text:
Claudia Mahnke
SaxonyGermany
Claudia Mahnke has established herself as one of the most important mezzo-sopranos and inspires her audience on the international opera stages and concert halls with her warm, versatile voice.
At her home company, the Frankfurt Opera, she will be seen again as Hänsel in the 2020/21 season. In the new production Aida, directed by Lydia Steier, she will debut as Amneris. The artist then will appear in the Frankfurt new production of Poulenc's Dialogues des Carmélites. In addition, she will appear again as Magdalene in Die Meistersinger von Nürnberg at Münchner Opernfestspiele with Kirill Petrenko conducting. She sings Fricka Das Rheingold in a concert performance semi-staged by Keith Warner in Bochum. In Tokyo Claudia Mahnke is guesting as Brangäne in Tristan and Isolde. With the Hamburg Symphony Orchestra she sings the second act of Tristan and the Maeterlinck songs by Zemlinsky under the baton of Sylvain Cambreling. She will return to Bern for Gustav Mahler's Symphony No. 3.
Claudia Mahnke has been a member of the Frankfurt Opera since 2006/07. Here she recently performed Herodias in Salome (director: Barrie Kosky, conductor: Joana Mallwitz), Foreign Princess Rusalka, Marie Wozzeck, Selika in Meyerbeer's L' Africaine (director: Tobias Kratzer), Charlotte Werther, The Rape of Lucretia Lucretia, Les Troyens Dido, L'heure espagnole Conception, Les Contes d 'Hoffmann Giulietta, Bluebeard's Castle Judith, La Damnation de Faust Marguerite, Tristan and Isolde Brangäne, Götterdämmerung Waltraute and 2. Norn, Ariadne auf Naxos Komponist and Parsifal Kundry.
At the Bavarian State Opera she could be seen as Silla in Palestrina and Frugola in Il Tabarro. The Hamburg State Opera invited the artist as Kundry, Waltraute and Brangäne. At the Theater an der Wien she performed as La Grande Vestale under the baton of Bertrand de Billy in Spontini's La Vestale. In San Francisco she was invited for Cosi fan Tutte Dorabella, Le Nozze di Figaro Cherubino and Don Giovanni Zerlina. LA Opera presented her in one of her signature roles, Judith in Blaubarts Burg, Teatro Real Madrid as Adriano in Rienzi. As Iocaste in Stravinsky's Oedipus Rex, she celebrated a great success at the Semperoper in Dresden. Her Der Rosenkavalier Octavian delighted the audience in Cologne, where she had another huge success as Brangäne.
Claudia Mahnke made her debut in 2013 under Kirill Petrenko at the Bayreuth Festival in the new Ring des Nibelungen as Fricka, Waltraute and 2. Norn. With Kirill Petrenko conducting she also sang Brangäne at the Ruhrtriennale.
From 1996 to 2006 Claudia Mahnke was a member of the ensemble of the Stuttgart State Opera, where she was nominated several times as "Singer of the Year" in the magazine Opernwelt for her impressive interpretation of the title role in Karl Amadeus Hartmann's Simplicius Simplicissimus. In August 2006 Claudia Mahnke was appointed Kammersängerin of the Stuttgart State Opera, where she lastly sang Judith in Bluebeard's Castle.
Claudia Mahnke's broad concert repertoire extends from Bach's Mass B minor, Beethoven's 9th Symphony and Missa Solemnis to Schönberg's Gurrelieder and Penderecki with a special focus on Gustav Mahler's symphonies and songs.
Claudia Mahnke studied with Prof. Heidi Petzold in Dresden.


text:
Die Denmark Open 1982 im Badminton fanden vom 17. bis zum 20. März 1982 in Kopenhagen statt.

Finalergebnisse

Literatur
 Badminton-Sport 30 (1982) (5), S. 8

Weblinks
 http://www.badminton.dk/cms/?&pageid=2214

1982
Badmintonwettbewerb in Kopenhagen
Badminton 1982

redpajama_set_name: RedPajamaWikipedia


Welcome to Franklin Savings Bank, where personal banking, commercial banking, and mobile banking is easy! Plus great interest rates and Buzz Points Rewards.
Since we opened our doors in 1920, we've held ourselves to a tradition of providing the products and services, and superior customer service, to best aid our customers and the communities we serve.


text:
Itaú, Santander, BTG Pactual and JGP pledge a commitment to climate issues
Project is led by SITAWI Finance for Good, supported by the Institute for Climate and Society (iCS), in partnership with the CDP and PRI (Principles for Responsible Investment)
In the midst of the pandemic and following discussions about sustainability, four Brazilian fund managers who together generate over R$ 1.2 trillion, have committed to prioritize climate issues in their investment decisions. BTG Pactual Asset Management, Itaú Asset Management, JGP and Santander Asset Management this week pledged their commitment to the initiative Investors for the Climate (IPC), which is led by SITAWI Finance for Good, with support from the Institute for Climate and Society (iCS), in partnership with the CDP and PRI (Principles for Responsible Investment).
Since October 2019, when the IPC was launched, a group of 15 professional Brazilian investors with assets under management of over R$ 2 trillion has been meeting to qualify themselves and outline ways to act with climate change. After six meetings, four of these investors have now decided to formally and publicly pledge their commitment.
By adhering to this commitment, the investors are declaring the importance of the challenges, risks and opportunities imposed by climate change. This document also states that it is part of the fiduciary duty of investors, before clients and beneficiaries, to appreciate the security, resilience and perpetuity of their investments, as well as to contribute to a secure future for the next generations. In this context, they undertake to report publicly the progress in the management of climate risks and opportunities, when possible in accordance with the guidelines of the Task Force on Climate-Related Financial Disclosures (TCFD).
Additionally, the investors are committed to exercising active ownership, through engagement and voting practices, in relation to the subject. As the commitment highlights, the investors will continue to work together on the theme, which are the first steps on this journey.
The role in pledging to this commitment is especially relevant in the current context of the COVID-19 pandemic, because it represents a look towards the potential larger crisis of the future.
IPC discussion group has 15 professional investors
The launch of the IPC, in October 2019, involved over 50 participants, including investors and other stakeholders, and national and international speakers, who highlighted the importance of the subject.
After this meeting, a more restricted group, of about 15 investors, started to meet on a monthly basis to qualify themselves on specific subjects, such as: portfolio climate analysis, portfolio climate management, and active ownership (engagement and voting), in relation to the climate and climate commitments.
As a result of this work, three important actions are being carried out: (1) analysis and management of investment products with a climate perspective in 10 portfolios from 6 investors; (2) a campaign of collective engagement of 6 investors with companies with intensive emissions of Greenhouse Gases (GHG); and (3) the formalization of the commitment to Investors for the Climate.
"We believe that there is still much work to be carried out for the subject to gain the required importance. In this context, the IPC will expand and reinforce its operation in the next three years, seeking to engage, qualify and commit more investors, including expanding the scope and depth of the operation of the initiative," says Carla Schuchmann, Manager of Sustainable Finance at SITAWI and leader of the IPC.
Beatriz Freitas, the Environmental, Social and Governance (ESG) executive director at BTG Pactual, says that "in 2019, we took an important step and developed the discussions with other investors about the risks and opportunities related to climate change. We have many challenges ahead in relation to the climate agenda, especially those linked to the disclosure of information that invested companies provide on these aspects and the related impacts and opportunities of their respective businesses. The joint work that we perform over the next three years with the IPC will mark a new phase in the integration of the ESG aspects in the analysis of the assets and in the decision-making process of the investors."
Renato Eid Tucci, a Portfolio Manager at Itaú Asset Management, emphasizes that "climate change presents risks and opportunities with a potential impact on the value of the assets in which we invest. Our participation in the IPC initiative has the objective to contribute so that the investment industry continues to advance with the integration of the subject of climate change in the investment analyses and decisions, at the same time encouraging more transparency and reporting by the invested companies. This is one more important step in our journey to encourage good practices related to responsible investment."
According to Marcos di Tullio, an Investment Analyst, "JGP considers the ESG criteria as part of its fiduciary duty. One of the main contributions we can give society is to take an active role in the process of encouraging the adoption of the best sustainable practices by companies. Those companies that do not yet perceive the importance of climate issues run the risk of ceasing to exist, similar to what happened with those that did not give due importance to the effects of digitalization 20 years ago." See the full document pledged by the managers: http://bit.ly/300OYBn
3rd Map of Socio-Environmental Impact Business
Green Tax Reform
Climate Transparency Report

redpajama_set_name: RedPajamaCommonCrawl


Once you're signed up, you'll take a boat ride to your first dive site. This takes about 30 minutes.
Enjoy a 60–80 ft. dive, getting up close and personal with the incredible marine life of the area's reefs and wrecks.
You'll then move on to the second dive site of this shore excursion in The Bahamas, which is approximately 30–40 ft. in depth.
The variety of sites you'll dive will be based on weather conditions.
Don't forget: This diving in Freeport excursion is designed for certified scuba divers only; not for beginners. Enjoy the life aquatic and the wonderful world under the sea!


The German artist Otto Dix went to war, willingly. Unlike many who fought, he had no misgivings, not initially. Not for several years in fact. Patriotism was only a small part of it; at the age of 22 he craved a life-affirming experience.
He volunteered in 1914 and spent much of the next four years as a non-commissioned officer, a heavy artillery gunner, on both the western and eastern fronts. He was decorated with the Iron Cross, second class. Wounded on several occasions – once almost fatally, in Flanders, when shrapnel entered his neck close to a main artery – he endured, horrified at what he saw, yet also fascinated, absorbing it all.
In the context of his later responses, expressed through his images of the conflict, among the most harrowing ever created, including the Der Krieg series, Dix seems an odd man out. The natural revulsion and despondence appear to be missing. He had discovered the writings of Nietzsche in about 1911, when he was 20.
His reading gave him, a working-class lad, by then studying at the Dresden School of Arts and Crafts, not only the impetus but the confidence to break away from the narrowness of the provincial world into which he had been born and to take part in what seemed an exciting intellectual adventure: the remaking of Europe through the collapse of traditional belief systems, the death of God. Man as superman beckoned. Nietzsche had died in 1900, and by 1912 the young Otto Dix had created what was to be his only sculpture, a bust of Friedrich Nietzsche.
In 1914, Dix, not a particularly bookish young man, owned seven of the philosopher's major works in cheap paperback editions. Nietzsche had become a cult figure for German youth. Dix was a tough, an image he cultivated, and also an outsider, not part of the Berlin arts scene. Whereas fellow artists, such as Ernst Kirchner (1880-1938) and George Grosz (1893-1959) regarded the mobilisation process as an erosion of individuality, Dix revelled in it.
On the outbreak of war in August 1914, Dix volunteered and was assigned to a field artillery regiment in Dresden. Early in 1915 he was sent to Bautzen to train as a gunner. He was keen to go to the front and took part in the autumn campaign in Champagne, near Rheims, in northern France.
By the following year he was on the Somme and was involved in several battles before moving on to Flanders. Pity and the betrayal of youthful idealism do not appear to have affected him. Instead he was open-eyed, responding to the energy of the turmoil around him. In this, he shares the response of another painter, the Hungarian Béla Zombory-Moldován, whose eerie memoir, The Burning of the World, which was published for the first time in any language last year, was dominated by the visual images emerging from the chaos.
Throughout the war Dix sent about 300 postcards to a friend back in Dresden. Helene Jakob was the daughter of the caretaker of the School of Arts and Crafts. Her father had helped him out by pointing him toward commissions, while Helene sent him food and drawing materials. Overall, he produced a huge number of images, more than 600 drawings and gouaches, which he dutifully sent home to his family, a record of war as seen through the eyes of a soldier.
About the best way of grasping Dix's unemotional, impartial reporter's attitude while at the front is to think of the detachment of young Jim in JG Ballard's Empire of the Sun (1984) .One of the things soldiers often recall about war is the waiting, the long stretches of silence. Dix drew all the time, intent on recording the experience. His drawings are impersonal reports, and while he did draw the dead, his central preoccupation while at the front was the transformation of the physical landscape.
Barbed wire and ruins, not maimed soldiers, dominate. It was as if during that period he viewed war as little more than a natural phenomenon. Far more was to follow.
In later life, Dix used to claim that it was the smell of paint in his cousin's studio that drew him to art. His formal education ended in 1905, yet he had been lucky in having a good art teacher, Ernst Schunke, who recognised his ability. Between 1905 and 1909, Dix completed an apprenticeship with a decorative painter in Gera.
With the support of a grant he was then able to study in Dresden, where he arrived in the autumn of 1909. It is interesting that his course was geared to learning the techniques and motifs of interior decoration. While at the School of Arts and Crafts he was not taught painting, yet he did sketch and continued his painting under Schunke's supervision. Dix's earliest works are Impressionist in style.
Even as early as 1911, however, his allegorical approach as an artist was already evident, albeit heavy-handedly. Growth and Decay is a traditional still life executed in oil. A vase of picked and fading flowers is depicted, along with a skull.
Soon after this he completed Self-Portrait with Carnation (1912), in which the young artist glowers at the viewer in much the way Dix conducted himself beyond the canvas. The flower held between his fingers suggests an ironic touch. In an interview, he said his idea had been to "paint like the masters of the early Renaissance".
Far less defiant is the subject's demeanour in Self-Portrait with Artillery Helmet, in which there is an apparent suggestion of apprehension, perhaps fear, in the face beneath that great symbol of German military might, the Prussian spiked helmet.
Soon after arriving at the French front in the autumn of 1915, much of his mythologising had disappeared. Self-Portrait as a Practice Target creates the impression of how the subject would appear through the sights of an enemy gun. It is a study of resignation and dread, the soldier as canon fodder.
There are four pictures in particular, all gouache on paper, completed during the war, which highlight his genius for evoking mood. Trenches (1917) is possible the defining study of no man's land. Grey and black trenches reflecting a setting sun – or it could be the glow of distant bombardment – possess a measured eloquence. The only trace of man is the damage done and some crosses marking graves. It is a powerful work, chilling and assured.
Evening Sun, Ypres (1918), dominated by a blazing sun, reveals human beings as insignificant. More symbolic than abstract, it apparently dismisses the relevance of war.
Awakening (1918), in which a cavalry unit prepares the horses, takes resurrection as its theme. There are echoes of Wassily Kandinsky and also of the German expressionist Franz Marc, who died at Verdun in 1916.
Soldier with Pipe (1918) reveals Dix exploring Cubism and returning to the Futurism of Self-Portrait as Mars.
On paper at least, it seemed that Dix had a good war. He had remained active as an artist throughout and returned intact, at least in body. During the closing months he was transferred to Silesia, where, after he had recovered from the serious neck wounds suffered in Flanders, he was transferred to be trained as a pilot. He was still in training as the war ended. Many of his more ideologically inspired fellow artists criticised him as apolitical; elsewhere, he was denounced for his concentration on relentless ugliness, which he would use to satiric effect in his studies of German society in the years following the Great War.
Nothing else in graphic art approaches its intent. Dix looked towards Goya's The Disasters of War, a series of 82 completed prints between 1810 and 1820, and took the theme to darker, more ghoulish depths.
In ways, Dix's cathartic response was mirrored by Erich Maria Remarque in his novel All Quiet on the Western Front (1929). Yet far closer to Dix's brutal realism is that of Alfred Döblin's Berlin Alexanderplatz, also published in 1929. In that novel, there are no idealist young dreamers such as Remarque's young Paul Bäumer. Instead an angry everyman, Franz Biberkopf, who was once an ordinary soldier, just a soldier, and is now a petty criminal, is adrift in a city as unforgiving as war.
Dix's pictures of war, with their images of dehumanised soldiers lurching forward in gas masks, of corpses, of worms wriggling through the empty eye sockets of a skull, and of bewildered spectres, invites us to look at the destruction it causes.
Denounced as a degenerate artist by the Nazis, Dix, who would not abandon the subject because he feared people would repeat its horrors, completed his great War Triptych paintings in 1932. That work and his painting Trench Warfare – believed to have been destroyed during the bombing of Dresden – cost him his teaching post. In one of the many ironies that stalked him throughout his life, Dix, having served briefly in the German army in the second World War, then became a prisoner of war.
His work was not done in search of release. "It's not true that you do that for the peace of your soul . . . the reason for doing it is the desire to create," he said.
Most crucial, though, when considering Otto Dix, is the fact that he does not actually blame anyone. True to the essential ambivalence of the best art, this acclaimed anti-war artist sees conflict simply as a catastrophe, which explains why he never adopted a political stance. He died in 1969, and to the end insisted he could never forget being a soldier at the front.


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text:
Q: Retrieving a Django form field value using AJAX For each fact in facts, there is a form where you can upvote or downvote the fact.
Further explanation is found below.
Template and Form code are listed below respectively:
template
<ul>
        {% for fact in facts %}
            <form method='POST' action="{% url 'facts:list' fact.pk %}" id="list_vote">
                {% csrf_token %}
                {{ form }}
                <input type="submit" value="vote" />
            </form>
        {% endfor %}
</ul>

forms.py code:
VOTE_CHOICES = [
    (1, 'upvote'),
    (0, 'downvote')
]

class Vote(forms.Form):
    vote = forms.ChoiceField(choices=VOTE_CHOICES,
                             widget=forms.RadioSelect(attrs={'class': 'vote'}))

For each fact in models.Fact.objects.all(), there is a form,  which consists of radio buttons of 2 inputs (upvote, downvote), created for this specific fact. What I'm now doing is basically Django 101: getting the value of the fact that is being voted and update its model accordingly in the views.
What I want to do is retrieve the value of this specific fact using AJAX and update the model accordingly without leaving/refreshing the page

A: I think I can help you.  I just went through a lot of learning on AJAX and how to connect to DJANGO templates.   You'll need some javascript on your template to make the AJAX connection.
Below is a generic AJAX javascript connector function I abstracted from my recent work.  It needs both prototype.js http://prototypejs.org/ and jquery.js https://jquery.com/download/ imported into your template to run.  Also requires a jQuery noconflict statement to allow both to run at the same time.
Basically all you need to do is pass the AJAXconnector function I wrote your data in a {'myvariable' : 'myvalue', 'myvariable2' : 'myvalue2'} format and destination is the url (in string format) which points to your views.py processing function to handle the AJAX data and return a reply.  Also its important to use a local (relative) link as your destination.
I did a little tutorial on my blog if you want to check it out too - it walks through the AJAX connection on the template (javascript side) and the server (python side) http://www.americantechnocracy.com/getArticle/4/
the code I'm posting below also has some more description at:
http://www.americantechnocracy.com/getArticle/9
Let me know if you have questions.  Happy to answer.
// Requires prototype.js
// Requires jquery.js

// enable use of both prototype and jquery
var $j = jQuery.noConflict();

// get the CSRF Token
        function getCookie(name) {
            var cookieValue = null;
            if (document.cookie && document.cookie !== '') {
                var cookies = document.cookie.split(';');
                for (var i = 0; i < cookies.length; i++) {
                    var cookie = jQuery.trim(cookies[i]);
                    // Does this cookie string begin with the name we want?
                    if (cookie.substring(0, name.length + 1) === (name + '=')) {
                        cookieValue = decodeURIComponent(cookie.substring(name.length + 1));
                        break;
                    }
                }
            }
            return cookieValue;
        }
var csrftoken = getCookie('csrftoken');

// function for AJAX communication of data from Template to View.py and back
    function AJAXConnector(parameters, destination) {
                // myParameters = {'targetPK': pk, };
                myParameters = parameters;
                csrfHeader = {'X-CSRFToken' : csrftoken};
                // This is the start of my AJAX Function
                new Ajax.Request(destination, {
                    method: 'post', parameters: myParameters, requestHeaders: csrfHeader,
                    onSuccess: function (transport) {
                        var response = transport.responseText || "no response text";
                        data = response.evalJSON();
                    },
                    onFailure: function () {
                        alert('Something went wrong...');
                    }
                });
            }

redpajama_set_name: RedPajamaStackExchange


www.astromuhurat.com, is a premium site with a distinction that is Multipurpose, Bilingual, Comprehensive and Unique which has the articles & material related to Inspiration, Spirituality, Astrology, Motivation, Religion, Entertainment, Remedial measures, Life style, Knowledge & much more.
The fast on Thursday is dedicated to Guru or Brihaspati, the planet Jupiter.
Guruvaar Vrat should be started from the first Thursday in the Shukla Paksh of any month. This Vrat is observed for 16 Thursday or for one year or three years.
"Om graam greem graum sah gurave namah"
"ॐ ग्रां ग्रीं ग्रौं सः गुरवे नमः"
The vrati should eat food made of wheat mixed with a little turmeric powder. Before breaking the fast, the vrati should read or listen to the story related to this Vrat. On this day the vrati should wear yellow clothes or at least she/ he should have a handkerchief of yellow color with her/ him. Donation of yellow things is also fruitful.
> The malefic effects of Jupiter are removed because of this Vrat.
> The Vrati gets prosperity and good luck.
> If women observe this Vrat, their family life remains peaceful and they enjoy a happy married life.


Seoul and NYC-Based Producer Yaeji Returns with Hypnotic New Single "Drink I'm Sippin On"
Seoul and New York-based producer and vocalist Yaeji has been building a lot of momentum as of late, coming through with a distinct approach to house music. Alternating between rapping and singing in Korean and in English, her understated vocals really makes her sound stand out. As a blending of numerous disparate genres, it makes for an incredibly compelling sound completely her own.
Her hushed delivery particularly shines through on her newest track, "Drink I'm Sippin On." Taken from her forthcoming EP, simply titled EP2, the track is quintessential Yaeji. It's a perfect introduction to her approach, offering a taste of her effortless sound and a preview of EP2 ahead of its release on November 3 via Godmode. Speaking about the song over email, she explained, "'Drink I'm Sippin On' is non-alcoholic though its effects are similar to getting drunk: knowingly being misunderstood by others, forgetting what I did yesterday, and feeling comfortable being me. I sip on it as a reminder that I can feel fine if I just let myself."
Watch the premiere of the Anthony Sylvester-directed "Drink I'm Sippin On" video above, and check out the details for the upcoming EP2 alongside her rework of Drake's "Passionfruit" below.
3. "Drink I'm Sippin On"


Many companies struggle with the new possibilities that open with new technology and combining technological solutions. In the case at hand, we describe how we implemented a duplicate invoice analysis at a major oil company. This article will provide hands-on tips on how to leverage the power of HANA for duplicate invoice analysis and how this can be integrated with SAP Process Control.
With hundreds or even thousands of incoming invoices every week, assessing invoices manually is nearly impossible for organizations today. The ability to monitor incoming invoices efficiently is becoming more and more critical. It is important not only for payment processing, but also to stay ahead of the risk around erroneous or fraudulent invoices and mistakes in internal invoice processing.
During the invoice review process, mistakes and errors are easily made. Since this is a common occurrence, most ERP systems contain automatic checks on incoming invoices. These checks are for example the three-way match – comparing the purchase order, goods receipt and invoice amounts and quantities – and a duplicate invoice report. These checks remain relevant, but with new database technologies available, the opportunities to implement advanced analytics are increasing.
In this article we will not only explain the default solutions offered by ERP systems like SAP, but we will also explore the use case of advanced duplicate invoice analytics. We will go through examples of how clients are using advanced analytics and how the solution was implemented.
This specific case contains an explanation of a duplicate invoice analysis; however, the methodology can be used for multiple purposes. The final sponsor in this specific case was the CISO, who wanted to use this analysis in internal audit and in the invoice management process. The analysis itself was implemented early 2017 at a large company, listed in the UK and US.
With the development of in-memory database technology, the possibility for more advanced analysis has been introduced. SAP entered the database market with SAP HANA, their in-memory database technology solution which offers the possibility to implement real-time advanced analytics. These real-time analytics have proven to be useful in business analytics. One application of the SAP HANA analytics is to report on duplicate invoices in real time.
Duplicate invoices entail a risk of actual financial loss. When duplicate invoices are not noticed and corrected in time, it will result in a duplicate payment. Duplicate invoice management prevents money from unnecessarily flowing out of your company.
The business case is often quite easy to make: most companies save money by implementing duplicate invoice management. In some cases, the investment is earned back in the first run, either by preventing the payment of duplicate invoices or by reclaiming what has already been paid.
it only shows when two invoices have a 100% match on the selected parameters.
As such, a report alone does not support the duplicate invoice management process. Additional follow-up procedures or controls should be considered and implemented to adequately address the risk.
As discussed, the standard reporting possibilities in ERP systems does not allow companies to implement an efficient and effective duplicate invoice management process. Besides that, limitations exist in the standard available functionalities of an ERP system. To come to a good definition of the end state analysis, we must investigate the different root causes of duplicate invoices and determine the best course of action.
The standard ERP reports do not identify duplicate invoices posted on two different vendor numbers. A duplicate vendor in the ERP system is a vendor that has two different vendor numbers. Although it might be the procedure to have duplicate vendors in the system within some companies, this is not common practice. To have a solution for this scenario, the analysis should be able to identify duplicate vendors.
Another scenario that is not covered by the default ERP reports are invoices with a minor difference in the amount, say 1 cent. Such a small difference can have different causes, for example due to currency translation. For our analysis, the root cause of this difference is not important; the analysis must identify minor differences. The solution for this scenario is that we can identify small differences and determine the materiality within the analysis.
Other scenarios that are not standard available in the ERP system reports are scenarios where the invoice date, reference documents or description do not match. If there is no exact match, the duplicate invoice reports within ERP systems do not report the possibility of a duplicate.
convert data to matching formats.
A simplistic analysis results in a binary outcome: either the invoices are duplicates or not. In this case it means that the output of the analysis is a list of duplicate invoices. Invoices that are not on the list are defined as single entries. The problem with this approach is that duplicate invoices that are entered slightly different in the system are missed as being duplicate.
On the other hand, when the list contains too many possible duplicate invoices, the process becomes inefficient as the number of false positives increase. These false positives are invoices that are not duplicate, but are identified as being duplicates.
To solve the issue of missing duplicate invoices versus too many false positives, a logical likelihood calculation has been introduced. Based on the different parameters, a probability of two invoices being duplicate is calculated. Since the analysis uses input from master data, the probability of duplicate master data is calculated as well.
Because the calculations that must be executed can be quite time consuming, the number of calculations needs to be limited. The earlier it is identified that two sets of vendor master data or invoices are not duplicate, the more efficiently the analysis will run. Since the result of the analysis is not binary (true or false), the analysis itself should not be the basis of the scoping. Therefore, a threshold value is introduced. Since a two-step approach is being used – first determine duplicate master data, second determine duplicate invoices – two threshold values can be used.
SAP HANA has default functionalities that help in developing the analysis. Additionally, SAP HANA integrates very well with the SAP Business Suites and other SAP tooling.
For each combination of two invoices, the analysis determines the probability whether two invoices are duplicate. The result contains a 0% to 100% probability, based on the different parameters, scores and weights. A final score is calculated based on the scores of each parameter.
Depending on the processes and data available at a client, the parameters may deviate. The methodology remains the same, however.
The results are used in different ways. The output of the analysis is first reviewed by an accounting employee. This way, the analysis results in a working package for these accounting employees. The results can be distributed to budget owners, managers and even C-level executives.
As mentioned before, the analysis uses different thresholds for different reporting requirements. A manager is probably only interested in seeing the top scoring duplicate invoices with a specific amount. On the other hand, an (IT) auditor or risk manager might also be interested in the results of an analysis with a score of 80%, and the follow up of these cases.
SAP HANA contains functionality and algorithms that can be used in advanced analytics. Within the case at hand, the SAP HANA functionality of temporary tables, fuzzy search and currency translations where used.
Most databases have a fuzzy search (or fuzzy matching) function, but the functionality is quite limited. For example: some database management systems will only compare the first four characters of the strings. The fuzzy search function in SAP HANA is well defined and powerful. But, it still is a fuzzy search function: it expects one (1) input string and gives an output value for each row: the matching percentage. This means that only one string at a time can be searched. Since the duplicate invoice analyses loops through a dataset with hundreds of thousands or even millions of invoices, the analysis will take a substantial amount of time and resources to run.
A type of fuzzy join is what is really needed. A normal join combines two sets of data using defined columns to link the datasets. For a normal join, the columns that are used in the join should contain the same content. The join that was developed for this analysis, the fuzzy join, should compare the content of the columns based on a specified threshold. This threshold is defined by either the end-user or by predefined scenarios.
Once the results from the analysis come in, it may overwhelm the end-user and it may be too much to follow up on without proper tracking. To ensure the follow up is performed, a process needs to be in place. However, just creating a new process does not ensure that people will also act accordingly. To overcome this, SAP Process Control (SAP PC) can be used. SAP PC will get the results from the duplicate invoice analysis, split them based on identifiers, such as company code and create a follow-up task for the respective owner. On top of that, a reminder and escalation procedure can be set up in the system to alert the owner, or the owner's supervisor on the outstanding task.
Once the owner receives the task, all processing can be captured in SAP PC. A remediation plan can be created, individual results can be marked as exception (i.e. false positive) or the risk can be accepted and documented. In PC there are reports that can show the status of controls (e.g. the duplicate invoice check), the number of open tasks and the follow-up actions taken. By leveraging SAP PC, the follow-up process is automatically initiated and easier to monitor.
In the case discussed, SAP GRC Process Control is being used to further process/distribute the results. We also did a proof of concept using a visualization solution to display the results (in this case MS PowerBI).
Most visualization solutions allow direct connections to SAP HANA. This way, the strength of SAP HANA can be used, and the dashboard is updated in real-time.
As shown in Figure 3, the results are available in a dashboard with details of each likely duplicate invoice. The score sliders on the left-hand side of the dashboard allow filtering on the results in real time. The sliders allow filtering on the minimal average (final) score, the number of scores/parameters to consider executing the analysis and the minimal score values per score.
In this article we explained a case of advanced duplicate invoice analytics. Our experience is that many companies are struggling with duplicate invoices. The incoming invoice management process is an inefficient process, because it contains different checks and balances. Since the result of this process is an outgoing payment, the execution of the process is crucial. However, the technical support offered by ERP systems is limited most of the time. Therefore, we propose to use the latest technology to make this process more efficient.
The solution described in this article can be applied to different other fields. Examples are duplicate master data, sales order monitoring, and even supporting the decision-making when ordering materials.
To enable SAP Process Control, there are some prerequisites.
HANA analyses are developed in so-called SAP HANA views. The HANA views are stored in a certain location in the HANA database (e.g. Package) and that location has a 'path'. The path, including the view name can only consist of 60 characters, otherwise PC will not be able to find it once the connection is made.
Furthermore, the field types supported by SAP PC are limited. The only supported field types are: Integer, Date, Decimal, and NVarChar. Any other field types used will cause an error in the connection.
To set up the connection, a database connection must be established from SAP GRC to SAP HANA. The connection can only be set up if the HANA client is installed on the SAP GRC application server. Once this is done, the connection can be set up in GRC via transaction DBCO.
The connection user needs to have enough authorizations in SAP HANA to retrieve the results of the views that have been set up for follow-up in PC.
Once the connection configured, a data source and business rule need to be created to enable the monitoring in PC. For the data source it is important to select the correct integration scenario, in this case: HANA Integration. When setting up the data source, the correct view needs to be selected. The data source can be tested by running an ad-hoc query to see if any results are returned.
The business rule serves to determine whether exceptions are reported and what rating they would get. In the case of the duplicate invoices, scores below 80% are not considered, scores between 80% and 90% are considered as potential duplicate, scores between 90% and 95% are considered likely duplicate and scores over 95% are considered as highly likely duplicate. These thresholds can be set differently based on requirements. Additionally, filters could be placed to only display values over a certain amount (e.g. 500.000 Euros).


text:
India All India 24 Apr 2017 PDP leader Abdul Gani Dar shot dead by militants in J&K's Pulwama
PDP leader Abdul Gani Dar shot dead by militants in J&K's Pulwama
DECCAN CHRONICLE. | YUSUF JAMEEL
Published : Apr 24, 2017, 2:56 pm IST
Updated : Apr 24, 2017, 3:49 pm IST
Before joining PDP on November 1, 2014, Dar had been associated with Congress party in various capacities.
Representational Image. (Photo: ANI Twitter)
Srinagar: A senior leader of ruling Peoples' Democratic Party (PDP) Abdul Gani Dar was shot and critically wounded by suspected militants near his residence in Jammu and Kashmir's southern Pulwama district on Monday.
He was rushed to Srinagar's government Sri Maharaja Hari Singh (SMHS) Hospital where he succumbed soon, the police and hospital sources said.
The incident took place on a day when Chief Minister, Mehbooba Mufti, met Prime Minister Narendra Modi in New Delhi to discuss the situation prevailing in the Kashmir Valley. She emphasised that dialogue was the only way to prevent it from deteriorating and invoked former Prime Minister Atal Bihari Vajpayee's 'Insaniyat, jamhooriyat and Kashmiriyat' policy on Kashmir.
In an apparent suggestion for resuming talks with separatists, she said the thread should be picked up from where he had left off.
The police and witnesses said that Dar was targeted by gunmen while he was on way to summer capital Srinagar. "He was shot between Pahoo and Pinglan villages, not very far from his residence," said a police officer over the phone from Pulwama.
Dar had been associated with Congress party in various capacities before joining PDP on November 1, 2014, the party sources said. The doctors said that Dar had received grievous bullet wound in the chest and that they could not revive him.
Pulwama is part of Anantnag Lok Sabha constituency where a by-poll is scheduled to be held on May 25. The polling was to be held on April 12 but following widespread disturbances witnessed during the by-poll to Srinagar Lok Sabha seat on April 9, the Election Commission of India acting on the recommendations of the State government deferred the same till May 25.
Attacks on mainstream political activists by suspected militants in Kashmir have intensified during past few weeks which is reminiscence about difficult times they had faced in early 1990s. A local attorney and former public prosecutor Imtiyaz Ahmed who was associated with opposition National Conference (NC) was shot dead by gunmen outside his house in southern Shopian district, also part of Anantnag constituency, last week.
Earlier a pharmacy owner and PDP activist Bashir Ahmed Dar was shot dead by suspected militants in Qasbayar village of Pulwama district. His cousin Altaf Ahmed Dar was critically wounded in the shootout. A couple of more mainstream political activists were targeted in similar fashion elsewhere in the Valley prior to these incidents, spreading fear among others and their families. The homes of some police officials have also been targeted by militants in the recent past.
A militant outfit had last month asked the 'pro-India' activists to disassociate themselves from their parties and stay away from their political activities or be ready to face consequences.
The outfit had said that these political activists should decide also on the call of their conscience as "terrible atrocities" were being inflicted on the people of Kashmir by the government forces.
While the security already provided to prominent people from these parties was reinforced or, at least, their personal security officers were alerted against possible attacks, the fate of others has been left at the mercy of militants as, the authorities maintain, "it is not possible to provide security cover to each and every political worker".
However in the case of police officials, in view of "disturbing trend" by the police department last week issued an advisory asking its field personnel to avoid visiting their homes "for the next few months".
It while referring to the recent "unfortunate" incidents wherein "militants and anti-national and anti-social elements have caused damage to the life and property of police personnel" asked them to exercise extreme caution while visiting their homes.
"They should preferably avoid visiting their homes for the next few months as their personal security is of paramount importance," the advisory said. It also asked all the heads of various formations to brief their officers and men regarding the threat so the life and property of police personnel were secured.
PDP chief spokesperson and former minister, Dr. Mehboob Beg, said that it was very unfortunate that political workers are being targeted by gunmen in the Valley.
He told Deccan Chronicle, "It is unfortunate and the moment for showing serious concern. In democracy, you may hold divergent views on issues and there is no harm in doing that. But using violence and intimidation to force your ideology or political will on others is unfortunate and shameful".
Asked if the recent incidents will leave adverse impact on the functioning of mainstream parties in Kashmir, he said, "The political space is undoubtedly shrinking.
The incidents will impact the functioning of mainstream political parties which are known as pro-Indian forces. But we fought it out in the 1990 and onwards and we will do it now as well".
Qualifying his statement he said that the same would be done "not through violence, intimidation or aggression but politically". He reiterated that everyone has the right to preach his political views peacefully and democratically."
Last week, Amnesty International (AI) had termed the attacks on mainstream political activists as human rights abuse and asked for immediate halt to these.
"The killings, intimidation and harassment of ordinary people by suspected armed group members can never be justified, and should stop immediately," said Aakar Patel, Executive Director at AI, India.
He added, "Civilians must not be targeted under any circumstances. People's political or personal associations cannot become a reason for them to come underattack. State authorities should investigate these incidents and bring the perpetrators to justice swiftly."
Tags: abdul gani dar, kashmir news, militants, pdp
Location: India, Jammu and Kashmir, Srinagar


Flexibility: Soft, flexible polyurethane with atraumatic tips to minimize intimal trauma.
Increased Flow: Average flow is 39% - 104%* higher than leading competitors.
Improved Markings: Centimeter markings span the length of the shunt with a bar denoting center point for easier identification of placement in carotid artery.
Tether: Aids in removal of shunt.
*Flow comparison testing conducted at body temperature at constant pressure. Data on file at LeMaitre Vascular, Inc.
Test conducted at body temperature at constant pressure using the Flexcel inlying shunt.


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text:
Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells
P. F. Bartlett, J. Rosenfeld, K. A. Bailey, H. Cheesman, A. R. Harvey, R. S.C. Kerr
This chapter describes the expression of major histocompatibility complex (MHC) antigens on the subpopulations of mature and developing neural cells in response to interferon-γ and, from these in vitro observations, make predictions as to the likely outcome of allografting such cells into the parenchyma of adult mouse brains. The chapter describes the experimental model in which these predictions is tested and demonstrated that the transplantation of immunoselected neuronal precursors may overcome the problems of graft rejection. The results of the grafting experiments have shown that the previous predictions of outcome of grafting, based on knowledge of neural MHC expression, are largely correct. Allografts of embryonic tissues are rejected; allografts express donor MHC antigens; and cells selected on the basis of inability to express MHC antigens are able to be successfully allotransplanted across major histocompatibility barriers.
Progress in Brain Research
https://doi.org/10.1016/S0079-6123(08)62600-X
10.1016/S0079-6123(08)62600-X
Bartlett, P. F., Rosenfeld, J., Bailey, K. A., Cheesman, H., Harvey, A. R., & Kerr, R. S. C. (1990). Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells. Progress in Brain Research, 82(C), 153-160. https://doi.org/10.1016/S0079-6123(08)62600-X
Bartlett, P. F. ; Rosenfeld, J. ; Bailey, K. A. et al. / Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells. In: Progress in Brain Research. 1990 ; Vol. 82, No. C. pp. 153-160.
@article{0f2103a0df6f49d5a0b029a534a924d9,
title = "Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells",
abstract = "This chapter describes the expression of major histocompatibility complex (MHC) antigens on the subpopulations of mature and developing neural cells in response to interferon-γ and, from these in vitro observations, make predictions as to the likely outcome of allografting such cells into the parenchyma of adult mouse brains. The chapter describes the experimental model in which these predictions is tested and demonstrated that the transplantation of immunoselected neuronal precursors may overcome the problems of graft rejection. The results of the grafting experiments have shown that the previous predictions of outcome of grafting, based on knowledge of neural MHC expression, are largely correct. Allografts of embryonic tissues are rejected; allografts express donor MHC antigens; and cells selected on the basis of inability to express MHC antigens are able to be successfully allotransplanted across major histocompatibility barriers.",
author = "Bartlett, {P. F.} and J. Rosenfeld and Bailey, {K. A.} and H. Cheesman and Harvey, {A. R.} and Kerr, {R. S.C.}",
doi = "10.1016/S0079-6123(08)62600-X",
journal = "Progress in Brain Research",
number = "C",
Bartlett, PF, Rosenfeld, J, Bailey, KA, Cheesman, H, Harvey, AR & Kerr, RSC 1990, 'Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells', Progress in Brain Research, vol. 82, no. C, pp. 153-160. https://doi.org/10.1016/S0079-6123(08)62600-X
Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells. / Bartlett, P. F.; Rosenfeld, J.; Bailey, K. A. et al.
In: Progress in Brain Research, Vol. 82, No. C, 01.01.1990, p. 153-160.
T1 - Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells
AU - Bartlett, P. F.
AU - Rosenfeld, J.
AU - Bailey, K. A.
AU - Cheesman, H.
AU - Harvey, A. R.
AU - Kerr, R. S.C.
N2 - This chapter describes the expression of major histocompatibility complex (MHC) antigens on the subpopulations of mature and developing neural cells in response to interferon-γ and, from these in vitro observations, make predictions as to the likely outcome of allografting such cells into the parenchyma of adult mouse brains. The chapter describes the experimental model in which these predictions is tested and demonstrated that the transplantation of immunoselected neuronal precursors may overcome the problems of graft rejection. The results of the grafting experiments have shown that the previous predictions of outcome of grafting, based on knowledge of neural MHC expression, are largely correct. Allografts of embryonic tissues are rejected; allografts express donor MHC antigens; and cells selected on the basis of inability to express MHC antigens are able to be successfully allotransplanted across major histocompatibility barriers.
AB - This chapter describes the expression of major histocompatibility complex (MHC) antigens on the subpopulations of mature and developing neural cells in response to interferon-γ and, from these in vitro observations, make predictions as to the likely outcome of allografting such cells into the parenchyma of adult mouse brains. The chapter describes the experimental model in which these predictions is tested and demonstrated that the transplantation of immunoselected neuronal precursors may overcome the problems of graft rejection. The results of the grafting experiments have shown that the previous predictions of outcome of grafting, based on knowledge of neural MHC expression, are largely correct. Allografts of embryonic tissues are rejected; allografts express donor MHC antigens; and cells selected on the basis of inability to express MHC antigens are able to be successfully allotransplanted across major histocompatibility barriers.
U2 - 10.1016/S0079-6123(08)62600-X
DO - 10.1016/S0079-6123(08)62600-X
JO - Progress in Brain Research
JF - Progress in Brain Research
IS - C
Bartlett PF, Rosenfeld J, Bailey KA, Cheesman H, Harvey AR, Kerr RSC. Chapter 17 Allograft rejection overcome by immunoselection of neuronal precursor cells. Progress in Brain Research. 1990 Jan 1;82(C):153-160. https://doi.org/10.1016/S0079-6123(08)62600-X


Slipstream design was inspired by Lebbeus Woods sketches studying fluid dynamics. A pattern with two distinct flow directions was developed using Grasshopper in Rhino and then extruded in order to create an egg crate structure.
Design intends to utilise the capacity of typical egg crate structures to define complex form while challenging their static and stable structural reading.
The visual and lighting affects of the Slipstream egg crate structure was the initial part of the investigation which, through-out the course of a year, developed into a full scale gallery installation in New York City.


If possible, move your car to avoid blocking traffic and to protect it from further damage.
Call the police if somebody is injured or killed, if you can't move your car, or if the accident involved a hit-and-run driver. Your uninsured motorist coverage pays for a hit-and-run accident only if you report it to police.
Give the other driver the same information about you.
Get the names, addresses, and telephone numbers of any witnesses to the accident.
Notify your insurance company as soon as possible. Your company probably has a 1-800 number to report claims. If not, call your agent. The agent or company will explain the claims process, including how to schedule an adjuster and get repair estimates. Also, give your agent or company the names and addresses of any witnesses and anyone injured.
If you reported your claim by phone, follow up in writing as soon as possible to protect your rights under Texas' prompt payment of claims laws.
Send the company copies of the accident report and any legal papers you receive about the accident.
Cooperate with the company's investigation. You might have to submit a proof-of-loss form or have a medical examination.


text:
<?php
namespace Faker\Components\Engine\XML\Composite;

use Symfony\Component\Config\Definition\Processor;
use Symfony\Component\Config\Definition\Exception\InvalidConfigurationException;
use Symfony\Component\Config\Definition\Builder\TreeBuilder;
use PHPStats\Generator\GeneratorInterface;

use Faker\Locale\LocaleInterface;
use Faker\Components\Engine\Common\Utilities;
use Faker\Components\Engine\Common\OptionInterface;
use Faker\Components\Engine\Common\Composite\SerializationInterface;
use Faker\Components\Engine\Common\Composite\VisitorInterface;
use Faker\Components\Engine\Common\Composite\CompositeInterface;
use Faker\Components\Engine\Common\Composite\CompositeException;
use Faker\Components\Engine\Common\Type\TypeInterface;
use Faker\Components\Engine\Common\Visitor\BasicVisitor;

use Faker\Components\Engine\DB\Composite\TableNode as BaseNode;

/**
  *  Node that implements SerializationInterface and VisitorInterface and OptionInterface
  *
  *  @author Lewis Dyer <getintouch@icomefromthenet.com>
  *  @since 1.0.4
  */
class TableNode extends BaseNode implements OptionInterface, SerializationInterface, VisitorInterface, CompositeInterface, TypeInterface
{

    /**
     *  @var array[string] the options
    */
    protected $options;

    /**
     *  @var Faker\Locale\LocaleInterface
    */
    protected $locale;

    /**
     *  @var PHPStats\Generator\GeneratorInterface
    */
    protected $generator;

    /**
     *  @var Faker\Components\Engine\Common\Utilities
    */
    protected $utilities;

    //-------------------------------------------------------
    # CompositeInterface

    public function validate()
    {
        $children = $this->getChildren();

        # validate the options passed into config
        try {
            $processor = new Processor();
            $options = $processor->processConfiguration($this, array('config' => $this->options));

            # reset the options as they be modified by the config processor
            foreach($options as $name => $value) {
                $this->setOption($name,$value);
            }

        }catch(InvalidConfigurationException $e) {
            throw new CompositeException($this,$e->getMessage(),0,$e);
        }

        # validate the child nodes in composite

        foreach($children as $child) {
            $child->validate();
        }

        # assign the rows to generate property from options
        $this->setRowsToGenerate($this->getOption('generate'));

        return true;
    }

    //-------------------------------------------------------
    # OptionsInterface

    public function setOption($name,$value)
    {
        $this->options[$name]= $value;
    }

    public function getOption($name)
    {
        return $this->options[$name];
    }

    public function hasOption($name)
    {
         return isset($this->options[$name]);
    }

    public function getConfigTreeBuilder()
    {
        $treeBuilder = new TreeBuilder();
        $rootNode    = $treeBuilder->root('config');

        $rootNode
            ->children()
                ->scalarNode('name')
                    ->isRequired()
                    ->info('The Name of the Table')
                    ->validate()
                        ->ifTrue(function($v){
                            return !is_string($v);
                        })
                        ->then(function($v){
                            throw new InvalidConfigurationException('Table::Name must be a string');
                        })
                    ->end()
                ->end()
                ->scalarNode('locale')
                    ->treatNullLike('en')
                    ->defaultValue('en')
                    ->info('The Default Local for this schema')
                    ->validate()
                        ->ifTrue(function($v){
                            return !is_string($v);
                        })
                        ->then(function($v){
                            throw new InvalidConfigurationException('Table::Locale not in valid list');
                        })
                    ->end()
                ->end()
                ->scalarNode('randomGenerator')
                    ->info('Type of random number generator to use')
                    ->validate()
                        ->ifTrue(function($v){
                            return empty($v) or !is_string($v);
                        })
                        ->then(function($v){
                            throw new InvalidConfigurationException('Table::randomGenerator must not be empty or string');
                        })
                    ->end()
                ->end()
                ->scalarNode('generatorSeed')
                    ->info('Seed value to use in the generator')
                    ->validate()
                        ->ifTrue(function($v){
                            return ! is_integer($v);
                        })
                        ->then(function($v){
                            throw new InvalidConfigurationException('Table::generatorSeed must be an integer');
                        })
                    ->end()
                ->end()
                ->scalarNode('generate')
                    ->info('The number of rows to generate')
                    ->isRequired()
                    ->validate()
                        ->ifTrue(function($v){
                            return !is_integer($v);
                        })
                        ->then(function($v){
                            throw new InvalidConfigurationException('Table::Generate must be and integer');
                        })
                    ->end()
                ->end()
            ->end()
        ->end();

        return $treeBuilder;
    }

    //-------------------------------------------------------
    # SerializationInterface

    public function toXml()
    {
        $children = $this->getChildren();
        $str      = sprintf('
',$this->getId()). PHP_EOL;

        foreach($children as $child) {
               $str .= $child->toXml();
        }

        $str .= '
' . PHP_EOL;

        return $str;
    }

    //-------------------------------------------------------
    # VisitorInterface

    public function acceptVisitor(BasicVisitor $visitor)
    {
         # execute visitors that apply to this node
        $visitor->visitDirectedGraphBuilder($this);

        $visitor->visitGeneratorInjector($this);
        $visitor->visitLocaleInjector($this);

        # execute accept on children
        $children = $this->getChildren();

        foreach($children as $child) {
            if($child instanceof VisitorInterface) {
                $child->acceptVisitor($visitor);
            }
        }

        return $visitor;
    }

    //-------------------------------------------------------
    # TypeInterface

    public function getUtilities()
    {
        return $this->utilities;
    }

    public function setUtilities(Utilities $util)
    {
        $this->utilities = $util;

        return $this;
    }

    public function getGenerator()
    {
        return $this->generator;
    }

    public function setGenerator(GeneratorInterface $generator)
    {
        $this->generator = $generator;

        return $this;
    }

    public function setLocale(LocaleInterface $locale)
    {
        $this->locale = $locale;

        return $this;
    }

    public function getLocale()
    {
        return $this->locale;
    }

    //-------------------------------------------------------

}
/* End of File */

redpajama_set_name: RedPajamaGithub


text:
namespace boost { namespace python { namespace api {

template <class Policies>
class proxy : public object_operators<proxy<Policies> >
{
    typedef typename Policies::key_type key_type;

    typedef proxy const& assignment_self;
 public:
    proxy(object const& target, key_type const& key);
    operator object() const;

    // to support a[b] = c[d]
    proxy const& operator=(assignment_self) const;

    template <class T>
    inline proxy const& operator=(T const& rhs) const
    {
        Policies::set(m_target, m_key, object(rhs));
        return *this;
    }

 public: // implementation detail
    void del() const;

 private:
    object m_target;
    key_type m_key;
};

template <class T>
inline void del(proxy<T> const& x)
{
    x.del();
}

//
// implementation
//

template <class Policies>
inline proxy<Policies>::proxy(object const& target, key_type const& key)
    : m_target(target), m_key(key)
{}

template <class Policies>
inline proxy<Policies>::operator object() const
{
    return Policies::get(m_target, m_key);
}

// to support a[b] = c[d]
template <class Policies>
inline proxy<Policies> const& proxy<Policies>::operator=(typename proxy::assignment_self rhs) const
{
    return *this = python::object(rhs);
}

# define BOOST_PYTHON_PROXY_INPLACE(op)                                         \
template <class Policies, class R>                                              \
proxy<Policies> const& operator op(proxy<Policies> const& lhs, R const& rhs)    \
{                                                                               \
    object old(lhs);                                                            \
    return lhs = (old op rhs);                                                  \
}
BOOST_PYTHON_PROXY_INPLACE(+=)
BOOST_PYTHON_PROXY_INPLACE(-=)
BOOST_PYTHON_PROXY_INPLACE(*=)
BOOST_PYTHON_PROXY_INPLACE(/=)
BOOST_PYTHON_PROXY_INPLACE(%=)
BOOST_PYTHON_PROXY_INPLACE(<<=)
BOOST_PYTHON_PROXY_INPLACE(>>=)
BOOST_PYTHON_PROXY_INPLACE(&=)
BOOST_PYTHON_PROXY_INPLACE(^=)
BOOST_PYTHON_PROXY_INPLACE(|=)
# undef BOOST_PYTHON_PROXY_INPLACE

template <class Policies>
inline void proxy<Policies>::del() const
{
    Policies::del(m_target, m_key);
}

}}} // namespace boost::python::api

#endif // PROXY_DWA2002615_HPP


The Atlantis EVO has a quick & clean top-fill tank. Refill your EVO tank in seconds. You can drip, drop or pour your E-liquid into the EVO and be back to vaping in no time. Note: For first time using a new atomizer, you will need to wait 5 minutes for the cotton to absorb the E-liquid.


This creature resembles an oak tree with a human-like visage in its trunk. Its bark is darkened and withered with age. A great maw filled with jagged teeth opens in its trunk.
Quickwoods use their remote sensing ability to keep tabs on their surroundings. If trespassers are detected, the creature simply waits until one or more come within range of its roots before lashing out and striking. A grabbed opponent is pulled in close to the creature's maw and bitten.
A typical quickwood (11 HD) has 9 roots it uses to grab foes. For every 2 HD above 11, a quickwood has one additional root it can use in combat (thus, a 13 HD quickwood has 10 roots and a 15 HD quickwood has 11 roots).
If a quickwood is targeted by a spell (excluding area spells) and it makes its save against the spell's effects, it takes no damage and absorbs some of the spell's energy and releases it as a fear effect (as a free action) in a 10-foot radius per level of the spell. Affected creatures must succeed on a DC 20 Will save or be affected as by a fear spell (caster level 11th). The save DC is Charisma-based and includes a +4 racial bonus.
If a quickwood hits with a root attack, it can attempt to start a grapple as a free action without provoking an attack of opportunity. If it wins the grapple check, it establishes a hold and drags the foe 30 feet closer each subsequent round (provoking no attack of opportunity). A quickwood can draw in a creature within 15 feet of itself and bite with a +4 attack bonus in the same round. A root has hardness 2 and 10 hit points and can be attacked by making a successful sunder attempt. However, attacking a quickwood's root does not provoke an attack of opportunity. If the root is currently grappling a target, the quickwood takes a -4 penalty on its CMD to resist the sunder attempt. Severing a root deals no damage to a quickwood.
A quickwood can perspire as a free action; this grants it immunity to fire for one hour. Afterwards, it must wait one minute before using this ability again.
As a standard action, a quickwood can use a normal oak tree within 360 feet as a magical sensor to view its surroundings. This ability is similar to a clairaudience/clairvoyance spell and allows a quickwood to see (including with darkvision) and hear through a sensor. A quickwood does not need line of sight to establish a sensor. A quickwood can establish a new magical sensor in another tree within range as a free action, though it can never have more sensors at one time than its Hit Dice. A quickwood with multiple sensors can switch between them as a free action.
An oak tree utilized as a magical sensor takes on a human-like visage (similar to a quickwood). A successful DC 20 Perception check allows a character to notice the tree's visage.
Quickwoods appear as nothing more than common oak trees and are indistinguishable from them at distances greater than 30 feet. Closer inspection (at a distance of 10 feet or less) reveals a human-like visage embedded in the trunk. They are carnivores and prefer the taste of human or elven flesh above all others.
A quickwood's body is brown and textured like bark, and many strong, rigid branches protrude from its trunk. Each branch has many smaller branches that sport leaves of a deep, rich green color. Quickwoods usually root themselves to a particular location and rarely move. When they do move, they pull themselves slowly along with their roots.
A typical quickwood stands 16 feet tall.
Quickwood from the Tome of Horrors Complete, Copyright 2011, Necromancer Games, Inc., published and distributed by Frog God Games; Author Scott Greene, based on original material by Gary Gygax.


The foundation of the Miikanan Gallery was developed by a talented group of hardworking individuals who make up our advisory committee. The committee began meeting in 2013 to develop the purpose and foundation goals for the gallery. They continue to work toward its implementation and ongoing success.
Pictured L-R: David White, Mary Ringhand, Colleen Greer, Lorie Yourd, Nyleta Belgarde, Renee Gurenau, Sandy Kaul, Laura Dehler-Seter, Lori Forshee-Donnay, Karen E. Goulet and Harold Dunsey White. Not pictured: Leah Carpenter, Elaine Fleming, Michael Meuers and Joe Allen.


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blogging by Andrew Wickliffe
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Short Cuts (1993, Robert Altman)
2 Comments	/ ★½, 1993, Drama, Film / 30 March 2017 30 March 2017 / Fine Line Features, Jennifer Jason Leigh, Julianne Moore, Lily Tomlin, Matthew Modine, Robert Downey Jr., Short Cuts, Tim Robbins, Tom Waits
Short Cuts is about a weekend in Los Angeles. It's a Robert Altman ensemble piece with twenty-two principle characters (though at least six of them are questionable–it really has three stories and then some tangents). It's "based on the 'writings' of Raymond Carver" (emphasis mine), but I'm pretty sure it's just an adaptation of his seminal work, If You Don't Take Your Husband As is, He'll Just Have to Rape and Murder a Young Woman and It Will Be Your Fault. Oh, wait, Altman actually strips the humanity out of Carver and leaves these dry husks and mixes them all up to make nine separate works fit into one three hour movie.
The first and third hours of Short Cuts have this Altman zooming in and cutting to a related image thing going. The first hour it's mostly for fun–Altman likes to cynically mock the mundanity of his characters. Sisters Madeleine Stowe and Julianne Moore are both eating the same peanut butter in between cuts, for example. It's cute, though when they have a scene together later and apparently aren't even close enough to have talked about their sex lives since Stowe got married. Altman and co-screenwriter Frank Barhydt do this thing where about half the dialogue is pure exposition. Frankly, as an adaptation of Carver–and I know I jumped topics but I want to be done talking about the writing and the adapting and just deal with the result. So I'll get it out of my system. Short Cuts feels like Robert Altman discovered Raymond Carver in The New Yorker; you don't get to be performatively trite with Raymond Carver.
Now then. The three stories.
Lily Tomlin hits little kid, little kid goes to the hospital. Little kid's parents are Andie MacDowell and Bruce Davison. Little kid is asleep for most of the Short Cuts weekend. Like, unconscious, hospitalized. Cue drama for MacDowell and Davison. Jack Lemmon shows up as Davison's dad. Tom Waits is Tomlin's husband. Oh, and Tomlin gets away with it. Throw in Lyle Lovett pointlessly shit-calling MacDowell over the little kid's missed birthday cake order.
MacDowell has absolutely nothing to do until the end of the movie when she gets her big moment and it's bad. She's not good, but you feel kind of bad for her because Altman gives her absolutely nothing to do. She's supposed to smile and occasionally be sad and confused. She might have Short Cuts's worst part. Terrified, grieving mother is apparently less interesting than Davison and Lemmon's hospital reunion.
Davison is kind of weak until Lemmon shows up and when Lemmon's trying to gaslight Davison about the past–performative gas lighting, in the way only Lemmon can do when he's playing skeevy. Altman knows how to use some of these actors, just not enough of them. Anyway. Davison has no dialogue but he listens to the whole thing and you can just see the thoughts. It's amazing. And makes up for the story monologue itself being poorly written. Lemmon's performance has its ups and downs, but the downs are when Altman pushes too hard. Lemmon and MacDowell is going to fall apart because of their weak parts, but Lemmon on his own for thirty seconds, talking to background players? It's awesome. MacDowell doesn't actually get as much to do in the film as Lemmon and he's only in it for the second hour. He appears out of nowhere and literally walks off into the sunset when he leaves.
As for Tomlin and Waits… she's a waitress, he's a drunken limo driver. They're married. After she hits the kid apparently they have a fight worse than most of their fights and he leaves. They're sort of a subplot of Story One. Then it turns out Tomlin's daughter–who Waits only assaulted once, we're reassured–is Lili Taylor, who's in the sub-story. Because the thing about Short Cuts and its size is it's too big. It's padded. It'd be a lot better if it were an hour shorter.
Story Two. Tim Robbins is a cop with a wife, Stowe, and three kids. He's having an affair and is generally a shit. Robbins is having the affair with Frances McDormand, who's got a son with ex-husband Peter Gallagher; Gallagher is kind of stalking McDormand because she's sexually active post-divorce. He's not concerned about the kid, which is sort of refreshingly cynical, just kind of terrorizing McDormand for having sex. Stowe doesn't get anything to do in her part of the story except know about Robbins's affair and tell sister Moore about it.
Robbins is bad. He's this nice guy pretending to be mean. I mean, he's just supposed to be sort of harmless. Short Cuts is so trite. It's so trite. It pretends to be mean but it's so shallow. In the last third, those Altman zoom ins and cuts aren't for cynical humor, they're to cut away from moments of emotional tragedy. Altman's narrative distance in this thing is a joke. He exploits the characters, he exploits the actors, he exploits the audience.
Stowe's great. McDormand's great. Gallagher's good but maybe a scene away from greatness. He and McDormand have very little to do in the film except orbit Robbins and provide filler. Short Cuts's L.A. is real small.
Story Three is Moore and husband Matthew Modine. Modine's also background in Story One, but he doesn't get a lot to do until the end of the second hour so he needs to be somewhere else. Moore's a successful painter. Emotive nudes. Modine's a doctor. He's a jerk and frigid. She's discontent but enthusiastic. They meet another couple–Anne Archer and Fred Ward–and want to get together. Or something. The first hour is so dripping in Altman's condescending cynicism towards the characters he sometimes makes too much of a narrative slip and covers it with goop. Some casual racism, for example. Altman uses casual racism throughout Short Cuts to change up a moment. He tries it with class stuff, but usually he just likes the casual racism.
It's so painfully cheap.
Anyway. Moore's good, not great. She does get a better monologue than most and Altman wants to go for some nudity symbolism with her–lots of not sexy-time nudity in Short Cuts, but nothing compared to Moore's monologue scene. He's guilting the audience in wanting the scene to succeed for Moore's sake. The scene doesn't succeed. Maybe because Moore's playing off a wooden Matthew Modine. Because Modine's doctor is the biggest jerk in the known universe. But, you know, Moore still should be a better wife to him. Because he suspects she's cheated on him. Sort of. Not really though. He's a dick from the opening titles, which run twelve minutes, and Altman and his editors use to sort of ashcan the film. It's an introduction; a manipulative one.
Meanwhile, Archer and Ward have some kind of bliss. She's a professional clown, he's out of work though they still live comfortably. Except their cars. His unemployment isn't an issue until hour three and the car thing only comes up directly then. Before it's just a detail in the scene where Robbins pulls her over and tries to pick her up and apparently steals her driver's license.
Because, again, Shorts Cuts is way too big. Okay. Almost done. The sub-stories. Lori Singer and Annie Ross. They live next door to Story One but Ross doesn't even know there's a little kid there. Singer is a cellist who spends the rest of her time playing basketball with a multicultural group of young men. They play basketball at her house, this gaggle of men, yet serve no purpose other than to provide background and imply depth. Implied depth should be Short Cuts's subtitle. Singer's dad killed himself, Ross is her mom. Ross is a drunk jazz singer who performs at the bar where a handful of the characters show up. Exploitative sadness, melodrama, and nudity take place.
Ross is kind of great for hours one and two then weak in hour three. It's the part as written but still. Short Cuts's characters are so obnoxious, you have a limit. Lemmon gets off easy, for instance. Though Stowe gets through most of it. Only because she gets almost nothing to do in hour three.
The second sub-story, and the biggest one, is the one with Taylor. She's married to Robert Downey Jr. and their best friends are Jennifer Jason Leigh and Chris Penn. Leigh and Penn are married. Everyone's got to be married in Short Cuts because otherwise Altman's points wouldn't be so stunning. They're housesitting–Taylor and Downey–and they're potheads and there's an implication Downey's either cheating on Taylor or he's trying to do so at every opportunity. Leigh is a phone sex worker. Penn is a pool cleaner (to MacDowell, in fact). Even though she's probably making a lot more money than him, her work is bothering him and he's reaching his breaking point. This emasculation cannot stand.
Taylor's weak. It's a lame part, but she's weak. Downey's weak. Lame part, but he's still weak. Leigh's capable in a lame part but she's not exactly good. Altman and Barhydt require logic to last as long as the scene and not in-between them. Altman acts like bad exposition cancels out weak acting just because it "says" something. Penn's good in the first couple scenes but once he becomes a crazed sex fiend, he's pretty lame. Again, Altman's not there for him. He's not there for any of these actors. He's at least there for Singer and Ross. Not these ones though.
Sub-story three is Fred Ward, Buck Henry, and Huey Lewis go fishing. Ward's going to bring the fish to dinner at the Modine and Moore party he and Archer have planned. Look at how it all comes together. Like a glove. They go to the fishing spot, they find a dead body, they spend a day fishing around the body. Gives Altman a lot of opportunity to fetishize the submerged nude female corpse; he's making a point about nudity, after all. It's all so provocative.
Henry's creepier than hell, which doesn't seem to be the intention, but he's playing it like a serial killer. Lewis just seems amused to actually have gotten cast in a Robert Altman movie. This story ties back into Story Three when Archer finds out about it, but it's inconsequential except as filler. Oh, and so Altman can make the queen mother of false equivalences with a scene between Taylor and Henry regarding the objectification of dead bodies. It's all so provocative.
Altman's contention the viewer needs to decide the relevance is once thing, but when he ceases to provide the content needed to decide that relevance–or even bother to consider it–the ball is back in Altman's court. If you want to do the Raymond Carver Extended Universe, you need to be doing something amazing. And Short Cuts isn't doing anything amazing. I mean, I guess it's making a Mark Isham score seem positively hip in comparison, but it's not doing anything else amazing. Walt Lloyd's Panavision photography is fine. It's kind of dull, but not offensively. Geraldine Peroni's editing is a little on the nose. Altman relies heavily on it to try to get through narrative rough patches, but Peroni can't save it.
Because Short Cuts can't need saving. Altman and Barhydt's script gets shockingly cheap in the third hour. Shockingly. And Lemmon's monologue is pretty cheap too–I mean, Lemmon's delivery and Davison's reaction save it, but it's not uncheap. It's just beautifully acted cheap. The third hour is just cheap, cheap, cheap, cheap, cheap. It's the cheaper chicken.
You can't save that level of cheapness. Nothing can. And even as the third hour drags, Altman still finds new ways to get even cheaper.
He's pretty good at being cheap, but not for three hours.
Directed by Robert Altman; screenplay by Altman and Frank Barhydt, based on short stories by Raymond Carver; director of photography, Walt Lloyd; edited by Geraldine Peroni; music by Mark Isham; production designer, Stephen Altman; produced by Cary Brokaw; released by Fine Line Features.
Starring Andie MacDowell (Ann Finnigan), Bruce Davison (Howard Finnigan), Jack Lemmon (Paul Finnigan), Madeleine Stowe (Sherri Shepard), Tim Robbins (Gene Shepard), Julianne Moore (Marian Wyman), Matthew Modine (Dr. Ralph Wyman), Anne Archer (Claire Kane), Fred Ward (Stuart Kane), Jennifer Jason Leigh (Lois Kaiser), Chris Penn (Jerry Kaiser), Robert Downey Jr. (Bill Bush), Lili Taylor (Honey Bush), Lily Tomlin (Doreen Piggot), Tom Waits (Earl Piggot), Frances McDormand (Betty Weathers), Peter Gallagher (Stormy Weathers), Annie Ross (Tess Trainer), Lori Singer (Zoe Trainer), Buck Henry (Gordon Johnson), Huey Lewis (Vern Miller), and Lyle Lovett (Andy Bitkower).
THIS POST IS PART OF THE JACK LEMMON BLOGATHON HOSTED BY LÊ OF CRÍTICA RETRÔ and RICH OF WIDE SCREEN WORLD.
Other films directed by
Other 1993 releases
Dolores Claiborne (1995, Taylor Hackford)
Leave a Comment	/ ★★★½, 1995, Film, Mystery / 20 July 2012 20 July 2012 / Christopher Plummer, Columbia Pictures, Danny Elfman, David Strathairn, Dolores Claiborne, Jennifer Jason Leigh, John C. Reilly, Kathy Bates, Stephen King
Dolores Claiborne isn't just a mother and daughter picture… it's not just a mother and daughter picture made by a bunch of men (directed by a man, produced by men, screenplay by a man based on a novel by a man), it's Panavision visual experience mother and daughter picture. Director Hackford–ably assisted by Gabriel Beristain's photography–creates a vivid, lush visual experience. It's stunning; every time Hackford intensifies the color scheme, it heightens the film's impact. He does a fantastic job.
Watching Claiborne–for the first time since I was a teenager, probably–I noticed how Kathy Bates's titular protagonist has, through a trauma, become unstuck in time. It all makes sense, by the end of the film, as a traditional narrative arc for the character, but Hackford's then got to account for the Technicolor flashbacks (versus the drab modern day). And he does.
Hackford includes a Vonnegut reference, a very quiet one, and it's hard not to see it as intentional, given those time slips. Hackford's whole composition scheme is based on those slips and how they jar both the viewer and the character.
There shouldn't be enough story for a film here, certainly not one running over two hours. With Hackford, Tony Gilroy's script and Bates's spellbinding (not one of my regular adjectives) performance, there's more than enough. Actually, it ends too soon.
Outstanding supporting performances from Jennifer Jason Leigh, Christopher Plummer, David Strathairn and Judy Parfitt further deepen the film.
Excellent Danny Elfman score.
Claiborne's superb.
Directed by Taylor Hackford; screenplay by Tony Gilroy, based on the novel by Stephen King; director of photography, Gabriel Beristain; edited by Mark Warner; music by Danny Elfman; production designer, Bruno Rubeo; produced by Hackford and Charles Mulvehill; released by Columbia Pictures.
Starring Kathy Bates (Dolores Claiborne), Jennifer Jason Leigh (Selena St. George), Judy Parfitt (Vera Donovan), Christopher Plummer (Det. John Mackey), David Strathairn (Joe St. George), Eric Bogosian (Peter), John C. Reilly (Const. Frank Stamshaw), Ellen Muth (Young Selena), Bob Gunton (Mr. Pease) and Roy Cooper (Magistrate).
Miami Blues (1990, George Armitage)
Leave a Comment	/ ★½, 1990, Film, Mystery / 18 July 2012 18 July 2012 / Alec Baldwin, Charles Napier, Fred Ward, Jennifer Jason Leigh, Jonathan Demme, Miami Blues, Nora Dunn, Orion Pictures, Paul Gleason
Besides an absurd reliance on flip and pan transitions, director Armitage does an often excellent job directing Miami Blues. His script–adapting a novel, so who knows how much is his fault–is a different story. Blues is the story of a charismatic psychopath (Alec Baldwin) fresh from prison who wrecks havoc in the Miami area. The Blues in the title must be for Fred Ward, who plays the unlucky cop who's trailing him.
Armitage, Baldwin and Ward all play Blues like half a comedy. Ward does the joke well, but Baldwin's disastrous at it. His performance as a psychopath is so strong, it kills all the humor possibilities. Or maybe Armitage is just an incompetent director and didn't mean to direct the scenes funny. Though that explanation seems unlikely, especially since the film opens and closes on a smile.
In this strange mix is Jennifer Jason Leigh. While Ward's good and Baldwin's problematic (but technically good), Leigh is astoundingly great as the dimwitted hooker who falls for Baldwin. Leigh's so good, she makes Blues worth a viewing. Had Armitage followed Leigh (or Ward) instead of Baldwin, the film would have been a lot better.
The rest of the supporting cast–no one else has much screen time–is excellent. Nora Dunn and Charles Napier play Ward's colleagues, Bobo Lewis is great as Baldwin's landlord and Paul Gleason has a little part.
While Armitage's best directorial moments come early–and lessen the disappointment of the middling script–Leigh never disappoints.
Directed by George Armitage; screenplay by Armitage, based on the novel by Charles Willeford; director of photography, Tak Fujimoto; edited by Craig McKay; music by Gary Chang; production designer, Maher Ahmad; produced by Jonathan Demme and Gary Goetzman; released by Orion Pictures.
Starring Alec Baldwin (Junior), Jennifer Jason Leigh (Pepper), Fred Ward (Sgt. Hoke Moseley), Nora Dunn (Ellita Sanchez), Charles Napier (Sgt. Bill Henderson), Shirley Stoler (Edie Wulgemuth), Bobo Lewis (Edna Damrosch), Obba Babatundé (Blink Willie), Gary Howard Klar (Head Bookie), José Pérez (Pablo) and Paul Gleason (Sgt. Frank Lackley).
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