text:
गृहपृष्ठ प्रकाशन लेखहरु NRA to mobilise local governments to speed up post-earthquake reconstruction
NRA to mobilise local governments to speed up post-earthquake reconstruction
National Reconstruction Authority Steering Committee meeting decides
Kathmandu, September 6: The National Reconstruction Authority (NRA) has decided to mobilize the local governments to speed up the post-earthquake reconstruction of private houses and other physical infrastructures destroyed by the April 2015 earthquake.
The NRA Steering Committee meeting held today decided to give the responsibility of monitoring and recommending for government grant assistance to the local governments.
The meeting, chaired by Prime Minister and Chairman of the Steering Committee KP Sharma Oli, made the decision to mobilize the local governments to speed up the reconstruction process in a more effective manner.
At the meeting, Chief Executive Officer of the NRA Sushil Gyewali said, "The Authority will facilitate and monitor the reconstruction work undertaken by the local governments."
The NRA Steering Committee also decided new deadlines to receive the government's private housing grant.
As per the decision, the beneficiaries who have received the first tranche (of Rs. 50,000) should now collect the second tranche (of Rs. 150,000) by the end of Poush (mid-January 2019). Similarly, those who have received the second tranche should collect the third tranche (of Rs. 100,000) by the end of Baisakh 2076 (mid-May 2019).
However, the deadline would differ as per the decision of the NRA's Executive Committee for those who have been considered after hearing the grievances, those who are included after re-survey, those living in traditional places and for those who needed to be resettled in safer places.
To facilitate the availability of the government-announced subsidized loan of Rs. 300,000 to the earthquake-affected families, the process has begun through the Ministry of Finance to revise the working modality, according to CEO Gyewali.
Similarly, the Steering Committee has also decided to provide the government's private housing grant (of Rs. 300,000) to the landless quake-affected families as per the place and criteria set by the local government.
CEO Gyewali also told the meeting that the process of developing a detailed work plan, along with the financial plan, has already begun to ensure that the reconstruction and rehabilitation would complete within the next two years and four months. A mid-term review of the reconstruction work till now will also be carried out, according to him.
As per the decision, all the government staff working on the reconstruction will now be brought under the NRA and will be mobilized by the NRA. Besides, the concerned ministries would immediately provide necessary staff for the NRA and consent would be sought from the NRA while transferring these staff.
It has decided to begin the necessary process to reimburse the government grant from those who have already received the first tranche despite having a house elsewhere and has not begun the reconstruction.
Prime Minister KP Sharma Oli directed the NRA to speed up the reconstruction work as per the work plan presented at the meeting by CEO Gyewali.
The meeting also discussed about inviting the concerned Members of the Federal Parliament, Provincial Assembly members, Chairperson of District Coordination Committee and concerned heads of local governments at the Reconstruction District Coordination Committee meetings.
Leader of the opposition Nepali Congress Bijay Kumar Gachhedar, members of the NRA Steering Committee Home Minister Ram Bahadur Thapa and Finance Minister Dr. Yubaraj Khatiwada, expert members of the Committee, executive members of the NRA and secretaries of concerned ministries were present at the meeting.


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Q: Why is my form not submitting POST value? I am creating this simple page that will handle log in and registration requests, but for some reason, my form is not submitting my one post value.
PHP
session_start();

$ip = $_SERVER['REMOTE_ADDR'];

if(isset($_SESSION["sid"])) {
    $sid = $_SESSION["sid"];

} else {
    if(isset($_GET['login'])){
        $code = MySQLConnection::login($_POST['email'], $_POST['password'], $ip);
        /**
         * Login Error codes
         * ______________________________________________
         * |   0    |        EVERY THING IS OK          |
         * |--------+-----------------------------------|
         * |   1    |          No Such User             |
         * |--------+-----------------------------------|
         * |   2    |         Incorrect Pass            |
         * |--------+-----------------------------------|
         * |   3    |        Error Signing in           |
         * |--------------------------------------------|
         */
        switch($code) {
            case 0:
                header("Location: ControlCenter.php");
                break;
            case 1:
            case 2:
                header("Location: index.html?error=1");
                break;
            case 3:
                header("Location: index.html?error=2");
                break;
        }
    } else if(isset($_GET['register'])){
        if(isset($_POST['email'])) {
            MySQLConnection::register($_POST['email']);
            echo("success");
        } else {
            echo("Email not submitted");
        }
    }
}

HTML
<form method="post" action="authenticator3000.php?register">
    <input type="text" name="email" class="email" placeholder="email" required="required"/>
    <input type="submit" value="register" />
</form>

the error occurs before the register function, because when run, "Email not submitted" is echo'd.
without the if statement checking if POST is set I get:
Notice: Undefined index: email

I am not sure where my problem lies because the value of email will be submitted with method="get". I have another form in the page for logging users in, and everything gets submitted there.
HTML for login:
<form action="authenticator3000.php?login" method="post">
    <input type="text" name="email" class="email" placeholder="email" required="required"/>
    <input type="password" name="password" class="password" placeholder="password" required="required"/>
    <input type="submit" value="login" />
</form>

Every value gets submitted and works correctly. I even re-copied and pasted my code from login to the register area, and changed the ?login to ?register.
As far as I can tell, there is no syntax errors.
Update
I just tested out the var_dump on the login part, and found that $_POST was empty there too.

A: My server was misconfigured.  I am not sure exactly why but I used a different server and everything worked fine.  Thank you for your helps

redpajama_set_name: RedPajamaStackExchange


text:
https://www.mcneese.edu/news/three-visiting-poets-to-present-free-reading
Three Visiting Poets to Present Free Reading
Poets Catharine Savage Brosman, Olivia McNeely Pass and Stella Nesanovich will present a free reading at 3 p.m. on Wednesday, Oct. 30, at the McNeese State University Alumni Center.
All three poets' work has appeared in Louisiana Poets: A Literary Guide. Brosman and Pass edited the volume and will be reading their own poetry as well as poetry of other Louisiana poets. Nesanovich will read her own poetry as well as a poem by the late McNeese professor Leo Luke Marcello.
Brosman has authored several books of poetry and her poems and scholarly work have been published in numerous journals. She has taught at Rice, Tulane and other universities. Upon her retirement from Tulane she was honored as Professor Emerita.
Pass has published in many journals and was the editor of the "Louisiana English Journal." She was a professor of American literature at Nicholls State University.
Nesanovich has published numerous poems in journals as well as authoring several books of her own poetry. She spent most of her career teaching English at McNeese, which honored her as Professor Emerita after her retirement.
The event is sponsored by the McNeese Honors College and the Department of English and Foreign Languages. An informal reception will follow the presentation. For further information, email Scott Goins at sgoins@mcneese.edu or call 337-475-5326.

redpajama_set_name: RedPajamaCommonCrawl


Which online quot Its clear Sites of online dating evaluated the best online range from 16350 to. Dating Female Make First the best valuable service.
Consumer Reports 36 companies the Stanford and Michigan dupe 200 research as.


The proposal is to develop approximately 105 hectares of land adjoining the western bank of the Waikato River in Peacocke, Hamilton for residential development and associated subdivision. The subdivision and development will provide for 862 dwellings on individual certificates of title. In addition, there are two large lots proposed adjacent to Peacockes Road to be developed in the future for a mixed use residential/commercial centre (development of these lots is not part of current applications). Earthworks, new roading, cycleways, walkways, additional planting within a retained esplanade, and three waters infrastructure are required to enable the development and a number of open space areas are included in the applications.
Applicant has requested public notification of the proposed development.
Public notification on Saturday, 1st September 2018. Submissions closed on Friday, 28th September 2018.
Please note: The proposal is for joint land use and subdivision applications. Submissions will be treated as applying to both applications, unless specifically stated otherwise on the submission form.


text:
American-Canadian singer and songwriter
Paula Julie Abdul[2] (əb-DOOL; born June 19, 1962)[3] is an American singer and dancer. She had a string of hit songs and choreographed (planned) many dances for herself and others, including singer-songwriter Janet Jackson. Musically, she is known for her late-1980s number-one singles "Straight Up" and "Cold Hearted", along with the 1990s number-one hit "Opposites Attract". She won a Grammy Award for "Best Music Video – Short Form" for "Opposites Attract". She was a judge on the television show American Idol for its first eight seasons. She has a mezzo-soprano vocal range.
Abdul in 2011
Paula Julie Abdul
(1962-06-19) June 19, 1962 (age 58)
San Fernando, California, U.S.
(m. 1992; div. 1994)
Brad Beckerman
Partner(s)
Jackie Jackson (1984; 1987–1989)
Musical career
Mercury[1]
paulaabdul.com
Wikiquote has a collection of quotations related to: Paula Abdul
↑ "Paula Abdul Signs with Mercury Records". Rolling Stone. Wenner Media. 1997-10-31. web.archive.org. Archived from the original on 2007-08-07. Retrieved 2015-04-09. Former Virgin Records recording artist Paula Abdul has signed a multirecord deal with Mercury Records
↑ "Paula Abdul". Biography.
↑ "Paula Abdul". Internet Movie Database. Retrieved 2009-12-07. Cite has empty unknown parameter: |coauthors= (help)
This short article about a person from the United States can be made longer. You can help Wikipedia by adding to it.
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Paula_Abdul&oldid=7248995"


Jannat 2 Collects 9 Crores in One Day | GSV Films :: Film news, video songs, movies news telugu, tamil hot actress.
Emraan Hashmi is in jannat (heaven), literally. The sequel to his 2008 superhit, Jannat 2, has got off to a flying start, collecting Rs. 9-crore plus on the first Friday. It could emerge as the third biggest opening of 2012, after Agneepath and Housefull 2.
The play-it-down philosophy was reflected in Jannat's publicity. The unveiling of the first 'Kutti kameeni cheez' promotional campaign coincided with the launch of IPL 5, but later, it almost seemed to have run out of steam. "We don't need to OD on PR, there's a sense of desperation in doing too much. Eventually, it is the audience that embraces or kicks out a film. By spending unnecessarily on publicity, you are only stretching your budget and cutting profits. Our aim is safe economics and today Jannat 2 is a paying proposition for all," he reasons.


text:
Quantifying DevOps Outcomes: Efficient Service Stability
By George Miranda
Last week, we hosted a live webinar, "Efficient Service Stability" – the final episode in our four part short-form, interactive series, "Quantifying DevOps Outcomes." For me, this series has been a fun improv exercise in working with audience feedback to figure out where we should focus our time together. Your feedback in these webinars has helped sharpen my views around how focusing on measurable outcomes drives much larger bodies of work.
From Skid Row to Gallery Row
Many years ago I lived in Los Angeles. Back then, downtown LA was most notable for being run down and decaying: most of that being personified by its Skid Row neighborhood. If you visit downtown LA today, the difference is staggering. Today you'll find a vibrant and growing community of culture, leisure, and nightlife. Downtown LA transformed into a beacon of creativity for the arts and now what was once Skid Row is now Gallery Row. That level of transformation at scale is complex and difficult to deliver, but it's also no accident or coincidence for LA city leaders.
Harnessing the energy and focus of many groups with diverse interests, like real estate developers, merchants, artists, residents, and entrepreneurs, to revitalize an area once thought to be beyond saving is no small feat. City leaders could have adopted a top-down approach, where all projects and initiatives filter through their leadership and approval via rigid legal frameworks and complex regulations. For the second most populous city in the US, that sort of management model simply doesn't scale. Instead, city leaders focused on choreographing revitalization by creating policies that guide behaviors and create virtuous cycles by incentivizing desired practices.
Effective leadership at scale means setting proper context and giving your teams the knowledge they need to make decisions and act autonomously. Disruptive leaders win by distributing expertise that enables teams to make decisions with a high degree of both decision quality and decision velocity. The hard part is distilling large complex initiatives into small, easy to convey, and easy to understand guidelines to follow. Urban revitalization is a massively complex undertaking. Increasingly, cities are driving that type of complex transformation by boiling it down into a handful of measurable metrics (i.e. less than a dozen) that drive desired outcomes.
Driving DevOps Transformation
IT is a bit different than city government. But the same general rules for driving revitalization initiatives across diverse teams apply. The Quantifying DevOps Outcomes webinar series explores metrics to help organizational leaders drive DevOps transformation at scale. Some organizations get bogged down in filtering work through rigid and complex project implementations that don't convey a clear vision. Instead, organizations could benefit from setting concise policies to achieve measurable goals, knowing that in order to deliver on those metrics, any groups involved must adopt behaviors that incentivize self-reinforcing practices that create virtuous cycles.
The "Quantifying DevOps Outcomes" series explores the strategy behind how these patterns are set by leadership, why they matter, and how they connect to the underlying technology within our organizations. I thank you for your participation in this series. If you weren't able to participate, I invite you to watch the recordings and let me know what you think. As always, you can reach out to me via Twitter or in the comments section for this post.
Meet George Miranda at ChefConf 2017 and learn more about digital transformation, DevOps best practices, and measuring DevOps outcomes.
ChefConf DevOps webinar
George Miranda
Former Chef Employee


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Эдуа́рд Аветикович Мадатя́н (, 11 декабря 1952, Ереван) — армянский государственный деятель, министр транспорта и связи (2000—2001).

В 1970-е годы с перерывом на службу в армии работал на ереванском заводе «Гидропроводник» техником-технологом, затем — старшим инженером. В период 1980—1987 годов возглавлял ереванское объединение общественного питания № 3б, в 1983 году окончил Ленинградский институт советской торговли по специальности «экономист», 1987—1993 годы — директор объединения общественного питания «Наири». Был первым заместителем генерального директора Ереванского мебельного завода имени Мясникяна (1993—1996), заместителем директора компании «Муш» (1994—1999), начальником отдела «Энергоконтроля» (1997—1999).

30 мая 1999 года избран депутатом Национального собрания Армении (второй созыв, 1999—2003), вошёл в постоянную комиссию по обороне, национальной безопасности и внутренним делам. В период с 2000 по 2001 год возглавлял Министерство транспорта и связи Армении. Беспартийный

Ссылки
 Биография

Министры транспорта Армении
Министры связи Армении
Депутаты Национального собрания Армении

redpajama_set_name: RedPajamaWikipedia


We at SaleHoo want to ensure that everyone's needs are met accordingly - members and suppliers alike. We all know how awful it feels to not be able to contact a supplier or having to wait long for a supplier's reply, so here are a couple of quick how to guides to help out members in contacting suppliers as well as to guide suppliers how to best reply to the messages they receive.
As you may be familiar we have now incorporated the ability to contact suppliers directly via our directory, with various templates depending on your query. Here's a Link hidden: Login to view for you.
Please be advised that as an approved supplier on SaleHoo Wholesale Directory, our members primary means of contacting you will be via our private message system.
As a supplier, how do you know a member query is legitimate? Sometimes the messages aren't very clear and I worry it might not be a legitimate query.
I think the best advice I could give is to treat every inquiry as legitimate, no matter what your suspicion may be. Bad news travels a lot faster than good news in the online business world, so you need to be taking every precaution to mitigate as much bad news getting out just to come close to balancing the good news with it.
Things like poor customer response rates seriously irritate retailers and can lead to a lot of complaints in all the wrong places, like trading forums such as SaleHoo.
Will every inquiry be genuine? ... absolutely not. In fact, I would suggest over 50% may well be a complete waste of time, but treating every inquiry as a priority, not matter if it is a waste of time of not is the price of doing GOOD business in this marketplace of online trading.
If you get a message that needs clarifying, simply ask for the clarification that you need to respond in an informative and prompt manner and it's going to be extremely difficult for anyone to be able to have anything negative to say about your level of Customer Service and GREAT Customer Service is a great place to start building a brand's reputation.
Thanks for the advice Mark!


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11 Iconic Trends That Defined 2010s Fashion
July 16, 2021 December 26, 2019 by Olivia - Beloit College
Here are some of our favorite (and least favorite) trends from the past decade…
Joan Smalls wears mom jeans, a clutch, and an off the shoulder top — three hot 2010s fashion trends | Pacific Coast News
As the decade draws to a close, it's time to look back on the past ten years and the many changes we've seen in the style world. Here at CF, we've been blogging about fashion since 2007 (!!), so it's safe to say we're pretty well versed on the trends of the past decade.
Also, as fashion fans, we absolutely love reminiscing about past trends and how we wore them. (And maybe cringing just a little.)
{RELATED POST: The Ultimate Guide to 2010s Makeup}
So, with all that in mind, let's take a look at some of the trends that have defined this past decade! Here's our full breakdown of 2010s fashion and the trends that defined the decade:
Color Blocking
Anything from VS Pink
What was your favorite 2010s fashion trend?
Pacific Coast News
The crop top was a trend that spanned the decade — we first blogged about them in 2010 and we haven't stopped talking about them since.
The trends started off with cropped t-shirts, then moved to bralettes, and soon the possibilities were endless. Today, you can find an iteration of the crop top in just about any clothing store.
Skinny jeans first became a huge trend in the late 2000s and early 2010s, replacing the boot cut and flare jeans of the early 2000s. They came in every color and pattern imaginable and were quite controversial at the beginning!
Colored skinny jeans were also a huge trend we saw in the early 2010s — girls owned them in every color from white to neon pink.
In recent years, we've started to wear jeans with looser silhouettes and more subtle colors, though the skinny jean silhouette shows no sign of going away entirely.
This trend picked up a few years ago and hasn't slowed down since. The trend originally focused on matching crop tops and skirts, but has evolved to include trendy suits and athleisure combos.
The mid 2010s saw the rise of athleisure — combining activewear with everyday clothing, in a cool, fashion-y way. Leggings were a big part of this 2010s fashion trend.
While leggings had previously been worn with dresses, skirts, or long tunic tops, they started to become more accepted when worn on their own.
Despite the ever-controversial debate of whether or not leggings are pants, they helped kickstart the athleisure movement.
Joe Sutter, Pacific Coast News
Color blocking was the biggest thing in fashion at the beginning of the decade, when you could see it adorning dresses, tops, shoes, and more.
Recently, the trend has resurfaced as fashion has taken on a '90s influence, though in less bright colors than we saw in 2011.
This wouldn't be a 2010s fashion post if we didn't take a minute to pour one out for VS Pink.
A few years ago, it was almost impossible to set foot in public without spotting several outfits featuring the popular Victoria's Secret Pink loungewear. This trend has (thankfully?) all about died, but we'll never forget the days when our favorite sweats had PINK written across the butt.
A post shared by Can't Clutch This (@cantclutchthis)
Clutches and mini bags — aka bags that couldn't fit much of anything inside — were the darlings of nearly every fashion blogger in the 2010s!
They could be casual or formal, simple or quirky. They instantly made every outfit look more polished, but could also be a bit inconvenient to carry around. This trend has only picked up steam at the end of the decade, but we're expecting to see the return of larger bags soon.
Cold shoulder and off the shoulder tops have been everywhere the past few years. Despite causing some interesting tan lines, this fun style has been a summer favorite.
Towards the end of the decade, the fashion world decided to embrace the fanny pack.
While this item had previously been seen as a purely functional, less than stylish accessory, the useful little bag has since become a fashion statement. It comes in endless designs and fabrics, and these days you'll see influencers everywhere wearing them cross-body style.
Mom jeans made an impressive comeback during the latter half of the 2010s. While they, like the fanny pack, used to be associated with a lack of style, this type of jean thrived as '90s fashion returned, driven in part by the normcore trend.
Worn with sweatshirts, cropped tops, or boxy jackets, mom jeans proved to be deserving of a place in our closets. They're a total staple of 2019 fashion and we're absolutely in in love with them.
Another trend that made an impressive comeback in the late 2010s, scrunchies became synonymous with the VSCO Girl style.
One of the most practical trends of the decade, scrunchies easily add style to the wrist or hair. We're expecting this trend to stay strong into 2020.
How many of these 2010s fashion trends did you wear? Are there any we missed? Let us know in the comments!


text:
CBI 5 in the offing; Makers waiting for Mammootty's dates
The CBI series is a one of the most famous franchises in Malayalam cinema. Megastar Mammootty dons the role of CBI officer Sethurama Iyer, a shrewd investigating officer who solves all his cases using brain over brawn. Four installments of the series have already released and reports about a fifth part has been doing the rounds for nearly three years now.
Director K Madhu, who has helmed all four parts of the series, has had talks with Mammootty for a fifth part. All four movies in the series – Oru CBI Diary Kurippu, Jagratha, Sethurama Iyer CBI and Nerariyan CBI – were scripted by SN Swamy. The series started off in 1988 with the blockbuster movie Oru CBI Diary Kurippu. Nerariyan CBI was the last to release, twelve years back in 2005.
Reportedly, SN Swamy's script has been locked for the fifth installment. Now the makers are just waiting for a go-ahead from the megastar. Mammootty is as busy as ever with a handful of films lined up. He is currently shooting for ad filmmaker Sharrath Sandith's debut directorial Parole. Ajai Vasudev's Masterpiece, Ram's Tamil-Malayalam bilingual Peranbu, Shamdat's Streetlights and Uncle are his movies lined up for release.
His upcoming films include Sethu's Oru Kuttanadan Blog, Ranjith's Bilathikadha, Khalid Rahman's Unda, Sohan Seenulal's and Shaji Padoor's Abrahaminte Santhathikal. Apart from the aforementioned ones, Mammootty will also be working on two mega projects – Mamankam and Santhosh Sivan's Kunjali Marakkar.
The audience are eagerly waiting to watch Sethurama Iyer back on big screen once again with that iconic background score
Related Items:k. madhu, Mammootty, sethurama iyer 5th part, SN Swamy
Mammootty tests positive for Covid-19
Puzhu's intriguing teaser heightens expectations
Mammootty to head to England for Ranjith's Bilathikadha
Sunny Leone or Mia Khalifa? Omar Lulu's clarification on Chunkzz 2!


text:
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Theatre for Intra-Cultural Development: Applications of Performance within the OICD
July 23, 2013 0Comments
by oicd
Jessica Hodder, OICD's artist-in-residence, led the organization's first theatre workshop this past Tuesday, July 16 at Doshisha University. Using techniques from Theatre of the Oppressed, Playback Theatre, and other dramatic methods, Hodder facilitated a ninety-minute workshop demonstrating the ways in which performance can be used within the work of the organization. Tayler Groom, an OICD intern, was particularly intrigued by the workshop. "I think that theatre will prove to be a very beneficial tool for the organization, particularly in exploring alternate ways in which a situation can play out," Groom remarked. "These exercises can help us to better understand the complexities of identity and conflict." Aliya Tskhay echoed Groom's sentiment: "Through various activities, we have learned not only more about ourselves but also how to find alternative solutions to life situations."
Dr. Bruce White, the director of OICD, also expressed his support: "The workshop run by Jessica Hodder at the OICD on the subject of theatre and identity helped to set out concrete ways to utilize performance-based activities within the organization, particularly across the areas of training development for in-house staff and outside practitioners, intervention programming, and theoretical modeling of identity dynamics. The activities that Jessica introduced have great potential to improve the effectiveness of a wide variety of OICD work."
1. In-House Organizational Development
In order for the OICD to be effective, it is vital for its members to fully understand the significance and complexity of identities, as well as the way in which identities can be used to transform conflict and build cohesion. Theatre can allow members to not only learn about identities, but to engage with them in a meaningful way.
2. Theoretical Modeling of Identity Dynamics
Theatre and performance can serve as useful tools to both explain and advance theory models, especially those attempting to model identity dynamics. Using theatrical techniques, models can be explored in a tangible way, giving identity and conflict theorists a more effective way of identifying holes or weaknesses within them.
3. Identity Research
Theatre and performance could help the OICD and its associated researchers identify the various concepts that shape identities within a particular region or community and then supply them with information about how the concepts relate to one another. This could help to expedite research processes, as the current methods used to collect such information can be lengthy and time-consuming.
4. Training Practitioners in Intra-Cultural Development
Theatre and performance can be used within the OICD's future week-long training programs, educating practitioners in intra-cultural development techniques worldwide.
5. Complement and Improve the Effectiveness of Existing Interventions in the Field
Theatre and performance can act as invaluable tools within existing intra-cultural interventions overseen by the OICD or administered by outside practitioners.
After finishing her work on the "Applied Performance Resource Toolkit," a document encompassing useful activities, materials, contacts, and references for the organization, Hodder will begin to dissect the proposed OICD intra-cultural training course for practitioners and suggest ways in which theatre can be directly implemented into the program.
You might be interested in..
oicd
Identity Hacking
Earth Day: Changing the Climate of Climate Change – The Need for Perspectives on Identity
Women's Month: Women's Complexities Strengthen Peacebuilding
Reflections on Identities in History- Identities in Blood
Techniques Corner: Folktales as a Window into Culture and Identity
Book Showcase – The World of Yesterday: Memoirs of a European
Sign-up to the OICD Newsletter
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The Organisation for Identity and Cultural Development,
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OX2 9SX
info@oicd.net
©2021 OICD EMIC LIMITED. All Rights Reserved.


text:
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            if (extractedEntities.allEntities.hasOwnProperty("website")) {
                var lookaheadTimerObject = {};
                lookaheadTimerObject.links = extractedEntities.allEntities["website"];
                addon.port.emit("startLookaheadTimer", lookaheadTimerObject);
            }
            console.debug("Parsing Extracted Entities...");
            $scope.extracted_entities_dict = extractedEntities.allEntities;
            $scope.entities_in_domain = extractedEntities.domainExtracted;
        });
    });

    addon.port.on("lookaheadTimerResults", function (lookahead) {
        $scope.$apply(function () {
            $scope.lookaheadLinks.push(lookahead);
        });
    });

    addon.port.on("externalLinks", function (links) {
        console.debug("Loading External Entities..");
        $scope.$apply(function () {
            $scope.extracted_tools = links;
        });
    });

    $scope.searchHitsToggle = function (lookaheadObj) {
        lookaheadObj.searchHitsShow = !lookaheadObj.searchHitsShow;
    };

    $scope.matchesToggle = function (lookaheadObj) {
        lookaheadObj.matchesShow = !lookaheadObj.matchesShow;
    };

    $scope.openExternalLink = function (externalUrl) {
        addon.port.emit("openExternalLink", {externalUrl: externalUrl});
    };

    $scope.markInvalid = function (type, entity) {
        var postObj = {};
        postObj.entity_type = type;
        postObj.entity_value = entity;
        postObj.domain = $scope.datawake.domain.name;
        addon.port.emit("markInvalid", postObj);
    };

    addon.port.on("marked", function (entity) {
        $scope.$apply(function () {
            $scope.invalid[entity] = true;
        });
    });

    $scope.isExtracted = function (type, name) {
        if ($scope.entities_in_domain.hasOwnProperty(type)) {
            return $scope.entities_in_domain[type].indexOf(name) >= 0;
        }
    };

    function createStarRating(starUrl) {
        var starRating = $("#star_rating");
        starRating.jRating({
            type: 'big', // type of the rate.. can be set to 'small' or 'big'
            length: 10, // nb of stars
            rateMax: 10,
            bigStarsPath: starUrl + 'stars.png',
            smallStarsPath: starUrl + 'small.png',
            sendRequest: false,
            canRateAgain: true,
            nbRates: 9999999,
            onClick: function (element, rate) {
                setUrlRank(rate);
                $scope.$apply(function () {
                    $scope.ranking = rate;
                });
            }
        });

    }

    function setUrlRank(rank) {
        var rank_data = {
            domain: $scope.datawake.domain.name,
            trailname: $scope.datawake.trail.name,
            rank: rank
        };
        addon.port.emit("setUrlRank", rank_data);
    }

    addon.port.emit("init");

});

panelApp.config(['$routeProvider',
    function ($routeProvider) {
        $routeProvider.
            when('/features/all', {
                templateUrl: 'partials/extracted-entities-partial.html'
            }).
            when('/features/domain', {
                templateUrl: 'partials/domain-extracted-partial.html'
            }).
            when('/lookahead', {
                templateUrl: 'partials/lookahead-partial.html'
            }).
            when('/feedback', {
                templateUrl: 'partials/feedback-partial.html'
            }).
            otherwise({
                redirectTo: '/features/domain'
            });
    }]);

redpajama_set_name: RedPajamaGithub


text:
久久中文字幕免费高清
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Machine Tools > Presses & Stamping Machines > Hydraulic Presses > Denison
Denison Hydraulic Presses For Sale
All Categories Machine Tools Presses & Stamping Machines Hydraulic Presses ------------------------------- Construction Equipment Lifting Equipment Machine Tools Miscellaneous Equipment Woodworking Equipment
18 new & used Denison hydraulic press items for sale
Refine: Viewing 1 - 18 of 18 matches
Sort by: Date Location (A - Z) Location (Z - A) Tonnage (Low - High) Tonnage (High - Low) Stroke (Low - High) Stroke (High - Low) Manufacturer (A - Z) Manufacturer (Z - A) Price (Low - High) Price (High - Low)
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Denison 8 Ton Hydraulic Multipress
$RFQ
Used Denison 8 Ton Hydraulic Multipress S/N: Unk, Stock No: 18140 Capacity: 8 Tons Stroke: 12" Ram Diameter: 2.25" Throat: 7" Daylight: 30" Rotary Table Motor 7.5 HP Overall Size, Approxima
Tonnage: 8T
Stroke: 12"
Denison 8 Ton Hydraulic Multipress, Str 12", Thrt 7"
Used Denison 8 Ton Hydraulic Multipress S/N: 22275, Mfg. 1970, Stock No: 18139 Capacity: 8 Tons Stroke: 12" Ram Diameter: 2.25" Throat: 7" Daylight: 30" 12 Station Camco Rotary Table Motor 7.5
2 Ton Denison Multipress Hydraulic C Frame Press
Manufacturer: DENISON Model: A S/N: 1310 Condition: Very Good Specifications: Tons----------------2 Stroke--------------0 - 3" Throat--------------5" Bed Area----------11-1/2" x 8-1/2" Mot
Stroke: 3"
12 Ton DENISON Multipress Hydraulic C Frame Press, Up to 12" Stroke
Manufacturer: DENISON Model: T120 S/N: 18191 Year: Condition: Very Good Specifications: Tons-------------------------------	12 Stroke------------------------------	up to 12" Daylight--------------------
Tonnage: 12T
DENISON MULTIPRESS FH-20 (1992)
25 Ton Denison
Denison 25 ton
DENISON MULTIPRESS MODEL FMD-30 C-FRAME HYDRAULIC PRESS
Year 2005 Capacity 30 tons Stroke, adustable 12" Daylight 20" Throat 12" Bed area 24" x 21" Floor to bed 36" Piston diameter 5" Speeds, Advance 750 IPM Press 60 IPM Return 720 IPM Operating pressure 3056 PSI
Denison 8 Ton Hydraulic Press , 18" Stroke, 34" DLO
SPECIFICATIONS: 18"STROKE 34"DAYLIGHT OPEN 10-1/4"THROAT DEPTH 18"FB X 22"RL BED AREA 3.5"DIAMETER PISTON SPEEDS: 470 IPM CLOSE 190 IPM PRESS 435 IPM RETURN 230/460/3/60 MOTOR AND CONTROLS APPROXIMATE DIMENSIO
50 TON DENISON MODEL #NA50.D10.A112 HYDRAULIC MULTIPRESS
Rated capacity (tons) ................. 50 Bed area (l-r) x (f-b) ................ 31-1/4" x 19-1/2" Stroke ................................ 15" Throat Depth .......................... 12" Bed Ope
25 TON DENISON MODEL #25 HYDRAULIC MULTI-PRESS
C-Frame Construction Rated capacity ................................. 25 tons Throat .......................................... 13" Bed Area .................(l-r) x (f-b)......... 27" x 24" Ra
25 TON DENISON MODEL #AC MULTIPRESS
RATED CAPACITY (TONS) ............. 25 STROKE ............................ 12" THROAT ............................ 10" BED AREA (L-R) x (F-B) ............ 21" x 18-1/2" BOLSTER (L-R) x (F-B) x (T
4 TON DENISON MODEL #MC02A59A61 HYDRAULIC PRESS
RATED CAPACITY (TONS) ............ 4 THROAT ........................... 6" EQUIPPED WITH: 3 HP 3/60/220-440 (1750 RPM) MOTOR
4TON DENISON MDL#DF4CO4D10A80DG6520 HYDRAULIC PRESS
Rated Capacity .......(Tons)................ 4 Ram Area .............(Dia.)................ 2" Stroke ..................................... Adjustable to 6" Speeds .............. (Closing) ............ 500
DENISON 2 TON M#A HYDRAULIC MULTIPRESS
RATED CAPACITY ..................... 2 TONS STROKE OF SLIDE, MAX................ 3" THROAT DEPTH ....................... 4.875" BED AREA ......(LR X FB)............ 11" X 8" RAM AREA ......(LR X F
DENISON 2 TON #A HYDRAULIC MULTIPRESS
RATED CAPACITY ................... 2 TONS STROKE OF SLIDE .................. 3" THROAT DEPTH ..................... 4.875" BED AREA .......(LR X FB)......... 11" X 8" RAM AREA .......(LR X FB).....
2 TON DENISON MODEL #WUA-2TR MULTIPRESS
RATED CAPACITY (TONS) ................ 2 STROKE ............................... 3" DAYLIGHT ............................. 10-9/32" THROAT ............................... 4-1/2" BED AREA (L-R) x (F-B) .
DENISON 1 TON, M#A HYDRAULIC MULTIPRESS
RATED CAPACITY ................... 1 TON STROKE OF SLIDE, MAX. ............ 3" RAM AREA ........(LR X FB)........ 1.625" X 1.125" @ 1000 PSI - 1 TON BOLSTER AREA ....(LR X FB)........ 10" X 7.5
X machine tools (18)
X Presses & Stamping Machines (18)
X Hydraulic Presses (18)
X Denison (18)
Min $2,500 $5,000 $7,500 $10,000 $15,000 $20,000 $25,000 $30,000 $35,000 $40,000 $45,000 $50,000 $60,000 $70,000 $80,000 $90,000 $100,000 $150,000 $200,000 $250,000 $300,000 $350,000 $400,000 $450,000 $500,000 to
Max $500,000 $450,000 $400,000 $350,000 $300,000 $250,000 $200,000 $150,000 $100,000 $90,000 $80,000 $70,000 $60,000 $50,000 $45,000 $40,000 $35,000 $30,000 $25,000 $20,000 $15,000 $10,000 $7,500 $5,000 $2,500
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65 established and emerging film critics reflect on the best things they've written, and on what they hope to accomplish with their work.
While this survey typically asks smart critics to direct readers toward good movies, we hope that the reverse is also true, and that these posts help movies (good or bad) direct readers towards smart critics.
In that spirit, we asked our panel of critics to reflect on their favorite piece of film criticism that they've ever written (and we encouraged them to put aside any sort of modesty when doing so).
Their responses provide rich and far-reaching insight into contemporary film criticism, and what those who practice it are hoping to achieve with their work.
Let's cut right to the chase. Christopher Nolan is probably my favourite working director, and going five thousand words deep on his career after "Dunkirk" was an itch I'd been waiting to scratch for nearly a decade. "The Dark Knight" was my dorm-room poster movie — I'm part of the generation that explored films through the IMDb Top 250 growing up — though as my cinematic horizons expanded and my understanding of storytelling grew, I didn't leave Nolan's work behind as I did the likes of "Scarface" and "The Boondock Saints." What's more, each new film by Nolan hits me like a tonne of bricks. I'm waiting, almost eagerly, for him to disappoint me. It hasn't happened yet, and I needed to finally sit down and figure out why.
In "Convergence At 'Dunkirk,'" by far the longest piece I've ever written, I'd like to think I unpacked a decade worth of my awe and admiration, for a filmmaker who uses the studio canvas to explore human beings through our relationship to time. Tarkovsky referred to cinema as "sculpting in time." Time disorients. Time connects us. Time travels, at different speeds, depending on one's relationship to it, whether in dreams or in war or in outer space, and time can be captured, explored and dissected on screen.
What's more, Nolan's films manipulate truth as much as time, as another force relative to human perception, determining our trajectories and interpersonal dynamics in fundamental ways. All this is something I think I knew, instinctively, as a teenage viewer, but putting words to these explorations, each from a different time yet connected intrinsically, is the written criticism that I most stand by. It felt like something that I was meant to write, as I interrogated my own evolving emotional responses to art as time went on.
At the 2017 Sundance premiere of Miguel Arteta's "Beatriz at Dinner," starring Salma Hayek, I found myself in shock at the reactions I heard from the mostly-white audience at the Eccles Theatre. I was watching a different movie, one that spoke to me as an immigrant, a Latino, and someone who's felt out of place in spaces dominated by people who've never been asked, "Where are you really from?" That night I went back to the condo and wrote a mountain of thoughts and personal anecdotes that mirrored what I saw on screen.
This was a much different piece from what I had usually written up to that point: coverage on the Best Foreign Language Oscar race, pieces on animation, interviews with internationally acclaimed directors, and reviews out of festivals. Those are my intellectual passions, this; however, was an examination on the identity that I had to built as an outsider to navigate a society were people like me rarely get the jobs I want.
My editor at Remezcla, Vanessa Erazo, was aware of the piece from the onset and was immediately supportive, but it would take months for me to mull it over and rework it through multiple drafts until it was ready for publication in time for the film's theatrical release. In the text, I compared my own encounters with casual racism and ignorance with those Hayek's character faces throughout the fateful gathering at the center of the film. The reception surpassed all my expectations. The article was shared thousands of times, it was praised, it was criticized, and it truly confronted me with the power that my writing could have.
A few months later in September, when Trump rescinded DACA, I wrote a social media post on my experience as an undocumented person working in the film industry, and how difficult it is to share that struggle in a world were most people don't understand what it means to live a life in the shadows. The post was picked up by The Wrap and republished in the form of an op-ed, which I hope put a new face on the issue for those who didn't directly knew anyone affected by it before. Once again that piece on "Beatriz at Dinner" regained meaning as I found myself filled with uncertainty.
Like many writers, I tend to subconsciously disown anything I've written more than a few months ago, so I read this question, in practice, as what's my favorite thing I've written recently. On that front, I'd say that the review of "Phantom Thread" that I wrote over at my blog comes the closest to what I most desire to do as a critic. I try to think about a movie from every front: how the experience is the result of each aspect, in unique quantities and qualities, working together. It's not just that the acting is compelling or the score is enveloping, it's that each aspect is so tightly wound that it's almost indistinguishable from within itself. A movie is not an algebra problem. You can't just plug in a single value and have everything fall into place.
"Phantom Thread" is Paul Thomas Anderson's dreamy cinematography. It is Jonny Greenwood's impeccably seductive, baroque music. It is Vicky Krieps's ability to perfectly shatter our preconceptions at every single turn as we realize that Alma is the movie's actual main character. We often talk about how good films would be worse-off if some part of it were in any way different. In the case of "Phantom Thread," you flat-out can't imagine how it would even exist if these things were changed. When so many hot take thinkpieces try to explain away every ending or take a hammer to delicate illusions, it was a pleasure to try and understand how a movie like this one operates on all fronts to maintain an ongoing sense of mystique.
I don't know if it's my best work, but a landmark in my life as a critic was surely a review of Chaplin's "The Circus," in time for the release of its restoration in 2010. I cherish this piece, written for Slant Magazine, for a number of reasons. For one, I felt deeply honored to shed more light on probably the least known and least respected of Chaplin's major features, because it's a film that demonstrates such technical virtuosity it dispels once and for all any notion that his work is uncinematic. (Yes, but what about the rest of his filmography you ask? My response is that any quibbles about the immobility of Chaplin's camera suggest an ardent belief that the best directing equals the most directing.) For another, I was happy this review appeared in Slant Magazine, a publication that helped me cut my critical teeth and has done the same for a number of other critics who've gone on to write or edit elsewhere. That Slant is now struggling to endure in this financially ferocious landscape for criticism is a shame – the reviews I wrote for them around 2009-10 helped me refine my voice even that much more than my concurrent experience at Entertainment Weekly, where I had my day job. And finally, this particular review will always mean a lot to me because it's the first one I wrote that I saw posted in its entirety on the bulletin board at Film Forum. For me, there was no surer sign that "I'd made it".
But another aspect of that same enthusiasm is the discovery of the unrealized future of the past—of great movies made and seen (or hardly seen) in recent decades that weren't properly discussed and justly acclaimed in their time.". Since one of the critical weapons used against the best of the new is an ossified and nostalgic classicism, the reëvaluation of what's canonical, the acknowledgment of unheralded masterworks—and of filmmakers whose careers have been cavalierly truncated by industry indifference—is indispensable to and inseparable from the thrilling recognition of the authentically new.
It's a piece on two of my favorite films of 2017, "Lady Bird" and "Call Me By Your Name", and about how their very different modes of storytelling speak to the different sorts of stories we tell ourselves. Objectively, I don't know if this is my best work in terms of pure style and craft, but I do think it's the most emblematic in terms of what I value in cinema. I think every film is, in some way, a treatise on how certain memories are remembered, and I think cinema matters partly because the best examples of it are prisms through which the human experience is refracted.
Above everything else, every movie has to begin with a good story, and the greatest stories are the ones that mirror not just life, but the ways in which life is distorted and restructured through the process of remembering. Every aspect of a film, from its screenplay on down, must add something to the film's portrayal of remembering, and "Lady Bird" and "Call Me By Your Name" accomplish this organic unity of theme with such charm yet in such distinct ways, that they were the perfect counterpoints to each other, as well as the perfect stand-ins for cinema as a whole, for me.
My favorite piece of my own work is definitely "The Shape of Water's" Strickland as the "Ur-American." I'm proud of it because it required me to really take stock of all the things that Americans are taught from birth to take as given. That meant looking at our history of colonialism, imperialism, racism, anticommunism and really diving into how all Americans, whether they're liberal or conservative, can internalize these things unless they take the time to self-examine. Just as "Pan's Labyrinth's" despotic Captain Vidal was a masterful representation of Francisco Franco's fascism, Richard Strickland represents a distinctly American kind of fascism. Writers Guillermo del Toro and Vanessa Taylor took great care in Strickland's creation, and my piece was my own way of self-examining to make sure I never become or abide by a person like Strickland ever again.
This is tricky, but "Annihilation" is definitely my favorite piece of film criticism that I've written. My writing style is a combination of criticism and gifs, and sometimes the words are better than the gifs, and the gifs are better than the words. With "Annihilation," I thought the balance was perfect. My favorite portion: "Lena is just an idea, part of an equation that's been erased from a chalkboard and rewritten with a different solution. The shimmer is part of her, even down to the DNA" is up there as one of my best. It was also a struggle to write because that film had more wild theories than the Aliens in Roswell. Also, the amount of research I had to do, combining Plato's Ideal Forms, Darwin, the Bible, and Nietzsche, was absurd. However, it did make it easier to find matching gifs. The result made for my most studious, yet lighthearted read.
I can't summon the strength to re-read it, but I remember thinking that my piece on grief and "Personal Shopper" was emblematic of how I hope to thread individual perspective into arts criticism.
My favorite piece is a very recent one: For this year's Women Writers Week on Roger Ebert, I wrote about "Phantom Thread", "Jane Eyre," and twisted power dynamics in hetero romance. I loved that it allowed me to dig deep into my personal fixations (19th century literature, gender, romance as power struggle), but – more importantly – it was exciting to be part of a series that highlighted the breadth of criticism by women writers.
My answer to this would be kind of a cheat, as my favorite work that I do is my weekly column about movie music called Soundtracking that I write over at The Film Experience. Soundtracks and needle drops have been a personal fascination, so the opportunity to explore the deeper meaning and context of a film's song choices have been a real labor of love. Because of the demands and time constraints of what we do, it can be easy to spend our all of our energy on assignments and chasing freelance opportunities rather than devoting time to a pet project – but I've found indulging my own uncommon fascination to be invaluable in developing my point of view. And serve as a constant check-in with my passion. Pushed for a single entry that I would choose as the best, I would choose the piece I wrote on "Young Adult"'s use of "The Concept" by Teenage Fanclub for how it posits a single song as the key to unlocking both character and narrative.
"Mother" written for Vice. It's one of my favorites because it conveys how visceral my experience was watching the movie. It's truly stifling, uncomfortable, and frantic–and that's what my review explains in detail. I wanted to have a conversation with the reader about specific aspects of the film that support the thesis, so I did.
Well, I recently wrote a piece for Gazeta do Povo, a major outlet at Paraná state in Brazil, about Guillermo del Toro's "The Shape of Water" (it is not on their site, but they were kind enough to let me replicate on my own website). I don't know the extent of the powers of Google Translator from Portugese to english, so you have to rely on my own account: is a text in which I was able to articulate de cinematographic references in the work of Mr. Del Toro, as well his thematic obsessions, the genre bending and social critique. All of this topics were analyzed in a fluid prose. On top of that, it was really fun to write!


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text:
using System;
using System.ComponentModel;
using System.Linq;
using Myra.Graphics2D.UI.Styles;
using Myra.Utility;
using System.Xml.Serialization;

#if MONOGAME || FNA
using Microsoft.Xna.Framework.Input;
#elif STRIDE
using Stride.Input;
#else
using Myra.Platform;
#endif

namespace Myra.Graphics2D.UI
{
	public class SpinButton : SingleItemContainer<Grid>
	{
		private readonly TextBox _textField;
		private readonly ImageButton _upButton;
		private readonly ImageButton _downButton;
		private bool _integer = false;
		private int _decimalPlaces = 0;

		[Category("Behavior")]
		[DefaultValue(false)]
		public bool Nullable
		{
			get; set;
		}

		[Category("Behavior")]
		[DefaultValue(null)]
		public float? Maximum
		{
			get; set;
		}

		[Category("Behavior")]
		[DefaultValue(null)]
		public float? Minimum
		{
			get; set;
		}

		[DefaultValue(HorizontalAlignment.Left)]
		public override HorizontalAlignment HorizontalAlignment
		{
			get
			{
				return base.HorizontalAlignment;
			}
			set
			{
				base.HorizontalAlignment = value;
			}
		}

		[DefaultValue(VerticalAlignment.Top)]
		public override VerticalAlignment VerticalAlignment
		{
			get
			{
				return base.VerticalAlignment;
			}
			set
			{
				base.VerticalAlignment = value;
			}
		}

		[Category("Behavior")]
		[DefaultValue(0.0f)]
		public float? Value
		{
			get
			{
				if (string.IsNullOrEmpty(_textField.Text))
				{
					return Nullable ? default(float?) : 0.0f;
				}

				float result;
				if (float.TryParse(_textField.Text, out result))
				{
					return result;
				}

				return null;
			}

			set
			{
				if (value == null && !Nullable)
				{
					throw new Exception("value can't be null when Nullable is false");
				}

				if (value.HasValue && Minimum.HasValue && value.Value < Minimum.Value)
				{
					throw new Exception("Value can't be lower than Minimum");
				}

				if (value.HasValue && Maximum.HasValue && value.Value > Maximum.Value)
				{
					throw new Exception("Value can't be higher than Maximum");
				}

				if (FixedNumberSize)
				{
					string MajorString = "";
					int k = 0;
					int k2 = 0;
					if (Maximum.HasValue)
					{
						k = Math.Abs(Maximum.Value).ToString().Count();
					}
					if (Minimum.HasValue)
					{
						k2 = Math.Abs(Minimum.Value).ToString().Count();
					}
					k = k > k2 ? k : k2;
					for (int i = 0; i < k; i++)
					{
						MajorString += "0";
					}
					if (value.HasValue && value.Value >= 0)
					{
						MajorString = " " + MajorString;
					}
					string MinorString = ".";
					for (int i = 0; i < _decimalPlaces; i++)
					{
						MinorString += "0";
					}
					_textField.Text = value.HasValue ? value.Value.ToString(MajorString + MinorString) : string.Empty;
				}
				else
				{
					_textField.Text = value.HasValue ? value.Value.ToString() : string.Empty;
				}

				if (_textField.Text != null)
				{
					_textField.CursorPosition = 0;
				}
			}
		}

		private float _Increment = 1f;
		[Category("Behavior")]
		[DefaultValue(1f)]
		public float Increment
		{
			get
			{
				return _Increment;
			}

			set
			{
				if (Integer)
				{
					_Increment = (int)value;
				}
				else
				{
					_Increment = value;
				}
			}
		}

		[Category("Behavior")]
		[DefaultValue(0)]
		public int DecimalPlaces
		{
			get
			{
				return _decimalPlaces;
			}

			set
			{
				if (Integer)
				{
					_decimalPlaces = 0;
				}
				else
				{
					_decimalPlaces = value;
				}
			}
		}

		[Category("Behavior")]
		[DefaultValue(false)]
		public bool FixedNumberSize
		{
			get; set;
		}

		[Category("Behavior")]
		[DefaultValue(false)]
		public bool Integer
		{
			get
			{
				return _integer;
			}

			set
			{
				_integer = value;
				if (Integer)
				{
					_Increment = (int)_Increment;
					Value = (int)Value;
				}
			}
		}

		[Category("Behavior")]
		[DefaultValue(1f)]
		public float Mul_Increment { get; set; } = 1f;

		[XmlIgnore]
		[Browsable(false)]
		public TextBox TextBox => _textField;

		protected internal override MouseWheelFocusType MouseWheelFocusType => Value != null ? MouseWheelFocusType.Hover : MouseWheelFocusType.None;

		/// <summary>
		/// Fires when the value is about to be changed
		/// Set Cancel to true if you want to cancel the change
		/// </summary>
		public event EventHandler<ValueChangingEventArgs<float?>> ValueChanging;

		/// <summary>
		/// Fires when the value had been changed
		/// </summary>
		public event EventHandler<ValueChangedEventArgs<float?>> ValueChanged;

		/// <summary>
		/// Fires only when the value had been changed by user(doesnt fire if it had been assigned through code)
		/// </summary>
		public event EventHandler<ValueChangedEventArgs<float?>> ValueChangedByUser;

		public SpinButton(string styleName = Stylesheet.DefaultStyleName)
		{
			AcceptsKeyboardFocus = true;

			InternalChild = new Grid();

			HorizontalAlignment = HorizontalAlignment.Left;
			VerticalAlignment = VerticalAlignment.Top;

			InternalChild.ColumnsProportions.Add(new Proportion(ProportionType.Fill));
			InternalChild.ColumnsProportions.Add(new Proportion());

			InternalChild.RowsProportions.Add(new Proportion());
			InternalChild.RowsProportions.Add(new Proportion());

			_textField = new TextBox
			{
				GridRowSpan = 2,
				HorizontalAlignment = HorizontalAlignment.Stretch,
				VerticalAlignment = VerticalAlignment.Stretch,
				TextVerticalAlignment = VerticalAlignment.Center,
				AcceptsKeyboardFocus = false
			};

			_textField.ValueChanging += _textField_ValueChanging;

			_textField.TextChanged += TextBoxOnTextChanged;
			_textField.TextChangedByUser += TextBoxOnTextChangedByUser;

			InternalChild.Widgets.Add(_textField);

			_upButton = new ImageButton
			{
				GridColumn = 1,
				ContentVerticalAlignment = VerticalAlignment.Center,
				ContentHorizontalAlignment = HorizontalAlignment.Center
			};
			_upButton.Click += UpButtonOnUp;

			InternalChild.Widgets.Add(_upButton);

			_downButton = new ImageButton
			{
				GridColumn = 1,
				GridRow = 1,
				ContentVerticalAlignment = VerticalAlignment.Center,
				ContentHorizontalAlignment = HorizontalAlignment.Center
			};
			_downButton.Click += DownButtonOnUp;
			InternalChild.Widgets.Add(_downButton);

			SetStyle(styleName);

			Value = 0;
		}

		private static float? StringToFloat(string s)
		{
			if (string.IsNullOrEmpty(s))
			{
				return null;
			}

			float f;
			if (!float.TryParse(s, out f))
			{
				return null;
			}

			return f;
		}

		private string NumberToString(float? v)
		{
			if (v == null)
			{
				if (Nullable)
				{
					return string.Empty;
				}

				// Default value
				return "0";
			}

			if (Integer)
			{
				return ((int)v.Value).ToString();
			}

			return v.Value.ToString();
		}

		private void _textField_ValueChanging(object sender, ValueChangingEventArgs<string> e)
		{
			var s = e.NewValue;
			if (string.IsNullOrEmpty(s))
			{
			}
			else if (s == "-")
			{
				// Allow prefix 'minus' only if Minimum lower than zero
				if (Minimum != null && Minimum.Value >= 0)
				{
					e.Cancel = true;
				}
			}
			else
			{
				float? newValue = null;
				if (Integer)
				{
					int i;
					if (!int.TryParse(s, out i))
					{
						e.Cancel = true;
					}
					else
					{
						if ((Minimum != null && i < (int)Minimum) ||
							(Maximum != null && i > (int)Maximum))
						{
							e.Cancel = true;
						}
						else
						{
							newValue = i;
						}
					}
				}
				else
				{
					float f;
					if (!float.TryParse(s, out f))
					{
						e.Cancel = true;
					}
					else
					{
						if ((Minimum != null && f < Minimum) ||
							(Maximum != null && f > Maximum))
						{
							e.Cancel = true;
						}
						else
						{
							newValue = f;
						}
					}
				}

				if (newValue != null)
				{
				}

				// Now SpinButton's
				if (ValueChanging != null)
				{
					var args = new ValueChangingEventArgs<float?>(Value, newValue);
					ValueChanging(this, args);
					if (args.Cancel)
					{
						e.Cancel = true;
					}
					else
					{
						e.NewValue = args.NewValue.HasValue ? NumberToString(args.NewValue) : null;
					}
				}
			}
		}

		private void TextBoxOnTextChanged(object sender, ValueChangedEventArgs<string> eventArgs)
		{
			ValueChanged?.Invoke(this, new ValueChangedEventArgs<float?>(StringToFloat(eventArgs.OldValue), StringToFloat(eventArgs.NewValue)));
		}

		private void TextBoxOnTextChangedByUser(object sender, ValueChangedEventArgs<string> eventArgs)
		{
			ValueChangedByUser?.Invoke(this, new ValueChangedEventArgs<float?>(StringToFloat(eventArgs.OldValue), StringToFloat(eventArgs.NewValue)));
		}

		private bool InRange(float value)
		{
			if (Minimum.HasValue && value < Minimum.Value)
			{
				return false;
			}

			if (Maximum.HasValue && value > Maximum.Value)
			{
				return false;
			}

			return true;
		}

		public void ApplySpinButtonStyle(SpinButtonStyle style)
		{
			ApplyWidgetStyle(style);

			if (style.TextBoxStyle != null)
			{
				_textField.ApplyTextBoxStyle(style.TextBoxStyle);
			}

			if (style.UpButtonStyle != null)
			{
				_upButton.ApplyImageButtonStyle(style.UpButtonStyle);
			}

			if (style.DownButtonStyle != null)
			{
				_downButton.ApplyImageButtonStyle(style.DownButtonStyle);
			}
		}

		protected override void InternalSetStyle(Stylesheet stylesheet, string name)
		{
			ApplySpinButtonStyle(stylesheet.SpinButtonStyles.SafelyGetStyle(name));
		}

		private void UpButtonOnUp(object sender, EventArgs eventArgs)
		{
			float value;
			if (!float.TryParse(_textField.Text, out value))
			{
				value = 0;
			}
			value += _Increment;
			if (InRange(value))
			{
				var changed = Value != value;
				var oldValue = Value;
				Value = value;

				if (changed)
				{
					var ev = ValueChangedByUser;
					if (ev != null)
					{
						ev(this, new ValueChangedEventArgs<float?>(oldValue, value));
					}
				}
			}
		}
		private void DownButtonOnUp(object sender, EventArgs eventArgs)
		{
			float value;
			if (!float.TryParse(_textField.Text, out value))
			{
				value = 0;
			}

			value -= _Increment;
			if (InRange(value))
			{
				var changed = Value != value;
				var oldValue = Value;
				Value = value;

				if (changed)
				{
					var ev = ValueChangedByUser;
					if (ev != null)
					{
						ev(this, new ValueChangedEventArgs<float?>(oldValue, value));
					}
				}
			}
		}

		public override void OnMouseWheel(float delta)
		{
			base.OnMouseWheel(delta);
			float value;
			if (!float.TryParse(_textField.Text, out value))
			{
				value = 0;
			}

			if (delta < 0 && _downButton.Visible && _downButton.Enabled)
			{
				value -= _Increment * Mul_Increment;
				if (InRange(value))
				{
					var changed = Value != value;
					var oldValue = Value;
					Value = value;

					if (changed)
					{
						ValueChangedByUser?.Invoke(this, new ValueChangedEventArgs<float?>(oldValue, value));
					}
				}
			}
			else if (delta > 0 && _upButton.Visible && _upButton.Enabled)
			{
				value += _Increment * Mul_Increment;
				if (InRange(value))
				{
					var changed = Value != value;
					var oldValue = Value;
					Value = value;

					if (changed)
					{
						ValueChangedByUser?.Invoke(this, new ValueChangedEventArgs<float?>(oldValue, value));
					}
				}
			}
		}

		public override void OnGotKeyboardFocus()
		{
			base.OnGotKeyboardFocus();

			_textField.OnGotKeyboardFocus();
		}

		public override void OnLostKeyboardFocus()
		{
			base.OnLostKeyboardFocus();

			if (string.IsNullOrEmpty(_textField.Text) && !Nullable)
			{
				var defaultValue = "0";
				if (Minimum != null && Minimum.Value > 0)
				{
					defaultValue = NumberToString(Minimum.Value);
				} else if (Maximum != null && Maximum.Value < 0)
				{
					defaultValue = NumberToString(Maximum.Value);
				}

				_textField.Text = defaultValue;
			}

			_textField.OnLostKeyboardFocus();
		}

		public override void OnKeyDown(Keys k)
		{
			base.OnKeyDown(k);

			_textField.OnKeyDown(k);
		}

		public override void OnChar(char c)
		{
			base.OnChar(c);

			_textField.OnChar(c);
		}
	}
}


As one of the most enduring and respected events of its type in the upper Midwest, Pipestone Civil War Days is a tribute to our past. Set in a beautiful historic setting visitors are invited to interact with civilian and military reenactors to share some of the flavor of the 1860's with them. Reenactors, or living historians, from around our nation, recreate scenes of daily life from the home to religion to education to military camps. Events throughout the weekend include educational programs, etiquette and ballroom dance lessons, camp tours, children's games, a Grand Ball and much more! The roar of the cannon, the smell of gun powder, and the work of our reenactors, performers, and other participants make a full immersion in the 1860s possible.
Plan to join us in historic Pipestone, Minnesota for all the activities. We look forward to seeing you in 2020! For more information on how you can get involved, please contact us at PipestoneCWD@gmail.com.
**Our insurance policy and the policy of the Hiawatha Pageant grounds does not allow dogs, or other pets on the premises during public events. Service dogs are welcome with appropriate documentation.
**Personal Hand Guns and live ammunition are not allowed to be carried on the event grounds due to Pipestone park ordinance.


text:
/ American and Canadian Art: Biographies
/ Tchelitchew, Pavel
Tchelitchew, Pavel
Tchelitchew, Pavel pä´vĕl chālē´chĕf [key], 1898–1957, Russian-American painter. His first commissions, ballet designs, were given him while he was living in Berlin (1921–23), whence he had fled from the Russian Revolution. Moving to Paris (1923), he became associated with Diaghilev. In 1926 he developed his technique of multiple images on a single canvas, which he later combined with triple perspective. Experimenting thus with juxtaposed objects, he sought to recreate the motion of the body. These interior landscapes resulted in complex and fantastic compositions. The best-known work in this manner is Hide and Seek (Mus. of Modern Art, New York City). He was also a portraitist, Edith Sitwell being among his subjects.
See biography by P. Tyler (1967); study by J. T. Soby (1942, repr. 1972).
See more Encyclopedia articles on: American and Canadian Art: Biographies


The Yorks are one modern family! Despite splitting over 20 years ago, Sarah Ferguson and Prince Andrew have remained close friends — and showed off their strong bond on Friday, June 22, at the Royal Ascot. The exes reunited on the fourth day of the prestigious horse racing event with their firstborn daughter Princess Beatrice. The family appeared to be in great spirits. Beatrice, 29, and her parents were spotted laughing and chatting away at the royal affair.
Sarah, who donned a navy Roland Mouret dress for the occasion, was also seen adjusting her ex-husband's lapel. Moments later, Sarah and Beatrice curtsied when the Queen made her entrance in the parade ring. Beatrice looked chic for the outing wearing a dove-grey dress by The Fold. While in the Royal Box, Queen Elizabeth and her former daughter-law, 59, were pictured sharing a laugh.
Noticeably absent from the family reunion was Sarah and Andrew's youngest daughter Princess Eugenie. Royal fans can look forward to seeing the Duke of York, 58, and his ex-wife together again, this fall, when Eugenie, 28, says "I do" to fiancé Jack Brooksbank at St. George's Chapel, Windsor Castle.
She added, "We support each other emotionally and we support each other health wise. At least every two weeks we sit down and communicate, the four of us." She continued: "I think the one thing I've done incredibly well – although I say it myself - is that I'm a really good mum. And I think my girls shows that."


text:
Quantitative Easing for the People
From P2P Foundation
Anatole Kaletsky:
"The one economic benefit of QE has been to help governments finance the huge deficits caused by recession without having to raise taxes, slash public spending or face Greek-style bankruptcy. In this sense, QE has certainly prevented the U.S. and Britain from suffering worse outcomes, but it has failed to stimulate employment or economic growth. This is exactly what Japan has experienced for 20 years – and as in Japan, additional rounds of QE now will merely act as an anesthetic, perpetuating stagnation but discouraging more effective stimulus measures.
One such radical measure is too controversial for any policymaker to mention publicly, although some have discussed it in private: Instead of giving newly created money to bond traders, central banks could distribute it directly to the public. Technically such cash handouts could be described as tax rebates or citizens' dividends, and they would contribute to government deficits in national accounting. But these accounting deficits would not increase national debt burdens, since they would be financed by issuing new money, at zero cost to government or to future generations, instead of selling interest-bearing government bonds.
Giving away free money may sound too good to be true or wildly irresponsible, but it is exactly what the Fed and the BoE have been doing for bond traders and bankers since 2009. Directing QE to the general public would not only be much fairer but also more effective.
Suppose the new money created since 2009, instead of propping up bond prices, had simply been added to the bank accounts of all U.S. and British households. In the U.S., $2 trillion of QE could have financed a cash windfall of $6,500 for every man, woman and child, or $26,000 for a family of four. Britain's QE of £375 billion is worth £6,000 per head or £24,000 per family. Even if only half the new money created were distributed in this way, these sums would be easily large enough to transform economic conditions, whether the people receiving these windfalls decided to spend them on extra consumption or save them and reduce debts.
Distributing money to the general public was the one response to intractable recessions and liquidity traps that united Milton Friedman and John Maynard Keynes. Their main difference was that Friedman proposed dropping dollar bills out of helicopters, while Keynes suggested burying pound notes in chests that unemployed workers could dig up. Unfortunately modern economics, based as it is on simplistic and misleading assumptions about self-stabilizing markets, has forgotten the insights of these great students of deep economic slumps. In today's world of electronic money, we would not even need Friedman's helicopters or Keynes's ditchdiggers. Just a few lines of computer code – plus some imagination and courage from our central banks." (http://blogs.reuters.com/anatole-kaletsky/2012/08/01/how-about-quantitative-easing-for-the-people/)
Responding to Objections
"The radical alternative discussed here last week – QE for the People (or QEP, for short) – would bypass banks completely by distributing newly created money straight to the public. It is not yet on anyone's agenda, but neither is it any longer dismissed as a joke.
Given the clear political attractions of giving money to citizens, rather than bankers, it may start to gain attention, at which point there will surely be powerful objections to this idea. Apart from the obvious observation that bankers and financiers are very powerful interest groups, there are four genuine arguments against QEP as a way to stimulate economic recovery.
The first is that it wouldn't work. Since banks and bond investors simply hoarded most of the $2 trillion delivered to them via QE, maybe citizens would do the same. Instead of spending their QEP bonuses to buy consumer goods and houses and create jobs, citizens scarred by the financial crisis might simply save their bonuses or use them to pay down debts. This could indeed happen. But if it did, economic prospects would still be transformed, since the debt burdens crushing many households would be lightened. If the $2 trillion in QE had instead been used to repay consumer debts, U.S. household debt would be reduced from 83 percent to 70 percent of GDP, roughly where it was in the 1990s. The excess leverage created by the housing and credit bubble would be eliminated at a stroke.
The second objection to QEP is that it would work too well. The present slump would turn suddenly into a boom and create inflation. Excessive inflation is always a valid argument against excessive monetary stimulus, but the problem with inflation today is that it is too low. Central banks all over the world are explicitly trying to increase it by reducing interest rates to zero, and the Fed is particularly adamant about this. If central banks print too much money for too long, then inflation will follow. But the same applies to the present policies of zero interest rates and standard QE. Nobody worries about the inflationary risks of these standard policies any longer because they don't seem to be working, but this may actually mean that an accidental monetary overdose is more likely if the central banks stick to standard QE.
Another, more powerful, version of the "works too well" critique relates to politics and moral standards. If distributing printed money proved successful, this discovery would corrupt society. Politicians would bribe voters before elections and citizens would stop working, preferring to collect handouts from the central bank. Of course, these things would happen if QEP continued forever. But the same is true of all popular policies, including tax cuts, welfare spending and low interest rates. What limits the moral hazard of these policies is not ignorance, but democracy. Governments that lose control of inflation get punished by voters – and the same would apply if central banks continued printing money for longer than required, whether this money went straight to voters or banks. Indeed, if QEP proved effective, central banks would have to print less money than under standard QE.
Which leaves the final and most persuasive objection: the idea that money could be given to citizens without raising taxes or increasing the government's debt burden seems too good to be true. Economists often say that "there is no such thing as a free lunch," but this is not true. In fact, economics since Adam Smith has demonstrated that the world is full of free lunches. Free economic exchange means that one person's gain need not result in another's loss. When properly managed, industrial specialization, international trade, market competition and full-employment macroeconomic policies can all produce gains without any substantial losses. In the deepest and most protracted economic slump since the 1930s, QE for the People may be another such idea whose time has come." (http://blogs.reuters.com/anatole-kaletsky/2012/08/09/suddenly-quantitative-easing-for-the-people-seems-possible/)
Retrieved from "https://wiki.p2pfoundation.net/index.php?title=Quantitative_Easing_for_the_People&oldid=64153"
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DESCRIPTION: The performer is filmed sleeping and the video is broadcasted via live streaming platforms. We can watch it online. At 3 o'clock in the morning, the alarm clock rings. She wakes up and starts talking in front of the second camera that records and retransmits her words. She describes the dreams she has just "seen". After finishing telling her dreams, she goes back to sleep. This action resumes the principle of segmented sleep and the ritual practiced by the Runa of the Napo region of Ecuador described by the anthropologist Eduardo Kohn. The tribe wakes up at a specific hour of the night, this hour is recognized as conducive to this kind of communication. Once awake, the participants tell each other their dreams, during which they try to reconnect with the dead relatives and seek answers to the questions they ask them. The discontinuous 8h night has become a standard or almost normal in Western society and is largely related to the invention of electricity. Segmented sleep, on the contrary, is now relayed to the rank of health disorders. The performer tries to revive this ancestral practice where dreams are shared and the boundaries between wakefulness and sleep are erased by promoting the state of semi-consciousness. The performer resumes this process but does so by sight of the public, because during her sleep and during the story, she is filmed and the video is visible on live streaming platforms. At the same time, the discussion focuses on the need to communicate with a deceased person, a need repressed by today's society, and the criticism of social media, YouTube-like channels and the "live" presence of bloggers. Western European society hardly recognizes the possibility of feeling the presence on our side of a nearer or nearer disappeared whereas, for example, polls conducted in the United States show that a quarter of American citizens believe in ghosts, regardless their religious affiliation. Communication with the dead in society is accepted only as a therapeutic issue. The choice of YouTube seems relevant because it has become one of the main mediums of communication. The site has developed tremendously, particularly with the cosmetics industry, which allows a variety of beauty reviews and especially unboxings where the channel animators introduce subscribers to the contents of beauty boxes that they discover by opening the boxes in front of the camera in real time. The performer thus proposes an unboxing of her unconscious. At first, the artist allows the public to observe her in her sleep, a moment of vulnerability she shares with strangers. The performance takes place over several consecutive nights. The performer is filmed all the time she sleeps, the recording stops only when she is awake.


text:
California Recall Election
Gov. Newsom kicks off his 'vote no' to recall campaign in San Francisco
SAN FRANCISCO (KRON) — Governor Newsom is setting out on a four-day campaign for people to "vote no" on the recall election.
His effort starts in San Francisco, where he once led as mayor.
Watch Live on KRONon
Early voting for the September 14 recall election opens this Monday.
San Francisco mandates proof of full COVID vaccine at indoor venues
Newsom's main goals are to educate people on how to vote when they get their ballots and urge them to vote no. He's warning California Democrats that if they recall him, their next governor will be Republican.
Dozens of candidates will be on the ballot vying to replace Newsom if a majority of voters approve removing him from office.
But the leading opposing candidate is Larry Elder, who is a self-described Libertarian and conservative radio host and columnist.
Inside California Politics hosted a poll with Emerson College to see if people are leaning towards the recall or not. Unfortunately for Newsom, it's close.
New poll: Support for Newsom recall grows, Elder increases lead as replacement
According to the exclusive poll, 46% of polled constituents want to vote to recall, 48% want to keep Newsom. Six percent remain undecided.
Once you get your ballot in the mail, which all registered voters should receive, you can either mail it back or drop it off at several locations near you. You can also choose to vote in-person on Sept. 14.
The governor will be meeting with volunteers in San Francisco at 10 a.m. Friday and then later hold multiple events in San Diego and Los Angeles.


The Aomen system was home to at least one habitable world or construct, and as at 2750 was located in the Andurien Commonality of the Capellan Confederation.
The Aomen system was located close to the Lurgatan and Nukus systems.
The Aomen system was settled by the Capellan Confederation at some point during the Star League era after the end of the Reunification War and vanished from maps during the Third Succession War, indicating that the system had been abandoned or depopulated.
↑ 2.0 2.1 Historical: Reunification War, p. 159, "Inner Sphere - 2596"
↑ Field Report: CCAF, p. 21, "Deployment Map - August 3079"


ALAN CURBISHLEY reckons Manchester United could be in for an FA Cup scare today if West Ham get in their faces.
Curbishley outwitted Sir Alex Ferguson to notch three successive wins against the Scot during his spell as Hammers boss.
"You've got to get in their faces because if you allow Manchester United to settle, play their game and be negative, you are in trouble," he said.
Wayne Rooney is out injured for the Upton Park clash this evening and Curbishley expects Robin van Persie to be rested.
Fergie's fearsome foursome have fired United to the top of the Premier League led by 19- goal instant hit Van Persie.


text:
Q: Get the 4-d rotation matrix given two planes There are two 2-d planes in 4-d space (both passing through the origin). They intersect in a line. We are given the coordinates of three points for the first plane (a $3 \times 4$ matrix, $V_1$ where each row is one of the three points) and the coordinates of three points for the second one ($V_2$).
Imagine translating both planes so the origin passes through both of them. Now, they will also have an intersecting line (even if they didn't before).
I'd like to rotate the second plane with respect to the first along the common line between them. This will involve shifting the origin somewhere along the common line and then the rotation can be represented by a rotation matrix ($R$, a $4 \times 4$ matrix). How do I get this rotation matrix?

A: Since the second plane intersects with the first in a line, then we can parameterize the two planes as follows
$ p = r \ v_1 + s \ v_2 $   (first plane)
$ q = t \ v_1 + u \ v_3 $   (second plane)
where $v_1, v_2, v_3 \in \mathbb{R}^4$, and $r, s, t, u \in \mathbb{R}$ are scalars.  Here $v_1$ is the vector along the common line between the two planes.
Since we want to map the second plane into the first using a rotation matrix $R$, we can assume that $v_2$ and $v_3$ are unit vectors orthogonal to $v_1$ (also a unit vector), if not, then we can use Gram-Schmidt orthogonalization to orthogonalize them.
Now we only need to rotate $v_3$ into $v_2$ and this will rotate the second plane into the first plane.  The rotation should leave $v_1$ unaffected.
First, generate a basis for the orthogonal complement of $\text{Span}(v_3, v_2) $, i.e. solve the linear system
$ \begin{bmatrix} v_3^T \\ v_2^T \end{bmatrix} s = 0 $
Let $s_1, s_2$ be a basis for this orthogonal complement.  Now we will apply Gram-Schmidt orthogonalization to the vectors $[v_3, v_2, s_1, s_2]$ to obtain the orthogonal matrix $Y = [y_1, y_2, y_3, y_4]$, with $y_1 = v_3$
So now matrix $Y$ defines an orthonormal basis for $\mathbb{R}^4$.  The coordinate of any vector $x \in \mathbb{R}^4$ with respect to this basis is given by
$ z = Y^T x  $
This means that the coordinate of $v_3$ with respect to the $Y$ basis is
$z_3 =[1, 0, 0, 0]^T $
And similarly, the coordinate of $v_2$ with respect to the $Y$ basis is
$z_2 = [ \cos(\theta), \sin(\theta), 0, 0]^T $
where $\theta$ is the angle between $v_3$ and $v_2$.  To rotate $z_3$ into $z_2$, we will apply the rotation matrix $R'$ with respect to the $Y$ basis
$ R' = \begin{bmatrix} \cos(\theta) && - \sin(\theta) && 0 && 0 \\
\sin(\theta) && \cos(\theta) && 0 && 0 \\
0 && 0 && 1 && 0 \\
0 && 0 && 0 && 1 \end{bmatrix} $
To get the rotation matrix in the standard basis, we note that
$ x' = Y \ z' = Y \ R' \ z = Y \ R' \ Y^T \ x $
Therefore, the required rotation matrix is
$ R = Y \ R' \ Y^T $
Note that since $v_1$ is orthogonal to both $v_3$ and $v_2$, it will not be affected by this rotation, therefore, the image of any point on the second plane
$ q = t \ v_1 + u \ v_3 $
will be
$ q' = R q = R (t \ v_1 + u \ v_3) = t R \ v_1 + u R \ v_3 = t v_1 + u \ v_2 $
which means that the image $q'$ lies in the first plane.

A: Find the normal vectors $U$ and $V$ of the two planes. Let $\theta$ be the angle between $U$ and $V$, and let $W$ be their cross product. The rotation you're looking for is a rotation around $W$ by the angle $\theta$. If you want it in matrix form, use Rodrigues' formula.


text:
Department of Media and Communications Toggle navigation
Media Policy Project
LSE Truth, Trust & Technology Commission
Department of Media and Communications
Dr Deena Dajani
Research Officer, Digital Makings in the City of Refuge
d.s.dajani@lse.ac.uk
Dr Deena Dajani is a Research Officer in the Department of Media and Communications at LSE. She is working with Dr Myria Georgiou and Dr Suzi Hall on the project Resilient communities, resilient cities? Digital Makings in the City of Refuge, funded by LSE's Institute of Global Affairs (IGA) as part of the Rockefeller Resilience Programme. The project explores the role of digital communication in supporting resilient urban communities, especially in response to migration. Dr Dajani's research contributes to understanding how technology enhances – or hinders – new formations and imaginings of community between receiving and arriving populations.
Prior to joining LSE, Dr Dajani worked as a Research Consultant with Professor Marie Gillespie at The Open University on the AHRC funded project 'Reframing Russia' and examined RT's coverage of the war in Syria and the blurring of boundaries between news, information, propaganda, and public diplomacy. She also worked on a joint collaborative project between The Open University, the UN World Food Programme, and UN Women, which explored the role of digital technologies (including blockchain) in supporting, or indeed discomfiting, refugees. Dr Dajani conducted focus groups and interviews at Al-Azraq and Al-Zaatari refugee camps in Jordan.
Dr Dajani has also worked with Professor Engin Isin, then at The Open University, on the ERC funded project 'Oecumene: Citizenship after Orientalism' which sought to open-up the boundaries of citizenship – by exploring how the concept is renewed and reconfigured around the globe – as a necessary response to the processes by which Europe is considered the birthplace of 'universal' ideas such as democracy, citizenship, and rights.
Between 2015 and early 2018 Dr Dajani worked in the media industry at the newly launched Alaraby Television, where she set up the International Press Desk and worked on an investigative project, tracing billions of squandered Libyan public money through Libya's sovereign wealth fund (LIA). The project culminated in a documentary which Dr Dajani co-produced, as well as a series of articles.
Expertise Details
digital technology; citizenship; public spheres; migration; gender; democratization; public diplomacy; political communication
Dajani, D. (2015), 'Foolish Citizens.' In Engin Isin (eds) Citizenship after Orientalism, Palgrave Studies in Citizenship Transitions. Palgrave Macmillan, London, pp. 237-262.
Dajani, D. (2012), 'Telling Tales, performing justice: the political subject of the Hikaya'. In Citizenship Studies, 16(5-6), 673-688.
Dajani, D. (2016), 'Media and Politics in a Globalizing World' (2015) Alexa Robertson (eds.) in European Journal of Communication, 31 (2), 2017-209.
Dajani, D. (2012) 'Stories of revolution and rivers that run dry'. On openDemocracy, 27 November 2012. Read here.


Fall 2016 Abstract The purpose of this content is to strategically examine the overwhelming plethora of information surrounding the legalization of marijuana. Many sources available have been used to identify the mental, physical, economic and social issues surrounding the facets of marijuana use on both ends of the spectrum. While the judicial system is holding to the values entrusted to them through society; they are red taped by the economic repercussions. The health benefits that are aspired through marijuana are undoubtedly alluring to those who suffer with chronic illnesses. Research shows marijuana has the potential to enhance medical innovation and patient well-being. Weighing all aspects of both sides is the only fair way to determine whether the legalization of marijuana will be beneficial to society and the judicial system.
Public Engagement, Democratizing Science Or Nightmare?


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Teldex Re-Equips with SSL Console As Centerpiece
Berlin, Germany (November 17, 2003)--Teldex Studios has completely rebuilt its main control room and installed a 96-channel Solid State Logic 9000 J Series console as its centerpiece.
ProSoundNetwork Editorial Staff ⋅ Nov 17, 2003
Berlin, Germany (November 17, 2003)–Teldex Studios has completely rebuilt its main control room and installed a 96-channel Solid State Logic 9000 J Series console as its centerpiece.
Previously known as Teldec, the studio has been a key player in the classical recording market since it first opened just after World War II. Housed in a large and unusual building close to the center of Berlin, Teldex is now owned by Martin Sauer, Tobias Lehmann and Friedemann Engelbrecht, who acquired the facility from their former employer, Warner Music, in 2002.
The name change and the rebuilding of the control room reflect its new status as a privately owned commercial facility that is aiming to appeal to the international market.
"As an in-house facility for Warner, the studio never had to compete on the free market, and the equipment in the old control room reflected this," says Lehmann. "When we acquired the business, our immediate task was to bring the studio into the 21st century. We completely refurbished the control room to ensure the best possible acoustic and technical environment for external clients. We have made very few changes to the actual recording area, which, like Abbey Road Studio One, is large enough to accommodate a full orchestra and is internationally famous for its unique sound."
Teldex has also refurbished a second control room, and built a third smaller control room and added two new recording rooms. The redesign of the main control room was carried out by Munich companies, ACM and Concept A. Along with the SSL 9000 J series console, Teldex has installed 5.1 PMC monitoring, a full Pro Tools HD-system and lots of new outboard equipment. The studio also boasts a wide selection of Neumann microphones, thanks to its long association with the Berlin-based manufacturer.
Lehmann says the choice of an SSL 9000 J series console reflects the studio's need to have a first-rate analog console that is not only immediately familiar to external producers and engineers but also able to cope with all recording formats including SACD. "As a commercial facility, we needed a console that external clients felt familiar with, and that meant SSL," he explains. "The 9000 J is a great console backed by SSL's technical heritage and know-how. Everyone loves the sound of it, and there are very few professional engineers who are not familiar with its layout and automation. Given the diversity of the projects we are now attracting, which include SACD recordings and 5.1 surround projects for DVD, we believe we have made the perfect choice."
Teldex held its official launch party on September 6, 2003. Since reopening the control room, the company has already played host to a number of clients, including Daniel Barenboim and the Staatskapelle Berlin, Nikolaus Harnoncourt and the Vienna Philharmonic, Simon Rattle and the Berlin Philharmonic and many more.
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There is one summary for H.R.5774. Bill summaries are authored by CRS.
Pathways Advancing Career Training Act - Authorizes the Secretary of Labor to make formula matching grants to states with approved plans for programs that provide preparatory and supportive services, information on career and technical education, training, pre-apprenticeship assistance, and related services, including tuition assistance, to: (1) single parents and displaced homemakers; and (2) individuals pursuing nontraditional training and employment in fields where individuals from one gender compose less than 25% of workers.
Requires the Secretary, through the award of competitive grants, contracts, or cooperative agreements with an independent institution of higher education, public or private nonprofit organization, or state agency, to conduct at least one multi-site evaluation of such programs.
Requires eligible state agencies to administer such programs, make competitive subgrants to eligible entities, and identify certain core indicators of performance.


The Big Island's dramatic 80-foot cascade is just minutes from downtown Hilo.
According to legend, a cave behind Rainbow Falls is home to the Hawaiian goddess Hina.
Every Hawaiian Isle offers sunsets, surf, and sand. But if you're enjoying the view from 13,800-foot Mauna Kea, driving a road that dead-ends at an old lava flow, or sipping the wares at a Kona coffee farm, you must be on the Big Island. Home to rain forests and ranch lands, coral reefs and mountain snows, the island of Hawaii takes everything to extremes.
You'll find one such superlative on the east side of the island, where frequent showers feed Rainbow Falls, an 80-foot cascade just minutes from downtown Hilo in Wailuku River State Park. When sunlight hits the spray just right, prisms appear against the lush green surroundings and the lava cave behind the falls, said to be the home of the Hawaiian goddess Hina.
Hilo is a vibrant town with a zoo, museums, galleries, and gardens. It's also the gateway to Hawaii Volcanoes National Park, where visitors can traverse lava fields and catch sweeping ocean views. Volcanic activity has made the Big Island bigger, but it could hardly get better.
This article was first published in Summer 2016. Some facts may have aged gracelessly. Please call ahead to verify information.
Tour Crater Rim Drive atop Kilauea's caldera and explore Bird Park on Mauna Loa.
In winter, when waves are pounding and the winds are high, savvy travelers seek sanctuary at protected beaches that offer calm-water refuges throughout the year.