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14–18 Now :
About 14-18 NOW
Now the Future
Extraordinary arts experiences connecting people with the First World War. Learn More
14-18 NOW / News / World Premiere of Peter…
World Premiere of Peter Jackson's They Shall Not Grow Old
Photo by John Phillips/Getty Images for BFI
A special presentation of Peter Jackson's extraordinary new First World War documentary They Shall Not Grow Old premiered at BFI Southbank last night for London Film Festival. HRH Prince William attended the premiere, along with other esteemed guests.
Watch a short film from the red carpet here.
They Shall Not Grow Old shows original footage from Imperial War Museums' extensive archive colourised, converted to 3D and transformed with modern production techniques to present never before seen detail.
Critics have applauded Jackson's work, describing it as a 'historical portrait of matchless immediacy and power' (The Telegraph), 'a visually staggering thought experiment' (The Guardian), 'a groundbreaking resurrection (The Times) and 'a documentary like no other' (Independent).
Follow the hashtag #TheyShallNotGrowOld to read public reaction to last night's one-off screening.
★★★★★ It's the visual and emotional achievement — a groundbreaking resurrection — that resonates.
★★★★★ Jackson's storytelling skill matches his technical wizardry.
★★★★★ The effect is electrifying.
★★★★★ It is an encounter with the past that feels exhilaratingly present-tense.
They Shall Not Grow Old will be shown daily at IWM Short Film Festival from 25 – 29 October, and will be on BBC in November.
WILLIAM KENTRIDGE'S THE HEAD & THE LOAD
Critics and audiences gave this epic work a rapturous reception at a packed Turbine Hall last week.
A new film by Peter Jackson
The First World War proved to be a landmark in cinema history – the first time that the horrors of war could be caught…
14-18 NOW TO TAKE POPPIES ART INSTALLATION AROUND THE UK
Today, Vikki Heywood, 14-18 NOW Chairman said: '14-18 NOW is delighted that we can extend the life of this beautiful art work and ensure…
Peter Jackson's title for new First World War film confirmed
They Shall Not Grow Old will have its World Premiere on 16 October as part of the 62nd BFI London Film Festival.
14–18 NOW would like to thank our generous funders, partners, supporters and volunteers who have helped us reach over 35 million people in the UK.
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SmartBear Software has announced new functionality to SwaggerHub, the company's repository which allows development teams to collaborate and coordinate the lifecycle of an API. Among the updates is the ability for IT teams to organize, share and collaborate on Swagger API definitions directly in SwaggerHub, where public and private APIs are centrally stored in a SaaS product.
SwaggerHub facilities the distribution of public APIs, offering accessible API definitions in the OpenAPI Specification Format. With SwaggerHub, developers can discover and view public API definitions in a public registry which now contains over 2,500 APIs. The platform includes links to DockerHub, GitHub and Ready! API or developers can use the SwaggerHub API to integrate with other tools of choice. The platform offers built-in services including Code Generation, Versioning, Push to GitHub, and Publish to coordinate across all the different phases of the API lifecycle.
New functionality to the platform now includes the ability to limit access to API definitions and versions. SwaggerHub now supports the ability to keep APIs private to users designated as collaborators. Inside SwaggerHub, a fine-grained access control can now be assigned to APIs.
Developers can also create organizations to associate their APIs and find public APIs under an organization namespace. Within the scope of an organization, teams can be created, allowing for a fine-grained association of users to logical groups. Now these teams of users can be given read-only or read-write permissions against multiple API definitions in a single step.


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A range of dowel bar debonding caps manufactured from rigid PVC tube with a compressible cork fixed into one end to act as a compressible filler.
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Boo Hoo! So far in this hunt, all I've won is Pizza and whats even worse is I can't eat it!
This is the XOXO Hunt and you have to get the Free hud, either from the MP or inworld, check out the blog link for the details and more, you simply wear the hud and you can click on the shops you're interested in and not only does it send you the LM but the image at the top changes to show you what the hunt prize is which makes it easy to pick and choose what goodies you want to hunt for.
What you're looking for is a box of chocolates and tbh the shops I've hunted in have them out in very obvious places so even a useless hunter like me found them with no problem. You stand close to the box of choccies and type "xoxo" in chat and you either get the goodies or a b*tch slap that your "romancing has failed" and you walk away with your heart broken and a tear in your eye. You can try again but only 24hours later OR pay a small sum for the item, 50Lds.
Follow the blog link at the bottom for the LMs and Links for the hud plus there is a link to the pictures of the prizes and there is a nice mix of clothes, nails, and decor. There is a couple of items I'd even pay the 50Lds for but I've been eBaying in RL and plant buying in SL and I'm broke! So I will slap that hud back on tomorrow and "XOXO" till I win the damned prizes I want.
PS. This pizza came from a shop I've not visited in years, Lost Junction, and it's full of great and funny decor items and other odds n sods so it's well worth a visit as you can't get this stuff anywhere else in SL.


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Home / TWAW In The News / Well Armed Woman group aims to promote firearms among females
Well Armed Woman group aims to promote firearms among females
SIOUX CITY | On the third Monday evening of every month, a group of women gather at Yards Shooting Range to talk shop and shoot the breeze — then shoot at targets.
The local chapter of The Well Armed Woman, a national organization with 222 chapters in 48 states, calls the range home, with Tiffani Smith, the range's manager, as the chapter leader.
The group is designed to educate and promote women's use and ownership of firearms, while having a little fun, too, according to Smith.
One year old as of October, the local chapter was started by Smith because she heard of similar women's shooting groups at other ranges.
Yards opened in May 2014 at 1951 Leech Ave. It holds several kinds of pistols, revolvers and rifles for users to rent before heading downstairs to practice in the range — a tunnel of cement that ends in a small mountain of rubber padding. The range also supplies targets, ear and eye protection and ammo.
"I wanted something here for ladies," Smith said. "It's for ladies to talk and shoot together without any judgment."
Smith said she's always been around firearms, more so since she met her husband, Matthew Smith, 16 years ago. He encouraged her to become a firearm safety instructor.
Many men and women have entered the range with little to no experience with firearms, Smith said.
That wasn't the case for Leona Cray, of Dakota City, Nebraska. She has been shooting firearms for years with her husband, Wendell Cray, who used to work at the range.
About two months after getting a permit to conceal carry, Cray joined the group, which helped grow her confidence in carrying a firearm for self-defense, she said.
Being better versed in firearm use helps Cray feel better prepared in the event someone tries to break into her home, she said.
"The group built my confidence and taught me I'm in control of the gun, not the other way around," Cray said. "Safety and self-defense are pretty important to us. Plus I love shooting at the range with them."

redpajama_set_name: RedPajamaCommonCrawl


Match Racing is a series that pits the BYC's fleet of J/70s against one another. Teams sign up to take part in a double elimination tournament sailing one team against another in the America's Cup format. Match races start in June and continue throughout the summer season, with teams assigned to race during specific weeks. Racing teams practice on Tuesday of their week and the race is held on Thursday evening at 6 p.m. The club maintains a winners and losers bracket with sailors advancing to compete in subsequent weeks.
Fee: $200 (plus a deposit of $250).


We are fortunate to have a washer and dryer in our apartment. In many episodes of House Hunters International the prospective tenants are horrified to find them in the kitchen, which I don't think is a big deal, but ours happens to be in the bathroom, a front-loader with a dryer on top.
The instructions on the back of the detergent.
Yesterday I made another trip to the grocery store, this time to buy more serious things like laundry detergent. This is one of those times I'm relieved to have only a few choices of products in a particular category because I couldn't make out a single word on the packaging. I went with the overall look and price, so hopefully it works okay. I don't think top-loader machines are as common in Sweden (they use a lot more water and Swedes are environmentally conscious) so I didn't worry about finding a "high efficiency" detergent.
In the kitchen I found a 50ml measuring cup, and after measuring out detergent I poured it into the cap, which is unmarked but turns out to be about that volume. There are three sections of the detergent dispenser drawer, so I put detergent in the big one, hoping it's like the one we had in Virginia. The fabric softener calls for a half-cap for a 4-6kg load, so I put that in the medium size section of the dispenser drawer. I think the small one is for bleach.
Now for the controls. Someday I'm guessing there will be an app where you can scan a word and it will plug it into Google Translate for you (million-dollar idea!), but I don't have that app or a Swedish-English dictionary (it's still in the mail). And in the time it takes to run to my computer and type in a Swedish word is about the amount of time it takes my jet-lagged brain to forget the word. So I went with the only word I recognized ("normal"), which is where the dial already was.
It's nice that it gives you a little key to explain the buttons, but I'll have to look up these words as well. And the water temp was in Celsius so I'll have to do a little cheat sheet. I'm used to general terms like hot, warm, and cold, so I'm not even sure what temperature a warm water wash should be. Sigh.
Don't get me started on all the kinds of cheese at even the small grocery store, none of which sounds familiar except for gouda.


In the New Market area and serving authentic Dhakai Bangladeshi cuisine, award winning Kasturi is an inexpensive but delicious option. Established in 1994, the restaurant pioneered this type of cuisine in the city. Ignore the uninspiring decor, the food is what counts there. A meal for two will cost around 500 rupees.


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Michael James Adams (5 mei 1930 – 15 november 1967) was een Amerikaans piloot en USAF astronaut. Bij zijn zevende vlucht in de X-15 op 15 november 1967 kwam hij om het leven. De X-15 met vluchtnummer 191 kwam bij terugkomst in de atmosfeer in een spin terecht. Op een hoogte van ongeveer 20 km kon het toestel de extreme g-krachten niet meer aan en brak in stukken.

Amerikaans militair
Amerikaans ruimtevaarder
Amerikaans vliegenier

redpajama_set_name: RedPajamaWikipedia


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Home NEWS Election Offers no Comfort for Burmese Refugees
Election Offers no Comfort for Burmese Refugees
By SEBASTIAN STRANGIO / AP WRITER	Tuesday, November 02, 2010
MAE LA REFUGEE CAMP, Thailand — It's no wonder that Saw Tun Wai has little desire to return to Burma, even after upcoming elections that its military rulers describe as a step toward democracy.
The wiry 52-year-old teacher fled to Thailand on foot over rugged mountain terrain in 2006, escaping a vicious and largely unseen army campaign against ethnic rebels that shows no sign of ending.
"The government (falsely) accused me of being a partner of the revolution," said Saw Tun Wai, who belongs to the Karen ethnic group. "I was beaten and forced into making a confession." Then, he said, he was press-ganged into working for the army as a porter.
The prospects that the Nov. 7 election will bring change to their homeland seem negligible to the 150,000 refugees in Thai camps near the border with Burma, also known by its old name, Burma.
The military-backed Union Solidarity and Development Party is a shoe-in to top the polls, the first in two decades. A constitution imposed by the military in 2008 ensures that the generals will call the shots for the foreseeable future anyway.
The elections, said Saw Tun Wai, now a teacher in the Mae La refugee camp, offer no hope for positive change, "neither for the Karen, nor for any of the people in Burma." His hope is to one day become eligible for resettlement in another country.
For the refugees, a more immediate concern is a possible shift in the attitude of Thai officials, who have indicated that they might send them home sometime after the election.
The first camp was established in the mid-1980s. Thousands of refugees have been resettled overseas under UN auspices, but a constant stream of new arrivals swells the populations of the nine camps, scattered along the Thai side of the border.
Picturesque streams and dirt lanes crisscross Mae La, the largest camp with an estimated 47,000 inhabitants.
In a dirt-floor tea shop, men smoke Burmese cheroots, chatting over shots of sugary milk tea and the blare of Thai music videos. The voices of children, chanting lessons in Burmese and English, come out of the many bamboo schoolhouses.
The prospect that Thailand may consider Burma's election a turning point toward justice and democracy — justifying the refugees' return — casts a shadow over their future.
Sharp international criticism forced Thai authorities to abort a planned repatriation in February of 3,000 Karen refugees from another camp to an area believed to be littered with land mines.
That came just a few months after Thailand forcibly repatriated more than 4,000 ethnic Hmong refugees to Laos, despite international fears they would face persecution.
At the end of September, Thai Foreign Minister Kasit Piromya set off fresh jitters.
Speaking in New York, he said that he would launch "a more comprehensive program for the Burmese people in the camps, the displaced persons, the intellectuals that run around the streets of Bangkok and Chiang Mai province, to prepare them to return to Burma after the elections."
Kasit's remarks were vague, and the Foreign Ministry later said Thailand wants to prepare the refugees to go home "when the situation in their country becomes conducive for their eventual return."
"Thailand clearly wants to send refugees and political exiles back, but after the election the situation in Burma won't change, so it will be hard for them to justify it," said Mark Farmaner of Burma Campaign UK, a group that lobbies for democracy in Burma.
Human rights groups accuse the Burma army of rape, torture and summary execution in insurgent areas. They say the military forces villagers to work as porters and walk ahead of military columns as human land-mine detectors. The government denies the allegations.
Tu Ja, a 54-year-old teacher from the Kachin ethnic group, fled Burma after distributing political pamphlets during anti-government protests in 2007.
"The Burmese regime wants to destroy this camp, that's for sure, but where shall we go?" he said. "All of our families are dispersed everywhere and we have no home. How can we return to Burma?"


text:
L /
Elizabeth Lang
Visit Elizabeth Lang's Web Site.
Read Interview from September 05, 2011 by Tamazon.
Author: Elizabeth Lang
Elizabeth Lang was an avid reader from an early age. Science Fiction and Fantasy were and still are her passions, with occasional dips in the pools of Mystery. She has spent many years in the IT industry and started writing late in life, but once begun, she couldn't stop.
Elizabeth lives in Canada though she's worked in many places around the world. She loves traveling, learning about different cultures, and sampling their delectable foods.
She writes mainly scifi thrillers/psychological dramas, though she did accidentally end up with a scifi romance novel. She swears she has no idea how that happened.
Elizabeth has also written some humour, mainly wacky stuff that comes to her mind in the wee hours of the morning when her brain refuses to acknowledge being attached to the rest of her.
She has also dabble in a bit of poetry, but barely enough to get her toes wet.
The Andromedans - Empire Series, #3
Number: B00TBXHP32
Genre: Sci-Fi / Fantasy
Tags: Romantic Elements, Suspense: Action / Thriller, * Science Fiction
Publisher: IFWG Publishing
Sometimes you have to lose yourself to find out who you really are.
After being kidnapped by a bounty hunter and getting mixed up with a band of rebels, Adrian and Kali are finally together. They find a quiet corner of the galaxy to live in peace and...who are we kidding...
Just when they think it's safe, the unthinkable happens. Adrian, a brilliant scientist who prides himself on the perfect mind, loses everything. Kali has to revisit something she abhors in order to save him, and this time the stakes are even higher. Not only does Adrian's life hang in the balance but the survival of two galaxies.
Just who are these Andromedans and why are they willing to go to such lengths to destroy humanity? What do they want with Adrian? And who is crazy enough to go to the Andromedan galaxy to rescue him?
The Rebels - Empire Series, #2
Number: B00GT092EA
Rebellion is a state of mind.
"Maybe I want to find out what's worse than dying."
On the cusp of freedom, Adrian Stannis is plunged into the world of bounty hunters and rebels, each one valuing his head with the kind of single-minded intensity that does not bode well for his dream of peace and a fully stocked lab in a quiet and obscure corner of the galaxy.
Dragged along against his will by a barbarian intent on selling him back to the Empire, Adrian 'accidentally' kidnaps an emergency room doctor--because that is the kind of thing he does, while Kali and Bryce try to find him and become embroiled in an adventure of their own, one that leads to a sinister mystery that might destroy them all.
Character Follies - An Empire Series Short
Number: B005KXB664
Tags: Romantic Elements, Suspense: Action / Thriller, * Science Fiction, * Under 45k Words
Publisher: Active Living
What happens when a writer's characters come alive and insist on having a life of their own? What if they think they have better ideas for the story than she does?
Adrian prefers doing anything else, other than cooperating. Argus likes hitting things. Repeatedly. Sester...well whatever he does, the other two are sure he's up to no good.
The writer tries to wrangle them into some semblance of order, to limited success.
Come and join the merriment and find out how a writer's mind really works.
The Empire - Empire Series, #1
Number: B00GT08YJY
Tags: * Romance: Speculative / PNR, Suspense: Action / Thriller
A Night Owl Reviews 4.5 Stars Top Pick Title.
A finalist in the 2011 Next Generation Indie Book Awards.
With security comes a price.
Humanity is in danger of annihilation as a centuries old war with the Andromedans heats up again. The Empire, an increasingly totalitarian society, is the only force that stands in the gap.
Thrust into this chaos of alien invasion, rebellion, and political intrigue, Lieutenant Adrian Stannis is caught between the ends and the means. No one knows why this brilliant scientist chooses to hide in the farthest reaches of the galaxy, doing research on an insignificant science vessel. His days of anonymity may soon be coming to an end, whether he wants it to or not.
Adrian's freedom, and his very survival, may depend on friends he's afraid of having. Kali, a psi-enabled humanoid who is the only person he gets along with, just barely, and Bryce, his personal assistant and one-time conman and thief, may be his only hope, if he doesn't push them away, not to mention a mystery surrounding him that may explode in their faces.
Everyone wants to know the truth, but will it set them free?
The Andromedans
Character Follies


text:
Q: Display photo from FileProvider with Intent.ACTION_VIEW I am working on a device running Android 8.1.0. I'm trying to open an image from a message attachment. I had a cache of image files working using a FileProvider a week ago and now it just stopped working without me touching the code. I'm trying to share an image from my internal app storage to Intent.ACTION_VIEW outside of my app. The photo viewer does launch, but there's a progress circle that just keeps spinning. Any suggestions? Thanks!
void launchViewer(File f) {
    Uri uri = FileProvider.getUriForFile(context, "com.company.secure.provider", f);
    Intent intent = new Intent(Intent.ACTION_VIEW);
    String mimeType =  Attachment.getMimeType(f.getName());
    //TODO Test to make sure this works on all devices...
    if (mimeType.startsWith("video")) {
        mimeType = "video/*";
    }

    if (mimeType.startsWith("image")) {
        mimeType = "image/*";
    }

    if(mimeType==null || mimeType.length()==0) {
        unknownMimeType(f.getName());
        return;
    }
    List<ResolveInfo> resInfoList = context.getPackageManager().queryIntentActivities(intent, PackageManager.MATCH_DEFAULT_ONLY);
    if(resInfoList==null || resInfoList.size()==0)
    {
        AlertDialog dialog = new AlertDialog.Builder(context).setTitle("Error")
                .setMessage(String.format("Cannot find app to open file type(%s)",mimeType)).show();
        return;
    }
    for (ResolveInfo resolveInfo : resInfoList) {
        String packageName = resolveInfo.activityInfo.packageName;
        context.grantUriPermission(packageName, uri, Intent.FLAG_GRANT_READ_URI_PERMISSION);
    }
    intent.setDataAndType(uri, mimeType);
    context.startActivity(intent);
}

A: So I just had to add the following line right before starting the activity.
intent.setFlags(Intent.FLAG_GRANT_READ_URI_PERMISSION | Intent.FLAG_GRANT_WRITE_URI_PERMISSION);

For some reason, the APK I shipped to testing that doesn't have this line in it works... but any new build does not work without this. I read that using the ResolveInfo method will only work for Lollipop and below and you will have to grant the permission directly to the intent. (Not sure how true this is). For this reason I left both permission granting methods in there to cover all bases. Thanks for all the help!

redpajama_set_name: RedPajamaStackExchange


Wieland-Werke AG, Ulm, have recently replaced their approximately 30-year-old rolling mill for non-ferrous metals in the Vöhringen plant with a modern hot-rolling facility. In the new system, blanks 8 m long and weighing up to 14 tonnes can be "stretched" to a length of 100 m during the course of several rolling processes. The doubling of the rolling capacity brought with it a change-over from ground-water cooling to air cooling. Two drycooling systems, for plate cooling and the rolling frame, with a cooling power of 5 MW and 3 MW, respectively, are installed, and work independently of each other. On the basis of the almost historic business relationship, Wieland decided on Güntner drycoolers of type GFH.
In return, Güntner cover the greater part of their demand for copper pipes from Wieland. The manufacture of semi-finished goods in non-ferrous metals is a very heat-intensive process. After the actual smelting, the raw blocks have to be put in the standard shapes for trade, such as coils, strips or cut plates. For this step of the process – called warm rolling – the raw block is first heated and then deliberately cooled down during the rolling process. Most of this withdrawn heat is at a comparatively low temperature, so utilisation of the heat is limited to only a few applications. The primary goal is to control the cooling process in such a way as to achieve optimum quality of material. Ground water has been used hitherto for cooling the 30-year-old rolling train.
Six Güntner type GFH drycoolers are installed, each with twelve fans (530 rpm; 770 W per fan). Each drycooler is 12 m long and 2.4 m wide, and weighs about 3 tonnes. The coolant is a 60:40 mixture of water and glycol. The water in the rolling-frame circulates at a rate of around 330 cu.m. per hour; there are two electric circulation pumps (operational/ reserve) with 75 kW power.
The "plate cooling" drycooler is used to chill the warm, rolled "strips" with an emulsion – the so-called quench water – from 600 °C to 150 °C. This quality-boosting process requires a large quantity of water in a very short time, so cooling power of 5 MW is needed. Here, too, the coolant is a 60:40 water glycol mixture in a closed circulation system. The flow volume is in the region of 450 cu.m. per hour, provided by two circulation pumps (operational/reserve), each with 75 kW of electrical power.
The actual process cooling is designed as an open, secondary circulation system with elaborate periphery, such as fin clarifiers, scale collector and sand filter etc. In this process, there is automatically a higher level of cooling temperature, so in winter the available warmth is introduced to the ventilation system in the building. This way, about 2,000 kW of waste heat can be utilised to heat the building saving a corresponding amount of primary energy.
The waste heat from the process is dissipated by eight Güntner GFH drycoolers of the same type and size as those used for cooling the rollers, but with more powerful fans (1.05 kW electrical power per fan at 620 rpm).
Archaic as the smelting of metals and alloys may seem even today, the degree of automation and precision in the further processing of ingots to strips, plates and tubes is all the more impressive. In the new rolling train at Wieland, the ingots, which are cast in moulds and are eight metres long, 200 - 250 mm high and up to 800 mm wide, are first heated to deformation temperatures of between 750 and 1050 °C – depending on the alloy – in a gas-heated rocker bar furnace. The downstream hot roller then reduces the thickness of the blank to 10 to 15 mm in a back-and-forth movement. The raw block lengthens with each run through the rollers until, at the end of the rolling process, it reaches a length of 100 m. The rolled-out casting dross and the oxides that have formed during rolling are then milled off at a cutting speed of 30 m per minute, leaving bare metal surface visible. In readiness for further processing, the "strip" is wound by a "coiler" (500 kW motor), or deposited in the strip store.
With process annealing and cold rolling, the coils or plates are given the final thickness the customer wishes, or given the ordered hardness. Slitting shears then cut the strips to the correct width. Most of the strips up to 0.5 mm thick are made into fabricated materials for electrical goods and electronics, such as lead frames for semiconductor elements, plug connections for telecommunications and vehicle electrics, high-frequency and underwater cables, or transformers. Other major precision strip costumers are the manufacturers of consumer goods such as metal ornaments, cutlery or musical instruments. Wieland is also one of the world's main suppliers of special copper tubes for refrigeration and air-conditioning applications.


text:
The Painful Irony of Michelle Obama's $12,000 Dress
Posted: Feb 14, 2014 9:05 AM
Earlier this week President Obama and the First Lady hosted French President Francois Hollande at the White House for an official state dinner. It was quite the affair with caviar, quail eggs, rib-eye and chocolate-malted ganache.
In case you don't remember, Hollande is a full blown French socialist who deeply believes the only way to help the poor is by demonizing and soaking the rich. Hollande is currently moving forward with his plan in France to tax millionaires 75 percent after receiving approval from a court. President Obama holds similar views and has repeatedly told the rich they need to "pay their fair share" so that the rest of us can have a fair shot at life.
But it's difficult to take these positions seriously when the people taking them engage in the very lifestyles they claim to abhor. Take for example Michelle Obama, who wore a $12,000 Carolina Herrera designer gown to the state dinner earlier this week. Just a few weeks before the dinner, President Obama argued income inequality is a major problem facing our America. CNSNews noticed the cost of her dress is more than the average household income worldwide.
The blue and black designer dress that first lady Michelle Obama wore to Tuesday's state dinner for the French president reportedly cost between $10,000 and $12,000, according to news media, which is more than the median annual household income worldwide of $9,733, and greater than the median income for households in at least 87 countries, according to data from Gallup.
Just before the dinner, Michelle Obama tweeted out this photo of her dogs at the dinner table dining on crystal and fancy china.
Bone appétit! pic.twitter.com/vuXRoKEnGY
— FLOTUS (@FLOTUS) February 11, 2014
Let them eat cake, indeed.
When Michelle Obama walked out to greet the French President, the media swooned. NBC's Shawna Thomas declared "BOW DOWN!" on Twitter when she saw the dress.
HOLY CRAP LOOK AT THE FIRST LADY'S DRESS. #BOWDOWN
— Shawna Thomas (@ShawnaNBCNews) February 12, 2014
NBC is the same network that questioned Ann Romney for wearing a $900 designer shirt for an interview with CBS This Morning. The Romneys have donated more than $20 million to charity over their lifetimes and have worked for the majority of their lives in the private sector. The same cannot be said for the Obamas.
Here's my bottom line, I couldn't care less how much Michelle Obama's gown cost. I'd love for every woman to have the opportunity to wear a gown like that in her life. Designer clothes are expensive because of the work that goes into them and I'm happy Caroline Herrera got paid for the work she did. Herrera reaped the reward of having a First Lady wear her art and product thanks to hard work. The issue is the Obamas and President Hollande lecturing the rest of us about how much money we should make, how we spend our money and how much of our money they are entitled to. People like Hollande and the Obamas are either elitist hypocrites or they don't really believe in the socialist policies they preach about and implement for the rest of us.
Editor's note: This post has been updated.


text:
The Unknown Object: Part II
. . . as I was saying, the pampered bourgeois like myself, with our overcostly educations and the guilt of privilege, have been separated from the processes of man and nature. This is why I admire a cultured man of the earth like Hank Heatly—with his keen interest in Linnaeus and Pliny the Elder—who can engage my attention on the subject of, say, tomatoes, despite my total lack of interest in tomatoes. He probably knows a lot already about winnowing; but perhaps he knows less about Homer. Either way, let us engage in some hypothetical dialogue.
The Winnowing-Fan.
The poet sang, as we have seen, that 'another wayfarer, on meeting thee, shall say that thou hast a winnowing-fan on thy stout shoulder'. The mystery of this passage was longwhiles augmented for me by my utter ignorance in the matter of winnowing-fans. What is a winnowing-fan? It took me a surprisingly long time to find out. The Greek word is αθηρηλοιγον (athereloigon)—an oracular periphrasis, literally meaning 'consumer of chaff', and attested only here. Later commentators unanimously identified the athereloigon as a ptuon, with the normal sense of 'shovel'. So now we turn to two exquisite articles by the great Jane Ellen Harrison (Journal of Hellenic Studies, 1903 and 1904), in which are discussed, at great but untedious length, ancient methods of winnowing crops. This is one of the most well-known devices, still used today:
It is what the Greeks called a liknon, the Romans a vannum, the French a van, and the English a van, or later, fan. It is, in fact, the origin of our common 'fan'. It looks nothing like what we think of as a fan—but the connection is that both are used to create currents of air. The farmer puts the unsorted grain and chaff into the basket, and shakes it until the lighter chaff is propelled over the fan's lip, while the heavier grain remains inside. In a footnote, Harrison notes with relief that this process has not been lost to time:
Such fans are still in use to-day in Cambridge as baskets and are regularly imported. Mr. [Francis] Darwin's gardener. . . states that the 'fans' were in use for winnowing when he was a boy, but the art of winnowing with them is now only known to a few old men.
Darwin's gardener winnowing with a fan
Here we see the pampered bourgeois intellectuals of a century past, like us, fascinated with the lower orders as 'folk', innocent bearers of ancient truths and customs. There is a melancholy in Harrison's words—and a desperation to preserve, against the encroaching clarinets of modernity, and indeed modernism, the wisdom of Europe's rural past. For her the fan is a little fetish of this past, an object surviving all change and history, unknown, but promising knowledge, yet—an object to be a little worshipped. 'The word 'fan'', she writes, 'is a beautiful word of almost magical associations'. Nonetheless, she will fetishise the object further by re-christening it as a 'winnow-corb', so as to distinguish it from a modern fan. The OED only barely attests corb, listing it as an error for corf, meaning 'basket' in various specialised senses:
(WEBSTER 1828, followed by other Dictionaries, has Corb, either a misprint for Corf (omitted in W.), or perh. a local form in U.S. It is unknown in England.)
The OED does not cite Harrison—though perhaps we should contribute the reference. If American, it seems odd that Harrison would produce corb merely as an 'archaism'; we find the word used later in a 1922 article by the eminent Bostonian archaeologist Harriet Boyd-Hawes, clearly alluding to Harrison.
Harrison enshrines the object with its own obscure term, smelling of history; but more tellingly, her articles chiefly concern the mystical significance of the fan, conflated with a sacred cradle, as an emblem of Bacchus. (On this see also The Golden Bough, ch. 43.) And to develop on Harrison's theme we might throw stones into the Middle Ages, where the vannus would be called a capisterium, and attributed to St. Benedict as the symbol of a childhood miracle. You can see a rather crude carving of Benedict's fan on a mediaeval capital (taken from Pamela Z. Blum, 'The Saint Benedict Cycle on the Capitals of the Crypt at Saint-Denis', Gesta 1981):
The fan reappears, in a thoroughly secular form burlesquing the deus ex machina, in a story (#29) from Marguerite de Navarre's 1558 Heptameron, in which a near-caught lover is quickly stashed in a ceiling-loft, covered with a winnowing-fan (van). An 1894 illustration portrays the fan exactly in its modern form.
You've noticed something, haven't you? At the beginning of this post I noted that Homer's winnowing-fan, the athereloigon, which is really what you're interested in, was identified with the ptuon or shovel, whereas all this time I've been going on about the liknon or basket. Well spotted! But don't worry, we're getting there: Homer's fan will become more known yet.
Harrison discusses the ptuon as well. In fact, she provides more information about it than you could possibly want to know. Trust me. But she concludes, in the second of her two articles, that the ptuon looked a bit like this:
It doesn't work in the same way as the basket—the farmer strikes the mixed crops up into the air with the shovel, usually on a windy hill, and lets the wind separate the two substances for him, the chaff being blown farther away than the grain. It is this type of fan favoured by the Biblical writers of both testaments. Jeremiah 15.7: 'And I will fan them with a fan in the gates of the land', using a typically archaic reduplication—the Hebrew word is mizreh, which also appears in Isaiah 30.24, and derives from the root zrh, 'to scatter'. (Thanks to Simon, here.) The verb-form appears in Isaiah 41.16: 'Thou shalt fan them, and the wind shall carry them away'. It is obviously the ptuon that is meant here. The Greek, sadly, is not very helpful here—the LXX renders Jer 15.7, for instance, as 'diaspero autous en diaspora', 'I will scatter them in a scattering', preserving the reduplication but losing the physical object represented by mizreh. Jerome's Latin is excellent, however, rendering the object as ventilabrum ('wind-lip'), which is the usual translation of—you guessed it!—ptuon. We know this because ventilabrum is used to render ptuon in parallel passages of the New Testament, Mark 3.12 and Luke 3.17:
ου το πτύον εν τη χειρι αυτου
Cuius ventilabrum in manu sua
Whose fan is in his hand
The sense is that the wicked will be scattered in perdition like chaff blown away by the winnowing wind. From thence the winnowing-fan became a popular Christian motif, denoting the discernment of the good from the evil, a holy form of the two paths of the Pythagorical upsilon.
What of Homer, then? For Harrison, 'the prescribed planting of the oar in honour of Poseidon was a ritual replica of the planting of Demeter's shovel-fan', which can be gleaned from a passage in Theocritus:
. . . of her [Demeter], upon whose cornheap I pray I may yet again plant the great winnowing-fan [mega ptuon] while she stands smiling by with wheatsheaves and poppies in either hand.
A. D. Ure ('Boeotian Haloa', Journal of Hellenic Studies, 1949) provides a visual example of Dionysius with a ptuon instead of a liknon, from the fifth century BC:
The image is a little difficult to make out, but the god's implement can be seen extending diagonally downward from his right hand, terminating just below the pig's head to the right of the scene. Ure notes proudly that his fan is 'more oarlike' than any of the classical images in Harrison's article. A modern sculptor, Conrad Shawross, visualises the transformation in his own way:
Michael Glover, in a review for the Independent, called this piece 'perfectly delightful, perfectly useless—just as art should be'. How far we have come from Homer's world! Such a vacuous aestheticism would have been impossible, when the beauty of oar and fan derived from the harmony of form and function, and when the monumental beauty of the athereloigon derived from its sublime play with that harmony. Still, Homer's object has become increasingly less unknown to us, as we have unravelled its history.
But less unknown it shall become still. For Harrison notes another use for the ptuon—'with a very long handle it is employed for lifting bread out of an oven'—and here she footnotes—'the long-handled oven-shovel is known in English and Scotch dialect as a peel'. She remarks further that a modern folk-telling of the Odysseus story transforms the oar not into a fan but into a peel: 'the shift from the country to the town implement is very natural'. Today we best know the peel for its use in pizzerias, though only the best still use proper ovens. The object has been continually metamorphosed, thus, from the sea to the countryside to the town, remaining invariant in form—a homotopy. The ancient is present, atavistically, in the modern.
This is how we learn to cope with the unutterable and terrifying gulf of time extending ever backwards—how we make sense of a past increasingly remote, and increasingly unknown. With our objects we preserve some fragile sense that such a past was, after all, much the same as our familiar present, only rearranged a little, like our words, and like the atoms of our bodies. We retain, at the same time, the hope that we will not be lost to the future: that whatever progress the world might make, the forms of our objects and ourselves will always prevail.
Update: Hank responds, flattered and flattering. The post is well worth reading. Update #2: Languagehat links, kindly, as does Clusterflock, and John B. responds to both myself and Hank, elegantly bringing together several threads. I am honoured to have had such an impact.
Final thoughts on the unknown object here.
Labels: Bible, language, literature, philosophy
Raminagrobis said...
I love these mini concept-histories you do; really entertaining, and informative.
I vaguely remembered a poem by Du Bellay about a winnowing-fan so I tracked it down (it's based on a Latin original by Navagero, in turn based on a Greek original by Bacchylides); Ronsard wrote one too. These poets clearly have in mind the second type of winnowing-fan you discuss, the wind-powered version. Strangely enough, none of them makes any connection with the obvious idea of sorting the bad from the good.
Anyway, looking up the Du Bellay poem led me back to these two stanzas from Baudelaire, certainly a man alienated from 'the processes of man and nature' (I'm sure he was no more familiar than you or I with the process of winnowing): for him too, the winnowing-fan seems to be associated with a a vague sense of strangeness, a forgotten memory of something. The agitation of the chaff by the wind is something the eye cannot quite resolve into any recognisable pattern: perhaps by metonymy the object itself takes on something of this sense of elemental mystery.
Et ce monde rendait une étrange musique,
Comme l'eau courante et le vent,
Ou le grain qu'un vanneur d'un mouvement rythmique
Agite et tourne dans son van.
Les formes s'effaçaient et n'étaient plus qu'un rêve,
Une ébauche lente à venir,
Sur la toile oubliée, et que l'artiste achève
Seulement par le souvenir.
John B. said...
This would work as an episode of Connections. Fascinating reading, and a truly elegantly-written conclusion.
The winnowing fan was in common use even a hundred years ago in the Great Basin, where it served two purposes associated with sustenance. The staple food in the basin and range province is the pine nut, or seed of two common trees, Pinus edulis and P. monophylla. Both can produce abundant nuts in the fall, and these are both nutritious and storable. The problem is how, for a people with neither pottery nor metal, to prepare them. The solution is to place them, along with hot coals from the fire, in a woven 'basket' of the sort called, in Shoshoni (one of the six or so indigenous languages of the basin), kappippen, and to toss the coals and nuts together, taking care not to burn up the basket, until the nuts are toasted. You then put the nuts on a flat rock, like a metate, and break the shells with another, like a mano. The kappippen then becomes a proper winnowing fan, as a little shaking and a breeze will separate the shells from the nuts. These aren't made or used anymore, as far as I know, but were until fairly far into the last century. Their utilitarian purpose and potentially short life (because many would catch on fire) meant that they were generally made quickly and coarsely, but the last two examples below are more finely made and were perhaps for the winnowing of seeds other than pine nuts. Here is a kappippen in use; here a common utilitarian version with a nice fan shape, and here two finer examples, which I speculate were made for the tourist trade.
These are generally called winnowing baskets in English, since they use the same technology as other basketry items; in their home languages, of course, no such identification is made.
Languagehat said...
A superb and thought-provoking post. Alas, I have two deadlines tomorrow, so I cannot allow my thoughts to be blown by the winnowing wind. I must instead to the grindstone...
Conrad H. Roth said...
Gentlemen: thank you kindly, as ever. One could write about this forever, n'est-ce pas?
One imagines that her strange coining might have in some way been influenced by the german, korb, for "basket". In fact, knowing more korb than I do corf, until you mentioned that it was a mistake I presumed "corb" merely to be an old-fashioned word for the very thing.
A CORRECTION
I checked my dictionaries and realized that I had made a mistake. A kappippen is indeed a kind of basket used and named by the Shoshoni, but not a winnowing basket. The Shoshoni made two kinds of winnowing baskets: teman and yantun. A yantun is larger and more coarsely woven than a teman. I should have made it clear that these winnowers were used to prepare many kinds of wild seed foods, not just pine nuts. Sometimes they are called winnowing trays, besides baskets and fans.
Z. D.: Corf, indeed, comes straight from G. korb, which in turn (probably, though proud Germanists like kicking against the obvious) comes from the Latin corbis, 'basket'. Perhaps you're right, that German influence (and one might more readily expect this in some parts of the US than in England) has given 'corb' some dialectal life.
John Cowan said...
Corf is indeed borrowed from corbis via korb, but the true mystery is whether the formal equivalent (via the First Consonant Shift) of corbis, namely English harp, is a true cognate or a mere coincidence. Harps and baskets the same thing? Could it be so?
Alas, NID3 gives us merely curvus, plausible but unromantic. French harpe is neither here nor there, being a borrowing from English.
This anatomy of the winnowing-fan has great charm for me: the knowledge (one even longs for a little faux-knowledge slipped in); the fetish-making; and the leap to largeness at the end.
My family name is Wenner; our family history is documented to the 11th century in Crumstadt, a town which in the middle ages was sometimes in Germany, and sometimes in Switzerland. A more distant Wenner ancestor--a physician-- supposedly emigrated to Crumstadt from Sweden, where the largest lake was anciently called Lake Wenner --now lake Vanneren. But, like the Swedish lake, the Wenner surname is not pronounced with the expected initial "v"sound of German.
Our family's ancient heraldic device (NOT a coat of arms--the family were not nobility) is a stylized winnowing basket ("wenner") on a blue octagon. (Another Wenner family has the device of an upright fish, but we are not related) This "wenner" on its blue octagon field resembles a circle with two semi-circular handles, which unless you know what it is, --appears to be the silhouette of a bald man's head, with jug ears.
The heraldic winnowing basket (rendered realistically in basket-weave) can be seen in the Wenner family stained-glass window in the narthex of Our Lady of Walsingham Church in Houston Texas; the device is surrounded by stalks of growing wheat, and on a ribbon beneath, "Matthew 3:12" indicates the family motto. As the medaeval Wenners were prosperous landowners who produced several burgomeister magistrates, --the device, at once agricultural and metaphorically judicial, -- was curiously apt.
The church's website has a link to pictures of its stained glass window if you are curious to Google it.
Thanks for this. (The picture is here, if anyone else is interested. The ribbon below says Luke 3:17, not Matthew 3:12--though as I have pointed out above, they are the same.) Glad to see the iconography in new ways!
By Conrad H. Roth
chalybea
(at) hotmail
(dot) com
###recentComment###
. . . is bunk
The Unknown Object: Part I
De Bry: Ypsilon
The Garden of Forking Paths
Going. . . going. . .
The filthy Eucharist
Eumpina translata
The problem of Magritte
On Affliction and Reading
Why blog, sinners?
Best Varieties
Why blog?
Antiquity of fortune cookies
Signs of Foul Weather
Kissing in Latin
On Prescriptivism
Art and natural form
Why I hate reading
Conrad in San Francisco, Berkeley
Against literary appreciation
Surrealissimo
The Lung Goodbye
On talking birds
Why Heidegger was a charlatan
Conrad's library
Extended Essays
Sylvie and Bruno: tangents 1 2 3
The Divided Self: I II III
History of the Nod: I II III
The Garden of Forking Paths, (+)
The Unknown Object: I II III
On Etymology: 1 2 3
Humanism and Anxiety, 1 and 2
Poems and Translations
One line from Aeneid VI
The Threatened Assassin
Basia 7 (notes here)
Easter, 2006 (notes and critique)
Hunters in the Snow
Le Pantin et l'Étoile
Platon et Aristote
Baum, Bau
In adulteram veneficam
Gedichte: 1 2
Mole-Rat, Ermine, Bat
Ecce Ancilla
On moving to London
Mémoires d'Outre-Tombe
Palinurus
Varieties of Varieties
academic nonsense (9)
commonplace (21)
Conrad (40)
etymology (15)
Stones Thrown
Sisk
Zenoli
Frames /sing
The Ruricolist
Sit Down Man. . .
The Joy of Curmudgeonry
Tang Dynasty Times
Slawkenbergius
Epea Pteroenta
Cake and Empire
Raminagrobis
Mountshang
Robert Mileham
The Ept, the Ane and the Fantile
The Transcontinental
Imaginative Universal
The Oxford etymologist
Pruned
The Nonist
Title fadged up out of letters from Swift and Pope's Miscellanies (London, 1728). Two sidebar doodles, commercial ciphers from an anonymous De Zifras (Spanish, c. 1600, online courtesy of SCETI).


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Advanced Credit Analysis clinics are led by an expert facilitator trained in both adult education as well commercial credit, and feature case studies that each focus on a unique set of commercial risk management issues. The cases challenge participants to perform an intensive financial analysis to identify and mitigate the business and financial risks to both the prospective borrower and the lending institution, and structure appropriate credit solutions. Participants leave the clinic equipped to make better commercial credit decisions, thus reducing the risk of non-performing loans that could erode the institution's credit quality and profitability.
This week, Omega Performance also launched its "Accelerate Your Lending Performance" campaign which promotes the many complimentary tools and resources available for download on the company's website, including an eBook on analyzing business borrowing cases, and an online demonstration of the Commercial Loans to Business training program.


Fully revised and updated for 2016. Now with new Discovery Tours chapter. MARCO POLO Prague: the Travel Guide with Insider Tips This up-to-date guide provides information about Prague's sights and restaurants, entertainment and shopping and tips on what to do on a limited budget. It contains Insider Tips and Best Of tips and suggestions for a perfect day, and lots of information about the city's culture, where to stay, trips and tours, walking tours, festivals and events. It also includes: street atlas and metro lines, Travel Tips, Useful Phrases in Czech, Travel with Kids and a comprehensive index. Golden Prague is a city undergoing constant change: famous monuments from the distant or recent past, a lively, exciting cultural scene and countless bars, pubs and restaurants await the curious visitor. For centuries the city has been a centre of European life and fruitful coexistence of various cultures; today it's shaking off the traces of 40 years of communism and is once again a birthplace for ideas and culture. Prague's magic spell remains unbroken even today. With MARCO POLO Prague you can experience all the facets of this magical and stimulating city. This practical guide book, small enough to slip into your pocket, takes you through the various eras, through the famous Prague Castle, the Mala Strana district, Old and New Town. It shows you where you can enjoy the best view of the Vltava and how you can still find, amidst the hordes of tourists, peaceful and picturesque spots even by the Charles Bridge. With the Insider Tips you'll discover the unknown parts of the city like the quaint New World quarter or the DOX, the largest gallery for contemporary art in Prague. The Best Of pages introduce you to what's unique to Prague, what to do on rainy days, the best places to get away from the hustle and bustle of the city and relax and chill out. If you want to get a quick overview of the Golden City, you should make use of The Perfect Day in 24 hours you can get to know the city's most beautiful features. There are tips on what to do on a limited budget - in each chapter these tell you how you can experience a great deal with very little money, enjoy something special and snap up some real bargains. Take a stroll with the Walking Tours through the passages of the capital, to the Emperors New Town and the green spaces where the people of Prague seek refuge. If you're interested in nature and culture, Prague's immediate environs offer plenty of worthwhile destinations for both. And of course the city has lots to offer children, which the MARCO POLO guide tells you about in Travel with Kids. The Dos and Don'ts tell you why you should always keep an eye out for the trams, and always check your bills. MARCO POLO Prague gives comprehensive coverage of all the city's districts. To help you find your way around there's a detailed street atlas, removable pull-out map and practical map inside the back cover, with a metro map and plan of Prague Castle.


text:
James Gunn >
James Gunn's Guardians of the Galaxy Vol 3 script...
James Gunn's Guardians of the Galaxy Vol 3 script could still be used
By Bang Showbiz in Movies / TV / Theatre on 09 August 2018
Follow James Gunn
James Gunn Dave Bautista Chris Pratt
Disney reportedly still wants to use James Gunn's script for 'Guardians of the Galaxy Vol. 3' despite firing the filmmaker for controversial tweets he made in the past.
Disney reportedly still wants to use James Gunn's script for 'Guardians of the Galaxy Vol. 3'.
Despite firing the filmmaker for controversial tweets he made in the past, it appears the studio isn't ready to part ways with the work he has done for the third installment in the Marvel Cinematic Universe trilogy.
According to the Hollywood Reporter, negotiations regarding his exit from the project are ongoing, and it's said that Disney is planning on keeping his script for the movie.
The report comes after Dave Bautista suggested he would quit the franchise if a new writer was brought in to take things in a different direction.
He recently told Shortlist: ''Nobody's defending his tweets, but this was a smear campaign on a good man. I spoke to Chris Pratt the day after it happened, and he's a bit religious, so he wanted time to pray and figure it out, but I was more like: 'f*** this. This is bulls**t.'
''James is one of the kindest, most decent people I've met... Where I'm at right now is that if [Marvel] don't use that script, then I'm going to ask them to release me from my contract, cut me out or recast me. I'd be doing James a disservice if I didn't.''
If Gunn isn't reinstated - fans and cast alike are calling for Disney to bring him back - the Hollywood Reporter has suggested top studios and producers are waiting for the right time to make an offer.
One senior executive at a rival company said: ''I'd work with him in a heartbeat.''
Another also choosing to remain anonymous added: ''I've been advised that we can't bring anything to him until the Disney matter is 100 percent resolved.''
James Gunn 'talking about' Brightburn sequel
James Gunn accepts Disney had 'every right' to fire him
Guardians of the Galaxy Vol. 3 to start shooting in 2020
Sean Gunn 'knew' his brother James was 'cut out' for Guardians of the Galaxy
New Suicide Squad movie is a 'total reboot'
James Gunn rehired for Guardians of the Galaxy Vol. 3
James Gunn in talks to helm Suicide Squad sequel
James Gunn's Suicide Squad could be a complete reboot
James Gunn gets David Ayer's backing for Suicide Squad 2
Disney using James Gunn's Guardians script
Disney won't rehire James Gunn
Guardians of the Galaxy Vol 3 on hold
James Gunn set to release a new horror film
James Gunn won't return to Guardians of the Galaxy Vol. 3
Guardians of the Galaxy Vol. 2 Movie Review
It was never going to be easy to match the impact of 2014's Guardians of...
The Belko Experiment Movie Review
The kill-or-die scenario that this movie hinges on isn't something new; it's been used in...
Guardians Of The Galaxy Vol 2 - Clips and Extended Trailer
The Guardians of the Galaxy have returned for another interplanetary adventure, having decided to stick...
Guardians Of The Galaxy Vol. 2 Super Bowl Trailer
It's been two months since the Guardians of the Galaxy defeated the evil Ronan, and...
Guardians of the Galaxy Vol. 2 Trailer
The Guardians return two months after their epic battle against Ronan with their criminal records...
Guardians of the Galaxy Vol. 2 - Teaser Trailer
Five of our favourite unlikely heroes re-assemble in Guardians Of The Galaxy Vol. 2. The...
Guardians of the Galaxy Movie Review
By refusing to follow the usual formula, filmmaker James Gunn has made Marvel's best-yet movie,...
Guardians of the Galaxy Trailer
The cast of forthcoming Marvel movie 'Guardians of the Galaxy'; Zoe Saldana, Dave Bautista, Chris...
Peter Quill runs into some trouble when he discovers an unusual looking orb that happens...
Peter Quill is a fearless Earthling pilot who rather proudly proclaims himself to be an...
Peter Quill is a tenacious pilot who was taken away from his home planet Earth...


A new community learning hub has opened at Bromley Pensnett Primary School in Dudley following a £20,000 competition by contractor Novus. School Refurbishments Work Works at the school include a full refurbishment of the previously derelict building that saw our team of 10 install a new roof, repair and redecorate the interior and exterior, fit new steps, replace doors and flooring, and install a new kitchen. We have completed the hub in just two weeks as part of a competition by Novus to support worthwhile projects in the communities we operate in, as voted for by people in the area. We refurbished the school in Pensnett's community learning centre, which has been closed for the past five years after falling into a state of disrepair. Learning Hub Services The new Novus Learning Hub offers a space where parents and carers can visit for support and advice. The building now provides the facilities for parents to complete health checks and weigh-in sessions and attend breast feeding clinics. It was chosen as part of the Novus' 'Big Five' initiative to mark our fifth birthday, with £20,000 being spent on five individual local community projects across the UK. The project was also made possible by donations from Novus' supply chain from Crown Paints, Eurocell, Howdens Joinery and Acorn Spencer. Head Teacher Feedback Helen Tomlinson, headteacher at Bromley Pensnett Primary School, said: "The new Novus Learning Hub provides a centre for our community that it was once lacking. We're grateful to Novus for taking the building out of its derelict state and refurbishing it to the highest standards. "Everyone at the school is really happy with the finished project and we're looking forward to seeing the ongoing benefits it will bring to the community." Site Supervisor Feedback Dani Roberts-Wright, site supervisor at Novus, said: "Delivering the new Novus Learning Hub at Bromley Pensnett school was an honour to work on and we're all really pleased with the final results. "As part of our commitment to the communities we operate in we've been working hard to deliver projects that local people could be proud of and use for years to come. This new community centre achieves that." Bromley Pensnett Primary School Bromley Pensnett Primary School caters for 320 children aged between three and 11 years old in Pensnett and the surrounding areas. In 2015 it partnered with drb Ignite Multi Academy Trust to become a sponsored academy.


Rod mills create a coarser product than do ball mills and typically operate at a slower mill speed. ... Strommashina Corp. rod mills are designed for wet grinding of various ore and non-metallic ... Internal Diameter of the Drum, m, 0,6, 0,9, 1,2, 1,5, 0,9, 1,5, 2,1, 2,7, 3,2. Drum Length, m, 1,5, 2,5, 3,0, 3,2, 1,86, 3,1, 3, 3,6, 4,52.
BALL Mill Critical Speed - INFINITY FOR CEMENT EQUIPMENT ... your process requirements and Ball Mill Loading Wet Milling Size Reduction and ... The abrasion test uses a cylindrical steel drum of 0.3 m diameter x 0.3 m ... 7) How can the critical rotation speed of ball mills be determined? ... WhatsApp:+86 15178133023.
mm3 /m cubic millimeter per meter h hour min minute. HB. Brinell hardness rpm revolution per ... the balls were evaluated for high-load abrasive wear. ... cial mills. Spalling and broken test balls were found in the commercial mill, ... balls are given in a previous publication. (7) . -2. Cast steel, alloys 6-10. ... 10 cm in diameter.
Dec 23, 2017 ... Load Capacity of Trunnion Bearings; Ball Mill&Rod Mill Liners ... Rod Mills; Tube Mills; Pebble Mills; Wet or dry grinding; Method of Mill Discharge; Optimum Ball Mill Speed ... size of a mill, for example: a 5 x 5 Ball Mill has a working diameter of ..... Drum-scoop feeder made of welded steel, is available.


Lack of planning is one of the biggest causes of business problems. If you haven't done a plan, you should. If you're just starting out, don't wait until it's too late. A Business Plan provides objectives, goals and specific actions to achieve your Vision With many years of experience in developing business plans for businesses of all sizes, we can assist you in putting together, and managing a plan that will help you achieve your goals.


Overall, this is a further expansion from the text to speech edits. This piece utilises google translate. I took the original lyrics and translated it continuously into 11 different language. These included some commonly known and some not. When translating the lyrics back to english, the mention of the song has completely changed and some line make no sense.
Languages used: Spanish, French, Portuguese, Afrikaans, Thai, Japanese, Swahili, Chinese, Finnish, Russian, and German.
The lyrics are compared to each other above. Also, this is another way to mess with songs and to have some fun.
The song used is Ring Ring by Jax Jones and Mabel (https://youtu.be/KXanlLjOFh0).
I'll let this video speak for me.
sorry for the video image just being my umbrella under the pew but i didn't want to distract anyone by raising my phone up — but i had to get a recording of this.
when i was a chaplain this past fall, there was one time that i was called in to be with the family of a man who was unconscious on a machine. while raking leaves he'd collapsed suddenly, some sort of heart failure, and was whisked off to the ER.
the family was very small: just his wife and his daughter. they were teary and sorrowful, but they accepted the doctor's news that there was no hope of their loved one waking up. once he was taken off the machine, this man would have anywhere from a couple minutes to a few hours of life left.
and so they needed a priest, a Catholic priest, to perform last rites. but they didn't have a local parish, so it took some scrambling for me to find them a priest who could come — finally a church i reached was able to send one, and i stayed and talked and prayed with them till he arrived.
it was this priest, the one singing in this video, who came. he was a youngish, stylish, Black man who shook hands with all in the room, opened up the bag he'd brought that held the book and the oil he needed, and got right to work performing the sacrament.
i stayed in the room with them all, and along with the prayers and the anointing he sang over this man — he sang this very song. a song that promises that when the world falls apart around us, Jesus remains.
when i picked a Catholic church to attend for Good Friday tonight, i did not know this priest would be presiding. i certainly did not know he would be singing this same song. it filled my heart with bittersweetness, a grief saturated through with joy to hear his voice resound through the church.
on this night that we remember the brutal execution of our incarnate God upon a Roman cross, the priest's voice took me back to that bedside, where a man who had lived long and well lay unconscious as he slipped into death. he received a cross of oil on his forehead and his palms, a reminder of the very crucifixion we commemorated tonight.
Jesus, remember me! and remember this priest, remember that man in the ER bed — tonight, tonight, when you come into your Kin(g)dom.
sound guy: yeah! that's it!
me: yes! carpenter one, weird sound stuff zero!
This is a track called Phloyron which I made, along with other artists, for the 50th release of the German label Klangscheiben. It epitomises the sort of thing I do as Liudprand. It is rhythmic in a hypnotic way and full of different sounds. I make my own samples from just about anything and then pick out small parts and make adjustments, adding effects as I feel necessary. I have heard it said that this is just knob twiddling but it is not. It is very intensive and detailed work that I try to make as interesting as possible using a plethora of virtual instruments and arrangement techniques. One is always learning new stuff. I am not a DJ and could not improvise the way some do. But making music in two ways brings two different worlds together.
I was given a nice write up by the label for my first album, "Noctilucent".
If you think modern electronic music is just for people in the younger age, you are wrong.
claire rousay's 'Several Erasures' is out today! Cassettes sold out during the preorder, but digital downloads are still available!
The song used is Mine by Beyoncé (https://youtu.be/IDvu1ehPq0g).


text:
Stebenka je levostranný přítok řeky Jizery v okrese Semily v Libereckém kraji. Délka toku činí 12,0 km. Plocha povodí měří 22,5 km².

Průběh toku
Pramen, který je vodohospodáři uváděn jako hlavní, vyvěrá jižně od obce Koberovy v nadmořské výšce okolo 410 m. Další pramenné toky stékají ze západního úbočí Hamštejnského vrchu (610 m n. m.) a s hlavní pramennou větví se spojují u západního okraje osady Smrčí. Stebenka se vlévá v Turnově do náhonu Jizery v nadmořské výšce okolo 245 m. Nad ústím potoka je vedena silnice I/35.

Galerie

Odkazy

Poznámky

Reference

Externí odkazy

Potoky v Ještědsko-kozákovském hřbetu
Potoky v Jičínské pahorkatině
Potoky v okrese Semily
Povodí Jizery


text:
J & J Industries
Thomas M. Deaton, Dalton State College,
J & J Industries, located in Dalton, is one of the largest privately held commercial broadloom manufacturers
J & J Industries
in the carpet industry. Founded by Rollins Jolly and Tom Jones during the 1950s carpet boom in northwest Georgia, the company initially manufactured candy-striped carpets and braided rugs but now exclusively produces commercial carpets.
After graduating from the University of Georgia in Athens, Jolly worked for twenty years in textile manufacturing in North Carolina and Georgia. In 1953 he opened Jolly Textiles in Dalton, selling yarn, jute and duck backing, and yarn cones. He also founded Dalton Cone Company to reprocess used cones and transform carpet remnants into rugs. In 1957 Jolly bought a truck for his business from Jones, a graduate of the Georgia Institute of Technology in Atlanta with a degree in industrial management. Soon thereafter the men became business partners. Their new business, J & J Industries, initially made rugs from odd lots of yarn.
Jim Jolly
Jolly and Jones had decided to focus exclusively on the commercial carpet business. That same year Jolly's son Jim Jolly, who became president of the company in 1986 and later assumed the roles of chairman and chief executive officer, joined the organization. The industry was just introducing "fine gauge tufting," which used more needles per square inch to produce a very dense product. The unique product was much in demand and sold well, despite the lack of an adequate sales organization at J & J. At that time, the company's main competitors were the woven-carpet manufacturers Bigelow, Lees, and Mohawk. Currently J & J sells most of its carpet for use in corporate office buildings, with additional sales to schools, retail stores, hospitals, airports, and the like.
J & J has worked to be an industry leader in reducing pollutants and minimizing the environmental impact on air, water, and land. The nylon yarn and backing used to make carpets are composed of some recycled materials, and post-consumer carpet is incorporated into cement, decking boards, and marine pilings (or plastic "plywood"). The company has also donated land adjacent to its facilities, which has been developed, in conjunction with such groups as the Nature Conservancy, into a wetlands area. These wetlands contain storm water and establish a riparian habitat in the Conasauga River watershed. Jolly was also active in relocating and expanding Dalton's municipal airport, Jolly Field, which is named for him.
World Carpets
More in Carpet Manufacturing
Interface, Inc.
Carpet Industry
Media Gallery: J & J Industries
Thomas M. Deaton, Bedspreads to Broadloom: The Story of the Tufted Carpet Industry (Acton, Mass.: Tapestry Press, 1993).
Thomas M. Deaton, "Tufted Titans: Dalton, Georgia's Carpet Elite," in The Southern Elite and Social Change: Essays in Honor of Willard B. Gatewood Jr., ed. Randy Finley and Thomas A. DeBlack (Fayetteville: University of Arkansas Press, 2002).
Randall L. Patton with David B. Parker, Carpet Capital: The Rise of a New South Industry (Athens: University of Georgia Press, 1999).
Deaton, Thomas M. "J & J Industries." New Georgia Encyclopedia. 19 August 2013. Web. 16 January 2020.
J. Bulow Campbell Foundation
Synovus Financial Corporation
Sidney Root (1824-1897)
Lettie Pate Whitehead Evans (1872-1953)
Georgia Power Company/Southern Company
Howard Coffin (1873-1937)
W. C. Bradley Company
Atlantic Intracoastal Waterway
Charles Herty (1867-1938)
J. J. Brown (1865-1953)
Lower Coastal Plain and Coastal Islands
Royal Georgia, 1752-1776
Lamar Period
Juliette Gordon Low (1860-1927)
Clarence Jordan (1912-1969)
Rebecca Goodale
Robert Shaw (1916-1999)
Bert Lance (1931-2013)


Vivado Tool supports Scoped Constraints feature which is to associate an XDC file to a subset of a design, such as a submodule netlist, different portions of the design in Team Design Flow, an IP in the design.
This Answer Record provides information and common issues regarding Constraints Scoping Methodology.
Please refer to the following User Guides for Constraints Scoping Methodology.
2) Constraints Methodology when using DCP.
3) Common Issues in Constraints Scoping Methodology.
(Xilinx Answer 59799) Vivado Constraints - How to avoid overwriting clock constraints when using create_clock constraints in scoped constraint files?


text:
Q: XAMARIN.android - get id item menu i'm new on xamarin, actually i'm working on android menu, but i have some problem to get the item ID and start activity for each item:
MainActivity.cs
[Activity(Label = "sofis3", MainLauncher = true, Icon = "@mipmap/icon", Theme = "@style/Theme.DesignDemo")]
    public class MainActivity : AppCompatActivity
    {

        DrawerLayout drawerLayout;
        NavigationView navigationView;

        protected override void OnCreate(Bundle savedInstanceState)
        {
            base.OnCreate(savedInstanceState);
            SetContentView(Resource.Layout.Main);

            var toolbar = FindViewById<V7Toolbar>(Resource.Id.toolbar);
            SetSupportActionBar(toolbar);
            SupportActionBar.SetDisplayHomeAsUpEnabled(true);
            SupportActionBar.SetDisplayShowTitleEnabled(false);
            SupportActionBar.SetHomeButtonEnabled(true);
            SupportActionBar.SetHomeAsUpIndicator(Resource.Mipmap.ic_menu);
            drawerLayout = FindViewById<DrawerLayout>(Resource.Id.drawer_layout);
            navigationView = FindViewById<NavigationView>(Resource.Id.nav_view);

        }

        public override bool OnOptionsItemSelected(IMenuItem item)
        {
            Intent intent = null;

            //Console.WriteLine("ID = " + item.ItemId);

            switch (item.ItemId)
            {
                case Android.Resource.Id.Home:
                    drawerLayout.OpenDrawer(Android.Support.V4.View.GravityCompat.Start);
                    break;

                case Android.Resource.chi_siamo :
                    intent = new Intent(this, typeof(ChiSiamoActivity));
                    break;

                case Android.Resource.Id.nostro_centro:
                    intent = new Intent(this, typeof(NostroCentroActivity));
                    break;

                case Android.Resource.Id.servizi_paziente:
                    intent = new Intent(this, typeof(ServiziPazienteActivity));
                    break;

                case Android.Resource.Id.my_sofis:
                    intent = new Intent(this, typeof(MySofisActivity));
                    break;

                case Android.Resource.Id.contatti:
                    intent = new Intent(this, typeof(ContattiActivity));
                    break;

                case Android.Resource.Id.lavora_con_noi:
                    intent = new Intent(this, typeof(LavoraConNoiActivity));
                    break;

                default://invalid option
                    return base.OnOptionsItemSelected(item);
            }

            if (intent != null)
            {
                StartActivity(intent);
            }

            return base.OnOptionsItemSelected(item);
        }

I have two main layouts:
Layout/Main.axml
Layout/menu/menu.xml
menu.xml
<?xml version="1.0" encoding="utf-8"?>
<menu
    xmlns:android="http://schemas.android.com/apk/res/android">
    <group android:checkableBehavior="single">
        <item
            android:id="@+id/chi_siamo"
            android:title="CHI SIAMO"
         />
        <item
            android:id="@+id/nostro_centro"
            android:title="Il NOSTRO CENTRO" />
        <item
            android:id="@+id/servizi_paziente"
            android:title="SERVIZI PER IL PAZIENTE" />

        <item
            android:id="@+id/my_sofis"
            android:title="MY SOFIS" />

        <item
            android:id="@+id/contatti"
            android:title="CONTATTI" />

        <item
            android:id="@+id/lavora_con_noi"
            android:title="LAVORA CON NOI" />
    </group>
</menu>

The issue is that "case Android.Resource.chi_siamo" doesn't get the ID so i can not start specific activity.
How can i get ID name and validate it ?
Thank you for your help!

A: First of all your menu.xml file should be in the following directory:
Resources -> menu -> menu.xml

not inside Resources -> layout .
Create the menu:
public override bool OnCreateOptionsMenu(IMenu menu)
{
    MenuInflater.Inflate(Resource.Menu.menu, menu);
    return base.OnCreateOptionsMenu(menu);
}

and then remove Android and add Id to line:
case Android.Resource.chi_siamo :

like:
case Resource.Id.chi_siamo :

Remove Android from all the other switch cases as well.


text:
Q: Android Tabbed Activity, overthinking it? So I've just been messing around with the built in Tabbed Activity example in Android Studio. After being confused (fairly new beginner) on how to move the view (or at least the content) when changing between tabs/views I've come up with something that works. However the code is quite substantial and i'm wanting to understand it as much as possible so here it goes.
Here's code.
Thanks for any suggestions, answers or comments.
package com.ak273.tabbedexample;

import java.util.Locale;

import android.support.v7.app.ActionBarActivity;
import android.support.v7.app.ActionBar;
import android.support.v4.app.Fragment;
import android.support.v4.app.FragmentManager;
import android.support.v4.app.FragmentTransaction;
import android.support.v4.app.FragmentPagerAdapter;
import android.os.Bundle;
import android.support.v4.view.ViewPager;
import android.util.Log;
import android.view.Gravity;
import android.view.LayoutInflater;
import android.view.Menu;
import android.view.MenuItem;
import android.view.View;
import android.view.ViewGroup;
import android.widget.TextView;

public class MainActivity extends ActionBarActivity implements ActionBar.TabListener {

/**
 * The {@link android.support.v4.view.PagerAdapter} that will provide
 * fragments for each of the sections. We use a
 * {@link FragmentPagerAdapter} derivative, which will keep every
 * loaded fragment in memory. If this becomes too memory intensive, it
 * may be best to switch to a
 * {@link android.support.v4.app.FragmentStatePagerAdapter}.
 */
SectionsPagerAdapter mSectionsPagerAdapter;

/**
 * The {@link ViewPager} that will host the section contents.
 */
ViewPager mViewPager;

@Override
protected void onCreate(Bundle savedInstanceState) {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_main);

    // Set up the action bar.
    final ActionBar actionBar = getSupportActionBar();
    actionBar.setNavigationMode(ActionBar.NAVIGATION_MODE_TABS);

    // Create the adapter that will return a fragment for each of the three
    // primary sections of the activity.
    mSectionsPagerAdapter = new SectionsPagerAdapter(getSupportFragmentManager());

    // Set up the ViewPager with the sections adapter.
    mViewPager = (ViewPager) findViewById(R.id.pager);
    mViewPager.setAdapter(mSectionsPagerAdapter);

    // When swiping between different sections, select the corresponding
    // tab. We can also use ActionBar.Tab#select() to do this if we have
    // a reference to the Tab.
    mViewPager.setOnPageChangeListener(new ViewPager.SimpleOnPageChangeListener() {
        @Override
        public void onPageSelected(int position) {
            actionBar.setSelectedNavigationItem(position);
        }
    });

    // For each of the sections in the app, add a tab to the action bar.
    for (int i = 0; i < mSectionsPagerAdapter.getCount(); i++) {
        // Create a tab with text corresponding to the page title defined by
        // the adapter. Also specify this Activity object, which implements
        // the TabListener interface, as the callback (listener) for when
        // this tab is selected.
        actionBar.addTab(
                actionBar.newTab()
                        .setText(mSectionsPagerAdapter.getPageTitle(i))
                        .setTabListener(this));
    }
}

@Override
public boolean onCreateOptionsMenu(Menu menu) {
    // Inflate the menu; this adds items to the action bar if it is present.
    getMenuInflater().inflate(R.menu.menu_main, menu);
    return true;
}

@Override
public boolean onOptionsItemSelected(MenuItem item) {
    // Handle action bar item clicks here. The action bar will
    // automatically handle clicks on the Home/Up button, so long
    // as you specify a parent activity in AndroidManifest.xml.
    int id = item.getItemId();

    //noinspection SimplifiableIfStatement
    if (id == R.id.action_settings) {
        return true;
    }

    return super.onOptionsItemSelected(item);
}

@Override
public void onTabSelected(ActionBar.Tab tab, FragmentTransaction fragmentTransaction) {
    // When the given tab is selected, switch to the corresponding page in
    // the ViewPager.
    mViewPager.setCurrentItem(tab.getPosition());
}

@Override
public void onTabUnselected(ActionBar.Tab tab, FragmentTransaction fragmentTransaction) {
}

@Override
public void onTabReselected(ActionBar.Tab tab, FragmentTransaction fragmentTransaction) {
}

/**
 * A {@link FragmentPagerAdapter} that returns a fragment corresponding to
 * one of the sections/tabs/pages.
 */
public class SectionsPagerAdapter extends FragmentPagerAdapter {

    public SectionsPagerAdapter(FragmentManager fm) {
        super(fm);
    }

    @Override
    public Fragment getItem(int position) {
        // getItem is called to instantiate the fragment for the given page.
        // Return a PlaceholderFragment (defined as a static inner class below).

        Fragment fragment = null;

        // HELLO STACKOVERFLOW, I ADDED THE IF STATEMENT BELOW.

        if (position == 0) {

            return firstFragment.newInstance(position + 1);

        } else if (position == 1) {

            return secondFragment.newInstance(position + 1);

        } else if (position == 2) {

            return thirdFragment.newInstance(position + 1);

        }

        return fragment;
    }

    @Override
    public int getCount() {
        // Show 3 total pages.
        return 3;
    }

    @Override
    public CharSequence getPageTitle(int position) {
        Locale l = Locale.getDefault();
        switch (position) {
            case 0:
                return getString(R.string.title_section1).toUpperCase(l);
            case 1:
                return getString(R.string.title_section2).toUpperCase(l);
            case 2:
                return getString(R.string.title_section3).toUpperCase(l);
        }
        return null;
    }
}

/**
 * A placeholder fragment containing a simple view.
 */
public static class firstFragment extends Fragment {
    /**
     * The fragment argument representing the section number for this
     * fragment.
     */
    private static final String ARG_SECTION_NUMBER = "section_number";

    /**
     * Returns a new instance of this fragment for the given section
     * number.
     */
    public static firstFragment newInstance(int sectionNumber) {

        Log.d(ARG_SECTION_NUMBER, Integer.toString(sectionNumber));

        firstFragment fragment = new firstFragment();
        Bundle args = new Bundle();
        args.putInt(ARG_SECTION_NUMBER, sectionNumber);
        fragment.setArguments(args);
        return fragment;

    }

    public firstFragment() {

    }

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container,
                             Bundle savedInstanceState) {

        View rootView = inflater.inflate(R.layout.fragment_one, container, false);

        return rootView;

    }
}

// HELLO STACKOVERFLOW, I ADDED THE FRAGMENT BELOW.
public static class secondFragment extends Fragment {
    /**
     * The fragment argument representing the section number for this
     * fragment.
     */
    private static final String ARG_SECTION_NUMBER = "section_number";

    /**
     * Returns a new instance of this fragment for the given section
     * number.
     */
    public static secondFragment newInstance(int sectionNumber) {

        Log.d(ARG_SECTION_NUMBER, Integer.toString(sectionNumber));

        secondFragment fragment = new secondFragment();
        Bundle args = new Bundle();
        args.putInt(ARG_SECTION_NUMBER, sectionNumber);
        fragment.setArguments(args);
        return fragment;

    }

    public secondFragment() {

    }

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container,
                             Bundle savedInstanceState) {

        View rootView = inflater.inflate(R.layout.fragment_two, container, false);

        return rootView;

    }
}

// HELLO STACKOVERFLOW, I ADDED THE FRAGMENT BELOW.

public static class thirdFragment extends Fragment {
    /**
     * The fragment argument representing the section number for this
     * fragment.
     */
    private static final String ARG_SECTION_NUMBER = "section_number";

    /**
     * Returns a new instance of this fragment for the given section
     * number.
     */
    public static thirdFragment newInstance(int sectionNumber) {

        Log.d(ARG_SECTION_NUMBER, Integer.toString(sectionNumber));

        thirdFragment fragment = new thirdFragment();
        Bundle args = new Bundle();
        args.putInt(ARG_SECTION_NUMBER, sectionNumber);
        fragment.setArguments(args);
        return fragment;

    }

    public thirdFragment() {

    }

    @Override
    public View onCreateView(LayoutInflater inflater, ViewGroup container,
                             Bundle savedInstanceState) {

        View rootView = inflater.inflate(R.layout.fragment_three, container, false);

        return rootView;

    }
}

}

A: ActionBar.newTab() was deprecated in Android API 21 (Android 5.0) and not replaced by a new method.
It is recommanded to use a different navigation style discribed in the new navigation patterns. So if it is possible for you, you should use the new navigation patterns to be conform with the recommanded best practices and don't use a tabbed view.