text:
Хаймбург () е част от град Бланкенбург в Харц в Саксония-Анхалт, Германия с 859 жители (на 15 февруари 2018).

Хаймбург се намира на около 5 km северозападно от главния граф Бланкенбург (Харц).

Хаймбург е споменат за пръв път в документ през 1073 г. На 1 януари 2010 г. дотогава самостоятелната община Хаймбург отива към град Бланкенбург.

Външни препратки

 www.heimburg-harz.de

Квартали в Германия
Саксония-Анхалт


...and so I quickly did what my mind told me to do around a small, strange, linear shape of head with a long nose that already was there (and, you will see, the surface is really big and drawings are small and a lot... but somonene started drawing on mine after 3 minutes I made it... haha! I take it like a compliment! :-D ).


Whenever Republicans run for office, they say they're going to go to work to reduce spending and the size and scope of government. But when they arrive in Washington, to paraphrase Stephen Slivinski, many Republicans stop viewing Washington as a cesspool and treat it more like a hot tub. They get comfortable with Congress because they want to rise in the ranks of the conference, get a coveted committee like Appropriations, and work their way into committee chairmanship or a leadership position.
FreedomWorks President Adam Brandon made the following statement regarding reports that Senate Majority Leader Mitch McConnell is considering skipping budget reconciliation, throwing away the best chance to further a conservative agenda this year.
To say it's been a frustrating year for conservatives would be a vast understatement. After running for years on promises of a full repeal of Obamacare and winning elections in a sweeping and historic victory, Republicans couldn't even manage to pass the repeal they passed months before under former President Barack Obama.
After a hotly contested — and highly expensive — 2017 election cycle, the Democrats have taken the governor's mansions in both Virginia and New Jersey. In both cases, it was a sweeping victory, with Ralph Northam winning nearly 54 percent of the Virginia vote and Ryan Murphy winning 56 percent of the New Jersey vote.


Real Madrid overcame a tough challenge from Khimki Moscow Region to remain perfect with a 79-74 victory, boosting the reigning champs' record to 7-0.
Madrid was in front nearly all the way without being able to establish a truly commanding lead as Khimki battled hard to stay in touch, but a late flurry from Jaycee Carroll proved enough. Carroll paced the hosts with 15 points, followed by Fabien Causeur with 13 points and Facundo Campazzo with 10. Khimki, which was without league-leading scorer Alexey Shved due to illness, was led by 16 points apiece from Tony Crocker and Anthony Gill, the latter of whom made 8 of 9 two point attempts. Malcolm Thomas scored 13 and Jordan Mickey added a double-double of 12 points – all on three-pointers – and 10 rebounds for Khimki, which dropped to 1-6.


The Gurgaon Theatre Group (GTG) is an initiative of Search Years, an NGO registered under the Societies Act 1860. Search Years is a small, grass root NGO, engaged in providing quality and holistic education to the children of migrant communities through the government schooling system.
Rezang La Memorial slowdown: Who to blame?
It runs many programs, one of which is Kalasthali, a center for Art and Vocational education, situated in Palam Vihar, Gurgaon and the beneficiary of the resources raised by GTG.
Gurgaon Theatre Group is a community of theatre and drama enthusiasts, which has been raised by Search Years to learn, appreciate and act in theatre. While it does that, GTG also supports Search Years with volunteering and by generating resources. There are close to 200 members of the group, some of who meet twice a week on weekends to follow their passion for theatre with the help of experts in the field. GTG follows a model which does not subscribe to a singular director/facilitator, but changes the mentor every 3-6 months. In doing so, the group gets an exposure to not only different genres of theatre but imbibes different styles of any one genre.
GTG staged a production called "Darling Sharling, Hai Tauba" directed by Mr Mrinal Dhar, on 27th January, 2012 at Indo-French Cultural Centre, Alliance Francaise de Delhi, Lodi Estate, New Delhi after 4 months of long weekend workshop and rehearsal.
"The play was an adaptation from Moliere's 'Imaginary Invalid' in which the grand old romantically-young Arjun is a hypochondriac. Which means, he may or may not be ill, but every day he is able to discover a new disease in his body!! Add to this a blunt and tireless maid servant, Tinki, who interferes even in his sneezes. Arjun's high-on-histrionics second wife Babita, who is straight out of an 'Ekta Kapoor' serial and a couple of weird characters make this high-on-old-world 'Hrishikesh Mukherjee' type of comedy. And as we were enjoying the various plots and sub plots, suddenly the story takes a mysterious turn. Who really is Tinki!?" said a spokesperson about the their latest production.
GTG's next workshop is being led by Shri Arjun Raina, who had been the professor of Voice, Speech and Acting at the National School of Drama (NSD) and now teaches theatre in Australia. He will be facilitating the training of members and helping in the staging of GTG's next theatric production.
Hi....Im looking to join Gurgaon Threatre group. Can anyone suggest who to approach ?


text:
Safe Care for Patients at the Lifespan Infectious Diseases Center
Infectious Diseases Consultation
HIV/Viral Hepatitis Co-infection Clinic
What is Hepatitis?
Comprehensive HIV Primary and Specialty Care
RISE Clinic for Tuberculosis Treatment
Sexually Transmitted Infections Clinic
Global and Local Health Programs
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The Brown University Global Health Initiative
Refugee Medical Aid with Immediate, Lifelong Impact
Fellowship program offered flexibility to pursue his passion
Basic Virology
Infection Control and Hospital Epidemiology
Immunology Research Highlights
Research aimed at effectively fighting antibiotic-resistant bacteria
Antimicrobial Drug Discovery
Infectious Diseases Clinical Research
Eleftherios Mylonakis, MD, PhD, is chief of infectious diseases at Rhode Island Hospital and The Miriam Hospital. A highly regarded physician-scientist, Dr. Mylonakis came to Rhode Island and The Miriam hospitals from Massachusetts General Hospital, where he served as an associate physician. He was also an associate professor of medicine at Harvard Medical School.
Mylonakis leads the infectious disease division at both Rhode Island and The Miriam hospitals and oversee one of the hospitals' largest research divisions, with major initiatives under way in HIV/AIDS, viral hepatitis, hospital-acquired infections, tuberculosis, substance use and prisoner health.
A graduate of the National University of Athens in Greece, where he received both his medical degree and PhD, Mylonakis fulfilled his internship and residency in internal medicine at The Miriam Hospital, where he also served as chief resident. He then completed a fellowship in infectious diseases as Massachusetts General Hospital.
Mylonakis is internationally recognized for his research on the study of host and microbial factors of infection and the discovery of antimicrobial agents, or substances that kill or inhibit the growth of microorganisms such as bacteria or fungi. His research has received support from the National Institutes of Health and the Ellison Medical Foundation and he has published more than 160 peer-reviewed scientific articles and book chapters. Mylonakis, who has edited five books on infectious diseases, is also the founding editor-in-chief of Virulence, an international peer-reviewed journal that focuses on microbial infections and host-pathogen interactions.
His accomplishments have led to several prestigious national awards, including the American Society for Microbiology's Young Investigator Award and the Infectious Disease Society of America's prestigious Oswald Avery Award. Mylonakis is also a 2011 inductee to the American Society for Clinical Investigation.
Mylonakis is also a professor of medicine at The Warren Alpert Medical School of Brown University.

redpajama_set_name: RedPajamaCommonCrawl


All subpoenas directed to the Records Department must be served by hand delivery at the City of Philadelphia Law Department, Claims Unit, 14th Floor, 1515 Arch Street, Philadelphia, PA 19102, where the subpoena will be logged and date-stamped. The subpoena should then be taken by the server to the Department of Records, City Hall Rm 156, at which point Records Department personnel will be able to start the process of addressing the subpoena request. Please make a copy of the date-stamped subpoena for your records.


• Set of 1 folded scratch off note cards.
• Note cards are 4.25" x 5.5"
• Cards are printed on matte card stock to allow for writing with a pen.
• The inside of the note card will also be blank to allow for a personal handwritten message.
• Scratch off stickers come applied to the cards.
• Note cards will come with 1-A2 Kraft envelopes.
Please make sure to scratch off the sticker firmly with a coin.
I can adjust the text to fit your needs. The graphics and layout come as pictured. I can add simple phrases under the scratch off such as..."bridesmaid, maid of honor, matron of honor, flower girl, ECT." Please leave your custom instructions at checkout. Choose your scratch off sticker color via the drop down menu. I will send a proof within 24 hours via Etsy. Please view our "Custom and personalized orders" section in our frequently asked questions for additional information and policy's regarding custom products.


text:
Q: Can't run a pig script on apache Zeppelin > org.apache.pig.backend.executionengine.ExecException: ERROR 4010:
> Cannot find hadoop configurations in classpath (neither
> hadoop-site.xml nor core-site.xml was found in the classpath). If you
> plan to use local mode, please put -x local option in command line at
> org.apache.pig.backend.hadoop.executionengine.HExecutionEngine.getExecConf(HExecutionEngine.java:157)
> at
> org.apache.pig.backend.hadoop.executionengine.HExecutionEngine.init(HExecutionEngine.java:194)
> at
> org.apache.pig.backend.hadoop.executionengine.HExecutionEngine.init(HExecutionEngine.java:111)
> at org.apache.pig.impl.PigContext.connect(PigContext.java:310) at
> org.apache.pig.PigServer.<init>(PigServer.java:232) at
> org.apache.pig.PigServer.<init>(PigServer.java:220) at
> org.apache.pig.PigServer.<init>(PigServer.java:193) at
> org.apache.pig.PigServer.<init>(PigServer.java:185) at
> org.apache.zeppelin.pig.PigInterpreter.open(PigInterpreter.java:61) at
> org.apache.zeppelin.interpreter.LazyOpenInterpreter.open(LazyOpenInterpreter.java:69)
> at
> org.apache.zeppelin.interpreter.remote.RemoteInterpreterServer$InterpretJob.jobRun(RemoteInterpreterServer.java:617)
> at org.apache.zeppelin.scheduler.Job.run(Job.java:188) at
> org.apache.zeppelin.scheduler.FIFOScheduler$1.run(FIFOScheduler.java:140)
> at
> java.util.concurrent.Executors$RunnableAdapter.call(Executors.java:511)
> at java.util.concurrent.FutureTask.run(FutureTask.java:266) at
> java.util.concurrent.ScheduledThreadPoolExecutor$ScheduledFutureTask.access$201(ScheduledThreadPoolExecutor.java:180)
> at
> java.util.concurrent.ScheduledThreadPoolExecutor$ScheduledFutureTask.run(ScheduledThreadPoolExecutor.java:293)
> at
> java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1149)
> at
> java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:624)
> at java.lang.Thread.run(Thread.java:748)

I have tried run a pig script on apache Zeppelin but it gives me this error.I have checked all the configurations and settings but unable to resolve this.

A: Please check the doc here. https://zeppelin.apache.org/docs/0.8.0/interpreter/pig.html
Most likely you set execution mode as mapreduce, but didn't configure HADOOP_CONF_DIR

redpajama_set_name: RedPajamaStackExchange


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text:
A simple circle on a white background. Four spaces for photos. At first glance, this template doesn't look like a canvas designed to bring social awareness. But one former high school teacher says it's transforming the lives of youth across Montana.
Once an English teacher at Hardin High School, Dani Phillips spent the last several years teaching primarily Native American students. Over the years, she'd searched for a project that would engage students and get them talking about race, ethnicity, social justice and other universal issues facing teens today. She never found one. So, with the help of her students, she developed one known as Unreserved.
The name is an undoing of the word reservation, which holds a double meaning — reservation, to hold back, and reservation, the place. In both cases, Unreserved is fitting.
"This is 100 percent student centered," Dani says.
Usually held in a day-long workshop, Unreserved asks students to delve into four themes and how they relate to their lives: heritage, hurdle, happiness and hope. As students share experiences with their small group, they add photos they brought with them to add to their circular outline. An adult who serves as a facilitator sits in and creates their own personal work of art, helping the kids to dig deep and explore the themes fully.
"We tell them that this is the day for you to be safe to do that," Dani says.
The active and artful lesson starts with heritage because, for most students, it's the easiest topic to share. It can be anything in their past that has shaped who they are. The students tackle "Hurdle" next and focus on those things that keep them from reaching their potential. They look at "Happiness," and the things that bring them joy, and then the program ends on "Hope," when students really look to their future and their goals.
"Just having your story heard is empowering," Dani says. And, using art to bring your history to life, Dani says, taps into each student's creative side. "There's something about making things together that bonds us together," she adds.
When the day-long exercise wraps, students who don't mind have their work of art shared in the halls of their high school or within a community exhibit. Even though the work is incredibly personal, Dani says most students are willing to share.
"What this does is create a community scrapbook," Dani says.
Last year, Dani put together an Unreserved event for 75 students in Lewistown. It was the largest group she'd ever hosted. Students from Browning, Hardin and Lewistown sat at tables together, sparking small group discussions. After listening to a few guest speakers, the day wrapped with a student-led round dance and drum circle.
During the day, students discovered that despite their differences, they had more in common than they thought.
"This is so simple that I can hardly believe we haven't been doing anything like this before," says Meggan Cirrincione, a high school English teacher from Lewistown.
"The only time these students would have ever met would have been through sports – with competition coming before connection," Meggan says, adding that her students all say it was an eye-opening experience.
"It takes a lot of courage for kids to open up like that," she says.
Unreserved hits the mark on many educational levels. It teaches interpersonal communication skills and creativity and introduces important themes such as diversity, race, equity and social justice. Throughout the activity, students are making deep connections with each other just by being open and vulnerable.
"For me, the biggest piece is student engagement," Dani says. "You're not going to see kids checked out while doing this."
Cheyenne Whiteman, a Hardin High School student from Crow Agency, participated in Unreserved when it was held in Lewistown. While she's usually shy, she says opening up during the project was not as difficult as she expected.
"When other people share really intense stuff with you, it helps you open up to share the deeper parts of yourself," Cheyenne says. "When you make that deep connection with someone, it opens your eyes and you realize that you have a lot of things in common."
Unreserved started as a project in Dani's English classes at Hardin High, where Cheyenne was one of her students. While Dani was looking for a project that could get kids to open up about their personal experiences, this program exceeded even her expectations. So much so that this spring, Dani left teaching to facilitate Unreserved full time. She's working to make this project available for all Montana students, especially those living on or near an Indian reservation.
"It was completely an intuitive decision," Dani says. "Every part of me believes I need to do this, and I need to do it now. This is the next step in my life."
She's in the process of establishing Unreserved as a nonprofit and has found sponsors to help cover the cost of delivering the program. This fall, Unreserved will be the subject of a qualitative study, and Dani is working with a team of educators to build wrap-around curriculum that can be used if teachers want to take Unreserved back to their classroom for extended instruction. She has the support of dozens of teachers across the state, including two former Montana teachers of the year.
Beyond the classroom, Dani believes that Unreserved could also be a useful exercise for teams, corporations and other organizations that want to take their social awareness and interpersonal communication to the next level.
"I don't see any group that won't benefit from this," Dani says.
Unreserved is a tool for exploring diversity, bringing diverse groups together and bridging social differences. While Montana may seem to lack diversity, Dani would argue that it has plenty if you stop and look around.
"We have such amazing diversity in this state," Dani says, "and we totally overlook it."
FOR MORE INFORMATION on the Unreserved program, visit www.urart.org
Laura Bailey
Daniel Sullivan


Communication can make or break your response to a crisis. To help ensure you're ready for whatever comes your way, we're sharing the fundamentals of crafting an effective crisis communications strategy.
By the end of the webinar, you'll be more prepared to lead your team through any crisis with a steady and proactive crisis communications strategy.


At least four convictions for insurance fraud are based on an incorrect amount from Nav and the defendants may have been punished too harshly.
Dagens Næringsliv wrote earlier this week that an error in the calculation used by Nav has had serious consequences for an estimated 1,300 cases for repayment of Nav support since 2002.
Initially Nav examined cases back to 2014 to the present day, as amongst these 51 cases were persons who are still imprisoned because of this error.
The four most serious errors during this period are due to miscalculations of between 11,000 and 22,000 Norwegian kroner, according to the newspaper.
In one of the cases, a person was convicted of having defrauded 158.000 kroner, but this sum is actually 22.000 kroner too high.
Partner Helge Hjort from the law firm of "Hestenes og Dramer", pointed out the case where the correct amount is 114,000 kroner and not 128,000 which a person was convicted for.
– The error could be a deciding factor when it comes to the type of imprisonment or probation, says Hjort.
Be the first to comment on "Several convicts affected by NAV errors"


Encyclopedia on animated film techniques.
Chapter on Tim Burton and the animated film.
Presses Universitaires de la Méditérranée, 2018.
Collective work (edited by Chris Robinson & Britt Mumford).
Chapter on La traversée de l'Atlantique à la rame by Jean-François Laguionie.
Third volume of the great encyclopædia by Giannalberto Bendazzi.
Collective work. Writing of the french contemporary period.
Worldwide encyclopedia on animated film.
Chapter: « Les grandes fonctions d'After-Effects."
Collective work (edited by Jayne Pilling).
Chapter: "Pour mieux comprendre After-Effects."
Book celebrating the 50 years of the l'ASIFA (ASsociation Internationale du Film d'Animation).
Chapter about the birth of the l'ASIFA.
Behind the scenes of 13 classics short animation.
Behind-the-scenes of 13 of the greatest short animations ever made, with interviews of the directors and close collaborators who made each one, offering a unique guide to classic techniques from the masters of their crafts.
288 pages, soft cover, color.
Collective work (edited by Laurent Gervereau).
Worldwide image dictionary (history, easthetic…).
Author of the chapters about the animated film, and typography.
Nouveau Monde éditions, (17 novembre 2006).
Bilingual Monograph (english-croatian) dedicated to Borivoj Dovnikovic and his work.
Éditions SKD Prosvjeta, Zagreb (2006).
271 pages, soft cover, color.
Trilingual monograph (english-french-german) dedicated to the animated film director and his work, with analysis and interviews.
208 pages, 210 illustrations in colors & black and white.
Step by step workshop for the film making with After-Effects.
84 pages, soft cover, color. With 1 CDrom.
LE CAHIER DE GOBELINS, L'ECOLE DE L'IMAGE.
Step by step workshop for the making of a digital multiplane with After-Effects.
103 pages, soft cover, color. With 2 CDrom.
Bilingual monograph (english-french) dedicated to the animated film director and his work, with analysis, interviews and tributes.
103 pages, soft cover, illustrations color & black and white.
Technical and historical worldwide encyclopedia of animated film from the origins to the present day. More than 2000 films catalogued and analysed, nearly 1500 quotes on animation professionals, annexes giving numerous practicle informations.
Dreamland Editions, 2001, 344 pages, hard cover, quadrichromy, illustrated by 950 reproductions, forewords by Jean-Claude Carrière.


text:
Q: How do I update a table with fields selected from another table? Although there are many questions similar to this, such as
"Updating a record from another table",  but i could not get this working.
I have a query that selects and updates table sem_stdexamfinresmark. The select subquery returns multiple rows of data whose size may not be equal to the table being updated, but the update is now working.
The query looks like :
update  sem_stdexamfinresmark sr,
    (select
         se.currsession,
         str.studentid,
         str.classid,
         str.subjectid,
         str.aggScore*(select gbtp.percentage from gb_termpercentage gbtp where gbtp.termname = se.examtype)/100 as aggPer,
         str.aggGrade
    from
        sem_stdexamtermresr str,
        sem_exam se
    where
        str.examid=se.examid and
        se.examtype = 'Second Term' and
        se.currsession =1 and classid='8'
     ) s
     set
        sr.SecondTermMark = s.aggPer and
        sr.SecondTermGrade = s.aggGrade
     where
        sr.studentid=s.studentid and
        sr.subjectid=s.subjectid and
        s.currsession = s.currsession and
        sr.classid='8';

EDIT:
update  sem_stdexamfinresmark
 set
    sr.SecondTermMark = s.aggPer and
    sr.SecondTermGrade = s.aggGrade
from
(select
     se.currsession,
     str.studentid,
     str.classid,
     str.subjectid,
     str.aggScore*(select gbtp.percentage from gb_termpercentage gbtp where gbtp.termname = se.examtype)/100 as aggPer,
     str.aggGrade
from
    sem_stdexamtermresr str,
    sem_exam se
where
    str.examid=se.examid and
    se.examtype = 'Second Term' and
    se.currsession = 1 and classid='8'
 ) s
 where
    sr.studentid=s.studentid and
    sr.subjectid=s.subjectid and
    s.currsession =1 and
    sr.classid='8';
    select * from sem_exam;
    update sem_exam set currsession =1;

A: try something that looks more like:
update foo
set col = bar.col
from bar
where ...

A: This is what happens when one loses sleep :( I just did a silly mistake here and added "and"


text:
MIGDbMy Internet Game Database
How will Elden Ring differ from Dark Souls?
Elden Ring's director and creator of the Dark Souls franchise shared how the Elden Ring will make the difference compared to the early games, and how Elden Ring will interest players.
One of the most interesting E3 announcements was Elden Ring, from Hidetaka Miyazaki, the creator of such famous games Bloodborne, Sekiro: Shadows Die Twice and of course the Souls games. Immediately after the announcement, many wondered how the future game would differ from the existing games - moreover, Miyazaki himself had previously stated that Elden Ring would "go beyond" its genre.
"Our main goal is to provide players with more options than in previous games in the studio," said Miyazaki. According to him, the combat system of Elden Ring will be completely built around your personal preferences, so the player can combine the character's skills as he wants. "We wanted to focus more on variety and freedom in combat," Miyazaki said.
In addition, it seems that the developers will completely cancel the Sekiro: Shadows Die Twice system, where after losing a battle, your character simply resurrected in the same place, without any penalties. Also, according to Miyazaki, the studio will change its attitude towards the scale of your character's stamina, which will no longer determine the pace of the game. This will be done in order to give you more freedom in your gaming journey. You can also use stealth mode if you decide to avoid direct encounters. Miyazaki revealed that Elden Ring will have many variations for stealth.
As a reminder, Elden Ring will be released in 2022. At E3, the developers said the release would be "more than just a game."
Authored by: tentacl
Published on: 16 June, 2021
IF (Interactive fiction)
Steam Deck or Switch?
Valve announced a portable console
Netflix plans to go into video games
Ghostwire: Tokyo PS5 release postponed
Cyberpunk 2077 leads PlayStation Store monthly chart
Elite Dangerous: Odyssey Console Delayed
In Ukraine cybercriminals used PS4 to mine cryptocurrency
Death Stranding: Director's Cut is not actually a director's cut
© 2018 - 2022. All Rights Reserved. migdb.com


text:
The Morbid Urge to Gaze in Peeping Tom and Perfect Blue
The Morbid Urge to Gaze
in Peeping Tom and Perfect Blue
words by Leonie Rowland
he Gothic is always preoccupied with space.
Chris Baldick argues that 'a claustrophobic sense of enclosure' is essential to the construction of Gothic texts [1]. Likewise, for Sara Wasson, urbanisation has 'made cities a surrogate for the gloomy fastnesses of earlier Gothic,' mapping the physical and psychological decay associated with monstrous mansions and crumbling crypts onto seemingly innocuous urban spaces: a shop window, a movie set, a magazine shop [2]. In Michael Powell's Peeping Tom (1960), the urban Gothic is most prominent in the tension between anonymity and voyeurism, where the city ensures the former and encourages the latter.
Peeping Tom is the story of Mark, a cameraman who murders women with a knife attached to the end of his tripod. As they are dying, he films it and makes them watch in a mirror, suggesting that his urge to gaze is synonymous with the urge to dominate, to document, to witness death. He is able to achieve this because his camera (which he hides behind) and the city (which he hides within) both allow him to remain anonymous. As such, Mark's capacity for transgression is directly linked to the anonymity granted to him by urban space.
In Kon Satoshi's animated horror film Perfect Blue (1997), the city similarly facilitates voyeurism by granting the voyeur anonymity. However, whereas Peeping Tom constructs urban space from the watcher's point of view, Perfect Blue is about the horror of being watched. The protagonist, Mima, leaves her job as a pop idol to become an actress, but as she transitions from one career to another, she suffers a psychological breakdown. This is triggered in part by her sexualisation and exploitation at the hands of the media, as well as the fact that she is constantly observed by a stalker who documents her life online. Her identity becomes a contested space, with everyone around her vying for a piece of it: she is part idol, part actress and part porn star, making her little more than an image of herself. The distribution of this image (or images) across the city allows Mima to be watched at all times.
In this sense, as Susan Napier argues, Mima is 'menaced by a variety of dangers in a dark, convoluted, and forbidding environment,' making Perfect Blue, at its heart, an urban Gothic text [3]. The sense that she is being 'menaced' by unknown dangers is often a result of the city's ability to conceal potential threats (in the dark, behind closed doors) like it conceals Mark in Peeping Tom, whilst also infiltrating Mima's private space (usually through technology), making it a threat in and of itself.
Thus, despite their disparate locations (London, Tokyo) and socio-historical moments (1960s England, 1990s Japan), both films treat their respective urban environments as facilitators of voyeurism. As such, both cities are Gothically coded: where London is dark, secretive and transgressive, Tokyo is imposing, labyrinthine and dreamlike. However, whereas London facilitates the creation of images (in the form of Mark's films), Tokyo allows them to be distributed (in the form of Mima's many identities). In this sense, Perfect Blue signifies the advancing of voyeurism (and the urban Gothic) into the digital age.
Peeping Tom opens with a woman called Dora standing on a deserted street, surrounded by potential voyeurs. Most of the windows around her are lit up, suggesting the presence of people behind them and therefore the possibility that they are watching. Likewise, the camera is positioned at head height, framing the audience as immediate observers of the scene. When Mark emerges, he is a shadowy, nonchalant figure who shows little obvious interest in Dora until he starts filming, the implication being that his camera is watching, not him. This immediately positions Dora as the subject of multiple gazes, despite the illusion that she is alone, suggesting that the silent streets conceal, and therefore facilitate, the voyeur.
In Perfect Blue, Mima is similarly positioned as the subject of multiple gazes; however, this is because the city facilitates the distribution of her image. The film opens with her fans at a concert, waiting for her to come on stage. They gossip about her and sell magazines with her face on them, suggesting that, thanks to the reproduction of her image, she does not have to be present to be observed. In many ways, this scene is the opposite to the opening of Peeping Tom: the space is full of people who have congregated to watch Mima, but Mima herself is physically absent. It is also devoid of obvious Gothic imagery, unlike the shadowy streets of London. However, the scenes share similarities in the sense that the voyeurs remain largely anonymous: in Peeping Tom, Mark either hides his camera (to conceal his intentions) or hides behind it (to conceal his face), whereas, in Perfect Blue, the crowd is presented as a faceless mass of spectators. This reveals a tension between voyeurism and anonymity, where the voyeur must be concealed in order to adequately reveal the subject. It also frames voyeurism as a one-way transaction, in which the watcher consumes the watched and offers nothing in return.
The exploitative nature of this transaction is clear in Peeping Tom when Mark starts filming Dora. His invasion of her privacy is made possible by the fact that her environment and body are both public spaces: she is a prostitute and therefore invites (or even depends on) voyeurism to some degree (just as Mima depends on being watched by her fans); equally, her only line of, 'It will be two quid,' frames her as a commodity (just as Mima is objectified by the idol industry). As a result, she is aligned with the shop she is standing in front of, which is full of dismembered mannequins. If mannequins, in Wasson's words, are 'queasy doublings of the living,' then the shopfront symbolises the way Dora is perceived in life, as well as foreshadowing her imminent death [4]. This image of women in pieces is literally and figuratively reflected in the image produced by Mark's camera, which is split into quarters by crosshairs. According to Catherine Zimmer, '[t]he crosshairs of Mark's camera focus in a manner that renders the object upon which he focuses as partial objects: bodies in pieces, parts for wholes' [5]. In Mark's eyes, which are synonymous with the camera, Dora is already partial: she is part person and part property, part prostitute and part prop. The crosshairs, too, resemble a shop window – she, like the mannequins, is an object on display. In this sense, she is both reflected in and condemned by her environment.
In Perfect Blue, Mima's environment also reflects her life in increasingly intrusive ways. When she is in her room watching reports of an earthquake that has 'flattened towns throughout the region,' shots of her possessions are accompanied by descriptions of the rising death toll, suggesting that the security of her home is vulnerable to disruption in the same way that the city is vulnerable to natural disasters. Although the contrast between collapsing buildings and her cosy flat is initially clear, the stability associated with her home is undermined when, during the announcement, she takes down the poster of the pop group she has just left and says goodbye to 'idol Mima.' Here, the destruction of the landscape mirrors the loss of Mima's identity, establishing her room as an unstable space that is easily shaken by the tremors of Tokyo.
This sense of intrusion is amplified in Perfect Blue when the physical space of the city is extended into the virtual landscape of the Internet, where Mima's life is documented on a blog called 'Mima's Room'. By translating her actual footprints into a digital one, the author of Mima's Room (who is posing as Mima) transforms her into an object of perpetual gaze: she can be watched anywhere, at any time, by anyone. Overwhelmed by this realisation, Mima asks how 'they know this much,' suggesting the virtual world has made her aware of the extent to which she is being observed. Her apartment is also overrun with (usually technological) signifiers of intrusion: phones ring, fax machines beep, curtains billow in the breeze. Her consequent unease implies that the Internet, in its defiance of distinctions between public and private, is just as convoluted and forbidding, and therefore just as Gothic, as the city itself.
The digital and physical landscapes come together at the film's climax, when Mima, thinking she is in her apartment, pulls back the curtain and finds herself gazing onto an unfamiliar part of the city. It slowly dawns on her that Rumi has created an exact replica of her home where she can live out her life as a double of Mima. It is a literal manifestation of the blog 'Mima's Room' and the result of Rumi's desire to observe and be observed since she goes to great lengths to inhabit a space associated with fame and success. Thus, the city is framed as a secretive, shifting space: Rumi's replica of Mima's room is hidden away for most of the film, just as Rumi hides her doubling of Mima, suggesting that the setting of Perfect Blue works to conceal (threats such as Rumi) and reveal (Mima) in equal measure.
The city is also present in Mark's private spaces because he captures it on film (a different kind of virtual landscape), but this time it is by choice. During the filming of Peeping Tom, Powell treated London, including his own house and garden, as a set. Mark also treats London as a set, but rather than making his private spaces public, he uses his camera to observe the city from his home, which is ironically safe from prying eyes. The sense that London is a constructed space is enhanced by the way Mark's films (and Powell's directorial choices, which often make real places look surreal through the use of vibrant colour) divorce his murders from reality, triggering apathy in the voyeur. For example, the opening credits are projected onto a replay of Dora's death, emphasising its fictionality by blurring the boundaries between Mark's films and Peeping Tom more generally. The replay is also in black and white, with Dora's screams replaced by a dramatic soundtrack, framing it as a work of art rather than footage of a crime. Consequently, horror is derived not from the murder itself but the nature of its reprisal, which distances us from Dora's distress and implies that we are watching again by choice.
This is consolidated by the fact that in the first ten minutes of the film, Dora's murder is repeated two more times: first in a newspaper report, which is sold alongside images of naked women, suggesting the murder is just another kind of titillation; then, in a photography shoot Mark conducts, where the model, Milly, stands on a set that resembles the crime scene and says that 'the same thing nearly happened' to her because her fiancée caught her cheating. The casual mention of violence towards women, combined with the visual doubling of Dora and the trivialisation of her death, undermines the horror of the opening scene and replaces it with apathy (felt by Milly and, vicariously, the audience).
In this sense, London itself is treated as an apathetic space. When Mark visits the scene of his crime the next morning, people crowd around to see the body in the same way that Mima is crowded by her fans in Perfect Blue. Their reactions are almost comedic: a woman gasps dramatically at the word 'murder' and then peers around the corner to catch a glimpse. Likewise, when another woman comments that she 'can't help thinking of that poor girl,' a man replies, 'shocking, isn't it,' in monotone. This frames the murder as a spectacle, whilst also suggesting that the viewers are indifferent to it: it is the act of viewing something they should not, rather than the thing itself, that they are interested in.
The relationship between apathy and voyeurism is most prominent in Perfect Blue when Mima films a rape scene for Double Bind, the TV show she stars in. The scene opens with a series of televisions depicting Mima from all angles. She is kneeling on a stage in a revealing dress, anxiously covering herself. The director comments that he would have preferred to shoot in 'a real [strip] club,' but none of them would let him, presumably for fear of bad press. Consequently, the rape scene takes place on a set, divorcing it from reality in the same way that Dora's murder is downplayed in Peeping Tom. This is enhanced by constant interruptions during filming: as the scene builds in intensity, cries of 'cut' serve as a reminder that Mima is (apparently) not being abused. It is this alleged 'safety' (distressingly comparable to the 'safety' of women taking their clothes off in a controlled environment, which is undermined in Peeping Tom) that makes a member of the production team publicly comment that 'ex-idols sure make a nice scene,' despite knowing what is about to happen. The sexualisation of a woman being raped is the epitome of apathetic voyeurism, and Kon accordingly refers to this scene as Mima's 'death as an idol,' framing it as a murder of sorts. Here, as in Peeping Tom, horror is derived not only from the fact that people crowd around to watch but that voyeurism, performed under the guise of unreality, is itself a kind of violence.
With this in mind, it is somewhat ironic that voyeurism played such a significant role in both Peeping Tom and Perfect Blue's UK marketing campaigns. For the former, the pressbook lists a number of competitions to be run alongside the film's release, all of which capitalise on the exploitative nature of voyeurism. In the first, newspapers are advised to take photographs of shoppers and include them in a daily segment, awarding two free Peeping Tom tickets to those who feature. In another, cinemas are encouraged to observe audiences of the film with infra-red cameras and award a prize to the person who is most afraid. Finally, in what is perhaps the strangest of the film's marketing campaigns, radios are instructed to hide free cinema tickets around the city for those who self-identify as peeping toms. In all three instances, voyeurism is either rewarded or treated as something that is beneficial to those on the receiving end. It is almost no surprise, then, that the suggested 'top prize' for one competition is a camera.
In many ways, these marketing campaigns trivialise Peeping Tom, but in others, they enhance its horror. Audiences are forced to contend with the fact that they are being observed and documented in a similar way to the victims in the film (albeit with less death). Similarly, they are encouraged to assess what it means to be the observer themselves – even if the only consequence is free cinema tickets. In this sense, the real London becomes an extension of Powell's London: it is also a site of observation and exploitation, where voyeurism is rewarded with the screening of a film, just as it is in Peeping Tom. However, these kinds of marketing campaigns also mark the beginning of images being circulated to mass audiences without the sitter's consent, which occurs prominently with the rise of the Internet in Perfect Blue. Thus, the fact the audiences of Peeping Tom are themselves distributed as images foreshadows the kind of voyeurism that Kon observes in turn-of-the-century Tokyo.
The way Perfect Blue is marketed in the UK similarly works to distance the viewer from the horror at hand. On the cover of Manga Entertainment's DVD release, it is misleadingly described as 'scary, funny, poignant and thoughtful,' suggesting that horror is undermined by apparent humour (again gesturing to an apathetic viewership). Likewise, the tagline on the back cover proclaims that 'IN THE WORLD OF MAKE BELIEVE – THE PRICE OF FAME MAY NOT BE WORTH THE COST OF IDENTITY,' drawing attention to Perfect Blue's fictionality and implying that the film itself takes place in a make-believe realm. On the contrary, Perfect Blue conjures reality in all of its psychological unrest, but perhaps it is the implication that this phenomenon is fictional that allows the film to be described as funny. The blurb and accompanying picture of Mima naked in the bath also ambiguously hints at the film's sexual content – the image holds connotations of despair but also promises nudity (which is appealing from a voyeuristic perspective); likewise, Double Bind is described as a 'sexually-charged murder mystery,' where 'sexually-charged' deceptively refers to a graphic rape scene. This serves to soften the severity of what happens to Mima and frame the film as a benign, malleable creature that will be enjoyed by all manner of audiences.
The images distributed by Anime Limited also use voyeurism to market the film. In the first, Mima is lying down in a bra-like lace top, and the expression on her face ambiguously connotes anguish and pleasure. In the second, she is wearing an open shirt with both of her breasts exposed. Neither image looks like Mima, and both frame the film as the kind of 'sexually-charged murder mystery' attributed to Double Bind. Either this self-consciously urges the audience to reassess their motives for buying the DVD, or it eroticises Mima in the same way that causes her breakdown in the film. The actresses in Peeping Tom are similarly eroticised in the pressbook, which boasts 'no less than six lovely redheads.' Cornelia Zulver is described as 'a tall redhead with an exciting personality,' whereas Susan Travers possesses 'an exotic quality' and Pamela Green is, apparently, 'saucy.' By promising the audience 'an eye-dazzling experience as well as a spine-tingling one,' the violence inflicted on these women is fetishized and treated as entertainment. This demonstrates the effectiveness of voyeurism as a sales technique, while also suggesting that Peeping Tom implicates itself in the horror it depicts.
So, in Peeping Tom, Mark's films are treated as gateways to the city. The walls of his studio are bathed in darkness, framing it as a space without parameters. This means that when he watches his films, the recorded city is more present than the room itself; they are windows that open up wherever he wants them to, defying time and space to facilitate his voyeurism. In Perfect Blue, the Internet is also treated as a gateway to the city, but its effectiveness as a platform for voyeurism makes it preferable to physical space. When Mima is chased through the city by Rumi, she calls out in terror, only to find that the streets are completely deserted. The irony, of course, is that the city is threatening throughout the film because of its implied collective gaze; however, when she wants to be noticed, her onlookers are nowhere to be found. In terms of her career, the empty city represents Mima's worst nightmare, since the absence of spectators symbolically implies that she has failed to become a successful actress. This raises questions as to whether it is better that everyone is watching, or no one is – not least of all because Rumi, who wants Mima dead, is the most intrusive of her voyeurs. It also gestures to the changing nature of voyeurism at the turn of the twenty-first century, since Mima is primarily observed by people who are not physically present: online, the city swarms.
[1] Introduction to The Oxford Book of Gothic Tales by Chris Baldick, 1992, page xix.
[2] Urban Gothic of the Second World War: Dark London by Sara Wasson, 2010, page 3.
[3] 'Excuse Me, Who Are You?: Performance, the Gaze, and the Female in the Works of Kon Satoshi' by Susan Napier, Cinema Anime, 2006, page 30.
[5] 'The Camera's Eye: Peeping Tom and Technological Perversion' by Catherine Zimmer, Horror Film: Creating and Marketing Fear, 2004, page 38.
Leonie Rowland
Leonie Rowland has an MA from the Manchester Centre for Gothic Studies at Manchester Metropolitan University. Her writing has been published by Ad Hoc Fiction, Reflex Press, The Cabinet of Heed and The Dark Arts Journal. She also has work forthcoming from Dreich, Emerge Literary Journal and TSS Publishing.
You can find Leonie on Twitter
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alumni achievement celebrated at 2019 distinguished alumni gala
CAMPUS NEWS: NOVEMBER 8, 2019
ALUMNI GALA 2019
(Honorees seated from left) Timothy Adams, Riley Parker, Jan Aronson, Dr. Fred Rodriguez, Randy Bush, Roxanna Rodriguez-Torres and Phillip May.
Alumni achievement took center stage at the 2019 University of New Orleans Distinguished Alumni Gala at The National WWII Museum. On Thursday, 500 attendees packed the U.S. Freedom Pavilion: The Boeing Center, a dramatic venue for celebrating the University and the profound influence of its graduates.
Entergy Louisiana president and CEO Phillip May received the 2019 Homer L. Hitt Distinguished Alumni Award, while Roxanna Rodriguez-Torres, the National Security Council's director for Transnational Organized Crime, accepted the 2019 Homer Hitt Young Alumna of the Year Award. Additionally, the University's four academic colleges and Privateer Athletics honored their own distinguished alumni of the year.
Former Homer Hitt Alumnus of the Year Clancy DuBos served as the master of ceremonies and President John Nicklow provided the audience with a review of recent university highlights, including growth in enrollment and an expansion of partnerships.
"I hope that tonight's event will continue to build shared pride and reinforce the value of our beloved university," Nicklow said. "As I say to nearly every group I speak to: New Orleans doesn't work without the University of New Orleans."
May recounted his time at UNO pursuing an MBA at night while he worked as an engineer at Entergy.
"I was struck by the quality and diversity of my peers, my fellow classmates at UNO," May said. "I was in class with other engineers, with attorneys, with medical professionals. We also had folks from banking and finance. It made for a rich learning environment."
As president and CEO, May is responsible for Entergy Louisiana's customer service, regulatory and public affairs, resource planning, economic development programs and charitable contributions, as well as its financial performance. He serves on the boards of the U.S. Chamber of Commerce; GNO, Inc.; the Louisiana Nature Conservancy; Teach for America of South Louisiana; City Year Baton Rouge and Second Harvest Food Bank.
"Over the course of my journey, many amazing people have helped me along the way," May said. "But it's my colleagues, my friends and my mentors from UNO that helped me to think differently. This university has helped me focus on my goals and helped mold me into the person I am today, and I am forever grateful."
Rodriguez-Torres was once a secondary education major at UNO but her plans changed when she left the University after her junior year to join the Army. After completing her service, she returned to UNO and found a new home within the College of General Studies (now interdisciplinary studies), which helped her tailor a new academic plan that aligned with her career path and future aspirations. Rodriguez-Torres also fondly recalled her time as a member of the dance team, the UNO Starlettes.
"I continue to carry those memories near and dear to my heart, so much so that I continue to wear my UNO class ring when I walk the halls of the White House," Rodriguez-Torres said.
Rodriguez-Torres advises and supports the president, senior national security advisers and cabinet officials on national security and policy issues related to transnational organized crime.
"I am so proud to have been a Starlette, extremely proud to be a Privateer, and I can't express how humbled and honored I am to win this award," she said.
In addition to May and Rodriguez-Torres, the following UNO alumni were also recognized:
• College of Business Administration: Timothy J. Adams. Adams is the president and CEO of Systems Application & Technologies, Inc. (SA-TECH) in Maryland.
• College of Liberal Arts, Education and Human Development: Jan Aronson. An accomplished painter, Aronson has exhibited her works both nationally and internationally over the past four and a half decades.
• College of Engineering: Riley Parker. Parker is the discipline lead and technical authority for instrumentation and controls engineering for Shell in the Gulf of Mexico.
• College of Sciences: Dr. Fred H. Rodriguez Jr. Dr. Rodriguez spent 35 years with the Department of Veterans Affairs, including serving as the director of pathology and laboratory medicine at the New Orleans VA Medical Center.
• Athletics: Randy Bush. Bush has spent 13 seasons as the assistant to the general manager of the Chicago Cubs. He was the head baseball coach at the University of New Orleans from 2000-04, and he spent his entire 12-year major league baseball career playing for the Minnesota Twins.
May concluded his remarks by saying that his own UNO story was likely familiar to many others who graduated from the city's only public research university.
"I suspect my experience is not unique," he said. "I suspect that many of you in this room tonight could tell a story about a scrappy beginning and how this university helped mold you into who you are today. And frankly, I think that's what makes our alma mater so unique. Frankly, I think that's what makes the University of New Orleans so special."
500 attendees packed The National WWII Museum's U.S. Freedom Pavilion: The Boeing Center for the Distinguished Alumni Gala.
Phillip May was honored with the 2019 Homer L. Hitt Distinguished Alumni Award, while, Roxanna Rodriguez-Torres, accepted the 2019 Homer Hitt Young Alumna of the Year Award.
(L-R) President John Nicklow, Phillip May and Greg Sibley.
(L-R) President John Nicklow, Roxanna Rodriguez-Torres and Greg Sibley.


Karelia region is one of the most picturesque parts of Russia. This place is unique by famous Balaam, Ruskeala careers, Kizhi, Petrozavodsk with its international embankment, and, of course, Sortavala city.
Sortavala – friendly village in northern modern style. Due to change of the state borders with time, the city became a prize between three countries: Sweden, Finland and Russia. This international atmosphere was absorbed by the city, by peoples culture and traditions.
The first mention of Sortavala dated XV century. According to one legend, the monks of Valaam expelled evil force to this place. That's why the name of the city means "power of hell". Sortavala – is a port from which every 30 minutes a ship to Valaam goes.
Sortavala has the status of historic settlement, which is a rarity. For example, the same Moscow does not this status. There are wonderful opportunities for eco-tourism: walks through dense forests, skiing, trekking or trail to Ruskeala tourist route "The Blue Highway".
Would you like to see Sortavala? Would you like feel Northern Russia? Write to us and we will arrange a personal tour for you!
Sortavala is in 5 hours from Saint-Petersburg.
The price depends on the season, duration and number of tourist.
The best way is to include this tour to Saint-Petersburg tour – spend one or two days in Saint-Petersburg, watch main sights and then move to Sortavala.


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Access Statistics for Siqi Zheng
An analysis of various policy instruments to reduce congestion, fuel consumption and CO2 emissions in Beijing 0 0 3 135 0 2 9 362
China's Rising Demand for "Green Cities": Evidence from Cross-City Real Estate Price Hedonics 0 0 1 95 1 3 12 274
Does Government Investment in Local Public Goods Spur Gentrification? Evidence from Beijing 1 3 11 152 5 10 33 771
Incentivizing China's Urban Mayors to Mitigate Pollution Externalities: The Role of the Central Government and Public Environmentalism 0 0 1 109 2 3 14 343
Local Public Service Provision and Spatial Inequality in Chinese Cities 0 0 6 61 2 3 27 127
Self-Protection Investment Exacerbates Air Pollution Exposure Inequality in Urban China 0 2 7 157 2 7 45 469
The Birth of Edge Cities in China: Measuring the Spillover Effects of Industrial Parks 1 2 9 82 3 7 28 451
The Evolving Geography of China's Industrial Production: Implications for Pollution Dynamics and Urban Quality of Life 0 0 1 129 7 8 17 323
The Greenness of China: Household Carbon Dioxide Emissions and Urban Development 0 0 2 115 0 4 17 650
The Revealed Preference of the Chinese Communist Party Leadership: Investing in Local Economic Development versus Rewarding Social Connections 0 0 11 36 0 1 23 96
The Role of Transportation Speed in Facilitating High Skilled Teamwork 4 7 43 79 30 51 221 292
Towards a System of Open Cities in China: Home Prices, FDI Flows and Air Quality in 35 Major Cities 0 0 2 130 0 3 12 481
Total Working Papers 6 14 97 1,280 52 102 458 4,639
A NEW DIRECTION IN ENVIRONMENTAL ECONOMICS 0 1 2 27 0 3 9 74
A New Era of Pollution Progress in Urban China? 1 2 28 80 18 29 145 461
A comparative study on the investment value of residential property and stocks 0 0 0 5 1 1 3 32
A new approach for constructing home price indices: The pseudo repeat sales model and its application in China 0 1 3 17 0 2 5 73
Demand for Urban Quality of Living in China: Evolution in Compensating Land-Rent and Wage-Rate Differentials 0 0 1 9 0 0 7 73
Does Government Investment in Local Public Goods Spur Gentrification? Evidence from Beijing 1 2 7 40 13 18 49 262
House Age, Price and Rent: Implications from Land-Structure Decomposition 0 0 2 7 1 2 19 41
Housing-choice hindrances and urban spatial structure: Evidence from matched location and location-preference data in Chinese cities 0 1 1 58 0 2 3 228
Incentives for China's urban mayors to mitigate pollution externalities: The role of the central government and public environmentalism 1 3 4 44 16 30 59 378
Introduction to the special issue "China's urbanization and housing market" 0 3 23 60 1 6 39 131
Investor Confidence as a Determinant of China's Urban Housing Market Dynamics 0 1 2 13 0 5 12 76
LAND SUPPLY AND CAPITALIZATION OF PUBLIC GOODS IN HOUSING PRICES: EVIDENCE FROM BEIJING 0 0 1 16 0 0 6 61
LOCAL PUBLIC SERVICE PROVISION AND SPATIAL INEQUALITY IN CHINESE CITIES: THE ROLE OF RESIDENTIAL INCOME SORTING AND LAND-USE CONDITIONS 0 0 0 4 0 0 3 13
Land and residential property markets in a booming economy: New evidence from Beijing 1 3 12 155 4 12 70 1,005
Migration and Split Households: A Comparison of Sole, Couple, and Family Migrants in Beijing, China 0 0 1 1 2 3 4 6
Migration and split households: a comparison of sole, couple, and family migrants in Beijing, China 0 0 0 10 0 0 2 78
ONE WITHOUT THE OTHER? BEHAVIOURAL AND INCENTIVE POLICIES FOR HOUSEHOLD WASTE MANAGEMENT 1 3 6 30 2 4 19 77
Real Estate Valuation and Cross-Boundary Air Pollution Externalities: Evidence from Chinese Cities 0 3 13 47 7 13 55 360
Restricting driving for better traffic and clearer skies: Did it work in Beijing? 0 1 3 21 0 13 23 118
Self-protection investment exacerbates air pollution exposure inequality in urban China 1 1 6 41 4 6 31 229
Subways near the subway: Rail transit and neighborhood catering businesses in Beijing 0 0 1 4 3 4 15 61
THE DECOMPOSITION AND DYNAMICS OF INDUSTRIAL CARBON DIOXIDE EMISSIONS FOR 287 CHINESE CITIES IN 1998–2009 0 1 2 13 0 1 5 39
THE EVOLVING GEOGRAPHY OF CHINA'S INDUSTRIAL PRODUCTION: IMPLICATIONS FOR POLLUTION DYNAMICS AND URBAN QUALITY OF LIFE 1 1 3 53 4 16 79 406
The Housing Market Effects of Local Home Purchase Restrictions: Evidence from Beijing 0 1 2 8 1 5 24 54
The Interaction between Housing Investment and Economic Growth in China 1 1 8 599 4 4 23 2,192
The Spillover Effect of Urban Village Removal on Nearby Home Values in Beijing 0 0 4 5 0 0 5 20
The birth of edge cities in China: Measuring the effects of industrial parks policy 0 6 20 26 16 32 119 141
The capitalization of subway access in home value: A repeat-rentals model with supply constraints in Beijing 0 0 1 9 0 0 3 36
The nascent market for "green" real estate in Beijing 1 1 3 29 4 6 23 348
The rise of external economies in Beijing: Evidence from intra-urban wage variation 0 0 0 24 0 0 3 144
The rising demand for subway after private driving restriction: Evidence from Beijing's housing market 0 0 3 22 1 2 15 83
The role of public information in increasing homebuyers' willingness-to-pay for green housing: Evidence from Beijing 0 0 0 4 0 0 2 44
Transit development, consumer amenities and home values: Evidence from Beijing's subway neighborhoods 0 0 6 17 1 2 12 66
Understanding China's Urban Pollution Dynamics 0 0 3 183 2 6 34 806
Total Journal Articles 9 36 171 1,681 105 227 925 8,216
Blue Skies over Beijing:Economic Growth and the Environment in China 0 0 0 0 1 1 16 90
Introduction 0 0 0 16 6 15 26 116
Total Chapters 0 0 0 16 6 15 26 116


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Home/Officially Launched/Sony Launches PlayStation 5 & PlayStation 5 Digital Edition
Sony Launches PlayStation 5 & PlayStation 5 Digital Edition
Images are Subjected To Be Copyright
After a Long Gap With too Confidentiality, Sony Has Announced its Next-Gen PlayStation Named PlayStation 5 Today. Sony Has Launched this PlayStation 5 In Standard Edition And Digital Edition Without Having an Optical Drive.
This time the PlayStation 5 has a Modified Sleek vertical design Which are Attracted by the white Color Plastic panels on Both Sides With curvy black Plastic panel as an interior.
Coming to The Ports, This PlayStation 5 has a USB-A & USB-C ports on the front with an attractive blue LED lighting and air vents on the top of the curve. The Rear Part of the Device is Not Displayed at.
The PlayStation 5 is Powered By AMD's 7nm Zen 2 microarchitecture CPU with 8 CPU cores Which are Clocked at 3.5 GHz. In PlayStation 5 The GPU is also a customized system-on-a-chip (SoC) Which is based on AMD's rDNA 2 Which Consists of 36 compute units Which Will Run at a variable frequency of 2.23 GHz and Also capable of 10.28 TFLOPS
This Time Sony Has Ditched the 4K UHD Blu-ray drive on the Digital Edition in favor of the USB-C Ports. This PlayStation Digital Edition is a lot thinner design and the PlayStation 5 standard edition is a lot Heavy with Some Irregular Posts.
Sony has also Launched a Wide range of accessories for PlayStation 5 in the Launch Event. The Previously Leaked DualSense Controller is Also on the List. Coming to this DualSense controller, this Will Carry haptic feedback Vibration Motor and a built-in microphone to Take the Sound While Gaming. Sony Has Provided a Charging Station to the charge of the two DualSense controllers at a time. There is HD Camera Which is Used to tracking motion Which is Sold Separately. Sony Has Also Launched an All-New Headset Named Pulse 3D Wireless Headset for Lag-Free gaming Sound. There is a Media Remote for the PlayStation 5. this can convert PlayStation 5 console into Blu-ray player and a streaming box.
Sony has also Launched all-new games Like Marvel's Spider-Man: Miles, Resident Evil Village, NBA 2K21, Deathloop, Horizon Forbidden West, Morales, Gran Turismo 7, Ratchet & Clank: Rift Apart, Hitman III, and more. In this Event, We Got an Update for GTA V Game, With Extra Maps & missions, All-New content, Lot of technical improvements, Improved visual graphics upgrades, and performance enhancements.
This PlayStation 5 Will be Available in the second half of 2021.
Share your thoughts & Roumers about PlaySation 5 in the comment section and stay tuned to MobiRadar for more information
On what factors are online casinos judged?
Samsung Galaxy A21s Will Hit Indian Market On June 17


Curt Anderson never planned to be an internationally known recording artist. He didn't expect to play his songs on six continents, touching down in over fifty countries, to spend so much time crisscrossing the globe becoming one of the most-traveled musicians in the world.
But the small-town boy from Michigan has arrived at a unique place in Christian music, serving as one of the genre's ambassadors to many who have never listened to Christian radio or have had the opportunity to attend a concert. Anderson calls the journey which began more than a decade ago "a slow progression," now taking him from Australia to Hong Kong, from Thailand to Qatar, and countless communities in between.
Although relationships around the world have fueled his growing ministry, his songs and their messages are the tools of his mission. Since his first recording in 2002—a self-made CD he recorded with equipment borrowed from the music department at his high school— Anderson has released two full length albums and two EPs. His 2016 project, Every Moment, featured the hit singles "Keep It Beating" and the title cut, both reaching Top 5 on Christian radio charts in multiple countries. He has also contributed to recordings by such artists as kj-52, Tricia Brock (formerly of Superchick), and Satellites & Sirens.
Anderson's recording career enters a new chapter with the 2018 release of Every Moment Vol. II. The project offers remixes of three singles, as well as four new tracks. And giving listeners a unique behind-the-scenes- style bonus, Every Moment Vol. II also showcases demos of seven cuts and five worktapes.
This latest release is highlighted by his current two singles: a remix of "Love Like You Love," co-written by Anderson and award-winning writer/producer Pete Kipley (Mercy Me, Matthew West), and both a Hot AC and piano-based version of "Keep Me Falling," written by Anderson, Daniel Doss and David Thulin. The latter song quickly became a Top 5 hit in Australia upon its release.
"Keep Me Falling," meanwhile, encompasses growing up in a small town but dreaming big—and wanting those dreams to be in line with God's plan (So keep me falling/falling even more in love with all your words)—and then seeing those dreams all over again through the eyes of his young sons.
Although his journey as a singer/songwriter has taken him to unexpected places, Anderson's compass has always been determined by his desire to follow Christ. Growing up in a Christian home, Anderson's faith grew in high school, nudged along by a youth pastor who encouraged him to play in the youth group's worship band and, over lunches, asked challenging questions.
From that point, he began to try to emulate the saying often attributed to St. Francis of Assisi: "Preach the Gospel at all times. When necessary, use words." Or in Anderson's case, songs. He had loved music since childhood, but his interest in Christian pop really took off after joining his youth group on a trip to a Newsboys concert; he was enthralled by their sound – and more importantly, the message.
An all-state soccer player in high school, Anderson drew interest from college soccer programs (he still takes his cleats on most trips, always ready for an impromptu pick-up game), but chose to attend Anderson University to study music business. While in college, he recorded a five-song EP and a full length album,Hearts & Stars, both under the band name No Greater Sky. He soon began using his own name so people would make the connection between his career as a songwriter and as an artist. He developed an active following on campus and was soon leading worship and sharing his songs at churches, camps and other gatherings around the Midwest.
Anderson made his first trip to Australia in 2008— kicking off what would eventually become a thriving ministry reaching to the far corners of the globe—and a year later he and his wife made the move to Music City. Now balancing an international career with life as a husband and father to sons Liam and Nolan, Anderson strives to be present and in-touch, even when he's on another continent.
FaceTime keeps the Anderson family fully connected while dad's away, including story time before bed and other important routines. "Everything we can be involved in, we do," he says, even when they're thousands of miles apart. Sometimes his kids "attend" his concerts, calling in while he is at the piano. He answers and keeps playing. "They can watch the show while they're having breakfast or dinner, depending on where I am in the world," he says with a smile.


text:
How to grow your own pumpkins!
US County Map
How to Grow Your Own Pumpkins
Pumpkins are a warm-season vegetable that can be grown throughout much of the United States. They require a fairly long period (3 - 4 months) of hot weather and can not tolerate any frost. Besides being used as Halloween jack-o'-lanterns, pumpkins are used to make pumpkin pies, soup, bread, butter, custard, and even cookies
3 to 4 months of sunny weather, with day time temperatures of at least 70 F, preferably hotter.
A very sunny location. The won't grow under trees and in the shade.
Rich soil, that doesn't sit under water. Pumpkins like lots of organic matter: manure, grass clippings, leaves, compost should be worked into the soil ahead of planting.
Water. Duh! They do need to be watered, a good soaking, at least once a week.
Which variety to plant?
There are many, many different types of pumpkins, from inedible, hard gourds, to smal;l sweet pie pumpkins, huge not very tasty show pumpkins and many in between. This page helps you pick the right one for you! And the master list of all pumpkins is here.
Pumpkin is a very tender vegetable. The seeds will germinate in cold soil, and the seedlings are injured by frost. Do not plant until all danger of frost has passed, and the soil has thoroughly warmed. The packets of seeds tell you when to plant in your area, but basically, it is late April through July in the deep South; and from late May to mid June in the north.
Spacing and Depth
Pumpkins grow as a vine, which means they take up a LOT of space. Pumpkins require a minimum of 50 to 100 square feet per "hill". Plant four or five seeds per spaced an inch or two apart in one hole (called a "hill"). Leave 5 to 6 feet between each hill. When the young plants are well-established, thin each hill to the best two or three plants.
There are newer "semi-bush" varieties that do not vine quite so much (of course the yield is also smaller). Plant semi-bush varieties one inch deep (four or five seeds per hill) and thin to the best two plants per hill. Allow 4 feet between hills and 8 feet between rows.
Plant miniature varieties one inch deep, with two or three seeds every 2 feet in the row. Rows should be 6 to 8 feet apart, with seedlings thinned to the best plant every 2 feet when they have their first true leaves.
Plant bush varieties one inch deep (1 or 2 seeds per foot of row) and thin to a single plant every 3 feet. Allow 4 to 6 feet between rows.
Pumpkin plants should be kept free from weeds by hoeing and shallow cultivation. Irrigate if an extended dry period occurs in early summer. Pumpkins tolerate short periods of hot, dry weather pretty well.
Bees, that are necessary for pollinating squash and pumpkins, may be killed by insecticides. When insecticides are used, they should be applied only in late afternoon or early evening when the blossoms have closed for the day and bees are no longer visiting the blossoms. As new blossoms open each day and bees land only inside the open blossoms, these pollinating insects should be safe from contact with any potentially deadly sprays.
Pumpkins can be harvested whenever they are a deep, solid color (orange for most varieties) and the rind is hard. If vines remain healthy, harvest in late September or early October, before heavy frosts. If vines die prematurely from disease or other causes, harvest the mature fruit and store them in a moderately warm, dry place until Halloween. Cut pumpkins from the vines carefully, using pruning shears or a sharp knife and leave 3 to 4 inches of stem attached. Snapping the stems from the vines results in many broken or missing "handles." Pumpkins without stems usually do not keep well. Wear gloves when harvesting fruit because many varieties have sharp prickles on their stems.
Avoid cutting and bruising the pumpkins when handling them. Fruits that are not fully mature or that have been injured or subjected to heavy frost do not keep. Store in a dry building where the temperature is between 50 and 55°F.
Powdery mildew causes a white, powdery mold growth on the upper surfaces of the leaves. The growth can kill the leaves prematurely and interfere with proper ripening.
Cucumber beetles and squash bugs attack seedlings, vines and both immature and mature fruits. Be alert for an infestation of cucumber beetles and squash bugs, as populations build in late summer, because these insects can damage the mature fruits, marring their appearance and making them less likely to keep properly.
Q. The first flowers that appeared on my pumpkin plants did not form fruits. Why not?
A. This condition is natural for cucurbits (such as cucumber, gourd, muskmelon, pumpkin, squash and watermelon). The first flowers are almost always male. The pollen on these first male flowers attracts bees and alerts them to the location of the blooming vines. By the time the first female blossoms open, the bees' route is well established and the male flowers' pollen is transferred to the female flowers by the bees. Male flowers bloom for one day, then drop off the plants. The male flowers may predominate under certain conditions, especially early in the season, or under certain kinds of stress. The small fruits, visible at the bases of the female flowers, identify them. There is no swelling on the bases of the male flower stems.
Q. How can I grow pumpkins that weigh more than 100 pounds?
A. There are several key factors
Use one of the jumbo varieties.
Get the richest soil, add lots of composted manure and dig it in deep and wide.
Plant in the sunniest location you have.
Plant in early June and allow 150 square feet per hill.
Thin to the best one or two plants.
High fertility, proper insect control and shallow cultivation are essential. Remove the first two or three female flowers after the plants start to bloom so that the plants grow larger with more leaf surface before setting fruit. Allow a single fruit to develop and pick off all female flowers (the ones with the little green ball of a developing pumpkin attached) that develop after this fruit has set on the plant. Do not allow the vine to root down at the joints near this developing fruit because these varieties develop so quickly and so large that they may actually break from the vine as they expand on a vine anchored to the ground.
Q. My grandmother made pies with a green-striped, long-necked pumpkin. Is this variety still available?
A. Yes. The variety is Green-Striped Cushaw. Because it has a unique texture, some cooks prefer it for custards and pies.
Q. Will pumpkins, squash and gourds cross-pollinate and produce freak fruit if I interplant several kinds in my garden?
A. Pumpkins, squash and gourds are members of the vine crops called "cucurbits." The name is derived from their botanical genus classification of Cucurbita (often abbreviated C.). There are four main species of Cucurbita usually included in the pumpkin, squash and gourd grouping. The varieties within a botanical species (which may be referred to as pumpkins, squash or gourd) can cross-pollinate. Varieties from different species do not. For example, zucchini crosses with Howden's Field pumpkin, acorn or spaghetti squash, small decorative gourds, or Jack-Be-Little miniature pumpkins because they are all members of the same botanical species (C. Pepo).
However, cross-pollination does not affect the taste, shape or color of the current season's fruit. Crosses show up only if seeds from these fruits are saved and grown the following year. Butternut squash, Small Sugar pumpkin, White Cushaw pumpkin, and Big Max pumpkin could all be grown in the same area without crossing because each variety comes from a different species. Because bees carry pollen for distances of a mile or more, in suburban areas where many gardens are in close proximity, fruits must be bagged and pollinated by hand if pure seed of non-hybrid varieties is desired.
Q. What is the difference between a pumpkin and a squash?
A. It is all in what you call it. Varieties of each of the four species, discussed in this section are popularly called "pumpkins," and varieties of each are called "squash," more by tradition than by system. In fact, orange color sometimes helps determine what is a pumpkin. Two varieties of the same species, C. maxima, hold the records for the world's largest squash and pumpkin. The variety called squash is gray to green and larger one called a pumpkin is pinkish to orange. Shape may vary slightly, but these two freely inter-pollinate and are botanically pretty much identical. Unless you are dealing with specific rules or regulations at a show, you can pretty much interchange the words squash and pumpkin, though you can expect a fight with purists, no matter what you do.
Growing Giant Pumpkins in the Home Garden How to grow a really big pumpkin!
Pumpkin Nook - The Internet shrine and library for pumpkins.
The Pumpkin Patch - Everything you ever wanted to know about pumpkins.
BigPumpkins--The Best Pumpkin Site Out There, Period
AGGC--Restricted Membership with Non-Member Tools
Mallorn Pumpkin List--Email Discussion List
Giants of the Garden--Brett Hester's Site
Maine Restricted-Use Pesticide Licensing Info--Information and Study Materials
Maine Soil Testing Service--University of Maine, Orono
University of Mass. Soil Testing Lab--Another Soil Testing Service
A&L Analytical Laboratories--Widely Used Soil Testing Service
Complete Water Bath Canner Kit
This is the same type of standard canner that my grandmother used to make everything from pumpkinauce to jams and jellies to tomato and spaghetti sauce.
This complete kit includes everything you need: the canner, jar rack, jar grabber tongs, lid lifting wand, six pint jars with lids and rings, a plastic funnel, labels, bubble freer, and the bible of canning, the Ball Blue Book. You'll never need anything else except more jars and lids!
Food Strainer and Sauce Maker
A food strainer allows you to easily make smooth tomato sauces, seedless jams and jellies, applesauce, soups, baby foods, and much more. The strainers can use different sized screens to filter out different sized seeds and debris. There are both hand cranked and motorized versions.
Click here for more information, other strainers and supplies or to order!


Scott: Driving in the rain is a pain in the neck.
스캇: 빗길에 운전하는 게 신경 쓰이네.
Marge: It's supposed to keep it up for a few more days.
마지: 며칠 더 계속 운전에 신경써야 될 거야.
Scott: As far as I'm concerned the drought is over.
스캇: 내가 보기엔 가뭄은 해갈됐어.
Marge: That's not the way the water department sees it.
마지: 수도국에서는 그런 식으로 안보던데.
Scott: Do you think they're telling the truth or just trying to scare us?
스캇: 수도국이 말하는 게 진짜 같아 아니면 그냥 겁주려는 것 같아?
Marge: I don't know but I read in the paper that it'll take a lot more rain.
마지: 모르겠어. 하지만 신문에서 보니까 비가 한참 더 와야 된다던데.
Scott: I don't care what they say. For me the drought is over.
스캇: 신문에 난 건 상관 안 해. 내가 보기엔 가뭄은 해갈됐어.
Marge: I don't know if it's over or not but I believe clean water will be a serious problem for years.
마지: 가뭄 해갈은 확실히 모르겠지만 앞으로 몇 년간 수질 문제가 심각할 건 확실해.
Scott: We've already cut down on our water use. What more can we do?
스캇: 물 사용량은 벌써 줄였고. 우리가 할 수 있는 게 뭐가 더 있어?
*a pain in the neck: 귀찮은. 성가신.
"Most of the students think their teacher is a pain in the neck."
*cut down on (something): 무엇을 줄이다.
"I'm cutting down on driving because the gas prices are too high."


This week I gave a presentation on the meaning of cyber resilience at the Frontiers in Resilience Symposium, a two-day symposium to bring together thought leaders, practitioners, and researchers to discuss resilience. My presentation was based on some research I've been conducting on the term and its meaning. Click here for a copy of the presentation.


The National Park of the Casentino, which is the second largest forest in Europe, is easily accessible from our farm.
From here you can reach places of rare beauty and landscapes where nature maintains its own rules.
Camaldoli and Castagno d'Andrea in the Florentine side), as well as the reforestation of black pines and in hot and rocky places, even some old remains of holm.
Furthermore many herbaceous species grow in the Park with more than 1000 types so far counted.
the wolf, that had risked extinction in the past. The most common species are badgers, porcupines, weasels, foxes and martens.
Moreover numerous examples of roe deers, deers, wild boars, mouflons and fallow deers inhabit the woods.
and the uncommon treecreeper which mainly populates the older forests.


text:
Republic Act No. 9508
R.A. 9508 - AN ACT PROVIDING FOR THE REAPPORTIONMENT OF THE LONE LEGISLATIVE DISTRICT OF THE PROVINCE OF AGUSAN DEL SUR
Congress of the Philippines
Fourteenth Congress
Second Regular Session
Begun and held in Metro Manila, on Monday, the twenty-eight day of July, two thousand eight.
REPUBLIC ACT NO. 9508 October 20, 2008
AN ACT PROVIDING FOR THE REAPPORTIONMENT OF THE LONE LEGISLATIVE DISTRICT OF THE PROVINCE OF AGUSAN DEL SUR
Be it enacted by the Senate and House of Representatives of the Philippines in Congress assembled::
Section 1. Legislative Districts. - The lone legislative district of the Province of Agusan del Sur is hereby reapportioned to commence in the next national elections after the effectivity of this Act. Henceforth, the City of Baguyan and the municipalities of Sibagat, Prosperidad, Talacogon, San Luis and Esperanza shall comprise the first legislative district while the municipalities of San Francisco, Rosario, Bunawan, Trento, Sta Josefa, Veruela, Loreto and La Paz shall comprise the second legislative district.
Sec. 2. Rules and Regulation. - The Commission on Elections shall issue the necessary rules and regulation
Sec. 3. Repealing Clause. - All other laws, rules and regulations inconsistent with this Act are hereby repealed amended or modified accordingly
Sec. 4. Effectivity. - . This Act shall take effect fifteen (15) days after its publication in at least two (2) newspapers of general circulation.
(Sgd.) MANNY VILLAR
President of the Senate
(Sgd.) PROSPERO C. NOGRALES
Speaker of the House of Representative
This Act which originated in the House of Representatives was finally passed by the House of Representative and the Senate on December 18, 2007 and July 29, 2008, respectively.
(Sgd.) EMMA LIRIO-REYES
(Sgd.) MARILYN B. BARUA-YAP
House of Representative
Approved: OCT 20, 2008
(Sgd.) GLORIA MACAPAGAL-ARROYO
President of the Philippines


The advertised link for the Dr. Ronis interview instead leads to something else: "A COLLABORATION STORY FOR THE AGES". And speaking of photos being reused here multiple times, has Dr. Ronis ever had another photo taken?
I find it odd that this is the first time in 12 years theater and music units have cooperated together (and also used Shannon Hall ) for a production. That should be commonplace and others like history, dance, and film studies, just to name three others, could also be involved. Music and especially opera, even light opera which this is, involves pretty much everything.