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Digital Humanities Hands-On Student Projects August 18, 2021 August 18, 2021 by Freya Mugford
UNIQ+ Project: 'Goostly psalmes and spirituall songes'
'Goostly psalmes and spirituall songes: a digital edition' is available to read now on the Taylor Editions website.
I was quite at a loss when, towards the end of our first week on the History of the Book and Digital Humanities project, we were directed by our graduate mentors – Mary Newman and Sebastian Dows-Miller – to peruse the Sammelband (Queen's College Sel.d.81) on which our project would be based and select which of the nine texts bound within it we would prefer to focus on for the succeeding weeks. Overwhelmed, intimidated, but also excited – I was spoiled for choice by the marvellous miscellany of pamphlets. Each varies considerably in length, language, and content. Having spent that first week, however, transcribing and encoding the first folio (recto and verso) of Goostly psalmes and spirituall songes, so as to get to grips with TEI, I had unwittingly developed a special sympathy for this text. Perhaps because of my love for music. Perhaps because Hallowe'en is my second favourite holiday of the calendar year (although the 'goostly' nature of this pamphlet is more akin to the Holy Ghost than one that might haunt you). There is no one reason. I was quite simply drawn to it, like so many before me, as is evident from the crack along the spine which opens at Goostly psalmes. Thus, come Monday morning of week two, I had resolved that I wished to continue my work on this text.
Damage along the spine, Queen's College Sel.d.81
Now I knew which text I was going to work with, I thought it prudent to become better acquainted, seeing as we would be spending so much time with each other. A single glimpse at the sammelband reveals some of its story; it's evidently quite an old text, even with its relatively recent rebinding, replaced sometime during the early twentieth century. Yet only further research would impart the extraordinary history of the pamphlet. This book contains the sole extant complete copy of Goostly psalmes – most likely owing to its inclusion on the list of prohibited books in September 1546. The Lutheran theology presented in the text was tantamount to a one-way ticket into the flames that burned at St Paul's Cross, and consequently engulfed most other copies.
Had this pamphlet not been preserved, it's supposed status as the first printed English hymnbook would be compromised. Preceded by a short poem and some prose about the pamphlet, Goostly psalmes contains just over forty hymns. Many of the hymns included were translated from German by Myles Coverdale.
As a student at the University of Exeter (about to enter the fourth and final year of my undergraduate degree) I was thrilled to discover that Coverdale was, for a brief period between 1551 and 1553, Bishop of Exeter. Exeter Cathedral happens to be the seat of the Bishop of Exeter – a place that I have visited just once, although is visible throughout the city as a prevailing figure in the skyline. It is home to a few treasures too: the Great East Window is a splendour of stained-glass; the ornate Bishop's Throne, made in the early fourteenth century from local Devon oak, is the largest in England; the ceiling is the longest continual medieval stone vault in the world. It's natural then, that a stained-glass portrait of Coverdale might be eclipsed. If you turn around (turn around, bright eyes), however, upon entering the cathedral and direct your gaze upwards, you will find a dashing Coverdale looking right back down at you. This link between the author of Goostly psalmes and Exeter was compelling for me.
So now, more au fait with Coverdale and his Goostly psalmes, it was time to consider just how exactly I would orchestrate the metamorphosis of this physical object to a digital edition. As explained in our introduction to transcribing and encoding, it was key first to determine my transcription principles. These editorial choices regarding audience and function would influence how I chose to represent the text. Initially, I wanted to produce a hyper-diplomatic transcription. This meant including all special characters (long s, r rotunda, etc.), diacritical marks, and original orthography – essentially, I aimed to make my digital edition reflect the physical pamphlet as closely as possible.
About a third of the way into my transcription, however, my approach underwent a slight shift. I had the epiphany that all this detail was probably not necessary for my intended audience (musicologists, as opposed to linguists) and was costing me valuable time. I changed tack accordingly. Diacritics were henceforth dispensed with, abbreviations were expanded, and spellings was normalised (to an extent – i.e. I changed 'u's and 'v's, and 'i's and 'j's where appropriate). Now the biggest obstacle that remained was the occasional palaeographic problem; I was not much versed in sixteenth century gothic type. I generally managed to overcome this, though, by considering the context surrounding the words I struggled to read.
With a complete transcription, the next step was to encode it. Equipped with an arsenal of TEI elements and attributes from our first week, I embarked upon this enterprise with enthusiasm. I began by pasting my transcription into Oxygen XML Editor and adding basic features, such as page breaks, titles, and a skeletal TEI header. Working in layers like this meant that I was able to add more complexity at even stages throughout. I was, however, slightly disconcerted when, even after having included elements such as forme works, line groups, and lines, that I maintained over two thousand validation errors. Torn between shame and pride, I decided to ignore the red lights and continue encoding regardless.
As a modern language student, I could distinguish parallels between learning TEI and a foreign language. In order to resolve the various quandaries that I had about representing my text, I learned innumerable new TEI elements and attributes (via the help of Mary, Seb, and the Internet), much like how we can acquire new vocabulary to expand and enhance our capacity for expression in any given language.
One element I spent a lot of time inputting into my xml document was <note>. This tag I employed to mark marginalia, most of which in this pamphlet is comprised of references to biblical scripture. There is lots of it. And I did not anticipate it to be as big of a challenge as it was. The sheer volume of references in the margins was a contributing factor. Formatting them all in my TEI header was an incredibly laborious task; I chose to organise them all by book, chapter, and verse. Nevertheless, this did clearly illuminate to me which texts were most frequently cited – you would be correct to suppose that it is indeed Psalms! Regrettably, I put off this task for quite some time, in the same fashion that I often leave academic referencing and compiling bibliographies until after I have written my essays. I should know by now that this is not the preferable course of action, I should have learned my lesson, I shouldn't leave it all to the end. But I did, and I was pleased once I had done it all.
I honestly struggle to articulate the sense of delight I derived at having (pretty much) completed my encoding, as it did not last all that long once I remembered that I had still yet to face the colossal task of representing musical notation. What on earth was I going to do about the hymns?! It was a veritable mind-boggler. My research about encoding musical notation first led to the proposal of trying somehow to incorporate MEI (Music Encoding Initiative) with TEI. This, I soon discovered, was beyond my capacities and the time constraints of the project. My second idea was to use MuseScore as a means of representing the notation, and then adding images of this notation to my xml document with the <figure> element. Sebastian then suggested that I use <notatedMusic> instead, which better integrates the images, as within it I could use <graphic> to link my images, and <seg> to include the lyrics. Within the <seg> elements, I included the attribute rend="hide", as I wanted to include the lyrics of each first verse in the xml, despite the fact that I added them in MuseScore too, to make them searchable by R – a possible use for the skills we learned in the data science course. This was not something that the Taylor Editions website was necessarily ready to implement, so I thank Emma Huber for making this feature possible. As for the notation itself, it was merely a matter of translating from mensural to modern. Halving note lengths and removing bar lines enabled me to reflect the way in which the music is represented in Goostly psalmes.
Although our internship is now finished, I will continue to create the musical notation for the hymns to add to my edition. Retrospectively, I was perhaps a little ambitious to expect to be able to complete all 41 hymns in the given time. Nonetheless, I am very proud of what I have achieved during this internship and I am thankful to everyone involved in the UNIQ+ programme who has helped along the way. It really is wonderful to see the product of this hard work up on the Taylor Editions website. The skills that I have learned have enlightened me to the endless opportunities that exist within the digital humanities and will serve me well in the future. Having tackled encoding a variety of objects from a vaccination card, deletion poetry, the most hideous paste down jam-packed with Latin marginalia that very nearly led me to delete Oxygen XML Editor from my laptop, and, of course, Goostly psalmes, I find myself wondering what exactly I might like to try next. Whatever (whenever, wherever) it is, I am grateful for being able to participate in this internship, without which I may never have experienced the pleasure of impersonating a STEM student as I sat for hours staring at code on my laptop.
Freya Mugford is one of this year's UNIQ+ interns with the History of The Book. She studies English and French at the University of Exeter.
Digital EditionsHistory of the BookTEIUNIQ+XML
Wt's yt thē?: A Brief Guide to Reading Early Printed English
UNIQ+ Project: 'The Pleasuant Playne and Pythye Pathewaye'


This week at Camp Harbor View was very different from last week. On Wednesday the camp had health advisors come and teach the kids about their health and how bad it is to eat junk food in abundance. There were stations that each group had to go to. Although, we are not health related, we were able to get our own station. In our station we had out our sea glass box and we began to tell the kids about sea glass and other shells or metals that dried up on the beach. The kids were into it for the most part and we even had a game that if they grab a piece of something from the box and tell a pretty interesting story about it they could get a marble, and if they sent in a picture of themselves holding the marble then they would be entered to win a prize. We also met a winner of last years prize, a lobster dinner, which helped give us more credibility.
The next day, the kids had to do CHV's version of the Amazing Race. Once again, we had our own station, but this time it was on Shell Beach. The way the kids would get their next clue and move is if they found a mixture of three things on the beach. The things were either an oyster shell, clam shell, mussel shell, sea glass, plastic, metal, a blue marble, a brick, or a pine cone. Once they found the three things we asked them for we would take a picture and they would get their next clue.


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Q: Marklogic - xdmp:eval generates errors such as "Invalid options node" Marklogic 7, Windows 7.
I'm trying to write Xquery to change the URIs of documents (local version of ML) using the xdmp:load and xdmp:delete functions in a single transaction.
I've finally settled on using xdmp:eval. What's generating the error?
Code follows :-
for $SrcFileNode in xdmp:directory("/Abstracts/", "infinity") [position() lt 10]
(: get filename from path string :)
let $Filename := (if (fn:contains(fn:document-uri($SrcFileNode),".zip/"))
                  then fn:substring-after(document-uri($SrcFileNode),".zip/")
                  else fn:substring-after(document-uri($SrcFileNode),"Loadrecords/")
                  )

(: create new URI would "document{...}" be better? :)
let $newURInode := xdmp:unquote(
                                fn:concat('<options xmlns="xdmp:document-load"><uri>/Abstracts/'
                                          ,$Filename,'</uri><repair>none</repair><permissions>'
                                          ,xdmp:default-permissions(),'</permissions><collections><collection>'
                                          ,'Abstracts','</collection></collections></options>')
                                )

(: get string of node's name :)
let $SrcFileStr := xdmp:quote(fn:document-uri($SrcFileNode))

(: build a string of the copy + delete actions in a single transaction as applied to the current file. Implement the action using "xdmp:eval" :)
let $LoadDelCMD :=  'xquery version "1.0-ml";
                    declare option xdmp:transaction-mode "update";
                    xdmp:document-load($SrcFileStr,$newURInode);
                    xdmp:document-delete($SrcFileStr);
                    xdmp:commit()'

(: execute the copy/delete for the current document :)

(: 1st attempt...
return xdmp:eval($LoadDelCMD,(),<options xmlns="xdmp:eval"> <isolation>different-transaction</isolation> <prevent-deadlocks>true</prevent-deadlocks></options> )
:)

(: 2nd attempt...
let $Option  := document{<options xmlns="xdmp:eval"><isolation>different-transaction</isolation> <prevent-deadlocks>true</prevent-deadlocks></options>}
return xdmp:eval($LoadDelCMD,(),$Option)
:)

(: 3rd attempt...
let $Option2 := xdmp:unquote('<options xmlns="xdmp:eval"> <isolation>different-transaction</isolation> <prevent-deadlocks>true</prevent-deadlocks></options>')
return xdmp:eval($LoadDelCMD,(),$Option2)
:)

A: About the error itself, it is complaining about $Option which contains an options element wrapped in a document node. Get rid of the document node by removing the document node constructor. It you pull the options from a file, you can unwrap it by adding /* behind it.
Apart from that I think you are making things more complicated than necessary. If you just want to update the document, then no need for a delete, just insert or load to the same uri again. If you want to move a doc to a different spot, simply do the insert/load in the same transaction as the delete. As long as there are no inserts/loads/deletes applied to the same uri, no conflicting updates will occur, and all is persisted at the same time, at the successful end of the code.
You are not the first that is looking to move/rename documents in a database. Here link to a nice helper function to move docs within a database:
http://markmail.org/message/2e5wu3sqgpiwnu5m
Oh, by the way, your eval is loading and deleting the same uri. That doesn't sound like changing the uris of documents..
HTH!

redpajama_set_name: RedPajamaStackExchange


The position requires advanced knowledge in the field of child welfare and the ability to use that knowledge and prior work experience to lower the level of trauma children experience during entry into the child welfare system. Case Managers must possess, or acquire upon hiring, Certification as a Child Protection Professional. As a key member of the CARES Team the Case Manager's primary duty is to help bridge the gap between removal and transfer to FamiliesFirst Network case management units. The services provided by the Case Manager will act as a glide path for entry into the child welfare system by empowering and supporting caregivers to meet the needs of foster children placed in their care.
Bachelor's degree from an accredited college or university in social work or human behavioral studies ( Human behavioral studies include the following: Counseling, Psychology, Human Services, Sociology, Child and/or Family Development (Human Development), Family Studies, Education, Law, Behavioral Science, Social Policy, Sociology, and Criminal Justice/Criminology.) or may substitute five years of experience in a placement team unit.
Must have knowledge of available resources in the service area for children.
Must have strong written and verbal communication skills. Must be able to use a computer.
Must possess valid driver's license from the state in which you reside, good driving record, and insurable under LCI's policy.


Byron Sigcho-Lopez prevailed in a heated race to replace 25th Ward Ald. Danny Solis.
Sigcho-Lopez defeated Alex Acevedo in the runoff election Tuesday night, earning 54 percent of the vote with 100 percent of precincts reporting, unofficial election results showed.
The two topped a field of five candidates in the Feb. 26 election to make the runoff.
Sigcho-Lopez is an educator and public policy researcher at the University of Illinois-Chicago, who has previously worked as the director of the Pilsen Alliance, an organization focused on social justice for working class and immigrant communities on the Lower West Side.
A Democratic Socialist, he was one of four candidates who previously challenged Solis in 2015, coming in second with 19 percent of the vote - falling about 80 votes short of forcing Solis into a runoff.
Acevedo is a registered nurse who previously worked as a community relations manager at Oak Street Health, a clinic for senior citizens. He is the son of former state Rep. Eddie Acevedo and unsuccessfully ran for his father's seat in the state legislature in 2016. Both candidates currently sit on local school councils for schools in the community.
This race was plagued by plenty of controversies, one of which was allegations of vote-buying.
The 25th Ward is no stranger to controversy. Solis has gone silent since late January, when the Chicago Sun-Times reported that he secretly recorded conversations with embattled Ald. Ed Burke as part of a criminal investigation that resulted in a charge of attempted extortion against Burke on Jan. 3.
Solis himself became the subject of a federal criminal investigation in 2014, according to a source familiar with the probe, which is why Solis cooperated in the investigation into Burke.
No charges have been filed against Solis, who resigned from his position as chair of the powerful City Council Committee on Zoning, Landmarks and Building Standards, which votes on where developers can build multi-million to multi-billion dollar projects across the city.
Sigcho-Lopez is also about half the age of 70-year-old Solis, meaning that the 25th Ward will also for the first time be represented by a millennial. Solis was a major flash-point in the race, as both candidates attempted to distance themselves from him and paint themselves as reformers.


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← Can An Article Be More Insulting?
Whitby Festival Season – Winter 2019 →
The Sisters of Mercy – Roundhouse, London, September 2019
Posted on October 9, 2019 by The Blogging Goth
Ever since the 2019 tour was announced, I've been suffering from a grim premonition about The Sisters of Mercy. Some gnawing suspicion that their touring days would soon come to an end. That I might not have a chance to see my favourite band perform live ever again…
Often, the Sisters have announced a short-notice gig in their spiritual home of Leeds under some hilarious nom de plume – my first encounter with them was in 2005 at the Joseph's Well as Near Meth Experience. This time however, the 'secret' gig was in Antwerp! I realized it would be easier for me to reach the capital and so I set my sights on the Roundhouse in Camden for the 20th and 21st September.
No band in the entire goth scene has been more plagued with erratic performances. The quality of The Sisters of Mercy's live performances have oscillated wildly over the years. Many have had their fill of uneven sound and inaudible or incomprehensible singing. Even so, this gamble was preferential to never hearing them live again.
And I'm pleased to report the gamble paid off. Alongside stalwart guitarist Ben Christo and flamboyant newcomer Dylan Smith (not to mention the venerable Doktor Avalanche and acid casualty Ravey Davey), Andrew Eldritch led the band through a faithful performance of the Sisters catalog.
If anything I felt the venue let the band down on Friday, where the music was all treble and pitiful bass (a sore point for a band who steadfastly refuses to recruit a live bassist). At times Ben's guitar skipped, and Andrew was sometimes only a whisper in the maelstrom of noise that is the live experience, with a few lines mixed up here and there.
There were still glowing high points though – the unreleased track Crash and Burn came up early, thrilling me with its slick aggression. The title track from their first album went down a storm, with a crowd I realized was stuffed full of old-hand fans who had never seen the band live before!
We were also treated to an outing of all three 'new' songs – yes, you read that right! The band premiered in Antwerp an instrumental track tentatively identified as Kickline, a moody reflective number called Show Me and a searing, sneering rock number called Better Reptile which has me absolutely sold.
It was a delight to hear the 1985 single No Time To Cry, and the band delivered a fan-favourite encore by crashing through Lucretia, Vision Thing, Temple of Love and This Corrosion to widespread appreciation.
And it really was widespread. The venue sold out – that's over 3000 people, a mass of young and old but mainly older, mixing faded grey classic shirts with brand-spanking new ones from the merch table. Whilst opinions on the sound quality were starkly differing online, the overall mood of the crowd seemed satisfied. Time would tell what Saturday night would bring…
What it brought was even more people. The crowds absolutely mobbed the venue, as well as the Enterprise pub and caused havoc with traffic on the road in between. Many more people were prepared to attend mid-weekend, it seems, and many of them were also first-timers.
I caught some of support act Amenra's performance this night, and was startled by the difference in style between them and the Sisters. I've always enjoyed more familiar support acts like Ulterior or Goldblade, so I don't know if the intention was to play up the contrast – but they were intense!
The Sisters rolled into action punctually, opening proceedings with More, Ribbons and their Detonation Boulevard / Doctor Jeep medley. Oddly enough, I have no recollection of hearing the Doctor Jeep section but am assured it happened.
I'm deeper in the crowd tonight, closer to the pit – and when Dominion kicks off later, I'm dragged off my feet and across the boiling nexus of the hardest, oldest and often baldest fans!
We're treated to the sublime Suzanne – once the flagship of the 'new' Sisters sound, and then Dylan Smith grabs an actual acoustic guitar for Something Fast! It's a guilty pleasure of mine, and always a surprise to hear it played live. As the set draws to an end, we're treated to I Was Wrong, for me a peak-Eldritch anthem, all sex and resentment and deceit and a catchy tune. It's then we realize he's played every song from the 1990 album that most agree is the weakest from the Sisters arsenal!
Yet the crowd are well pleased with the set, and after a darkly delicious performance of Flood II, The Sisters of Mercy return for an encore with heavy hit after heavy hit, concluding with a suitably overblown intro to iconic This Corrosion. The band take a long bow as the audience erupts in cheers, and then melt into the backstage having gone above and beyond Friday night's performance.
This Corrosion again with that overblown intro. Sorry I didn't catch it all. All in all, a major improvement on last night – better sound, crowd well into it, Eldritch on top form! Goodnight London. pic.twitter.com/yum60kdVgw
— The 𝔍𝔬𝔤𝔤𝔦𝔫𝔤 Goth (@TheBloggingGoth) September 21, 2019
I came away with a new shirt, a bootleg shirt and a sense of true enjoyment. The Sisters of Mercy delivered a solid performance to an adoring audience under some initially challenging conditions. I expect their tour will continue to delight worldwide.
Do I think the sudden appearence of new songs heralds a release from the guerrilla musicians of Goth Rock? Not really.
We Are The Same, Susanne has been in the live repertoire since 1998 without appearing physically. The election of Donald Trump to the US presidency was meant to stimulate a new album, but it hasn't. The Sisters of Mercy can command vast audiences internationally with just a sprinkle of new music – they're under no obligation to any record company to do anymore, so I doubt they will. Ever.
Except… that isn't completely true. Very high on my list of unexpected developments is an announcement to release a remastered version of GIFT – the poisonous EP published by The Sisterhood in 1986 as part of the vicious struggle between Eldritch and guitarist Wayne Hussey during their acrimonious split.
Short of deciding to publish SSV again this is an incredibly left field decision. An obscurity produced under duress in a particularly low period of the band's history? I can think of another Sisters experience with that exact description I'd prefer far more as a remastered release…
These are strange days to be a Sisters fan. I listened to Gift on vinyl last night and it's a wonderful oddity but it's nowhere near what we want. Is this Eldritch at his most contrary? Some kind of legal requirement? A transparent moneymaking effort?
One thing I know… Answers are never forthcoming from the most mysterious band we've got.
Chalk Farm Rd, Camden Town, London NW1 8EH, UK
This entry was posted in Uncategorized and tagged band, music, personal, review, the sisters of mercy, video. Bookmark the permalink.
5 Responses to The Sisters of Mercy – Roundhouse, London, September 2019
Guls says:
Eldritch is nothing if not contrary. I really must try and catch them again before the Marlboros finish him off – haven't seen them play since Vision Thing (which, aside from More, bass weak enough to give …And Justice For All… a run for its overdraft) I really like. I don't think TSoM have any really bad records. If you pushed me I'd rate Alice and Floodland as my favourites and The Reptile House as slightly sub-par.
But really, isn't it past time for a reunion? They could call it Gegenmittel
Jennifer Vasquez says:
I know it may be too much to hope for, but it would be amazing if the group did a show here in Lo s Angeles! I enjoyed your retelling of the show.
Pingback: Thirty Years and I Need More – Vision Thing 1990-2020 | The Blogging Goth
I'm looking for the radio feature from DT64 about the Sisters of Mercy from 1990.
Can someone help?

redpajama_set_name: RedPajamaCommonCrawl


Unfortunately we don't have a photo of Joseph, but we do have this painting.
The image most associated with Niépce is considered by most the first photograph. It was of a courtyardg outside a window of his work study, and it is thought by many to be an eight hour exposure because the building appears to be lit by the sun from different angles.
Daguerre had been working since the 1820s on a solution that would react to light, then become fixed and stable. He formed a partnership with Joseph Nicéphore Niépce in 1829, who was working on the same problem. When Niépce died in 1833, he left all of his notes with Daguerre, who soon developed a practical photographic solution.
He shared his process to the world but kept the copyright of the mechanical devices. Unfortunately, a fire in 1839 destroyed everything, and there are fewer than 25 officially recognized Daguerreotypes left in the world.
The following image is said to be the first photographic image of a human. Someone was walking in the park and stopped to get his shoes shined, which may have taken five or six minutes. This is approximately the time of exposure, so you can see the hatted gentleman with a bent knee in the lower left center.
William Fox Talbot was quite the English classic scientist. He is generally regarded as the father of English photography and he developed the technology behind salt paper and calotype process in photography. He is known for the first interesting photographic still life's.


WHAT'S THE THRILL? Riding aboard the UK's oldest rollercoaster, which dates back to 1920 and was awarded Grade II* status by English Heritage in 2011. Dreamland's recently restored wooden Scenic Railway still operates with a brakeman to control the train's speed and takes between five and eight minutes to complete its hair-raising journey. Other rides to get the adrenalin flowing include the replica 1920s Helter Skelter and the Born Slippy slide. Kids (and inner kids) will love it all. Wristbands from £5. Call 01843 295887 or go to dreamland.co.uk for more info.
WHAT'S THE THRILL? At 173m high, Brighton's i360 is the world's tallest moving observation tower, which will be giving a 360-degree, 26-mile panoramic view of the Sussex coastline and South Downs. Designed by the architects of the London Eye to be a 'vertical pier', it is the world's slimmest observation tower and the first-ever vertical cable car. Set to open this summer, the i360's moving glass pod holds up to 200 people and glides upwards to a height of 137m. During the day, the ride takes 20 minutes, at night it's half an hour. Book online and pay £13.50 per adult and £6.75 per child, or £27 per person for a special 'VIP Champagne Experience'. Call 0333 772 0360 or book at britishairwaysi360.com.
WHAT'S THE THRILL? Being 380ft above the ever-popular coastal resort of Blackpool with all its glitzy attractions. Lifts whizz you up to the top of The Blackpool Tower Eye in just over a minute where, on a clear day, you'll lap up glorious views of the Fylde coast, the Isle of Man and the Lake District. If you're feeling bold you can step out onto the SkyWalk, a 5cm-thick glass viewing platform which looks down onto the promenade below. Included in the ticket price is a 4D cinema show about the history of the tower, built in 1884. Book online from £10.50 per adult, £8 per child; the 'Champagne Experience' is £24.95 per person. Call 0871 222 9929 or go to theblackpooltower.com.
WHAT'S THE THRILL? Dangling 18m up in the air as you begin your very rapid descent from the zip wire launch tower on Bournemouth Pier to the Dorset shore. The ride is a short one – just 30 seconds in fact – but the buzz of exhilaration that you feel as you zip surf over the waves will last much longer. If you're feeling competitive or simply friendly, you can also 'race' with a partner or a pal as two zip wires run side by side. And then you can recover your nerves afterwards over coffee and cake on the outside terrace of Key West Restaurant at the end of the pier. £18 for a single zip ride, £32 for a dual zip ride. Call 01202 983983 or go to rockreef.co.uk.
WHAT'S THE THRILL? At one mile long, Llandudno Cable Car is Britain's longest passenger cable car system, going from Happy Valley park, close to the pier, up to the summit of the Great Orme, 679ft above sea level. Glide upwards in stately fashion for around nine minutes as the cable cars ascend. Views on the way up include the Bay of Llandudno, the Conwy Estuary and the Irish Sea, while at the summit of the Great Orme you can see over to Anglesey and Puffin Island, a haven for seabirds, and Snowdonia in the other direction. At the top explore some of the nature trails in the Great Orme country park before making the return journey. Return ticket adult, £9, child, £7. Call 01492 877205 or go to visitllandudno.org.uk. Photo: Crown copyright (2016) Visit Wales.
WHAT'S THE THRILL? Rising up in an almost perpendicular fashion on the UK's steepest funicular railway, opened in 1902, with twin routes to choose from. The West Hill lift departs from George Street and still has its original Victorian wooden coaches. Unusually for a funicular, it passes through a tunnel on its way to the top of the hill from where you can enjoy panoramic views across the town and seafront. The East Hill lift rises up from Rock-a-Nore, overlooking the Old Town and The Stade where the fishing fleet is beached. An adult return ticket costs £2.50, a family ticket (two adults, three children) £6.80. Call 01424 451111 or go to visit1066country.com.
WHAT'S THE THRILL? Peering out of one of a trio of viewing decks that are respectively 100m, 105m and 110m tall, for sensational views over Portsmouth Harbour, Gunwharf Quays and the Historic Dockyard. The purpose-built tower opened in 2005 and on View Deck 1, floor-to-ceiling glass walls give you vistas to Selsey Bill and the New Forest. On View Deck 2, 5m higher, a tall latte at Clouds café really is tall, being drunk so high up. The pinnacle is the open-to-the-elements Sky Deck. Adrenalin junkies can abseil down the side of the Spinnaker on summer weekends, £90 per person. Tickets cost £9.95 adult, £7.95 child. Call 023 9285 7520 or book at spinnakertower.co.uk.
WHAT'S THE THRILL? Unrivalled, bird's eye views onto Alum Bay and its famous geology as you hitch a ride on one of the lift's 50 chairs. First, The Needles – jagged sea stacks guarded by the red and white striped Trinity Lighthouse. Second, the towering multi-coloured cliffs that contain 21 different shades of sand made from layers of mica, feldspar and quartz. The bay is at the westernmost point of the island and has a shingle beach, with clear blue waters to swim in if you fancy a dip. Once you're on the beach you can get even closer to The Needles on a 20-minute boat cruise or a 15-minute high speed rib ride. A return ticket is £6. Call 01983 752401 or go to theneedles.co.uk for more details.
WHAT'S THE THRILL? Riding a zip wire with such expansive views is said to be the nearest thing to flying. Zip World Velocity, set in the still-active Penrhyn slate quarry, is the fastest zip line in the world and the longest in Europe. Build your confidence on the Little Zipper before being transported in a big red truck up to the daddy, the one-mile long Big Zipper, with views over Anglesey and the North Wales coast. On the Big Zipper you can reach speeds of over 100mph – you have been warned! A single ticket costs £60, a family ticket is £220 (two adults and two under-16s) or £260 (two adults and three under-16s). Call 01248 601444 or book at zipworld.co.uk.
WHAT'S THE THRILL? At its peak, the Grampian Eye big wheel rises to 100ft, giving riders superb views across the city of Aberdeen and the busy harbour, out to the North Sea. The ferris wheel is the focal point of Codona's amusement park, where you can also go on the white water log flume, the looping star rollercoaster, the galleon pirate ship, and the waltzers for added thrills and spills. An all-day outdoor family wristband is £12.99 per person. Call 01224 595910 or browse codonas.com for more.
Liked this? Find more ideas for coastal activities here or in the magazine.


The youth sports market in the U.S. is massive with an estimated value of $15.5 billion annually, according to a recent report by Wintergreen Research. To put the size of the market into perspective, it's bigger than the NFL, which sits at $14 billion.
It's easy to see why youth sports is such a big and fast-growing market. It's at the center of the explosive experience economy trend that has people spending more on events than on physical goods. And for any parent that has kids playing youth sports, these events represent some of the most important and cherished memories of a lifetime.
Needless to say, the youth sports market represents a lucrative opportunity for action sports photographers who capture these coveted memories. So why have photography businesses struggled to be profitable in a market where there is such tremendous interest from parents?
Award-winning Glossy Finish, one of the most successful action photography companies in the U.S. has the answer. In a segment of the photography market that's struggled in recent years, they've thrived and have an enviable rate of revenue growth and profitability. With 12 years of success in the industry, Glossy Finish attracted some of the most prestigious governing bodies in all of youth sports, including organizations like Babe Ruth League, The Ripken Experience, Cal Ripken Baseball, USA Football, American Youth Football, Youth Baseball Nationals, and many others.
Haim Ariav, CEO and Founder of Glossy Finish shared his insights on four factors he believes have constrained the performance of photographers in this market.
Product vs Service. Most action photographers are working under the wrong business model. Instead of treating their professional photography as a valued service, they treat it as a product – and that product is typically prints. Prints have become a commodity at the same time that digital photos have gone up in value with parents. Parents want images they can share, that are always with them and readily available on their phone.
"Spray and Pray" doesn't work. Related to the point above, most action photographers use a sales model affectionately called "spray and pray." The photographer takes a bunch of pictures at a sporting event, uploads them to an online gallery, promotes the gallery to parents on site, and prays that parents find their way to the galley to buy something. This rarely works. The reason? It's relying on a product to sell itself. Ask yourself this: can you imagine photographing a wedding for free in the hopes that the couple will buy something? It's a model that de-values your time, professional experience and business to nothing more than a product.
Workflow is crippling and costly. Because most action photographers monetize through print products and rely on antiquated systems that weren't designed for their specific use case, the workflow required to make money from events is typically complex and expensive. That makes it impractical for most photographers to make enough money to justify their time at these events.
Selling is not simple. We know that we buy when we value what's being sold, when the price and packaging is simple and clear, and the shopping experience is frictionless. In too many cases, photographers are making the experience far too complicated and not engaging for parents. With a complicated array of print packages to choose from, a less than stellar shopping experience, and delivery that can sometimes take weeks – it's the opposite of what parents have come to expect.
Ariav is widely respected by his peers for being innovative with both photography business models and technology, and he has a clear and exciting solution for the future of action sports photography. That's why we are excited to announce that the leading action sports photography company, Glossy Finish, has teamed with the leading digital photography platform, CaptureLife, to deliver that solution for the future.
Slated for release this summer, the new service combines the successful Glossy Finish business model with a powerful and simple CaptureLife Events app, allowing any size photographer to deliver an innovative, profitable, and frictionless action sports photography experience.
Imagine going to a local game or tournament and having parents pay you UPFRONT to take amazing action photos of their athletes. Now imagine a complete and simple solution with marketing and onsite customer acquisition tools, payment processing, and image delivery. One app. One solution.
Glossy Finish CTO, Matt Winer, knew that the service would be even more successful with a vibrant community of successful photographers and business leaders fueling it. That's why Glossy Finish created GFcrew.com, an online forum where members can share valuable insights on action photography and drive the most value from this huge opportunity.
If you want to be "in the loop" on this exciting new service, go to GFcrew.com and join for free. You'll receive regular updates as we get closer to release and be the first on the list to get exclusive early access to the program.


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Q: PHP script unable to $_GET variable when URL changed via .htacces file I have created a .htacess file on my wampsever running on my laptop. The below code is in my .htacess file and the page displays okay except that I get get the variables back.
RewriteEngine on

#Request routing
RewriteRule ^([a-zA-Z0-9_-]*)/([a-zA-Z0-9_-]*)/([0-9]*)$    index.php?ID=$1&Code=$2&v=$3 [nc,qsa]

# Rewrite for GetSimDate.php?id=1&title=Title-Goes-Here
RewriteRule ^GetSimDate/([0-9a-zA-Z_-]*)/([0-9a-zA-Z_-]*)$ GetSimDate.php?ID=$1&Code=$2 [NC,qsa]

In my php file I have tried
Var_dump($_GET) and echo $_GET['ID'] and both are empty
My URL is localhost/myfolder/GetSimDate/1212/hjnef

A: Try with:
RewriteEngine on
Options -MultiViews

# Rewrite for GetSimDate.php?id=1&title=Title-Goes-Here
RewriteRule ^GetSimDate/([0-9a-z_-]*)/([0-9a-z_-]*)$ GetSimDate.php?ID=$1&Code=$2 [NC,QSA,L]

#Request routing
RewriteRule ^([a-z0-9_-]*)/([a-z0-9_-]*)/([0-9]*)$    index.php?ID=$1&Code=$2&v=$3 [NC,QSA,L]


Sketch For You To Try from REVERSE CONFETTI!
At first, I thought it was kind of boring, but in reality, it's a really great sketch with LOTS of "embellishment opportunities".
I pulled out my SHINE BRIGHT stamp set, thinking it would be the perfect fit for the tall rectangular shape of the focal panel of the sketch.
I used the SUN 'N CLOUDS Confetti Cuts dies at the top to go along with the sentiment. I couldn't resist stamping, coloring and die-cutting the small bumblebee from THE BUZZ stamps and Confetti Cuts. I think I was in a "more is more" mood when I made this, as I even pulled out my sewing machine for a little extra pop.
We'd love for y'all to play along in our SKETCH FOR YOU TO TRY Challenge--HERE'S where to find all the details on how and what you could win. How about an awesome REVERSE CONFETTI gift certificate!
SUSIE Q-TIP: My original plan for this card was to use only black, white, red and yellow. Well, when I started grabbing papers, etc., I realized it looked very Mickey Mouse. LOL! I happened to be talking to Jen during that process, and she said to add some aqua to the mix. Moral of the story: 1. Talk to your friends while crafting. 2. If a color scheme isn't quite right for whatever reason, just add one more color and see what happens.


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Helma and Mark: natural burial champions
Many people are championing the natural burial movement, but in Ontario two people stand out: Mark Richardson and Helma Oonk. Mark launched a natural burial ground in Niagara Falls and Helma in Picton. You'd think that because natural burial isn't even a new idea, it would be easy to bring create a green burial ground — but it's not. Mark and Helma accomplished quite a feat.
This story could be about the hurdles they jumped, and the creative ways in which they got funding and approvals, but their past is . With some exceptions, natural burial hasn't captured the interest of the mainstream funeral industry. I can't help but wonder if the windy roads that steered Mark and Helma to the cemetery business was key to their open mindedness. They saw a void between people who are environmentally conscientious, and an industry providing two toxic options: conventional burial and cremation. With grit and heart, Mark and Helma brought a new end of life option to their communities.
Growing up in Niagara Falls, Mark's parents actively petitioned, marched and advocated for the environment. "They're a big reason why I am who I am. When you see people like my folks who have spent their entire lives making it a better place for us, you see the need for green burial". Mark graduated from Brock University in 2000 with a degree in English Language and Literature. He wanted to teach creative writing, but with no job prospects, he went back to school to study Human Resources. His professor said he ought to go into marketing, which he pursued until a friend, an ecologist at an environmental engineering consulting firm, suggested he jump on board. Mark found himself in the role of an environmental planner tasked with finding the best environmental options for water and waste water infrastructure. When the city of Niagara Falls posted a job to manage the environmental portfolio, Mark was tailor made for it, and he threw himself into natural habitat and woodlot restoration projects, eliminating plastic water bottle sales in city facilities, and taking on the multinational corporation that was extracting Niagara's water for bottling. In 2012 Mark was promoted to manage Niagara Falls 22 cemeteries.
Helma also took a circuitous route to become a cemetery manager. Originally from the Netherlands, she was a landscape designer, and then moved to Germany where she opened a very successful flower shop. She said she was "so busy I didn't like it anymore", and she returned to the Netherlands. For a decade Helma was a truck driver, getting up in the middle of the night to deliver fresh bread. It's hard to imagine Helma in this sedentary job given how active she is now, running around the cemetery and in her spare time running half marathons. It was personal loss that led Helma to the deathcare industry. After losing both her mother and her partner, she wanted to help others in their time of grief. For a decade, Helma thrived as a funeral director, appreciating that with over 60 nationalities in Amsterdam, no two funerals were alike. It was love that brought her to Canada in 2009, and she's now managed Glenwood Cemetery for over 10 years.
In 2015 Helma was at a funeral industry conference and her ears perked when she learned about natural burials. That was all Helma needed to jump on the bandwagon and create a natural burial option for her community. Back in Picton, she earmarked a part of the cemetery that was off to the side, a wooded hilly area. That makes it the only woodlot burial in Ontario. Helma's landscaping expertise ensures the burials don't damage the tree roots. In this serene wooded area, you'll find birds, deer and peace. The original 35 plots have already sold and what started as only a quarter of an acre Helma has expanded to over an acre. Helma has also trained as a funeral celebrant, offering a customized ceremony either among the trees of Glenwood or elsewhere.
When Mark assumed the role of cemetery manager, it was through his environmental lens that he saw the opportunity to provide an option for body care that was gentle to the environment. He fundraised, convinced council it wasn't just a 'hippie' idea, travelled to BC to see natural burials in action, and in 2017, Willow's Rest launched. It's a two-acre natural oasis at the edge of the municipal Fairview Cemetery. He didn't stop there. Envisioning a sanctuary for both the dead and the living, Mark introduced bee hives, butterfly pollinators, and welcomed school trips where students plant wildflower plugs and perhaps expand their idea of what a cemetery can be.
There aren't enough natural burials grounds in Ontario to fulfill the escalating demand. Families in Niagara Falls and Picton are lucky. And the Natural Burial Association is lucky too. We'll never know whether Mark and Helma's zig zag career path got them thinking outside the box, but we are grateful to them both. They generously share their vision, expertise and time to help other Ontario communities launch natural burial grounds.
NBA's Executive Director


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How CRISPR is making farmed animals bigger, stronger, and healthier
This article is from The Checkup, MIT Technology Review's weekly biotech newsletter. To receive it in your inbox every Thursday, sign up here.
The CRISPR gene-editing tool has been making headlines for the last 10 years, since scientists showed it could be used to easily alter the genome of a living organism.
Even a small bump in resilience could have huge consequences for fish farming. As things stand, around 40% of fish farmed worldwide die before they can be harvested. Imagine being able to prevent even part of that loss.
This isn't the first time scientists have tried to tweak the genomes of farm animals. Of course, farmers have used selective breeding to try to make animals big, muscular, docile, and easy to rear for generations. But gene-editing tools like CRISPR should allow them to fast-forward the process.
CRISPR offers a major advance over previous gene-editing tools. For a start, it's relatively cheap, quick, and easy to use. Newer forms of CRISPR allow scientists to do more to a genome, too. Some forms allow us to change the base letters of DNA, such as swapping a C for a T. Others let us insert entirely new genes.
So perhaps it's no surprise that scientists have started experimenting with CRISPR in farm animals. One popular target is a gene called myostatin, which codes for a protein that controls muscle growth. Interfering with this gene can lead to muscle overgrowth. In other words, you end up with big, muscly animals. And, eventually, more meat.
Scientists have already experimented with using CRISPR to generate super-muscly cattle, pigs, sheep, rabbits, and goats. These studies have not had perfect results. Many of the animals didn't survive infancy. And a lot of them had weirdly large tongues.
Research in fish is also well underway. Using CRISPR to target the myostatin gene, scientists in Japan have generated red sea bream that are bigger and heavier, with 17% more muscle than their unmodified counterparts, despite being fed the same amount of food.
And similar approaches have been used to beef up carp, tilapia, catfish, and other aquatic animals, including oysters. Other researchers are experimenting with different ways of using CRISPR to boost disease resistance or create salmon that make more omega-3.
You won't find CRISPR animals as products on supermarket shelves just yet. But some are remarkably close. In 2021, Japan approved the sale of two CRISPR-edited fish. One of them is the beefed-up red sea bream. The other is a tiger puffer fish that's also designed to be heavier.
The researchers behind the transgenic catfish are hoping they'll get it approved for commercial production in the US. But that could take a while. Only one gene-edited fish has so far been approved for sale in the US—and it took decades to get to that point.
That fish, AquAdvantage salmon, has a genetic modification that makes it grow bigger. As a result, it takes 25% less feed to get these salmon to the size at which they can be sold, says Sylvia Wulf, CEO and president of AquaBounty, the company that produces the fish.
The company made its first genetically engineered fish in 1992. But it didn't enter the US market until 2021. "For a startup company founded in 1991, it took over 30 years to bring its innovative Atlantic salmon to the market, at a cost exceeding US$100 million," says Wulf.
The approval of gene-edited pigs had a similar timeline. It was in 2001 that PPL Therapeutics (now known as Revivicor) created pigs genetically engineered to lack a sugar called alpha-gal. The company's main goal is to use the pigs to grow organs that can be transplanted into people, whose immune systems would be likely to reject an organ with this sugar in its cells.
But in 2020, the FDA approved the animals for human consumption. These gene-edited pork products, which could be safe for people who are allergic to alpha-gal, will initially be available by mail order only, according to an FDA news release.
It's difficult to predict how quickly CRISPR animals will progress through the US approval process. But they are on their way.
Read more from Tech Review's archive:
Here's the piece about catfish that were given an alligator gene to make them more resistant to infections and disease. They're also sterile unless given a hormone, which should limit any impact they might have on the natural environment should they ever escape.
It's not just farmed animals. The first gene-edited pet dogs were created in China back in 2015—a pair of super-muscly beagles called Tiangou (after the "heaven dog" in Chinese myth) and Hercules, as my colleague Antonio Regalado reported.
A heart from one of Revivicor's gene-edited pigs was transplanted into a man with terminal heart disease last year, in a world first, as my colleague Charlotte Jee reported.
But the heart given to the man, who died a few months later, turned out to have been infected with a pig virus, as Antonio exclusively reported in May.
Gene-editing animals can have unexpected consequences. Cows that were genetically engineered to be hornless ended up with additional DNA for bacteria, including a gene that confers antibiotic resistance, Antonio reported.
Two gene therapies for sickle-cell disease could soon enter clinics. But choosing to take one of these therapies—and potentially lead an entirely different life—is not an easy one. (The New York Times)
Online pharmacies that sell abortion pills are sharing sensitive data with third parties like Google. This data could potentially be used by law enforcement officials to prosecute people who end their pregnancies. (ProPublica)
Moderna says its mRNA vaccine for respiratory syncytial virus (RSV) works. The results of the trial—which involved 37,000 volunteers, all over the age of 60—suggest the vaccine lowered the rate of disease by 83.7%. (Moderna)
A probiotic might help reduce the risk of infection with Staphylococcus aureus, a bacterium that can cause disease. A small trial in Thailand found that people who took the probiotic had less S. aureus in their feces. (The Lancet Microbe)
Last week, my colleagues and I released our annual list of the year's top 10 breakthrough technologies. Here are some that didn't quite make the cut. (MIT Technology Review)
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This Trick Will Keep Your Business Booming In the Future
by Aparna Nethaji
in Buyers Insight / SHOPPING / Lifestyle / NEWS / Industry / Living / People & Places / Travel / feautured this week
Millennials.
That was a major buzzword last year. You may ask why? Millennials, born around 1982 to 1994/5, are the future of shopping. However, not in the way that you would think.
Of course, millennials love to break the bank, but not in the ways one would expect.
Travel and leisure were on top of the many young adults' bucket lists last year. Forbes' recent study showed that the majority of the public is apathetic to domestic purchases, and is more inclined to shop in foreign countries.
So where is the mecca of retail in the world? Asia! In countries like China, South Korea, Japan, and Thailand, markets are unifying, and by 2021 Chinese tourists are projected to have spent $457 billion overseas.
Asian markets and buyers are essentially booming all over the globe. Last year's Forbes review of Chinese markets and consumers showed a more complex set of shoppers. Not only are they shopping for luxury goods, but they desire a luxurious lifestyle. Shopping hasn't always been about buying merchandise, it's about the experiences. With a merging market, that experience is vital in retail business.
Photographer: Lam Yik Fei/Bloomberg
China has subdivisions of their districts based on income, as do most countries. Studies have shown, however, that all levels of income earning residents are spending nearly equal amounts of money on trips abroad. Most are using smartphones, and technology, as well as peer-to-peer services to help navigate itineraries and planning.
Social media is key in consumer relationships and awareness of goods and services. The prime focus here is the market of technology, travel, and experiences. The combination of these factors may shape our future for growth. The study also reflects that young adults, including both Millennials and Generation Z, use social media as their primary source of information.
Image via The New York Times
So, what does this mean for a business owner? Tourism is a huge market. As time goes on, expectations are progressing, and as such business and marketing must stay fresh and inventive to survive.
Now that we have the internet, social media, and communication readily available to us, maintaining relationships is easier than ever. With growth accelerating, you can now interact with your shoppers, keeping your business ahead in the game. Cease to follow others, and instead stay fresh with a new way of thinking.
Featured Image via Wikimedia Commons
UBS Predicts That Amazon Will Grow As A Fashion Retailer
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Amazon made news in the fashion world recently when the company officially launched Prime Wardrobe a...
Instagram and WhatsApp Are Influencing Africa's Fashion Market
It's no secret that social media platforms such as Instagram have essentially changed the way in whi...
Instagram is Playing A Huge Role in India's Fashion Market
Instagram has essentially changed the way the fashion and beauty industry works. As it is a primaril...
H&M Marks Down Its Prices in Order to Keep Up With Fast Fashion Retailers
1 year ago	by Melody Pujols
H&M is one of the largest clothing retailers in the world. However, recently, many well-known br...
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by Lindsey Kelly
Isabel Marant X L'Oreal Paris Collaboration


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Singapore Netizens on the Hunt for Inconsiderate Mercedes Driver
Published by John on 30 Apr 2018. Updated on 18 May 2020
(Photo Credit: Facebook/Eugene Ow)
A Mercedes driver has incurred the wrath of Singapore netizens after refusing to give way to a fellow driver and his elderly father.
Another day, another act of online vigilantism. This latest dispute took place last Friday and it involves a driver of a red Mercedes.
Shared in a Facebook post by a Mr Eugene Ow, the driver of the red Mercedes allegedly refused to make way for other vehicles by blocking the path at a sheltered drop-off point.
According to Mr Ow, it was raining heavily, and he wanted to drop his elderly father off at the sheltered area.
The Mercedes driver was already parked under the shelter and there was taxi waiting behind the red car. Although the taxi driver sounded his horn, the Mercedes driver still refused to budge.
Mr Ow, who was waiting behind the taxi, decided to approach the red car to make a request for him to make a loop to allow the taxi and himself to drop off their passengers.
However, Mr Ow alleged that the Mercedes driver didn't even wind down his window when he approached his car. Instead, he made a gesture with his finger, telling Mr Ow to use his brain and alight his father without getting him wet.
To prevent further conflict, Mr Ow decided to reverse his car into the drop-off point via the exit. Upon seeing this, the Mercedes driver wound down his window and started recording Mr Ow's action. He even threatened to report Mr Ow to the Land Transport Authority (LTA) and Traffic Police for dangerous driving.
Mr Ow concludes his post with a picture of the red Mercedes, the driver, as well as the license plate. Since its publication, the Facebook post has been shared over 3,200 times with over 744 comments.
Some Facebook users likened the red Mercedes driver to the driver of the BMW from the Caltex incident. While others have condemned the driver for his inconsiderate and selfish behaviour.
One thing is for certain though, Singapore netizens won't let up until the identity of the Mercedes driver has been found.
What are your thoughts on the matter? Let us know in the comments below.
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Read more: The Infamous BMW from the Caltex Incident is Now Up for Sale Online
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Why South Africa may have to deploy 70,000 soldiers in the coming months
Hanno Labuschagne6 May 2020
The deployment of the South African National Defence Force during the country's lockdown does not mean people should expect a massive increase in deployed soldiers on the country's streets.
On 21 April 2020, President Cyril Ramaphosa notified Parliament that he authorised the deployment of 73,180 members from the SANDF's Regular, Reserve, and Auxiliary Forces.
This is in addition to the deployment of 2,280 members in March, who were tasked with assisting the police in enforcing lockdown restrictions.
South Africans may be frightened at the idea of having over 70,000 armed soldiers patrolling the streets or stopping them at roadblocks.
National Secretary of the South African National Defence Union (SANDU) Pikkie Greeff told MyBroadband there is no need for panic, however.
Why the big number
Greeff firstly explained why President Ramaphosa opted for the deployment of effectively the entire SANDF.
"Every time the President wants to utilise the SANDF, he is supposed to notify Parliament formally about the number of members to be used, the period that they are to be used, and the cost that is predicted with that kind of usage," Greeff said.
Instead of giving notices on an ad hoc basis, Ramaphosa has issued a blanket notice which covers the entire SANDF strength.
"That's given him great manoeuvrability in dealing with this crisis as it unfolds and provides him the ability to respond if the worst-case scenario should come upon us very quickly," Greeff said.
This could be helpful in deploying soldiers at short notice. "I think it's actually a brilliant strategic move, it's prudent to have your reserves in place," Greeff said.
Not law enforcement
It should be noted that unlike certain media reports have indicated, these soldiers will not be used in carrying out law enforcement responsibilities.
"The 73,180 deployment should not be seen as a mass of 73,180 boots on the ground being deployed to various areas," Greeff said.
Greeff explained that the 2,820 soldiers who were first deployed were called in under Section 19 of the Defence Act, which provides for the deployment of the SANDF to assist police in enforcing law and order.
As Ramaphosa invoked Section 18 of the Defence Act to deploy the additional 73,180 soldiers, they are tasked to help in other essential services or public service departments, which could include duties such as assisting in the preservation of life, health, and property, as well as border control.
Additional roles
Greeff provided several examples of where the soldiers could be utilised.
"Any essential service where extra help is needed, that's where soldiers could potentially be deployed," he explained.
If a neighbouring country was to lift their lockdown restrictions, the effect could be that lots of people may attempt to enter South Africa.
Soldiers can then be deployed to assist immigration services and border control officials if required.
Additionally, military medical personnel and soldiers may be needed in the healthcare effort where clinics are understaffed or have been expanded.
"Don't be surprised if you see soldiers wiping floors in hospitals," Greeff said.
"They have the numbers available. They have the necessary transport and structure hierarchy to execute those kinds of tasks very quickly, as and where needed," he stated.
SANDF's engineers could also help with the construction of infrastructure and facilities to aid in the fight against the virus, such as field hospitals.
Training and equipment
The training of soldiers includes civilian operations in support of the police, stated Greef.
"Just remember the soldiers are always theoretically and legally under command of the local police."
He said that it was also disingenuous to question the training of the military and police, especially when members of the public have attempted to assumed the role of law enforcement officers.
"I do find it a bit worrying that members of the public would be concerned about soldiers and police, whom we all know receive training, yet they have no problem with civilians belonging to so-called neighbourhood patrols with no training whatsoever acting like law enforcement officers," Greeff said.
Public response
According to reports received by SANDU, soldiers are generally well-received by the public.
"We haven't heard of any incidents that soldiers reported to us that the public is anti-military as such," Greeff said.
He acknowledged media reports over incidents of alleged misconduct and unlawful behaviour from SANDF members, but said these were relatively few when taking into account the scale and length of the deployment.
He also expects the overall positive reception of the SANDF will continue as additional members are deployed to assist in essential services.
"I think that's going to continue to grow… where they will be in contact with the public on a different basis than where they are armed to the teeth. Where they will be like public servants in assisting pensioners in SASSA queues or whatever the case may be," Greeff stated.
Now read: "Crime remains a reality" – But demand for private security decreases during lockdown
Headline Pikkie Greeff SANDF SANDU soldiers South African army
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Ekesivy: Withdrawal of the marketing authorisation application
Sun Pharmaceutical Industries Europe B.V. withdrew its application for a marketing authorisation of Ekesivy for the treatment of muscle disorders called periodic paralysis.
The company withdrew the application on 2 October 2019.
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What is Ekesivy and what was it intended to be used for?
Ekesivy contains the active substance diclofenamide and was to be available as tablets for the treatment of periodic paralysis, a group of inherited muscle disorders that causes attacks of weakness or inability to move that can last a few hours to a few days.
Ekesivy was developed as a 'hybrid medicine'. This means that it was intended to be similar to a 'reference medicine' containing the same active substance and already authorised in the European Union. The reference medicine is Fenamide, a medicine authorised in Italy for the treatment of glaucoma.
Ekesivy was designated an 'orphan medicine' (a medicine used in rare diseases) on 27 June 2016 for the treatment of periodic paralysis.
How does Ekesivy work?
Periodic paralysis is caused by abnormalities in the ion channels, tiny pores in the muscle cells that control the passage of charged particles (ions) such as sodium and potassium, which play a key role in the contraction and relaxation of muscles. The way Ekesivy works in periodic paralysis is not fully understood but it is thought to increase the removal of bicarbonate, sodium and potassium through the urine. This increases acidity in the body, which studies show can help normalise ion channels in muscle cells, thus allowing better control of muscle contraction.
What did the company present to support its application?
The company presented the results from a study in 71 patients with either hypokalaemic periodic paralysis (where a low potassium blood level triggers attacks) or hyperkalaemic periodic paralysis (where a high potassium blood level triggers attacks). Patients received either Ekesivy or placebo (dummy treatment) for 9 weeks. The main measure of effectiveness was the number of attacks per week in the last 8 weeks of treatment.
How far into the evaluation was the application when it was withdrawn?
The application was withdrawn after the European Medicines Agency had evaluated the initial information from the company and had prepared questions for the company. The company had not responded to the questions at the time of the withdrawal.
What did the Agency recommend at that time?
Based on the review of the data, at the time of the withdrawal, the Agency had some concerns and its provisional opinion was that Ekesivy could not have been authorised for the treatment of periodic paralysis.
The Agency had concerns on a number of aspects relating to the quality, effectiveness and safety of the medicine. Amongst these concerns, the Agency noted that the company had not provided information on how data on the reference medicine, Fenamide, could be linked with Ekesivy, and laboratory studies were not provided to support the proposed use of Ekesivy, despite the reference medicine being used in a different condition. The company did not provide data on how the medicine is absorbed, modified and removed from the body. The Agency was concerned that the way the study in patients was carried out and the analysis of results was not sufficiently robust to show that Ekesivy worked well enough and was acceptably safe for its proposed use.
Therefore, at the time of the withdrawal, the Agency's opinion was that, because effectiveness was not proven, the benefits of Ekesivy did not outweigh its risks.
What were the reasons given by the company for withdrawing the application?
In its letter notifying the Agency of the withdrawal of the application, the company stated that it decided to withdraw its application because the Agency's concerns could not be addressed within the available time frame.
Does this withdrawal affect patients in clinical trials?
The company informed the Agency that there are no ongoing clinical trials with Ekesivy.
Questions and answers on the withdrawal of application for the marketing authorisation of Ekesivy (diclofenamide) (PDF/76.26 KB)
First published: 18/10/2019
EMA/560142/2019
Available languages (22)
(PDF/106.77 KB)
(PDF/95.2 KB)
(PDF/81.61 KB)
(PDF/104.7 KB)
(PDF/102 KB)
Ekesivy
EMEA/H/C/005141
Diclofenamide
Date of withdrawal
Company making the application
Sun Pharmaceutical Industries Europe B.V.
Initial authorisation
Withdrawal assessment report for Ekesivy (PDF/2.57 MB)
Withdrawal letter: Ekesivy (PDF/364.85 KB)
Related information on withdrawals
A question-and-answer (Q&A) document provides a summary of the CHMP's evaluation of the medicine at the time of the withdrawal of the application, and includes a link to the company's formal withdrawal letter.
An assessment report is published when the application is withdrawn after the first stage of the CHMP's evaluation is completed ('day 120').
Meeting highlights from the Committee for Medicinal Products for Human Use (CHMP) 14-17 October 2019
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LES RHUMATISMES - COMMENT ALLEGER LES TRAVAUX RURAUX - LA VIE DE PROVINCE AMELIOREE PAR L'AVION - L'HOMME VOLE AVEC SES MUSCLES - J.F. ESPINASSE - LA JARDIN DE PASQUELOT - AUTO.
LA FRANCE ATOMIQUE S'IMPOSE - DES SAVANTS ONT CREE DES JOUETS - CONSOMMER OU GASPILLER - DANS 15 ANS - GRACE A TELSTAR - 35 PROF. FERONT LA CLASSE A 6 MILLIARDS D'INDIVIDUS - L'AUTOMOBILE - SEMPE - NOEL.


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POV | I Didn't See You There
When a circus tent goes up outside his Oakland apartment, a disabled filmmaker launches into a meditative journey exploring the history of freakdom, vision, and (in)visibility. Shot from the director's physical perspective — mounted to his wheelchair or handheld — I Didn't See You There serves as a clear rebuke to the norm of disabled people being seen and not heard. Winner, 2022 Sundance, U.S. Documentary Director and Grand Jury Prize nominee.
I Didn't See You There will be available to stream with no PBS Passport membership necessary until Feb. 8, 2023, at pbs.org, and the PBS Video app.


Two-night packages range from $395 to $493 (add a 3rd night and save 25% off the published room rate). If you want even more, Windjammer sunset cruises, scenic plane rides to view remote lighthouses, or a beach picnic can also be arranged. Click HERE to check availability or book a room. Or click HERE to visit the LimeRock Inn's hompage for other offerings.


World Scientific Series in Applicable Analysis (WSSIAA) aims at reporting new developments of high mathematical standard and current interest. Each volume in the series shall be devoted to the mathematical analysis that has been applied or potentially applicable to the solutions of scientific, engineering, and social problems. This volume contains 30 research articles on the theory of optimization and its applications by the leading scientists in the field. It is hoped that the material in the present volume will open new vistas in research.Contributors: B D O Anderson, M Bertaja, O J Boxma, O Burdakov, A Cantoni, D J Clements, B D Craven, J B Cruz, Jr., P Diamond, S V Drakunov, Y G Evtushenko, N M Filatov, I Galligani, J C Geromel, F Giannessi, M J Grimble, G O Guardabassi, D-W Gu, C H Houpis, D G Hull, C Itiki, X Jian, M A Johnson, R E Kalaba, J C Kalkkuhl, M R Katebi, T J Kim, P Kloeden, T Kobylarz, A J Laub, C S Lee, G Leitmann, B-G Liu, J Liu, Z-Q Luo, K A Lurie, P Maponi, J B Matson, A Mess, G Pacelli, M Pachter, I Postlethwaite, T Rapcsak, M C Recchioni, Y Sakawa, S V Savastyuk, K Schittkowski, Y Shi, M A Sikora, D D Siljak, K L Teo, C Tovey, P Tseng, F E Udwadia, H Unbehauen, A Vladimirov, B Vo, J F Whidborne, R Xu, P L Yu, V G Zhadan, F Zirilli.


text:
require 'hashr'

module Travis
  module Worker
    module Builders

      module Base
        class Config < Hashr
          protected
            def normalize(values, default)
              values ? Array(values).join : default
            end
        end

        class Commands
          include Shell

          attr_reader :config

          def initialize(config)
            @config = Config.new(config)
          end

          def run
            setup_env
            install_dependencies && run_scripts
          end

          def install_dependencies
            true
          end

          def setup_env
            Array(config.env).each { |env| exec "export #{env}" unless env.empty? } if config.env
          end

          def run_scripts
            %w{before_script script after_script}.each do |type|
              script = config.send(type)
              return false if script && !run_script(script, :timeout => type)
            end && true
          end

          def run_script(script, options = {})
            (script.is_a?(Array) ? script : script.split("\n")).each do |script|
              return false unless exec(script, options)
            end && true
          end

          protected
            def pwd
              @pwd ||= evaluate('pwd').strip
            end

            def file_exists?(file_name)
              exec("test -f #{file_name}", :echo => false)
            end
        end
      end

    end
  end
end

redpajama_set_name: RedPajamaGithub


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Q: Polynomial ring $\mathbb{Z}[X]/(X^{2^k} + 1)$ has property $X^{2^k} = −1$? I'm a BS in CS and reading a paper on homomorphic cryptography, "Secure Searching of Biomarkers Using Hybrid Homomorphic Encryption Scheme." (https://eprint.iacr.org/2017/294.pdf)
I have difficulty understanding the following paragraph from the paper.

Since we use the cyclotomic polynomial $\phi(X) = X^N +1$ of power-of-two degree, the polynomial ring $\mathcal{R}$ has the property $X^N = −1$. Thus, for any tag $d$, the constant term of the polynomial $\mathsf{DB}(X) \cdot X^{−d}$ is $\alpha_i$ if there is some index $i$ satisfying $d = d_i$, otherwise zero.

Here, the polynomial ring $\mathcal{R}$ is defined as in advance:
$$ \mathcal{R} := \mathbb{Z}[X]/\phi(X) = \mathbb{Z}[X]/\left(X^{N} + 1\right) , $$
where $N = M/2$ is a power of two.
Question: What precisely does it mean that "the polynomial ring $\mathcal{R}$ has the property $X^N = −1$?"
I have tried to do some research by myself, and understand only the basic concepts (say, definitions) of polynomial ring, quotient ring and cyclotomic polynomial.

A: This is not a genuine polynomial ring, rather the quotient of the polynomial ring $\mathbb{Z}[x]$ by the ideal generated by $\varphi(x)=x^{n}+1$.
In other words, you are considering the remainder classes modulo this polynomial. Of course, the remainder class of $\varphi(x)$ itself is zero, so in $R$ you have the relation $x^{n}+1=0$, that is $x^{n}=-1$.
You can find all this (and much more) in any good book on Algebra or Ring Theory. For instance, you can have a look at Chapter 2 of Rotman, Advanced Modern Algebra.

A: An element in $Z[x]$ is a polynomial with coefficients in $Z$. $R$ inherits this, but dividing out by an ideal has the effect of turning all members of that ideal into $0$. In our case, that would specifically mean that $x^n + 1 = 0$ as elements of $R$.
To be more correct, we should write $x^n + 1 + (x^n + 1) = 0 + (x^n + 1)$, in other words, the set you get from taking the ideal $(x^n + 1)$ and adding $x^n + 1$ to all of its elements is the same as the set you get from taking that same ideal and adding $0$ to all of the elements. Often, though, this notation is skipped to make writing and reading easier.
We also have that $x^n + (x^n + 1) = -1 + (x^n + 1)$. In other words, as far as $R$ is concerned, there is no way to differentiate between $x^n$ and $-1$, which we symbolise by setting a "$=$" between the two. When I say that there is no way to differentiate between the two, this extends to $x^{n+1}$ being the same as $-x$, and $x^n + 3x^2$ being the same as $3x^2 - 1$.
Side note: $R$ is not a polynomial ring, precicely because it has the property $x^n = -1$.


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Jay-Z Cover's The Villiage Voice Magazine
Posted by hiphopucit | Jan 20, 2010 | Featured Artist | 0 |
'You have to get in a space where you can't even all-the-way listen to your friends, because they love you so
much that they have places they want you to be." So says Jay-Z, chatting with the Voice on the subject of "Empire State of Mind," the song that finally put him atop both the Billboard Hot 100 and our own Pazz & Jop Critics' Poll. "They have moments in time that felt great for them—'Oh, I wanna hear "U Don't Know" again,' " he continues. "But we done that already. I can't."
Everyone loves Jay-Z—not just his friends. And so everyone wants a unique, time-specific version of him. "Empire State of Mind" is the closest we've come to consensus. He had to move forward, to go up. It's hard to believe, a dozen solo albums and countless playlist staples later, but it's true: This is his first #1 single. Now we have the quintessential Jay-Z song. It may not be the most lyrically penetrating or sonically progressive. It may not be the best. In fact, it isn't. But what it does is unite: At some point this summer, the song was booming from every car in every state in the country.
Deciding to record "Empire State" was, as always, a shrewdly calculated decision, with a Broadway melody and chorus scientifically engineered for mass consumption, and a malleable narrative that could be bolted onto anyone's life. Like rap in 2009, there was something for everyone. But this was the only time everyone agreed on the same thing. Penned by two unheralded songwriters, Jane't "Jnay" Sewell-Ulepic and Angela Hunte, and orchestrated by an equally anonymous U.K. producer, Al Shux, the song is an odd duck on an otherwise aggressive and sometimes confounding album, The Blueprint 3. It gleams while the rest groans. But when Jay received a call from his first publisher—EMI's "Big Jon" Platt, a confidant the rapper confers with during the making of every album—he knew he had to jump.
"He called me and said, 'Man, I think I got this song and this idea for you,' " Jay recalls. "So he sent me the song on a Sunday. I walked in the house and played the song. I called him and said, 'Send it now.' He said, 'Yeah, it's in your e-mail.' And I said, 'No, send the Pro Tools now.' As soon as I heard it, I knew what it was gonna do."
Shawn Carter's most important decision was calling Alicia Keys next. Her brassy, soaring chorus is the song's heartbeat—without it, it's hard to imagine "Empire State" as more than a nice local hit. And it almost was. Jay-Z, now 40 years old, admitted to me that he was "two seconds away" from calling Mary J. Blige, his reliable longtime collaborator, to supply the chorus, a move that would have been safe and true to his heritage. But something about the piano sound and melody (and, maybe, the commerciality) struck him, and so it was.
It's a blessing, really, because "Empire" is hardly an emotional dynamo without Keys, her ululating voice rising on each word, grasping for the grandeur Jay sometimes misses. He says the song is meant to be inspirational, initially tracking his transition from "out that Brooklyn" to "down in Tribeca," a familiar trope for Hov. But in the second verse, things get strange: Jay adopts a granular, scrunched flow ("Rest in peace, Bob Marley!") while engaging in some deeply insular cocaine-rap talk. "If Jeezy's payin' LeBron/I'm paying Dwyane Wade," he raps, invoking the semi-obscure Young Jeezy mixtape song "24-23 (Kobe-LeBron)," which details the premium street price for coke.
That a song with such deep-seated and confusing criminal mythology—attention: Jay-Z no longer deals drugs—has enjoyed such mainstream success is a testament to the feats of ignorance. "Things are for different people, and that's not really for them," Jays says, elusively. This made his performance of "Empire" at Yankee Stadium during the 2009 World Series doubly dizzying. Here was the alpha rapper for all times, repping for New York City, certainly, but also laying Easter eggs about the dope game and denigrating the Yankee cap in Yankee Stadium. We sure do love our hits in New York.
Ultimately, it's hard to cede Sinatra-caliber provenance over NYC to Jay entirely. "Run This Town," the would-be blockbuster featuring both Rihanna and Kanye West, was actually the album's first official single; Jay feared "Empire," the obvious pick, would be nothing more than "a regional record," blackballed by out-of-town radio programmers unimpressed by the might and wonder of Metropolis. But then, it's surprising that we were all swept up by the song's idealism in the first place, in a year when despair reigned. Unemployment in the South Bronx, historically identified as the birthplace of hip-hop, rocketed to a heart-stopping 15.7 percent. Was New York really a place where "these streets will make you feel brand-new," as Keys sings on the hook? It wasn't for me, as Vibe, the media tomb where I dwelled, (briefly) closed and put me out of work, stalking those same streets stumbling for meaning. But that's the power of "Empire": We want to believe there's a capacity for healing and rebirth in the "concrete jungle where dreams are made of"—a fantasy even Jay knows is impossible.
"That's why the third verse is dark, because, at the same time, the city is intoxicating," he says. "It can sweep you up, and you can get sidetracked. You come here, and you take the city for granted—nightlife, things like that. I've seen it a million times. I've seen people come into the city—new girls come into town, and next month, they're gone."
"Run This Town" wasn't exactly "the bridesmaid" that Jay-Z initially feared, at least not for the two other biggest rap stars in recent memory. Lil Wayne leapt on the beat—and nearly two dozen other reconfigured pop hits—for his typical, terrific mixtape No Ceilings. Wayne, due to struggles both legal and artistic, did not release a proper album in 2009 (leaks notwithstanding), but he did offer Ceilings, rapping with no context about little more than his dick, his heart, and his magnificence while brazenly chirping, "I'm proud of me." It was marvelous.
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text:
Find the right car rental in United Arab Emirates
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