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Modern and historical Christian thought on war. Is it ever justified, and if so, what makes a 'just' war?
Christianity and the ethics of war
The main Christian view of war ethics is contained in the doctrine of the Just War.
The basic assumption of modern Christians is that war is rarely justified and should be avoided unless the Just War conditions are met.
An individual Christian may believe that the standard of evidence and argument required for them to support a war is higher than the standard of evidence that national leaders may require to go to war.
Christianity is no longer (if it ever was) wholly against war. Some say that modern Christianity has a 'presumption against war', but others say that it has a 'presumption against injustice' - and the bias against war comes from the injustice that war can do.
This view says that the aim of Christianity is to promote a world in which peace and justice flourish everywhere: war may sometimes be the tool needed to do this, and waging war may sometimes be a lesser evil (a lesser injustice) than allowing injustice to persist or tolerating the victimisation of innocent people.
How do Christian chaplains in the armed forces feel about war?
Christians have a long history of refusing to take part in war. Many Christians are pacifists of various types. These range from peace activists to those who need a great deal to convince them that war is justified.
The Christian argument for pacifism is based partly on Jesus's teaching in the Sermon on the Mount and other places, and in the example that Jesus sets Christians through his life.
Those who argue against this say that Christ's pacifist nature and behaviour were part of his unique role as redeemer of humanity. Christians are not redeemers and so their conduct should follow Christ by seeking to bring peace and justice to the world even if this means not always 'turning the other cheek'.
Christian groups that emphasise pacifism include:
Mennonites: a church that grew out of the Protestant Reformation in Europe in the early 1500s. Mennonites believe Christ's injunction to "love your enemies" prevents them from participating in any way in military action against another country.
Quakers (or The Religious Society of Friends): a Christian group with a total commitment to non-violence. In 1660 the Quakers declared "...the spirit of Christ which leads us into all Truth will never move us to fight and war against any man with outward weapons, neither for the kingdom of Christ, nor for the kingdoms of the world."
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The Christian view of war has changed throughout the history of the faith.
The early church (the first 300 years) was strongly pacifist. Origen said that Christians "do not go forth as soldiers". Tertullian wrote "only without the sword can the Christian wage war: for the Lord has abolished the sword." Clement of Alexandria wrote "...he who holds the sword must cast it away and that if one of the faithful becomes a soldier he must be rejected by the Church, for he has scorned God."
This changed rapidly in the time of Constantine - the Council of Arles in 314 said that to forbid "the state the right to go to war was to condemn it to extinction", and shortly after that Christian philosophers began to formulate the doctrine of the Just War.
For many centuries Christians believed that it was right and proper to use violence (and thus war) to spread the faith and deal with its opponents. They did not regard violence as an inherently bad thing: whether it was bad or not depended on what it was being used for.
This thinking is covered under holy wars - the main examples of which, for Christians, are the Crusades.
From Constantine onwards Christian writers and preachers have used warlike and soldierly metaphors in their writing about the faith.
The idea that violence is not inherently bad can also be seen in some versions of the Just War doctrine - violence (war) can be a vital tool in restoring justice and peace.
Ethics: war
Army chaplains
Just war doctrine
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A collection of Virginia Satir's sayings divided into five categories to help you in finding specific ideas easier – Beliefs/Values, Life Journeys, Feelings, Communications/Relationship/Differences, and Family. A great resource for yourself or to share with others. We encourage you to use the sayings in the spirit that Virginia said them – "a way of going, not as an end in itself." There are blank pages for you to make notes.
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It is written for developers who have written several scripts or site, and want to know how to combine them all into one package that can be used to simplify the script in the future and the site. This book is intended for people who understand the basics of PHP and jQuery, and want to know how they can be used effectively to make a big project a user-friendly and flexible.
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Click on download arrow for office 2013 pro. Go through usual installation process.
Click on Activation file for this programme; This is a small programme. Do not open it but Save it to desktop.
Right clk and 'Run as administrator'. The small programme runs and after obeying last command (clk any key) the programme will be activated. (not if you just clk on the programme it will run ok but it will not activate – the run as administrator step is essential).
Downloaded music is often faint and has large margins so is inconveniently small.
Crop to smallest sensible size; Enhance to improve contrast.
Save as jpg and as pdf. If many pages save as 1, 2, 3 etc.
In file explorer Rt Clk the first and choose combine to make single pdf.
To print. Open Acrobat first. Go to print. Duplex printing. Portrait.
Usually you will see the modified page as much smaller than full page.
To make music fill full page use Custom scale and type in 130%. Print off single page to check that this is not too much or too little. Adjust up or down. Print.
Delphis Best way of accessing journals online.
Go to library page. Scroll down; Click on Delphis link; sign in with University name and password.
Search directly in the Search bar. To search for a journal Click on Ejournals in scroll bar at top.
Create or edit page. Save. To check links are OK: F12.
Go to Local html page that you want to Put up and clk to mark it. Go to Edit (Top left bar) Clk Copy.
Note One time after i had message 'Server could not be found'. To solve this i opened Chrome then went to settings and history and cleared Cache and browsing data to solve problem.
Save as: Any format – Word, PDF, Jpeg, html.
So probably best to do everything in publisher then Save as required for printing and for Webpage.
1.Select the cells you want to change.
2.Right-click the table, and then click Format Table.
3.The Format Table dialog box will appear.
4.Under Line, select the options you want, and then click OK.
Insert table, choosing numbers of columns and rows.
Sugggest. Make table with borders colour gray so not to be too intrusive. Have spare cells between to write bits in. At end can remove borders if wanted.
Picture place holder. Insert one; adjust to size of table cell; copy and paste into all other cells. Save as template for future pages.
New page; Blankk A4; Page design; Margins – narrow or none.
Insert Table. Block in 3 column and 9 rows. Then minimise the rows for text . Fill up page with the Table so that each cell is size required. [I want square].
Select Table; Table Tools; Design; Select line width; colour; all borders. This is sometimes odd but it is possible to get all borders correct. Block all cells first. May have to juggle with sequence of Width, All and Colour.
For bird pictures make border wide and grey.
Insert Picture place holder. Fit this into first cell so it overlaps the wide border. Copy and past into all the cells.
Insert picture. It is usually organised so that it fits top and bottom. The sides poke out. Select the picture and move it around to get part required then Crop. To see original pic after cropping [to change it etc] then Rt cllk picture and menu shows Crop – clk and it shows pic. Move then crop again.
Select all pictures Ctl clk on each; Send backward. The edges are then neatly hidden behind the frames.
Alternative: to avoid large text rows. Do as above but Only use 5 rows. The top is for title. Now each cell will be about square. Place picture holder in cell but leave space at bottom of holder to write in text later.
Roy suggestion. Make picture box of right size. Then test box beneath. Lock 2 together. Put frame around. Copy and line up on page.
How to Embed Youtube clip into website.
NOTE: The actual material is not embedded. This procedure shows only the actual clip on Youtube without all surrounding stuff.
Put your video onto youtube if you want to use your own video clips.
Open the clip in youtube.
Under the picture there is an icon Embed. Clk this. It will bring up the code you need – already blocked in blue. Rt Clk to copy.
In Dreamweaver. Have View/code and design open. Put cursor where you want the embedded video. Then you will see the cursor in the Code section at top. Rt Clk/paste and the code will go there.
NB: I also copy the direct address [from top of youtube address page] and put that as a link onto the page labelled 'direct youtube link'. This is because sometimes computers do not like the embedded links.
FIRST put video onto utube.
Always save ppt presentations under Work/presentations even if they are designed to be on web. Then save as jpegs in same folder and copy these into Mywwebpages under ppt with the ppt presentation for linking.
Open books.html and go to section (fiction etc).
Type name and author in Table. For picture open Amazon and find the book, There is usually a separate image of the book. Save as 'name' in Mywebsites/PICSjpg/books.
In dreamweaver in the space in the table above its name Insert the book jpg.
As others have commented it is difficult to focus at 400x because the depth of field is small, the contrast is low and it is difficult to hold everything steady. This is not a fault of this microscope; it is true for the best professional instruments which overcome the problem by being very heavy, having precision engineered platforms for moving the object and special lighting systems (e.g. phase contrast). With the VMS-400 I recommend practicing focussing on a simple object as described above; it also may help to fix it to a heavy base or to place the object in the transparent lens cap. For smaller objects it is helpful to press them between glass slides for viewing at high power.
EXCEL SORTING To avoid confusion do not use the small icons for sorting - except for very simple tasks where columns do not need to be linked. Use Data/sorting.
Block the section to be sorted (by clicking on the numbers on left.
TO LEAVE HEADINGS then just block the rest of the data to be sorted below.
Click on the column or part of it to be sorted eg column B may be course taken. Sort this and then block the rows with same subject (for example) and then click column A to sort alphabetically.
Welcome to iCloud. The Apple ID for your iCloud account is c.anthony@soton.ac.uk and it's what you'll use to get your iPhone, iPad, iPod touch, Mac, and PC set up. Just follow these instructions and you'll be up and running in no time.
Once iCloud is set up, it stores your content and wirelessly pushes it to all your devices. For example, buy a song with iTunes on your computer, and it will appear on your iPod touch and iPad. When you snap a photo on your iPhone it will automatically be sent to your iPad. You can start creating a Pages document on your iPhone, and put the finishing touches on it from your iPad. There's no need to dock or sync to your computer. With iCloud, it just works.
Password is same as univ email N00mbers.
I think I have now changed it to Tirupat1.
Carl says I can use ipad as a 'drive' and drag and drop pics. Not tried.
For pdf and word etc: Turn on ipad and connect to computer.
Open iTunes. Go to Devices Christopher. Select Apps at the top.
Scroll down page to File sharing. This will show a list of apps including the Office and Documents. But for pdf should use Adobe reader as this gives many options during reading – essential if the document is long (eg my reviews or books).
For videos use OPlayerlite. Do as above and drag videos there.
To import photos. In my computer photos add file called ipad.
In iTunes do not click apps. Click photos. This recognises the ipad folder.
How to put files into folders.
iTunes for adding to ipad. The correct and best way.
Select heading Apps at top.
Scroll down to see File Sharing.
There will be a list of apps including Quick office, Documents and pdf reader.
Find the document for transfer in Explorer and drag and drop into one of these.
It is best to put pdf files into reader as it gives more flexibility when used.
At top of page go to Photos (not apps).
First make folder called ipad in Exporer on computer and put pics there. Then transfer from there.
The default mode uses 'Image garden'. Ignore this. Use IJ Scan facility (on task bar and on desktop). Tell where the picture should go to (chris pictures canon scanned). The image always seems to be a pdf. Can convert to jpg in Photoshop.
In Outlook Web App: Go to Options on top right of page; clk create an inbox rule; Choose New/ when message arrives/select - It includes these words in the subject line. Type the words or phrases, to add another Clk the + sign. Clk Save.
This used to be by TKnet (now gone). Go to University library page. Scroll down & Clk on WebCat.
Log in as university member (usual name and password).
In Quick Search: Clk Exact; type in journal name; Choose Journal title; Clk Search catalogue. This takes you to the journal website which you then search for the paper you need.
To create a publisher document from my online website camping guide (UK). To later convert to pdf for use on the website.
In Publisher: Choose no margin. Insert table. Expand to fill space, leaving 3mm edge for later printing. Page design: 2 columns 5 rows.
Too set up borders colours etc: Clk table then Page design.
A new heading appears TABLE TOOLS with 2 sections – Design and layout.
In Design choose borders choose All / Select all of table with cursor (perhaps order other way round). Choose colour and border width. To add row go to Table tools / layout and modify as needed.
Putting in pictures. Insert picture. Hint: make the cell to hold the picture bigger than needed (click on the border and lower it. Insert the picture and adjust size. Do not hold down any other keys while dragging from a corner. Use keyboard arrows to move it into position.
Add a page. Clk Insert page. Rt Clk choose duplicate page. So template is retained. Delete old content and add new. [Perhaps could save the first table layout as a template?].
To adjust the size of overall pages (so bits are not cut off during printing) – With cursor put box round whole page then in Drawing tools - Group. Then size can be adjusted.
Save as pdf. Open it with 'Edit pdf'. Print to edge of page.
Lynda: (an external page) source for excellent training videos for most programmes.


This year I'm sewing along with Gertie from Gertie's New Blog for Better Sewing. A bunch of other talented seamsters and I have joined up through the Craftsy online community to make her Starlet Suit. Here's a reflection on my efforts to sew well.
The muslin came together pretty quickly this week. The pattern only comes with written instructions for the skirt, not for the jacket, but it was simple enough to stitch neighboring pieces together. This time I used green thread and long machine stitches to contrast with the purple thread I used for my tread tracing.
In these weekly posts, I tend to only post a quick image of my progress and a brief description of my experiences. Since fitting is not covered in the class, I've added more photos of the muslin below in the hopes of getting some input from all of you as to where I might need to direct my attention.
First, the easy fit: the skirt.
I think the skirt fits well, but it does need an extra half an inch at the waist. I expected I might need to add width here since the pattern size I cut had a waist measurement an inch smaller than mine. My plan is to add roughly 1/16″ to the top of both side seams on each of the six skirt pattern pieces, tapering down to nothing a couple inches below the waistband seam. Also, though the instructions for the waistband suggest that it should have an inch underlap, I don't think it was drafted with this underlap included since it fit the skirt pieces exactly as is. Therefore, I plan to add an inch and 3/4 to the waistband to account for both the extra needed for me and for the underlap.
Now to the jacket. I had a little bit of trouble getting the side front to match with the front since the side front was much longer than I expected. I double checked to make sure I cut the correct side front piece since I'd noted earlier that this particular pattern piece was mislabeled. I had. I matched the notches along the princess seam and the stitching lines at both the armhole and the hem. I gently eased everything in from there. Later in the week when I was watching one of the class videos, I noticed that Gertie only matched the notches along the princess seam and eased between them. She did not ease anywhere else, and since she hadn't marked her stitching lines to begin with, she definitely did not worry about matching any stitching lines or even edges at either the armhole or the hem. Since I think my muslin looks like there is a lot of extra fabric in the front side pieces, I plan to try stitching the pattern pieces together just as she did in my next muslin.
As is true for almost every pattern I make, the waist is too high for me. I plan to lower it an inch. I'm also planning to add a half an inch to it since the skirt suggested extra width was needed here. Also, the neck feels a bit high in the back. It's hard to see since my self-photography didn't catch it. Is it high on purpose? Would lowering the back neck seam alter the roll of the collar?
I'm not sure if the pulling and gathering along the princess seams in these side shots would be reduced by sewing those seams without the extra easing, as I discussed above. What about the area where the front meets the sleeves? And the sleeves themselves? My experience is definitely lacking in how to know whether sleeves properly fit. I think these seem to hang just fine, but I wasn't quite happy with how they set in around the back double notches, which are just behind the underarm. You can see the issue better in the image below.
There are puckers on both sides right where the double notches are located. When I set in the sleeve, I matched the notches on the front and back, the bottom sleeve seam with the jacket side seam, and the notch on the top of the sleeve with the seam on the top of the jacket. I eased the sleeve in as necessary. I haven't had a chance to watch any of the class videos on setting in these sleeves, so perhaps Gertie uses some trick here that I don't yet know.
The jacket does seem to have a wee bit of extra fullness in the back princess seams, but perhaps that's due either to the same extra easing issue that I had in the front or to the fact that the waist is snug, which makes the ease in the back appear fuller than it actually is.
My homework for this week is to watch the rest of the class videos so that I know that I've sewn the muslin together the right way. I'm then going to reconstruct the muslin, sewing each seam just as Gertie does and adding the extra length and width to the waist.
If you have any suggestions for me as to how to best fit this muslin, please let me know. Thanks!
1. there is too much fabric around the bust, so you might want to consider to reduce the circumference around the bust line (probably at the side seams because the princess seams look great).
2. I can't tell with this pics, but it looks like the armhole is too low. Maybe you can measure the circumference of the armhole on your favorite jacket and compare to this one.
I'm using a nice linen, wool blend. It's substantial but not too thick. I should get it in the mail any day now… Also, we'll see how the bust fits once I restitch those front seams a la Gertie.
It looks great! Way to go! Fitting is such a tricky little devil… I think I might pinch out just a tad bit of fullness from the princess seams – particularly in the back – or try pinching in the side seams like Roni-Ofec suggests and see if that pulls the area around your bust line/back smoother.
A tell tale sign that the armhole is too low is a lack of mobility in the jacket. When you raise your arm – does the whole jacket swing up with it? If that area is uncomfortable then yes, maybe take a look at a RTW jacket and size up the armhole. If its not uncomfortable than I wouldn't mess with it.
Good Luck – Keep up the good work!
Thanks! We'll see about the armhole and princess seams when I sew up the jacket again ignoring the stitching lines on the side front pieces. Hopefully it'll eliminate a bit of that excess fabric in the front.
Hi Amy, the outfit will look great on you, retro yet modern. Here are a couple of suggestions, I wish I could see it in person on you!
I think the upper back is too tight, (even though the waist etc. are too big) so that is pulling the sleeve upper back across the top of the arm and causing those ripples where the back princess seam meets the sleeve. The seam of the sleeve should be a bit further out, then the sleeve will hang properly. Are you a bit broad-shouldered? that can cause these ripples. or maybe you need a bit more room across the upper sleeve.
Sometimes a garment requires an addition in one place but then a subtraction in another spot that seem to contradict, but work out for fit.
The jacket neck looks right to me. I don't think the armhole looks too low but it is hard to tell in the photo.
You are on the tall side, so I am sure the jacket could use more length in the waist.
Thanks Beth. The jacket is definitely too small across the back. After seeing Shams' photo of her jacket muslin in which she held her arms forward, I tried the same, and it was really strained. I'll try to set the sleeves farther out and see what that does. I'm also not sure I sewed the back pieces together correctly (again, none of the pieces seem to match up as well as I would expect), so trying again after watching how Gertie manipulates the pattern may help. I'm also definitely lowering the waist. Next Tuesday I hope to have another round of photos up. Are there other positions I should look at to judge fit? Arms out? Maybe I'll wear the muslin to the Gaultier exhibit when I see you next!


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Q: Django 2 + Channels динамическое обновления журнала событий Всем привет! Недавно начал изучать Django Channels прошу помочь правильно настроить передачу сообщения из view.
У меня простое приложение "Телефонная книга", пользователь вводит в форму поиска номер телефона и ему из базы данных выводятся данные о владельце номера.
В админке Джанго необходимо сделать что то типа журнала поиска, т.е. выводить данные о том каким пользователем был сделан запрос, какой текст был в запросе и время когда запрос был сделан.
С помощью Channels я хочу настроить динамическое обновление журнала событий. Чтобы не надо было каждый раз нажимать кнопку "обновить".
Код во views.py следующий
class SearchView(ListView):
    model = PhoneBook
    template_name = 'search.html'

    def get_queryset(self):
        # получаю данные запроса: автор, данные и время
        request_args = {
            'request_author': self.request.user.get_username(),
            'request_data': self.request.GET.get('search'),
            'request_time': datetime.datetime.now().isoformat(sep='T')
        }
        # записываю в базу данных
        request_history = RequestHistory(
            request_author=request_args['request_author'],
            request_data=request_args['request_data'],
            request_time=request_args['request_time']
        )
        request_history.save()
        # отправляю в consumer
        channel_layer = channels.layers.get_channel_layer()
        async_to_sync(channel_layer.send)("default", request_args)
        object_list = PhoneBook.objects.filter(phone_number=request_args['request_data'])
            if len(object_list) == 0:
                object_list = None
                return object_list
            return object_list

Код в consumers.py следующий
class HistoryConsumer(WebsocketConsumer):
    def connect(self):
        self.accept()

    def receive(self, **kwargs):
        async_to_sync(self.channel_layer.receive)('default')

    def send_to_history(self, event):
        request_author = event['request_author']
        request_data = event['request_data']
        request_time = event['request_time']

        # Send message to WebSocket
        self.send(text_data=json.dumps({
            'request_author': request_author,
            'request_data': request_data,
            'request_time': request_time
        }))

В шаблоне странички следующий код

{% extends 'admin/base.html' %}
{% load staticfiles %}

{% block extrastyle %}
{{ block.super }}
<link rel="stylesheet" href="{% static 'css/style.css' %}">
{% endblock %}

{% block extrahead %}
{{ block.super }}

{% endblock %}

{% block content %}

    {% for object in object_list %}

{{ object.request_author }}

{{ object.request_data }}

{{ object.request_time }}

    {% endfor %}

{% endblock %}

ASGI сервер работает. Подключение по вебсокет происходит.
В итоге динамического обновления не получается. Никакие сообщения об ошибках не выводятся. Помогите разобраться, что я не так делаю.

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text:
Geometrische Kunst steht für:

 Geometrischer Stil, Kunststil der griechischen Kunst
 Geometrische Abstraktion, Teil der Abstrakten Malerei

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This chapter begins presenting the original approach to Reed–Solomon (RS) codes exhibiting the generator matrix of the code. This is followed by an equivalent method that selects codewords "screening" words by the parity-check matrix. The familiar ideas of addition and multiplication of complex numbers are utilized to construct Galois fields using irreducible polynomials. As justified in the chapter, only primitive polynomials are used in coding. The concept of the period of a polynomial is introduced, and it is shown how periods can be found with Galois-type linear feedback shift registers (LFSRs). The polynomial approach to coding RS codes is presented, and a method to mechanize coding using LFSRs is explained. The chapter ends introducing the binary Bose–Chaudhuri–Hocquenghem (BCH) codes as the binary codewords of RS codes and proving they are polynomial codes.


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Home News See the Brutality of War in New Trailer for Sam Mendes' '1917'
See the Brutality of War in New Trailer for Sam Mendes' '1917'
ARTNEWSPRESS: Universal Pictures has released a new trailer for Sam Mendes' World War I epic 1917, showing off the work of award-winning cinematographer Roger Deakins. The trailer reveals a battalion of young British soldiers fighting in the muddy trenches of the brutal war. Two soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman), are tasked with crossing enemy territory to deliver a message that will save hundreds more soldiers.
The trailer emerges only a few days after Universal released a behind-the-scenes video that revealed how Mendes and Deakins created the film to look like it was filmed in one continuous shot. "What Roger manages to achieve is for that camera to become a third character," Mendes said during a panel at New York Comic Con. "If you're looking at this movie and thinking, 'it's one shot,' I think we will have failed. If you don't care about [the characters], if you don't go on that journey with them, then what's the point? We were on the same page about that from the very beginning."
"It was this really awesome challenge," Deakins added. "Everything's got to be in sync," he said. "When you're almost to the end of the shot you're like, 'I hope I don't blow this.' It was a real trip."
1917, which was co-written by Mendes and Krysty Wilson-Cairns, also stars Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth and Benedict Cumberbatch. It will have a limited release on December 25th, with the film going wide in theaters on January 10, 2020.
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text:
Meet the Inaugural Tejumola Olaniyan International Student Travel Award Winner
"My name is Michael Eniola Oshindoro. I am a Ph.D. student in the Department of African Cultural Studies. I received a Masters in English with a specialization in literary and textual studies at Bowling Green State University in Ohio, a degree I earned after completing a Fulbright fellowship at Fayetteville State University in North Carolina. Before then, I studied Linguistics in Nigeria, my home country.
There is an abundance of expressive visual forms emerging from Africa to which cultural criticism must play catch-up. Here, I am echoing many literatures in African studies including "Of Travels, Accents, and Epistemologies" by Tejumola Olaniyan (2015). Along this charge, my doctoral research focuses on animation and comics in order to understand how contemporary art forms are informing new consciousnesses with respect to African identity, subjectivity, and agency.
I am grateful to the Olaniyan family for creating the Tejumola Olaniyan Foundation which made the Tejumola Olaniyan Travel Award possible. This award will support my trip to Nigeria in the Summer of 2022 where I will be conducting an ethnographic study in animation studios. Beyond the invaluable financial support, my work will benefit from the profound and capacious scholarship of Professor Tejumola Olaniyan whose oeuvre continues to shape the field of African cultural studies. I am also sincerely thankful to the African Studies Program for this wonderful opportunity."
The Tejumola Olaniyan International Student Travel Award is intended to support domestic or international travel by the student to conduct research, archival work, and/or creative or artistic endeavors. Awardees may receive up to $4000 to support their research. The award, initiated this year, was made possible by a generous contribution from Olaniyan's family to honor the late professor for his extraordinary scholarly contributions and mentorship.
Persons interested in fostering talent and promoting the study of global Black cultures can extend the impact of this generous gift by also donating to the award. To make your tax deductible gift, visit the University of Wisconsin Foundation website today.
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General Store sign, perfect for your farmhouse decor. If you have a pantry it can be placed right above the door opening.
The sign overall dimensions are 8.5"x25" and it's made out of solid wood. The sign has been painted with white acrylic paint and the text has been painted with black acrylic paint. The frame has been stained in dark walnut. The sign comes with a sawtooth on the back for easy hanging.
If you need a different size or the sign changed to mercantile please send you a message.


Categories: All Hair Extensions, Human Hair Extensions. Tags: Premium Now Hair Extensions, Sensationnel Hair Extensions.
Sensationnel Premium Now Yaki Weave is an excellent quality 100% human hair extension. We sell a wide range of lengths available from 8 inches up 18 inches online, with many colours available.
The Hair Extension lengths available online are: 8″, 10″, 12″, 14″. 16″ and 18 inches. For colours please view our colour chart.


text:
Q: Catching memory exception during recursive programming in Java Card Although recursive programming style isn't recommended in Java Card, I want to make a little test on the Fibonacci algorithm. I wrote a function that compute the Fibonacci's suite for big integers (represented by byte arrays).
My code is the following:
public static byte[] fibonacci(byte[] n) {
    if (isLEThan1(n)) {
        return n;
    }
    else {
        return add(fibonacci(subtract(n, new byte[]{0x01})),fibonacci(subtract(n,new byte[]{0x02})));
    }
}

where boolean isLEThan(byte[]) returns true if the integer represented by the byte array is less or equal than 1, false if not.
byte[] add(byte[], byte[]) and byte[] subtract(byte[], byte[]) implement addition and subtraction for big integers represented by byte arrays. They return a new byte array containing the result of the operation.
I thought that by giving a large array to the function described above, I will get an exception such as SystemException.NO_RESOURCE because of the number of array instantiated by subtract due to recursive calls.
But I have to think that I don't catch the right exception because I get 6F00 as status word.
Here's the list of exceptions that I consider:
try {
        fibonacci(array);
    } catch (ArithmeticException e) {
        ISOException.throwIt((short) 0x0100);
    } catch (ArrayStoreException e) {
        ISOException.throwIt((short) 0x0200);
    } catch (APDUException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x03,
            (byte) e.getReason()));
    } catch (CryptoException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x04,
            (byte) e.getReason()));
    } catch (ISOException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x05,
            (byte) e.getReason()));
    } catch (PINException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x06,
            (byte) e.getReason()));
    } catch (ServiceException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x07,
            (byte) e.getReason()));
    } catch (SystemException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x08,
            (byte) e.getReason()));
    } catch (TransactionException e) {
        ISOException.throwIt(Util.makeShort((byte) 0x09,
            (byte) e.getReason()));
    } catch (ClassCastException e) {
        ISOException.throwIt((short) 0x0A00);
    } catch (IndexOutOfBoundsException e) {
        ISOException.throwIt((short) 0x0B00);
    } catch (NegativeArraySizeException e) {
        ISOException.throwIt((short) 0x0C00);
    } catch (NullPointerException e) {
        ISOException.throwIt((short) 0x0D00);
    } catch (SecurityException e) {
        ISOException.throwIt((short) 0x0E00);
    }
    }

So, does somebody have an idea about the exception concerned in that case?

A: It's a SystemException. However, ISO/IEC 7816-4 doesn't allow you to use just any status word. Instead use e.g. (short) (0x6700 | 0x0080 | e.getReason()) as reason for your ISOException.


I want to paint some metal buckets for DD's room. What type of paint do I need? I used acrylic that says, "for any paintable surface" but it is chipping off really really easily! Or is there something I should do a top layer with that would make it more durable?
There's a kind of spray paint meant for metal. It helps prevent rust too. I've used it on metal patio furniture with great success.
I don't remember if I used a topcoat, but I don't think so.
Last edited by Indigo74; 06-07-2011 at 06:47 PM.
"My mind is going a mile an hour."
Definitely spray paint. Out of curiousity, what are you making???
i think tremclad would work well.
i bought specific patio furniture paint last year and I am pretty sure they have a metal specific paint as well.
Lol, Roots. I'm on a crazy painting and organizing frenzy! I just finished redoing 3 pieces if furniture for her room, stained a wooden highchair for the dining room, and now I want metal buckets for DD1's room to sort her craft stuff. The thing about those spray paint options, is that I have 5 very specific colours in mind. I did birdhouses fir her room a few years back, and I want the buckets to match, or atleast coordinate.
spray the buckets with the metal spray paint then use your colours overtop?
They have millions of colors. I would be surprised if they didn't have a color that would work.
I suppose I could just pick one of the colours and do all the buckets in that. I could probably find a mint green, or yellow. Better to be durable than pretty but unusable! Lol.


text: Q: Is my approach to Android socket programming practical? In my android application I need to periodically send my coordinate updates to server and receive other user's coordinates (server sends this coordinates asynchroniously). In my approach I simply use AsyncTasks to send data and read from socket (every time create new AsyncTask for sending message to server and create read tasks say every 5 seconds). I use synchronized methods for actual reading and writing to socket. Everything works fine but the question is this approach good and practical or I'd better create always running background tread for reading socket and one for writing?


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text:
ZoomorphicOct 04, 2013 - Oct 26, 2013
The basic definition of Zoomorphic is the leaping off point for this same-titled exhibition: having the form of an animal or being a deity conceived of in animal form or with animal attributes. Beyond the basic definition the work featured in the exhibition targets the struggle between the world of the wilds and the world human's create. In all of our pomposity (our upright walking and our superior brains) we seem to be constantly in fear of losing ground. History tells us humans have pitched this battle for a while, trying to define how we will learn from the animal, harnessing the instincts of the animal, and assert dominion over them. Ancient cultures created effigies of animals, shrouded their human form in animal costumes, and covered the surfaces of vessels with stories of heightened animal escapades. Sometimes the vessel finished with an animal head, as if making a final prayer out of the object-a prayer calling upon the animal world to guide and protect the contents within the vessel as well as the receiver of the contents.
Alessandro Gallo's renderings are probably the most empathetic in the exhibition. "The Angler" acknowledges the wisdom of the animal world's hunting prowess. An osprey headed man leans over his workbench attempting to recreate a natural hatch, which will lure his prey upon a barbless hook. An Osprey has no need to recreate tools, but the fisherman hopes to understand and meld into nature enough so he might attack with the same singular focus. Beth Cavener's "Kitsune" is inspired by the Japanese myth of an intelligent creature who possesses magical abilities that grow with age and wisdom. The Kitsune can change moving between the human and animal world in form, but never losing the clever agility of a fox. Through every trial the Kitsune gains another tail, up to nine.
Other objects in the exhibition move into darker territory, where human dominion takes precedent over empathy and emulation. David Smith presents a whimsical accusation with his "Cheekin' Flower", a perverse collage of parts deconstructed and reconstructed by industry. Ariel Bowman's authentic rendering of a circus elephant puts the viewer in a state of awe, as though we were in front of a live elephant. While the details of the wrinkled skin are observed, the costume and posture will surely not be overlooked and we are left to ask, "Why is this magnificent creature being anthropomorphized?"
Monica Van den Dool's animals are presented in whole and in parts, speaking to traditions of luck. She asks us to consider the other party in the equation. The events represented are not so lucky for the animal. The sculptures become reliquaries, holding mementos, which carry the essence of the animal into the human realm. Russell Wrnakle"s "Manual Conjuring" presents a meaty hand of raw terra cotta entering the skin of a hare. Life is urged into a flaccid skin. Forever we are asking, "How can we assume the traits we admire and fear?"
Crystal Morey has such empathy with nature that she puts human form within an animal skin. The renderings could be taken at face value. Once again humans are emulating creatures of the wood, but she wants us to see it is an absurd pairing. What place does a human have inside the animal world? Morey wishes to direct us to reexamine our actions within the animal domain. Ultimately she suggests that animals should have no truck with humans.
Finally we arrive at the work of Brett Kern and Merrie Wright. Each maker here has grabbed animal forms and thrust them into systematic industrial processes. Kern entices the childlike fascination within us for extinct dinosaurs. Reimagining them as inflatable toys with golden air valves, we are left with our fantasies of what could have been. Wright calls on more familiar creatures to explore the idea of camouflage and self-presentation. "Dazzle Squirrel" and "Dazzle Jays" are covered in patterns inspired by the camouflage of war ships from World War I, where the intention was not to hide, but rather to disorient the attacker by confusing estimates of distance and perspective with an altogether unnatural skin.
All the makers gathered in this exhibition acknowledge the use of animal as a vehicle for inciting greater empathy and reflection in the human viewer. What questions arise for you when you look into their mirror?


text:
const _ = require('lodash')
const update = require('immutability-helper')
const levels = require('../assets/tutorial')

let willStopOnNextTick = false
let currentLevel

module.exports = {
  namespace: 'tutorial',

  state: {
    level: null,
    isStoryModalOpen: true,
    events: {}
  },

  reducers: {
    _setLevel: (state, { level }) => {
      return update(state, {
        level: { $set: level },
        isStoryModalOpen: { $set: true }
      })
    },

    setDisplayStoryModal: (state, { open }) => {
      return update(state, {
        isStoryModalOpen: { $set: open }
      })
    },

    _updateEvents: (state, events) => {
      return update(state, {
        events: { $set: events }
      })
    }
  },

  effects: {
    loadLevel: (state, { category, index }, send) => {
      const level = getLevelIfExistent(category, index)

      if (level !== undefined) {
        currentLevel = { category: category, index: parseInt(index) }
        send('tutorial:resetEvents', null, _.noop)
        send('tutorial:_setLevel', { level }, _.noop)
        send('game:loadGameState', { loadState: level.game }, _.noop)
        send('editor:update', { workspace: level.editor.workspace }, _.noop)
      }
    },

    nextLevel: (state, cb, send) => {
      if (!currentLevel || !currentLevel.hasOwnProperty('category') || !currentLevel.hasOwnProperty('index')) {
        return
      }
      const prevIndex = currentLevel.index
      const prevCategory = currentLevel.category
      let level = getLevelIfExistent(prevCategory, prevIndex + 1)
      if (level) {
        // send('tutorial:loadLevel', { category: prevCategory, index: prevIndex }, _.noop)
        console.log('loading next level of same category')
        return cb('#tutorial/' + prevCategory + '/' + (prevIndex + 1))
      }
      const oldCategoryIndex = _.findIndex(levels, { 'categoryName': currentLevel.category })
      if (oldCategoryIndex === -1 || oldCategoryIndex + 1 === levels.length) {
        // was last category or unknown
        return cb('#editor')
      }
      const nextCategory = levels[oldCategoryIndex + 1]
      if (!nextCategory || !nextCategory.hasOwnProperty('categoryName')) {
        // jumps to tutorial overview
        return cb('')
      }
      console.log('loading next level of next category')
      // send('tutorial:loadLevel', { category: nextCategory.categoryName, index: 1 }, _.noop)
      return cb('#tutorial/' + nextCategory.categoryName + '/1')
    },

    resetEvents: (state, data, send) => {
      willStopOnNextTick = false
      send('tutorial:_updateEvents', {}, _.noop)
    },

    sendEvent: (state, event, send) => {
      const type = event.type
      if (!type) {
        return state
      }
      if (type === 'clock') {
        return send('tutorial:_updateEvents', handleClockEvent(state.events, event, send), _.noop)
      }
      if (type === 'levelWon') {
        willStopOnNextTick = true
        return
      }
    }
  }
}

function handleClockEvent (events, event, send) {
  if (!event.hasOwnProperty('operation')) {
    return events
  }
  if (event.operation === 'tick') {
    if (willStopOnNextTick) {
      send('clock:stop', null, _.noop)
      willStopOnNextTick = false
    }
    return update(events, {
      time: { $set: events.time + 1 }
    })
  }
  if (event.operation === 'set' && event.hasOwnProperty('value') && !isNaN(event.value)) {
    return update(events, {
      time: { $set: event.value }
    })
  }
}

function getLevelIfExistent (category, index) {
  let _index
  try {
    // subtract 1 from index to work 1 based externally and 0 based internally.
    _index = parseInt(index) - 1
  } catch (e) {
    console.log('please specify the index as a number (min: 1)')
    return
  }
  if (!category || isNaN(_index)) {
    return
  }
  const _category = _.find(levels, { 'categoryName': category })
  if (!_category || !_category.hasOwnProperty('levels') || _category.levels.length <= _index) {
    return
  }
  const level = _category.levels[_index]
  if (level) {
    return level()
  }
}

redpajama_set_name: RedPajamaGithub


text:
דלג לאזור תוכן מרכזי
Non-Profit Foundation
תפריט האתר
תפריט נגישות
סגור תפריט
Tikva is a non-profit foundation that focuses on assisting people who are experiencing difficulties or in distress, with an emphasis on aid to three main population groups: patients and their family members, families experiencing financial difficulties, and at-risk teenagers before their induction into their military service.
Tikva, Hope in English, as reflected by its name, has adopted a philosophy of providing emotional and physical support to people at a difficult point in their lives (either economic or emotional); and in so doing, reawakens their hopes for a happy and respectable life, and most importantly helps them to reintegrate into society.
Tikva operates thanks to amazing people and financial institutions in Israel and around the world, who contribute their time and money with great generosity, in order to support those in need. These amazing donors understand that often a small donation made by one person can generate hope and a big change in another person.
Tikva was established in 2012, founded by Ms. Ilanit Refaelov (with the support of her husband Yossi Refaelov, both of whom work with us on a completely volunteer basis), and it is an integral part of the activity of the YR Group – a group of companies with diverse business activity in Israel and around the world.
Tikva invites those of you who feel a need to contribute to and help others, to become a part of its family of volunteers and donors, because nothing compares to giving for the purpose of giving hope in the heart of person on the receiving end, and of no less importance, the happiness and satisfaction of the person who gives. "Giving is the only thing that will always remain ours."
Registered Association Certificate
© 2023 תקווה – Tikva. כל הזכויות שמורות.
Website by Volle'


text:
Timeline of the bomb scare
About 9 a.m.: A campus safety officer noticed a car parked on the concrete walkway next to the Library Science Building. While investigating the car, a foreign substance landed on the officer's hand as he was handling the note that was placed on the car's dash. The note had some threatening remarks and suggestions, according to Vice President of Administrative Services Choi Halladay. The officer attempted to wash off the substance but continued to have abnormal feeling in his hand.
About 10:02 a.m.: The Puyallup Police Department and the Central Pierce Fire Department responded to the 911 call.
After 10:02 a.m.: The officer was taken to the hospital for treatment and observation, and then released safely a few hours later.
Witnesses said wires appeared to be coming out of the car and its windows were fogged up.
About 10:15 a.m.: Police and fire officials treated the situation as a serious threat because of the note. The LSC was evacuated and students moved to the outside areas on campus.
About 11 a.m.: Students were told to move into buildings on campus other than the LSC. A police officer, who is standing outside in the rain, directs students away from the car surrounded by yellow tape. Student Margaret Anderson said she asked the officer what was happening, and he said, "Someone left a bomb threat note on that car." Another student walked past the officer, and the officer redirected the student to not go by the car. Anderson said the student looked frustrated and said, "Oh man, my car is parked over there."
About 11:45 a.m.: The Puyallup campus was evacuated. Classes and activities were cancelled for the rest of the day. Students were asked to leave campus.
12:07 p.m.: A Pierce College Emergency Notification read, "Pierce College Puyallup has been evacuated. The campus is closed for the rest of the day, Feb 6."
12:34 p.m.: Director of Safety Chris MacKersie sent an official email that read, "The Pierce College Puyallup campus has evacuated and gone into suspended operations in response to a potential hazardous material threat. Police and Fire are on site and working with Campus Safety in joint command of the incident. Please do not come to campus. We will send out notifications when the campus reopens. You can also check our website for updates at www.pierce.ctc.edu."
After the campus evacuation: The buildings and parking lots were thoroughly checked as a precaution, but nothing unusual was found on the premise, officials said. The regional Hazardous Materials Team determined that the suspicious substance found in the car abandoned on campus is believed to be baking soda, Central Pierce Fire and Rescue spokesman Guy Overby said.
2:29 p.m.: Brian Benedetti, director of marketing and communications, sent an all-college email that read, "As an update to the incident at the Puyallup campus, the college remains closed and everyone is to avoid the area. Buildings on campus have been cleared as a precaution. The substance in the car was determined to be non-hazardous."
Officials began broke down their equipment and moved the extensive apparatus from the college. Overby said five fire engines, a hazardous material incident operations rig, two medics and other equipment were at the campus.
Between 3-3:30 p.m.: The Puyallup Police Department handed the campus back over to the college after towing the suspicious car for evidence processing.
After 4 p.m.: The Puyallup Police Criminal Investigations Division identified a person of interest in the case, and the 22-year-old subject was later detained by detectives.
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Everyone thinks Pete is bad luck, but it's really his invisible dragon who's causing all the trouble! Check out Kidzworld's review of Pete's Dragon.
What if your imaginary friend wasn't imaginary? The people of Passamaquoddy think Pete is bad luck, but it's really Elliott his invisible dragon friend who's causing all the trouble! Check out Kidzworld's review of the classic Disney film, Pete's Dragon.
Pete is an orphan who was adopted for slave labor by the mean-spirited Gogan family. He flees the abusive family with the help of his invisible dragon Elliott and the two travel to the seaside town of Passamaquoddy where they're taken in by Nora and Lampie—the kind-hearted lighthouse keeper and her kooky father.
Trouble quickly arises when the townspeople start blaming Pete for Elliott's mischief . Elliott keeps turning invisible, so Nora and most of the community don't believes Pete when he claims Elliott is real. To top if all off, it's not long before the Gogans arrive in town to try to reclaim Pete. It'll take a little faith and the power of friendship to overcome the Gogans, convince the town that Elliott is real and eventually find Pete a proper place in Passamaquoddy.
Nowadays animation and live-action are mixed through CGI like in the Garfield or Scooby Doo movies, but back in the 1977 melding hand-drawn characters with real life people was all the rage. Animator Don Bluth skillfully integrates Elliott into the scene and after a while you really do start to believe he's interacting with the actors.
The coolest part about Pete's Dragon is obviously the mix of animation and live-action film. Brazzle Dazzle Effects: Behind Disney's Movie Magic is a 25 minute documentary that details the history of Disney's mix of live-action and animation and it's narrated by Sean Marshall, the actor who played Pete. Also included are a Deleted Storyboard Sequence called "Terminus & Hoagy Hunt" that lets you listen to a rare dialogue track as you view some original storyboard sketches and Original Demo Recordings of Razzle Dazzle Day, Every Little Piece and The Greatest Star Of All.
Dragon Powers - Hot or Not?
Hot. I'd love to have dragon powers.
No way. I'm way cooler as just me.
Maybe, but only if Fu Dog is my guardian.


In performing the above functions, the Human Resources Manager provides a specialized service to assist other management team members to make the most effective use of the human resources in an organization. Personal Qualities Required The Human Resources Manager should be a self-organised person who is sensitive to the needs of others and who has the ability to communicate and interrelate with them while viewing their problems objectively. Integrity, patience, sound human relations, good reasoning abilities and leadership qualities are important. He/she must show initiative and be decisive in thought and action.
Career opportunities The personnel field is a rapidly developing field in South Africa. It is recognized that a well-trained and highly motivated labour force is becoming increasingly vital in order to improve productivity. Entrants to Human Resources Management are usually known as Personnel Officers and become managers after gaining experience. They may remain in the general personnel field or specialize in specific aspects of personnel management, training or industrial relations.
resources management and practices. Holders of the qualification will be able to operationalise some aspects of the core human resources management processes at a basic level and ingrate them into an organisation's business processes.
The following admission rating system will be used in selecting students.
(c) The persons application for admission in terms of work experience, age and maturity is approved prior to registration.
Applicants intending to gain admission through work experience, age and maturity must submit their applications at least four months before commencement of the academic year.
Selection criteria for this programme. Applicants must meet the minimum requirements mentioned above. NSC and NCV applications received via the Central Applications Office (CAO) will be scored and ranked from highest to lowest points. Based on these rankings, those learners with the highest points will be offered a firm place; the learners who have applied with their grade 11 and / or Midyear Grade 12 results may be offered a conditional place subject to them meeting the requirements mentioned in above. Preference will be given to learners from designated groups.
Tuition Fees To assist you with your planning, the 2018 fees have been indicated. PLEASE NOTE: DUT cannot be held liable for the fees in this brochure as the 2019 fees are not yet final.
FOR FURTHER INFORMATION The Department welcomes enquiries from prospective students who may wish to discuss their future in the human resource field. Department of Human Resources Management Durban University of Technology M L Sultan Campus (Durban) P O Box 1334 Durban 4000 Tel: (031) 373 6787 Fax: (031) 373 5144 OR Department of Human Resources Management Durban University of Technology Midlands Site (Pietermaritzburg) P O Box 101112 Scottsville 3209 Tel: (033) 845 8851 Fax: (033)845 8831 APPLICATION FORMS Contact the Central Applications Office (C.A.O.) C.A.O. codes: DBN: Dip.-DU-D-HR3 (Full-time) Dip.-DU-D-HRY (Part-time) PMB: Dip.-DU-P-HR3 (Full-time) Address letters to: Central Applications Office, Private Bag X06, Dalbridge 4014 Tel: (031) 268 4444 Fax: (031) 268 4422 Apply online: http://www.cao.ac.za Closing Date for applications: 30 September 2018 Financial Aid For Financial Aid application for a DUT programme please apply online at www.nsfas.org.za or call the NSFAS call centre on 0860 067 327. For an explanation on how to fill out the application form, please go to www.nsfas.org.za or contact the call centre on the number above. Please note that completing a form does not guarantee Financial Aid. For further assistance, please consult the Department of Financial Aid and Scholarships on telephone number (031) 373 2931/2557/2054. This leaflet is for information purposes only and is not binding on the Durban University of Technology.


text:
#pragma once

#if defined (__cplusplus)
extern "C" {
#endif

/******************************************
*  Dependency
******************************************/
#include <stddef.h>    /* size_t */

/******************************************
*  Huff0 simple functions
******************************************/
size_t HUF_compress(void* dst, size_t maxDstSize,
              const void* src, size_t srcSize);
size_t HUF_decompress(void* dst,  size_t dstSize,
                const void* cSrc, size_t cSrcSize);
/*
HUF_compress():
    Compress content of buffer 'src', of size 'srcSize', into destination buffer 'dst'.
    'dst' buffer must be already allocated. Compression runs faster if maxDstSize >= HUF_compressBound(srcSize).
    Note : srcSize must be <= 128 KB
    return : size of compressed data (<= maxDstSize)
    Special values : if return == 0, srcData is not compressible => Nothing is stored within dst !!!
                     if return == 1, srcData is a single repeated byte symbol (RLE compression)
                     if HUF_isError(return), compression failed (more details using HUF_getErrorName())

HUF_decompress():
    Decompress Huff0 data from buffer 'cSrc', of size 'cSrcSize',
    into already allocated destination buffer 'dst', of size 'dstSize'.
    'dstSize' must be the exact size of original (uncompressed) data.
    Note : in contrast with FSE, HUF_decompress can regenerate RLE (cSrcSize==1) and uncompressed (cSrcSize==dstSize) data, because it knows size to regenerate.
    return : size of regenerated data (== dstSize)
             or an error code, which can be tested using HUF_isError()
*/

/******************************************
*  Tool functions
******************************************/
size_t HUF_compressBound(size_t size);       /* maximum compressed size */

/* Error Management */
unsigned    HUF_isError(size_t code);        /* tells if a return value is an error code */
const char* HUF_getErrorName(size_t code);   /* provides error code string (useful for debugging) */

/******************************************
*  Advanced functions
******************************************/
size_t HUF_compress2 (void* dst, size_t dstSize, const void* src, size_t srcSize, unsigned maxSymbolValue, unsigned tableLog);

#if defined (__cplusplus)
}
#endif


Hotelstaff has compiled a selection of highly qualified & experienced Locum & Relief Staff that are able to seamlessly step into the role/s of either your appointed General Manager, Lodge Management staff, Executive Chef or even for Owner Managers, while you or they are away on their well-deserved annual holiday or recuperating on sick leave. This would solely be a caretaking role, with a full report / handover on the return of the full time incumbent. if requested.
We also have high caliber Hospitality Consultants that have in the past been General Managers and/or Operations Managers that are available to assist you in getting your business to function at optimum levels in all departments. Many of them have Hotel or Restaurant opening expertise, or are specialists in turnaround solutions.
Hotelstaff simply charge a once-off introductory fee, whilst you pay the candidate the appropriate salary.
Contact your local Hotelstaff office for further details.
John Davis has been working in the hospitality industry for over forty years, since completing his Hospitality studies at the Witwatersrand Technikon Hotel School in Johannesburg in 1978. He has worked in a variety of establishments, including: hotels, lodges, and resorts—ranging in rating, from five star to three star—both in South Africa and abroad. His experience is vast, and ranges from fine dining, to catering for large functions and industrial events. Not only does John create a fabulous five-star dining experience, but he also has extensive knowledge of—and experience in—menu planning, food costing, stock controls, health and hygiene critical control points and managing food and beverage. John is currently seeking temporary, or short-term contracts, but is also happy to stand in for staff who are on leave, or to help out during a busy period, and will gladly assist with hospitality related problem solving and forecasting.
I am available for either a permanent position or a relief position, and am also a consultant to the Hospitality Industry.
I have a credible CV and am recommended by numerous employment agencies and past employers as an honest, hard-working, energetic person.
My experience spans 39 years as a General Manager, Operations Manager, F&B Manager, Executive Chef, Restaurant Owner and Hospitality Trainer.
I have worked in a variety of hotels from 3* to 4* as well as boutique hotels, lodges 4*, golf clubs, guest houses 5* and restaurants in small towns and large cities throughout South Africa, Zambia, Namibia and Lesotho as well as having owned my own restaurant.
I also, for over 14 years, been a consultant and trainer within the Hospitality industry.
I am available to assist and manage for between one month and three months at a time. I am willing to work anywhere in Southern Africa and beyond, having dual Nationality with a South African and Irish passport.
Have been involved in Hospitality since finishing my Diploma in Hotel Management in 1978 and have a credible CV.
My varied experiences encompass different types of Hotels and Game Lodges and other Hospitality responsibilities as well as being an owner and shareholder in various properties.
Since 2008 I have been actively involved in many Relief positions in Hospitality from Special Projects to Troubleshooting and Hotel Management.
I am aware of the importance of Branded Hotels and need for ethical managements and personnel.


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text:
Q: A universal measure of the accuracy of linear regression models I have a dataset that contains both outliers and multicollinearity.
I applied three different regression models to that dataset: ordinary least square, absolute linear regression, and Huber regression.
My goal is to test which linear regression model is good or accurate at dealing with combined outliers and multicollinearity issues in a dataset.
I cannot use mean square error or R^2 because ordinary square regression will be the best, and the same with median absolute deviation, since absolute linear regression will be the best.
Which measures can I use to judge which model is more accurate than others?
Clarification
The dataset has been split into train and test data, where the regression model is applied to the train dataset, and the performance measure is calculated using an unseen dataset (the test set).
I want to check how accurate the model is in estimating or predicting the coefficients.
In other words, do the outliers and multicollinearity in a dataset affect the linear regression model and thus shift the coefficients too much?
I want a universal measure that I can judge and say, with confidence, that this linear regression model is good compared to others, even in the presence of outliers and multicollinearity simultaneously.
UPDATE
My question, in simple words, is: if I have a dataset and this dataset contains outliers and multicollinearity, then I applied three different regression models to that dataset. I want to investigate the accuracy of these regression models based on a performance measure that is not biased towards any particular regression model. After calculating this measure, I can say with confidence that this regression model is the best one even when the dataset contains outliers and multicollinearity.
NOTE
I say one dataset solely for the sake of simplification. Over 30 databases and a hundred simulations are included in the project. Additionally, it includes more than ten regression models.
New Update after Dave answer
When I analyse this real dataset, the case is quite different from what Dave described. When MSE is used as the performance metric, OLS is the optimal choice; when MAD is used, linear absolute regression is the superior choice.
rm(list=ls())
library(L1pack)
library(glmnet)
library(MASS)
library(robust)
library(robustbase)
library(quantreg)
library(readr)
library(readxl)
#######################################
## mean of the k-fold results
mee=function(x){
mmm=rep(0,ncol(x))
for (i in 1:ncol(x)){
mmm[i]=mean(x[,i])
}
return(mmm)
}
###############  Dataset  ################
wdbc <- read_excel("Folds5x2_pp.xlsx")
###############################
x=as.matrix(wdbc[,-5])
y=as.vector(wdbc[,5])
wdbc<-as.data.frame(cbind(x,y))
n=nrow(wdbc)
################################
# K-fold Cross-validation
k=30 # number of folds

folds <- cut(seq(1,n),breaks=k,labels=FALSE)
mols1=matrix(0,nrow= k);mM1=matrix(0,nrow= k);mMM1=matrix(0,nrow= k)
## split the data to train and test set
for(i in 1:k){
testIndexes <- which(folds==i,arr.ind=TRUE)
testData <- wdbc[testIndexes, ]
trainData <- wdbc[-testIndexes, ]
xtr=as.matrix(trainData[,-5])
ytr=trainData[,5]
xte=as.matrix(testData[,-5])
yte=testData[,5]

mest=rlm(ytr~xtr,psi=psi.huber,maxit=300)$coefficients
mmest=rq(ytr~xtr, tau = 0.5)$coefficients
ols=lm(ytr~xtr)$coefficients

# MSE measure
mols1[i]=mean((yte-cbind(1,xte)%*%ols)^2)
mM1[i]=mean((yte-cbind(1,xte)%*%mest)^2)
mMM1[i]=mean((yte-cbind(1,xte)%*%mmest)^2)

## Use this for MAD measure
## mols1[i]=mean(abs(yte-cbind(1,xte)%*%ols))
## mM1[i]=mean(abs(yte-cbind(1,xte)%*%mest))
## mMM1[i]=mean(abs(yte-cbind(1,xte)%*%mmest))

}
res2=cbind(mols1,mM1,mMM1)
MEE=mee(res2)
nam=c("OLS","Huber","Absolute Linear regression")
ty=data.frame(nam,MEE,rank(MEE))
View(ty)

A: You say that you don't want to use a metric that is going to prefer a particular model, so out-of-sample (R)MSE is out because it will prefer the model that was trained with square loss. Au contraire! Let's do a simulation and show a model trained by minimizing square loss having greater out-of-sample square loss than a model trained by minimizing absolute loss.
library(quantreg)
library(MASS)
set.seed(2022)
N <- 100

# Define correlated predictors
#
X <- MASS::mvrnorm(100, c(0, 0), matrix(c(1, 0.9, 0.9, 1), 2, 2))

# Define response variable
#
ye <- 3 - X[, 1] + 2*X[, 2]
e <- rt(N, 1.1) # error term, t-distributed with heavy tails for outliers
y <- ye + e

# Allocate the first 20 observations to testing and the rest to training
#
X_test <- X[1:20, ]
y_test <- y[1:20]
#
X_train <- X[21:N, ]
y_train <- y[21:N]

# Define an OLS linear model
#
x1 <- X_train[, 1]
x2 <- X_train[, 2]
L1 <- lm(y_train ~ x1 + x2)

# Define a linear model trained using MAE
#
L2 <- quantreg::rq(y_train ~ x1 + x2, tau = 0.5)

# Make predictions for the test set using each of the two models
#
p1 <- predict(L1, data.frame(x1 = X_test[, 1], x2 = X_test[, 2]))
p2 <- predict(L2, data.frame(x1 = X_test[, 1], x2 = X_test[, 2]))

# Calculate the MSE for both sets of predictions
#
mse1 <- mean((y_test - p1)^2)
mse2 <- mean((y_test - p2)^2)

print(paste(
  "OLS has MSE = ", mse1 # I get ~10.1
))

print(paste(
  "Median quantile regression has MSE = ", mse2  # I get ~7.7, so lower
                                                 # than the OLS model gave
))

In this setup, which uses correlated features and outliers (from the t-distributed error term), the OLS regression has worse out-of-sample MSE than the MAE-trained regression, showing that out-of-sample MSE need not prefer the model that minimized in-sample MSE.
Consequently, if you believe out-of-sample square loss to be the metric of interest, go with that. Since you are not assured of picking a model that you trained by minimizing square loss, it is worth your time to investigate such models.
It might be surprising for the model trained on the out-of-sample metric to lose to a mode trained on a different metric, but it should not be. This is what happens when we apply, for instance, ridge regression. In ridge regression, we minimize a loss function that is slightly different from square loss, hoping that this alternative gives us better out-of-sample performance on regular square loss than the model trained on regular square loss.
For an out-of-sample evaluation metric (perhaps even for in-sample training), you may be interested in relative error metrics. "Mean absolute percent deviation" is the easiest to understand. The Wikipedia page discusses shortcoming of this metric and potential alternatives. Our Stephan Kolassa has a nice discussion about this topic, too.
You also mentioned wanting to evaluate the accuracy of coefficient estimates. We can investigate this with another simulation, which will show the MSE-trained model (OLS) to have greater MSE when it comes to coefficient estimates than the MAE-trained model.
library(quantreg)
library(MASS)
library(ggplot2)
set.seed(2022)
N <- 100
R <- 1000

b0 <- 3
b1 <- -1
b2 <- 2

M1 <- M2 <- matrix(NA, R, 3) # Matrices for holding estimated coefficients

for (i in 1:R){

  # Define correlated predictors
  #
  X <- MASS::mvrnorm(100, c(0, 0), matrix(c(1, 0.9, 0.9, 1), 2, 2))

  # Define response variable
  #
  ye <- b0 + b1*X[, 1] + b2*X[, 2]
  e <- rt(N, 1.1) # error term, t-distributed with heavy tails for outliers
  y <- ye + e

  # Define OLS and MAE regression models
  #
  L1 <- lm(y ~ X[, 1] + X[, 2])
  L2 <- quantreg::rq(y ~ X[, 1] + X[, 2], tau = 0.5)

  # Save the coefficients to a its model's respective matrix
  #
  M1[i, ] <- summary(L1)$coef[, 1]
  M2[i, ] <- summary(L2)$coef[, 1]

  print(i)
}

# Evaluate all six coefficient MSE values
#
ols_0 <- mean((b0 - M1[, 1])^2)
ols_1 <- mean((b1 - M1[, 2])^2)
ols_2 <- mean((b2 - M1[, 3])^2)
#
mae_0 <- mean((b0 - M2[, 1])^2)
mae_1 <- mean((b1 - M2[, 2])^2)
mae_2 <- mean((b2 - M2[, 3])^2)

print(paste(
  "OLS has intercept MSE of ",  ols_0 # I get ~51.2
))
print(paste(
  "Quantile regression has intercept MSE of", mae_0 # I get ~0.03
))

print(paste(
  "OLS has X1 MSE of ",  ols_1 # I get ~203.1
))
print(paste(
  "Quantile regression has X1 MSE of", mae_1 # I get ~0.14
))

print(paste(
  "OLS has X2 MSE of ",  ols_2 # I get ~188.2
))
print(paste(
  "Quantile regression has X2 MSE of", mae_2 # I get ~0.15
))

For all three parameters, the OLS regression has a much higher parameter estimate MSE than the MAE-optimizing regression (quantile regression at the median).
No matter what you do, give it context. As I discuss here, there is no universal metric that lets you "grade" a model like we all got or still get (or assign, for those readers who teach) grades in school.
EDIT
(I liked what I wrote in the comments, so I'm adding it to my answer.)
As you can see in my answer, the choice of training loss function does not guarantee a particular result when it comes to out-of-sample performance. Therefore, if you have a reason to be interested in a particular type of out-of-sample performance, go with the mode that does the best on that metric. If the model happens to be the model that uses the out-of-sample metric as the training loss function, so be it, but you hardly assure yourself of a particular mode winning by deciding that out-of-sample MSE is the metric of interest. Perhaps think of the training loss as a hyperparameter.
In fact, when you tune a regularization hyperparameter to achieve the best out-of-sample performance, what you're doing is exactly that: treating the training loss function as a hyperparameter you tune in order to achieve your goal of excellent out-of-sample performance, even at the expense of in-sample performance. I find it completely reasonable that this extends to markedly different loss functions like MSE vs MAE (as opposed to MSE vs MSE with the ridge regression penalty added), and my simulation shows that can work the way I suspect it can.
What your results show is that, when you pick MSE as the out-of-sample metric of interest, the best-performing model is the one that was trained with in-sample MSE. That's fine. You didn't guarantee that result by picking MSE as the out-of-sample metric; it just worked out that way.
EDIT 2
In our chat, you have expressed dissatisfaction with only showing my counterexample through a simulation, rather than with real data. However, it can happen with real data, too.
library(quantreg)
library(ModelMetrics)
set.seed(2022)

data(iris)
N <- dim(iris)[1]
idx <- sample(seq(1, N, 1), N, replace = F)
XY <- iris[idx, ]
x_test <- XY$Petal.Length[1:20]
y_test <- XY$Petal.Width[1:20]
#
x_train <- XY$Petal.Length[21:N]
y_train <- XY$Petal.Width[21:N]

L_ols <- lm(y_train ~ x_train)
L_mae <- quantreg::rq(y_train ~ x_train, tau = 0.5)

pred_ols <- predict(L_ols, data.frame(y_train = y_test, x_train = x_test))
pred_mae <- predict(L_mae, data.frame(y_train = y_test, x_train = x_test))

ModelMetrics::mse(y_test, pred_ols) - ModelMetrics::mse(y_test, pred_mae)

I get that the OLS-based out-of-sample MSE is $0.00149052$ higher than the MAE-trained model's MSE, showing with real data that training on square loss does not guarantee a winning model when it comes to out-of-sample square loss, even on real data. Therefore, when your coleagues argue that training on square loss guarantees a winner on out-of-sample square loss, they are wrong.
EDIT 3
If you run the same kind of regression but with Sepal instead of Petal, you get that the model trained with OLS outperforms (by $0.005632787$) the model trained on MAE when it comes to out-of-sample MAE!
library(quantreg)
library(ModelMetrics)
set.seed(2022)

data(iris)
N <- dim(iris)[1]
idx <- sample(seq(1, N, 1), N, replace = F)
XY <- iris[idx, ]
x_test <- XY$Sepal.Length[1:20]
y_test <- XY$Sepal.Width[1:20]
#
x_train <- XY$Sepal.Length[21:N]
y_train <- XY$Sepal.Width[21:N]

L_ols <- lm(y_train ~ x_train)
L_mae <- quantreg::rq(y_train ~ x_train, tau = 0.5)

pred_ols <- predict(L_ols, data.frame(y_train = y_test, x_train = x_test))
pred_mae <- predict(L_mae, data.frame(y_train = y_test, x_train = x_test))

ModelMetrics::mae(y_test, pred_ols) - ModelMetrics::mae(y_test, pred_mae)

Now you have examples, using real (not simulated) data, of an MSE-trained model outperforming an MAE-trained model on out-of-sample MAE and of an MAE-trained model outperforming an MSE-trained model on out-of-sample MSE.

A: RMSE tells us how far the model residuals are from zero on average, i.e. the average distance between the observed values and the predicate values. However, Willmott et. al. suggested that RMSE might be misleading to assess the model performance since RMSE is a function of the average error and  the distribution of squared errors. Chai recommended to use both RMSE and mean absolute error (MAE). It is better to report both metrics. By the way, $R^2$ is misleading as well since it increases for higher number of predictors. I would recommend to use adjusted $R^2$. This metric is kinda gold standard goodness of fit test. To handle multicollinearity, compute the nonparametric Spearman's rank-order correlation and drop the variable close to 1. It will solve the problem. For the outliers, it is not a good practice to delete outliers because they may have valuable insights. Find the influential outliers and fit the model with and without them to see their impact on the model. Also, don't forget to check all four properties of linear model assumptions. Attached articles will give u more explanations.
Reference:
http://www.jstor.org/stable/24869236
https://gmd.copernicus.org/articles/7/1247/2014/


text:
Q: d3js not formatting text value I am trying to format the values that are showing up on the chart, but for somereason, it is not updating.
Here is the link that I am working with:
https://plnkr.co/edit/naP7XXkNcaxSJRmpTQv5?p=preview
In the box2.js file line 206 is where the values for the box are showing up.
  var boxTick = g.selectAll("text.box")
      .data(quartileData);
 if(showLabels == true) {
  boxTick.enter().append("text")
      .attr("class", "box")
      .attr("dy", ".3em")
      .attr("dx", function(d, i) { return i & 1 ? 6 : -6 })
      .attr("x", function(d, i) { return i & 1 ?  + width : 0 })
      .attr("y", x0)
      .attr("text-anchor", function(d, i) { return i & 1 ? "start" : "end"; })
      .text(format)
    .transition()
      .duration(duration)
      .attr("y", x1);
}

I have tried changing the .text() to different things but it always gives the same result.

A: Ok, so the error was that I was not replacing all the locations where .text() was set.
The .transition() had to be updated also. The same thing applies for the whiskers code.
  boxTick.transition()
      .duration(duration)
      .text(format)
      .attr("y", x1);


text:
package com.lechucksoftware.proxy.proxysettings;

import android.content.Context;
import android.os.Build;

import com.lechucksoftware.proxy.proxysettings.constants.NavigationAction;
import com.lechucksoftware.proxy.proxysettings.ui.components.NavDrawerItem;

import java.util.ArrayList;
import java.util.List;

import timber.log.Timber;

/**
 * Created by mpagliar on 2/19/2015.
 */
public class NavigationManager
{
    private final Context context;
    private ArrayList<NavigationAction> navigationActionsList;

    public NavigationManager(Context ctx)
    {
        context = ctx;

        initNavigationActionMap();
    }

    public void initNavigationActionMap()
    {
        navigationActionsList = new ArrayList<>();

        navigationActionsList.add(NavigationAction.WIFI_NETWORKS);
        navigationActionsList.add(NavigationAction.HTTP_PROXIES_LIST);

        if (Build.VERSION.SDK_INT >= Build.VERSION_CODES.LOLLIPOP)
        {
            navigationActionsList.add(NavigationAction.PAC_PROXIES_LIST);
        }

        navigationActionsList.add(NavigationAction.HELP);

        if (BuildConfig.DEBUG)
        {
            navigationActionsList.add(NavigationAction.DEVELOPER);
        }
    }

    public NavigationAction getAction(int position)
    {
        if (navigationActionsList.size() > position)
            return navigationActionsList.get(position);
        else
            return NavigationAction.NOT_DEFINED;
    }

    public List<NavDrawerItem> getNavigationDrawerItems()
    {
        List<NavDrawerItem> items = new ArrayList<>();

        int wifiNetworksNum = 0;
        int staticProxyNum = 0;
        int pacProxyNum = 0;

        try
        {
            wifiNetworksNum = (int) App.getDBManager().getWifiApCount();
            staticProxyNum = (int) App.getDBManager().getProxiesCount();
            pacProxyNum = (int) App.getDBManager().getPacCount();
        }
        catch (Exception e)
        {
            Timber.e(e, "Exception retrieving NavDrawersItems counters");
        }

        for(int i=0; i<navigationActionsList.size(); i++)
        {
            NavigationAction action = navigationActionsList.get(i);
            NavDrawerItem navDrawerItem = null;

            switch (action)
            {
                case WIFI_NETWORKS:
                    navDrawerItem = new NavDrawerItem(NavigationAction.WIFI_NETWORKS, context.getString(R.string.wifi_networks), R.drawable.ic_wifi_action_light, wifiNetworksNum);
                    break;

                case HTTP_PROXIES_LIST:
                    navDrawerItem = new NavDrawerItem(NavigationAction.HTTP_PROXIES_LIST, context.getString(R.string.static_proxies), R.drawable.ic_action_proxy_light, staticProxyNum);
                    break;

                case PAC_PROXIES_LIST:
                    navDrawerItem = new NavDrawerItem(NavigationAction.PAC_PROXIES_LIST, context.getString(R.string.pac_proxies), R.drawable.ic_action_pac_light, pacProxyNum);
                    break;

                case HELP:
                    navDrawerItem = new NavDrawerItem(NavigationAction.HELP, context.getString(R.string.help), R.drawable.ic_action_action_help_light);
                    break;

                case DEVELOPER:
                    navDrawerItem = new NavDrawerItem(NavigationAction.DEVELOPER, context.getString(R.string.developers_options), R.drawable.ic_action_developer_light);
                    break;
            }

            items.add(navDrawerItem);
        }

        return items;
    }
}