text:
Q: Saving the items of a listbox to a text file How can I save the contents of my listbox items to a text file using a SaveFileDialog?
I also want to add additional information to the text file and also add a MessageBox saying saved when it's been successful.

A:         var saveFile = new SaveFileDialog();
        saveFile.Filter = "Text (*.txt)|*.txt";
        if (saveFile.ShowDialog() == System.Windows.Forms.DialogResult.OK)
        {
            using (var sw = new StreamWriter(saveFile.FileName, false))
                foreach (var item in listBox1.Items)
                    sw.Write(item.ToString() + Environment.NewLine);
            MessageBox.Show("Success");
        }

Also take note the StreamWriter has a Type of Encoding.

A: this should do it.
private void button1_Click(object sender, EventArgs e)
{
    OpenFileDialog f = new OpenFileDialog();

    f.ShowDialog();

    ListBox l = new ListBox();
    l.Items.Add("one");
    l.Items.Add("two");
    l.Items.Add("three");
    l.Items.Add("four");

    string textout = "";

    // assume the li is a string - will fail if not
    foreach (string li in l.Items)
    {
        textout = textout + li + Environment.NewLine;
    }

    textout = "extra stuff at the top" + Environment.NewLine + textout + "extra stuff at the bottom";
    File.WriteAllText(f.FileName, textout);

    MessageBox.Show("all saved!");
}

A: A SaveFileDialog is used with ShowDialog() to show it to the user, and if it's successful, using its OpenFile() to get the (File)Stream that you write to.  There's an example on the msdn page.
A ListBox can be accessed through its Items property, which is simply a collection of the items on it.

A: To Save
   // fetch the selected Text from your list
   string textToRight = listBox1.SelectedItem.ToString();

   // Write to a file
   StreamWriter sr = File.CreateText(@"testfile.txt");
   sr.Write(textToRight);
   sr.Close();

Message
   // display Message
   MessageBox.Show( "Information Saved Successfully" );

A: You have a few things going on there - make sure you split them up, e.g.

*

*Get list box contents

*Append Info

*Write File

Please note!! There is a myriad of exceptions you can get while saving a file, see the docs and handle them somehow...
// Get list box contents
var sb = new StringBuilder();
foreach (var item in lstBox.Items)
{
    // i am using the .ToString here, you may do more
    sb.AppendLine(item);
}
string data = sb.ToString();

// Append Info
data = data + ????....

// Write File
void Save(string data)
{
    using(SaveFileDialog saveFileDialog = new SaveFileDialog())
    {
        // optional
        saveFileDialog.InitialDirectory = Environment.GetFolderPath(Environment.SpecialFolder.MyComputer);

        //saveFileDialog.Filter = ???;

        if (saveFileDialog.ShowDialog() == DialogResult.OK)
        {
            File.WriteAllText(saveFileDialog.Filename);
            MessageBox.Show("ok", "all good etc");
        }
        else
        {
        // not good......
        }
    }
}


text:
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Terms and conditions of entry for the "Saints Legends Game" (Promotion).
1. Information on how to enter and prize information form part of these terms and conditions of entry (Conditions of Entry).
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redpajama_set_name: RedPajamaCommonCrawl


text:
Tackling the Talent Risk
Written by EWM Global
17 May Intellectual Capital & Press
Why financial firms need to do more to attract and keep the best
The industry that emerged from the chaos of the banking crisis is one that is far more efficient, robust, transparent and risk-conscious than its former self. Much of this change has been tied in some way to the staggering advances in digital and online technology that have transformed nearly every facet of our lives.
Sustained regulatory and commercial pressure has driven the sector to abandon semi-manual, spreadsheet-orientated systems of old for modern, sophisticated platforms, where mountains of investment and investor data are brought together and made easily accessible for managers, clients and customers alike.
However, like the medieval archer with one huge muscled arm and one skinny one, the development on this front has been decidedly lopsided. Most of the focus has been on transforming the investor/client facing side of things. Given the significant challenges involved here – not to mention the need to adapt to exacting new regulatory regimes – this task has understandably monopolized attention.
Financial firms need to make it a mission for the coming decade to bring this 'talent-facing' side of their business up to speed with the digital era, in much the same way it has done so for the investor-facing side.
But as a consequence, the internal talent-facing side has fallen by the wayside – while many firms now have sophisticated systems for handling investments and engaging investors, they still find themselves relying on much older, often semi-manual systems when it comes to talent management.
The problem here is that attracting and retaining the best talent is a crucial aspect of finance – one that can make or break firms. Especially at the top levels it can prove a very complicated, data heavy affair – a byzantine maze of disparate plans and structures, with myriad sub-sectors and tax rules adding further dimensions of complexity. Additionally, it is far more competitive than it was ten years ago, in that finance used to be head-and-shoulders the industry-of-choice for the most ambitious and capable, whereas it now vies more closely with rivals – in particular, the technology sector.
It is immensely frustrating for any top-level executive to have to sift through multiple, poorly maintained or inaccurately updated spreadsheets to determine the current state of their executive compensation – one of the main drivers keeping them motivated in the job in the first place.
But the transformation cannot be limited to simply bringing in specialized systems on a siloed basis. While many specialist products are very good at what they do, this doesn't do anything to solve the central problem – the need for a consolidated 360 view that brings everything together in a consistent fashion. Without this aspect, a plurality of systems can end up simply replicating the problems and workload associated with older, spreadsheet-based approaches.
Think about the most successful tech platforms that have arisen over the last decade. Amazon, Netflix, Google and so on. What is it about them that creates such appeal? In part, it's because they offer an old service in a more convenient fashion. But more fundamentally it's because they bring everything together into one place. What has made Amazon so ubiquitous is that, instead of having to trawl through multiple websites, users can find anything they need in a single location, quickly and easily, and through an intuitive interface, that can be accessed anywhere, at any time.
The same principle applies here. From the point of view of senior executives, the different elements and systems that constitute their remuneration are not separate, but a holistic package. Systems such as EWM Global's are able to seamlessly bring all of this disparate information – from deferred cash plans through to carried interest schemes and total rewards – together, on an automated basis. The EWM Global platform, via its intuitive UX, makes it easy for users to quickly access the precise information they need, on demand, from any location, on desktop or mobile. Processes that could otherwise involve ten or more steps are reduced to just one click of a button.
EWM Global's flexible portal provides worldwide coverage and the ability to seamlessly incorporate third party systems. This provides an element of future-proofing that makes bringing in new regions, markets, and reward plans easy. As well as saving considerable amounts of time and work, the portal brings clarity and transparency – ensuring that complex plans are processed consistently in a secure manner, automatically providing a full audit trail.
Whereas the 10s were the decade of making things easy, simple, and transparent for investors and regulators, the early 20s should be about achieving the same for internal talent. Firms that move early on this will not only gain a commercial advantage over industry rivals, but will also find it far easier to compete in a wider talent pool which is no longer the sole domain of the financial world.
To learn more about how you can digitally transform your executive compensation, please contact marketing@ewmglobal.com
Click here for a preview of the EWM System.
Back to the new office – EWM Global Zurich
An Unwelcome Guest with a Silver Lining
Shelter-in-place AND grow!
Virtual Reality: Reshaping Work for the Future


text:
Glass City Rollers (GCR) is a roller derby league based in Toledo, Ohio. Founded in 2007, the league currently consists of a single team which competes against teams from other leagues. Glass City is a member of the Women's Flat Track Derby Association (WFTDA).

History
Glass City was founded in 2007 by Jessica "Betty Floored" Crossfield and others. By late 2009, the league had twenty skaters, and it opened its first season in October by playing the Fox Cityz Foxz. The league later inspired the founding of the Sandusky Rollergirls.

Glass City was accepted into the Women's Flat Track Derby Association Apprentice Program in April 2010, and became a full member of the WFTDA in March 2012.

WFTDA rankings

References

Sports in Toledo, Ohio
Roller derby leagues established in 2007
Roller derby leagues in Ohio
Women's Flat Track Derby Association Division 3
2007 establishments in Ohio

redpajama_set_name: RedPajamaWikipedia


text:
HomeNewsUncategorized
Virtual Reality May Soon Change Gigs Forever
Gugu Lourie 0	November 3, 2016 7:32 am
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virtual and live experience" in partnership with Spice Girls' manager, Simon Fuller. By Trudy Barber What this extravaganza will entail is currently unclear – but the project promises to capitalise on our "new technological world", making use of artificial intelligence and virtual reality. So, are we about to enter some new era of live music? And is the classic gig a thing of the past? Of course, the use of emerging technologies for entertainment is nothing new. Musicians, movie technicians and performance designers have all attempted to harness the technology of the day to create something new with their music and performances. Accomplished cinematographer Morton Heilig is often known as the father of virtual reality (VR) due to his fabulous "Sensorama" of the late 1950s and early 60s. Heilig created an immersive entertainment machine in which viewers could experience a specially made 3D movie – complete with sounds and smells. He also invented something he called the "Thrillerama Theatre Experience", which mixed 3D images, projections and live stage action. Billy Idol, rockabilly punk of the late 80s and early 90s, brought early concepts of VR, cyberspace and digital culture together with his music and performances on MTV. Idol used computer animation and stop frame animation inspired by the cult Japanese cyberpunk film Tetsuo to supplement his music and create a new cross-genre experience.
VR today
Of course, virtual reality technologies have advanced quite a bit since these early experiments. Back in the early 90s, VR was awkward and expensive. The headset was very large and heavy and showed basic computer graphic imagery that had picture lag – when you moved your head, the image in the headset would struggle to keep up. You also had to be tethered to a large computer. Now, with smaller, faster computers and lighter headsets, along with 3D video and photo realistic computer graphics, VR has become affordable and fashionable. So it's not surprising that the latest digital holographic and augmented reality technologies could also be used as a way of engaging the social aspect of going to see live music. This has already been attempted with Michael Jackson, who appeared to perform on stage as a hologram after his death – although some audience members found this a little creepy. More recently, the Icelandic pop icon Bjork produced her own digital works utilising immersive VR. Her private theatrical experience, at London's Somerset House, provided a more intimate approach for her audience. So what might we expect from ABBA?
ABBA in 1976. 27779106@N02/flickr, CC BY-SA
They could certainly attempt something similar to the time-bending properties of the Jackson hologram. For example, the band could be seen to be playing with younger versions of themselves in holographic form, forming an eight piece. Or one could foresee an overlay of augmented reality through a phone app that transforms performers on stage into earlier playback versions of themselves. And even if all the members of the band could not perform together in physical reality, holographic projections of their networked selves could give the simulation of them actually being together on stage. The "experience" will also reportedly involve the use of artificial intelligence, which could mean that the various technologies used will be able to react quickly to feedback from the audience and between band members (both real and virtual) on stage.
But the success of these new generation gigs will largely come down to whether they make full use of social media, the rise of which means that audiences expect to be able to engage with and share their experiences. The more this is enabled, the better for the performer. Networked VR experiences would allow fans to engage in social media extravaganzas. Performances could be streamed live online through VR or mobile phone headsets (like the Samsung Gear) using 3D photography and immersive spacial sound. Of course, the enabling of a networked and wired audience that could have access to augmented reality and VR, and have an appreciation of 3D holography would be a massive technological and logistical challenge. And then there's the actual sound of the band. The digital subtleties of multiple projections of sound and live music together would need to be assimilated. And noisy, enthusiastic fans, who may well want to sing along, would complicate this further. But in time, such issues will be mastered. So will future gigs still take place in bars and arenas, but be accompanied by holograms on stage and crowds in VR headsets? Or will the audience wave their iPhones as they do today, but this time gazing, Pokemon Go style, at a supernatural incarnation of their idol on stage along with the real one? Or will all gigs be truly virtual, allowing viewers in headsets at home to match up their favourite band members on a virtual stage? The reality will likely be some formulation of all of these speculative futures. But whatever form they take, live technological music experiences are sure to be just as exciting as they've always been.
Trudy Barber, Senior Lecturer in Media Studies, University of Portsmouth
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text:
Select a City All Cities Accra Amsterdam Beacon Bergen Berlin Chicago Cincinnati Copenhagen Dubai Dundee Florence Hamilton, New Jersey Istanbul LEUVEN, BELGIUM Ljubljana, Slovenia London Los Angeles Melbourne Mexico City Miami Milan Minneapolis New York São Paulo Shanghai Somerset Warsaw
PRINT November 2019
Hamilton, New Jersey
Ozan Atalan, Monochrome (detail), 2019, still from the 5-minute color HD video component of a mixed-media installation additionally comprising a second 5-minute color HD video, concrete, soil, water, and a buffalo skeleton. Mimar Sinan Fine Arts University, Istanbul Painting and Sculpture Museum (Antrepot 5). From the 16th Istanbul Biennial.
16th Istanbul Biennial
THE EIGHTH ISTANBUL BIENNIAL was titled "Poetic Justice." Sixteen years on, the latest edition might as well have returned to that title. Roughly a month before the opening, a press release from the Istanbul Foundation for Culture and Arts (İKSV) appeared in my inbox, somberly announcing the loss of the biennial's main venue, the Haliç Shipyards, "due to the delay of the construction process . . . and the need to complete the disposal of asbestos materials determined to be present." After lending its prestige to a real-estate project that threatens to destroy invaluable living and material cultural heritage, the mega-exhibition had been expelled from the site it had helped to legitimize. Splendidly situated on the Golden Horn, with sweeping views of the peninsular Old City, the nearly six-hundred-year-old Haliç complex would have been back in the public eye for the first time in years had the exhibition actually taken place there. The yards were gradually and purposely rendered obsolete around the turn of the millennium; having been classified as a protected historical area in 1995, they were handed over to the city by the Turkish Maritime Organization in 2006 with the proviso that they be used for the "upkeep, repair, and construction of conventional passenger ferries." At that point, cordoned off from the public sphere, the site became fair game in the neoliberal scramble for the spoils of urban redevelopment.
View of "The Seventh Continent," 2019, Mimar Sinan Fine Arts University, Istanbul State Painting and Sculpture Museum (Antrepo 5), Istanbul. Figure: Mariechen Danz, Womb Tomb: Imprint Pressures (bog body/map spill/fm), 2019. Platform: Mariechen Danz, Body Bricks (detail), 2019. Photo: Sahir Ugur Eren.
The winner of the contract for the Haliç Yacht Port and Complex Project successively rebranded the plot Haliç Port and then Tersane Istanbul (Istanbul Shipyard). A recently disclosed master plan for a science center in the area (supported by a foundation whose board of trustees is led by a son-in-law of President Recep Tayyip Erdoğan) revealed that only a handful of the buildings on the grounds had been deemed "worthy of preservation as a cultural asset" after all. Earlier this year, President Erdoğan announced that the Sadberk Hanım Museum, established by the longtime main sponsor of the Istanbul Biennial, Koç Holding, would relocate to the site. Architect and academic T. Gül Köksal's article "The Sacking of a Six-Century-Old Heritage," from which I have drawn most of the facts above, details the unwillingness of the developers to share information or negotiate with Haliç Dayanışması (Golden Horn Solidarity), a group founded in the heat of the 2013 Gezi Park protests that brings together workers, residents of the working-class neighborhoods around the site, architects, urban planners, and others, to protect the shipyards' historic structures and advocate for its neighbors' right to the city.
Not surprisingly, the unprecedented loss of Haliç Shipyards prompted some awkward maneuvering from curator Nicolas Bourriaud on behalf of the biennial, as he finally took a position on the controversy over the site. Only after having secured a new central venue—the renovated midcentury warehouse Antrepo 5, future home of the Mimar Sinan Fine Arts University, Istanbul State Painting and Sculpture Museum, slated to reopen there next year—did Bourriaud write in an Instagram post, "Proud to move and stand against #toxicgentryfication" [sic].
Eva Kot'átková, The Machine for Restorating Empathy (detail), 2019, mixed media with performance. Installation view, Mimar Sinan Fine Arts University Istanbul, Museum of Painting and Sculpture (Antrepo 5). Photo: Sahir Ugur Eren.
The relocation of some forty projects (out of fifty-six) to a venue made available only a few weeks prior to the exhibition's opening was an incredible accomplishment and merits a standing ovation for the whole biennial team as well as its artists. Bourriaud documented the feat in an amply illustrated one-page essay in the Field Report (i.e., the catalogue). This text's dramatic title, "The Exodus: A State of Ecological Emergency," puts the construction-delay-ridden departure from a highly problematic site on a par with a biblical event and recasts the forced flight in a heroic light. The allusion to ecology chimes with the biennial's moniker, "The Seventh Continent," a reference to the gigantic mass of trash covering six hundred thousand square miles in the Pacific Ocean, but in the case of this exodus, art replaces garbage as the thing that is systematically ejected.
The show fails to problematize the anthropological gaze.
In contrast to the nave-like interior of the shipyards' main building (think Venice's Arsenale), the layout of Antrepo 5 is decentralized to a degree that proved less than ideal for an exhibition of this scale. Constructively deconstructed by the prominent Turkish architect Emre Arolat to showcase one of the most important collections of modern painting and sculpture from Turkey, Antrepo 5 boasts clusters of rectangular solids that unevenly jut into or out of the building's original reinforced-concrete frame like shipping containers. Presented in relative isolation from one another, the works, even the strongest, are subsumed in "a kind of archipelago of disparate thoughts" (to repurpose Bourriaud's own description of our present moment).
Andrea Zittel, Personal Plots, 2019, concrete blocks, plaster, paint, gravel. Installation view, Büyükada, Istanbul. Photo: Onur Dogman.
What is promised by "The Seventh Continent"? Warning visitors not to mistake the exhibition for "a manifesto for ecological art [or] a comparison between the practices of artists and anthropologists," Bourriaud's curatorial statement extends an invitation to "immerse [one's self] within the tribes composed by the artists . . . [and] be the anthropologists of this new world." (Apparently, it's fine to compare art viewers to anthropologists.) Most of the artistic propositions could be neatly placed in one of two categories: all-too-literal journalistic accounts of the Anthropocene/Capitalocene, or ecologically minded yet hermetic, narrative yet formalist parafictions. The former category is exemplified by a pair of video installations, Eloise Hawser's The Tipping Hall, 2019, which graphically details the operations of one of Turkey's largest waste-recycling facilities, and Ozan Atalan's Monochrome, 2019, featuring a sea-buffalo skeleton and drone footage on small flat screens of sea buffalo that are being driven from their habitat on the outskirts of Istanbul by urban sprawl. The latter group of works, many of them characterized by a post–Haraway, vaguely posthumanist bent, includes the Berlin- and Vilnius-based duo Pakui Hardware, who upcycle informe aesthetics by juxtaposing visually enticing materials such as thermo-vacuumed Plexiglas, silicone, latex, and faux fur to create shapeless bodies whose organs grow on the outside (Extrakorporal, 2019). The anatomical motif recurs in Body Bricks, 2019, by Mariechen Danz, who attempted to create a glyph-like writing system by pressing—à la potato print—organ models made of semiprecious stones onto 2,455 handmade replicas of Haliç Shipyards bricks. Perhaps the mostly earth-tone installation initially appeared too drab, for the artist also included a life-size ceramic human body in tie-dye colors with yet more organs hanging out of it (Womb Tomb: Imprint Pressures [bog body/map spill/fm], 2019).
Ursula Mayer, The Fire of Knowledge Burns All Karma to Ashes, 2019, HD video, color, silent, indefinite duration. Büyükada, Istanbul.
The problem with "The Seventh Continent" is that while striving toward a unified anthropology of the human and the nonhuman, it gives in too much to a certain utopian universalism. Bourriaud goes as far as calling his vision variously "post-ethnicist" and "post-cultural," positing "a territory where all subjects coexist and co-work." While the Field Report cites Okwui Enwezor's 2012 La Triennale, "Intense Proximity," as an anthropologically inclined predecessor, Bourriaud's show fails to similarly problematize the power dynamics inherent in the anthropological gaze. It is ill-advised to attempt to reclaim and redefine some of the most destructive constructs in the history of white-supremacist settler colonialism, as Bourriaud appears to be trying to do, however circumspectly or ironically, when he refers to artists as "the primitive and the savage of their own tribe," qualifying their works with "radical strangeness." "Strange" as these works may be, the most potent contributions to the show resist such exceptionalism and blatant exoticism with an intelligently communicated layering of fiction, humor, and sensitivity to context.
In this vein, Eva Kot'átková's participatory work The Machine for Restoring Empathy, 2019, playfully fashions textiles, in a gesture of trans-species fellow feeling, for the use of humans, animals, plants, and objects who/which "lack something" or "feel incomplete, broken, or wounded." Korakrit Arunanondchai supplements a magical-realist video about his grandmother's dementia and a "drone spirit" with a room of painted-over video stills on canvas (Painting with history in a room filled with people with funny names, 2019). Strewn with dried flowers and weeds, the installation poetically examines how technology inflects our memories (or lack thereof) and our very understanding of life cycles. Dora Budor's standout trio of "dust chambers" (Origin I, II, and III, all 2019), on the other hand, are filled with drifting particles in hues borrowed from J. M. W. Turner paintings and are activated by the din of nearby construction, as if to show that the incessant production of surplus value directly fuels aestheticizing impulses—a sort of inversion of Man Ray's photograph Dust Breeding, 1920, which documents the motes of dirt that collected over the course of year on Duchamp's Large Glass.
Hale Tenger, Appearance (detail), 2019, black obsidian mirrors, iron, epoxy resin paint, water, audio-spotlight speaker. Installation view, Büyükada, Istanbul. Photo: Sahir Ugur Eren.
A ninety-minute ferry ride away, on the largest of the Princes' Islands, where the wealthiest Istanbulites used to summer in well-appointed mansions, the exhibition continues with a particularly underwhelming set of works, often bearing little to no relation to their locations. In a public square near the harbor, Andrea Zittel presents a large horizontal sculpture whose concrete grid of roughly grave-size rectangles is filled with black, gray, and yellow pebbles (Personal Plots, 2019) that perhaps would not have been so listless in its original spot in the shipyards. (The work had already begun to collect trash, not unlike the actual Seventh Continent, on the second day of the preview.) In Anadolu Kulübü, an old-fashioned social club set up by Atatürk up the hill, Armin Linke's multifaceted yet academically dry exposé of deep-sea mining (Prospecting Ocean, 2018) is coupled, for no clear reason, with Ursula Mayer's The Fire of Knowledge Burns All Karma to Ashes, 2019, an HD-video loop of a life-size LED avatar of trans Dutch model Valentijn De Hingh floating against a black background, blowing out the flames that emerge from her left hand.
One notable work in this especially lackluster part of the show is Hale Tenger's minimal intervention in the overgrown garden of a stone mansion uphill from the club—the former summer residence of a nineteenth-century patriarch of Constantinople, repurposed as a primary school around the time of the establishment of the Turkish Republic under Atatürk. Appearance, 2019, dots the garden with a handful of round black obsidian mirrors, while unintelligible, hushed voices materialize all around with no apparent source. If you stand by the apple tree, you may be able to finally make out the recitation of a poem about girdling—the practice of wrapping a strip of bark around the trunk of a tree to overstimulate fruit growth, which eventually kills the tree. The last line of the poem is spoken in a barely audible whisper: "Can you be by not doing?" The most overpowering sight in the biennial is steps away. At this height, the garden commands a view of the Asian side of Istanbul endlessly extending southward, a giant vale of glass facades reflecting the sun's glare as the forests helplessly recede toward the hilltops beyond. It seems safe to assume that Tenger's simple, mindful plea against the desiring machine that is the Capitalocene will go unheard by most, including those in charge of decision-making and funding for the Biennial.
Gökcan Demirkazik is a student in the Ph.D. Program in Art History at UCLA.


Self-storage is an incredibly popular option for those looking for cheap short and long term accommodation for their possessions. People can dismiss the idea of using self-storage due to the mind-set of thinking it's expensive or in a hard to reach location. Self-storage can be ultimate absolution for many home and business owners for all sorts of reasons. There are a number of reputable companies offering self-storage in Essex, so why not consider what keeping your goods in a storage room can offer you?
Unfortunately we often have complication when it comes to the ownership of our items and there are plenty of legal battles that occur every day all around the country in relation to household items. If there is a dispute over a deceased person's estate or over items by those going through a divorce, self-storage is an ideal place to keep items in a safe place until any disputed have been resolved.
The majority of us seem to collect more clutter and things than we need to have in our homes 24/7. Why not use self-storage as a great way to save some space in your home. Similarly if you have seasonal items, items you're looking to sell or need to keep your stuff safe while you go off travelling, why not store them? Self-storage offers you the ability to de-clutter and enjoy the space you have available in your home to the fullest.
If you're going on holiday or will be travelling for a period of time, unless you have a house sitter there will be periods of time that opens up your belongings to the possibility of theft. Thieves are skilled in figuring out when homes are most vulnerable and when people are on holiday so safe storage will be a great way to protect your belongings and offer you peace of mind.
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Your spare space at home is worth more than a self-storage unit so putting the contents of a room into self-storage could earn you extra income if you rent the room. Similarly, you can run a business from a self-storage unit. Thousands of business owners work from self-storage units or use them to store goods such as paintings or antiques ready to sell at a moment's notice.
If you've ever organised a house move, house clearance or office relocation, you will know how stressful the experience can be. By investing in self-storage as an in-between you will immediately see the health benefits of the stress being taken away from dealing with coordinating furniture relocation.


text:
PayPay Recruiting Event for Enterprise IT Engineers
We are looking for experienced people from the financial industry to work with us to create the next generation of financial platforms at an amazing speed.
PayPay is a fintech company that has reached 43 million users in just three years since its launch in 2018 and is made of a diverse group of people from over 40 countries. We already have over 1000 employees but we're still growing, expanding, and definitely looking for more people to join us to create new values in the way we make payments.
This event is an online recruitment seminar for those who have experience in Java/AWS development of systems and who will be creating the PayPay internal systems.
We will be holding a panel discussion with members who have been involved in the creation of PayPay's enterprise engineering. Please feel free to join us.
※As the position requires a minimum of business level Japanese, the event will be held in Japanese only.
Speakers to be announced
Enterprise Engineering division
・Hiroshi Okada /Senior Manager
・Other Members
19:00-19:15 About PayPay and Enterprize Enginnring Division
19:15-19:30 Development case study – about the eKYC system
19:30-19:45 Panel discussion "What it's like to join PayPay as an engineer"
19:45-19:55 Q&A
19:55-20:00 About Recruitment process
PayPay is looking for experienced Java and AWS engineers with the following
・Experience in developing or architecting web applications using Java
・At least 3 years of experience in building or operating web systems using AWS.
・Experience of working as an engineer on system development in the IT/Web industry
Date&Time/Registration
Friday, 21 January 2022, 19:00-20:00 (JST) Zoom
To register, please use the application form below. We will send you the Zoom link and other information as soon as possible.
Please check here for more details submit
※This event is aimed at people with a background or experience in Java/AWS development of systems. Please note that in some cases it may be difficult for you to attend
Working Style (Work from Anywhere at Anytime)
At PayPay we have a new HR system in place, including a WFA (Work from Anywhere at Anytime) system. We are a fully remote company, so it doesn't matter where you work or where you currently live. You can live in the countryside and work with world-class colleagues, while earning a world-class salary and benefits package. PayPay is a great way to work.
WFA FACTBOOK
People should be freer,more enriched,and have more fun in creating more value – this is the underlying idea for PayPay's new workstyle.
What we values when working
-THE FUTURE IS NOW-
A concept video of PayPay Corporation's culture and people.
At PayPay, we are looking for people who can identify challenges and work with others to create new value for the future at amazing speed.
PayPay 5 senses
What we value when working at PayPay
【Sponsorship】DroidKaigi 2021
DroidKaigi is a conference tailored for Android developers. It is scheduled to take place on the 19, 20, and 21 of October 2021. PayPay will be a GOLD SPONSOR for…
DevTalk Vol.1 DevSecOps July 7th 7PM
PayPay has reached 40 million users in just 3 years since its launch in 2018. At PayPay, we research, develop, and operate with the cutting-edge technology with engineers from over…
[Seminar] PayPay Hands-On For Developers to be held on March 9
PayPay has grown at a tremendous rate and now has over a 36million users in Japan. Making your business ready for accepting our online payments gives you a smooth, safe…


Completely renovated villa of 200 m2, modern style, located on a plot of 2650 m2, with an exceptional view of the beach of Cala Vadella and the islands Bledas and S'Espartar.
This villa is composed of 5 bedrooms and 4 bathrooms. The fifth bedroom, on the other hand, is a bedroom more suited to a baby sitter or house staff; the latter does not benefit from the same benefits as the others. This house is ideal for a large family.
Room, Ground level. This bedroom has 2 twin beds. Bathroom outside the room, With shower. This bedroom includes also air conditioning.
Room, Ground level. This bedroom has 1 double bed. Bathroom outside the room, shared, With shower. This bedroom includes also air conditioning.
Room, Ground level, direct access to the pool, direct access to the terrace. This bedroom has 1 double bed. Bathroom outside the room, shared, With shower. This bedroom includes also TV.
Room, Ground level. This bedroom has 1 double bed. Bathroom ensuite, With shower. This bedroom includes also air conditioning.
Guest bedroom, Ground level. This bedroom has 1 single bed. Bathroom outside the room, With shower.
Entrance by a small staircase whose extension gives directly on the beach.
Large living room, dining room with plasma TV, air conditioning, all open on the huge outdoor terrace.
Superb teak terrace with relaxation area.
Pool of 12 x 5 m.
Outdoor dining room for 12 people. Other dining room for 4 people and viewpoint.
The entrance to the house is about 20 meters from the road with stairs. No private parking.
The property is approximately 800 m away, where you will also find restaurants, bars and a small supermarket. The most beautiful beaches of the island, within a radius of 10 km. Ibiza town is less than 25 minutes by car.


text:
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Pradella announces $260mil riverside project
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text:
Q: Is it possible to perform a hexdump in Lua code I'm used to using C but I'm new to Lua. Is there a way to create a Lua program that can read example.exe and give me the program's code in hexadecimal?

A: Until Lua 5.1, this sample program xd.lua was included in the distribution:
-- hex dump
-- usage: lua xd.lua < file

local offset=0
while true do
 local s=io.read(16)
 if s==nil then return end
 io.write(string.format("%08X  ",offset))
 string.gsub(s,"(.)",
    function (c) io.write(string.format("%02X ",string.byte(c))) end)
 io.write(string.rep(" ",3*(16-string.len(s))))
 io.write(" ",string.gsub(s,"%c","."),"\n")
 offset=offset+16
end

A: Another possibility:
local filename = arg[1]

if filename == nil then
  print [=[
Usage: dump <filename> [bytes_per_line(16)]]=]
  return
end

local f = assert(io.open(filename, 'rb'))
local block = tonumber(arg[2]) or 16

while true do
  local bytes = f:read(block)
  if not bytes then return end
  for b in bytes:gmatch('.') do
    io.write(('%02X '):format(b:byte()))
  end
  io.write(('   '):rep(block - bytes:len() + 1))
  io.write(bytes:gsub('%c', '.'), '\n')
end

redpajama_set_name: RedPajamaStackExchange


One of my Halloween traditions (I have Halloween traditions. I know that's a bit weird) is to make a "scary" gingerbread creation every year. It's oddly quite satisfying... I like taking something that's a bit cutesy and twee (like gingerbread houses) and making them a bit more badass. Saying that, I made a Christmas gingerbread house last year that was ridiculously cute and I loved it too. Anyway. That's fine.
It's meant to be blood dripping down the walls... in reality it just looked a bit sticky.
A scary pyramid (my favourite)..
I made this the year I did an evening class in hieroglyphs.
I don't know what I'll do this year (oh god, so much halloween planning to do when I get back to the UK!), but I clearly need to do something other than a house. It's hard though! I'll post my gingerbread recipe when I get back because it is just lovely and incredibly satisfying to make (and your house smells wonderful!).
p.s. this is a scheduled post!


The hippocampus is a key brain area for formation and retention of memory. Memory storage, or consolidation, is associated with oscillating waves of electrical activity in networks of hippocampal neurons. This "ripple activity" occurs as memories are replayed, and disrupting it results in memory deficits. The activity of deeper brain structures is reduced during ripple activity, which suggests that this hippocampal process may be regulated by these deeper, subcortical brain regions.
A new study investigated populations of neurons in the brainstem area known as the mesopontine median raphe (MnR) to determine the effects of these neurons on hippocampal ripple activity. Simultaneous recording of MnR and hippocampal neurons showed that activity of MnR neurons is correlated with ripple activity, including one population of MnR neurons whose activity decreases before ripple events and increases immediately after. To better understand how the activities of these brain regions are linked, MnR neurons were experimentally activated and inhibited; activation of MnR neurons suppressed ripple activity, while inhibition increased it. Activation of these MnR neurons also impaired the retention of fear memories, indicating that MnR suppression of ripple activity interferes with the consolidation of memory. This study broadens the understanding of the brain circuits that regulate memory processing in the hippocampus, and could open new lines of inquiry to help address memory impairments associated with conditions such as PTSD and addiction.
Wang DV, Yau HJ, Broker CJ, Tsou JH, Bonci A, Ikemoto S. Mesopontine median raphe regulates hippocampal ripple oscillation and memory consolidation. Nat Neurosci. 2015 Apr 13. doi: 10.1038/nn.3998. [Epub ahead of print] PubMed PMID:.


Our phone customer service timetable is from Monday to Saturday (09:30-19:30). You can call us to our contact number, or to send us a whatsapp. Thus, we´ll inform you about the different guided visits that we offer.


text:
The Expert Witness Training Company
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Stuart C Silverstein, MD, FAAP
Additional States: New York
Website: www.fireflypediatrics.com
Email this expert
Specialties & Experience
General Specialties: Pediatrics and Pediatric Emergency Medicine
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Education: MD, State University of New York / Downstate
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Dr. Silverstein is an award-winning, Board-Certified pediatrician with over 30 years experience as a clinician and medical educator. His current practice includes providing pediatric emergency and urgent care in a highly populated urban setting. Dr. Silverstein has also supervised medical students, residents, and physician assistants in the pediatric emergency room. He is a former Assistant Clinical Professor of Emergency Medicine at the New York Medical College. Dr. Silverstein is the author of several books including a Board Review Study Guide used by Pediatric Residents preparing for their specialty certification. Dr. Silverstein has experience providing medical consultation for plaintiffs, prosecutors, and defendants in civil and criminal cases. He is experienced in distinguishing between accidental and non – accidental injury, evaluating potential evidence of child neglect, and opining on the pediatric standard of care and pediatric protocols. He has appeared as a testifying expert at both deposition and trial. Fellow American Academy of Pediatrics Diplomate American Board of Pediatrics Florida Expert Witness Certificate - MEEW7277 Fairfield County Medical Society Member USA Hockey Level 3 Certified Coach
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text:
class ModifyImportDeclarationIndexes < ActiveRecord::Migration
  def up
    remove_index :import_declarations, :source_id
    remove_column :import_declarations, :source_id
    add_index :import_declarations, [:md5, :project], unique: true
  end

  def down
    remove_index :import_declarations, [:md5, :project]
    add_column :import_declarations, :source_id, :string
    add_index :import_declarations, :source_id
  end
end

redpajama_set_name: RedPajamaGithub


The watches in Third Collection has the same style, proportions and materials as our watches in First Collection, they are just slightly smaller with it's 36 mm case and it's 18 mm wide strap. This is the perfect watch if you prefer a smaller watch and love our watches in First Collection. We are really happy with the result and we are convinced that you will enjoy it as much as we do.
Elliot O 36mm has a classy, matte black case with grey dial and details. This is the perfect watch if you prefer a smaller watch.


We stick to our enterprise spirit of "Quality, Efficiency, Innovation and Integrity". We aim to create more value for Golf Chipping Netting , Golf Chipping Nets , Golf Chipping Practice Netting , and continuously make improvements to service high-quality.
"Our products and solutions are greatly recognized and trustworthy by customers and may fulfill constantly changing financial and social requires for Golf Chipping Netting , Golf Chipping Nets , Golf Chipping Practice Netting , We also provide OEM service that caters to your specific needs and requirements. With a strong team of experienced engineers in hose design and development we value every opportunity to provide best products and solutions for our customers.


Weight of days lost holding you down.
Oh, they want to sing.
You'll have to break me open to hear anything.
For you and I are going nowhere.
A dozen times before we get there.
When I can break the sky myself?
Won't be haunted by dreams I've deferred.
Won't set my heart frozen in amber.
Why do I need anyone?


text:
20th Mar 2021 12th Sep 2021 saima @ storieswithsaima
Review: The Atlas Six
Title: The Atlas Six
Author: Olivie Blake
Publication date: January 31st 2020
Age-range/genre: Adult; Sci-Fi Fantasy, Dark Academia, Urban Fantasy
Trigger warnings: violence, cheating, death, mass-shooting, kidnapping; references to: degenerative disease, death of a family member, suicide; mentions of: suicidal thoughts, incest, sacrifice.
Rating: 5/5 stars
Summary: [from goodreads]
The Alexandrian Society, caretakers of lost knowledge from the greatest civilizations of antiquity, are the foremost secret society of magical academicians in the world. Those who earn a place among the Alexandrians will secure a life of wealth, power, and prestige beyond their wildest dreams, and each decade, only the six most uniquely talented magicians are selected to be considered for initiation.
Enter the latest round of six: Libby Rhodes and Nico de Varona, unwilling halves of an unfathomable whole, who exert uncanny control over every element of physicality. Reina Mori, a naturalist, who can intuit the language of life itself. Parisa Kamali, a telepath who can traverse the depths of the subconscious, navigating worlds inside the human mind. Callum Nova, an empath easily mistaken for a manipulative illusionist, who can influence the intimate workings of a person's inner self. Finally, there is Tristan Caine, who can see through illusions to a new structure of reality—an ability so rare that neither he nor his peers can fully grasp its implications.
When the candidates are recruited by the mysterious Atlas Blakely, they are told they will have one year to qualify for initiation, during which time they will be permitted preliminary access to the Society's archives and judged based on their contributions to various subjects of impossibility: time and space, luck and thought, life and death. Five, they are told, will be initiated. One will be eliminated. The six potential initiates will fight to survive the next year of their lives, and if they can prove themselves to be the best among their rivals, most of them will.
For my first review on this blog I decided to go for one about a recent favourite of mine – The Atlas Six! I read this after it being highly recommended by a friend (shoutout to Bie!) and going in I didn't expect to love it as much as I did. TA6 is a brilliant novel focusing on six magical characters who are invited to be a part of the Alexandrian society, one that promises power and knowledge but, like all good things, comes at a cost.
"[…] only six are rare enough to be invited through the door. By the end of the year, of course, only five will walk out of it."
☆ My favourite things about TA6 ☆
★ diverse and complex cast of characters
★ chaotic character dynamics
★ fun take on dark academia with a magical component
★ beautiful prose
★ art for the characters!
At the heart of it, this is a character-driven novel exploring academia and magic. Our six main characters are highly skilled in their individual fields, but even they haven't heard of this mysterious society they've been invited to that offers access to research you wouldn't find anywhere else. It's enticing both to the characters and myself – I want to find out more about this literature not available to everyone, and what secrets this society might hold.
As the story unfolds, you get to learn more about not only the magic in this world but also the characters and their abilities. The different POV chapters really capture how distinct the characters are in both their lives and their abilities – Olivie Blake writes this so well because by the end of the novel I feel like I truly know these characters and their motivations.
All six of the characters are complex and diverse (I loved all the rep, especially that they're all chaotic bisexuals) and it was fun getting to know all of them. I enjoyed seeing the other characters from each POV and also how differently they use their magic and view the world (two things that turn out to be intrinsically linked). They're all in some way pretentious, but when you're considered one of the most powerful medians and handpicked to join an elusive society how could you not be?
Knowledge is carnage. You can't have it without sacrifice.
Some of the characters took me longer to warm up to than others, but I appreciated the all of their POVs to see their contrasting outlooks on life. If I had to choose a favourite character, it might be Libby Rhodes and Tristan Caine, but truly they were all great in their own right. With such a range of characters, I'm sure everyone will easily find a character to love and/or relate to.
And the art! There are illustrations, made by Little Chmura, of our six main characters (and some other characters integral to the story) which provide a little look of what the characters look like, and they're all so beautiful !!!
Illustrations of Reina Mori, Tristan Cain, and Libby Rhodes by @ littlechmura
The character dynamics were so fun to read about too. As mentioned in the blurb, they're rivals but who also have to form alliances if they want to get through the initiation into the society. Add in the fact they're all ambitious academics who want to get out on top, and you can guess what kind of chaos will ensue.
It's also so chaotic seeing all the different character interactions, especially because they're all morally grey and flawed characters so it's interesting to see where and how their opinions diverge and what lines they aren't willing to cross. It really turns the 'found family' trope on its head in the best way.
The world was mostly entropy and chaos;
magic, then, was order, because it was control.
The worldbuilding for this book was fascinating and complex as well. It kept me captivated the entire time, and I found myself reading slowly to drink everything in. The prose is beautifully written; this included the magic system, because it was so vast that it gave lots of details alongside leaving some gaps for you to fill in and ponder about – such as the wonder of 'is travelling through time really possible?'
The lessons the characters had could get a bit too lofty and philosophical for me (and fortunately some of the characters also agreed with me on this), but it really inspired some questions for me and characters about their capabilities, and had me yearning to know more about the extent of their power.
In the end, The Atlas Six was a book I really adored, and one of the first books of 2021 I've given 5 stars to. It's somewhat slow-paced and more focused on developing the characters than providing lots of action, which I know isn't everyone's cup of tea, but I still enjoyed how the plot unfolded and the little hints picked up along the way.
If you like character-driven stories that mix dark academia with magic then this might be the book for you! The prose was so pretty and the characters so interesting, I'm so invested in this world and excited for the sequel.
If you've read The Atlas Six, let me know! I'd love to hear your thoughts on it!
Links for The Atlas Six: Amazon | Goodreads
Posted in favourites, reviewsTagged 5 stars, book review, the atlas six19 Comments
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19 thoughts on "Review: The Atlas Six"
Susana @susanalovesbooks says:
20th Mar 2021 at 10:30 pm
The illustrations are so beautiful! I loved reading your review!
saima says:
yesss they're so pretty aren't they? and tysm susana!! ♡♡♡
erin @ Reading On A Star says:
22nd Mar 2021 at 11:41 pm
amazing review!!
23rd Mar 2021 at 10:13 am
thank you erin!! 🙂
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Alienor @ a fox's wanderings says:
1st Apr 2021 at 8:25 pm
Amazing review! It's been recommended to me a few times and your review finished to convince me!
omg thank you!! you're too nice, and I really hope you like the book!
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Celina says:
3rd Jun 2021 at 12:44 am
I definitely want to read this ✨
Seci says:
Amazing review!! I definitely want to read it!! One question though, is there a romance?
thank you!! 💓 There are hints of romance between two of the main characters but it's a slow burn – I think it'll be expanded on more in the sequel! happy reading 💛
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chelsea @ your bookish friend says:
1st Sep 2021 at 11:16 pm
amazing review! i can't wait to read this book, it's all over twitter and sounds great. i'm glad you enjoyed it!
10th Sep 2021 at 9:30 am
Omggg BEAUTIFUL review!! This book has been recommended so many times and I really want to pick it up after your wonderful review 🥰💕
11th Sep 2021 at 10:47 pm
ah thank you so much!!! this was my first review I wrote for this blog so this means so much to me ❤ I hope you enjoy the book if you do decide to pick it up!
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Notwithstanding its limitations, every language has its unique and distinctive nuances. Tamizh for that matter doesn't have phonetic and aspirate so the reader on his own understanding needs to pronounce the word. Yet, it has its own captivating shades also.
I am not trying to deliberate on Arunagirinathar's 'Muthaitharu' tongue twisting Thiruppugazh or Kalamega Pulavars 'Thathi thoothu theethu'; both are replete with the sound 'tha'. Of course the second one was cleverly modified rather simplified by Kannadasan in a song for his movie 'Vanambadi'.
In yesteryear Tamizh movie songs Kannadasan and Vali tried to pun and bring some speciality of the 'mozhi'. The first one which hit the screens and song arena was Kannadasan's 'Aththikkai kai kai' from the film 'Bale Pandiya' (1962). The song will be fully loaded with every word ending with 'kai. It was amusing. One popular Tamizh magazine even commented on the song as 'song of Kothwal Chavadi' because that was the popular Vegetable market at that time in Chennai. The song will figure 'aalangai', 'pavaikai', 'kovaikkai', 'avaraikkai','mathulankai', 'elakkai', 'jathikkai', 'vilankai', 'milakai', 'suraikkai', 'vellarikkai', 'kotravaraikkai' apart from many 'Kai', here referring to 'scorching' and 'direction'. The words were so intelligently interwoven to render meaning. Beautifully tuned by Viswanathan-Ramamurthy this is my favorite song even today.
Another one is 'Paarthaen sirithaen', a song from 'Veera Abhimanyu' (1965) where the word 'thaen' will be recurring like 'antha malaithaen ivar ena malaithaen' giving two different meaning to the word 'malaithaen'; one special honey from hills, and wonderstruck. This song also penned by Kannadasan was tuned by KV Mahadevan in the raga Sahana adding extra charm.
A touching melody of Kannadasan is 'Vaan nila nila alla' from the movie 'Pattina Pravesam' (1977). Sung as usual enticingly by SPB with prominent solo violin backing, the song's each word is punctuated with 'nila' or 'la'. Don't think that it carries just words. This is another beautiful love number expressing intense love. Music? MS Viswanathan. There is another 'Nila' song in 'Mounam Sammadam' (1990); written by Pulamai Pithan and sung by Yesudas and Chitra to the catchy music of Ilayaraja.
A song repeating 'Paal' in 'Ragasiya Police 115' (1978), is written by Vaali (I think, not sure) to the tune of Viswanathan again; another lilting number 'Aththan en atthan' with each line ending with the syllable 'atthan'! A song from 'Pava Mannippu' again by Kannadasan-Viswanathan Ramamurthy combine in the voice of Sushila!One another song with the recurring of 'kai' in some movie but that was not that popular, either the lyrics or the tune.
Why I recall these songs? We are invariably harangued by the media by the specialty of Tamizh in all possible ways. But, do the media both visual and written do justice to the language really?
I cringe when I hear some songs of recent Tamizh movies or absolutely embarrassed by their crudity or banality. ( courtesy: Ola, Uber trips!) Let Tamizh Thai save herself and her language from the clutches of Tamizh Gen-Y!
BTW, recently I listened and watched a song in Tamizh Palindrome 'Melathalame' via Whatsup; not bad; good tune by D Imman and lyrics by Madan Karky, I understand.


text:
Dallas Police Dept. Welcomes Ulysha Renee Hall as First Female Chief
Success Profile
by Christina Carbajal
The Dallas Police Department hired their first ever female Chief. Ulysha Renee Hall, former Deputy Chief of Detroit Police Department, will start her tenure as Chief of Police September 5th. Hall is the first woman to hold the position in the department's 136-year history, her appointment means women of color now hold the top three law enforcement position in Dallas County. Hall will be joining Sheriff Lupe Valdez and District Attorney Faith Johnson.
"I am honored to be chosen to lead the Dallas Police Department at this critical time in its history," Hall said.
"I look forward to building on the successes of the past, preserving community trust and ensuring the safety of our officers and the entire Dallas community."
Before her move to Dallas, Hall spent over two decades with Detroit Police Department, under Hall's service as deputy chief, the city of Detroit experienced a 40 year low in homicides and a double digit decrease in violent crime for three years.
"My belief is Renee Hall will be a dynamic chief and do great things in this community, She's going to have a great impact, not just on the police department, but the entire city." said Dallas City Manager T.C. Broadnax on Wednesday.
City officials expressed that while in Detroit she "developed and implemented comprehensive community policing and mentor programs, forged partnerships and established trust within minority communities while also building strong relationships between officers of all ranks and community stakeholders." During an interview with Scott Friedman she expressed she will be using the same types of programs in Dallas. She explained having officers more involved with the community is among her objectives, this includes community service projects, feeding the homeless and working with teens because "officers can't police a community they don't understand."
Hall was one of two black women among the eight candidates for the job. She beat out five local finalists, four of those finalists were within the Dallas Police Department, including Dallas Assistant Chief of Police Gary Tittle; Dallas Deputy Chief Malik Aziz; Dallas Deputy Chief Rick Watson and Grand Prairie Chief of Police Steve Dye.
Pleased to welcome our new @DallasPD Chief of Police U. Renee Hall. She will be the first female police chief in @CityOfDallas history. pic.twitter.com/n0qc9L3b6Y
— Mayor Mike Rawlings (@Mike_Rawlings) July 19, 2017
Christina Carbajal
Social Media and Communications Intern
I am a senior at Texas State University completing my degree in Communication Studies. I am 22 years old with a passion for all things media and women empowerment.
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Christina Carbajal July 24, 2017


Emirates NBD (DFM: EmiratesNBD), a leading bank in the region, delivered a solid set of results with net profit up 4% y-o-y and 1% q-o-q to AED 1.87 billion. The operating performance was helped by a control on expenses and lower provisions. Net interest income improved 1% q-o-q due to loan growth coupled with an improvement in margins. Core gross fee income increased 27% q-o-q and 7% y-o-y on the back of higher income from forex and rates. Net interest margin improved during the quarter as rate rises flowed into loan yields and funding pressures receded. The Bank's balance sheet continues to strengthen with further improvements in credit quality and liquidity, coupled with solid capital ratios.
Impaired Loan ratio improved to 6.3% whilst the Impaired Loan Coverage ratio strengthened to 122.5%.