text:
Q: Fixing a out of bound error while doubling all the letters except the first and the last letters This code should double all but the first and last letter in message. Fix the code so that it doesn't cause an out of bounds error.
I can't figure out where i am going wrong.
public class Loop2
{
public static void main(String[] args)
{
  String result = "";
  String message = "watch out";
  int pos = 0;
 while (pos < message.length())
   {
      result = result + message.substring(pos,pos+2);
      pos = pos + 1;
   }
   System.out.println(result);

}
}

A: It's because your condition is :
pos < message.length()

So when you do :
message.substring(pos,pos+2);

It will throw an out of bound exception beacause pos will be 1 + message.length().
A solution is to change your condition to
pos < message.length() - 1

Or is to use the charAt() function. charAt(i) return the character in a String at the index i

redpajama_set_name: RedPajamaStackExchange


Small, dynamic company building a Rails application from scratch seeks passionate developer.
You will work in a flexible environment and be a key contributor on a small team. Your leadership and communication abilities (verbal and written) will not only be required elements for your success, but also must-have skills for your project.
We are building a Rails line-of-business application and we want you to help us make our team even better. You will be given challenging projects and will work with designers / other developers to define and complete practical - efficient features. You will have input into future product direction as-well-as ownership of technology implementation.
Our environment is collaborative and a willingness to work on dynamic highly-connected teams is required. Enjoyment from and aptitude in learning fast and applying new skills in a production environment is important. Positive attitude and love for technology is as much a part of our culture as the work itself.
Bonus points for: Contributions to open source, a dedicated personal website, an active GitHub account and / or badass foosball chops.
This is a ground-floor opportunity to join an aggressive company with a dynamic product. We offer competitive salary and all the usual perks.


text:
Frontline IB: Shaker Zahra
About Shaker Zahra
Shaker A. Zahra is Robert E. Buuck Chair of Entrepreneurship and Professor of Strategy and Entrepreneurship, Carlson School of Management, the University of Minnesota. He has served as the department chair (9 years), Director of the Holmes Center for Entrepreneurship (10 years), and the Academic Co-Director of Carlson Ventures Enterprises. He also served as the Founding Co-Director of the Center for Integrative Leadership at University of Minnesota. Previously, Shaker was Paul T. Babson Distinguished Professor of Entrepreneurship at Babson College and Professor of Strategy & Entrepreneurship at Georgia State University. He has been a visiting or guest professor at several universities in Europe, the Middle East and Asia. Shaker has also held the 3TU Chair in International Entrepreneurship at the University of Twente in the Netherlands.
Shaker's research centers on corporate and international entrepreneurship, dynamic capabilities in science and technology global industries. He is also interested in social entrepreneurship and entrepreneurship in family firms operating in technology industries.
Shaker studies industry emergence and its consequences for entrepreneurship. His research also explores the evolution and sources of novelty in companies' strategic choices and their implications for firm heterogeneity. This research contributes to the knowledge, organizational learning, and the dynamic capabilities' theoretical perspectives– especially in young entrepreneurial and established companies in technology-based global markets.
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Edward Mungai August 14, 2021 at 7:39 am - Reply
Inspiring to listen especially for PhD students and young scholars. Among others, failure is a common occurence, so take time to celebrate the small achievements as they occur taking hint from the story of creation in the book of Genesis.
About Frontline IB
This video series was developed to introduce the IB community to the people behind some of the most widely cited studies in our field. Each interview spans about 30 minutes, covering a range of topics including the author's professional journey, an overview of their body of work, and a number of topics they find promising for future research.
more frontline ib conversations

redpajama_set_name: RedPajamaCommonCrawl


Pathways is a Quarterly Newsletter produced by Moles Farewell Tributes to help you on your journey through the grief of losing a cherished loved one. Loss can be the hardest process in our lives and is often very isolating, and the newsletter is aimed at helping anyone going through a challenging time after a loss.
The Pathways Newsletter is a reminder that you are not alone, even though you have experienced a loss. Each loss is profound; Moles Farewell Tributes and Pathways acknowledge that, but help readers to move forward as well. Through well-researched articles about the grieving process, Pathways communicates strategies and shared experiences to assist you through life's most trying time.
Compassionate and well-researched articles in Pathways describe the grieving process that we will all experience in some way during our lives. Although this process is different for everyone, knowing that others have experienced similar stages on the journey is helpful for those struggling right now.
Pathways is not a one-time document for the day of your loss. Greif can last years. Pathways recognizes that and so the publication is ongoing. Pathways can become a regular reminder that the process continues for us well beyond the first days or months of loss. With new information every quarter, Pathways ensures that those in the process do not feel abandoned shortly after the funeral itself is complete.
Although information, empathy and understanding are helpful, it is the strategies contained in Pathways that will make a difference for those struggling with their grief. Pathways details helpful services provides by Moles Farewell Tributes, such as pre-planning options.
Also included are day-to-day strategies for moving forward after a loss. Suggestions for turning trauma and pain into new personal growth can really make the difference during the first year after losing someone important. The mix of psychological language grounded in real research as well as an intimate understanding of what makes grief so difficult makes these strategies both effective and empathetic.
Pathways could make the difference for someone struggling with grief. Moles Farewell Tributes has such extensive experience with grief, and the process of losing a loved one; their insights in the Pathways Newsletter are second to none. Truly focused on helping you move forward with your life while always recognizing the pain of a loss is what makes Pathways unique. Sign up today for you or a loved one who could benefit from these insights.


text:
Open to Opinion
English | Bangla
Why Love Jihad law is not against Hindu-Muslim marriage, but to protect young girls
Every case that the police dismisses as elopement and does not register as kidnapping is a failure of the system. Every attempt by a duped girl to escape the trap and seek protection that falls on deaf ears is a travesty.
| 4-minute read | 23-11-2020
Alo Pal
@AloPal
Editor's Note: You read 'Why Love Jihad bill will become a tool to harass Muslims' by Nazma Parveen on November 20. Here's a counter view by Alo Pal.
Between "Love Jihad is a myth" and "interfaith marriages are a curse", there lies a wide net with gaping holes through which fall the butchered slaughtered bodies of young girls duped into marriage and shot dead resisting conversion. Several chief ministers have called for drafting a law that would address this issue while other political leaders have called this an unacceptable interference in the lives and love of consenting adults. Legal luminaries and the common man with common sense might well be right to conclude that cheating and coercion are not new crimes and that existing laws are robust enough to address the issue. But that isn't what ails our society, does it?
Two habits spoil it all.
The first is a claim that hides behind crisp words like "law", "system", "procedure" and "police and judicial machinery". I love the sound of these words. These conjure in my mind images of clarity of process, efficiency, swiftness and assurance. Every such idea sublimates when a clerk, an insignificant cog in this machinery we love to flaunt, sips his tea avoiding eye contact because he likes the Ration Card as ID proof and you show him your Aadhaar. If you dare to show him the rules, you encounter summarily the death of "procedure".
Judicial overreach, police high-handedness, as well as judicial delay and police apathy, are realities of the common man. The tragedy of the system is that political patronage can either expedite or block, or perpetually procrastinate this recourse to the fabled "system".
Between the mess of "Love Jihad is a myth" and "interfaith marriages are a curse," the casualty is love. (Representational photo: Reuters)
The second is more dangerous, and is a habit of a certain vociferous section that is in denial, obfuscation, trivialising and fear-mongering with jargon like "communal", "intolerance", "fascism", and "majoritarianism"; a social malaise that is taking lives in the most brutal manner. They derail the discussion by counter-examples of happy inter-religious marriages to every tale of imposters cheating, kidnapping, coercing conversions and even murdering with impunity girls who have been duped and worse still, who have been groomed and lured into "love" and marriage only to meet tragic fates.
The reason why a counter-example does not work is because the criminal law exists to punish the exception that infringes it, and even one case of justice denied is a failure of the system. Every case that the police dismisses as elopement and does not register as kidnapping is a failure of the system. Every attempt by a duped girl to escape the trap and seek protection that falls on deaf ears is a travesty. Every cold-blooded point-blank gunshot snuffing the life of a girl who resists is a reflection of the fact that many are those who do not give a damn about the touted "system", the "existing laws"; who could not care less about "procedure".
Perhaps a new law is not necessary; perhaps it may not even stand scrutiny. But perhaps if not a new law, but any attempt to make it more accountable is not that wasted an exercise.
The tragedy of our times is the badgering and despairs over "what have we become". Polarised strident social media wars, cancel culture and regressive mindsets seem to dominate the narrative. Many regret the decency and quiet of the past. The sterile news read at 9 pm, state-owned and controlled, sober, the noiseless ink of newspapers whose editorial leanings were never questioned. But that predictable decency and uniform calm was poison. It was an abscess that infected the flesh beneath an unbroken skin and gnawed its putrid way to necrosis of the mind. Too many voices of usual suspects in the rarified circles of the media and intelligentsia regret that hypocritical self-destructive status quo of the past and are thrown off-gear by alternative voices that don't want to suffer in silence any more.
This figurative abscess needs to drain and heal from within. And in the process, the cacophony of this churn needs to happen.
Let us not fool ourselves. We haven't become intolerant and communal; we just need to accept that the conspiracy to kill a debate by silence is long past.
The casualty in this mess though is love.
If love is love which alters when altercation finds, / And bends at the bidding of beasts
Don't you see that poetry is broken?
Also Read: Why Love Jihad bill will become a tool to harass Muslims
#Forced conversions, #Religious conversions, #Interfaith marriages, #Lovejihad
The views and opinions expressed in this article are those of the authors and do not necessarily reflect the official policy or position of DailyO.in or the India Today Group. The writers are solely responsible for any claims arising out of the contents of this article.
Alo Pal @alopal
The writer is a teacher and co-founder of the Pondy Lit Fest.
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text:
Q: I'm looking for a quick entry TODO application that syncs across an iPhone and my laptop I haven't been able to find the following feature set all in one place:

*

*offline access :: Something which guarantees offline changes aren't lost.

*quick entry :: I should be able to activate it with a global hot key and it should provide me a quick entry window, either HUD-like a la Anxiety or Menu Bar centric a la Alarms

*synchronized :: It should synchronize across my iPhone/iPad/laptop, either via iCal TODOs or whatever.

*0 wait mobile entry :: Related: some mobile apps synchronize before I can enter in a new item.  This sucks.  I want to be able to add a TODO on the go with no wait (and definitely with no wifi).

*no overdue, or autoadvancing overdue :: I don't want to spend any time maintaining my todo list.  If something is overdue, it should autoadvance to my "today" view/inbox or whatever.  I should be able to see at a glance all my tasks (including overdue ones) that I need to do today.

*due dates optional :: I shouldn't need to assign something a date.
Bonus points for something that's stored as a simple text file.  I'm open to solutions like Notesy + nvALT + Dropbox.  That particular combination fails because I use Notesy for other notekeeping, and so I can't satisfy the zero-wait constraint.
Thanks!

A: Try Wunderlist or Trello.

A: Check out OmniFocus (available for Mac, iPhone and iPad). It's a bit pricey, but does everything you want and a whole lot more. I can personally attest to the quality of these apps — they're fantastic and use all three of them every day.

A: I recommend using the built-in Reminders app. If I'm right it should meet all of your needs...
I also recently searched for a TO-DO app and all the time I didn't realize I had one in front of my eyes :D


Certificate, Sample Content For Certificate Of Recognition was posted June 9, 2017 at 4:51 am by grimteam.us . More over Sample Content For Certificate Of Recognition has viewed by 919 visitor.
Certificate, Certificate Of Appreciation Sample Content Copy Certificate Appreciation Template Word was posted May 20, 2017 at 11:15 pm by grimteam.us . More over Certificate Of Appreciation Sample Content Copy Certificate Appreciation Template Word has viewed by 1482 visitor.


text:
Alan Marshall, Public Information Officer
(407) 836-5884 or Alan.Marshall@ocfl.net
Orange County Reports on Sustainability Plan Progress
Orange County released its first Annual Sustainability Report on December 15. The report documents the progress made since the Sustainable Orange County Plan, "Our Home for Life," (Plan) was accepted by Mayor Teresa Jacobs and the Board of County Commissioners in May 2014.
The Plan provides the vision, goal and strategy for achieving a more prosperous, healthy, livable and connected community. It outlines incremental and transformative changes for the County through 2040 to improve the quality of life for current and future Orange County residents and visitors. Orange County has been implementing this plan in partnership and collaboration with public and private sectors.
The Annual Sustainability Report highlights a number of key accomplishments, including the opening of the Dr. Phillips Center for the Performing Arts, the $300 million INVEST in Our Home for Life initiative, efforts to end veteran homelessness, the advent and expansion of SunRail, and many more. The report provides updates on the progress for each of the seven target areas of impact: Arts & Culture, Built Environment, Civic Engagement, Community, Education, Mobility and Natural Resources. In addition, to covering achievements to date, the information looks ahead to key transformative initiatives that are on the horizon.
"Orange County continues our mission to create the best place to live, work and raise a family," Mayor Jacobs said. "We are committed to leaving our children and grandchildren with a quality of life that is even better than we enjoy today. As they review the first Annual Sustainability Report, I trust that our citizens will share with me a deep pride in the significant accomplishments that have been made thus far, as well as great excitement for what lies ahead."
Former Orange County Commissioner John Martinez, director of public finance for PNC Capital Markets LLC, assumed the role of chair of Orange County's Sustainability Advisory Board after the board met for the first time in February 2015. He and eight other board members oversee the implementation of the Sustainability Plan. He also chaired the ad hoc committee that guided development of the "Our Home for Life" Plan.
"Orange County's sustained growth and status as a premier global destination provides both tremendous opportunities and significant challenges," Martinez said. "It is vitally important that Orange County shapes growth in a way that promotes long-term economic prosperity, preserves our natural resources for future generations and stimulates a diverse and innovative culture. We should celebrate what has been accomplished thus far as we continue to work together to make sustainability a reality in our homes, neighborhoods, schools, businesses, faith communities and other organizations."
Orange County plans to produce future sustainability reports to cover each County fiscal year. For more information on Our Home for Life, please visit Orange County's website, www.ochomeforlife.net.
About Orange County Government: Orange County Government strives to serve its citizens and guests with integrity, honesty, fairness and professionalism. Located in Central Florida, Orange County includes 13 municipalities and is home to world-famous theme parks, the nation's second-largest convention center, and a thriving life science research park. Seven elected members make up the Board of County Commissioners including the Mayor who is elected countywide. For more information, please visit www.OCFL.net or go to the Orange County Facebook and Twitter pages.
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text:
Das Luoyang-Museum () ist das größte Museum in Luoyang, einer bezirksfreien Stadt in der chinesischen Provinz Henan, und stellt eine der bedeutendsten Sammlungen über die Tang-Dynastie aus. Gegründet wurde das Museum im Jahre 1958 in der Vorstadt, 1973 wurde es in ein neues Ausstellungsgebäude  in der Innenstadt verlegt. Das im Jahre 2009 fertiggestellte dritte Gebäude des Museums gilt als Wahrzeichen der Stadt und bietet insgesamt 620.000 m² Ausstellungsfläche.

Ausstellung

Dauerausstellung
 Galerie für die Zivilisation zwischen dem Gelben Fluss und dem Luo-Fluss
 Schatzkammer
 Galerie für kaiserliche Kulturgüter
 Galerie für Tangsancai
 Galerie für Tonplastik
 Galerie für chinesische Kalligrafie und Malerei
 Galerie für Steinbildhauerei

Sonderausstellung
 Luoyang aus der Tang-Dynastie

Weblinks

 Offizielle Seite des Luoyang-Museums (chinesisch)

Museum in der Volksrepublik China
Museum für ostasiatische Kunst
Gegründet 1958
Organisation (Luoyang)

redpajama_set_name: RedPajamaWikipedia


Pinto da Costa, the Porto president, has slammed Mohamed Salah's tackle on Danilo Pereira during his side's Champions League loss to Liverpool on Tuesday.
The Egyptian forward appeared to catch the shin of his opponent during the course of the quarter-final clash at Anfield, which the Primeira Liga side went on to lose 2-0.
Da Costa claimed the Portugal international should be grateful not to leave England with a broken leg after the challenge.
"Danilo should thank God because this is a leg-breaker – trying not to kick the ball," he is quoted as saying by ESPN.
Salah escaped any censure for the tackle and Da Costa said he was disappointed with many of the decisions made by referee Antonio Mateu Lahoz.
"We want equality for everyone – look at Felipe's tackle which brought a yellow and this [tackle by Salah] for which we are lucky Danilo is not en route to hospital," he said.
Nevertheless, Da Costa is confident that his side can still reach the semi-final stage.
"We can score two goals just like we conceded here," he said.
Porto will have the chance to overturn the deficit suffered at Anfield when the teams meet again next Wednesday.


Always colourfully costumed bright and bubbly, our hula hooper extraordinaire, Angie, comes armed with a large stack of hoops and some funky tunes. She will wow everyone with her impromptu hula hooping displays before getting a few helpers up to show just how fun it is!
She'll get people, who never thought it was possible, up and hooping. It is great fun for any style of event be it corporate or a private party! Costumes and music can be themed to compliment your event and she comes complete with a battery powered portable music system if required.
Angie can get your event off to a great start with a five minute cabaret act with either silver, Led, UV or fire hoops. Then later in the event it is time to pull out the hoops! You've seen the show now have a go, have a laugh, learn some tricks.
Fancy something a bit different for your party or event? Why not book an interactive workshop for ages 8 – 80, and for individual tuition or groups – hooping is for everyone! It's a fun and creative way to exercise too!
Angie has hooped her way around the world and worked for many TV channels including BBC, ITV and Channel 4. She's worked in numerous clubs such as Komedia "Dirty Diamond Review", Kroon Kat Lounge and the Cha Cha Cha Club and regularly appears at festivals including, Brighton, Glastonbury, Larmer Tree and SOMAFest in LA!
Once you've got a professional hoop around your hips we guarantee to get you hooping!
I never knew you could do so much with a hula hoop! Absolutely amazing.
Making something incredibly difficult look incredibly easy.
I've never seen anyone bring a party alive like Angie! She managed to get everyone of all ages hooping together, beautiful to see.
Angie's Hula Hoop acts were absolutely amazing and really helped make the Anglo Irish Bank Regatta go well. It was a great evening and everyone else was really pleased with the whole event. Please pass on my thanks to her. She really was easy to get on with and put on a spectacular performance.


text:
Evergreen è il terzo album in studio del cantautore italiano Calcutta, pubblicato il 25 maggio 2018.

L'album è stato anticipato dai singoli Orgasmo, Pesto e Paracetamolo.

Descrizione
L'album, prodotto da Calcutta in collaborazione con Paco Martinelli e Andrea Suriani (già tastierista de I Cani e fonico di Cosmo), è stato registrato presso l'Alpha Dept. Studio a Bologna e lo Studio Nero a Roma, e ha visto la collaborazione di Giorgio Poi come chitarrista e di Francesca Michielin come corista nelle tracce Kiwi e Hubner

Il disco presenta delle sonorità vintage paragonate a Dave Fridmann, Badly Drawn Boy e Jeff Tweedy, ma anche a Teddy Reno, Morgan e Lucio Dalla. Calcutta inoltre ha dichiarato di essere stato influenzato dagli artisti stranieri anni '60, su tutti i Beatles e i Beach Boys.

La tematica predominante dell'album è l'amore, che si discosta dalla tenerezza appassionata del precedente Mainstream denotando invece tratti di nostalgia e insolenza. L'album è stato inoltre paragonato al primo lavoro Forse... per la semplicità ed efficacia comunicativa dei testi.

L'album è stato ristampato il 28 giugno 2019 con il titolo Evergreen... e altre canzoni. Include, oltre al primo disco dell'edizione originale, un secondo disco contenente i due inediti Due punti e Sorriso (Milano Dateo), quattro canzoni eseguite dal vivo all'Arena di Verona, e tre demo.

Accoglienza
L'album è stato generalmente accolto positivamente dalla critica: "Calcutta, ancora una volta, gioca in un altro campionato rispetto a tutte le copie uscite nell'ultimo periodo [...], con Evergreen Calcutta indica la strada di quello che sarà il pop italiano da qui ai prossimi due anni". "Il fenomeno Calcutta non si sgonfia, come in tanti avevano troppo arditamente pronosticato all'indomani di "Mainstream", tutt'altro: continua a dilagare, non più fenomeno modaiolo passeggero, ma cantautore vero, come i modelli ai quali si è sempre ispirato", "Oggetti di inaudita tenerezza che si vorrebbero (già) dimenticati, vintage ancor prima di essere ascoltate, struggenti sopravvivenze umane, le canzoni di Calcutta arrivano da radio e giradischi che suonano per nessuno", "La voce si rompe al grido di motti generazionali, i sentimenti vengono messi a nudo senza nessuna paura".

Tracce

 Evergreen... e altre canzoni – CD2

Formazione
 Calcutta – voce, chitarra, pianoforte
 Bruno Belissimo – basso
 Davide Solazzi – batteria
 Giorgio Poi – chitarra, voce secondaria
 Matteo Domenichelli – basso, tastiere, percussioni, voce secondaria
 Francesca Michielin – voce secondaria (traccia 4, traccia 7; non accreditata)
 Massimiliano Filosi - clarinetto in "Due punti"

Classifiche

Note

Altri progetti

Collegamenti esterni

Album al numero uno in Italia


The Doctor of Philosophy in Biomedical Engineering is designed to be completed in four to five years, including summers, of full-time study beyond the Bachelor of Science degree. Sixty units of credit beyond the B.S.,with a minimum grade point average of 3.0, is required for the Ph.D. degree. Ph.D. candidates must take all the required core courses, complete lab rotations (BME 505a & BME 505b) and pass a screening exam at the end of their first year; pass a qualifying exam when they begin their dissertation research; and conduct an oral defense of their dissertation at the end of the program.
New PhD students in BME are required to take core courses during your 1st year. Completion of these courses during the first year makes one eligible to take the Screening Exam, which takes place at the end of the spring semester of the first year. Students should consult their potential advisors for suggestions about which courses to choose from the list.
The second year of graduate study allows you to focus on a specific area or study in biomedical engineering. Any class that you take in the program must be approved by your faculty advisor. You may also start taking BME 790 (Directed Research). See info below.
The third and fourth year of graduate study allows you to focus on a research area/topic to explore and develop for your dissertation. By the end of your third year, you should be able to take the Qualifying Exam. After passing the Qualifying Exam, you are eligible to take coursework for your dissertation. You must take at least BME 794ab for a total of 4 units.
If you have not completed your research and dissertation by the end of the fourth year, please communicate with the Graduate Student Affairs Advisor for more information.
Please check out our Research page for our faculty laboratory websites.


text:
Top Metaverse Tokens To Invest In 2022
The metaverse is a new concept that happens to be one of the most exciting and dynamic investment opportunities for 2022. There's plenty of promise and growth potential, especially now that multiple major companies have pledged considerable resources to its expansion and development.
Within this metaverse, tokens and coins are the units of value that allow users to accumulate virtual wealth. However, this wealth won't just be isolated to the metaverse - it'll translate to "real-world" value via the conversion of cryptocurrencies to regular, conventional money (also known as fiat currency).
That means that there are some incredibly exciting investment opportunities on the horizon. These metaverse tokens and coins can transform into actual dollars and cents that can change investors' lives for the better.
In this post, we'll define the metaverse, discuss investment possibilities, and break down the most exciting metaverse tokens and coins.
The metaverse is a set of online spaces or environments that allow users to interact in a more immersive manner when compared to conventional websites. It's a sprawling virtual universe, generally accessible via a computer or virtual reality (VR) headset, that also allows users to work and play in the digital realm.
Essentially, it's the next evolutionary step for the internet. In the metaverse, peoples' interactive experiences can be more multi-dimensional and "lifelike", making it a more accurate extension of interactions in real life (IRL).
Think of it this way: the current iteration of the web (version 2.0) is two-dimensional and the metaverse (version 3.0) is three-dimensional. It effectively combines virtual, augmented, and extended reality with our physical world. Plus, the next two years look very promising for the industry, with Bloomberg predicting its market size to grow to over $800 billion by 2024.
Furthermore, there will be ample opportunity for users to generate real-world income and value via metaverse transactions and interactions. In other words, there will be a vibrant digital economy that allows users to create, buy, and sell virtual goods that will have real-world value. Within the growing economy of the metaverse, non-fungible tokens (NFTs) have become the essential foundations of worth that keep accumulating real-world value. For instance, NFT sales reached an impressive $24.9 billion in 2021, compared to just $94.9 million in 2020.
Although the metaverse is still relatively small, there's huge potential for growth and expansion as business opportunities keep appearing. Additionally, the metaverse concept has surged in popularity during the COVID-19 pandemic as people have looked for alternative income sources due to widespread lockdowns and decreased incomes. The concept has also become significantly more popular after Facebook announced in July it was creating a product team to work on the metaverse, effectively granting mainstream recognition.
What Are Metaverse Coins Or Tokens?
This is a little bit tricky since metaverse coins and metaverse tokens have very similar definitions. However, there are subtle differences between coins and tokens, although many online sources actually use the terms interchangeably.
Let's just take a moment to differentiate between the two:
Metaverse coins. These are similar to conventional currency (or fiat currency) and are used directly for metaverse transactions. In other words, these are like actual money on the blockchain.
Metaverse tokens. These represent a diverse range of digital and tradable assets, including vouchers, IOUs, and even real-world, tangible objects. Additionally, metaverse tokens are smart contracts that are found on a given blockchain, usually Ethereum (ETH).
Ultimately, the difference is pretty subtle and they're still very similar to one another. In most cases, it likely won't be necessary for you to differentiate between the two.
For instance, much like regular currency, both metaverse coins and tokens can be bought, sold, or traded, all on the blockchain. They represent value, and that representation of virtual value can translate into real-world value via the conversion of cryptocurrency into fiat currency like dollars, euros, or pounds.
What does that mean? It's simple: assets that are valuable in the metaverse can also be valuable IRL. That's why metaverse tokens and coins can be such great investments.
Finally, there are also governance tokens. These are metaverse tokens that grant certain powers to the holder, including voting abilities on a given blockchain project. This also gives the token holder an effective say in managerial decisions, including blockchain transactions and potential new products, thereby allowing them to shape the future of the blockchain.
How Do I Invest In The Metaverse With Tokens Or Coins?
Investing in the metaverse via tokens or coins is a fantastic opportunity. Over the course of 2021, these virtual commodities gained a considerable amount of value, bringing them to the attention of investors and metaverse enthusiasts.
That being said, there are three basic ways to directly invest in the metaverse:
Buy metaverse coins or tokens.
Collect, trade, or buy in-game non-fungible tokens (NFT).
Purchase virtual land in the metaverse.
It's important to note that the metaverse is still growing and changing daily - it's basically the "Wild West" of online investment. There are plenty of money making opportunities, as long as you're willing to think "outside the box" and be ready to innovate your investment strategies.
NFTs will also play a foundational role in the metaverse, giving people complete ownership of their virtual characters (sometimes called avatars), accrued in-game items, and even virtual land. Believe it or not, there's currently a boom in metaverse real estate. In fact, an NFT of a 259-parcel virtual estate in Decentraland recently sold for more than $900,000, the largest sale to date.
Considering that there's real money to be made, the best way to find promising NFTs is via an NFT marketplace. This is where you can buy, sell, and trade NFTs with other users on a given blockchain (most frequently on Ethereum). In some cases, you can actually create your own NFTs to sell on these marketplaces.
RELATED ARTICLE: What Are The Best NFT Marketplaces In 2022?
All this means that metaverse coins and tokens are the units of value within the actual metaverse. They effectively act as the bridge between virtual commodities and real-world objects of value, including fiat currencies.
However, metaverse coins and tokens currently have much smaller market caps than established cryptocurrencies, meaning that they can increase in value much faster. For instance, in 2021, metaverse coins and tokens gained 37,000% versus cryptocurrency Bitcoin gains of only 100%.
Finally, you can also invest in the metaverse indirectly by buying what are known as NFT stocks. This just means that you'll be investing in companies that are entering the NFT space. In many cases, these companies have exhibited impressive growth because of their involvement in NFTs and the metaverse.
How Do I Get Metaverse Tokens?
The process of acquiring metaverse coins or tokens is pretty simple, just follow these steps:
Find a crypto exchange that has the metaverse coins or tokens you're interested in buying. Popular options include Binance, Coinbase, FTX, WazirX, Huobi Global, and Bitfinex.
Create an account with that exchange - you'll have to include personal details like your name, phone number, email, and banking details.
Verify your identity and information, usually with a passport or driver's license.
Choose a crypto wallet to store the coins or tokens once they're transferred to your possession - MetaMask is one of the best options. Thankfully, this type of crypto wallet also works with most NFT marketplaces.
Fund your crypto wallet with fiat currency (like dollars, euros, or pounds) via methods like bank transfers, PayPal, wire transfers, or a credit/debit card.
As you can see, it's similar to transferring any other kind of currency, except that metaverse tokens or coins are only used within the metaverse.
Of course, as we mentioned above, those tokens or coins can acquire real-world value via the exchange of cryptocurrency to fiat currency. At this point in time, their value ceases to be solely virtual and they become valuable IRL as well.
Top Metaverse Tokens To Watch In 2022
Now that we know what metaverse coins and tokens actually are, let's take a look at the most exciting and promising metaverse coins to look out for in 2022!
By almost all accounts, Decentraland (MANA) is currently the most famous and widely-known metaverse coin or token available.
First of all, Decentraland is not just a virtual reality (VR) game, it's actually a virtual living platform that's on the Ethereum (ETH) blockchain. It allows users to interact with, create, and monetize applications and content in an immersive environment, including a wide variety of virtual assets. You can also set up games, make art galleries, or even work or play in casinos.
Plus, it's a hotspot for the current hottest commodity in the metaverse: virtual real estate. That's right, you can buy land in the metaverse with Decentraland tokens! In fact, everything in the Decentraland metaverse is divided into virtual parcels of land, with some of these parcels being further broken down into themed communities or "districts".
For a long time, Decentraland coins were below $1.00, but the Facebook announcement in 2021 about its pivot to the metaverse has sparked widespread interest in these tokens.
As of January 2022, it has a market cap of nearly $5.3 billion and a price of $2.89 USD.
Known as Axie Infinity Shards, these are an ERC-20 token on the Ethereum blockchain. ERC - which stands for Ethereum request for comment - is a common standard that delineates rules and regulations for creating and issuing smart contracts on the blockchain. Essentially, these standardize the trading and selling of tokens to make sure that property and assets are properly tokenized.
These "shards" are used as part of a blockchain game called Axie Infinity. Launched in 2018, the game uses NFT monsters (known as Axies) that are "bred" by the player and can then be bought, sold, or traded. However, most significantly, these NFTs hold real-world value: they can be exchanged for actual fiat currency.
AXS is one of the top-performing metaverse tokens of 2021, with price gains of over 30,000% over the year. Additionally, the success of Axie Infinity has inspired a wave of similar play-to-earn (P2E) games, meaning that players can earn in-game tokens that translate to real-world financial gains.
This has been an especially appealing aspect of the growing metaverse, since people are looking for alternative ways to make money during the COVID-19 pandemic. As a result, AXS is a metaverse token that shows a lot of promise for 2022, making it a great potential investment.
Sandbox (SAND)
Sandbox (SAND) is a metaverse token that's quite similar to Decentraland (MANA): players can buy virtual land as well as create and share experiences, content, and games.
The SAND token is used within the Sandbox metaverse, another play-to-earn (P2E) game that combines blockchain technology, decentralized finance (DeFi), and NFT creation and trading within this immersive metaverse. This virtual world gives users access to free design tools to create and customize in-game assets that can then be monetized as NFTs and sold for SAND tokens on The Sandbox Marketplace.
This means that the Sandbox metaverse allows for a greater degree of customization and an increased emphasis on NFT creation and trading. It's exceptionally easy for users to create their own content, games, and NFTs which can then be played, sold, or traded. Of course, since the NFT market is booming, these translate to real-world value for cold, hard IRL money.
The SAND token is an ERC-20 token with a total supply of 3 billion - it's also the native token of the Sandbox metaverse, meaning that it forms the basis of all transactions and interactions within this immersive world. Players can earn SAND tokens by playing games or contests within the metaverse or via crypto exchanges like Binance.
In order to play the game, users need to own SAND tokens, customize their avatars, buy LANDs, and/or trade ASSETS on the Sandbox Marketplace. The SAND token is also a governance token, meaning that SAND holders can propose and vote on changes to the platform through a Decentralized Autonomous Organization (DAO) structure.
Finally, SAND was among the top performing cryptos in the year 2021. Plus, it appears as if 2022 should be another banner year for the SAND token.
Vulcan Forged (PYR)
Vulcan Forged is a community-based play-to-earn (P2E) gaming ecosystem and NFT platform that has gained a large, dedicated, and dynamic following over the course of 2021.
Founded in December of 2020, it now includes eight different games that offer users an immersive journey into ancient mythology, with the most popular game being VulcanVerse.
Within the game system, players can earn tokens by battling with other players, exploring the wide open metaverse, and/or upgrading their land and assets. Since this is a P2E gaming system, the players can earn tokens or coins when they sell, trade, or upgrade these in-game assets, turning metaverse assets into real-world dollars. This makes Vulcan Forged similar to other P2E games listed above, including Decentraland, Axie Infinity, and Sandbox.
As of early 2022, this token has a market cap of nearly $226 million. Additionally, it's been showing strong growth over an extended period of time, making it a pretty solid investment for anyone interested in metaverse tokens or coins.
Finally, this particular platform is built on the Polygon network of Ethereum blockchains. In addition to the eight P2E games, it also includes a decentralized exchange and a non-fungible token (NFT) marketplace.
Enjin Coin (ENJ)
Enjin Coin (ENJ) is an ERC-20 token that's also built on the Ethereum (ETH) blockchain. Like most of the other metaverse tokens we've discussed, it was designed to be an in-game currency to purchase items and increase value for metaverse assets.
The coins or tokens are used via a process known as minting - this creates in-game assets and the ability to improve various characteristics within the game, including hit points (HP), weapons, and character abilities.
However, Enjin tokens are all about NFTs (non-fungible tokens) - that is the primary focus of this platform. That's great news for investors and enthusiasts, considering that NFTs are currently the primary engines of wealth generation and innovation in the wider metaverse.
That being said, Enjin is a platform that allows users to create, store, list, and trade NFTs all in one place. Essentially, it's a combination of metaverse token and NFT marketplace under one roof, making it an excellent choice for anyone who's dealing with NFTs.
Currently, most NFTs use the Ethereum (ETH) blockchain. However, it has relatively high gas fees, meaning that transactions can be prohibitively expensive for some users. As a result, Enjin is developing its own blockchain exclusively for NFTs known as Efinity (EFI).
The scope and widening popularity of NFTs has made ENJ one of the more viable investment options when it comes to metaverse tokens in 2022. Plus, it's exceptionally easy to integrate ENJ with multiple blockchain-gaming platforms, further expanding its investment opportunities.
Solana is an open-source, blockchain platform that was designed specifically to host scalable and decentralized applications. It currently supports 50,000 TPS (transactions per second) and 400 ms Block Times, making it ultra fast while still satisfying all the most important properties of a functioning blockchain: security, decentralization, and scalability.
Additionally, this particular blockchain is a combination of a Proof of Stake (PoS) paradigm and a new, proprietary technology called Proof of History (PoH). Both of these are instrumental in keeping a secure record of ownership that's needed on a competitive and properly-functioning blockchain.
Plus, Solana is faster than most other blockchains. It generally also has lower transaction fees, making it especially appealing to some crypto and metaverse token investors.
The token that runs on the Solana blockchain - also called Solana - has increased in value by almost 12,000% in 2021, making it the fifth-largest cryptocurrency. It also has a market cap of nearly $30 billion as of early 2022.
Finally, the SOL token is the native currency in the Solana blockchain ecosystem. These SOL tokens can also be used to make micropayments known as lamports. As of early 2022, the circulating supply is nearly 300 billion.
Use Tokens in The HUSL Metaverse
The Huslverse is the HUSL's upcoming metaverse that includes play-to-earn games. This expansive virtual world also has a healthy in-game economy that's powered by $HUSL, the metaverse token and currency for all transactions within the metaverse. Players can stake their tokens to earn various rewards or use them to buy virtual land, skins, in-game items, building materials, and NFT collectibles.
Plus, as a governance token, it means that token holders can take an active role in the future of the Huslverse and its play-to-earn game. This includes the ability to make critical decisions, like voting on upcoming NFT drops and determining gameplay. Token holders can also enter exclusive competitions and get access to unique events.
We also value metaverse investors who might be looking for exciting opportunities and who are ready to innovate in this emerging market. If you're looking at any metaverse tokens or coins on the Ethereum blockchain, then we have plenty of music NFTs that you can use as future investments or collectibles.
Just like the wider metaverse, 2022 will be a banner year for The HUSL. We're adding a wide variety of new artists to our selection and we'll be offering some really exciting music NFTs for fans and investors.
Launch the HUSL app today and stay tuned for the upcoming Huslverse!


text:
Paul Thomson started his musical training at an early age, playing the piano as a child and touring the world as a chorister in Worcester Cathedral Choir.
While still at school he achieved the highest grades of the Associated Board of the Royal Schools of Music in four instruments, created his first theatrical score for a piece by acclaimed French playwright Henri Ghéon, and wrote the official fanfare for the 900th anniversary of the granting of Worcester's Royal Charter.
After studying with the Elgar specialist and renowned choral expert Dr Donald Hunt OBE, with Dr Wyndham Thomas at Bristol University and Professor Stephen Deutsch at Bournemouth, Paul obtained an MA in Music and moved to London where he quickly established himself as a versatile producer and composer, working with most of the major and large independent record labels. He has produced albums for a number of artists.
Paul has been commissioned to create music for feature films, including the multiple award winning independent movie 'Love, Sex and Missed Connections' and the Slate Films/BFI production 'Half Of A Yellow Sun'. He also scored the BAFTA winning BBC Drama production 'The Fades' (a coproduction with BBC America) for which he won the RTS Award for Best Original Theme Music, the BBC1 Drama 'The Interceptor', 'The Marvellous World Of Roald Dahl' for BBC Scotland, 'Ways To Save The Planet – Discovery: Project Earth' – the Impossible Pictures production for Discovery Networks – the most expensive production ever undertaken by Discovery in association with Bank Of America – and the acclaimed RDF documentary 'The Genius Of Charles Darwin'. Other work includes ITV's gameshow featuring Chris Tarrant 'It's Not What You Know' and six series of the popular ITV drama 'Where The Heart Is', along with other shows including 'A&E' (ITV).
His music is in huge demand for many of the top rated shows on TV including 'Britain's Got Talent', 'Keeping Up With The Kardashians', 'Alan Carr's Chatty Man', 'The Apprentice / Celebrity Apprentice' (in which he appeared as the composer for the advertising task several times), 'Snoop Dogg's Father Hood', 'America's Got Talent', 'I'm A Celebrity Get Me Out Of Here', 'X Factor' and many more.
He has composed and produced for Extreme Music, starting with a number of albums worth of content for Hans Zimmer's 'Director's Cuts' collaboration with Extreme and Sony ATV, and now has his own label under the name 'Spitfire Audio' through Extreme.
In the games field Paul has worked extensively with Media Molecule and Sony Computer Entertainment in Europe and the USA as lead composer on the Little Big Planet franchise.
Paul founded the music technology company Spitfire Audio which has grown from its beginnings, providing exclusive composing tools to A list film composers, to be the market leader with a global following. For Spitfire, he has collaborated with musicians and sound smiths as diverse as Hans Zimmer, Chad Smith (Red Hot Chili Peppers), Olafur Arnalds, Roger Taylor (Queen), Eric Whitacre, BT and posthumously with the legendary explorer and musician David Fanshawe.
Paul also created bespoke orchestral sounds for James Horner's score to the highest grossing film of all time, 'Avatar', and for Hans Zimmer's score to the Chris Nolan hit 'Dunkirk'.
The Interceptor (2015) Composer
Half Of A Yellow Sun (2014) Composer
The Fades (2011) Composer
Little Big Planet (2011) Composer
Dunkirk (2017) Music Producer
Producer: custom orchestral samples
Directed by Chris Nolan
Directed by Biyi Bandele
Love, Sex and Missed Connections (2013) Composer
Directed by Eric Kissack
Avatar (2009) Music Producer
Directed by Jim Cameron
At Water's Edge (2012) Composer
Directed by Terry Loane
Television Credits
The Marvellous World Of Roald Dahl (2016) Composer
Directed by Andrew Thompson
Directed by Farren Blackburn
(Paul won RTS award)
Discovery: Project Earth (2008) Composer
Exec Producer Tim Haines
The Genius Of Charles Darwin (2008) Composer
C4/RDF
Produced by Russell Barnes
It's Not What You Know (2008) Composer
Created by Kevin Ball
A&E (2007) Composer
Where The Heart Is (2000-2006) (2006) Composer
BAFTA TV Awards (2002) Composer
Kids Say The Funniest Things (2000) Composer
We Know Where You Live (1997) Composer
Directed by Nick Jones
Saturday Night Live UK (1996) Composer
Directed by Ian Hamilton
Sunday (1996) Composer
The National Lottery: We've Got Your Number (1999) Composer
TV Nightmares (1999) Composer
The British Comedy Awards (1998) Composer
ITV Movie Awards (1998) Composer
Video Game Credits
LittleBigPlanet 3 (2014) Composer
LittleBigPlanet Karting (2012) Composer
LittleBigPlanet PS Vita (2012) Composer
LittleBigPlanet Marvel (2011) Composer
LittleBigPlanet Pirates Of The Caribbean (2010) Composer
Britain's Got Talent Composer - Source Music
America's Got Talent Composer - Source Music
The X Factor Composer - Source Music
I'm A Celebrity Get Me Out Of Here Composer - Source Music
Comedians in Cars Getting Coffee Composer - Source Music
Keith Lemon's Sketch Show Composer - Source Music
Inside Amy Schumer Composer - Source Music
Making The Band Composer - Source Music
Alan Carr's Celebrity Ding Dong Composer - Source Music
Impractical Jokers Composer - Source Music
Top Gear Composer - Source Music
Paris Hilton – My New BFF Composer - Source Music
The Apprentice / Celebrity Apprentice Composer - Source Music
Snoop Dogg's Father Hood Composer - Source Music
Exiled: My Super Sweet Sixteen Composer - Source Music
Brooke Knows Best Composer - Source Music
Horrible Histories Composer - Source Music
Drunken States Of America Composer - Source Music
Downsize Me Composer - Source Music
Pageant Place Composer - Source Music
Four Weddings Composer - Source Music
Up All Night Composer - Source Music
Wipeout Composer - Source Music
Last Comic Standing Composer - Source Music
Paul Grabowsky
Pete Blyth


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Update your wardrobe with some of the tops for juniors offered by JCPenney. We offer a variety of colors, styles, and designs so you can find something that suits your personal taste. With such a fun assortment of juniors' tops at an affordable price, you'll want to get several.
While perusing the selection of shirts for juniors at JCPenney, you'll discover a variety of button-front tops and flowy boho-chic pullovers that will give your wardrobe a boost for the season. Add some skinny jeans and a pair of chunky heels, and you'll look like you just stepped out of a fashion magazine.
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With so many great blouses and cute shirts for juniors, the sky's the limit on ways to wear them. And you don't have to stop with just one. At these prices, go ahead and pick up several that can be layered or worn on their own. It's your style, so it's all up to you how you want to rock the style.
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AXA Insurance is Limited is regulated by the Central Bank of Ireland. Number: Percentage of VAT recoverable: %. Date of Birth: Telephone No:. Had a Proposal declined or had a Motor Vehicle Insurance Policy cancelled?. e-mail, imaged documents, files, telephone recording, CCTV and letter and/or in any other way.
Feel well looked after on every journey with AXA car insurance. provide the make, model and registration number of the other car in the event of a valid claim.
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Overview and Guidelines for extended foreign use of the AXA Insurance. claim numbers are 00 44 121 698 8979 from countries outside the UK and 0121 698.


text:
Q: Assigning two arrays by ID I am in stuck with easy things such a loop for and if statement.
I have two different objects:
objectA:
0: id = 1, name = null
1: id = 3, name = null
objectB:
id = 1, name = NameForID1
id = 3, name = NameForID3
My point is to assign names from objectB to objectA by ID value.
I've done double loop + if:
            for (int i = 0; i <= objectA.size() - 1; i++){
                for(int j = 0; j<=objectB.size() - 1; j++){
                    if(Objects.requireNonNull(objectA.get(i).getobjectAID()).equals(objectB.get(j).getObjectBID()))
                        objectA.get(i).setobjectAName(objectB.get(j).getobjectBName());
                }
            }

And after this I have a list of objectA with last name from objectB array. According to Android Studio Debugger and some... logic... this is logically, but what I am missing and doing wrong?
My bad output:
objectA:
0: id = 1, name = NameForID3
1: id = 3, name = NameForID3
Expected output:
objectA:
0: id = 1, name = NameForID1
1: id = 3, name = NameForID3
UPD
ObjectA class:
class objectA:Serializable {
    var objectAID: Int? = null
    var objectAName: String? = null
}

ObjectB class:
class objectB {

    var objectBName: String? = null
    var objectBID: Int? = null

}

UPD. 30.04.2020:
Still getting the same bad output, based on answers below have tried different variations of equals, ==, ===, POJO in Java instead of Kotlin.
UPD: Just wasted your time - when I was trying to found error with your hints, I have malwared my code and started assigning equal IDs to objectA so and names were equal.

A: I am assuming that the ids are integers:
Try this:
for (int i = 0; i < objectA.size(); i++){

for(int j = 0; j < objectB.size(); j++){

if(objectA.get(i).getobjectAID() == objectB.get(j).getObjectBID()){

//set
objectA.get(i).setobjectAName(objectB.get(j).getobjectBName());

}

}

}

Your POJO must be in java like this:
Object A
public class objectA {
    private int objectAID;
    private String objectAName;

    //generate getters and setters........
}

Object B
public class objectB {
    private int objectBID;
    private String objectBName;

    //generate getters and setters........
}


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I just wanted to ask other people's opinions on interview attire? What have others worn to their interview? Are jeans and a nice top okay?
Clean, neat and tidy , smart casual fine !!
Just kidding. You can wear jeans and a nice shirt. There is no strict requirement for wear. Just be presentable.
Just appear clean and tidy. Don't look like a homeless person. I went full on suit and tie for my naturalization but that's just me.
I saw people doing their immigration interview in full-blown loungewear/tracksuits and approved. In fact, you are standing at the booth with dimmed glass window and only your upper torso is visible to interviewer. The same with the applicant, I saw the CO was dressed in white shirt and a white t-shirt, and I was able to see his full attire only when he stood up and went to another desk. I wore tailored pants, heels and a nice jumper and fiance wore tailored pants and a shirt, but we were called unexpectedly and both had our coats on throughout the interview. Just dress like smart casual and wear something you look nice and feel comfortable in. Don't let something like torn tights spoil your day.
Hi.I just wanted to ask other people's opinions on interview attire? What have others worn to their interview? Are jeans and a nice top okay?
Moved from K1 Progress Reports to US Embassy and Consulate Discussion; topic is about this phase of the process and applicable to multiple processes.
To Montreal I wore jeans, a nice t shirt, and a fitted hoodie. The hoodie was because I stood in line at 6am and didn't want to get too cold. One guy had a suit on but most people had jeans or slacks and t shirts, button ups, or blouses. It was a wide variety.
I wore khaki pants and a collared shirt and did fine. Other people wore jeans and a t-shirt and were fine too. Rio de Janeiro was our consulate and our interview was on april 2 2019.


text:
Q: C# How do I line-serially read a RichTextbox I have a basic RichTextBox called TxtUsernames, via this command
TxtUsernames.Text = File.ReadAllText(@"E:\Dokumente\Visual Studio 2015\user.txt", Encoding.Default);  I read the file into this Textbox.
Now I want the first line to be read and in the next run of my while-do argument the second line and so on.
    private void start_Click(object sender, EventArgs e)
    {
        decimal Amount;
        Amount = nudAmount.Value;    // Amount of Accounts to create
        int x;                       // variable used to count how many accounts have been created so far
        x = 0;

        do
        {

            string Emailhost;            // standard is @gmail.com
            Emailhost = TxtEmail.Text;
            var doc = WebBrowser1.Document;

            TxtUsernames.Text = File.ReadAllText(@"E:\Dokumente\Visual Studio 2015\user.txt", Encoding.Default);
            TxtPasswords.Text = File.ReadAllText(@"E:\Dokumente\Visual Studio 2015\pwx.txt", Encoding.Default);

            WebBrowser1.Document.GetElementById("PvpnetAccountName").SetAttribute("value", "Username");

            x++;

        } while (x > Amount);
    }`

Instead of  "Username", I want to have the content of line one to be written in there. And in the next run of while do line 2 and so on and so forth.

A: You can use stream for that
using (var userNameStream = File.OpenText("user.txt"))
using (var pwdStream = File.OpenText("pwd.txt"))
{
    while (!userNameStream.EndOfStream && !pwdStream.EndOfStream)
    {
        // your logic
        string userName = userNameStream.ReadLine();
        string pwd = pwdStream.ReadLine();
        // your logic
    }
}

A: Why don't you just read the file content into memory first?
There is no need to first load text from a file into a RichTextBox and then try to complicatedly extract it out of there.
If you absolutely need to do that, RichTextBox control contains a Lines property.
(see here on MSDN)


Gruene Homestead Inn is located at 832 Gruene Road on the outskirts of the city of New Braunfels, Texas - less than a mile from the Gruene Historical District. View the MAP, follow our written directions, or try Yahoo! Maps.
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-Turn Right on Highway 46 (Loop 337).
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text:
In Search of Shakespearean Tragedy:
Tragedic Language, Tragedic Form
By Paul H. and Robin Jaeckle Grawe
Exploring Shakespearean Tragedy
A Cheshire Smile: Humor Texture and Personality in Shakespeare's Comedies
ITCHS Home
In 2016, The Institute for Travesty, Comedy, and Humor Studies (ITCHS) published In Search of Shakespearean Tragedy: Tragedic Language, Tragedic Form. Clearly this initiative was beyond the original mandate of the Institute. However, throughout the ages, it has seemed necessary to define comedy along with tragedy as contrastive genres. The institute, contrastively, desired to approach tragedy as the great sister genre of comedy and thus to approach tragedic criticism as an analog of comedic criticism.
The general approach of In Search of Shakespearean Tragedy (ISST) is summarized on the book jacket:
A funny thing happened to Shakespeare on his journey from lyric poet to comedian to preeminent tragedian. He ended up writing the most famous of all tragedies since the Greeks and yet had his reputation destroyed for over a century because he had done such a poor job of it! With the Romantics, Shakespeare's reputation revived, but no one bothered to reform the criticism of tragedy to place Shakespeare at the center of tradition. As a result, today educated audiences go to Shakespeare's tragedies expecting to find a single tragic hero with a single tragic flaw, agonizing over an impossible situation. Those same educated audiences do not expect to see thirteen dancers on stage at all times as the tragedic chorus of the theatre that inspired Aristotle's definitions. The present study seeks to start criticism back on a sane track of understanding the Shakespearean tragedic achievement. Central to that effort, it seeks to reawaken us to the true Shakespearean tragedic language, which is solidly contrastive to the elevated language of tragedy which Aristotle enshrined. The search for Shakespearean tragedy has begun.
2. SHAKESPEAREAN TRAGEDY AS A DILEMMA FOR CRITICISM
The Neo-Classical rejection of Shakespearean tragedy and simultaneous endorsement of Aristotle's analysis of Greek Tragedy as covering all tragedy resulted in Shakespeare's steeply declining reputation for over a century after his death and in the paradoxical critical position that the greatest tragedies since the Greeks were really very poor and critically deficient work.
In beginning afresh, In Search of Shakespearean Tragedy recognizes Aristotle as the great interpreter of Greek tragedy but simultaneously recognizes that there are many other types of tragedy which modern criticism must take into account. These include Shakespearean tragedy, but also Hebraic, Plutarchian, (Henry) Jamesian, Russian, and Naturalist. Aristotle knew nothing of these other tragedies, and therefore, real respect for Aristotle would allow him to be the preeminent authority on the Greek sub-genre but would recognize Shakespearean tragedy, for example, as an equal sub-genre of tragedy in general.
Thus, any definition of Shakespearean tragedy is a definition ultimately subsidiary to a definition of tragedy as a whole, even though there is no theoretical model of such definition generally recognized and available today.
While Aristotle cannot be, in this perspective, the author of a general theory of tragedy, he is nevertheless seminal in recognizing a two- or-three-segment necessity for any adequate tragedic theory.
Considered in two parts, a tragedic theory must first be a formal definition of a type of action. But that definition will always be inadequate unless it is joined to an emotive definition, a definition of the dynamis or dynamic that reaches out from the dramatized action to affect the audience.
Considered in three parts, a tragedic theory begins with a definition of action and character but then moves on to a definition of the kind of special language employed by the author, and through these two, the definition arrives at a dynamic.
Here then is a first analog between ITCHS' definition of comedy and a good definition of tragedy in the Shakespearean sub-genre. In comedy, we must have a formal definition and also a sense of the kind of mediating language used to carry that formal action. For many sub-genres of comedy, humor is the special language feature of the definition. (There are sub-genres of comedy like war comedy and romantic comedy which are themselves divided between those that use humor as mediating language and those that do not.) The form plus the special language, frequently humor, then combine to affect the audience.
Various sub-genres of comedy and various sub-genres of tragedy, notably Shakespearean tragedy, can only be fully defined with a sense of special language appropriate to that sub-genre but not appropriate to the entire genre. Put another way, the definition of the genre as a whole is likely to be a definition of a formal character. It is at the sub-generic level that mediating language becomes important to definition and important to emotive affect.
3. CONTRASTING HAMLET AND TROILUS AND CRESSIDA
From Aristotle, we derive that a good definition of a particular tragedic sub-genre, like Greek tragedy or Shakespearean tragedy, will have three parts: a formal definition of appropriate action, a definition of appropriate special language, and a definition of dynamis or appropriate emotional response.
In ISST, we contrast the special language of Hamlet with the special language of Troilus and Cressida. Given that both plays were written in approximately 1600, Shakespeare doubtless was aware of the differences in style.
Troilus and Cressida is a mock tragedy, and what it mocks most is the pretentious elevation of language which would be something of an English equivalent to the language proposed by Aristotle for tragedy. In short, what could be the basic language techniques of Greek tragedy were outside serious consideration for the tragedy Shakespeare would write.
Hamlet forswears the elevated style of Troilus altogether. "Something is rotten in the State of Denmark" may have entered as a household phrase into the vernacular of the English language, but that fact does not make it elevated language. "To be or not to be, that is the question. . ." may be immortal, but it is immortality composed out of plain, pedestrian English.
Late in the play, a captain in the Norwegian army is asked what his army is about to fight for, hardly the main direction of the tragedic action. But the captain replies, "For five marks, I would not farm it." Not the stuff of elevated language, yet one of the most condemning moments in literature against war greed in medieval Europe. The radical difference in language between the two plays is entirely apparent simply by recalling the opening sentence and a half of Troilus:
In Troy, there lies our scene. From isles of Greece
The Princes orgulous, their high blood chafed
Have to the port of Athens sent their ships. . . .
The Romantic revaluation of Shakespeare was made easier by the assumption that Shakespeare's special tragedic language was poetic and, therefore, necessarily elevated, and thus to that extent authorized by Aristotle himself. This is stop-gap criticism. The Hamlet/Troilus contrast begs us to recognize that Shakespeare had no interest in a special tragedic elevated language style.
Shakespeare's scorn for elevated language in his tragedies demands that we consider in what ways Shakespeare reflected Greek tragedic norms and in what ways he invented new standards for a new age.
4. SHAKESPEAREAN SPECIAL LANGUAGE AND EMPIRICAL VALIDATION THEREOF
Special tragedic language is centrally important for distinguishing tragedic sub-genres. ISST not only defines Shakespeare's special language, it also describes an empirical test validating the distinctions made in that definition. The large number of high-confidence results from controlled experiment are a strong validation of the quadrilateral theory of Shakespearean tragedic special language variants.
Working analogously from ITCHS' discoveries concerning classical humor used in traditional light comedy and vitalist humor used in vitalist comedy, ISST presents a quadrilateral of special Shakespearean tragedic language forms. With classical, traditional comedy, we defined four humor-of-the-mind forms of special language (see Comedic Tenor, Comic Vehicle: Humor in American Film Comedy and A Cheshire Smile: Humor Texture and Personality in Shakespeare's Comedies) and similarly with Vitalist comedy we defined four Vitalist forms of special humor language (see Four Seasons: Variations in Vitalist American Film Comedy). Following this model, for Shakespearean tragedy. We defined four forms of Roman-Romantic rhetoric that together comprise the bulk of Shakespeare's special tragedic language. These four rhetorical forms are Aptness, Assessment (both based in Thought), Eloquence, and Elegance (both based in Beauty).
Like the quadrilaterals of comedic special language, this quadrilateral of Shakespearean tragedic language can be used to create six pairs of synthetic forms: Forceful, Compelling, Transcendent, Ethereal, Prophetic, and Enchanting language. For example, dominant use in a particular play of Aptness and Assessment creates a no-nonsense, Forceful synthetic feel for that play.
These are not simply six complimentary terms: they are contradistinctive, specifically-defined feels or textures created by dominant combinations of Shakespeare's special tragedic language sub-forms.
Theories abound. However, in the case of Shakespearean tragedic special language, what emerged as a subjective theory has been validated by empirical testing. ISST goes on to discuss a scientifically designed test, the Shakespearean Tragedic Language Assessment (STLA), and its first employment in a carefully controlled test environment. Participants were asked to consider 18 pairs of short passages, each pair from the same Shakespearean tragedy, each passage embodying one of the four identified forms of special tragedic language. Participants were then asked to choose which of the two passages was more powerful.
Statistical analysis revealed better than twenty high-confidence results from this testing procedure. For example, respondents to the STLA claiming a primary academic stance in Social Science, STEM, or Business have a low positive response to Elegance. This result, statistically analyzed, is better than 99% confident.
The book concludes by bringing such high-confidence test- administration results as clues toward good critical discussion of Julius Caesar. Julius Caesar is employed as a first in-depth look at a Shakespearean tragedy, preparatory to establishing more specifically the Shakespearean tragedic sub-genre dynamis.
Theoretical explication of the special language quadrilateral and its empirical validation thus moves to specific application in Julius Caesar. Experimental results from the STLA are shown to be surprisingly and insightfully related to conclusions routinely drawn in modern Shakespeare criticism.
5. A WIDER SENSE OF TRAGEDY AND SHAKESPEARE'S VIVID, NOBLE, SET-APART FIGURE
The presence of a new kind of tragedic language in Shakespeare points us to a need for a wider sense of tragedy—of what tragedy is all about, of the power it has over us, and the nature of its dramatic figures. We need to see Tragedy as a supergenre, with Greek tragedy and Shakespearean tragedy, along with others, as sub-forms of the supergenre. Thus a few words on the supergenre are appropriate here.
Without a sweeping study of all tragedy to date, we can suggest some features of Tragedy as a whole. Tragedy is (often) an action, not a very sad accident. It is a poesis, a making.
Tragedy is the Cautionary and Contemplative Genre, in contrast to Comedy, which is the Celebratory Genre. People who find tragedy savory do so because tragedy savors of reality, practical wisdom, and clear-sightedness.
These features are shared by Greek and Shakespearean tragedy alike.
But beyond such similarities, the Shakespearean tragedic sub-form often diverges from the Greek, and thus Aristotle's dicta can often be misleading or at least needing clarification. For example, Aristotle posits that the tragic figure must be greater than ourselves. A more modern conception might be that the tragic hero is somehow set apart from humanity in general. Aristotle expects us to admire, respect, sympathize, or otherwise positively respond to the tragic figure greater than ourselves. Aristocratic audiences have always had such predilection for representatives of their class.
But the general human response to greatness is envy, not sympathy. Aristotle's idea needs at least some attention to a mechanism that turns envy into approval.
And when we turn to Shakespeare, "greater than ourselves" needs at least a new interpretation. Shakespeare's central figures are princes, war-leader thanes, abdicating kings, warrior-governors. But it isn't their political status that is centrally important, that makes them so especially memorable in the history of literature.
We posit, then, that Instead of "greater than ourselves," Shakespearean tragedic central figures exhibit three common characteristics: they are Vivid, Noble, Set-Apart figures. Of these three, the Set-Apart figure seems possibly to be a characteristic of Tragedy in general in all its sub-genres. The Vivid and Noble Figure is characteristic of the Shakespearean sub-genre but may not be important in other sub-genres.
So, whatever the dynamis of Shakespearean tragedy turns out to be after much more intense investigation of individual plays, that dynamis must somehow be appropriate for and to some extent grow out of the character of the Shakespearean tragedic figure as well as out of the special language Shakespeare used to embody his tragedic drama.
6. JULIUS CAESAR TWICE CONSIDERED
In Search of Shakespearean Tragedy culminates with two discussions applying theory to Julius Caesar. The first of these discussions considers Julius Caesar and criticism in relation to specific empirical evidence from STLA testing. The second discussion adds the insights of special-language analysis and empirical testing to literary distinctions between Greek and Shakespearean tragedy, furthering our search for Shakespearean tragedy.
It is necessary to caution, then, that the first discussion seems abnormal for literary discourse, abnormal because it deals in definite results of disinterested experiment.
The most significant conclusion from empirical testing is paradoxically, not about Julius Caesar. Rather, it is about empirical testing in literature.
ISST argues strenuously that the fact of 20 high-confidence results in two test settings for the STLA (Shakespeare Tragedic Language Assessment) indicates time and again that STLA was testing something real, some real distinction within general Shakespearean tragedic language.
Empirical evidence that a reality has been tested does not mean that the reality investigated has been exactly as we have defined it. Refinements of understanding are always possible. But these remarkable high-confidence results are repeated validations that we are closing in on reality, a reality represented by the four identified rhetorical forms of Shakespearean tragedic language: Aptness, Assessment, Eloquence, and Elegance.
And that says something about the role of empirical testing in literary criticism. The theory proposed in ISST has empirical backing. Does talk of "elevated language" à la Aristotle have similar backing for Shakespeare studies? If not, until such elevated criticism does produce empirical backing, it will be playing at a disadvantage for that lack.
Considering, then, these four rhetorical forms, analysis of Julius Caesar reveals a predominance of Aptness and Assessment, with exceptions into Eloquence, notably in Marc Antony's oft-recited funeral oration. This rhetorical predominance makes the play Forceful.
Among other high-confidence STLA correlations, we found a preference for Aptness and Assessment over Eloquence and Elegance among younger people. This rhetorical preference suggests that Julius Caesar should be more generally available to younger readers than are the Great Tragedies. Our conclusion based in empirical testing supports the normal placement of Julius Caesar earlier than other tragedies in the American high school curriculum.
Other STLA results suggest that there will be a fundamental division of rhetorical interest in the play between its general character and the Eloquence of Antony in the funeral oration scene. STLA statistical evidence suggests the possibility that male audiences will be more favorable to the general Forceful (Aptness plus Assessment) language patterns of the play and less favorable to the Eloquence of Antony.
The second critical discussion of Julius Caesar begins in literary consideration independent of empirical evidence and asserts that despite the constraints of the history of Rome, the play is a poesis, a work of art greater than a historical narrative, and that like Aristotelian tragedy it demonstrates necessity and nemesis.
Unlike the prescribed Aristotelian tragic model, Julius Caesar is not a tragedy with a single tragic hero possessing a single, definable tragic flaw. Rather Julius Caesar presents noble, vivid, set-apart figures who are more consonant with Roman and Renaissance values than with Greek values. Furthermore, these figures do not evoke, as Greek tragedy is said to do, pity and fear. Rather the dynamis created by Shakespeare's poesis invokes respect for sorrowful but moral actors, set apart for noble endeavor.
For Julius Caesar then, a careful analysis of the mediating language ends up supporting the general critical consensus of the play as a play particularly attractive to men of affairs. There is a second tradition, however, that has used the play for the study of rhetorical eloquence. With either rhetorical emphasis, Julius Caesar is a wonderful play to illustrate Shakespeare's interest in the noble and set- apart rather than the tragically-flawed figure.
In contrast, Shakespeare's Great Tragedies—Hamlet, Macbeth, Othello, and King Lear—are much closer to the Aristotelian model of a single tragic hero. Therefore, before the search for Shakespearean tragedy is fully completed, it may be necessary to fully define not one but rather two distinct sub-genres, both of which, nevertheless, employ the same Shakespearean special tragedic language feature.


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LONDON, March 11, 2019 (GLOBE NEWSWIRE) -- Curo Compensation Limited (Curo), an industry leader in total compensation management technology, today announced key appointments as the company expands its global presence and addresses the increased demand for its solutions.
Nancy Wilkinson joins Curo as Head of Global Sales. In this capacity, she is responsible for providing strategic direction to sales professionals worldwide, supporting customers and working to develop and implement the company's growth plans. Wilkinson brings more than a decade of industry experience, most recently serving as a Regional Sales Manager at Saba Software.
Erik Germain takes the role of Account Executive, helping Curo customers drive business performance and improve employee engagement through compensation and pay equity. Before Curo, Germain held sales and product roles at Halogen Software, Intouch Insight and Symbility Solutions. Working alongside Wilkinson and Germain in Curo's offices based in Ottawa, Ontario, Canada is new hire Karli Wilkinson who joins as Account Executive. Curo also expanded its Professional Services team in that location to optimize support in the North American market.
In Melbourne, Australia, Marcus McNamara assumes the position of Head of Sales ASIAPAC, working to identify and solve strategic challenges through compensation while promoting value to Curo customers. Earlier in his career, McNamara held sales, engineering and developer roles at Curo product partner PageUp as well as Containerchain and Fujitsu.


text:
Pope's No. 2: Pedophilia linked to homosexuality
April 13, 2010 — Suzan
From Chron http://www.chron.com/disp/story.mpl/ap/latinamerica/6955641.html
By BRAD HAYNES Associated Press Writer © 2010 The Associated Press
SANTIAGO, Chile — The Vatican's second-highest authority says the sex scandals haunting the Roman Catholic Church are linked to homosexuality and not celibacy among priests.
Cardinal Tarcisio Bertone, the Vatican's secretary of state, made the comments during a news conference Monday in Chile, where one of the church's highest-profile pedophile cases involves a priest having sex with young girls.
"Many psychologists and psychiatrists have demonstrated that there is no relation between celibacy and pedophilia. But many others have demonstrated, I have been told recently, that there is a relation between homosexuality and pedophilia. That is true," said Bertone. "That is the problem."
His comments drew angry reactions from Chile's gay rights advocates.
"Neither Bertone nor the Vatican has the moral authority to give lessons on sexuality," said Rolando Jimenez, president of the Movement for Homosexual Integration and Liberation in Chile.
Continue reading at: http://www.chron.com/disp/story.mpl/ap/latinamerica/6955641.html
2 Responses to "Pope's No. 2: Pedophilia linked to homosexuality"
Véronique Says:
They should really stop digging.
What's so hard for them to understand that they have pedophile and hebeophile priests because they ordained pedophiles and hebephiles? Nothing to do with either celibacy or homosexuality, everything to do with men seeking occupations that afford them opportunity. And then the Church compounds the problem by refusing to deal with it.
Andrea B. Says:
Pedophile priests and hebeophile priests are the same thing.
Hebeophile was invented by Raymond Blanchard to help priests avoid jail term for the catholic church.
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If you are interested in enrolling your student at St. Michael Parish School, please download and complete the appropriate forms (below) and return them to the school office.


I attended Stitches West this past weekend, I am fortunate that it is held just about 1.5 miles from our house, score! I did not really have a huge list of any yarn I needed in particular this time, seeing as I have so many baby related projects I am already working on or already have ready to go. So my shopping purchases were limited, but I did come across this beautiful tweed-esque style merino/silk yarn by Mountain Colors called Twizzle in Wild Horse. (Ravelry Yarn Link).
I was in the market for some dark colored yarn to may myself a cowl since I have not made anything for myself lately. I wanted something that would go well with black, navy blue, gray, etc, and good all around multicolor darks. This yarn jumped out at me right away so I had to get it!
I wanted a simple pattern, something that would work up quickly but not be too stiff once I was done, I wanted it to drape a bit. So I opted to use the Spring Petals pattern that I've used previously but turn it into a cowl. I used a 5.5 hook and started with a chain 50. The pattern uses a repeat of 5 so it is easy to adapt to any width desired.
I got to work, and after I was almost out of yarn, I quickly realized it was a bit too short, or skinny if I stitched the ends together where I was, I did not want it to be that tight around my neck. I probably should have only chained 40 to start, doh! Seeing as I did not want to frog it all the way back to the very beginning, I began to figure out how I could still make this work.
Since I knew I only needed about 2 more inches to make it the length I wanted, and being too adamant about not undoing the entire thing, I chose to improvise with 3 rows of hdc on both ends using just a plain black yarn I had. I then slip stitched those ends together and voila, my cowl was done! I ended up having about 5 inches of this yarn left, so I barely made it!
I put the black band at the back of my neck when I wear it so it does not bother me one bit. I love the colors, they are exactly what I was looking for too. A great little weekend project, now its back to working on my Chevron Blanket….which I am thinking is around halfway done-ish :) Still so much to do!
This entry was posted in New Project, Patterns, Project Update and tagged cowl, mountain colors, spring petals, stitches west, twizzle, wild horse by ionyka. Bookmark the permalink.
Thanks Ionyka for explaining the process. You write like I do, telling the whole story –the background, inspiration, problem, thought process, and in your case a lovely solution. I am typing this as I wedge a skein of Mountain Color Twizzle, "Harmony Dusk" between my keyboard and forearms! I like the drape of this pattern.


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Game of Thrones returns finally and with the first episode of the last season 8 airing tonight, here are all the possible ways to watch Game of Thrones online as it airs from anywhere.
If you live in the US, UK, Canada, Australia, New Zealand or India, your best options are listed below and if not, don't worry !, same options still applies but then you will need a VPN, where you will still be able to catch the show by changing your IP address to a location back where you live, allowing you to watch it all.
The first episode will be streaming in the US tonight on April 14 at 9pm ET, 6pm PT, giving US fans one of the better streaming times out there.
If you're in Canada trying to watch Game of Thrones online then you're in luck as Crave will be showing the entirety of the new season on its release. That means the same air time as the US, tonight (April 14) at 9pm ET, 6pm PT for the first episode.
If you are really, incredibly dedicated to missing out on the spoilers you can tune in early tomorrow morning on April 15 at 2am, the official air time for the first episode.
For the non-die hard fans, both NowTV and Sky Go will be showing catch-up episodes from 4am on April 15. Make it through the whole day without finding out who dies (surely someone) and you can watch the episode once again live on TV at 9pm.
If you're watching in Australia then you really only have one option for watching Game of Thrones – Foxtel. The first episode will be airing at 11am on Monday April 15, a slightly more reasonable time compared to the UK's 2am!
For those in New Zealand there really only is one option for season 8 and that's SoHo. The Sky premium entertainment channel will be the place to find season 8, airing at 1pm and then repeating at 8.30pm on Monday April 15.
For fans in India you're in luck, when it comes to watching Game of Thrones online, India has the cheapest option. Simply log onto Hotstar and sign up for a premium account. This will cost you either ₹207.39 ($3) for a month or ₹967.84 ($14) for an entire year.
Finally if you live outside those countries, we recommend using TunnelBear VPN to change your location to one of the countries listed above. TunnelBear offers a free trial and has good stable connection.