text:
Who Can Attack Turkish Ships?
by Burak Bekdil
This time, there was no request for an emergency meeting of the UN Security Council; no talks with the EU, NATO, Obama or Merkel. Instead, the Turkish Foreign Ministry issued a weak protest note.
President Erdogan's reaction to an attack on a civilian Turkish vessel by a foreign army was revealing: "Things would have been different had the ship carried a Turkish flag."
By the way, what flag did the Mavi Marmara carry? Comoros.
For Turkey's Islamists, "what was done" does not matter much. "Who did it" does.
"This is the first time in history that a foreign army has killed civilian Turks in peacetime!"
This is how government-friendly media justified Turkey's reaction to Israel when, in May 2010, the Israel Defense Forces raided the "Mavi Marmara," a ship in a Turkish-led flotilla off the Gazan coast, and killed nine pro-Palestine activists aboard.
Any reader could be tempted to believe that Turkey was preparing to go to war with Israel.
Prime Minister Ahmet Davutoglu, then foreign minister, insisted that "This is Turkey's own 9/11."
Turkey asked the United Nations Security Council to summon an emergency meeting. It knocked on other doors too: NATO, the European Union (EU), the Arab League and the Organization for Islamic Cooperation (OIC). Then Prime Minister (now President) Recep Tayyip Erdogan called to discuss the Mavi Marmara crisis with U.S. President Barack Obama and German Chancellor Angela Merkel.
Erdogan's portrayal of the incident contained words such as "state terrorism," "an attack on world peace," "piracy," "thuggish state," and "massacre." He said that:
Israel must definitely be punished,
Israel will pay a very heavy price for this,
Israel murdered innocent people at sea, and
[Addressing and threatening Israeli citizens:] Israel is openly exposing your security to great risk.
The Turkish-owned ship Mavi Marmara, which took part in the 2010 "Gaza flotilla" that attempted to break Israel's navel blockade of Gaza. (Image source: "Free Gaza movement"/Flickr)
Since the incident, Turkey's relations with Israel never normalized. Neither country has an ambassador in the other's capital. Turkey has vowed to isolate Israel internationally until Israel has apologized, paid compensation to the families of the victims, and removed the naval blockade of the Gaza Strip (which a UN commission probing the Mavi Marmara incident later declared to be legal).
One might, initially, understand the Turkish ire. After all, a foreign country's military had targeted a civilian ship and killed people aboard, with or without good legal reason. After all, again, the vessel that was attacked was not a Turkish frigate intending to shell the Israeli coast. So, Turkey's justified anger presumably had nothing to do with the inherent anti-Semitism of its Islamist rulers. Really?
For Erdogan, Israel is a terrorist state. But apparently, he has had a confused mind about another Mediterranean-basin country: Libya. In 2010, Erdogan, with a happy and smiling face, received Libya's "distinguished" Al-Gaddafi International Prize for Human Rights. He returned the favor by eventually joining an allied force that overthrew the Libyan dictator and led to his lynching. However, shortly before Erdogan decided that Turkey should join the allied forces, he had publicly said -- in criticism of the planned NATO operation against Gaddafi -- "What business does NATO have in Libya?"
As Turkey did in the Palestinian territories, or elsewhere where such groups exist, it apparently has an obsession about supporting the Islamists in Libya, too.
In response, Abdullah al-Thinni, the Prime Minister of the Libyan interim government, has repeatedly accused Turkey of interfering in the domestic affairs of Libya and earlier this year warned that Libya's government could put an end to investments by Turkish companies in the country.
On May 10, almost five years after "Turkey's own 9/11," a Turkish cargo ship's third officer was killed and several other crew members were wounded after the ship was shelled off the Libyan coast and attacked from the air by Libyan forces.
The vessel, the Tuna-1, was approaching Tobruk, a coastal city in Libya where the country's internationally-recognized government is headquartered, to deliver sheetrock cargo loaded in Spain, when it was shelled in international waters, 13 miles away from the Libyan port city. The Tuna-1 was then attacked twice from the air as it tried to leave the area. A Libyan military spokesman told Reuters that the Turkish vessel was bombed "after it was warned not to approach the Libyan city of Derna."
But this time there was no request for an emergency meeting of the UN Security Council; no talks with the EU, NATO, Arab League, OIC, Obama or Merkel. No words flying in the air such as "terrorist state," "piracy," "massacre," "an attack on world peace." No "murderers." No threats to Libyans that "your security is being exposed to great risks." And, naturally, this is not "Turkey's own 9/11."
Instead, the Turkish Foreign Ministry on May 11 issued a weak protest note. It condemned the attack and demanded legal action. It called the attack a violation of international law. All Turkey's Foreign Minister, Mevlut Cavusoglu, could say was that Ankara had sent a frigate off the Libyan coast to escort the Tuna-1 back to Turkish waters.
President Erdogan's reaction to the attack on a civilian Turkish vessel by a foreign army was revealing. He said: "Things would have been different had the Turkish ship carried a Turkish flag." That would be Turkey's wrath on Libya, he simply meant, were the Tuna-1, owned by a Turkish company, not registered in the Cook Islands.
By the way, what flag did the Turkish ship Mavi Marmara carry? Comoros.
Still wondering why Turkey's voice was so loud after the Mavi Marmara incident? For Turkey's Islamists, "what was done" does not matter much. "Who did it" does.
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text:
Sunday Sparkler Special: The Norwegian Royal Tiara Collection
Today is the 25th anniversary of the death of King Olav V of Norway and the accession of his son, King Harald V. To mark King Harald's Silver Jubilee, today we have a very special Sunday edition of our Sparkler series, surveying all of the tiaras currently owned/worn by the ladies of the Norwegian royal family. You can read more about each tiara by clicking on the piece's name. Enjoy!
The Norwegian Emerald Parure Tiara
Made in the early nineteenth century, this parure of emerald jewels started out with the Leuchtenberg family in Germany. The tiara traveled through the family, moving to Portugal and Sweden, and was eventually inherited by Princess Ingeborg of Sweden. She gave the tiara to her daughter, Crown Princess Martha of Norway, as an insurance policy during her WWII exile to America. After Martha's death, the entire parure was inherited by King Harald. Today, the tiara is worn exclusively by Queen Sonja.
Queen Josefina's Diamond Tiara
King Harald also inherited this diamond tiara from his late mother. The piece originally belonged to Queen Josefina of Sweden; it was probably made around the 1820s. Josefina bequeathed the tiara to her granddaughter, Queen Lovisa of Denmark; she in turn bequeathed it to her son, Prince Gustav. When he died in 1944, he left the tiara to his niece, Crown Princess Martha of Norway. The tiara is another piece used exclusively today by Queen Sonja.
Queen Maud's Pearl Tiara
When King Haakon VII and Queen Maud of Norway married in 1896, she received a diamond and pearl tiara from her parents, King Edward VII and Queen Alexandra of the United Kingdom. It was one of the jewels left behind in England when Maud unexpectedly died in 1938; it was not worn again until after King Harald married Queen Sonja in 1968. In 1995, the tiara was sent to Garrard in London to be cleaned, and thieves stole it from the company's workshop. They constructed a replica tiara, which is mainly worn now by Queen Sonja. The smaller version of the tiara was worn by Princess Martha Louise at her wedding in 2002, and it was also worn by Crown Princess Mette-Marit at the wedding of Crown Princess Victoria of Sweden in 2010.
Queen Maud's Vifte Tiara
When Queen Maud was still Princess Maud of Wales, her grandmother — Queen Victoria of the United Kingdom — gave her a small, fan-shaped diamond tiara as an eighteenth-birthday present. The tiara traveled with Maud to Norway, and today it is in the collection of King Harald and Queen Sonja. Sonja wore the tiara a few times when she was Norway's crown princess, and Crown Princess Mette-Marit wore it as a necklace during the celebrations before her wedding in 2001.
Queen Maud's Diamond Tiara
Another of Queen Maud's wedding gifts was this diamond tiara, which was presented to her by her "Lady and Gentleman Friends." The tiara could originally be worn with turquoise elements, although today it is only worn in its all-diamond form. After the deaths of Queen Maud and Crown Princess Martha, this tiara was eventually inherited by Princess Ragnhild, King Harald's eldest sister. When she died in 2013, the tiara was reportedly returned to the Norwegian royal vaults. Jewel watchers have been anxiously awaiting its reappearance in public.
Queen Alexandra's Turquoise Circlet
When Queen Maud's mother, Queen Alexandra, died in 1925, Maud inherited this elaborate turquoise and diamond circlet from her. Today, the tiara belongs to Maud's granddaughter, Princess Astrid, who is King Harald's sister. She is still active in royal events in Norway, and she often wears her great-grandmother's turquoises in public.
The Maltese Cross Circlet
Queen Maud also inherited this diamond circlet from her mother, Queen Alexandra, in 1925. Alexandra had the circlet made during her tenure as queen consort as a lighter alternative to the heavy George IV State Diadem. It originally also had diamond fleur-de-lis elements interspersed with the Maltese crosses; these were removed by Queen Maud. The piece is currently owned by King Harald and Queen Sonja.
The Modern Gold Parure Tiara
One of the newest tiaras in the Norwegian collection is this ultra-modern gold tiara, which is part of a larger parure of gold jewelry. The piece belongs to Queen Sonja; some have suggested that it was a 60th birthday gift from King Harald. The central element is removable, and the tiara can be worn with a gold and diamond element, a diamond and green tourmaline element, or a diamond and orange topaz element.
The Norwegian Amethyst Parure Tiara
This modern amethyst tiara, which is a converted necklace, was originally in Queen Sonja's collection, but today many think it has been given to her daughter-in-law, Crown Princess Mette-Marit. The piece was also loaned to Princess Martha Louise for the wedding of Crown Princess Victoria of Sweden in 2010.
Princess Astrid's Gold Bandeau
This tiara, owned today by Princess Astrid, is a part of a parure of jewelry made of gold and semi-precious stones that originated with the Nassau family. It arrived in the Swedish royal collection with Queen Sofia, who then passed it along to her daughter-in-law, Princess Ingeborg. She gave the set to her granddaughter, Princess Astrid, who has been wearing it at royal events ever since.
The Vasa Tiara
When Princess Martha of Sweden married Crown Prince Olav of Norway in 1929, the city of Stockholm gave her this tiara. The piece had been made by C.F. Carlman out of diamonds and platinum. Princess Astrid inherited the tiara from her mother, and she still wears it today.
The Diamond Daisy Bandeau
Crown Princess Mette-Marit of Norway wore this petite bandeau of diamond daisies at her wedding to Crown Prince Haakon in 2001. The piece was reportedly made around 1910, and it was her wedding gift from her new in-laws, King Harald and Queen Sonja. Fifteen years after she received it, the bandeau is still Mette-Marit's most-worn tiara.
King Olav's Gift Tiara
Princess Martha Louise, King Harald and Queen Sonja's daughter, has worn several tiaras, but she also owns one of her own: this diamond and pearl tiara, which features design motifs that resemble small ears of wheat. The piece was Martha Louise's eighteenth-birthday present from her grandfather, King Olav V.
Crown Princess Martha's Diamond Bandeau
Crown Princess Martha's wedding gifts in 1929 also included this diamond bandeau, which could also be worn as a bracelet. Made by K. Andersson, it was presented to her by her uncle and aunt, King Gustaf V and Queen Victoria of Sweden. Today, the piece belongs to Princess Astrid, who wears it occasionally.
Princess Astrid's Diamond Feather Aigrette
Princess Astrid owns two diamond aigrettes that share the same base. The first is this piece, which is made of diamond wings. The piece reportedly belonged to Astrid's grandmother, Queen Maud.
Princess Astrid's Ruby and Diamond Aigrette
Princess Astrid's second aigrette is this piece, a pair of antenna made of rubies and diamonds. It can be affixed to the same base used for the diamond feather aigrette.
If you could wear one of the Norwegian royal tiaras to a state banquet, which piece would you choose?
Categories // all my tiaras, Norway, Saturday Sparkler, tiara collection

redpajama_set_name: RedPajamaCommonCrawl


When Sony Computer Entertainment showcased two players enjoying co-op with Knack on the PS4 and on the PS Vita via remote play at the same time, many wondered if it's a feature limited to Knack or if it'll work with other games.
SCE Worldwide Studios President Shuhei Yoshida just tweeted that it will indeed work with all games that support couch co-op.
If the game has same couch coop, it will.
That's what I call a sleek feature right there, not only for couch co-op itself, which is great already, but also for the ability to have "virtual" couch co-op with someone at home on the PS4 while outside with the Vita.


text:
Q: MS Access - VBA Conditional Formatting using RGB Codes stored in a table I have a report with the following TextBox control in the Detail section.
Each of the control's is linked to a DataSource stored in a table (tblStages).
Report Control Names:

*

*txtStageName

*txtColorCode
I want to programmatically Conditionally format the txtColorCode control's BackColor and ForeColor properties based on the values stored in the table "tblStages".
TABLE EXAMPLE:

StageName
RGBCode

Perimeter
RGB(255, 108, 0)

Void
RGB(0, 38, 255)

So, if the txtStageName = "Permieter" then I want the txtColorCode control to format the BackColor and ForeColor to RGB(255, 108, 0)
Any assistance would be greatly appreciated.
I have tried implemented the following Sub routine on the report in question.
This is an alteration of the code found here: MS Access conditional formatting values stored in field of table?
Private Sub Detail_Format(Cancel As Integer, FormatCount As Integer)

    Me.ColorCode.BackColor = DLookup("RGBCode", "tblStages", "StageName=" & Me.StageName)
    Me.ColorCode.ForeColor = DLookup("RGBCode", "tblStages", "StageName=" & Me.StageName)

End Sub

This resulted in no errors being produced however formatting was not applied to the field.

A: Those color properties when set in VBA are expecting a color code as a decimal number (27903) or a hexadecimal string with &H prefix ("&H006CFF").
RGB() is a function that returns decimal equivalent. Calling the RGB function and arguments from a text field as you attempt won't work directly. All you are pulling is a literal string "RGB(255, 108, 0)", not executing a function with arguments.
If you want to use RGB(), save the RGB codes like: 255,108,0. Then when retrieved from table, parse the parts into separate elements that can be fed to the RGB() function.
Private Sub Detail_Format(Cancel As Integer, FormatCount As Integer)
    Dim strC As String
    strC = DLookup("RGBCode", "tblStages", "StageName=" & Me.StageName)
    Me.ColorCode.BackColor = RGB(Split(strC, ",")(0), Split(strC, ",")(1), Split(strC, ",")(2))
    Me.ColorCode.ForeColor = RGB(Split(strC, ",")(0), Split(strC, ",")(1), Split(strC, ",")(2))
End Sub

redpajama_set_name: RedPajamaStackExchange


text:
/*
  PlaneLayout model
  */
'use strict';

function PlaneLayout(planeLayoutIn) {
  var planeLayout = [],
    firstRowLength = 0;

  this.aisles = [];

  // create layout array, count aisles
  for (var i=0; i < planeLayoutIn.length; i++) {
    if (i === 0) { firstRowLength = planeLayoutIn[i].length; }
    if (firstRowLength !== planeLayoutIn[i].length) {
      throw new Error('initPlaneLayout: Rows are not all the same length.');
    }
    planeLayout.push(planeLayoutIn[i].split(''));

    if (planeLayoutIn[i][0] === ' ') {
      this.aisles.push(i);
    }
  }
  this.planeLayout = planeLayout;
  this.width = firstRowLength;
  this.height = planeLayout.length;
  this.numAisles = this.aisles.length;
  this.lavs = [];

  var loc;
  // Keep track of lavatory locations
  for (var i = 0; i < this.width; i++) {
    for (var j = 0; j < this.height; j++) {
      loc = {x: i, y: j};

      if (this.isLocationALavatory(loc)) {
        this.lavs.push(loc);
      }
    }
  }
}

PlaneLayout.prototype.arrayForRender = function () {
  return this.planeLayout;
};

/* Find any seat, whether occupied or not */
PlaneLayout.prototype.findRandomSeat = function () {
  var y,
    x,
    totalRows = this.height,
    totalCols = this.width;

  while (true) {
    y = Math.floor((Math.random() * totalRows));
    x = Math.floor((Math.random() * totalCols));
    if (this.planeLayout[y][x] === 'O') {
      return { x: x, y: y };
    }
  }
};

/*
  Return true if seat is in arrayOfExistingSeats.

  A seat is in this format: {x: 1, y: 2}
  */
PlaneLayout.prototype.isSeatTaken = function (seat, arrayOfExistingSeats) {

  for (var t=0; t < arrayOfExistingSeats.length; t++) {
    if ((seat.y === arrayOfExistingSeats[t].y) && (seat.x === arrayOfExistingSeats[t].x)) {
      return true;
    }
  }
};

PlaneLayout.prototype.isLocationOutOfBounds = function (location) {
  // do some bounds checking
  if ((location.y < 0) || (location.x < 0) || (location.y > this.height - 1) || (location.x > this.width - 1)) {
    return true;
  }
  return false;
};

PlaneLayout.prototype.isLocationASeat = function (location) {
  if (this.isLocationOutOfBounds(location)) {
    return false;
  }
  if (this.planeLayout[location.y][location.x] === 'O') {
    return true;
  }
  return false;
};

PlaneLayout.prototype.isLocationALavatory = function (location) {
  if (this.isLocationOutOfBounds(location)) {
    return false;
  }
  if (this.planeLayout[location.y][location.x] === '+') {
    return true;
  }
  return false;
};

PlaneLayout.prototype.isLocationUnMoveable = function (currentLocation, newLocation) {
  var x = newLocation.x,
    y = newLocation.y;

  if (this.isLocationOutOfBounds(newLocation)) {
    return true;
  }

  switch (this.planeLayout[y][x]) {
  case 'O':
  case ' ':
  case '+':
    // ensure you can't move horizontally into or out of seats
    if (currentLocation.y === y) {    // only check if you're trying to move horizontally
      if (this.isLocationASeat(currentLocation) || this.isLocationASeat(newLocation)) {
        return true;
      }
    }
    return false;
  default:
    return true;
  }
};

PlaneLayout.prototype.atLeftEdge = function (currentLocation) {
  return (currentLocation.x === 0);
};

PlaneLayout.prototype.atRightEdge = function (currentLocation) {
  return (currentLocation.x === this.width - 1);
};

PlaneLayout.prototype.atTopEdge = function (currentLocation) {
  return (currentLocation.y === 0);
};

PlaneLayout.prototype.atBottomEdge = function (currentLocation) {
  return (currentLocation.y === this.height - 1);
};

redpajama_set_name: RedPajamaGithub


the wail is a cut paper collage using images found in vintage magazines and other ephemera that are then dry adhered to paper with a gel medium and augmented with gouache. The original image is roughly 20 inches wide by 16 inches tall (not including matte and frame) and was completed in October 2017.
Within Every Breath a Prayer for Peace is a cut paper collage using images taken from vintage magazines and other ephemera that are handcut with an xacto knife then dry adhered to paper using a gel medium and augmented with gouache. The original is roughly 10 inches wide by 13 inches high (not including matte and frame) and was completed September 2017.
Prints and more are available via society6 . Inquiries about the purchase of the original piece should be sent directly to mightyjoecastro@gmail.com.
Night Vision is a cut paper collage using images taken from vintage magazines and other ephemera that are handcut with an xacto knife then dry adhered to paper using a gel medium and augmented with gouache. The original is roughly 15 inches wide by 12 inches high (not including matte and frame) and was completed August 2017.
Prints and more are available via society6 and saatchi online. Inquiries about the purchase of the original piece should be sent directly to mightyjoecastro@gmail.com.
When the Future Is the Past is a cut paper collage using images found in vintage magazines and other ephemera that are then dry adhered to paper with a gel medium. This piece deals with the current crossroads that mankind finds itself at with artificial intelligence, the rise of robotic technology and the damage that technological progress is having on mankind's environment. The original image is roughly 16 inches wide by 12 inches tall (not including matte and frame) and was completed in August 2017.
The Dizzy Heights is a cut paper collage using images pulled from vintage magazines and other ephemera that are hand cut with an xacto knife and then dry adhered to paper using a gel medium. The original is roughly 14 inches wide by 12inches high (not including matte and frame) and was completed August 2017.
Prints are available from society6 and saatchi. Inquiries about the purchase of the original piece should be sent directly to mightyjoecastro@gmail.com.
I am pleased to announce that I now have 30 limited edition giclee prints of my collage Unwind Rewind available exclusively through artstarter/artboost. These are 50 cm x 70 cm (roughly 19.5″ w x 27.5″ high) and are signed and numbered. These will only be available for a short time so grab one here while you can.
Artstarter.io is a unique crowdfunding-platform for art. The platform gives selected international artists the opportunity to market their creations as limited edition prints. As soon as the art piece has a set amount of contributions, production will start. The artists thereby have the opportunity to reach a wide audience with their creations, and the users of artstarter.io gain access to unique art pieces of the highest quality at an affordable price.
Awesome right? But it get's even better.
Artstater is part of the Artboost ecosystem, which means you're supporting the entire creative community by buying an limited edition Artstarter.
Stingray is a piece of cut paper collage art using images taken from vintage magazines and other ephemera that are hand cut with an xacto knife and then dry adhered to paper using a gel medium. The original is roughly 21 inches wide by 16 inches high (not including matte and frame) and was completed July 2017.
Prints available via society6 and saatchi online.Inquiries about the purchase of the original piece should be sent directly to mightyjoecastro@gmail.com.
I was very honored to have the opportunity to design another gig poster for Madalean Gauze – this one for her upcoming July 21 show at Johnny Brendas in Philadelphia to celebrate the release of her excellent new EP: Cool & Fun. The poster features my collage There Was a Fire, There Was a Flame on the front and was screen printed by ABNRML.
I think she's easily one of the most talented and underrated musicians in the current crop of the Philly scene. With each new release, she definitely comes at the listener from a different angle, which makes her hard to pigeon hole while keeping things interesting. Check out her music on bandcamp, spotify, etc. Don't sleep on this one!


text:
How to Call a Live Person in Blue Cross and Blue Shield of Texas Customer Service
Below are steps to contact Blue Cross and Blue Shield of Texas customer service and get a live person on the phone:
The automated phone system will connect you to a live customer service agent from Blue Cross and Blue Shield of Texas
BCBS of Texas Voice Main Menu
Press 1 or say "Status" if you are calling to check the status of your application.
Press 2 or say "Member" if you are an existing member or have recently enrolled.
Press 3 or say "New" for questions about becoming a new Blue Cross Blue Shield member.
Press 4 or say "Healthcare professional" if you are calling as a healthcare professional.
Press 5 or say "Producer" if you are calling as a producer.
BCBS of Texas Customer Service Representatives Hours
Live BCBS of Texas customer service is available from 7am to 8pm CT Monday-Friday, from 8am to 5pm CT Saturday, Sunday closed.
BCBS of Texas Support Phone Numbers
BCBS of Texas Support Phone Number: 1-888-697-0683. Live BCBS of Texas customer service is available from 7am to 8pm Monday-Friday, from 8am to 5pm Saturday, Sunday closed.
Under 65 New Enrollment: 1-800-531-4456. Live customer service representatives from BCBS of Texas are available from 8am to 8pm CT Monday-Friday, from 8am to 6pm CT Saturday, from 10am to 2pm CT Sunday.
Under 65 Customer Service: 1-888-697-0683. Live customer service representatives from BCBS of Texas are available from 7am to 8pm CT Monday-Friday, from 8am to 5pm CT Saturday, Sunday closed.
Medicare Supplement Customer Service: 1-877-384-9307.
Dental Indemnity USA: 1-800-820-9994.
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Similar to a monopoly, but where a large buyer (not seller) controls a large proportion of the market and drives the prices down. Sometimes referred to as the buyers monopoly.
Market characterized by the existence of only one buyer in a market, forcing sellers to accept a lower price than the societally optimal price.
A situation in which there is only one customer for a company's product. also called buyer's monopoly.


Since the close of the last call for designs in January PARADIGM has been working hard towards readying the platforms and design tools. There have been delays because of the new technology being rolled out in cycle 4, but we are pleased to report that the HHI platform is now ready to start.
Users accepted onto the cycle 4 MPW at HHI will be informed within the next few days and where necessary NDAs put in place.
The remaining proposals are currently being evaluated against the Oclaro platform. We will be in touch as soon as we can.


The following is a select list of free educational programs available at The Ripa Center. Preregistration is required for all Ripa programs For full class descriptions or to register, visit events.CooperHealth.org or call 800.8.COOPER (800.826.6737).
Thursday, February 21, 2019 from 6 p.m. to 7 p.m.
Do you often feel stressed or worried? Are you feeling overwhelmed and constantly tired? Feel like your mind is racing or find it difficult to fall asleep? Join David M. Nocchi, MD, FAAEM, Cooper Integrative Medicine for Women, in exploring the concepts of stress and natural ways to help manage life's challenges including herbal remedies, breath work, meditation, and mindfulness.
Tuesday, February 26, 2019 from 6 p.m. to 7 p.m.
Tuesday, April 30, 2019 from 6 p.m. to 7 p.m.
Evelyn Arteche, Cooper Registered Dietitian, will discuss how our diet impacts common complaints such as fatigue, bloating, headaches, junk food cravings, nausea, and more. Join Evelyn to learn how to feel your best and heal your body with food.
Tuesday, March 5, 2019 from 6 p.m. to 8 p.m.
Learn how to manage your blood sugar levels and reverse prediabetes through realistic and permanent lifestyle changes with Geetha K. Bhat, MD, Cooper Endocrinologist, and Megan Day, Cooper Registered Dietitian and Certified Diabetes Educator.
Tuesday, March 12, 2019 from 6 p.m. to 7 p.m.
Join Kimberly Hurley, DPM, Cooper Podiatric Surgeon, for an educational session and surgical demonstration on common female foot issues.
Tuesday, March 19, 2019 from 6 p.m. to 7 p.m.
Nicole J. Jarrett, MD, Cooper Hand and Nerve Center Surgeon, will discuss common hand and upper extremity disorders such as carpal tunnel syndrome, texting thumb, and arthritis of the hand.
Thursday, March 21, 2019 from 6 p.m. to 7 p.m.
Cooper Gastroenterologists Joshua P. DeSipio, MD, and Tara L. Lautenslager, MD, will discuss common digestive health concerns for women. Symptoms, diagnostic testing, and the latest treatment options for everything from unresolved heartburn to bloating, constipation, lactose intolerance, and more will be covered.
Tuesday, April 2, 2019 from 6 p.m. to 7 p.m.
Learn about common shoulder problems that affect women. Catherine Fedorka, MD, Cooper Orthopaedic Surgeon, will discuss these issues along with surgical and nonsurgical treatment options.
Tuesday, April 9, 2019 from 6 p.m. to 7 p.m.
Join Lioudmila Lipetskaia, MD, MSc, FACOG, Female Pelvic Medicine and Reconstructive Surgeon; and Michele A. Stroud, Pelvic Floor Physical Therapist, for a frank discussion about pelvic floor and sexual health concerns and treatment options.
Thursday, April 18, 2019 from 6 p.m. to 7:30 p.m.
Join Robin Bilazarian, LCSW, DCSW, DCEP, to discuss EFT – a gentle, complementary therapy method that focuses on self-applied acupressure points.
Enjoy a variety of women's wellness classes – yoga, body sculpting, tai chi, and more. Visit CooperHealth.org/Ripa to see the upcoming schedule and class fees.
Copyright © 2019 eHealth Connection.


The intent of this research was to determine whether a complete psychological test battery was needed to determine if an individual is capable of successful job placement. If the stated goal of rehabilitation is to produce a successful rehabilitant, perhaps one test, or one subtest, out of the entire psychological battery is as efficient a predictor of success as an entire psychological workup. Thus, more time, money, and manpower can be spent in the rehabilitative process.Success was defined as a client being offered services, accepting such services, completing employment that was in line with the training received and maintaining that employment for a six-month period.Failure was defined as a client completing the entire program of testing, accepting offered services and not completing a program of vocational training.Data for the study was collected from adults who had voluntarily come to regional offices of the Indiana Division of Vocational Rehabilitation between the years 1979 and 1982. Statistical analyses were done on 199 clients. Most of the 199 rehabilitants were given the following battery of tests: Wechsler Adult Intelligence Scale, Wide Range Achievement Test, Peabody Individual Achievement Test, Minnesota Multiphasic Personality Inventory, Self Directed Search or StrongCampbell Interest Inventory. It was decided not to use the Peabody Individual Achievement Test or the Strong Campbell Interest Inventory because they limited sample size.The psychometric data were all post hoc. They were analyzed by a Statistical Package for the Social Sciences and by Stepwise Regression. References were considered statistically significant at the .05 level. F at 1,200 degrees of freedom was 3.80.The Wide Range Achievement Test, subtest 4 (spelling grade level) was significant in best predicting success at the .05 level with an F score of 5.04524. The S scale (social interest) in the Self Directed Search was the next significant subtest in predicting success at the .05 level with an F score of 4.78224. The C scale (conventional) in the Self Directed Search was the next significant in best predicting success at the .05 level, with an F score of 6.17417. The best multiple predictors of success are subtest 4 of the WRAT (F, 4.956) combined with S (F, 10.900) and C (F, 8.588) scales of the SDS. The F level or tolerance level was insufficient for further computation.


text:
Scholars of Hadith
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Who is not aware of Hadhrat Imam Bukhari (R.A) and his kitaab 'Saheehul- Bukhari'? However in this present day, the majority of Muslims use his
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By Sheikh Munajid Praise be to Allaah, and blessings and peace be upon the Messenger of Allaah. The month of Safar is one of the
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Hadith of Bukhari Volume 3, Book 31, Number 118: Narrated Abu Huraira: Allah's Apostle said, "Fasting is a shield (or a screen or a shelter).
Palestine – 40 Ahadith Concerning Masjid Al-Aqsa
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text:
El JClic és una versió del programari lliure educatiu Clic, creat per Francesc Busquets i distribuït sota la llicència GPL que permet crear diversos tipus d'activitats educatives multimèdia: associació, relació, trencaclosques, exercicis d'omplir buits, etc. És una aplicació senzilla i intuïtiva.

Permet crear, realitzar i avaluar activitats educatives multimèdia a través de la progrmació Java. Funciona en entorns operatius Lunux, Mac OS X, Windows i Solaris. En concret, està format per quatre aplicacions, JClic applet permet pincrustar les activitats en una pàgina web, Jclic player és un programa per fer les activitats des del disc dur de l'ordinadors sense haver d'estar connectat a internet, JClic author és una eina per crear, editar i publicar les activitats de manera senzilla i JClic reports és un mòdul que recull dades i genera informes sobre els resultats de les activitats.

Impulsat per la Generalitat de Catalunya, la Junta d'Andalusia el va incorporar al sistema operatiu Guadalinex.

Referències

Enllaços externs

 ZonaClic amb informació sobre el programa i enllaços per baixar-vos-el.
 Jclic a Ubuntu Guia d'instal·lació de JClic a Ubuntu
 Pàgina personal de Francesc Busquets

Programari lliure educatiu
XTEC
Programari escrit en Java

redpajama_set_name: RedPajamaWikipedia


text:
George Orwell Research Paper
Book: 1984 › Essays
Topics: Paper, Research
Pages: 10 Words: 2275 Views: 561
George Orwell: The Prophesier George Orwell once said, "freedom is the right to tell people what they do not want to hear", that, essentially, "speaking the truth in times of universal deceit is a revolutionary act". ("George Orwell") Orwell's words reveal his political views in the absolute truest form. His uninhibited writing style forced readers to not only to listen what he had to say, but to also recognize his writing as the truth.
Although his veracity was supposed to be accepted without question, Orwell defined oppressive ideas of the government by exposing elements such as class division, and the failed attempts of the middle class to establish a meaningful union with the working class. Through his symbolic storytelling in Animal Farm and 1984, George Orwell creates a delusional and exaggerated picture of society, one marked by oppression, an eccentric government, and the complete hypocrisy of the middle class with the sole purpose of warning humanity of tyrannical forces.
Orwell's Animal Farm, the satiric classic in which animals symbolized the Russian Revolution and the rise of Stalin, illustrated many of the evils that Orwell feared. However, "according to the varying predispositions of readers, arguments arose as to whether or not Animal Farm focuses essentially on the failure of the Russian Revolution, or on the inherent likelihood of all revolutions to fail" (Gardner).
Nevertheless, throughout the novel, Orwell paints a bleak picture of the political 20th century, while advocating the revolutionary ideals of justice and equality. To symbolize revolt and the corruption of the revolution within society, Orwell starts Animal Farm with a rebellion led by the animals in an attempt to create a utopian society. After the revolt, and the "rebellion had been successfully carried through…and the Manor Farm was theirs" (Orwell 32), there were graver dangers than the threat of attack and counter-revolution.
In fact, the most severe risks laid within the farm itself, in internal corruption. After all, "A revolution often means only that: a revolving, a turn of the wheel of fortune, by which those who were at the bottom, mount to the top, and assume the choice positions, crushing the former power-holders beneath them" (Atwood). To sustain the possibility of distortion within the newly regulated farm, leaders of the revolt, Napoleon and Snowball, created a doctrine of rules entitled "The Seven Commandments. (Orwell 17). Essentially, the animals in the farm were taught, "whatever goes upon two legs is an enemy" (Orwell 34) and, furthermore, the leaders of the farm advocated, "whoever had thoroughly grasped this concept would be safe from all human influences" (Orwell 24). These two animals, primarily responsible for the elaboration of these ideas, respectively represent Joseph Stalin and Leon Trotsky. It is through these characters Orwell tries to spread his historical view.
It is as if he "espoused in simplicity of language proper to a story about animals, but also unlocked a deeper level of emotional response than could have been reached by a detailed historical treatment of revolution" (Gardner). As the rivalry between the two animals emerges, Orwell shows the hypocrisy that characterized the leadership of these two men. The most controversial argument between the two animal protagonists in the story is over the construction of a windmill on the farm. Evidenced by the way that "[Napoleon] had declared himself against the windmill from the start" (Orwell 36).
This repetitive, yet critical, debate between the two animals is a mechanism that Orwell uses to portray the misconstrued rivalry between the two political powerhouses. As the plot develops, the windmill transforms into a way in which Snowball can exert his power. Eventually, the windmill becomes an instrument to divert the animals' attention from the increasing amount of shortages and inadequacies developing on the farm. The animals spend the majority of their time working on this windmill, blind to the problems surrounding them.
Based on their ignorance, it is evident that Orwell was illustrating an empty and meaningless concentration, an effort misguided by corrupt leadership. Orwell reveals the corruption of the farm's rules, which mandated, "they were not as other animals. If they were hungry, it was not from feeding tyrannical human beings; if they worked hard, at least they worked for themselves. No creature among them went upon two legs. No creature called any other creature 'Master', all animals were equal" (Orwell 62).
Eventually, there is a shift and distinction in class divisions Orwell shows, beginning with "the mob of sheep, whose chant used to be 'four legs good, two legs bad,' have been coached to chant 'four legs good, two legs better'" (Orwell quoted in Gardner). The one thing that will never arise for these animals, or in a larger picture, society as a whole, is equality between the classes. Orwell further develops this lack of egalitarianism ad the classes by eliminating "all debates on the farm, and demanding that the animals sing the farm anthem, Beasts of England, every Sunday morning" (Orwell 59).
The fact that the animals on the farm are all required to follow a set of code of conduct without any room for deliberation advances the concept of an oppressive government and complete disregard for the class system. Orwell additionally illustrates this class division by pointing out even though "they had all been subjected to human rule, that did not mean that they would act as united body once they took over the farm" (V. C Letemendia). He further clarifies that statement by proclaiming "the diversity of the animal class, like the working class, is equally stressed by the differing personalities of the creatures" (V.
C Letermendia). Although Animal Farm is the story of a revolution gone bad, in the conclusion of the novel, the order is returned and, "the creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which" (Orwell 77). It is here Orwell illustrates the common horror of the condition of society, the fear that there have been, are, and always will be heinous creatures in every society, and they will always desire absolute power.
As the Manor Farm deteriorates into it's final, crimpling state it seems as though ""All Animals Are Equal is changed into "All Animals Are Equal, but Some Are More Equal Than Others"" (Atwood). Yet, despite this constant need for power and the power changes within the farm, it is the human nature of superior animals to defeat greed and ultimately save humanity. Orwell's perspective on society was also shown in 1984, a story that depicts the most horrifying future possible, one with complete regimentation, hypocrisy, cruelty and denial of human rights and dignity.
The suffocating government dominated the society within the novel, evidenced by the way that even if they "announced that two and two made five, you would have to believe it" (Orwell 24). It seems as though, due to this overbearing political power, "the very existence of external reality was tacitly denied by the philosophy of the totalitarian government" (Orwell 24). Orwell examines the effects of totalitarianism on individual consciousness and the loss of human integrity under tyranny.
When the book was written it was "a prophecy of future time – the general view when it appeared – it can now be seen as very much a product of its own" (Gardner). The whole concept of "Big Brother is watching you" (Orwell 5) is a simple phrase that becomes the cornerstone of the story. This notion, initiated by the governmental force known as the Thought Police, who controlled everything from food rations to what people could think, ruled the region of Oceania with an iron fist.
This destructive, total mind control is evidenced in the way, "Winston Smith, who [said] in Nineteen Eighty-Four, "Nothing was your own except the few cubic centimeters inside your skull"" (Orwell quoted in Gessen). It seems as though the party had embedded itself within society like a nail on a post, further instilling the conception "war was war, and that the only good human being was a dead one" (Orwell 28). The Thought Police in 1984 primarily advocated, "War is Peace. Freedom is Slavery.
Ignorance is Strength" (Orwell 67). Ironically, 1984 was, in reality, a warning against all of these perceptions and totalitarianism. Orwell showed socialist idealism in 1984 produced a total loss of individual freedom in exchange for deceitful security and mandatory obedience to an oppressive totalitarian government; it was essentially a dystopia. Due to this bereavement of independence, society often questioned whether or not if " the past was unchangeable" (Orwell 256).
They often wondered "if both the past and the external world existed only in the mind [like the Thought Police had forced upon the people], was the mind itself controllable, and if so – what then? " (Orwell 256). Despite the messages 1984 sent to the public, it was more of a simple warning to the socialists of Orwell's era. It is a predication clothed in the guise of science fiction, discussing the implications of what society is already conforming to. In fact, "Orwell's theoretical concerns about the likely shape of the future can be considered as the stuff of which political satire is made" (Gardner).
The fictional world of 1984 was austere. In the aftermath of the war, "a gray, gritty, depressing London of shortages, inconvenience, ruined building, and occasional rocket bomb" (Gardner), flood the setting. Even the characters within the story diminish, illustrated by the way in which, protagonist, "Winston Smith, [was] brainwashed and re-educated, [and began to succumb to the fact] that he loves Big Brother" (Taylor). Towards the end of the novel, it portrays a pessimistic future.
This prospect is to show the worst human society imaginable and to convince readers to avoid any path that may lead toward societal degradation and total governmental mind control. Orwell might have ignored his views on the social and political issues of his day, by keeping silent, however he chose to incorporate them into a work of fiction. He had essentially, "described a life in a dictorial society where every human instinct of love or compassion was mercilessly suppressed and put down" (Goodden). This alone proved to be a timeless interpretation of society.
Additionally, "it seems also, though, [1984] was meant to reinforce a sense of the book as open-ended: the book did prophesize that 'the kind of society I describe necessarily will arrive'" (Gardner). Nonetheless, George Orwell wrote 1984 not only to perpetuate this extreme utopian world but to also answer questions about "how to reconcile majority rule with minority rights, individualism and democracy, higher law and popular sovereignty or how to create an art of human values in a world of mass culture" (Rosenblatt).
It seems as though Orwell believed that "none of these questions [could] be posed without a certain amount of idealism, yet none [could] begin to be answered without staring long and hard at exactly who we are" (Rosenblatt). 1984 was an exemplary depiction of not only the answers to these questions but it also leaves us with "a vision of the future in which the individual has no chance, and where the brutal, totalitarian boot of the all controlling Party will grind into the human face, for ever (Atwood), unless man can stop it.
When a country or region is in a time of universal deceit, sometimes the truth does set people free and liberate them from that innate hatred. Orwell related the underlying layers of not only the government, but also the mentality of society as a whole. By writing his views of the government under a variety of aliases, people were able to see past the allegory and realize the implications that an overbearing government could quite possibly have on society. In fact, it seems as though, "Orwell [is] destined to live chiefly by his two satires" (Quintana).
Through the characters in these two political derisions, Orwell is able to challenge the ideas of the government and expose the flaws of the relentless class division and failed total mind control attempts. However, it is through his literary content that one is able to see these faults as truths. By writing Animal Farm and 1984, Orwell opened people's eyes to not only the world around them, but to the future. I have cited all material used to support any information or ideas not originating with me. I certify this as my original work and take full responsibility for this work, submitting it with pride.
Works Cited Atwood, Margaret "Orwell and Me" 3's. Twenty Minutes: The Orwell Essays series 17 June 2003, Print: n. Gardner Averil. George Orwell. Twayne's English Authors Series Online. New York: G. K. Hall; Co., 1997. "Eternal vigilance: Throughout the 1940s, George Orwell was formulating the ideas about language and politics that found their ultimate expression in Nineteen Eighty-Four. The novelist and critic Keith Gessen celebrates Orwell's essays from this period-a plain- spoken pleasure, despite their contradictions. George Gessen [1996] 1 June 2009: 41+. Student Resource Center – Gold. Web. 28 Feb. 2010. Goodden, Herman. "George Orwell as an ally. " Catholic Insight Sept. 2003: 9. Student Resource Center – Gold. Web. 28 Feb. 2010. Letemendia, V. C. "Revolution on Animal Farm. " Journal of Modern Literature 18. 1 (1992): 127-139. Web. 26 Apr 2010 Orwell, George. Animal Farm. Centennial Edition. New York, New York: Penguin Books Ltd, 1983, Print. Orwell, George. 1984. New York, New York: Penguin Books Ltd, 1949. Print. Orwell, George. "George Orwell Quotes". Brain Quote. 0 May 2010. Taylor, D. J. "Defeat into victory: Orwell's novels of the 1930s prefigure the horror of Nineteen Eighty-Four. " New Statesman [1996] 1 June 2009: 48. Student Resource Center – Gold. Web. 28 Feb. 2010. Rosenblatt, Roger. "And Here Comes 1984. (how George Orwell's novel lived up to the present year). " Time 5 Oct. 1983: 164. Student Resource Center – Gold. Web. 28 Feb. 2010. Quintana Ricardo. George Orwell: The satiric resolution. Wisconsin Studies in Contemporary Literature, 2(1), 1961. Retreived from http:/jstor. org Web. 28 Feb 2010
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Josh James Brolin (* 12. Februar 1968 in Los Angeles) ist ein US-amerikanischer Schauspieler, Filmproduzent und Regisseur.

Leben
Als Sohn des Schauspielers James Brolin und dessen erster Frau wuchs Brolin in Kalifornien auf.

Als Schauspieler machte er zunächst in Steven Spielbergs Die Goonies (1985) auf sich aufmerksam. In den folgenden Jahrzehnten spielte er zahlreiche Rollen und trat mehr und mehr aus dem Schatten seines Vaters. Hauptrollen hatte er unter anderem in Hollow Man – Unsichtbare Gefahr (2000) und Melinda und Melinda (2004). 2007 war Brolin in dem oscarprämierten Film No Country for Old Men sowie in Im Tal von Elah im Kino zu sehen. 2009 erhielt er für die Rolle des Mörders von Harvey Milk (gespielt von Sean Penn) in Gus Van Sants Filmbiografie Milk (2008) seine erste Oscar-Nominierung. 2010 spielte er in der Jonah-Hex-Comicverfilmung die gleichnamige Hauptrolle, John Malkovich seinen Gegenspieler. Im selben Jahr spielte er die Rolle des Mörders Tom Chaney in dem Western True Grit unter der Regie von Ethan und Joel Coen. 2012 war er neben Will Smith in Men in Black 3 als junger Agent K zu sehen. Im April 2012 bekam er die Rolle des Joe Douchett in dem von Spike Lee produzierten US-Remake des südkoreanischen Thrillers Oldboy von Park Chan-wook. Im September 2014 kam Sin City 2: A Dame to Kill For, die Fortsetzung von Sin City, in die Kinos, in der Brolin in der Rolle des Dwight McCarthy zu sehen ist. 2015 und 2018 folgten die Drogenthriller Sicario bzw. Sicario 2, in denen er jeweils die Rolle des CIA-Agenten Matt Grave spielte.

Im Marvel Cinematic Universe übernahm er erstmals 2014 in Guardians of the Galaxy die Rolle des galaktischen Eroberers Thanos. Erneut war er im folgenden Jahr, wenn auch unaufgeführt, in Avengers: Age of Ultron zu sehen. Auch in Avengers: Infinity War und Avengers: Endgame übernahm er die Rolle des Filmbösewichts.

Brolin wurde im Deutschen von verschiedenen Synchronsprechern gesprochen. Während ihm in früheren Filmen beispielsweise Axel Malzacher (Flirting with Disaster, Freeze) die Stimme lieh, übernimmt seit American Gangster regelmäßig Klaus-Dieter Klebsch die Synchronisation.

Privat

Von 1988 bis 1992 war Brolin mit der Schauspielkollegin Alice Adair verheiratet, mit der er zwei Kinder hat. Von 1998 bis 2001 war er mit der Schauspielkollegin Minnie Driver liiert. 2004 heiratete er seine Schauspielkollegin Diane Lane. Das Paar gab im Februar 2013 seine Trennung bekannt, die Scheidung erfolgte am 27. November 2013. Seit 2016 ist Josh Brolin mit seiner ehemaligen Assistentin und Model Kathryn Boyd verheiratet.

Filmografie (Auswahl)

 1985: Die Goonies (The Goonies)
 1986: Thrashin' – Krieg der Kids (Trashin')
 1986: Ein Engel auf Erden (Highway to Heaven; Fernsehserie, Folge A Special Love: Part 2)
 1987: Prison for Children (Fernsehfilm)
 1987: 21 Jump Street – Tatort Klassenzimmer (Fernsehserie, Folge My Future's So Bright, I Gotta Wear Shades)
 1987–1988: Private Eye (Fernsehserie, 12 Folgen)
 1989: Endspurt (Finish Line, Fernsehfilm)
 1989–1992: The Young Riders (Fernsehserie, 67 Folgen)
 1994: Roadflower (The Road Killers)
 1994: Winnetka Road (Fernsehserie, 6 Folgen)
 1996: Das Rosenbett (Bed of Roses)
 1996: Flirting with Disaster – Ein Unheil kommt selten allein (Flirting with Disaster)
 1996: Killer Cops – Mörder in Uniform (Gang in Blue, Fernsehfilm)
 1997: Freeze – Alptraum Nachtwache (Nightwatch)
 1997: Mimic – Angriff der Killerinsekten (Mimic)
 1997: My Brother's War; auch: Brothers in Arms (Flashpoint)
 1999: Best Laid Plans
 1999: Rage – Irrsinnige Gewalt (All the Rage)
 1999: Mod Squad – Cops auf Zeit (The Mod Squad)
 2000: Slow Burn
 2000: Hollow Man – Unsichtbare Gefahr (Hollow Man)
 2000: Picknick (Picnic, Fernsehfilm)
 2001: D.C. Smalls
 2002: Coastlines
 2003: Milwaukee, Minnesota
 2003: Mister Sterling (Fernsehserie, 10 Folgen)
 2004: Melinda und Melinda (Melinda and Melinda)
 2005: Into the Blue
 2005: Into the West – In den Westen (Into the West, Fernseh-Miniserie)
 2006: Dead Girl (The Dead Girl)
 2007: American Gangster
 2007: Planet Terror
 2007: No Country for Old Men
 2007: Im Tal von Elah (In the Valley of Elah)
 2008: W. – Ein missverstandenes Leben (W.)
 2008: Milk
 2009: Women in Trouble
 2010: Wall Street: Geld schläft nicht (Wall Street: Money Never Sleeps)
 2010: True Grit
 2010: Ich sehe den Mann deiner Träume (You Will Meet a Tall Dark Stranger)
 2010: Jonah Hex
 2012: Men in Black 3
 2013: Gangster Squad
 2013: Labor Day
 2013: Oldboy
 2014: Sin City 2: A Dame to Kill For (Sin City: A Dame to Kill For)
 2014: Guardians of the Galaxy (Stimme von Thanos)
 2014: Inherent Vice – Natürliche Mängel (Inherent Vice)
 2015: Avengers: Age of Ultron
 2015: Everest
 2015: Sicario
 2016: Hail, Caesar!
 2017: No Way Out – Gegen die Flammen (Only the Brave)
 2018: Avengers: Infinity War
 2018: Deadpool 2
 2018: Sicario 2 (Sicario: Day of the Soldado)
 2019: Avengers: Endgame
 2021: Flag Day
 2021: What If…? (Fernsehserie, Folge 1x02, Stimme)
 2021: Dune
 2022: Outer Range (Fernsehserie, 2022)

Weblinks

Einzelnachweise

Filmschauspieler
Kinderdarsteller
Filmproduzent
Filmregisseur
Person (Los Angeles)
US-Amerikaner
Geboren 1968
Mann


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