The flowering pastoral beauty that has brought people far and wide to the Catskills for years! Rendered thoughtfully by Dee Singer in "Yellow Field".
Dee's beautiful pastels on display at Crooked Key Farm, venue #12.


You may be specifically looking for a Christian divorce lawyer in Madera County, California. For many, divorce is a very sensitive subject that needs to be handled by a lawyer with a similar outlook and perspective as them. It makes no sense to hire a lawyer who doesn't understand your aims and values in a divorce setting.
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How Can a Madera County Christian Divorce Lawyer Help?
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100% Malagasy is a campaign modelled on the similarly successful campaign of "Proudly South African" or "Made in Australia".
A private initiative launched in 2009, the 100% Malagasy stamp of approval aims to place businesses owned and managed by Madagascar nationals on the map.
the business is registered and pays taxes in Madagascar.
the business is entirely owned by Malagasy nationals.
the business' employees are all Malagasy nationals.


The Pulmonary Rehabilitation Program at SMC will help you improve your breathing and overall health. Your custom-designed program will include a multifaceted approach to combat the progression of your disease, relieve your medical symptoms and decrease your disability.
The goal of the program is to Improve Your Quality of Life. Through our unique treatment methods we will increase your exercise capacity, reduce your shortness of breath and help you to lead a more active life! The program benefits anyone with chronic lung disease and is performed at Shoshone Medical Center. Tell your doctor about our program today!
Call (208) 784-4600 for more information. Fax (208) 786-8400.


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Valve Steam Deck Giveaway Sign Up Page - 2022 Game Awards
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Valve Steam Deck Giveaway Sign Up Page
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Looking for the Valve Steam Deck giveaway, sign up for a page online. We've got you covered with the working website link right here.
If you're going to watch the Game Award Show on SteamTV, you'll have to sign up for the contest first.
One factor that might prevent you from participating in the contest is your geographic region: You can only enter the competition if you live in North America, Europe, Australia, or New Zealand, where the game is currently available.
Other countries include Austria, Belgium, Bulgaria, Canada, Croatia, Cyprus, Czechia, Germany, Denmark, Estonia, Finland, France, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Netherlands, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, and Sweden.
In addition, you'll need to make an online purchase by November 14, 2022, to establish that your account is not restricted and is in good standing; otherwise, you may not qualify to participate. Valve will randomly select names out of the pool of eligible contestants every minute during the event and will announce winners in chat as they occur.
The contest is scheduled to last about three hours, meaning there should be 100 Steam Keys to be awarded.
The 2022 Game Awards won't just be streamed online; they'll also feature an "IMAX Experience." And this year's awards will introduce a new category for best game adaptations.
The Valve Steam Deck Giveaway Signup Page Has 180 Chances For You To Win
One more reason to tune into The Game Awards this week: Valve plans to hand out Steam Decks for free every minute during its live stream from Wednesday night through Thursday morning.
You Need To Login To Steam On December 8
After you log in, click through Steam TV or Steam's 2022 The Game Awards site to enter the contest.
The game will be available in Japan, South Korea (Korea), Hong Kong, and Taiwan at the end of December but won't be ready for the giveaway until January.
To be eligible for the giveaway, you must have purchased something from Steam between midnight GMT on November 14, 2021, and 11:59 PM GMT on November 14, 2022.
The Steam Deck has been an excellent tool for years now, and I've recommended it to people without hesitation since then, even though there were some minor issues at first.
A final reminder, you must live in one of these countries: the United States, United Kingdom, Canada, the European Union (EU), or the specified countries below.
Austria, Belgium, Canada, Croatia, Czech Republic, Denmark, Estonia, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Liechtenstein, Lithuania, Luxembourg, Monaco, Netherlands, Norway, Poland, Portugal, San Marino, Scotland, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Turkey, Ukraine, and the UK all support entries on the Valve Steam Deck giveaway sign up page.
Click here for registered users to log in.
Click here for new users who need to complete their sign-up.
Super Mario Brothers Movie Trailer - Watch 1 & 2 Now!
Counter Strike - Global Offensive Live Player Count
Rocket League Live Player Count
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Animal Crossing Live Player Count
Counter Strike Live Player Count
Football Manager 2023 Live Player Count

redpajama_set_name: RedPajamaCommonCrawl


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I used excerpts from my mother's journal(s) in some of the poetry. The Super 8 footage is from Kashmir & Europe in the 1960s courtesy T. Nanavati. I remember watching the family black and white television the night of the Kennedy assassination with my mother. The haunting never left me. The Beatles had not yet arrived. The war in Vietnam, ironically enough, was just about to kick in high gear. My father spent the weekend deer hunting. Years later, reading Robert Bly's Iron John, this hit me like a sledgehammer. Although I view the event through a political prism I choose to deal with it in the context of mythic time.
This is the thing about making art, including something simple like writing in a blog. One has to bear the incomprehension of the audience, the stories they will see in it you never intended, the things they miss that trumpet for you.
I'm struck by a lot of things here. That the power of the veil is indomitable. That you are a poet of memory. That I'm moved by the thought of you years later recalling your father was hunting that weekend.
Thank you Nel for this response. I really want to comment on the idea of 'audience' and 'communication' and it takes a bit of background story to do so.
But first a couple of responses: 'The power of the veil is indomitable.' – Very thought provoking. I will consider this.
Yes, the loss I explored in this video poem covers three areas: My family (mother in particular), Society (America's violent loss of the presidency and subsequent 'developments'), and Nature: An unspoken theme but through textures I wanted to connect with 'Mother Earth' and our loss of sacred bond.
This is a three part project. First was a book published in 1995 called 'Wyatt Earp in Dallas: 1963.' A long, speculative, narrative poem morphing identities, times, and myths of the old west with early 1960s in America. Second was a mixed media exhibition in 2003, reflecting the text and commemorating the 40th anniversary of the assassination with a reading/performance collaborating with a guitarist. Then this film (2009) which moved the 'concerns' into a more textural feeling involving emotions, nature, and myth. Perhaps more obscurantist. And yet specifically aimed.
Yes if one creates a difficult work then unless one has been championed by media critics one does face a more 'under the radar' type of societal response. Not in terms of quality of response but in terms of 'numbers.' And one realizes it comes with the territory for most artists. Not all but most.
And on the other hand to confirm the Camus quote above I'll share an anecdote. I would take the dog to the dog park filled with young, corporate professionals doing the same. Young lady asked what I did and replied, 'Oh my boyfriend is a writer too.' And told me he wrote headlines (for some equivalent of the MSN homepage). The Dylan line 'Is everything as hollow as it seems…' is not inadmissible evidence.
In the end it's all about energy. Generating good energy with work that is psychologically honest and technically exhaustive. It finds a home in its doing. Its being is its doing. It's doing is its connection to being.
Thank you for stimulating my thoughts on this matter. I very much appreciate this dialogue with you (and Camus).
Thanks for elaborating generously on your intention. I particularly like your words about the work being psychologically honest and technically exhaustive. On the days when something I write or say sinks without trace (from myself) so there is absolutely no residue, when the perfect experience of completion is there, that for me is success.
The dog lady is an example of what Camus is describing. He scorned any kind of heroics or self-aggrandisement so I think he would be leery of the "creator as solitary figure" trope.
The veil of separation, so thin, what side are we looking out from.
This (question) image is going to stay with me in the centre of my mind as I ponder. And ponder some more. Thank you mn.
Thanks for letting me see the universe through your eyes as one melancholic dance of loss memories.
Thank you marcelo for your viewing yes and poetic description.
I love how this takes blogging to a different dimension.
Thank you Monica for reblogging this and your thought on the dimensionality of the work. Looking at the line you quote about the veil I look at it anew.
Thank you all (!!!) for your comments and thoughts. Your involvement with this work adds a new dimension to its expression.
I watched this days ago, and haven't been able to find the words. I still can't, but it's stunning – languid, poetic, bullishly melancholy – I don't know but it's great art.


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Die evangelisch-lutherische denkmalgeschützte Kirche Wildprechtroda steht in Wildprechtroda, einem Stadtteil von Bad Salzungen im Wartburgkreis von Thüringen. Der Gemeindeteil Wildprechtroda gehört zum Pfarrbereich Bad Salzungen I im Kirchenkreis Bad Salzungen-Dermbach der Evangelischen Kirche in Mitteldeutschland.

Beschreibung
Auf Beschluss der Edlen Brüder Moritz und Wilhelm von Buttlar 1670 erfolgte von 1672 bis 1683 der Bau der Kirche. Die wuchtige Saalkirche aus Bruchstein hat einen massiven Chorturm im Osten. Auf den steinernen Geschossen erhebt sich ein ursprünglich offenes Fachwerkgeschoss, auf dem ein schiefergedecktes eingezogenes Glockengeschoss sitzt, das mit einer Haube bedeckt ist, die sich mit einer Laterne fortsetzt. Im Süden befindet sich ein Treppenturm aus Fachwerk. Das Portal im Norden hat reliefierte Zwickel.

Im Chor befinden sich die Grabsteine der Familie von Buttlar aus dem 17. Jahrhundert. 1834/1844 erfolgte eine Erneuerung des Innenraums. Zwischen Kirchenschiff und Chor befindet sich der Chorbogen von 1680. Aus dieser Zeit ist auch der steinerne Altar. Die steinerne Kanzel hat ein Relief mit den Figuren von Christus Salvator, Moses und Johannes dem Evangelisten. Der flachgedeckte Innenraum hat Emporen mit geschnitzten Brüstungen.
1945 ging die Kirche in das Eigentum der Kirchengemeinde Bad Salzungen über. 1982 begann eine erneute Innenrenovierung, dabei wurden auch die Kirchenbänke durch Stühle ersetzt. Im Oktober 1991 wurde die Kirche wieder eingeweiht.

Literatur
 Dehio-Handbuch der deutschen Kunstdenkmäler, Thüringen. Deutscher Kunstverlag, München/Berlin 2003, ISBN 3-422-03095-6, S. 1384.

Weblinks

Einzelnachweise

Wildprechtroda
Wildprechtroda
Wildprechtroda
Bauwerk aus Stein
Erbaut im 17. Jahrhundert
Kulturdenkmal in Bad Salzungen
Wildprechtroda
Wildprechtroda

redpajama_set_name: RedPajamaWikipedia


During this training course delegates will be taken through the allergens as defined by Health Regulations 2014(SI 489/2014) to gain a greater understanding and to look at the existing and new control measures that may need to be implemented.
I will call you in advance to understand your specific requirements and make sure this programme addresses those needs.
This course can be organised on a date to suit your organisation.
This course can accommodate small to medium size groups.


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Culver CityBus Launches Free Fare Program for Local Students
Culver CityBus has launched a new pilot program offering free rides to students in the Culver City Unified School District during the upcoming school year.
This week, Culver City announced it is partnering with CCUSD to offer students unlimited rides at no cost on Culver CityBus, LA Metro bus and rail, and LADOT Dash.
Additional transit agencies are being added to help kids ride transit for free, city officials said.
Using the provided TAP card, students can ride for free to and from school, on trips after school and on weekends, now through June 30, 2022, city officials said it a press release. "If your student is already part of the TAP K-12 Reduced Fare program, they will need to pick up a new Fare-less K-12 card from their school and register it prior to use."
Culver CityBus representatives will be on site during Culver City Middle School and Culver City High School registration to answer questions from students and parents, said city officials.


Visiting a question page (any question) without logging in, I see a strange yellow stripe. It does not look like an intended design element.
Seen in Chrome 49 on Windows 7.
If the tour invitation is collapsed, it becomes a message on that yellow background, which makes sense. It appears that the background is placed prematurely.
Good catch. Not sure where that come from, but I'm pushing a fix now. It should be resolved in our next production build.


The unemployment rate in Florida is the lowest it's ever been since 2007 – 4.7%. With this surge in employment, companies are working even harder to retain their talent.
Updating compensation, offering stock options and bonuses and using more flexible work hours or telecommuting are just some of the tactics being used by employers.
The fact that a growing generation of millennials is entering the workforce is also a factor drastically changing the way we see benefits.
Most of these individuals don't see the logic in commuting to an office when they can work entirely from home. New importance is being placed on parenting, family life and work-life balance because most homes now average two working parents.
Get ahead of your employees by establishing an office culture where you listen to their needs. A great way to do this is periodic engagement surveys (here are 9 questions you should be asking: http://bit.ly/1UdiSXQ).
Demonstrate a readiness to enrich your workforce with appropriate compensation and benefits. Telecommuting options, picking one additional floating holiday, etc. are all great ways to provide your team a bit more value (and it ends up being a greater asset in the long run, increasing productivity and employee satisfaction).
Provide your team the option to take advantage of educational opportunities. Ask your employees if they need leadership or special skills training.
*This article was inspired by an article in the February 19th 2017 edition of the Sun Sentinel (Money Section) written by Marcia Heroux Pounds.


We are looking to support at least 10 communities across England who are using the arts and creativity to make positive social change in their local areas. We are currently in the first phase of the programme, the 'community call out' phase, in which we are asking communities to express an interest in being part of the programme's next phase - the development phase.
We will be accepting expressions of interest until 28th September 2018, after which we will select at least 10 communities to work with, helping them to develop their ideas and local plans and decide what support and funding they would need to deliver these (between £50,000 and £300,000 in each local community).
The final 'programme delivery' phase will start in February 2019. This will be the point at which some or all of the communities we have worked with will receive funding to deliver their plans locally.
The programme is a partnership between the Big Lottery Fund, the Calouste Gulbenkian Foundation, and Local Trust.
There is more information on the programme in the FAQ's, briefing document and sections below. You can also contact us us with your questions and to find out how we can help with this process.
If you would like to apply to get involved in the development stage of the programme, which will run from October 2018 to the start of February 2019, then at this stage we are asking for some information to be sent to us by 28th Sept 2018.
1.) First we ask that you answer some yes/no questions to check you are eligible to apply. Download eligibility checker.
2.) If you have been able to answer YES to all of the questions on the eligibility checker then please continue to fill in an expression of interest form. This will ask for your contact details, some information about your local area and answers to some questions about the sorts of things you've already done locally and what you might want to achieve.
Please print the form, fill it in and sign it manually, then scan it onto your computer (or photograph it with your phone) to send as an email attachment to ccc@localtrust.knightstudiosdevelopment.com.
More information on submitting an expression of interest form can be found here.
You can submit a short video or audio recording and sending that instead. We have some tips and guidance on how to do that.
You can email ccc@localtrust.knightstudiosdevelopment.com or phone 020 3588 0564 to book a conversation and we can fill the form in for you by talking through your answers to the questions.
More information on submitting an video or audio recording can be found here.
The deadline for us receiving the information requested in this form is 28th September 2018. We will let you know in October about whether you have been successful in progressing to the development phase of the programme.
There is more information on the programme in the briefing document and FAQs. You can also contact us with your questions and to find out how we can help with this process, either by email at ccc@localtrust.knightstudiosdevelopment.com or phone 020 3588 0564.


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Sony Responds to Overwatch's Pink Mercy Skin Controversy
By Tanner Dedmon - May 12, 2018 10:38 am EDT
Responding to community outcry that began days ago with the reveal of Overwatch's new Pink Mercy skin, Sony says that it's not making any profit from the proceeds that are going to the Breast Cancer Research Foundation.
The skin was announced last week with descriptions provided in each respective platforms' store that indicated that the profits from the skin would be going towards the cancer foundation. However, there were some discrepancies between how the descriptions were worded.
In the Xbox Store, the disclaimer said that "From May 8-May 21, Blizzard Entertainment will donate 100 per cent of the purchase price for your purchase of the Pink Mercy skin on Xbox to the Breast Cancer Research Foundation. Blizzard Entertainment will disclose the total amount of its donation following the end of the campaign." Within the PlayStation Store, the message was different. Instead, it said. "From May 8-May 21 2018, Blizzard Entertainment will donate £10.12, or local currency equivalent, that it receives from PlayStation for your purchase of the Pink Mercy skin to the Breast Cancer Research Foundation. Blizzard Entertainment will disclose the total amount of its donation following the end of the campaign," which implied that there may be a portion of the sales that Blizzard wouldn't be receiving from Sony.
People were quick to call the publisher out on the suspected profit earnings.
Pretty disgraceful from Sony. Taking a 22% cut from each purchase of Overwatch's Mercy Breast Cancer Research charity skin. 100% goes to charity on Xbox and PC. Games media needs to report this. pic.twitter.com/ZCIiHgKcpy
— Nick Akerman (@Nakerman) May 9, 2018
Since then, Sony has been hammered with questions about the skin on social media but denied that any profits are being made from Overwatch's Pink Mercy skin. In an response given to multiple outlets, Sony had the same explanation each time: "We are not making any profit from sales of the Overwatch Pink Mercy Skin."
While the answer does explain that Sony isn't profiting from the charity skin, it does still have players wondering where the leftover profits are going. As seen in the tweet above, the skin is priced at £12.99 with the description saying that £10.12 will be donated, so there's still about £2.88 unaccounted for. It appears that Sony has not yet responded to further questions regarding where those profits are going.
The skin is currently available in each Overwatch platform's store until May 21 when it'll be removed. There are also pink spray and player icons as well as some Pink Mercy shirts available as merch.


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Q: ASP.NET Dynamic Validation using JavaScript I have this issue where I have two check boxes that I am trying to validate, so one of them must be chosen.
I am creating the method using javascript which is :
    function learningDisValidator(source, args) {
        if (document.getElementById("<%= persLearningDisabilityYes.ClientID %>").checked || document.getElementById("<%= persLearningDisabilityNo.ClientID %>").checked) {
            args.IsValid = true;
        }
        else {
            args.IsValid = false;
        }

    }

than I have the custom field validator which is
    <asp:CustomValidator id="learningDisVal" runat="server" Display="Dynamic" Enabled="true" ErrorMessage="Learning Disability is Required" ClientValidationFunction="learningDisValidator"></asp:CustomValidator>

Now this Validator for some reason is not working. My problem is that I have other validators that are enabled during runtime if certain options are selected using
ValidatorEnable(document.getElementById('persLearningDisabilityDetailsVal'), true);

and these do work. The problem I have with these validators that are enabled during runtime is that the error message is displayed as soon as they are enabled, not after the Submit button was clicked.I am rather new to ASP.NET. Any help would be much appreciated, thanks.
EDIT : I have other validators that are enabled depending on the users choice, for example if Radio button 1 was checked, it will show new form fields and enable validators for "MAN" and if radio button 2 was checked it will show new form fields and enabled validators for "WOMAN". Now my problem is that once the validator is enabled, as I showed above, it's error message is being shown instantly in the error panel in the bottom of the screen, which is basically a div with the asp.net custom validator in it. I would like this message to be shown after the Submit button was clicked, thus giving the user time to figure out on his "own" not telling him that something is required before giving him the chance to do it. As for code I not know what else to give but I'll try :

<asp:RequiredFieldValidator runat="server" ID="accHostFamilyDetailsAllergiesVal" Display="Dynamic" ControlToValidate="accHostFamilyDetailsAllergies" ErrorMessage="field cannot be empty" Enabled="false"></asp:RequiredFieldValidator>

and in javascript:
ValidatorEnable(document.getElementById('accHostFamilyDetailsAllergiesVal'), true);

A: Just use Jquery and check if both values are null before the form submits. So something like this.
Test for "", if that doesn't work test for 0
$("#btnSubmit").click(function() {

if ($("#checkbox1").val() == "" && $("#checkbox2").val() == "")
 {
    // causes form submit to stop and will not post to the server
      alert("some error message");
     return false;
 }

});

redpajama_set_name: RedPajamaStackExchange


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"Whore's Fishnet Stockings": Only 30 Meters Separates Artsakh Front-line and Azerbaijan
Arman, a young conscript originally from Voskevaz village in Armenia, watches the Azerbaijani frontline located 30 meters from his position at a lookout post on the Mataghis frontline near Martakert, Nagorno-Karabakh.
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They call this section of the Artsakh-Azerbaijani border "the whore's fishnet stockings". It was the site of fierce battles during the war and both sides suffered heavy losses.
The bloodiest was in 1994. Azeri artillery shells and mortars turned the area into a series of crisscrossing pot marks resembling fishnet stockings. In Yerevan back in the 1990s, those stockings were in fashion, especially with women plying the oldest profession the world has known – prostitution. You could walk around the Circus in the evening hours and bump into many such ladies soliciting physical favors.
One of the guys, when describing the area, likened it to a pair of fishnet stockings. The name stuck and this most dangerous part of the border goes by the moniker until today.
Many in Armenia and Artsakh have heard stories about the area, the battles fought and those who perished. Only 30 meters separates Armenian soldiers from their Azerbaijani counterparts on the other side. When I stood at the Armenian observation post and looked across to the Azeri outpost, I could swear that they were looking back at me. The feeling made me queasy and I squinted for a better look. I told the commander what I had just experienced and he chortled, "Many others have experienced the same feeling."
From a distance, "Whore's fishnets" sticks out in the middle of a field. The uncultivated lands of the villages of Chaylou and Talish are on either side. Before the war the area was verdant and well irrigated. No water flows here today and the land is covered with yellowing grass.
The heights have been divided by the Armenian and Azerbaijani forces. Opposing trenches line the area.
During my visit I didn't come across any soldier you could call big-headed or arrogant. I thought to myself that they all should be given a medal. Nobody writes about this type of soldier and they themselves aren't the talkative type.
"Any nation would be jealous of such soldiers," added Division Commander Kamo Vardanyan.
I start talking to the soldiers who hail from various places. On the frontlines, you mostly meet with guys from the lower economic class. The fathers of a few of them have left for work abroad. I don't know why but whenever I meet such guys on the frontlines I know our borders are secure. "Thank God the sons of government officials aren't here, they'd make a mess of things," I think to myself.
The Azerbaijani national hero Moubariz Ibrahimov was "born" in "Whore's Fishnets". He was killed right here in a diversionary manoeuvre in July of 2010. Baku awarded him with the decoration of "National Hero" for exceptional bravery in the defense of Azerbaijan's independence and territorial integrity. The Armenian soldier Artak Ghabouzyan killed Ibrahimov in the defense of Artsakh's independence and territorial integrity. Ghabouzyan was awarded the Medal of Courage by the President of Armenia and Military Service Medal by the President of Artsakh. The Armenian government also allocated a 3 room apartment to the five member Ghabouzyan family.
The entire area is heavily fortified – barbwire, foxholes, defensive trenches for military equipment, etc.
The mountains and forests are visible in the distance. Opposite me is a flat stretch of open land, dusty and yellowing under the sweltering July sun.
Not far from here was here the guys from the Arabo brigade got caught in a trap. On a road leading here was where "Yura 26" ran over a landmine. Hundreds gave their lives in "Whore's Fishnets" and its environs.
Holy Corner
There's a tiny section of the frontline position they call "Holy Corner". All the guys serving here have placed an item of reverence inside. Battalion Commander Artour Mkrtchyan has served here for six years. After graduating from the Vazgen Sargsyan Military Institute he was posted here. Like his soldiers, he's not much of a talker. On one of the boulders in the Holy Corner I read the inscription, "God save the 3rd Reconnaissance Unit". Usually, before any operation, the guys assemble here for a minute of silent prayer and reflection.
Arman is from the village of Voskevaz. He's been in the army for a year. For two weeks he stationed at the frontline unit then goes back to the base for two weeks. Arman just returned from vacation. He's a tall guy who sometimes has to duck down in the trenches. He too doesn't speak much.
"Isn't it difficult serving here?" I ask. "You get used to the hardships," Arman replies, never taking his eyes off the line of sight. I get the feeling that all my questions are preventing them from concentrating on their assigned tasks.
Alik Sargsyan, an operational assistant to the commander, is directing activities in the post. His jeep cuts across the field at a fast clip leaving a cloud of dust behind. Nobody drives slowly around here. Sargsyan tells me that in spots they are vulnerable and that's why they make haste.
"These are vital lands for the future," Sargsyan says, looking towards the flat expanse. I don't know if he is referring to the lands on either side of the road or the prairie stretching out in the distance. He periodically warns us not to take any photos of the area.
In the time it takes us to reach the frontline units, Sargsyan has managed to provide us with a concise history of the Artsakh movement from its origins right up till today.
Sargsyan relates how he joined the student movement and then was arrested by Soviet Army soldiers and handed over to the Azerbaijani OMON (Special Purpose Mobile Unit). He was held captive for one and a half years and was later released in a prisoner exchange.
"This is my land and I defend it. There is no other formula," Sargsyan says, adding that Interpol is after him but he doesn't know why.
Sargsyan argues that Shahoumyan and Martakert fell due to internal political squabbles in 1992 and not due to the military might of the enemy.
It's late at night and we head up to see Tigran at one of the Yeghnik posts. He's sleeping in the billet. All he gets is two hours of rest and then it's back to his patrol duties.
One of the guys tries to jostle him awake but it's no use. Tigran just turns to the other side and continues to snooze.
It's pitch black all around us. I exchange a few pleasantries with the soldiers and then bid them farewell.
As I turn to leave, I whisper, "God protect all of you"
Photos by Sara Anjargolian
By Edik Baghdasaryan/Hetq Online


The acquisition seeks to leverage Apeiron's CPaaS services in order to boost KonaTel's IoT and voice & messaging services prowess.
Cloud-service provider Apeiron has been acquired by U.S.-based telecom company KonaTel to expand the latter's IoT and voice services. With this acquisition, KonaTel will be making the most of Apeiron's CPaaS abilities to activate, control and monitor a large amount of data, video, voice and messaging services.
According to KonaTel, Apeiron has built a robust cloud communications platform through their API-based strategy to control a wide range of data. This data, they say, ranges from SMS to MMS to videos which enterprises can utilize for business purposes.
KonaTel says that Apeiron's NVF (Network Function Virtualization) technology allows enterprises to gain total control over enterprise software, infrastructure and network stacks. They believe that with this control and their cloud communication platform, Konatel's clients will be able to respond to rapidly changing market conditions very quickly.
In order to add these capabilities to their current set of offerings, KonaTel says that they acquired Apeiron, which brought more balance to their product portfolio. They also claim that this acquisition will boost their ambitions when it comes to providing IoT and voice-based services to enterprises deploying the cloud.
Apeiron says that they have been working on an IoT service using high-speed LTE (Long-Term Evolution) data connections with integrated SD-WAN infrastructure on their cloud platform. They believe that it was this effort and synergies in terms of vision and mission, that enticed KonaTel into buying them out.
Market experts believe that the acquisition will strengthen KonaTel's offerings and spur competition in the telco market in the U.S. It will be exciting to see how competitors react to this deal, following NTT's acquisition of Transatel for IoT.


text:
Nation Science & Technology
India-Portugal Tech Summit to be held from Dec 7-9
December 2, 2020 December 2, 2020 admin	1 Comment
New Delhi, December 1 dmanewsdesk: The 26th edition of India-Portugal Technology Summit 2020 will be held over a digital platform from December 7-9, the Department of Science and Technology (DST) said on Tuesday.
The DST with the Confederation of Indian Industry (CII) announced the 26th edition of Technology Summit 2020 on Tuesday. Portugal is the partner country this year.
Ashutosh Sharma, secretary, DST, said the summit will witness signing of several MoUs and agreements which will increase bilateral trade between the two countries.
He emphasised that there has been successful bilateral research cooperation between India's Department of Science and Technology (DST) with the Foundation for Science and Technology (FCT) of Portugal.
Both organisations have planned to structure their cooperation in sectors such as water, healthcare, agriculture, IT/ICT, clean technologies etc, Sharma said.
He said approximately 450 proposals have been received against the recently announced India-Portugal joint call.
He also said both the governments are poised to support the development of scientific and technological cooperation between Indian and Portuguese researchers and to strengthen the scientific partnership between research groups from each country by establishing bilateral research networks, enhancing research cooperation, and promoting the exchange of knowledge between Indian and Portuguese scientists.
← 'Juno' star Ellen Page comes out as transgender, changes name to Elliot Page
Sonakshi Sinha stuns in pristine white ensemble →
Realme fastest brand to sell 5 crore smartphones: Report
Vodafone RED X at Rs 1099: With Netflix & More, This is Still Cooler Than Airtel Rs 999 Plan
MP: Religious places reopen in Indore after six months


text:
"use strict";
Object.defineProperty(exports, "__esModule", { value: true });
class ClientInfo {
    constructor(ci, controller) {
        this.CI = ci;
        this.C = controller;
        this.TS = new Date();
    }
}
exports.ClientInfo = ClientInfo;

redpajama_set_name: RedPajamaGithub


text:
Millennial & Other Genres
Classical Music Daily
Everyday Rather Live in Classic Eras
Life is like composing forward, anytime starts a new bagatelle.
Recorded in St Paul's Cathedral, Sir Colin Davis new release Grande Messe des morts.
Composers & Atists
The Grande Messe was commissioned from Berlioz to mark the death of life, reveals much about Berlioz's heartfelt response to the Requiem text. Sir Colin Rex Davis is an English conductor broadly revered as an expert of Mozart, Berlioz, Elgar, Sibelius, Stravinsky and Tippett, and his LSO live Berlioz recordings have been one of the most widely acclaimed series' of classical recordings of recent years. This spectacular new recording features the London Symphony Orchestra joined by English lyric tenor Barry Banks and two of London's finest choirs, the London Symphony Chorus and London Philharmonic Choir.This release of the monumental Grande Messe des morts marks the completion of this cycle and further confirms Sir Colin's status as one of the greatest living conductors of Berlioz's music.
English conductor and the president of London Symphony Orchestra Sir Colin Davis dies
New Britten's War Requiem is due for release conducted by Paul McCreesh on Signum Classics / Winged Lion
Sir Colin Davis conducts Nielsen, Symphonies Nos.2 and 3 on SACD Lso Live
Is the rumour ? Sir Simon Rattle heading to LSO
greatest living conductor Recorded in St Paul's Cathedral Sir Colin Rex Davis
On 2 March 2013 now release 50 CDs box-set of Vladimir Ashkenazy 50 Years on Decca → ← The BBC Scottish Symphony Orchestra in music by Ildebrando Pizzetti
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The 12th version of the ICC Cricket International Cup is all set to happen in England and Wales from Would possibly 30 to June 14. And with most effective not up to 4 months to head for the global championship of ODI cricket, the groups are searching for the easiest mixture. They're treating the previous couple of ODIs sooner than the development for the experimentation as April 23 has been set the cut-off date to publish the squads.
In the meantime, the Indian leader selector MSK Prasad has showed that the core of the Males in Blue for the International Cup has been finalised barring an peculiar position or two.
Prasad additionally showered heavy reward on Rishabh Pant, terming him as probably the most most powerful contenders adopted by way of Vijay Shankar and Ajinkya Rahane, whom the selectors are nonetheless taking into consideration to fill the remainder spots in India's International Cup squad.
Pant is ready to stand difficult festival from Rahane who regardless of no longer taking part in an ODI for greater than 12 months, has been in excellent shape in Checklist A cricket.
Every other participant who the selectors are keeping track of is batting all-rounder Vijay Shankar. In spite of no longer being in competition for a International Cup berth for the most important a part of 2018, Shankar has jumped the queue along with his efficiency within the recently-concluded restricted overs collection in New Zealand. His 64-ball 45-run knock in bowler pleasant stipulations at Wellington earned him a No. three spot within the three-match T20I collection.
Shankar scored 83 runs within the T20 collection with a glowing 43 off 28 balls within the ultimate sport at Hamilton. "In no matter alternatives he has were given, Vijay Shankar has proven the talent units required at this stage. We've got been grooming him via India A excursions within the closing two years. However we can have to look the place he can are compatible within the dynamics of this crew," Prasad added.


text:
Q: How can i connnect `IConsumeMessageObserver` to the consumer, in the context of DI, using `AddMediator()` extension method, in MassTransit? I was faced with one diffucult, I havent idea how to add IConsumeMessageObserver entity in DI context, using AddMediator() extension method. In that section (https://masstransit-project.com/advanced/observers.html#received-messages), only shows, how do it manually.
I tried to resolve IMediator after AddMediator() call, like this:
private static void BindInMemoryBroker ( IServiceCollection services )
        {
            services.AddMediator ( configuration =>
              {
                  AddInMemoryAddOnBroker ( configuration );
              } );

            var serviceProvider = services.BuildServiceProvider ();

            var mediator = serviceProvider.GetService<IMediator> ();

            var observer1 = serviceProvider.GetService<MailingObserver<RetrieveAddOnDownloadLinkContract>> ();

            var observer2 = serviceProvider.GetService<IncrementAddOnDownloadCounterObserver<RetrieveAddOnDownloadLinkContract>> ();

            mediator.ConnectConsumeMessageObserver ( observer1 );

            mediator.ConnectConsumeMessageObserver ( observer2 );
        }

        private static void AddInMemoryAddOnBroker ( IServiceCollectionMediatorConfigurator configuration )
        {
            AddInMemoryConsumers ( configuration );

            AddInMemoryContracts ( configuration );
        }

        private static void AddInMemoryConsumers ( IServiceCollectionMediatorConfigurator configuration )
        {

            configuration.AddConsumer<RetrieveAddOnDownloadLinkConsumer> ();

        }

        private static void AddInMemoryContracts ( IServiceCollectionMediatorConfigurator configuration )
        {
            configuration.AddRequestClient<RetrieveAddOnDownloadLinkContract> ();
        }

But it didn't work, pls help me

A: There are two types of consume observers, one is delivered all message types (IConsumeObserver) and the other is only delivered a single message type (IConsumeMessageObserver). The latter can only be connected to an IBus or IMediator, therefore it cannot be configuring within either the AddMediator or the AddMassTransit configuration.
You can add an IConsumeObserver and use pattern matching to select only the message types you need as an alternative.


text:
class CreateMessages < ActiveRecord::Migration
  def change
    create_table :messages do |t|
      t.integer :talk_id, :null => false
      t.integer :user_sender, :null => false
      t.string :text
      t.integer :is_read, :defaulf => 0

      t.timestamps
    end
  end
end


To prepare for your visit to the ENDOSCOPY CENTER OF INLAND EMPIRE your medical history and insurance information is needed. You may have already registered with the Endoscopy Center, however in the event you have not please print and complete the registration forms to expedite. Please complete the Medication Reconciliation Record included in your packet you received from the physician's office. It is important the staff is aware of all medications your taking to ensure your safety. Help us expedite this process by registering in advance. Download the information sheets, fill them out and then print them; have them ready for your visit. For pre registration by telephone a Patient Representative or a Registered Nurse will conduct the interview. All information is confidential. Important instructions will be given to you regarding your procedure. This process may take approximately 15 minutes to complete.


Written by Mark Kraemer on 8/23/2017 3:48 AM in workcomp injury management, business tips, employee management tops, workplace injury management tips. It has 0 Comments.
Did you miss our latest, FREE, employee health management worker's comp seminar: "Too Hot to Handle: Help Your Employees Avoid Heat Stress?" Luckily, it's not too late to cool things down on your jobsite!
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As I write this, the country remains to be reeling from a number of shocks in July 2016. First, because the month begun, got here but extra videotaped incidents of police taking pictures to demise black arrestees after many different such widely-publicized incidents over the former numerous years. The day after the Fourth of July vacation, aggravating pictures went viral of Baton Rouge police outdoor a comfort shop firing many times at 37-year-old Alton Sterling whereas white policemen already had Sterling pinned face down at the floor. an afternoon later, 1000 miles away in a suburb of St. Paul, Minnesota, the quick-thinking woman pal of Philandro Castile used her mobile phone to catch an area policeman nonetheless waving his gun outdoors Castile's vehicle window as Castile lay bleeding to dying seated beside her following a site visitors cease. This image snapshot used to be inside of days through breaking information of a bad sniper assault on Dallas policemen who have been tracking one of the Black Lives topic protest rallies triggered via the deaths of Sterling and Castile. Then, on July 17, 2016 got here one other assault, this time on Baton Rouge police.
The incidents did start in comparable methods. within the early morning of October 28, 1967, Oakland policeman John Frey stopped the auto Newton was once riding to jot down a price tag for an unpaid site visitors effective. A shootout ensued that left Officer Frey useless and Newton and a back-up officer heavily wounded. Newton claimed to were unarmed and the sufferer of an abusive arrest; no gun belonging to Newton was once chanced on. His dying penalty trial the subsequent summer time drew overseas cognizance as to whether any black guy may well get a good trial in the United States.
Du Bois's Dialectics is doubly uncommon from different books on Du Bois since it is the 1st prolonged exploration of Du Bois's contributions to new severe concept and the 1st book-length remedy of his contributions to modern black radical politics and the constructing self-discipline of Africana reviews.
A step forward in therapeutic, Forgiveness and Reconciliation among women and men i've been having a look many years to discover how to deliver therapeutic and reconciliation among men and women right here in South Africa. This paintings is the reply. we want even more of this paintings in South Africa. – Nozizwe Madlala Routledge, Deputy Minister of health and wellbeing and Member of Parliament, South Africa Will Keepin's pioneering, passionate, deeply considerate paintings has been at the innovative for years.
Winner, 2012 Frank Luther Mott-Kappa Tau Alpha study AwardWomen of the Washington Press argues that for almost centuries girls newshounds have endured of their efforts to hide politics within the nation's capital inspite of blatant prejudice and restrictive societal attitudes. they've been held again by means of the problems of mixing competing roles – these of girls and newshounds.


text:
ABOUT LONGY
Longy School of Music of Bard College is an Equal Opportunity Employer and does not discriminate on the basis of race, color, religion, national origin, ancestry, gender or gender identity, sexual orientation, physical or mental disability, marital or veteran status, or age. Longy School of Music of Bard College values the diversity of its community.
Longy School of Music of Bard College prepares musicians to make a difference in the world. We are a degree-granting conservatory in Cambridge, MA and a Master of Arts in Teaching campus in Los Angeles, CA. Our faculty prepares students to become exceptional musicians who can engage new audiences inside and outside the concert hall, teach anyone, anywhere, and use their artistry to change lives in communities around the world. Our culture encourages leadership, collaboration, entrepreneurial spirit, critical thinking skills, and the incubation of great musicians, dreams, and ideas. We value the transformational power of music, the art of teaching, a diverse and supportive community, dynamic interaction with the larger world, creative thought and innovation, and advocacy for our art. Join us, and become the musician, educator, and leader the world needs you to be. Learn more at longy.edu.
Inspired by our mission? Find out more about working at Longy.
SEE CURRENT JOB LISTINGS


Foster City, Calif., Jan 28 - Arena Solutions, the pioneer of cloud-based product lifecycle management (PLM) applications, today announced strong year-over-year growth from Q4 2013 to Q4 2014, with subscriptions increasing by 38%, capping off another record year for the company.
For the entire fiscal year 2014, new customer subscriptions grew by 76% year over year.
Arena Exchange: Offers OEMs a secure, flexible and traceable environment for collaboration with multiple users at different supplier levels throughout their global supply chain, with no incremental licensing or provisioning charges except for the original initiator.
Aerohive Networks provides a mobility platform that utilizes the cloud and a distributed, controller-less architecture to deliver unified, intelligent, simplified networks that can be cost-effectively deployed.
Aurrion Inc. leverages the capability and low cost of silicon IC manufacturing while retaining the performance of advanced non-silicon materials to provide a bridge between traditional III-V materials used for photonics and silicon in CMOS compatible platform.
DAQRI is the world's leading augmented reality developer, providing custom software and creative solutions to clients across a broad spectrum of industries.
Echelon Corporation designs control networks to connect machines and other electronic devices, for the purposes of sensing, monitoring and control.
Hayward Industries is the world's leading manufacturer and marketer of residential and commercial swimming pool equipment.
Pulse Secure makes industry-leading solutions to empower seamless mobility via its line of virtual private network, network access control and mobile security products.
RPC Technologies has been the leading supplier of corrosion resistant, structural FRP (fiber reinforced plastic) fabrications, piping and ducting systems, acid resistant heavy duty linings and specialist composite products for defense.
Turtle Beach Corporation is a technology company that develops innovative audio products for consumer and commercial markets.
Thermo Fisher Scientific enables its customers to make the world healthier, cleaner and safer by accelerating life sciences research, solving complex analytical challenges, improving patient diagnostics and increasing laboratory productivity.
Arena pioneered cloud-based PLM. Arena's suite of PLM and supply chain solutions enables engineering, manufacturing and their extended supply chains to speed prototyping, reduce scrap, streamline their supply chain, improve margins, and collapse time to market. Arena PLM applications simplify bill of materials (BOM) and change management for companies of all sizes, while offering the right balance of flexibility and control throughout the product lifecycle — from prototype to production. Based in Foster City, Calif., Arena has been ranked as a Top 10 PLM provider and Top 5 Supplier Collaboration solution. Arena also holds a spot on National Association for Business Resources' "San Francisco's Best & Brightest Companies to Work For" List for 2014.


Please check out the drop down menu for current class offerings and detailed information. If you need further assistance, please feel free to email bbeckaias@gmail.com or call 910.232.5599. Thanks!
We look forward to partnering with you in furthering your acting career!


The last two weekends have certainly been busy ones for the Oxford Cycling Club, competing in opposite corners of the country in different BUCS competitions. On Sunday 19th April the team travelled to Somerset for the team trial championships, where three riders must work together to achieve the fastest time as a pack.
The women's team, entering the competition as significant underdogs to Cambridge, overturned all odds to take a thrilling victory. The team of Liv Withers, Imogen Kempton and captain Tamara Davenne completed the undulating course in 59:50, a full minute ahead of their rivals. The favourites Cambridge came in second with a time of 1:00:43, and Sheffield took bronze in 1:02:16. In a packed men's field, Oxford finished a strong 17th, illustrating their depth with further teams at 20th and 24th.
Following on from this success, the next weekend saw the peak of the cycling season, with a combined BUCS and varsity event. This was held in Cambridge, and riders competing individually over a 25 mile time trial course. Leading home the Oxford women's team once again was Tamara Davenne who added another national medal to her collection by placing second in the race. She did this whilst also leading the BUCS team to a second place finish. Despite the home-field advantage, Oxford was also able to defeat Cambridge in the varsity match and completed a very successful fortnight for the squad.
The strength and depth of women's cycling that Oxford now possesses is laudable. Oxford are now able to take on and beat the very best at a national level, competing far and wide. With a large amount of funding in recent years, most notably from Sky, cycling as an amateur sport has very much taken off in this country, with participation levels at an all-time high and Britain enjoying a large degree of success internationally on the road and track.
The Oxford road captain Alasdair Morrison explained the transformation in female cycling at the university to Cherwell, commenting, "The women's cycling in Oxford has increased in strength greatly this year withthe move to a racing squad who have shown their strength across the board." On both her individual and team success, women's captain Tamara Davenne of Merton was quick to point out the difficulties of the team trial discipline, requiring a great deal of communication between the trio. Davenne told Cherwell, "I'm very pleased with our performance. The girls gave everything in the race [BUCS] allowing us to reach our main objective: riding the 23 miles of this hilly course in less than an hour.
With a young team, the club hope only to improve in the forthcoming year. The stage is set for further improvement and with a number of highly talented female riders coming through and breaking into the ranks of Oxford's cycling team, for now women's cycling looks to be very much on track for future success.


text:
package com.cjm721.overloaded.util;

import com.cjm721.overloaded.Overloaded;
import com.cjm721.overloaded.config.OverloadedConfig;
import net.minecraft.block.*;
import net.minecraft.entity.player.PlayerEntity;
import net.minecraft.entity.player.ServerPlayerEntity;
import net.minecraft.item.BlockItem;
import net.minecraft.item.BlockItemUseContext;
import net.minecraft.item.ItemStack;
import net.minecraft.network.play.server.SChangeBlockPacket;
import net.minecraft.tileentity.TileEntity;
import net.minecraft.util.ActionResultType;
import net.minecraft.util.Direction;
import net.minecraft.util.Hand;
import net.minecraft.util.SoundCategory;
import net.minecraft.util.math.BlockPos;
import net.minecraft.util.math.BlockRayTraceResult;
import net.minecraft.util.math.RayTraceContext;
import net.minecraft.util.math.vector.Vector3d;
import net.minecraft.world.World;
import net.minecraft.world.server.ServerWorld;
import net.minecraftforge.api.distmarker.Dist;
import net.minecraftforge.api.distmarker.OnlyIn;
import net.minecraftforge.common.ForgeHooks;
import net.minecraftforge.common.MinecraftForge;
import net.minecraftforge.common.util.BlockSnapshot;
import net.minecraftforge.common.util.LazyOptional;
import net.minecraftforge.energy.IEnergyStorage;
import net.minecraftforge.event.world.BlockEvent;
import net.minecraftforge.items.IItemHandler;

import javax.annotation.Nonnull;

import static net.minecraftforge.items.CapabilityItemHandler.ITEM_HANDLER_CAPABILITY;

public class PlayerInteractionUtil {

  public static boolean tryHarvestBlock(ServerPlayerEntity player, ServerWorld world, BlockPos pos) {
    int exp =
        net.minecraftforge.common.ForgeHooks.onBlockBreakEvent(
            world, player.gameMode.getGameModeForPlayer(), player, pos);
    if (exp == -1) {
      return false;
    } else {
      BlockState iblockstate = world.getBlockState(pos);
      TileEntity tileentity = world.getBlockEntity(pos);
      Block block = iblockstate.getBlock();

      if ((block instanceof CommandBlockBlock || block instanceof StructureBlock)
          && !player.canUseGameMasterBlocks()) {
        world.sendBlockUpdated(pos, iblockstate, iblockstate, 3);
        return false;
      } else {
        world.levelEvent(null, 2001, pos, Block.getId(iblockstate));
        boolean flag1;

        if (player.abilities.instabuild) {
          flag1 = removeBlock(world, pos, player, false);
          player.connection.send(new SChangeBlockPacket(world, pos));
        } else {
          ItemStack itemstack1 = player.getMainHandItem();
          ItemStack itemstack2 = itemstack1.isEmpty() ? ItemStack.EMPTY : itemstack1.copy();
          boolean flag = iblockstate.canHarvestBlock(world, pos, player);

          itemstack1.mineBlock(world, iblockstate, pos, player);

          flag1 = removeBlock(world, pos, player, flag);
          if (flag1 && flag) {
            iblockstate
                .getBlock()
                .playerDestroy(world, player, pos, iblockstate, tileentity, itemstack2);
          }
        }

        // Drop experience
        if (!player.isCreative() && flag1 && exp > 0) {
          iblockstate.getBlock().popExperience(world, player.blockPosition(), exp);
        }
        return flag1;
      }
    }
  }

  private static boolean removeBlock(
      World world, BlockPos pos, PlayerEntity player, boolean canHarvest) {
    BlockState iblockstate = world.getBlockState(pos);
    boolean flag =
        iblockstate.getBlock().removedByPlayer(iblockstate, world, pos, player, canHarvest, iblockstate.getFluidState());

    if (flag) {
      iblockstate.getBlock().destroy(world, pos, iblockstate);
    }

    return flag;
  }

  @Nonnull
  public static BlockPlaceResult placeBlock(
      @Nonnull ItemStack searchStack,
      @Nonnull ServerPlayerEntity player,
      @Nonnull World worldIn,
      @Nonnull BlockPos newPosition,
      @Nonnull Direction facing,
      @Nonnull IEnergyStorage energy,
      float hitX,
      float hitY,
      float hitZ) {

    // Can we place a block at this Pos
    BlockItem itemBlock = ((BlockItem) searchStack.getItem());
//    if (worldIn.loadedAndEntityCanStandOn(newPosition, player)) {
//      return BlockPlaceResult.FAIL_DENY;
//    }

    BlockSnapshot blockSnapshot =
        BlockSnapshot.create(worldIn.dimension(), worldIn, newPosition);
    BlockState placedAgainst =
        blockSnapshot.getWorld().getBlockState(blockSnapshot.getPos().relative(facing.getOpposite()));
    BlockEvent.EntityPlaceEvent event =
        new BlockEvent.EntityPlaceEvent(blockSnapshot, placedAgainst, player);
    MinecraftForge.EVENT_BUS.post(event);

    if (event.isCanceled()) {
      return BlockPlaceResult.FAIL_DENY;
    }

    long distance = Math.round(Math.sqrt(player.blockPosition().distSqr(newPosition)));

    long cost =
        OverloadedConfig.INSTANCE.multiToolConfig.placeBaseCost
            + OverloadedConfig.INSTANCE.multiToolConfig.costPerMeterAway * distance;
    if (!player.abilities.instabuild
        && (cost > Integer.MAX_VALUE || cost < 0 || energy.getEnergyStored() < cost))
      return BlockPlaceResult.FAIL_ENERGY;

    LazyOptional<IItemHandler> opInventory =
        player.getCapability(ITEM_HANDLER_CAPABILITY, Direction.UP);
    if (!opInventory.isPresent()) {
      Overloaded.logger.warn("Player has no ItemHandler Capability? NBT: " + player.serializeNBT());
      return BlockPlaceResult.FAIL_PREREQUISITE;
    }
    IItemHandler inventory =
        opInventory.orElseThrow(() -> new RuntimeException("Impossible Condition"));

    int foundStackSlot = findItemStackSlot(searchStack, inventory);
    if (foundStackSlot == -1) {
      return BlockPlaceResult.FAIL_PREREQUISITE;
    }
    ItemStack foundStack =
        inventory.extractItem(foundStackSlot, 1, player.abilities.instabuild);

    BlockItemUseContext context =
        new BlockItemUseContextPublic(
            worldIn,
            player,
            Hand.MAIN_HAND,
            foundStack,
            new BlockRayTraceResult(
                new Vector3d(
                    hitX + newPosition.getX(),
                    hitY + newPosition.getY(),
                    hitZ + newPosition.getZ()),
                facing,
                newPosition,
                false));

    ActionResultType result = ForgeHooks.onPlaceItemIntoWorld(context);

    switch (result) {
      case CONSUME:
      case SUCCESS:
        SoundType soundtype =
            worldIn
                .getBlockState(newPosition)
                .getBlock()
                .getSoundType(worldIn.getBlockState(newPosition), worldIn, newPosition, player);
        worldIn.playSound(
            null,
            newPosition,
            soundtype.getPlaceSound(),
            SoundCategory.BLOCKS,
            (soundtype.getVolume() + 1.0F) / 2.0F,
            soundtype.getPitch() * 0.8F);
        if (!player.abilities.instabuild) {
          energy.extractEnergy((int) cost, false);
        }
        return BlockPlaceResult.SUCCESS;
      case PASS:
      case FAIL:
      default:
        inventory.insertItem(foundStackSlot, foundStack, player.abilities.instabuild);
        return BlockPlaceResult.FAIL_DENY;
    }
  }

  private static int findItemStackSlot(@Nonnull ItemStack item, @Nonnull IItemHandler inventory) {
    int size = inventory.getSlots();
    for (int i = 0; i < size; i++) {
      ItemStack stack = inventory.getStackInSlot(i);
      if (!stack.isEmpty() && stack.sameItem(item)) {
        return i;
      }
    }

    return -1;
  }

  @Nonnull
  @OnlyIn(Dist.CLIENT)
  public static BlockRayTraceResult getBlockPlayerLookingAtClient(
      PlayerEntity player, float partialTicks) {
    return player
        .getCommandSenderWorld()
        .clip(
            new RayTraceContext(
                player.getEyePosition(partialTicks),
                player
                    .getViewVector(partialTicks)
                    .scale(OverloadedConfig.INSTANCE.multiToolConfig.reach)
                    .add(player.getEyePosition(partialTicks)),
                RayTraceContext.BlockMode.COLLIDER,
                RayTraceContext.FluidMode.NONE,
                player));
  }
}


text:
Assunta Scutto (born 17 January 2002) is an Italian judoka.

She won bronze medal at the 2022 World Judo Championships.

References

External links

2002 births
Living people
Italian female judoka
21st-century Italian women


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Symphony No 3 in E-flat major Op 55 'Eroica' (1804) [46:53]
Etienne-Nicolas MÉHUL (1763-1817)
Les Amazones, ou La Fondation de Thèbes: Overture (1811) [7:19]
Les Siècles/François-Xavier Roth
rec. March 2020, MC2, Grenoble, France; September 2020, Théâtre municipal, Tourcoing France and Maison de l'ONDIF, Alfortville France (Beethoven); La Seine Musicale, February 2020, Boulogne-Billancourt, France (Méhul).
Reviewed as a digital download with pdf booklet from eclassical.com (24-bit initially at same price as 16-bit)
HARMONIA MUNDI HMM902421 [54:12]
It has been a terrific twelve months for iconoclasm here on MusicWeb. It began last year with Bohdan Syroyid's review of Bernhard Ruchti's À Tempo project and his latest disc of Schumann piano music. In a nutshell, Ruchti's compelling argument is that we have been reading Schumann's metronome markings wrong and as a result playing him much too fast. At first, I thought this idea grabbed me because I much prefer playing Schumann on the piano much slower than any recording and that that was a just an excuse for my technical limitations at the keyboard! But listening to Ruchti's performance of the Schumann Fantasy in C, I heard a great masterpiece made even greater. The implications extend far beyond Schumann and, of relevance to this review, touch on the vexed issue of tempi in Beethoven.
The second blow for iconoclasm was delivered in April 2021 in Chris Salocks' thorough and provocative review of the Faust, Queyras, Melnikov and Heras-Casado recording of the Beethoven Triple Concerto. Salocks limited himself to the thorny subject of vibrato and to the issue of using fortepianos in this repertoire. Apart from regular harrumphing from Pinchas Zukerman, which mostly makes him come across as a bit of an old fart, I haven't heard any serious discussion about the issue of what used to be called Period Instrument performances since the 80s. My recollection is that this particular culture war was quite bitter but that for decades now it has largely been resolved in favour of what we now call Historically Informed Performance or HIP.
My issue with this whole business is somewhat different from Salocks' but I do have a great deal of sympathy with what he says. It seems to me that a lot of performance practice in the area of the classical era and early Romantic period has become rather homogenised. The worst culprits in this regard seem to me to be conventional orchestras attempting period style rather than specialist HiP ensembles. By way of illustration, I would cite the way every accented note has to involve an explosion, especially if underlined by the timpani. Every phrase must feature an identical emotional bulge. Every tempo must be fast.
Taking these in order: massively exaggerating every accent robs the sforzandi, so crucial in Beethoven of any real meaning as well as disrupting the rhythm of the piece. I am of the view that if Beethoven wants to make a point, he will write it so. But it isn't just in Beethoven that this interpretative tic has become virtually universal. I found the recent reissue of the Mackerras recordings of the Mozart symphonies rather marred by this effect, good though it was overall.
Equally I have no doubt that "bulging" phrases are historically accurate but am I really supposed to believe that every single melodic phrase in Haydn, Mozart and Beethoven is meant to be identical? Such identikit phrasing seems to me to smack of laziness rather than historical research.
As for tempi, I have a sneaking feeling that a whole generation of recordings of Beethoven's 9th will be recognised as having been blighted by an excessively quick tempo for the slow movement. Critics fall over themselves to praise such performances as up to date but never seem to address the crucial issue of the relationship between the two main tempi in that movement. The second tempo is clearly indicated as faster than that of the opening. Most recordings adopting a faster tempo for the opening make very little distinction between the two speeds for the simple reason that to go faster still upon reaching the andante section reduces the music to a gabble no-one seems prepared to contemplate. As a result, the contrast Beethoven was clearly looking for is lost. Abbado's 2012 recording with the Berlin Philharmonic is just the most prominent of many.
The early zealots of the Period Instrument movement seemed of the view that historical research could replace interpretation. Of course, it is not at all clear to me that this is not, in fact, a gross distortion of their view put out by their opponents. Harnoncourt, as one of the leading lights of that movement, never held this view. I have immense affection for Harnoncourt's set of the Haydn Paris symphonies but I don't really think I am listening to them as performed in Paris all those years ago. I am listening to a distinctly early 21st century way of playing Haydn, and an outrageous over the top pleasure it is, too.
The danger is that, like a kind of weird sect, we fall into the trap of thinking that anyone can get at the real Beethoven or Haydn or whoever. In relation to ubiquitous fast tempi, I often find myself thinking of the issue of the acoustic in the Thomaskirche in Leipzig. The church, where the bulk of Bach's religious music was first performed, possesses an echo that precludes the now standard extremely rapid speeds. My point is that musicians tend to be practical people and what will work in one hall may not work in another.
I have nothing against fast tempi or expressive bulges. It is their homogenised application that troubles me. Take Fritz Kreisler's 1926 recording of the Beethoven violin concerto and marvel at the wide range of vibrato he deploys and the extraordinary taste and subtlety with which he uses it. Contrast this with the blanket application of vibrato in the string sections of large orchestras by the 1970s. If nothing else, HiP has shaken up how we think about such issues. A consummate artist like Isabelle Faust varies her tone for deep musical reasons, not because of a prevailing dogma. In this she stands in a line that includes Kreisler, Huberman, Milstein, Menuhin and basically any great violinist worth listening to.
The point is that all of these are creative decisions, not matters of dogma. If Andras Schiff chooses to record Beethoven or Schubert on a fortepiano, it is because it makes an artistic point that is audible to me, the listener, and adds something to my appreciation of Beethoven or whomever. Heras-Casado's recent recording of the Beethoven 9th (HMM90243132, with Choral Fantasia) seemed to me to provide a wonderful solution to interpretative problems that have always dogged that work's opening movement. It did so by the use of a faster than usual speed and the more transparent textures of a period band. This doesn't make this the only way to play this music, and I will not be throwing out my Furtwangler CDs any time soon, but it did add something to my knowledge of the work, which is what the art of the interpreter is all about.
This brings me by an extremely circuitous route to this new recording of the Eroica. Roth, of course, conducts both regular orchestras and specialist outfits like Les Siècles, recorded here. To begin with tempi, I can say with some relief that there isn't anything excessive here in any way. The opening movement is on the fast side but so are those new kids on the block, Toscanini and Karajan! Indeed, with bulges and explosions kept to a minimum, this is a performance that sounds frankly quite conventional.
The nature of the Eroica, with lots of motor rhythms and busy passage-work rather than long melodic lines, means that the issue of vibrato is less obtrusive. The exception is the Funeral March which highlights another interesting trend in contemporary HiP. Increasingly, performers are exploiting the sometimes rough and ready nature of period instruments, particularly Salocks' beloved vibrato-less strings, into ever more modernist-sounding territory. This is a case in point. The Eroica still sounds, in places, like an astonishingly forward-looking work and nowhere more so than in the slow movement. The proto expressionism Roth finds in it was always there, but period instruments allow him to really push that aspect of the music in a way that the plush sounds of a conventional orchestra cannot. Let's not pretend that this is a historical reconstruction – this is one of the distinctive sounds of the early 21st not the early 19th century. Much more to the point, it is thrillingly intense. In its own way, however, it is as interventionist as Furtwängler.
If this is the case, how does Roth's interpretation stand up? This is as fine an Eroica as I have heard in a long time. Roth really understands what makes the symphony tick. He knows, for example, that there is no point weighing the finale down with portentousness in an attempt to match the weight of the first two movements. Instead, he follows Toscanini and Furtwangler and goes for broke.
The Covid-decimated celebrations of Beethoven's 250th birthday have been very good for Beethoven's lesser-known contemporaries. It seems the fashionable thing to do is to shoehorn in one of their works to accompany a Beethoven big beast. To my ears the function of these works is to demonstrate why there is only one Beethoven. The Méhul included here is a pleasant enough piece that looks forward to Mendelssohn without ever really being distinctive. The performers are clearly much more convinced by it than I was.
I have deliberately left my own personal favourite Eroica to the end of this review. In a way, I hope it illustrates the irrelevance of a dogmatic approach to any music. It is the recording by Fran Brüggen and the Orchestra of the 18th Century and, as a result, it is HiP to the tips of its toes (Glossa GCD921116, Symphonies 1-9, 5 SACDs). That isn't the point. Brüggen's grand dark vision of the opening movement opened my ears to hearing music I thought I knew back to front in a new and deeply stimulating way. By comparison with it, Roth is bright, clean and contemporary in the best sense but only in the slow movement does he really access the deeper layers of this music. For others, bored of more subjective interpretations, a lighter hand on the tiller may be extremely attractive.
I won't be replacing Klemperer, Furtwängler or especially Brüggen with this new recording because ultimately I think the HIP argument is a bit of a red herring – what matters is whether a performance has something to say and no amount of historical research into performance practice can replace that. It is noteworthy that Brüggen's tempo for the first movement is significantly slower than Roth's. One fast speed fits all is clearly not as historical as we have been led to believe!
David McDade
Previous review: John Quinn
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Last updated: June 1st, 2016 at 12:05 UTC+01:00
Samsung Galaxy J5 (2016) and Galaxy J7 (2016) review
Samsung's Galaxy J series debuted last year and went on to see considerable success in the budget smartphone market. It wasn't surprising – the Galaxy J5 and Galaxy J7 were two of the best low-cost phones the Korean giant had ever made, with a good mix of features and pricing. This year, the Galaxy J5 (2016) and Galaxy J7 (2016) have arrived with several upgrades over their predecessors. These two phones are also the first budget Samsung phones with metal in their construction, and a quick first glance at their features list would make you think the new devices will build on the popularity of the original J5 and J7.
But are the Galaxy J5 (2016) and Galaxy J7 (2016) as good as that quick glance suggests? Well, that is exactly what we will find out in our official review.
As mentioned above, the J5 (2016) and J7 (2016) bring metal to Samsung's affordable smartphone stable. Like the Galaxy Alpha that first introduced metal to the world of Samsung's Galaxies, the new J5 and J7 have metal only on their sides, with the rest of the phone being the usual mix of glass and plastic. The back is removable and so is the battery, with both needing to be removed in order to access the two SIM card slots (the microSD slot is accessible on the fly).
But before I get carried away with the minute details, let's talk about the phones' designs. Except for a recessed and slightly hard to press home button, the J5 (2016) and J7 (2016) look and feel pretty great. The metal frame on the side adds to the overall feel, with the power and volume buttons extremely well built and easy to press. The back is very smooth, but that doesn't make handling a problem. The phones might feel slippery when you pick them up, but they stick to your hand when you actually start using them.
Given the large batteries inside these handsets (3,100 mAh and 3,300 mAh), the new phones are rather light, which works in their favor when combined with the grippy back cover. The home button, as previously mentioned, is the only point of contention here. It's extremely thin, and unless you're applying notable force, the home button isn't very comfortable to press. That's unfortunate considering how important the home button is when you're using a Samsung device.
Samsung has long ignored its affordable smartphones when it comes to how they look and feel, and the Galaxy J5 (2016) and Galaxy J7 (2016) feel like the company's first step towards rectifying that oversight. Oddly, quality checks don't seem to have been properly done – both our J5 and J7 review units had visible scratches on the rim on the edges next to the display bezel, although we're guessing this might be a limited scenario.
Super AMOLED displays are slowly but surely becoming a norm on Samsung devices, and the Galaxy J5 and Galaxy J7 (2016) carry the trend forward with 5.2-inch and 5.5-inch Super AMOLED displays. The J5 has seen a slight bump in screen size over the original J5 and also an increase in resolution (to 1280×720 pixels from 960×540 pixels). The J7 (2016) has a 5.5-inch display that comes with Full HD resolution in China but only 720p in other regions. There's not a lot of difference between the sizes of the two phones because of the larger screen on the J5, but the J7 is wider and a tad less easy to use one-handed.
In terms of quality, you get everything a Super AMOLED panel offers, including high color contrast, deep blacks, and wide viewing angles. The colors might not be as punchy as on Samsung's costlier devices, but they still make the displays stand out. You can choose between various display modes, a feature Samsung is no longer limiting to its high-end devices. The Basic screen mode is the most accurate and sober, but the whites go a bit too yellow for my taste. It's the case with the AMOLED Photo mode as well, which means you're better off sticking to the Adaptive Display or AMOLED Cinema modes for the best experience.
The J5's screen is considerably sharp, but that isn't the case with the J7's. You won't notice the pixels too often in regular usage, but bring the phone just a little closer to your eyes and the limitation of the not-so-high resolution becomes apparent. It's a shame, really, given how the Chinese variant gets a Full HD panel. Other than pixelated content, it also means slightly less content fits on the screen at any given moment.
Another issue with the displays here is something that we have spoken against in the past, and that's the lack of an auto brightness option. There just isn't any excuse for not putting in an ambient light sensor on any smartphone these days no matter what the price tag. It just mars what is otherwise an attractive visual experience. The Outdoors mode makes a return from previous budget Galaxies for increased sunlight visibility for a limited period, although even at regular maximum brightness, reading the screen under the sun never posed a problem.
A 13-megapixel camera on the rear, a 5-megapixel camera on the front, and an LED flash accompanying both sensors. The camera setup remains unchanged from the original J5 and J7, except for the fact that the front camera also has an aperture of f/1.9 like the back camera, meaning better photos in underlit conditions. The front camera's LED flash is once again just a flashlight and not a true camera flash – it remains lit as long as the flash option is set to on. But Samsung has also added the "make the screen flash all white" trick that was introduced on the Galaxy S7 and S7 edge, to give you slightly more light when you're taking selfies in the dark.
The rear cameras take photos with nice detail in good lighting conditions. There's a dark aura on the outlines of objects and the colors are a little drab – it's something we have seen on all of Samsung's non-flagship phones, but the images are otherwise quite useful even outside of your Facebook or Instagram posts. Focusing is surprisingly quick, especially when you move from a close-up object to something far away and vice versa. Of course, you won't be taking great macros with these phones, but that shouldn't really come as a surprise to most people. Things fall apart at night, which is another aspect that most people should expect should they spend money on these devices.
The front camera's performance depends on the kind of lighting you have around you. Under fluorescent LED lighting, your selfies will come out extremely dull. Switch to yellow lighting and selfies suddenly become much better. There isn't a lot of fine detail in either case, but it's not exactly too bad, either. That camera flash on the front is useless except in very dark conditions, so it really just depends on the environment when it comes to the quality of pictures taken by the front camera.
Samsung's "double press home button to launch camera" feature is present on the J5 (2016) and J7 (2016), and it works exactly like it should. Images are captured in 4:3 ratio even at the highest resolutions, a limitation that we have seen on all of Samsung's non-flagship smartphones recently (and on the S7 and S7 edge, because of their 12-megapixel sensors). The camera app is the same as the S7's; there's a Pro mode available, but it's limited to basics like ISO, white balance, and exposure control. The ability to shoot HDR photos is missing from both devices.
Here go a few camera samples:
Both the J5 (2016) and J7 (2016) run Android 6.0.1 Marshmallow out of the box in some markets, and Android 5.1 Lollipop in others. We had devices with the former thankfully, putting the same software that we see on the Galaxy flagships on our fingertips, save for some features that you don't get because you paid less for these phones. On the contrary, there are a couple of features that we don't see on the flagships, like the Ultra Data Saving mode for reduced data usage and S Bike mode for safer bike riding. We have already gone into detail on how S Bike works, so we'll just let you read up on it at this link.
Themes are supported, and despite the screen resolution, we found many of the themes for high-end Galaxy devices available for the J5 and J7 as well. Since both devices come with NFC, there is support for Android's default payment service and for Samsung Pay in markets where it is available (and once Samsung decides to make the service compatible with these phones). The NFC chip also serves the purpose of activating S Bike mode if you have NFC tags; oddly, there are no NFC tags in the box, which wasn't the case with the cheaper Galaxy J3 (2016) here in India.
Let's talk about a few minor things. You get preloaded Microsoft apps like every other Samsung phone since last year, along with 100GB of free OneDrive storage (which cannot be claimed if you have done so already on a previous Samsung phone). These apps can be found in the Microsoft folder in the app drawer; speaking of the app drawer, you still need to sort the apps by name manually every time you install a new app. One-handed operation mode from higher-end Galaxy phones is present here, but you don't get features like Download Booster or Multi Window, probably because of the budget hardware.
Overall, the software is more or less similar to the original Galaxy J5 and J7, except that it is based on a newer version of Android and brings further optimization and an improved user interface.
The Galaxy J7 (2016) is the better performer of the two new Galaxy J handsets. Well, both phones are smooth and sufficiently quick, but the J5 has considerably more stutter and delays in regular usage. It's nothing bad, but it's clear the J7 and its octa-core Exynos 7870 SoC (the J5 has the old quad-core Snapdragon 410) have the lead when it comes to everyday performance. Apps don't fire up instantly on either device – there's a slight pause before the screen animates and an app starts loading, but this is rather normal for devices in this segment. Installation of apps can take some time; not surprising, as you don't have the fast UFS 2.0 storage found on Samsung's flagship smartphones.
Even on the J7 there is some stutter here and there, especially when you're jumping around between various apps too quickly, but otherwise it's consistently smoother. Browsing is fine on both devices, though they did sometimes get stuck after a link was clicked or a heavy webpage was being browsed. Of course, high-end gaming is where the affordable nature of these phones becomes apparent. Regular games run just fine, but heavier titles like Modern Combat 5 or The Walking Dead don't always manage to offer a smooth framerate. The J7 (2016) is again the better performer here – Modern Combat 5 defaulted to medium graphics quality on the bigger phone, while on the J5 it started off with the lowest quality setting.
Both the J5 (2016) and J7 (2016) come with 16GB of internal storage, and the J5 gets the benefit here as the original had only 8GB of storage. The microSD slot can accept cards of up to 128GB, but like the S7 and S7 edge (or any other Samsung device running Marshmallow), adoptable storage isn't supported. For those unaware, adoptable storage lets you make the external storage a part of the internal storage, making for increased space for apps and other data that can't be saved to the external storage. Still, you can move apps to the SD card after they're installed (and if they support running from external storage), so it's not all bad.
The J5's call quality was rather problematic – there were quite a few instances where the person on the other end wasn't very clear. The J7 didn't have the same issue, though, and when it came to network reception, neither device had problems latching on to the fastest network available. Audio from the loudspeaker is as average as it gets. It's quiet, there is no clear difference between high and low frequencies, and the rear placement means sound get muffled when you put the phones on a soft surface (like a bed, or inside your jeans pocket). The supplied earphones make things better, but audio quality is middling for the most part as befits the budget pricing of these handsets.
With 3,100 mAh and 3,300 mAh batteries inside the Galaxy J5 (2016) and Galaxy J7 (2016), you would think these phones would offer stellar battery life, and you would be right. In fact, the Galaxy J7 (2016) was mind-bogglingly impressive – on the first full charge, the phone managed to last me a total of two days, with a screen time of more than 7 hours. This included setting up newly installed apps, a couple of hours of LTE data, around 10 minutes of navigation (on LTE), and a fair bit of time checking and general usage.
I even turned off the app optimization feature that prevents apps from running in the background if they haven't been used for a few days. This didn't really play a part as you need at least three days of initial usage before the feature kicks in, but I can't imagine how much better the battery life would be once app optimization starts doing its work. The low screen resolution no doubt helped, in addition to Marshmallow's Doze feature, and the J7 (2016) is simply a force to reckon with in terms of battery endurance.
The Galaxy J5 (2016) wasn't as great, either because of the Snapdragon 410 inside or the smaller battery size, but you're still looking at more than a day of battery life in all but the most demanding scenarios (long gaming sessions and the like). You have Samsung's regular and Ultra power saving modes, but I'm sure most folks will rarely need to use those. When it comes to charging times, both phones take up to two hours to reach 100 percent capacity. Not at all fast, but with the long-lasting batteries, the charging times are a non-issue.
Everyone in China is making cheap phones with metal bodies, and it was only a matter of time before Samsung decided it could no longer sit on the sidelines and watch. The Galaxy J5 (2016) and Galaxy J7 (2016) with their partly metal bodies are a good start for the Korean giant, with quite a few features that make them attractive purchases. Like the original J5 and J7, solid battery life is the defining feature, but with welcome improvements to the software, (rear) camera, and viewing experience.
Not everything is rosy, however, what with missing basic features like auto brightness and standard point of contentions like poor audio that really shouldn't plague even budget devices these days. But as a large corporation, Samsung can only do so much to bring more and more value to a segment where profits are already hard to come by, and keeping that in mind the Galaxy J5 (2016) and Galaxy J7 (2016) are pretty good options for anyone looking for a smartphone that doesn't break the bank.
Attractive displays No auto brightness
Unbelievably good battery life Average front camera
Smooth software (mostly) Unimpressive audio quality
Nice design for the asking price Unergonomic home button
Galaxy J5 (2016) Galaxy J7 2016
Galaxy J7 (2016) updated to Android 8.1 Oreo in some countries Abhijeet M.|2 years
Galaxy J7 (2016) and Galaxy J7 Prime receive October patch in India Adnan F.|2 years
Galaxy J7 (2016) may be first Galaxy J series phone to get two major OS upgrades Abhijeet M.|2 years
Android 7.1 Nougat update rolling out to the Galaxy J5 (2016) in India Abhijeet M.|3 years


I wrote a blog post about smart links to Office 365, but there's also a way to make sure users with their mailboxes in Office 365 automatically are redirected to their Outlook Web Access there (with SSO). They key lies in using a 307 redirect instead of 301 or 302, where the post is sent to ADFS – and the username and password field (luckily) are the same in Exchange (tried it with 2013). I haven't tried this with Windows Integrated Authentication internally, but should work just fine – but maybe needs some tweaking.
add policy patset PATSET_HOSTHEADER_E2013 bind policy patset PATSET_HOSTHEADER_E2013 mail.example.com -index 1 bind policy patset PATSET_HOSTHEADER_E2013 autodiscover.example.com -index 2 add policy expression EXP_ADV_HOSTHEADER_E2013 "HTTP.REQ.HEADER(\"Host\").SET_TEXT_MODE(IGNORECASE).CONTAINS_ANY(\"PATSET_HOSTHEADER_E2013\")"
add policy expression EXP_ADV_HOSTHEADER_E2013 "HTTP.REQ.HEADER(\"Host\").SET_TEXT_MODE(IGNORECASE).CONTAINS_ANY(\"PATSET_HOSTHEADER_E2013\")"
Remember to replace example.com (it's in a few different places) as well as the ADFS FQDN.
Leave a comment if you have any questions or if it doesn't work – or if you have any better ways of doing this! I've tried it with Exchange 2013 and ADFS on 2012 R2.