text:
import fs from 'fs'
import path from 'path'

require.uncache = moduleName => {
  require.searchCache(moduleName, mod => {
    delete require.cache[mod.id]
  })

  Object.keys(module.constructor._pathCache).forEach(cacheKey => {
    if (cacheKey.indexOf(moduleName) > 0) {
      delete module.constructor._pathCache[cacheKey]
    }
  })
}

require.searchCache = (moduleName, callback) => {
  let mod = require.resolve(moduleName)

  if (mod && ((mod = require.cache[mod]) !== undefined)) {
    (function run(mod) {
      mod.children.forEach(child => run(child))

      callback(mod)
    })(mod)
  }
}

export default function LiveReload(watchDir, modPath) {
  require(path.resolve(modPath))

  fs.watch(path.resolve(watchDir), { recursive: true }, e => {
    console.log('Files changed, reloading...')

    // start at root component and uncache
    require.uncache(path.resolve(modPath))

    // now load again
    require(path.resolve(modPath))
  })
}


text:
Long Black vs Americano: What's the Difference and Why It Matters?
In this article, we will compare and contrast the long black and Americano. Additionally, we will cover some information about each one, their flavor, and preparation.
The long black and Americano are both made by diluting espresso with water. There are many ways to get your caffeine fix, but these two coffees have a lot in common. Americanos and long blacks are very similar drinks, but the consistency is different. A long black has crema on top of it, making it look thicker than an Americano and gives it more body in its texture.
Long black coffee
Long black Trusted Source Long black - Wikipedia A long black is a style of coffee commonly found in Australia and New Zealand. A long black is made by pouring a double-shot of espresso or ristretto over hot water. Typically about 100 – 120 milliliters of water is used but the measurement is considered to be flexible to individual taste. The smaller volume of water compared to an Americano is responsible for its stronger taste. en.wikipedia.org coffee is made with long-boiled water, also known as "slow coffee," and is brewed using a filter or French press. The long black has less caffeine than an Americano because the long boil time produces a smaller concentration of caffeinated particles.
Long blacks have more caffeine than a cup of regular coffee because long-boiled water has a higher percentage of caffeine than regular coffee.
The long black is said to be more suited for morning drinking and Americano in the afternoon, which may explain why long blacks are often drunk with breakfast foods like toast or eggs.
A long black is a long drink of black coffee made with a single shot of espresso and topped up to the size desired.
It is usually served in an oversized cup or glass, often containing more milk than a short black (espresso) and sometimes sugar syrup for a taste.
The long black has less acidity than espresso because it uses less pressure during brewing, ensuring no oils are extracted from the ground beans into the finished product. It also has about half as much caffeine as an Americano due to its smaller volume content per serving when compared to other drinks like lattes and cappuccinos.
Adding espresso to hot water in a 1:4 ratio produces a drink that is similar to regular coffee. However, by adding the hot water first and then pouring in the espresso, you can preserve the crema of your latte. This adds a slightly bitter taste to your long black.
While a long black has less acidity than an Americano, it also contains slightly more caffeine. A long black has 25.67 milligrams of caffeine per fluid ounce.
A long black typically contains around twice as many milligrams of caffeine per ounce compared with a regular brewed coffee.
It's brewed by pouring boiling water over ground coffee beans in a pot or plunger without filtering. The liquid from this brew is then poured through a long-handled metal strainer with three mesh screens of different sizes that catches larger grounds as it drips into your cup below.
This leaves you with something noticeably thicker than most coffees but not quite as thick (or bitter) as an Americano.
Americanos are native to Italy. They use more water to coffee than espresso, so they're not as strong or intense as that drink. The round shape and short height are similar to the popular cappuccino cup size too.
Nespresso Coffee Packets, known as capsules or pods, come in 18 different flavor varieties depending on where you live. The coffee is packaged separately from the capsule itself to keep it fresh. You place a single packet into your machine's designated space before starting brewing.
These capsules can be used for brewing Long Blacks, Americanos, Espresso, Lungo, and Cappuccinos. There are also many coffee and espresso maker combos on the market, perfect for making these two drinks.
A Caffè Americano is a coffee drink that is made by mixing espresso with hot water. The taste of the drink falls in between traditionally brewed coffee and espresso. Using a quality espresso machine like the De'Longhi, you can make an excellent tasting long black or Americano.
This coffee is intense, deep in flavor. When drinking it, you can taste nutty, earthy notes that are too strong for the floral and light flavors, which a high-temperature brewing technique has destroyed.
An Americano typically consists of two espresso shots, which means it contains anywhere between 94 and 150 milligrams of caffeine.
An Americano is made by adding hot water to ground espresso beans, although it can also be made using instant coffee dissolved in boiling water.
The best option depends on your mood! If you want something that'll help, get rid of any lingering fatigue from waking up early, go with an Americano-it won't leave you feeling weighed down like a long black might do. On the other hand, if you're looking for something that'll have a lighter flavor and is easier on your stomach, go with the long black.
An Americano is a good choice if you're looking for something to wake you up, but it's also light and refreshing.
A long black can be too intense and heavy for some people in the morning; however, those who enjoy deep flavors will find it irresistible. A long black consists of just coffee brewed by pouring boiling water over ground espresso beans (or instant coffee), so it typically has less caffeine than an Americano due to the lower brewing temperature.
Both the Americano and long black are made by diluting espresso with water, so they share the same qualities like flavor and body. Both are equally good because they have different textures. With so many other options out there for caffeine fixes, it can be hard to decide which drink is right for your lifestyle and tastes.
Long black - Wikipedia
A long black is a style of coffee commonly found in Australia and New Zealand. A long black is made by pouring a double-shot of espresso or ristretto over hot water. Typically about 100 – 120 milliliters of water is used but the measurement is considered to be flexible to individual taste. The smaller volume of water compared to an Americano is responsible for its stronger taste.

redpajama_set_name: RedPajamaCommonCrawl


Carola Lehmacher-Richez grew up in Buenos Aires, Argentina, speaking German and Spanish. She was educated in a multicultural environment, learning English as a young child. Carola graduated from the University of Buenos Aires in Translation Studies in 2008 and became a sworn translator in Spanish, German, and English through the Association of Sworn Translators of the City of Buenos Aires and the Association of Sworn Translators and Interpreters of the Province of Buenos Aires. As a multilingual freelance translator and interpreter with over 10 years of experience, she has gained wide-ranging business insight working with the government and industries at an executive and operational level. In 2013 and 2014, Carola taught Interpretation I and II, and a translation workshop at the University of Buenos Aires as part of the official curriculum for her translation studies. After moving to Atlanta in 2015, she became a Spanish-English Certified Georgia State Court Interpreter.


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text:
Treasure Coast forum alerts residents to dangers of human trafficking
Parents 'next door' could be selling their children to predators
Updated: 11:31 PM EDT May 6, 2019
Terri Parker
WHAT THEY CAN DO TO HELP. HOMELAND SECURITY AGENT DANIEL RUIZ TOLD THIS CROWD ABOUT CALIFORNIA GANGS, AND ABDUCTED WOMEN WITH THEIR TRAFFICKER'S NAMES TATTOOED ON THEIR BODIES. HORRIFYING YES BUT THE EQUALLY HORRIFYING MESSAGE IS HUMAN TRAFFICKING COULD BE HAPPENING RIGHT NEXT DOOR, OR TO YOUR OWN CHILD. >> PEOPLE IN MARTIN COUNTY OR INDIAN RIVER COUNTY WILL SAY THAT DOES NOT HAPPEN HERE, WE LIVE IN GATED COMMUNITIES. BUT YOU CAN COME FROM A VERY STABLE TWO PARENT HOUSEHOLD AND HAVE EVERYTHING AND STILL NOT FEEL LOVED AND WONDER IF THERE IS SOMETHING BETTER OUT THERE. TERRI: AND THAT CHILD COULD FALL UNDER THE SPELL OF A TRAFFICKER, PAND RUN AWAY ONLY TO BE ENSLAVED. EVEN WORSE, PARENTS WHO SELL THEIR OWN CHILDREN. >> PARENTS TRAFFICKING THEIR OWN CHILDREN TO PAY, WHETHER THEIR LIGHT BILL, THEIR DRUG HABIT, WHATEVER THAT IS. TERRI: ST. LUCIE COUNTY SERGEANT SUZANNE WOODWARD SAYS A RECENT TASK FORCE SNARED SEVERAL ARRESTS OF PEOPLE WHO THOUGHT THEY WERE NEGOTIATING WITH PARENTS. >> MOST OF OUR HITS WERE WHEN WE POSED AS PARENTS TRYING TO SELL OUR CHILDREN AND WE GOT A LOT OF RESPONSES TO THAT. WE MADE A LOT OF ARRESTS. TERRI: THE HUMAN TRAFFICKING COALITION OF THE TREASURE COAST BROUGHT IN LAW ENFORCEMENT AND THE STATE ATTORNEY'S OFFICE ALL STRESSING THEY NEED HELP TO FERRET OUT THESE CRIMES. WHETHER IT IS TRAFFICKERS PREYING ON CHILDREN, OR BUSINESSES FORCING PEOPLE INTO UNPAID LABOR. >> YOU GUYS ARE THE EYES AND EARS. THERE'S ONLY SO MANY COPS IN MARTIN COUNTY AND INDIAN RIVER, OKEECHOBEE, ST. LUCIE COUNTY'S. THEY CAN ONLY DO SO MUCH. AND THEY CAN ONLY DO WHAT'S BROUGHT TO THEIR ATTENTION BY THE PUBLIC.
The Human Trafficking Coalition of the Treasure Coast presented a forum Monday night to alert residents to the warning signs of human trafficking.Homeland Security Agent Daniel Ruiz told the crowd about California gangs, and abducted women with their trafficker's names tattooed on their bodies.But more close to home, local law enforcement stressed human trafficking could be happening next door, or to your own child. "People think, well, that doesn't happen here -- we live in gated communities, but you can come from a very stable two-parent household and still not feel loved and wonder if there is something better out there," said coalition vice chair Jamie Bond.Bond said vulnerable children could fall under the spell of a trafficker, run away and end up being enslaved.Even worse, judging from the gasps of the crowd, are parents who sell their own children."We see parents trafficking their own children to pay their light bills, or other bills, whatever that is," said Bond.St. Lucie County Sheriff's Office Sgt. Suzanne Woodward said a recent task force she was on snared several arrests of people who thought they were negotiating with parents."Most of our hits (online) were when we posed as parents trying to sell our children and we made a lot of arrests," said Woodward.The Human Trafficking Coalition brought in law enforcement and the State Attorney's Office -- all stressing they need help to ferret out these crimes -- whether it is traffickers preying on children, or businesses forcing people into unpaid labor."You guys are the eyes and ears; there's only so many cops in Martin, St. Lucie, Okeechobee and Indian River County and they can only do so much and they can only do what's brought to their attention by the public," said prosecutor Tom Bakkedahl."Nothing is too small to report… call the human trafficking hotline," said Bond.The number for the Human Trafficking hotline is 1-888-373-7888.
PALM CITY, Fla. —
The Human Trafficking Coalition of the Treasure Coast presented a forum Monday night to alert residents to the warning signs of human trafficking.
Homeland Security Agent Daniel Ruiz told the crowd about California gangs, and abducted women with their trafficker's names tattooed on their bodies.
But more close to home, local law enforcement stressed human trafficking could be happening next door, or to your own child.
"People think, well, that doesn't happen here -- we live in gated communities, but you can come from a very stable two-parent household and still not feel loved and wonder if there is something better out there," said coalition vice chair Jamie Bond.
Bond said vulnerable children could fall under the spell of a trafficker, run away and end up being enslaved.
Even worse, judging from the gasps of the crowd, are parents who sell their own children.
"We see parents trafficking their own children to pay their light bills, or other bills, whatever that is," said Bond.
St. Lucie County Sheriff's Office Sgt. Suzanne Woodward said a recent task force she was on snared several arrests of people who thought they were negotiating with parents.
"Most of our hits (online) were when we posed as parents trying to sell our children and we made a lot of arrests," said Woodward.
The Human Trafficking Coalition brought in law enforcement and the State Attorney's Office -- all stressing they need help to ferret out these crimes -- whether it is traffickers preying on children, or businesses forcing people into unpaid labor.
"You guys are the eyes and ears; there's only so many cops in Martin, St. Lucie, Okeechobee and Indian River County and they can only do so much and they can only do what's brought to their attention by the public," said prosecutor Tom Bakkedahl.
"Nothing is too small to report… call the human trafficking hotline," said Bond.
The number for the Human Trafficking hotline is 1-888-373-7888.


text:
Home News & Resources Direct Mounting Saves Components And Boosts Performance
Inductive hollow-shaft rotary encoders ECI 4000 and EBI 4000 from HEIDENHAIN for direct mounting with a hollow shaft diameter of 90 mm
The new hollow-shaft encoder series ECI 4000/EBI 4000 extends HEIDENHAIN's range of inductive position measuring devices. The new versions are modular devices without integral bearing and a hollow shaft dimension of 90 mm. Users can replace the usual belt drives for coupling a motor feedback system to torque motors. The new encoders boost performance but with fewer components.
Apart from the increasing level of automation of a manufacturing plant, improving productivity depends essentially on dynamic and highly efficient drive systems. In addition, to survive in the market, the design of the plants and machines has to be reliable, environmentally friendly and resource efficient. The key to meeting these requirements is electric drive technology. It does its work with little noise, little wear, and usually with low maintenance and next to no loss of performance.
In particular, the electric direct drive via torque motor is gaining in significance because it needs no additional mechanical transmission elements in the drive train. Based on its power density and dynamics, it is also often indispensable for achieving the required production throughput. But for this, users need a harmonized and powerful package consisting of a servo amplifier as control device, a drive unit and a position measuring device as motor feedback system. For these applications HEIDENHAIN has developed new, high-performance position encoders in the form of the hollow-shaft rotary encoders ECI 4000 and EBI 4000 (Figure 1). They set new benchmarks in achievable control dynamics, reliability and functionality, thus opening new potential applications for inductive rotary encoders.
Replacement for belt drives
The new inductive hollow-shaft rotary encoders can, for example, replace the hitherto usual belt drives for coupling a motor feedback system to torque motors. At the same time, users obtain a boost in performance. Through the elimination of numerous components, the new hollow-shaft rotary encoders, which are mounted directly, guarantee wear-free operation. The expected increase in control bandwidth ensures a significant gain in dynamics. Furthermore, the new rotary encoders are ideal for other measuring tasks on motors, drive modules and machine components that require a corresponding hollow shaft of the encoder.
The ECI 4000 singleturn version has a resolution of 20 bits. Alternatively, HEIDENHAIN also provides a multiturn version in the EBI 4000. This has a revolution counter option with a resolution of 16 bits and an external battery backup. The new series consist of a scanning unit and a scale drum. They have outstanding properties and an overall height of just 20 mm.
All-round scanning with high positioning accuracy
Sample accuracy graph with a radial eccentricity of the drive shaft of 0.2 mm (hollow shaft diameter of 90 mm)
The positions are read with what it termed circumferential scanning. In this setup, the complete graduation structure of the scale drum (rotor) with the associated scanning band of the scanning unit (stator) is involved in obtaining the position signal. In this way, the rotary encoder evaluates two incremental scanning tracks of differing periodicity. This scanning principle has an extremely positive effect on the mounting tolerances and the positioning accuracy.
The compensation of position errors, which occur when the center of rotation of the drive shaft shifts, is done in principle mostly through the all-round scanning. This particular feature is available over the whole speed range up to 6000 rpm. The measuring curve in Figure 2 shows a typical accuracy graph with a radial eccentricity of the drive shaft of 0.2 mm and otherwise ideal mounting conditions. In the case of rotary encoders with a radially positioned, singular scanning point, under identical conditions the uncertainty of measurement is greatly increased due to the laws of geometry.
Simple connection and reliable data transmission
Scale drum (center) and scanning unit (right), each with a centering diameter for easy mounting without tools for adjusting and testing (left in picture: typical motor)
The new inductive rotary encoders ECI 4000 and EBI 4000 are equipped with the digital EnDat 2.2 interface. The power supply range is +3.6 V to +14 V. Typical for HEIDENHAIN, the connection is via plug-in encoder cables. In addition to noise-free transmission, the EnDat 2.2 interface also supports other device-specific functions. These include the transmission of the data of one internal and one external temperature sensor and the supply of standardized valuation numbers for signal diagnostics. The output of these operating parameters in the closed control loop allows permanent monitoring of the encoder status. Additional connections are possible with the DRIVE-CLiQ* interface available as an option for the singleturn version.
Certification for SIL 2 applications in compliance with EN 61508 is being planned for the devices. It documents the secure transmission of the singleturn position information. By employing additional measures in the subsequent electronics, users can also raise the security level of the EnDat 2.2 devices to SIL 3. The relevant fault exclusion criteria for a safe mechanical connection are of course part of the certification.
The encoders are basically designed to be easy to install and integrate into the applications of motors and machines. Among other things, they fulfill protection class IP40. The rotary encoders have an external and an internal centering diameter on the scanning unit and scale drum respectively. In this way, they can be mounted quickly without any special tools for adjusting and testing (Figure 3) and immediately put into operation. An application-specific axial offset of the scale drum to the scanning unit is tolerated in a range of ±1.5 mm. The maximum drive shaft runout tolerance is similarly generous at 0.2 mm. The operating temperature range of encoders with EnDat 2.2 interface goes up to +115 °C. Thus, combined with the vibration resistance of 400 m/s² for the stator and 600 m/s² for the rotor according to EN 60068-2-6, it supports application as a motor feedback system. This guarantees great robustness—especially when the motor is designed for high performance.
With its new inductive hollow-shaft rotary encoders ECI 4000 and EBI 4000, HEIDENHAIN has extended the field of application of torque motors. The performance data of the rotary encoders set new standards in areas of application in which the key factors are drive dynamics, reliability and functionality.
*DRIVE-CLiQ is a registered trademark of SIEMENS AG.


More powerful and accurate, Earth Observation satellites feature major breakthrough technologies contributing to a better understanding of our planet, our oceans, our weather conditions… in a nutshell, our global environment. Earth Observation satellites, whether using radar or optical payloads, can also be used for defense uses, in particular for applications linked to maritime security or border surveillance. Moreover, powerful telecommunications satellites can offer High Speed Internet in certain coverage zones, directly contributing to bridge the digital divide, in particular in isolated areas.
Yet that only will be possible if they can find space in that space—a place to park in orbit that will not be vulnerable to the dangers of increasing space debris.
Read the whole article on the group website.


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You are here: Home / Top Stories / They Ain't Feelin' No Pain
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They Ain't Feelin' No Pain
by Nikki
May 1, 2014 February 13, 2015 Filed under:
Let's go to Luckenbach, Texas
With Waylon, Willie and the boys
Out in Luckenbach, Texas
Ain't nobody feeling' no pain
Those are a couple of lines from the 1977 hit country song, "Luckenbach, Texas," subtitled "Back to the Basics of Love." The song made Luckenbach famous, and a popular destination for travelers and locals. Although no one lives in Luckenbach any longer (even though a sign on one of its buildings declares, "Population 3"), this onetime trading post remains a magnet for those in search of country music, dancing, knocking back a couple of cold long necks (as in beer), and just having a good time.
First-time visitors to Luckenbach expecting to find a town are likely to feel they are viewing some kind of apparition. Glance toward the general store and you expect to see Paul Newman dressed as Judge Roy Bean holding court and getting ready to dispense "law west of the Pecos." Or you might envision the climactic scene of the movie "Close Encounters of the Third Kind" rewritten to have Richard Dreyfuss enjoy a couple of cold ones and listen to some guitar picking before boarding the mother ship. Luckenbach is a mystical kind of place.
It was founded near Fredericksburg in the Texas Hill Country by German immigrants in 1849 and initially was called South Grape Creek Community. It became Luckenbach in 1866 when one of the settlers applied for reestablishment of a post office and used her fiancé's name on the application. The community of Luckenbach remained in the same family until 1970 when it was sold to a trio of Texans, one of whom proclaimed himself mayor. The settlement was never really much of a town, although at one time it included a post office, school, community hall, general store, blacksmith shop, and a steam-powered cotton gin. Most of these are now gone. The school closed in 1964 and a flood took out the old cotton gin and blacksmith shop in 2002. The post office closed in 1970 when Benno Engel, a descendant of Luckenbach's founders, retired as postmaster. Chickens continue to strut around the place, but it is doubtful they are from the family tree of those raised by the original settlers.
Things picked up in the early 1970s when the dance hall served as the location for songwriter and singer Jerry Jeff Walker and the Lost Gonzo Band to record the album "Viva Terlingua." Four years later the real boom arrived when Bobby Emmons and Chips Moman penned the hamlet's namesake song that was recorded by Waylon Jennings and Willie Nelson.
Today Luckenbach is a venue for beer and country music. Although much of the original community is history, the really important components of the settlement—general store, saloon and dance hall—remain. Stacks of T-shirts, sweats, key chains, bumper stickers, and lots of other Luckenbach memorabilia are offered for sale in the general store. However, it's music and atmosphere that draw the faithful. Step down into the saloon and you might expect to find Waylon and Willie sitting around a circle picking guitars and singing along with the boys. Although Waylon passed away in 2002 and Willie hasn't visited for some time, their spirit lives on here. Maybe it's time to sell your diamond rings and buy some boots and faded jeans, and go away to Luckenbach, where there ain't nobody feelin' no pain.
David and Kay Scott reside in Valdosta, Georgia, and are authors of Complete Guide to the National Park Lodges. Visit them at mypages.valdosta.edu/dlscott/Scott.html.
Nikki is a writer and editor for Do It Yourself RV, RV LIFE, and Camper Report. She is based on the Oregon Coast and has traveled all over the Pacific Northwest.
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text:
Nintendo Announces Switch Games & Miiverse Ending
September 6, 2017 January 30, 2018 Claude West
Since the release of the Nintendo Switch in March 2017 there have been many eager fans awaiting the reveal of the brand-new 'Nindies' – a catchy word for the independent Nintendo Switch games to be released across Nintendo's platforms.
The livestream took place on August 31st and the reveals came thick and fast, with many new Nintendo Switch games receiving exclusive release dates.
However, while Switch's offerings are ever expanding, there was an announcement of a sadder nature as well: the 3DS Wii U consoles are losing support – the Miiservice will be going offline worldwide on November 8th 2017.
Brand New Nintendo Switch Games
The announcements were dominated by excitement for 2 major releases: Super Meat Boy Forever and No More Heroes: Travis Strikes Again, but there were plenty of smaller titles which were given release dates or Switch exclusive reveals.
SteamWorld Dig 2 will release exclusively on Switch on September 21st and game developers Image & Form mentioned that the PlayStation 4 and Steam version would be released a few days later.
Kentucky Route Zero, a surreal episodic adventure, will arrive on Switch in early 2018 and this launch will coincide with the release of the 5th and final chapter of the game. The Switch edition will also include all the short interlude chapters which have been released by developer Cardboard Computer.
Shovel Knight fans were excited to see that the next new campaign mode, King Knight, will release on Switch in early 2018.
Frozenbyte, the developers behind Trine, revealed that its isometric fighting-style game set in the Trine Universe, Nine Parchments, will release in time for the holiday season.
There were no announcements for mobile pokies style games as yet, but you could always stick to your mobile online casino for now.
Yono, a console-exclusive isometric adventure about a baby elephant, will release December 10th.
A teaser was revealed for Morphies Law, a 4v4 multiplayer in which players shoot each other to steal their mass and grow bigger, but no official release date has been announced as yet.
Other releases include:
Earth Atlantic: a shooter game set underwater.
Malaka: a low-poly 3D action adventure.
Wulverblade: a 2D beat-em-up.
Dragon: Marked for a Death – a side-scrolling RPG
Polybridge: a console-exclusive bridge making game.
The End of the Miiverse
Unfortunately, not all the announcements were positive, as Nintendo (finally) officially revealed that 3DS Wii U consoles will be losing support as the Miiverse service will be going offline permanently before the end of the year. According to the announcement, going offline would affect all regions and would take place at 6AM BST worldwide on November 8th. This may not come as a surprise to all our readers, as dataminers stumbled across this information earlier this month, but it's still sad to have Nintendo announce it officially. Popular Wii games such as Super Smash Bros., Mario Party 10, and Mario Kart 8 will all be affected.
Players will no longer be able to access Miiverse from the Wii U console, Nintendo 3DS group of systems, or from an internet browser.
All Miiverse services, such as viewing or making posts and messaging friends, will become unavailable.
For a limited time only players will be able to request a download of all the posts made up until the day of the closure.
For all Wii U and 3DS games that support Miiverse functionality in-game, these features and services will no longer be available.
Miiverse posts will no longer be available in the Wara Wara Plaza.
← Gonzo's Quest Goes Virtual – The Virtual Reality Future
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text:
Sun Devils take advantage of Ragin' Cajuns' sloppy first half in win
Arizona State Basketball Stories
By Tyler Drake | December 7, 2019 at 10:51 pm
UPDATED: December 7, 2019 at 11:06 pm
(Photo by David Becker/Getty Images)
TEMPE, Ariz. — The Arizona State Sun Devils entered Saturday night with six straight home games on the docket, with the Louisiana-Lafayette Ragin' Cajuns first up.
Turning the Ragin' Cajuns' mistakes into points, the Sun Devils cruised to a 77-65 win over Louisiana-Lafayette Saturday night, giving the team a 3-0 record at home.
Despite a difficult shooting stretch from beyond the arc in the first half, the Sun Devils had little trouble building an early lead thanks to an advantageous defense.
Converting 13 Ragin' Cajun turnovers into 18 points in the first half alone, the Sun Devils quickly found themselves ahead thanks in part to the team's eight steals. The turnover total was reminiscent of the team's first few games, where it had at least 18 TOs in each. The last two contests, the Sun Devils managed just 11 turnovers apiece in 40 minutes.
The points off of turnovers and steals obviously look stellar on the statsheet, but the manner in which the defense conducted itself was equally as impressive. With just two players with two fouls each in the half, the Sun Devils stayed out of foul trouble for the most part, while holding Louisiana-Lafayette to two free throw attempts.
And while the defense stepped up, the post play of junior Romello White gave the Sun Devils an added boost in a half that saw ASU convert just one of its eight shots from beyond the arc. On the other side of the coin, the Ragin' Cajuns found success from deep, quickly hitting their first three shots, before ending the half 4-of-11.
From the tip, it looked to be a night where White would be the focal point, jumping out to a team-high 11 points on 4-of-5 shooting to go along with five rebounds, also a team high, in the first half. He led all Sun Devils with 19 points and 14 rebounds, six of which were offensive.
"Good things happened when he had the ball, bottom line," ASU head coach Bobby Hurley said after the game. "Percentages, some of his really good passes out of the post. He went to the offensive glass, he battled in the paint to rebound. He was one of the primary reasons why we were in the position we were in late in the game."
Junior guard Remy Martin and senior Rob Edwards chipped in 15 and 17 points, respectively.
For White, the performance marked a second-straight double-double for the junior. White continues to build a strong season, and entering play Saturday was third on the team in points per game (10.5) and led the team in rebounds (8.3).
"I feel like I've gotten into a groove and I've been trying to stay consistent with how I play," White said after the game. "That's really what I've been focused on, taking my time when I get the ball and really just trying to dominate on both sides of the floor not just the offensive end."
Already riding a 12-point lead to start the final 20 minutes, the Sun Devils needed little to hold onto the advantage in the second half.
But while the scoreboard favored the Sun Devils, Hurley was not pleased with how his team finished the game.
After allowing just two free throw attempts in the first half, the Sun Devils gave up 13 points on 18 shots from the charity stripe, showcasing a lack of poise on defense.
"Thought our defense was poor relative to how we guarded in the first half and most of the season," Hurley said. "We just allowed them to go off the bounce and beat us and put them on the free throw line way too much, so it was a really poor defensive effort in the second half."
ASU did improve from 3-point land, jumping from 12.5% to 27.8% (5-of-18), while hitting all six of its free throw tries in the second, but also saw a dip in overall shooting, dropping from 46.7% to 37.8%.
"I just think we got baited into taking some poor shots, we did have some open 3's that we missed badly," Hurley said. "When you look at 6-for-26, guys just have to start hitting from three, especially when you have a guy down low that's as productive as Romello's going to be, those shots are going to be there. They've got to connect at a better rate."
ASU moves to 6-2 after the victory, but it's the fashion in which the team's winning that's cause for concern for the ASU head coach. Against better teams, tonight's ending could have gone a lot differently.
"We have to start getting it in gear and start trying to strive to play well, so that regardless of what the score is you feel good about yourself after the game," Hurley said.
"As much as we've been winning, I just haven't felt like 'wow, this really looks great, this feels good,' so we have to get back to the drawing board and get in practice and play better.
"We just have to figure out how to not be schizophrenic within a game."
Hurley and the Sun Devils will look for a more complete 40 minutes Wednesday night as they host the Prairie View A&M Panthers in the second tilt of their six-game homestand. Catch all the action live on ESPN 620 AM.
Follow @Tdrake4sports
Who's got next? ASU working through inconsistent 3rd scoring option
ASU rebounds with win over Oregon State behind Martin, Edwards
Offensive consistency key for ASU in regaining momentum in Pac-12 play
Romello White's status up in air for ASU vs. Arizona; Jalen Graham active


The risk it takes to remain tight inside the bud is more painful than the risk it takes to blossom.
I think that just keeping a record, about HERE - about my home life, helps me keep it real here. I am happy with my goal to find positive things about my home life each week, each day, each minute...and forward. Many days I picture myself like these tiny buds. I feel so small at times but the more I focus on lifting my face towards the sun the stronger I become and the more I open up. This picture is also pretty cool because it looks like each bud being held in an old woman's hand. Maybe an old woman's bony hand isn't all that comforting but I like the idea that it represents. I invite anybody reading this to keep it real and happy Spring!!
very nice. i think grandma is probably holding those buds up to the sun so they open up quicker....she loved spring and the blossoming flowers. finding positives things in everything each day in our lives is what makes a person grow and appreciate our time on earth. you are a very important person and part of this world, just like those opening buds, regardless of how big or small you are. there is beauty in everything if you take the time to really study and appreciate it. keep posting and i will keep reading............. any chance i can meet you for a drink later today?


text:
Q: How to use a typescript enum value in an Angular2 ngSwitch statement The Typescript enum seems a natural match with Angular2's ngSwitch directive.  But when I try to use an enum in my component's template, I get "Cannot read property 'xxx' of undefined in ...".  How can I use enum values in my component template?
Please note that this is different from how to create html select options based upon ALL of the values of an enum (ngFor).  This question is about ngSwitch based upon a particular value of an enum.  Although the same approach of creating an class-internal reference to the enum appears.

A: You can create a custom decorator to add to your component to make it aware of enums.
myenum.enum.ts:
export enum MyEnum {
    FirstValue,
    SecondValue
}

myenumaware.decorator.ts
import { MyEnum } from './myenum.enum';

export function MyEnumAware(constructor: Function) {
    constructor.prototype.MyEnum = MyEnum;
}

enum-aware.component.ts
import { Component } from '@angular2/core';
import { MyEnum } from './myenum.enum';
import { MyEnumAware } from './myenumaware.decorator';

@Component({
  selector: 'enum-aware',
  template: `

        First Value

        Second Value

    <button (click)="toggleValue()">Toggle Value</button>
  `,
})
@MyEnumAware // <---------------!!!
export default class EnumAwareComponent {
  myEnumValue: MyEnum = MyEnum.FirstValue;

  toggleValue() {
    this.myEnumValue = this.myEnumValue === MyEnum.FirstValue
        ? MyEnum.SecondValue : MyEnum.FirstValue;
  }
}

A: Angular4 - Using Enum in HTML Template  ngSwitch / ngSwitchCase
Solution here: https://stackoverflow.com/a/42464835/802196
credit: @snorkpete
In your component, you have
enum MyEnum{
  First,
  Second
}

Then in your component, you bring in the Enum type via a member 'MyEnum', and create another member for your enum variable 'myEnumVar' :
export class MyComponent{
  MyEnum = MyEnum;
  myEnumVar:MyEnum = MyEnum.Second
  ...
}

You can now use myEnumVar and MyEnum in your .html template.  Eg, Using Enums in ngSwitch:

<app-first-component></app-first-component>

<app-second-component></app-second-component>

MyEnumVar {{myEnumVar}} is not handled.

A: You can create a reference to the enum in your component class (I just changed the initial character to be lower-case) and then use that reference from the template (plunker):
import {Component} from 'angular2/core';

enum CellType {Text, Placeholder}
class Cell {
  constructor(public text: string, public type: CellType) {}
}
@Component({
  selector: 'my-app',
  template: `

        {{cell.text}}

        Placeholder

    <button (click)="setType(cellType.Text)">Text</button>
    <button (click)="setType(cellType.Placeholder)">Placeholder</button>
  `,
})
export default class AppComponent {

  // Store a reference to the enum
  cellType = CellType;
  public cell: Cell;

  constructor() {
    this.cell = new Cell("Hello", CellType.Text)
  }

  setType(type: CellType) {
    this.cell.type = type;
  }
}

A: Start by considering 'Do I really want to do this?'
I have no problem referring to enums directly in HTML, but in some cases there are cleaner alternatives that don't lose type-safe-ness.
For instance if you choose the approach shown in my other answer, you may have declared TT in your component something like this:
public TT =
{
    // Enum defines (Horizontal | Vertical)
    FeatureBoxResponsiveLayout: FeatureBoxResponsiveLayout
}

To show a different layout in your HTML, you'd have an *ngIf for each layout type, and you could refer directly to the enum in your component's HTML:
*ngIf="(featureBoxResponsiveService.layout | async) == TT.FeatureBoxResponsiveLayout.Horizontal"

This example uses a service to get the current layout, runs it through the async pipe and then compares it to our enum value. It's pretty verbose, convoluted and not much fun to look at. It also exposes the name of the enum, which itself may be overly verbose.
Alternative, that retains type safety from the HTML
Alternatively you can do the following, and declare a more readable function in your component's .ts file :
*ngIf="isResponsiveLayout('Horizontal')"

Much cleaner! But what if someone types in 'Horziontal' by mistake? The whole reason you wanted to use an enum in the HTML was to be typesafe right?
We can still achieve that with keyof and some typescript magic. This is the definition of the function:
isResponsiveLayout(value: keyof typeof FeatureBoxResponsiveLayout)
{
    return FeatureBoxResponsiveLayout[value] == this.featureBoxResponsiveService.layout.value;
}

Note the usage of FeatureBoxResponsiveLayout[string] which converts the string value passed in to the numeric value of the enum.
This will give an error message with an AOT compilation if you use an invalid value.

Argument of type '"H4orizontal"' is not assignable to parameter of type '"Vertical" | "Horizontal"

Currently VSCode isn't smart enough to underline H4orizontal in the HTML editor, but you'll get the warning at compile time (with --prod build or --aot switch). This also may be improved upon in a future update.

A: My component used an object myClassObject of type MyClass, which itself was using MyEnum. This lead to the same issue described above. Solved it by doing:
export enum MyEnum {
    Option1,
    Option2,
    Option3
}
export class MyClass {
    myEnum: typeof MyEnum;
    myEnumField: MyEnum;
    someOtherField: string;
}

and then using this in the template as

    Do something for Option1

    Do something for Option2

    Do something for Opiton3

A: as of rc.6 / final
...
export enum AdnetNetworkPropSelector {
    CONTENT,
    PACKAGE,
    RESOURCE
}

                      <AdnetNetworkPackageContentProps [setAdnetContentModels]="adnetNetworkPackageContent.selectedAdnetContentModel">
                                    </AdnetNetworkPackageContentProps>

export class AdnetNetwork {
    private adnetNetworkPropSelector = AdnetNetworkPropSelector;
    private propSelector = AdnetNetworkPropSelector.CONTENT;
}

A: As an alternative to @Eric Lease's decorator, which unfortunately doesn't work using --aot (and thus --prod) builds, I resorted to using a service which exposes all my application's enums. Just need to publicly inject that into each component which requires it, under an easy name, after which you can access the enums in your views. E.g.:
Service
import { Injectable } from '@angular/core';
import { MyEnumType } from './app.enums';

@Injectable()
export class EnumsService {
  MyEnumType = MyEnumType;
  // ...
}

Don't forget to include it in your module's provider list.
Component class
export class MyComponent {
  constructor(public enums: EnumsService) {}
  @Input() public someProperty: MyEnumType;

  // ...
}

Component html

Match!

A: This's simple and works like a charm :)
just declare your enum like this and you can use it on HTML template
statusEnum: typeof StatusEnum = StatusEnum;

A: If using the 'typetable reference' approach (from @Carl G) and you're using multiple type tables you might want to consider this way :
export default class AppComponent {

  // Store a reference to the enums (must be public for --AOT to work)
  public TT = {
       CellType: CellType,
       CatType: CatType,
       DogType: DogType
  };

  ...

  dog = DogType.GoldenRetriever;

Then access in your html file with
{{ TT.DogType[dog] }}   => "GoldenRetriever"

I favor this approach as it makes it clear you're referring to a typetable, and also avoids unnecessary pollution of your component file.
You can also put a global TT somewhere and add enums to it as needed (if you want this you may as well make a service as shown by @VincentSels answer). If you have many many typetables this may become cumbersome.
Also you always rename them in your declaration to get a shorter name.

A: You can now do this:
for example, the enum is:
export enum MessagePriority {
    REGULAR= 1,
    WARNING,
    IMPORTANT,
}

a status message, that looks like this:
export default class StatusMessage{
    message: string;
    priority: MessagePriority;

    constructor(message: string, priority: MessagePriority){
        this.message = message;
        this.priority = priority;
    }
}

then in the .ts file of the component you can do this:
    import StatusMessage from '../../src/entities/building/ranch/administration/statusMessage';
    import { MessagePriority } from '../../enums/message-priority';

    export class InfoCardComponent implements OnInit {
     messagePriority: typeof MessagePriority;

     constructor() {
     this.messagePriority = MessagePriority;
    }

    @Input() statusMessage: StatusMessage;
    ngOnInit(): void {}
}

and finally the HTML of the component looks like this:

{{statusMessage.message}}

{{statusMessage.message}}

{{statusMessage.message}}

Notice that the enum is first declared to the class with the type of "typeof MessagePriority", then bound to the class by calling the definition with "this.messagePriority = MessagePriority"

redpajama_set_name: RedPajamaStackExchange


text:
Walter Cronkite School of Journalism and Mass Communication | Cronkite News
Child Passenger Safety Week puts focus on importance of booster seats
Tuesday, September 14th - 19:06 Wednesday, March 2nd - 13:06 by Adnan Alam
Slug: BC-CNS-Child Passengers,400
Sidebar: Facts about safety week.
Photos available (thumbnails, captions below)
Multimedia: YouTube video
By REBEKAH ZEMANSKY
TEMPE – As a traffic bureau sergeant, Dale Hoobler has looked into plenty of accidents. But this crash, even though the victim survived, was especially troubling because the injury was so preventable.
A woman returning home from errands put her 2-year-old son in her pickup's front seat wearing only a lap belt. As she made a left turn, she lost control and hit a tree at 40 mph.
The toddler flew out of his seat, hitting his head on the center console and sustaining a deep gash.
"You need to protect the kid," Hoobler said.
With national Child Passenger Safety Week coming Sept. 19-25, Hoobler and others are urging Arizona parents to take steps to protect children in vehicles. In some cases, that means doing more than the law requires.
"It's your kid; you're responsible for them until they're 18 years old," Hoobler said. "They can't make decisions for themselves at younger ages, so we need to do that for them."
Arizona law requires children under 5 to be in safety seats. Older, larger children must be in seat belts, but the state doesn't require booster seats.
The National Transportation Safety Board recommends that children ages 4 to 7 be in a toddler seat or booster seat and to adjust the fit of seat belts designed for adults, but efforts to add that requirement in Arizona have failed in the state Legislature in recent years.
Michelle Donati, public affairs supervisor at AAA Arizona, said that National Highway Traffic Safety Administration statistics show traffic accidents as the leading cause of death for children 2 and older.
With the most recent numbers for 2006 showing Arizona ranking fourth in the country for child passenger fatalities, Donati hopes events like Child Passenger Safety Week will help get the word out to parents about what they can do to protect their kids.
"I think that a lot of people just don't know that the resources are out there," Donati said.
Alberto Gutier, director of the Arizona Governor's Office of Highway Safety, said that parents should make safety a habit for kids and for themselves.
"The parent should be secured, the children should be secured," Gutier said. "The biggest mistake people make is that the seat has to be properly installed."
Besides Child Passenger Safety Week, Gutier said parents who want more information can check with local law enforcement throughout the year for scheduled classes and inspections.
They can also come to Public Safety Day at the Arizona State Fair, from Oct. 23-24. It will offer events designed to get the whole family involved.
Gutier said his grandchildren have taught him that kids can be an important part of safety training too.
He said he once was pulling out of his garage when his young grandson, who was properly buckled, chanted, "Die, die, die!" from the back seat.
Gutier hadn't yet fastened his own seat belt, intending to do so once the car reached the driveway.
"If you train children, they'll train parents," Gutier said.
Sen. Linda Gray, R-Glendale, is used to hearing reasons parents don't use safety seats.
Gray, who sponsored a bill to requiring booster seats last session, said parents have told her they can't stand the sound of their child crying because they want out of the safety seat.
"If they're in an accident, their child may be killed and they will never hear the cry of their child again," Gray said.
^___=
Facts about Child Passenger Safety Week:
– Dates: Sept. 19-25
– Sponsor: National Highway Traffic Safety Association (NHTSA).
– Emphasis: Four stages of child safety restraints, from rear-facing to forward-facing to booster seat to seat belts.
– Resource: Child Safety Seat Inspection Station Locator, http://www.nhtsa.gov/cps/cpsfitting/index.cfm
Sgt. Dale Hoobler, who deals with traffic safety for the Tempe Police Department, says drivers need to think about the safety of child passengers all the way through age 18. With a national week devoted to child passenger safety coming, Hoobler and others are urging Arizonans to focus on matters such as proper use of booster seats. (Cronkite News Service Photo by Rebekah Zemansky)
A booster seat is designed to position seat belts properly on children up to ages 10. This model can convert to having no back as a child grows. The National Transportation Safety Board has recommended that states require booster seats for children younger than 9 years old and and shorter than 4-foot-9, but efforts to make that law in Arizona have failed. (Cronkite News Service Photo by Daniel Newhauser)
Posted in View just news/business
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Summary: Do you know the difference between a business rule and a system design choice? Read this discussion to find out. Business rules fall into two fundamental categories: rules that shape concepts, and rules that guide human activity. These rules are called 'definitional rules' and 'behavioral rules', respectively. In this month's column, Ron Ross explains everything the business analyst needs to understand about these two fundamental categories of business rules.
6.1. A business rules application is intentionally built to accommodate continuous change in business rules. The platform on which the application runs should support such continuous change.
To me, it's rather obvious that "continuous" is as the business would define it, as in "never-ending," "on-going," "all the time," "never know when." Don't some (probably many) of your business rules change continuously?! "Continuous" might have some special technical meaning under certain classes of platform, but the Manifesto wasn't written about that.
My colleague went on to said, "Depends on your definition of 'business rule'... if I change a structural rule like 'customers only have 1 address' to 'customers can have multiple addresses' then that can have deep consequences on [automated] systems."
Actually I'd say this is not a business rule at all! Rather, it's a (probably poor) design decision some IT person (probably) has made. The business wouldn't make a real-world behavioral rule about customers having only one address. Why?! But they might make a design decision to record only one.
Until business analysts really begin to understand the difference between rules of the business (business rules), and choices about system design, we'll keep falling to the same requirements and legacy traps as always. So let's probe the two fundamental categories of business rules: behavioral and definitional.
Consider the business rule expressed as: A gold customer must be allowed access to the warehouse. Let's assume for now we don't need to consider any exceptions. Clearly this business rule can be violated. If a gold customer is denied access to the warehouse, then a violation has occurred. Presumably, some sanction is associated with such violation — for example, the security guard might be called on the carpet.
Any business rule that can be violated directly is a behavioral rule. (It doesn't matter whether it is automatable or not.) Behavioral rules are really people rules. Basic business operations typically involve significant numbers of behavioral rules.
Behavioral rules always carry the sense of obligation or prohibition.
One way or another, behavioral business rules are always preventative, as the following examples illustrate.
• Surgical gloves must be worn in performing surgery.
This business rule is intended to prevent infections.
• A nurse must visit a patient at least every 2 hours.
This business rule is intended to prevent inattention to patients.
• A gold customer must be allowed access to the warehouse.
This business rule is intended to prevent any denial of access.
Behavioral rules (also called operative rules) enable the business to run (i.e., to operate) its activities in a manner deemed suitable, optimal, or best aligned with its goals. Behavioral rules deliberately preclude specific possibilities (of operation) that are deemed undesirable, less effective, or potentially harmful. Behavioral rules remove those degrees of freedom. Often, sanction is real and immediate if a behavioral rule is broken.
An order over $1,000 must not be accepted on credit without a credit check.
A high-risk customer must not place a rush order.
An order's date promised must be at least 24 hours after the order's date taken.
Reasoning. Since behavioral rules can be broken, they require special care in reasoning (automated or otherwise). Consider the behavioral rule: A gold customer must be allowed access to the warehouse. It cannot be assumed that the business rule has always been faithfully enforced; therefore, it cannot be inferred that in every situation where it was appropriate for a gold customer to be allowed access to the warehouse, the customer actually was allowed such access. Violations happen. Reasoning must be carefully restricted in this regard for behavioral rules.
Processes. Behavioral rules have significant (and perhaps surprising) consequences for modeling processes. A key question in that regard is how the business responds selectively to violations of any particular business rule (if at all!). That question, in turn, raises the issue of how strictly each behavioral rule should be enforced — that is, its appropriate level of enforcement.
Consider the behavioral rule: An order over $1,000 must not be accepted on credit without a credit check. Suppose this behavioral rule is restated with a should instead of a must such that it reads: An order over $1,000 should not be accepted on credit without a credit check. Now does it express an advice (non-rule)?
No. It is still a business rule, only with a lighter sense of prohibition. What actually changed was its presumed level of enforcement. Rather than strictly enforced, now the business rule has the sense: It's a good thing to try to do this, but if you can't there's no sanction. In other words, now it's simply a guideline (or suggestion, if you prefer).
Should you use should or should not (or similar forms) to express a lightly-enforced behavioral rule? Not recommended. In general, it's better to use consistent wording for all behavioral rules (e.g., must or must not). Remember, the level of enforcement for any given business rule often varies with changes in business practice. Guidance is one thing; level of enforcement is another — best not to mix the two!
Vocabulary. A guideline for business operations — just like an advice (non-rule) or any other business rule for the same business — is expressed using the same underlying vocabulary. Let's put it this way: If you have the vocabulary to express your business rules, you already have the vocabulary you need to express any guideline.
Guidance Message. We say that a business rule statement is the guidance message. (That's something to think about if your methodology treats error messages separately from business rules. Take a quick look back at the examples of business rules presented thus far in the discussion and think it over.) The same remains true for guidelines. A guideline can indeed be violated, but no enforcement action is taken. Instead, the end user (if authorized) is simply informed. If you think of business rules simply as hard-and-fast constraints, you're missing an important part of the picture. In the larger sense, business rules are always about dispensing basic business knowledge in real time. Guidelines are an important part of that overall scheme.
Additional business rules would be relevant to evaluating the behavioral rule: A gold customer must be allowed access to the warehouse. Specifically, what criteria should be used for determining whether a particular customer is gold or not? Here is an example: A customer is always considered a gold customer if the customer places more than 12 orders during a calendar year.
Such business rules are called definitional rules. Definitional rules always carry the sense of necessity or impossibility.
Let's return to our two business rules. Suppose a customer appears at the warehouse, but the security guard is unaware of the criteria expressed in the definitional rule, or misapplies those criteria. Quite possibly the customer will not be given due access. The error, however, manifests itself as a violation of the behavioral rule, not the definitional rule per se. Definitional rules can be ill-conceived, misunderstood, or misapplied, but they cannot be directly violated.
Classification Rule: A customer is always considered a gold customer if the customer places more than 12 orders during a calendar year.
Given any customer, evaluation of this definitional rule indicates whether the customer is or is not gold given known facts.
Computation Rule: The total price of an order item is always computed as the product unit price times its quantity.
Given any order item, evaluation of this definitional rule indicates the one result for total price that the known facts justify.
Is this customer a gold customer or not?
Do we owe this customer a discount on this order?
Does this patient have cat scratch fever or something else?
The result reached in each case is only as good as the decision logic given by the business rules. Poor or misapplied guidance yields poor or inconsistent results. In that case, some aspect of the knowledge 'breaks down' — it simply does not work properly.
Behavioral rules and definitional rules are fundamentally different. Disregard for behavioral rules leads to violations and possible sanctions; misapplication of definitional rules leads to miscalculations and off-base conclusions — but only indirectly, if at all, to violations.
If you are concerned about violations, you always need a behavioral rule. Consider the example of a definitional rule given earlier: The total price of an order item is always computed as the product unit price times its quantity. Suppose a salesman decides to give a special volume discount to a personal friend. Again, the original business rule is merely computational; it does not prohibit inappropriate conduct. For that, you would need a separate behavioral rule — for example: A special volume discount may be given only to high-volume customers.
Definitional rules (also called structural rules) are about how the business organizes (i.e., structures) its basic knowledge. They give shape — i.e., structure — to core concepts of the business.
Definitional rules clearly contribute to the meaning of concepts. Obviously definitions do as well. In practice, can a clear distinction be maintained between definitions and definitional rules?
Yes. A good definition focuses on the essence of a concept — the core meaning of the concept to the business. Definitional rules, in contrast, indicate the exact lines of demarcation — that is, the precise 'edges' of the concept. Establishing these lines of demarcation is how definitional rules remove degrees of freedom.
For example, consider an 'essence' definition of gold customer: a customer that does a significant amount of business over a sustained period of time. Now compare that with the associated definitional rule: A customer is always considered a gold customer if the customer places more than 12 orders during a calendar year.
The definition expresses the fundamental notion about what gold customer means to the business or, more precisely, to business people. It is unlikely that basic notion will change — in other words, the notion as defined is very stable. That stability helps maintain continuity of knowledge within a community over time. It also aids in training newcomers, as well as in communicating with people outside the business area. In short, definitions should be aimed at people.
The definitional rule, in contrast, gives precise criteria for determining whether a customer is or is not gold — criteria that quite possibly will change over time. Any aspect of business practice subject to change should be treated as a business rule, not embedded in definitions.
The Manifesto is free, only two-pages long, and translated into over a dozen languages. If you haven't done so already, have a quick look. No sign-up required.
 This discussion is based on, and consistent with, SBVR. For more about SBVR, refer to BRCommunity's SBVR Insider section.
 All sample business rules in this discussion are expressed using RuleSpeak®. Refer to www.RuleSpeak.com.
 Aiming definitions toward people is a BRS-recommended best practice. It is supported but not required by SBVR.


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redpajama_set_name: RedPajamaGithub


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Death toll from Ebola in DR Congo climbs to 370
Mon 21 Jan 2019 08:32 GMT | 12:32 Local Time
The death toll in the Democratic Republic of Congo from Ebola has risen to 370 since the start of an outbreak in late July last year, the country's Health Ministry said on Monday, Anadolu Agency reports.
Among 685 cases of reported hemorrhagic fever, 636 were confirmed to be Ebola cases, according to the ministry.
It has also been reported that 245 people have recovered from the virus in the Central African country.
Some 49 people died following hemorrhagic fever, but it could not be verified whether they died of Ebola because they were buried without an autopsy.
A total of 63,061 people were administered anti-Ebola vaccines in the country as part of a campaign that began on Aug. 8.
Ebola -- a tropical fever which first appeared in 1976 in Sudan and the Democratic Republic of Congo -- can be transmitted to humans from wild animals.
It can also reportedly spread through contact with the body fluids of infected persons or of those who have succumbed to the virus.
Ebola caused global alarm in 2014 when the world's worst outbreak began in West Africa, killing more than 11,300 people and infecting an estimated 28,600 as it swept through Liberia, Guinea and Sierra Leone.
Ursula Von Der Leyen elected as President of European Commission
Swine flu death toll rises to 54 in Myanmar
Syria regime airstrikes kill 9 in Idlib de-escalation zone
Two dead, over 40 trapped in Mumbai building collapse
Pakistan reopens airspace to civil aviation after India standoff
4 dead after train hits car in eastern France
20M unvaccinated children under risk of illness, UN warns
Over 820 mln people hungry in 2018: UN report
Death toll of fighting in Libyan capital rises to 1,093: WHO
Nuclear deal parties not ready to trigger dispute mechanism against Iran - EU's Mogherini
China says will freeze out U.S. companies that sell arms to Taiwan
WHO warns of excessive sugar in baby foods
Over 35 die, 2.6 mln affected in flood-affected areas in India
282 held over unrest in France after Algeria football win
Eight killed in house collapse as monsoon toll rises across South Asia
9 killed as plane crashes on skydiving trip in Sweden
New York power outage affects 72,000 people


text:
Delfeayo Marsalis and the Uptown Jazz Orchestra - Make America Great Again! (2016)
Delfeayo Marsalis and the Uptown Jazz Orchestra campaign to
Make America Great Again! with infectious big band sound
The New Orleans ensemble blends patriotism, protest, swing and groove on debut CD, out Sept. 30 from Troubadour Jass Records
" The words 'poetry in motion' seem more than adequate in describing the swing and power Delfeayo Marsalis provides." — Edward Blanco, All About Jazz
"[Marsalis] has a distinctly Ellingtonian temperament: sophisticated, yet earthy, with plenty of humor." – Richard Scheinin, The Mercury News
In the midst of one of the most bizarre presidential elections the country has ever seen, Delfeayo Marsalis and the Uptown Jazz Orchestra do their part to Make America Great Again! On their debut recording, due out September 30 on Troubadour Jass Records, the trombonist/composer and his rollicking big band take back that tarnished slogan and run it up the flagpole of great American music, tracing its sounds from its African roots through the streets of New Orleans to the country as a whole.
Under the direction of NEA Jazz Master Delfeayo Marsalis, the Uptown Jazz Orchestra adds some home-cooked seasoning to original material and jazz classics that pay homage to America's great cultural traditions—blues, swing, groove and good old-fashioned Southern hospitality. Marsalis' tongue-in-cheek appropriation of a certain blustery candidate's motto hints at both the political and social consciousness of the album as well as its sense of barbed merriment and acid-tongued eloquence. Along the way, actor Wendell Pierce and Dirty Dozen Brass Band co-founder Roger Lewis join a host of the Crescent City's finest young players to provide an infectious, finger-snapping state of the musical union.
In its combination of dark political protest and raucous, rump-shaking grooves, Make America Great Again! could only come from Marsalis' native New Orleans, which is well known for meeting adversity with celebration and community. "That's New Orleans, that's jazz, that's the story of the African descendant in America," Marsalis says. "The African descendants have lived up to the American ideal more than any other ethnic group in the country. African-Americans helped to build the country, were brutalized and marginalized and still maintain an air of joy, sophistication and belief in American democracy."
Nowhere is that sentiment more vividly expressed than in Marsalis' opening arrangement of the "Star Spangled Banner," which undergirds the national anthem with foreboding harmonies that suggest the work still to be done in order to live up to our own ideals. "America is and always has been the greatest country in the world," Marsalis insists. "If we can live up to the ideals of what the Founding Fathers suggested that America is supposed to be, it will always be the greatest country in the world. America is great because of the inclusive nature of our original doctrines."
Of course, repeated in stump speeches around the country, the words "Make America Great Again" have tended to mask intolerance and exclusion under the guise of patriotism, but Marsalis says that's a dichotomy he's gotten used to growing up in the South. "Living in New Orleans, there's an everyday consciousness of the Confederacy and the despair that a lot of people have over their defeat. You still feel the ramifications of that. Folks are still fighting to keep the Confederate ideology alive, and that's what we see in the constant incarceration and brutality towards our young men."
That message is spelled out in the pointed monologue of the album's title track, read with wry humor by Treme star Wendell Pierce, a New Orleans native and high school associate of Marsalis. The bandleader wrote the text matching the dry wit of the music, which the UJO improvised based on an audience member shouting out the title when prompted for a theme. That sort of spontaneous composition – a challenge for a small band, let alone a 20-piece ensemble – is just one highlight of the UJO's regular Wednesday night residency at Snug Harbor, the world-renowned jazz club on bustling Frenchmen Street, where the band has been developing its sound and rapport since 2010.
"The identity of the band has been shaped into something that is completely unique and very much New Orleans," Marsalis says. "It's very important that we maintain that joy and exuberance that people equate with the city, but also maintain a direct connection to Africa. When I played with Elvin Jones and Max Roach and Art Blakey and Clark Terry, that was what those guys all told me: You've got to keep this sound going."
In keeping with that mission, the repertoire on Make America Great Again! ranges from a New Orleans classic like Rebirth Brass Band's "Put Your Right Foot Forward" or the Dirty Dozen Brass Band's "Snowball" – featuring UJO elder statesman Roger Lewis with a rousing baritone sax solo – to the deep swing of "Second Line," Duke Ellington's interpretation of that sound, or Benny Carter's toe-tapping "Symphony in Riffs." The band also marries that swing sound with a church influence, as on their Basie-influenced rendition of the standard "All of Me" with Kyle Roussel's sanctified piano.
Marsalis' originals deftly marry his profound message with infectious melodies, as on the sing-along funk of "Back to Africa," which features New Orleans rapper Dee-1 expounding on those roots. "Dream on Robben" is a lilting elegy to Nelson Mandela, who the composer calls "a great man amongst great men." Finally, "Living Free and Running Wild" looks back wistfully to the time when America was at its best, according to Marsalis – "in 1492, a week before Columbus arrived, with no buildings or cars, just open land. I wouldn't trade the air conditioning and indoor plumbing, but how great must that have been?"
The leader takes the spotlight for "Skylark," showcasing his moving, lyrical ballad playing, then lets the band show off its funky strut on Allen Toussaint's classic "Java," featuring Roderick "Reverend" Paulin's tenor sax. They bring things to a close with a stirring arrangement of Aaron Copland's "Fanfare for the Common Man."
Despite the serious themes, Make America Great Again! is anything but heavy, offering a wonderfully upbeat and spirited collection of songs determined to make listeners move even as it asks them to think. As Marsalis says, "People have told me, 'You play feel-good music,' and I say, 'Why would we play anything else?' Don't come check out the Uptown Jazz Orchestra if you feel like being depressed. We're all about having a spiritual connection and understanding that we're here to make the world a better place."
www.dmarsalis.com
Etiquetas : Delfeayo Marsalis
Brian Kastan - Roll the Dice on Life (2016) JAZZ PROMO SERVICES
Free Live Jazz
Saturday, OCTOBER 8TH @1 pm
Brian Kastan Group
"Roll the Dice on Life"
featuring Miles Griffith
Brian Kastan- guitar
Miles Griffith-vocals
Steve Rust-Bass
Peter O'Brien-Drums
@ Exposures Gallery
1357 Kings Hwy, Sugar Loaf, NY 10918
Every 2nd Saturday of the month
Photo Workshop by NICK ZUNGOLI @ 6:30 pm
Free Live Jazz @ 7:30pm
SUGAR LOAF FESTIVAL 2016
Saturday, NOVEMBER 12TH @7:30 pm
Saturday, DECEMBER 10TH @ 7:30 pm
Join us for the CD RELEASE PARTY
for Brian's Newest Album: "Roll the Dice on Life"
It's fun and it's free! Sugar Loaf will be hosting "Second Saturday", with shops extending hours 5-7:00 PM. Many Sugar Loaf stores will offer an array of refreshments, art exhibitions, jewelry demos, slide shows, sales and more. The shops and galleries in the arts and crafts village of Sugar Loaf are welcoming the community to a monthly "meet and greet" evening. Each Second Saturday of the month will feature different artists and shops sharing their unique talents with the community.
Come join the Sugar Loaf Merchants for creativity, fun, inspiration, art, and more.
Visit www.SugarLoafNewYork.com for updated information
WITH ROLL THE DICE ON LIFE
GUITARIST BRIAN KASTAN OPENS A WINDOW INTO HIS MUSICAL SOUL
Full Of Raw Energy, This Dynamic, Guitar-Driven Double Album Features Vocals By Miles Griffith Jazz-Fusion guitarist, Brian Kastan introduces his newest CD, Roll the Dice on Life. This double album showcases dynamic original compositions by Brian Kastan. The goal of this album is to balance the integrity of composed songs with the fierce energy activated by free improvisation. This album produces high energy jazz-fusion between Brian Kastan's raw yet playful electric guitar, Miles Griffith's rich provocative vocals, bassist Steve Rust's artful sound pallet, and Peter O'Brien's rhythmic and dynamic play on drums—All of which take the listener on a journey to new, uncharted musical territory.
What is most exciting about this double album is Brian Kastan's compositional style and improvisational approach to this recording. All of the musicians are constantly pushing, pulling, and weaving the compositions to create music that articulates the feeling of always evolving.
Disc 1 reveals Brian Kastan's compositional range—from catchy odd metered grooves, a beautiful ballad, continuing on to jazz funk fusion and dark long melodies. With the addition of the powerful song, Rat Attack written by Miles Griffith, this disc explores the ingenuity of Brian Kastan's goal; To intertwine compositions with improvisation.
Disc 2 focuses on experiencing the spontaneous musical explosion of pure improvisation. The unique creativity revealed by these outstanding musicians shows the genius of the intentional uncontrolled musical environment. This second disc features two political and racially charged songs called Black Lives Matter and Black Lives Matter 2 recognizing the current events happening in the United States in 2016.
With this combination of experience, creativity, and talent, it's no surprise that this group of players has come together to produce such an engaging, high-energy double album. Roll the Dice on Life showcases their skills—and their musical telepathy—in a way that is ultimately satisfying and exciting for both the players and listeners.
Brian Kastan plays electric/acoustic guitar, electric bass, and composes soundtracks for T.V. and Film.
Played guitar for Nonsuch Record Label, Rhys Cantham's "The Grissom Grail", Recorded Live at Lincoln Center in 2010. He is an award winning nature photographer with gallery shows in NYC, Europe and Asia. He holds a Bachelor's degree in both Jazz Performance and Psychology from Suny New Paltz, a Masters Degree in Music from Brooklyn College, Brian is a Certified Clinical Hypnotist, and has co-authored a book called "Target Talking" with wife and artist Maria Hartmann Kastan.
Miles Griffith, vocalist/composer, has been a vital member of the New York jazz scene for more than two decades. A very short list of who he's played with includes NEA Jazz Masters Ron Carter, Wynton Marsalis, Jon Hendricks, Max Roach, Toshiko Akioshi, Jimmy Heath and Barry Harris; venerable icons including Jimmy Heath, Sir Roland Hanna, and Reggie Workman; Cassandra Wilson, Carl Allen, and T.S. Monk; Lisa Sokolov, Jamaaladeen Tacuma, and Jay Clayton. Miles Griffith is also a notable band leader whose vocal range and unique musical insight make him a highly recognized composer and singer of his time.
Steve Rust, bassist/composer knows his way around a concert hall, orchestra pit, and recording studio. He's written for both film and theater, has collaborated with visual artists, and has appeared on dozens of albums. Steve, comfortable in virtually every musical genre, has accompanied everyone from Anthony Braxton to Eileen Fulton, from Jay Unger to Sir James Galway to Hubert Laws, Paul Simon, Natalie Merchant, and Baikida Carroll. Steve is a well known bass player in the style of sound painting.
Peter O'Brien, drummer, has played with artists such as, McCoy Tyner, Dave Holland, Eric Person, Dr.Lonnie Smith.He has toured with legendary musicians including organist Brother Jack McDuff, Edgar Winter, and Roy Buchanan, before joining guitarist John Hall and his hit band Orleans. Besides maintaining a busy schedule appearing at major music festival/clubs across the country, and around the world, he also teaches at Bard College as well as privately, and is an in-demand studio musician.
Brian Kastan "Roll the Dice on Life" featuring Miles Griffith
(Brian Kastan Records 1001) Street Date January 1, 2017
Brian Kastan- guitar, Miles Griffith-vocals, Steve Rust-Bass Peter O'Brien-Drums
Artist Website: www.briankastan.com
National Press Campaign
Jim Eigo Jazz Promo Services
jim@jazzpromoservices.com
www.jazzpromoservices.com
"Specializing in Media Campaigns for the music community, artists, labels, venues and events."
Etiquetas : Brian Kastan, JAZZ PROMO SERVICES
Al Strong - LoveStrong Vol. 1 2016 (AL STRONG QUINTET Celebrates LOVESTRONG VOL. 1 Wednesday, November 30th) JAZZ PROMO SERVICES
AL STRONG QUINTET
LOVESTRONG VOL. 1
Sets 7pm, 9pm & 10:30pm
@ SMOKE
Between 105th and 106th Streets
$12 Music Charge
Al Strong - Trumpet
Stacy Dillard - Sax
Wilerm Delisfort - Piano
Ameen Saleem - Bass
Jeremy 'Bean' Clemons - Drums
Recognized for his musical versatility and distinctly robust sound, emerging trumpeter, arranger, and composer, Al Strong's debut album LoveStrong Vol. 1 is unparalleled in its ability to evoke a range of emotions. This collection of both original compositions and contemporary renditions of jazz standards incorporates progressive jazz, soul, gospel, and afro-beat grooves, displaying Strong's intuitive musical command. Categorically, Strong invites the listenership to journey with him through the music, a journey that encompasses stories of adversity, triumph, mystery, and love.
Strong's desire to share his music with the world began with a modest look into himself and the art being created around him. Realizing the hauntingly familiar melodies in his head would not let him rest until fully manifested, he knew LoveStrong had to be birthed. This tantalizing piece of art is a sonic breath of fresh air, offering an album reminiscent of the old ways, a work requiring the audience only to hit play. From top to bottom one immediately feels the warmth of this recording, with no inclination to stray from the designated playlist.
Though firmly rooted in the tradition of greats like Louis Armstrong and Count Basie, Strong and his gathering of musicians achieve a type of lush interplay that only comes from truly being in the moment.
Strong's focus on displaying a distinctly modern sound is founded in his beliefs of living in the present and being able to take bold risks with the music. Undoubtedly, the organic synergies evident amongst musicians on this record flawlessly convey these convictions with style and grace. Strong credits the natural bond and blend between the musicians as a fundamental component of LoveStrong Vol. 1, describing the experience as "more than a series of recording sessions, but rather a family reunion."
LoveStrong Vol. 1 features 10 tracks, including 4 intrepid arrangements of jazz standards and 6 original compositions.
Album highlights include:
"Getaway 9," an original tune and delightfully up-tempo journey that tells the story of being on a road trip with your closest friends, while capturing all of the conversation that ensues. The dialogue amongst instruments draws the audience in for more detail, but almost immediately the tenor saxophone interjects in the conversation. Next, Strong takes a nuanced approach to his blowing, stretching the time and creating tension and release with the ensemble.
One of America's most beloved nursery rhymes comes to life with Strong's rendition of "The Itsy Bitsy Spider." The opening statement begins with a small children's chorus singing the melody in what can appear as free form. The flugelhorn and flute begin to make sparse entrances with the playfulness one would expect in a nursery rhyme. This high-energy waltz is sure to have you feeling nostalgic about your childhood.
It's rare when an artist captures the wrenching feeling of heartbreak into one fine instrumental piece of music. On "Lilly's Lullaby," Strong does just that, crafting a beautiful melody around his ensemble who play with such power and sensitivity. Joey Calderazzo's improvisation is a beautiful addition to an already piercingly honest work.
Original "Ci's Blues" showcases LoveStrong's down home roots. The solo guitar intro sets the stage for a wall of sound and collective improvisation. The sweet cries of Strong's horn are indicative of the vocal inflections born out of the Black church experience.
Strong's arrangement of "My Favorite Things" is unlike what one would expect from a widely celebrated holiday favorite. Breaking away from tradition, this arrangement chooses to use the afro-beat style as its canvas. With time for the melody to breathe in between statements, Strong comes out blazing with a wildly amazing pair of sound effects on trumpet.
"Fond of You" is a lighthearted 3-horn original composition written to pay homage to Art Blakey. The song illustrates powerful playing from Strong and his ensemble as they look to a master for guidance on the true meaning of swing.
Next LoveStrong Vol. 1 brings the listener's mood back into a more intimate setting with "Liquid," a soothing ballad that induces a sense of pure ecstasy. Strong's classic flugelhorn intro quietly screams passionate fluidity, as the highs and lows of his horn resound with great affection.
"Voyage," the classic Kenny Baron jazz standard is treated with grace and adventure as this arrangement begins in a half-time rhumba style, only to later morph into a completely up-tempo, high energy-version, where the collective conversation determines the next direction. The listener can truly take the "voyage" with this ensemble.
Strong showcases his harmon mute sound on the original tune, "Was." This ballad gains its beauty not only from Strong's masterful approach to phrasing, but also swooping acoustic guitar passages, and alluring Fender Rhodes work.
LoveStrong comes to a joyous close with the jazz standard, and album single, "Blue Monk." This feel good arrangement promises to have you out of your seat and on the dance floor. The intro begins with yet another bold guitar statement surrounded by a party atmosphere that is reminiscent of Marvin Gaye's "What's Going On?" Once the band jumps in, the party picks up even more with an array of New Orleans styled counterpoint between the baritone, alto, and tenor saxophones, and Strong leading the way. After the delivery of the melody, we find a tasteful solo section trading between piano and organ. The trumpet solo enters as patient as ever, until Strong climaxes with the rhythm section to close out his solo. Dueling saxophones have their say, as they converse on their instruments like old friends.
Overall, LoveStrong Vol. 1 is an honest message about what is so desperately needed in today's world: treating all mankind with kindness and love. Strong achieves in his debut album what many artists spend their careers attempting to grasp, crafting a piece of work that is an inviting body of music to all, attracting everyone from new listeners of the genre to jazz aficionados. Listeners who have embraced the jazz genre since the time of "Bird" will hear both the lineage of tradition combined with a desire to push the boundaries, as did the great Charlie Parker. Unquestionably, LoveStrong Vol. 1 is sure to be a household favorite.
www.alstrongmusic.com
01. Getaway 9
02. The Itsy Bitsy Spider
03. Lilly's Lullaby
04. Ci's Blues
05. My Favorite Things
06. Fond of You
07. Liquid
08. Voyage
09. Was
10. Blue Monk
Executive Producer: Al Strong
Producer: Jeremy 'BEAN' Clemons
Mixing: Jeremy 'BEAN' Clemons
Pre-Production: Ivan Hampden, Jr.
Mastering: David Levy (Fiverr)
Trumpet/Flugelhorn/Steelpan - Al Strong
Drums - Jeremy 'BEAN' Clemons (1, 5, 7, 8, & (Clavinet) 10)
Drums - Iajhi Hampden (2 - 4, 6, 9, & 10)
Bass - Lance Scott - (2 - 7, 9, & 10)
Piano/Fender Rhodes - Ryan Hanseler (2, 6, & 10)
Piano/Organ/Wurly - Lovell Bradford (1, 5, 7, 8)
Hammond B-3 Organ - Charles Robinson (7); Joel Holloway (4 &10)
Guitar - JC Martin (4, 9, & 10)
Percussion - Brevan Hampden (5, 9 & 10)
Tenor Saxophone - Bluford Thompson, Jr. (1, 3 - 8, & 10)
Baritone Saxophone - Shaena Ryan Martin (10)
Alto Saxophone - James 'Saxmo' Gates (4 & 10)
Soprano Saxophone - Alan Thompson (3)
Party Boys - Jordan Baker, Charles Robinson, Jeremy 'BEAN' Clemons, & Bluford Thompson, Jr. (10)
LoveStrong Vol. 1 Special Guests:
Ira Wiggins - Alto Flute (2)
Joey Calderazzo - Piano (3)
Devonne Harris - Fender Rhodes (9)
Ameen Saleem - Acoustic Bass (1 & 8)
Brian Miller - Tenor Saxophone (10)
Lummie Spann, Jr. - Alto Sax (4)
The KidzNotes Mozart Chorus - Children's Voices (2)
Tracks 2 - 4, 6, 9 & 10 were recorded at Playground Studios in Durham, NC on February 6th & 7th 2014.
Engineer: Chaka Harley
Eyes and Ears: Ivan Hampden, Jr.
Tracks 1, 5, 7, & 8 were recorded at Fidelitorium in Kernersville, NC on December 17, 2014
Engineer: Mitch Easter
Etiquetas : Al Strong, JAZZ PROMO SERVICES
Alpiste - Alpiste (2016)
Alpiste surge de la vibración compartida de dos amigos que estimulados por las singularidades tímbricas que reúnen sus instrumentos (piano y corneta), y convocados por un recorrido de amistad y estudio formal de la música, deciden encausar estos afluentes en una propuesta que transita el jazz, el tango y la música académica.
Ensayo grabado en la "casa de poder" el 31 de julio de 2016.
1. Los huesos son relámpagos 04:05
2. Encapotado 05:46
3. Campos de sangre 06:22
4. ¿Qué es ésto que vuelve? 03:32
5. Para Martin 04:51
Lucas Albarracín - Corneta
Esteban Poder Pena - Piano
Grabación y mezcla - Seba Rulli y Gonzalo Suarez
Etiquetas : Alpiste, Esteban Poder Pena, Lucas Albarracin
Delfeayo Marsalis and the Uptown Jazz Orchestra - ...
Brian Kastan - Roll the Dice on Life (2016) JAZZ P...
Al Strong - LoveStrong Vol. 1 2016 (AL STRONG QUIN...


Søren Kruhøffer has been hired as new CEO with Tempress to ensure continous growth and development. The latest years Tempress has launched many new products, has obtained new customers and has entered new markets. This positive development must be strengthened and trimmed by our ambitious CEO in great teamwork with the management and our skilled employees.
Søren was sales manager with Tempress from 2002-2007 and knows very well the company as well as the customers. From 2007-2017 Søren had several managerial positions with the wholesale company Brdr. Dahl, where his previous job was country manager in their HVAC division, where he contributed to consolidating their position as market leader. With his strong profile, Tempress is on its' way to a modern company with state-of-the-art products and technologies.
The close cooperation with our owner in China, Hua Hai, continous unchanged. The last few months, Søren has visited customers and agents and he is now actively influencing the company.