I had traveled to Kyoto last Wednesday in order to accomplish two things.
My first reason was to review the new exhibition by potter Kondo Takahiro (1958 - ). Takahiro is the grandson of Kondo Yuzo, the legendary sometsuke (cobalt blue underglazed porcelain) potter and Living National Treasure. Takahiro has made a name for himself with a unique indigo blue glaze over porcelain, as well as by developing an original silver glaze that looks like raindrops over a porcelain body. Now back from studying abroad in Scotland, Kondo is currently experimenting in a unique combination between porcelain and glass.
He first exhibited this new style at the Yufuku Gallery in Tokyo last year. Yet at this first debut, Kondo had yet to fully realize his new aesthetic, and his works suffered from a lack of vitality. In other words, they were just a mix between glass and porcelain, without a striking reason for the peculiar amalgamation. They were, in a sense, just experimental. To put it even more bluntly, you could not see why he was using clay in the first place, as glass overtook clay as the prime material in many of the works. He could have called himself a glass artist, rather than a potter, and none would have disagreed. But granted, it was a bold step, nonetheless.
At this new exhibition, Kondo seems to have found his stride. Successfully, he has reached a harmonious balance between the two materials. And what's more, the glass was used to merely accentuate clay, rather than trying to overcome clay. I was thrilled to find some spectacular works, with a great rhythm between glass, porcelain, and silver glazing. More on Kondo in my next article.
My second reason was to meet a young Kyoto potter by the name of Nishida Jun (1977 - ). First, I ask that all of you write down his name immediately, and keep it safe so that you won't forget. Upon meeting him at Kyoto Seika University (his alma mater and his current workplace), my convictions were affirmed. Nishida is the future of Japanese ceramics. He has taken pottery and turned it upside down, much like how Koie Ryoji did in the 70's. Koie, among other things, questioned the concept of firing. Nishida, on the other hand, has taken the concept of glazing and added a twist: just when does clay stop, and glaze begin?
A few words of intrigue.
This week, I will introduce the last installment of my Japanese interview with Sugiura Yasuyoshi (1949 - ), an extremely influential conceptual potter who had been at the forefront of the conceptual scene since the 80's. In this week's segment, Sugiura-san talks more about his own works, his feelings toward clay, and his thoughts on being a potter (unlike the last segment, which dealt more with the current pottery scene itself). Whether you agree with him or not, one cannot question his sincerity towards clay, a trademark that cannot be applied to other conceptual potters (such as Nakamura Kimpei or Kiyomizu Rokubei 8th).
Nishida Jun. Kondo Takahiro. Sugiura Yasuyoshi.
Japanese pottery continues to thrive and move forward, while cherishing past traditions.
It's an exciting time indeed.
W: How did you first meet clay?
S: Well, it's not like I was particularly creative when I was small; I didn't like to draw, and I wasn't the studious type. When I reached the senior year of high school, I was confused as to what to do. I didn't want to work, so I figured that going to college would allow me 4 more years of fun. I then looked through a college magazine, and there it was: Geidai. I thought art school would be fun, so I applied (Wahei's note: I don't want to beat anyone over the head with this, but Tokyo Geidai is very likely the most difficult university to get into in Japan). I wasn't accepted on my first try, but I was accepted on my second attempt. Coincidentally, during exam preparations, I happened to walk into a Bizen exhibition in Tokyo. Yakimono might be nice, I thought.
Even before matriculating, I asked my professors at Geidai to send me to kiln sites so that I could learn pottery firsthand. For a month before school, I studied in Kasama, as well as in Fukuoka under Kozuru Gen (acclaimed Kyushu potter who now lives in the US). At Kozuru-san's kiln, all I did was cut wood, fire kilns, and then cut more wood. I thought that was what yakimono was all about.
But when I actually began studying at Geidai, I was surprised to find that hey, there's such a thing as a gas and electric kiln, and various kinds of clay. Everything was so simple. There were a lot of elite kids at the school, and together, we tickled our egos as we potted. But as we potted, I started to wonder if this was all that pottery was supposed to mean. What is a kid like me, who could hardly study, doing here with all these talented kids, I thought. Everyone is so perfectly content with making functional vessels on a potter's wheel. But on an electrically-powered wheel, you can basically make something by closing your eyes and keeping your hand still. To put it crudely, you could lose yourself within a potter's wheel. That scared me.
Right when I was having these doubts, a professor of mine came up to me and said, "Sugiura, ceramics is essentially stone." He proceeded to break a piece of stoneware in half, and behold, the inside of the yakimono did indeed look like a rock torn in two. Curious, I make a clay stone and fired it. I was happy to find that I too could make a stone. That sensation was so vivid, so fresh, and it gave me a sense of happiness I couldn't get through making a vessel. Vessels have a purpose. Small rocks don't. Such a notion was oddly satisfying. At the time, Yagi Kazuo's objet d'art works were all the rage. I tried copying his works, but my copies were far too immature and crude, since my emotions were just pouring from the clay. Hmm, objet d'art isn't me either, I thought. I tried making more small ceramic stones, and I started painting them, glazing them, making symbols on them, etc. But after I fired them, I looked at the end products and thought, "how boring." They were fun whilst making them, but as works of ceramics, they reeked of human ego. But if the stones were silent, I felt something special could be found inside of them.
Do you remember in high school, when the principal gets up to make a speech in front of the whole school in a large auditorium or gym? All the kids are lined up in neat little rows, while the principal thinks he's big and authoritative from the safety of his elevated podium. All of us look up and focus on the principal, all eyes are glued on him, as he's the only guy talking straight at us. But to the principal's point of view, we might as well be potatoes, or a bunch of small pebbles on a river shore.
But even those tiny pebbles, if you bother to pick one up, can turn into a recognized, identifiable thing, as something both individual and unique. I wanted the same ideas in my ceramic stones. I wanted to make a bunch of these clay rocks, while instilling each rock with life energy. If all these rocks are gathered in a single place, the accretion of all that energy within each single rock would turn into something completely different, something powerful, something greater than the strength of a single ceramic stone. I went ahead and made 100 stones, fired them, and went straight to exhibition with the works, and I won a prize. In the local paper was written, "Young potter Sugiura Yasuyoshi makes a splash, an interesting new kid on the block, let's look forward to his next work." Of course I'm really happy with winning. Then, I thought that if I could get a prize with a hundred stones, I thought I could get the Grand Prix with 10,000 stones. I got straight to work, and quite predictably, that work didn't even make the exhibition list (chuckling to himself).
W: Well, I guess quantity wasn't the point, huh.
S: I got over it right away. I thought to myself, then and there, that I shouldn't be swayed by awards that critics dish out. But I did realize at that point in time that the small size of my works could be a conceptual limitation. That's why my works gradually grew in size, and stones turned to boulders. A boulder is essentially a mountainous landscape. When mountains crumble, boulders are formed. In each boulder lies the innate power of mountains. I thought that if I could trap the energy of mountainous boulders into each ceramic stone, then make a group of those stones and put them together, I could capture and build a single and unique, energetic, intangible force. You see, like the human race, no two stones look alike. But here came the critics, praising my works because, "Sugiura has put identical objects in meaningful groupings." It's not so simple.
Japan, historically, had always a culture of copying. Even in the art of flower arrangement or in the Way of Tea, one copies the traits of the outside natural world and transposes such traits into one's own movements, so that the "truth" behind a thing in nature is captured within one's self. It's exactly the same with primitive magic. Since the human being was, essentially, a very weak creature, men tried to copy nature's characteristics, in order to wield and capture the power of the spirits of nature. Likewise, I've always tried to take the energy found within nature and build it up within myself. And with that energy, I tried to inject it within each stone, boulder, and flower I made, without trying to disrupt that energy with gaudy decorations or coy games. When all that energy is gathered and put together in groups, I thought a new, powerful landscape could be formed. I try to capture the spaces within nature, and this always requires a free, unfettered spirit.
W: I know you revere clay, perhaps even more than your contemporaries. But through that reverence, don't you think you are already fettering yourself from free-forming creativity? In other words, is not the material your greatest restriction in itself?
S: I use clay because I like it. I know other people might use certain materials out of sheer convenience. But not me. The only reason I make things is because I want to use clay, and clay alone. Restrictions and limitations will never disappear. Besides, "making something" is a restriction in itself. Some can say that in ceramics, the fact that you have to "fire" a work, or the fact that you "glaze" a work, are further restrictions. But not me. To me, those processes are what make working in clay so enjoyable. The joy is received through using a singular material, and finding how to make it taste good, just like cooking. Of course, this has become a discussion on material theory. Perhaps Kaneko-san might say something very different than what I just said.
W: Err, actually, I had wanted to tell you earlier, but your interview is going to appear back to back with an interview with Kaneko-san. You're being paired up, Sugiura-san.
S: Well, isn't that interesting! (laugher ensues) Actually, at my last Nihonbashi Mitsukoshi exhibition, Kaneko-san came to see my works with Karasawa Masahiro (also of MOMA Tokyo). But I was drinking tea and chatting with a customer at the time, so I hadn't the opportunity to talk to him directly. Really, there are many, many things I would like to ask and talk to him about.
Sugiura's ceramic Angel's Trumpet (top) is deceptively realistic; his himawari (above) has platinum-painted seeds that look good enough to eat.
W: Does it ever make you happy to think that your work, like much of the art in the world, will remain, long after you've physically passed from this world?
S: Maybe it's because I make works that I can say this, but a work is like one's own child: from the moment of its conception, it takes on a life of its own. So at least in my mind, an artist does not dwell upon the works he's made. To put it rather crudely, my work is like bodily excrement. And besides, if one can't possibly know what it is like after death, how can I possibly know or care for how my work will be interpreted after I die? For me, there's no point in dwelling on something I'll never understand. I just know that I want to create things, right here, right now. And when it is conceived, such is the end. Then, I start anew. It's within this perpetual cycle that I find myself ending my life with.
W: Wow (I was left chewing on his words for a few moments in time, as I looked blankly into a sun-filled corner within Sugiura-san's home).
S: Collectors come up to me and say, "Well, isn't it nice to be an artist. Your works will remain long after you die." But I see it differently. Once he stops playing, a musician's music ends at that very moment. The sound begins to fade, once he puts down his strings. In the hearts of the audience, that beautiful, eternal sound might always remain. It might even remain through recordings. But to that musician, after a song is played, that beautiful, aesthetic experience of being touched by one's own music stops the moment he stops playing. And he will never experience that same feeling he received at that very moment, ever again. It won't be the same. Because the musician can't experience the same feeling, he picks up his strings and plays again. He tries to make something new, to experience a new and different feeling. The body wants, so he plays again.
W: That's beautiful. What a thought.
S: When I look at some of my own works, I sometimes think, "Well, that's nice." But it isn't a feeling of being overwhelmed by beauty. It is the feeling of being overwhelmed by nostalgia. I remember when Kamoda Shoji jumped into the forefront of the art scene when I was a student. He was able to achieve a new expressive quality in clay, an expression that had never been seen before. When I first saw his works, I was just overwhelmed with emotion. It's been 30 years since that day, and I see Kamoda-san's works from time to time. But they have all faded in my mind.
W: For me, I'm always overwhelmed whenever I see his work ((Wahei's note: Kamoda is one of my all-time favorite potters, hands down. He is a potter I will promise to cover in the future.).
S: When Kamoda-san first appeared during my college days, I really thought, "amazing." He was my idol; just look at those textures he could bring out in clay, those original and unique designs. I'm talking about the works he made right before he became famous. Those were his best works. He was ripe, capturing all the energy around him. Just ready to explode with artistic creativity.
W: If I comprehend what you've just been telling me, it seems as if you're saying that you can never beat that first love, that first moment you interact with and meet a work of art. But on the other hand, it's long been said that works of great beauty stand the tests of time, and in other words, are universal and will not change.
S: When you go to a museum and see a great work of art, and then you see it two or three more times later, I just don't think you can surpass that fleeting and special moment when you first laid eyes upon it. This notion might be different for artists; it might be different for each viewer. But what I try to achieve in my own work is that very special, initial moment of meeting something or someone for the first time.
W: I remember talking to Uraguchi Masayuki (Sugiura's underclassman at the Geidai) about a similar thing. The difference between other art forms and pottery, he said, was that in pottery, the potter can only make half of the work. The other half, you leave it up to serendipity, fate, and that special, first meeting between one's self and one's work after one finally pulls it from the kiln.
S: I think what Uraguchi-kun was trying to say was this. Actually, a potter can very well predict how his kiln works inside. In a potter's mind, lies a visual image of the "best outcome" that could be achieved. For a painter, his art is completed once he puts down his brush. But for those who make pottery, we're not just letting the kiln gods determine our works. It's not simple chance. We know how to load the kiln, how to fire the kiln, and where to position each work. But the difference is that we can't see what happens within the kiln -- we can't physically be present to apply the finishing touches with our own hands. But when we open that kiln, we can finally meet our work for the first time, and can see if the work actually fit the image in our heads, if it was worse than that image, or if it was greater than our wildest expectations. It's that raw and pure emotion -- the happiness one receives when he meets his work for the first time from the depths of a kiln. That's what makes pottery so special. But when he actually experiences that special feeling, the feeling has already ended. It is but the past. So, he picks up clay once more and starts anew. And for a true potter, there is no set path that one must take. He will not dwell on making the same things as before. He will strive for new forms of expression. He may always try to reach the same mountaintop. But the true potter will forever pursue a different path than the road he'd already taken.


Pet Talk > Pet > Pet General > Getting a Betta!!
View Full Version : Getting a Betta!!
congrats and good luck! I hope you find the perfect beta! Mister Bo Jangles sounds lovley, I'm sure he's having fun at the RB. I like the second tank the best!
I really want to get two Aquatic Snails to clean the tank and keep the Betta company. Would Ghost Shrimp be okay? Has anyone had good/bad experience with Ghost Shrimp and Bettas? I also want live plants, probably Aponogetons and Java Ferns. . any other plants I should consider? Also, as far as food, are Freeze Dried Bloodworms and Black Worms a decent diet. . . or should I also feed (thawed) frozen foods or baby brine shrimp?
I don't know anything about breeding bettas, but you could try www.fishforums.net in the betta section, I know there are many breeders there.
Just don't breed veiltails, there are too many veiltails that need homes.
Hi !! Welcome to the Betta Bandwagon!
Second, I really enjoy my 2.5 gallon Little Lagoon. If you plan on having more than 2 or so Bettas though I would suggest you get a 1 gallon Aquaview. They are $10 at Wal-Mart and are SUPER easy to clean and perfect for a Betta.
As for buying online, I've purchased a few fish from the web, and LOVE them. I would suggest you look on http://www.aquabid.com They have some really nice Betta's and most come with a sibling female. Be aware though, it can be expensive for shipping depending on where the Betta is coming from.
For snails, I had two, one in each tank... And they didn't really last too long. I think they died within 2 weeks.... and I didn't notice them cleaning too much. But if you want to get one, I would get something that doesn't reproduce alot, cause you'll be over run with snails in a short amount of time. I've never had Ghost Shrimp, maybe someone else here has experience with those.
I would suggest you feed Hikari Bio-Gold pellets with a variety of FROZEN foods and cooked/shelled peas. This is what all my Bettas get, and has been suggested to me... and they LOVE it.
I hope I answered all your questions, feel free to PM me if not.
Kara, I'm soo happy you replied ^_^. . I promise I won't breed Veiltails!! thanks a bunch for the feeding advice, I have heard Bio-Gold is good, do you consider it better than Bettamin? I'll also get plenty of frozen foods for them, and I've never heard about peas :) thankyou! I wasn't sure about the snails. . some people have said you must get them, some people have said they eat the plants and reproduce too much. :p maybe I'll just get a froggy? I love the Little Lagoon's, and the Mini Bow's! the colors are soo cute. I will definitely look at the Aquaviews, too!
I forgot to mention that I LOVE Java Fern, I have it in most my tanks and the Bettas adore it!
Yes, I think Bio-Gold is much better than Bettamin... Bio-Gold uses more natural ingredients.


Wallingford is a beautiful town in Connecticut that places small town charm and values at its forefront. Don't let that charm fool you however as Wallingford knows how to put on a show for Halloween. Whether you live in the area or are vacationing at a local Wallingford hotel, here's a list of some of the most popular spooky attractions to keep you and your family up all night.
Are you thinking of new ways to entertain your children this Halloween? Do you want something new other than a costume party and knocking on neighbors' houses for trick-or-treating? Head to Knoxville for their spooky events and have some memorable experiences that your children will remember forever—or at least until Christmas.


T-Mobile's Czech mobile operation has reported a 2.5% fall in earnings before interest, tax, depreciation and amortisation (EBITDA) to CZK12.2 billion (USD624.6 million) for full-year 2012, on revenues that dipped 2.0% to CZK26.3 billion. The carrier added 117,000 net new users for a total of 5.5 million by 31 December 2012, it said in a press release. Last year the cellco reported that average minutes of use (MOU) stood at 133 minutes, up 5.6% year-on-year, aided by its lower price plans and a series of high-profile advertising campaigns. The volume of data carried over its network also doubled y-o-y it said to almost 3,500 terabytes, reflecting an increased emphasis on data for its customers. Data as a proportion of overall revenues increased by two percentage points in 2012 to 27%, it said. Further, T-Mobile CR said that the number of mobile subscribers with a contract climbed 7% to 3.07 million last year, and average blended monthly ARPU was CZK362 per month – down 4.7% y-o-y. Monthly churn improved to 1.1% from 1.3%.


text:
► A Christmas store will be open from 10 a.m. to 2 p.m. Saturday at Grace United Methodist Church, 1402 Grape St. Crafts, candies, baked goods and more will be available.
► A free showing of "The Croods," rated PG, will begin at 11 a.m. Saturday at the South Branch of the Abilene Public Library, in the Mall of Abilene. A free showing of "The Incredibles 2," rated PG, will follow at 2 p.m.
► BUFFALO GAP — A star party will begin at 6 p.m. Saturday at Abilene State Park, 150 Park Road 32. Participants are encouraged to bring blankets, lawn chairs and binoculars.
► SWEETWATER — A dance featuring the Santa Fe Band will begin at 8 p.m. Saturday at VFW Post 2479, 216 Avenger Field Road. Admission is $10.
► POTOSI — An annual car show fundraiser will be open from 11 a.m. to 4 p.m. Sunday at the Potosi Volunteer Fire Department, 1622 Key Lane. Registration is $20, and will be open from 11 a.m. to 2 p.m.
© 2021 www.reporternews.com. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


. The design is balanced by the addition of elegant wooden armrests.
Included with the BIFROST are two matching backrest cushions for that final finishing touch.(Please note the Bifrost footstool which is shown in some pictures is an additional cost option).
The BIFROST sofa bed requires some home assembly which should take around 45 minutes.
You may find it easier if two people are available to assist with some stages of the assembly.


text:
This is a simple utility tool for viewing markdown files in terminal.
To use it you can use ``cabal install mdcat``

***

Feel free to contribute, this project is still under development and I am a begginer in Haskell, so any help would be useful.

redpajama_set_name: RedPajamaGithub


text:
Wisdom Wednesday Lectures 2020
Anthony Browder, Director
Apply to be a Field Trip Facilitator
Study Tour in Egypt
Egypt on the Potomac
Purchase Public Tickets
Private Field Trip
Excavation in Egypt
ASA Restoration Project
Cultural Circles (Study Groups)
Cultural Imperative Program
John Henrik Clarke Stamp Project
Tony Browder Speaks
Kemetamorphosis 2018 Pics
Product Sales Information
Field Trip Tickets
Join Email List-serve
ASA Restoration Project – News
Excavation Blog
2019 ASA Restoration Project Annual Fundraiser
The ASA Restoration Project is commemorating its 11th Anniversary by conducting a 40-Day Fundraiser, which runs from August 22 thru October 1, 2019. Our goal this year is to raise $25,000 from those interesting in supporting our historic endeavors.
The goal of last year's fundraiser was $10,000 and we raised over $18,000 thanks to the generosity of our supporters. The extra funds we raised last year allowed us to purchase $12,000 in new tools this season, which resulted in our conservators completing the reconstruction of Karakhamun's 1st pillared hall ahead of schedule. In addition, we were also able to fund a new exhibition in the Luxor Museum, which opens September 8, 2019.
My team and I have recently returned to Egypt to prepare for the Luxor Museum installation and to close out our most successful season ever. I will provide updates of our progress on social media and will submit a full report of our phenomenal progress this year at IKG's next Wisdom Wednesday program on September 18 at 7:00 PM.
In the meantime, you can help us reach our goal of $25,000 by making a tax-deductible contribution on our website, my Facebook page or by mailing a check or money order (payable to IKG CC) to IKG at 1816 12th Street, NW, Washington, DC, 20009.
Every contribution helps us make history while also preserving history for future generations.
Thank you in advance for your generous support,
Anthony T. Browder
Director, ASA Restoration Project
Our 2019 Excavation Season
We are celebrating the 10th Anniversary of the ASA Restoration Project and we ended last season on a high note having discovered a complete set of canopic jars in the tomb of Karabasken. We installed these artifacts in the Luxor Museum on August 19, 2018, and they are the first of additional installations that will be installed in the coming years.
Our 2019 excavation season began on April 24 and we anticipate that this will be our most memorable season to date. We made an import discovery last season which is being verified and documented by experts who will then submit an official report to the Antiquities Department. Once these documents are reviewed and an official announcement is made by the Antiquities Department, we will be able to share these and other exciting new discoveries with the public. I trust that we will be able to make an official announcement by late July and we will post details on this website and our Facebook page.
We are appreciative of everyone who has made financial investments in the ASA Restoration Project over the past decade, particularly last year. Thanks to your support we have purchased new tools for our conservators which will expedite the restoration of Karakhamun's tomb and we are on track to open the restored temple tombs of Karabasken and Karakhamun by 2023. There are numerous activities planned for the Grand Opening of the temple Tombs of South Asasif. They include:
1. A special tour of Egypt that will focus on the accomplishments of the 25th dynasty Kushite kings in Kemet.
2. Grand opening activities for the 25th temple tombs of Karakhamun and Karabasken.
3. The opening of a Visitor Center that will highlight our excavations in South Asasif, the history of Kushites in Kemet, and the ASA Restoration Project.
4. A special concert in Luxor, Egypt commemorating the Grand Opening of the Temple Tombs of South Asasif.
We will provide more details as plans are finalized and urge you to plan on joining us in Egypt in 2023 for these history making activities.
Hotep,
Tony Browder
August, 2016 – Burial Chamber Discovery
This year, the team of Pischikova and Browder excavated the burial chamber of Karabasken, the mayor of the ancient city of Luxor, which was the political and religious capital of Egypt during the eighth century BC. Browder and Pischikova discovered a large red granite sarcophagus in Karabasken's burial chamber in June. After a month of excavating the significance of their discovery became apparent. The newly discovered sarcophagus is twelve feet long, eight feet high, five feet wide and weighs an estimated 20,000 lbs. (10 tons). The red granite sarcophagus is indicative of Karabasken status among the Kushite royalty of Egypt's 25th Dynasty. Read more
Summer, 2016 – 2016 Update & Wishlist
Thank you for supporting the ASA Restoration Project and helping make us the first African American funded excavation in Egyptian history. We've done great work and have more plans for the new season. 2016 marks the 10th anniversary of the South Asasif Conservation Project with its goal to excavate and restore the tombs discovered by Dr. Elena Pischikova. 2016 is also the 8th anniversary of the ASA Restoration Project, which has been the primary funder of the South Asasif Conservation Project. Last year the ASA Restoration Project was able to secure $10,000 in additional funding for a stone cutting machine, two high powered drills (and drill bits) and miscellaneous supplies which have allowed us to do more reconstruction in the second pillared hall last season, that was done in the past 4 years combined.
Winter, 2012-13 – Report on "Thebes in the 1st Millenium BC" Conference, by Salima Ikram
"The South Asasif Conservation Project and the MSA joined forces to host a formidable conference in Luxor: 'Thebes in the First Millenium BC.' This four-day conference gathered together specialists in the period from all over the world…"
Spring, 2012 – Book of the Dead in Karakhamun's Tomb, by Kenneth Griffin
In 2010 a grant from the EES Centenary Fund was awarded to Kenneth Griffin to study the Book of the Dead in Second Pillared Hall of the Theban Tomb of Karakhamun.
November 9, 2010 – PRELIMINARY REPORT : South Asasif Conservation Project, by Dr. Elena Pischikova
On August 26th 2010 the South Asasif Conservation Project mission completed its fifth season in the South Asasif necropolis, West Bank, Luxor re-discovered by the mission in 2006.
September 15, 2010 – Tomb of Karakhamun found by Egyptian-American team!
An Egyptian-American expedition has found the burial chamber of a priest named Karakhamun (TT223)
September 15, 2010 – Archaeologists Find Ancient Egyptian Burial Chamber — Again
Egypt's antiquities chief says archaeologists have unearthed a 2,800-year-old burial chamber that boasts brightly painted astrological scenes at a site believed to house the tombs of ancient Egyptian nobles. http://www.foxnews.com/scitech/2010/09/15/archaeologists-year-old-egyptian-burial-chamber/
September 15, 2010 – Ancient Egyptian tomb of Karakhamun at Assasif: a major tomb for a minor priest?
Archaeologists have rediscovered the 'lost' tomb an ancient Egyptian priest at the Theban Necropolis in Egypt.http://heritage-key.com/category/tags/elena-pischikova
Cultural Circles
Field Trip Options
Public Field Trips
We offer public field trips the first Saturday of most months between April and November each year (which may vary depending on holidays). This is the best option for individuals and small groups of people who can attend on scheduled dates. View Schedule & Purchase Tickets
Private Field Trips
If your schedule does not allow you to take a public field trip, you could consider booking a private field trip for a medium-large sized group.
We offer study tours for all private groups such as school classes (ages 12 & up), after-school programs, churches, student organizations, trade guilds, professional organizations, fraternities/sororities, family reunions, etc. Read more<
About IKG
Tony Browder, Director & Founder
Tony Browder Video Interviews
Rock Newman Show: Egypt on the Potomac (part 1)
The Three Tombs
Email List-serve
If you experience any issues in using this website, please contact jp@djihouticommunications.com
© 2014 Copyright IKG Cultural Resource Center
© 2014 Copyright Djihouti Communications


Don't forget today is So Cal Corgi Dog's Day at the Beach! Head on down to Long Beach, CA to cool off and have fun with hundreds of the cutest little Corgi's you can imagine! 10 am to 3pm TODAY, July 1st at Rosie's dog beach - all the way to Alimitos Beach. Parking at 700 E. Shoreline Drive.


The massacre at two New Zealand mosques last week was a first, said Kevin Roose at The New York Times: "an internet-native mass shooting." The accused gunman, Brenton Tarrant, broadcast the killings live on Facebook, with video designed to pander to the internet's white supremacist subcultures. It was shared on all the major internet platforms, and in the hours following the shooting, not only Facebook but also YouTube, Twitter, and Reddit scrambled to take it down. The shooter's actions beforehand suggest an acute awareness of his audience — he even paused in his broadcast to say "Subscribe to PewDiePie," a reference to a popular right-wing YouTube influencer. The heinous acts were carried out with the knowledge that the platforms "create and reinforce extremist beliefs." They have algorithms that "steer users toward edgier content" and weak policies to contain hate speech, and they've barely addressed how to remove graphic videos. Extremists are exploiting this with increasing skill, said Joan Donovan at The Atlantic. The New Zealand attacker "knew that others would be recording and archiving" his video so that it could be re-uploaded in the wake of removals. In the first 24 hours after the attack, "Facebook alone removed 1.5 million postings of the video" and was still working around the clock days later.
Facebook did exactly what it's designed to do, said Peter Kafka at Recode. That is, "allow humans to share whatever they want, whenever they want, to as many people as they want." Of course, Facebook Live was never intended for white supremacists. But the company produced the tools for ease of uploading, and the platform is "fundamentally built" to spread content with little friction. Facebook's recent announcement about a shift to private communication "wouldn't prevent that stuff from going up," and encryption might make it even harder for Facebook to police. Facebook, Twitter, and Google (which owns YouTube) have invested heavily in artificial intelligence "designed to detect violence," said Jon Emont at The Wall Street Journal. Unfortunately, it's nearly impossible for AI to determine "which videos cross the line." It has difficulty recognizing a person holding a gun, for instance, because there are many different types of guns and stances for holding them. "Computers also struggle to distinguish real violence from fictional films."
Actually, there is technology that can flag "obvious indicators" of extremism and prevent hate speech from spreading, said Ben Goodale at The New Zealand Herald. After all, if I searched online for a suitcase, there would be smart ad software targeting me instantly. These platforms compose digital profiles indicating what "I'm interested in — my age range, gender, hobbies, reading preferences, sporting affiliations, you name it." All trackable, all within seconds. So why can't the platforms pick up "the obvious indicators" of fanaticism? Simply saying "we can't help it" or "that's not our job" is no longer acceptable, said Margaret Sullivan at The Washington Post. Facebook puts "tremendous resources and ingenuity" into maximizing clicks and advertising revenue. They rely on low-paid moderators and faulty algorithms to control content. But just as major news companies have dealt with such questions for centuries, "editorial judgment" from the platforms is not merely possible. "It's necessary."


Paul von Stoetzel has directed over 30 short films/music videos and as many plays in the Twin Cities area including his feature documentary, SNUFF: a documentary about killing on camera which has won numerous awards while also receiving major North American distribution as did his second documentary Scrap. His company, Killing Joke Films, is now preparing the literary adaptation of acclaimed writer Ed Kurtz's horror novel BLEED into a episodic series for 2017.
Carnage The Executioner is a Minneapolis based Hip Hop Artist, Beat Boxer, Emcee and Producer who has displayed tremendous work ethic over the past 10 years boasting an undeniable resume with quality releases, frequent performances in Europe along with US tours and always delivering an engaging live show has enabled Carnage to steal the hearts of fans around the world. As an experienced Human Beat Boxer of over 30 years Carnage instructs others on how to use their bodies as an instrument. Whether he's rapping, producing, performing, teaching kids to beatbox or working his former job as a youth counselor, it's clear the man most commonly known as Carnage The Executioner was born to do two things: instruct and entertain.
Symone Smash It, the symulated space siren, is a vocalist, producer, and performer with 15+ years of experience in music and stage presence. Along with her producer, Eye Dyed, she's created the electronic space pop album "Symulation;" set to be released July of 2017. In 2016, she began producing solely with Ableton Live to solidify her personalized sound reminiscent of the dark electronic sounds from "Purity Ring," the dance-pop style of Lady Gaga, and the video-game feel of Porter Robinson all brought together with her Sia-like power vocals. Her music has brought her to many stages, from MOA, First Ave and 7th Entry but she plans to take on as many as possible, claiming "the universe" as her stage.


Heat, enhances blood supply while reducing tumors and enlargements.
Tumor cells cannot survive hyperthermia.
Pulsed light (red, infra-red). Has Biophotonic benefits.
inflammations and restore hormonal balance.
the neuro-muscular connections and promotes lymphatic drainage.
Sacred Geometry, Quartz Crystal and Scalar Waves are included.
There is a cumulative effect from daily use by raising the organ temperature significantly above the normal body temp of 37 degrees called Hyperthermia. The user should turn up the heat to the highest tolerable, to about 60-70 degrees Celsius to get benefit and relief of symptoms. It should be used about 4 hours per day, while sitting or driving. There are no known adverse effects of these energies.


Our stunning pure silk old gold cushion is bound to impress even the fussiest of guests providing warm and happy tones with its glimmering hues. An indulgent piece this cushion offers a multi tonal shimmer as it catches the light which works well against almost any colour. Measuring 43cm x 43cm this beautiful cushion includes a plump duck feather inner pad to add to its opulence.


text:
Press Releases of Tuesday, 23 November 2021
Source: Health For Wealth
Professor Hinson co-hosts 8th Health for Wealth Walk (H4W) with Ignite Media Group Managing Director, Kayode Akintemi
Ignite Media Group Managing Director, Kayode Akintemi
The Co-Hosting Partnership
Professor Robert E. Hinson, recently ranked Africa's leading Marketing Scholar (http://www.adscientificindex.com/scientist.php?id=89518) has co-hosted the eight health for wealth walk with the Managing Director of the Ignite Media Group. The Health for Wealth Walk was held on Saturday 20th November 2021 and started and terminated at the University of Ghana Business School.
Research from parts of the global north suggests that income growth not only correlates to life expectancy increases, but also to a decrease in the risk of chronic illness and an increase in access to resources that promote longevity and health (https://www.mwcog.org/documents/2020/10/26/uneven-opportunities-how-conditions-for-wellness-vary-across-the-metropolitan-washington-region-health-health-data/).
In Ghana though, it would seem that while increased educational levels should lead to better professional opportunities and income growth, there still seems to be a rising incidence of non-communicable diseases amongst the educated in Ghana. It would seem that the educated should have the best capabilities to eat right and exercise appropriately, but rising NCD levels amongst the educated in Ghana would suggest otherwise.
In the light of this public health menace, Professor Hinson introduced the H4W wealth walks which have attracted participants from several local and international blue-chip companies.
Previous Health for Wealth Walks
The Health Walks started in earnest when Professor Hinson started as Head of Department in August 2018 and attracted students and alumni of the Department of Marketing and Entrepreneurship. Past walk participants have come from the BA and BSc Administration (Marketing Option) programs of the Department, MBA, MPhil Marketing, Weekend MBA, Executive MBA, PhD, MSc. International Business and MA Marketing Strategy streams, to name a few.
Previous walks have been held on the Saturdays of 25th May, 31st August 2019, 28th September and 26th October 2019; and then the major COVID-19 disruptor occurred. The 6th Health for Wealth Walk was held on Thursday 13th May 2021 and the 7th on Saturday 12th June 2021.
The H4W walks have represented great times of bonding and networking for students, staff, and alumni of the Department of Marketing and Entrepreneurship and the University of Ghana at large.
8th Health for Wealth Walk
The 8th H4W was held on Saturday 20th November 2021 and subsequent editions will be held not only in Ghana but other parts of Africa and the wider world. The 8th H4W attracted students from the MSc. International Business and MA Marketing Strategy programmes of the University of Ghana Business School with these Masters students working in companies like Nestle and the Multimedia Group.
The Special Guest of Honour was the Ignite Media Group Managing Director, Kayode Akintemi, who shared tips on bodybuilding and maintaining a healthy weight. He interacted with the students and shared some ideas on the conduct of business in other parts of Africa and the UK.
Along the walk, Professor Hinson introduced Kayode to some other colleague MDs in the financial services sector who was also on the University of Ghana campus to exercise.
The 9th Health for Wealth Walk will be held in December 2021.
This article has no comments yet, be the first to comment


We might live in less divisive times if world leaders learned a few lessons from multi-cultural families.
The intersection of New Year's weekend in Latvia with the Russian side of our family [by marriage] with news of cyber-hacking by Russia's government in the U.S. presidential election is one example. Cultural and political tensions between nations have always been complicated to resolve. In contrast, relationships in our dual culture family grow stronger with shared experiences, cooperation, and acceptance. People behave better than governments.
The holiday time in Riga made me think about new ways to initiate diplomacy between Russia and the United States. It might begin with, well…making Russian dumplings.
I have been to Latvia twice before with our daughter-in-law's family. [Shrooming in Latvia, Letting Go In Latvia] What I know about Russian generosity, from the first time and thereafter, is that it begins at the table and flows outward from the heart.
This was the evening for a small family gathering. After gifts were exchanged, we sat down at Aunt Olga and Uncle Ivar's large dining table.
There was food covering the entire surface. We generously helped ourselves to dishes of caviar or smoked fish and quail eggs on bread. There was a huge platter of olives, pickled tomatoes, stuffed peppers, salted cucumbers, garlic and mushrooms. There was perch salad, stuffed calamari, meat salad, and layered shrimp salad. There was sturgeon in fish jelly, herring-in-a-coat, and lamprey–a bottom feeding fish that I diplomatically declined.
That was the beginning. Later, a second round of eating featured mutton, potatoes, and more of the first courses. The finale was cousin Polina's homemade cheesecake.
We toasted throughout the meal [me, too!], which meant raising a shot glass of icy Beluga Vodka and downing it whenever someone spoke. After the first two toasts, I strategically sipped my drink. The other women refrained from vodka and drank juice or wine. I stayed with the cold Beluga [too special to ever use in a mixed drink], finding it perfect with the food.
At 11:00 PM, when it was midnight in Moscow, we toasted the Russian New Year. One hour later we toasted the arrival of 2017 in Latvia. Fireworks lit up the sky. Seven-month-old granddaughter was carried to an upstairs window to see the colorful light show.
The day for partying with family and friends! Guests and more guests arrived throughout the afternoon. It was an open house that overflowed with adults and children of all ages. There were platters and casseroles of food, shots of vodka [yes, indeed], glasses of cognac [with tonic and lemon], prosecco, champagne, beer and wine.
Russian music concerts played nonstop on the television. Women gossiped around the table or in the living room. Men stood at the kitchen island for manly talk and vodka. I learned that if Beluga is not available, Grey Goose or Finlandia are good choices for icy shots.
Yuri Gorbacev is the maternal grandfather of Anna, our daughter-in-law. Every year, on January first, he makes fresh dumplings from a family recipe that originated in the Ural Mountains.
Meat stuffing had been prepared the day before. It was a mixture of ground beef and pork, eggs, salt and pepper, onions and cabbage. When it was time to make the dough, two young girls joined Yuri. A new generation was eager to learn, as there is no written recipe.
Start with a glass bowl with water in it. Break three eggs into the water. Stir yolks with a fork until broken. Throw in two unmeasured amounts of salt [like mini handfuls]. Add more water. Pour in flour straight from the bag in several batches. Keep stirring with the same fork, even when dough gets thick and sticky and hard to turn. Arm muscles helpful.
Eventually, dump the lump of dough onto floured counter. Begin kneading.
The girls were fully engaged under Yuri's guidance. The rest of us watched. Our hands-on help time was approaching. Kneading completed, the dough was rolled out flat and thin, then cut into small rounds with the open end of a glass. Each round had to be packed full of the meat mixture, pinched tightly closed, bent into a circle and laid on a floured tray.
Readied dumplings were placed in boiling water. In a few minutes, they were pulled from the pot and immediately served. Latvian sour cream with or without black pepper was the dipping sauce. Vodka shot optional.
My son, Adam, and I stood next to each other as part of the dumpling-filling team. Others continued to roll dough, cut circles, fill or boil dumplings. Volunteers rotated by choosing a part to play: production, cleanup, serving, eating, or simply enjoying the party.
The volume of voices suddenly grew very loud. Russian–spoken, shouted and sung overwhelmed the room. The cacophony turned into background "white noise" for Adam and me. We spoke of feeling "invisible" in the middle of a hubbub we couldn't understand. It was surprisingly peaceful, even meditative. We murmured in our own language, rhythmically filling, pinching, and turning out dumplings.
Adam said it is like this every year. The dumpling ritual gives him a purpose. Then, when he can no longer discriminate words through the tangle of sounds, he slips into his own thoughts. It's a little quieter there, yet he remains physically present amid the chaos. He can be happy in both places at the same time.
I had my own thoughts, too. Here I was, on New Year's Day, in a houseful of partying Russians and Latvians who embraced me with ease. No tension. No discord. An international marriage, a dual culture grandchild and, of course, Yuri's dumplings bound us all together in friendship, joy, and love.


text:
December 4 — Eastern Steller Sea Lion De-listed (2013)
NOAA Fisheries, the U.S. government agency that oversees the conservation of marine species, de-listed the eastern Steller sea lion from the Endangered Species List, effective on December 4, 2013. The de-listing acknowledged the rapid increase in the abundance of the population as well as the desire to balance conservation of the sea lion and one of its primary prey species, the white sturgeon.
The Steller sea lion (Eumetopias jubatus) is one of the largest members of the marine mammal group known as pinnipeds (seals, sea lions and walrus). Males grow as large as 2500 pounds; females are about one-quarter that size. Males can live to age twenty, but females are known to live for thirty years or more. Males defend territories and mate with large numbers of females. They reside in colonies that may contain hundreds of individuals.
Steller sea lions live along the Pacific coast of the U.S. and Canada, from northern California up to and around the Alaskan coast. The species is divided into two subgroups, the western and eastern populations; the dividing line is in southern Alaska at Cape Suckling. The de-listing covers only the eastern population. The western population is still listed as endangered, its abundance having plummeted mysteriously since the 1970s.
But the eastern population has done spectacularly well. In 1979, the population stood at about 18,000 individuals; it was listed as an endangered population in 1990. Since then, it has been increasing at more than 4% per year, above the goal stated in the population recovery plan. As of 2015, the population numbered over 80,000 individuals.
An evaluation for de-listing had been requested by the fisheries and wildlife agencies of Washington and Oregon in 2010. Those states feared that the rapidly expanding sea lion population would have a negative impact on salmon populations, many of which are also endangered, and the white sturgeon. Sea lions have learned to congregate at the base of dams on major rivers, where fish concentrate during their upstream migrations. Populations at the base of Bonneville Dam on the Columbia River have become particularly abundant and problematic. The fish are easy prey for the sea lions, and white sturgeon populations in the Columbia River have declined in parallel to the increases in sea lions.
Removal of the eastern Steller sea lion from the Endangered Species List means that the species will no longer receive intensive monitoring and priority consideration when actions are proposed for managing rivers, dams and other wildlife populations. However, the U.S. Marine Mammal Protection Act continues to protect this species and all other marine mammals from harvest.
Columbia River Basin Bulletin. 2013. Steller Sea Lions Delisted; Gives States Option Of Seeking Lethal Removal Below Bonneville Dam. Fish & Wildlife News, October 25, 2013. Available at: http://www.cbbulletin.com/428830.aspx. Accessed December 4, 2017.
IUCN. 2017. Eumetopias jubatus. IUCN Red List. Available at: http://www.iucnredlist.org/details/full/8239/0. Accessed December 4, 2017.
NOAA Fisheries. 2013. NOAA removes the eastern Steller sea lion from the Endangered Species Act list. Available at: http://www.nmfs.noaa.gov/mediacenter/2013/10/23_10_essl_delist.html. Accessed December 4, 2017.
NOAA Fisheries. Steller Sea Lion (Eumetopias jubatus). Available at: http://www.nmfs.noaa.gov/pr/species/mammals/sealions/steller-sea-lion.html. Accessed December 4, 2017.
December 2 — International Whaling Commission Created (1946)
December 5 — World Soil Day


Nico Stojan & Holmar met in a cave of sorts on the dancefloor of Kater-Holzig in Berlin. An instant friendship formed and shortly after they began working on music together. A few years later, on a beautiful Tuesday morning at the 2016 Burn, they played the closing set of that year atop the Robot Heart bus. This set has since become the stuff of legend and where their collaboration received the name "Lovestruckk". Individually these fine gentlemen have been involved in dance music for a long time.Nico was born and raised in Berlin and originally became a touring hip-hop turntablist who found his love for house and techno on the dance floor of Bar25. There he eventually became a part of their family of DJ's and played the final set there when the club closed its doors. Fast forward to recent years, where Nico's debut album made it to the Top Ten of Billboard Magazine's Best Dance Music Albums for 2016 and now he can be found globetrotting and playing festivals and clubs all over the world. Holmar is from Reykjavik, Iceland and became enchanted by electronic music and choreography as a teenager and from that point on has been making it his life's passion. He moved to NYC in the late nineties and quickly became a part of the underground music scene, both as promoter and DJ. A few years later he co-founded "Thugfucker" and after releasing "Disco Gnome" on Life & Death, has since been touring the world. Djing was both Nico & Holmar's first love and individually they are known for playing many marathon sets into the late, late hours wherever they go. When they play together you can expect a musical journey intertwining the musical talents of these fine gentlemen, forming an amalgamation of sounds that will surely leave you Lovestruckk.
Berlin native, Nico Stojan, has been all across the planet taking people on musical journeys since the early nineties. He developed a deep love for Jazz & Hip Hop before the vibrant growth of the famous Berlin electronic nightlife. Once the Berlin scene took flight, Nico was expressing himself with euphoric sets as a resident at Bar25.It didn't stop there. Since then his sound has been welcomed by seas of desert dancers, festivals of warm hearts & clubs of ecstatic ravers.Nico's productions find perfect harmony between analog & digital sounds, irresistable grooves accompanied by entrancing melodies.As a co-founder of Ouïe records, together with Acid Pauli, Nico is planning to produce more showcases and present his vision of modern dance music around the globe.


text:
Volition (2020) | VOD
I was eager to watch this film, knowing that it made its rounds in the film festival circuit, and by all accounts was received very well. I won't decry the accolades it picked up, as it undoubtedly earned them. Volition is not a paradox of a film, but maybe it was trying to be.
Time-travel is a paradoxical narrative for any film because it turns up its nose in the face of plausibility. "They say when you die, your whole life flashes before your eyes. I wish it were that simple," says James, our hero played by Adrian Glynn McMorran. This is the first line of dialogue in Volition. A film that leans on the tropes of time travel, fate and destiny, and the flexibility of morals. In these few opening words, the film's hopeful promise is that we are in for a ride.
Well, not so fast.
The task of juggling a plot with interweaving scenes that parallel each other, which is the approach of many time-travel movies, is certainly not an easy feat. It has been done before in Back to the Future and Harry Potter and the Prisoner of Azkaban. Volition covers similar ground, crafting scenes that demand multiple viewings.
Tony Dean Smith steps into the ring for the first time as a solo feature director, and it shows. This film asks a lot of its director. I can confidently say that Smith has a budding grasp on how to bring us into important beats of the film; he then smartly returns us to the same spot in time. This opens our eyes to different sides of the same scene. However, he still makes small concessions that keep him in the weight class of amateurs and grad students.
Smith and his writing partner (and sibling) Ryan Smith most assuredly story-boarded for months before rolling film. I see a spark in the eyes of Smith; a growing light. He is a product of his influences, which isn't a bad thing. His tight close-ups of eyes and objects give urgency, reminding me of Fincher. The often reverse method in which we are presented new information echoes early-Nolan sensibilities. Although he is a talented storyteller, the low budget held his abilities back unfortunately. That's not a fault on him, as he is still paying his dues as a rising auteur. This film is decent, but now he needs to make a better one.
Without a doubt, Volition will be rivaled with the likes of Looper, The Butterfly Effect, 12 Monkeys, The Terminator, and the aforementioned Back to the Future. This is fair in the context of comparing time-travel movies. The themes of cause and effect, free will, and destiny are all (often mandatory) staples in this sci-fi niche. Here in Volition, these ideas are very much par for the course. James, or Jimmy -- depending on who is asking -- is on the journey to find structure and answers. He is tall, handsome, and behind on his rent. He is also a clairvoyant. We see him use his "gift" of precognition to take advantage of the small interactions he has with people he passes on the street. He steals someone's cigarettes; he places bets knowing the outcome of the televised boxing match. Does he even have a moral compass? For all his talent, he doesn't seem particularly keen on doing more than that. Perhaps it is because he has recurring visions of a horrible future. He is approached by an old acquaintance interested in using Jimmy's skills to provide safe passage or illegally seized diamonds. This favor promises to net millions of dollars of which a nice piece will go to Jimmy, who has a landlord running out of patience. But the diamonds don't matter here. What matters are the consequences. The first act is standard set-up and introductions, but it lacks strong conviction. I wish there was more tension. I just couldn't get too invested with Jimmy's plight because the first 30 minutes are very paint-by-numbers. Quite frankly, it bored me. It isn't until the third act when the kinetic energy shifts to excitement and wonder. But the resolution isn't wholly original or as mind-bending as it wants to be. However, to spoil this outcome would be close to impossible. To its own credit, the ending of Volition would not make much sense unless you knew the pieces in play that led to it.
We are introduced early to a side character, Angela (Magda Apanowicz). She's lovely but cautious. Besides knowing snippets of back story, she exists solely to tie a knot on a piece of Jimmy's development. I wish I knew more about her. There is a brief exchange where Angela is first walking through James' apartment. She observes photos containing his deceased foster mother and his overbearing "father figure" Elliot. "That's really sweet," she says. "It says something about you." James replies, "I don't know what you mean." This is the best exchange of dialogue in this film.
The character of Elliot, played by Bill Marchant, bears a striking resemblance to Nick Offerman, and provides the gaps in exposition that Jimmy forgets to deliver. The antagonists in this film are almost cartoon-ish, with their worn phrases and heavy profanity. Having watched this film twice, I couldn't tell you their names. Volition has a short runtime of 91 minutes. Practically every line spoken services the plot. For a film that asks its audience to reflect on morality and destiny, it could allow some time to breathe.
PROPERTY OF GIANT PICTURES
Written By John Odette.
Genre: Sci-Fi. Thriller.
"...This film shows Smith has the chops for ambitious storytelling, he just needs more practice..."
The effects are spread among practical and digital fairly evenly. There isn't much to challenge the viewer in terms of visuals. The process that Jimmy uses to travel through time is simple and to the point. Given the soft budget, that's a good thing. We aren't graced with screen-filling light vortexes to convey time travel because that would be unnecessary. There is enough good work here stemming from simplicity that fits the world we're put in.
The score and sound are serviceable. The shining moments are in the reflective scenes when Jimmy looks back at past events. Music in film shouldn't be a crutch but an expansion of the moment, and the music in Volition executes this very well.
Volition is about moments and choices and I mean that in the most all-encompassing way possible. Choices linger between the characters, filmmakers, and us. It is because of this construction that the title is apt and appropriate. This isn't a story set to be staged in reality, because how could it be? I wasn't won over by this movie, but I can see that I may be in the minority. The theme of sacrifice and moral steering will resonate well with most audiences I feel, although this story has been done better before. Tony Dean Smith crafts a nebulous atmosphere with a strong message. A quote spoken by the main baddie goes something like, "All skill and no will." I wouldn't say that is an ironic critique on the film itself, as Volition shows the promise that lies ahead. But is it worth watching? Once for sure, and definitely again after Smith puts out his next feature to appreciate his growth. His trajectory aims high. This film shows Smith has the chops for ambitious storytelling, he just needs more practice.


text:
Tag Archives: dedicated service
PPP condemns gov't for Abdul Kadir parliamentary motion
The opposition People's Progressive Party (PPP) has roasted government for passing a tribute motion in the National Assembly for former lawmaker, Abdul Kadir, who was convicted by the United States (US) for terrorism-related charges and later died in a US prison. "The use of the National Assembly, Guyana's highest decision-making body, to honor the People's National Congress (PNC) former Member ...
Guyana Parliament hails late US terrorism convict, Abdul Kadir, for "dedicated service" as lawmaker
The National Assembly on Friday hailed the contributions of former People's National Congress Reform (PNCR) lawmaker, Abdul Kadir, who died in a US prison where he had been serving life imprisonment for conspiracy to commit acts of terrorism. Junior Minister of Agriculture, Valerie Patterson-Yearwood, in paying tribute, credited Kadir with providing "dedicated service" to the Parliament from April 17, 2001 ...


I need to upgrade my rig. I want to purchase a m/board CPU combo.
What is the best brand of motherboard these days?
There are a few other big names but their names escape me!
When I want to get something good like a motherboard I'd Google "Best of..." and read up on them.
When I built my i5 system I wanted durability so I picked out the Gigabyte B75 mobo and the Seagate Constellation hard drive because they are business oriented.
In your case you decide what your interest is in such as gaming, streaming, etc and choose accordingly.
Thanks guys for your advice - much appreciated. I'm going to start shopping around pretty soon.
A little education is always a benefit.
MSI has a good record of being a decent budget board.
Nice recommendation list! The reason i love this forum, so much great suggestions to share!
Asus Crosshair MB's are very good as well as expensive. I haven't used an Asrock before but I recently read that their new boards are very good as well and have very stable overclocking ability for a much lower price then Asus. Regardless if its an Asus ROG republic Of Gamers It will work great and cost a nice penny..


Market pesticide application, your customers happy by offering discounted rates and attractive products, while at the same time free from pests and insects live as healthy and clean environment is an application that allows shopping experiences.
As an owner of shopping from store to shop and live nasty surprises customers to compromise on image should pay attention to hygiene issues. Seen a little bug in your shop and your customers can be annoying at the same time. Please also seen in the market, even one grain insects to be seen, though there by your customers will leave an impression as if there were thousands of insects.
Warehouses never get sunlight or humid environment are very few areas. These areas are places for insects foolproof. In particular, cockroaches and rodents appear to density in these areas.
Whatever your warehouse each; If you store the insects or rodents things that will certainly be damaged. Our team of repositories protected from rodents and insects can all be removed.
Low cost of operation by taking medication at regular intervals to obtain huge profits.
Bad surprises shoppers to your customers live and to compromise on image quality should pay attention to hygiene issues. Customers from each other attractive products and discount price that continues to enchant with your happiness, but also in them a healthy and hygienic environment can make a difference by offering the possibility of shopping. This issue should not have to worry about yourself.
Simply call us. Call our team solve your problem immediately and let you redirect. Shop our service with spraying insects, pests and rodents from your store I clean.
Eat in a clean and healthy environment for your customers and your enjoyment Are you doing everything you can to spend. However, insects, pests and rodents with your head in trouble? Call us with our service restaurant medication we solve your problem in a short time. Moreover, our prices are very affordable and are the same across everywhere in the word.
We are as close as a phone. Just call us and you can continue to provide quality services to your customers.
You can prepare delicious meals to customers, our professional team and valued customer you solve your problems for you to pesticides.
Our team of service by spraying all four corners of your local pests and rodents are neutralized.
If you wish during the spraying process your space without needing to leave the drugs can do to your business. In addition, our teams taking all precautions before spraying method with the correct medication as soon as they get the most effective results.
Hospitals, most in need of human beings is one of the service area. For this reason, hundreds of people a day is going to come to the hospital. Many of the people who come to the hospital because they are sick body resistance is low. These people are more likely to get sick. Pests and insects visit the place where they left their germs because they, these people who already have the disease or the disease progresses further does not show signs of improvement.
It is therefore our health hospital hygiene is important. Must necessarily be free of pests and insects. Hospital of drugs to hospitals to be treated by having a clean and healthy environment for hospitalized patients by providing them once again showed how much you care can be.


text:
Q: WPF string.format in List(Of String) not working I am trying to make a invoice flowdocument by using XAML.
I am using databinding to fill a ItemsControl this works like it should but my text is not aligned. By using:
String.Format("{0,-5}x   {1,-25}  €{2}", QT, "Desc", "Price")

To write it to a textfile works perfectly but whenever I put it in a List(Of String) it just does not work. What am I doing wrong here?
  Dim myCollection As New List(Of String)()

    Dim derpa As String
    derpa = String.Format("{0,-5}x   {1,-25}  €{2}", 4, "PYAH", "123")
    myCollection.Add(derpa)
    derpa = String.Format("{0,-5}x   {1,-25}  €{2}", 44, "PYAH2", "123")
    myCollection.Add(derpa)

    derpa = String.Format("{0,-5}x   {1,-25}  €{2}", 232, "PYAH2we", "33232")
    myCollection.Add(derpa)

    derpa = String.Format("{0,-5}x   {1,-25}  €{2}", 12, "asdasd", "213123")
    myCollection.Add(derpa)

    For Each item In myCollection
        derpaderpa.Text &= vbNewLine & item 'WPF Textblock

    Next

Is the current code I have.

A: The text doesn't line up because you are displaying it using a proportional font, not a fixed width font.   With a proportional font, not all characters are the same width - spaces in particular are smaller than letters (and letters vary in size).  The text editor appears aligned because it is using a fixed width font where all the characters are the same size.  If you were to open the text file in MS Word you will see it not line up.
You could change the font in our ItemsControl to a fixed width font (e.g. Lucidia Console).  What you probably want is a ListView with an embedded GridView which will display each item of information as a separate column - which lines up the data.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to make expression evaluate more than once in a directive? Currently, in my $scope for my controller, I have an attribute $scope.disabled = true.
In my HTML file, when I use ng-disabled = {{disabled}}, that element is initially disabled, however when I change $scope.disabled = false, {{disabled}} in ng-disabled isn't evaluated again. So how do I go about doing this?

A: Use it without {{}}(interpolation) would work.
ng-disabled="disabled"


Dear friends, we believe it is safe to say that our snow dance is working – quite impressively if we might add!
Anyone heading towards the mountains, equip yourself with some chains; the driving conditions are really bad. But hey, on a lighter note, this means we are skiing in Lebanon till early April! Wooohoooo.
The sun will be visiting shortly during the weekend according to the Mzaar weather report, so make sure to book our comfy, cozy and warm chalets on the slopes at the MzaarVille Chalets starting $215/night including taxes or might want to check the Intercontinental Hotel Mzaar starting $170/night including taxes and breakfast and there's always the updated list of hotels and chalets in Mzaar at skileb.com.
Finally, to all our teachers, thank you for your patience and wisdom: Happy Teacher's Day!
Tammy this a wonderful blog publish! It is so awesome when people appreciate all that you do.


Windows Hive apps Windows 10 Mobile Will Come With Integrated Gestures Settings.
Windows 10 Mobile Will Come With Integrated Gestures Settings.
Gestures Beta is one of the cool and interesting app for Windows phone 8 which brought 4 new stunning gesture to the phone. However this app doesn't work on Windows 10 mobile. But now it seems that the new Windows 10 mobile devices I.e. Lumia 950 and Lumia 950XL will come with new setting option called as "Touch & Gestures" in which the gestures app will be integrated, and will come with more new gestures control. And also the Extras+info app will be renamed as "Advance Info".
Does our readers use this gestures app?
What they think about what will be the next new gestures will come with Windows 10 mobile, let us know in comment section below.


1292. Are not Methodists very sincere people?
Many of them are. There are sincere people in every Church. Butthe Methodist Church cannot be the true Church of Christ. Tracedback historically, it merges into Anglicanism. In 1728 John Wesleywas ordained as an Anglican clergyman. He gathered together a groupof earnest Anglicans who met for study and prayer, and who livedaccording to such strict rules that they were called"Methodists." They had no intention of leaving the Churchof England. In 1738 John Wesley began his campaign as a revivalistpreacher, and the hostility of Anglican authorities who resentedhis unorthodox ways led to the establishment of the separate"Wesleyan" or "Methodist" Church. Methodiststeach salvation by faith in Christ and an experienced interiorconversion. Apart from that they do not stand for any distinctivepoint of teaching or Church discipline. Formal Creeds and set formsof worship have little appeal for them.


The submission of a manuscript supposes that the respective Authors accept the ethical principles.
Submitting a manuscript supposes that the essential part of that text is not published nor is it under consideration in any other journal or publication. The only exceptions to this rule are: theses; reports circulated solely within the institution in which they were developed; documentation provided only to attendants of conferences or other meetings - which do not question this principle.
Manuscripts should be submitted as Microsoft Word files and, although not strictly obligatory, it is strongly recommended to use this template document. The figures should be sent as separate graphic files, as previously specified.
Collaborations should be sent to the Editor to the following email address: ajcruz@ipt.pt. When sending large files, the text file and the figure files should be zipped and sent through an online file sharing service (many free services are available).
The journal does not charge submission, article processing or publication fees.


text:
Die Kommunistische Partei der Slowakei (Slowakisch: Komunistická strana Slovenska, KSS) ist eine 1992 entstandene Partei in der Slowakei. Sie vertritt einen marxistisch-leninistischen Standpunkt.

Geschichte
Sie entstand 1992 durch Zusammenschluss des Kommunistischen Bundes (slowak. Zväz komunistov Slovenska) und der 1991 gegründeten Kommunistischen Partei der Slowakei (slowak. Komunistická strana Slovenska – 91). Beide entstanden im März 1991 durch Abspaltung orthodoxer Mitglieder von der zuvor in Demokratische Linkspartei (slowak. Strana demokratickej ľavice) umbenannten Kommunistischen Partei der Slowakei (bis 1989 Teil der Kommunistischen Partei der Tschechoslowakei). Ideologisch sieht sich jedoch die jetzige KSS als Nachfolgeorganisation dieser Partei aus der Zeit vor der Samtenen Revolution.

Bei den slowakischen Parlamentswahlen 2002 errang die KSS 6,32 % der abgegebenen Stimmen und zog mit elf Abgeordneten erstmals in den Nationalrat ein, den sie allerdings nach den Wahlen vom 17. Juni 2006 wieder verlassen musste, da sie mit 3,88 % der Stimmen die Fünf-Prozent-Sperrklausel nicht mehr überwinden konnte. Jedoch unterstützte die Kommunistische Partei der Slowakei die Regierung von Robert Fico.

Die KSS unterstützte am 30. Dezember 2010 eine gemeinsame Resolution 38 kommunistischer Parteien Europas gegen den wachsenden Antikommunismus in Europa. Andrej Zaslove stuft sie als linkspopulistisch ein.

Die Hochburgen der KSS befinden sich vor allem in Banská Bystrica, Košice und Prešov – in jenen Regionen, in denen die Arbeitslosigkeit vergleichsweise hoch ist.

2006 wurde der damals 29-jährige ehemalige Parlamentsabgeordneten (2002–2006) Jozef Hrdlička zum neuen Parteivorsitzenden gewählt. Er kündigte eine Modernisierung seiner Partei an und forderte, die KSS solle versuchen, sich verstärkt in die Partei der Europäischen Linken integrieren. In der Europäischen Linken besitzt die KSS Beobachterstatus. Jedoch teilt die KSS nicht alle europapolitischen und geschichtspolitischen Standpunkte der EL.

Die KSS ist derzeit »von finanziellen Fehlentscheidungen geschwächt«.

Der Jugendverband der KSS, SMKČ, hat Kontakte zur deutschen MLPD sowie der DKP-nahen Zeitschrift RotFuchs.

Im Jahr 2015 half die KSS bei der Finanzierung einer Büste für Vasiľ Biľak, deren Anbringung an einem öffentlichen Platz in dessen Geburtsort Krajná Bystrá für eine Kontroverse sorgte.

Wahlergebnisse

Einzelnachweise

Weblinks
 Offizielle Website (slowakisch)

Partei (Slowakei)
Slowakei
Slowakei
Gegründet 1992

redpajama_set_name: RedPajamaWikipedia


SIR ALEX FERGUSON has told Wayne Rooney he is no longer an automatic choice for Manchester United.
Rooney and £24million summer signing Robin van Persie are set to start a game together for the first time today – against Tottenham at Old Trafford – but Ferguson has not made up his mind if they will remain his first-choice partnership.
Ferguson believes that the summer arrivals of Van Persie and Shinji Kagawa, plus the continuing development of Danny Welbeck and Javier Hernandez, have given him the best attacking options since United's treble-winning season. And it is clear that if Rooney allows his form and fitness to dip, then manager Ferguson will not hesitate to leave him out.
Ferguson said: "I don't know what my best partnership will be because I haven't seen Rooney together with Van Persie yet.
Rooney was dropped to the bench after United's opening-day defeat at Everton, with Ferguson unhappy with his fitness levels.
But after working hard during his month on the sidelines with a gashed thigh, Rooney made an impressive return this week against Newcastle.
His physical condition delighted his manager and Rooney is relishing the challenge to his place as United's No1 striker.


The family-owned Torres wine company from Spain was a pioneer 'incomer' to the modern Chilean wine scene, and have had a winery there for many years. This Gewurz is a very nice example of what the company does in the southern hemisphere, with its rose petal and exotic mango and lychee fruit and floral perfume, but there's a baked apple pie quality too that makes it very inviting. It hints at being off-dry, but there's so much orange and grapefruit acidity that wooshes across the tongue that it is absolutely fresh in the finish. For more thoughts, information, current stockists and food matches, see the full video review. 7.99 from a variety of independent wine merchants. See stockists at .


Panerai B&B is situated on the first floor of a 17th century building and is furnished in an elegant Florentine style. The result is a unique atmosphere in which tradition and modernity are in harmony.
There is an internet station with broadband connection for the use of guests.
All of our rooms are equipped with TV, air conditioning, a safe and a private bathroom with shower.
The continental breakfast is served in the room at the time requested by the guests.
The central position of the B&B allows you to discover the fabulous streets of the historic centre of Florence on foot.
This area of Florence is full of little craft shops, markets, restaurants and bars.
Panerai Bed and Breakfast is easily reached on foot from Santa Maria Novella railway station in about 10 minutes or by taxi, max 5 euro fare. Otherwise take bus no. 14 or 23 and get off at the first stop in Piazza Duomo.
From where we are situated you can visit all of the historic centre on foot.
From Santa Maria Novella railway station: 10 minutes on foot.
From the Amerigo Vespucci airport of Florence: 20 minutes by car.
From motorway A1, exit at Firenze sud if you are coming from the south and at Firenze nord if you are coming from the north. Then follow signs for the city centre and for Santa Maria Novella station. Once you arrive at the station, take via Alamanni, cross Piazza Stazione and keep on the road on the right until you get to Piazza Duomo. Turn right into via dei Servi, where you will find our B&B.
Soggiorno Panerai, works on the first floor of a four-storey building from the 16th century. Guestrooms with several antique pieces of furniture, like the beds that are really charming in dark colored wood. Also, there are several Florentine interiors that will amaze you instantaneously. All in all, it is a nice amiable lodging where tradition meets modern services. From Santa Maria Novella station, you will only have to walk around 10 minutes, while the airport is 20 minutes away by car. Continental breakfast it is served in the rooms as there is no special common space for this first meal. At the front desk you will dispose of a fax service and a safe deposit box, and there is also room to leave your own luggage. There is also a cosy reading room, and tourist information is always available.


text:
Two Of Neptune Moons Are Locked In A Dance of Avoidance
Press Release - Source: NASA
©NASA
Naiad and Thalassa
Even by the wild standards of the outer solar system, the strange orbits that carry Neptune's two innermost moons are unprecedented, according to newly published research.
Orbital dynamics experts are calling it a "dance of avoidance" performed by the tiny moons Naiad and Thalassa. The two are true partners, orbiting only about 1,150 miles (1,850 kilometers) apart. But they never get that close to each other; Naiad's orbit is tilted and perfectly timed. Every time it passes the slower-moving Thalassa, the two are about 2,200 miles (3,540 kilometers) apart.
In this perpetual choreography, Naiad swirls around the ice giant every seven hours, while Thalassa, on the outside track, takes seven and a half hours. An observer sitting on Thalassa would see Naiad in an orbit that varies wildly in a zigzag pattern, passing by twice from above and then twice from below. This up, up, down, down pattern repeats every time Naiad gains four laps on Thalassa.
Although the dance may appear odd, it keeps the orbits stable, researchers said.
"We refer to this repeating pattern as a resonance," said Marina Brozovic, an expert in solar system dynamics at NASA's Jet Propulsion Laboratory in Pasadena, California, and the lead author of the new paper, which is published in Icarus. "There are many different types of 'dances' that planets, moons and asteroids can follow, but this one has never been seen before."
Far from the pull of the Sun, the giant planets of the outer solar system are the dominant sources of gravity, and collectively, they boast dozens upon dozens of moons. Some of those moons formed alongside their planets and never went anywhere; others were captured later, then locked into orbits dictated by their planets. Some orbit in the opposite direction their planets rotate; others swap orbits with each other as if to avoid collision.
Neptune has 14 confirmed moons. Neso, the farthest-flung of them, orbits in a wildly elliptical loop that carries it nearly 46 million miles (74 million kilometers) away from the planet and takes 27 years to complete.
Naiad and Thalassa are small and shaped like Tic Tacs, spanning only about 60 miles (100 kilometers) in length. They are two of Neptune's seven inner moons, part of a closely packed system that is interwoven with faint rings.
So how did they end up together -- but apart? It's thought that the original satellite system was disrupted when Neptune captured its giant moon, Triton, and that these inner moons and rings formed from the leftover debris.
"We suspect that Naiad was kicked into its tilted orbit by an earlier interaction with one of Neptune's other inner moons," Brozovic said. "Only later, after its orbital tilt was established, could Naiad settle into this unusual resonance with Thalassa."
Brozovic and her colleagues discovered the unusual orbital pattern using analysis of observations by NASA's Hubble Space Telescope. The work also provides the first hint about the internal composition of Neptune's inner moons. Researchers used the observations to compute their mass and, thus, their densities -- which were close to that of water ice.
"We are always excited to find these co-dependencies between moons," said Mark Showalter, a planetary astronomer at the SETI Institute in Mountain View, California, and a co-author of the new paper. "Naiad and Thalassa have probably been locked together in this configuration for a very long time, because it makes their orbits more stable. They maintain the peace by never getting too close."
"Orbits and Resonances of the Regular Moons of Neptune," Marina Brozovic et al., 2019 Nov. 14, Icarus [https://doi.org/10.1016/j.icarus.2019.113462, preprint: https://arxiv.org/abs/1910.13612].
The Hubble Space Telescope is a project of international cooperation between NASA and ESA (European Space Agency). NASA's Goddard Space Flight Center in Greenbelt, Maryland, manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Maryland, conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy in Washington.
TAGS: Neptune
FILED UNDER: Neptune
SOURCE: NASA Press Release


text:
package ups

import (
	"github.com/corestoreio/csfw/config/element"
	"github.com/corestoreio/csfw/config/model"
)

// Backend will be initialized in the init() function together with ConfigStructure.
var Backend *PkgBackend

// PkgBackend just exported for the sake of documentation. See fields
// for more information. The PkgBackend handles the reading and writing
// of configuration values within this package.
type PkgBackend struct {
	model.PkgBackend
	// CarriersUpsAccessLicenseNumber => Access License Number.
	// Path: carriers/ups/access_license_number
	// BackendModel: Otnegam\Config\Model\Config\Backend\Encrypted
	CarriersUpsAccessLicenseNumber model.Str

	// CarriersUpsActive => Enabled for Checkout.
	// Path: carriers/ups/active
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsActive model.Bool

	// CarriersUpsActiveRma => Enabled for RMA.
	// Path: carriers/ups/active_rma
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsActiveRma model.Bool

	// CarriersUpsAllowedMethods => Allowed Methods.
	// Path: carriers/ups/allowed_methods
	// SourceModel: Otnegam\Ups\Model\Config\Source\Method
	CarriersUpsAllowedMethods model.StringCSV

	// CarriersUpsShipmentRequesttype => Packages Request Type.
	// Path: carriers/ups/shipment_requesttype
	// SourceModel: Otnegam\Shipping\Model\Config\Source\Online\Requesttype
	CarriersUpsShipmentRequesttype model.Str

	// CarriersUpsContainer => Container.
	// Path: carriers/ups/container
	// SourceModel: Otnegam\Ups\Model\Config\Source\Container
	CarriersUpsContainer model.Str

	// CarriersUpsFreeShippingEnable => Free Shipping Amount Threshold.
	// Path: carriers/ups/free_shipping_enable
	// SourceModel: Otnegam\Config\Model\Config\Source\Enabledisable
	CarriersUpsFreeShippingEnable model.Bool

	// CarriersUpsFreeShippingSubtotal => Free Shipping Amount Threshold.
	// Path: carriers/ups/free_shipping_subtotal
	CarriersUpsFreeShippingSubtotal model.Str

	// CarriersUpsDestType => Destination Type.
	// Path: carriers/ups/dest_type
	// SourceModel: Otnegam\Ups\Model\Config\Source\DestType
	CarriersUpsDestType model.Str

	// CarriersUpsFreeMethod => Free Method.
	// Path: carriers/ups/free_method
	// SourceModel: Otnegam\Ups\Model\Config\Source\Freemethod
	CarriersUpsFreeMethod model.Str

	// CarriersUpsGatewayUrl => Gateway URL.
	// Path: carriers/ups/gateway_url
	CarriersUpsGatewayUrl model.Str

	// CarriersUpsGatewayXmlUrl => Gateway XML URL.
	// Path: carriers/ups/gateway_xml_url
	CarriersUpsGatewayXmlUrl model.Str

	// CarriersUpsHandlingType => Calculate Handling Fee.
	// Path: carriers/ups/handling_type
	// SourceModel: Otnegam\Shipping\Model\Source\HandlingType
	CarriersUpsHandlingType model.Str

	// CarriersUpsHandlingAction => Handling Applied.
	// Path: carriers/ups/handling_action
	// SourceModel: Otnegam\Shipping\Model\Source\HandlingAction
	CarriersUpsHandlingAction model.Str

	// CarriersUpsHandlingFee => Handling Fee.
	// Path: carriers/ups/handling_fee
	CarriersUpsHandlingFee model.Str

	// CarriersUpsMaxPackageWeight => Maximum Package Weight (Please consult your shipping carrier for maximum supported shipping weight).
	// Path: carriers/ups/max_package_weight
	CarriersUpsMaxPackageWeight model.Str

	// CarriersUpsMinPackageWeight => Minimum Package Weight (Please consult your shipping carrier for minimum supported shipping weight).
	// Path: carriers/ups/min_package_weight
	CarriersUpsMinPackageWeight model.Str

	// CarriersUpsOriginShipment => Origin of the Shipment.
	// Path: carriers/ups/origin_shipment
	// SourceModel: Otnegam\Ups\Model\Config\Source\OriginShipment
	CarriersUpsOriginShipment model.Str

	// CarriersUpsPassword => Password.
	// Path: carriers/ups/password
	// BackendModel: Otnegam\Config\Model\Config\Backend\Encrypted
	CarriersUpsPassword model.Str

	// CarriersUpsPickup => Pickup Method.
	// Path: carriers/ups/pickup
	// SourceModel: Otnegam\Ups\Model\Config\Source\Pickup
	CarriersUpsPickup model.Str

	// CarriersUpsSortOrder => Sort Order.
	// Path: carriers/ups/sort_order
	CarriersUpsSortOrder model.Str

	// CarriersUpsTitle => Title.
	// Path: carriers/ups/title
	CarriersUpsTitle model.Str

	// CarriersUpsTrackingXmlUrl => Tracking XML URL.
	// Path: carriers/ups/tracking_xml_url
	CarriersUpsTrackingXmlUrl model.Str

	// CarriersUpsType => UPS Type.
	// Path: carriers/ups/type
	// SourceModel: Otnegam\Ups\Model\Config\Source\Type
	CarriersUpsType model.Str

	// CarriersUpsIsAccountLive => Live Account.
	// Path: carriers/ups/is_account_live
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsIsAccountLive model.Bool

	// CarriersUpsUnitOfMeasure => Weight Unit.
	// Path: carriers/ups/unit_of_measure
	// SourceModel: Otnegam\Ups\Model\Config\Source\Unitofmeasure
	CarriersUpsUnitOfMeasure model.Str

	// CarriersUpsUsername => User ID.
	// Path: carriers/ups/username
	// BackendModel: Otnegam\Config\Model\Config\Backend\Encrypted
	CarriersUpsUsername model.Str

	// CarriersUpsNegotiatedActive => Enable Negotiated Rates.
	// Path: carriers/ups/negotiated_active
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsNegotiatedActive model.Bool

	// CarriersUpsShipperNumber => Shipper Number.
	// Required for negotiated rates; 6-character UPS
	// Path: carriers/ups/shipper_number
	CarriersUpsShipperNumber model.Str

	// CarriersUpsSallowspecific => Ship to Applicable Countries.
	// Path: carriers/ups/sallowspecific
	// SourceModel: Otnegam\Shipping\Model\Config\Source\Allspecificcountries
	CarriersUpsSallowspecific model.Str

	// CarriersUpsSpecificcountry => Ship to Specific Countries.
	// Path: carriers/ups/specificcountry
	// SourceModel: Otnegam\Directory\Model\Config\Source\Country
	CarriersUpsSpecificcountry model.StringCSV

	// CarriersUpsShowmethod => Show Method if Not Applicable.
	// Path: carriers/ups/showmethod
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsShowmethod model.Bool

	// CarriersUpsSpecificerrmsg => Displayed Error Message.
	// Path: carriers/ups/specificerrmsg
	CarriersUpsSpecificerrmsg model.Str

	// CarriersUpsModeXml => Mode.
	// This enables or disables SSL verification of the Otnegam server by UPS.
	// Path: carriers/ups/mode_xml
	// SourceModel: Otnegam\Shipping\Model\Config\Source\Online\Mode
	CarriersUpsModeXml model.Str

	// CarriersUpsDebug => Debug.
	// Path: carriers/ups/debug
	// SourceModel: Otnegam\Config\Model\Config\Source\Yesno
	CarriersUpsDebug model.Bool
}

// NewBackend initializes the global Backend variable. See init()
func NewBackend(cfgStruct element.SectionSlice) *PkgBackend {
	return (&PkgBackend{}).init(cfgStruct)
}

func (pp *PkgBackend) init(cfgStruct element.SectionSlice) *PkgBackend {
	pp.Lock()
	defer pp.Unlock()
	pp.CarriersUpsAccessLicenseNumber = model.NewStr(`carriers/ups/access_license_number`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsActive = model.NewBool(`carriers/ups/active`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsActiveRma = model.NewBool(`carriers/ups/active_rma`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsAllowedMethods = model.NewStringCSV(`carriers/ups/allowed_methods`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsShipmentRequesttype = model.NewStr(`carriers/ups/shipment_requesttype`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsContainer = model.NewStr(`carriers/ups/container`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsFreeShippingEnable = model.NewBool(`carriers/ups/free_shipping_enable`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsFreeShippingSubtotal = model.NewStr(`carriers/ups/free_shipping_subtotal`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsDestType = model.NewStr(`carriers/ups/dest_type`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsFreeMethod = model.NewStr(`carriers/ups/free_method`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsGatewayUrl = model.NewStr(`carriers/ups/gateway_url`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsGatewayXmlUrl = model.NewStr(`carriers/ups/gateway_xml_url`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsHandlingType = model.NewStr(`carriers/ups/handling_type`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsHandlingAction = model.NewStr(`carriers/ups/handling_action`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsHandlingFee = model.NewStr(`carriers/ups/handling_fee`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsMaxPackageWeight = model.NewStr(`carriers/ups/max_package_weight`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsMinPackageWeight = model.NewStr(`carriers/ups/min_package_weight`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsOriginShipment = model.NewStr(`carriers/ups/origin_shipment`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsPassword = model.NewStr(`carriers/ups/password`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsPickup = model.NewStr(`carriers/ups/pickup`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsSortOrder = model.NewStr(`carriers/ups/sort_order`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsTitle = model.NewStr(`carriers/ups/title`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsTrackingXmlUrl = model.NewStr(`carriers/ups/tracking_xml_url`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsType = model.NewStr(`carriers/ups/type`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsIsAccountLive = model.NewBool(`carriers/ups/is_account_live`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsUnitOfMeasure = model.NewStr(`carriers/ups/unit_of_measure`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsUsername = model.NewStr(`carriers/ups/username`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsNegotiatedActive = model.NewBool(`carriers/ups/negotiated_active`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsShipperNumber = model.NewStr(`carriers/ups/shipper_number`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsSallowspecific = model.NewStr(`carriers/ups/sallowspecific`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsSpecificcountry = model.NewStringCSV(`carriers/ups/specificcountry`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsShowmethod = model.NewBool(`carriers/ups/showmethod`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsSpecificerrmsg = model.NewStr(`carriers/ups/specificerrmsg`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsModeXml = model.NewStr(`carriers/ups/mode_xml`, model.WithConfigStructure(cfgStruct))
	pp.CarriersUpsDebug = model.NewBool(`carriers/ups/debug`, model.WithConfigStructure(cfgStruct))

	return pp
}


text:
Human Rights Voices
While the UN devotes its human rights operations to the demonization of the democratic state of Israel above all others and condemns the United States more often than the vast majority of non-democracies around the world, the voices of real victims around the world must be heard.
U.N. Inaction on Iran
All Actions of the UN Human Rights System Critical of Specific States, 2020
Non-U.N. View of Human Rights in Iran
Iranian journalist Khosro Sadeghi Borojeni (File Photo)
Iran, September 16, 2020
Iranian Journalist Begins Seven-Year Prison Term On 'National Security' Charges
Click here to view this article (and original URL) in MS Word/PDF format
journalist Khosro Sadeghi Borojeni and urged the country's authorities to stop arbitrarily jailing members of the press.
Borojeni, a freelance columnist, was taken to Tehran's Evin prison on September 9 to begin a seven-year prison term on charges of "insulting the Islamic Republic's founder," "anti-government propaganda," and "meeting and conspiring against national and international security," the Paris-based Reporters Without Borders (RSF) said in a statement on September 15.
The Committee to Protect Journalists said Borojeni's incarceration "on vague 'national security' and 'insult' charges is just another example of Iranian authorities' contempt for the press."
Borojeni was sentenced to a total of eight years in prison by a revolutionary court in February, but this was reduced to seven years on appeal in June.
The journalist was arrested in the northwestern Iranian province of West Azerbaijan in mid-August and was held for about three weeks before being transferred to Evin prison.
He is required to serve at least five years of his sentence.
Borojeni is a member of the Tehran Association of Independent Journalists.
His personal website, last updated in June, featured commentary on current events in Iran, including economic and political topics, according to the CPJ.
The New York-based group said the journalist frequently wrote about sensitive issues, including poverty among Iranian workers and the government's handling of the coronavirus pandemic.
Browse pages in 2020
Browse pages by region
Other terrorists
Palestinian Authority/Gaza
Browse pages for Iran
© Copyright 2012-2021, Human Rights Voices and respective authors. All Rights Reserved.