Then I sent it to her. She loved it very much. A week later, a received a brand new wrist watch from her with the same message. And we didn't just write the message for writing sake. We did our best to create time for each other.
Lovers must know how to create time to be with their partners. When you spend time with your partner, you get to know each other. That counts a lot in any relationship.
So, assure your sweet-heart in a very romantic way that you will always be there and mean it.


text:
[Work: King Lear, William Shakespeare, 1606]
Music be the Food of Madness:
Repetition, Rhythm, and Passion in Act II Scene iv of Shakespeare's King Lear
By Daniel Podgorski February 20, 2018 August 3, 2018 Art Reviews and Articles, Your Tuesday Tome
Caricature Sketch by M.R.P.
The mental disintegration of Lear in Shakespeare's King Lear is marked, in much of Lear's dialogue from the play's latter three acts, by madness interspersed with moments of lucidity. Yet, just before that madness becomes dominant, one can see a pivotal moment in the dramatic action at once figuring and presaging Lear's breakdown by examining the final scene of the play's second act.
More particularly, this pivot can be witnessed by paying close attention to the portion of Act II Scene iv which features Lear's last speech prior to his passionate invocation of the storm on the heath. This speech, delivered in response to the final stripping of his attendant knights by Goneril and Regan, showcases a Lear concerned with dignity, identity, and sanity.
Rather than madness interspersed with lucidity, this speech comes across instead as lucidity tinged with madness. A motion can be traced from logic toward passion and from sanity toward madness via attention to the speech's employment of poetic techniques.
While grief encroaches on the logical concerns and addresses of the speech's content, the precise metrical and musical constructions of Shakespeare (much like the constructions of Robert Browning that I have previously covered in this series) reflect the motion of the content—both in the moments when Lear is in total control of his faculties, as well as when he feels his mental control slipping.
Repetition and Sound in Act II Scene iv of King Lear:
Two of the musical attributes of the speech, both centering on repeated word-groups, exemplify the movement of the speech from courtly reason toward passionate emotion.
Even as the first line negates an application of the calculating reason employed by Goneril and Regan, it sets up a rhetorically powerful consideration of the difference between social, dignified necessity and pure, animal necessity. Through this consideration, Shakespeare has Lear dwell on a repetition of the words "nature" (II.iv.266, 269) and "need" (II.iv.264, 266, 269-271).
These concepts, linked by consonance, draw together the idea of social expectations with the idea of the minimum existing state of humanity, looking forward to the presentation of "the thing itself; unaccommodated man" (III.iv.101). By tying nature to necessity, and in doing so parsing the meanings borne by each word, Lear seems cognizant of his earlier inability to separate courtly, feigned emotion from true emotion.
Goneril and Regan from King Lear
by Edwin Austin Abbey
This forced clarification, an apparent self-aware breakdown in Lear's linguistic knowledge, nevertheless fails to prevent Lear from suffering a deeper breakdown of his rational consciousness. This attention to what is necessitated and what is natural presents itself as a consequence of Lear's betrayal by two of his daughters.
The speech then turns to a plea directed at potentially malevolent deities, where this notion of betrayal is elucidated directly as Goneril and Regan are addressed as diametrically opposed to nature and natural order: "you unnatural hags!" (II.iv.278).
With this shift in the speech's audience and content comes a shift in sound. Lear begins imploring the gods, whatever hand they may have had in the affairs thus far, to feed his rage rather than his sorrow. Consonance on 'w' takes over the repetition: "women's weapons, water [. . .] world [. . .] What [. . .] weep [ . . .] weep [. . .] weeping [. . .] weep" (II.iv.277, 280-284, 286).
This overriding wetness parallels the mounting storm outside with the mounting storm within Lear. After all, it is the storm itself, after Lear has turned back to his address of his daughters, which fills the gap left by the three metrical feet omitted from line 283. As opposed to the rational distinction between different kinds of need, this section focuses on the effusive emotion repressed within Lear's obsession with weeping.
This unique position of King Lear at this moment as thoroughly lucid and gripped by powerful, raging emotions—makes all the more stirring his prophetic proclamation that he "shall go mad!" (line 286). The sounds of Shakespeare's writing, however, do not operate alone in underscoring this key emotional moment in King Lear.
Meter and Rhythm in Act II Scene iv of King Lear:
Another poetic element driving the dramatic force of this speech's progression from reason toward madness is its use of meter. Paring of Lear's lines marks the reserved reason of the opening exhortation on need and nature:
O reason not the need! Our basest beggars
Are in the poorest thing superfluous.
[. . .]
If only to go warm were gorgeous,
Why, nature needs not what thou gorgeous wear'st (II.iv.264-265, 268-269).
The extra syllable in the first line contrasts with the clean iambic pentameter line that follows, highlighting the superfluity that can be shaved off even in conversation regarding beggars. Similarly, the missing foot of line 268 contrasts in the opposite direction with the iambic pentameter line that follows, again showing that even the least can yet sacrifice more. This latter maneuver also points to his daughters' vanity, as the minimum they are willing to accept is shown to be more than is necessary both literally and metrically.
This demonstration of mental acuity—this restrained paring down of the meter in the first portion of the speech—is met almost immediately by two jarring sets of trochees on hexameter lines in the speech's middle portion: "patience, patience [. . .] noble anger" (II.iv.271, 276). That these long lines come just after the earlier restraint makes immediate the excessiveness of their employment, pointing to an outpouring of emotion as Lear addresses the heavens.
These particular metrical caesuras tellingly contain two qualities with which Lear ever struggles.
First, patience is provided twice by Lear as he states that it is what he lacks. This subtle metrical irony is another instance of Lear's self-knowledge seeming to be complete and incomplete simultaneously; he understands that his quickness to emotion was a source of his present predicament, yet he is not able to prevent this oratorical outpouring of emotion in light of that awareness.
Second, anger, the emotion which, above all others, has torn King Lear asunder, is given as possessing nobility. This confusion of a vice for a virtue makes it clear that the old king has not quite reached the plane of understanding at which he will arrive upon his reunion with Cordelia.
Moreover, that he summons rage from the heavens foreshadows the total madness and explosive expression of his subsequent appearance out in the storm. Clearly, the dramatic intent of this pivotal speech suffuses every line as much rhythmically and connotatively as it does explicitly and denotatively.
Shakespeare's poising of this moment in the fourth scene of King Lear's second act—between the self-maligned Lear of the first two acts and the pitiful, largely mad Lear of the later three—is mirrored by the passage's musicality, both in its sound and in its prosody.
Lear's logical turn away from the courtly, couched terms which Goneril and Regan are using against him—toward a reasoned appeal—begins in earnest, then melts as his grief causes him to cry for vengeance from above rather than lamentation.
At last, Lear turns back to his daughters, now venomously and carelessly issuing curses far afield from the slowly spun curse at Goneril which earlier ends the first act. The repetitions of abstract conceptions (nature and need) are replaced by the repetition of a physical, emotive topic (weeping).
King Lear in the Storm by Benjamin West
Similarly, a careful, restrained meter is replaced by a messy, indulgent meter. As careful attention to the speech's musical attributes demonstrates, Lear's words in this scene are crafted at every turn to reflect back on the betrayals which lead up to them and to look forward to the torrid path ahead.
Such dramaturgical care and such totality of effect are characteristic of Shakespeare's verse, as I have previously discussed more broadly in regard to the social attitudes of Othello, and are utilized here in Act II Scene iv of King Lear with subtle mastery.
was last modified: August 3rd, 2018 by Daniel Podgorski
Tagged book review, King Lear, madness, meter, poetry, repetition, theatre, tragedy, William Shakespeare.

redpajama_set_name: RedPajamaCommonCrawl


text:
SYNONYM

#### According to
The Catalogue of Life, 3rd January 2011

#### Published in
in Tivoli, Agronomie 8(3): 220 (1988)

#### Original name
Fusarium gibbosum Appel & Wollenw., 1910

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
NOTHING'S PLENTY FOR ME
Written by Raymond Fortunato, Directed by Shela Xoregos
A world premiere dramedy about the importance of climate action written by Raymond Fortunato. Shela Xoregos directs a cast of five, including Marie Dinolan, Alexa Elmy, Dylan LaRay, Cole Mathewson, and Gaia Visnar.
With $500 million at stake, five clashing environmentalists are determined to cut their carbon footprint by 80%. But time is running out. Fights, romances and art bloom as they move into one dorm room together, vowing to live without chocolate cake, hair dye, alcohol and other necessities for three months. Can they do it? Could you?
Performances are Wednesdays through Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. Climate change and creative team/cast talkbacks with special guests will be held after Thursday performances.
The runtime is approximately two hours, including one 15-minute intermission.
Click for Schedule
click here to close
Performances are Wednesdays through Saturdays at 8:00 p.m. and Sundays at 3:00 p.m.:1/28/20221/29/20221/30/20221/31/20222/1/20222/2/20222/3/20222/4/20222/5/20222/6/20222/7/20222/8/20222/9/20222/10/20222/11/20222/12/20222/13/2022:
Theater: Theatre Row Studio Theatre
Address: 410 West 42nd Street
Subway Accessible from the A,C,E,N,R,V,F,1,2,3 trains at 42nd Street
Cost:$27-$35
Buy Tickets Online or Call: Theatre Row at 212-714-2442 x4


text:
WCU Home > Sciences and Mathematics > CSM Anti-Racism Statement
CSM Anti-Racism Statement
Contact Sciences and Mathematics
College of the Sciences and Mathematics
Anderson Hall, Room 320
725 S. Church St
Email: CSM@WCUPA.edu
CSM Mission Statement
We in the College of the Sciences and Mathematics are heartbroken and outraged by recent events, including the death of George Floyd at the hands of Minneapolis police officers. We mourn with the families and friends of George Floyd, Ahmaud Arbery, Breonna Taylor, and the many other Black persons who have lost their lives to senseless violence. We grieve with our students, staff, and faculty of color who face injustice. We stand with a nation that is ready to end racism and create a just and equitable society.
This time of national crisis, the tragic deaths of Black Americans, the incitement of violence directed at racial/ethnic minorities, and xenophobic hatred have again brought attention to this country's systemic inequities on the basis of race, ethnicity, and skin color. These events highlight the present-day structural oppression of racism that influences nearly all aspects of our society. These realities of our nation involve deep injustice, pain, suffering, and loss—but also a strong movement towards change, justice, and equity. Recognizing the hope that can arise from actions and desires for societal change, the West Chester University College of the Sciences and Mathematics seeks to foster a shared commitment to the work we do as educators, researchers, scholars, support staff, and students---work that has the power to make the invisible visible and to give voice to important issues, including those related to ending racism, promoting social justice, and upholding the values of dignity and human rights.
As scientists and mathematicians, we are dedicated to evidence-based learning, community engagement, and personal and societal change. As citizens in a global society, we encourage our faculty, staff, and students to take advantage of opportunities for personal and collective action:
The CSM administration, faculty, and staff commit to holding each other accountable to the college's mission to support the success of the whole student—academic, social, personal, and emotional, and to promote critical thinking, evidence-based problem-solving, timely approaches to current issues, professional and ethical conduct, and cultural competence.
We encourage our students to help us identify ways in which we can better meet this mission and make the College ever more representative of and responsive to our students and their needs.
We call for a College-wide commitment to social change that promotes equity, social justice, and respect for human rights, and that eliminates all forms of systemic and institutional racism, injustice, and inequity, while empowering our students to be well-informed agents of social change.
We strongly encourage members of our college—faculty, staff, and students—to learn more about issues of structural inequality and systemic injustice, including the historical antecedents, its causes and symptoms, and evidence-based solutions. For students, this might mean taking advantage of the many related courses offered in CSM departments such as Anthropology and Sociology, Political Science, and Psychology. For all, this may include participating in the training and educational opportunities provided by the Office for Diversity, Equity, and Inclusion, and many other groups on campus. Further informational resources are available on the Office for Diversity, Equity, and Inclusion Resources page.
If you are a member of the college experiencing or witnessing harassment, discrimination, or other forms of injustice on campus, please reach out to the Office for Diversity, Equity, and Inclusion.
May we collectively choose to be the change we want to see in the world (Mahatma Gandhi).


text:
Tesseraelm
==========

Tesserae game in Elm

One of my favorite games for the Mac, recreated as an excercise in Elm.


We were expecting daughter Nikki, son in law Paul and their children to arrive at about 10:30. They called to say the M5 traffic was bad and they would be delayed, but in fact their alternative route was almost as quick and they were soon with us. The plan was to leave their car in tne car park adjacent to Shepperton lock but it already full by 9:30. So we unloaded the car of their stuff, put our bikes in their car as they are in the way with six onboard, and headed for the lock. The warm weather had brought out all the Thames boaters and it was just before noon when we turned onto the River Wey.
To get us over the cill of Thames lock at Weybridge the National Trust lock keeper used the extra pound gate which raises tne water level by about a foot. After we had paid our NT licence we were off. Once Weybridge is passed the river is surprisingly rural. We stopped at about 4:30 and had barbecue in the warm evening sun.


Raised in Southern Africa, (Zimbabwe), and then transplanted to the United States as a teenager; I have learned to straddle dynamically different worlds and cultures. My art reflects the empirical worlds of traditional or realistic figurative paintings and portraiture, and abstract art as well.
I reside in Southern California, after receiving a Bachelor of Fine Arts degree from The University of the Arts in Philadelphia, I continued painting at the Art Students League in New York City, studying the Frank Reilly method of painting with Jack Faragasso. I paint both realistically as well as abstractly in oil paint as well as in acrylic paint. Although both styles are diametrically opposite, I approach both with the same high standards of quality and substance.
My commissioned portraits, still-lifes and abstract paintings hang in the homes and offices of patrons throughout the United States. Concurrently, I teach art and animation at Segerstrom High School in Santa Ana, CA.


Mabel & Rose has a wide range of vintage items available for loan or hire. Whether you're looking for something for your next photoshoot or styling project or you're planning a vintage or rustic themed wedding or party then we would love to help.
Items range from Vintage Apple Crates, old terracotta pots, zinc flower buckets, tubs and vintage tin baths, original French enamelware, vintage suitcases & stepladders, old tools, milk churns, old tradesman's bicycle & wheelbarrows. We also have lots of one-off items that can help you achieve a unique vintage look.
If you're planning a wedding or event and want to avoid the time and expense involved in sourcing and buying vintage items then Mabel & Rose would be delighted to help. We have a gorgeous selection of vintage jugs, Ball Mason jars, old milk bottles, victorian terracotta pots and original French stoneware which are ideal for flowers and table centres. We also have a wide range of larger items perfect for decorating your venue, helping to make your celebration really special.
You're very welcome to come and visit us prior to your event to choose items and make sure they're exactly what you're after. We can also provide styling help and advice.
We love being featured in our favourite magazines so if you would like to loan products please do get in touch. There is no hire charge for press loans on the condition that Mabel & Rose receives acknowledgement on the page and/or in the directory for each featured item detailing company name, website URL and phone number. Please note that some larger items are for collection only and cannot be posted.
A PDF copy of the printed article or advertisement is to be provided free of charge and will feature on Mabel & Rose's 'In the press' and facebook pages.
You can collect items from our workshop in West Oxfordshire or we can arrange delivery locally. Delivery within a 10 mile radius is free (subject to minimum spend), otherwise we charge at 45p per mile.


text:
using System.Collections.Generic;
using System.Threading.Tasks;
using WalletWasabi.Backend.Models;
using WalletWasabi.WebClients.BlockchainInfo;
using WalletWasabi.WebClients.Coinbase;
using WalletWasabi.WebClients.CoinGecko;
using WalletWasabi.WebClients.Bitstamp;
using WalletWasabi.WebClients.Gemini;
using WalletWasabi.WebClients.ItBit;
using Xunit;
using WalletWasabi.Interfaces;

namespace WalletWasabi.Tests.IntegrationTests
{
	public class ExternalApiTests
	{
		[Fact]
		public async Task CoinbaseExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new CoinbaseExchangeRateProvider());

		[Fact]
		public async Task BlockchainInfoExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new BlockchainInfoExchangeRateProvider());

		[Fact]
		public async Task CoinGeckoExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new CoinGeckoExchangeRateProvider());

		[Fact]
		public async Task BitstampExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new BitstampExchangeRateProvider());

		[Fact]
		public async Task GeminiExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new GeminiExchangeRateProvider());

		[Fact]
		public async Task ItBitExchangeRateProviderTestsAsync() =>
			await AssertProviderAsync(new ItBitExchangeRateProvider());

		private async Task AssertProviderAsync(IExchangeRateProvider provider)
		{
			IEnumerable<ExchangeRate> rates = await provider.GetExchangeRateAsync();

			var usdRate = Assert.Single(rates, x => x.Ticker == "USD");
			Assert.NotEqual(0.0m, usdRate.Rate);
		}
	}
}


text:
function typeController($scope) {
    // Remove Type of Mobile
    $('.remove-sign').click(function () {
        console.log($(this).closest('tr').find('td:nth-child(1)').text());
        $.ajax({
            url: '../Process/RemoveTypeMobileManageController.php',
            data: { id: $(this).closest('tr').find('td:nth-child(1)').text()},
            type: 'POST',
            success: function (result) {
            }
        });
        $(this).parent().parent().remove();
    });

    // Edit Type of Mobile when double click on cell
    $('td').dblclick(function () {
        var originalContent = $(this).text();

        if (originalContent == $(this).closest('tr').find('td:nth-child(2)').text()) {
            $(this).addClass('cellEditing');
            $(this).html('<input type="text" value="' + originalContent + '" />');
            $(this).children().first().focus();

            $(this).children().first().keypress(function (event) {
                if (event.which == 13) {
                    var newContent = $(this).val();
                    if (!regex.checkTextUnicode(newContent)) {
                        $(this).parent().text(originalContent);
                        $(this).parent().removeClass('cellEditing');
                    } else {
                        $.ajax({
                            url: '../Process/EditTypeMobileManageController.php',
                            data: { id: $(this).closest('tr').find('td:nth-child(1)').text(),
                                name: newContent},
                            type: 'POST',
                            success: function (result) {
                            }
                        });
                        $(this).parent().text(newContent);
                        $(this).parent().removeClass('cellEditing');
                    }
                }
            });

            $(this).children().first().blur(function () {
                $(this).parent().text(originalContent);
                $(this).parent().removeClass('cellEditing');
            });
        }
    });

    // Add Mobile
    $('#add-button').click(function () {
        $.ajax({
            url: '../Process/AddTypeMobileManageController.php',
            data: { name: $('#name-type').val() },
            type: 'POST',
            success: function (result) {
                var id = result;
                if (id == -1) {
                    $('#alert').html(
                        '
' +
                            '<button type="button" class="close" data-dismiss="alert" aria-hidden="true">×</button>' +
                            'Cảnh báo! Loại điện thoại này đã tồn tại trong cửa hàng.' +
                            '
'
                    );
                }
                else {
                    $('#body-table').append(
                        '
' +
                            '' + id + '	' +
                            '' + $('#name-type').val() + '	' +
                            '	' +
                            '
' +
                            ''
                    );
                }
            }
        });
    });

    func.next('page_manager_type_mobile');
    func.previous('page_manager_type_mobile');
    func.previousKey('page_manager_type_mobile', $('#previous-keyword').val());
    func.nextKey('page_manager_type_mobile', $('#next-keyword').val());
}


If you need to get in touch with us, please call or email our San Juan office. We are open daily.
Call us toll-free at: 1 (866) 977-2983.
Call us at: 1 (787) 977-2983.
Questions about an order? Email the Customer Service Department.
If you'd like to place an order online, this website currently accepts: Visa, PayPal, American Express, and Discover (no PayPal account is required).
Need to make a return? Please review instructions here.
SURGEON GENERAL WARNING: This product contains nicotine. Nicotine is an addictive chemical.


I serve as a Soul Guide, and I guide Soulcraft® programs with the Animas Valley Institute and with individuals via phone and Skype from my home in Durango, CO. I also offer uniquely designed programs for individuals, couples, groups, and organizations.
I am the creator of Wild Yoga™, a sacred alignment of Earth and Soul. I guide Wild Yoga programs and am certified through Yoga Alliance as E-RYT-500. I am also on the faculty at Nosara Yoga Institute.
I earned my master's degree in counseling from John's Hopkins University in 1997 and then worked as a wilderness therapist and guide for organizations including Outward Bound, Alldredge Academy, Aspen Achievement Academy, Passages to Recovery, Open Sky Wilderness Therapy, Wilderness Reflections, and the Animas Valley Institute. In addition to the programs listed on this website, I now offer CEU trainings to human service professionals.
Although I was nervous, I felt trust for Rebecca right away. Her intuition and presence helped me become closer to myself; she guided me deep inside myself where I could ask questions that had worried me for a long time. I found self-understanding and felt my heart with a sadness I had not known before. I felt love. This session changed my life.
About two months ago, I had a serious auto accident; I nearly died and my neck was seriously injured. After that, I had chronic pain. After one Somatic Archeology session, it changed drastically. The pain left my neck, and the tightness too. What a relief! During the session, Rebecca brought me into a deep state inside myself where I could cry and release my emotions. Afterwards, I felt so light, happy and peaceful, and my face was radiant.
Wild Yoga has changed my life. I have touched into my authentic self and connected deeply with Earth. My playfulness has been re-awakened, and my yoga practice quickly became deeply meaningful.
Wild Yoga brought me deeper into relationship with myself as well as nature. I felt this place, where jungle meets ocean, and asked myself searching questions like, what matters to me and what do I want to do in this world.


Managed Security – NVG Communication Inc.
All successful businesses require firewall security. Due to their complex nature, firewalls require management encompassing regular and consistent review, monitoring, alterations and adjustments. The benefits of effective firewall management are far reaching and include the reduction of manual tasks and consequent mistakes, optimized performance and use of infrastructure, compliance with corporate, regulatory and industry standards, enforcement of vendor best practices and improved risk management. Trust our experienced IT professionals to help you maximize the full benefits of your organization's firewall.
A Virtual Private Network is a dynamic piece in your corporation. Professional VPN management allows your organization the flexibility of a remote workforce designed to increase employee productivity and performance. By using a secure tunnel network your workforce is securely connected and able to access business critical application from anywhere!
As Network Consultants, we offer recommendations on the software you need to keep your network running securely and working efficiently. With low monthly costs we are able to provide excellent products, installation, management, and monitoring to ensure optimal performance.


Each daily session began with a large group improvisational warm-up. We'd then break up into different combinations of 3 to 7 people to work on developing a movement piece that came out of some improvisational theme that was given to us or that had evolved during the warm-up. At the end of each session we would perform our pieces and receive feedback and suggestions from the group and choreographers.
Every session we worked with different combinations of people on new movement pieces, giving us multiple opportunities to create together. Some of the pieces were successful right from the start, others needed a bit of tweaking to really work, and still others really never got traction because the group in that moment simply didn't gel.
It was an incredibly rich experience with learnings on multiple levels. What I found myself reflecting on most was how we could apply so much of what we learned in this movement intensive to any group setting. This was a fascinating opportunity to study group dynamics and leadership styles in self-organizing systems.
Trust your instincts. Trust the instincts of others.
Offer suggestions and ideas, but let go of attachment to any of these if the group doesn't respond.
If you especially like something or if something doesn't work for you let the group know.
Don't try to be a star. It's so much fun to support others.
If you do something well that you know might be in service of the project, let the group know. It's not showing off. It is, instead, helping to expand group possibilities.
When you get confused or lost, stop. Stand still. Look around. Notice what's happening in the room. And then rejoin the group.
When you decide to do something, commit. Make sure you are very specific about what you are doing, not wishy-washy, otherwise it will be really hard for others to follow you.
You can lean into someone and get their support, particularly if you're clear about your intention to lean and your willingness to be leaned into also.
Don't fall back on old patterns that might keep you from discovering what's possible now.
Admit when you are afraid or stuck and ask for help.
Notice when you feel most alive and follow that impulse. Trust that others will discover it too and will respond.
Notice when your opinions get in the way of creative problem solving.
Listen to others not just with your ears but with your whole being.
Don't spend a lot of time talking about how to approach the problem. Try three quick variations and then decide which one you liked best.
When you discover the group mind, the collective, allow it to flow naturally without feeling the need to artificially imposing a "new idea".
Agree on group norms but break the rules when they don't seem to work for you.
Make a clear opening and ending. Don't let either be mushy.
Stay connected to the group.
Give enough time to let things develop. Don't abandon something interesting too soon.
When you see an opening — a doorway — take it and as you go through let it affect you.
This list is just a start. My guess is that I'll be adding to this over the next week or so, so check back here again when you have a chance.
Posted in Meaningful Conversations, Public Speaking Presence and labeled collaborative leadership, dance, group dynamics, improvisation, leadership, pilobolus, self-organizing systems.
← Authentic presence… What is it really?
like to say cheers for a incredible post and a all round entertaining blog (I also love the theme/design), I don't have time to browse it all at the minute but I have book-marked it and also added your RSS feeds, so when I have time I will be back to read a great deal more, Please do keep up the fantastic job.
Thanks Marla! I hope you find time to continue to read my posts. They are not time limited.
That was what I was so struck with, was how much could be applied in so many other situations.
Glad you were able to get so much out of the workshops, Carla. It's amazing how simple some of the concepts are and how they can be applied outside of the dance world, in any group/team/collaborative setting. Thanks for blogging about it!
Thanks to both of you for seeing the real parallels between dance improv and leadership.
Hi, Carla: I'm struck by the close similarities you experienced in your dance sessions and the kinds of small groups I have facilitated over the years in the church world….starting with the all-important value of listening to others. Listening is perhaps our best gift of being present with another — and so much else flows from being open to what others are saying (or doing). Thanks for this great story!


text:
Atlantic 2000 on shortwave this weekend
Wed Jul 14, 2021 16:58 pm by Atlantic 2000
With the courtesy of our friends of Radio For Peace International, Atlantic 2000 will transmit on shortwave this weekend as follows:
- Friday, July 16th from 20:00 to 21:00 UTC on 15770 kHz
- Sunday, July 18th from 00:00 to 01:00 UTC on 9395 kHz
- Sunday, July 18th from 13:00 to 14:00 UTC on 15770 kHz
Internet transmissions on http://radioatlantic2000.free.fr
- Saturday, July 17th from 09:00 to 10:00 UTC
- Sunday, July 18th from 13:00 to 14:00 UTC
All reports to: atlantic2000international@gmail.com
Users browsing this forum: Majestic-12 [Bot] and 7 guests


text:
18:00Maghrib
Tunisian President Beji Caid Essebsi significantly better, officials say
Aides to 92-year-old president say he phoned defence minister on Friday to discuss situation after bomb attacks
President Beji Caid Essebsi's ill health formed part of a busy 24 hours in Tunisian news. AFP
The health of Tunisian President Beji Caid Essebsi has improved significantly and he has called the defence minister about the situation in the country, the presidency said on Friday.
Mr Caid Essebsi, 92, a prominent player in the country's transition to democracy since 2011, was taken to a military hospital on Thursday after suffering a "severe health crisis".
"The health situation of the president is in a remarkable improvement," presidency spokeswoman Said Guarach said. "The president held a telephone call this morning with the minister of defence about the general situation in the country."
Mr Caid Essebsi was hospitalised last week as well, for what the presidency described as non-serious treatment.
The veteran politician has been a prominent figure in Tunisia since the overthrow of veteran autocrat Zine El Abidine Ben Ali in 2011, which was followed by uprisings against authoritarian leaders across the Middle East, including in nearby Libya and Egypt.
Tunisia set itself on a path to democracy without much of the violence seen elsewhere, although it has been the target of extremist militants over the years.
On Thursday, two suicide bombers blew themselves up in attacks on police in the capital Tunis, killing one officer and wounding several others, in an attack later claimed by ISIS.
The attack, followed by the president's hospitalisation, had created anxiety among Tunisians that the country might descend into violence and political instability.
Officials sought to calm fear earlier on Friday by announcing that the president's condition was stable and there would be no leadership crisis.
"We have a president. There is no constitutional vacancy," one of Mr Caid Essebsi's top advisers, Noureddine Ben Ticha, told the Express FM radio station.
He said the president's condition was "unchanged".
Mr Caid Essebsi's son, Hafedh, spoke of "the beginnings of an improvement" in his father's condition.
Several media has reported the president's death on Thursday after his office announced that one of the world's oldest heads of state – behind only Britain's 93-year-old Queen Elizabeth II – was taken to hospital.
Prime Minister Youssef Chahed, who visited the president in hospital, said he was receiving "the necessary care", warning people not to spread "false and confusing information".
On the streets of Tunis the mood was hopeful but cautious.
Tunisia: returning foreign fighters could contribute to radicalising others, activists say
Tunisia completes 200-km barrier with Libya to stave off terror threat
Tunisia attack, a history of recent security incidents
"I hope he will return to the [presidential] palace in good health quickly because his absence in such difficult times will plunge the country into chaos," said Ibrahim Chaouachi, 40, echoing many of his compatriots.
Tunisia's constitution, adopted three years after the 2011 uprising against Ben Ali, provides two measures in the case of a power vacuum.
The prime minister can take over the president's responsibilities for a period of no more than 60 days, or if the vacancy is longer the speaker of parliament is tasked with the role for up to 90 days.
In both cases the decision must be taken by the constitutional court after it validates the president's incapacity.
But Tunisia has yet to set up a constitutional court.
On Thursday parliament speaker Mohammed Ennaceur, 85, met the heads of parties following the twin suicide bombings and the president's illness.
The country's first democratically elected president, Mr Caid Essebsi came to power in 2014.
His prolonged absence from the public eye could spell uncertainty for Tunisia, where democracy remains fragile especially ahead of presidential and legislative elections, scheduled for October and November.
Policemen carry the coffin of a fellow officer killed in Tunis by a suicide bomber, in the Sidi Hassine suburb of the Tunisian capital on June 28, 2019. AFP
Tunisia has been hit by repeated extremist attacks since 2011.
Mr Chahed denounced the latest bombings as "cowardly" and meant to "destabilise Tunisians, the economy and democratic transition", in a nod to the October polls and the tourism season which is in full swing.
The blasts – one on the central Habib Bourguiba avenue and another against a security base – killed a police officer and wounded at least eight people including several civilians.
Most of the wounded are "in a stable condition", interior ministry spokesman Sofiene Zaag said on Friday.
One of the bombers has been identified and a probe is trying to determine if he had any links with an extremist group, he added.
Heavy security was deployed Friday around Habib Bourguiba avenue and the nearby interior ministry, while shops that had closed after the bombings reopened for business.
"The terrorists want to scare us but we say no," Rached Mamlouk, a salesman at a bookshop said, pointing to people walking about and tourist buses parked nearby.
In the working class Tunis suburb of Sidi Hassin, mourners gathered for the funeral of the police office killed in one of the bombings.
Updated: June 29, 2019 07:15 PM
The Middle East framed - today's best pictures
Iraq orders probe into rocket attacks on US embassy in Baghdad
Why Lebanon's protesters turned against Raya El Hassan
Iran: two missiles brought down Ukraine Airlines plane
Our house is still on fire: Greta Thunberg's Davos speech in full
Butlers and first-class nap pods: inside Dubai Airport's new lounge
South Korea to send troops to Strait of Hormuz
Rage in Lebanon comes as protesters reach breaking point
British-Australian academic jailed in Tehran rejected Iran's offer to work as a spy
International powers see narrow path to peace in Libya
Lebanon president Aoun to chair crisis talks over weekend clashes


One of my players took this at the end of practice.
After she gave me her daily 'thank you coach' coupled with a hug.
I truly think there may be nothing more representative of nature, internal truth, and vibrant than sunrises and sunsets.
They bring hope in the morning to me. And, peace at night.
Moral of the Story: The sky is a canvas.


Canon C300 Custom profiles and gamma curves.
The C300 has 9 scene files that can be used, or turned off all together. These files are accessed via the "picture profile" button on the side of the camera. These are labelled C1 to C9. Additional custom profiles can be made or uploaded from the internet, put on an SD card and then loaded onto the camera. These files then appear as S1-S20 and can be loaded onto the camera, or just used directly from the card.
The cinema profile using the Canon Clog gamma curve gives you the flattest image, with the greatest dynamic range. This profile does get the most out of the camera, but requires a fair bit of grading in post.
This will then disable the CP button on the side of the camera, (Until you go back into the menu and turn CP lock off). CP cinema locked means you are using the standard Canon Log Gamma as it comes from the factory, this way you can guarantee you are using a profile that hasn't been adjusted by another user. There is however a small amount of sharpening added when using this route.
With cameras such as the Arri Alexa, you can assign a REC 709 gamma curve to an evf, to give you a more standard looking picture to work with. The C300 has a similar function when using Clog called view assist. I like using this in the view finder so you can get an idea of how the image might look when graded. I find this really helps with focusing. For more focusing help check out this.
Inside each of the 9 scene files there are many of the usual elements you would expect that you can edit: gamma curve, black, black gamma, low key saturation, knee, sharpness etc etc. Alan Roberts, a highly respected technician from the BBC, has written a paper on his recommended settings, I have noted down some of these comments in quotes below - followed by AR.
The final option is to shoot with no picture profile at all.
This test from Kevin Richie on vimeo shows each of the gamma curves.
If there isn't time for a grade and client wants a baked in look, for a quick turn around edit, it probably makes sense to go with Normal3 (REC709). Here is what Alan Roberts has to say on this: "For broadcast purposes either Gamma 3 (ITU-709) or 4 (BBC 0.4) is perfectly acceptable. The BBC curve always produces more accurate colour rendition, but the 709 curve is normal for HDTV shooting"
Either you can make your own adjustment to create a custom picture profile, or download one from one of the many C300 users out there. I have used several of these which I prefer to use over the Normal 3 profile.
DP Brian Weed made some alterations to to the Cine, Log, and Eos Std picture settings, that means there should be less grading needed in the edit. These can be downloaded from the links below, or to read more about each CP log you can read up on them here.
Another CP profile that I like is from Australian DP Roger Price. He has taken the recommendations of Alan Roberts and produced a CP profile that can be used straight out of the camera with no grading. Great for fast turn around shoots.
A video of the profile, and a link to download it can be found here.
Abel Cine, who are a great resource for information about camera equipment, have several different picture profiles for the C300 for shooting in different conditions.
Also, if you don't own a Canon C300 and want to get familiar with these picture profiles before a job, Canon have a C300 simulator on line, so you can see how to load up various profiles for yourself.
Links to several camera simulators including the Canon C300, C500 Arri Alexa, Sony F5 can be found here.
Finally, a point made by Alister Chapman on twitter recently was that shooting flat isn't always best. It is an interesting point as so much has been made of shooting with the flatest profile possible recently. The point is that the camera only records a certain amount of data per second and using up all of this data with the widest possible dynamic range doesn't always make sense. Not every scene requires a massive dynamic range, especially if you are shooting inside a studio.
UPDATE: With the latest Canon Update you now have a further profile Canon's Wide Dynamic Range. This image give you a brief idea of how the profile will perform.
There is more info on the latest fimware update here.
Best picture profile for shooting in low light.


Computes eigenvalues and eigenvectors of selfadjoint matrices.
_MatrixType the type of the matrix of which we are computing the eigendecomposition; this is expected to be an instantiation of the Matrix class template.
A matrix is selfadjoint if it equals its adjoint. For real matrices, this means that the matrix is symmetric: it equals its transpose. This class computes the eigenvalues and eigenvectors of a selfadjoint matrix. These are the scalars and vectors such that . The eigenvalues of a selfadjoint matrix are always real. If is a diagonal matrix with the eigenvalues on the diagonal, and is a matrix with the eigenvectors as its columns, then (for selfadjoint matrices, the matrix is always invertible). This is called the eigendecomposition.
The algorithm exploits the fact that the matrix is selfadjoint, making it faster and more accurate than the general purpose eigenvalue algorithms implemented in EigenSolver and ComplexEigenSolver.
Only the lower triangular part of the input matrix is referenced.
Call the function compute() to compute the eigenvalues and eigenvectors of a given matrix. Alternatively, you can use the SelfAdjointEigenSolver(const MatrixType&, int) constructor which computes the eigenvalues and eigenvectors at construction time. Once the eigenvalue and eigenvectors are computed, they can be retrieved with the eigenvalues() and eigenvectors() functions.
The documentation for SelfAdjointEigenSolver(const MatrixType&, int) contains an example of the typical use of this class.
To solve the generalized eigenvalue problem and the likes, see the class GeneralizedSelfAdjointEigenSolver.
Scalar type for matrices of type _MatrixType.
Real scalar type for _MatrixType.
This is just Scalar if Scalar is real (e.g., float or double), and the type of the real part of Scalar if Scalar is complex.
Type for vector of eigenvalues as returned by eigenvalues().
This is a column vector with entries of type RealScalar. The length of the vector is the size of _MatrixType.
Default constructor for fixed-size matrices.
The default constructor is useful in cases in which the user intends to perform decompositions via compute(). This constructor can only be used if _MatrixType is a fixed-size matrix; use SelfAdjointEigenSolver(Index) for dynamic-size matrices.
Constructor, pre-allocates memory for dynamic-size matrices.
[in] size Positive integer, size of the matrix whose eigenvalues and eigenvectors will be computed.
This constructor is useful for dynamic-size matrices, when the user intends to perform decompositions via compute(). The size parameter is only used as a hint. It is not an error to give a wrong size, but it may impair performance.
Constructor; computes eigendecomposition of given matrix.
[in] matrix Selfadjoint matrix whose eigendecomposition is to be computed. Only the lower triangular part of the matrix is referenced.
[in] options Can be ComputeEigenvectors (default) or EigenvaluesOnly.
This constructor calls compute(const MatrixType&, int) to compute the eigenvalues of the matrix matrix. The eigenvectors are computed if options equals ComputeEigenvectors.
Computes eigendecomposition of given matrix.
This function computes the eigenvalues of matrix. The eigenvalues() function can be used to retrieve them. If options equals ComputeEigenvectors, then the eigenvectors are also computed and can be retrieved by calling eigenvectors().
This implementation uses a symmetric QR algorithm. The matrix is first reduced to tridiagonal form using the Tridiagonalization class. The tridiagonal matrix is then brought to diagonal form with implicit symmetric QR steps with Wilkinson shift. Details can be found in Section 8.3 of Golub & Van Loan, Matrix Computations.
The cost of the computation is about if the eigenvectors are required and if they are not required.
This method reuses the memory in the SelfAdjointEigenSolver object that was allocated when the object was constructed, if the size of the matrix does not change.
Computes eigendecomposition of given matrix using a closed-form algorithm.
This is a variant of compute(const MatrixType&, int options) which directly solves the underlying polynomial equation.
Currently only 2x2 and 3x3 matrices for which the sizes are known at compile time are supported (e.g., Matrix3d).
This method is usually significantly faster than the QR iterative algorithm but it might also be less accurate. It is also worth noting that for 3x3 matrices it involves trigonometric operations which are not necessarily available for all scalar types.
Computes the eigen decomposition from a tridiagonal symmetric matrix.
[in] diag The vector containing the diagonal of the matrix.
[in] subdiag The subdiagonal of the matrix.
This function assumes that the matrix has been reduced to tridiagonal form.
Returns the eigenvalues of given matrix.
A const reference to the column vector containing the eigenvalues.
The eigenvalues have been computed before.
The eigenvalues are repeated according to their algebraic multiplicity, so there are as many eigenvalues as rows in the matrix. The eigenvalues are sorted in increasing order.
cout << "The eigenvalues of the 3x3 matrix of ones are:"
Returns the eigenvectors of given matrix.
A const reference to the matrix whose columns are the eigenvectors.
The eigenvectors have been computed before.
Column of the returned matrix is an eigenvector corresponding to eigenvalue number as returned by eigenvalues(). The eigenvectors are normalized to have (Euclidean) norm equal to one. If this object was used to solve the eigenproblem for the selfadjoint matrix , then the matrix returned by this function is the matrix in the eigendecomposition .
cout << "The first eigenvector of the 3x3 matrix of ones is:"
Computes the inverse square root of the matrix.
The eigenvalues and eigenvectors of a positive-definite matrix have been computed before.
This function uses the eigendecomposition to compute the inverse square root as . This is cheaper than first computing the square root with operatorSqrt() and then its inverse with MatrixBase::inverse().
Computes the positive-definite square root of the matrix.
The square root of a positive-definite matrix is the positive-definite matrix whose square equals . This function uses the eigendecomposition to compute the square root as .
The algorithm terminates if it does not converge within m_maxIterations * n iterations, where n denotes the size of the matrix. This value is currently set to 30 (copied from LAPACK).


Knowsley Council has granted a private hire licence to its first all-electric taxi. They say it will help taxi firms understand how electric cars can be integrated into their fleets.
I chose to go electric due to the increasing fuel costs and wanted to play my part in reducing carbon emissions.
Given the mileage I cover as a taxi driver, it was becoming increasingly expensive to fill up at the pumps.
My vehicle is charged using solar panels installed at my house, so as well as saving money, I am also doing my bit for the environment!
I would encourage other taxi drivers to go electric.


text:
Q: $resource service .success is not a function I want to implement the login method with AngularJS, Node and MongoDB. I have built a Restful API where I send the request.
When I try to execute the GET request this error appears at the console TypeError: UserService.logIn(...).success is not a function
Succeess doesnt exist like the $http way?
I also found this but I cannot understand how to adjust it to fit my code.

*

*HTTP GET "class" actions: Resource.action([parameters], [success],
[error])

*non-GET "class" actions: Resource.action([parameters], postData,
[success], [error])

*non-GET instance actions: instance.$action([parameters], [success],
[error])
Service.js
var appServices = angular.module('starter.services', ['ngResource']);

appServices.factory('UserService', function ($resource) {
    return {
        logIn: function (email, password) {
            return $resource("http://localhost:3000/users/login", {
                email: email,
                password: password
            });
        }
    }
});

Controller.js
    var apps = angular.module('starter.controller', []);
apps.controller('loginCtrl', function ($scope, $ionicPopup, $state, UserService) {

    $scope.doLogin = function doLogin(email, password) {

        if (email != null && password != null) {

            UserService.logIn(email, password).success(function (data) {
                $state.go('tabs.home');

            }).error(function (status, data) {

                var ionicPop = $ionicPopup.alert({
                    title: 'Login Failed',
                    template: 'Invalid email or password.\nPlease try again!'
                });
                console.log(status);
                console.log(data);
            });
        }
    };
});

A: The reason your UserService.logIn() method is not behaving as expected is, you are returning a new instance of Resource but never actually calling a method on it.
// This returns an instance of Resource, which is configured incorrectly.
// The second argument suggests that the URL has :email and :password
// parameters, which it does not. As a result, the email and password
// would be appended to the URL as query params (very insecure!).
return $resource("http://localhost:3000/users/login", {
    email: email,
    password: password
});

With $resource, you can define additional methods or modify the existing get, save, query and delete methods. However, this is only useful for API endpoints that support CRUD operations.
For a login call, you don't need to create a resource because you will not be performing CRUD operations. Use $http instead.
var appServices = angular.module('starter.services', ['ngResource']);

appServices.factory('authService', function ($http) {
    return {
        logIn: function (email, password) {
            return $http({
                url: 'http://localhost:3000/users/login',
                method: 'POST',
                data: {
                    email: email,
                    password: password
                },
                headers: {
                    'Content-Type': 'application/json'
                },
                withCredentials: true
            });
        }
    }
});

The above example assumes you want to pass the user credentials in the body of the request. This is okay assuming you are using SSL, but a preferred way would be to use an Authorization header. For example, Basic Auth would be a bit more secure.
UPDATE
As it turns out, methods of $resource do not return a Promise. They return an instance of the resource, with a $promise property. So, you could for example do something like this:
// Using the .save() method, which performs a POST
$resource('http://localhost:3000/users/login').save({email: 'foo@bar.com', password: 'baz'})
    .$promise.then(handleSuccess, handleError);

Still, I recommend using $http for a login endpoint. However, if you need to use $resource, have a look at this plunker.

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Шумлево — название нескольких населённых пунктов:
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What are Storyscapes?
Storyscapes turn the information users need into stories they will enjoy, remember and share. From whitepapers to webinar content, from research to deep storytelling, storyscapes help you get the most out of your content.
Siemens IIoT – Boosting Asset Performance and Return
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What makes a Storyscape great?
We combine mixed media formats to turn your story into a visually-arresting and content rich experience – a storyscape.
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Jagannath Rao
SVP, Siemens Cloud Application Services
Jagannath Rao is responsible for the data-driven services business of the industrial Internet of Things (IIoT), which includes MindSphere, the secure, cloud-based, open IoT operating system built for industry. His portfolio of responsibilities includes the widespread application of "Big Data" technologies in the realm of manufacturing, covering topics such as plant analytics, asset analytics, artificial intelligence, machine learning, and other digital services. He advises companies around the world how to best employ IIoT strategies and technologies.
Tim Wormus
Vice President, IIoT Strategy and Implementation Americas, Siemens
Tim is a leader in the intelligent application of analytics technologies, including the open cloud based operating system for the IoT MindSphere. He has held development and market facing roles at Genedata, Inc., Tibco Spotfire, Perkin Elmer, and H2O.ai. Today, he acts in a leadership role for Siemens as VP for IIoT Strategy and Implementation in the Americas. His team is revolutionizing how companies do business. Tim and his team work with customers and partners to help identify how to apply the appropriate technology solution to the challenges specific to their industry, size and corporate goals, in order for them to best achieve tangible returns.
Tom "Elvis" Jones
Solutions Architect, Amazon Web Services
Tom spends his time focusing on the complex challenges of strategic partners in the Design, Engineering, and Manufacturing space. His career has spanned both the hardware and software sides of the house, including work at Red Hat, Transmeta, and Pratt & Whitney, giving Tom an extremely broad technical experience across multiple industries and verticals. He is a whitepaper author, a patent holder, a training material builder, a DevOps expert, an active Maker, a mountain biker, and above all, a passionate technologist. He has been known to go far out of his way for pinball and fondly recalls playing "Adventure" on an ADDS Viewpoint ASCII terminal.
Joe Barkai
Author, The Outcome Economy
Today a consultant, speaker, author, and blogger, Joe Barkai was once vice president of research at IDC, one of the world's top market research firms. He specializes in charting market strategies for a connected world: the Internet of Things; connected cars; innovation; and product lifecycles. He has more than 30 years of experience in helping organizations map out their product and market strategies. He's been at the nexus of business and technology, consulting with hundreds of organizations across diverse industries, giving him a unique ability to "connect the dots" and clearly articulate the always-evolving business value of technology.
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Wayne Irwin
Director – Internet of Things Group, Intel Corporation
Wayne is currently a Director in Intel's Internet of Things (IOT) group in charge of developing the overall technology partner ecosystem for the IOT. He's a customer centric and solution oriented Technology Executive with over 30 years of progressive global sales, operations and business management experience. He has a track record of successfully implementing organizational transformations and business growth to achieve measurable results. Through his leadership, his teams solve complex business issues with well architected solutions based on a combination of products, services, and software platforms. Throughout his career, Wayne has been involved in the evolution of technology and communications and continues to be engaged with its impacts on how people and businesses live and operate.
Prior to Intel, he served as Senior Vice President and GM of the Embedded and Connected Services division of Symphony Services, a global technology development and services company. In this role Wayne led global sales, development and delivery. Additionally his team was the catalyst for the strategic development of Symphony Services plan to grow both traditional embedded computing and entry into the new connected market of the IOT.
Previously, Wayne was President of the Americas division for Acision – the leader in providing SMS (text messaging) platforms to telecommunications operators. At Acision, Wayne led a 5X growth in revenues and profitability for the organization and successfully completed the largest strategic deal signed by the company. Wayne holds an MBA – finance from Xavier University and a BSBA in Marketing from Central Michigan University.
Vikas Butaney
Vice President IoT Connectivity, Cisco
Vikas partners closely with leading customers and integrators as they transform from product to a digital business using IoT technologies. Vikas has global responsibility for Strategy, Partnerships, and product roadmaps for Cisco IoT including Sensor Connectivity, Industrial Security, Edge Compute and Industrial Networking. Vikas works closely with Cisco's leading IoT customers and GTM partners to drive IoT adoption and customer success.
Vikas has held leading positions in Cisco with broad product portfolio responsibilities including in Cisco's Enterprise and Service Provider products and solutions, like Voice, Video, Wireless and Routing. Vikas has held leadership positions at MobileIron, Accelera Mobile Broadband, Verizon, and earned his M.S. in Electrical Engineering focusing on Optical and Data Communications from Virginia Tech in Blacksburg, VA.
Robert Gimeno
Managing Director – IoT, Accenture
As a Digital Managing Director and Data Science Advisor, Robert Gimeno has a passion for Innovation Leadership with a solid experience in Supply Chain and Operations. He is focused on how IoT will change business models. Robert is an experienced advisor in Industrial and B2C for clients around the globe and a storytelling and design expert.
Nadeem Asghar
Field CTO and Vice President, Global Head of Partner Engineering, Hortonworks
Mr. Nadeem Asghar is seasoned Technology Leader with over 20 years of diverse hands on CXO level (CTO, CDO, CIO, Chief Architect) experience. He is currently working as VP, Global Head of Technical Alliances and Field CTO at Hortonworks. Mr. Asghar is responsible for data science practice, management, strategic vision and direction of Global Field and Partner Engineering Team.
He is also responsible for technical alliances with over 2100 partners across IOT, AI, analytics, cognitive computing, Machine learning, Deep Learning, cloud, Blockchain, cyber security, BI, EDW optimization and other Big data and streaming solutions.
Mr. Asghar has diverse expertise in architecting and managing global, large-scale enterprise level systems in the Financial Services, Banking, Capital Markets, Telecom, Media, Consulting, Startup and Technology industries.
Jason Mann
Vice President of IoT, SAS
Jason Mann is responsible for growing IoT revenue and providing global focus, strategic direction and alignment across the SAS IoT analytics portfolio. He oversees the research and development, product management and marketing, and execution of the sell-through strategy across the portfolio. "With more than 20 billion connected things projected to be in use by 2020, the unbelievable volume of data that will be generated will require customers to do things differently," said Mann. "My job is to empower R&D teams to innovate and create the forward-looking solutions that enable customers to seize the opportunity inherent in IoT, solve specific business challenges and capitalize on the insights mined from the data."
Prior to his current position, Mann served as Director of Product Management for Industry Solutions and the Internet of Things where he set the strategic IoT direction for SAS. He was also responsible for product management of the manufacturing and supply chain, retail, energy, and health and life sciences industry solutions. Prior to that, he served as Manufacturing Industry Strategist where he led the internal and external positioning of SAS' distinctive competence and value to the manufacturing industry. Before joining SAS in 2003, Mann worked at Nortel Networks for 10 years where he led the multiyear design and implementation of global manufacturing operations and order management systems. Mann received a bachelor's degree in industrial engineering from North Carolina State University.
Adebayo Onigbanjo
Senior Director, Business Operations, Transport Intelligence, GE Transportation
Adebayo Onigbanjo is the operating leader for the Transport Intelligence business for GE Transportation Digital Solutions. As operating leader, Adebayo juggles the tasks of monetizing the Transport Intelligence business by ensuring alignment between business strategy, go-to-market activities as well as product management, engineering, customer delivery, strategic partnerships and services. Transport Intelligence, a business within GE Transportation Digital Solutions that connects Transportation industry assets to deliver actionable outcomes and productivity for its customers in ways not previously possible.
A graduate of Brunel University with a MSc in Data Communications systems, Adebayo has since worked with Zebra Technologies as Director of marketing and strategy in the Chief Technology Office and board member of the Chicago IoT council focused on IoT technology framework, applications and monetization.
Kronos: Put Your Labor to Work Webinar
Charlie Ashton
Senior Director of Business Development, Wind River
Charlie Ashton is an accomplished marketing and business development executive with extensive experience in the embedded systems industry. At Wind River, Charlie is responsible for business development activities for the networking and telecommunications industries. A prolific writer and commentator, his frequent blog posts and trade articles can be found throughout the embedded and software communities' literature. Charlie has held management roles in both engineering and marketing at software, semiconductor and systems companies including 6Wind, Green Hills Software, Timesys, Motorola (now Freescale Semiconductor), AppliedMicro, AMD, and Dell. Charlie graduated from the University of Reading in England with a BS degree in Electrical Engineering.
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text:
Тимон из Флиунта (также Тимон Флиазийский или Флиасийский; , 320—230 гг. до н. э.) — греческий философ-скептик, ученик Пиррона и известный создатель сатирических поэм, объединённых под названием «Силлы» (греч. σίλλοι). «Силлы» — это особый жанр греческой поэзии, сатирические стихотворения. Считается, что он написал очень много произведений, среди них есть поэмы, сатирические драмы, около тридцати комедий и шестидесяти трагедий, а также любовные поэмы, но лишь малая часть дошла до наших дней. Но Силлы — самое известное произведение Тимона, в котором он в сатирической форме описывает знаменитых философов, живых на тот момент и уже умерших. Поэма написана гекзаметром. Сам текст не сохранился, но многие авторы тех времён упоминали это произведение и цитировали строки из него.

Биография
Наиболее подробный рассказ о жизни Тимона представил Диоген Лаэртский. Часть сведений он нашел в первой части работы Аполлонида из Никеи, посвящённой «Силлам», какие-то факты — в работах Антигона из Кариста и Сотиона. Он родился во Флиунте и был сыном Тимарха. Оставшись сиротой в весьма раннем возрасте, он сначала был танцором в театре, но потом оставил эту профессию, занимался коммерцией в колониях и преуспел в этом деле (Diog. L. IX 109-110). Переехав в Мегару, он некоторое время был учеником Стильпона, философа мегарской школы, но потом вернулся домой и женился. Затем он, уже с женой, поехал в Элиду, где и услышал Пиррона, учение которого он впоследствии перенял. Пока Тимон жил в Элиде, у него появились дети, старшего из которых, Ксанфа, он обучал медицине и философии. Покинув Элиду из-за некоторых затруднений, Тимон провёл какое-то время недалеко от пролива Геллеспонт (в наше время более известного как Дарданеллы) и Мраморного моря. Именно в Халкидоне он добился больших успехов, обучаясь идеям софизма. Затем Тимон переехал в Афины, где и остался до конца своей жизни, если не считать недолгого пребывания в Фивах. Тимон много путешествовал, поэтому лично был знаком со многими великими людьми, среди них были цари Антигон II Гонат и Птолемей II Филадельф. Считается, что Тимон помогал Александру Этолийскому и Гомеру Византийскому в написании их трагедий, а также, что он был учителем Арата из Сол.

Поздние античные скептики имели влияние в кругах медиков, которые под их влиянием считали, что настоящие причины болезней узнать невозможно, поэтому надо лечить симптомы. Очень вероятно, что сам Тимон был врачом и обучал своего сына медицине.

Природа щедро одарила Тимона умственными способностями и проницательностью, он быстро распознавал слабости людей. Всё это делало его скептиком в философии и сатириком по жизни. По словам Диогена Лаэртского, у Тимона был только один глаз, но он смеялся даже над своим недугом, называя себя Циклопом. Другие примеры проявления его острого сарказма также можно найти в работах Диогена. Так, например, когда его ученик Арат спросил, как найти первоначальный (оригинальный) текст Гомера, Тимон ответил, что это можно сделать, только обнаружив старые записи, те, в которых нет современных исправлений.

Также считается, что Тимон любил уединение, а также увлекался садоводством. Но Диоген считает, что последнее высказывание и некоторые другие могут быть отнесены либо к «нашему» Тимону, либо к Тимону Афинскому, легендарному мизантропу, или же к обоим.

Согласно описанию Диогена Лаэртского, Тимон не следил за своими рукописями, они валялись где попало и даже портились крысами. В результате он нередко путался в собственных текстах такой сохранности (Diog. L. IX 113-115). Также упоминается, что Тимон любил выпить.

Тимон умер, когда ему было уже почти девяносто лет.

Философская позиция
Тимон был скептиком и пропагандировал позицию Пиррона, разделея существование вещей самих по себе и их восприятие людьми. С его точки зрения, достоверное познание возможно лишь через непосредственное восприятие. Также он разделял позицию Пиррона о равносильности всех суждений по поводу истинной сути вещей, включая противоположные, и, как следствие — принцип воздержания от суждений.

Поэзия
Как уже было отмечено, Тимон создавал лирические и эпические поэмы, трагедии, сатирические драмы, комедии и любовные поэмы. Драмы Тимона не дошли до наших дней. Что касается эпических поэм, о них тоже известно немного, но можно с уверенностью сказать, что они, по большей части, представляли собой сатирические поэмы в эпической форме. Возможно, его произведение Пифон, может быть отнесено именно к этому жанру, хотя и написано прозой. В нём Тимон описывает долгую беседу с Пирроном по пути к Дельфийскому оракулу. Он также писал пародии на Гомера, некоторые строки из его поэм, написанных элегическим стихом, в которых явно прослеживается скептицизм, сохранились. Также были обнаружены два стихотворных фрагмента, которые не получается отнести ни к одной из известных поэм Тимона. Но всё-таки самое известное произведение Тимона — это «Силлы», ранее упомянутая сатирическая поэма. Этимология данного слова не совсем ясна, но, несомненно, оно описывает особый жанр поэзии, в котором сатира, высмеивание, обличение нелепости играют главную роль. Родоначальником этого направления в литературе считается Ксенофан Колофонский. «Силлы» состоят из трех частей: в первой — Тимон повествует от своего лица, а в двух других происходит диалог между автором и Ксенофаном. Тимон задает вопросы, а Ксенофан дает развернутые ответы. Они обсуждают догматы различных философов. Тема данной беседы стала для Тимона благодатной почвой для выражения скептицизма и использования сатиры. Тимон высмеял почти всех известных ему философов. Этого избежали лишь Ксенофан, с которым он ведёт диалог, Пиррон, который появляется в качестве мудреца, чтобы рассудить спор, а также Протагор и Демокрит.

«Силлы» написаны гекзаметром, и, судя по тому, что фрагменты из этого произведения часто цитировались другими авторами (поэтому они и сохранились до наших дней), очевидно, что они были великолепны в своём роде. Комментарии к «Силлам» написали Аполлонида из Никеи и Сотион из Александрии. Поэма Тимона «Образы» (греч. Ἰνδαλμοι), написанная элегическим стихом, видимо, имеет ту же тему, что и «Силлы».

Культурные справки

Прототипом героя Тимона в пьесе Шекспира «Жизнь Тимона Афинского» был другой человек, живший намного раньше, но, что интересно, философские убеждения именно Тимона Флиутского являются частью данного образа.

Примечания

Литература

 Richard Bett. Timon of Phlius // Stanford Encyclopedia of Philosophy
 Brunschwig, J., Introduction: the beginnings of Hellenistic epistemology, in Algra, Barnes, Mansfeld and Schofield (eds.), The Cambridge History of Hellenistic Philosophy (Cambridge University Press, 1999) p. 229—259.
 Diogenes Laërtius, ix. 115; Aristocles ap. Eusebius, Praeparatio Evangelica, xiv.; Suda, Sillainei, Timon; Athenaeus, passim; Aulus Gellius, iii. 17
 Hornblower, Simon, and Anthony Spawforth ed., The Oxford Classical Dictionary (Oxford University Press, 2003) ISBN 0-19-866172-X

Ссылки

Древнегреческие поэты
Поэты III века до н. э.
Философы III века до н. э.
Скептики
Персоналии:Флиунт
Древние греки по городам-государствам


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Eddie Leonard (October 17, 1870 – July 28, 1941), born Lemuel Golden Toney, was a vaudevillian and a man considered the greatest American minstrel of his day, at a time when minstrel shows were an acceptable and popular mainstream entertainment in the United States. He was called "last of the great minstrels" in his 1941 obituary in Time. He performed in vaudeville for 45 years before that medium faded in the 1920s, and was known for such songs as "Ida, Sweet As Apple Cider" and "Roly Boly Eyes". He published his memoir titled What a Life I'm Telling You in 1934.

Early life
Lemuel Golden Toney was born in 1871 or on October 18, 1875, sources vary, in Church Hill, Richmond, Virginia, to Ellen and Richard Toney. As a boy, his family moved to South Richmond and Manchester. At the age of 12, he started his stage career at Putnam's Theatre Comique at East Franklin Street in Richmond. He then took up the stage name Eddie Leonard. He also worked as a water boy at Tredegar Iron Works in Belle Isle. He performed alongside Bill Robinson in Richmond.

Career
Leonard wanted to be a baseball player, and tried out for John McGraw and played for the Baltimore Orioles as a center fielder briefly. He was unsuccessful, but danced and sang for the players in the clubhouse, and George H. Primrose discovered him. Primrose subsequently hired him as a minstrel. He subsequently performed with the George Primrose Minstrels.

In 1890, Leonard left Richmond with a road show. He would find his way to New York City, and was hired in the show McFadden's Flats'''. Around 1900, Leonard joined Jack Haverly's minstrel show. In 1903, Leonard danced and sang the song "Don't Do Nothin' for Nobody That Won't Do Nothin' For You" with Primrose and Decker. He became known for a ragtime song style that Leonard called "syncopated syllabication" and a "soft shoe" dance. He was known for his songs "Ida, Sweet As Apple Cider", "Roly Boly Eyes" and "Big Brown Booloo Eyes", but he wrote more than 40 songs throughout his career. His song "Ida, Sweet As Apple Cider" sold 500,000 copies. He also appeared in the muscial comedies, The Southerners and Lifting the Lid. His musical comedy Roly-Boly Eyes broke a house record in 1919 at the Knickerbocker Theatre in Manhattan. Leonard performed with his wife Mabel Russell in vaudeville acts. Leonard was in big minstrel shows, including Eddie Leonard's Minstrel Monarchs and the Cohan and Harris Show, which was backed by George M. Cohan. His salary in 1910 reached  a week.

In 1932, Leonard was scheduled to tour with The Rooneys, Walter C. Kelly, Joe Frisco, Dannie Dare, Eddie Miller and George Price, but the tour was cancelled. In 1929, Eddie Leonard starred in the movie production The Minstrel Show and he appeared in several other movies.

Later in life, Leonard managed a bar and grill in Brooklyn called Eddie Leonard Minstrel Bar and Grill, but the business folded after six years.

Personal life
Leonard married Mabel Russell, a vaudeville performer, in 1908. For a time, Leonard lived at the Imperial Hotel at Broadway and 31st Street in New York City.

At the time of his death, Leonard and his wife lived at King Edward Hotel at 120 West 44th Street in New York City. Leonard was found dead on July 29, 1941, at the Imperial Hotel. He was reported missing by his wife the evening prior, and is estimated to have died the same evening, July 28. Leonard was buried at Cedar Grove Cemetery in Queens, New York.

Partial filmography
 Melody Lane (1929)
 The Minstrel Show (1929)
 Rainbow's End If I Had My Way'' (1940)

References

External links

Year of birth unknown
1941 deaths
19th-century American male actors
20th-century American male actors
American male film actors
American male stage actors
Male actors from Richmond, Virginia
Blackface minstrel performers
Vaudeville performers


text:
Home»Industry News»Headlines
Transcontinental Brampton scales back ahead of closure
By	PrintAction Staff
Transcontinental Inc. announced this week the gradual reduction of printing activities at Transcontinental Brampton leading to the plant's complete closure at the end of December 2019.
The company says the decision was made in order to optimize the retail printing platform in Canada, noting that over the coming months, there will be a gradual transfer of activities from Transcontinental Brampton primarily to Transcontinental RBW Graphics and Transcontinental Vaughan in Ontario, as well as to Transcontinental Transmag in Quebec. Each of the latter two plants has just installed a press from TC Transcontinental Printing's former plant in Fremont, Calif., the company explains.
"We are continuously working to align the capacity and costs of our printing platform to business volumes, as we have always done in order to protect the long-term financial health of our sector," says Jacques Grégoire, President of TC Transcontinental Printing. "Following an in-depth analysis of the situation, it is with regret that we had to make the decision to close Transcontinental Brampton. We would like to sincerely thank all of the talented employees who have been highly dedicated to this plant over the years."
The closure of Transcontinental Brampton, located at 138 East Drive, in Brampton, Ont., will take place in two phases. Starting July 7, 2019, only one of the two presses will remain in operation, resulting in the permanent layoff of about 60 production and support employees. As for the approximately 65 production and support employees who will still be employed after this date, they will continue to work on the remaining press until the plant closure.
TC Transcontinental says it has begun taking steps with other plants in its network in view of offering employment opportunities to some of the employees who would then be invited to apply, if applicable. Upon closure of the plant, most of the approximately 30 office employees at Transcontinental Brampton should be transferred to Transcontinental Vaughan, where renovation work is underway, it says.
Thomas Morin named President of TC Transcontinental Packaging
Torstar to close Hamilton printing, mailroom operations
SaltWire files lawsuit against Transcontinental
More in this category: « PDS exclusive Mark Andy dealer in Ontario	| Spicers Paper acquires California's Premiere Packaging »


With some electronically stored information (ESI), what you see is what you get. A simple screenshot, PDF, or TIFF image may convey all the information that a litigant needs.
But that's not the case with all ESI. When you're requesting spreadsheets, database information, heavily edited documents, or—our specialty—website and social media evidence, native-format files are critical. Without them, you're likely missing out on formulas, tracked changes, author and date information, and the dynamic, interactive content that most modern websites contain.
Not everyone has recognized this distinction yet; some attorneys still underestimate the importance of native-format production. That includes a number of judges and courts, who are just as human (and sometimes just as tech-averse) as the rest of the legal profession. That makes it all the more important that litigants follow the rules to the letter, correctly requesting native-format ESI when needed and explaining to the court exactly why it's important.
The recent case of McDonnel Group, LLC v. Starr Surplus Lines Insurance Co. highlighted—as case law so often does—what not to do when producing responsive data for ediscovery. Fortunately, U.S. Magistrate Judge Joseph C. Wilkinson, Jr., clearly understands the difference between native-format files and quasi-paper PDF productions—and he provided some ammunition that other litigants can use to educate their own courts.
We'll take a look at what happened in McDonnel, review the rule governing the form of production, and then provide some takeaway tips to help you request—and get—native-format production.
Want to learn more about Native-format Collection?
Join this 20-minute live webinar to see how to collect and preserve interactive data sources like dynamic web content, social media and team collaboration applications in native format.
The Facts of McDonnel Group, LLC v. Starr Surplus Lines Insurance Co.
This case arose out of a construction contractor's work renovating the Jung Hotel, a 550,000 square foot, 17-story building in New Orleans. The contractor, the McDonnel Group, alleges that its insurer, Starr Surplus Lines Insurance Co., failed to pay several claims that arose during the project.
The court issued this specific opinion after Starr filed a motion to compel McDonnel to re-produce its construction schedules in native format rather than PDF. McDonnel Grp., LLC v. Starr Surplus Lines Ins. Co., No. 18-1380 (E.D. La. Oct. 3, 2018).
During discovery, Starr's (aptly numbered) Request for Production number 34 asked McDonnel to produce its construction schedules in their native format.
Starr, as noted above, moved to compel McDonnel to try again, re-producing its construction schedules in the originally requested native format. McDonnel argued that it had already complied with the request and wasn't obligated to produce discoverable information in more than one form.
The court turned to Federal Rule of Civil Procedure 34 to review the parties' rights and obligations concerning the form of production for responsive ESI.
What exactly does Rule 34 say about the form of production?
First, Rule 34(b)(1)(C) allows a requesting party to "specify the form or forms in which electronically stored information is to be produced." Starr did that here when it asked for construction schedules in their native format.
From the rules, then, it looks like there's an end-run available: if the producing party doesn't like the requested format, it can state that it's going to use a different form and then simply do so, cutting off the obligation to later produce that same ESI in a different form—namely, the originally requested form.
If you think that doesn't sound quite right, you're in good company: the judge didn't think so, either.
Fortunately, the court had a justification for ordering re-production in native format. It held that McDonnel waived its objection to the requested form of production by not clearly and specifically objecting to it or stating what form it intended to use.
The court clearly grasped the import of what Starr sought in the native-format production. In this case, "the need for production in the requested, unobjected-to native format, with its associated metadata, is self-evident." Construction schedules, the court postulated, were subject to "frequent alterations, change orders, and time sensitive but often disturbed deadlines." This relevant information might reasonably be reflected in the metadata associated with native-format schedules. PDFs, which are "merely pictures of the materials that do not provide metadata," would be a poor imitation of the native files.
The court granted Starr's motion to compel re-production of the construction schedules in their native format.
When you're requesting production of ESI in native format, bear these lessons in mind.
Try to negotiate native-format production. Instead of leaving it up to the court—which may or may not understand why you're seeking native-format files—try to negotiate the form of production in your Rule 26(f) conference. That means you need to be prepared ahead of time to explain why native-format files are necessary and relevant. But really, would you go into any other negotiation without extensive preparation? Rule 26(f) conferences may be a preliminary step in the discovery process, but they're critically important. Don't treat them as a preamble to the "real" work of discovery.
Specifically ask for native-format files in your document requests. Yes, a producing party might choose to produce native-format files anyway, but why leave the choice up to your opponent? When native-format files are important, clearly spell out that you request production of ESI in its native format as originally created and maintained.
Explain to the court why native format is important. If you've tried to get native-format files but find yourself looking at a PDF or TIFF production instead, you may be forced to take the issue to the court, as Starr did here. Don't count on the court understanding what you're asking for or why: be prepared to educate it about the information you expect to find in native-format files and the information that is lost when native files are converted to "mere pictures" instead.
Native format is all the more important—and all the less well-understood—when it comes to online evidence from dynamic websites and social media platforms. Common methods like screenshots and PDF captures are inadequate reflections of these complex interactive conversations; they're essentially like grabbing a single frame from a movie and trying to pass it off as the movie itself!
Make sure you're requesting production of web evidence in its native format. But wait—what if you aren't currently capturing your own website or social media evidence in native format? Never fear: Hanzo can help. We work exclusively on archiving complex, dynamic, interactive online content for professionals in ediscovery, regulatory compliance, and investigations. We'd love to show you what truly native-format web archives look like.


text:
Q: adding ticking sound to an analog clock How to add ticking sound to an analog clock in Qt or Qml?
The following is my codes for the clock.
   Canvas
    {
        id : canvas
        anchors.fill: parent
        width: 740; height: 680  //size of canvas
        onPaint:                // reimplement drawing function
        {
            var ctx = getContext("2d"); //get 2D Context
            drawBack(ctx);
            drawDot(ctx);

            var date = new Date();          //get date
            var hours =  date.getHours()     //get hour
            hours = hours%12;
            var minutes =  date.getMinutes()
            var seconds = date.getUTCSeconds();
            var timestr =date.toLocaleString("yyyy-MM-dd hh:mm:ss");
            console.log(date.toLocaleString("yyyy-MM-dd hh:mm:ss"));
            drawSecond(seconds,ctx);

            drawHour(hours,minutes,ctx);
            drawMinute(minutes,seconds,ctx);
            drawSecond(seconds,ctx);

         }
    }

    function drawBack(ctx)
    {
        var r = 200;

        ctx.save();
        ctx.beginPath();
        ctx.translate(width/2,height/2);
        ctx.clearRect(-r,-r,r*2,r*2);
        ctx.lineWidth = 10;
        ctx.arc(0,0,r-5,0,Math.PI*2,false);  //outer circle
        ctx.stroke();

        var numbers = [1,2,3,4,5,6,7,8,9,10,11,12]; //numbers in clock
        ctx.font = "30px Arial";            //set font
        ctx.textAlign = "center";
        ctx.textBaseline = "middle";
        for(var i = 0; i < 12; ++i)
        {
            var rad = 2*Math.PI/12*numbers[i]-3.14/2;
            var x = Math.cos(rad)*(r-30);
            var y = Math.sin(rad)*(r-30);
            ctx.fillText(numbers[i],x,y);
        }

        ctx.lineWidth = 2;   // for scales
        for (var i2 = 0; i2 <60; ++i2)
        {
            ctx.beginPath();
            var rad2 = 2*Math.PI/60*i;
            var x3 = Math.cos(rad)*(r-15);
            var y3 = Math.sin(rad)*(r-15);
            var x2 = Math.cos(rad)*(r-10);
            var y2 = Math.sin(rad)*(r-10);

        }
        ctx.restore();
    }

    function drawHour(hour, minute, ctx)   //draw hours
    {
        var r = 200;
        ctx.save();               // save the state
        ctx.beginPath();          // this line is necessary
        ctx.lineWidth = 7;
        ctx.lineCap = "round";    //set the style
        ctx.translate(width/2,height/2);

        var rad = Math.PI*2/12*hour+Math.PI*2*minute/12/60-Math.PI;
        ctx.rotate(rad);
        ctx.moveTo(0,-10);
        ctx.lineTo(0,r/2-10);
        ctx.stroke();             // fill or stroke is necessary
        ctx.restore();
    }
    function drawMinute(minute,second,ctx)   //draw Minute
    {
        var r = 200;
        ctx.save();
        ctx.beginPath();     //necessary
        ctx.lineWidth = 5;
        ctx.lineCap = "round";
        ctx.translate(width/2,height/2);

        var rad = Math.PI*2*minute/60 + Math.PI*2*second/60/60 -Math.PI;
        ctx.rotate(rad);
        ctx.moveTo(0,-10);
        ctx.lineTo(-10,r*3/5-10);
        ctx.stroke();               //like pen in Qt
        ctx.restore();
    }
    function drawSecond(second,ctx)     //draw Second
    {
        var r = 200;
        ctx.save();
        ctx.beginPath();
        ctx.lineWidth = 3;
        ctx.lineCap = "round";
        ctx.translate(width/2,height/2);
        ctx.strokeStyle="#ff0000";
        var rad = Math.PI*2*second/60-Math.PI;
        ctx.rotate(rad);
        ctx.moveTo(0,-20);
        ctx.lineTo(0,r*4/5-10);
        ctx.stroke();
        ctx.restore();
    }
    function drawDot(ctx)
    {
        ctx.save();
        ctx.beginPath();
        ctx.translate(width/2,height/2);
        ctx.fillStyle="#ffffff";
        ctx.arc(0,0,3,0,Math.PI*2);
        ctx.fill();                     //like a brush
        ctx.restore();
    }
    Timer {
             interval: 1000; running: true; repeat: true
             onTriggered: canvas.requestPaint();    //trigger Timer
         }
}

A: You could use a wav file with a ticking sound and SoundEffect. You need to import QtMultimedia in your QML file.
SoundEffect {
    id: playTick
    source: "tick.wav"
}

Timer {
    interval: 1000; running: true; repeat: true
    onTriggered: {
        canvas.requestPaint()
        playTick.play()
    }
}