Building a track timing system for a Carrera Go slot car racing track.
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Intracto, the company that I work for, has been a Gold sponsor of PHPBenelux for a few years now. As a gold sponsor, you're granted a sponsor booth in the sponsor area of the conference. To attract more attention, most sponsors offer some sort of contest/raffle where conference attendees can win a prize. The theme of this years conference was "retro", so we were brainstorming about original ideas to organize a competition with a prize to win.
The first idea that sprung to mind, were retro arcade-style games (pac-man, centipede, space invaders, …) but we assumed this would be an obvious choice that other sponsors might also come up with. Then we thought about "retro" gaming consoles like Nintendo with Mario Kart. Again, a bit to obvious for our liking. So finally we came up with Carrera slot car racing. It's more physical than a video game, and we all had one when we were young. Although they're still produced, they idea alone made us nostalgic.
To spice it up, I came up with the idea to device an automatic time registration system, so that we could do time-trials as a contest. I reckoned it should be doable using an Arduino and some basic components, and use PHP to read the output from the Arduino over the USB serial line.
The first design I came up with, was to use infrared break beam sensors. Basically you have an IR light and a sensor. When something (like a car) goes between the light source and sensor, the light beam is broken which the Arduino can detect. Initial proof of concept showed that the sensor was fast and accurate, I just needed to find a way to mount everything on the tracks.
The first idea was to put the lights in the middle of the track, and the sensors on the side. I dusted off my 3D-printer, made a design in Sketchup and printed the mounts for the sensors. The problem was that at that point I did have a piece of track, but didn't have any cars. When the cars eventually showed up, it turned out that the IR lights in the middle of the track were 2 mm too wide. This would definitely cause problems when the cars would pass at speed.
The second idea was to place both the light and the sensor at the side of the track and put a reflective surface like a thin mirror in the middle of the track. I designed and printed new mounts, took a piece of cardboard and covered it with a highly reflective piece of fabric I got from a yellow safety vest I stole from a "gilet jaune" (ok, that last part was a lie).
The idea worked, but wasn't accurate enough. A small center piece allowed the beam from the other side of the track to be picked up, and making the piece larger made it harder to keep it securely in place and upright. Since the thin part would be in the middle of the track, there would always be a chance that a car would crash into it.
I had one other solution in mind with the IR break beam, but that would make the build a lot more difficult. So at that point, I started looking in other directions. A colleague of mine suggested using a hall effect sensor to detect the change in magnetic field, triggered by the magnet that is on the bottom of the car. The thin sensor would be mounted below the track, making it a clean solution. Unfortunately, the sensor wasn't sensitive enough to pick up the passing car as the magnet is mounted directly above the metal power rails in the tracks, so the sensor had to be positioned next to that.
Next up was the light dependent resistor (LDR). The idea was simple. Make a small hole in the track to catch the ambient light. When the car passed, the light would drop and the difference in resistance could be detected by the Arduino. The concept worked on paper, but not in reality. The LDR was too slow. When the car was not above the LDR, the Arduino would read a value of 500. When the car was stationary above the LDR, that would drop to 10. But when the car was passing at speed, it would drop to anything ranging from 100 to 400, depending on the speed of the car. To make it worse; holding my hand 50 cm above the track, casting even the lightest of shadow over the LDR, would block enough light to make the reading drop to 200-300 or less.
So finally, I was forced to pursue the more difficult approach with the IR break beam sensor I though of earlier. Building a bridge over the tracks, place the IR lights on the bridge facing downwards and put the IR sensor in the track so that the car would pass over the sensor. Based on earlier findings, the idea was good but there were a few practical problems that needed to be solved.
The biggest problem was that the sensor is 1 cm thick, where the track is only 5-6 mm. This would mean that the track had to be raised 5 mm in order to fit the sensor under it. This wasn't ideal, as that could make the track unstable and wobbly. I'm not sure how exactly it happened, but at some point I rather coincidentally removed the back of one of the sensors. It revealed a simple and small board with the sensor mounted on it. All just a few mm thick in all directions. I made a small hole in the track, fitted the sensor bulb through it and hot-glued the board to the bottom of the track. It fitted perfectly. The bulb would raise above the track, but low enough so that the cars would not hit it when passing over it.
The next problem was the bridge. Given the fact that I just have a simple Prusa style 3D-printer, I'm not able to print complex structure that fan out in different dimensions. I wanted to secure the posts of the bridge under the track using a U-shape hook, and add small platforms on the top section where the IR lights could be mounted on.
I eventually divided the bridge into 3 parts (2 posts and the upper bar) that I could actually print on my Prusa and then firmly attach the pieces to each other using slots and anchors I provisioned in the parts. After a few iterations, the design was quite solid and did exactly what I wanted. I then hot-glued the lights to the bar. Add some soldering and wiring and my contraption was almost ready.
Since we didn't know the exact layout of our sponsor booth, I wanted to be able to put more distance between the laptop hooked up to the Arduino, and the actual track piece with the sensors that I crafted. To accomplish this, I ended up using 2 RJ-45 jacks. One hooked up to the Arduino, the other one hooked up to the sensors. We could then just use the length of network cable that suited us best, without having to re-solder any components.
On the Arduino side, I wrote a script that would detect when the beam was broken and when not. When it transitioned from unbroken to broken, I would write the track number along with the milliseconds it took to complete the track out to the serial port. I decided it was best to have the Arduino do the actual timing, as it would rule out any lag/delays the PHP script might encounter when reading and processing the times. I also experimented with having the Arduino keep track of more lap times (the idea was that people would have to complete 10 laps in the time-trials), but since the Arduino is limited in both memory and flexibility, it was probably better to let the laptop do the hard work and have the Arduino just focus on the current lap. It did have a check to see if the lap was longer than 1 second, just in case to weed out any false positives.
The PHP application was broken into 2 parts. A worker process that would get the data from the Arduino and a web application that would provide a scoreboard and a registration page for the racers.
The worker process was a rather simple script that would read the input from a stream. On Linux, reading from the serial port of the Arduino is easy as you can just open /dev/ttyUSB0 as you would with a regular file. It also allowed me to fake input quite easily for when I did not have the Arduino at hand, as I could switch to other streams.
If the track was in race mode, it would first check to see if they already completed their 10 laps. When the racer completed lap 10, the final time was calculated and stored in the racers table so that I didn't need to recalculate that every time I needed that (which wasn't easy due to the database structure).
On the front-end side, the application has a registration page for the racers where you need select track 1 or 2 and enter a name. Not specifying a name would put the track in practice mode.
The scoreboard was a page that would display 2 columns with 10 lap times, either the exact 10 lap times when in race mode, or the 10 most recent lap times when in practice mode. The fastest lap for each track would be highlighted, although we decided not to do anything with that (we choose the overall fasted race as a winner, not the fastest lap).
My initial design was a vintage late nineties, begin nillies table-like layout including some animated gifs and a marquee. It doesn't get any more retro than that, does it? Fortunately, a colleague of mine who actually know something about front-end gave it a well needed face lift and added elements/information about our company and the vacancies we are trying to fill, yet keeping the gifs and the marquee.
Times would be read out using ajax requests every few seconds. This results in a seemingly lag when the car passes the sensors, as it can take up to 2 seconds before the screen was updated. Once more, time constraints prevented me from doing this another way. Websockets are also for v2.
So, how did it all perform on D-day? Perfectly, if I say so myself! Over 6000 laps were driven on our 6.4 M long track. That's just shy under 39 KM. Given the 1:43 scale, that would be a real-world equivalent of 1.650 KM. Both the Arduino setup as the PHP application didn't fail a single time. Nor did the track or the cars! And above all, it was fun as hell!
Hi there! My name is Tom. I'm a Linux System Administrator and PHP Developer. My job is to keep PHP websites running as smooth as possible. Being both on the 'dev' and 'ops' side gives me a broad skillset across the entire stack.
bijsterdee on Is your Symfony/Doctrine import consuming a lot of memory?


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Kailynne Frederick #35
Hoosac Valley Girls Basketball
Class: Junior | Ht: 5'11" | Pos: C, F
2013-2014 75 3 18 171
Career Totals: 286 14 148 734
12/11/2015 vs. Athol W 51-34 2 — 4 8 — — — — —
12/18/2015 vs. Auburn W 66-43 2 — 1 5 — — — — —
12/19/2015 vs. South Hadley L 59-60 3 — 1 7 — — — — —
12/22/2015 @ Mount Greylock W 71-38 2 — 1 5 — — — — —
12/28/2015 @ Bridgewater-Raynham W 64-35 7 — 1 15 — — — — —
12/30/2015 vs. Lee W 66-36 4 — — 8 — — — — —
01/05/2016 @ Pittsfield W 70-51 5 — 2 12 — — — — —
01/08/2016 @ Drury W 66-39 6 1 6 19 — — — — —
01/11/2016 @ West Springfield W 75-35 5 — 4 14 — — — — —
01/12/2016 vs. Lenox W 64-37 — — 5 5 — — — — —
01/15/2016 @ South Hadley W 64-62 11 — 1 23 — — — — —
01/18/2016 vs. Monument Mountain W 53-43 4 2 — 10 — — — — —
01/23/2016 vs. Notre Dame Academy (Hingham) W 54-41 3 — 4 10 — — — — —
01/27/2016 @ Taconic W 61-43 2 — 6 10 — — — — —
01/29/2016 vs. Wahconah W 62-34 4 1 3 12 — — — — —
02/04/2016 vs. Pittsfield L 46-53 5 — 2 12 — — — — —
02/08/2016 @ Wahconah L 42-52 2 — 1 5 — — — — —
02/11/2016 vs. Taconic W 62-33 1 — 6 8 — — — — —
02/14/2016 @ Rockland L 54-61 1 — 4 6 — — — — —
02/15/2016 @ Martha's Vineyard L 52-54 4 — — 8 — — — — —
02/18/2016 @ Monument Mountain W 62-39 1 — 2 4 — — — — —
02/22/2016 vs. Drury W 55-40 3 1 1 8 — — — — —
03/03/2016 vs. Granby W 59-51 2 — 2 6 — — — — —
03/09/2016 vs. Hampshire W 60-49 5 1 3 14 — — — — —
03/12/2016 vs. Drury W 51-40 3 — 1 7 — — — — —
03/15/2016 @ Littleton W 64-37 2 — 1 5 — — — — —
03/19/2016 @ Bishop Fenwick L 48-57 1 — 1 3 — — — — —
Season Totals: 90 6 63 249 — — — — 1

redpajama_set_name: RedPajamaCommonCrawl


Thakoon Panichgul's spring Thakoon show, presented Monday evening on a runway in the same Plaza Hotel ballroom where Truman Capote hosted his famous Black & White Ball many years ago, was no exercise in restraint or graphic simplicity.
It was a bright, sometimes garish take on playing dress up, more Cowboys and Indians than Cowboys and Aliens.
The Indians, in this case, not of the American West but of the subcontinent.
So, how do you manage to reflect this Bollywood-meets-Deadwood tendency, at least in the coif department.
Color me blue, pink or green to sorta, kinda go with the clothes.
Thakoon has revived the blue rinse for a new generation, so to speak.
Oh, and I suppose I don't have to ask, it was all just for the runway…or Halloween, maybe?
Carolina Herrera draws a great crowd...and Nicki Minaj!


If there's ever a place to spend Pride, Key West is it. Key West is open, inviting and always a good time. And that's on a normal day. During Pride, Key West comes alive. From the vibrant street fair in Old Town to the coast-to-coast parade, Key West knows how to do Pride right. Here are some of the events we're especially looking forward to during Pride 2017, happening from June 7-11 in Key West.
This popular LGBT bartending competition returns to Key West once again for its finale. Here Stoli will crown the best LGBT bartender in the country. Expect some serious suspense as the top bartenders across the country look to wow audiences with their moves and special concoctions. Be on the lookout for this year's celebrity judges.
There will be some eye candy here. The Mr. Pride Contest brings the most handsome of the community to strut their stuff on the Bourbon St. Pub Garden Bar Stage. Expect to see some skin. Don't say we didn't warn you.
Get into the spirit on the gay strip of Duval. This annual street fair has everything you would expect from Key West - food, fun, live music, and plenty of souvenirs to take home as reminders.
Our favorite part of Pride each year, the Key West Pride Parade is truly unique. From the performers to the floats and the mile-long Sea-to-Sea Rainbow flag, this is one event that is sure to fill you with pride. It's a must see, year after year.
Key West Pride runs from June 7-11, 2017. If you're thinking about joining us for the celebration, we at 24 North would love to have you. Check out our specials here.


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Stop and Go is a research project investigating physical and social transformation at nodes and hubs of transnational mobility and migration alongside major pan-European road corridors in a geographic triangle between Vienna, Tallinn, and the Bulgarian-Turkish border. It draws on intensive embedded field trips with a mobile lab (a Ford Transit van) using (deep) mapping, workshops, installations, and exhibitions both on tour and in a stationary work space in a Vienna logistics hub (a former railway station). Intermediate and final results have been represented in diagrammatic drawings, maps, and (animated) graphic novels.
Overview: Roadmap of research theories, methods, and destinations
Method 1: Embedded mobile research
Method 2: The universal language of mapping
Method 3: Interventions in public spaces
Method 4: Workshop as/in a social condenser
Method 5: Exhibitions
Summary: Reflections on research experience, methods, and interim findings
Michael Zinganel, Michael Hieslmair
Michael Zinganel et al. - Stop and go: nodes of transformation and transition - 2017
Road*Registers – a logbook of mobile worlds
In September 2016 we opened an exhibition at the Academy of Fine Arts in Vienna to disseminate our research methods and findings in the growing community of arts-based research at our host institution – and also to communicate the project to a wider audience in Vienna. For this exhibition we appropriated the notion of 'road registers' from Kathleen Stewart (2014), which we considered both a perfect title and a more open and inclusive framework for an exhibition, combining our own research with the work of others.
We conceived this exhibition as an interim report about this research project in the form of an art exhibition. This decision had the added advantage of freeing us from the discipline, linear argumentation structure, and textual reading methodology implicit in a scientific paper. Furthermore, the works that inspired our theoretical and methodological approach are not only discretely quoted in footnotes and sources but also prominently displayed in key positions in the exhibition space. This allowed for connecting lines of sight and interactive relationships while presenting suggestions for possible pathways through the different chapters, thereby varying the narrative structures.
Artworks as representational mediums in exhibitions are subject to similar laws to contributions to written scientific publications. The choice of media and the structure of the work privilege certain substantive aspects and discriminate against others, hence they simultaneously include and exclude. For this reason, we tried to define the methodological approaches as broadly as possible.
The order in which the three central case studies in the research project are shown in the three large exhibition spaces corresponds with a mapping that follows the real geographical situation – from south to north. Visitors enter the exhibition through works concerned with the 'Bulgarian region', then go through a 'corridor' to come to the 'Vienna area' with its historical reference projects, and finally arrive in the 'Baltic region', which is a cul-de-sac. Here they turn around and wander in the opposite direction through the exhibition – through the 'Vienna area' back to 'Bulgaria' and the exit.
The representation of these three case studies consisted primarily of large-scale diagrams and abstract maps of pathways, networks, and urban archipelagos along the transnational routes we drove along in our Ford Transit. There were also objects we brought back 'from the field' on our research journeys. However, we also wanted to (literally) give a voice to the social actors by employing semi-documentary video works of other artists whose large-format projections open up the three large exhibition rooms almost like windows while expanding the geographical and substantive viewpoints, too.
Starting with the SOMAT network of lorry drivers formerly employed by what was the state monopoly for transnational goods transport in Communist Bulgaria, we follow via video Corridor #8 by Boris Despodov, an ambitious but never realised road construction project running from the Black Sea coast to Albania. A presentation of the history of the international bus station in Vienna (from which the most frequented route leads to Serbia), is complemented by Logbook Serbistan, a video by Želimir Žilnik showing the fate of refugees who, before the huge wave of people in autumn 2015, came from North Africa, Syria, Iraq, and Afghanistan and got stuck in Serbia. The conclusion is formed by the rhythms of the Tallinn ferry terminal and its connections to Helsinki, which dominate the whole seaport, and the video Forgotten Space by Allan Sekula and Noël Burch, which opens up a window on the container ship traffic spanning the oceans of the world.
The exhibition also included supplementary works and contributions from artists, art historians, journalists, architects, and anthropologists (made as part of research ventures and trips), which were of vital importance for the curators and their research project. Key examples of the historical methods of research and representation, which have, in the meantime, inspired numerous generations, were the image-oriented universal language by Otto Neurath and Gerd Arntz (Groß 2015), small, self-published artists' books documenting typologies of architecture along the roadside by Ed Ruscha, and those by the Las Vegas Studio run by Robert Venturi and Denise Scott Brown. In 1968, using the semiotic focus of road users, Venturi and Brown, together with students from Yale University, investigated the architecture of the entertainment economy that had developed along one street: the strip in Las Vegas (Venturi, Scott Brown, and Izenour 1972).
The presented artworks spanned methodological extremes – from critical and analytical distance to empathetic participation. For instance, Matthias Klos's search for a location from which to make photographic overviews of the surroundings of a major road and its infrastructures automatically generates distance. This is aesthetically beneficial for the photos of the logistics landscape but detrimental to establishing social contact in the field. Gabriele Sturm's decision to be a 'participant observer' in the field by accompanying a lorry driver for a 3,000 kilometre journey leads to the opposite – unavoidable closeness, intimacy, and empathy but also a loss of aesthetic control. The temporal dimensions in these works encompasses both long-term investigations, such as Mindaugas Kavaliauska's photo documentary observations of the systemically determined delay in personal motorisation in Lithuania, which, inter alia, led to a huge second-hand car market after the fall of the Iron Curtain, as well as short-term, purely material appropriations like the 'cut-outs' of an asphalt road surface with traces of its use by Sonia Leimer. These isolated fragments from urban spaces are open to multiple interpretations on archaeological, psychoanalytical, political, and poetic levels.
A further curatorial aspect of the project was the attempt to sound out shifts in meaning in different contexts. In contrast to the auratic white cube of the exhibition space at the Academy of Fine Arts Vienna, the works of the participants were also staged in the Stop and Go research laboratory situated in an active road-to-rail cargo terminal – a location with practical connections to the subject along with an 'authentic' atmosphere and a great amount of mobility expertise. An extensive print and video library was also made available to visitors there.
ROAD*REGISTERS: a logbook of mobile worlds
An exhibition as part of the WWTF research project Stop and Go: Nodes of Transformation and Transition with contributions by Gerd Arntz | Noël Burch | Boris Despodov | Thomas Grabka | Martin Grabner | Michael Hieslmair | Kurt Hörbst | Helmut Kandl | Johanna Kandl | Emiliya Karaboeva | Mindaugas Kavaliauskas | Matthias Klos | Sonia Leimer | Vesselina Nikolaeva | Katarzyna Osiecka | Zara Pfeifer | Tarmo Pikner | Lisl Ponger | Maximilian Pramatarov | Ed Ruscha | Rimini Protokoll | SO MAT-Archive | Allan Sekula | Tim Sharp | Gabriele Sturm | Robert Venturi and Denise Scott Brown | Tatjana Vukosavljević | Ina Weber | Želimir Žilnik | Michael Zinganel
30 September–6 November 2016
x hibit Academy of Fine Arts, Schillerplatz 3, A-1010 Wien
Stop and Go. Project Space, Nordwestbahnhof, Taborstraße 95, A-1200 Vienna
Curatorial team: Michael Hieslmair | Michael Zinganel
> More photos from the exhibition ROAD*REGISTERS
> A catalogue of the exhibition ROAD*REGISTERS can be previewed and downloaded here
Room 2 – Historical References
© Photo: Wolfgang Thaler 2016
Room 4 – Case Study Tallinn
© Photo: Lisa Rastl 2016
Room 3 – Case Study Vienna
Room 1 – Case Study Bulgaria
Zoom in:
case study Vienna
The node and network of the Vienna International Bus Terminal
Escape as a travel motive was far from being the research focus of our project. We viewed escape as one of many motives and modes in a continuum of mobilities (Hall and Williams 2002), which is characterised above all by the daily transport of goods and people along these corridors, although it also includes the transport of legal and illegal goods as well as persons with or without papers, whose motives range from tourist interests and trade and business travel to migration and escape (Bauman 2000).
In 2013, when we submitted our research project, refugees from Syria were not yet a sensational theme for the mass media – even though, by that point at the latest, thousands were already on their way. Instead, populist politicians and media were still spreading doomsday scenarios of a migrant invasion from Bulgaria and Romania, which had been full EU members since 2007, even though their citizens could only work legally in Germany or Austria from 2014, after the end of the seven-year transition phase. The route of this imagined invasion corresponded with the so-called Balkan route or, more precisely, the web of roads traversing South-East Europe. In our project we did not intend to support this thesis of an invasion – quite the contrary – the aim was to document the normality of a multi-local existence, the continuous experience of being on the road and becoming accustomed to a life in transit. In this light, especially for those who don't possess their own vehicle, minivans and transnational bus services are the preferred means of transport, which also provide capacities to transport substantial amounts of goods.
Vienna International Bus Terminal represented an important hub for these types of bus passengers. In our view, this terminal was also interesting because it is currently situated at a very – at first glance – unattractive location under a highway bridge and looks like a non-place par excellence. Due to the dominant image until recently of bus travel as a means of transport for low-income migrants from South-East Europe, the bus stations were gentrified away from their previous locations next to inner-city train stations (Haberfellner 2014). Our thesis was that this bus terminal, in fact, was not merely a space without history; rather, countless mobile actors with mobility and migration experiences come together here at busy times, exchanging with one another, and their individual stories also reflect the transformations in the regions along their routes. We also considered the bus drivers of the international lines to be important actors of knowledge transfer, as their scheduled bus stops are nearby, they have known many of their regular customers for years, and they know what can be transported across which borders and how. Additionally, the drivers from the private Austrian bus company Blaguss, which operates this terminal, usually have migrant backgrounds, have escaped from the acts of war and ethnic cleansing in the former Yugoslavia or their economic consequences, or are children of former guest workers or refugees.
The traffic web of transnational bus routes that start or intersect here represents the connections of destination and source regions of tourists, former guest workers and their relatives, commuters, and labour migrants. Currently, the most frequented strand leads via the A4 eastern highway to Hungary, either in the direction of Romania or via Serbia and on to Bosnia and Bulgaria. In these buses one can naturally also find persons who are regarded as unwelcome in Vienna's majority population: beggars, prostitutes, thieves, and people without valid papers (Tatzgern 2016). For the most part, however, these buses carry those service personnel whose modestly paid work facilitates the above-average quality of everyday life for Vienna's middle class in the first place.
Section of the road corridor from Vienna to the Austrian-Hungarian border, beginning at the Vienna International Bus Terminal, showing several urban archipelagos developed around logistical hubs along the highway …
© Photo: Peter Trautwein 2015
Documentation of the side programme: a public guided bus tour visiting several nodes of transnational mobility and migration between Vienna and the Austrian-Hungarian border.
© Photo: Martin Grabner 2015
Vienna International Bus Terminal strangely located underneath a highway bridge – the point of departure for transnational bus connections operated on regular services.
© Map: Hieslmair | Zinganel
The network of international bus connections with Vienna at its centre. Most notable are the many stops in Eastern and South-Eastern Europe.
The map is redrawn from the timetable data on bus connections and estimated numbers of passengers provided by the management of the Vienna International Bus Terminal; however, there are many further smaller bus lines departing from and arriving at other, often informal bus stations.
Border experience in a state of exception
The re-activation of the Austrian-Hungarian border station during the 'wave' of refugees in autumn 2015
Irrespective of the refugee crisis, the transformation of the border crossing between Austria and Hungary and the history of the small border municipality of Nickelsdorf would in itself be worth its own research. The current road network had been gradually developed and improved, and the traffic volume shifted to this new route. The old road led right through the village, past small old customs houses and the tollgate, then past a street with pubs and stores bustling with activity. But the new modern border crossing was constructed far outside the municipality and finally complemented with a fully fledged highway in 1996. While the former border village went silent, the new border crossing with its highway entrance and exit ramps on both sides of the border and its more modern control facilities evolved into what seems to be an arbitrarily densifying agglomeration of streets and building complexes – an urban archipelago typical of the modern mobility landscape. Several petrol stations, hotels and motels, restaurants and markets, some partly designed and branded as theme parks (Paprika), night clubs, brothels and betting shops, kiosks and truck parks settled along the new route, touting for the best location and subjecting themselves – especially on the Hungarian side – to tough predatory competition. In our research project, however, we had stipulated different emphases, different case studies, had found other border crossings along our routes more important, so for the time being we had no free capacities available.
The unforeseeable dimension of the wave of refugees in late summer and autumn 2015 threatened to completely overshadow every discourse on mobility and migration – including our research project as well, which was now deemed particularly topical. We decided to incorporate the Nickelsdorf border crossing – which we had already passed through many times on our research trips – more strongly in our investigations. To this end, we organised a one-day public bus excursion in December 2015 in the framework of a workshop; the tour started at the Vienna International Bus Terminal and visited other hubs of mobility and migration and urban archipelagos along the A4 eastern highway before arriving at the border crossing. Mayor Gerhard Zapfl then guided us to all the places in Nickelsdorf where just two months earlier the tremendous influx of refugees had to be handled without any preparation.
Up to this point, we had regarded the border crossings along the routes of our research trips – as with other stops – simply as thresholds in the mobility landscape. We had overlooked that, out of fear of the controls, there was expertise to be sold concerning evasion of the controls and that the differences between the availability and costs of goods and services produce booming border economies on both sides, which attract mobile actors and are used by those in transit (Schlögel 2005; Konstantinov 1996).
Initially, we hardly realised that custom and border police are important employers in border regions. In almost every family in the border villages there was at least one member who had found work in this realm or still worked there (Zapfl 2016a). A smuggler who doesn't personally know at least one of the border officers and their work roster and doesn't know the level of smuggled goods they will tolerate or the costs is incompetent. Hence, the reliability of these social networks influences the choice of smuggling routes to allow as many people as possible to have their share in the added value.
This applies to the smuggling not only of goods but also of people. During the refugee crisis in late summer 2015, the majority of the refugees did not take, as one would expect, the regular and low-priced bus connections from Turkey to Bulgaria and then, within the EU, on to Vienna. Many were led along the much more dangerous route across the Mediterranean to Greece, and from there overland to Macedonia and Serbia. But most of those who made it to Bulgaria were again smuggled out of the EU into Serbia and then back in the EU via Hungary. This seemingly unnecessary traversal of two EU external borders cannot be explained alone by the fact that the border between the two neighbouring EU states, Bulgaria and Romania, is exceptionally well-controlled; rather, it also involves the networks that have been growing for many years along the Serbian-Bulgarian and Serbian-Hungarian borders, which had at last gained a key significance during the Yugoslavian wars.
From Hungary the refugees passed the border crossing near Nickelsdorf. Since Hungary joined the EU in 2004, it has been an inner-EU border crossing, and since 2002 also a crossing between two Schengen states; hence, from Hungary on, borders are essentially open and controls are only carried out randomly in exceptional cases. Accordingly, the infrastructure for border controls has been gradually reduced to a minimum, and the gigantic parking lots for trucks became wastelands or were adapted for other purposes.
Mobilisation instead of control
From July 2015 a growing number of refugees were picked up along the stretch of the A4 eastern highway between the border and Vienna. Smugglers had brought them from Hungary across the border to Austria. On 27 August a refrigerator truck was found on the service lane of the A4, close to the Designer Outlet Parndorf shopping centre, twenty-two kilometres from the Austrian-Hungarian border. Seventy-one dead refugees were found inside. They were brought for forensic examination and identification to a border-crossing cooling hall, which had originally been set up to control imported food. Just a week later, from 4 September, while the corpses were still stored at the site, thousands of refugees in Hungary started arriving each day at the border crossing. Initially, they were transported from Nickelsdorf to Vienna West Station in trains chartered from the Austrian Federal Railways – later with buses and taxis – and then taken further on to Germany. On 16 September the military took over the Austria-wide coordination of the transport logistics from the border crossing to the train stations and emergency shelters. To this end, one officer requested buses from a private company, which were more flexible in bringing refugees directly to the respective destinations (Mayerhofer 2016). As mentioned before, many of the bus drivers originated from the Yugoslavian successor states, and their families themselves had personal experiences of migration and escape.
The parking lots and border infrastructures, which had hardly been used since the end of the EU and Schengen border, were also reactivated to handle the stream of refugees and were complemented by temporary structures from both the emergency aid and event sectors. The large parking lot in front of a former border zone disco on the Austrian side was now used for chartered buses, which were then sent to the border one by one. The manager of a rock festival near the border opened his backstage hall and the festival meadow as a camping ground to accommodate the refugees. On the highway the truck parking lot in front of the roofed control zone and the area under the flying roof were adapted for first aid measures. Later on two large heatable tents were erected on the parking lot. These were never put into operation because on 15 October the refugee flow on this route came to an end. The 'closing' of the border between Serbia and Hungary proclaimed by the Hungarian government and celebrated in the media now redirected the masses to another strand of the Balkan route.
During these critical days the responsible government politicians in Vienna vanished from the scene. Confronted with the emergency situation and lack of instructions, the help organisations and supervisory bodies, including those of the state, which had gathered at the border decided to respond on their own authority. They neglected the guidelines of the Dublin II Regulation by only trying to provide for the mass of refugees, while keeping them in constant movement to prevent escalations in front of running TV cameras, rather than by controlling them (Zapfl 2016a).
Austrian 'welcome culture' primarily pertained not to their refugees but to their preferably conflict-free further transport to Germany. Buses were the best-suited means of transportation to keep the enormous stream in controlled motion and to prevent frustration among refugees (or at least keep it within limits), while those responsible in the background could still negotiate the respective destinations of the buses. In autumn 2015 the reactivated border crossing was thus not a space of demobilisation but one of mobilisation. It revealed a state-tolerated strategy of 'mobilising away', which Austria shared with other countries along the refugee routes (Benigni and Pierdicca 2016).
In October 2016, upon completion of our research project and exactly a year after the influx of refugees, we repeated our bus tour to Nickelsdorf: There we found new, more solid control infrastructures built upon the large truck parking lot on the premises of the border crossing; a big facility comprised of containers with booths to check the personal data of those wanting to enter the country; another container facility for accommodating detained persons without an entry permit – a de facto custody prison; and prefabricated barrier elements that, if needed, could be assembled within a few hours into a solid fence with barbed wire topping on both sides of the border – measures, in the words of Nickelsdorf's mayor, that 'will hopefully never be needed' (Zapfl 2016b).
The experience of the refugee crisis was drastic for the small border village: the events brought the previously insignificant and easily overlooked municipality into the world's press, and the concerted efforts had – according to the proud mayor –a very positive effect on the village's sense of community. Thus, the autumn of 2015 will definitely play an important role in the collective memory of the village in the future. The mayor emphasised that the temporary state of emergency caused by the mass flight of refugees was in no case unique in the history of the small border village: during the Hungarian crisis in November 1956, 180,000 refugees passed through Nickelsdorf, and in 1989, after the fall of the Iron Curtain, 40,000 exhausted GDR citizens had to be tended to. Also the escape routes that changed since October 2015 were not new: the stretch from Serbia to Croatia, through Slovenia to Austria across the Spielberg border crossing, has been a part of mobility and migration history since the 1960s as a route for guest workers. Many of the bus drivers, who in autumn 2015 transported the new refugees across Austria, had once entered the country on these very roads.
Today it is not entirely true to say that the entire Balkan route is 'closed'. As was the case before the so-called 'crisis', wherever escape helpers have logistics and functioning networks available, sometimes including state supervisory bodies, goods and people without the right papers will cross the borders – together with countless other mobile individuals, including 'research explorers' like ourselves.
© Drawing: Hieslmair | Zinganel
The drawing is based on conversations with Gerhard Zapfl, mayor of the border-village of Nickelsdorf, who was in charge of the management of forced migration and first aid for migrants arriving at the station. Actually, the map was redrawn in several stages, after the mayor found important elements missing each time. Later we also used this map as the basic structure for an animated graphic novel.
To see the video visit Method 2: Mapping


The failure in India is the major reason why the UN cannot meet the Millennium Development Goal of halving the 2.6 billion in the world without sanitation by 2015. South Asian countries resolve to try harder. Darryl D'Monte reports.
No other village is more eco-friendly than this one in Andhra Pradesh. From 100-per cent toilet coverage to rain water harvesting; from soak pits in every house to clean streets. Usha Turaga-Revelli reports.
The villages of Khanpur Kholiya, Masana and Sawla in Haryana have received the central government's Nirmal Gram Puruskar for ensuring that no one, not even a child, defecates in the open. Darryl D'Monte reports.
Why when we want recognition as a nuclear power and a growing economic power, why when we want to boast of our educated and trained manpower, should we not come to grips with the issue of sanitation? Kalpana Sharma on the larger reality.
Will open defecation end by 2012?
The short answer appears to be no. Some 4,959 villages have bagged the Nirmal Gram Puraskar (clean village prize) so far, for having flush toilets in every household and school. But there is a flip side of this otherwise incredible script. Sudhirendar Sharma probes the reality.
India's progress on ensuring water and sanitation for all its citizens is painfully slow; indeed, the country now lags neighbours Pakistan and Bangladesh on this front, and a long road still remains to be travelled. Darryl D'Monte reports on a recent meet to discuss the challenges.
A systematic, participatory effort to map and understand the need for sanitation in Sangli's slums has helped Shelter Associates bring about a change in the mindset of civic officials and residents alike. Its director, Pratima Joshi believes this is a model that can be replicated in many other cities. Rasika Dhavse reports.
Who can object to washing hands regularly to improve hygiene? In Kerala, the World Bank found out that it isn't enough to promote sensible messages; it's also important that the messages do not appear to be based on ulterior motives, like sales for MNC products. Darryl D'Monte reports.


Moeraki, is a small sleepy fishing village, some 70km north of Dunedin and 30km south of Oamaru and means "a place to rest by day".
The area has a rich Maori, whaling and sealing history. It's famous for the beach with perfectly rounded boulders, millions of years old, - The Moeraki boulders.
The yellow eye and blue penguin colonies, sea birds and seals can bee seen resting on the rocks alongside the Moeraki Lighthouse (1878).
Take a few days and relax at a variety of accommodation available in the village and nearby area.


text:
Local Folk-Rockers Maura Rogers and the Bellows to Play EP Release Party at Beachland
Concert Preview
Posted By Jeff Niesel on Wed, Mar 9, 2016 at 12:29 PM
Stephen Bivens
Last year, singer-songwriter Maura Rogers was so pleased with the progress she had made with her live band that she sought to document it in some way. The director who had helmed her previous music video was unavailable so she decided to bring in aspiring local director, Damien Campbell, to film some live footage.
Campbell and Regis Sedlock set up some six cameras throughout the club to capture the band playing four songs. They had a crew of Cleveland State film students in tow as well. The filming took an entire day and was a huge endeavor as Campbell went above and beyond the call of duty.
"We had to clean the stage off and hang lights and connect a projector to create an atmosphere," says Rogers one afternoon with her fellow band mate, accordion player Meredith Pangrace, as the two sit in the office where Pangrace works as a freelance graphic designer.
Because Rogers says she and her band weren't quite ready to record when they went to the studio last year for their most recent album, In Light, which they recorded with a new guitarist and two different drummers, they felt it was necessary to capture the band in its current state.
"We were never all together at the same time recording," says Rogers. "As we played out more as a group, we realized how much energy we have and how that comes across when we're all together."
Over the past summer, the band played out regularly. Beachland co-owner Cindy Barber, a huge supporter, let them use her club for a day for the taping and the band members recruited about 50 "high-energy" fans and let the cameras roll. The sessions went so well, the band will release four live video clips on its website and it's even turned the performance into a live EP. They celebrate the release of the videos and the EP with a show on March 19 at the Beachland. On "Battle Cry," Rogers defiantly sings, "I'm doing the best that I can" over an Indigo Girls-like blend of folk and rock. With its catchy guitar riff, "Jailhouse with Jesus" comes off as free wheeling and playful, particularly when Pangrace launches into a mid-song accordion solo and Istvan Medgyesi follows her with a gritty guitar solo that's equally high-energy. The song's call-and-response vocals work particularly well too.
"We didn't intend to put out a live EP, but the sound turned out really well," says Pangrace.
Rogers, who studied theater, English and voice at Baldwin Wallace, initially worked for Great Lakes Theater Festival after college. She then moved to New York for a short spell. After returning to Northeast Ohio, she worked again for Great Lakes Theatre, devoting a good chunk of time to an Ohio history play based on stories told by people from across the state.
"I loved it," she says of working for Great Lakes Theatre Festival. "The experience was fantastic. Working at the rehearsal spaces was great and working among artists was something I really fell in love with. I just loved being surrounded by artists."
In June of 2010, she released her first solo album, Get Up Girl, which she recorded at SUMA Recording in Painesville.
"I was very fresh, I was very green, I was very new," she says when asked about the release. "I had no idea what I was getting into. I had the support of the local folk crowd. It's kind of funny because I felt like that shaped what I was doing. I hadn't defined my sound yet. I hadn't tested my voice yet. With the limited guitar skills I had at the time, I didn't know what I could do to support the lyrics and vocals on my own. It was a good learning experience."
She even embarked on a mini-tour that summer. Then, bassist Brent Stowe wrote her and asked if she wanted to work with a band. They met at the Barking Spider and assembled the first formation of her backing band, the Bellows.
Accordion player Meredith Pangrace came courtesy of a Craiglist ad that Rogers posted. She was the only person who responded to the request for an accordion player.
"I troll Craiglist all the time for anything accordion-related: repair people, what to buy," says Pangrace. "It's a niche so I have to try to find people somehow."
In 2012, Rogers and the Bellows released A Good Heart Will Break.
"It was amazing," says Rogers when asked about the recording sessions for the album. "I was in kidney failure. All bullshit was set aside. We just wanted to rally to get it done to the best of our abilities."
Local producer Kevin Montgomery, who now runs his Standby Rolling studio out of his Cleveland Heights home, saw the band at the Barking Spider and offered to make their album. At the time, he was enrolled in Tri-C's Recording Arts Technology program, so he had access to some first-rate production equipment. And it wouldn't cost a fortune to record the album.
"It was rushed but very positive," says Rogers.
Two weeks later, Pangrace donated a kidney to Rogers.
"We didn't even know if we would be alive," says Pangrace with a laugh. "We could have both died or the kidney might not have worked."
But the kidney did work, and the group has soldiered on. Last year's In Light came out in May. The majority of the current lineup plays on the album, and Rogers says it might be the closest approximation to what the band's true sound is.
"I think we're getting closer to tapping into what our sound is," she says. "We're defining our roles better. The presence of Meredith in the songs is more pronounced. That's what I wanted. I think what she does is integral to what I hear in my head. [Guitarist] Istvan Medgyesi has evolved into the sound of the band. Because it wasn't recorded with us all together, it lacks that chemistry and energy that you hear when we're in the same room together."
The four songs on the band's new EP suggest an evolving sound that compares favorably to indie folk rock acts such as the Decemberists and Neko Case.
"I think that's something we've been working on a lot as a band in terms of bringing music to rehearsal and listening to songs and seeing how the different instruments work well together and support a female vocalist," she says. "We've been listening to [alt-country singer-songwriter] Neko Case. I connect to her because she had a rock edge but then she pulls out a folk or country song and can make that work. She has created this musicianship around her so there's a cohesive sound that showcases her voice and lyrics. That's a lot of our approach. The vocal harmonies help too. I think of that as another instrument itself."
Acts such as Troubadours of Divine Bliss, Ani DiFranco and the Indigo Girls serve as inspirations too.
"I think our duo stuff is very similar to the Troubadours of Divine Bliss," says Pangrace. "That's what I aspire to. I like how the fills compliment the melodies. If the accordion drives the song, you're a polka band, and that's not what we want to be. What they do with their harmonies is amazing."
Polka comparisons notwithstanding, Rogers hopes to seamlessly incorporate the accordion into her music.
"I want to make the accordion fit into every song," says Rogers. "As we get louder, it's more challenging to have an acoustic instrument. I don't think it has to be the dominant sound in every song but I think it should be a part of every song."
Rogers says she has some songs that didn't make the last studio album. She imagines they'll appear on the next record, which she's anxious to record.
"We do have new material," says Rogers, adding that she wants to take the band on tour to cities outside of Cleveland. "We have stuff that just wasn't ready yet. We did the last album thanks to a Kickstarter. Our fans have been tremendously supportive. I think we're going at it in a way we have never gone at it before. We're approaching it more seriously. We have more visibility now than we've had in the past. I feel the freedom to give more to this than I have previously. I think the next goal is to capture that experience of us playing together somewhere — maybe a castle. Like Fleetwood Mac, but without the drama."
Maura Rogers and the Bellows, Morgan Mecaskey, Noon, 8 p.m. Saturday, March 19, Beachland Tavern, 15711 Waterloo Rd., 216-383-1124. Tickets: $10 ADV, $12 DOS, beachlandballroom.com.
Tags: Maura Rogers & the Bellows, Beachland Ballroom, Image, Video
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text:
Wachelkofen ist ein Gemeindeteil der Gemeinde Hohenthann im niederbayerischen Landkreis Landshut. Bis 1972  bildete es eine selbstständige Gemeinde.

Lage
Der Weiler Wachelkofen liegt in der Hallertau etwa drei Kilometer südöstlich von Hohenthann.

Geschichte
Die Hügelgräber bei Wachelkofen weisen auf eine frühe Besiedelung der Gegend hin. In Urkunden werden zuerst Ludwig und Heinrich von Wachelkofen erwähnt. In der Zeit von Herzog Otto II. zeichnete ein Hagen von Wachelkofen als Zeuge.

Wachelkofen bildete eine Obmannschaft und bestand 1752 aus neun Anwesen, von denen drei dem Spital Landshut gehörten. 1830 wird Wachelkofen mit 185 Einwohnern geführt, die sich auf 26 Familien verteilten. Ortsteile der Gemeinde Wachelkofen waren Altenkofen, Ettenkofen, Penkofen, Pfarrkofen, Roseneck, Wachelkofen und Wachelkofenreuth. Im Zuge der Gebietsreform in Bayern wurde die Gemeinde Wachelkofen am 1. Juli 1972 in die Gemeinde Hohenthann eingegliedert.

Sehenswürdigkeiten
 Nebenkirche  St. Helena: Das Rokokokirchlein wurde 1751 erbaut und geweiht, der Hochaltar stammt aus dem Jahr 1754.

Vereine
 Freiwillige Feuerwehr Wachelkofen

Literatur
 Hans-Dieter Becher: Landshut. Die Stadt Landshut und das Landgericht Rottenburg. In: Historischer Atlas von Bayern, I/XLIII, München 1978, ISBN 3 7696 9906 8

Weblinks

Ort in der Hallertau
Ort im Landkreis Landshut
Ehemalige Gemeinde (Landkreis Landshut)
Gemeindeauflösung 1972
Hohenthann
Weiler in Niederbayern

redpajama_set_name: RedPajamaWikipedia


text:
A nu se confunda cu  A Smoky Mountain Christmas (film din 1986)

Christmas Mountain: The Story of a Cowboy Angel este un film western din 1981 despre adevărata semnificație a spiritului Crăciunului. În rolurile principale interpretează  Mark Miller ca Savannah Smiles și Slim Pickens în unul din ultimele sale roluri. Filmul a fost produs și lansat în 1981. Originalul filmului pe 16MM a fost pierdut timp de 20 de ani. Jack Evans, partener asociat și finanțator al filmului original, a găsit în cele din urmă copia originală și a intrat legal în posesia sa. Filmul a fost refăcut digital la Studiourile Victory din Los Angeles în 2008, fiind în prezent disponibil pe DVD.

O recenzie din  New York Times a ediției originale afirma că "această poveste emoționantă de Crăciun conține o poveste western inversată, deoarece prezintă povestea unui cowboy ceresc care vine să meargă călare jos pe pământ ca să păstorească turma alcătuită din câțiva oameni care au nevoie de niște miracole."

Distribuție
Mark Miller ca Gabe Sweet
Slim Pickens este îngerul cowboy
Barbara Stanger ca Teresa

Legături externe
movie website

Filme din 1981
Filme americane
Filme de Crăciun
Filme western


text:
Q: Google charts get row hover I have a problem when it comes to obtaining the event in which the user hover his mouse over the bars (onmouseover). The items it passes through are not the same as what is being printed on the console. This is because it uses the index it has in the graph and it is not equal to the order that the items have in the datatable. Any ideas?
I leave my code below.
function drawChart() {
//var data = google.visualization.arrayToDataTable(dataToHistogram(response));
var dataTable = new google.visualization.DataTable();
dataTable.addColumn({'type': 'string', 'role': 'tooltip', 'p': {'html': true}});
dataTable.addColumn({ type: 'number', id: 'precio' });

for (var i = datos.length - 1; i >= 0; i--) {
  dataTable.addRow(["<strike>"+datos[i].titulo+"</strike>", datos[i].valor]);
}

var options = {
  title: '',
  legend: { position: 'none' },
  bar: {groupWidth : 20},
  width: 1200,
  series: [
    {color: '#007d00', visibleInLegend: true}, {}, {},
  ],
  isStacked: 'absolute',
  tooltip:{isHtml: true}
};

var chart = new google.visualization.Histogram(document.getElementById('chart_div'));
chart.draw(dataTable, options);

google.visualization.events.addListener(chart, 'onmouseover', function(e) {
    setTooltipContent(dataTable,e.row);
    //setTooltipContent(dataTable,e.row);
});
    function setTooltipContent(dataTable,row) {
if (row != null) {
      console.log(dataTable.getValue(row, 0));
  }}}

JSFiddle

redpajama_set_name: RedPajamaStackExchange


text:
Energy for The Smiling Coast
EnergyDevelopment
By The Chronicle Last updated Jul 7, 2020 431
Every day that goes by on the "Smiling Coast" requires households and businesses to rely on electricity for their various tasks at hand. The electricity sector in The Gambia is currently regulated by the Public Utilities Regulatory Authority (PURA). According to PURA, "Following the approval of the National Energy Policy in 2005, and the enactment of the Electricity Act, the electricity sector in The Gambia has seen significant improvements. The monopoly NAWEC (National Water and Electricity Company) earlier enjoyed the generation of electricity and ended with the opening of the generation market to the private sector. NAWEC, however, still maintains its monopoly status in the distribution and transmission sectors…The Government launched the Rural Electrification Project in 2007 which built new power plants in all major provincial towns. All the engines are diesel units; however another feature of the project was the construction of extensive transmission and distribution networks in several villages and towns in the rural areas. Electricity services were significantly improved with most localities experiencing an excess of 12 hours of electricity per day, six hours in the morning and six hours in the evenings. Nawec still maintains its Kotu Power Station as the major generating power house supported by a number of stand-alone power stations in the major provincial towns. The current maximum available capacity at Kotu Power Station is 25.3 MW at peak load. In 2006, an independent Power producer, an IPP became operational with a new power plant in Brikama with an installed capacity of 26 MW. This new injection of privately generated power resulted in major improvements in the sector. There are also two relatively small renewable IPPs introducing renewable energy in the energy mix of the country".
On May 14th 2020, the World Bank Group issued a press release with the following title, "The Gambia to Advance Reforms in the Electricity and Telecom Sectors". It goes on to underline that a $30 Million Development Policy Grant was awarded to The Gambia to enable it to pursue the following:
Improve Debt and Public Investment Management.
Improve Financial Viability and Service Delivery in the Energy and Telecom Sectors.
Enhance Transparency and Governance Framework of State Owned Enterprises (SOEs).
Interestingly, and according to privacyshield.gov, "The Gambia is geologically situated within the Mauritania, Senegal, Gambia, Guinea Bissau and Guinea Conakry (MSGBC) Basin. There are four offshore and two onshore oil blocks, and licensing to these blocks is conducted by The Ministry of Petroleum and Energy. The Ministry houses the Gambia National Petroleum Agency (GNPC) which is responsible for fuel storage and supply. The Gambia depends on imported petroleum to meet its commercial energy needs, including generation of electricity which relies on the importation of Heavy Fuel Oils (HFOs). Permits to import HFOs are fully liberalized. The Ministry of Petroleum and Energy engages in direct negotiations and accepts proposals from oil companies that express interest in the country, rather than issuing tenders for companies to submit bids, a process it calls expensive…Oil exploration and drilling licenses present the best prospects in the oil and gas sectors. In 2016, drilling in a Senegalese oil field adjacent to one of the Gambian offshore oil blocs confirmed the presence of sizable crude oil deposits in Gambian territory.
Heavy Fuel Oil (HFO): It is estimated that The Gambia imports 84,000 metric tons of HFO annually. In March 2017 the new administration announced the liberalization of the importation of fuels into The Gambia and one year later, the U.S Department of Treasury issued sanctions against monopolist fuel importer, sending fears of a price hike in the market. The GOTG will be looking for a reliable supplier of HFOs. There are opportunities for investment in the oil and gas sector, which is listed as a critical enabler in the National Development Plan (2018-2021) and which The Gambia Investment and Export Promotion Agency (GIEPA) lists as a priority sector. Two companies have been issued mineral exploration and exploitation licenses for the preliminary exploration of onshore and offshore oil…The importation of seismic data mapping technology along with drilling licenses presents medium term market opportunities".
Amongst the other sources for energy, Solar is one that is making quite some progress as well in The Gambia. On November 22nd, 2019, afrik21.africa published an article listing the following: "Shay Solar officials have indicated that they are considering installing a solar power plant on the Gambian soil to provide clean electricity to the population. The full details of the project have not been disclosed by these German investors, but it is already known that the new infrastructure will enable, once installed, to improve the supply of electricity in the country and to make cost savings…For the time being, the total installed capacity in the Gambia is 125 MW, although the actual production is about 75 MW. The Gambia wants to connect one third of the rural population to electricity through off-grid solutions by 2030. This will require the installation of mini networks and autonomous home systems. In Gambia, the rate of access to electricity is 47 percent…".
This company expressed their interest after the Government of The Gambia and the Economic Community of West Africa States (ECOWAS) issued a statement seeking consultants for the preparation of a feasibility study for the inception of a 150 MW Solar Plant. Pv-magazine.com goes into further details: "The Government said it will ensure land availability, award permits for a power purchase agreement with utility the National Water and Electricity Company Ltd. and prepare transmission lines for connection to a substation…The Gambia Government added it has identified a 225 hectare site near the 225/30 KV OMVG substation in Soma which is under construction. The substation, in the center of the small Nation near where the main east-west road crosses the north-south Trans-Gambia Highway will be expected to raise the percentage of the Gambian population with access to electricity from 40% to 60%…The project, which may be coupled with 20 MWh of storage capacity for grid stabilization purposes, is expected to be built in two phases, with the first, 80 MW unit scheduled for completion in 2021 and the second, 70 MW section planned to come online in 2025…".
The Republic of The Gambia is definitely moving in the right direction with the above mentioned infrastructure timelines. The various economic sectors and households will benefit tremendously from the supply of stable and abundant electricity to fulfill their daily personal and professional endeavors. More Foreign Direct Investments (FDIs) will flow as a result of such outcomes and jobs will be created for generations to come in "The Smiling Vibrant Business Coast."
Torture, Bribery, Abuse and Killing: David Colley's Rigid Path to Confessions
The Trial and Betrayal of Madi Jobarteh
Gambia – Thousands of child deaths and illnesses caused by undernutrition…
September 11th… Remembering The Changing Times
Fafa Sanyang: "Solar Energy, the Solution to Gambia's Problem"
Candidacy for Deputy AU Commission: The Gambia Picks Fatoumatta Tambajang
Energy for The Smiling Coast | Gambia News | Latest news, breaking stories and comment - 3 years ago
[…] The Chronicle […]


text:
FABRIZIO FUNARI
LIBRETTIST AND PLAYWRIGHT
Fabrizio Funari | The librettistrrclq2020-03-24T10:55:49+00:00
Fabrizio Funari was born in Rome, Italy, in 1991. His long-term passion for music and lyricism began at the age of thirteen with the songwriting and recording of two single EPs. From a young age, he has always been interested in theatre and opera: first as an acting and directing student and later as a lyricist and playwright. Fascinated by the norms that govern communication, he graduated in Linguistics and Oriental Languages, focusing on the philosophy of language. Polyglot, he continued his academic and professional career in London, Beijing, Madrid and Seville by writing librettos and plays in English, Spanish and Italian and collaborating with established and emerging composers such as Germán Alonso, Niño de Elche, Martin Gaughan, Kieron Smith and Marco Benetti and with international festivals such as the Venice Biennale.
His creative engagement with contemporary opera stems from his long-term passion for ancient and postmodern literature and philosophy as well as his interest in queer theory and contemporary art to describe non-normative narratives and identities. For his line of work, he adopted a queering approach which is to be understood in its broader academic terms (i.e. the study of literature, discourse and other social and cultural areas from a non-normative perspective including social, economic, political and cultural issues and identities). Also anti-prescriptive, his writing reflects hismodus cogitandi as he restructures and reinvents its grammar, syntax, morphology and, specifically, phonetics.
Echoing Robert Bloom's 1930 commentary on W. H. Auden's writing, his language reveals a sense of urgency and extremity; it has time only for the most important words. Germinated in a post-capitalistic society, his work – influenced by postmodernism and the théâtre de l'absurde – is a mixture of neurotic estrangement and joie de vivre: a phantasmagoric use of the language aimed at exposing the failure of communication – and understanding – in contemporary society that leaves people alienated, unquestioning and conformist.
His librettos are permeated withthe music of György Ligeti, Luciano Berio and Francis Poulenc as well as the work of Michel de Ghelderode, Allen Ginsberg, Arrigo Boito, W. H. Auden, Kostantinos Kavafis, Lorenzo da Ponte, Reinaldo Arenas, Eugène Ionesco, Jean Genet, W. B. Yeats, Tristan Tzara, Jean Cocteau, the Chinese Misty Poets and Federico García Lorca.
His work The Sins of the Cities of the Plain (commissioned by the Instituto de las Artes y Culturas de Sevilla and Fundación BBVA) is the first dramaturgical and melodramatic text in history to be written entirely in Polari, a crypto-language adopted by the fin de siècle homosexual community in the British metropolises (especially London) and progressively vanished after the decriminalization of homosexuality in 1967.
Librettos should describe non-normative narratives and identities. This queering approach should be understood purely in its broader academic terms (i.e. the study of literature, discourse and other social and cultural areas from a non-normative perspective including social, economic, political and cultural issues and identities).
The librettist should consider the collective imaginary solely as an aesthetic means rather than a digestible end.
Librettos should reflect all contemporaneity and should not be elitist.
Librettos should deploy a certain degree of symbolism yet hermeticism must be avoided.
Librettos should be ambiguous as they portray reality and all reality is ambiguous.
Similar to reality, librettos have no beginning or end.
The librettist should defy normative language and be anti-prescriptive.
Opera should be considered as a synthesis of the arts so long as all its elements have authentic artistic and intellectual values in their own right.
Librettists should aim to actively work together with other artists as well as composers, directors and everyone involved in production.
Realism, realism, realism. Consciousness, consciousness, consciousness. Boomboom, boomboom, boomboom.
The Sins of the Cities of the Plainrrclq2019-02-19T14:34:32+00:00
The Flearrclq2019-02-19T14:31:37+00:00
Come il Sole tra la Polvererrclq2019-02-02T15:26:22+00:00
The Overcoatrrclq2019-02-19T14:35:56+00:00
Deosrrclq2019-02-02T15:27:27+00:00
Tredici Secondirrclq2019-05-04T12:49:35+00:00
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Fabrizio is represented by Arcadia & Ricono, Ltd and Factotum Agency.
For professional inquiries on his work as a playwright please email
prof@arcadia-media.net or ufficio.diritti@arcadia-media.net.
For professional inquiries on his work as a librettist please email
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thelibrettist
✍ Librettist & Playwright
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👇 Website
How it started. How it ended. (Read: https://www.
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The librettist is at Teatro dell'Opera di Roma.
Feeling a bit nostalgic today so went through some of the pics we took during @geografiediunsogno and I realised I never posted these beautiful shots by my talented friend @corrado_cascianelli. Miss you and miss my beautiful cast.
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A 639-year-long John Cage organ performance has a long-awaited chord change today
clssicfm.co
This Saturday in Germany, a single organ chord held for 2,527 days will change and it's kind of a big deal.
Fabrizio Funari is a contemporary librettist and playwright whose work is influenced by postmodern opera and the théâtre de l'absurde. He is the author of The Sins of the Cities of the Plain: the first ever opera to be entirely written in Polari.
Email: fabriziofunari.arte@gmail.com
Skype: thelibrettist
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Here you will find striking memorial walls, colourful native gardens, water features and water views. It is a welcoming space that invites you to visit, relax and spend time.
Bunurong Memorial Park's commanding Wall of Honour is dedicated to remembering those who have chosen cremation. Designed to securely house ashes, the wall features a striking earthy Corten interface with poignant words artistically carved. A special place for families to reflect and honour loved ones, the Wall of Honour also has tranquil water views for those visiting to enjoy.
Centrally located within the heart of the Southern Aurora Centre, the beautifully landscaped Matilda's Garden provides bursts of seasonal colour and is specifically dedicated to provide options for the placement of ashes. Featuring raised garden beds highlighted by Corten steel, the landscaping represents a "colours of Australia" garden.
Positioned within a display of dense colourful Australian natives, the Matilda's Garden Shrub Positions provide for the placement of ashes for an individual or a couple to be remembered and are conveniently located within the Southern Aurora Centre.
Positioned in front of an Australian native garden and complemented by an abundance of seasonal colour and earthy tones, the Matilda's Garden Memorial Walls have been designed for the placement of ashes. They provide remembrance within a relaxed setting, where families can take in the ambience of the garden and adjacent water views. Remembrance is in the form of a bronze plaque.
Banjo's Garden is a unique native coastal garden prominently located within the heart of the Southern Aurora Centre and provides unique options for the placement of ashes. Distinctive natural rocks of various sizes have been carefully positioned within the coastal inspired garden and are complemented by striking stainless steel totems with glass plaques. Banjo's Garden provides for those who are looking for artistic licence in creating a very individual form of remembrance.
Conveniently located within close proximity to the café and florist, these pools provide an easily accessible and calming form of remembrance. Accented by the beautiful aesthetic of gently moving water, the pools are designed to securely house ashes and provide a unique form of remembrance.


text:
Viktor Graf von Scheuchenstuel (* 10. Mai 1857 in Witkowitz, Mähren; † 17. April 1938 in Wien) war ein österreichischer Wirklicher Geheimer Rat, Offizier (Generaloberst) und Befehlshaber der 11. Armee im Ersten Weltkrieg.

Herkunft und Familie
Er entstammte der von Hans Jakob Ritter von Scheuchenstuel (1667–1739) gestifteten älteren, nach Mähren gekommenen Linie der Familie Scheuchenstuel. Er war der älteste Sohn des Hüttenmeisters zu Wittkowitz, Viktor (* 28. Februar 1824), und dessen Gattin Mathilde Blatt. Das Paar hatte nach Viktor noch die Söhne Edwin (* 18. Mai 1859), k. u. k. Offizier, Artur (* 4. November 1861 in Mährisch-Ostrau), Ingenieur sowie die Töchter Ludmilla (* 1. Mai 1863) und Angela (* 17. Jänner 1875), Lehrerin.

Der Graf blieb unverheiratet. Sein Bruder Artur setzte das Geschlecht fort.

Leben
Scheuchenstuel besuchte ab 1874 die Pionierkadettenschule in Hainburg an der Donau. Am 1. September 1878 wurde er dort als Leutnant zum 3. Pionierregiment ausgemustert. 1884–1886 absolvierte er als Oberleutnant die Kriegsschule in Wien und wurde anschließend dem Generalstab zugeteilt, wo er 10 Jahre lang diente, dabei am 1. November 1905 zum Major aufstieg. Danach war er vier Jahre im Truppendienst (1. Mai 1897 Oberstleutnant) im 33. Infanterieregiment. Am 1. Mai 1901 wurde er Oberst und Kommandant des 50. Infanterieregiments (13. März 1903).

Mit Rang vom 1. November 1907 Generalmajor, als Kommandant der 69. Infanteriebrigade, übernahm er 1909 die 8. Gebirgsbrigade, danach 1910 die 10. Infanterie-Truppendivision, 1912 die 9. Infanterie-Truppendivision. Zwischenzeitlich hatte er den Rang eines Feldmarschallleutnants mit Rang vom 1. November 1911 erlangt.

Mit Ausbruch des Krieges übernahm er am 13. September 1914 das Kommando des VIII. Korps in Prag, das in Serbien kämpfte – hierbei machte er sich besonders um die allerdings nur kurzzeitige Einnahme Belgrads verdient. Später war er in Albanien und 1916 an der Alpenfront gegen Italien in der Schlacht von Asiago eingesetzt. Er wurde daraufhin zum Wirklichen Geheimen Rat ernannt.

Wegen der Brussilow-Offensive geriet der Vormarsch der Armee in Südtirol ins Stocken, und das VIII. Korps wurde an die Ostfront verlegt. Scheuchenstuel geriet in einen Konflikt mit dem Armee-Oberkommando. Das VIII. Korps wurde aufgelöst und Scheuchenstuel sollte zwangspensioniert werden. Daraufhin intervenierte Kaiser Franz Joseph I. zu seinen Gunsten und übertrug ihm zum 8. September 1916 das Kommando des 1. Korps in der 7. Armee Hermann Kövess von Kövesshazas an der neu eröffneten rumänischen Front.

Bereits im Frühjahr 1917 kehrte er an die italienische Front zurück.
Am 13. September 1917 wurde er durch Allerhöchste Entschließung Kaiser Karl I. in den Grafenstand (Diplom zu Wien am 3. Januar 1918) erhoben sowie zum Kommandanten über die 11. Armee ernannt. Nach der Schlacht von Karfreit wurde Graf Scheuchenstuel am 16. November 1917 zum Generaloberst befördert.

Die Schlacht an der Piave war nicht von Erfolg gekrönt, weil der General mit seinen geschwächten Truppen nicht vorrücken konnte. Nach der letzten Schlacht von Vittorio Veneto zogen sie sich aus dem Trentino zurück.

Der Graf wurde zum 1. Januar 1919 pensioniert und zog nach Wien, wo er bis zu seinem Tod lebte. Scheuchenstuel war vielfach ausgezeichnet worden, unter anderem mit Orden der Eisernen Krone 1. Klasse mit KD. und Schwertern und dem Militärverdienstkreuz 1. Klasse mit KD. und Schwertern. In Anerkennung der siegreichen Führung seines Korps vor dem Feinde erhielt er taxfrei das Großkreuz des Österreichischen Leopold-Ordens. Nach seinem Tod wurde Scheuchenstuel in einem ehrenhalber gewidmeten Grab auf dem Wiener Zentralfriedhof (Gruppe 15 A, Reihe 1, Nr. 10) bestattet.

Literatur

 Genealogisches Taschenbuch der adeligen Häuser Österreichs, Band 1, O. Maas' Söhne, Wien 1905
 Peter Broucek: Ein General im Zwielicht – Die Erinnerungen des Edmund Glaise von Horstenau. Böhlau, Wien 1980.
 Theodor Ritter von Zeynek: Ein Offizier im Generalstabskorps erinnert sich. Böhlau, Wien 2009, ISBN 978-3-205-78149-3.

Weblinks

Einzelnachweise

Generaloberst (Österreich-Ungarn)
Oberbefehlshaber einer Armee (Österreich-Ungarn)
Kommandant eines Korps (Österreich-Ungarn)
Kommandant einer Infanterietruppendivision (Österreich-Ungarn)
Befehlshaber im Ersten Weltkrieg (Österreich-Ungarn)
Geheimer Rat (Habsburgermonarchie)
Träger des Ordens der Eisernen Krone (I. Klasse)
Träger des ö.k. Leopold-Ordens (Großkreuz)
Träger des Österreichischen Militärverdienstkreuzes I. Klasse
Träger des Eisernen Kreuzes I. Klasse
Titulargraf
Österreicher
Geboren 1857
Gestorben 1938
Mann


Although being forced to walk inland has been rather irritating, I'm grateful to be off the horrible A816, and glad to have discovered the beautiful Loch Nell. I prop my camera on a gate post and take a self-portrait.
I get off the bus at the Kilninver bus stop, and try not to think about the walk ahead. There's going to be a lot of road walking today.
Today is Sunday, and there are no buses running. And, today I must go back and fill in the gap – the section I missed out yesterday – between Arduaine and Kilmelford. Basically, it's a 5 mile trudge along the A816.
The track I'm following is one of Scotland's core paths. As I've discovered, core paths aren't always well maintained and in some cases are completely unwalkable. But this is a good one.
Over a rise, and here's a better view over Seil, and I even get a glimpse of Seil Sound.
It's Saturday, and there's a limited bus service. I park in a village called Kilninver and catch the bus from there to Kilmelford. I'm the only passenger. The bus driver tells me how a section of this road (the busy A816) collapsed recently, and talks about the chaos it caused.
Kilmelford is not a large village, but it has a shop and a pub, and – most importantly – a bus stop.
I leave the pub and cross over the road to a café, where I order tea and cake. By the time I set off for the rest of my walk, it's the end of the school day, and the primary school is buzzing as parents arrive to collect their children.
I'm walking along a wooded slope, surrounded by beautiful native trees, scented by a carpet of bluebells. Walking doesn't get much better than this.


A panga leaves daily to Little Corn from the Great Corn Island dock at 10am and 4pm. The journey takes 25 minutes and costs C120 one-way. The boat leaves from Little Corn dock to return to Big Corn at 7am and 2pm daily. There is a charge of C3 to enter the dock. Be warned, it can be a white-knuckle, bone-shaking ride if there's a swell.


text:
Last edited by Febei
2 edition of Semiconductor Electronic Devices found in the catalog.
Semiconductor Electronic Devices
G. Sanders
by G. Sanders
Published June 1, 1998 by Springer .
Science / General,
2D Semiconductor Materials and Devices reviews the basic science and state-of-art technology of 2D semiconductor materials and devices. Chapters discuss the basic structure and properties of 2D semiconductor materials, including both elemental (silicene, phosphorene) and compound semiconductors (transition metal dichalcogenide), the current. Introduction to Semiconductor Devices Reading: Notes and Anderson2 Chapters , Georgia Tech ECE Control of Conductivity is the Key to Modern Electronic Devices. Georgia Tech ECE •Semiconductor materials are a sub-class of materials distinguished by the existence of a range of disallowed.
Jul 25, · Power Electronics Semiconductor Devices About The Book: This book links recent developments in many research and development laboratories in the field of electrical engineering, focusing on the keys to energy electronics and their use. Principles of Semiconductor Devices L Length m Ln Electron diffusion length m Lp Hole diffusion length m m Mass kg m0 Free electron mass kg me* Effective mass of electrons kg mh* Effective mass of holes kg n Electron density m-3 ni Intrinsic carrier density m-3 n(E) Electron density per unit energy and per unit volume m-3 n0 Electron density in thermal equilibrium m
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You began your career designing for several London fashion houses, but what made you want to become a wedding dress designer?
I always wanted to work for myself – and I have always enjoyed the entire process of design – from the initial sketches through design development, patterns and toiles (prototypes) to the end result. There are very few areas of fashion where you can engage with the entire process, and then I thought of weddings. So it wasn't initially weddings per se that I gravitated towards, rather that it's an area of clothing design where I can be involved in the whole process from start to finish and use every aspect of my training as well as work with the people who will be wearing the garment.
Which dress has taken the longest and why?
What springs to mind was actually quite a simple looking dress. I had a bride who picked a lace to use purely as motifs over the dress, placed exactly where she wanted them. This took a very long time because each motif had to be hand sewn onto the satin and there were about 100 of them.
What's been your favourite commission and why?
I have several favourites so I can't pick one! Generally it is working with a bride who is very enthusiastic about the design and the process and just goes for it. I guess there's a certain confidence in this and it's more about that than the actual garment, so it doesn't mean the most flamboyant design.
And what's been the most memorable?
Just over a year ago I designed a bridal outfit for a bride for her wedding in the Canadian snows. It was a rich red silk Duchesse Satin fishtail dress with a huge separate Duchesse Satin silk ballgown shaped overskirt to wear outside. So basically two outfits in one. The big skirt for the day, and the fishtail dress for the evening. The top of the fishtail dress formed the top of the outfit with the big skirt so it looked like one dress. She wore it with a fur stole, fur boots, gloves and hat.
Where do you find inspiration for your made-to-measure bridal gowns?
Everywhere! As it's a small collection and I don't have to conform to the wedding 'industry' it's a balance between keeping things commercial and then completely moving away from that and creating the odd dress that is a bit more unusual and pleases my creative ideas at the time. I like interesting shapes and I enjoy pattern cutting so often I will make something with quite a bit of structure to it. I also love soft flowing fabrics so chiffons and tulle are lovely to work. I also listen a lot to what brides say to me about my designs when they visit.
If you had to design your own dream wedding dress, what would it look like?
Oh no, what a complex question... I got married 16 years ago and my dress was quite simple then. If I did it again I would wear something luxurious and richly colourful, probably separates, more than one colour and not at all traditionally bridal – maybe quite tailored? Or perhaps a bit quirky? I would use some crisp silks because they come in fabulous colours. But then I love soft, flowing fabrics too so I'd have to include them too. I'd wear my cowboy boots with it though I expect.
Getting to work with individual brides on their outfits and getting excited with them about it all, chatting and getting to know them – I miss them when the dress is finished. Being part of someone's special day, getting feedback and seeing their photos afterwards!
Tell us what's trendy for brides this season?
I would say the trendiest thing is to be yourself and go for what you enjoy and feel comfortable in –there's a huge move in bridalwear towards a 'no rules' approach. But fashion-wise, separates are still very popular and you can mix and match them. Colourful bridalwear is also up there. Plus simple and easy to wear bridalwear is far more on trend than ever before, garments you can wear again or repurpose. However, huge skirts are also making a comeback.


These are Dickensian times in the arts world. Across the boroughs, grand new art centers are being planned, opened, and expanded, but meanwhile, here in Williamsburg at least, artists are being evicted at an alarming rate. Although there is no direct link between these two processes, together they lead in a frightening direction: New York City might become an arts capital without artists.
Such a scenario cannot be wished away, without means that the vulnerable parties here, as elsewhere, have only one recourse: to organize. This idea may run contrary to the artist's individualist temperament, but consider the alternative. A place to live and work is indeed worth whatever personal "sacrifice" such a struggle might entail. Any alliances in defense of artists' spaces need not, or make that definitely should not, result in a wave of self-pitying depictions of the "homeless artist." That's been done, and nobody we know longs for its return.
A call to join together around a collective interest is another way of saying that it is not inevitable for artists to serve as the advance guard, then victims of gentrification. This is the process witnessed in SoHo, then the Lower East Side, and now in several parts of Brooklyn. Quite obviously, artists are not t he only, nor in any way the most dispossessed victims of gentrification, and it is true that they will more than likely land on their feet. Yet the relatively privileged status of artists vis-à-vis poorer city residents is hardly a reason to sneer at a campaign in defense of commercial living spaces. If Williamsburg and other parts of Brooklyn want to sustain their reputations as places where the arts genuinely thrive, something provocative needs to be done for change. One need only to visit other interchangeably gentrified terrain across the city to know that such is not the legacy that artists want to leave behind.
Some possible directions for action crop up forthwith. Check 'em out, and get back to us with your solutions. Surviving creatively, whether as an artist, writer, filmmaker, or cultural worker of any sort, is increasingly difficult in this era of ludicrous rent. No matter how uniquely individualist our visions may be, the recession-proof, ever-expanding bottom line on the rent check should hopefully unite us all-a Capraesque ending, to be sure.
With this issue, the print Rail ventures into the worlds of books, theater, and film, of which we promise more in future issues. In the meantime, we invite you to a reading of The Tempest, produced by our pal John Merchant, at Ocularis on Tuesday, January 23rd, at 8:00 p.m.
And, oh, before I forget, Happy Holidays!


Project Miriam will be held Oct. 6 from 10 a.m. to 3 p.m. at St. Mary Cathedral in Austin. Women discerning the call to religious life are invited to encounter joyful sisters from various religious communities, hear their stories about discernment and learn about their communities. Mass will be celebrated and there will be time for prayer and adoration. Lunch will be provided. For details, visit www.godiscalling.me/discernment-events/2018/10/6/project-miriam-1 or e-mail adrian-sanchez@austindiocese.org.


Creston Museum, 219 Devon St.
Get Passport stamped by local business.
Chamber of Commerce, 121 NW Blvd.
Millennium Park 215 - 16th Avenue S.
633 Indian Rd., off Lower Wynndel Rd.
Get Passport stamped by local businesses.
Creston Community Complex 230-19th Avenue N.
Canyon Street, 10th Ave. to 16th Ave.
Creston Museum , 219 Devon St .
Aquatic Centre, 312-19th Ave. N.
Creston & District Community Complex Aquatic Centre, 312 - 19th Ave. N.
*NOTE-Events marked by '*' are not events hosted by the CV Blossom Festival Assn. The Association assumes no liability or responsibility for these events; however appreciates the organizations involved providing these venues to the public. They are listed as community events taking place in the Creston Valley on the May Long weekend, for the convenience of residents & visitors.