PHP server and client interaction or provide open API, usually need to encrypt sensitive data, this time RSA asymmetric encryption can be used.
For example, if we log on to a web site, send an account number and password, the request was intercepted.
Password is not encrypted, the attacker directly to get the password, which is the most twisted.
Password encryption, is irreversible encryption, the attacker only need to simulate the request can log on.
Password encryption, is reversible encryption, which carries the parameters such as time, the background can be according to the time and other parameters to determine whether effective, but because it is in front of the encryption, encryption can be found in the code, find the encryption method can draw decryption.
But if we use asymmetric encryption, we can avoid the above problems.
Non symmetric encryption algorithm needs two keys for encryption and decryption, the two key is the public key (public key, referred to as the public key and private key (private key), referred to as the private key).
The working process is as follows: the secure transmission of important information is achieved by using asymmetric encryption.
Party B generates a pair of keys (public key and private key) and discloses the public key to the other party.
The first party of the public key is used to encrypt the secret information and send it to the second party.
Party B uses another special key (private key) to decrypt the encrypted information. Party B can only decrypt the information encrypted by the corresponding public key with its private key (private key).
In the transmission process, even if the attacker intercepted the transmission of the ciphertext, and get the public key of the B, can not crack the ciphertext, because only the private key to decrypt the ciphertext.
Similarly, if you want to reply to the encrypted information to a, then you need to publish a public key to B for encryption, a.
Asymmetric encryption in the use of the main algorithms are: RSA, Elgamal, knapsack algorithm, Rabin, D-H, ECC (elliptic curve encryption algorithm), etc..
Here we use an example to illustrate how to use PHP to achieve RSA encryption and decryption.
We can look at the implementation of public key encryption data, only the private key can be decrypted, and vice versa, the private key encrypted data can only be decrypted public key.
The public key and the private key are generated in the above PHP code, and it seems that there is only public key encryption.


text:
Q: Check for duplicate values in multiple select dropdown I'm doing validation for multiple select dropdowns, which has been dynamically added.
JSFIDDLE
<select id="sel_1">
    <option value="one">one</option>
</select>

<select id="sel_2">
    <option value="two">two</option>
</select>

<select id="sel_3">
    <option value="one">one</option>
</select>

<select id="sel_4">
    <option value="three">three</option>
</select>

How do i validate if duplicate values are selected

A: you could code like this. onclick of save button call this.
function save() {
    var selects = document.getElementsByTagName('select');
    var values = [];
    for(i=0;i<selects.length;i++) {
        var select = selects[i];
        if(values.indexOf(select.value)>-1) {
            alert('duplicate exists'+select.value); break;
        }
        else
            values.push(select.value);
    }
}

how can this code prevent the user from submitting until the values are all unique?
  ans:

function save() {
        var selects = document.getElementsByTagName('select');
        var values = [];
        for(i=0;i<selects.length;i++) {
            var select = selects[i];
            if(values.indexOf(select.value)>-1) {
                alert('duplicate exists'+select.value); return; //if duplicates found we are returning. without save and no need to continue.
            }
        }
    //saveform here
    }

redpajama_set_name: RedPajamaStackExchange


text:
The Italy of Popes and Princes
��.1450-CA.1800
Between the 15th and the 18th centuries, Italy was contested by the rulers of France, Spain, and the Holy Roman Empire. It disintegrated into interdependent political structures that quarreled with each other and maneuvered between the great powers. The popes and the northern Italian princes were united by ruthless power and family politics in their battle against municipal freedoms and fashioned their courts into shining centers of the arts and literature.
THE 17-18th CENTURY LITERATURE
RENAISSANCE PHILOSOPHY
CLASSICAL MUSIC-The Middle Ages and the Renaissance, The Baroque Era
The Medici family coat of arms,
on a building in Florence, Italy
Medici Family
Italian bourgeois family that ruled Florence and, later, Tuscany, during most of the period from 1434 to 1737, except for two brief intervals (from 1494 to 1512 and from 1527 to 1530). It provided the church with four popes (Leo X, Clement VII, Pius IV, and Leon XI) and married into the royal families of Europe (most notably in France, in the persons of queens Catherine de Médicis and Marie de Médicis).
Three lines of Medici successively approached or acquired positions of power (see the Table). The line of Chiarissimo II failed to gain power in Florence in the 14th century. In the 15th century the line of Cosimo the Elder set up a hereditary principate in Florence but without legal right or title, hence subject to sudden overthrow; crowns burgeoned, however, on the last branches of their genealogical tree, for two of them were dukes outside Florence, their last heir in a direct line became queen of France (Catherine de Médicis), and their final offspring, Alessandro, a bastard, was duke of Florence. In the 16th century a third line renounced republican notions and imposed its tyranny, and its members made themselves a dynasty of grand dukes of Tuscany.
The differences between these three collateral lines are due essentially to circumstances, for there was, in all the Medici, an extraordinary persistence of hereditary traits. In the first place, not being soldiers, they were constantly confronting their adversaries with bribes of gold rather than with battalions of armed men. In addition, the early Medici resolutely courted favour with the middle and poorer classes in the city, and this determination to be popolani (�plebeian�) endured a long time after them. Finally, all were consumed by a passion for arts and letters and for building. They were more than beneficent and ostentatious patrons of the arts; they were also enlightened and were probably the most magnificent such patrons that the West has ever seen.
Line of Chiarissimo II.
The Medici were originally of Tuscan peasant origin, from the village of Cafaggiolo in the Mugello, the valley of the Sieve, north of Florence. Some of these villagers, in the 12th century perhaps, became aware of the new opportunities afforded by commerce and emigrated to Florence. There, by the following century, the Medici were counted among the wealthy notables, although in the second rank, after leading families of the city. After 1340 an economic depression throughout Europe forced these more powerful houses into bankruptcy. The Medici, however, were able to escape this fate and even took advantage of it to establish themselves among the city�s elite. But their policy of consolidating their position by controlling the government�the work of the descendants of Chiarissimo II (himself the grandson of the first known Medici)�resulted in 50 years of serious misfortunes for the family (1343�93).
His grandson Salvestro took up his policy of alliance with the popolo minuto (�common people�) and was elected gonfalonier, head of the signoria, the council of government, in 1378. Salvestro more or less willingly stirred up an insurrection of the ciompi, the artisans of the lowest class, and, after their victory, was not above reaping substantial monetary and titular advantages. But in 1381, when the popular government fell, he had to go into exile. His memory, however, was still alive in 1393, when the popolo magro (�lean people�) once more thought it possible to take over the signoria. The mob hastened to seek out his first cousin, Vieri, who was, however, able to fade away without losing face. With Vieri this branch of the Medici was to disappear definitively from history.
Line of Cosimo the Elder.
A distant cousin of Salvestro was Averardo de� Medici (or Bicci), whose progeny became the famous Medici of history. His son Giovanni di Bicci de� Medici (1360�1429), considered the first of the great Medici, inherited the family business based on cloth and silk manufacturing and on banking operations and made the family powerfully prosperous. Giovanni�s two sons, Cosimo (1389�1464) and Lorenzo (1394�1440), both of whom acquired the appellation of �the Elder,� founded the famous lines of the Medici family.
Cosimo de� Medici, the older brother, established the family�s political base. He served on the Florentine board of war, called the Dieci (The Ten), and held other posts. His two sons were Piero (1416�69) and Giovanni (1424�63). The latter died before his father, who in death received the title �Father of His Country.� Piero di Cosimo de� Medici maintained and strengthened the political fortunes of the family. He also fathered two sons, one of whom, Giuliano (1453�78) was assassinated. The second son, Lorenzo (1449�92), became in his own time Il Magnifico (The Magnificent).
Lorenzo de� Medici deservedly holds an honoured place in the history of Florence and Italy. Inheriting from his forebears a deep respect for arts and letters, he became a poet himself as well as a patron of artists and a skilled statesman. His three children, Piero (1472�1503), Giovanni (1475�1521)�later Leo X�and Giuliano (1479�1516), played contrasting roles in the city�s history. Assuming the mantle of family power from Lorenzo, Piero alienated the people of Florence by siding with the French. Because of this act, considered a betrayal, the Medici had to flee Florence (1494). Giovanni, at that time a cardinal, used his influence with Pope Julius II to bring the family back to positions of power. Giuliano, who received the French title of duc de Nemours, was in poor health and died relatively young.
Piero, oldest of the children of Lorenzo the Magnificent, fathered one son, also named Lorenzo (1492�1519), who in turn had a daughter, Catherine (1519�89), who became queen of France as wife of Henry II; three of her four sons became kings of France. Giovanni, second son of Lorenzo the Magnificent, became Pope Leo X. In commemoration of the deaths of Giuliano and Lorenzo, the two who had died relatively young, the family commissioned Michelangelo to complete the famous Medici Tombs in Florence. The few years of this period are often considered to be the apogee of the Medici age. The period has even been called �the century of Leo X.� From 1513 to 1521, surrounded by five nephews and cousins whom he had named cardinals, Leo X reigned less over Christianity than over arts and letters in the style of his father, the Magnificent, too occupied with patronage to pay sufficient attention to an unimportant monk by the name of Martin Luther. By the 1520s, nonetheless, the descendants of Cosimo the Elder had become few in number. To ensure that a Medici of the Cosimo line would continue to rule Florence, Pope Clement VII, nephew of Lorenzo the Magnificent, installed Alessandro (1511�37), reputedly his own illegitimate son, as hereditary duke of Florence. In the same year, 1532, Clement VII abolished the city�s old constitution.
Alessandro proved to be cruel and brutally authoritarian. He ruled for five years. In 1537 he was assassinated by a companion who was also a relative.
The grand dukes of Tuscany.
Alessandro�s death did not terminate the Medici family�s power in Florence. A younger branch of the family, descendants of the Lorenzo who had been the brother of Cosimo the Elder, now came forward. Cosimo de� Medici (1519�74), great-great-grandson of Lorenzo, became duke of Florence, then grand duke of Tuscany (1569), and reigned as Cosimo I. He established a new dynasty that perpetuated the family�s traditional regard for the arts and sciences. The descendants of Cosimo I, who ruled over Florence and Tuscany as grand dukes into the 1700s, included the following major figures.
Francis (1541�87), son of Cosimo I, was known equally as a suspicious despot, a tax master who nearly ruined the nation�s economy, and an estimable patron of the arts and sciences. He favoured the goldsmith Benvenuto Cellini; and his interest in science, particularly chemistry, led to establishment of a Florentine porcelain factory. Francis� daughter became the queen of France as the wife of Henry IV and is known in history as Marie de Médicis.
Ferdinand I (1549�1609), younger brother of Francis and a cardinal when he succeeded to the grand duchy, showed more tact and experience in administration and, during his reign, brought Tuscany to new heights of stability and prosperity. He was the founder of the Villa Medici at Rome and the purchaser of many priceless works of art, such as the Niobe group and many other statues that he afterward transported to Florence. After his accession he retained the cardinal�s purple until the time of his marriage. He was in most respects his brother�s opposite.
Cosimo II (1590�1621), older son of Ferdinand I, reigned during a period when Europe was relatively at peace and when Tuscany�s abundant harvests helped to feed Europe and make Tuscany rich. From then on, however, a general decay set in. Ferdinand II (1610�70), oldest son of Cosimo II, was followed by his only living son and heir, Cosimo III (1642�1723), who in turn was followed by an only son, Gian Gastone (1671�1737), who died without issue. The European powers in 1738 transferred the grand duchy to the dukes of Lorraine, related to the Austrian imperial house.
The older Medicean line had generally honoured the republican ambitions of the people of Florence. The younger line established an authoritarian rule that had both advantages and disadvantages. On the one hand, constitutional forms and movements toward democratic government disappeared. On the other hand, Florence acquired a degree of stability that it had never known under the descendants of Cosimo the Elder. Despite the new stability, the city dwindled as a centre of art, science, and scholarship. The descendants of Cosimo I married into most of the royal houses of Europe; to a greater or lesser extent they preserved the family name and the family fortune; but, ruling mainly by military force, they seem in the context of history to have reduced the city�s role and importance as a centre of creative artistic effort and cultural renaissance. The grand ducal line disappeared with the death of Cosimo III�s daughter Anna Maria Luisa (1667�1743), widow of the elector palatine John William of Neuburg; she bequeathed all the art treasures of the Medici to the grand duchy and to Florence. Engraved on her tomb in the Cappella dei Principi (Chapel of the Princes) are the words Ultima della stirpe reale dei Medici (�Last of the royal Medici line�).
Among many historians and memorialists contemporary with the Medici, Niccolò Machiavelli, Francesco Guicciardini, and, to a lesser degree, Scipione Ammirato cannot be dispensed with. Modern works, for a general view, include G.F. Young, The Medici, 2 vol. (1909, reprinted 1933; Italian trans. 1935; French trans. 1969), dated but still useful; Albert Jourcin, Les Médicis (1968; German trans. 1969); Gaetano Pieraccini, La stirpe de� Medici di Cafaggiolo, 2nd ed., 3 vol. (1947), extensive researches on the hereditary features and diseases that run in the Medici family; and Marcel Brion, Le Siècle des Médicis (1969; The Medici: A Great Florentine Family, 1969). On institutions and banking, Nicolai Rubinstein, The Government of Florence Under the Medici, 1434 to 1494 (1966), based on a masterly examination of the Florentine archives, is fundamental; while Raymond de Roover, The Rise and Decline of the Medici Bank, 1397�1494 (1963), excellently clears up a difficult matter.
Procession of the Magi in the Palazzo Medici-Riccardi in Florence (1459-60)
Medici family members placed allegorically in the entourage of a king from the Three Wise Men
in the Tuscan countryside in a Benozzo Gozzoli fresco, c. 1459, in the "Cappella dei Magi",
at Palazzo Medici Riccardi in Florence, Italy.
Procession with Lorenzo de' Medici, Piero de' Medici and Giovanni de' Medici
Lorenzo de'Medici (1449 - 1492)
Cosimo de'Medici (1389 - 1464)
Piero de'Medici (1416 - 1469)
Lorenzo de' Medici as a teenager
Madonna of the Magnificat
(Madonna del Magnificat)
The family of Piero de' Medici portrayed by Sandro Botticelli in the Madonna del Magnificat.
Lucrezia de' Medici (1470 - 1553) was the eldest daughter of Lorenzo de' Medici and Clarice Orsini and mother of Maria Salviati and Giovanni Salviati, who was a cardinal from 1517 until his death. Her portrait was considered (as a newborn) as the baby Jesus in Our Lady of the Magnificat of Sandro Botticelli
(The Medici family and friends)
1. Lorenzo the Magnificent
2. Poliziano
3. Pico della Mirandola
4. Gaspare Lami
5. Cosimo the Elder
6. Piero the Gouty
7. Guiliano de' Medici
8. Giovanni de' Medici
9. Filippo Strozzi
10. Joannis Argiropulos
11. Sandro Botticelli
12. Lorenzo Tornabuoni
The Medici Chapel
The immediate occasion for the chapel was the deaths of the two young family heirs, named Giuliano and Lorenzo after their forebears, in 1516 and 1519. Michelangelo gave his chief attention up to 1527 to the marble interior of this chapel, to both the very original wall design and the carved figures on the tombs; the latter are an extension in organic form of the dynamic shapes of the wall details. The result is the fullest existing presentation of Michelangelo's intentions. Windows, cornices, and the like have strange proportions and thicknesses, suggesting an irrational, willful revision of traditional classical forms in buildings.
Abutting these active surfaces, the two tombs on opposite walls of the room are also very original, starting with their curved tops. A male and a female figure sit on each of these curved bases; these are allegories symbolizing on one tomb day and night, according to the artist's own statement, and dawn and dusk on the other, according to early reports. Such personifications had never appeared on tombs before, and they refer, again according to Michelangelo, to the inevitable movement of time, which is circular and leads to death.
The figures are among the artist's most famous and accomplished creations. The immensely massive figures of "Day" and "Dusk" are relatively tranquil in their mountainous grandeur, though "Day" perhaps implies inner fires. Both female figures have the tall, slim proportions and small feet considered beautiful at the time, but otherwise they form a contrast: "Dawn," a virginal figure, strains upward along her curve as if trying to emerge into life; "Night" is asleep, but in a posture suggesting stressful dreams.
These four figures are naturally noticed more immediately than the effigies of the two Medici buried there, placed higher and farther back in wall niches. These effigies, more usual in execution, also form a contrast; they are traditionally described as active and thoughtful, respectively. Rendered as standard types of young soldiers, they were at once perceived not as portraits but as idealized superior beings, both because of their high rank and because they are souls beyond the grave. Both turn to the same side of the room. It has naturally been thought that they focus on the "Madonna," which Michelangelo carved and which is at the centre of this side wall, between two saints. The heads of the two effigies, however, are turned in differing degrees, and their common focus is at a corner of the chapel, at the entrance door from the church. On this third wall with the "Madonna" the architectural treatment was never executed.
During the same years Michelangelo designed another annex to the same church, the Laurentian Library, required toreceive the books bequeathed by Pope Leo; it was traditionalin Florence and elsewhere that libraries were housed in convents. The design for this one was constrained by the existing buildings, and it was built on top of older structures. A small available area on the second floor was used as an entrance lobby and contains a staircase leading up to the larger library room on a new third floor. The stair hall, known as the ricetto, contains Michelangelo's most famous and original wall designs. The bold and free rearrangement of traditional building components goes still further, for instance, to place columns recessed behind a wall plane rather than in front of it as is usual. This has led to the work's being cited frequently as the first and a chief instance of Mannerism as an architectural style, when it is defined as a work that intentionally contradicts the classical and the harmonious, favouring expressiveness and originality, or as one that emphasizes the factors of style for their own sake. By contrast the long library room is far more restrained, with traditional rows of desks neatly related to the rhythm of the windows and small decorative detail in the floor and ceiling. It recalls that Michelangelo was not invariably heavy and bold but modified his approach in relation to the particular case, here to a gentler, quiet effect. For that very reason it has often been less noticed in the study of his work. At the opposite end of the long room, across from the stairway, another door led to a space intended to hold the library's rarest treasures. It was to be a triangular room, a climax of the long corridor-like approach, but this part was never executed on the artist's plan.
The sack of Rome in 1527 saw Pope Clement ignominiously in flight, and Florence revolted against the Medici, restoring the traditional republic. It was soon besieged and defeated, and Medici rule permanently reinstalled, in 1530. During the siege Michelangelo was the designer of fortifications. He showed understanding of modern defensive structures built quickly of simple materials in complex profiles that offered minimum vulnerability to attackers and maximum resistance to cannon and other artillery. This new weapon, which had come into use in the middle of the 14th century, had given greater power to the offense in war. Thus, instead of the tall castles that had served well for defensive purposes in the Middle Ages, lower and thicker masses were more practical. The projecting points, which also assisted counterattack, were often of irregular sizes in adaptation to specific hilly sites. Michelangelo's drawings with rapid lively execution reflecting this flexible new pattern have been much admired, often in terms of pure form.
When the Medici returned in 1530, Michelangelo returned to work on their family tombs. His political commitment probably was more to his city as such than to any specific governmental form. Two separate projects of statues of this date are the "Apollo" or "David" (its identity is problematic), used as a gift to a newly powerful political figure, and the "Victory," a figure trampling on a defeated enemy, an old man. It was probably meant for the never forgotten tomb of Pope Julius because the motif had been present in the plans for the Julius tomb. Victor and loser both have intensely complicated poses; the loser seems packed in a block, the victor—like the "Apollo"—forms a lithe spiral. The "Victory" group became a favourite model for younger sculptors of the Mannerist group, who applied the formula to many allegorical subjects.
In 1534 Michelangelo left Florence for the last time, though the always hoped to return to finish the projects he had left incomplete. He passed the rest of his life in Rome, working on projects in some cases equally grand but in most cases of quite new kinds. From this time on a large number of his letters to his family in Florence were preserved; many of them concentrated on plans for his nephew's marriage, essential to preserve the family name. Michelangelo's father had died in 1531 and his favourite brother at about the same time; he himself showed increasing anxiety about his age and death. It was just at this time that the nearly 60-year-old artist wrote letters expressing strong feelings of attachment to young men, chiefly to the talented aristocrat Tommaso Cavalieri, later active in Roman civic affairs. These have naturally been interpreted as indications that Michelangelo was a homosexual, but such a reaction according to the artist's own statement would be that of the ignorant. The idea seems even less likely when one considers that no similar indications had emerged when the artist was younger. The correlation of these letters with other new events seems consistent instead with the view that he was seeking a surrogate son, choosing for the purpose a younger man who was admirable in every way and would welcome the role.
Michelangelo's poetry is also preserved in quantity from this time. He apparently began writing short poems in a way common among nonprofessionals in the period, as an elegant kind of letter, but developed in a more original and expressive way. Among some 300 preserved poems, not including fragments of a line or two, there are about 75 finished sonnets and about 95 finished madrigals, poems of about the same length as sonnets but of a looser formal structure. In English-speaking countries people tend to speak of "Michelangelo's sonnets," as though all of his poems were written in that form, partly because the sonnets were widely circulated in English translations from the Victorian period, partly because the madrigal is unfamiliar in English poetry. (It is not the type of song well known in Elizabethan music, but a poem with irregular rhyme scheme, line length, and number of lines.) Yet the fact that Michelangelo left a large number of sonnets but only very few madrigals unfinished suggests that he preferred the latter form. Those written up to about 1545 have themes based on the tradition of Petrarch's love poems and a philosophy based on the Neoplatonism that Michelangelo had absorbed as a boy at Lorenzo the Magnificent's court. They give expression to the theme that love helps human beings in their difficult effort to ascend to the divine.
In 1534 Michelangelo returned after a quarter century to fresco painting, executing for the new pope, Paul III, the huge "Last Judgment" for the end wall of the Sistine Chapel. This theme had been a favoured one for large end walls of churches in Italy in the Middle Ages and up to about 1500, but thereafter it had gone out of fashion. It is often suggested that this renewal of a devout tradition came from the same impulses that were then leading to the Counter-Reformationunder the aegis of Paul III. The work is in a painting style noticeably different from that of 25 years earlier. The pervasive colour harmony is a simple one of brown bodies against dark blue sky. The figures have less energy and their forms are less articulate, the torsos tending to be single fleshy masses without waistlines. At the top centre Christ as judge lifts an arm to save those on his right and drops the other arm to damn those on his left, suggesting in the idiom of the period a scale to weigh men in the balance. The saved souls rise slowly through the heavy air, as the damned ones sink. At the bottom of the wall skeletons rise from tombs, a motif taken directly from medieval precedents. To the right Charon ferries souls across the River Styx, a pagan motif which Dante had made acceptable to Christians in his Divine Comedy and which had been introduced into painting about 1500 by the Umbrian artist Signorelli. Michelangelo admired this artist for his skill in expressing dramatic feeling through anatomical exactitude.
Tomb of the Medicis
View of the Medici Chapel
Sagrestia Nuova, San Lorenzo, Florence
Tomb of Giuliano de' Medici
Marble, 630 x 420 cm
Tomb of Giuliano de' Medici (detail)
Marble, length: 194 cm
Tomb of Lorenzo de' Medici
Tomb of Lorenzo de' Medici (detail)

redpajama_set_name: RedPajamaCommonCrawl


Dorothy A. Gunn, 80, of Hillsboro, IL, passed away on Saturday, June 23, 2018 at Hillsboro Rehab and Health Care Center in Hillsboro, IL. A visitation will be held on Tuesday, June 26, 2018, from 5:00 to 8:00 P.M., at Bass Patton Dean Funeral Home in Hillsboro, IL. Funeral services will be held on Wednesday, June 27, 2018, at 10:00 A.M., at Bass Patton Dean Funeral Home in Hillsboro, IL. Rev. Ralph Ward, of Hillsboro, IL, will officate. Burial will be in Woodside Cemetery in rural Hillsboro, IL.
Mrs. Gunn was born August 9, 1937, in Decatur, IL, to the late Vernon L. and Marguerite (Gallagher) Terneus. She is a 1955 Graduate of Hillsboro High School in Hillsboro, IL and had worked as a bookkeeper for the Hillsboro School District in Hillsboro, IL. She married Charles Darrel "Shorty" Clinard and they later divorced. She then married Merlyn E. Gunn, on June 30, 1976, in Tennessee. Mr. Gunn preceded in death on November 2, 2010. Mrs. Gunn loved quilting, bowling, her card clubs, and attending her grandchildren's sporting events.
Mrs. Gunn is survived by her four children, Jim (Wife, Becky) Clinard of Olgesby, IL, Bev McCoy of Hillsboro, IL, Bill (Wife, Robin) Clinard of Hillsboro, IL & Kim (Husband, John) Waters of Woburn, IL; nine grandchildren, Aaron (Wife, Erin) McCoy, Williamsport, Maryland; Cody (Wife, Kelby) McCoy, Irving, IL; Kevin (Wife, Larissa) Clinard, Fond du Lac, Wisconsin; Andi (Husband, Eric) Bjerkaas, North Utica, IL; Brittany (Wife, Kimberly) Clinard, Normal, IL; Josh (Fiancé, Katie Strain) Clinard, High Ridge, Missouri; Nate Clinard, Hillsboro, IL; Shannon Niehaus, Hillsboro, IL & Alyssa Niehaus, Hillsboro, IL; twelve great grandchilren; three brothers, Vernon L. Terneus, Jr. of Hillsboro, IL; John C. (Wife, Mary) Terneus of Hillsboro, IL & Thomas G. (Wife, Carole) Terneus of Chesterfield, MO; and one sister, Mickie (Husband, Mike) Gaither of Lakeland, FL. Along with her parents and husband, Mis. Gunn was preceded in death by one brother, Larry J. Terneus.
Memorials are suggested to Alzheimer's Association or Donor's Choice.


text:
Department (fonds)32 - Transportation Design Department
CollectionRG 32.02 - Transportation Design Department photographs
Item2004.23.62 - Joseph Thompson takes measurements of a clay model of a car while students work on it. The model is a split car: one design on one side and another design on the other side.
Item2004.23.64 - Students at work on a clay model of a car. Model is a split car design.
Item2004.23.65 - Students at work on a clay model of a car with Joseph Thompson observing. Model is a split car design. Students appear to be (L-R): unidentified, Robert Bartholomew, Robert Collier, (Joseph Thompson - I.D. model shop instructor), David Bishop.
Item2004.23.66 - Students at work on a clay model of a car with George Jergenson observing. Model is a split car design. Students appear to be (L-R): Masaji "Bud" Sugano (PROD 1950), Thomas Tweedie (PROD 1950), (George Jergenson - instructor), two unidentified students.
Item2004.23.67 - Students at work on a clay model of a car with George Jergenson observing. Model is a split car design. Students appear to be (L-R): Unidentified student, Masaji "Bud" Sugano (PROD 1950), (George Jergenson - instructor, Joseph Thompson - model shop instructor), Thomas Tweedie (PROD 1950), unidentified student.
Item2004.23.68 - Students at work on a clay model of a car with Joseph Thompson observing. Model is a split car design. Students appear to be (L-R): Joseph Farrer (PROD 1950), Rodell (maybe called Roland) Smith (PROD 1950), Robert Gale (PROD 1950), (Joseph Thompson - I.D. model shop instructor), Robert Bartholomew (PROD 1950), Robert Brackenbury (PROD 1950).
Item2004.23.69 - Students at work on a clay model of a car with Joseph Thompson observing. Model is a split car design. Students appear to be (L-R): Robert Gale (PROD 1950), Robert Brackenbury (PROD 1950), (Joseph Thompson - I.D. model shop instructor), Joseph Farrer (PROD 1950), Rodell (maybe called Roland) Smith (PROD 1950), Robert Bartholomew (PROD 1950).
Item2004.23.70 - Students at work on a clay model of a car with George Jergenson observing. Model is a split car design. Students appear to be (L-R): Masaji "Bud" Sugano (PROD 1950), (George Jergenson - instructor), unidentified student, Joseph Farrer (PROD 1950), Robert Brackenbury (PROD 1950), Rodell Smith ? (PROD 1950), unidentified student, Thomas Tweedie (PROD 1950).
Item 2004.23.66 - Students at work on a clay model of a car with George Jergenson observing. Model is a split car design. Students appear to be (L-R): Masaji "Bud" Sugano (PROD 1950), Thomas Tweedie (PROD 1950), (George Jergenson - instructor), two unidentified students.
Transportation Design Department
Transportation Design Department photographs
Students at work on a clay model of a car with George Jergenson observing. Model is a split car design. Students appear to be (L-R): Masaji "Bud" Sugano (PROD 1950), Thomas Tweedie (PROD 1950), (George Jergenson - instructor), two unidentified students.
32-RG 32.02-2004.23.66
1949 September (Creation)
Negative, Film, b&w, 4" x 5"
Unknown (photographer)
Transportation Design Department--Classes (Groups of students)
Transportation Design Department--Student works
Automobiles--Models
Unknown (photographer) (Creator)
Jergenson, George (Subject)
Sugano, Masaji (Subject)
Tweedie, Thomas (Subject)


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text:
Q: If the future already exists, why can't we travel to it? since time is actually distance, and if the future already exists, why wouldn't we be able to travel to the future? I understand humanity will never be able to, even if it was possible because our technology will never be as advanced. But if we had any tech. that we wanted, couldn't we theoretically travel into the future by going to a certain point? (Sorry if this is a bad question, I have only studied quantum physics for about a year so I do not know that much about time and GR yet.)

A: First, time is not distance. This is because of the $-1$ in the metric of spacetime.
Having said that, we can travel into the future. We are all travelling into the future at the rate of one second per second. If you want to reach events on Earth beyond your natural lifetime (say 200 years or 1000 years in the future) then you could in principle do so by exploiting time dilation. This requires rocket technology which we don't at present have but it is within the laws of nature.  Another way would be to use some sort of cryogenic method to preserve your body. Again, we don't know how to do it but it is probably possible in principle.
So one can travel into the future in the above sense. What you can't do is travel into the past. So having arrived in the future, you have to stay there. It is a one-way ticket.
Tied in with all this is the question of consciousness itself, and memory and experience. There are a lot of subtle issues here which I won't get into. We use words like "I" and "you" and "now" to refer to certain sets of events in spacetime, but if you look at spacetime as a whole it is hard to know how those events are being singled out.

A: You don't have free will. You can't do anything. You simply exist and there is an illusion that you are doing things. There is an entropy gradient that you exist in. Your memories are only of the past because you can only form memories in the direction that entropy is increasing.

A: There are various reasons for the following
1)The laws of physics state that if we travel faster than the speed of the light which is 3*10 to the power 8 we can time travel but it is not possible to the lack of advancements in technology
2)Nobody Disagrees to the non-existence of future but we cant travel
Now let me tell you the answer by relating it to a paradox
The grandfather paradox
According to my understandings, If you somehow travel into the future
and kill your grandfather it arises a question that how will you exist because your grandfather is killed and your father won't take birth and so even you wont
But let me clear that this series of events is going on in other universe which is the multiverse
so when you travel into the future by using a time machine you travel at the speed of light and then reach another universe where the series of events are occuring diffrently
Let's say you are an astronaut on this universe, It is not mandatory that you will be an astronaut
The future of the universe you are living in is undefined.


text:
May 30 2019 @ 19:30
More information about Eagle Eye Cherry tickets
A chance meeting with a city that revived his desire to record and perform. A new professional environment that saw opportunities instead of problems in the new music business era. Not least the chance to play live so often that the songs get their own life.
Eagle-Eye Cherry was a few years ago not convinced that he would continue to wander the artist path. But a series of happy circumstances turned the hesitation into a series of exclamations. This has now led to the album "Streets of You", his fifth since the 1997 debut album "Desireless".
"I had begun to appreciate being anonymous again. Being able to hang around with my family. Play football on weekends. In addition, like many other musicians of my generation, I felt quite lost to the new era of streaming songs instead of albums" reflects Eagle-Eye Cherry today.
In that situation, the first of happy circumstances arose.
Eagle-Eye switched management after 18 years and started collaborating with one that saw only openings made possible by the new technology.
The second and redeeming factor was Eagle-Eye ending up in Nashville:
"I was eager to co-write with other songwriters and had tested it in Los Angeles, but I simply did not communicate with that town. Nashville, on the other hand, I totally loved. The general attitude, the fact that Nashville still breathes music through all the veins, that one can always go out and listen to live music. But not least that everyone applauds the one who succeeds. I got the lust back, reached a strong "aha" feeling. "
The exact location of Eagle-Eyes newly found euphoria was Blackbird Studios. For the last two decades Blackbird has been among the most celebrated recording environments in popular music. Cherry also fell in love with place while he recorded a couple of songs there. After transforming that feeling into the actual plan of an entire album, the recordings continued in Sweden's possible counterpart, The Atlantis studio in Stockholm, home of recordings with everyone from ABBA to Elvis Costello and on.
Phase two in the recording process that led to "Streets of You" meant cooperation with Swedish producer Peter Kvint and a longer session in the said Atlantis.
"We recorded extremely old school with a great band for ten days. I tested quite a few songs and it all landed in this album. I still love the album as a format. Later on, I might also go to EP and more focus on fewer songs, but so far this will be the case."
One of the musicians on the album is American drummer Earl Harvin, who Eagle-Eye once first saw in UK act The The.
With "Streets of You", Eagle-Eye Cherry wants to revive the general feeling he and his fans had in particular in 1997 - from the breakthrough with "Save Tonight" - and up to a few years into the 21st century.
During that period Cherry was a beloved institution at clubs, theaters and festivals throughout Europe, but also in his second major market, Brazil ("I was in a surf movie there and got a faithful core audience that remains til this day").
His followers loved the kind of very personal pop-rock that emerged when he in the early 90s searched for his own musical formula after growing up in a mainly jazz focused environment – Eagle-Eye's dad, trumpeter Don, was a jazz icon and sister Neneh also often looked into jazz territories with her music. Eagle-Eye himself ended up with a kind of singer/songwriter idiom that he today labels "folk country".
"I lived in Stockholm in a sublet apartment including a very simple guitar. I started playing and making songs completely improvised. Previously I had played percussion and keyboards and rhythm-based music. Now everything was suddenly based in lyrics and melody. Some kind of folk with lyrics that described situations. Only later I started listening to Neil Young and Bob Dylan, but then I had already found my style. "
"Save Tonight" was one of the last songs I did for the first album. I remember that I had made plans to play football that day but I got an idea around the phrase "Save Tonight" and stayed at home. I told my then girlfriend afterwards: "I've made a new song that's a bit corny, but it's quite good!"
Many asks if it's a burden to have such a famous song. In that case I really see it as "a good problem." I'm convinced I would have liked it even if someone else wrote it. "
In the long run everything became a little hysterical, with the pace of tours, public relations and recordings.
"I played too often and quite often on too big scenes. Got a little lost, felt a lot of pressure. I guess I was close to a burnout. The rescue was that I could always land at home in Sweden, sort of reclaim some normality, haha."
Today Eagle-Eye is better at balancing the artistry and his second love, acting, with a more grounded life in Stockholm. Which still often includes quite a serious game of football:
"Football is perfect for letting out frustration and boosting energy. In addition I get to know people I would never have met otherwise. It started in New York when I lived there and I never tire. But unfortunately it's not really possible to combine league games and touring. "
And touring will emerge after "Streets of You" has been released. Around his last album, released in 2012, Brazil was often his live focus ("It's nice to act rock star for a couple of weeks", he smirks). But with the new album Europe will again be the main target. Eagle-Eye will initially play clubs but he today does not mind the touring transforming into bigger scenes:
"Not at all. With larger scenes and thus better budgets you get the opportunity to rehearse a really tight band. And the best thing I know is to have a band that is so intertwined that the songs can go away in different directions and live their very own lives. "
Eagle-Eye Cherry 2018, an artist who found the way back to the core of his art.
O2 Islington Academy
N1 Centre, 16 Parkfield Street


At this week's 20th Annual World Bank Land and Poverty Conference in Washington DC, a new campaign called Stand For Her Land has been launched.
When Proscovia's husband of twenty years died of cancer in 2013, his family forcibly removed her from the land he'd left behind for her to raise their three children on.
Women in half of the countries in the world are unable to assert equal land and property rights despite legal protections, warned members of a new global campaign that formally launches today.
Women's economic empowerment is a necessary step to promote women's rights and achieve gender equality. Throughout the last decades, women have been entering the labor market and, despite the still existing inequalities in terms of wages and opportunities, there are many sectors in which women have achieved great visibility. This is not the case of agriculture and livestock.
KASSERINE/TUNISIA: Souad Gharsalli lives in a rented flat in the center of Kasserine, in western Tunisia, baking and selling artisanal bread to make money. But she should be growing olive trees for a living, she says.


In 2004, I was a volunteer for Oxfam and I was not satisfied with a choice that was in front of me. So I made a decision that was to impact the lives of many people, most of whom I would never meet.
Oxfam had created a Christmas catalogue with a difference. You could buy things for your loved ones but all they would receive was a card telling them that something had been sent to poor people in another country, on their behalf. I thought it was a genius idea and was very excited.
I could only afford to buy 10 chickens.
Most of my money was being spent on receiving treatment for Chronic Fatigue at a private clinic in Market Harborough. I didn't want to buy just 10 chickens because they were the cheapest thing in the Oxfam Unwrapped catalogue so I knew lots of people would choose to buy them.
I wanted to do more than that. So I chose again. And something spectacular was put into motion.
I told my husband that if I got together with some friends we could combine our money and buy something more than 10 chickens. He then suggested we create some kind of sponsored event. He told me that his employer, The Co-op, would match any sponsorship money we raised up to a maximum of £160. That was exciting news! We might be able to raise £320 and that would buy a lot more than 10 chickens.
He decided that we could drive for 12 hours to as many Co-op shops as we could manage and I should take a photo of him with each store manager. He planned our route and set the date for 4 January 2005. We created sponsorship forms and he told his company of our plan. They were very excited. They owned a company called Sterling Motors and decided to give us one of their cars for our 12 hour drive!
On 26 December 2004 a huge tsunami hit Asia. All the big charities changed focus and opened up a Tsunami Appeal. Prior to that, Oxfam had been collecting for Darfur but little money was arriving. Now there was a Tsunami Appeal and donations were flooding in. The Oxfam Unwrapped online catalogue was changed to only provide for the Tsunami relief.
Some people asked if we would change our event to support the Tsunami Appeal but I decided against that. I knew that when it ended there would still be people in 72 countries needing help.
On 4 January 2005 our event went ahead as planned. The local press came to interview us and take photos and then we were on our way.
Eventually the Tsunami Appeal was closed as Oxfam had received all the money it needed and the full Oxfam Unwrapped catalogue was reinstated online. Finally we were able to spend the money we had raised. We bought boats and camels. We trained teachers and midwives in remote villages. We bought medicines and school equipment. I am proud to say that we didn't buy any chickens, although we did buy some goats!
On 4 January 2005 we gave 12 hours of our time and raised almost £2500 for people in need around the world. We would never know who they were and we would not get a thank you. But we did have the satisfaction of knowing that a huge group of people had sponsored us and helped us to truly make a difference in the world.


Writing a book? Just Brainstorming? or maybe you just have writer's block, which I tend to get a lot. Yes, writing a book can be quite complicated. Staying motivated can be a challenge, truthfully I have found brainstorming and daydreaming about your story to be a great way to build on its foundation. Knowing what the story is going to be about, who the story is going to focus on, and how the story is going to end is very important. It is always good to start off strong also, you want to draw in your readers by enticing them with a vigorous beginning. Here are some great tips to help fellow readers eager to get started on their writing journey.
Daydreaming, which is my favorite method. Thinking about your characters, background, and the details thereof really comes out when using your imagination. Sometimes even listening to some music can help get your mind going in all sorts of creative directions.
Brainstorming on paper, this is where you jot down and organizing the story so you know what direction your are planning to go. Some even used the bubble chart method also, which is a great visual aid as well.
Acting the story out, almost like when you are saying a monologue in drama class. Sometimes just getting inside the characters you have created and acting out scenes can really help embrace your story and connect with them on a personal level.
After you brainstorm you are going to want to plan out your scenes or as stated before have an idea of the direction you are wanting to go with your story. One method that me and my husband use when working on our novels is writing scenes down on note cards. When doing this method you allow yourself to organize your novel in scenes, chapters, and you know the direction you are heading in your novel. This is a great start as you embark on your journey as a novelist.


A mentally retarded woman was transferred to a 50-bed residential care facility where her boyfriend, also mentally retarded, lived.
Her mother was assured that her daughter would receive a contraceptive, starting on the day she was transferred to the facility. However, 6 months passed before she received her first contraceptive injection. It was later discovered that the woman became pregnant before the birth control was administered. The woman's child now suffers from severe neurologic disorders.
In suing, the woman claimed that the facility and its owner were not only negligent, but that these actions constituted dependent adult abuse.
The defendants maintained that they were not required to provide the woman with birth control, and that, due to her right to privacy, they had no right to intervene. They filed a cross-suit against the woman's physician.
The case settled for $2 million. The cross-complaint was dismissed for a waiver of costs.


text:
Rick Salutin
Rick Salutin is a Canadian novelist, playwright and critic. He is a strong advocate of left wing causes and writes a regular column in the Toronto Star.
Bob Dylan and Barack Obama's contested Nobel Prizes drew different receptions
Although literature found its way into Bob Dylan's songs, and gave him "a way of looking at life, an understanding of human nature, and a standard to measure things by," it doesn't make him an author.
Medicare might be the most resilient Canadian symbol
The symbols that would have the right to hang out proudly with other national symbols are all in decline. "O Canada" and the Maple Leaf are down, the Mounties and beaver, way down.
Referring to Indigenous peoples as immigrants, and a paternalistic apology, suggest we need a new Governor General
This goes well beyond a slip; it's a conceit with a useful history in disparaging Indigenous claims.
Lessons for the left, courtesy of Jeremy Corbyn and Bernie Sanders
Socialism is no longer a dirty word and left-wing parties have valuable lessons to learn from authentic candidates who were able to attract the youth vote.
Reconciliation will require reevaluating our assumptions and actions of the past
The revival of "1837" revealed that our show is (relatively gently) charged with overlooking truer victims: the First Nations.
Post-Manchester, Corbyn's left-wing populism is catching on
Corbyn boldly, even recklessly, doubled down, blaming the bombing partly on the aggressive, militaristic foreign policy of previous leaders, including Labour's own Tony Blair. Why did it work?
Trump's scaled back hostility to Islam means the world is somewhat less apocalyptic
Trump's speech in Riyadh this week was normal foreign policy drivel, which came as a relief. It was no more preposterous than what Obama, Clinton, or Trudeau deliver when they talk world issues.
If cultural appropriation isn't about white people's right to expression, then what is it about?
The cultural appropriation debate broke new ground this week, for me anyway. I confess I was among those who always saw it as essentially a matter of free speech: the right to write what one chose.
James Comey debacle reveals a nation addicted to self-dramatization and myth
I'd have fired James Comey too. The guy is delusional, grandiose and a drama queen (who does that remind you of?). The former FBI director thinks it's all about him.
French election speaks to the pointlessness of politics under globalization
If political acts, like voting, are meaningless under globalization, that makes some sense of the refusal by normally left voters to turn out for Hillary, leading to Trump's victory.


I have worked at Amtrak for 30 years. I started in Boston working Northeast Corridor before transferring to Chicago in 1991. I worked long hauls for 10 years and switched to short distance. I have worked on Safety Committees in the past. I have been a trustee for I believe 3 elections (about 10 years). I will continue to work for 1-2 more years. In my final years, I want to enjoy my work with my compatriots and help the union. I believe we have a good mix of experience and fresh faces to continue with the work of the union and also improve our impact with our members and the company.


text:
How Polus Came to Be
My name is Niv Karmi. I am the CEO and founder of Polus Tech, a company on a mission to revolutionize the way organizations and authorities manage the safety of our global community.
We started our journey in 2016. After completing my relocation to Switzerland, we opened our first office and headquarters.
I choose Switzerland as Polus home because I believe that the discipline, precision, and engineering excellence of the Swiss watchmaking industry is what's required to develop the kind of products Polus wishes to build—ones that can perform even in the most challenging of environments and help save lives when people are at risk. The communities in Switzerland made me feel at home with my decision, as I grew up in a small mountain village, within a small country.
Leveraging our in-depth knowledge and experience in Telco-Tech and Big Data, we focus on developing advanced products that enable connectivity during disasters. By ensuring there's a way to communicate at all times, our products improve decision-making and crisis management, making them ideal for health organizations, first responders, and rescuers.
What comes next? Now that we have the right product, we focus our efforts on building out the infrastructure to smartly manufacture our product at scale, leveraging Swiss experience in manufacturing expertise without sacrificing precision.
We are also establishing the "Polus Institute," a platform that will encourage academic research of technologies needed to fulfill our mission of global safety. Polus Institute will help us advance crisis management research and identify the best life-saving practices during man-made and natural disasters.
I hope this short overview of our company brings you closer to Polus and our mission, giving you a strong understanding of who we are and where we're headed.
Niv Karmi


text:
What's the Microsoft Power Platform?
2 months ago	November 18, 2020 2 min read
Microsoft is leading digital transformation for businesses, helping them find new and exciting ways to use their people and processes to the fullest. In a digital-first world where customer experiences take precedence over all else, leveraging every available resource is of the utmost importance.
The Microsoft Power Platform is a collection of products from Microsoft that aim to help businesses heavily dependent on data look for new ways to gain tangible value from it.
The platform offers services for business intelligence, app development and app connectivity to help customers get greater value from their investments as Microsoft positions itself to compete with Amazon Web Services and Google's cloud platform.
If you already use Microsoft Azure for cloud computing and Microsoft 365 for productivity, then the Power Platform components will undoubtedly benefit your business manifold.
Power Platform products include:
Power BI: for in-depth data analysis from various sources
PowerApps: creates robust mobile apps that can be used internally
Power Automate: creates automated workflows that reduce manual tasks
Power Virtual Agents: makes powerful chatbots to help connect with customers
Read on to find out how these tools help users enhance their business processes.
What can the Microsoft Power Platform do and who is it for?
The Power Platform is a collective expression for four Microsoft products: Power BI, Power Automate (formerly known as Flow), PowerApps, and Power Virtual Agents. These let people manage, automate and analyze the data combined with Dynamics 365, Microsoft 365 and other third-party apps and Microsoft services.
Power Platform gives end-users easy access to digital information, even if they don't have a technical background. This means the users don't require coding knowledge.
While Microsoft Power Platform doesn't come with the intricacies of custom coding, it does provide a streamlined method that enables users to develop, automate or evaluate data in different ways that may have been impossible beforehand.
Let's delve deeper into each of the four Power Platform products to better understand their capabilities.
Microsoft Power BI is a business analytics tool. It's a cloud-based solution that analyzes and models data with interactive visual reports, dashboards, and stories for business intelligence.
Power BI Desktop can be downloaded from the Microsoft Store specifically on Windows machine for free. At the present time, Power BI is just available for Windows and no other operating systems. Additionally, it also has a mobile application and can be installed on iOS and Android devices. You can visualize reports in an intuitive mobile interface through the mobile app instead of the definite desktop view, if preferred.
In short, Power BI allows you to:
Connect with third-party cloud services, Microsoft services and in-house data sources
Easily handle data and create visuals such as dashboards, maps and charts, which help you present information in a simplified format
Use usual language for queries and get results
Examine and comprehend complex data to facilitate continual improvement
Power Apps is an intuitive platform that allows users to build a UI for mobile applications with a drag and drop features. Users have the option to add various controls to the UI like choice fields, text boxes, etc.
Power Apps also supports other features and media devices that can help you develop an advanced mobile application. Users can easily create and run apps on web browsers like Firefox or Chrome, or use them on iOS, Android or Windows devices.
Essentially, Power Apps is only for internal users. Developers can't modify or tweak the HTML codes or control elements related to the user interface.
In a nutshell, Power Apps allows you to:
Create mobile and user-friendly apps quickly and with a low-code approach that reduces the IT team's burden
Bring and surface data together from your business applications such as Microsoft 365, Dynamics 365 and other apps
Present key data in a streamlined way that helps with data entry, meaning users only get relevant information they require to accomplish a particular task
Power Automate, formerly referred to as Microsoft Flow, is another component of the Power Platform that centers on automation. It lets business users automate workflows effortlessly without the requirement of code knowledge. As businesses gear up for seamlessly automated environments, Power Automate makes it exceptionally easy to manage manual tasks precisely.
Power Automate offers various pre-defined workflow templates to choose from, and you can even build customized workflows from scratch if need be.
Overall, Power Automates allow you to:
Deploy pre-defined automation templates in the Flow Gallery
Create custom automation by connecting various applications such as SharePoint, Dynamics 365, Outlook or other apps like Twitter, Gmail or Asana
Set up alerts, automated emails, triggers and push notifications with no coding
Save time, reduce the chances of human error and simplify your processes
Power Virtual Agents is a recent addition to the Power Platform. These agents provide business users with bot-building services, offering the tools needed to create a virtual chatbot or agent from scratch, without coding knowledge.
It's possible to execute logics and integrations in the GUI of the Power Virtual Agents platform. It can also manage the entire development lifecycle of a chatbot, starting from the information flow, to the chatbot's deployment stage, to a channel like Skype, Teams, etc.
Furthermore, the Power Virtual Agents platform also supports integrations in the Microsoft Power Platform such as Power Apps. Based on the replies of a user, the virtual agents have the ability to prompt workflows from Power Apps and complete a particular task.
All in all, Power Virtual Agents lets you:
Create custom chatbots or virtual agents
Authorize the virtual agents to take necessary actions
Monitor chatbot performance with AI-powered and data-driven insights
Let Sherweb be your guide to the Microsoft Power Platform
With numerous applications explicitly built to fulfill business needs, Microsoft is a leading enterprise tools platform. And its Power Platform is one of the most powerful resources that helps business users analyze, take action and automate workflows, all in a low code environment.
There's no denying the fact that these resources can have significant implications for an MSP's business. An indirect cloud solutions provider (CSP) can help you navigate the intricacies that come with the management of the cloud customer lifecycle, and also offer greater flexibility and reduce complexities associated with reselling Microsoft products.
With an indirect CSP like Sherweb, you can get migration-related assistance, focus on your core functions and unlock market opportunities that let you stay ahead of the competition. Additional value-added services—cloud solutions and products, operational effectiveness, business strategy and cloud expertise—are also available to push your business towards its full cloud potential. Whether you need guidance streamlining processes in a complex Microsoft environment, building a strategic roadmap or sourcing tools to support digital transformation, we can provide a tailored approach to your needs.
Looking to get started with Microsoft Power Platform right away? Become a Sherweb partner to get started
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text:
The Moving Image Source Research Guide is a gateway to the best online resources related to film, television, and digital media.
CRITICISM AND THEORY (163)
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Introduction to Film and Media Studies (17)
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Archives - Asia Pacific (8)
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Bibliographies (109)
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Full-Length and Short Films Online (66)
Media Resources (43)
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Criticism and Theory > Criticism and Scholarship - General
Criticism and Scholarship - General
International Association for Media and History
The International Association for Media and History is an organization of scholars "dedicated to historical inquiry into film, radio, television, and related media." The website provides information on current publications by members as well as volume information on the association's journal The Historical Journal of Film, Radio and Television.
International Index to the Performing Arts
An index of scholarly performing-arts periodicals.
The website of critic Jonathan Rosenbaum contains an archive of reviews published in the Chicago Reader between 1987 and 2007 as well as reviews and articles for other journals and publications. There is one featured text per week as well as a regularly updated blog.
JSTOR offers easy-to-use, full-text searching of more than 700 periodicals.
Jump Cut: A Review of Contemporary Media
Examining moving image media and cultures from an explicitly "nonsectarian left, feminist, and anti-imperialist" political stand, the website of the journal Jump Cut provides a chronological, searchable archive with access to full-text essays, reports, and features going back to its first issue in 1974.
A journal for film and audiovisual media established in 1993 at the University of Waterloo, Kinema semi-annually publishes film and media criticism and reports on international film festivals and conferences.
Lexis-Nexis Academic
Search the full text of selected newspapers, wire services, and business sources for historical film reviews, business information, or other primary sources.
Media and Communications Studies Site: Film Studies
A bibliography by scholars at the University of Wales that links to full-text articles available online. Browse by subject.
Providing online access to the histories of cinema, broadcasting, and recorded sound, the Media History Digital Library digitizes collections of classic media periodicals that belong in the public domain for full public access.
Media Theory and Digital Cultures Bibliography
From UC Santa Barbara's Digital Cultures project.
Mediascape
UCLA's journal of Cinema and Media Studies looks at various moving image cultures including film, television, and digital media. Full-text articles are available for all past issues.
MedieKultur
MedieKultur is a multi-disciplinary peer-reviewed journal of media and communications studies aimed at scholars, teachers, students, and professionals. It publishes research into mediated communication in various contexts: political, economic, cultural, historical, aesthetic, and social.
Millennium Film Journal
Published since 1978 by the Millenium Film Workshop, the Millenium Film Journal focuses on avant-garde cinema and practice, and covers a range of moving image technologies. The journal's website fully indexes past issues by both author and filmmaker. All issues are available for back order, and almost all articles after 1992 are available in full for free.
Movie: A Journal of Film Criticism
This online, refereed publication, a joint venture of the Universities of Warwick Reading, and Oxford, aims to create a forum for film- and television-related analysis, debate, and discussion.
National Cinemas Bibliography
Browse bibliographies on international cinema, organized by region. Many of the sub-pages on regions have links to bibliographies on individual filmmakers. The resources listed are available in the UC-Berkeley library, but many of the books can be found elsewhere.
New York Times: Movies
A complete, searchable archive of New York Times film reviews. The search function links to an extensive database of profiles on individual films, filmmakers, and actors.
This Canadian journal features interviews, festival coverage, and essays on directors, Asian cinema, European cinema, documentaries and other topics. Offscreen and its French language sister journal Hors Champ have been online since 1997.
P.O.V. is a peer-reviewed online journal published biannually. The articles in each issue reflect a common theme, and recent issues have covered Danish television, the western, and short fiction films.
PFA Cinefiles
The Pacific Film Archive conducts primary source research for the films it shows and has posted the results of that research. The database includes reviews, press kits, festival and showcase program notes, newspaper articles, and more, covering more than 30,000 films. Materials that are not copyright-protected are available (usually as .GIF or .JPG files) for download.
Ray Carney
The official website of Ray Carney, a leading critic and scholar on American independent film and art film. The website has three sections with selections from Carney's lectures, interviews, and writing: the John Cassavetes Pages, the Independent Film Pages, and Film and Other Arts Pages.
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Q: How will be object[] params interpreted if they are passed into another procedure with object[] params? If we have two procedures:
public void MyFirstParamsFunction(params object[] items)
{
    //do something
    MySecondParamsFunction(items, "test string", 31415)
}

public void MySecondParamsFunction(params object[] items)
{
    //do something
}

How will second procedure interpret the items from first? As sole objects, or as one object, that is object[]?

A: object[] items will be interpreted as one object[] parameter.

A: This call:
MySecondParamsFunction(items, "test string", 31415);

Will expand to this:
MySecondParamsFunction(new object[] { items, "test string", 31415 });

So you'll have 3 items in your params array for the call. Your original items array will be crammed into the first item in the new array.
If you want to just have a flattened parameter list going into the second method, you can append the new items to the old array using something like this:
MySecondParamsFunction(
  items.Concat(new object[] { "test string", 31415 }).ToArray());

Or maybe with a nicer extension method:
MySecondParamsFunction(items.Append("test string", 31415));

// ...

public static class ArrayExtensions {
  public static T[] Append<T>(this T[] self, params T[] items) {
    return self.Concat(items).ToArray();
  }
}

A: If you check it yourself you would have noticed that it is seen as a single object.
So in MySecondParamsFunction the items parameter will have length of 3 in this case.

A: The params keyword is just a bit of syntactic sugar.
Calling MyFirstParamsFunction(1, 2, 3) is the same as MyFirstParamsFunction(new object[] { 1, 2, 3 }). The compiler injects the code to create the array behind your back.


text:
Bipartisan Senate bill to save taxpayers money and increase transparency reaches new record level of support
Michael Beckel Apr 24th, 2018 Accountability, Congress Share
A bipartisan bill in the U.S. Senate that would save taxpayers nearly $900,000 a year and increase political transparency has won over more sponsors than any other time since it was first introduced in 2003.
With Sens. Martin Heinrich (D-NM), John McCain (R-AZ) and Tina Smith (D-MN) recently joining as official cosponsors, the Senate Campaign Disclosure Parity Act (S. 298) — which would require U.S. Senate candidates to join all other federal candidates in electronically filing their campaign finance reports — has now been formally backed by 53 sitting senators.
"Democrats, Republicans and independents understand that the Senate Campaign Disclosure Parity Act is a win-win proposition to increase transparency while saving taxpayers money," said Issue One Executive Director Meredith McGehee. "In an era of email, smartphones and cloud computing, it is ridiculous that Senate candidates are still required to file paper copies of their campaign finance reports. It is time for Senate Majority Leader Mitch McConnell to stop standing in the schoolhouse door. The Senate should pass this long-overdue reform before the 115th Congress comes to a close."
Added Michael Beckel, Issue One's manager of research, investigations and policy analysis: "It has been an uphill battle for more than a decade to get the Senate to embrace e-filing, but the wind is at our backs. A record number of senators rightfully recognize that it's time for the Senate to stop wasting taxpayer money to process reams of paper that detail senators' campaign expenditures and fundraising. There is bipartisan momentum for the Senate Campaign Disclosure Parity Act for good reason."
The Federal Election Commission (FEC) estimates that Senate candidates switching to e-filing would save taxpayers approximately $900,000 a year. The often-divided agency has regularly unanimously urged the Senate to make this technological leap forward.
Here is how the current process works: Senate candidates must print out their campaign finance reports, which typically originated in an electronic database, to either mail or hand-deliver it to the Secretary of the Senate. Senate staffers, in turn, scan the documents to convert them into digital .pdf files and send them to the FEC. That agency then hires a government contractor to key the information back into a searchable digital format. Several weeks — and hundreds of thousands of taxpayer dollars — later, the information is finally available to the public in a searchable, sortable and downloadable fashion.
The Senate Campaign Disclosure Parity Act — which was introduced last year by Sens. Jon Tester (D-MT) and Thad Cochran (R-MS), who retired from the Senate earlier this month — would make e-filing a reality.
This important legislation is now sponsored by 41 Senate Democrats, 10 Senate Republicans and both of the independents serving in the U.S. Senate — Sen. Angus King of Maine and Sen. Bernie Sanders of Vermont.
Additionally, the Senate Campaign Disclosure Parity Act has been endorsed by a host of groups from across the ideological spectrum, including the Campaign Finance Institute; Campaign Legal Center; Cause of Action Institute; Center for Political Accountability; Center for Responsive Politics; Common Cause; Demand Progress Action; Democracy 21; Government Accountability Institute; Issue One; Judicial Watch; League of Women Voters of the United States; Liberty Coalition; MapLight; National Institute on Money in State Politics; National Legal and Policy Center; OpenTheGovernment; Project On Government Oversight; Sunlight Foundation; Take Back Our Republic; and Taxpayers for Common Sense.
Tags Efiling
Michael Beckel


The Bobbilicious Files: Getting Witchy!
I have a finished project to share that I'm super excited about - and have many pictures of, so prepare yourselves. This is the Lestrange Cloak from the Unofficial Harry Potter Knits that came out last year. I've been working on it since May. It wasn't a difficult knit, but there was lots more to it than I thought. I used a cotton/nylon blend yarn that's been in my stash for a long time that's machine washable - but it left a layer of fuzz all over the dryer when I washed and dried it last night. Hopefully that won't happen again. Okay, on to the pictures!
I'm still trying to figure out my best smiling face. I look grouchy but, trust me, I'm not. I plan to make a magenta dress to wear under this, probably bias cut. A pair of Stevie Nicks boots would be great, too. What do you think?
oh my gosh it looks awesome! Great job!!
Very nice. It'd look great with boots. I sympathize on the facial expression thing. I have one look (smile) that's okay; the rest look like I have a thorn in my paw.
It looks amazing!! That must have taken you such a long time!
Wow, that's brilliant! Nice work! I love it.
THIS is amazing! And, you are rocking it!


Deodorants are your first and best bet to prevent body odour and prevent your underarms from smelling awful! While summers lead to a lot of sweat which in turn makes your underarms a breeding ground for bacteria, a good deodorant can definitely keep them smelling good and fresh. You can also opt for some natural chemical free deodorants like this one!
Exfoliating your skin regularly helps get rid of dead skin cells and prevents growth of virus & bacteria. Use a mixture of baking soda and lemon juice to exfoliate your underarms. This concoction not only helps in exfoliation but also helps in maintaining the pH balance thereby preventing excessive sweating and odour.
Make a mixture of 1 teaspoon of mild (3-5%) Hydrogen Peroxide with a cup of warm water and use this solution to wash off your underarms. Alternatively you can also spray in on your underarms using a spray bottle. The Hydrogen Peroxide helps in maintaining the pH levels there by preventing the growth of microbes. It also helps reduce sweat.
Your clothing plays a major role in sweat and body odour because artificial fibres can actually block your pores causing excessive sweating. So choose light natural fabrics like cotton, bamboo cotton, wool etc during summer to prevent excessive sweating and odour.
Also make sure you wash your clothes regularly and wear clean clothes every time to smell and feel fresh!
Shower atleast once and if possible twice everyday to keep yourself fresh and comfortable throughout the day. Use a good shower gel or an antibacterial soap that would kill the armpit microbes and keep you fresh all day!
Look what you eat and have a balanced meal. Avoid spicy, oily foods, onions, garlic, red meat, fish and foods that have pungent odour as they tend to make your sweat smell bad! Avoid smoking and drinking alcohol as it helps you think straight and avoid sweat - consuming alcohol increases the temperature of your body making it sweat more.
Always have your underarm hair trimmed and shaved or removed to keep the area clean, fresh and sweat free. Un-shaved underarms serve as a breeding ground for bacteria, producing body odour.
Did you know that there are a few essential oils that can help prevent body odour? Well yes there are :) Lavender oil, tea tree oil and peppermint oil can control body odour as they have anti-bacterial properties and also they keep you smelling fresh!
Take 2-3 drops of either of the oils and mix them with carrier oils like coconut or castor oil and apply on your underarms. Alternatively you can also mix a few drops of the essential oils with water, pour it in a spray bottle and use whenever required.
To prevent excessive sweating, offensive body odour and to reduce unwanted hair growth ancient Indian women swore by this - wild turmeric powder also known as Kasturi Manjal mixed with White Turmeric powder also known as Poolakizhangu. This mixture has a specific herbal fragrance with anti-bacterial and anti-septic properties and regular use of it can prevent excessive sweating, body odour and minimize hair growth!!
So these are our great tips to combat excessive sweating and reduce body odour this summe. Hope you find them useful, do let me know your thoughts in comments below.
Note: If you have excessive sweating always then it's good to consult a doctor and have it checked to avoid medical complications. The above said cures would work only for sweating due to the climatic conditions and will not really work if you have a medical or skin condition.


text:
Q: Multi-Boot Windows 10 & Various Linux Distro on External SSD Running Mojave on MBP 2014.  Just purchased a Samsung T5 SSD 1TB drive and want to run Windows 10 and various other linux distros (Elementary, Mint, Parrot Security, Kali) on it so I could take the drive with me and either boot from my mac or another computer.  I got Windows 10 to work by following
https://9to5mac.com/2017/08/31/how-windows-10-mac-boot-camp-external-drive-video/
I was successfully able to boot between Mojave (on MBP HD) and Win10 (External SSD) by holding down Option key as it boots.  I then made a bootable USB stick with Elementary OS and booted to that stick.  I had already created a partition for the Elementary OS but went ahead and allowed it to partition it the way it wanted to during the install menus.  I chose the partition that I had made before to which it changed it to EXT4.  Then I created another smaller partition for swap.  Once Elementary was installed, it asked for me to reboot.  I held down Option and saw my MacOS drive, Windows (External SSD, which was actually the Elementary OS) and then EFI (External SSD, which was the Win10).  I tried to boot into Elementary OS and just had a flashing cursor at the top and nothing else.  Trying to boot into Win10, it would not get past the choosing where you want to boot from.  Like it was locked up.  Any ideas on how I can get this to work?

A: A short answer to your question will not fix your problem, but at least you may become more aware of the difficulties installing other operating systems on Macs.
Both Windows and Elementary install their boot files in the hidden EFI partition. When holding down the option key at startup, you invoke the Mac (firmware) Startup Manager. This startup manager does not detect all possible correctly installed operating systems.

The Mac Startup Manager assumes each EFI partition will only contain at most the boot files for a single operation system.

While both Windows and Elementary are using the same EFI partition, you will not be able to use the Mac Startup Manager to boot both operating systems.
Possible solutions are:

*

*Use more than one EFI partition. A drive can have more than one EFI partition. Additional EFI partitions do not have to reside at the beginning of the drive.

*Use a different startup manager. A free startup manager would be rEFInd. I prefer to install rEFInd so this manager can be booted from the Mac Startup Manager, the rEFInd will then allow you to select other operating systems. Actually, rEFInd instructs the Mac firmware to boot the selected operating system.

BTW, I have found difficulty installing most versions of Linux to use an EFI partition other than the default. I usually have to manually move the Linux boot files to an alternate EFI partition. Also, care must be taken to insure any Windows boot files are not overwritten by a Linux installer. The file that usually is overwritten is EFI/Boot/bootx64.efi. This file is copy of the EFI/Microsoft/Boot/bootmgfw.efi file.
You can access any EFI partition from macOS. To access the primary EFI partition on the first internal drive from the Finder, enter the command give below in a Terminal application window.
sudo diskutil mount disk0s1

To unmount, enter the command given below.
diskutil unmount disk0s1

In your case, make the appropriate substitution for your external drive.
Below are the elementary boot files store in the EFI partition. This image was captured from an VirtualBox install. Note: the files EFI/BOOT/bootx64.efi and EFI/ubuntu/shimx64.efi are identical.


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