Free Download Music Trio 5.9 - Best music collection manager ever!
This multi-functional software with a cool name Music Trio will excite a true music lover. It comprises three tools most frequently used by audiophiles, and as one user put it, it embodies "the Holy Trinity of digital music software".
The first tool is AudioConverter Studio that allows ripping audio CDs and converting audio files to the most popular formats. You can convert between mp3, wma, flac, ogg, wav etc. This fast audio converter runs efficiently even on older systems.
The second tool is mp3Tag Editor that comes hand in hand with the audio converter. It will fill in the information in the tags of your music files. You do not need to do it manually. The software offers the option of extracting data about the album, artist, track name, etc from free data bases, like CDDB or Amazon.com. You will also find useful the option of batch renaming and editing and the possibility of tag editing not only for mp3, but for wma and other audio formats as well.
To crown it all is Media Catalog Studio. This music collection manager tracks audio files on your storage devices, such as hard-drives, floppies, external drives, CDs and so on, and classifies them in a database.
If you are a happy owner of thousands of audio files, we recommend you this three-in-one product to manage the collection.
Advanced Duplicates Finder 2.0 - Reliable tool for removing duplicates with various search options and filters.
Audio and Video Howtos 1.1 - 100 answers to your "How to" questions about audio and video. Free!
Easy MP3 Joiner 5.0 - Easy MP3 Joiner combines MP3 and WAV files. Fast and no quality loss!
MIDI to WAV Converter 8.2 - Fast and easy MIDI to WAV, MIDI to MP3 converter for natural sounding music.
Music Trio 5.9 - Music Trio - organizer, converter, cd grabber, tag editor … you name it!
If you like MP3 tools, but hate paying absurdly high prices for software, here is your chance to get a deal. Music Trio comes with all the MP3 tools you will ever need (tag editor, music organizer and audio converter) for a measly 7 cent/kb.


Established in 1975, PT Multipolar Technology Tbk (MLPT) is a prominent System Integrator in Indonesia, and it is one of the earliest companies to be accredited with ISO 9001 certification. July 8, 2013 has become a remarkable milestone for PT Multipolar Technology Tbk, which was officially listed in Indonesia Stock Exchange (IDX) with stock code MLPT, and has been registered as sharia securities. Multipolar Technology's majority stakeholder is PT Multipolar Tbk (MLPL), a prominent diversified holding company focused primarily in the retail business and TMT (Technology, Multimedia and Telecommunication) sectors with 80% shares; while 20% is owned by the public.


text:
Aviva Briefel, "On the 1886 Colonial and Indian Exhibition"
This essay explores the 1886 Colonial and Indian Exhibition, focusing specifically on its unprecedented display of 34 Indian artisans. It contextualizes this display in relation to Victorian discourses that lamented the disappearance of the British working body through mechanization, and that conflated the authenticity of South Asian crafts with the presence of "genuine" Indian bodies.
"Gold Brocade Weavers," Colonial Indian Exhibition
"Woodcarvers," Colonial Indian Exhibition
[Illustration 1: "Gold Brocade Weavers." "Colonial Indian Exhibition: The Indian Empire." Illustrated London News 17 July 1886: 84. Courtesy of the Bowdoin College Library, Brunswick, Maine]
[Illustration 2: "Woodcarvers (Courtyard of Indian Palace)." "Colonial Indian Exhibition: The Indian Empire." Illustrated London News 17 July 1886: 84. Courtesy of the Bowdoin College Library, Brunswick, Maine]
Britain's myriad voices call,
'Sons, be welded each and all
Into one imperial whole,
One with Britain, heart and soul!
One life, one flag, one fleet, one throne!'
Britons, hold your own![1]
The Colonial and Indian Exhibition opened in South Kensington on 4 May 1886, lasted over six months, and accommodated 5.5 million visitors (Barringer, "South Kensington" 23). Featuring extravagant displays from British colonial holdings, the exhibit was organized by the Prince of Wales as an "imperial object lesson" in England's power and grandeur. In the words of an article from the Saturday Review, "Now if any man can look at this and not come away with a new and a lively sense of the greatness of the country he belongs to, he must be a fellow of a very dull imagination and a very stupid temperament" ("Imperial Object" 633). The exhibition was intended to provide ocular proof of the "commercial wealth and power of England beyond the seas" (Peripatetic 511), the "solidarity of a world-wide Empire, its unity of interest, and its manifold resources" ("Colonial and Indian," Saturday Review). The fact that it was located in South Kensington, an "exhibitionary complex" that, since its establishment in 1857, had become a monument to "Victorian high imperialism" (Kriegel 6), confirmed its dedication to perpetuating the colonial project. The Indian section consisted of the most spectacular and largest of the displays, measuring at five times the size of the Indian Pavilion at the 1851 Crystal Palace Exhibition and costing an impressive £22,000 (Mathur 57; Greenhalgh 59). Accessed through the richly sculpted Gwalior Gateway, which had been a central component of the 1883 Calcutta International Exposition, it displayed traditional Indian artworks and crafts in fantastic showcases, including an Indian palace and bazaar, as well as the reproduction of a jungle through whose leafy spaces visitors could wander.[2] As the introduction to the Art Journal supplement devoted to the exhibition explained, these Indian displays must "occasion to us and to all true lovers of their country a sense of joy and gratitude for what has been done by these, our far-off children, in the near past, and a glad anticipation of the triumphs in store for them and for us in the not distant future" (2). This undeniably paternalistic rhetoric reflects the sense of colonial proprietorship that pervaded the exhibit, and which justified past and future imperial ventures. The introduction continues: "Our own small and comparatively insignificant island has little room for expansion, except in these broad lands across the sea we have made our own" (2). The exhibit symbolically collapsed the distance between England and its "far-off children" through the inclusion of a display of Indian craftsmen.[3]
Showcasing thirty-four artisans working at a range of crafts, the Indian court was one of the most popular destinations of the 1886 exhibit. In Reminiscences of the Colonial and Indian Exhibition, Frank Cundall writes:
They are genuine artisans, such as may be seen at work within the precincts of the palaces of many of the Indian Princes. . . .Weavers of gold brocade and kinkhab, tapestry and carpets, an ivory miniature painter, copper and silver smiths, a seal engraver, a dyer, a calico printer, a trinket maker, a goldsmith, stone carvers, a clay-figure maker from Lucknow, a potter [who was allegedly 102 years old], and wood carvers, were all daily to be seen at work as they would be in India. (28-29)
Cundall's account is typical in stressing the authenticity of these artisans, who were often depicted as un-self-consciously executing the type of work they would otherwise be doing in any given marketplace in India: "Two Punjabi carpenters may be seen hard at work, little heedful of the curious throng which intently watches them" (Banfield 668); "Here are the carpet-weavers, four in number, mingling work and song, their chant barbaric and not without fascination" ("Colonial and Indian," Saturday Review); "The native artificers, who, in the court of the Indian palace, pursue their various callings in native fashion, are eagerly watched by crowds daily; but they can never be rivalled by English workers, for their work requires not only delicacy of manipulation, but patient labour, only possible in a land where workers are numerous and wages extremely low" ("Colonial and Indian," Westminster Review 33). T.N. Mukharji, one of the three Indian men commissioned to help organize the exhibition, commented on the wonder produced by these workers: "A dense crowd always stood there, looking at our men as they wove the gold brocade, sang the patterns of the carpet and printed the calico with the hand. They were as much astonished to see the Indians produce works of art with the aid of rude apparatus they themselves had discarded long ago, as a Hindu would be to see a chimpanzee officiating as a priest in a funeral ceremony" (99).[4] The exhibition instilled the fantasy of a privileged, unmediated, and even voyeuristic view of "real" Indian work. Patrons were invited to observe this labor and then purchase samples to take home with them, thereby going on to consume the authenticity on display.
Of course, this presentation of authenticity was staged; the artisans were there to perform labor. Despite the Prince of Wales's alleged exclamation, "Why you have India itself here!" (qtd. in Spear 916), the exhibit was only a "simulation" (Spear 916). Most of the workers were prisoners from the Central Jail in Agra, where they had been trained in various crafts as part of their rehabilitation. During the course of the exhibit, they labored under the close supervision of Dr. John William Tyler, the superintendent of the prison (Mathur 63-66). The coerced nature of their performance, the fact that the skills they demonstrated were "likely to have been learned through the industrializing processes of prison reform rather than through the ancient, timeless practices of the village" (Mathur 66)—as well as the theatricality of the exhibition as a whole—undermined the authenticity of the display. As Nicky Levell reminds us, "Reconstructed mimetic environments replete with 'exotic' life exhibits, were in actuality, occidental imaginaries, idealised visions of the Orient, that had been devised and designed by the West" (70).
To visitors of the 1886 exhibition, however, the mere presence of the workers may have offered a sufficient degree of authenticity. In Julie Codell's words, "Any Indian hands, even of . . . prisoners, were legitimized under British re-definitions of authenticity and tradition" (160). The artisans' laboring bodies provided direct evidence of genuine handicrafts of the type that England had supposedly forsaken in its industrial turn. The second half of the nineteenth century witnessed the emergence of an Arts and Crafts discourse that lamented the shift from manual labor to the mechanizations of industry. As John Ruskin famously wrote in "The Nature of Gothic" (1853), "Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions. If you will have that precision out of them, and make their fingers measure degrees like cog-wheels, and their arms strike curves like compasses, you must unhumanize them" (161). The 1851 Great Exhibition was instrumental in associating Indian artifacts with the type of ideal craftsmanship that England had supposedly lost to the machine. Prior to the opening of the Crystal Palace, the Illustrated London News enticed its readers with images of Indian craftsmen producing works for the exhibit, and the completed Indian pavilion featured sixty clay figures from Krishnagur representing Indian artisans at work (Kriegel 113, 117). Tim Barringer explains that the resulting admiration for Indian art was "deeply corrosive of widely held mid-Victorian assumptions concerning national and racial superiority, progress, and mechanisation" (Men at Work 260). He goes on to argue that "the process of labour, the handcrafting of the complete object by the skilled and creative individual, provides an alternative, and superior, form of work to that of the division of labour under mechanized industrial capitalism" (Men at Work 261). The fascination with Indian production increased in intensity following the Crystal Palace Exhibition, as evidenced by the South Kensington Museum's acquisition of the East India Company's collection of Indian art in 1879 (Kriegel 144) and the inception of the Journal of Indian Arts in 1884 (renamed the Journal of Indian Art and Industry in 1894), which regularly featured images of laboring Indian artisans.[5] One of the most influential treatises on the value of Indian craftsmanship was George Birdwood's The Industrial Arts of India, which he wrote for the 1878 Paris Universal Exhibition and which later served as a handbook for the South Kensington Museum (152). Birdwood contrasted the downfall of Western manual production with the proliferation of Indian artistry:
The very word manufacture has in Europe come at last to lose well nigh all trace of its true etymological meaning, and is now generally used for the process of the conversion of raw materials into articles suitable for the use of man by machinery. . . . In India everything is hand wrought, and everything, down to the cheapest toy or earthen vessel, is therefore more or less a work of art. (131)
Through its presentation of artisans, the 1886 exhibition conflated the authenticity of "native" crafts with the presence of "genuine" Indian bodies.
Accounts of the display emphasized the humanity of these workers, the fact that they were men rather than machines. In Mathur's words, "The external features of [the worker's] body—his dress and adornment, his racial markings, his movements and gestures—were all celebrated as part of an enduring tradition of artisanship that was somehow perfect and historically pure" (58). Articles like Frank Banfield's in Time emphasized this authenticity by giving readers an "inside" view of the workers' positions and perspectives. Banfield writes that "The crowd gazing at these silent workers is apt to be misled by their apparent stolidity, and to forget that they are not automatic or clay figures. . . . These Indian artisans are more communicative when their own countrymen are near." He cites an "Indian gentleman" who interviewed one of the workers: "'He says that most of the visitors do not see their work, but only look at them and their movements. He also quietly told me that he did not quite like the very audible remarks of some visitors, who seem to look upon them as animals'" (668). While the inclusion of the workers' perspective may seem discordant in an article that otherwise sensationalizes them, it is emblematic of the particular type of humanization that Banfield and others seek to convey. This humanization resides on a scale of authenticity rather than ethics, focusing less on the fact that these artisans are objectified by visitors than that they are real, human examples of Indian craftsmen. Abigail McGowan unravels the motives behind such displays: "By the end of the century, exhibitions that otherwise reduced cultures to their objects and obscured labor now also tried to offer visual evidence of production. But they did so not out of respect for Indian technologies, but out of a sense that production in India could not be abstracted from the male artisanal body" (61). The laborers' humanity increases their status as fascinating objects of the gaze and examples of the successes of imperialism: "In conclusion, I may venture to remark that the Indian and Colonial Exhibition is admirably adapted to impress English people with the reality, and the splendour, and magnitude of the inheritance with which our race has been entrusted" (Banfield 672; italics added).
The focus on the authenticity of the Indian worker's body filled in for the absence of the British laborer from public display. If one of the effects of industrialization was to replace the human body with the machine, the Indian artisan became a prime visual signifier of physical labor (Hoffenberg 184-86; Barringer, Men at Work 248). This "cult of the craftsman" (Mathur 19), which extended well beyond the 1886 exhibition, was inseparable from the colonial project. England's responsibility was to regulate the work of Indian artisans, who might otherwise misuse their talents. Deepali Dewan argues that "The 'native craftsman,' . . . as a symbol of tradition and nonindustrialization, became a site of contention and justification for Empire. He embodied qualities that were, on the one hand, to be praised and, on the other hand, to be condemned, controlled, and improved" ("Scripting" 41). An article on the exhibit from the Westminster Review reflects the need for continued intervention: "This is not the display of an effete nation sunk in Oriental lethargy, with no thought save of luxury and repose, neither is it the tribute of a conquered nation laying its best gifts at the feet of the conqueror, but it is the work of a Power acting the part of a regenerator, guiding the myriad hands in paths of reproductive industry" (35; italics added). If England had lost its hands to the machine—both literally, through the rise in industrial accidents, and metaphorically, through the turn to machine-made art—it had the responsibility to guide the hands of India's workers. As Arindam Dutta points out, this imperial system of production was at risk of reproducing the distinctly dehumanizing aspects of industrial labor: "The artisan's customary skills become a cultural analogue of the machine, conceptually blind but corporeally productive. The hand of the traditional artisan is like the glitch in the metallic roller that churns out design in spite of itself" (140). The 1886 exhibition contributed to the necessary illusion that Indian hands were there for the guiding, ready to continue weaving the fabric of the British Empire.
The image of the artisan was as pliable as it was powerful. By 1905, it had been seized by the Bengali swadeshi campaign, which advocated a return to traditional crafts as a resistance to British imperialism. Representations of traditional labor were central to the movement, which "created a new prestige for such indigenous symbols as the handloom, the spinning wheel, and the craftsman himself" (Mathur 43). Mahatma Gandhi later appropriated this image of traditional manual labor in his campaign for Indian independence: "Just as we cannot live without breathing and without eating, so it is impossible for us to attain economic independence and banish pauperism from this ancient land without reviving home-spinning. I hold the spinning wheel to be as much a necessity in every household as the hearth" (297).[6] Jeffrey Spear traces the historical significance of this image to its Arts and Crafts past: "The iconic image of Gandhi with a spinning wheel, which resonated in the West as well as in India, owes at least as much to the efforts of Birdwood, the South Kensington arts administrators, and their successors to promote the village artisan as a signifier of essential India as it does to the fact that Gandhi actually read Ruskin" (917). The adaptability of the artisan image from these seemingly antithetical contexts, shifting form imperialist symbol to liberatory icon, not only attests to its power but to what postcolonial theorists have identified as the mutability of imperial discourse. It is yet another reminder of Sara Suleri's claim that "colonial facts are vertiginous. . . . They frequently fail to cohere around the master-myth that proclaims static lines of demarcation between imperial power and disempowered culture, between colonizer and colonized" (3).
Aviva Briefel is Associate Professor of English at Bowdoin College. She is the author of The Deceivers: Art Forgery and Identity in the Nineteenth Century (Cornell UP 2006) and co-editor of The Horror Film after 9/11: World of Fear, Cinema of Terror (Texas UP, 2011). She is currently writing a book titled Amputations: The Colonial Hand at the Fin de Siècle.
Briefel, Aviva. "On the 1886 Colonial and Indian Exhibition." BRANCH: Britain, Representation and Nineteenth-Century History. Ed. Dino Franco Felluga. Extension of Romanticism and Victorianism on the Net. Web. [Here, add your last date of access to BRANCH].
Banfield, Frank. "The Colonial and Indian Exhibition." Time (Jun. 1886): 662-72. ProQuest. Web. 24 Oct. 2011.
Barringer, Tim. Men at Work: Art and Labour in Victorian Britain. New Haven: Yale UP, 2005. Print.
—. "The South Kensington Museum and the Colonial Project." Colonialism and the Object: Empire, Material Culture and the Museum. Barringer and Flynn 11-27.
Barringer, Tim and Tom Flynn, eds. Colonialism and the Object: Empire, Material Culture and the Museum. London: Routledge, 1998. Print.
Birdwood, George M. The Industrial Arts of India. 1880. London: Reprint Press, 1971. Print.
Codell, Julie F. "Indian Crafts and Imperial Policy: Hybridity, Purification, and Imperial Subjectivities." Material Cultures, 1740-1920: The Meanings and Pleasures of Collecting. Ed. John Potvin and Alla Myzelev. Surrey: Ashgate, 2009. 149-70. Print.
"The Colonial and Indian Exhibition." Art Journal (Dec. 1886): Supplemental section (1-32). Print.
"The Colonial and Indian Exhibition." Saturday Review 22 May 1886: 707. ProQuest. Web. 24 Oct. 2011.
"The Colonial and Indian Exhibition." Westminster Review 70 (July 1886): 29-59. ProQuest. Web. 24 Oct. 2011.
"Colonial Indian Exhibition: The Indian Empire." Illustrated London News 17 July 1886: 84. ProQuest. Web. 24 Oct. 2011.
Cundall, Frank, ed. Reminiscences of the Colonial and Indian Exhibition. London: William Clowes, 1886. Google Book Search. Web. 24 Oct. 2011.
Dewan, Deepali. "The Body at Work: Colonial Art Education and the Figure of the 'Native Craftsman.'" Confronting the Body: The Politics of Physicality in Colonial and Post-Colonial India. Ed. James H. Mills and Satadru Sen. London: Anthem Press, 2004. 118-34. Print.
—. "Scripting South Asia's Visual Past: The Journal of Indian Art and Industry and the Production of Knowledge in the Late Nineteenth Century." Imperial Co-Histories: National Identities and the British and Colonial Press. Ed. Julie F. Codell. Madison: Fairleigh Dickinson UP, 2003. 29-44. Print.
Dutta, Arindam. The Bureaucracy of Beauty: Design in the Age of its Global Reproducibility. New York: Routledge, 2007. Print.
Gandhi, Mahatma. "The Duty of Spinning." 1921. Factory Production in Nineteenth-Century Britain. Ed. Elaine Freedgood. New York: Oxford UP, 2003. 297-98. Print.
Greenhalgh, Paul. Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939. Manchester: Manchester UP, 1988. Print.
Hoffenberg, Peter H. An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War. Berkeley: U of California P, 2001. Print.
"The Imperial Object Lesson." Saturday Review 8 May 1886: 632-33. ProQuest. Web. 24 Oct. 2011.
Kriegel, Lara. Grand Designs: Labor, Empire, and the Museum in Victorian Culture. Durham: Duke UP, 2007. Bowdoin College. Web. 9 Dec. 2011.
Levell, Nicky. Oriental Visions: Exhibitions, Travel, and Collecting in the Victorian Age. London: Horniman Museum and Gardens, 2000. Print.
Mathur, Saloni. India by Design: Colonial History and Cultural Display. Berkeley: U of California P, 2007. Print.
McGowan, Abigail. Crafting the Nation in Colonial India. New York: Palgrave Macmillan, 2009. Print.
Mukharji, T.N. A Visit to Europe. Calcutta: W. Newman, 1889. Google Book Search. Web. 25 Oct. 2011.
Peripatetic. "The Colonial and Indian Exhibition." British Architect 11 May 1886: 511-512. ProQuest. Web. 24 Oct. 2011.
Ruskin, John. "The Nature of Gothic." The Stones of Venice. Vol. 2. London: Smith, Elder, 1853. 151-231. Google Book Search. Web. 24 Oct. 2011.
Spear, Jeffrey L. "A South Kensington Gateway from Gwalior to Nowhere." Studies in English Literature 48.4 (2008): 911-21. JSTOR. Web. 9 Dec. 2011.
Suleri, Sara. The Rhetoric of English India. Chicago: U of Chicago P, 1992. Print.
Swallow, Deborah. "Colonial Architecture, International Exhibitions and Official Patronage of the Indian Artisan: The Case of a Gateway from Gwalior in the Victoria and Albert Museum." Barringer and Flynn 52-67.
Tennyson, Lord Alfred. "Opening of the Indian and Colonial Exhibition by the Queen: Written at the Request of the Prince of Wales." The Complete Poetical Works of Tennyson. Boston: Houghton Mifflin, 1898. 525. Google Book Search. Web. 9 Dec. 2011.
RELATED BRANCH ARTICLES
Anne Clendinning, "On The British Empire Exhibition, 1924-25″
Anne Helmreich, "On the Opening of the Crystal Palace at Sydenham, 1854"
Audrey Jaffe, "On the Great Exhibition"
Amy Woodson-Boulton, "The City Art Museum Movement and the Social Role of Art"
[1] Alfred, Lord Tennyson, "Opening of the Indian and Colonial Exhibition by the Queen, 1886: Written at the Request of the Prince of Wales" (35-40).
[2] For more on the significance of Gwalior Gateway in this and other exhibits, see Spear and Swallow.
[3] In 1885, Liberty's Department Store attempted to reproduce an artisan village as a promotional campaign; Mathur provides an engrossing account of its failure (36-42). See Chapter 4 in Greenhalgh for an overview of "Human Showcases" in international exhibitions.
[4] For more on Mukharji, see Mathur 60-61, 67-69.
[5] Dewan writes that illustrations of these artisans "authenticated the textual information written therein" ("Scripting South Asia's Visual Past" 42).
[6] As Dewan writes, "Nationalist images, especially pictures of Gandhi spinning cotton, can be traced genealogically to the earlier art-school images of the native craftsman" ("Body at Work" 131).

redpajama_set_name: RedPajamaCommonCrawl


Packages simply don't come much better than this. Three of Benjamin Britten's early masterpieces - the song cycles Les Illuminations and Serenade for Tenor, Horn and Strings, separated by the Variations on a Theme of Frank Bridge - make for addictive listening on this excellent new Linn recording, which features the superb tenor Toby Spence and horn player Martin Owen as soloists, alongside the Scottish Ensemble. Spence is truly spectacular, combining vocal athleticism with inspired artistry. The Scottish Ensemble is luminous throughout, particularly incisive and thrilling in the Bridge Variations. Everything about this disc screams "go out and buy me".


text:
You are at:Home»News»In The News»A New Theory on Autism?
A New Theory on Autism?
By Alisa Fleming on June 4, 2009 In The News
Many autism families find their way to Go Dairy Free in search of dietary help with the gluten-free / casein-free (GFCF) diet. As such, we like to keep abreast of studies and news related to autism for viewers. This month, Foods Matter (a magazine for food allergies and intolerances) featured a very interesting article on a new study that may help to connect some of the pieces in the autism puzzle …
Scientists at Albert Einstein College of Medicine of Yeshiva University have proposed a sweeping new theory of autism that suggests that the brains of people with autism are structurally normal but dysregulated, meaning symptoms of the disorder might be reversible …
The central tenet of the theory, published in the March issue of Brain Research Reviews, is that autism is a developmental disorder caused by impaired regulation of the locus coeruleus, a bundle of neurons in the brain stem that processes sensory signals from all areas of the body. The new theory stems from decades of anecdotal observations that some autistic children seem to improve when they have a fever, only to regress when the fever ebbs.
Einstein researchers contend that scientific evidence directly points to the locus coeruleus-noradrenergic (LC-NA) system as being involved in autism. 'The LC-NA system is the only brain system involved both in producing fever and controlling behaviour,' says co-author Dr Dominick Purpura, dean emeritus and professor of neuroscience at Einstein.
The locus coeruleus has widespread connections to brain regions that process sensory information. It secretes most of the brain's noradrenaline, a neurotransmitter that plays a key role in arousal mechanisms, such as the 'fight or flight' response. It is also involved in a variety of complex behaviours, such as attentional focusing (the ability to concentrate attention on environmental cues relevant to the task in hand, or to switch attention from one task to another); indeed it activates almost all higher-order brain centres that are involved in complex cognitive tasks.
Drs Purpura and Mehler hypothesise that in autism, the LC-NA system is dysregulated by the interplay of environment, genetic, and epigenetic factors (chemical substances both within as well as outside the genome that regulate the expression of genes). They believe that stress plays a central role in dysregulation of the LC-NA system, especially in the latter stages of prenatal development when the oetal brain is particularly vulnerable.
As evidence, they point to a 2008 study, published in the Journal of Autism and Developmental Disorders, that found a higher incidence of autism among children whose mothers had been exposed to hurricanes and tropical storms during pregnancy. Maternal exposure to severe stormsk mid-gestation resulted in the highest prevalence of autism.
Drs Purpura and Mehler believe that, in autistic children, fever stimulates the LC-NA system, temporarily restoring its normal regulatory function. 'This could not happen if autism was caused by a lesion or some structural abnormality of the brain,' says Dr Purpura. The researchers do not advocate fever therapy (fever induced by artificial means), which would be an overly broad, and perhaps even dangerous, remedy. Instead, they say, the future of autism treatment probably lies in drugs that selectively target certain types of noradrenergic brain receptors or, more likely, in epigenetic therapies targeting genes of the LC-NA system. 'If the locus coeruleus is impaired in autism, it is probably because tens or hundreds, maybe even thousands, of genes are dysregulated in subtle and complex ways,' says Dr Mehler. 'The only way you can reverse this process is with epigenetic therapies, which, we are beginning to learn, have the ability to coordinate very large integrated gene networks.'
Read more on this study at The Medical News.
Above logo from the Autism Speaks website – a great resource for autism information, news, and events.
Snickers Ice Cream Cookie Bars
How to Substitute Eggs: 10 Easy Vegan Swaps for Every Recipe
Dairy Free Ranch Pasta Salad


text:
Q: Initializing C++ const fields after the constructor I want to create an immutable data structure which, say, can be initialized from a file.
class Image {
public:
   const int width,height;
   Image(const char *filename) {
     MetaData md((readDataFromFile(filename)));
     width = md.width();   // Error! width  is const
     height = md.height(); // Error! height is const
   }
};

What I could do to fix the problem is
class Image {
   MetaData md;
public:
   const int width,height;
   Image(const char *filename):
     md(readDataFromFile(filename)),
     width(md.width()),height(md.height()) {}
};

However

*

*It forces me to save MetaData as a field in my object. Which I don't always want.

*Sometimes the logic in the constructor is much more complex than a single read (say, error handling can take a few lines)

So the only solution I thought of is along the lines of
class A {
  int stub;
  int init(){/* constructor logic goes here */}
  A():stub(init)/*now initialize all the const fields you wish
  after the constructor ran */{}
};

Is there a better idea? (In Java, you're allowed initializing finals in the constructor).

A: You can simply use the NamedConstructor idiom here:
class Image
{
public:
  static Image FromFile(char const* fileName)
  {
    MetaData md(filename);
    return Image(md.height(), md.width());
  }

private:
  Image(int h, int w): mHeight(h), mWidth(w) {}

  int const mHeight, mWidth;
};

One of the main advantage of Named Constructors is their obviousness: the name indicates you are building your object from a file. Of course it's slightly more verbose:
Image i = Image::FromFile("foo.png");

But that never troubled me.

A: If it was C++0x, I would recommend this (delegating constructors):
class Image
{
  public:

    const int width, height;

    Image(const char* filename) : Image(readDataFromFile(filename)) { }
    Image(const MetaData& md) : width(md.width()), height(md.height()) { }
};

A: You should add inline getters for the width and height instead of public const member variables. The compiler will make this solution as fast as the original try.
class Image {
public:
   Image(const char *filename){ // No change here
     MetaData md((readDataFromFile(filename)));
     width = md.width();
     height = md.height();
   }
   int GetWidth() const { return width; }
   int GetHeight() const { return height; }
private:
   int width,height;
};

P.S.: I used to write private things at the end because they are less important for the user of the class.

A: First, you should understand the constructor body is just for running code to complete initializing your object as a whole; the members must be completely initialized before the body is entered.
Ergo, all members are initialized in an (implicit unless made explicit) initialization list. Clearly, const variables must be initialized in the list because once you enter the body, they are already suppose to be initialized; you'd simply be trying to assign them.
Generally, you don't have const members. If you want those members to be immutable, just don't give any public access to them that could change them. (Also, having const members make your class non-assignable; typically unnecessarily.) Going this route easily fixes your problem, as you'd just assign them values in the body of the constructor like you wish.
A method to do what you want while maintaining const could be:
class ImageBase
{
public:
    const int width, height;

protected:
    ImageBase(const MetaData& md) :
    width(md.width()),
    height(md.height())
    {}

    // not meant to be public to users of Image
    ~ImageBase(void) {}
};

class Image : public ImageBase
{
public:
    Image(const char* filename) : // v temporary!
    ImageBase(MetaData(readDataFromFile(filename)))
    {}
};

I don't think this route is worth it.

A: You could cast away the constness in the constructor:
class Image {
public:
    const int width,height;
    Image(const char *filename) : width(0), height(0) {
        MetaData md(readDataFromFile(filename));

        int* widthModifier = const_cast<int*>(&width);
        int* heightModifier = const_cast<int*>(&height);
        cout << "Initial width " << width << "\n";
        cout << "Initial height " << height << "\n";
        *widthModifier = md.GetWidth();
        *heightModifier = md.GetHeight();
        cout << "After const to the cleaners " << width << "\n";
        cout << "After const to the cleaners " << height << "\n";
    }
};

That would achieve what you want to do but I must say I personally would stay away from that because it causes undefined behavior according to the  standard (excerpt from cppreference)

const_cast makes it possible to form a reference or pointer to
  non-const type that is actually referring to a const object ...
  Modifying a const object through a non-const
  access path ... results in undefined behavior.

I would fear any public data members(at least in regarding your particular example). I would go with Georg's approach or make the data private and provide only the getter.

A: You could move width and height into one type and move the initialization code into an initialization helper function:
// header:
struct Size {
    int width, height;
    Size(int w, int h) : width(w), height(h) {}
};

class Image {
    const Size size; // public data members are usually discouraged
public:
    Image(const char *filename);
};

// implementation:
namespace {
    Size init_helper(const char* filename) {
        MetaData md((readDataFromFile(filename)));
        return Size(md.width(), md.height());
    }
}

Image::Image(const char* filename) : size(init_helper(filename)) {}

A: How about passing MetaData as an argument to the constructor. This gives a lot of benefits:
a) The constructor interface makes it clear about the dependency on MetaData.
b) It facilitates testing of the Image class with different types of MetaData (subclasses)
So, I would probably suggest similar to follows:
struct MD{
   int f(){return 0;}
};

struct A{
   A(MD &r) : m(r.f()){}
   int const m;
};

int main(){}

A: I'd use a static method:
class Image {
public:
    static Image* createFromFile( const std::string& filename ) {
        //read height, width...
        return new Image( width, height );
    }

    //ctor etc...
}

A: class A
{
public:
    int weight,height;

public:
    A():weight(0),height(0)
    {
    }

    A(const int& weight1,const int& height1):weight(weight1),height(height1)
    {
        cout<<"Inside"<<"\n";
    }
};

static A obj_1;

class Test
{
    const int height,weight;

public:
    Test(A& obj = obj_1):height(obj.height),weight(obj.weight)
    {
    }

    int getWeight()
    {
        return weight;
    }

    int getHeight()
    {
        return height;
    }
};

int main()
{
    Test obj;

    cout<<obj.getWeight()<<"\n";

    cout<<obj.getHeight()<<"\n";

    A obj1(1,2);

    Test obj2(obj1);

    cout<<obj2.getWeight()<<"\n";

    cout<<obj2.getHeight()<<"\n";

    return 0;
}

As far my understanding i think this mechanism will work.

A: This is one of my least favorite aspects of C++ when compared to Java. I'll use an example I was working on when I needed to solve this problem.
What follows is the equivalent of a readObject method. It deserializes a Video key from a provided file path.
#include <fstream>
#include <sstream>
#include <boost/archive/binary_iarchive.hpp>
#include <boost/archive/binary_oarchive.hpp>

using namespace std;
using namespace boost::filesystem;
using namespace boost::archive;

class VideoKey
{
  private:
    const string source;
    const double fps;
    const double keyFPS;
    const int numFrames;
    const int width;
    const int height;
    const size_t numKeyFrames;
    //Add a private constructor that takes in all the fields
    VideoKey(const string& source,
      const double fps,
      const double keyFPS,
      const int numFrames,
      const int width,
      const int height,
      const size_t numKeyFrames)
    //Use an initializer list here
    : source(source), fps(fps), keyFPS(keyFPS), numFrames(numFrames), width(width), height(height), numKeyFrames(numKeyFrames)
    {
      //Nothing inside this constructor
    }
  public:
    //Then create a public static initializer method that takes in
    //the source from which all the fields are derived
    //It will extract all the fields and feed them to the private constructor
    //It will then return the constructed object
    //None of your fields are exposed and they are all const.
    const static VideoKey create(const path& signaturePath)
    {
      const path keyPath = getKeyPath(signaturePath);
      ifstream inputStream;
      inputStream.open(keyPath.c_str(), ios::binary | ios::in);
      if (!inputStream.is_open())
      {
        stringstream errorStream;
        errorStream << "Unable to open video key for reading: " << keyPath;
        throw exception(errorStream.str().c_str());
      }
      string source;
      double fps;
      double keyFPS;
      int numFrames;
      int width;
      int height;
      size_t numKeyFrames;
      {
        binary_iarchive inputArchive(inputStream);
        inputArchive & source;
        inputArchive & fps;
        inputArchive & keyFPS;
        inputArchive & numFrames;
        inputArchive & width;
        inputArchive & height;
        inputArchive & numKeyFrames;
      }
      inputStream.close();
      //Finally, call your private constructor and return
      return VideoKey(source, fps, keyFPS, numFrames, width, height, numKeyFrames);
    }

redpajama_set_name: RedPajamaStackExchange


I'm just an average guy but i think of my self as a powerful being or you could say i dream of something out of this world.
It conquers all , a strong word that abides all life forms on the universe.
This is the word you dont to be called on you, because it will only destry your total humanity.


It appears like on the subject of everybody collects one thing. Whether or not it's baseball mercantilism pins, fountain pens, even recent appliances, there's one thing out there for each collector. many of us realize collection patches to be fun and gratifying to trade and share. It's simple to envision why. Custom adorned patches area unit colorful, typically with the lovely design. They function emblems of police and health departments, Scouts, military units and lots of additional organizations. That's a part of what makes patch collection thus well-liked.
A lot of individuals begin collection patches young. Boy Scouts and woman Scouts typically begin mercantilism patches throughout their active involvement within the organizations. Several collect patches representing native or regional Scout gatherings, et al collect from national and even international chapters. Very often, those that begin collection patches as youngsters continue the hobby into adulthood.
Some collectors "space out" with custom patches from the U.S. programme the primary area mission patch was created by astronauts Pete writer and Gordon Cooper for his or her 1965 flight aboard Gemini V. several others have followed.
It's not exhausting to search out patches and patch collectors. Exploratory survey events, county fairs, ectozoon markets, swap meets and alternative events area unit all fertile ground for locating patches to gather and trade.
Online teams additionally provide an upscale choice of patches, each purchasable and trade. Enthusiast teams for patch collectors' area unit an excellent resource.
Antique stores area unit another smart choice. The $64000 secret, however, is to easily keep your eyes open.
You can realize nice patches on the subject of anyplace, generally, in places, you don't expect.
Military patches carry special that means for those that serve. Several service members, each active duty and former, collect unit patches associated with their own service or that of adored ones and friends. Every patch carries sentimental that means distinctive to the individual.
For new custom morale patches, it's simple to search out several dependable sources. Except for the most effective in high-quality patches, low costs and outstanding client service, there's solely one: Patches four less. We tend to area unit a one-stop supplier for all of your trendy custom patch wants. Our direct evaluation, 1st rate quality and legendary client service set the North American nation aside from alternative firms.


text:
es un futbolista japonés que se desempeña como centrocampista.

Trayectoria

Clubes

Estadística de carrera

J. League

Referencias

Personas de la prefectura de Yamanashi
Futbolistas de Japón
Futbolistas del Ventforet Kofu
Futbolistas del Roasso Kumamoto
Futbolistas del Ehime FC
Futbolistas del Kyoto Sanga FC

redpajama_set_name: RedPajamaWikipedia


text:
Mallory Velte: How I Chose Where to Wrestle in College
photo by tony rotundo
Mallory Velte started her wrestling journey in California. Despite first being told she could not join the team, she has pushed past obstacles to become a 3x college national champion, a junior and senior world team member, and one of the top wrestlers in the country. Read about her decision making for wrestling in college, and how the lessons she learned can help make your search more simple.
How she started wrestling
I am originally from Sacramento, California, which is where I first started wrestling. I am currently finishing my degree (last 2 classes!) at Simon Fraser University in Vancouver, Canada. I was drawn to contact sports and wrestling my whole life, but didn't have the opportunity to go to a school with a wrestling team until 8th grade. I asked to join the team, and was denied by the coach, so I thought wrestling wasn't for girls. When I was in high school, I was approached by the wrestling coach and encouraged to participate - there was 1 other girl on the team so I was excited.
I love the constant physical and mental challenges of wrestling- the tough gritty aspect of our sport is why I have kept with it. I choose to attend Simon Fraser University in BC, Canada due to the great wrestling team, and the academic opportunities. I'm a psychology major, and finishing my minors in Early Learning and Kinesiology.
I was no superstar coming out of high school. I had won the state tournament twice, but aside from that I didn't have inherent talent in the sport. I knew I needed to choose a university where my wrestling would continue to develop and get me to the top of the national podium.
I never thought twice about not wrestling in college, so I only applied to schools with women's wrestling teams in the WCWA. However, I knew I wanted to compete with a team that could help me become the best wrestler possible. I also wanted to go to a school with quality academics so I would leave with a diploma with a good reputation. Additionally, I knew I wanted to go to a big school in an urban area - basically I didn't want to be in the middle of nowhere. I visited the top schools at the time: King, Lindenwood, OCU, Menlo, and then Simon Fraser. Visiting the schools was important for me, because I didn't want to make a blind choice about where I was going to live for the next 4-5 years. Each school visit gave me the opportunity to get to know the coaches and the team to see if I would fit in. Many high school girls I speak to talk about needing to get a "full ride." For me, I didn't want to sacrifice quality of academics, training, or quality of life because of money. Luckily with blind faith, a little help from my family, working a part time job, a partial wrestling scholarship, and applying for external grants and bursaries I was able to afford my college of choice: Simon Fraser University.
For high school wrestlers starting their college search
Here are my six recommendations for female wrestlers looking at colleges:
1. Take your SAT and ACT early! It can add to your scholarships and entrance awards.
2. Narrow down your choices! Location, academic programs, school size, and team success.
3. VISIT THE SCHOOL! Find a way (even if that means your parents won't be able to come). It's so important to envision yourself at the university to know if it's the right choice.
4. Ask as many questions as you can with the coaches and academic advisors.
5. Don't commit too early! Coaches will pressure you to sign your letter of intent - but a good coach will let you take your time and decide.
6. Follow your gut instinct - if a coach or a team rubs you the wrong way, it's not the right team for you.
What she knows now
I wish I knew that money would work itself out. I was very stressed about what I could afford, and I think that clouded my judgement at times. Visiting the schools I was interested in was expensive and tricky during my 12th grade year of high school. But I made it work because it was a priority to me.
Mallory Velte is a student athlete at Simon-Fraiser University in Vancouver, Canada finishing her degree in psychology. She was 5th at the 2015 Junior World Championships, a 3x WCWA National Champion (2016-2018), a 2x National Team Member, and a 2017 Senior World team member.
Should I Redshirt a College Year?
How to Evaluate a College Wrestling Program
Carlene Sluberski: How to Balance Academics as a Student Athlete
College Wrestling 101 for Women
Jessica Medina's Advice on How to Wrestle in College
Jessica Medina: Improve your Wrestling Game this Season
college, simon fraiser university


text:
Undroppable Players List
"The Undroppable Players List" is a list comprised of the top Fantasy players who can't be sent to waivers/free agency. Without this feature a team manager who is out of contention could drop a star player for their buddy, who is first on the waiver order, to pick up, therein bolstering their team for the playoffs.
If you'd like to turn it off for any reason, the League Manager can do so by doing the following:
Turn off Undroppable Players List for League Manager leagues (Web Only). Once a player is dropped, League Manager can turn it on again to prevent further drops.
Click on the "LM Tools" tab
Click on "Edit League Settings"
Click on "edit" next to "Player Rules" before selecting "No" next to "Observe ESPN's Undroppable Player List"
** Please Note: If a player designated "Undroppable" becomes injured this does not mean they will be automatically removed from the ESPN Undroppable List. Players are put on the list before the season begins due to their star potential and ESPN may choose not to remove a player on the list who is still expected back at some point during the season/playoffs. **


You: - Hold at least a graduate degree or diploma in Product Design. - Have worked in product design for up to 2 years. - Have a strong portfolio - great ideas, great execution. - Have a great sense of aesthetics. - Have a sense of humour! - Are passionate, enthusiastic and energetic. -Are excited to work in a startup (Read - Are willing to work your a** off) We: - Make happy things! - Are super passionate about what we do. - Are one of India's coolest, quirkiest indie decor brands. - Are looking for someone to join in the fun, at our Manesar,Gurgaon office. Interested? Email us at HappyThings@PoppadumArt.com.


text:
require 'test_helper'

class JanusTest < ActiveSupport::TestCase
  test "scope_for symbol" do
    assert_equal :user, Janus.scope_for(:user)
  end

  test "scope_for string" do
    assert_equal :user, Janus.scope_for("user")
  end

  test "scope_for object" do
    assert_equal :user, Janus.scope_for(User.new)
  end

  test "config" do
    pepper = Janus.config.pepper
    begin
      Janus.config do |config|
        config.pepper = "0123456789"
      end
      assert_equal "0123456789", Janus.config.pepper
    ensure
      Janus.config.pepper = pepper
    end
  end
end

redpajama_set_name: RedPajamaGithub


The Portland Metro Chapter of the Data Administration Management Association is a not-for-profit, vendor independent, professional association dedicated to advancing the concepts and practices of enterprise information and data resource management.
Portland Metro Chapter members, guests and speakers meet a minimum of six times a year to widen their knowledge base in topics relevant to information and data resource management.
To learn more about DAMA, visit the DAMA International website at www.dama.org.


On the eve of the Cycle Hire scheme's first birthday, Transport for London has announced that the network will be extended to parts of the east, west and south of the capital, and that Barclays have stumped up an additional £25 million, extending their sponsorship deal, which previously expired in 2015, until 2018.
There's a whiff of commercial wheeler-dealings around the announcement: according to TfL, the extension will put docking stations at Westfield, Shepherds Bush, in time for next spring, despite the bikes' relative lack of shopper-friendliness. Much of Tower Hamlets should also be covered by next summer (here's an unofficial map of the new locations), while the boroughs of Wandsworth, Hammersmith & Fulham, Lambeth and Kensington & Chelsea will also welcome the Boris bikes. Still not much for north or southeast Londoners to look forward to, mind. A total of 4,200 docking points and 2,000 new bikes will be introduced with this expansion, which is set to be completed in 2013.
We'll have more on the first year of the Boris bike, and how it has changed cycling in the capital, tomorrow.


text:
First Steps In 'Turnaround' For One Georgia School
By Grant Blankenship • Sep 25, 2018
Shandrina Griffin-Stewart grew up in East Macon and attended Appling Middle School where she is in her first year as principal. Appling is one of 18 schools in Georgia where the Chief Turnaround Schools Officer, appointed by the governor, is at work.
Grant Blankenship / GPB
One morning during the second week of the school year, Principal Shandrina Griffin-Stewart was about to walk the halls of Appling Middle School in Macon. She'd just stepped outside her door when she saw a class of rambunctious sixth graders. She quickly got them in line.
"Raider Pride!" she intoned.
The students responded immediately, if less than enthusiastically.
"Gear up, work hard and do right," they said in a loose unison. Griffin-Stewart tried again.
"Raider Pride!"
This time the kids hit it with some volume.
"Gear up! Work hard! Do right!"
"Alright, Ms. Smalls. You can keep doing what you're doing," the principal said in parting.
Griffin-Stewart was going on her regular rounds of this school on the east side of Macon, a school she attended while growing up in the Kings Park Neighborhood on the road to Jeffersonville.
This is her first year at Appling Middle. She had been at LH Williams Elementary in the heart of Macon where she got a reputation for leading that school out of academic danger and into safer waters.
Now she is tasked for doing the same at Appling Middle School. As she takes that on, she will be one of 18 principals in the state working with the new chief turnaround officer.
The chief turnaround officer, or CTO, is a position created after the failure at the state level to give the governor the power to takeover schools deemed to be struggling.
The turnaround office is a compromise.
Appointed by the state board of education, the CTO is meant to offer everything from academic support to social services in the schools in which it works while still allowing the school its autonomy. What isn't clear yet is what might happen when a "turnaround school" doesn't improve under the turnaround officer's wing.
The sound of cicadas punctuated the walk from the main building to the eighth grade wing. There Griffin-Stewart dropped in on a math class where a young teacher was cruising through a lesson on exponents with an easy tone and comfortable demeanor.
"I wish we could keep her so badly," Griffin-Stewart later said. The math teacher was a long term substitute.
An Appling Middle School student writing during class.
Credit Grant Blankenship / GPB
When the chief turnaround officer initially picked Appling Middle for intervention, he passed over another school in the county, Ballard Hudson Middle School, that by many measures has more ground to make up than Appling. Plus, all the schools on the turnaround list are south of Atlanta. Decisions like that have some educators scratching their heads. There has been pushback.
The superintendent of Macon County Schools has said he does not want the turnaround office's help at all. Still Appling Middle's eighth grade reading scores are in the bottom five percent of Georgia middle schools.
In the end, Bibb County Schools got the turnaround office to agree to work in Ballard Hudson Middle School, too. At Appling Middle, Principal Griffin-Stewart is happy to have the help.
A few weeks later, Griffin-Stewart sat down at a conference table behind her office for one of her regular meetings with Betty Jones. Jones is from the turnaround office. She's what they call a transformation specialist. She came with a full complement of highlighters and stacks of data, some already past and some to be met in the future, which she keeps track of.
Jones stressed that she and her office are at Appling Middle for partnership, not a takeover. Back in the summer, Bibb Schools officials and turnaround staff got together to list the trouble spots at Appling. Because lists like that can quickly become intimidating, Griffin-Stewart said they pared it down to four distinct goals.
Betty Jones of the Chief Turnaround Office, left, and Principal Shandrina Griffin-Stewart going over progress in their shared plan for progress at Appling Middle School in Macon.
The first two goals are purely academic. They are to get kids on grade level in math and reading.
Griffin-Stewart called the third goal cultural. It's about getting teachers on the same page in terms of creating a positive environment in school for students and for each other.
Then there's the fourth goal, which arguably underpins all the others. For students here to focus, they first have to cope with their lives outside the school walls. Even though Griffin-Stewart grew up on this side of town she said she has a hard time wrapping her head around the stresses her students experience.
"They've experienced murders. They've experienced parents die, you know just just situations you know outside of school that impacts them from being focused and learning," she explained.
Dealing with that kind of trauma is beyond the capability of most guidance counselors. This is why the turnaround office is placing a social worker who will be at school every day. That person has been hired and is now conducting surveys to get a more fine grained understanding of what counseling help students may need. The turnaround office is prepared to help make that happen in the other schools with the help of other partners like the Communities in Schools organization. Griffin-Stewart calls this the social and emotional piece of the plan.
How well any of this works will be judged by check ups every 90 days. That's why Betty Jones has that stack of highlighters. She'll be taking meticulous notes and keeping track of everything.
"Everything that we do is predicated on this plan," Betty Jones said. "We wanted it to be streamlined but we want it to be impactful."
What isn't not clear, though, is what happens another 90 days down the road, or at the end of the year, if there isn't progress. It's not something anyone in the room is planning on.
Back at the conference table, Jones and Griffin-Stewart are were talking data when there was a commotion in the hall. It was a student, apparently struggling with an adult.
"Let go of me!" the boy shouted. A man's voice told other students to keep miving down the hall.
Principal Griffin-Stewart excused herself as she quickly got to the hall to see what was the matter. When she came back a few minutes later, she used the moment to punctuate a piece of her turnaround plan.
"It comes down to social and emotional," she said. "That's what it all comes down to."
The social worker on campus will be begin working with students in a few weeks. Griffin-Stewart says she will take her teachers on a tour of their students' neighborhoods.
chief turnaround schools officer
Abrams Says Georgia's Education System Must Invest In 'Whole Child'
By Stephen Fowler • Aug 8, 2018
Stephen Fowler | GPB News
As students across Georgia are making plans to head back into the classrooms, Democratic nominee for Governor Stacey Abrams released her own plan for Georgia's education system.
At a press conference, the former Georgia House Minority Leader said fully funding the Quality Basic Education formula for schools is an important first step in serving Georgia's students, but it's not enough.
Sex Ed In Georgia Schools Still Abstinence-Heavy
By Sophie Peel • Jul 30, 2018
Sophie Peel
No sex until marriage. That's the message in many Georgia counties, where sex ed is abstinence based. Despite hundreds of student requests for science-based programs and several parent-led initiatives for curriculum change, abstinence-based programs still dominate Georgia schools.
DeKalb County Schools Seek Hundreds Of Teachers During Statewide Shortage
By Ellen Eldridge & Spencer McGuire • Jul 11, 2018
DeKalb County is looking to fill nearly 300 teaching positions ahead of the first day of school on Aug. 6 — but recruiting teachers is also an issue beyond the Atlanta area.
School districts around the state are struggling to recruit hundreds of teachers before the start of the new school year. Dr. Heather Bilton says Savannah needs 30 teachers by July 27.


text:
Disney Parks around the World
News "it's a small world" Holiday Will Not Open on Schedule Due to Incident
Thread starter VJ
Due to flooding in the electrical room of the attraction, the opening of "it's a small world" Holiday will be delayed.
Disneyland's It's a Small World floods, holiday opening delayed
It's a Small World experienced some flooding that affected machinery used to operate the attraction during the early morning hours on Wednesday, Nov. 10 while Disneyland was closed to the public.
www.ocregister.com
Reactions: Magicart87, Inspired Figment, socalifornian and 8 others
mickEblu
Merriest Nights just got a whole lot less Merry. Hopefully they fix this ASAP. I love IASW Holiday. I actually like it more than the non Holiday version.
Reactions: socalifornian and waltography
jrhwdw
It's too bad! Esp after COVID. Any Insiders have guesses on how long this might take?
mandstaft
mickEblu said:
I LOVE it as well!
Reactions: Inspired Figment and mickEblu
Small World Holiday really is one of the best things Disneyland has done in the last thirty years.
I remember a decade or so ago they made a big deal about replacing the flume, as it was still the original one from the 1964 World's Fair. The sets and dolls are all above the flume water line, so I can't think of a way the water could damage them. But I imagine if electrical stuff shorted out, that's going to take some time to fix.
It probably doesn't help that this is a 1960's ride that likely has decades of various patches and additions and redesigns to all the equipment. You probably can't just order this stuff off Amazon for tomorrow's delivery, it may take some time to source and fabricate things that were damaged.
Reactions: brb1006, Communicora, Skip and 13 others
TP2000 said:
co-signing off on all of this.
Reactions: Smooch, DisneyExpert and TP2000
Yeah I agree. I honestly wouldn't be surprised if they don't get back up and running this Christmas season. "Delayed" isn't a good sign either.
Reactions: Communicora, Smooch, TP2000 and 1 other person
SuddenStorm
I'd love to learn more about what actually happened here. Was it user error or a freak accident?
If it's user error I wonder what other mishaps we can expect as Disneyland ramps up over the next year. They've already flooded World of Color this year, and now Small World.
Reactions: Smooch, BuzzedPotatoHead89, TP2000 and 1 other person
Sailor310
The rats from the trams came over and chewed through the sump pump wires.
Reactions: aaronml, CaptinEO, John park hopper and 7 others
Old Mouseketeer
What I can't understand is how they were just refilling the flume the night before opening. Unless they had pumped the existing water into tanker trucks, how do you get all that water chlorinated and balanced?
I heard the whole ride was flooded and I believe those sets and platforms are entirely made of wood. I'm waiting to hear from a good friend who works in Fantasyland.
Reactions: socalifornian
SuddenStorm said:
Conspiracy theory: Disney purposely did this as an elaborate plan to shut down its a Small World (and its valuable space) to build a Frozen boat ride in it's place and avoid the backlash from closing down one of the most classic attractions of all time. "It was an unfortunate accident. We were faced with the choice of rebuilding the 55+ year old attraction or building something for the new generation."
Reactions: Cesar R M, BuzzedPotatoHead89, FoodRockz and 6 others
Disney Irish
Shhhh, don't give them any ideas......
Reactions: Communicora, Smooch and mickEblu
Homemade Imagineering
Isn't this just a small flood within an isolated electrical room backstage somewhere? Not necessarily a literal flooding of the sets and scenery.
Reactions: Communicora
Homemade Imagineering said:
I heard from my friend in Fantasyland and they said it was extensive flooding throughout the show building. One person said it may not reopen until after the holidays. They are telling guests it's closed indefinitely.
Reactions: aaronml, Communicora, DrAlice and 5 others
Old Mouseketeer said:
Yeah, to me it feels like there's more to this situation than we may think. Nothing groundbreaking or intentional, just maybe more extensive damage done and Disney doesn't want to cause any major concern for fans and guests. It is especially strange the star on the IASW icon on the digital park map was removed yesterday, and although I probably shouldn't take a magnifying glass to that, its certainly a strange prospect as I've never seen that done before during attraction refurbishments.
Reactions: CaptinEO and Smooch
Update. As of this morning, it appears the information Star on the digital map has returned.
Reactions: Communicora and TP2000
NobodyElse
Are you implying it's a small flood after all?
Reactions: Brer Panther, aaronml, Rob562 and 3 others
el_super
I haven't asked anyone, but I just can't imagine that the water damage to the sets/building itself would be all that bad. Even all the water in the flume isn't all that much compared to the size of the building.
On the other hand, there is a supply shortage right now, and if they had to replace some specialized electrical equipment, I could definitely see that taking a few months.
Reactions: DisneyExpert, The Aracuan Bird, BuzzedPotatoHead89 and 4 others
SoCalDisneyLover
So they decorated the whole thing for the holidays, and now they're going to take it all down and pretend it was never supposed to be Small World Holiday? Just what the park needs during the holiday season, a MAJOR people eater shut down. More people who would normally be in line or on the ride, to distribute throughout the park, in the walkways and in other lines.
If that's true, and it's closed for the next 2 months, then BRAVO Disney! Guess you won't be needing lightning lane for this one until next November.
Vegas Disney Fan
el_super said:
I was thinking similar, even if the flume was 100% full and completely failed that would likely mean an inch of water at most.
My monies on a basement room (or pit) full of equipment that was flooded.
Reactions: Rob562 and TP2000


'There must be zero tolerance of assaults on rail staff and this is a victory for RMT's campaign to reduce attacks on our members. However, there is still much more to be done and the use of devices such as body worn cameras must be accompanied by proper safeguards to protect staff which don't leave them singled them out for disciplinary action.
'It is also no good bringing in such protective measures when at the same time the Government and train operators are de-staffing trains and stations, leaving the workforce and the travelling public more vulnerable to assaults and anti social behaviour.
'The fact that body worn cameras are being rolled out is just another reflection of the state of Britain's violent railways. Assaults and abuse are on the rise and yet the Government are inflaming the situation by demanding driver only operation on their franchises. That dash to de-staff the railway needs to stop.


text:
Toll Free Line: 0800-100-066
Word from the Minister
Message from the P.S.
About MOH
Departments and Division
Autonomous Bodies
Home > Projects > Ongoing Projects
Specialised Maternal & Neonatal Health Care Unit in Mulago Hospital
The Government of Uganda with support from the Islamic Development Bank is developing a 320 bed Specialised Maternal and Neonatal Healthcare Unit at Mulago National Referral Hospital.This will be a multi storey building that will offer facilities for High Risk Antenatal Care, Delivery and Postnatal Services, Gynecology Uro-gynaecology… read more
East Africa Public Health Laboratory Networking Project (EAPHLNP)
This project aims to establish a network of efficient, high quality, accessible public health laboratories for the diagnosis and surveillance of Tuberculosis (TB) and other communicable diseases. The project objectives include among others; to control the spread of communicable diseases in the Eastern African Community (EAC) region through… read more
Uganda Sanitation Fund (USF)
The Uganda Sanitation Fund (USF) is a five-year-long program funded by the Water Supply and Sanitation Collaborative Council (WSSCC). The program is being implemented by the Ministry of Health across 30 districts in the country. The program aims at reducing morbidity and mortality rates due to sanitation related diseases among people in the… read more
Improvement of Health Services Delivery at Mulago Hospital & the City of Kampala Project (MKCCAP)
The "Improvement of Health Services Delivery at Mulago Hospital and in the City of Kampala Project" (MKCCAP) funded by the African Bank of Development and the Nigerian Trust Fund was designed to improve access to quality and affordable health care services for the population of the City of Kampala by among other activities, constructing and… read more
Uganda Cancer Institute
Uganda Cancer Institute (UCI) offers super specialized services in areas of cancer treatment, research and prevention.
It has a three-fold mission; research into all aspects of common cancers in Uganda, provision of optimal evidence based clinical care, and provision of training for health care professionals using endemic cancers as… read more
Institutional Support to MoH
The Ministry of Health Headquarters was relocated from Entebbe in 1999 to a new facility in Kampala. The new facility was designed to house the administrative offices of the health ministry and to bring the central level institutions into administrative center of Kampala. Given that the building needs general… read more
Rehabilitation and Construction of General Hospitals
Rehabilitation and Construction of General Hospitals' project is divided into two components: Component one involves the rehabilitation of Kawolo hospital using the Spanish Aid/debt SWAP and is directly managed by Ministry of Health while component two involves the rehabilitation and construction of general hospitals which is directly managed… read more
Uganda Health System Strengthening Project (UHSSP)
Rehabilitation and Equipping Health facilities in Western Uganda by JICA
Uganda Institutional Support to MOH
Rehabilitation and construction of Kawolo and Busolwe Hospitals
Italian Support for Karamoja Region
Institutional Capacity Building – Phase II
Energy for Rural Transformation (ERT) Project
MoH Media
Tenders and Bids
Job Opporrtunities
The Parmanent Secretary
Tweets by @dianaatwine
Our Mission is to provide the highest possible level of health services to all people in Uganda through delivery of promotive, preventive, curative, palliative and rehabilitative health services at all levels".
Statehouse Uganda
Ministry of Finance, Planning and Economic Development
National Identification and Registration Authority
Uganda Media Centre
Call Center Toll free 0800-100-066
Address: Plot 6, Lourdel Road, Nakasero P.O Box 7272, Kampala Uganda.
Phone: Tel: +256 417 712260
E-mail: Email: [email protected]
Website: www.health.go.ug/
Copyright © 2021. All rights reserved to Ministry Of Health | Government Of Uganda lca
DHIS


The twenty-first century is an urban living century. It is predicted that by 2050 about 64% of the developing world and 86% of the developed world will be urbanized. Almost everyone will inevitably face and get involved in this rapid urbanization. Urbanization brings us both unprecedented challenges and wonderful opportunities.
New technologies are making urbanization easy to manage as they create platforms and systems that make everyday lives of inhabitants easy.
For example, today, the Internet of everything and Internet of people are making it easier to manage and provide urban services through smart real-time data-driven management of urban systems. Urban communities can take advantage of smart technologies that are utilizing the rapidly growing real time urban generated data to improve the quality of life of the citizens for the betterment of society. Chattanooga is a growing mid-sized city with a proud tradition of public-private partnerships that drive innovation and sustainable economic growth and development.
Chattanooga is uniquely positioned to be the next generation testbed for smart cities.
The city has carefully and smartly used its unique location and its resources to build the first 10Gbps fiber optic internet service through the Electric Power Board (EPB) of Chattanooga to 80,000 householders and businesses. This has led it to be called the GigCity because it is the first city in the Western Hemisphere to acquire such city-wide fast internet service.
We have been working collaboratively with the City of Chattanooga, Chattanooga Department of Transportation, EPB of Chattanooga, and The Enterprise Center in to develop, deploy, and publish innovative practices for the smart city of Chattanooga.
Click here to find out more about our Smart Community Collaborative.


Stylish/Sophisticated/Stunning! Just A Few Words To Describe Condo Life @ The Four Seasons Residence! Live In Toronto's Most Sought After Neighbourhood And Be Pampered By Everything The Four Seasons Hotel Has To Offer! With Almost 2000 Sf And Clear North East Vistas Looking Over Rosedale,This Is A Perfect 2 Bedroom, 3 Bath Home In The Sky!Access To All Hotel Amenities, Including The City's Most Luxurious Spa.Private Elevator Entry, 2 Parking Spots.