1. At W.J. Bradley, We Have the Solutions to Meet Your Clients' Needs! We take our clients' business and your partnership seriously, and we work to make the loan transaction as seamless as possible. Not all customers are alike. At WJB, we understand that. We provide personalized service to our mutual clients. We help home buyers overcome any apprehensions they may have, with ongoing communication and exceptional service and support, and we keep you updated on the progress of the client's loan application. Customer satisfaction is paramount. A happy client is a client for life. Together, we can meet our clients' real estate needs to keep them coming back to us and to earn their referral to friends and family. We know how important it is for you to be part of the loan process as well as the home finding process. No more waiting for hours — or days — to get loan financing answers for your clients. We respond quickly with accurate and concise information. We place a high value on our service to our partners and clients and that's why we provide some of the best underwriting turn times in the industry. We turn files around faster than most of our competitors! Call me today to learn more about the ways WJB can help your clients into a new home! Dean Wegner Jeremy Lovett Mortgage Originator Loan Partner W.J. Bradley Mortgage WJ Bradley Mortgage 9237 East Via De Ventura #100 9237 East Via De Ventura #100 Scottsdale, AZ 85258 Scottsdale, Arizona 85258 Office: 480-648-2200 Office: 480-648-2200 Cell: 602-432-6388 Cell: 602-330-7116 Fax: 480-362-1522 Fax: 480-421-1160 Dean.Wegner@wjbradley.com Jeremy.Lovett@wjbradley.com www.teamdean.com www.teamdean.com W.J. Bradley Mortgage Capital Corp. Equal Housing Lender. © 2009 W.J. Bradley Mortgage Capital Corp., 201 Columbine Street Suite 300, Denver, CO 80206. Phone #303-825-5670. Trade/service marks are the property of W.J. Bradley Mortgage Capital Corp. This is not a commitment to lend. Restrictions apply. All rights reserved. Some products may not be available in all states. AZ License # BK-0903998; Licensed by the Department of Corporations under the California Financial Lenders Law, CFL-6036822; To check the license status of your CO Mortgage Broker, visit www.dora.state.co.us/ real-estate/index.htm; CT Correspondent Lender License No. FMCL 21047; DE Lender License No. 10097; FL Correspondence Lender License No. CL0702319; Georgia Residential Mortgage Licensee, License No. 20233; ID Mortgage Broker License No. MBL-2803; KS Supervised Loan License No. SL0000347; MI First Mortgage License No. FL0011392; MN Residential Mortgage Originator License No. 20447094; NV Mortgage Banker License No. 2061; NV Mortgage Broker License No. 504; NM Mortgage Loan Company and Loan Broker Act Reg. No. 01856; OK Supervised Lender License No. SL007245; OR Mortgage Lender License No. ML-776; TN Mortgage Company Registration Certificate No. 3629; TX Mortgage Banker Reg. No. 74182 with locations in Texas at 2100 W. Loop South, Suite 927, Houston, TX 77027 and 1912 Central, Suite L, Bedford, TX 76021; UT Mortgage Lender Company License No. 5495659-MLCO; WA Consumer Loan License No. 520-CL-42624.


Air conditioning systems are usually costly to purchase, but very useful. To maintain your air conditioning system in good condition, you must ensure that you service it regularly to prevent damages and keep it efficient. Over time though, it is possible for your air conditioning system to develop problems due to normal wear and tear and you will require to get it up and running again as soon as possible to enjoy its functions.
If your A/C system malfunctions, make sure that you get it fixed immediately. The first place to seek the service can be your maintenance team. If the contractor happens to be capable of handling A/C repairs then you will be lucky because the process is easy for you. A lot of A/C maintenance companies can take care of your A/C challenges unless they are not practical for them.
If you hadn't hired a contractor for your A/C, then start searching on the Internet or from your network of friends. Look for business and contractor directories to acquire contact information of A/C repair companies near you. Once you identify a number of those whom you are interested in, examine them against these three points.
This is the most important thing about the contractor. The A/C repair service you are interested in hiring must have an excellent background in education on air conditioning systems, practice fixing A/C systems, and the permission from authorities to offer their services. You will need a genuine repair service that can skillfully resolve your A/C issues. You do not want to entrust your expensive equipment to someone who will cause damages and losses.
Today's market is packed with A/C repair services whose price differ. The cost of your A/C repair should be fair enough for its quality. Quality services should not call for exorbitant costs that are not reasonable according to the market. Be careful with cheap services since they give incomplete services, leaving your problems inadequately resolved. Select an A/C repair service that is comfortable for your budget, but do not reduce the quality of the service.


American cinemagoers intent on watching Sony's The Interview on Christmas Day could get their wish even if theater chains do decide to pull the film. There's only one catch though: they'll have to travel to Baghdad to do so.
While Sony's plans for the domestic release remain up in the air following the decision by the first theaters to pull the film in the wake of terrorist threats against its showing, question marks also surround its international release. In the UK, where the film is set to open February 6, a local press officer would only issue a terse "no comment" when asked if the company had any plans to delay, postpone, reschedule or cancel the intended release there.
A rep for the Vue cinema chain also confirmed that "no decision had been made yet" with regards to whether they would show or pull the film ahead of its release. Programmers will make a final decision once they have actually seen the film.
For now, at least, UK theater chains do not appear to have the same security concerns their Stateside peers do with no public threats made against the planned release there.
As previously reported by Deadline's Nancy Tartaglione, Sony had already decided against releasing The Interview across most of Asia, save for Australia and New Zealand, given the political sensitivities with regards to North Korea, and more importantly, its strategic ally China.
A rep at Sony's global headquarters in Tokyo declined to comment when asked by Deadline if the ongoing hacking crisis at Sony Pictures had made the corporate parent re-assess either its commitment to the film business or its own security operations given the catastrophic breach of Sony Pictures' network.


text:
A Love Letter to the General: "Red Hot Patriot: The Kick-Ass wit of Molly Ivins"
Posted on January 13, 2015 by Kitty Drexel
Photo by Mark S. Howard. MacDonald with Shrub.
Presented by the Lyric Stage Company of Boston
By Margaret Engel & Allison Engel
Directed by Courtney O'Connor
Jan. 2 – 31, 2015
Lyric on Facebook
Molly Ivins on Facebook
(Boston, MA) I've already purchased my ticket to see Red Hot Patriot: The Kick-Ass wit of Molly Ivins again. This show is so good that writing a review isn't enough*. I want the Lyric to have my money.
Molly Ivins is famous for being a journalistic Texan and for warning the American people about the dangers of electing the Georges Bush to public office. She was happiest writing/living in Texas but worked long enough at the New York Times to know that her proud, Liberal exuberance was best suited to the South. Red Hot Patriot is a mostly one-woman show starring Karen MacDonald about Ivins' passion and bite, her career in journalism, family, writing philosophy, and her relationship to General Jim, her Daddy. Ivins' was a freedom fighter against racism, sexism, classism and just about any other injustice systematically enforced by the US government. She was like a Texan Dorothy Parker (Parker rallied for Communism in the 50's and left her estate to Martin Luther King, Jr.) and an inspiration.
MacDonald's portrayal of Ivins bumrushes the audience with spitfire sass, playful joy and sweet sincerity. She weaves this high energy yarn by the ladies Engel without hesitation. We are as emotionally connected to MacDonald as she is to the stage and script. She has us firmly in the palm of her hand as she skips merrily from anecdote to editorial quote and back again. Her twang is so syrupy and loyal that we're ready to forgive whatever happened to her hair. It's a good, thorough romp she leads us on.
MacDonald shares the stage with a copy boy played by Jacob Athyal.
1. Athyal conveys much with a character that doesn't speak a single line. Bravo.
2. I greatly appreciate that O'Connor didn't fill his role with a handy dandy White extra. There are plenty of those in Boston. Thank you for not taking the easy way out.
The sensitive lighting design Katharine Burkhart cradles MacDonald like a golden halo. An especially nice touch was the simulated sunset near the close of the production.
A significant portion of Red Hot Patriot is indirectly about Ivins' (Karen MacDonald) relationship with The General. Yes, he was a staunch conservative Republican and she was a bleeding heart Liberal but they shared the same fervor and took the same approach to politics: vigorous rage. The General taught her how to argue loudly and pointedly. She took his teachings to the Texas newspapers.
Her career as a political journalist could be loosely interpreted as a love letter to her Dad. She was rebelling against her republican upbringing in the most convenient and effective way she knew how. She's lucky she was able to make a career of it. It's not everyday one can work through their family issues in public (Hi Mom!).
Red Hot Patriot has little to no 4th wall. Ivins speaks directly to the audience and sometimes expects a response from us. The staging is simple; MacDonald walks the stage in circles between different organic seating arrangements and back again. What makes this production brilliant is MacDonald's devotion to milking the text and her delivery to the audience. Several times Ivins reminds the audience that words have meaning beyond what we intend when we communicate across a page. They will morph to the writer's meaning and settle around a reader's preconceived notions. Writing "the truth" is tricky business. MacDonald's telling of the truth makes for an emotional joyride.
*Please see the NETG reviewing policy.
If you enjoyed this article, please consider making a donation. Every cent earned goes towards the upkeep and continuation of the New England Theatre Geek.
This entry was posted in Comedy and tagged 2015, Allison Engel, Boston, Communism, Courtney O'Connor, Democrat, Dorothy Parker, George Bush, Jacob Athyal, January, journalism, Karen MacDonald, Katharine Burkhart, Kitty Drexel, Lyric Stage Company of Boston, MA, Margaret Engel, Martin Luther King Jr., Molly Ivins, New York Times, politics, Red Hot Patriot: The Kick-Ass wit of Molly Ivins, Republican, Texas, the truth, truth by Kitty Drexel. Bookmark the permalink.

redpajama_set_name: RedPajamaCommonCrawl


Go from Beginner Level of Excel VBA to Intermediate. Create your own Excel Macros in Visual Basic for Applications.
Welcome to Excel VBA - An Introduction. This course delves into the Visual Basic which allows you to automate Microsoft Excel (and other MS Office products).
Microsoft Excel is an extremely powerful tool – and yet most people only scratch the surface of what it can do. In addition to PivotTables, VLookup formulas and the like, you can also automate it. You can add buttons and forms to add interactive features – yet most people don't even know it's there. Maybe you have someone in your organization who is an absolute wizard, getting the computer to do things and walking away while it does it. Do you want to be able to do that? Welcome to wizard school – or in other words, Visual Basic for Applications (VBA).
In this course, I'll assume that you have some fair knowledge of Excel – able to do basic formulas and colour cells and the like – but you don't need any prior knowledge of VBA or any programming language for that matter. Of course, the more you already have, the better. I'll take things nice and slowly. Each video will center around one new aspect, or we'll consolidate what you already know with coding exercises.
Once you have finished the course, then you will be well on your way to developing your own macros to solve your own problems. And you'll be able to take your new-found knowledge for use in Word and PowerPoint as well.


If my Z370 mobo only supports 2666MHz RAM, is there any point getting 3000MHz or more?
4000 GB of RAM reserved for hardware?
Can entering a DDR RAM in a DDR 2 slot damage the motherboard?
Can't control Case's Fan Speed at all.
Will 2 modules from 4x8(32GB Quad channel) Kit work in Dual Channel?
RAM speed is only at 2933mhz?!


Plumbing contractors are greatest people to approach any homeowner wants to get a new kind of plumbing system at his home; on the other hand, they can help for a new home that someone is building where particular person needs state of the art plumbing services. It's very often a headache into the homeowner when there are plumbing problems at property. There might be a leaky tap or a broken pipe that plumbing contractors can fix in a few minutes. The average homeowner spends about 15% of his house building investments setting up the plumbing system. That is rather than a big amount when a person thinks of the health hazards he may have in order to face with a bad plumbing system. It takes money to keep the home plumbing system in good working condition. It not really adds to the associated with use modern living but utilizes the general health with the family.
Usually the plumbing system at home serves two basic purposes. The first purpose is to provide clean water for everyone kinds of household needs; the sinks, the washing machine, the dishwasher, the toilets, bathrooms and many more. The second purpose is to remove the polluted water efficiently after collecting it from various drains without mixing it with the clean water supply you with. For the plumbing system to work efficiently it is necessary that the water pressure and gravity be checked. The actual components of a plumbing system always be main water shut off valve, water meter, fixture stop valves, drainage taps and water heater. Each one of these components are rigged together by a contractor and checked to see whether work well.
An important purpose of plumbing contractors is to manipulate the water pressure in a manner that water is shipped and preserved in desirable quantities. Each area of the plumbing system however small or big is thoroughly influenced by good water stiffness. Plumbers see to it that each area of household gets the necessary quantity of water at all occasions. The internal diameter of the delivery pipes is significant. The smaller the diameter, the greater the pressure and the velocity that goes in the house. Plumbers be dependent on gravity to remove waste water and drainage from the property. It is mandatory that each house has correct number of vents and pipes so that the drainage system works perfectly. The vents work towards releasing all the air pressure stuck the actual pipes.
Plumbing services end up being adhere to certain codes. Though the designing and setting up of a plumbing system will depend largely on the skills of the plumbing contractors he should adhere to the strict federal, state and local chiffre. These codes decide the internal diameter of plumbing pipes. They also recommend where those shut off valves will be placed, what materials can be used in the pipes, what the safety precautions are that need to followed, what involving pipes should be used where, how these pipes should be placed, the slope of the pipe and so directly on. There are certain limitations that could mar the efficacy of those plumbing companies. When one hires a successful plumbing service, they'll make the best use of the available resources and try to the best their ability. The water availability and within the home all play an important role in plumbing business.


VINEYARDS AND ORCHARDS ACCESSORIES! MAYBE...THE BEST ACCESSORIES FOR YOUR VINEYARD!
Accessories for Vineyards is a manufacturer department owned by Mollificio Effemme srl.
Are available in our line of products any type of vineyards accessories.
Thinking about the different ways to set up a Vineyard Planting (Guyot, Spalliera, Casarsa, Spur-pruned cordon), each accessory for vineyard shall be chosen with reference to the same planting.
The Winegrower's target and the grape which he is going to pick up follows the choose of the Plants and the use of the accessories as well. Since 15 years, the technology in the Vineyard has been getting more importance than the past in order to obtain the best profits in the fewer time possible.
The idiom " Time as money" obliges the Winegrower to update his mentality to be more competitive.
Originality and Innovation need the use of the accessories made in Stainless Steel Wire Aisi 302 and galvanized Wire. These kind of materials are flexible and soft but at the same time they include high-strength.
The whole range of products used in the vineyard is strictly linked to the features of the Vineyard Planting. Row Length, Number of Wires which needed to be tensioned, Metal Post's height, Concrete Post's height, Wood Post's Height and the distance of the anchors to the Head Posts.
Thanks to our canopy management springs, you can easily have an optimun control of the width and height of the canopy by easy and flexible adjustments. Our accessories offers a support to the Vineyards for optimun yeld and quality for new or established vineyards.
Using our accessories for Vineyards you can see costs reduction and benefits!
- Wire Support for Concrete Post, Wire Support for Metal Post, Wire Support for Wood Post.
- Spring Spacer for double wires (Spacer for Metal Posts, Spacer for Wood Posts, Spacer for Concrete Posts) of any form and dimension.
- Hook for Mini and Maxi Stake, Hook for Plant, Tie for Vine Shoots.
- Wire Tensionar Collar for Wood Posts, Wire Tensioner for Concrete Posts, Wire Tensioner for Metal Posts.
- Wire Stretcher for double wire and for Anchors, U-bolts threaded.


text:
package hydrograph.engine.core.component.entity;

import hydrograph.engine.core.component.entity.base.OperationEntityBase;
import hydrograph.engine.core.component.entity.elements.Operation;

import java.util.ArrayList;
import java.util.Arrays;
import java.util.List;
/**
 * The Class ExecutionTrackingEntity.
 *
 * @author Bitwise
 *
 */
public class ExecutionTrackingEntity extends OperationEntityBase {

	/*
	 * @param operation the operation to set
	 */
	public void setOperation(Operation operation) {
		List<Operation> operationList = new ArrayList<Operation>();
		operationList.add(operation);
		setOperationsList(operationList);
	}

	/**
	 * @return the operation
	 */
	public Operation getOperation() {
		if(getOperationsList() == null){
			return null;
		}
		return this.getOperationsList().get(0);
	}

	/**
	 * Returns a string with the values for all the members of this entity
	 * object.
	 * <p>
	 * Use cautiously as this is a very heavy operation.
	 *
	 * @see hydrograph.engine.core.component.entity.base.AssemblyEntityBase#toString()
	 */
	@Override
	public String toString() {
		StringBuilder str = new StringBuilder("ExecutionTracking entity information\n");
		str.append(super.toString());

		if (isOperationPresent()) {
			if (getOperation() != null) {
				str.append(getNumOperations() + " operation(s) present, Operation info: ");
				str.append(getOperation().toString());
			} else {
				str.append("Operation not present\n");
			}
		} else {
			str.append("Operation not present\n");
		}

		str.append("\nOut socket(s): ");
		if (getOutSocketList() != null) {
			str.append(Arrays.toString(getOutSocketList().toArray()));
		}
		return str.toString();
	}
}

redpajama_set_name: RedPajamaGithub


text:
Cultural content in the digital arena: toward the hybridization of legal and business models
Maria Teresa Maggiolino, Maria Lilla Montagnani, Massimiliano Nuccio
Literature on online piracy has focused mainly on the legal framework necessary to prevent and punish copyright infringements on both the demand and supply sides. More recently, marketing and psychology studies have tried to understand the behavioral and ethical aspects connected with the consumption of pirated digital goods but little attention has been dedicated to the evolution in the distribution of digital content. This paper will analyze digital business models, isolate the main forms of digital distribution and evaluate the degree of hybridization that these businesses have accomplished in the move away from the traditional brick-and-mortar model.
The article presents the results of an empirical study of 597 websites which distribute digital media content. For each website, data have been collected on a range of features including the distribution methods, the technical restrictions imposed on content, the copyright management and licensing systems, and the revenue models adopted. Using a non-linear cluster technique, the data collected reveal unexpected characteristics in the current landscape for online distribution. While it is commonly assumed that the current legislative framework tends to incentivize a system based on strong legal and technological control over content, the cluster analysis reveals that legal factors are not the most relevant ones in shaping a landscape which is mostly determined by technology and organizational solutions. The authors conclude by offering hybridization policies as a possible strategic development for fighting online piracy.
Organizational Aesthetics
Maggiolino, Mariateresa; Montagnani, Maria Lillà; and Nuccio, Massimiliano (2014) "Cultural content in the digital arena: toward the hybridization of legal and business models," Organizational Aesthetics: Vol. 3: Iss. 1, 42-64.
Available at: https://digitalcommons.wpi.edu/oa/vol3/iss1/6
digital business models
online piracy
self-organizing maps
Maggiolino_et_al_Cultural_content_in_the_digital_arena_Organizational_Aesthetics_2014
Published in Organizational Aesthetics, Vol 3 (2014)
Final published version, 602 KBLicence: None: All rights reserved
https://digitalcommons.wpi.edu/oa/vol3/iss1/6/Licence: None: All rights reserved
Dive into the research topics of 'Cultural content in the digital arena: toward the hybridization of legal and business models'. Together they form a unique fingerprint.
Hybridization Business & Economics 100%
Business Model Business & Economics 67%
Piracy Business & Economics 55%
Copyright Infringement Business & Economics 38%
Web Sites Business & Economics 34%
Cluster Analysis Business & Economics 30%
Digital Content Business & Economics 29%
Licensing Business & Economics 25%
Maggiolino, M. T., Montagnani, M. L., & Nuccio, M. (2014). Cultural content in the digital arena: toward the hybridization of legal and business models. Organizational Aesthetics, 3(1), 42-63. https://digitalcommons.wpi.edu/oa/vol3/iss1/6/
Maggiolino, Maria Teresa ; Montagnani, Maria Lilla ; Nuccio, Massimiliano. / Cultural content in the digital arena: toward the hybridization of legal and business models. In: Organizational Aesthetics. 2014 ; Vol. 3, No. 1. pp. 42-63.
@article{ad51d74f301446edb86e0d8801b5db30,
title = "Cultural content in the digital arena: toward the hybridization of legal and business models",
abstract = "Literature on online piracy has focused mainly on the legal framework necessary to prevent and punish copyright infringements on both the demand and supply sides. More recently, marketing and psychology studies have tried to understand the behavioral and ethical aspects connected with the consumption of pirated digital goods but little attention has been dedicated to the evolution in the distribution of digital content. This paper will analyze digital business models, isolate the main forms of digital distribution and evaluate the degree of hybridization that these businesses have accomplished in the move away from the traditional brick-and-mortar model.The article presents the results of an empirical study of 597 websites which distribute digital media content. For each website, data have been collected on a range of features including the distribution methods, the technical restrictions imposed on content, the copyright management and licensing systems, and the revenue models adopted. Using a non-linear cluster technique, the data collected reveal unexpected characteristics in the current landscape for online distribution. While it is commonly assumed that the current legislative framework tends to incentivize a system based on strong legal and technological control over content, the cluster analysis reveals that legal factors are not the most relevant ones in shaping a landscape which is mostly determined by technology and organizational solutions. The authors conclude by offering hybridization policies as a possible strategic development for fighting online piracy.",
keywords = "digital business models, online piracy, hybridization, self-organizing maps",
author = "Maggiolino, {Maria Teresa} and Montagnani, {Maria Lilla} and Massimiliano Nuccio",
note = "Maggiolino, Mariateresa; Montagnani, Maria Lill{\`a}; and Nuccio, Massimiliano (2014) {"}Cultural content in the digital arena: toward the hybridization of legal and business models,{"} Organizational Aesthetics: Vol. 3: Iss. 1, 42-64. Available at: https://digitalcommons.wpi.edu/oa/vol3/iss1/6",
journal = "Organizational Aesthetics",
publisher = "Society for Organizational Aesthetics Research",
Maggiolino, MT, Montagnani, ML & Nuccio, M 2014, 'Cultural content in the digital arena: toward the hybridization of legal and business models', Organizational Aesthetics, vol. 3, no. 1, pp. 42-63. <https://digitalcommons.wpi.edu/oa/vol3/iss1/6/>
Cultural content in the digital arena: toward the hybridization of legal and business models. / Maggiolino, Maria Teresa; Montagnani, Maria Lilla; Nuccio, Massimiliano.
In: Organizational Aesthetics, Vol. 3, No. 1, 2014, p. 42-63.
T1 - Cultural content in the digital arena: toward the hybridization of legal and business models
AU - Maggiolino, Maria Teresa
AU - Montagnani, Maria Lilla
AU - Nuccio, Massimiliano
N1 - Maggiolino, Mariateresa; Montagnani, Maria Lillà; and Nuccio, Massimiliano (2014) "Cultural content in the digital arena: toward the hybridization of legal and business models," Organizational Aesthetics: Vol. 3: Iss. 1, 42-64. Available at: https://digitalcommons.wpi.edu/oa/vol3/iss1/6
N2 - Literature on online piracy has focused mainly on the legal framework necessary to prevent and punish copyright infringements on both the demand and supply sides. More recently, marketing and psychology studies have tried to understand the behavioral and ethical aspects connected with the consumption of pirated digital goods but little attention has been dedicated to the evolution in the distribution of digital content. This paper will analyze digital business models, isolate the main forms of digital distribution and evaluate the degree of hybridization that these businesses have accomplished in the move away from the traditional brick-and-mortar model.The article presents the results of an empirical study of 597 websites which distribute digital media content. For each website, data have been collected on a range of features including the distribution methods, the technical restrictions imposed on content, the copyright management and licensing systems, and the revenue models adopted. Using a non-linear cluster technique, the data collected reveal unexpected characteristics in the current landscape for online distribution. While it is commonly assumed that the current legislative framework tends to incentivize a system based on strong legal and technological control over content, the cluster analysis reveals that legal factors are not the most relevant ones in shaping a landscape which is mostly determined by technology and organizational solutions. The authors conclude by offering hybridization policies as a possible strategic development for fighting online piracy.
AB - Literature on online piracy has focused mainly on the legal framework necessary to prevent and punish copyright infringements on both the demand and supply sides. More recently, marketing and psychology studies have tried to understand the behavioral and ethical aspects connected with the consumption of pirated digital goods but little attention has been dedicated to the evolution in the distribution of digital content. This paper will analyze digital business models, isolate the main forms of digital distribution and evaluate the degree of hybridization that these businesses have accomplished in the move away from the traditional brick-and-mortar model.The article presents the results of an empirical study of 597 websites which distribute digital media content. For each website, data have been collected on a range of features including the distribution methods, the technical restrictions imposed on content, the copyright management and licensing systems, and the revenue models adopted. Using a non-linear cluster technique, the data collected reveal unexpected characteristics in the current landscape for online distribution. While it is commonly assumed that the current legislative framework tends to incentivize a system based on strong legal and technological control over content, the cluster analysis reveals that legal factors are not the most relevant ones in shaping a landscape which is mostly determined by technology and organizational solutions. The authors conclude by offering hybridization policies as a possible strategic development for fighting online piracy.
KW - digital business models
KW - online piracy
KW - hybridization
KW - self-organizing maps
JO - Organizational Aesthetics
JF - Organizational Aesthetics
Maggiolino MT, Montagnani ML, Nuccio M. Cultural content in the digital arena: toward the hybridization of legal and business models. Organizational Aesthetics. 2014;3(1):42-63.


2017 Nissan Navara STX Auto in as new condition, business executives vehicle, never been off road, tinted windows, tonneau cover, tow bar, Mickey Thompson All Terrain Tyres. GPS, Bluetooth, Heated Seats, Dual Zone Climate Control, 4mths registration sold with a current RWC All offers considered Price Negotiable.
Has all running gear. Not running at current. Good for parts for restoring of another moke. Hard top roof.
This ute is in immaculateIt condition. It is extremely well looked after and maintained. It has never given me any problems and has a great service history with all books having its last service only just been done recently. It runs on both LPG and petrol so is very economical to run. A tank of gas will take you 650kms! It has been tuned by APS in Frankston (the best of the best) for optimal power and efficiency. Dyno sheets pictured shows 238kw at the wheels which is about 300kw at the engine.


text:
Brotzmann, Peter
Along The Way [BOOK]
(Corbett vs. Dempsey - USA)
A beautiful 228 page limited edition hardcover book chronicling the last decade of artwork by saxophonist Peter Brotzmann, created spontaneously while on the road or between tours using materials at hand; featuring essays by Brotzmann, Thomas Milroth, John Corbett, Markus Muller, Sotiris Kontos, Stephen O'Malley, Heather Leigh and Karl Lippegaus.
Shipping Weight: 54.00 units
228-page hardback featuring full color reproductions, 30cm h x 22cm w
Label: Corbett vs. Dempsey
Catalog ID: 9783955932534
Packaging: Book
Peter Brotzmann-artist
• Show Bio for Peter Brotzmann
"Born Remscheid, Germany on 6 March 1941; soprano, alto, tenor, baritone and bass saxophones, a-clarinet, e-flat clarinet; bass clarinet, tarogato.
Peter Brötzmann's early interest was in painting and he attended the art academy in Wuppertal. Being very dissatisfied with the gallery/exhibition situation in art he found greater satisfaction playing with semi-professional musicians, though continued to paint (as well as retaining a level of control over his own records, particularly in record sleeve/CD booklet design). In late 2005 he had a major retrospective exhibition jointly with Han Bennink - two separate buildings separated by an inter-connecting glass corridor - in Brötzmann's home town of Remscheid.
Self-taught on clarinets, he soon moved to saxophones and began playing swing/bebop, before meeting Peter Kowald. During 1962/63 Brötzmann, Kowald and various drummers played regularly - Mingus, Ornette Coleman, etc. - while experiencing freedoms from a different perspective via Stockhausen, Nam June Paik, David Tudor and John Cage. In the mid 1960s, he played with American musicians such as Don Cherry and Steve Lacy and, following a sojourn in Paris with Don Cherry, returned to Germany for his unorthodox approach to be accepted by local musicians like Alex von Schlippenbach and Manfred Schoof.
The trio of Peter Brötzmann, Peter Kowald and Sven-Ake Johansson began playing in 1965/66 and it was a combination of this and the Schoof/Schlippenbach Quintet that gave rise to the first Globe Unity Orchestra. Following the self-production of his first two LPs, For Adolphe Sax and Machine gun for his private label, BRÖ, a recording for Manfred Eicher's 'Jazz by Post' (JAPO) [Nipples], and a number of concert recordings with different sized groups, Brötzmann worked with Jost Gebers and started the FMP label. He also began to work more regularly with Dutch musicians, forming a trio briefly with Willem Breuker and Han Bennink before the long-lasting group with Han Bennink and Fred Van Hove. As a trio, and augmented with other musicians who could stand the pace (e.g. Albert Mangelsdorff on, for example, The Berlin concert), this lasted until the mid-1970s though Brötzmann and Bennink continued to play and record as a duo, and in other combinations, after this time. A group with Harry Miller and Louis Moholo continued the trio format though was cut short by Miller's early death.
The thirty-plus years of playing and recording free jazz and improvised music have produced, even on just recorded evidence, a list of associates and one-off combinations that include just about all the major figures in this genre: Derek Bailey (including performances with Company (e.g. Incus 51), Cecil Taylor, Fred Hopkins, Rashied Ali, Evan Parker, Keiji Haino, Misha Mengelberg, Anthony Braxton, Marilyn Crispell, Andrew Cyrille, Phil Minton, Alfred 23 Harth, Tony Oxley. Always characterised as an energy player - and the power-rock setting of Last Exit with Ronald Shannon Jackson, Sonny Sharock and Bill Laswell, or his duo performances with his son, Casper, did little to disperse this conviction - his sound is one of the most distinctive, life-affirming and joyous in all music. But the variety of Brötzmann's playing and projects is less recognised: his range of solo performances; his medium-to-large groups and, in spite of much ad hoc work, a stability brought about from a corpus of like- minded musicians: the group Ruf der Heimat; pianist Borah Bergman; percussionist Hamid Drake; and Die like a dog, his continuing tribute to Albert Ayler, with Drake, William Parker and Toshinori Kondo. Peter Brötzmann continues a heavy touring schedule which, since 1996 has seen annual visits to Japan and semi-annual visits to the thriving Chicago scene where he has played in various combinations from solo through duo (including one, in 1997, with Mats Gustafsson) to large groups such as the Chicago Octet/Tentet, described below. He has also released a number of CDs on the Chicago-based Okka Disk label, including the excellent trio with Hamid Drake and the Moroccan Mahmoud Gania, at times sounding like some distant muezzin calling the faithful to become lost in the rhythm and power of the music.
The "Chicago Tentet" was first organized by Brötzmann with the assistance of writer/presenter John Corbett in January 1997 as an idea for a one-time octet performance that included Hamid Drake and Michael Zerang (drums), Kent Kessler (bass) and Fred Lomberg-Holm (cello), Ken Vandermark and Mars Williams (reeds), and Jeb Bishop (trombone). The first meeting was extremely strong and warranted making the group an ongoing concern and in September of that same year the band was expanded to include Mats Gustafsson (reeds) and Joe McPhee (brass) as permanent members (with guest appearances by William Parker (bass), Toshinori Kondo (trumpet/electronics), and Roy Campbell (trumpet) during its tenure) - all in all a veritable who's who of the contemporary improvising scene's cutting edge. Though the Tentet is clearly led by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since the beginning. This has allowed the band to explore an large range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores - the group employs almost every contemporary approach to composing for an improvising unit. This diversity in compositional style, plus the variety in individualistic approaches to improvisation, allows the Tentet to play extremely multifaceted music. As the band moves from piece to piece, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of a heavy hitting groove. It is clear that the difficult economics of running a large band hasn't prevented the group from continuing to work together since its first meeting. Through their effort they've been able to develop an ensemble sound and depth of communication hard to find in a band of any size or style currently playing on the contemporary music scene."
-EFI (European Free Improvisation Pages) (http://www.efi.group.shef.ac.uk/mbrotzm.html)
^ Hide Bio for Peter Brotzmann
"Being on the road so much, the time-space between the tours is not long enough for preparing big canvases and starting oil-paintings. You use what's the table - paper, cardboard, an empty cigar box, pens, felts and brushes, ink in a glass or a Chinese ink stone. You use what there is and that's what we musicians call improvising and that's what the works in this book are about [and my life too]: IMPROVISATION" (Peter Brötzmann)
"The art that Brötzmann produces was always there, it was there before the beginning of time. It was there before he became "Machine Gun". For the public eye this art was initially used to support his designs, you see sculptures, collages, later also watercolors etc. as the starting point or ball-bearing of what became the incredible string of fantastic record covers, posters, fliers etc. of the past 50+ years.
The art of Brötzmann, the visual art is the kind of art that he is able to do anytime anywhere. It is about finding something that was lost and once he finds it, he just recombines it into that which becomes his art. Simple. But maybe he also tricks us into thinking that. What is clear to see is that he can take three crayons and some discarded piece of paper, paper that is always around us and then, in what looks like nano-seconds, he sketches a vibrant representation of something that often can be associated with "Home" (a cup, a house, a tray) and/or "Away" (a ship, a landscape). And these small but primary interventions make us see the things that we usually do not see, the potentialities that we so often discard and leave behind as we just continue, pass by, walk on." (Markus Müller)
With text contributions by Peter Brötzmann, Thomas Millroth, John Corbett, Markus Müller, Sotiris Kontos, Stephen O´Malley, Heather Leigh, Karl Lippegaus
Design: wppt:kommunikation, Klaus Untiet and Peter Brötzmannin cooperation with Corbett vs Dempsey (USA) and Trost records (Austria)"
European Improvisation, Composition and Experimental Forms
Peter Brotzmann
Staff Picks & Recommended Items
Mengelberg / Brotzmann / Parker / Bennink / Rutherford / Bailey / Bennink
Groupcomposing [VINYL]
(Our Swimmer)
ICP TENTET
Tetterettet [VINYL]
Big Bad Brotzmann Trio
Biturbo!, Capt'n [3'' CD]
Full Blast
Farewell Tonic [VINYL]
(Trost Records)
Brotzmann, Peter / Lonberg-Holm, Fred
Memories Of A Tunicate
14 Love Poems [VINYL]
(Cien Fuegos)
Trios [VINYL 2 LPs]
(Honest Jons Records)
I Surrender Dear
Tetterettet
Mengelberg, Misha / Peter Brotzmann / Evan Parker / Peter Bennink / Paul Rutherford / Derek Bailey / Han Bennink
Groupcomposing
Bauer, Johannes / Peter Brotzmann
Blue City (Live At Blue City Osaka / Japan 16. October 1997)
Black Bombaim & Peter Brotzmann
Black Bombaim & Peter Brotzmann [VINYL]
Full Blast (Brotzmann / Pliakas / Wertmuller)
Brotzmann / van Hove / Bennink
Brotzmann / McPhee / Kessler / Zerang
Tales Out Of Time
Haino, Keiji / Peter Brotzmann / Jim O'Rourke
Two City Blues PT 2
Brotzmann, Peter / Hamid Drake
Solid & Spirit [VINYL 2 LPs]
(Nero's Neptune)
Solo + Trio Roma [2 CDs]
(Les Disques Victo)
Xavier Pamplona Septet
Play The
(Casco Records)
As If 3 (Bommel / Weide / Janssen)
Klinkklaar
Carl, Rudiger / Joel Grip / Sven-Ake Johansson
In Early November
Prehn, Tom Quartet
Centrifuga & Solhverv
Search for other titles on the Corbett vs. Dempsey label.


Described below is the worship of Brahman (not to be confused with God Brahma) as discussed in the Mahanirvana Tantra.
Brahman or para-brahma is the supreme all-pervading unmanifest Divine essence of the Universe. Being one with Brahman is the ultimate aim of all philosophical schools like Yoga or Advaita Vedanta or Kashmiri Trika.
People generally worship a concrete Godly manifestation of Brahman like Vishnu, Shiva or Devi, as it is exteremly difficult to visualize or conceptualize something that is abstract and beyond senses (nirguNa brahmaNa).
There are no rules except that the devotees be of pure disposition of mind and heart. Additionally this is a pa~NchaopachAra pUjA. A pa~NchaopachAra pUjA is one with five offerings (physical or mental) – gandha or scent, puShpa or flower, dhUpa or incense stick, dIpa or lamp, naivaidya and food offered to God).
1.It may be done always and in all places.
2.It is of no account whether the worshipper has or has not bathed, or whether he be fasting or have taken food.
3.There are no caste restrictions – everybody is welcome to perform the Puja.
4.Food offered to God can be eaten by anybody of any caste and at any time.
Close the left nostril with the middle of the fourth finger, and then inhale through the right nostril, meanwhile making japa of the Mula-mantra ॐ सच्चिदेकं ब्रह्म eight times.
Then, closing the right nostril with the thumb and shutting also the mouth, make japa of the Mantra ॐ सच्चिदेकं ब्रह्म thirty-two times.
After that gently exhale the breath through the right nostril, doing japa of the Mantra ॐ सच्चिदेकं ब्रह्म the while sixteen times.
Close the right nostril with the middle of the fourth finger, and then inhale through the left nostril, meanwhile making japa of the Mula-mantra ॐ सच्चिदेकं ब्रह्म eight times.
Then, closing the left nostril with the thumb and shutting also the mouth, make japa of the Mantra ॐ सच्चिदेकं ब्रह्म thirty-two times.
After that gently exhale the breath through the left nostril, doing japa of the Mantra ॐ सच्चिदेकं ब्रह्म the while sixteen times.
Directions: Form a mental picture of Para Brahman as described below. If there is flower, it should be held in hand in Kurma Mudra. Else take water in palm in place of flower and hold it in Kurma Mudra.
In the lotus of my heart I contemplate the Divine Intelligence, the Brahman without distinctions and difference, Knowable by Hari, Hara, and Vidhi, whom Yogis approach in meditation; He Who destroys the fear of birth and death, Who is Existence, Intelligence, the Root of all the three worlds.
Directions: Then put flower on head, identifying oneself with Brahman.
Now make symbolic offerings with eyes closed. Or alternately physical offering of water to a spot on the ground.
The vessel in which these offerings are placed is Brahman, and so, too, is the gheeoffered therein. Brahman is both the sacrificial Fire and he who makes the sacrifice, and to Brahman he will attain whose mind is fixed on the Brahman by the performance of the rites which lead to Brahman.
I bow to Thee, the eternal Refuge of all: I bow to Thee, the pure Intelligence manifested in the universe. I bow to Thee Who in His essence is One and Who grants liberation. I bow to Thee, the great, all-pervading attributeless One (59). Thou art the only Refuge and Object of adoration. The whole universe is the appearance of Thee Who art its Cause. Thou alone art Creator, Preserver, Destroyer of the world. Thou art the sole immutable Supreme, Who art neither this nor that (6o); Dread of the dreadful, Terror of the terrible. Refuge of all beings, Purificator of all purificators. Thou alone rulest the high-placed ones, Supreme over the supreme, Protector of the Protectors (61). O Supreme Lord in Whom all things are, yet Unmanifest in all, Imperceptible by the senses, yet the very truth. Incomprehensible, Imperishable, All-pervading hidden Essence. Lord and Light of the Universe! save us from harm (62). On that One alone we meditate, that One alone we in mind worship, To that One alone the Witness of the Universe we bow. Refuge we seek with the One Who is our sole Eternal Support, The Self-existent Lord, the Vessel of safety in the ocean of being (63).
This is the five-jewelled hymn to the Supreme Soul.
May the Supreme Soul protect the head, May the Supreme Lord protect the heart, May the Protector of the world protect the throat, May the All-pervading, All-seeing Lord protect the face (67), May the Soul of the Universe protect my hands, May He Who is Intelligence itself protect the feet, May the Eternal and Supreme Brahman protect my body in all its parts always (68).
I bow to the Supreme Brahman. I bow to the Supreme Soul. I bow to Him Who is above all qualities. I bow to the Ever-existent again and again (74).


text:
Cecilio Acosta Miranda (born November 22, 1946) is a Mexican retired relief pitcher in Major League Baseball who played four seasons for the Chicago White Sox and Philadelphia Phillies.

Acosta became the first American League pitcher to make a plate appearance after the introduction of the designated hitter rule in 1973.

References

External links

Cy Acosta at SABR (Baseball BioProject)
Cy Acosta at Baseball Almanac

1946 births
Living people
Alacranes de Campeche players
Algodoneros de Unión Laguna players
Angeles de Puebla players
Azules de Coatzacoalcos players
Baseball players from Sinaloa
Charros de Jalisco players
Charros de Orizaba players
Chicago White Sox players
Iowa Oaks players
Major League Baseball pitchers
Major League Baseball players from Mexico
Mexican Baseball Hall of Fame inductees
Mexican expatriate baseball players in the United States
Mexican League baseball pitchers
Mineros de Fresnillo players
Pericos de Puebla players
Petroleros de Poza Rica players
Philadelphia Phillies players
Porteños de Puerto México players
Rieleros de Aguascalientes players
Tomateros de Culiacán players
Tucson Toros players
Yaquis de Obregón players

redpajama_set_name: RedPajamaWikipedia


text:
Who can ask the Joint Committee on Taxation for a revenue estimate or help in crafting legislation?
Any Member of Congress may request a revenue estimate for a tax proposal or solicit the committee's help in crafting tax legislation. There has been a significant growth in the number of revenue requests over time. In 1986, the Joint Committee Staff received 474 requests. In 2010, this figure had increased to almost 6,000 (PDF Chart). While the majority of requests are for revenue estimates, the Joint Committee Staff also receives requests for distributional, legal, and data analyses. All requests are treated as confidential unless otherwise stipulated. A response to a request is released only to the Member making the request and the response remains confidential unless the Member decides to make the information public. Confidentiality allows the Joint Committee Staff to maintain its nonpartisan role in the policy process.
Procedures for Congressional Members requesting revenue estimates from the Joint Committee on Taxation are as follows:
Address requests to:
Thomas A. Barthold, Chief of Staff
502 Ford House Office Building
Request must be submitted on Member's letterhead and signed by the Member.
Reference the subject and provide any supporting bills or documentation relating to the proposal for which the request is being submitted.
A proposal need not have been introduced as a bill but must include sufficient detail for a revenue estimate to be prepared.
Questions concerning whether proposals are sufficiently detailed should be directed to the Joint Committee's main office at Extension 5-3621.
List the name and contact information of the person in the Member's office handling the request.
Does the Joint Committee on Taxation ever publish their revenue estimates?
When a revenue estimate has been included in a publicly available document (e.g., a revenue table summarizing a markup proposal or the result of a reported bill), the estimate is posted to the Joint Committee website and publicly released. An estimate is also posted in circumstances where the information is of widespread and immediate interest by the Members of Congress (e.g., a tax bill about to be voted upon by the full House or the full Senate).
Are Joint Committee on Taxation estimates "static"?
No. JCT estimates include many micro-dynamic behavioral effects that economists anticipate would result from changes to taxation; for example, a proposal to increase excise taxes on cigars would be assumed to reduce demand for cigars while potentially increasing demand for cigarettes. In providing conventional estimates, the Joint Committee Staff assumes that a proposal will not change total income and therefore holds Gross National Product fixed. However, it is important to note that the use of fixed economic assumptions does not prevent the Joint Committee Staff from taking into account that in response to a tax change, economic activity will shift across sectors or markets and/or the timing of economic activity may change.
Although conventional revenue estimates are sometimes referred to as "static," for more than a quarter of a century, Joint Committee Staff revenue estimates have taken into account taxpayers' likely behavioral responses to proposed changes in tax law. Behavioral effects can be broadly characterized as shifts in the timing of transactions and income recognition, shifts between business sectors and entity form, shifts in portfolio holdings, shifts in consumption, and tax planning and avoidance strategies.
What kinds of models does the Joint Committee on Taxation use to produce conventional revenue estimates?
The Joint Committee Staff uses a wide variety of economic and statistical models to estimate the revenue impact of changes in tax laws. The primary source of tax data for the models comes from the SOI division within the IRS. However, the Joint Committee Staff receives data from multiple sources from both government agencies and non-government organizations.
Some of the models are large models that simulate taxpayers responses to tax law changes and use large micro-data files, while others are smaller and spreadsheet based. The Joint Committee Staff uses several highly developed tax models that simulate taxpayers responses to tax law changes ("microsimulation" models). These are the Individual Model, the Corporate Model, and the Estate and Gift Model. In addition, the Joint Committee Staff is beginning to use individual panel-based models. The complexity and scope of a model are determined by several factors including the amount and type of data available, the level of interest in the issue addressed by the model, and the level of complexity associated with the questions being asked of the model. Finally, the Joint Committee Staff employs multiple models to analyze the macro-economic impact of significant changes the tax system. Additional publications are available regarding revenue estimating methodology and macro-economic analysis.
The Joint Committee on Taxation
Washington, DC. 20515
Front Office: (202) 225‑3621
Thomas A. Barthold
Robert P. Harvey
Deputy Chief of Staff


Leading Taiwanese recruitment group 104 Corp. (TSE: 3130), which operates multiple jobs sites, recorded a 1.54 percent year-on-year rise in consolidated revenue to NT$128 million ($4.3 million U.S.) for Apr.. The increase amounted to NT$2 million ($66,760 U.S.).
The post 104 Corp. reports $4.3 million in revenue appeared first on AIM Group.


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    Dockerized Shiny App development

Jan 16, 2018

10 minutes read

Getting on the Docker (container) ship

Containers are everywhere, including the realms of data science. You can think of them as small self-contained environments, encapsulating an application and its dependencies. If that sounds a lot like a virtual machine, you are not entirely wrong. But unlike VM's, containers run on the host system's kernel and the processes inside can only see and access their immediate surroundings.

Thanks to the good people behind the rocker project, there's already plenty of R-specific Docker images available for folks looking to containerize their R code. The most often cited benefits are portability and reproducibility of your analysis. In the same vein, lots of great material is out there with respect to what these bad boys exactly are and how to get them up and running.

But I haven't found much on Docker based workflows, especially how to go about developing dockerized shiny apps. Because what if I want to build a shiny dashboard inside a container, integrate it with Travis CI and run tests on every single commit to GitHub?

The code in this post is based on a bare bones shiny app (containing USA Trade data) I built for illustration purposes. You can find the app here, and all the code on GitHub.

Testable shiny apps

We all heard of unit testing, but can we test an actual shiny application? As often the case in the R world, there is already a package for that: shinytest - an automated testing agent for, you guessed it…shiny apps. It works as follows:

Shinytest uses snapshot-based testing strategy. The first time it runs a set of tests for an application, it performs some scripted interactions with the app and takes one or more snapshots of the application's state. These snapshots are saved to disk so that future runs of the tests can compare their results to them.

The interface is super easy. You install the package and when the first version of your shiny app is ready to roll, you simply run recordTest():

devtools::install_github("rstudio/shinytest")
library(shinytest)

recordTest("path/to/app")

This launches an iframe consisting of your dashboard and controls over what to test. Each interaction with the dashboard is recorded, and when you hit take snapshot, the state of your dashboard is saved, along with raw scripts to reproduce the interactions.

Upon exiting the test event recorder, a new folder test/ is created inside the app's directory, containing both the test script - dates.R, as well as the application's state as a .json and a .png files in test/dates-expected. The latter serve as expected output, based on which consequent runs of tests shall be evaluated. Using my example app, dates.R looks like this:

options(shiny.testmode=TRUE)

app <- ShinyDriver$new("../", seed = 123)
app$snapshotInit("dates")

app$setInputs(date1 = "2000-10-02")
app$setInputs(date2 = "2013-11-01")
app$snapshot()

Now, running testApp("path/to/app") will look for test scripts inside the test/ folder, and run them to recreate the state of the test recording, comparing the output to what's expected. It is generally a good idea to only compare the .json files, because the screenshots of the app (the .png file) will likely differ of various systems. We pass the argument compareImages = FALSE to bypass default behavior. A full fledged test script will then look like this:

library(testthat)
test_that("Application works", {
        expect_pass(testApp("/srv/shiny-server/myapp/",
                            testnames = "dates",
                            compareImages = FALSE))
})

I found that having ggplot2 (or plotly) plots as part of your dashboard, there is always a tiny bit of randomness present in the output. And hence the tests fail. It is better to explicitly export parts of the plot objects in my opinion, because they will be a more reliable yardstick to compare against. To do so, we add a few lines of code to server.R.

exportTestValues(plot_balance = { ggplot_build(p_b)$data },
                 plot_total   = { ggplot_build(p_t)$data },
                 plot_import  = { ggplot_build(p_i)$data },
                 plot_export  = { ggplot_build(p_e)$data } )

As a follow up, we customize which parts of the application's state should be saved and checked for inside app$snapshot(), using the items = argument and update dates.R so that only the input and export (and not the output) sections of our .json files are evaluated:

...
app$setInputs(date1 = "2000-10-02")
app$setInputs(date2 = "2013-11-01")
app$snapshot(items = list(input = TRUE, export = TRUE))

That is all you really need to get going with shinytest. Keep in mind that the package is still in development, and things might change in the future. For an in-depth walkthrough of shinytest's capabilities, have a look at the official site.

A 🐳 container, can we haz it?

Now that our shiny app is complete with test scripts, the whole thing can be packaged up and put inside a container. Of course we could deploy the shiny dashboard without a container too, but at the end of the day it makes everybody's life a lot easier.

Because if our container runs on our machine, it will also run on any machine that has Docker. Without compatibility issues, independent from host version or platform distribution. In a real life scenario this significantly reduces time between prototypting and deployment, not the least because of the typically lightweight footprint of a Docker image.

To containerize our shiny app, we first need to create an image that encompasses our:

Shiny application

R packages our app needs

System level dependencies these packages need

We build our image layer by layer, starting with the rocker/shiny image - which includes the minimal requirements for a Shiny Server. Then, we add everything else our application requires; finishing with copying the contents of our app to /srv/shiny-server/usa-trade/, where the dashboard will be served from. These instructions are written to the Dockerfile, as follows:

FROM rocker/shiny
MAINTAINER Tamas Szilagyi (tszilagyi@outlook.com)

## install R package dependencies (and clean up)
RUN apt-get update && apt-get install -y gnupg2 \
    libssl-dev \
    && apt-get clean \
    && rm -rf /var/lib/apt/lists/ \
    && rm -rf /tmp/downloaded_packages/ /tmp/*.rds

## install packages from CRAN (and clean up)
RUN Rscript -e "install.packages(c('devtools','dplyr','tidyr','fuzzyjoin','stringr','ggthemes','quantmod','ggplot2','shinydashboard','shinythemes'), repos='https://cran.rstudio.com/')" \
    && rm -rf /tmp/downloaded_packages/ /tmp/*.rds

## install packages from github (and clean up)
RUN Rscript -e "devtools::install_github('rstudio/shinytest','rstudio/webdriver')" \
    && rm -rf /tmp/downloaded_packages/ /tmp/*.rds

## install phantomjs
RUN Rscript -e "webdriver::install_phantomjs()"

## assume shiny app is in build folder /app2
COPY ./app2 /srv/shiny-server/usa-trade/

The smaller your Docker image, the better. Here's a couple of guidelines to keep in mind when creating one:

Always use shared base images (what comes after the FROM statement) specific to your application, instead of trying to reinvent the wheel every time you write a Dockerfile.

Try to avoid underused dependencies. Going back to the my example app, I could've installed the package tidyquant to get my trade data in a tidy format out of the box, yet because the package has an insane amount of dependencies (including having Java installed); I wrote three helper functions instead.

Make sure temporary files are removed after the installation of libraries and packages.

Push down commands that will likely invalidate the cache, so Docker only rebuilds layers that change (more on this in the next section).

With the Dockerfile finished, it is time to make ourselves familiar with the essential Docker commands:

docker pull pulls an image from the registry (Dockerhub).

docker build builds a docker image from our Dockerfile.

docker run instantiates the container from our image.

docker exec execute commands from within the container.

docker rm deletes a container.

docker login login to Dockerhub (to upload our image).

docker push uploads the image back to Dockerhub.

Let's say we want to run our shiny app on a server that has Docker installed. Assuming we have a GitHub repo containing all relevant files and our Dockerfile is to be found on Dockerhub, we can expose our shiny app to the world as follows:

# 1 clone into repo containing app
git clone https://github.com/mtoto/markets_shiny.git
# 2 pull Docker file from Dockerhub
docker pull mtoto/shiny:latest
# 3 build Docker image, tag it 'mtoto/shiny:latest'
docker build -t mtoto/shiny:latest .
# 4 run container in detached mode, listening on port 80, name it 'site'
docker run -d -p 80:3838 --name site mtoto/shiny:latest

And our app should be visible on htps://myserver.com/usa-trade by default.

Integration with Travis CI

If you are a seasoned R package developer, you are no stranger to Travis CI. It is a Continuous Integration tool that automatically performs checks and runs tests on your code every time you push a commit to GitHub. The broad idea behind continuous integration is to encourage test-driven development, thereby allowing for frequent commits to the codebase without having to worry about integration problems.

Travis supports many languages - including R, and can also build from Docker images. After creating an account on the Travis website, connect with GitHub and pick the repository for which you'd like to use it.

The repo needs to contain a .travis.yml file, encapsulating the instructions for Travis.
You'd tempted to write language: R as the first line, but if we do that Travis will implicitly assume we are developing an R package and will start looking for the DESCRIPTION file we do not have. Instead, I went with the undocumented option language: generic1, as we'll be only running Docker commands anyway.

The naive approach would be to build our Docker image on every single run, instantiate a test container, run tests inside and upon success get rid of the container. Such a .travis.yml would look like this:

language: generic
sudo: required

services:
- docker

before_install:
- docker build -t markets-shiny .
- docker run -d -p 3838:3838 markets-shiny:latest --name test

script:
- docker exec test R -f run_tests.R

after_script:
- docker rm -f test

The problem here is that we are building the Docker image from scratch with every single Travis run, resulting in a build time of over 20 minutes for my simple app. But our image is on Dockerhub, so why not pull it from there and take advantage of caching. Then, we'd only rebuild the changed layers after downloading the latest image from the registry.

To make sure everything is nice and up to date, we will push the changes back to Dockerhub after every successful run. We need credentials to do so, but Travis conveniently allows for defining environment variables inside the repository settings (or via the CLI):

Now we can go wild and revamp .travis.yml accordingly:

language: generic
sudo: required

services:
- docker

before_install:
- docker pull mtoto/shiny:latest
- docker build --cache-from mtoto/shiny:latest -t mtoto/shiny:latest .
- docker run --rm -d -p 3838:3838 --name test mtoto/shiny:latest

script:
- docker exec test R -f /srv/shiny-server/usa-trade/run_tests.R

after_success:
- docker rm -f test
- docker login -u mtoto -p $DOCKER_PASSWORD
- docker tag mtoto/shiny:latest mtoto/shiny:$TRAVIS_BUILD_NUMBER
- docker push mtoto/shiny

After the second run (once the latest image is on Dockerhub), the build time is reduced by a factor of 10. Sweet. When we use the flag --cache-from, Docker only rebuilds changed layers, ie. modifications to our shiny app. We can see this in the Travis log as ---> Using cache:

Keep in mind when making significant changes to your dashboard, it is important to update the tests that create fresh expected outputs reflecting these changes. If you don't trust the outputs will align, remember to use exportTestValues() and fill it up with the new objects.

Was it all worth it?

While this workflow might feel like over-engineering, once all the tools are set up to work in tandem, shiny dashboard development becomes surprisingly efficient. The icing on the cake is that you are creating a dashboard that is pretty much ready for deployment from day one. Devops will love you for it, trust me.

In reality this points to language: bash, language: sh and language: shell.↩

                    Tags:

                    R

                    Docker

                    Travis-CI

                    shiny

                    testthat

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-Computer control, the front and back ends of the tank are plunged with a plasma CNC cutter, and then they are spin-pressed once by the imitation spinner to increase the strength and do not allow manual tapping.
-Submerged arc welding is automatic welding, and the tank body is automatically welded with gas shielded welding at the welding work station to ensure the original quality of the tank weld seam. The length of the tank body adopts one-piece integrally welded longitudinal beam to ensure the strength of the tank body. The tank should be treated with an overall shot peening process to eliminate weld stress and overall rust removal.
-The use of international advanced technology, the use of car paint processing technology to enhance paint adhesion, uniformity, durability; the most advanced large-scale drying equipment, strict control of dust, no pollution, so that the tank body shining.
-Tank pressure and seal testing to ensure product quality and ensure that the product passes a rigorous test.


Set in Motion Press: "In making books, Casey approaches a subject from many directions and levels of inquiry. Her pages open to a landscape of options and layers of detail for the reader to navigate. Through analytical probing and outlandish premises, she creates a world of language and imagery, inviting the reader to travel into her books along varied routes that render new destinations with each reading."
Berkeley, California: Set in Motion Press, 2017. Edition of 39.
Three cloth-bound books suspended in a carrier case by magnets. Carrier case closed 6.5 x 13.25", opens to 14 x 13.25". Case bound in cloth covers with paper illustration and title on front board. Three interior books: How to Fall (6 x 12.25", 24 pages); All There Is (4 x 6", 20 pages plus one fold out); A Star Close Enough (6 x 6", 20 pages plus volvelle in pocket on back pastedown). Letterpress printed with linoleum blocks and polymer plates. Materials: Rives Lightweight and Heavyweight, book board, book cloth, linen thread, neodymium-iron-boron rare earth magnets. Each book bound in pamphlet stitch with cloth-covered boards. Signed and numbered by the artist.
Casey Gardner: "Each book considers the force of gravity in terms moving in space in relation to others. These books investigate how we navigate the universal and very personal force of gravity. Such a force is powerfully, inexorably experienced, yet unseen … like love.
"Each book address an aspect of moving in gravity: falling, rising, orbiting. The interior of the carrier case is printed to reveal the scientific aspects and equations of gravity, along with the nature of gravity in our universe."
How To Fall: Gravity guides our velocity into the unknown. In life, things can fall into place, fall in or out of line, or through the cracks; so many ways to fall. Falling in love is a plunge of infinite permutations, and varying weights. This sublime catapult can be exhilarating yet daunting when a new center of the universe emerges. Meanwhile, falling is a lapse of control, of abandon, and falling from grace can unleash havoc.
All There Is: This book is about trust, finding your own center of gravity and moving your own weight. Humans are forces of nature finding their own way amidst forces of nature. Climbing is a negotiation of gravity while tethered to another. Sometimes letting go is the way to progress and rise.
A Star Close Enough: In orbits, two mutually attracted bodies revolve around a joint center of mass, located in the space between them. In relationship, two bodies move closer together and farther apart as they mediate their distance, following the shape of their orbital path. Meanwhile, our earth is gravitationally bound in the most propitious orbit around our sun, making us just the right distance to receive its life-giving energy.
The Gravity Series won the Grand prize award in the Ink Press Repeat Exhibition at the William Patterson University Gallery in NJ.
9 x 12.5" folio containing 4 items. Interior pieces: Provenance Folio (8.5 x 12"); Multiverse Baedekers Folio (8.25 x 11.75"); Multiverse map (14 x 10"); Event Horizon Ticket (8 x 4"). Letterpress printed with photopolymer plates and linoleum blocks. Portfolio and ticket printed on Crane Lettra paper. Provenance printed on Stonehenge paper. Multiverse Baedekers Folio printed on Somerset Book. Multiverse Map printed on Zerkall Book paper. Button and string closure of waxed linen thread, brass eyelet and washers. Signed and numbered by the artist.
This is a work of imaginative and physical beauty. May we all fortunate enough to find – "light years away just above our heads" – such sites.
Casey Gardner: "Infinite Archives consists of a portfolio and two interior folios, two maps and a ticket. The first folio is a Citation of Provenance, which holds the second folio, the Multiverse Baedekers, which opens to a map of La Ville Lumiere, an alternate universe of Paris. Tucked in a back pocket is a map of multiverses and a ticket for travel to the universe of one's choosing.
"Multiverse: There is a theory that there may not just be one universe, but perhaps an infinite number. This concept is attractive to some cosmologists because it makes infinite compositional permutations possible, thus accounting for the miraculously fine-tuned forces of our universe. Countless universes gives enough probability that an optimal one, such as ours, would materialize.
"Provenance: The idea for a Multiverse Baedekers first appeared in my book, Matter, Antimatter, and So Forth. In the Time folio, the two characters are hunting through 'ancient libraries suspended in intergalactic eddies of time.' There, among books 'lost between imagination and page,' they stumble upon a Multiverse Baedekers."
Berkeley, California: Set in Motion Press, 2013. Edition of 45.
6 x 9.5"; 7 folios. Letterpress printed. Digitally printed transparencies. Crane Lettra paper and Schoellershammer Ultra Transparent paper. Signed and numbered. Laid in a four-flap paper portfolio.
Casey Gardner: "This is a book of seven stories about seven missions into seven celestial realms to investigate seven vital components of universal understanding: light, time, gravity, matter, infinity, constellations, and science.
"The seven folios come wrapped in a map of the universe and feature cosmic explorations through a tale of two characters. The narrator is a traveler through time and space sent to discover the universe in search of what matters. On the back of each folio is a mission dispatch regarding the quest for meaning in the natural forces and phenomena of the cosmos.
"Each folio includes layers of translucent exposures. These multi-layered galactic artifacts represent illumination by referencing the time after the creation of the universe when particles coalesced and stabilized between matter and energy, making the universe transparent and allowing light to travel freely through space.
"The title of the book refers to a time soon after the Big Bang, when a small preponderance of matter over antimatter was produced. This asymmetry gave rise to all that exists in the universe, explaining why we have something, rather than vast nothingness. Ah!"
Berkeley / Oakland: Set in Motion Press / Permanent Press, 2012. Edition of 40.
9 x 13" closed, opens to 9 x 27"; one opening plus a volvelle. Letterpress printed. Interior page has magnetized, removable volvelle structure. Materials: Rives BFK, Canford, book cloth, grommets, rare-earth magnets. Processes: letterpress, xerography, photography, inkjet printing, and color photocopy. Bound in paper-covered boards with cloth spine. Title label on front board. Colophon information printed on back board. Singed and numbered by Gardner and O'Banion. In paper envelope slipcase with tie and grommet closure.
A collaborative book between book artists Nance O'Banion of Permanent Press and Casey Gardner of Set in Motion Press.
Casey Gardner: "This book features diverse, interrelated readings of volvelles, cartography, and randomography. This flexible notion of a book with its movable devices, graphical calculations, and swirling windows of chance offers self-propelled encounters with the variables of communication through language and interpretation. HereSay is about how we speak, how we hear, and how we locate ourselves along the dimensions of truth and lie.
"Turning the volvelles offers the reader an opportunity to become a part of interpretive process of meaning by playing with eternal/circular changeability. The mutability of each element on the discs creates a new relationship of the variables. The reader, by revolving through the disks, creates varying 'pages' to be read."
Berkeley, California: Set in Motion Press, 2012. Edition of 50.
5.75 x 11.5" closed, opens to 11.5 x 11.5"; Turkish map fold book structure. Handbound, letterpress printed. Materials: Rives Heavyweight and Rives BFK, Elephant Hide paper, and book cloth. Bound in paper-covered boards with typographic paper title on front board and illustrated colophon on back board.
"Whenever I read Ovid's tale or see Bernini's Baroque sculpture of Daphne's transformation, I wonder, why a tree, so I wrote the story about her to explore this question. It's tragic to see the wild huntress rooted to the earth, yet I find her grace and strength inspiring as she reaches and grows into the sky. I admire her determination to remain free, yet her call for change had an unexpected outcome, as do many thresholds we cross.
"The book also features four Mythological Meta-Muses of Flux. These are muses who embody a threshold between states of being; they are muses of the imagination who assist in creative journeys of transformation. I've given them names based on Greek roots: Euthalia, Eupraxia, Eutropia, and Euphemia."
Berkeley, California: Set in Motion Press, 2012. Edition of 22.
5.5 x 9"; 16 pages. Letterpress printed with wood type and photopolymer plates. Bound in printed wraps. Signed and numbered by the artist on the back cover.
This book not only ignites, it gently catches fire with quiet pyrotechnics of language, illustration, and design.
Casey Gardner: "This book opens with the lines, She carries a mercury vapor light, kindling and flickering an inkling blaze, and proceeds into pyrotechnics of possibility. The reader is lead through the pages by a character who abides in a state of wonder & spontaneity careening between poetry and science to explore creative and destructive forces. Through words and images of incantatory ignition, the book opens to graphic embellishments, such as The Explosimeter, a graph detecting locations between intertia & momentum and expansion & contraction. The tale begins with seeds of fire, moves through desire and the unforeseen, and culminates in sparks of potential. "
Berkeley, California: Set in Motion Press, 2011. Edition of 57.
9.75 x 15.25" closed, 28.5 x 15.25" opened as a triptych. Letterpress printed with typefaces Jenson and Whitney. Interior sewn codex and pop-up structures. Materials: Crane's Lettra paper for the panels, Legion's Folio printmaking paper for the inside codex, Elephant Hide paper covering the book board, faux leather for the spines, and crushed pastels brushed pochoir-like over the blind embossed prints in the background of the center figure (the anatomical woman model).
Casey Gardner: "The subject of the book is an anatomical model as the source of inspiration to explore the science and mystery of life. I was living in a small Colorado town when I came across a female anatomical model in a scientific catalog. So beguiling was she with her 14 dissected parts that I eventually ordered her.
"That was nearly two decades ago and she has traveled with me from state to state, bookshelf to bookshelf. I've watched her in her various incarnations: breastplate and organs intact, or utterly exposed, viscera in disarray. She maintains a peculiar sangfroid, an enviable serenity as if she holds some transcendent secret despite her openness and accessibility.
"Making books is a means for me to explore something about the world and myself. I began by reading about her organs and how the body works; biology soon led to physics and I found myself catapulted into the cosmos. This book is about that journey and what I discovered."
Set in Motion Press: "This book is a triptych opening to a sewn codex within the subject's torso. It is a structure of display and intimacy. The scale is large and unfolding and the details are numerous and intricate, accurate and outlandish. The instruments on the outer panels are from the 19th- and 20th-century scientific catalogs. The rest of the images are drawings the artist made and transferred into photopolymer plate for letterpress. The scientific panels explore the miracle of our physicality and are sequenced beginning with atoms, moving to cells, and to genetic structure. The interior codex tells the story of the artist's anatomical model and investigates the permeable borderline between material and immaterial in our bodies and life."
Casey Gardner, Colophon: "This book has been on my mind for quite some time. The project galvanized in the 3rd arrondissement of Paris at the Musée des Arts et Métiers where outlandish & ingenious works of science and industry are displayed. In the deep and meandering stacks of UC Berkeley's Doe Library, I found late 19th-century and early 20th-century laboratory catalogs from Geneva, Berlin, London, and San Francisco; the scientific instruments are culled from these treasures."
Berkeley, California: Set in Motion Press, 2015. Edition of 25.
6.5 x 10" closed; double-sided accordion with 9 sewn folios. Letterpress and digitally printed on Hahnemühle Ingress and Nepalese Lokta papers. Ribbon tie. Signed and numbered by the artist.
Casey Gardner: "A book of cartographical unfoldings, tessellated map fragments, and beasts of the imagination. Pages open to reflected images of historical map details from the Dutch Age of Discovery. Turn the book over, and the patterns become more complex, abstracting the repetition and reflection many journeys entail. Text includes wayfarer invocations and wayfinding instructions, with mapmaking histories relating to a time when the unknown could be imbued with magical qualities.
"Also included is a traveler's tale of chance and choice. The story begins with a door opening and continues to hinge on the word perhaps relating the either/or possibilities that occur and move back and forth on journeys. A forgotten map presents the traveller with options at various crossroads while venturing forth into unpredictable landscapes.
"Each folio opens to a tableau of a map fragment joined in reverse symmetry, as if the landscape has more to reveal upon reflection, or mirrors a traveller's aspirations in a quest. On the reverse side of the accordion, these map images are conjured into rhythmic patterns reflecting the repetition of each step in a journey and the variables that form the spell of discovery that entices us into new horizons and lands. Rituals and motifs of movement and boundaries occur in every venture into any landscape, and yet the unique contours and borders are for each traveller to discover and cross.
"Each folio includes a Wayfarer Invocation, a poetic directive for finding one's way, or one's place in the world. We hope for guidance, exterior or interior, and question whether to take this path or that, to follow a map or strike out in faith. Going forth in any journey is an opportunity for an entrancing and spellbinding venture of options chosen to reflect our exploratory desires.
"Map fragments are from photographs taken by the artist of sixteenth and seventeenth-century Dutch maps found in atlases at the Public Library of Amsterdam, Openbare Bibliotheek Amsterdam."
Colophon: "In a library in Amsterdam, up many stairs, there is a quiet space by a window overlooking an inlet of water. Here a cache of atlases can be found and much time can be lost. The images in this book are artifacts from these maps, reflected & tessellated digitally for this project."


text:
Police have ways of tracing cyber-bullies
IT'S a sad fact that every year thousands of children up and down the country become victims of cyber-bullying.
Belinda Ryan
This cruel form of personal attack can be by means of mobile phone or computer.
It can have devastating effects on vulnerable victims who might not know who is targeting them. And it is often relentless.
The bullying doesn't stop when the child gets home – they are targeted there by text, phone calls or emails.
Sometimes vile comments and lies are posted on websites.
But Cheshire police are warning the bullies can be prosecuted. Even those who try to hide their identity can be tracked down.
"Anyone who is a victim of this should tell an adult and, if need be, the police," says PC Jane Commins.
"We can even find an unregistered number."
She says because this form of bullying is 24/7 – it puts unbearable pressure on the victims.
"They should report it to the school first if it's school-related and they can often deal with it. If not, we can. The bullies need to know there are offences being committed and they can be prosecuted for it."
Local NewsScared to deathA CAMPAIGN aimed at reducing heroin-related deaths has been launched in Halton.
Local NewsAppeal over twins sent to different schools failsFURIOUS families have launched a blistering attack on the school admissions system after their appeals were refused.
CrimeDrugs gang leader is jailed for eight yearsEight-month police operation leads to 10 convictions


Faith Home Care is a memory care provider in Seffner, FL. The staff at Faith Home Care provide supervision and are able to remind residents to attend to activities of daily living such as grooming and toileting. Staff are on service 24 hours a day. There are activities appropriate for seniors with Alzheimer's disease and dementia that help keep residents active and engaged. Residents who are prone to wandering can be accepted. A doctor is on call Faith Home Care. Devotional services are provided to residents.
If Faith Home Care isn't quite what you're looking for, take a look at a few other nearby communities that might be a better match.
The tour with Faith Home Care was pretty good. I really liked the owner there and she gave me her references. After the rest of my tour I felt they were not a good fit.


text:
Home NATIONAL Parrikar To Leave On 3-Day Visit To Mauritius
Parrikar To Leave On 3-Day Visit To Mauritius
New Delhi: Defence Minister Manohar Parrikar will on Saturday leave on a three-day visit to Mauritius during which he will commission a fast patrol vessel for its Coast Guard and hand over two upgraded Cheetah helicopters to the local police.
Parrikar will also meet Prime Minister of Mauritius Anerood Jugnauth who also holds the defence portfolio. Defence Ministry sources said both Parrikar and Jugnauth will commission the warship built by the Goa Shipyard Limited tomorrow. The vessel is primarily designed for coastal patrolling, anti-piracy, anti-smuggling, anti-drug surveillance, anti-poaching operations, and search and rescue operations.
The minister will also hand over two upgraded Cheetah helicopters to Mauritius Police's helicopter unit. He will meet with the President of Mauritius on Sunday and go onboard the offshore patrol vessel Barracuda, the first warship to be exported by India. The ship was commissioned by Prime Minister Narendra Modi in Mauritius last year.
Parrikar will also go onboard INS Darshak, a hydrographic survey ship of the Indian navy, which is at present in Mauritian waters. The sources said the visit is aimed at deepening close political and bilateral strategic ties between the two countries.
patrol vessel
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Before booking your package deal abroad with a travel agent, it really is worth spending 5 minutes researching online to see if you can book your own cheap flight and save money.
Compare flights online to pick up the best deals – If you know when and where you want to go, then don't go direct to an airline. Use a price comparison site to get the best deal very quickly. SkyScanner.com is my favourite – the site searches over 1,200 airlines and travel sites in total with budget flights being very popular on the site.
Book off-peak flights if you can – Sometimes it is impossible to avoid school holidays, but if you can, you should. Outside school holidays, research has shown Tuesdays and evenings (after 6pm) are generally the cheapest time to fly, while Saturdays are the most expensive. If you have some flexibility, play around with arrival and departure flight days and times, to save even more.
Be careful of extra airline costs – Need extra leg room? Want to book an exact seat? Want to bring a big suitcase? Low cost airlines like EasyJet and Ryanair will charge a hefty sum for these additions. Sometime it is worth paying an extra £20 to fly with a more premium airline and you can then enjoy a complimentary drink and avoid a "night bus with wings" journey.
Look at the cost and time to get to the airport – Sometimes the extra cost and time to get to an airport negates the saving. Before committing to a flight, review airport parking charges or train prices on trainline.com. For example, if you live in central London, it is actually easier and cheaper to get a train to London City airport, then going to London Luton or London Stansted.
Beware of the time of your flight landing and taking off – Most major cities don't have 24/7 public transport, 7 days a week. Be careful when booking early flights for 7am (2 hours check in before, would mean a 5am arrival) or late arrivals past 12am, as you are likely to need to rely on a taxi/uber service to get you to and from home.


Mission ongoing and Updated Often.
Started Collecting HIT/Score Data for upcoming scoring system.
After several years of what the United Nations thought would be peaceful negotiations, talks have completely broken down between Russia and Georgia. The Russian government has aspirations of reclaiming Georgia after Georgians fought for and won their own independence back in 93.
The Russians are wasting no time in their conquest. They have crossed over into Georgia and have taken over 2 airfields (Guadauta, and Sukumi) and have also taken positions in the north, just south of the Caucasus Mountains. We are going to liberate areas taken over by enemy forces as well as reclaim our two airfields. We will then take over there base at Sochi-Adler which is greatly defended by Russian forces.
A NO FLY ZONE is in effect over the Caucasus Mountains. You are to protect Georgian airspace at all cost. AWACS and other allied aircraft are also vulnerable and may need protecting.
Russian ground forces have taken over several parts of North Georgia including the city of Zugdidi. We are going to liberate the city and take back control of zones occupied by enemy ground forces. Scouts have also located and enemy compound and 2 high priority targets hidden within the Caucasus Mountains. Both Enemy Traning Camp and Weapons Depo are greatly defended by ground units, SAMS, and has air support.
24 hours ago Russian forces took control of Sukhumi pushing out the very weaken Georgian forces as they have been fighting vigorously for weeks. At they moment a small Russian force is occupying the base. We need to strike NOW before a larger enemy presence arrives. Be advised Intel believes an enemy SAM site is currently under contruction in the town of Sukhumi.
As Russian ground forces advanced south into Georgia territoy, 3 days ago they overan defensive forces at Gudauta and have been occupying the base every since. It is being protected by heavy enemy ground force.
Suchi is highly defended by with SAM sites and heavy armored vehicles. In response to the actions taken by Russian forces over the past few weeks, we are going invade their airspace and destroy high-level ground targets at Suchi as we prepare to go on the offensive in part 2 of Georgia Reign.