It's not just a game when you're running for your life.Every night they tuned in to the nation's favourite prime-time TV game show.They all watched, from the sprawling slums to the security-obsessed enclaves of the rich. They all watched the ultimate live death game as the contestants tried to bet not the clock, but annihhilation at the hands of the Hunters. Survive thirty days and win the billion dollar jackpot - that was the promise., But the odds were brutal and the game rigged. Best score so far was eight days.And now there was a new contestant, the latest running man, staking his life while a nation watched.
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Because of fears that litigation is too costly, reduction of litigation expenses has been the touchstone of procedural reform for the past thirty years. In certain circumstances, however, the parties have incentives—both rational and irrational—to spend more on a lawsuit than the social benefits that the case provides. Present and proposed reform efforts do not adequately address these incentives, and, in some instances, exacerbate the parties' incentives to overspend. The best way to ensure that the cost of a lawsuit does not exceed the benefits that it provides to the parties and society is to control spending directly: to require the parties to file and live within litigation budgets. These "costs budgets," which are already in use in the United Kingdom, help to ensure that the costs of litigation remain less than the benefits. After describing the workings of a costs-budget system, the Article considers practical, political, and constitutional critiques. None of these concerns is disabling. American rulemakers who are serious about containing the litigation costs should grant courts the power to use costs budgets.


text:
Have a boxful of history? Share the wealth!
Thousands of North Carolina boys and men began their Confederate service as members of local militias, some of which had colorful names such as "Scotch Tigers" and "Cumberland Plough Boys." The names, and the men, were sometimes lost to view as those units disappeared into a more conventional military force.
The North Carolina Civil War History Center invites anyone who has a scrap of history gathering dust in some seldom-visited part of the house to bring it out for a fresh look. There are stories and bits of stories in those old boxes and bureau drawers. Others would love to share them, maybe add content or clarity; and the Center knows how to make that easy. Click the link on its home page, www.nccivilwarcenter.org/, or scroll through some of the stories already posted there.
From the family file: Needham Bryan Outlaw, one of my great-grandfathers, was one of many sons of Duplin County who served in Company I of the 66th North Carolina Regiment. His service included carrying dispatches between Goldsboro and Richmond – and nursing, at a time when nursing was still mostly a male domain.
That's the scrap, the bait that could attract some of the hundreds who owe their existence to him. They have stories, too.
A few of them may already know that, for example, Needham duped his future father-in-law into hooking him up with the daughter he wanted rather than the one the old man hoped to marry off (and who had unwisely played hard-to-get back when Needham really did have a thing for her).
Maybe the better story is that his work as a soldier gave him a contact at a Richmond hospital that he used, post-war, when his oldest daughter needed psychiatric help for a problem that was at the time untreatable. Not long after shipping her off to Richmond, he got a telegram from a Dr. Hodes. It was bad news: "Am ready for you to come for her today she does not improve." She never did, dying in Cumberland County after spending most of her adult life in hospitals. But "Hodes," it turns out, was a typo. The doctor was James A. Hodges of Cumberland County — who later testified that Marsh "Carbine" Williams was insane when he killed a Cumberland County lawman who surprised him at his moonshine still. Had Hodges succeeded, Williams wouldn't have gone to the pen, where he had the time and tools to devise the short-stroke piston that gave U.S. riflemen an edge in World War II.
I've not yet done a proper check on Abner Robinson, another great-grandfather, and so have little information about his service, other than that he began the war as a member of a Sampson County-based state militia or home guard unit. But what intrigues me is a single mention of Abner's having fought in the Battle of Averasboro near war's end. And it's intriguing because, ten years later, Abner and wife Annabella would have a daughter who would one day inherit the north end of that battlefield from her husband, and rule the house in which some of Abner's ailing comrades had been treated before it became a Union headquarters. Abner and Annabella had four children. Two sons reached maturity but died, weeks apart, of a mysterious disease so grotesque and so virulent that the bodies were removed from the house and buried in the middle of the night. It was described in ghastly detail in a Clinton newspaper. It isn't much of a stretch to offer that trauma as the likely reason both daughters went into nursing.
Henry Elliot Smith, another great-grandfather, began his Confederate service with the Fayetteville Independent Light Infantry, which he joined a few days before it helped seize the U.S. Arsenal atop Haymount hill. (It appears, although I have not confirmed, that an older brother joined, too.) The FILI was soon incorporated into the First North Carolina Infantry.
Today, the Arsenal site is home to the state Museum of the Cape Fear Complex, which will eventually be subsumed by the History Center but which keeps a busy and varied schedule of events right now.
Henry's service record with Company H of the First North Carolina is sketchy, marked by absences. But his sisters were candid about the reason: Henry was frail – so much so that they fretted more about him than they did about a much younger 15-year-old brother who got into the war just as it reached his doorstep. But give frail Henry points for spunk. Medically excused from the infantry, he got back into the fight, becoming a horse soldier.
A few years after the war ended, Henry married his sisters' schoolmate, who had come to North Carolina as a refugee from the Federal naval and ground assault on Baton Rouge.
North or South, it works the same way: Put some bare essentials out there and, somewhere, a light will come on in someone's head and a dusty box will come down from the attic. Then out come stories worth not only revisiting, but sharing with an entire state insatiably curious about its Antebellum, Civil War, and Reconstruction past.
Until now, it was almost impossible to do that; but the History Center's website makes story-swapping simple. And if you have trouble deciding which story to share, don't work yourself into a swivet. There's no rule that says you can't share them all.

redpajama_set_name: RedPajamaCommonCrawl


Welcome to Carpenter Holidays, founded in 2015 by Stephen Carpenter.
Each year, Carpenter Holidays offers culture and leisure breaks of between three and six days, visiting some of the most beautiful destinations in the UK and abroad where we will hear music performed by many of the world's leading artists and ensembles. The three holidays in 2019 visit destinations in Austria and Scotland and have been planned by Stephen Carpenter, who will be tour leader on each trip. The holidays are either run in association with Travel for the Arts covered by their ABTA and ATOL membership, with Hannick Reizen covered by their SGR membership, or with Kayleen Asbo.
The first collaboration between Stephen Carpenter and Travel for the Arts was a "Mendelssohn in Scotland Holiday" in September 2015, the success of which can be seen from the testimonials. This holiday will be repeated in 2019 with Hannick Reizen and you can get a taste of what will be in store by visiting mendelssohninscotland.com which gives details of Mendelssohn's Scottish journey in 1829 which forms the basis for our trip in September 2019.
As well as offering these holidays at established UK festivals, Bespoke Holidays offer exclusive trips for individuals or groups, such as the visit to London and Scotland organised for the American chamber music society, The Schubert Club, in May 2016, or other events to destinations throughout the UK giving you experiences that can be tailor-made to suit your dates and preferences.
This website will be regularly updated with details of new holidays, and additional information on existing holidays including programmes which are not always available at the time that they are first announced. And if you have any questions, don't hesitate to get in touch either by email or phone.


In November 2017, CAWCD Board President Lisa Atkins announced the formation of the Customer Service Task Force. The purpose of the Customer Service Task Force was to examine the service that CAP provides and determine what changes may be warranted to offer the best customer service experience within CAP's atmosphere of continuous improvement. The scope of the Task Force was to identify actionable improvements to CAP customer service processes, keeping the focus on processes and not specific outcomes or decisions. An external consultant was hired to provide objective and independent facilitation.
After extensive outreach by the consultant and the four interactive Task Force Meetings, The Task Force adopted several recommendations that were later adopted by the full Board on September 6, 2018.
Create more effectiveness and efficiency of committees and task forces in order for the Board to have confidence in and rely on the work done in those committees.
Conduct more discussions with stakeholders before Board meetings, include their perspectives in Board briefs (directed toward staff).
To increase engagement, give more advance notice of issues, which will be considered by the Board and Committees, including timely posting of documents.
Invite stakeholders to participate in roundtable discussions on specific issues as an information-gathering exercise.
Identify opportunities for more efficient, effective and inclusive stakeholder input beyond what is included in other themes, including possible formation of stakeholder advisory groups.
Direct staff to create short term action plans for these items and bring them back to the Board for consideration. Identify the role the Board and staff will play for each action item.
While these are the first steps that will be taken, none of the data that was collected throughout the process will be lost.
At the January 3, 2019 Board Meeting, the Board approved short term action plans for recommendations 1, 2 and 4.
Short Term Action Plan: Add a form to the CAP website to allow the public to submit testimony in advance of Board meetings. This will be monitored daily, and any forms submitted up and until one hour prior to a meeting will be given to the Chair with any blue cards submitted in person. The information requested on the electronic form will be very similar to what is on the current hard copy blue cards.
2. Create more effectiveness and efficiency of committees and task forces in order for the Board to have confidence in and rely on the work done in those committees.
Short Term Action Plan:Post a Summary of Actions within 3 business days following each meeting (as is currently done for full Board meetings), notify the Board when the video of Committee meetings are posted online, and provide a brief summary of the Committee meetings in the Board meeting packet with an active link to the video. This will be in addition to current practices to send agenda and packet information for Committees to the full Board and to send any requested follow-up information to the full Board.
4. To increase engagement, give more advance notice of issues, which will be considered by the Board and Committees, including timely posting of documents.
Short Term Action Plan: Create a page on the CAP website to list tentative agenda topics for meetings looking 45 days out.
Short Term Action Plan: Staff will begin to include stakeholder perspectives in Board briefs when they are clearly known. The summaries will be generic in nature.
5. Invite stakeholders to participate in roundtable discussions on specific issues as an information-gathering exercise.
Short Term Action Plan: Staff will begin to organize quarterly stakeholder roundtable meetings. The topics will be focused on timely issues that relate to upcoming Board decisions.
6. Identify opportunities for more efficient, effective and inclusive stakeholder input beyond what is included in other themes, including possible formation of stakeholder advisory groups.
Short Term Action Plan: Increase opportunities for the Board to engage with stakeholders to better understand perspectives. Produce a customer feedback form for customers and stakeholders to provide input on services received from CAP staff and Board.
Staff will continue work on implementation of the short term action plans, and provide ongoing quarterly reports to the Board.


Architects Jeffrey Day and E.B. Min updated Tyler and Danielle Lenczuk's town house by embracing high- and low-tech fixes, from modular furniture to connected thermostats. A penthouse kitchenette services a covered deck.
Lutron smart controls manage the new kitchen's abundance of lighting options, including an Axis twin-beam pendant that hangs directly over the island.
"The goal was to make the house work the way the owners wanted it to, but to be strategic about how we did that so the money they put in was of real benefit," explains Day, whose practice the Lenczuks discovered online.
Bartco fluorescent strips are hidden in the coves overhead.
Smart & Green Ball lamps illuminate the penthouse deck, which is outfitted with low-slung Matrass lounge furniture from Quinze & Milan. All of the exterior spaces are lined in rich garapa hardwood.
A sculptural picnic table by artist Michael Beitz flows over the fence like a waterfall.
Thanks in part to landscape architect James C. Differding, the residents can enjoy the outdoors on all four levels, from the pocket garden that buffers the house from the street to the rooftop enclave.
In the office, doors slide back and a chair pulls out to reveal a custom built-in desk.
When closed, the miniature workspace vanishes into the detailed white oak millwork by KWI Cabinetry.
Parts of a modular 345 coffee table, designed by Min | Day's furniture company, MOD, are dispersed throughout the house, including two pieces in the family room.
The architects designed around another component of their 345 table in the refurnished living room, adding a Ploum sofa and a pair of Elsa armchairs from Ligne Roset.
Fractal alcoves punctuate the cabinetry.
If Tyler and Danielle Lenczuk's remodeled town house has a heart, it's the multilevel back deck, where the young couple love to grill with friends and family in classic Chicago style. If it has a brain, however, it's the stack of black boxes lurking behind a closet door in the basement. That's the control tower for a home automation system that empowers the Lenczuks to adjust everything from heating and lighting to window blinds, music, TVs, and security with a few taps on their iPads. Adding it was one of the many ways architects Jeffrey Day and E. B. Min transformed a nondescript spec house into an urban enclave tailored to their clients' personalities—although doing so required a few trade-offs.
The couple liked Day and Min's brand of comfortable modernism, and they asked the pair—who are based in Omaha and San Francisco, respectively—to select new furniture and fix up the decks, which were already showing signs of deterioration.
The project quickly expanded into an ambitious reworking of the entire home. Although the architects didn't move any walls or windows, they warmed up the interiors with solid white oak paneling, bracing red highlights, and quirky surprises like motorized liquor cabinet by KWI Cab-inetry that drops out of a wall. They also brought in an art consultant, who commissioned a drawing and sculpture for the home, and Parsons professor Derek Porter, who designed some of the custom lighting, including an installation of fluorescent lights that darts up the stairwell in the entryway.
Bringing smart tech into the mix was a given for Danielle and Tyler, whose interest in the field is more than gener-ational: Tyler's family business manufactures garage door openers, one of the earliest wireless home devices developed. But fully automating an existing home presented some challenges. While basic lighting and audio systems were already in place, and the existing thermostats could easily be exchanged for self-programming ones from Nest, expanding the network of smart controls required tearing out walls and ceilings. "We had to prioritize what we wanted and what was crazy to do," Danielle says.
In the case of lights, that meant upgrading the Lutron system in the most heavily trafficked parts of the home, where the wiring was being rearranged anyway, but leaving conventional switches in less frequently used hallways and bathrooms. For the ADT security system, on the other hand, the Lenczuks use a mostly wired system, even though it was more difficult to install, because they wanted to be able to depend on it even if their Internet connection went down.
These fixes ultimately fit into a much broader plan to mold the house to its inhabitants. "It's not that you walk in and think, 'Oh, I'm in a smart home,'" says Day. "It's more that the smart technologies support ease of use and allow it to be a place where you can change moods quickly." For Tyler and Danielle, that has made the difference between a show house and a home.


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Biffes world cinema quiz answers
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Arul Mani
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শুভজিৎ নাথ
1. The BIFFES World Cinema Quiz RULES 50 questions All written Stars break ties
2. The Karnataka Quiz Association Son of Lumiere A Quiz on Cinema in June every year www.kqaquizzes.org
3. 1. Probably the best film in the rather under-populated cannibal dystopia genre. This 1991 film was the debut of a French director better known for a later film featuring the fabulous destiny of its title character. Name the debut film and the director.
4. ANSWER Jean-Pierre Jeunet Delicatessen Jeunet also directed Amelie
5. 2. He was a child musical prodigy, and composed his first oratorio at the age of 11. He held the position of Director of the Bari Conservatory for classical music from 1950 till 1978. Identify this personality best known for his work with Federico Fellini and some Hollywood films of the 1970s.
6. ANSWER Nino Rota
7. 3. This still shows a documentarist and a writer in collaboration on a film in the 1930s. The writer produced part of the script and gave the voice-over while the filmmaker went on to make a worldwide reputation for his political documentaries. Name both people.
8. ANSWER Ernest Hemingway Joris Ivens
9. 4. Probably the most popular French film outside France in the 1990s, this film by Jean Paul Rappenau had rhyming subtitles specially written by the English author Anthony Burgess. Just name the film.
10. ANSWER Cyrano de Bergerac
11. 5. It takes its title from a Robert Burns poem and attempts a 360-degree fusillade against Dubya Bush, Tony Blair, UK multiculturalism, as also religious intolerance and racism in Glasgow. Name either the film or the director with a strong sense of place.
12. ANSWER Ae Fond Kiss Ken Loach
13. 6. The filming of this 1931 classic was interrupted when the writer/s on whose work it was based decided to sue. The director won the case and continued filming. Name the film, the director and the writer/s. (3 points)
14. ANSWER The Threepenny Opera Pabst Bertolt Brecht/Kurt Weill
15. 7. This 1995 film inspired a public war of words between the director and the then Interior Minister in France. Name the film, the director, and the minster who went on to become more famous.
16. ANSWER La Haine Matthieu Kassovitz Nicolas Sarkozy
17. 8. The home of these partnered talents in Lyon is now a museum dedicated to their memory. It boasts of a splendid address: 1, Rue de Premier Film, Lyon. Whose home/museum?
18. ANSWER The Lumiere Brothers
19. 9. You could mistranslate the title of this comedic comment on disintegration as Life is Beautiful. Name the film-maker and the film.
20. ANSWER Zivot Je Cudo Or Life is a Miracle Emir Kusturica
21. 10. His second name was Dastagir, and he was discovered in Mysore. He was known by the title of the 1930s film in which he made his debut. Who? What was this title? Also, name the pioneer who discovered him. (3 points)
22. ANSWER Sabu Elephant Boy Robert Flaherty
23. 11. Between the 1960s and 1978, no fewer than 400 films were made in this genre, and shot in locations in Almeria in Spain, for the most part, but also in Yugoslavia and Israel, and just once in Monument Valley, USA, for a 1968 film. Which genre of films are we talking about? What was the 1968 exception?
24. ANSWER Spaghetti Westerns Once Upon a Time in the West
25. 12. Reino Helismaa came to national attention with his 1951 film At The Rovaniemi Fair, which featured three tramps trying to find gold. This film"s success inspired a genre of folksy comedy known as rillumaarei (tra-la-la). In which European country?
26. ANSWER Finland
27. 13. This stage actor for Bertolt Brecht won international stardom after playing a musical psychopath in a 1931 film, and then worked with Hitchcock and several Hollywood films. He also directed a noir film titled The Lost One in 1951 which disappeared without a trace. Name the actor, and the 1931 film.
28. ANSWER Peter Lorre M
29. 14. Two views of an actor who is closely linked to a celebrated director"s best-known films. Name the lady, and the director.
30. ANSWER Hanna Schygulla Rainer Maria Fassbinder
31. 15. Which pioneer does this 1985 Cannes film festival poster pay tribute to?
32. ANSWER Eadweard Muybridge
33. 16. She was assistant director on Zanussi"s Illumination, and scripted films such as Korczak and Man of Iron before becoming a director herself with films like the 1985 effort Angry Harvest. She has also directed several episodes of the TV series Treme and the fight between Avon Barksdale and Stringer Bell in The Wire. Her surname might suggest one European country, but this name rhymes with the country she"s from. Who?
34. ANSWER Agnieszka Holland
35. 17. This writer specialised in pulp fiction that drew on social observation and atmosphere, and is easily one of the most adapted writers in European cinema. The first director to work with his novels was Jean Renoir in 1932 with Night at the Crossroads. Claude Chabrol"s The Hatter's Gosts, and Bertrand Tavernier"s The Watchmaker of St. Paul's are two notable examples. His gruff, pipe-smoking detective has been played on screen by Jean Gabin, Piere Renoir, and Charles Laughton, among many others. Name the writer, and the character. (2 points)
36. ANSWER Georges Simenon Inspector Maigret
37. 18. In 2011, the Brazilian government announced that they were creating a special currency unit known as the CDD for use inside one specific locality off Rio. The CDD is deliberately set approximately 20 percent higher than their currency, the real, which incentivizes users to use it within all local business. Since this artificially discounts products sold in local enterprises, it compels residents to keep more money in the community. Why should all this economics natter matter in a World Cinema quiz?
38. ANSWER CDD stands for Cidade de Deus, the neighbourhood from which the film Cidade de Deus/City of God takes its name.
39. 19. A study by academics in his country has claimed that his characters were off their heads on alcohol or drugs 14% of the time. A total of 170, mostly female, characters were regular drug users. The director says the study left him with "a Kafkaesque sensation of fear, disgust, astonishment, fury and indignation". Identify the director, and this, his latest, "gayest" film, from the poster.
40. ANSWER Pedro Almodovar I'm So Excited
41. 20. This bust in the town of Kielce honours an actor described as their country"s James Dean. He died in a bizarre train accident in 1967. The bust carries one reference to his best-known role in a 1958 film. The country has named an awrd for young actors with "the most individuality" after him. Who? Which country? Identify the 1958 film. (3 points)
42. ANSWER Zbigniew Cybulski Poland Ashes and Diamonds
43. 21. Gowri Ramnarayan writes about one of the interesting moments in a film thus: "The revolutionary flag is replaced by red banners of Coca-Cola. A bust sways from a helicopter, pointing a finger at the bewildered mother." The title of the film was interestingly designed—with a red star under the exclamation mark. Identify this 2003 film.
44. ANSWER Wolfgang Becker's Goodbye Lenin!
45. 22. A Kannada film from the 1970s that opens in a railway station had two superb songs in Ninne Sanje Alli Nodidde and Ninna Neenu Maretharenu Sukhavide. I"ll let the visual below, from a 1976 Hindi film, speak for itself. Now, both films are based on novels by a Bengali dermatologist-turned-crime-fiction writer. Identify both films and the writer.
46. ANSWER Devara Kannu Do Anjaane Nihar Ranjan Gupta
47. 23. These awards are named after a famous artist, and are considered a certain European country"s equivalent of the Oscars. Which country? Also name the award (2 pts)
48. ANSWER Spain Goya Awards
49. 24. Dhanush"s character loses his vehicle in this film, and thus his job, causing critics to make an obvious connection with a 1948 film. The director issued a public statement saying that the film was based on a real-life incident and requested the press not to insult the 1948 film and its director by making this connection. Three points—1948 film, this film, and the super-humble director who made his debut with this film.
50. ANSWER The Bicycle Thieves Polladhavan Vetrimaaran
51. 25. A blogger on the relationship between two films that use fantasy to comment on politics: "It is surprising the similarities between Victor Erice's 1973 film X and the 2006 film Y. Both have young raven-haired girls as protagonists. Both take place in the same decade in the same country and ask how their protagonists can comprehend and cope with the danger and unrest of their very similar situations." The 2006 film seems to refer back to the 1973 film in this shot. Identify either of the films—the 1973 film has a little girl who is fascinated with the 1931 film Frankenstein.
52. ANSWER 1973: Spirit of the Beehive 2006: Pan's Labyrinth
53. 26. Empire Magazine calls it the "most potent left-wing critique in film after Battleship Potemkin" and "cinema"s first blockby-block-buster". Which was possibly why it won the Golden Lion at Venice, but no Oscars, not even the one for Best Foreign Film. Identify this 1966 film which is rumoured to have been specially screened for Pentagon staff and decision-makers prior to the 2003 campaign in Iraq.
54. ANSWER Battle of Algiers
55. 27. This image answers a textbook definition of what technique? Also identify film and the cinematographer. (3 points)
56. ANSWER Deep Focus Citizen Kane Gregg Toland
57. 28. A French film was the inspiration for Howard Koch"s Violent Road (1958) and William Friedkin"s Sorcerer (1977). Identify the 1953 French film from this graphic tribute.
58. ANSWER Clouzot's Wages of Fear
59. 29. What famous film location would you use to get to look at this statue?
60. ANSWER The Odessa Steps
61. 30. Some US newspapers described this film as a Levantine L_ _ _ _ _ _ _ _ _-, uncovering thus the premise it borrows from an ancient work: that of women turning the tables on men. Which film with a title that might remind some of a Guns N Roses song? Also name the literary work referenced above. For bonus points, name the director who also acts in the film. (3)
62. ANSWERS Where Do We Go Now? Lysistrata Nadine Labaki
63. 31. A pair of brothers founded the production company Villealfa Film in the 1980s that soon became a hub for lowbudget film-making in their country. Their most notable films included The Liar and Crime and Punishment. Name these brothers—surname will do. What were they paying tribute to with the name they chose for their company?
64. ANSWER Aki & Mika Kaurismaki Tribute to Alphaville
65. 32. These scenes of celebration usually conclude with a question to which the answer "Not Yet" is given. In which film?
66. ANSWER Kurosawa's Madadayo
67. 33. What common element would you find both on the coat of arms of Berlin and the flag of the city?
68. ANSWER A bear. Which is why the Berlin Film Festival awards a Golden Bear.
70. ANSWER Hannah Arendt
71. 35. Alex Oscar Dupont makes films under a pseudonym that is based on his first and second name. What is this pseudonym?
72. ANSWER Leos Carax
73. 36. Identify the actor. He first came to global attention in a series helmed by a director who grew up hating New Wave Cinema and wanted to be writer-director-actor and everything else, much like the man who made TheTexas Chainsaw Massacre. Name either this director or the series.
74. ANSWER Mads Mikkelsen Nicolas Refn Winding The Pusher Trilogy
75. 37. Word for mate, also released under the title of the sport. Uberto Pasolini who directed the film produced a film with similar themes in the 1990s. Name this film, and the 1990s film.
76. ANSWER Machan Aka Handball The Full Monty
77. 38. "On Earth, a lot of bees have disappeared. The strange thing is we can't find the bodies of the dead bees, not even one." This is but one concern in a film by Chen Hung-I that draws on human extinction, lost objects and the departure of loved ones. Just give me the English title of this BIFFES 2012 film.
78. ANSWER Honey Pupu
79. 39. This Roman amphitheater in Pula used to host the national film festival every year till the country disappeared. It now hosts the Croatian national film festival. What appropriate title was given to the top award at this festival— still in use?
81. ANSWER Golden Arena
82. 40. Two posters for a Sri Lankan film that featured in BIFFES 2008. The film takes its title in tribute to a Mrinal Sen film. The lead actor is appearing at BIFFES 2013 with her own film. Name this 2008 film and the actor-turned director who you see in the second poster.
83. ANSWER Akasa Kusum Malini Fonseka
84. 41. This movie features a "monkey spirit" resembling Chewbacca, monks using mobile phones, and a love scene between a princess and a catfish. It is based on a true story a Buddhist abbot told the director about a man who claimed he could see his past lives when he meditated, "playing behind his closed eyes like a movie". Name either movie or director.
85. ANSWER Apichatpong Weerasethakul Uncle Boonmee Who Can Recall His Past Lives
86. 42. Take a world-famous director and wedge in another letter to get the title of this film, a first for a particular country on many levels. Name the film, and the country.
87. ANSWER Wadjda Saudi Arabia
88. 43. The actress playing the evil stepmother in this film, Blanca Nieves, is Maribel Verdu, better known to us for her role in what film from the early 2000s?
89. ANSWER The woman (Luisa) in Y Tu Mama Tambien
90. 44. Julie Maroh spent 5 years of her life on this graphic novel. An adaptation of this narrative began making waves and attracting negative opinion at the same time. Which narrative/adaptation?
91. ANSWER Blue is the Warmest Colour
92. 45. This is the French writer Antonin Artaud at two stages in his rather colourful life. Pic on the left shows him as a youth playing the monk Massieu in a classic 1928 film. Which film?
93. ANSWER Dreyer's The Passion of Joan of Arc
94. 46. Just name this Iranian film, and the director who returned to search for this boyactor after a terrible earthquake?
95. ANSWER Where is the Friend's Home? Abbas Kiarostami
96. 47. At the end of this 1994 film, a woman cries on a park bench. We don't know why, but we watch as waves of emotion cross her face. When submitting the film to the Venice Film Festival, they asked the director to cut this final 7 minute scene, but he resisted. He believed that as the 20th century was winding down, people were becoming so fascinated by machinery and the technical that they "needed to be reminded that we are not stones, but emotional beings. By forcing the viewer to watch this crying woman for 7 minutes, we can rediscover our tenderness". Name director and film.
98. ANSWER Vive l'Amour Tsai Ming Liang
99. 48. Possibly the most influential horror film of the 1990s, it was remade in English and offered viewers the spectacle of video as object of fear. Which film?
100. ANSWER Hideo Nakata's Ringu
101. 49. Celebrated virtuoso Elizabeth Pitcairn always performs in partnership with the legendary 1720 instrument shown here. The 1990 Christie's auction of the instrument is said to have inspired a1999 Academy Award-winning film. The poster of the film was inspired by a Man Ray photograph. Just name the film.
102. ANSWER The Red Violin
103. 50. This film from a past BIFFES is titled An Afternoon in _ _ _ _ _ _, and offers an inter-racial romance set in the time of a gruesome conflict. The title places the film in the capital where some of the violence happened, and the poster slyly references the key weapon used in the violence. Name the film or the conflict, and identify the weapon.
104. ANSWER Kigali/The 1994 Rwandan massacres A machete
Cognito prelims 2015
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Sŭtra - Gen Quiz by Arul Mani - Prelims
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Ganesh Nayak Prelims 2015


The currency of the Azores prior to 1911. It was pegged to the Portuguese escudo at a ratio of 1,000 reis to one escudo. Because of this peg, the real continued to circulate for some 20 years after the escudo formally replaced it.


Last Wednesday at around 9 PM I sipped bourbon in Hoboken and waited for Michael Rother to take the stage. That is not something I thought would ever happen.
Rother is co-creator of the influential seventies German band Neu!. (Though talking about them is indeed exciting, that exclamation point is actually part of the band's name.) Neu! hasn't been an active band for some time now: they recorded their fourth and final album in 1986, though for various reasons it was finally released just a few weeks ago. In 2008 the other Neu! co-creator, Klaus Dinger, died. So the idea of ever seeing Neu! music live seemed unlikely.
Yet there I was last Wednesday at Maxwell's. I was alone, because no one I'm interested in is interested in Michael Rother. This is not music you can drag your girlfriend to, or at least I can't—mine said that the show would just be people standing there bobbing their heads forward in 4/4 time. (Which was true.) Most Neu! songs are completely instrumental, perhaps the biggest hurdle for many people. I also tried to persuade a high school friend to come (he'd never heard of Neu!) but even after we'd had a few drinks, and even after I'd offered to pay for his ticket, I found myself going it alone.
Given the resistance of both girl- and high school friends to seeing one half of a band they don't care about, it was perhaps no surprise that the place wasn't full. I was leaning on the bar with my bourbon, half-listening to the ethereal opening act, when I noticed Michael Rother standing next to me.
Of course, when you see an artist you admire, your first thought is, "What should I say to him?" To which the answer is: nothing. Because there's rarely anything to say to someone you don't know, except perhaps "They say on Monday it'll cool off" or "Milk, no sugar." Yet music (like books, or movies) gives us the strange impression that this person is anything other than a stranger.
I went up to Michael Rother and said, rather lamely, "You're Michael Rother?" "Yes," he said. "I just thought I'd shake your hand," I said, and I did, and he laughed. Our meeting wasn't much—these things generally aren't—but at least I made Michael Rother laugh. Then I ordered another bourbon.
Right before the show began I walked straight to the front of the crowd. At a general admission show this is sometimes a difficult and rude thing to do, but it's not as if the venue was at capacity. The room had filled by now, though not with girls—I counted seven in total. The crowd was almost completely white and in their thirties. I saw many pairs of glasses and one-and-a-half violations of the first rule of concert going: don't wear a shirt featuring the performer you're going to see. (A guy in a Kraftwerk shirt was the half-violation—Michael Rother was an early member of that group.) I stood in front of where Rother would be. The table which supported Rother's laptop—not a Mac, surprisingly—rested for some reason on four paint cans.
They began. I won't describe the show at length. I once heard that describing music is like doing card tricks on the radio, and that's true. I will say that it was arguably the best concert experience I've ever had. Last year's Leonard Cohen show was incredible; Van Morrison's Astral Weeks in concert had quasi-religious power. But I couldn't believe the intensity of being in such a small room with this music, with its booming, propelling drumming, its repetition, repetition, repetition, and then playful, slight variation. The music's power is so primitive that in theory all humans should love it, but as we have seen this isn't the case. To say that the music of Neu! has held up well over time is like saying the same about the ocean: it's so obvious that even mentioning it seems silly. This is music that doesn't sound like it was created decades ago—it sounds like it is created the second it is played, or maybe even a moment or two in the future. The name Neu! ("new" in German) couldn't be more appropriate.
During the show the only time a microphone amplified voice was when Rother introduced the band. Then he quickly began another song, saying, with Teutonic terseness, that he didn't want to "waste so many words." He'd used maybe fifteen.
When it ended I hung around for a few minutes, snagged the setlist from the stage, and walked to the PATH train. I'd never witnessed such a perfect concert. If only I could've found someone to go with.
Towards the end of my trip home I ran into another high school friend. He's someone who knows a thing or two about music and I expected him to have heard of Neu!. He hadn't. I thought of telling him to go to Michael Rother's free Lincoln Center show on Friday.
But no. I didn't want to waste so many words.
Josh Lieberman lives in Brooklyn, New York.


A bachelor's degree from a regionally accredited postsecondary institution or a CSU recognized international institution is required.
Applicants whose GPA is below 3.00 are still encouraged to apply. You may be required to demonstrate your potential for academic success by providing additional evidence, such as completion of graduate level coursework.
Meeting the minimum requirements does not ensure admission. Admission is based on a number of factors, including prior academic and professional experience, your personal statement, and completion of an admissions interview.
Include any previous experience in student affairs and other relevant work experiences, along with position titles, dates of employment, institutions, and major responsibilities.
These questions are included in the online application and you will provide your answers in a text box for each question. We suggest drafting your responses in another document and cutting and pasting your writing into the text box. Please be aware that each answer is limited to 350 words.
Describe why you are interested in student affairs. How will a graduate degree in student affairs benefit you and your practice?
Explain how your grade point average and course of study reflect your ability to academically succeed in a graduate program.
What significant experiences have informed your critical reflection on, and active commitment to, diversity, inclusion, equity, and justice?
Before answering the prompt below, review the graduate assistantship position descriptions available in this academic year of the SAHE website. Broadly describe the strengths, skills, and experiences you will use in graduate assistantships within the program.
**Important Note: Do not list specific assistantships in this response. Candidates who are invited to campus interviews will have the opportunity to rank assistantship opportunities by interest at a later date. This is an opportunity to showcase the skills and abilities you bring to the program as a professional that would be beneficial for all assistantships.
Three recommendation letters are required, preferably one each from a faculty member, a student affairs professional, and a current or recent supervisor. If you cannot provide references from each category, select individuals who can best speak to your abilities as a graduate student or student affairs professional. A specific format for recommendation letters is not required; most letters are 1-2 pages long.
Request one official transcript of all collegiate work completed from every institution attended, whether or not you received a degree from those institutions. Transcripts from Colorado State University are not required.
Visit the Colorado State University online application to apply.
After submitting your online application and paying the application fee, begin submitting your supporting application materials.
Upload the required supporting documents (purpose statement, resume) directly to your application.
If submitting test scores, contact the testing agency to request scores be sent to Colorado State University (use institution code 4075).
To submit official transcripts, contact your previous institutions to request official transcripts be sent to Colorado State University, Office of Admissions (use institution code 4075 or gradadmissions@colostate.edu).
View the status of your application at any time to check for updates and ensure your application is complete.
Applications to the residential Student Affairs in Higher Education program will be reviewed after the December 1 deadline. Incomplete applications will not be considered.
Candidate interviews will take place at the Colorado State University campus in February.
Final admit decisions will be made by March 1. Program and assistantship offers extended at this time.
Deadline for response to offers of program admission and assistantships is April 15.
After the initial screening of applications by the Student Affairs in Higher Education faculty, candidates are invited to campus to interview for the degree program and assistantships. This is also an opportunity to see the campus, meet current students, interact with other potential students, and gain more information about the program.
The campus interviews take place over a two day period. The first interview day is dedicated to allowing candidates to gain a better understanding of the Student Affairs in Higher Education program, curriculum, faculty, students, portfolio requirements, and other information. The selection committee, comprised of Student Affairs in Higher Education faculty members who are also advisors in the program, will conduct the program interviews on the first day. The second day is spent gaining more information about assistantships and interviewing for these positions. More information is provided once candidates are contacted and invited to campus for interviews.
This year, interviews will be occurring on February 6-8, 2018, and February 13-15, 2019.


text:
Q: return each word of a string into a linked list i wanted to return every word of a string iinto a node but it didnt work at first now its working but it adds some weird characters automatically idk why if anyone can show me how to fix it please .
#include <stdio.h>
#include <string.h>
#include <stdlib.h>

typedef struct listeMots{

    char val[20];
    struct listeMots *next;
}listeMots;

listeMots motsDe(char* t);

int main()
{
char* t;
t = "this is a test but it is bugging  ";

  listeMots nchlh;
  nchlh = motsDe(t);

    return 0;
}

listeMots motsDe(char* t){
 int i=0 ,j=0;
 char* temp;

    listeMots *tete = malloc(sizeof(listeMots));
   listeMots *ptr = tete;
   while (t[i] != '\0')
   {
       if('a'<=t[i] && t[i]<='z' ){
           ptr->val[j] = t[i];

           i++;
           j++;

       }
       else if (t[i] == ' '){
           j = 0;

           printf("%s -->",ptr->val);
           ptr->next = malloc(sizeof(listeMots));
           ptr = ptr->next;
           i++;
       }
       else{
           j= 0;
            printf("%s -->",ptr->val);

           ptr->next = malloc(sizeof(listeMots));
           ptr = ptr->next;
           ptr->val[0] = t[i];
           printf("%s -->",ptr->val);
           ptr->next = malloc(sizeof(listeMots));
           ptr = ptr->next;
       }
   }
return *tete;
}

i cant really see where the error is i know that im close but still im kinda lost right now

A: things that are wrong with the OPs posted code.

*

*regarding: listeMots motsDe(char* t)  the function: motsDe() returns a pointer, not an instance of the struct, so the signature should be: listeMots * motsDe(char* t)

*the next field (on the last struct in the linked list should contain NULL, not what ever trash was in memory.  To fix this, suggest all calls to malloc() be replaced with calls to calloc() note there a different parameter list which will initialize all the fields to '\0'.  As a nice side effect, no more trash characters being printed in the calls to printf()

*Suggest tracking the number of characters in a word to assure that the 20 byte array: val[] is not overrun.

*strongly suggest paying attention to the code indentation.  Suggest each indent level be 4 spaces

*the temp variable is not used,  Suggest removing that declaration.

*suggest adding: #include <ctype.h>  so you can use functions like isalpha().

*regarding your question about characters like ?  Suggest you simply skip over them.

*regarding statements like: ptr->next = malloc(sizeof(listeMots));  For robust code, strongly suggest checking (!=NULL) the returned value (to assure the operation was successful)  When not successful (==NULL) it is good programming practice to output, to stderr, an appropriate error message, similar to:  perror( "malloc for instance of struct listeMots failed" ); followed by free'ing the allocated memory then calling exit( EXIT_FAILURE );  Note: exit() and EXIT_FAILURE are defined in the stdlib.h header file.

*the posted code leaks memory because the allocated memory has not been returned to the OS,  Suggest before exiting, looping through the linked list and passing each of the pointers to allocated memory to the free() function.

redpajama_set_name: RedPajamaStackExchange


Choose a Gilbert, Arizona dialysis center below to view a detailed report including information on services, quality, patient survival, patient reviews, ratings, and more.
Mesa Dialysis Center is a 12-station facility that was certified by Medicare in 1997. The for-profit center is operated as part of a chain by Fresenius Medical Care.
Southwest Kidney Dialysis Gilbert is a 24-station facility that was certified by Medicare in 2004. The for-profit center is operated as part of a chain by Southwest Kidney Institute.
Gilbert has a total population of 109,697, of which 37,482 are children under the age of 18 and 4,118 are seniors 65 and older. The median age is 30.1.
The median family income is $70,994 while the median household income is $68,032. Roughly 3.22% of the population live in poverty.


text:
Kassim Doumbia (Bamako, 6 oktober 1990) is een Malinees-Belgische voetballer. Doumbia is een centrale verdediger die ook als vleugelverdediger en verdedigende middenvelder kan uitgespeeld worden.

Carrière
Kassim Doumbia begon te voetballen op de straten van de Malinese hoofdstad Bamako. Z'n eerste club in zijn thuisland werd AS Korofina. Hij was er titularis en werd hierdoor jeugdinternational van Mali.

Nadat hij enkele jaren meedraaide bij die teams, kwam er interesse uit Europa. In de winterstop van het seizoen 2008/09 tekende hij dan ook een contract bij de Belgische topclub KAA Gent. Zijn eerste halve seizoen trainde en speelde hij nog bij de beloften.

In zijn tweede seizoen promoveerde de club hem naar het eerste elftal en hij speelde veel wedstrijden in de voorbereiding. Hij speelde wel geen enkele officiële wedstrijd in het shirt van Gent in het seizoen 2009/2010. Dit was te verklaren door de hevige concurrentie die er bij Gent in de centrale as woedde. Hierop werd hij voor één jaar uitgeleend aan tweedeklasser FC Brussels, waar hij naam maakte als een secure en kopbalsterke verdediger. Hij was titularis van in het begin van het seizoen.

Eind juni 2011 ondertekende hij een contract bij Waasland-Beveren voor de komende twee seizoenen. In 2011/12 promoveerde hij met Waasland-Beveren via de promotie naar de hoogste afdeling. Op 22 december 2012 scoorde hij zijn eerste doelpunt in de Jupiler Pro League, de belangrijke aansluitingstreffer op het veld van Cercle Brugge (eindstand 2-2).

Na passages bij FH Hafnarfjörður en NK Maribor haalde Lierse Kempenzonen de verdediger hem in juni 2019 na vijf jaar terug naar België. Eind november 2019 bezorgde hij Lierse Kempenzonen een punt door in de slotfase de 2-2 te scoren tegen FCV Dender EH, maar begin januari 2020 werd hij naar de B-kern gestuurd. In juli 2020 tekende hij bij KSV Roeselare, maar doordat de club enkele maanden later failliet ging speelde hij nooit een officiële wedstrijd voor de West-Vlaamse club. Na een klein jaar zonder club gezeten te hebben tekende hij in juni 2021 bij Racing Club Harelbeke.

Externe link
Statistieken Doumbia op transfermarkt.co.uk

Malinees voetballer
Belgisch voetballer

redpajama_set_name: RedPajamaWikipedia


These days walking trumps driving for so many reasons. First of all, it's a great way to keep fit. Second, not using a car or other fuel-powered vehicles is kinder to the environment. Third, it always helps to live in an easily navigable, walkable neighborhood. So, we decided to rank the top neighborhoods in Miami on the basis of their walkability scores. Read on to see how your current neighborhood or the one you're planning to move to fares on walkability.
All scores have been sourced from walkscore.com. To arrive at the most accurate scores for residents, we've picked the most centrally located condo building in each neighborhood to power our search.
The Bay Harbor Islands are only somewhat walkable, with a concentration of condos and conveniences located on the eastern island. The western island mostly features single family homes and villas. Walking along Kane Concourse is where you can find restaurants like The Bistro, The Palm Miami, a mini mart, library, banks and other conveniences. Thankfully, there are several Metrobus stations to take residents to other parts of the city for their business, entertainment and shopping needs.
This is the residence-rich side of Brickell (south of SW 15th road). Most of the condos come lined across the waterfront and east of Brickell Avenue. Without much retail or entertainment venues within walking distance, the saving grace for this part of town is its picturesque walk up and down Brickell Ave and a relatively easy crossover to the Rickenbacker Causeway which is a popular walking/running/biking path. You also have access to plenty of Metrobus stations that can take you to the more walkable side, which is Central Brickell.
This is the more residential part of town with just a sprinkling of restaurants and conveniences as you get to Biscayne Blvd. (We've considered everything south of NE 30th Terrace to NE 23rd Street east of Biscayne Blvd as East Edgewater.) However, the best part about being in East Edgewater is that the more north you go, the closer you are to walking to all the spoils at the nearby Midtown neighborhood.
This northern edge of Edgewater is fairly walkable. (We've considered everything north of NE 30th Terrace to I-95 as the Paraiso district of Edgewater.) Though waterfront restaurant Amara at Paraiso hits the spot and there are several restaurants lining or close to Biscayne Boulevard such as Pollo Tropical, Wendy's and Lagniappe plus a sprinkling of conveniences like 7-Eleven and Walgreens, most residents prefer a walk across to the nearby trendy retail options of Midtown and Design District. As the retail at the base of these condo buildings gets filled up and matures, the walkability will move up with it.
The fact that most of the luxury condos are clustered around Grove Key Marina and a number of waterfront parks is what helps Coconut Grove rank higher on our list of walkable neighborhoods. This, somewhat, central chunk of Coconut Grove is home to the famous retail at (the under-renovation) CocoWalk, Peacock Park, the Barnacle Historic State Park, Grove Key Marina, Dinner Key Marina, Coral Reef Yacht Club, a couple of schools and top-rated restaurants like Bombay Darbar. The rest of this coastal neighborhood, featuring single-family homes, is also quite pedestrian-friendly for its plethora of lush tropical foliage lining most streets and a plethora of parks sprinkled throughout. Coconut Grove is one of those neighborhoods that no matter where you are walking or how long the walk, you are going to enjoy yourself. For that, I would rank it more walkable than the walk score did, but if you are considering the convenience of a grocery store, that is one thing where you are likely to want to jump in your car.
This is arguably the more pedestrian-friendly part of Edgewater, not just for having two great parks in close proximity, but also for bordering the best part of the Arts & Entertainment District with all its spoils. (We've considered everything south of NE 23rd street to NE 17th Street east of Biscayne Blvd as the Margaret Pace Park neighborhood of Edgewater.) It's an easy walk to the sports- and dog-friendly Margaret Pace Park, Publix Supermarket, eateries like Mignonette and Plant Miami, along with a host of other conveniences.
This sliver of a neighborhood ties with Wynwood in walkability, since you can walk to almost everything. The condos are within a stone's throw from the famous Shops at Midtown with staple stores like Ross Dress for Less and Target. The rest of the little neighborhood houses a couple dozen trendy restaurants – all within walking distance of each other. On top of that, you can easily walk to the trendy surrounding neighborhoods Wynwood and Design District.
This artsy neighborhood is great for walkers with colorful sights and sounds around every corner. South of NW 29th Street, where you will also find most of the condos, lie numerous art galleries such as the iconic Wynwood Walls, Art Nouveau, The Margulies Collection, the Mana Wynwood Convention Center; a collection of food trucks, bars and restaurants like Kush, Gramps, Cafeina Wynwood Lounge, KYU; and lots of clothing and jewelry stores. Going north from here, up to the causeway, the district comes peppered with more art galleries, studios and retail. All that said, this neighborhood is still developing by the day. Be ready for lots of construction and many blocks where you might find yourself walking a little faster at night. This is one of the most dynamic and interesting neighborhoods in Miami, but it is still developing and is still light on residential options.
Also tied for first place is Central Brickell. (We've included everything north of SW 15th road as Central Brickell.) This is where all the business action in Miami takes place. Walking northward along Brickell Avenue, you will find world-class hotels and restaurants like Four Seasons, Novecento and KOMODO as well as a host of banks, foreign consulates, financial institutions and public transportations systems. South Miami Ave is where everyone goes to enjoy some nightlife and retail therapy, with the Shops at Mary Brickell Village and Brickell City Center mall being major hubs. Brickell is not only tied for most walkable, but it is also the most well modern and mature of the neighborhoods in terms of quality of streets, retail, restaurants, etc.
This is one of the most walkable neighborhoods in Miami, making carless living a reality. Its southernmost avenues, those close to the riverfront, house most of the hotels like JW Mariott and the most high end restaurants like Il Gabbiano, Zuma, Novikov, Bolud Sud and more. A walk along its main arteries, Flagler St. and SE 1st St., gives you access to HistoryMiami Museum, Olympia Theater, banks, grocery stores like Whole Foods and convenience stores like Metromover stations, more restaurants and shopping.
Navigating north from there, along Biscayne Boulevard, is where you will find a cluster of entertainment, all within walking distance of each other - Bayfront Park and Marketplace, AmericanAirlines Arena, Museum Park inclusive of the Museum of Science, Knight Plaza and Peréz Art Musuem plus the upcoming mega retail/residential/hotel development, Miami Worldcenter.
The rest of the neighborhood comes sprinkled with government and private offices, courthouses, schools, colleges and a multitude of public transportation systems.
While downtown is certainly walkable, it is not the prettiest of the neighborhoods -- yet -- but is getting better by the day.
The obvious answer is yes. Miami has no shortage of beautiful walkable neighborhoods. No matter where you choose you will find that if you don't find what you want within a short walk, you can almost always find it if you walk just a bit further or hop in a car for a quick 5 minute ride. There are few cities where you can find so many clean, friendly, walkable neighborhoods like in Miami.


text:
Seven Ideas that Shook the Universe
The book "Seven Ideas that Shook the Universe" covers the development in the field of physics in a very comprehensive way. The authors have divided these developments into seven periods which are termed as the seven ideas. The author have employed a descriptive approach rather than mathematical expressions. The first idea is the "Copernician Astronomy" which covers the early developments of classical physics especially astrophysics. The second idea is the "Newtonian Physics" which covers the contributions made by Sir Isaac Newton and other scientists of his time in classical physics. Next comes "the concept of heat" which covers early developments in Thermodynamics. "Entropy" is the next topic which also covers the thermodynamics. Next is "quantum mechanics" which was our fist approach towards modern physics. The sixth idea is the "theory of relativity" which covers the special and general theories of relativity as presented by Albert Einstein. This theory revolutionized the field of physics and laid foundation stones of modern physics. The seventh and the last topic is the "Symmetry and other Modern concepts" which covers the recent advancements in modern physics including field theory, conservation laws, symmetry, virtual quantas, fundamental atomic particles and Quark Model. The authors of the book give a very comprehensive review of the developments in physics in a story like manner.
Suleman Khan
University of Engineering and Technology (UET), Lahore
Ahmad Nawaz Khan
Ijaz Iqbal
Ather Jamal
Asif Javed
Sabih-ud-Din Khan
Microelectronics »


text:
Q: what does $f means in shell script? #!/bin/bash
Files=`(find .  -type f)`
 for f in $Files
 do
  if [ "$(dirname $f)" != "." ]
  then
  # these are files in a subdirectory
   x=$(dirname $f)  #get the name of the file with the directory
   y=${x:2}         #remove ./ from the name
   echo $(basename $f) \($y\)
  else
   # these are files in the current directory
   echo $(basename $f)
 fi
done

I'm having a hard time understanding what the line
Files=1(find . -type f)`

means? Is it finding each and every file in the directory? Does "type f" means finding every "file" type?
Also, What's the function of $f?
I'm starting out in shell so any help would be really helpful!

A: See for f in $Files... The $f referes to that for loop variable. It could also be written
Files=`(find .  -type f)`
for fred in $Files
do
  if [ "$(dirname $fred)" != "." ]
  then
  # these are files in a subdirectory
   x=$(dirname $fred)  #get the name of the file with the directory
   y=${x:2}         #remove ./ from the name
   echo $(basename $fred) \($y\)
  else
   # these are files in the current directory
   echo $(basename $fred)
 fi
done

And yes, -type f means "files".

A: Sorry, I don't have enough reputation yet to add a comment. Elliott has the right answer regarding your 'f' variable name. To answer your follow up a question though, the significance of the period does not have anything to do with the type of file.
In linux, '.' represents your pwd or present working directory. Your pwd's parent directory is represented by '..'. The find command requires a path be supplied, whether relative or absolute. The '.' accomplishes this by effectively saying, "search in the current directory (.) and all sub-directories". Find is naturally recursive IIRC.
Happy hacking!


text:
\section{Introduction}
\label{sec:introduction}
Thirteen out of $\sim$100 central stars of planetary nebulae (CSPNe) were found to be binaries (\cite{Bond2000}) with periods smaller than 3 days (though most have periods smaller than only one day). These are all post-common envelope (CE) binaries discovered via periodic photometric variability caused by irradiation effects, ellipsoidal variability or because eclipses occur. The predicted post-CE binary period distribution changes depending on the assumed value of the CE efficiency parameter (e.g., \cite{Yungelson1993}, \cite{Han1995}). Form these predictions, we expect  $\sim$25-65\% of all CSPNe to be in binaries with periods smaller than 3 months, that can be detected by RV surveys.

A RV survey carried out by \cite{DeMarco2004} reported 10 out of 11 monitored CSPNe to be RV variables. For none periods could be found, but the cadence of the monitoring was not ideal. Since wind variability could be the cause of RV shifts we initiated a monitoring campaign at echelle resolutions to scrutinize line shape changes which could reveal the origin of the RV shifts.

\section{Observations, Reductions and Analysis}
\label{sec:obsredana}

Our Kitt Peak 4-m telescope 2005, May 22-27, and 2006, July 18-24, echelle spectroscopy afforded us a resolution of 4.5~km~s$^{-1}$\ over the  wavelength range 3900--5575~\AA. The weather and seeing were very poor. The signal-to-noise ratio (SNR) of the single exposures varied between 20 and 40, sufficient for BD+33~2642, because of the numerous lines in this spectrum. For the other three stars, with fewer and/or broader absorption and emission lines, we averaged three exposures achieving a SNR in the range 40-70.

To determine relative RV shifts we used the cross-correlation technique implemented by the IRAF task {\it fxcor}, which Fourier transforms two  continuum-subtracted spectra, after applying some user-specified filtering. In some cases we chose specific wavelength ranges where lines of interest resided. This is useful when different lines exhibit different behaviors and need individual testing. Relative RV shifts are converted to absolute ones (shifts with respect to the laboratory line center) by measuring the wavelength of the lines of interest in the template spectrum using Gaussian fits, correcting for the heliocentric systemic velocity (measured from the PN lines) and heliocentric correction.

From the PN lines we can assess that the wavelength calibration is accurate to $\sim$0.5~km~s$^{-1}$. To this we add in quadrature the uncertainty from fitting the cross-correlation function. The latter is determined using a Monte Carlo test similar to that adopted by \cite{Armandroff1995}. Details will be given in De~Marco et al. (in preparation).

\section{Results}
\label{sec:results}

\begin{figure}
\vspace{1.5in}
\centering
\special{psfile="Pdemarcof1.ps" vscale=37 hscale=37}
\caption{Absolute (with respect of the lines' laboratory wavelengths) RV shifts for the absorption line spectrum of BD+33~2642. The heliocentric systemic velocity was measured from one PN line (H$\beta$) to be --93~km~s$^{-1}$.}
\label{fig:bd+33}
\end{figure}

{\bf BD+33~2642} is a well known photometric standard (\cite{Landolt2007}). \cite{Napiwotzki1994} discovered it to be the central star of a 5'' halo PN, and determined $T_{\rm eff}$=20\,200~K, $\log g$=2.9, a spectroscopic mass of 0.560~M$_\odot$\ and $R = 4.40$~R$_\odot$.  \cite{Stalio1980} analyzed its UV spectrum and determined this object to have a weak wind, with a mass-loss rate $<$4.7$\times$10$^{-8}$~M$_\odot$~yr$^{-1}$, large for this type of star.

The echelle observations confirm the RV behavior reported by \cite{DeMarco2004}.  In 2005 (Fig.~\ref{fig:bd+33}) we see a clear trend with a seemingly periodic fluctuation with a 6~km~s$^{-1}$\ amplitude, but
centered at $\sim$5~km~s$^{-1}$\ instead of zero, as would be expected for a binary motion. In 2006 this trend is not obvious and all data points are offset by about --10~km~s$^{-1}$\ with respect to the 2005 data (making the mean RV shifts close to zero - Table~\ref{tab:results}). Fitting the entire data-set does not return any believable period. A fit to the 2005 data returns a period of $\sim$4~days, but with low confidence.

The absorption lines show no line shape variability, which could be ascribed to wind variability and could cause the RV shifts. Pulsations are not likely to cause the variability since this star is not photometrically variable above $\sim$0.01~mag \cite{Landolt2007}. It is at this stage impossible to determine what causes the variability in this star.

{\bf IC~4593} is an O5f(H) star. It was analyzed by \cite{Mendez1990} who found it to have $T_{\rm eff}$ = (40\,000 $\pm$ 4000)~K and $\log g$ = (3.5$\pm$0.2). \cite{Patriarchi1995} found it to be a wind variable from UV line profile changes. The 12''-PN has two ansae (jets) protruding in opposite directions and suggesting that if this star were a binary, the line of sight would be near  the equatorial plane.

The spectra are extremely variable. We measured RV shifts by selecting out three line sets: (i) the three He~II absorption lines $\lambda\lambda$4200,4542,5412, (ii) the He~II emission line at 4686~\AA, or (iii) the spectral range 4620--4680~\AA, which contains C~III-IV and N~III emission lines. The first two line sets show large RV amplitude variation (50 and 60~km~s$^{-1}$, respectively), while the third set, likely to be the least affected by wind variability, show very little variation (amplitude about 5~km~s$^{-1}$) although the trend of this variation is similar to that of the He~II line at 4686~\AA. From this latter line set we deduce that this star is not a binary to within the precision of the observations (unless, of course, the orbital plane is close to the plane of the sky - in contrast to what one might imagine looking at the PN morphology).

It is odd that {\it all} shifts of the He~II absorption lines are red of the lines' centers, since, typically, absorption lines affected by winds are shifted to the blue. It is also strange that at some epochs, the He~II emission line is blue-shifted, again not expected from wind theory.  In conclusion, while
the line changes in IC~4593 appear to be due to wind variability, winds do not readily explain all of the changes. Pulsations might have something to do with some of the changes, but, as we will discuss later, the relationship between pulsations and RV changes is not a straight forward one.

{\bf M~1-77 and M~2-54} have similar spectra. They are cool central stars ($T_{\rm eff} \sim$25\,000~K) of low-excitation (no [O~III] lines are present) small and young PNe (\cite{Sabbadin1983}, \cite{Acker1992}). They are photometric variables. M~2-54 was found to have two multi-hour periods. \cite{Handler1995} and \cite{Handler2003} ascribe these variability to pulsations and claim the discovery of a new class of pulsators, which they call the  ZZ Lep  stars. \cite{Maene1994}, however, call these stars irregular variables, not being convinced that the variability, which changes over months to year time-scales, is due to pulsations. Winds are also not thought to be the cause of the irregular photometric variability,  since for one star in this class (IC~418), IUE spectral variability did not correlate with photometric variability. The IUE spectra of these stars show no emission lines, indicating that the winds are not strong.

We only took echelle observations of M~1-77 and M~2-54 in 2006, resulting in 5 usable spectra per star with SNR=40-65, each created from the average of three exposures. The spectra  display Balmer emission lines due to the PN, as well as Balmer absorption lines due to the star. We also observe a wealth of absorption lines due primarily to He~I and O~II, as well as a handful of weak emission lines, such as C~II $\lambda$4267. Since the hydrogen and He~I line shapes are extremely variable, we measured the RV shifts by selecting wavelength ranges containing only O~II and other weak metal lines, whose shapes remained approximately constant in time.

In Fig.~\ref{fig:m177spectra} we show a selection of lines and their changes over the 5-night observing period. Hydrogen and He I absorption lines vary extremely between a day and the next, with their absorption profiles splitting and changing in strength. There is almost no variability on a time-scale of about one hour, judging from the individual exposures. Weaker metal lines do not appear to vary in shape to within the SNR of the observations and we use them for our RV measurements. In Fig.~\ref{fig:m177-m254} we show that the absolute RV shifts of the weak metal lines have quite large amplitudes. These shifts are different from those that we would obtain if we measured the He~I lines.  Binarity, wind variability or pulsations do not readily explain the RV behavior of the weak metal lines, although it is probable that the interplay of pulsations and variable mass-loss might, in the end, explain these spectral changes.

\begin{figure}
\vspace{2.0in}
\centering
\special{psfile="Pdemarcof2.ps" vscale=55 hscale=55 hoffset=35 voffset=-10}
\caption{A selection of lines from the spectra of M~1-77 taken on 5 subsequent nights.}
\label{fig:m177spectra}
\end{figure}

\begin{figure}
\vspace{1.5in}
\centering
\special{psfile="Pdemarcof3.ps" vscale=37 hscale=37 voffset=-5}
\caption{Absolute (with respect of the lines' laboratory wavelengths) RV shifts for the weak metal absorption lines of M~1-77 (left) and M~2-54 (right). From the PN lines of these two CSPN we measured heliocentric systemic velocities of --68.4 and --67.7~km~s$^{-1}$, respectively.}
\label{fig:m177-m254}
\end{figure}

\begin{table}
\centering
\caption{Variability diagnostics for the central stars.}
\label{tab:results}
\begin{tabular}{lccccl}
\hline\noalign{\smallskip}
Star & Mean RV & $\sigma_{RV}$ & Mean Error & \# data  & Lines Used\\
       &  (km~s$^{-1}$)     &  (km~s$^{-1}$)           & (km~s$^{-1}$)        &     points            & \\
\noalign{\smallskip}\hline\noalign{\smallskip}
IC~4593
                     & 3.8 & 13.5 & 4.0   &14 &He~II abs. $\lambda$$\lambda$4200,4541,5412\\
                     & 11.4 & 18.1 & 1.6   &14 &He~II em. $\lambda$4686\\
                     & 1.5  & 3.0 & 0.95   &14 &C~III-IV, N~III em. $\lambda$4630-4665\\
BD+33$^a$
                    & 1.5   & 5.4   & 1.2   &34   & Entire Spectrum\\
M~1-77
                    & 7.2  & 10.4 & 1.3   &5  & Weak Metal Lines\\
M~2-54
                    &--6.8  & 12.5  &0.93  &5   & Weak Metal Lines\\
\noalign{\smallskip}\hline
\end{tabular}
$^a$BD+33~2642

\end{table}

\section{Conclusion}
\label{sec:conclusion}
We have no conclusive results as to the binary status of these 4 central stars. BD+33~2642 is a real mystery, with very little, if any, photometric variability, yet a non-periodic RV amplitude of $\sim$10~km~s$^{-1}$. There is also no line shape change which might betray a wind origin for the variability. IC~4593 is the best characterized case: there is a very strong RV variability likely due to winds. Some of the emission lines least affected by winds show almost no variability, confirming that this star is likely not a spectroscopic binary. There remain however doubts as to why some of the absorption lines are shifted to the red of center and why some of the emission lines are shifted blue of center (both behaviors are contrary to wind theory).

M~1-77 and M~2-54 are almost identical stars. They are thought to be pulsators by some (\cite{Handler2003}), but not by others (\cite{Maene1994}). So the peculiar and extreme He~I and hydrogen line variability might or might not be related to the photometric variations and might or might not be due to pulsations. The RV variations of the O~II lines, which do not vary in shape as do the hydrogen and He~I lines, and whose RV shifts are not correlated with those of the hydrogen and He~I lines, are even more difficult to understand. The RV shifts of the weak metal lines are not periodic, but have a distinct trend. In conclusion,  these stars' spectral changes while not easy to interpret, could be due to the interplay of pulsations and winds. Binarity, however, cannot yet be excluded for these two stars.

It is likely that wind and pulsational variability would be small or non-existent for hotter and dimmer CSPNe. The presence of winds is a strong function of the stellar luminosity and pulsations in the hotter CSPNe is limited to the hydrogen-deficient atmospheres of PG1159 stars (\cite{Corsico2006}). A sample of hot and dim, hydrogen-normal CSPNe  would make better targets for RV surveys aimed at detecting the central star spectroscopic binary fraction. Unfortunately, these would also be apparently faint, and such a survey would necessitate 8-m class telescopes.

redpajama_set_name: RedPajamaArXiv


Welcome. Any way to get a Tulane tent for tailgating?
RWR wrote: Welcome. Any way to get a Tulane tent for tailgating?
Thank you, RWR. Unfortunately, I haven't seen those before. Will keep you posted when I do.
Thanks. Hope you find them they would be a good seller.
Ironic that you would post that RWR as I posted last week on YOGWF asking about the same thing. I'm in the process of buying one for the coming season and struggled to find ANYTHING.
Been looking for years w/no luck.
Thank you for your question! We don't have blank Tulane jerseys but we would be happy to add a name and number to one that you brought in to us.


MaKye brought along a toy sword that he was quite happy to show me how well he could swing it. He was even nice enough to let me hold onto it while we took his picture. Mason was a little shy and it took a little bit to get him warmed up, but we managed to get a couple smiles out of him. Of course, once he got a little more relaxed, he wanted to crawl around and not sit still. But hey, that is exactly what I expect an 8 month old to do. MaKye has some very long eyelashes that I am super jealous of, and Mason has such adorably curly hair. It was great getting the opportunity to photograph them.


Stories can be very,very powerful leadership tools. Stories can change the way we think, act, and feel. Great leaders know this, and many top CEOs today use stories to illustrate points and sell their ideas. Leaders use the power of a good story to influence and motivate their teams to new heights. Stories can inspire everything from understanding to action. They can create legends that an entire workplace culture can build upon, and they have the power to break down the barriers and turn a bad situation into a good one. Stories can capture our imaginations and make things real in a way that cold, hard facts can't.
But how to tell a good story? When should you tell a story, and how do you know what kind of story to tell to get the results you want? The following summarizes the points given by Annette Simmons, author of "Whoever Tells the Best Story Wins".
Learn what kind of story to tell for different situations. There are six main types of story that you can use in the workplace.
1. "Who I Am" Stories – When you start leading a team, members of your new team sometimes make automatic judgments about who you are. They may see you as controlling, mean, or "out to get them" without really knowing you. If you tell a "Who I Am " story when you first become a team leader, you can give a powerful insight into what really motivates you. This can break down walls and helps your team realize that you're a person just like them.
2. "Why I'm Here" Stories – These are very similar to "Who I Am" stories. The goal is to replace suspicion with trust, and help your team realize that you don't have any hidden agendas. Show that you're a good person, and that you want to work together with them to achieve a common goal.
3. Teaching Stories – It can be very hard to teach without demonstrating, and that's the whole purpose of Teaching Stories. Use Teaching Stories to make a lesson clear and to help people remember why they 're doing something in the first place.
4. Vision Stories – Tell these to inspire hope, especially when your team needs occasional reminders of why they're doing what they should be doing.
Vision Stories are meant to stimulate action and raise morale. Find a story that reminds everyone what the ultimate goal is, and why it's important that everyone reaches that goal. This type of story should be told from your heart, with emotion.
5. "Values in Action" Stories – When you see the word "integrity" what do you think of? Honesty? Doing the right thing to the right person? Every value can mean something different from person to person. If you want to pass on values to your team, start by defining what those values mean to you. So, if you want your team to demonstrate a high level of customer service, then tell a story that reveals exactly what customer service means to you.
6. "I Know What You're Thinking" Stories – The world of business involves frequent bargaining. The advantage of telling this type of story is that you can recognize another person's objections, and then show why those objections aren't applicable in this situation. You can show respect for the other point of view while convincing the person that you're right.
Be authentic – The best storytellers talk from their hearts, so don't try to fake an emotion that you don't feel. Your listeners will probably see through this, and your story will crash and burn.
Pay attention to your audience: Stories that are too long are generally boring. Tell the story well, but don't go on forever.
Practice – Try to practice before you tell the story. Even if you tell it to yourself just once in front of a mirror or video camera, this can help you when you're in front of your real audience.
Create an Experience – Remember that when you tell a story, you're creating an experience for your listeners. Don't just use sound (words), but the other senses as well. Show your listeners the picture you're painting, don't just tell them.
Know which kind of story to tell, and spend time brainstorming some good ideas from each type of situation. Remember, you're creating an experience for your listeners, so focus on using at least two or three senses when you tell your story. Create interest, and draw your listeners in. Show them what you're saying, don't just tell them.
This entry was posted on Sunday, August 23rd, 2009 at 11:43 am	and is filed under Communication Skills.. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.


>> More than a decade after its launch, Facebook is giving users more control over their faces. The social media giant announced Tuesday, it will use a facial recognition feature to notify users when any photo of them is uploaded to the site. Reuters tech report David Ingram, is in San Francisco.
>> And so, this is designed to give people a little more control over their image. And how their photos and the images of their face are being spread on Facebook. You have to opt into this, which means that Facebook is going to have a digital template of what your face looks like.
>> Facebook creates the facial template by analyzing pixels from current user photos. It's the same technology currently employed to suggest who to tag in a photo. The difference being that new feature alerts users to any photo of them regardless of whether they've been tagged or not.>> And that notification will tell you hey, a photo of you has been uploaded to Facebook.
Here's where you can go to see it, and here's what you can do if you like it or if you don't like it. You could tag yourself, you could not tag yourself, you could give the person feedback.>> While privacy issues may be a concern for some, one key benefit of the feature is it should help reduce hijacked or fake accounts.


text:
package com.navercorp.pinpoint.common.hbase;

import com.navercorp.pinpoint.common.PinpointConstants;

import org.apache.hadoop.hbase.TableName;
import org.apache.hadoop.hbase.util.Bytes;

/**
 * @author emeroad
 */
public final class HBaseTables {

    public static final int APPLICATION_NAME_MAX_LEN = PinpointConstants.APPLICATION_NAME_MAX_LEN;
    public static final int AGENT_NAME_MAX_LEN = PinpointConstants.AGENT_NAME_MAX_LEN;

    public static final TableName APPLICATION_TRACE_INDEX = TableName.valueOf("ApplicationTraceIndex");
    public static final byte[] APPLICATION_TRACE_INDEX_CF_TRACE = Bytes.toBytes("I"); // applicationIndex
    public static final int APPLICATION_TRACE_INDEX_ROW_DISTRIBUTE_SIZE = 1; // applicationIndex hash size

    public static final TableName AGENT_STAT = TableName.valueOf("AgentStat");
    public static final TableName AGENT_STAT_AGGR = TableName.valueOf("AgentStatAggr");
    public static final byte[] AGENT_STAT_CF_STATISTICS = Bytes.toBytes("S"); // agent statistics column family
    // FIXME (2014.08) Legacy column for storing serialzied TAgentStat Thrift DTO.
    @Deprecated public static final byte[] AGENT_STAT_CF_STATISTICS_V1 = Bytes.toBytes("V1"); // qualifier
    // FIXME (2015.10) Legacy column for storing serialzied Bos separately.
    @Deprecated public static final byte[] AGENT_STAT_CF_STATISTICS_MEMORY_GC = Bytes.toBytes("Gc"); // qualifier for Heap Memory/Gc statistics
    @Deprecated public static final byte[] AGENT_STAT_CF_STATISTICS_CPU_LOAD = Bytes.toBytes("Cpu"); // qualifier for CPU load statistics
    public static final byte[] AGENT_STAT_COL_INTERVAL = Bytes.toBytes("int"); // qualifier for collection interval
    public static final byte[] AGENT_STAT_COL_GC_TYPE = Bytes.toBytes("gcT"); // qualifier for GC type
    public static final byte[] AGENT_STAT_COL_GC_OLD_COUNT = Bytes.toBytes("gcOldC"); // qualifier for GC old count
    public static final byte[] AGENT_STAT_COL_GC_OLD_TIME = Bytes.toBytes("gcOldT"); // qualifier for GC old time
    public static final byte[] AGENT_STAT_COL_HEAP_USED = Bytes.toBytes("hpU"); // gualifier for heap used
    public static final byte[] AGENT_STAT_COL_HEAP_MAX = Bytes.toBytes("hpM"); // qualifier for heap max
    public static final byte[] AGENT_STAT_COL_NON_HEAP_USED = Bytes.toBytes("nHpU"); // qualifier for non-heap used
    public static final byte[] AGENT_STAT_COL_NON_HEAP_MAX = Bytes.toBytes("nHpM"); // qualifier for non-heap max
    public static final byte[] AGENT_STAT_COL_JVM_CPU = Bytes.toBytes("jvmCpu"); // qualifier for JVM CPU usage
    public static final byte[] AGENT_STAT_COL_SYS_CPU = Bytes.toBytes("sysCpu"); // qualifier for system CPU usage
    public static final byte[] AGENT_STAT_COL_TRANSACTION_SAMPLED_NEW = Bytes.toBytes("tSN"); // qualifier for sampled new count
    public static final byte[] AGENT_STAT_COL_TRANSACTION_SAMPLED_CONTINUATION = Bytes.toBytes("tSC"); // qualifier for sampled continuation count
    public static final byte[] AGENT_STAT_COL_TRANSACTION_UNSAMPLED_NEW = Bytes.toBytes("tUnSN"); // qualifier for unsampled new count
    public static final byte[] AGENT_STAT_COL_TRANSACTION_UNSAMPLED_CONTINUATION = Bytes.toBytes("tUnSC"); // qualifier for unsampled continuation count
    public static final byte[] AGENT_STAT_COL_ACTIVE_TRACE_HISTOGRAM = Bytes.toBytes("aH"); // qualifier for active trace histogram
    public static final int AGENT_STAT_ROW_DISTRIBUTE_SIZE = 1; // agent statistics hash size

    public static final TableName TRACES = TableName.valueOf("Traces");
    public static final byte[] TRACES_CF_SPAN = Bytes.toBytes("S");  //Span
    public static final byte[] TRACES_CF_ANNOTATION = Bytes.toBytes("A");  //Annotation
    public static final byte[] TRACES_CF_TERMINALSPAN = Bytes.toBytes("T"); //TerminalSpan

    public static final TableName APPLICATION_INDEX = TableName.valueOf("ApplicationIndex");
    public static final byte[] APPLICATION_INDEX_CF_AGENTS = Bytes.toBytes("Agents");

    public static final TableName AGENTINFO = TableName.valueOf("AgentInfo");
    public static final byte[] AGENTINFO_CF_INFO = Bytes.toBytes("Info");
    public static final byte[] AGENTINFO_CF_INFO_IDENTIFIER = Bytes.toBytes("i");
    public static final byte[] AGENTINFO_CF_INFO_SERVER_META_DATA = Bytes.toBytes("m");
    public static final byte[] AGENTINFO_CF_INFO_JVM = Bytes.toBytes("j");

    public static final TableName AGENT_LIFECYCLE = TableName.valueOf("AgentLifeCycle");
    public static final byte[] AGENT_LIFECYCLE_CF_STATUS = Bytes.toBytes("S"); // agent lifecycle column family
    public static final byte[] AGENT_LIFECYCLE_CF_STATUS_QUALI_STATES = Bytes.toBytes("states"); // qualifier for agent lifecycle states

    public static final TableName AGENT_EVENT = TableName.valueOf("AgentEvent");
    public static final byte[] AGENT_EVENT_CF_EVENTS = Bytes.toBytes("E"); // agent events column family

    @Deprecated
    public static final TableName AGENTID_APPLICATION_INDEX = TableName.valueOf("AgentIdApplicationIndex");
    @Deprecated
    public static final byte[] AGENTID_APPLICATION_INDEX_CF_APPLICATION = Bytes.toBytes("Application");

    public static final TableName SQL_METADATA_VER2 = TableName.valueOf("SqlMetaData_Ver2");
    public static final byte[] SQL_METADATA_VER2_CF_SQL = Bytes.toBytes("Sql");
    public static final byte[] SQL_METADATA_VER2_CF_SQL_QUALI_SQLSTATEMENT = Bytes.toBytes("P_sql_statement");

    public static final TableName STRING_METADATA = TableName.valueOf("StringMetaData");
    public static final byte[] STRING_METADATA_CF_STR = Bytes.toBytes("Str");
    public static final byte[] STRING_METADATA_CF_STR_QUALI_STRING = Bytes.toBytes("P_string");

    public static final TableName API_METADATA = TableName.valueOf("ApiMetaData");
    public static final byte[] API_METADATA_CF_API = Bytes.toBytes("Api");
    public static final byte[] API_METADATA_CF_API_QUALI_SIGNATURE = Bytes.toBytes("P_api_signature");

    public static final TableName MAP_STATISTICS_CALLER_VER2 = TableName.valueOf("ApplicationMapStatisticsCaller_Ver2");
    public static final byte[] MAP_STATISTICS_CALLER_VER2_CF_COUNTER = Bytes.toBytes("C");

    public static final TableName MAP_STATISTICS_CALLEE_VER2 = TableName.valueOf("ApplicationMapStatisticsCallee_Ver2");
    public static final byte[] MAP_STATISTICS_CALLEE_VER2_CF_COUNTER = Bytes.toBytes("C");

    public static final TableName MAP_STATISTICS_SELF_VER2 = TableName.valueOf("ApplicationMapStatisticsSelf_Ver2");
    public static final byte[] MAP_STATISTICS_SELF_VER2_CF_COUNTER = Bytes.toBytes("C");

    public static final TableName HOST_APPLICATION_MAP_VER2 = TableName.valueOf("HostApplicationMap_Ver2");
    public static final byte[] HOST_APPLICATION_MAP_VER2_CF_MAP = Bytes.toBytes("M");

}

redpajama_set_name: RedPajamaGithub


Companies across the world look to Intematix to provide the high quality, vivid colors their customers expect. Intematix LED phosphors are currently used in applications such as displays, general lighting and automotive lighting, while our innovative solutions shine brilliantly in a variety of commercial, residential and retail applications worldwide.
Founded in March 2000, Intematix began with C-Mat Synthesis, our proprietary and proven materials-design platform. The rapid materials discovery platform formed the foundation for the flexible and innovative style of Intematix.
Over the years, Intematix established itself as a leading provider of phosphor solutions to the LED lighting and display industries. Beginning with the Silicate line of phosphors, we quickly expanded into NYAG (Garnets), GAL (Aluminates), and Nitrides - moving from extremely high reliability towards unmatched light quality. Our new KSF phosphors enable vivid displays with outstanding reliability. Intematix continues to invest in innovation, providing our customers the broadest portfolio of phosphor materials to meet their evolving product requirements.
Intematix research and development team works to improve not only our phosphors, but their methods of application. In 2011, Intematix introduced ChromaLit remote phosphor leveraging its deep intellectual property in the remote phosphors lighting field. Since then, ChromaLit technology has advanced from plastics and glass to silicone and tri-extrusion technology. The scientists at Intematix continuously stay one-step ahead of the every changing evolution of LED solid-state lighting.
We are ISO 9001:2008 and ISO 14000 registered, and we take great pride in meeting environmental and safety regulations while providing products, services, and customer support of the highest quality. With over 470 patents awarded or filed worldwide, we stand firmly on the strength of our ability to innovate and create high quality, energy-efficient solid-state lighting products.


At Pupkewitz Motors we employ over 600 motivated staff members. If you'd like to join our ranks then make sure you look out for job openings that suit your position here on our careers page.
Are you serious about service excellence? Are you motivated to do your best? Are you passionate about the motoring industry? If so, you might have what it takes to join one of the most prestigious motor groups in Namibia. We are on the lookout for emerging professionals with a quality of excellence to represent our brand. Submit your résumé here to make yourself available to join the Pupkewitz team.
Pupkewitz Motors currently partners with ten global vehicle brands and operates from over 20 locations around the country. Our team embodies excellence, dedication and a willingness to move forward. With a hunger for innovation, the Pupkewitz Motors brand continues to strive forward.
Follow us on Facebook to stay in touch or have a look below at the current vacancies at Pupkewitz Motors.
Applicants from designated groups are encouraged to apply.


text:
Los Caracoles casa Bofarull 1835
Restaurante Los Caracoles
Kitchen open from 1:00 p.m. to 4:00 p.m. and from 7:30 p.m. to 11:00 p.m.
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Exceptionally, tuesday 31st of January and 28th of February the restaurant will be open.
The restaurant will be closed from January 9th to 22nd for a well-deserved staff break.
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The business was started by the present owner's father in 1963 to serve the Bradford area.
From modest beginnings of one man and a van, the company now covers the whole of the UK with a fleet of vehicle to suit jobs of all sizes. We work to recognised quality standards, ensuring that your belongings are handled carefully and professionally from start to finish.
We also have a large modern warehouse to accomodate containerised storage insurance for fire, theft, flood and storm damage.