19th Impact: cosplay in all its form 19th Impact: a look back on video games ECG season 9: first selections! Space Opera memories Zen et Zen+ Tickets coming up in October The best music moments of the festival! Nachi no Hi Matsuri, fire festival Lost & found Thank you all and see you soon! Japan Expo's 20th Anniversary coming up Meeting the scriptwriters of Miraculous! Discover the winners of ECG season 8! Cowboy Bepop: an anniversary among stars A first glimpse at SAO season 3! Daisuke SATO brings back Kenshiro!
And you can start preparing it right now! You can't wait to be there after the last four days? Then save the date: Japan Expo will be back on July 4-7, 2019 and tickets are available from 6.00 pm today!
Thank you all for the four amazing days we spent with you! Before we share all our memories of the 19th Impact with you, we can already save the date for a very important event next year as the festival will be celebrating its 20th anniversary on July 4-7, 2019 at Paris-Nord Villepinte Exhibition Center.
We can't wait to meet again with you on this occasion and have loads of projects to celebrate this anniversary! For all those who like to prepare in advance, the 20th Anniversary ticketing opens right when the 19th Impact will be closing. 1-day and 4-day tickets are available from today at 6.00 pm.
Zen, Zen+ Confort, and Zen+ ECG Tickets will be on sale soon too with a very special ticket, the 20th Anniversary Pass, very limited and with exceptional advantages we'll tell you about next week.
And follow our news for more about the 20th Anniversary Pass next week!


Whilst Christmas shopping yesterday, I heard a lady shout this at her child as I was barging my way through the shop with the pram. It's the first case where I've noticed the assumption that it would be a woman with a pram rather than a man.
Or maybe it's just that I look a bit like a woman.
What this means I think is that we've got a long way to go before paternity and maternity leave are anywhere near to be considered equal. I realise this is a hell of an extrapolation from a single sentence from a single woman in Swindon, but that's the way I see it.
This entry was posted in Uncategorized on 04/12/2014 by admin.
Recorded directly off the telly with a camera – there doesn't seem to be a good way to record stuff any more (or may be I'm getting old?).
It's a shame they had to turn it in to a negative news item on how dad's are turning down paternity leave, but that's the media for you I suppose. Anyway me and Ted are now pretty much famous and that's the most important thing.
This entry was posted in Uncategorized on 02/12/2014 by admin.


Episode 70 of Voices in AI features host Byron Reese and Jakob Uszkoreit discuss machine learning, deep learning, AGI, and what this could mean for the future of humanity. Jakob has a masters degree in Computer Science and Mathematics from Technische Universität Berlin. Jakob has also worked at Google for the past 10 years currently in deep learning research with Google Brain.
Visit www.VoicesinAI.com to listen to this one-hour podcast or read the full transcript.
Byron Reese: This is Voices in AI, brought to you by GigaOm. I'm Byron Reese. Today our guest is Jakob Uszkoreit, he is a researcher at Google Brain, and that's kind of all you have to say at this point. Welcome to the show, Jakob.
Let's start with my standard question which is: What is artificial intelligence, and what is intelligence, if you want to start there, and why is it artificial?
Jakob Uszkoreit: Hi, thanks for having me. Let's start with artificial intelligence specifically. I don't think I'm necessarily the best person to answer the question what intelligence is in general, but I think for artificial intelligence, there's possibly two different kind of ideas that we might be referring to with that phrase.
One is kind of the scientific or the group of directions of scientific research, including things like machine learning, but also other related disciplines that people commonly refer to with the term 'artificial intelligence.' But I think there's this other maybe more important use of the phrase that has become much more common in this age of the rise of AI if you want to call it that, and that is what society interprets that term to mean. I think largely what society might think when they hear the term artificial intelligence, is actually automation, in a very general way, and maybe more specifically, automation where the process of automating [something] requires the machine or the machines doing so to make decisions that are highly dynamic in response to their environment and in our ideas or in our conceptualization of those processes, require something like human intelligence.
So, I really think it's actually something that doesn't necessarily, in the eyes of the public, have that much to do with intelligence, per se. It's more the idea of automating things that at least so far, only humans could do, and the hypothesized reason for that is that only humans possess this ephemeral thing of intelligence.
Do you think it's a problem that a cat food dish that refills itself when it's empty, you could say has a rudimentary AI, and you can say Westworld is populated with AIs, and those things are so vastly different, and they're not even really on a continuum, are they? A general intelligence isn't just a better narrow intelligence, or is it?
So I think that's a very interesting question. Whether basically improving and slowly generalizing or expanding the capabilities of narrow intelligences, will eventually get us there, and if I had to venture a guess, I would say that's quite likely actually. That said, I'm definitely not the right person to answer that. I do think that guesses, that aspects of things are today still in the realms of philosophy and extremely hypothetical.
But the one trick that we have gotten good at recently that's given us things like AlphaZero, is machine learning, right? And it is itself a very narrow thing. It basically has one core assumption, which is the future is like the past. And for many things it is: what a dog looks like in the future, is what a dog looked like yesterday. But, one has to ask the question, "How much of life is actually like that?" Do you have an opinion on that?
Yeah so I think that machine learning is actually evolving rapidly from the initial classic idea of basically trying to predict the future just in the past, and not just the past as a kind of encapsulated version of the past. So it's basically a snapshot captured in this fixed static data set. You expose machines to that, you allow it to learn from that, train on that, whatever you want to call it, and then you evaluate how the resulting model or machine or network does in the wild or on some evaluation tasks, and tests that you've prepared for it.
It's evolving from that classic definition towards something that is quite a bit more dynamic, that is starting to incorporate learning in situ, learning kind of "on the job," learning from very different kinds of supervision, where some of it might be encapsulated by data sets, but some might be given to the machine through somewhat more high level interactions, maybe even through language. There is at least a bunch of lines of research attempting that. Also quite importantly, we're starting slowly but surely to employ machine learning in ways where the machine's actions actually have an impact on the world, from which the machine then keeps learning. I think that that's actually something [for which] all of these parts are necessary ingredients, if we ever want to have narrow intelligences, that maybe have a chance of getting more general. Maybe then in the more distant future, might even be bolted together into somewhat more general artificial intelligence.
I've been following the work of Jakob Uszkoreit for a few months now. This guy is a genius. I really enjoyed the article. Congratulations.
Thanks for this amazing podcast. Looking forward to have much more meaningful episodes like this.


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What You Need to Know about CANPASS for Business Aviation – Part 2: Using CANPASS
Bizav Best Practice
By Adam Hartley
This business aviation blog post is part two in a two-part series and continues from our previous post titled "What You Need to Know about CANPASS – Part 1 What is CANPASS."
Membership in CANPASS corporate or private aircraft programs offers significant advantages to participants and allows more flexible entry options into Canada. These programs, however, do have nuances and restrictions to consider. It's best to talk directly with your 3rd-party provider or the Canada Border Services Agency (CBSA) to determine how your flight department can benefit most from these programs.
The following is an overview of what you need to know:
1.	Is the CANPASS reporting process used for all arrivals into Canada – including tech stops?
Yes, the process is the same, whether if it's an overnight or tech stop. How the process is done, however, depends on the number of people onboard. Up to and including 39 people (pax and crew) can do a telephonic clearance, and the local inspector has the right to come out to physically clear the aircraft. With more than 39 persons onboard, customs arrangements must be made with the local CBSA office for physical customs clearance. Important: No more than 15 persons may be onboard the aircraft to take advantage of CANPASS private or corporate aircraft program benefits.
2.	What's the process for setting up clearance prior to arrival in Canada?
For a telephonic clearance, the captain must call 1-888-CANPASS at least two hours, but no more than 48 hours, prior to arrival. A 3rd-party provider cannot make these arrangements but may forward information to CBSA in advance on the operator's behalf. Required information includes:
the Estimated Time of Arrival (ETA)
destination in Canada
full name, date of birth, citizenship and passport information for all persons on board
purpose of trip and length of stay in Canada for non-residents
length of absence for Canadian residents
All travelers must declare any personal goods they are importing. If duty or taxes are payable, the CBSA officer will obtain a credit card number from the individual concerned. Best practice is to note the CBSA inspector's badge number as confirmation.
3.	When we arrive in Canada, what's the procedure?
Upon arrival, the captain calls 1-888-CANPASS – prior to opening the aircraft door and only if the flight does not qualify under CANPASS private or corporate aircraft programs – to advise that the aircraft has arrived. The inspector will ask if anything has changed and, if all is OK, will confirm that the flight is cleared. If you've set up a physical clearance, ask air traffic control (ATC) where to proceed. You'll often clear at a customs ramp, but that varies airport to airport. Physical clearance is usually quick, but that depends on the airport, the inspector and traffic volume at the time. Members of CANPASS private and corporate aircraft programs are free to proceed (without reporting in to 1-888-CANPASS) if no CBSA inspector is waiting for them at the designated ETA.
4.	What happens if we need to divert?
If the aircraft has to land at a place not designated for customs reporting, due to weather conditions or other circumstances, the pilot should call 1-888-CANPASS, the nearest Canadian customs office or the Royal Canadian Mounted Police office. Depending on the circumstances, the flight may be cleared over the phone, the pilot may be requested to await the arrival of a customs officer at the site, or the pilot may be requested to fly to the nearest airport of entry (AOE) at the first opportunity.
5.	Are there special procedures if we have firearms, animals or certain food products onboard?
If you're a visitor to Canada and do not have a Canadian firearms license and registration certificate, you're required to declare all firearms in writing. That can be done by filling out Form CAFC 909 (non-resident firearm declaration) and paying a $25 Canadian dollar fee. That has the same effect as a temporary license and registration and is valid for up to 60 days. If you're importing restricted firearms, you'll need an authorization to transport (ATT), and that application can be obtained from the Canada Firearms Centre at 1-800-731-4000. Visitors cannot, under any circumstances, import prohibited firearms. Note that no outbound clearance is required for firearms. When travelling with a pet, you'll need to declare the animal when making customs arrangements and have an updated vaccination record available. Certain meats, fruits and vegetables are not allowed into Canada. See the CBSA website for agriculture restrictions.
6.	What are considerations in terms of criminal records?
Anyone with a criminal history in his or her home country will be denied entry to Canada if that criminal history is known to CBSA. That includes all felony convictions, as well as driving under the influence convictions for U.S. nationals. If an individual has a criminal history, he or she may request a temporary permit to enter Canada for a few days or apply for full criminal rehabilitation. The latter option takes time, and you may need an attorney to assist with the process.
6.	Are there issues with minors onboard without parents?
For travel with onboard minors, without both parents present, best practice is to have a letter of guardianship onboard. While that is not technically a requirement in Canada, having such evidence may help avoid any delays or issues.
7.	Any other tips?
Most issues with clearance into Canada are a result of forgetting to call CANPASS at least two hours prior to arrival. That is considered an "unannounced arrival." Best practice is to report your intended arrival to CANPASS during the appropriate notice period (2-48 hours in advance of arrival), to get the badge number of the officer you set up clearance with and to advise CANPASS of any changes to your ETA. (see: http://cbsa-asfc.gc.ca/contact/bis-sif-eng.html).
All CANPASS private and corporate aircraft program flights are subject to verification, at any time, by customs. Requests for verification, and physical clearance on landing, may be generated by the telephone reporting centers or local customs officers. Best practice is to take the time to fully understand the assorted responsibilities and operational advantages of CANPASS programs and to be mindful to report all arrivals to Canada in the required manner.
If you have any questions about this article or about Canadian customs requirements, contact me at adamhartley@univ-wea.com.
Got a question for Adam about this article?
Tagsaviation regulatory issuescanadian passenger accelerated service system (canpass)north america
Adam Hartley
Adam Hartley, Manager, Global Regulatory Services / Global Emissions Programs, has established himself by helping operators understand and comply with complex regulations worldwide. Adam's expertise includes: emissions reporting and sustainability, international ops to/from the U.S., international mission feasibility, worldwide charter requirements and operational best practices. He is a FAA licensed dispatcher, currently Chair-Education / NBAA S+D Committee, member of NATA Air Charter Committee and was recognized as Top 40 under 40 in Business Aviation 2018 by NBAA.

redpajama_set_name: RedPajamaCommonCrawl


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Q: How can I get port forwarding to work with iptables? I want to protect my MySQL Server from portscanners/probes. So my idea is to put the external port on let's say 36636, internal port has to stay at the default 3306 for compatibility with local apps.
A MySQL client connects to mysql.hostname.tld:36636 and should then be forwarded to 3306 by iptables.
But I just can't get it to work. Here my redirect-rule:
iptables -t nat -A PREROUTING -i eth0 -p tcp --dport 36636 -j REDIRECT --to-port 3306

I activated extensive logging in iptables and in MySQL, I'm pretty sure the packets go trough the firewall, but then they "disappear", they don't seem to reach MySQL. Of course I also opened a port 36636 in iptables.

A: First of all, this is not an effective way of protecting mysql server. Changing the port will not make it impossible for an attacker to know you are running mysql server. It may just delay him a little bit.
To answer your question, your rule seems OK if you are running iptables and mysql on the same host. Otherwise, you need to use DNAT target instead of REDIRECT. Also, you need to allow IP forwarding in this case. This is with regard to NAT rules. For filtering rules, you need either to allow mysql port or set default INPUT/FORWARD/OUTPUT policy to ACCEPT (do this only if you want to allow everything to pass through the firewall).
Anyway, you have to allow port 3306 even if you are doing port forward from another port. You have two options:
1- Change the port mysql server is listening on. This might not be suitable for you as it will affect the local applications.
2- Add another NAT rule to port forward standard mysql port 3306 to something else invalid.

For option 2, you can execute:
iptables -A PREROUTING ! -s local_subnet -p tcp --dport 3306 -j REDIRECT --to-port 9999

This rule will prevent access to mysql port from non-local subet.

A: Well, there's no need to enable ip forwarding if the MySQL server is on the same host. You could use the following command to redirect traffic from port 36636 to 3306:
iptables -t nat -A PREROUTING -m tcp -p tcp --dport 36336 -j DNAT --to-destination IP_ADDRESS:3306

where IP_ADDRESS is the IP address of the interface MySQL is listening to.

redpajama_set_name: RedPajamaStackExchange


Recorded Live at Budokan, Tokyo, Japan - October 25, 1978.
EX-/VG+ Audience Recording [AUD5] :: Bootleg Silver CD :: CBR 320 kbps.
Files: 15. :: Size: 204,24 MB.
Notes: Frampton Comes Arena! is another new tape from the archives. After having major success with the live LP Frampton Comes Alive in 1976, this tour marks his first trip to Japan. The sound quality is very good to excellent, being clear and detailed, and captures a superb atmosphere.
The Japanese audience claps along in some songs but the music is much more powerful. There are a few cuts between tracks but no music is lost. The setlist weighs mostly on the Frampton Comes Alive LP with only two new compositions and a covers medley added to the show. <-(Info taken from collectorsmusicreviews.com).


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Donald McDonnell Ph.D (Class of 1979)
Donald P. McDonnell, Ph.D., is the Glaxo-Wellcome Professor of Molecular Cancer Biology in the Department of Pharmacology and Cancer Biology at Duke University School of Medicine. In addition, he serves as Co-Director of the Women's Cancer Program within the Duke Cancer Institute.
Donald came to Crescent College in 1976 and became a member of the first transition year class (Ogilvie). As one of the required work experience internships, he worked in the analytical chemistry laboratories at the University of Limerick (then NIEHS) and this grew into a substantial multi-year research project. For this work, he received the 1978 Irish Young Scientist Award and the 1978 European Young Scientist Award for a project entitled "Pollution and the ecological balance of the river Shannon at Limerick". He graduated from the Crescent in 1979 and subsequently obtained a Degree in Biochemistry from the National University of Ireland (Galway) in 1983.
He then moved to the United States and obtained a PhD in Cell Biology from Baylor College of Medicine, Houston, TX, in 1988, under the mentorship of Prof. Bert O'Malley. It was during this time that he became interested in developing drugs for breast and prostate cancer and, not surprisingly, he spent some time in industry working at both SmithKline Pharmaceuticals (Philadelphia) and Ligand Pharmaceuticals (San Diego). In 1994, he moved to Duke where he and his research team have had tremendous success in developing new classes of drugs for breast and prostate cancer. Several of the drugs they have developed are in the very final phases of clinical trials for breast cancer.
Donald has received numerous investigator awards; the most notable being the Roy E. Greep, Weitzman, and Ernst Oppenheimer Awards from the Endocrine Society, ASPET's John J. Abel Award, the Pharmacia-ASPET Award for Experimental Therapeutics, the NAMS SERM Research Award and the Robert Ruffolo lifetime achievement award in pharmacology. He is an Honorary Fellow of the Royal College of Physicians, Ireland, a member of the National Academy of Medicine, and a Komen Scholar. Dr. McDonnell has published over 275 articles on his research in cancer.
Donald is married to Mary (née Downes) who he met at a local dance in Limerick in 1978. They have two married sons, Eoin and Kevin. When not in the laboratory Donald likes to run, bike and play golf. He has attended past pupils events in previous years including the golf outing and past pupils dinner.
We were delighted that Donald accepted the Roll of Honour award from the Crescent College Past Pupils Union for 2020. Unfortunately due to the cancellation of the Annual Dinner and COVID restrictions we were unable to present the award in person but hurdles were overcome and the award made it across the Atlantic into his hands. We are grateful to him for taking the time from his busy schedule to record the following message …


4 bedroom Farmhouse on over 1/2 Acre. Only 18 miles from Lake Michigan. Close to shopping but has a country feel.Enjoy evenings on the wrap around covered front porch or have family over to splash around in the above ground decked in pool.With a little TLC and fresh paint, this house will become your home sweet home.All measurements and age of home are approximate and should be verified by potential buyer.


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Burning: Stoking the Fires of Class Conflict
Posted on October 23, 2018 October 25, 2018 by Tobias French
****Very Mild Spoilers Ahead (none outside of what's in the trailer, really)****
"There are so many useless greenhouses, waiting for me to burn them down"
When this line is delivered with psychopathic calm by Ben (Steven Yeun, additional charm added by Steven Yeun's cheekbones) to protagonist Jong-su (Yoo Ah-In) there is a certain dark comedy to it all. It comes in a series of gradually elevating declarative statements that shock the lovesick and newly stoned Jong-su, as untethered as they are to any moment in the scene or the film prior. The juxtaposition of Jong-su, the little lost child, with his pastoral every-man worries, and his drive to explore the mystery of man; alongside the rich, playful and enigmatic Ben who only continues to shroud himself and Jong-su in more mystery even as he speaks as plainly as possible. Its a shock that the audience laughs along with, however it is tethered strongly to themes that run throughout the film, and it will later be reflected in the words of Jong-su himself.
We are introduced to Lee Jong-su by way of his cigarette smoke emanating from the side of his delivery truck. The camera will then follow him down a bustling Korean city street, to deliver a package to a store in front of the eyes of Shin Hae-mi (Jeon Jong-seo). Hae-mi is ostensibly attracting patrons in to the store by dancing in a skimpy outfit, but as is characteristic of her in much of the film, her attention is also on the next thing; the next mark, the next performance, the next piece of excitement. Her attention is always strongly fixed on the source of her fascination at any given time, but the source is ever shifting and irresolute. She finds a way to get Jong-su's attention. They grew up in the same village together. They end up bonding again, though – as Hae-mi points out – really for the first time, over a cigarette and away from the bustle. Later on Hae-mi will ask Jong-su to look after her cat while she flies to Africa, setting the larger events of the plot in motion.
When Jong-su picks Hae-mi up from the airport she is with Ben, who is all charisma and mystery from the outset. Yeun is cast perfectly here. His Americanness, and the aforementioned unique cheekbones, create an outsiderness, a difference, that renders him separate. Yeun uses it to his advantage throughout. He is both resoundingly charismatic and stunningly singular. At home anywhere and ever apart. From the airport onwards, Hae-mi and Ben appear to be together, though the film, like the short story it loosely adapts (Haruki Murakami's Barn Burning – from his collection The Elephant Vanishes) treats the central relationships as somewhat adaptive and ambiguous. These relatively formless relationships reflect aspects of the characters and the greater themes of the work. There is a protean nature to everything that speaks to ideas of play, performance and projection.
"There are so many Gatsbys in Korea."
Jong-su makes this remark to Hae-mi at Ben's house, in reference to Ben and his friends. There is no attempt to make you feel empathy for Ben or Ben's circle, though. As a reflection of Ben's greenhouses line, Jong-su goes on to state how they are rich with no clear source of richness or useful addition to society. They are many and useless and lie in wait. He also asks Hae-mi why she thinks Ben sees her. The implication being that she is an accessory to his lifestyle, a thing that speaks to his image and the image he projects, and she seems to be of a different quality or substance to everything else he surrounds himself with. There's no clear indication Ben feels any different. When Jong-su asks him what he does for a living Ben states that he "plays", that there is less and less clear a distinction between play and work, to his weltanschaaung. A deep class consciousness and anxiety pervades the script and the screen.
Perhaps the most viscerally real moments come whenever Ben's cadre of ironic and uncaring Gatsbys watch the more performative moments of poor farm-girl types, including Hae-mi, as they get lost in their passionate descriptions of life events, and find it all so hilariously dull. The poor at play for the facile and futile fun of the rich. These are the moments Hae-mi misses, too busy at focus on her very real and felt passions. In the moment, at those times. But Jong-su, vigilant, world-weary, untrusting and uncomfortable, is always watching. Ben knows and makes it known, in unsubtle signals, that he doesn't much care.
However, its not entirely obvious that Jong-su and Hae-mi are searching for anything drastically different out of life. Their drives appear to be similar, its just that they don't have the access to the same options as Ben and his friends. Jong-su himself is nominally a writer, though he doesn't spend anytime writing and is not entirely sure what he wishes to write about (to be fair, this is a common link between most writers). He does odd jobs because he has to, and looks after the family farm in his father's absence (something foist upon him because his father was more interested in prideful self-representation than openness and responsibility). Hae-mi learns the performance arts and drifts between options that can do the most for her with minimal effort on her part. Both characters are filled with a directionless longing, that finds its short term direction in each other. This longing… sexual, societal, and of other forms… also pervades the film, providing a melancholic atmosphere throughout.
Much of the rest of the film proceeds on the basis of what kind of man Ben truly is and what he is capable of. Lee Chang-Dong controls the tension and the pacing well throughout; leaving some jarring moments for when they are most necessary and impactful. For an adaptation of one of Murakami's most literal and realistic works it does a good job of pulling moods, feelings and themes from the rest of his works. Burning is an elegiac work, with a sometimes skeptical or cold outlook on the human condition, but with a rhythmically beating heart at its core. It threads common themes in Japanese (or Japanese-American) literature and Korean cinema; identity and its loss, alienation and difference, the interplay of modernity and the eternal things of humanity, self inquiry and self-deprecation (its quite a funny film at times); and it threads them masterfully.
Burning Opens In Select North American Cinemas This Friday
Published by Tobias French
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Home > December 2009 - Volume 30 - Issue 6 > Indices of Body and Brain Size at Birth and at the Age of 2...
Thought you might appreciate this item(s) I saw at Journal of Developmental & Behavioral Pediatrics.
Indices of Body and Brain Size at Birth and at the Age of 2 Years: Relations to Cognitive Outcome at the Age of 16 Years in Low Birth Weight Infants
Lorenz, John M. MD*; Whitaker, Agnes H. MD†; Feldman, Judith F. PhD†; Yudkin, Patricia L. PhD‡; Shen, Sa PhD†; Blond, Anna MS†; Pinto-Martin, Jennifer A. MD§; Paneth, Nigel MD∥
Journal of Developmental & Behavioral Pediatrics: December 2009 - Volume 30 - Issue 6 - p 535-543
doi: 10.1097/DBP.0b013e3181c35ee4
Objective: To determine in low birth weight infants the relations of being small for gestational age at birth, microcephalic at birth, low weight for age at 2 years, and microcephalic at 2 years to full scale intelligence quotient (FSIQ) at the age of 16 years.
Methods: A prospective observational study of 422 of 837 eligible nondisabled low birth weight (<2000 g) adolescents from the newborn brain hemorrhage cohort with weight and head circumference at birth and at the age of 2 years in whom FSIQ was assessed with the Wechsler Abbreviated Scales of Intelligence at the age of 16 years.
Results: In a multiple regression analysis, being small for gestational age (β = −0.14, p = .02) and microcephalic at 2 years (β = −0.18, p < .001), but not low weight for age at 2 years or microcephaly at birth, had significant independent effects on 16-year FSIQ. After adjusting for pre-, peri-, and postnatal risk factors for poor cognitive performance, the independent effects of being small for gestational age (β = −0.13, p = .004) and microcephalic at 2 years (β = −0.13, p = .01) persisted. In this analysis, birth social risk had the largest significant independent effect on 16-year FSIQ (β = −0.28, p < .001).
Conclusions: Being small for gestational age at birth, but not low weight for age at 2 years, and microcephaly at 2 years, but not at birth, were independently related to FSIQ of nondisabled low birth weight adolescents, both with and without control for pre-, peri-, and postnatal risk factors.
From the *Department of Pediatrics, Columbia University and Morgan Stanley Children's Hospital of New York-Presbyterian, New York, NY; †Department of Psychiatry, Columbia University and New York State Psychiatric Institute, New York, NY; ‡Department of Primary Health Care, University of Oxford, Headington, Oxford, United Kingdom; §School of Nursing and School of Medicine, University of Pennsylvania, Philadelphia, PA; ∥Departments of Epidemiology and Department of Pediatrics and Human Development, College of Human Medicine, Michigan State University, East Lansing, MI.
Received January 12, 2009; accepted September 2, 2009.
This work was supported by NIH grant R01NS20713, NIMH grant 5 R01 MH57514-05, and March of Dimes grant 12-FY03-46.
Address for reprints: John M. Lorenz, MD, Division of Neonatology, Morgan Stanley Children's Hospital of New York-Presbyterian, 3959 Broadway, CHC 115, New York, NY 10032; e-mail: jl1084@columbia.edu.
Journal of Developmental & Behavioral Pediatrics30(6):535-543, December 2009.
low birth weight, small for gestational age, head circumference, neurodevelopmental outcome, intelligence quotient
Articles in PubMed by John M. Lorenz, MD
Articles in Google Scholar by John M. Lorenz, MD
Other articles in this journal by John M. Lorenz, MD
Prematurity - Outcome


When it was released the Samsung Galaxy S8 held the spot of best phone in our eyes for quite a while. We have had a number of new winners like the S9 Plus, iPhone XR and most recently the S10, since but this is still a seriously great device.
We've been trawling through the best prices for unlocked Samsung Galaxy S8 handsets from the major retailers including the big hitters of Amazon and eBay to ensure you're getting the best price possible this month.
There is a bit of a choice to be made here as you can spend an extra £100 or so to go up a model and get the Galaxy S9 SIM free instead. But if you're all about saving those pennies this is the perfect option.
Buying SIM-free may well be the best route for you to get your hands on the phone rather than our selection of the best Galaxy S8 deals, which usually run for at least two years. If you're in a contract and want to replace phone you've lost or had been stolen, or whether you just don't want to enter a 24 month contract, this could be the best way to get the Galaxy S8 in your hands.
Once you've found your favorite deal for the Galaxy S8, we've also put together a selection of cheap SIM only deals for you to pick from too. There we have options for 12-month plans and even one month rolling contracts too so you can find the cheapest way of owning the Galaxy S8.


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Growing Your Audience Is Not About The Music Anymore
I'm about to piss you off.
But keep reading because it's important.
Growing your audience is NOT about the music anymore.
It used to be that way because the process dictated it.
The quality of your music today has nothing do with getting fans/customers when you're marketing online.
Hostile?
Disheartened?
It's ok because the music is still super important, but the process of getting your art In front of new eyeballs has changed.
Radio and TV were the old way to expand a new artist's audience. Back in the day, the music was what was being played on the radio or a TV show so the music came first because the music came first in the marketing process.
Think about that. We heard the music first (and enough times) before we asked about who the artist was. The discovery process started with the music.
Now the opposite is true because, for the moment, it has to be that way.
Maybe you work a job remotely from home. You can do that job in your underwear and a robe because your appearance isn't mission critical to your success every day. If you have to go into an office, you'd better play the part, right? I'm not saying that any attire is more important to you than the robe, but I am saying the outcome depends on the situation and the situation depends on the platform.
You will hear music business veterans tell you, "It's incredible what a really good hit song can accomplish" and they would be right…in the 50's, 60's, 70's, 80's, 90's, and 2000's, but not today. Not exactly because it's changed.
When the music came first a hit song could break an artist but now the music comes second so who will hear it?
I'm generalizing, of course, but is this how you want to construct your business plan? Do you want to place all your hopes and dreams on a blueprint that requires you to be an exception to the rule? Is your success strategy based on winning the lottery?
Do you really want to be the artist in 2017 or 2018 with a record deal, boatloads of talent, but no audience?
Be careful what you ask God for because I know a ton of these artists and they're sitting on a shelf at a label waiting. They're on the back burner. Their label deal and $2.51 will get them a venti drip at Starbucks.
Today the artist, a fan's relationship with the artist, and good marketing come first. The music comes second because you won't find an audience anymore on the radio.
Let me articulate that point more clearly. You won't find an audience anymore on the radio.
This is because people used to be forced to listen to new songs, now they have choices. People are choosing NOT to listen to the radio.
Here are a couple facts to support this argument. The big three companies that own the majority of the P1 (major market) radio stations are CBS, Clear Channel (aka IHeartRadio/iHeartMedia), and Cumulus.
CBS has spun off (aka sold) all of their stations. In plain English, CBS is out of the radio business.
They're losing money.
Why are they losing money?
Because radio makes their money on advertising revenue. The size of any given platforms audience directly determines the amount of money they can charge for advertising. Think about the Super Bowl. The cost of a 30-second ad is so outrageous because 1 billion people are going to watch it all at the same time.
But nobody is listening to the radio so the revenue checks kept getting smaller and smaller coinciding with their declining listenership. But the overhead (outgoing checks) are the same. The cost of maintaining the equipment, taxes, admin staff, talent payroll, and performance license expenses is the same if they're not increasing.
Why do you think they created the "Jack FM" or "Bob FM" formats? The marketing precept that they're "playing what we want" is designed to divert your attention from the fact that these platforms have no DJ's. No DJ's means fewer expenses.
When a business or industry is on the way up the bell curve, the visionaries are at the helm taking risks and changing the world by serving the customer better. When that industry is on the way down, the bean counters come in to manage the decline. That's a fact no matter what industry you're in.
Clear Channel (IHeartRadio) just released their 2017 first quarter report and it looks like they're going to declare bankruptcy for the second time. They're done. The government will break them up and sell off the pieces. Look at Clear Channel's stock price it's essentially flat-lined at its lowest level ever for the last year.
I PROMISE Cumulus is right behind CBS and Clear Channel.
Because the market has changed.
There's your proof that radio isn't working anymore. For radio to work, you need to have millions of people listening and hardly anyone is listening anymore because we got smartphones and a million easy ways to play our jam.
Our "Jam" is what we all want to hear. We don't want to listen to anything new.
Because you're not listening to the radio means you don't have to "suffer" through listening to new songs from new artists. You can satisfy that pleasure point in your brain immediately by playing a song you know rather than taking a risk on one you don't.
So, the market has changed and is continuing to morph, is it not?
The marketing strategies must adjust to the changing market.
We have to adapt and switch to online marketing. Masses of people are not going to listen to anyone's new song online like they did in radio. It just doesn't work that way. I wish it did, but it doesn't.
You MUST understand that social media and the internet are mediums but those mediums are consumed differently than radio. If you don't understand this fact, you're sure to fail.
Here's an example. When I started in the mortgage industry I was an exceptional cold caller. I worked for a multi-billion-dollar company (initially) and they taught you to make 200 calls a day to get 3-5 applications. One day a guy picked up the phone and after my greeting, he sighed. He told me, "Johnny, you're the 70th person that I don't know to call me today about doing my mortgage."
I thought there has to be a better way.
I drastically changed my approach from the norm and took a risk. A big risk. The recording studio in my house allowed me to create and record a radio show. My buddy agreed to partner up so if it failed I only was responsible for 50% of the downside.
We picked a station and made a deal. They sold us time on Saturdays in 30-minute slots. It cost $450 per 30-minute slot and we had to commit to 6 months which turned this marketing idea and contract into a $12,000 bill.
Jason and I recorded and broadcast our first show. We put some time into creating a format that had a beginning, middle, and end. The show was loaded with informative content that mortgage consumers would find value in.
Zero phone calls.
The next week we recorded and broadcast our second show.
The third-week same format on the show that was broadcast.
Same result too, ZERO phone calls.
Right about then, as you can imagine, I WAS FREAKING OUT!!!!
I called the station manager for guidance. She asked me, "Johnny, are you feeling enough pain to listen to every word I'm going to tell you and do EXACTLY as I say?"
I replied, "I will freaking wear a Bozo outfit with the big shoes and the horn if you tell me to."
She informed me that the way we were formatting the show was incorrect. We had a 30-minute slot with 25 minutes of content to create (the other 5 was for commercials). Our problem was that we had structured our show like a television program. As if the listeners consumed radio the same way as they consume television. Which is a completely different medium. She told us that on Saturdays the listeners were out running around taking care of errands and catching bits and pieces of any radio show. Do you see how different that is to sitting down and giving their complete attention to the program like they do on a TV sitcom?
She said, "Instead of doing one 25-minute show, break it up into five 5-minute shows. Change the metaphors so you don't bore the few people who are listening all the way through and mention your phone number every 2 minutes. I'm not kidding, put a timer by your mic and EVERY 2 MINUTES give your phone number. I promise the phone will ring."
We did just that. We adapted to the different medium that was consumed differently than what we were used to and BOOM.
We got 5 calls on that 4th show with 2 of them turning into loans. The revenue from those 2 loans paid for that $12,000 commitment and we were off and running. Within 5 months we were on 5 different stations in 3 different markets. We were receiving around 70-100 phone calls per weekend. That resulted in a steady monthly gross income of around $180,000-$300,000. That's a business.
Here's the takeaway. Social media and online marketing are consumed differently than television which is consumed differently than radio.
You better know the difference.
The music doesn't come first online. The artist does.
The music is important just like a product is important because great music and great products will get you repeat customers.
But you can't get repeat customers without customers and getting customers online has nothing to do with the music or the product.
I'll repeat that last part.
Getting new customers has nothing to do with the music or the product when you're marketing online.
If you liked this article, please SHARE and COMMENT
Tags: Artists, believe, CBS Radio, Clear Channel, Cumulus, Demo, Demos, DIY artist, How do I assemble a team, How do I get a booking agent, How do I get a record deal, How to get a record deal, How to sell music, How To sell records, iHeartMedia, iHeartRadio, Indie Artist, Manager, Managers, Marketing, Music Manager, Music Managers, Music Marketing, music success, music team, Nashville Demo, Nashville Demos, record deal
https://daredevilmusicproduction.com/wp-content/uploads/2017/07/Music-Second-Feature-MEME-2.jpg 315 600 Johnnydwinell https://daredevilmusicproduction.com/wp-content/uploads/2018/01/daredevil_logo_white2.png Johnnydwinell2017-07-18 12:22:182018-01-26 18:13:06Growing Your Audience Is Not About The Music Anymore
Why Do Failures and Mistakes Actually Make You Better?
You Need New Fans, But Where Is The Traffic Coming From?
Acceptance: Be the Bee
Are You A Sellout?
When Creators Directly Connect with End Users, The World Changes Are You Working Really Hard But Feeling Completely Frustrated?


The viral hepatitis epidemic and the opioid crisis is an example of a syndemic.
The plan aims to increase treatment access and expand outreach programs to those most at risk of infection.
The National Science Foundation doled out its funding as part of a national effort to end the epidemic by 2030.
Hepatitis A outbreaks are occurring all over the world, including in the United States. However, hepatitis A can be easily prevented.
Gay and bisexual men in London, England, are in the middle of rising twin epidemics of HIV and sexually transmitted infections.
Doctors claim government health officials are covering up the situation by refusing to cite the actual number of victims.


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SYNONYM

#### According to
Index Fungorum

#### Published in
null

#### Original name
Usnea räsänenii Bystrek

### Remarks
null

redpajama_set_name: RedPajamaGithub


Information on bringing a challenge to be solved (e.g. framing topic)?
Information on fees (as participant, as sponsor, etc.)?
Information on existing infrastructure (IT, WLAN, Network, Server, APIs, etc.)?
Information on the intended outcome (prototype, MVP, etc.)?
Information on Sponsors / Companies / etc.?
Information on the promotion / marketing?
Information on preparation (can we do something upfront)?
Is there a maximum number of accepted challenges/ides?
Until this edition we had max 54 challenges submitted. If this year we will have more than 60 I think we'll must do a selection.
Are there any additional costs for pitching an idea?
Is there a deadline for "registering an idea" (besides Friday evening before the hackathon)?
When an idea is finally accepted, which additional resources do we need to bring (e.g. data, resources)?
All you need to build a prototype : adapters, computers, monitors, keyboard, … There is no (upfront) guarantee to bring in our idea – it depends on our pitch ability?
What makes a pitch successful from your experience?
what is the name of your project ?
what is the problem you want to solve ?
what's your vision of a solution ?
who do you need (developers, designers, health pro, …) ?
why your idea is the best ?
Next workshops will be 11/12, 22/01, 23/02 at 7 pm in Strasbourg, all information on workshops will be put on the website 3 weeks before Subscribe to our mailing-list to be notified and tell me if you come so I will prepare the event in English.
How many projects have you every year on your sparkboard?
Last year there were 54 projects on sparkboard and we have Been forced to close the access. Unfortunately developers often post on the sparkboard one week before.
Can we join many projects? Being project leader in one of them and maker on the other ?
You can do what you want on the sparkboard. You can have your project and sign up for another. This isn't binding you. On Friday evening, the project leaders must pitch in 1 minute, then either they find a team to work (at least 6 to 10 people including at least 1 pro health, one developer and one designer) or they do not succeed and could join another team.
Can we stay to sleep take a shower, shave, take a breakfast on the spot ?
Must we come with a defined project or should we specify according it to the proposed themes ?


Get easy directions to the Convention Center, no matter where you're coming from.
Convention Center parking is available in the Municipal Auditorium parking garage located under Barney Allis Plaza.
Find a hotel Downtown to complete you convention experience.
Find all the ways to get to Kansas City and travel within the city.


Asserting that war wouldn't have lasted 30 years, if not for clandestine Western support for the LTTE, particularly in the procurement of US weapons by Kumaran Pathmanathan alias KP, JVP leader Anura Kumara Dissanayake, MP, has claimed that interrogation of LTTE leader now in the protective custody of the government will help establish the circumstances under which Norway intervened in Sri Lanka.
The JVP has recently requested the Supreme Court to have Pathmanathan arrested.
The intervention by Erik Solheim led to the signing of a ceasefire agreement between the then government and the LTTE in Feb. 2002. JVP leader Anura Kumara Dissanayake was addressing the media at party headquarters at Pelawatte, Battaramulla on Wednesday (Jan.21). Norway stepped-in at the behest of Western powers; therefore a special investigation was required to ascertain the truth.
In his capacity as the JVP leader, MP Dissanayake is a member of the National Executive Council headed by President Maithripala Sirisena, who is also the leader of the largest single party, the SLFP, in Parliament.
Colombo in early August 2009.
Dissanayake credited the Directorate of Military Intelligence (DMI) for what he called the Malaysian feat.
The JVP leader said that three major factors contributed to the separatist war, namely: armaments, international relations and unlimited funds. Kumaran Pathmanathan had been the chief weapons procurer for the LTTE. Pathmanathan had played a role as important as that of LTTE theoretician Anton Balasingham, Dissanayake said, adding that they ran a vast international network in support of the terrorist campaign here.
Weapons procured by Kumaran Pathmanathan caused massive death and destruction here, he said. The JVP chief said: "Kumaran Pathmanathan provided funds required for the running of a massive Tiger intelligence network. Pathmanathan became the LTTE leader in the immediate aftermath of Velupillai Prabhakaran's death because of his spearheading role in the organization."
The Sri Lankan security forces brought the war to a successful conclusion in May 2009.
Dissanayake lambasted the previous government for not producing Pathmanathan in an open court.
Pathmanathan could have been effectively used by the previous government to counter post-war Western threat against the country, he said, alleging that the LTTE had received weapons from Western powers throughout its murderous campaign.
Alleging that the LTTE had procured weapons from legitimate as well as illegal US weapons supply operations, MP Dissanayake said that Pathmanathan could be used to expose the US. The JVP leader said that highlighting US double standards was important not only to Sri Lanka but many other countries as well. Dissanayake accused the US of causing turmoil all over the world, while pretending to be propagating peace.
The MP dismissed accusations that the new government wanted to expose the US at the behest of the Tamil Diaspora. MP Dissanayake claimed that Western countries, particularly the US wanted to guarantee Pathmanathan's freedom.


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In order to keep the balm in as good as condition as possible don't apply directly to skin which isn't clean. For example, if your nose is dry from a cold, apply balm to the back of your hand then use your finger to put balm around the nose.


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Djævelens barn is de Noorse titel van het toneelstuk The devil's disciple van George Bernard Shaw. Deze versie ging in première op 6 maart 1907 in het Nationaltheatret in Oslo. Johan Halvorsen, verantwoordelijk voor de muziek, koos voor een combinatie van reeds gecomponeerd werk van derden en enige stukjes eigen muziek. De volgende muziek kon tijdens de uitvoeringen gehoord worden:
 de ouverture uit De vrolijke vrouwtjes uit Windsor van Otto Nicolai
 een rigaudon uit opus 93 van Camille Saint-Saëns
 een Amerikaanse mars van John Philip Sousa (onbekend is welke er werd uitgevoerd)
 de gang naar het schavot uit Symphonie fantastique van Hector Berlioz
 eigen muziek van Halvorsen.

De eigen muziek van Halvorsen werd al snel weer opgeborgen toen de serie van zes uitvoeringen achter de rug was en is alleen in manuscriptvorm bewaard gebleven.

Toneelmuziek
Compositie van Johan Halvorsen
Compositie voltooid in 1907

redpajama_set_name: RedPajamaWikipedia


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Coleophora lativittella is a moth of the family Coleophoridae. It is found in Irkutsk, Russia.

References

lativittella
Moths described in 1877
Moths of Asia


Wikipedia turned 10 these days. Officially, 15 January 2001 is considered the Wikipedia Day, though Wikipedia's predecessor Nupedia went online as early as on 9 March 2000.
I decided to throw my 2 cents on Wiki since I regard it one of humanity's most important achievements in terms of free access to information and spread of knowledge. It has also been a main drive behind the free culture movement and has heavily influenced the whole Web 2.0 thing. During the last decade Wiki has proven the so called wisdom of crowds theory correct and demonstrated people's ability to contribute to the enhancement of knowledge. No wonder, Wiki is nowadays one of the major sources of information. Moreover, Wiki has become an identifier, a trade mark. Think of how many other sites use the predicate "wiki" to promote their content.
However, it is not all sunshine and roses. Anyone's ability to edit or contribute has been used to question Wikipedia's reliability as a source of information. Some corporations and individuals managed to create entries to present them or their businesses in a specific light. Others did not only attempt to influence public opinion, but to tarnish the image of (potential) adversaries. The Wikipedia wars were born.
Nevertheless, in the outcome Wikipedia is and remains an achievement. An achievement whose sustainability we all have to foster, maintain and protect.
Did you find this article informative and helpful? If yes, you might want to share it by pressing one of below buttons or to otherwise tell your friends about it.


7-21 ABaC Monday at Catch the Bug with Bugaboo Stamps!
It's AbaC Monday for us at Catch the Bug with Bugaboo Stamps! Today, I'm sharing the recipe book and one of the recipe card pages that I created as part of a Christmas present for a very good friend of mine. This project features AKV - Chef by Bugaboo Stamps.
7-17 ObG with a Christmas in July Mini Challenge twist!
It's OBG day for the DT at Bugaboo Stamps! This is the day that some of the Bugaboo DT shows off their creations featuring some of their favorite Bugaboo Stamps images that aren't part of the current release. But since it is Christmas in July, we are having another fun mini-challenge! We are asking you to make Christmas cards using the photo inspiration found HERE! Then head over to link them up at the BUG BLOG for the chance to win a fab prize. My ObG card below features Guy - surf. I hope you like it!
7-16 Humor me Wednesday with a Christmas in July twist!
Today at Catch the Bug with Bugaboo Stamps we have another fun mini challenge for our spectacular Christmas in July celebration! The theme is 'Humor Me'! That's right! We wanna see your FUNNY Christmas cards that use our BINGO board found HERE!
Need a laugh yourself? Check out my card below featuring Stella Christmas - Christmas Cost! Then head over to enter your cards at Catch the Bug and give us all a good giggle! If you're lucky, you just might win one of our special prizes! Good Luck!
7-15 New Release for Christmas in July at CTB with Bugaboo Stamps!
We are continuing with our Christmas in July theme! Today's mini challenge is even more fun though because it is recipe challenge! Check out all the details HERE! I hope you'll play along with us!
As I mentioned in past posts, Bugaboo Stamps is continuing their weeklong Christmas in July celebration! Today there is a new Mini Challenge at the Catch the Bug Blog! We want you to create a Christmas papercraft project - Anything but a Card - with a twist! We want you to use the colors in the image found HERE! We can't wait to see what you create!
7-13 New Stella Says Sketch Challenge for Christmas in July with CtB with Bugaboo Stamps!
All of us at Bugaboo Stamps are continuing our Christmas in July celebration with a new mini challenge featuring a new sketch! My card below uses the sketch & features Present Bear! Check out the sketch HERE & add your own Christmas card for a chance to win!
7-11 Freebie Friday at Catch the Bug with Bugaboo Stamps!
This weeks featured digi is awesome! Wanna use it to make your own cards or papercraft projects? Head over to the Bugaboo Stamps shop to download it for FREE! While you are there, why not check out all of the other goodies in the Bug Shop today?!
July 1st New Release at Catch the Bug with Bugaboo Stamps!
It's New Release Day today, and all of us at Bugaboo Stamps are so excited! This is the day when Jodie releases BRAND NEW digis in the Bugaboo Stamp Shop! Check out my sample below using one of the super cute digis from todays release, Umbrella Mouse then go to the Bug Shop to nab 'em all! You'll be glad you did!


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Q: MySQL: How can I INNER JOIN with LEFT JOIN results I have a table items which is the points on the map. They have list of the nearest subway stations in table item_stations (item_id, station_id). The names these stations are placed in table stations (id, station_name, station_direction, ...).
So I need to return in SQL-query item-data with the names of the nearest stations.
SELECT
    i.id, i.title, i.description,
    GROUP_CONCAT(s.station_id) as stations_ids,
FROM items i
    LEFT JOIN item_stations s ON s.item_id = s.id
WHERE id = ?
GROUP BY i.id
LIMIT 1

How I must write INNER JOIN WITH table stations ON stations.id = s.station_id?

A: Probably you want something like this?
SELECT
    i.id, i.title, i.description,
    GROUP_CONCAT(s.station_id) as stations_ids,
    GROUP_CONCAT(stations.station_name) as stations_names
FROM
    items i
LEFT JOIN
    item_stations s ON s.item_id = s.id
INNER JOIN stations on
    stations.id = s.station_id
WHERE i.id = ?
GROUP BY i.id, i.title, i.description
LIMIT 1

I placed i.id in WHERE block, cause id field is in the 2 tables - item_stations and items. Mb that was a problem?


text:
Planeta X sau Nibiru este o planetă ipotetică, mare și cu o orbită după cea a lui Neptun. X-ul care face parte din nume reprezintă necunoscutul. Deși Pluto a fost descoperită ca urmare a căutării Planetei X, aceasta nu este considerată a fi Planeta X. De asemenea, nici 2003 UB313, chiar dacă la un moment dat a fost luată în considerație opțiunea pentru clasificarea acesteia ca o planetă, împreună cu Charon și Ceres.

La sfârșitul secolului al XIX-lea, mulți astronomi au făcut speculații despre existența unei planete dincolo de Neptun. Descoperirea planetei Neptun a rezultat ca urmare a unor calcule ale matematicienilor John Couch Adams și Urbain Le Vernier, pentru a explica discrepanțele între orbitele calculate și cele observate ale planetelor Uranus, Saturn și Jupiter. După descoperirea planetei Neptun, au rămas totuși niște mici discrepanțe ale acestor orbite, precum și a orbitei planetei Neptun, care au generat ideea existenței Planetei X, numită astfel de Percival Lowell.

Sondele spațiale Pioneer 10, Pioneer 11, Voyager 1 și Voyager 2 au demonstrat inexistența Planetei X, așa cum a fost prevăzută de Lowell. În primul rând, acestea au determinat mult mai precis masa planetelor pe lângă care au trecut, iar conform acestor mase, discrepanțele în orbitele planetelor au dispărut. În al doilea rând, traiectoriile sondelor spațiale nu au pus în evidență nici un fel de influență care ar putea fi atribuită forței gravitaționale a unui alt obiect mare nedescoperit din sistemul solar.

Descoperirea obiectului transneptunian 2012 VP113, caracteristicile orbitei sale și ale altor câteva corpuri cerești de la marginea Centurii Kuiper au readus în discuție posibilitatea existenței unei planete încă nedescoperite, chiar de 10 ori mai mare decât Pământul.

În studiul "Extreme trans-Neptunian objects and the Kozai mechanism: signaling the presence of trans-Plutonian planets?"   astronomii spanioli Carlos și Raul de la Fuente Marcos (Complutense University of Madrid) susțin că ar putea exista cel puțin două planete dincolo de Pluto. Una dintre ele ar putea avea o masă între cea a planetelor Marte și Saturn și orbitează la 200 UA, iar cea de-a doua ar putea fi de 10 ori mai mare decât Terra și aflată la o distanță de 250 UA.

Referințe

Legături externe
 Planetele X – Sistemul Solar ar putea avea încă două planete gigant
 Planeta pitică 2012 VP113 readuce în atenție misterioasa Planetă X
 NASA recunoaște existența planetei X
 Intoarcerea la stele, 14 iulie 2008, Georgiana Fefea, Descoperă

Vezi și
 Anunnaki
 Marduk
 Nemesis (stea)
 Norul lui Oort
 Eris (planetă pitică)

Planete ale sistemului solar
Planete ipotetice


text:
Q: Jenkins - how do I reload remote Tomcat in Windows from Jenkins in Linux server? I successfully built a .war file and deployed to remote Tomcat in Windows server from Jenkins in CentOS 7. Now I want to make Jenkins let the remote Windows server reload Tomcat after the .war file is successfully deployed. So I went to Execute Windows batch command and wrote the following script.
set JAVA_HOME=D:\Java\jdk1.6

cd "D:\Java\Tomcat 6"
cmd /c bin\shutdown.bat
timeout 5
cmd /c bin\startup.bat

After building the project, I realized it didn't work, as the Jenkins is in Linux and the remote Tomcat is in Windows. So finally I got to a conclusion that I might have to be able to access the remote Windows command line from the Linux shell.
Any good solutions for this?
The last log of building and deploying the .war file ended like the following.
Deploying /var/lib/jenkins/workspace/POS/target/posapi.war to container Tomcat 7.x Remote
  Redeploying [/var/lib/jenkins/workspace/POS/target/posapi.war]
  Undeploying [/var/lib/jenkins/workspace/POS/target/posapi.war]
  Deploying [/var/lib/jenkins/workspace/POS/target/posapi.war]
Finished: SUCCESS

Does it mean that the reload is also successfully done?


text:
Review of Emergence: Morphogenetic Design Strategies
Weinstock, M. (2004). Morphogenesis and the mathematics of emergence. Architectural Design, 74(3), 10-17.
Michael Weinstock's discussion of morphogenesis in his article "Morphogenesis and the Mathematics of Emergence" in Architectural Design intersects significantly with Lynn's concept of forces interacting in an environment and influencing form. Weinstock examines the way a given instance of a species or natural system grows and adapts to its environment. Each instance, while of the same species, is influenced uniquely by the forces at work at its specific position in relation to those forces, resulting in specific forms and behaviors as the organism develops. In place of an exact blueprint of a fully-grown organism, instances of a species follow growth patterns that enable them to organize themselves in relation to each other and to local conditions. The resulting forms and behaviors influence the patterns employed in successive generations, creating a feedback loop. As organisms evolve in this way, they exhibit increased variety (called differentiation) and increased interconnectedness (called integration). Unexpected and unpredictable forms emerge from these processes, but they are reflective of their environment and embed the influence of forces just as Lynn described.
Animate Form
Lynn, G. (1999). Animate form. New York: Princeton Architectural Press.
In Animate Form, Greg Lynn invites architects to move from a static conception of form and space to one that is characterized by force and motion. In the past, architects have expressed motion in form through superimposed snapshots in time and through sequences in form and space to which the eye gives life as the space is experienced. Lynn sets up a framework that moves the discussion to a more abstract understanding of motion where the forces at play in a specific environment give rise to a specific form that embeds or stores the effects of those interacting forces in its shape. The move from static to dynamic requires that architects embrace a more complex mathematical foundation for the description of form that integrates additional, continuous dimensions such as time and gradient forces. This calculus allows for the expression of forces as inflections to and deformations of primitive forms resulting in complex topological surfaces. Lynn argues that with an understanding of these concepts and tools that embed them, an intuition for the use of this approach can be developed and incorporated into a process that leads from abstract, diagrammatic form to concrete implementation.
Responsive Architecture
Architecture that is capable of responding to changing conditions is not a new concept. Responsive architecture, a term dating back more than 40 years, has its roots in the writings of Nicholas Negroponte, founder of MIT's Media Lab. Beginning with The Architecture Machine (1970), Negroponte proposed "that responsive architecture is the natural product of the integration of computing power into built spaces and structures" (Sterk 2003). Noting that Negroponte's work came about long before developments such as robotics and artificial intelligence became mainstream, Sterk develops a model for responsive architecture that investigates how buildings can respond to the needs and wants of related stakeholders to connect "user needs to actual building components and their responsive behaviours" (2003).
The concept of responsive architecture is related to our thesis to the degree that it concerns the relationship of form to time and the forces at forces that are at play in a given context. Sterk and his firm ORAMBRA (The Office of Robotic Architectural Media & Bureau for Responsive Architecture) seem to be primarily concerned with developing responsive kinetic structures in order to respond to environmental factors with the goal of improving efficiency and reducing carbon footprint. While this is an important topic, environmental forces are just one class of forces that have an impact on form. Needs and wants of users, in the programmatic sense, are another. We hope to consider how form can respond to a multiplicity of forces over time as well as the nature of the impact that such a responsive form has on authorship.
Nevertheless, there are a number of projects that could be labeled responsive architecture that are of interest to us.
Prairie House by ORAMBRA
This house in Northfield, IL implements an actuated tensegrity structural system that allows the envelope of the building to expand during hotter seasons and contract during colder seasons in order to reduce cooling and heating loads. The website for the project highlights the house's performance. "That the shape of a building is intimately tied to its performance has been known since people started to build, what has not been known is that we can use this principle to drive a fundamentally different type of architecture."
The form of this house is shaped primarily by the forms that its type of tensegrity structure can assume. In other words, contextual forces impacting form are being ordered by the environmental forces that require the implementation of this specific form. A hierarchy of values results in a prioritization of concerns and responses.
Pneumatic Envelope by RAD
Students at the University of Toronto's Responsive Architecture at Daniels program have developed a group of projects that were featured in a published volume titled the living, breathing, thinking, responsive buildings of the future (el-Khoury, Marcopoulos and Moukheiber 2012). One of these, called Pneumatic Envelope, combines a series of translucent plastic membrane cells with differing levels of opacity that can be inflated individually to modulate light and provide varying thermal characteristics. These can be assembled as a wall or a window or both.
While a focus on environmental responsiveness is no longer a part of our thesis work, this project is interesting in its use of embedded technology to control the individuated responses of the wall/window elements. With the low cost of such components we will likely be using similar technology in our own investigations over the next few months.
Sterk, T. (2003). Building upon negroponte: A hybridized model of control suitable for responsive architecture. Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6], pp. 407-414
Pneumatic Envelope by Responsive Architecture at Daniels (University of Toronto)
Robot City
Isaac Asimov's Robot City; book cover; image from Amazon
Much like the futuristic materials being conceived at MIT's Self Assembly Lab, science fiction has long been speculating about technology of the future. The novels in Isaac Asimov's Robot City series (originally published 1987 to 1995) are no exception, following the trend of increasing processing power and miniaturization to its logical conclusion and envisioning the development of a material in which highly advanced robotic intelligence is integrated at the molecular level along with the ability of the material to reconfigure itself on demand.
The result is Robot City, a "built" environment resulting from vast amounts of this intelligent material being instructed to form buildings and every bit of infrastructure required for a functioning city. This city is by no means static, constantly in flux according to the needs of the city, responding to the demands of development and the city's inhabitants. Buildings and streets disappear and reform overnight, with the only constant being a more traditionally constructed "compass tower" that acts as the origin of the city.
The concept of an intelligent, self-re-forming material is particularly relevant to our thesis as it directly addresses the question of how form can respond in an ongoing fashion to continually shifting conditions. While described as virtually limitless in potential availability, versatility, and strength in the novels, even a very limited version of such a material would have huge consequences for the built environment and the role of the architect.
A technology like this fundamentally questions the definition of authorship, transforming it from an initial development to an ongoing process. Would the architect in this world be designing in a very generic sense, defining responses to typical scenarios (if this condition or requirement encountered, then build this or that)? Would it sideline the architect even more so than today's Revit-based box developers are attempting to do? Or would it make the architect essential due to the effectively limitless sculptural possibilities that could result in a ridiculous mess otherwise? Or would it make us all architects, able to sculpt our environment on a daily basis?
The ideas behind this futuristic material will no doubt continue to influence our discussions and explorations. See the documentation for our initial presentation, formeta 0.9–we developed the final animation with Robot City in the back of our minds.
MIT Self-Assembly Lab
MIT's Self-Assembly Lab, led by Skylar Tibbits, is on the bleeding edge of smart material research, pioneering efforts in self-assembling materials and components as well as programmable materials. From the Self-Assembly Lab website:
"Self-Assembly is a process by which disordered parts build an ordered structure through only local interaction. In self-assembling systems, individual parts move towards a final state, wheras in self-organizing systems, components move between multiple states, oscillate and may never come to rest in a final configuration."
"Programmable Matter is the science, engineering and design of physical matter that has the ability to change form and/or function in a programmable fashion. 4D Printing, where the 4th dimension is time, is one recent example of PM that allows objects to be printed and self-transform in shape and material property when submerged in water."
Both of these concepts are of great interest to us as we explore the relationship of form and time and consider how to design for changing conditions. In addition, these areas of research bridge the gap between our interests in robotics, composites and non-static form in the built environment. The Self-Assembly Lab's section on Programmable Materials states that their "goal is true material robotics or robots without robots." To that end they are exploring the following areas, among others, which are particularly relevant to our thesis development.
Programmable Carbon Fiber and Programmable Textiles
Programmable Carbon Fiber; image from Self-Assembly Lab
In partnership with Autodesk and carbon fiber supplier and material innovator Carbitex, the lab is researching flexible and self-bending carbon fiber fabrics. Carbitex already offers flexible fabrics, but the lab is looking at the possibility of programming this material to bend with the application of energy of some kind (for example, electrical current or heat).
A programmable textile would differ from carbon fiber in that it would offer different strength and rigidity characteristics and might not be able to change shape more than once, for example, after being immersed in water.
BioMolecular Self-Assembly
As described in the above quote regarding self-assembly, the lab is considering how parts in a system can come together in a specific fashion of their own accord with the simple application of an outside energy source. On some level the idea that such a system results in a "final state" is opposed to the concept of dynamic form, especially if parts are only able to come together in a single configuration. However, if we consider the possibility of a future material that is both self-assembling and programmable, allowing the parts to assume different configurations under different circumstances or stimuli, then the finality of a self-assembling system would simply refer to one of many states that the system can assume. It is in reference to such a possibility that we developed the final animation presented in the formeta 0.9 project.
Programmable Textile; image from Self-Assembly Lab
BioMolecular Self-Assembly; image from Self-Assembly Lab
University of Stuttgart ICD/ITKE Research Pavilions
A key influence throughout the development of our thesis work this semester has been the University of Stuttgart and the research pavilions jointly developed by the school's Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE). The three pavilions developed from 2011 to 2014 all employed KUKA six-axis robot arms in the fabrication process, and two of them made use of carbon fiber weaving in structural and modular components. These projects were stimulating not only because they involved two key interests–robotics and composites–but also because of the rigor of the design process employed and quality of the documentation produced.
2012 Research Pavilion
University of Stuttgart ICD/ITKE 2012 Research Pavilion; image from Dezeen
Fabricated as a single unit, the 2012 pavilion uses a KUKA robot arm situated in a raised position to the side of the fabrication area to weave fiber tow onto a frame, which was removed after fabrication and installation. The design of the weaves reflects the structural forces at play in the overall design–a helicoidal crossweave is employed where strength is needed in various directions and a unidirectional weave is used to address axial forces.
This approach to weaving involving a temporary frame is of interest because of limited material required to shape the carbon fiber. A more typical approach to shaping composite materials involves single-use molds that can result in significant waste. We are interested in developing a fabrication method that will minimize waste while providing versatility and reducing the time and investment required to make use of composites.
2013-2014 Research Pavilion
University of Stuttgart ICD/ITKE 2013-2014 Research Pavilion; image from Dezeen
The subsequent pavilion developed by the ICD/ITKE collaboration is another woven, carbon and glass fiber structure. In contrast to the 2012 pavilion, this design takes a modular approach, using a pair of robot arms to fabricate customized units for later manual assembly on site. Rather than using unique framing for each module, a single, adjustable framing system was employed, allowing for varied sizes and angles to be implemented.
In addition to the creative end-effector design, we were drawn to the design process, product and presentation of this project. It illuminates some of the technical details involved in carbon fiber weaving as well. For instance, in order to bond the carbon fiber tow to itself and to adjacent fiber tow, the tow had to be drawn through a resin bath continuously during fabrication. Unless we find an alternate form of fiber (such as "prepreg" resin pre-impregnated fiber) for any robotic weaving experiments of our own, we will have to design and construct a similar mechanism to prepare the fiber.
Both pavilions combine glass fiber with carbon fiber, using the carbon for structural reinforcement while at the same time creating a fascinating aesthetic. This approach is a more efficient use of materials, favoring the use of the more expensive carbon in areas where it is needed structurally.
Dual robot fabrication setup © ICD/ITKE University of Stuttgart
Adjustable robot effector © ICD/ITKE University of Stuttgart
Doubly curved glass fiber geometry and carbon fiber reinforcement © ICD/ITKE University of Stuttgart
Copyright © 2014 by Daniel Eisinger and Steven Putt


Almost every wedding planner in the world is conscious about their intended budget for the event. If it is entertainment that is being talked about here, then you especially have to be keen when it comes to choosing your surprise entertainer of your choice. One does not have to be so disappointed with having an underwhelming performance from a cheap surprise singer or entertainer in this case. Lucky for you, this article would give you the tips that you need in order to get the best of the best with a budget in tow.
Firstly, do not be afraid to go around the block. You could ask for some references from those people closest to you, then you could invest in some comparison methods. The key to a successful choice is to listen to the entertainer that could do the task at hand. You may get easily convinced by lower rate performances and deals, but there are some offers that are a tad bit higher but have some worth it extras thrown into the mix. Keep in mind that you could do some negotiations with that individual if they are willing to, as that would very much give you more of a leverage on the situation you are presented with.
You must be straightforward with the budget you are willing to put out. Though they could not give you the whole performance that you have come to expect, they may have some alternatives with their services. One instance may have you present with only a number of performers or you could have a shorter performance in the process. A small band is actually already good to have for both the reception and ceremonial proceedings. A second band would only have you pay more with your budget compared to having to pay for extra hours for the small band to play. Not only that, but having one band would have you set the same mood you are experiencing on the wedding through the reception. Always keep in mind that almost anything is rather negotiable. This brings you to the importance of having that entertainer of yours be focused on the job that is mainly needed for them to accomplish.
Prioritize the budget that have you set out for the wedding. In order to have your guests participate for the event, you may suggest some secret singers or singing waiters amongst the crowd. You would actually save more if you decide to have your own playlist play out during the whole thing. It is more of a viable choice for you to do than going for those costly bands or DJs around the block. But, there are instances wherein a couple may struggle to go about with their budget if they want to have the latest and 'hippest' bands play during their wedding day. If you really want the on-trend entertainment for the job, then you must have some sacrifices made on other realms of your budget.


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