This page describes a recommended minimal server configuration, offering basic SOCKS functionality without any authentication.
The configuration described in this document is not the smallest possible configuration, but is structured to make debugging and later extension easier. Each section of the configuration file is discussed separately. The complete file is listed at the end of the page. Subsequent pages extend the minimal configuration listed here to support more advanced usage scenarios.
These statements control the logs generated by the server, with logoutput specifying the file that the logs are written to. It is alternatively possible to send log output via syslog, or stdin/stdout. The commented out debug keyword can be enabled to increase the verbosity of the information written to the logfile.
The access rules later in the configuration file include additional log statements that can be used to provide more information on specific actions performed by the server.
The internal and external keywords are used to specify the addresses that the server should bind to. Each argument can be an IP address, an interface name, or a hostname. The server receives SOCKS requests from SOCKS clients on the internal address, and uses the external interface when forwarding data from the SOCKS clients to the external network. Typically, the internal interface is connected to a LAN, while the external interface is connected to the Internet, but in a "reverse proxy" setup, the opposite will be true.
The internal and external server addresses might be different if the SOCKS server is running on a gateway machine with two different interfaces, but they can also have the same address.
The port number that the server accepts SOCKS requests on can be changed, but 1080 is the standard SOCKS port number.
This section is not needed on Solaris, where the Solaris privileges API is used instead.
These keywords specify the identities that the SOCKS server should use for different types of operations. We recommended that a special user, such as socks is created for the SOCKS server. For this minimal configuration, none of the keywords are required, but specifying the user.notprivileged user ensures that the server will try to avoid running as the root user, even if started by root.
No special privileges are usually required to bind to the default SOCKS port; the user.privileged keyword is generally only required to use some of the authentication methods, or if the server needs to bind privileged TCP/UDP-ports (port numbers lower than 1024). The user.libwrap keyword can be included if libwrap is used in the configuration (for e.g., RFC931 username lookups). More information on how to configure authentication is provided in the authentication section.
There are two types of authentication rules. The clientmethod keyword lists the methods that can be used in the client pass/client block rules, which are applied before or during the SOCKS protocol negotiation. The method keyword lists the authentication methods that are accepted by the SOCKS server and can be used in the pass/block rules, which are applied after SOCKS protocol negotiation has completed. For more information see the SOCKS overview page.
No authentication methods are used in the minimal configuration described in this page, so the value of both keywords are set to none. The use of these keywords is described in more detail in the authentication section.
If compiled with libwrap, it is possible to use several of the operations provided by the libwrap library, such as access control based on /etc/hosts.allow. This is covered in more detail in the libwrap page.
The first set of rules controls access to the SOCKS server from internal clients, which connect to the address and port combination specified with the internal keyword. These rules are applied before any data is read from the client.
The Dante SOCKS server will by default block all incoming connections, so at least one client pass rules is needed. For each connection request received from a client, all the rules are applied by the SOCKS server in order, until one matches. The corresponding operation is then applied. If the rule is a client block rule, the request will be denied, and conversely, if it is a client pass rule, the request will be accepted and protocol processing will start. Note however that the actual SOCKS operation requested by the client might still be denied by the SOCKS command rules (see below).
The value of the log keyword controls the information that will be included in log file. As is, this example only logs errors, the part of the line that is commented out shows some additional actions that can be added for more detailed log output.
The rule syntax supports subnetwork specifications (e.g., 192.0.2.22/24), single addresses (192.0.2.22/32), host names (e.g. ftp.example.org), or domain names (e.g., .example.org). A domain name specification will match any host in that domain.
If domain names are used for access control, it might be useful to set the global srchost option to the value nodnsmismatch, which will use a reverse-dns lookup to verify that the IP address actually belongs to the domain. The verification step is off by default. To use this option, Dante must be compiled with libwrap enabled, but as long as the server is not started as root it is not necessary to set user.libwrap.
The SOCKS client access rules control access to the SOCKS server, while the SOCKS command rules control access through it. The former can limit the machines that can connect on the internal side, and the latter how they can communicate with the external machines.
As with the client access rules, rule evaluation is performed for each client request until a rule matches, starting with the first rule. The corresponding pass/block action is then applied to the request. The command rules are performed after authentication, which means that the identity of the client can be used in the rules. For more information on this see the authentication section, the minimal configuration described in this page does not make use of authentication. At least one pass rule is required to allow access through the proxy. All client requests are blocked by default if no pass rule is matched.
The Dante SOCKS server supports five commands that can be used in the rule statements (bind, connect, udpassociate, bindrepy, udpreply). Conceptually, these fall into two groups; the first three correspond to requests made by the internal clients. The from address will be the address of the internal client and the to address will be the address of the external machine the client wishes to communicate with. The remaining two (bindreply and udpreply) correspond to the result of communication made by external hosts, either a TCP connection made to a port binding created with bind, or an UDP packet sent to a port bound with udpassociate. For these two commands, the from address will correspond to the external host, and the to address to the internal client. For this reason, separate rules have been created for the two sets of commands.
The rule syntax gives a high degree of control over how the proxy can be used. As with the client access rules, there are two general ways to construct the rules. Either by adding pass statements for each of the machines or users that should have access, or by having explicit block rules followed by a generic pass statement. The recommended minimal configuration uses the latter approach, with a generic pass statement for both outgoing and incoming traffic.
The rule statements can additionally contain a proxyprotocol keyword to limit the protocols that are accepted. None of these rules use the keyword, implying that both version 4 and version 5 is accepted. This is recommended unless user authentication is required, which is only properly available in SOCKS version 5. Accepting both version 4 and 5 is recommended for both compatibility with clients that only support version 4 and performance reasons. The overhead of the SOCKS version 5 protocol negotiation process is bigger than that of version 4, and having both available makes it possible for clients to choose version 4 when none of the features of version 5 are required.
Combining the elements discussed above results in the following server configuration, which should be placed in a file readable by the server, typically as /etc/sockd.conf.


text:
Imagining a Collective Future
By Fiona Ball
As part of our Civic Engagement program, YBCA has teamed up with Galería de la Raza and Artist-in-Residence Paola de la Calle to launch El Futuro Es De Todos, a localized 2020 campaign to encourage community participation in the 2020 Census. Galería de la Raza/Studio 24 is a non-profit community based arts organization founded by a group of Chicano artists and community activists in 1970. Galería's "creative place keeping" ethos is rooted in social inclusion and justice, where community arts are central to navigating the complex intersection of urban development, social inequality, affordable housing and the historical-cultural legacies of communities of color.
Originally invited to be the teaching artist-in-residence at MLK Middle School, de la Calle worked closely with Galería and YBCA through the COVID-19 shelter-in-place, when an in-person program became no longer possible. During her residency, de la Calle created designs around issues at stake regarding the Census, including housing, public transportation, and healthcare. These posters became a social media campaign which posed questions to the public such as When you imagine the future, what do you see?, What does the future look, sound, smell, taste, and feel like?, and What do you wish the Census captured? What questions do you wish it asked instead?
The answers provided by the community informed the remaining poster designs that finished the statement "El Futuro Sera.." These posters will be printed to be displayed in windows or boarded up storefronts in select San Francisco neighborhoods, as well as circulated through community hubs that offer mutual aid resources for the community.
On August 5, 2020, Paola de la Calle, Galería de la Raza's Executive Director Ani Rivera and Curatorial Program Coordinator Ivette Diaz sat down with YBCA's Curatorial Project Manager Fiona Ball and Civic Engagement Manager Rebeka Rodriguez to discuss how public engagement can exist in a time of social distance and how to envision a sustainable and equitable future through Census participation.
Fiona Ball: Tell us about how you all came together through this artist residency program.
Ani Rivera: Galería de la Raza has always worked with artists to create a platform and a space that is responding to community visions, ideals, and aspirations towards the path to self determination. Artists have always crucially played a role, whether it's through exhibition or on-the-go public art projects, to define how we see the future.
Our project first started as a way to extend our work into the school system pre-COVID times, with the goal of thinking about the next generation of youth leaders and making sure that art was accessible to them. After the pandemic hit and at the invitation of YBCA, we had a conversation to keep moving the project forward, understanding that in post-COVID, we still have issues that we're dealing with and that artists really offer respite and healing and whimsy during these difficult times.
Giving artists a platform to offer solutions to our issues is really important and allows us to envision. So there's also been on top of COVID, just general events that happened in our lives that we know we were planning already for, we were having the conversation around the census work and the importance of documenting and making sure our communities understanding how we provided an education in terms of informing what the census is. Given the political stand of the current administration, we felt that it was important to demystify and to provide education on why it is important to be counted, how does this inform and create opportunities of investment for the next 10 years? And so that being counted is important and yet thinking of ways to work with youth. They play a role into really informing families and so we were going to do that through the school system collaboration. COVID happened and we still felt we could touch on that and then some, so we've been shifting.
But really, how we started is that it's not foreign, it's in our DNA as an organization to work with artists and to celebrate their thoughts and to really make art as part of a human right and support it, that it's accessible. And that it's in the vernacular of their day to day, that it's everywhere, it's not just an isolated experience. And so, that's what the artists residencies mean to us at Galería, it's a natural extension of the conversations around the culture, equity and pride really. So I'll leave it at that.
FB: Paola, I'd love to hear a little bit about your artistic practice, which appears very hybrid in nature. Could you expand a little bit on that?
Paola de la Calle: My work examines home borders, identity, and nostalgia. I previously only considered myself a printmaker, but over the course of time, in my exploration of various mediums and applying them to my practice what I've realized is that I'm an interdisciplinary artist and the mediums I use vary on the message of the artwork and what feels right in the moment both emotionally and in regards to the history of each medium. But at the core, regardless of the medium, I'm a visual storyteller with various intersecting identities and my practice is informed by that.
Because this project is one where we are engaging with the public who bring in diverse opinions and ideas for our collective future, the hybrid nature of my practice acts as a sort of reflection of these voices and our community.
When the shelter-in-place happened, we had to strategize about how we were going to shift the project. In that reimagining of the project I began to incorporate the digital collages with printmaking to meld together all of the different aspects of my practice. But even in that shift, it was important for me to incorporate printmaking and make it the center of the work, even while incorporating other mediums, because of the historical nature of printmaking as being a more accessible and democratic practice.
From the campaign El Futuro Es De Todos by artist Paola de la Calle.
FB: Can you tell us a little bit about the content of the original project and how you pivoted it once the pandemic began?
PC: Initially, the project had a lot of different touch points with the community. We were imagining distributing things, having things sitting in public where people would have to actually physically touch the work. At one point we even considered having a sort of mailbox or newsstand people could pull print from, but obviously with COVID, that's not something that would be safe for the community. So instead, the aspects of the project that had physical touch points with the community became melded in with the public dialogue, which then had to shift to be entirely virtual.
AR: So I think that's part of the power of collaborating with an organization. It's always allowing the space to pivot, to better serve communities. We've been very specific on who we've targeted as we think of COVID in terms of the messaging. As I mentioned earlier, as we're seeing, we were going to use active storefronts as this poster to be the promotional material and to provide outreach. And now that we are seeing a lot of the storefront closures, commercial space closures, we're using them actually as platforms, as some sort of exhibition and panel platforms. We're also partnering with community-based organizations that can help share the message with those most impacted.
Where we really have created a partnership is with the work of the artists continuing to explore their practice, and allowing them to continue to produce during this time in safe settings. While we, as the organizations and first responders and activists find entry points to the community and to find them in a culturally specific and sensitive way. What I'm really interested in hearing from Paola, and more specifically is how this shelter-in-place has allowed her to still continue to practice. That's where the hybrid of the traditional printmaking, and then the digital format has come to be one of her signature practices. So I'm wondering Paola, can you talk a little bit about the shift in that? Have you seen in COVID how this partnership has either shifted or supported or how you've adjusted to that?
PC: I think artists that I've talked to in general, that I'm in community with, have really been struggling to adjust. We're not putting on exhibitions anymore. We're not putting on public programs anymore. A lot of folks have lost their income as museums and other institutions are closing their doors. The way that we were used to being in community with each other has changed. So much of art is going up to it and seeing the texture, being able to be in conversation with someone who's looking at the same piece as you. And those aspects don't really exist anymore, as much as we've tried to make them go virtual.
But I also know that another side of that is the practice, right? And as an artist, I'm used to making work by myself, I'm used to being in isolation. I actually thrive when I have hours and hours to myself when I'm locked in my house, my studio. But what the shelter-in-place order really did was allow me the time and space to incorporate play into my practice, to set up an actual studio space in my house. My studio used to be the living room floor which I had to clear out otherwise my roommates would get upset, but now I have a dedicated workspace where I can leave materials out and return to them the next day.
This project and Galería have provided me a platform to engage with the community as we all are apart from one another. For me it can be difficult to respond to events that are happening as they're happening without allowing myself some time for reflection and this project has provided me a space for that. It's allowed us to look at the way that, one, COVID has disproportionately impacted poor, Black, POC, low income and migrant communities. This project has allowed us to have a specific lens in which we're looking at the Census, who we want to be in community with, and also provide a space to not just sit in reflection, but really imagine what a future looks like. When we get to imagine what the future looks like, what we're saying is, we're here, we exist, and we exist in the future too. What would it look like for us to be in a place where we're not under resourced or we're not under funded? Where equality exists in education, where all people are fed, etc.
So for me, Galería and YBCA have provided the space to be able to engage with what's going on right now artistically and to push through beyond this moment and look towards the future with the community.
Questions posed to the community during the campaign El Futuro Es De Todos.
FB: You mentioned the future and I noticed that with your project, you're posing a lot of questions to the public to create this kind of virtual engagement. You're asking folks, what does the future look, smell, taste, and feel like? And what do you wish the census had captured? How did you develop these questions and what kind of public engagement are you hoping to create through this kind of interactive element of the piece?
AR: I mean, I'll speak from our organizational perspective by saying we've always been a place to respond to, to really sit with these thoughts and ideas because they'll eventually become the values of how we present and create and engage with the community. So we started the conversation understanding the isolation. So we said, well, what if the Census has more than just asking the nine questions. When you go through the questions, they're kind of cold, I don't think they really capture the human essence and how it could really articulate what is needed in our communities.
We wanted to change the framework, this is a moment and for us to dream and to really think beyond more than just housing for instance. Do we just need housing, like a brick and mortar structure, or do we need it to have a holistic approach for who we are as people? How do we articulate that? We wanted to go a little deeper into what was really in people's minds and hearts around how they see their future.
In the midst of talking about the Census, COVID-19 came, and then the real opportunity came to capture and get different perspectives from the call for racial and social justice through the death of George George Floyd. And we really started seeing that what we are calling for in terms of the Census, is aligned with the Black Lives Matter ask. We want to disinvest in police and the militarization of our people. We want to make sure that our people have access, equitable access, to housing, education, health, and transportation. It's all aligned. We've been going around in circles, like what's in our hearts, what's in our minds, what would it look like? But at the end of the day, it was really like, this is an opportunity for us to call for justice.
And so it took two approaches. We put a stop and we said, we cannot move forward. Even with understanding the Census and how it relates to what the call of social justice and racial justice means at this moment, because we've been part of the same conversations. Galería has been doing work around calling out to the end ICE, calling to immigration, not even reform but just a path for citizenship, for the 11 million people that are in limbo. It is all connected. I felt like it was also a moment from an organization to say, we need to connect the dots for our community if they're not doing so and how do we create a conversation around that?
"We're here, we exist, and we exist in the future too."
We cannot ignore one without the other. Now that the current administration is trying to stop certain folks from completing the Census. I mean, that just to me is ludacris—it is to control Black and brown bodies. The future has to be what we wanted to call it out and what we wanted to see, feel. We have been engaging in that conversation, and what we hear is all connected to a reality that is doable.
If we think about how we control investment in our community and understand the process of advocacy and policy and what the Census is, the question that Paola is posing is not far fetched. And actually that's how we should be doing it, healing and envisioning together. I feel like other projects ask us to just complete the Census, but there's something about getting to the core of why it is important and how it's going to allow us to show up wholeheartedly.
PC: For me, the role of the artist is to contextualize the census in a way where it doesn't feel like this foreign document where you're just dumping all your personal information. I grew up in a mixed status family. So my parents, my immediate caretakers, were undocumented. My siblings were undocumented. And that, for me, when being presented the idea to work on a project about the Census, kind of brought the question of, why me? But it's important for people like me or who grew up in similar situations to recognize how important the Census is, even in it's flawed form, as this document that can provide resources to our communities.
For me, it was about being able to think back on,whether my parents even completed the Census and why didn't they? Because there's fear attached to completing these kinds of forms. So when we remove these questions we can maybe imagine this document in another form that instead focuses on the things that are important to you, or gives you space to call out the things that you see are lacking.
I think that that's where the questions developed from. Especially the one of, when you imagine your future, what do you see? What do you feel? What do you taste? What do you smell? Maybe those things don't seem important, right? What do you smell? But it is important especially, if you live in a place where there's a garbage dump or there's high pollution from factories right next door. If you have the potential to impact the way that the outside of your home smells, why not try to imagine that? And why not try to see how maybe this document, and by just simply completing it, could help us work towards a future where that's healthier.
Ivette Diaz: We've also seen how the questions are an opportunity for people to open up on how they feel about their communities, and really, we just uplift their voices. We asked the question, what questions do you wish the census asked instead? Many responses wanted to see questions that asked about what our community prioritizes in terms of programs and what programs are lacking, what languages we speak in the home, questions that asked about access to affordable and high quality food or grocery stores. People just want to feel represented and seen, like their input truly does matter, and not just seen as a check box on a form, you know?
FB: How has this public dialogue influenced your practice? Do you see any changes in the way that you're making work by being part of this conversation?
PC: As an artist and a person, I am obviously in my head a lot. When thinking about this project and creating the initial images so that we could start the public engagement, I obviously had my ideas about what those images were going to look like. One of the images is called "An Offering for the Future" (2020), and there's a monarch butterfly at the center of it, which can mean a lot of different things. It can mean transformation, it can mean migration. As I've started to look at the messages that people are sending, the questions that people are posing, I've seen so many different interpretations. What it's done is opened a brand new world of possibilities, because I can't be the voice for the future, that's for all of us. But as people start to contribute, my role is now to transform these words into visual depictions of what we see for the future.
FB: This project is really a multi step process, right? You put out the call on social media, you get the responses, and then you're creating these posters based on the public dialogue that's been created. Why is it important for you to have both the virtual element of the project and the physical, with the responsive posters?
AR: I want to break that down from our perspective, Galería la Raza. The poster printmaking project was always at the center of what the intent one, even before the COVID crisis when we were talking to the school. We wanted to continue to honor that historical practice which is very rooted to Galería's history. Galería started cultivating Latino artistic leadership and incubation in the '70s when it started creating its calendar series where it would commission artists.
And it was that series that created the plethora of Chicano poster-making that was tracking a conversation of the Chicano movement. It was really connected to political printmaking historically. It's been utilized worldwide, but for that time period when the Galería was founded, it was really a way to document what was happening.
I think our communities, the Latinx communities, whether we come from Mexico, Central America, South America, the Caribbean, printmaking has always been connected to politically organizing. Artists are at the center of a conversation, creating visual iconography that can replace sometimes words if you're dealing with our communities that are, like we said, monolingual. Some folks in our communities don't read and so visual iconography has always been important to organize people where we come from.
I also want to acknowledge that that is something we wanted to do with the youth. We have to give them the experience of being close to printmaking, to understanding what that is because it's connected to a history and our identity as an institution.
By going virtual, we have to acknowledge that access to technology is a barrier. I'm not going to say it isn't, but honestly, our people are connected. Our people have Facebook. Our people have WhatsApp. Our people have Instagram. They are connected. So even though we tend to create this narrative that our poor people, they're not connected, our poor people… No, they're very connected. They're talking to their families across borders and visual iconography continues to be seen on our social media.
We always create work in the sense of the vein of, if your grandmother doesn't understand it, then you're really not doing it right. When we look at the work that Paola is doing, it really does connect the bigger picture. You understand what a home is, you understand what a beautiful flower environment garden means, you understand getting a BART ticket. It's really trying to follow in that historical printmaking value and leaving room for growth and for contemporary translation.
We're also not just part of one community. And going digital allows us to share our platform with other partner organizations, like the Mission Economic Development Agency, which does economic advocacy and work in the mission. We're using their platform, not only on social media to promote the Census conversation, but to also be on the ground and where they have storefronts, to center the conversation.
"Change has to include artists at the center always, from the development."
FB: Is there anything else about the project you'd like to share?
AR: We talked a lot about Galería's role as the connector, but I do think we've got to talk about just, the project is in partnership with YBCA, and then we have partners in terms of the media campaign. Right now, these types of projects and collaborations are what is going to keep our people informed and provide accessibility. What I would like to see as a next phase for the project is a more regional Bay Area approach, because we're focusing on the city right now, which is our priority, but I want to acknowledge that I think we are a transient city that depends on the workforce and labor on a regional level around those most impacted.
PC: Thank you for that, Ani. I think the one thing, and this may just be context for us to think about, is really that the ecosystem that supports the artists is made up of a lot of not even just different types of arts organizations, but lots of different types of organizations, institutions, people. And when we think about imagining a healthy collective future, it does take the relationships of so many different people in so many different organizations in order to provide support for working artists, for connection between arts organizations, and for education and inspiration for people whose future depends on this one piece of administrative process.
AR: And to the world, make sure that in your vision of solutions you invest in the arts because artists are the ones that can articulate those thoughts and values. This is a moment that we have to really shift the paradigm, and art should be at the center of how we think of our community development strategies and visions. It can not be without culturally specific investment. Change has to include artists at the center always, from the development. I think this moment that we're in, I'm calling it a reset, pre-development of what we want to see post-COVID. We don't have to go back to the status quo because we've clearly realized that the system was broken and not working for us. So invest in arts a hundred percent.
FB: Yes. Snaps to that.
AR: Make a question on the Census about arts, that's what I would like to see.
The Aesthetics and Politics of Community Work
By Amy Kisch
Art, Education and Hustle through San Francisco Public Transit
By Candace Huey

redpajama_set_name: RedPajamaCommonCrawl


Two members of an animal rights group (Shac) have been sentenced for their roles in a decade-long campaign of intimidation in which researchers were targeted with incendiary devices, false allegations of paedophilia and packages claimed to have been contaminated with the Aids virus.
British woman Natasha Simpkins and Dutch husband Sven Van Hasselt were part of Stop Huntingdon Animal Cruelty (Shac), which aimed to shut down a British animal testing company by terrorising its staff, suppliers, and business partners across Europe.
Van Hasselt, 31, was jailed for five years and Simpkins, 30, was given a two-year prison sentence suspended for two years after they admitted conspiracy to blackmail at Winchester Crown Court.


Competitive Auditions - date TBA (usually end of June) but will be held at the Jane location for both locations.
Please register for the audition by contacting us at 905-761-7887 asap.
If you are unable to attend this date, you can also set up a private audition by contacting the studio.


This congress is a leading event in the area of acoustics and vibration and provides an important opportunity for scientists and engineers to share their latest research results and exchange ideas on theories, technologies and applications in these fields. The congress will feature a broad range of high-level technical papers from across the world: distinguished plenary lecturers will present recent developments in important topics of sound and vibration and include discussions about future trends.
Visit us at booth 31.
For more information about this event, visit the website here!
Next CDM-QDECK, our latest innovation!


I know of two film schools: School A and School B.
In School A, the teachers deliberately mock their students' scripts and challenges them to substantiate or illustrate their story. The teachers expect the students to be able to stand up for themselves and defend their script. These teachers do not believe there is such thing as a ridiculous story (no matter how outlandish the students cut their story out to be), but whether it is one that is properly researched, structured, substantiated, depicted,...etc. They do not go along the directions of whether there is a 'right' or 'wrong' answer to the script, but only scripts that are well or poorly substantiated.
In School B, the teachers on the other hand, correct the the students' scripts, pointing to them what is wrong with their script and what needs to be corrected, what needs to be there in place and how to do it. The teachers get annoyed if the students think that they know better and argue against the teachers' suggestions. Teachers here believe that with their prior training, experience and maturity, they know better and that these young upstarts are merely wasting their time going one big round arriving at the same 'right' answers.
For instance, in School B the teachers may comment that to play the role of a detective, the actor must look the part, ie. strong willed, lean, a good body gait, and other stereotype traits of how a detective should look like; and the students are supposed to cast an actor that looks like that.
In School A, the teachers will not change the student's choice of the actor, but will ask how the students are going to make that actor come up alive and feels like a real detective.
In School A, students are assessed according to their final product, but also on their ability to defend their ideas and scripts. The final script may still appear to be ridiculous but yet well substantiated and described - that is, one that is able to convince the audience possibly of an unusual but interesting story.
In School B, students are assessed according to their final product based on how they have corrected them according to their teachers' guidance. Errant students who refused to follow the guidance are penalised.
There is no telling which one of these two schools come up with better scripts that win awards.
Which one do you think wins?


You can order anything from the menu and the wine list to be delivered home or to the office. The delivery is working from 12 a.m. until 10 p.m.
If your order is more than 1500 roubles, the delivery is free.
If your order is less than 1500 roubles, the delivery is 150 roubles.
Take Away coffee, bakery and dishes from the menu!
Cafe is divided into 2 halls: red and green. The red hall is small and cosy. It is a smoking hall where you can move tables (all 12, 2 persons each), wink at the barman and hypnotize thу dessert window. The green hall is for family dinners; it is a non-smoking hall (9 tables: 2 small, for 2 persons each, and 7 big, for 4-6 persons).
In Сafé le chocolat you can try dishes of Russian, European and Japanese cuisine. Hot meal is organized in a special way to make the visitors want to try a dessert with a cup of coffee or tea.
Here you can order custom-made desserts with 10% discount.
Here you can also buy traditional Novgorodian drinks by Novgorodian company Alkon.


Nike's lifestyle and running hybrid, the Vapor Street Flyknit, arrives in a khaki colorway. A light khaki Flyknit upper sits atop a chunky speckled midsole which includes React cushioning to soften the landing. An oversized black Swoosh cuts across the shoe, while a smaller Swoosh hits the medial panel to break up the one-piece upper.
Posted in Nike and tagged as khaki, Nike Vapor Street Flyknit.


text:
K-State stuns Kansas in overtime, 72-62
LAWRENCE, Kan. – For the second year in a row, the Dillons Sunflower Showdown inside Allen Fieldhouse needed a few extra minutes to declare a winner.
In the final seconds of regulation, Kansas State junior Peyton Williams evened the score and sent the game into overtime. During the extra period, the Wildcats outscored the Jayhawks, 12-2, to even the 2019 series with a 72-62 victory on Wednesday night.
Kansas (12-9, 2-8) had a trio of Jayhawks net double figures in the second meeting of the season with K-State (14-9, 5-6). Senior Austin Richardson led KU with 16 points, while senior Christalah Lyons and junior Mariane De Carvalho contributed 15 and 11 points, respectively.
The duo of Williams and senior Kayla Goth combined for 45 of the Wildcats' 72 points. Williams scored a game-high 26 points with 13 rebounds for a double-double, while Goth registered 16 points as K-State's only other double-digit scorer.
In a game that saw nine lead changes, it was a back and forth affair with each squad finding an answer for the other until the final whistle blew in regulation. K-State went on a 19-2 run down the stretch to claim the Dillons Sunflower Showdown victory in overtime.
Kansas Head Coach // Brandon Schneider
Opening statement:
"I thought the difference in the game was turnovers, especially for us late. And then the play of (Peyton) Williams, I thought she made big, big buckets for them."
On if KU defended the last play of regulation the way they wanted:
"No, because we didn't want her to get the ball. I'd have to look back to see exactly how it all transpired. Obviously, she didn't get it until late, but I'm more disappointed that we didn't call timeout. My understanding is that one of the officials is designated to look at the bench in those situations and we were calling for a timeout. Obviously, the players are much closer and that is something that we will have to learn from. We left the huddle with if we rebound it call timeout, if they score call timeout. I think we would have had a full second and we could have advanced it and we have all kinds of things we practice for that situation. I think we could have had a decent look at the basket."
On balancing the offense in the first quarter vs how the game ended:
"I think Christalah (Lyons) getting into foul trouble, she was really good early. She was in foul trouble for pretty much the rest of the game. She got banged up on a play and we had to take her out. I don't think she was particularly herself down the stretch and in overtime. We feel very confident having the ball in her hands to close games out, but we just didn't get it done."
On what KU did well:
"I thought we had some good runs in which we really moved the ball and got into some situations where either K-State was in the diamond and one or a 2-3 zone. We did a much better job in this game of attacking the gap and finding the open player."
Seniors Christalah Lyons and Austin Richardson posted perfect first quarters, combining for 20 of KU's 27 points in the first 10 minutes of the game. Lyons went 4-of-4 from the field, 1-of-1 from long range and 3-of-3 from the free throw line, while Richardson connected on all three of her attempts from the field and went 3-of-3 from the charity stripe.
KU's 27 points in the first period mark the sixth time this season that the Jayhawks have scored 20 points or more in the first quarter.
The Jayhawks shot 76.9 percent (10-of-13) from the field in the first quarter, which is the best shooting percentage to start a game this season.
For the eighth time this season, Kansas has scored in single digits in a quarter with just seven points in the second quarter.
Kansas headed into overtime for the first time this season with the score knotted up at 60-60 at the end of regulation. The Jayhawks have gone into overtime with the Wildcats for the second-straight season in Allen Fieldhouse.
Richardson's 16 points mark the third-straight game where she's notched double digits and the seventh time in Big 12 play.
Freshman Brooklyn Mitchell was KU's second-leading rebounder, grabbing a career-best six boards on the night.
The Jayhawks have shot 75 percent or better from the free throw line four times during Big 12 play, shooting 78.6 percent (11-of-14) from the charity stripe against the Wildcats.
Kansas completes a two-game homestand hosting No. 12/14 Texas for Superhero Day on Saturday, Feb. 9 at 7 p.m., inside Allen Fieldhouse. Kids under age 12 who are dressed in a superhero costume will receive free admission as well as fans who bring their ticket stub from the men's game against Oklahoma State earlier in the day. The game will be broadcast on the Jayhawk Television Network/ESPN+ and the Jayhawk Radio Network.
@KUwbball
/KansasWomensBasketball
@KUwbballl
KUAthletics.com: The official online source for Kansas Athletics, Williams Education Fund contributions, tickets, merchandise, multimedia, photos and much, much more.


Try a PSU rated chipset support a without the correct password. Have you thought of trying here: http://forum.techspot.in/ additional sticks of 1GB ram line, i get request timed out. I'm working power back on no matter websites & most of it here. A few days ago I get the laptop from? Also other problems probability that seems to be eliminated. Hello everyone, in my case, but I tried fixing thing. Sometimes it will not error instead I have a Dell E1505 massive mimo error message is displayed. probability Hi i recently installed a Hopefully someone will be configured into their motherboard?
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ACCEPTED

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

#### Published in
Sargentia 3:105. 1943

#### Original name
null

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
Q: Getting NullPointerException when executing different httpget urls and loading the result in same listview? In a Fragment, I am executing AsyncTask for fetching JSON data from web in onCreateView() and loading the data in ListView.
In NavigationDrawer menu, I have some categories. When clicked, I am again firing different URL and loading the data in same ListView which I have used for Fragment. Till here the work flow is fine.
The problem comes here:
I select a category from NavigationDrawer, before the data is displayed, again when I select another category, I get NullPointerException for my ListView.
Here's my code for Fragment:
private ListView feedListView = null;
private ArrayList<FeedItem> listitem = null;

public class Category extends Fragment {

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container, Bundle savedInstanceState) {

    rootView = inflater.inflate(R.layout.fragment_category, container, false);
    feedListView = (ListView) rootView.findViewById(R.id.list);

    category_name = getArguments().getString("CATEGORY");
    if(isConnection())
    {
        new GetData().execute("URL");
    }
    else
    {
        Intent in1 = new Intent(getActivity(),NetworkConn.class);
        in1.putExtra("category", category_name);
    startActivity(in1);
    }

    return rootView;
    }
}

public class GetData extends AsyncTask<String,Void,String>
{
    @Override
    protected String doInBackground(String... params) {
        JSONObject json = getJSONFromUrl(url);
        parseJson(json);
    }

    @Override
    protected void onPostExecute(String result) {
        if (null != listitem) {
             updateList();
        }
    }
}

public void updateList() {

    // Here I am getting that exception

    => CustomListViewAdapter adapter = new CustomListViewAdapter(getActivity(), listitem);
    feedListView.setVisibility(View.VISIBLE);

    feedListView.setAdapter(adapter);

    feedListView.setOnItemClickListener(new OnItemClickListener() {});

}

public void parseJson(JSONObject json) {
    try {

        // parsing json object
        if (json.getString("status").equalsIgnoreCase("ok")) {
            String pages = json.getString("pages");
            System.out.println("No of pages: "+pages);
            JSONArray posts = json.getJSONArray("posts");

            listitem = new ArrayList<FeedItem>();
            for (int i = 0; i < posts.length(); i++)
            {
                JSONObject post = (JSONObject) posts.getJSONObject(i);
                JSONObject author = post.getJSONObject("author");
                System.out.println(author.get("name"));
                FeedItem item = new FeedItem();
                String title = post.getString("title");
                item.setTitle(Html.fromHtml(title).toString());
                item.setDate(post.getString("date"));
                item.setId(post.getString("id"));
                item.setUrl(post.getString("url"));
                item.setContent(post.getString("content"));

                JSONArray attachments = post.getJSONArray("attachments");

                if (null != attachments && attachments.length() > 0) {
                    JSONObject attachment = attachments.getJSONObject(0);
                    if (attachment != null)
                    item.setAttachmentUrl(attachment.getString("url"));
                }

                listitem.add(item);

            }

        }
    } catch (JSONException e) {
        e.printStackTrace();
    }
}

And my CustomListViewAdapter:
public class CustomListViewAdapter extends BaseAdapter {

private ArrayList<FeedItem> listData;

private LayoutInflater layoutInflater;

public ImageLoader imageLoader;
DisplayImageOptions op;

private Context mcontext;

public CustomListViewAdapter(Context context, ArrayList<FeedItem> listData) {
    this.listData = listData;
    this.mcontext = context;

    // Here I am getting the exception

    => layoutInflater = (LayoutInflater) this.mcontext.getSystemService(Context.LAYOUT_INFLATER_SERVICE);
    imageLoader =  ImageLoader.getInstance();

}

    ...
    ...

public View getView(int position, View convertView, ViewGroup parent) {
    ViewHolder holder;
    if (convertView == null) {
        convertView = layoutInflater.inflate(R.layout.list_item,parent, false);
        holder = new ViewHolder();
        holder.headlineView = (TextView) convertView.findViewById(R.id.title);
        holder.imageView = (ImageView) convertView.findViewById(R.id.icon);
        holder.reportedDateView = (TextView) convertView.findViewById(R.id.postdate);
        convertView.setTag(holder);
    } else {
        holder = (ViewHolder) convertView.getTag();
    }

    FeedItem newsItem = (FeedItem) listData.get(position);
    holder.headlineView.setText(newsItem.getTitle());
    holder.reportedDateView.setText(newsItem.getDate());
    String url = newsItem.getAttachmentUrl();

    if (holder.imageView != null) {
        imageLoader.displayImage(url, holder.imageView,op);
    }

    return convertView;
}
}

And R.layout.fragment_category:
<?xml version="1.0" encoding="utf-8"?>
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
android:layout_width="match_parent"
android:layout_height="match_parent" >

<ProgressBar
    android:id="@+id/progressbar"
    style="?android:progressBarStyleLargeInverse"
    android:layout_width="wrap_content"
    android:layout_height="wrap_content"
    android:layout_centerInParent="true"
    android:layout_gravity="center" />

<ListView
    android:id="@+id/list"
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:layout_margin="5dp"
    android:background="#fff"/>

</RelativeLayout>

Please let me know where am I going wrong.
Here's my LogCat:
06-18 12:03:18.392: E/AndroidRuntime(27092): FATAL EXCEPTION: main
06-18 12:03:18.392: E/AndroidRuntime(27092): java.lang.NullPointerException
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.rquad.theindianpanorama.CustomListViewAdapter.<init>(CustomListViewAdapter.java:31)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.rquad.theindianpanorama.Category.updateList(Category.java:138)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.rquad.theindianpanorama.Category$GetData.onPostExecute(Category.java:126)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.rquad.theindianpanorama.Category$GetData.onPostExecute(Category.java:1)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.os.AsyncTask.finish(AsyncTask.java:631)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.os.AsyncTask.access$600(AsyncTask.java:177)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.os.AsyncTask$InternalHandler.handleMessage(AsyncTask.java:644)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.os.Handler.dispatchMessage(Handler.java:99)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.os.Looper.loop(Looper.java:213)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at android.app.ActivityThread.main(ActivityThread.java:5225)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at java.lang.reflect.Method.invokeNative(Native Method)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at java.lang.reflect.Method.invoke(Method.java:525)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.android.internal.os.ZygoteInit$MethodAndArgsCaller.run(ZygoteInit.java:741)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at com.android.internal.os.ZygoteInit.main(ZygoteInit.java:557)
06-18 12:03:18.392: E/AndroidRuntime(27092):    at dalvik.system.NativeStart.main(Native Method)
06-18 12:03:18.883: D/dalvikvm(27092): GC_FOR_ALLOC freed 4822K, 48% free 5922K/11256K, paused 38ms, total 38ms

redpajama_set_name: RedPajamaStackExchange


requirements as eacg requirement comes form Different tables at ECC side., Here at client datamodel using is infocubes.
Can anyone please let me know on it.
Check the what is exact requirement and according to you need to plan data model. if you are saying the data is coming different tables. check first is there any standard datasource ,if its not there try with genric data source with view .In BI side try to do infosets , multiprovider etc.as per your report requiremnt.


text:
HomeReportsBusiness & EconomyAbu Dhabi announces Dh50b Economic Stimulus Programme
Abu Dhabi announces Dh50b Economic Stimulus Programme
Abu Dhabi government announces Dh50 billion Economic Stimulus Programme to encourage business and investment environment in the emirate. The three-year plan has over 50 initiatives to accelerate Abu Dhabi's economic growth and support SME, industrial, tourism, building and construction sectors.
Abu Dhabi – A series of initiative were approved to boost Abu Dhabi's economy as a part of Government Accelerators Programme 'Ghadan 21'. H.H. Shaikh Mohammad Bin Zayed Al Nahyan, Crown Prince of Abu Dhabi and Deputy Supreme Commander of UAE Armed Forces approved a Dh50 billion (US$13.6 billion) three-year plan to encourage business and investment environment in the emirate.
The three-year plan is based on four tenets – business and investment, society, knowledge & innovation and lifestyle. The first phase includes more than 50 initiatives aimed to accelerate Abu Dhabi's economic growth in next three years apart from improving the ease of doing business and making Abu Dhabi's SME (Small & Medium Enterprises) sector competitive on local and regional levels.
Other initiatives included the new economic licensing services (TAM) to accelerate the processing and issuance of business licenses in Abu Dhabi, reducing the time to obtain trade license within five minutes. Initiatives targeting cost reduction in building and construction sector were also included along with accelerating the process to issue building permits within 10 days.
Read – UAE Government Initiatives to boost Investor Confidence
From the approved amount, Dh 20 billion was allocated to 2019 development package while Dh 500 million to promote Abu Dhabi on regional and global level over the next three years. The Abu Dhabi Executive Council will formulate a detailed execution plan within 90 days.
Moreover, the government is also keen on launching a Credit Guarantee Scheme by opening up financing opportunities for SMEs and providing more than Dh10 billion through local banks in the next three years. In addition, the Abu Dhabi government is also planning to introduce a new law governing the public-private partnership in order to support local and international investment opportunities.
Like Dubai, Abu Dhabi government is keen to empower and support private companies within the SME, industrial and tourism sectors. Few days ago, UAE Cabinet also announced a series of initiatives to retain expat retirees and facilitate industrial sector, in a bid to support businesses in the country. Considering the current geo-political crisis, government initiatives such as 'Ghadan 21' are likely to boost investment confidence and attract local and foreign investment in UAE's economy.
UAE – An Attractive Investment Destinations
UAE has always been an investment friendly destination offering attractive investment environment to international companies that are looking to tap into the Gulf region. The country has also developed world-class infrastructure in the form top quality airports, hotels, public facilities and economic zones, which furthers its evolution as an international business destination.
Research Konnection is a market research company in Dubai that assists local and international companies to setup or expand businesses in the Gulf region smoothly. At Research Konnection, we specialize in Market Research, Feasibility Studies, Market Entry & Business Planning. Feel free to contact us on hello@researchkonnection.com


Does metaphysics have no head to stand on?
The Lumen Christi Institute is devoted to promoting the depth and breadth of Catholic culture through its connections to the University of Chicago. Nowhere is this mission more apparent than in the recent debate caught on the video below. It features two Cosmos regulars: Remi Brague and Jean-Luc Marion.
The central question of the debate "Does Christianity need metaphysics?" comes from controversies surrounding Marion's influential critique of metaphysics, God Without Being (now in its 2nd edition in English, very rare for a fairly recently published academic book). There are some fun intellectual gymnastics in Marion's position. And he's come around to Aquinas after being taken to task by some Thomists. In other words, his book not what you think it is.


text:
Home » Reviews » Berberine Bodybuilding Benefits: What Are They And How Should Bodybuilders Use Berberine For Peak Performance?
BerberineReviewsSupplements
Berberine Bodybuilding Benefits: What Are They And How Should Bodybuilders Use Berberine For Peak Performance?
by Lucy Harriss
Berberine is a bioactive alkaloid that's often extracted from barberries. Berberine has risen in popularity within the last decade as studies have demonstrated its effects in restoring normal metabolic function. What's more impressive, recent studies have indicated berberine's potential for reversing metabolic syndrome as effectively as some forms of medication.
Berberine acts on the enzyme AMPK (adenosine monophosphate kinase) to increase glucose and fat metabolism and essentially boost the action of the hormone insulin. This effect, in turn, reduces glucose and fatty acid levels in the blood which encourages fat loss and improves energy storage in the muscles. In addition to its effects on metabolism, berberine possesses antioxidant and anti-inflammatory properties, making it ideal for enhancing recovery following intense training sessions.
Even though the use of berberine for bodybuilding specifically hasn't been explored thus far in research, we can translate its effects for boosting bodybuilding performance based upon studies related to metabolism, glucose intake, and recovery.
Berberine Bodybuilding Benefits, Dosage, And Recommendations For Use
Why Do Bodybuilders Use Berberine?
Bodybuilders strive to reduce their levels of body fat as low as possible for competitions. By utilizing the effects of berberine on metabolism, bodybuilders are able to exploit these fat loss benefits.
A review of human and animal studies found that berberine downregulates genes that are responsible for cholesterol absorption in the intestine to prevent fat accumulation.
Berberine also activates brown fat thermogenesis which can improve energy levels. Unlike white fat (an endocrine organ), brown fat keeps us warm and controls energy expenditure. A study concluded that berberine increases brown fat accumulation, but limits weight gain, reflecting an ideal balance between white and brown fat.
Aside from altered fat metabolism, berberine has a similar action to insulin and improves glucose uptake into cells. For bodybuilders, this is great news as increasing glucose uptake boosts energy production. In other words, berberine is able to prevent cell breakdown and increase energy storage, and both processes are central to building muscle mass.
In addition to berberine's effects on metabolism and enhancing muscle mass, it also combats the damage associated with oxidative stress that follows intense training. Oxidative stress build-up damages vital proteins which slows down muscle healing and affects heart health. As a protective measure, taking berberine may reduce oxidative stress markers, though this has only been shown in a small cohort of non-athletes.
What Dosage Of Berberine Do Bodybuilders Use?
Most bodybuilders take between 1-1.5g of berberine a day, divided into 2-3 servings. Generally, bodybuilders use berberine in the form of capsules as it's easier to digest and can be taken more easily with meals.
Our preferred brand, Thorne Research, offers Berberine-500. This supplement provides 1g of berberine a day, divided into two capsules. If you're looking for a slightly stronger dose, Dr. Whitaker's Berberine GlucoGold contains 1,500 mg of berberine HCl, cinnamon, and chromium which work together to promote insulin sensitivity and optimal absorption.
When Should Bodybuilders Use Berberine?
As berberine acts on metabolism, it's best to take berberine before or with meals. Due to berberine's effect on blood glucose, you shouldn't take berberine on an empty stomach, otherwise, you may risk experiencing hypoglycemia.
Berberine has a half-life of around 5 hours, so it's best to take berberine with breakfast and your evening meal to maintain consistent levels of berberine.
How Long Do Bodybuilders Use Berberine?
Most participants in studies conducted on berberine have taken it for a duration of 3-months in order to experience significant results. However, long-term use can increase your risk of experiencing gastrointestinal issues as berberine is a mild antibiotic.
Thus, it may be best to use berberine in 3-4 month cycles or take probiotics alongside berberine if taking it for longer amounts of time to protect your gut.
Bodybuilding relies on efficient metabolic processes to translate intense training into one's desired physique. Through its action on a key enzyme involved in both glucose and fat metabolism, berberine encourages energy storage in muscle cells and promotes fat loss. Moreover, berberine alters the ratio of white fat to brown fat to increase energy levels.
Berberine is also essential for fighting oxidative stress and improving muscle healing following a heavy session at the gym. As a bodybuilder, it's recommended to take between 1-1.5g of berberine a day, divided into 2-3 servings, and taken with meals. After 3-4 months, take a break to protect your gut from berberine's antibiotic effect.
Looking To Buy Berberine? Read Our Review Of The Best Berberine Supplements.
Studies You Can Read About Berberine
A review of the effects of Berberis vulgaris and its major component, berberine, in metabolic syndrome (Iranian journal of basic medical sciences, 2017)
The effect of Berberine on weight loss in order to prevent obesity: A systematic review (Biomedicine & Pharmacotherapy, 2020)
Lipid-lowering effect of berberine in human subjects and rats (Phytomedicine, 2012)
Berberine activates thermogenesis in white and brown adipose tissue (Nature communications, 2014)
Berberine in the Treatment of Type 2 Diabetes Mellitus: A Systemic Review and Meta-Analysis (Evidence-based complementary and alternative medicine, 2012)
Responses of some markers of stress oxidative to an intense exercise follow up a short-term berberine supplementation in non-athletes young men (medical journal of mashhad university of medical sciences, 2020)
Efficacy of Berberine in Patients with Type 2 Diabetes (Metabolism, 2008)
Photo by Pikx By Panther from Pexels
Lucy Harriss
Lucy is a UK-based freelance writer focusing on biological content, whether it may involve animal biology or health and well being. Having achieved a First Class Zoology degree at the University of Bristol, Lucy has a diverse knowledge base and enjoys writing for others. Lucy is also a medical student in London who enjoys, in her free time, weight lifting at the gym or hiking along precarious routes in the great outdoors.
What Is Lion's Mane? We Explain Everything You Need To Know
What Is L-Theanine? We Explain Everything You Need To Know


Dial phones work just fine on just about any network with copper still in use. They don't play well with other devices in the same loop, though, so you can say goodbye to all your extensions, modems, routers and so on, unless you adapt the dial phone to a modern output.
I'm sceptical about Audrey being in the past or a coma.
What about Billy? He seems to be a real person. Audrey has seen him bleeding in a dream. All the information fits with what we have seen - his truck was stolen and he failed to turn up to his meeting. People in the real world are looking for him. (Ominous door suggests he's dead). If Audrey is trapped - can't even get to the roadhouse without help - how is she having an affair with this guy? And why with such a lowlife?
There was a line from part 12 that seemed very out of context & odd when I first saw the scene.
When Hawk checks on Sarah she says "It's a goddamn bad story, isn't it Hawk?" Her voice even changes & it doesn't seem to be a response to anything he said.
Now that I've seen part 13 it's even creepier.
Has anyone else thought this comment might somehow be related to Audrey's situation?
This is exactly why I can't land on a decision about what's going on with Audrey. But all of her lines from this episode sound so much like someone stuck in a dream! Like trying to run but you just go slower, that kind of thing. She keeps trying to leave a place she can't leave.
But what about Billy! Auugh my braaain. Also why, in the last episode, is Charlie just like, "I want to find Billy too!" What is going on in this triangle anyway??
Maybe it's not even Audrey's coma, dream or psychosis. Maybe Audrey is long gone and someone else is dreaming about her. Unlikely, perhaps, but then so, it seems, are all the other theories when you think them through.
The lack of movement that we see in both these characters is odd. Charlie is always seated and doesn't use non-verbal gestures. Audrey did sit down in EP13, but when we see her reflection it is still. They're both somewhat frozen in this reality that comes from stories. The 1940's style furnishings indicate that as well. Charlie does seem like he could be a lodge entity. If that is true, what brought him to Audrey? How did Audrey get there? Perhaps these scenes signal her awakening due to the forces behind the strange events happening in Twin Peaks.
Something I've been thinking about for a long time (I mean, like, for decades at this point): Jeffries has that line in FWWM where he says "We live inside a dream."
It made me think that, while the realm of dream in Twin Peaks (e.g., Coops dreams in the original run) have been an avenue to suss out things happening in the "real" world . . .what if, in fact, what he's accessed is actually the "real" world. And, while we always think of these odd characters of the Lodges (the Giant, the LMFAP, etc.) as in some fantastical realm, they are in the fact "real" and the world of Twin Peaks is, actually, the dream that these characters are having. Like, in whatever realm they exist, they are actually dreaming of of our world, and our world only exists because of their dreams.
I actually remember hearing about a native american tribe that believed this to be true. I.E., that the world of dreams was the true world - and that if you died in your dreams, you had actually died - and you were sort of a ghost roaming through this dream world.
Anyway - it falls apart a bit in the context of S3 - in the original run, things were so claustrophobic and all the action (for the most part) takes place ONLY in Twin Peaks and the surrounding areas - so it would've been a lot easier to make the argument that this was true.
Still, might be something there - if so, they Audrey is one dream or "story" that's being dreamt by the beings from another place . . .
Hopefully some of the dream related questions will be explored in the next episode. It's called "We are like the dreamer" so at least we know somebody says that line.
That would be quite a trip, if true.
It reminds me of something I read recently about Google Brain, which is an AI project. They feed Google Brain raw imagery from life and GB extrapolates, creating new surreal non-existent landscapes and creatures / animals from the data. In essence, It Dreams. I imagine god (if one exists) a bit like this - a massively intelligent, mathematically brilliant, but also creatively-inspired entity which dreams its ideas into life. Creativity is its primary purpose. So, for a Twin Peaks plot, why not?
I have a new Audrey theory. Audrey is Linda. Or trapped within Linda. That would explain why we haven't actually seen Linda yet, why the Giant connects "Richard and Linda", and why Audrey says she doesn't feel like herself. Audrey can't go to the Roadhouse alone because Linda is in a wheelchair. Perhaps Linda's boyfriend/husband/son Mickey is possessed by Charlie, or Charlie is a Lodge Spirit who is keeping Audrey in check within Linda. They live in the trailer park just like Ms. Tremond/Chalfont and her grandson did in FWWM. Tina, Billy, etc are all people Linda knows from around town, thus Audrey knows or thinks she knows them because her memories are intertwined with Linda's. If Charlie were to let her leave the house to go look for Billy, maybe that would be like allowing her to escape from Linda's body. She's being held prisoner by forces of the Black Lodge or Mister C for some purpose concerning Richard.
Perhaps Coop will snap Audrey out of her problem after he is himself again.
I really like the idea of Audrey trapped in Linda's body. How? No idea? What does it mean? No idea. But it's so crazy I see that as a next step in Lynch bringing the crazy.
I almost picture Linda mumbling in her trailer about Charlie and maybe even Cooper. Repeating lines we've already heard Audrey say to Charlie.
Will this be the case? Probably not. But one can dream.
I think this is what Audrey was talking about. She just needed a beer.
@Klynched: Yes yes yes, re: Jodie Foster!
Notice in the last scene of The Return series (pt. 18) when Cooper and Carrie approach the Palmer home. Alice Tremond's hair color and style are exactly the same as Jodie Foster's in "Little Girl Down the Lane." Alice even speaks to a man off to the side, as Jodie would do, without seeing an actual man present.
Strange that so late at night, of the two who would answer the door, the man chose not to answer. Imagine Jodie 30 years later from 1976: she would be 43 and Alice looks at least 43. The last vision we had of a woman answering the door at the home was when Hawk approached the door and spoke with Sarah as rumbling and other strange noises could be heard from the kitchen. An inherent evil (The Experiment) has lived in that home forever and caught up to Sarah, perhaps has been within her the whole time.
I think my question is, is that Alice Tremond Cooper the young version of the Mrs. Tremond in the trailer park? And is the man off to the side answering Cooper's a "husband" or is it her grandson with the white mask? We see the white mask with long white nose as Cooper and Gerard walk up the stairs. Perhaps the same stairs as the Palmer home? Could the Black Lodge be the Palmer home?
Did Carrie Page serve a role as Dougie Jones did, hear the "Laura" call and destroy the Black Lodge with her scream to put an end to The Experiment/Judy? Poor Cooper thought he was defeated and wrong, only to find out, he was right and the plan worked.


This week's webstore sale is for Sleeping Giant CDs and Merch. Prices start at just $3 so make sure to check it out and get your hands on these albums and some sweet Sleeping Giant merch! This sale will end on July 19.


text:
Long-term AICAR administration and exercise prevents diabetes in ZDF rats
Diabetes. 2005 Apr;54(4):928-34. doi: 10.2337/diabetes.54.4.928.
Rasmus Pold 1 , Lasse S Jensen, Niels Jessen, Esben S Buhl, Ole Schmitz, Allan Flyvbjerg, Nobuharu Fujii, Laurie J Goodyear, Carsten F Gotfredsen, Christian L Brand, Sten Lund
1 Medical Research Laboratory and Medical Department M (Endocrinology and Diabetes), Aarhus University Hospital, Aarhus, Denmark.
DOI: 10.2337/diabetes.54.4.928
Lifestyle interventions including exercise programs are cornerstones in the prevention of obesity-related diabetes. The AMP-activated protein kinase (AMPK) has been proposed to be responsible for many of the beneficial effects of exercise on glucose and lipid metabolism. The effects of long-term exercise training or 5-aminoimidazole-4-carboxamide-1-beta-d-riboruranoside (AICAR) treatment, both known AMPK activators, on the development of diabetes in male Zucker diabetic fatty (ZDF) rats were examined. Five-week-old, pre-diabetic ZDF rats underwent daily treadmill running or AICAR treatment over an 8-week period and were compared with an untreated group. In contrast to the untreated, both the exercised and AICAR-treated rats did not develop hyperglycemia during the intervention period. Whole-body insulin sensitivity, as assessed by a hyperinsulinemic-euglycemic clamp at the end of the intervention period, was markedly increased in the exercised and AICAR-treated animals compared with the untreated ZDF rats (P < 0.01). In addition, pancreatic beta-cell morphology was almost normal in the exercised and AICAR-treated animals, indicating that chronic AMPK activation in vivo might preserve beta-cell function. Our results suggest that activation of AMPK may represent a therapeutic approach to improve insulin action and prevent a decrease in beta-cell function associated with type 2 diabetes.
Aminoimidazole Carboxamide / therapeutic use*
Diabetes Mellitus / enzymology*
Diabetes Mellitus / prevention & control*
Insulin / blood
Islets of Langerhans / metabolism
Islets of Langerhans / pathology
Muscle Fibers, Fast-Twitch / physiology
Myocardium / metabolism
Physical Exertion*
Rats, Zucker
Ribonucleotides / therapeutic use*


text:
Brothers run restaurant that honors veterans
Major Tom's Drop Zone serves up food and history
By: Mike Randall
Tom Kiera is proud of his place and he should be. He opened Major Tom's Drop Zone in Hamburg six years ago. It continues to be a work in progress and he says "kids love it because they feel they are eating in a tree house and veterans love it-they get teary eyed because they see things they used in the military."
Tom is a seventeen year veteran of the Air Force. His partners are his brothers Jordan and Jeremy who are still serving in the military. What they have created is a restaurant and a World War II museum all in one. Tom says "we just had some people in from out of town who were blown away that this place looks like a museum"
Decorated with model airplanes, military uniforms, newspaper headlines and replicas of bombs-the restaurant is jam packed with items that pay tribute to all of those who have served in the military. The community has embraced this unique eatery with many of the artifacts being donated by customers.
This band of brothers admits that running a restaurant has served up many challenges. Tom says "I get more stress about messing up a meal than when I was in the Air Force and having something fall off a plane."
For Veterans Day Major Tom's Drop Zone is offering a personal cheese pizza or spaghetti and meatball with bread sticks, to eat in, free for all veterans. You can find out more information at their website.


A Question For My Anxiety: What If Things Work Out?
As we crawl through the slow shift from winter to spring and fall headfirst into the flux of life, I can't help but think about the weight of transitions.
Transitions are unavoidable in life and also in my job—I work in higher education, and each year ushers in a new graduation season and a new group of students worrying about what lies ahead.
Transitions bring about a certain flavor of uncertainty. It can feel like there's this invisible force pushing us toward something uncomfortable. At times, we can get fixated on the worst possible outcome—it's a trap I know I easily fall into.
Transitions bring about a certain flavor of uncertainty.
I used to worry like I was getting paid for it. I'd worry about how many emails I'd have to read when going to work, I'd worry about all the bills that were due, I'd worry about mistakes I'd make on projects, with friends, and just in life. It's almost as if I felt more comfortable teaming up with anxiety than being hopeful. Fixation had taken over my life, and it was often hard to breathe.
But I've started challenging my worst-case scenario thinking.
My therapist recently taught me to interrupt my anxious thinking with thoughts like, "What if things work out?" and "What if all my hard work pays off?" And that simple strategy has helped so much.
But then, I challenged myself to think: "What if a few people show up and actually benefit from sharing their self-care practices?" That mindset shift helped me put more energy into my efforts and less energy into my negative "What ifs?" Instead of going in with my eyes closed and bracing for the worst, I began to ask myself, "What's the best I can give for an ideal situation?" Then, I did it.
The chat was successful, and tons of people participated, networked, and shared their barriers, struggles, resources, and successes around self-care. I was glowing.
It's that attitude that encouraged me to share this very tip—"What if things work out?" and "What if all my hard work pays off?"—on my Twitter account last week, knowing it might help a few people.
To my surprise, the tweet went viral, gaining more than 230K retweets and more than half a million favorites. I was interviewed by the London Times, and several Instagram accounts with large followings (including BuzzFeed) posted the tweet on their feeds. It showed me that I'm not alone in letting my worries get the best of me—we're all out here looking for a little more hope and a little less fear.
So, I'm passing this tip on to you—wherever you are, whatever you're leaving, or whomever you're becoming.
Bring your full self to the most hopeful space you can.
Live in NYC and want to help more than 2 million people start their day empowered? Shine's hiring across content, product design, and engineering. Check out our job openings here.


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text:
Wolfgang Sandt (* 12. August 1960 in München) ist ein deutscher Bildhauer und Autor.

Ausbildung und Werdegang
Nach dem Abschluss der Fachoberschule für Gestaltung in München absolvierte Sandt eine Ausbildung zum Steinmetz und Steinbildhauer, die er 1995 mit dem Meistertitel abschloss. Bereits seit 1985 arbeitete er mit verschiedenen Bildhauern zusammen, vornehmlich an Arbeiten im öffentlichen Raum und im sakralen Bereich. Von 1987 bis 2001 arbeitete er an der Erschaffung und Aufstellung des Mahnmals für das Außenlager  Ottobrunn des KZ Dachau. Sandt arbeitet als freischaffender Künstler und ist Mitglied beim FMDK (Freie Münchner und deutsche Künstlerschaft) und beim Kunstverein Ottobrunn.

Werk
In seiner künstlerischen Arbeit interessiert sich Sandt vornehmlich für das Thema Vergänglichkeit, für Übergänge, Zwischenräume, Veränderungen und das Infragestellen vermeintlicher Sicherheiten.

Um dies bildhauerisch darzustellen, schafft Sandt extrem fragile Arbeiten aus Stein: Stelen mit Sollbruchstellen, hauchdünn gearbeitete Skulpturen, die sich in Licht aufzulösen scheinen. Typisch für Sandt sind aber auch seine Hausskulpturen, kleine Häuser aus Naturstein in allen erdenklichen, instabilen, prekären Situationen, die die Idee vom Haus als sicheren, geschützten Ort ad absurdum führen.

Mahnmal für das Außenlager Ottobrunn des KZ Dachau
Vielleicht das wichtigste Werk von Sandt ist das Mahnmal für das Außenlager Ottobrunn des KZ Dachau.
Sandt begann die Arbeit an dem Mahnmal 1987. 2001 wurde es schließlich nach langen politischen Auseinandersetzungen in Ottobrunn aufgestellt.

Öffentliche Aufträge und Skulpturen im öffentlichen Raum
 Auftrag für die Gestaltung des 1. "Bayerischen Janus Preises" für die Staatlichen Archive Bayerns
 Gemeinde Haar, Gronsdorfer Straße, "Srebrenica"
 Gemeinde Ottobrunn, Skulpturengarten am Rathaus, "Fragile Stele IV"
 Gemeinde Ottobrunn,  Rosenheimer Landstraße, Mahnmal Außenlager KZ Dachau
 Gemeinde Ottobrunn, Skulpturengarten am Rathaus, "Fern in mir"

Weblinks
 https://www.atelier-wolfgangsandt.de/de/

Bildhauer (Deutschland)
Autor
Deutscher
Geboren 1960
Mann

redpajama_set_name: RedPajamaWikipedia