase in suspected dog thefts around the county...
Gangs of dog thieves use chalk to mark potential properties in parts of Galway
Michael Malone - July 30, 2020 0
Pet owners in Galway have been asked to be vigilant as areas of the county are being targeted by gangs of dognappers.Groups of thieves...
Council wants to know who owns derelict boat in Kinvara
Galway County Council is appealing to the public for information on just who owns the derelict Fairy Queen boat.The boat has been abandoned at...
City Council approves funding for 24 COVID-19 response projects by community groups
Galway City Council has awarded funding of €38,265 under Phase 2 of the COVID-19 Emergency Fund to 24 projects by community and voluntary groups.This...
Water outages in Kiltullagh and Galway City today
Homes and businesses in the area of Kiltullagh, Athenry and parts of Westside in Galway City are experiencing water outages today due to burst...
COPE Galway receives over €3,500 from Irish warranty company
COPE Galway received €3,620 recently after an Irish warranty company donated €1 for house registered with them in the country.Global Home Warranties - which...
City Council invites applications for Community Enhancement Programme
Galway City Council is inviting community groups to apply for funding to improve facilities in disadvantaged areas under the Community Enhancement Programme.For 2020, Galway...
Water outages in north Galway today due to burst main
A burst water main is causing water outages to multiple townlands and group water schemes in north Galway today.Galway County Council has said that...
Galway has Ireland's second highest number of pubs that remain shut
Galway has the second highest number of pubs in the country that have yet to reopen according to the Vintners Federation of Ireland, which...
"Worrying" increase in missing or stolen dogs in Galway county
There has been a worrying increase in the number of dogs gone missing or suspected to be stolen in Galway County in recent months.The...
Culture Night 2020 – county council seeks event ideas
Galway County Council is currently inviting applications from people who have an event they think would make a good addition to Galway County Culture...
Calls for park and ride service from Galway Airport
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A City Councillor is calling for the establishment of a park and ride service from Galway Airport to the city to make proper use...


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Friendly match between Nepal and Bangladesh in Pokhara
POKHARA: AUGUST 8 – A friendly football match between Nepal and Bangladesh will be played in Pokhara. A women's friendly match will be played in the last week of August at the Pokhara Stadium where the women's football tournament was held under the South Asian Games two years ago.
After that, there will also be a men's game, said Rakhep board member Rajesh Gurung. As the date of the game draws near, Pokhara has been given a new lease of life. Gurung said that the maintenance of the stadium and construction of new structures have been expedited.
'The work will be completed in 10-12 days. The exact date of the game has not been announced. We are ready, "he said." We have talked to the construction company. Rakhep is ready for facilitation. 'The National Sports Council has returned after checking the condition of the ground. Gurung said that the construction of the Parapet and the required structure will be completed within two weeks. The changing room and player box is the first condition, here to be the game. The construction period of the stadium is till October.
But the contractor company has already announced that it can build the stadium considering the game. "It is a matter of pride that there will be an international game in Pokhara. As I am also from Pokhara, I don't think we should miss that opportunity, 'said Engineer Deepak Baral. We are not waiting for the deadline. '
Nepal's national football team will arrive in Pokhara this week for training. The football field, which is in the final stage of construction, has 10 per cent work left. ANFA General Secretary Indraman Tuladhar said that if the work is completed on time, the upcoming league stage game can be played in Pokhara.


The first piano arrived in Australia with the First Fleet in 1788.
In his recent book, A Coveted Possession, Michael Atherton traces the history of the piano in Australia. The book's cover seems almost intent on giving the story away, informing us that its pages chart the instrument's "rise and fall".
As Atherton, an emeritus professor from Western Sydney University, explains, the story of the piano in Australia begins with the First Fleet, namely a small instrument brought from England on the Sirius in 1788, by George Worgan. A short preliminary chapter sets out the prior development of the instrument, from the "plucked" action of the older harpsichord to the felt-covered hammers used in later pianos. This information will be useful for readers with little background knowledge.
Logo used on the casting of a Wertheim upright piano, one of the Australian piano brands.
Yet, as the author reminds us, the piano has been more than a musical instrument or a finely crafted piece of furniture; he refers to it as "a machine that conveyed socially constructed meanings". In this regard, the book is rich in subtext. Two dominant undercurrents emerge: that the possession of a piano (and the skill to play it) signified status; and that the Australian "cultural cringe" led to preferences for foreign-made instruments.
The first piano believed to have been built in Australia dated from 1834 and was constructed by an English emigrant named John Benham. As Atherton tells us, native timbers proved highly adaptable to piano manufacture, both in terms of their outer casework and, more importantly, the soundboard within.
An example of a Benham piano is housed in the archives of the Powerhouse Museum in Sydney. It's one of many instruments stored in the shed-like building next to the main exhibition spaces, which are rarely viewed by anybody, let alone heard. If ever there was a counter-argument for keeping the Powerhouse where it is and opening satellite venues such as at Parramatta so as to allow for the greater display of items, surely this is one.
Atherton provides a brief but concise history of the early builders of pianos in Australia, before moving to the more substantial manufacturers, Jabez Carnegie, Octavius Beale and Hugo Wertheim. For a period, it was a burgeoning and profitable business, complementing the homegrown production and sale of printed music, and the promotion of local virtuoso performers, such as Percy Grainger.
Australian composer Percy Grainger performs Londonderry Air.
Yet lasting success proved elusive. As a pianist, I have promoted modern Australian pianos in concerts and recordings, and, sadly, Atherton's pages detailing the decline of Beale's factory in Sydney's Annandale and Wertheim's in the Melbourne suburb of Richmond were almost predictable. Those who profited from importing instruments from overseas (sometimes with quite inferior products) argued powerfully to remove tariffs and, aligned with the interruption of the second world war, "market forces" ultimately brought about the industry's demise.
Changes in entertainment technologies – such as the development of the radio and the gramophone – also played their part in that process. But despite the decline in the popularity of the "goanna" (rhyming slang for the instrument), Atherton is highly informative when recounting its role as a social healer. Many pianos were donated to so-called "Cheer-Up Huts", where they were played to boost the spirits of those returning injured from war.
Particularly fascinating is the story of the "Changi" piano, an instrument that brought happiness to countless POWs. It is now housed in the Australian War Memorial in Canberra. Other instruments made it as far as battle front lines where, as Atherton observes, their playing represented order among the "anarchic, chaotic and destructive sounds of war".
Australian prisoners of war in Germany participating in a concert called 'ANZACs on Parade', accompanied by a piano.
Atherton can write with an enthralling sense of narrative, which is perhaps most evident in the final part of the book. Here he recounts the role of pianos in various post-modern creative projects.
Noting his own participation in what could be termed "pianofortecide", these endeavours involved the ritualistic destruction and burning of old and unwanted instruments, all in the name of art. Aptly, the chapter is titled "Where do old pianos go to die?". It provides a sobering, realistic glimpse of the fate of pianos that were once treated with love, care and respect. More often than not old pianos are dumped unceremoniously at the tip.
Has Stuart been given a short life as a piano builder because most concert pianists do not wish to move out of their comfort zone? Have conventional sounds, conservatism in music and economics, and also, possibly, Australian tall poppy syndrome damaged the longevity of the piano, not to mention the ongoing vested interests and monopolies courted by local organisations and promoters?
The same could be asked of the never-ending stream of imported pianists who perform with our major orchestras on a weekly basis, while the wealth of talented Australian artists is fairly much ignored!
At times, A Coveted Possession is marred by insufficient attention in the proof-reading stage. And it feels as if the researcher's bullet-point notes have been fleshed out rather casually in early chapters recounting historical developments, where a deeper sense of narrative would have satisfied more.
Mephisto after its capture in France by the Australian 26th Battalion.
What can we possibly learn from the archaeological study of a World War I battle tank? Quite a lot, it turns out, when the attention is devoted to a rare German-built A7V Sturmpanzerwagen tank known as Mephisto.
The tank was originally collected as a war trophy by a Queensland based battalion in July 1918, brought to Brisbane the following year and now held by Queensland Museum. One hundred years to the month since its recovery, it is the last of its kind in the world.
On close inspection it is clear that this metallic monster is in far from pristine condition and covered in battle damage. Mephisto saw a lot of action during the battle for Villers-Bretonneux in northern France a century ago.
The A7V Sturmpanzerwagen Mephisto in transit at the Ipswich Railway Works Museum.
The story of the tank is now told in a new publication, Mephisto: Technology, War and Remembrance, that recounts its history and technological development, and places it in the context of the so-called "War to end all wars".
Mephisto: Technology, War and Remembrance, by Greg Czechura and Jeff Hopkins-Weise.
Together with our colleagues, we have attempted to reconstruct something of Mephisto's role in its final battle.
To make sense of various gunshot and shrapnel impacts, the Queensland Police and Ballistic Bomb Blast Unit and the Defence Science & Technology Group (DSTG) provided their technical skills to help explain the damage to the tank.
It became clear that a large amount of small arms fire was thrown at the vehicle in an attempt to halt its advance. There is evidence of very close-quarter fighting, with several attempts to disable the vehicle.
The QP Ballistics team identified a .303 armour piercing round wedged in the armour next to a machine gun port. It seems that a soldier was attempting to disable one of Mephisto's eight machine guns by shooting its water jacket.
Queensland Police ballistics measuring the trajectory and angle of an armour piercing round fired at one of Mephisto's eight maxim machine guns.
A series of well-aimed, short machine gun bursts were fired at one of the tank's exhaust ports. Much of the damage occurred on the left side of the tank which from reconnaissance photos taken after the battle show the position of the allied trenches located parallel to the tank.
There is also evidence of a larger-calibre weapon that was brought into use against the tank, perhaps a French 37mm weapon, which simply ricocheted off Mephisto's thick armour.
Large calibre impact strikes on Mephisto, possibly made by a French 35mm gun.
Further research is required to clarify the exact meaning of the use of this larger-calibre weapon. Initial work by DSTG has reconstructed the angle the tank rested in when it finally became stuck when it ran into a shell crater.
Very close fighting was associated with the vehicle, and the battle damage reveals something of the terror that the defending English soldiers must have endured on the morning of April 24, 1918.
The destruction of the vehicle was revealed by QP bomb blast experts. Two different explosions were recorded in the twisted armour of the forward compartment of the tank.
Historical evidence has suggested that the German crew set off a charge to disable their vehicle, but the primary impact appears to have burst through the roof, the force bending the heavy steel support beams downward.
This blast created something of a chain reaction, and would have generated a temperature of between 3,000℃ and 4,000℃. It initiated a further explosion by igniting any munitions still within the tank.
The perfect impression of one of Mephisto's own 57mm shells is blasted through the floor plating next to the main forward gun.
In turn, this projectile hit the ground beneath Mephisto, sending shrapnel back up through the plating on the underside of the tank. This generated several impacts in the metal directed back inside the forward compartment.
The damage to the forward compartment of Mephisto can be seen here, taken during the conservation treatment after the 2011 Brisbane floods.
The conclusion that can be drawn from this study is that a fusillade of small arms fire was hurled at Mephisto as it trundled, at speeds never more than 6–8mph (9-13kmh), towards the Allied positions at Villers-Bretonneux and Monument Wood.
As much of the damage is recorded on the left side of the tank it is probable that most of the impacts occurred during this final assault and not at its previous action at St Quentin. The tank sat for three months in No Man's Land and continued to receive small arms and shrapnel damage while it was disabled.
A study such as this by no means rewrites our understanding of the conflict, but as the sole surviving A7V, this battered artefact does provide unique insights into the events that took place on the battlefields of Europe 100 years ago.
Investigating artefacts in this manner transforms them. They become something more than just a curious object from the past, and indeed can emerge as an important, silent witness to historic events.
A tangible object such as Mephisto, in trying to make sense of the battle damage to the vehicle, transcends the insights revealed in the pages of written history.
It highlights the horror of trench warfare and provides first-hand accounts of how the British infantry tried to stop an enemy tank.
Mephisto is a rare and important example of developing military technology in the early 20th century. As the last surviving German tank from the First World War it will once again be on display at Queensland Museum from November 11, 2018.
Side profile view of Mephisto at the 5th Tank Brigade's Demonstration Ground at Vaux-en-Amienois.
Underpants have a long history and, it seems, a bold future.
Underpants. We tend not to talk about them but they are a fact of life (unless you go commando). Briefs have a fascinating history and are now being transformed by technology, with high-performance undies that claim to do everything from filtering flatulence to emitting soothing vibrations.
The first type of underpant was the loincloth worn by ancient Egyptians. Known as a schenti, it was made from woven materials, commonly cotton and flax, kept in place with a belt. The lower classes and slaves were almost naked, so technically this loincloth was often "outerwear". But Egyptian art from 1189 BC to 1077 BC in the Valley of the Queens shows pharaohs wearing sheer outer garments, rendering the loincloth a type of underpant.
In Europe, during the Middle Ages (500-1500 AD), underwear consisted of a shirt made of fine linen or cotton for both men and women. A form of underpant returned during the 15th and 16th centuries, when men's leg-hose were bifurcated (split in two).
To provide extra protection for the male genitalia, a padded codpiece was added. The codpiece also served as a symbol of sexual energy, designed to enhance rather than conceal the genital area.
Jakob Seisenegger's Portrait of Emperor Charles V with Dog (1500-1558) also features a prominent codpiece.
In the early to mid 19th century, both men and women wore bifurcated drawers with separate legs – a loose type of knee-length trousers suspended from the waist. This simple style of underpant made relieving oneself more manageable, especially if several layers of petticoats or breeches were worn.
Woman's batiste lace-trimmed drawers, circa 1896.
Closed crotched underpants for women (pantalettes) emerged in the mid to late 19th century. In 1882, dress reformer Dr Gustave Jaeger argued that wearing natural woollen fibres next to the skin would help disperse bodily poisons by allowing the skin to breathe. He also felt the elasticised qualities of knitted garments were more likely to promote exercise.
Woollen all-in-one, cream woman's long johns; made in England, date unknown.
Also in the 19th century, the popularity of long-legged trousers for men led to a change in men's underpants, with hose (long johns) extending to the ankle. These were made of silk for the wealthy and flannel, or later wool, for the masses.
For women in the early 1900s, getting dressed involved multiple layers of undergarments including chemise and drawers followed by a constrictive corset. During the first world war more women undertook physical labour in factories, mines and farms, and thus needed utilitarian garments. The silhouette of outerwear such as loose trousers and boiler suits paved the way for knickers, which women began wearing from around 1916. From the 1920s, the corset was gradually replaced by less restrictive elasticated versions such as the girdle and "step-ins" gradually replaced the corset.
Latex, a rubber yarn introduced in 1930, allowed stretch undergarments to become more figure-hugging. These eventually evolved into underpant styles similar to those worn today. In 1938, after the invention of the synthetic fibre nylon, lightweight easy-to-launder underwear started to appear.
Shorter, crotch-length underpants or trunks for men appeared after 1945. In 1959, a new man-made elastomeric fibre called Lycra™ was invented. Combined with cotton or nylon, it was strong, stretchable and recovered well. The result was more body-conscious underpants for men and women.
Underpants have become more form-fitting.
With advancements in fibre technologies and knitting manufacturing, underpants today can be as unassuming as a pair of Aussie Bonds briefs, or high-tech with the inclusion of haptic communication.
For instance, Sydney-born, NY-based company Wearable-X has teamed with condom manufacturer Durex to create interactive underwear called Fundawear. Fundawear has a "vibrating touch" that can be transferred from anywhere in the world through a smartphone app. The underwear contains actuators (which are similar to the devices that make smart phones vibrate). Couples wearing it converse via the app, transferring sensations to each other's undergarments.
Meanwhile, brands Modibodi and Thinx have developed reusable underpants for women menstruating or experiencing incontinence. Manufactured from bamboo, merino wool and microfibre fabrics, the breathable and moisture-wicking layers draw fluids away from the body, securing them in a waterproof outer layer. The fabric technology allows the underpants to be rinsed in cold water, machine-washed and, once dry, ready for reuse. Since launching in 2014, Modibodi has become an Australian market leader for reusable period underwear.
UK brand Shreddies has even developed "flatulence-filtering" underwear for men and women using carbon-absorbing cloth. According to its website, the underwear uses "the same activated carbon material used in chemical warfare suits". Which is good to know.
Medical underwear for postoperative and postnatal patients is also widely available in Western hospitals providing infection control and wound care.
Advances in material manufacturing, additive fabric coatings and body-centred smart textile applications have the ability to monitor patient physiological conditions and offer personalised care and direct user feedback to medical specialists. Researchers at the University of California have developed a textile-based, printable electrochemical sensor, which has the capacity to be used for a variety of medical and safety applications. The flexible textile sensors, for example, when printed onto the elastic waistband of underpants, can recognise chemical substances secreting from the skin.
Science is adding functions to underwear that could scarcely have been envisaged 50 years ago. The loincloth has come a long way.
Hobart's Mount Wellington is now also known by its palawa kani name, kunanyi.
Truganini's death in Hobart in May 1876 attracted worldwide attention. She was widely, but wrongly, believed to have been the last Aboriginal person to have survived the Tasmanian genocide. Her demise symbolised the devastating impacts of British imperialism on Indigenous peoples.
Yet Tasmanian Aboriginal people continue to live on the Bass Strait Islands, in rural and urban Tasmania and elsewhere. Their culture, although severely disrupted by the British invasion, persists. Part of this survival is the resurrection of a language, palawa kani, that is used by some Tasmanian Aboriginal people. Recently there have been calls to use the Aboriginal name nipaluna for Hobart, and other places are already using dual names.
Across Australia, an estimated 250 Indigenous Australian languages and hundreds more dialects were spoken before the British arrived. The cultural disruption caused by invasion has resulted in more than half of these languages vanishing.
In parts of the country, Aboriginal people and linguists have been working to preserve and restore some of the country's original languages. In this wider context of language preservation and renewal, a reconstructed Tasmanian Aboriginal language has recently emerged. Palawa kani ("Tasmanian Aboriginal people speak"), is based on surviving spoken and written remnants of the island's original languages. The written form of palawa kani has only lower case letters following a decision by the Tasmanian Aboriginal Centre to discontinue capitals.
In 1981, linguists Terry Crowley and Robert Dixon estimated that between eight and 12 different languages, some mutually unintelligible, were spoken by Tasmanian Aboriginal people prior to invasion. They used a variety of colonial records to arrive at this estimate.
Maritime explorers, missionaries and colonial officials wrote Tasmanian Aboriginal words and phrases in their journals. Some, like botanist Allan Cunningham, jotted down lists of words. Others, such as Quaker missionaries James Backhouse and George Washington Walker, also wrote down the lyrics to Tasmanian Aboriginal songs.
Between 1829 and 1834, the Conciliator of Aborigines, George Augustus Robinson, travelled the island with an entourage of Aboriginal people, including Truganini, and white servants. They aimed to capture Tasmanian Aboriginal people who had survived the Vandemonian War, which had been fought between Aboriginal people and the British colonists. Robinson relied on interpreters, but he and his white companions learned some Tasmanian Aboriginal languages. Robinson wrote down over 4,500 Tasmanian Aboriginal words. His white servant, James Gravenor, later spoke some words in Truganini's Aboriginal language at her burial.
Many Tasmanian Aboriginal words continued to be used by those living on the Bass Strait islands. Tasmanian Aboriginal singer Ronnie Summers grew up on Cape Barren Island. He has written, for example, about how "yolla" is an Aboriginal word for short-tailed shearwaters.
South of Hobart, Fanny Cochrane Smith continued to use some of her Tasmanian Aboriginal language. Famously, in 1899 and 1903, she was recorded singing several songs and speaking in this language.
Recording of Fanny Cochrane Smith singing in her Aboriginal language in 1899.
Since the 1990s, Tasmanian Aboriginal people including Theresa Sainty, Jenny Longey and June Sculthorpe have worked to restore language to their community. palawa kani has been built from words and songs passed down Aboriginal families as well as phrases and words recorded in colonial documents. It is a composite language that has been embraced by some, but not all, Tasmanian Aboriginal people.
Today, Tasmanian Aboriginal people are using palawa kani in different contexts. These include educational settings, during ceremonies and at official functions. Digital materials, posters and flash cards have been produced. People are encouraged to use palawa kani in their homes. Language learning is also supported by palawa kani being used in the award-winning animated television series Little J and Big Cuz.
Gradually people living in and beyond the wider Tasmanian community are becoming used to hearing or seeing palawa kani. In 2014, Tasmanian Aboriginal musician Dewayne Everettsmith's debut album Surrender included melaythina, the first song released in palawa kani. More recently, in April 2018, the oratorio A Tasmanian Requiem premiered in Hobart. It included palawa kani, English and Latin. On approaching the ningina tunipri Tasmanian Aboriginal gallery at the Tasmanian Museum and Art Gallery in Hobart, visitors hear palawa kani.
Around Tasmania, some national parks and other significant landmarks now have dual names. Examples include Mt Wellington, near Hobart, which is also known by its Aboriginal name kunanyi and Asbestos Range National Park in the north of the state. The latter was renamed Narawntapu National Park in 2000, prior to the Tasmanian Aboriginal Centre discontinuing the use of upper case letters in palawa kani.
The word nipaluna, for Hobart, came from a word recorded by Robinson on 16 January 1830. The Conciliator wrote in his journal that his Aboriginal informant Woorrady (Wooreddy) told him Hobart was called nib.ber.loon.ne. On 11 July, Robinson recorded the name for Hobart as niberlooner. Different spellings were common in the 19th century for Aboriginal and English words. Those working on palawa kani have had to take these variations into account.
Present day use of palawa kani goes beyond dual place naming. It is also being used as a language of protest. Earlier this year, in February 2018, a television advertisement spoken in palawa kani went to air to protest against the Tasmanian Government's plans to reopen some four-wheel drive tracks in the remote Arthur Pieman Conservation Area in Tasmania's north west.
Despite not all Tasmanian Aboriginal people embracing palawa kani, the reemergence of an Aboriginal language in Tasmania is providing the island's first peoples with a culturally distinctive, unique voice.


Waiting for tile adhesive to dry ready for grouting. Technical work cutting for toilet and wash basin feeds.
Neat holes cut for waste and basin feed.
This entry was posted in Uncategorized and tagged tile by Ashtons Handyman Property Services. Bookmark the permalink.


How do you make use of the HTML-processing capabilities that are built into Java? You may not know that Swing contains all the classes necessary to parse HTML. Jeff Heaton shows you how.
HTML processing is something that Java programs must commonly do. Although there are several third-party tools to do this for Java programs, Java actually contains HTML processing as part of Swing. In this article, I will show you how to make use of the HTML processing capabilities that are built into Java.
Although Swing contains HTML processing capabilities, it is not totally straightforward about how to use them. Swing needs HTML processing internally to display HTML text, but using HTML processing outside of Swing can be a bit more difficult. In the following sections, I will show you the classes that Swing makes available for you to use and how you can access them.
The Parser class, which is an inner class of the HTMLEditorKit class, is provided by Swing to facilitate the parsing of HTML. Actually, instantiating this class is not an easy task. It almost appears that the HTML parsing facilities of Swing were not meant to be used externally; instead, their availability is more a side effect than a feature. This is particularly evident by the way in which you must instantiate a class of HTMLEditorKit.Parser.
The only way to instantiate an HTMLEditorKit.Parser object is by overriding the getParser method of HTMLEditor kit to make it public. A class that does this is shown in Listing 1.
* Call to obtain a HTMLEditorKit.Parser object.
* @return A new HTMLEditorKit.Parser object.
Parser objects are instantiated by calling the getParser method of HTMLEditorKit. Unfortunately, this method does not have public access. The only way to call getParser is by overriding getParser to a public member function in a subclass. This is exactly what the HTMLParse class is used for. After you have obtained a Parser class, you should call the parse method of Parser and pass it a callback class.
The above code assumes that you have just retrieved an HTML page as a string. The page is used to create a StringReader that will then be passed to the parse method. The variable callback is assumed to hold a valid callback object.


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Heroes In Harm's Way (), es una serie de televisión china transmitida del 17 de septiembre del 2020 hasta el 25 de septiembre del 2020 a través de CCTV, Tencent Video, iQiyi y Youku.

La serie está basada en los eventos verdaderos ocasionados por la Pandemia de COVID-19 en Wuhan, convirtiéndose en el primer drama televisivo chino centrado en la pandemia.

Historias
El drama cuenta la historia de cómo el personal médico y la gente común han vivido su batalla contra la pandemia de COVID-19.

Después del cierre de la ciudad de Wuhan (epicentro del brote), alrededor de las vacaciones del Festival de Primavera de 2020 a finales de enero, comienza la lucha de miles de médicos enviados a la ciudad desde todo el país para ayudar a lidiar con el inicio de una peligrosa y mortal pandemia que después pone en peligro a todo el planeta.

También muestra la lucha y el esfuerzo de trabajadores encargados de la construcción del Hospital de emergencia temporal "Huoshenshan" (levantado en solo 10 días), de los conductores encargados de transpor los equipos médicos y bienes esenciales a la ciudad aislada, de los voluntarios y trabajadores comunitarios, y de otras personas que arriesgaron sus vidas para apoyar a los más necesitados.

Retrograde
La primera historia es titulada "Retrograde" ().

Personajes principales

Personajes secundarios

Apariciones invitadas

Otros personajes

Don't Come, All It's Okay
La segunda historia es titulada "Don't Come, All It's Okay" ().

Personajes principales

Personajes secundarios

Apariciones especiales

Otros personajes

Mother-in-law battle
La tercera historia es titulada "Mother-in-law battle" ().

Personajes principales

Personajes secundarios

Otros personajes

District of Happiness
La cuarta historia es titulada "District of Happiness" ().

Personajes principales

Personajes secundarios

Apariciones especiales

Otros personajes

One Thousand Kilometers
La quinta historia es titulada "One Thousand Kilometers" ().

Personajes principales

Personajes secundarios

Otros personajes

The Great Uncle
La sexta historia es titulada "The Great Uncle" (, también conocida como "Uncle Rabbit").

Personajes principales

Personajes secundarios

Otros personajes

In the Same Boat
La séptima historia es titulada "In the Same Boat" ().

Personajes principales

Personajes secundarios

Otros personajes

Episodios
La serie está conformada por 7 historias y emitió 14 episodios en total de lunes a sábado.

Producción
La serie también fue conocida como "One Who Walks Against the Tides" y fue el primer drama televisivo chino centrado en la pandemia Covid-19.

El drama fue dirigido por Ju Xingmao (巨兴茂), quien contó con el apoyo de los guionistas Guo Jingyu (郭靖宇), Tang Qicen y Zhao Yan (赵彦).

Mientras que la producción estuvo a cargo de Wang Hao (王浩), Zhuang Dianjun (庒殿军), Tang Shiding (唐世鼎), Shen Haixiong (慎海雄) y Xue Jijun (薛继军).

La serie es emitida por cadena pública China Central Television (CCTV) y contó con el apoyo de la compañía de producción "China Media Group".

Reacciones / Controversias
Durante el primer avance del drama emitido en la plataforma china Weibo recibió comentarios positivos, donde varios usuarios expresaron su entusiasmo por conocer las historias de la gente que ha hecho posible que el país luche contra el coronavirus.

Sin embargo durante su estreno, el primer episodio generó fuertes críticas por su tono sexista (discriminación de género) al ignorar y restarle importancia al papel vital que jugaron las mujeres en la contención del COVID-19, así como por suavizar las duras condiciones y el caos que vivió el personal médico durante los primeros días de la pandemia.

Una de las varias escenas controvertidas que molestó a los usuarios, fue cómo mostraban a las conductoras de autobús y como las compañeras de una mujer divorciada la convencían para que rechazara en ofrecerse como voluntaria para transportar suministros a la línea del frente, alegando un compromiso familiar (la celebración del Año Nuevo Chino), mientras que sus colegas masculinos no dudaban en ayudar. Debido a esto, los usuarios demostraron reportes en donde medios estatales elogiaban el apoyo de las conductoras con respecto al transporte de suministros y personal médico.

El "South China Morning Post" señaló que otra de las frustraciones era la descripción que hacían de las enfermeras a quienes mostraban "más interesadas en el chisme que a los médicos masculinos".

Después de los sucedido las críticas hacia la serie fueron fuertes y negativas, recibiendo una vergonzosa calificación en Douban (el sitio web chino equivalente al IMDb) de 2,4 sobre 10, sin embargo las críticas fueron censuradas y los comentarios de los usuarios fueron ocultos.

Distribución
La serie fue emitida desde el 28 de septiembre del 2020 a través del canal 192 por medio de Sky TV en el Reino Unido.

También ha sido lanzada en diversas plataformas de medios, tales como YouTube, Facebook, OnDemandChina & iTalkBB (en Norteamérica) y en TV2Z (en Holanda). También estpa programada para ser lanzada en Italia, Argentina, El Salvador, Sudáfrica, Rusia, Japón, Corea, Indonesia, Camboya, Tailandia, Vietnam, Laos, Myanmar, Nepal y más países. Además de la versión en inglés, el drama también está disponible en varios idiomas, incluidos serbio, ruso, japonés, camboyano, nepalí, indonesio, etc.

Referencias

Enlaces externos

 Heroes In Harm's Way (最美逆行者) on Baidu
 Heroes In Harm's Way (最美逆行者) Movie Douban

Series de televisión de China
Series de televisión iniciadas en 2020
Series de televisión finalizadas en 2020
Series de televisión