text:
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Editorial: Star Wars Canon - Ahsoka and the Retcons
Discussion in 'SWNN News Feed' started by SWNN Probe, Jun 28, 2020.
SWNN Probe Seeker
+12,668 / 19 / -17
So, I've talked about the history of canon and last week I looked at unintentional inconsistencies. Now I'm going to explore intentional inconsistencies, justifications for them and look at a different view of canon.
I use the term 'inconsistency' not 'retcon' only for accuracy. While a retcon (short for retroactive continuity) is essentially the same thing as an intentional inconsistency it's more faceted. Retcons, in classical meaning, is more of a tool, used by an author to change something previously established or unexplained, sometimes for the better.
The biggest example in Star Wars is the Death Star. Since A New Hope's release one of the biggest jokes was the absurd idea that you could build a planet sized superweapon with a small exhaust port that when fired into explodes the whole thing (Family Guy and Robot Chicken both have sketches on it). It's not an inconsistency, it doesn't conflict with other information given to us, it's just something we questioned and mocked (with affection) about Star Wars. We assume it's a very very major oversight by the Empire's design team.
39 years later Rogue One is released, a direct prequel to A New Hope revealing how the Rebels obtained the plans that revealed this Death Star flaw. I'm not going to go through the whole plot of the movie (because if you haven't seen it you really should and if you have seen it you should see it again because it's awesome) but we find out that Galen Erso, father of the protagonist, Jyn, intentionally put that fault in there as he was designing the battle station.
If only he'd intentionally sent me the station plans as well amirite??
Again, this information doesn't create any real inconsistencies, even if it's a little odd no specifics of Rogue One are brought up during A New Hope. No information conflicts. What the film does is retroactively change the canon (a retcon). It changes how we view the original movie and gives us extra info.
So while intentional inconsistencies are retcons, retcons cover things that were never inconsistencies and just additional information, hence why i use the distinction.
The intentional ones are harder, because they blur the line between inconsistency and retcons, because information conflicts but is also being used as a tool to change our understanding of an event. So we, as fans, need to understand the rationale behind these decisions as they happen, their impact, and again, when to let go.
The Ashoka Conundrum
The most recent, and most blatant, inconsistency in canon occurred with the release of the final season of The Clone Wars. When the show was cancelled after season five in March 2013, no one thought it was coming back. A lot of the show's undeveloped scripts went to other places (the almost completed were put together into the 6th 'lost missions' season originally released on Netflix, others went to the Sons of Dathomir comic and Dark Disciple novel etc.).
Two years later the Rebels 1st season finale revealed what we had hoped and suspected, that Clone Wars star Ashoka Tano had survived order 66 and was aiding the rebellion. We hadn't seen the character since the finale of season five, leaving the Jedi order. Now, here she was, force using and wielding lightsabers again.
15 years had passed since we'd last seen her (in universe) and she'd grown up and the fans wanted to know: 'what happened in that gap?' With no public knowledge of Clone Wars coming back and Ahsoka's fate again unknown after the Rebels season 2 finale with Vader, E.K. Johnston's novel Ahsoka arrived October 2016 to fill in the gap between the two shows.
Spoilers ahead for the novel and the final season of The Clone Wars
Set a year after the Siege of Mandalore and Order 66, the novel follows Ashoka's journey, living as Ashla, becoming who we see in Rebels. I won't run through the whole narrative because the main plot itself isn't relevant to this topic (and because the book is worth the read, especially since Ashley Eckstein does the audio book).
Aside from the main narrative, the book contains a handful of flashbacks/asides between chapters. We see the moments before Ahsoka and Anakin first meet from his perspective, another of Obi-Wan in his hut on Tatooine making contact with Qui-gon through the force, we see the confrontation between Ahsoka and Maul in the lead up to Order 66, and Ahsoka and Rex in the aftermath of it. These final two create the inconsistency.
Fast forward to July 2018 and the announcement was made that Clone Wars was coming back for a seventh and final season including, most importantly, the Siege of Mandalore arc. The two relevant episodes for this topic are episodes 10: The Phantom Apprentice. and 12: Victory and Death.
Two chapters in the novel differ from the course of events in the TV show, the first is the capture of Maul. Both occur during the Siege of Mandalore with a fight between Maul and Ahsoka but the location, dialogue and ending differ drastically from one another (I've edited down the dialogue from the novel for brevity):
He was in one of the plazas that wasn't burning yet, pacing while he waited for her. "It was so nice of your former masters to send you out alone and spare me the exertion of a proper fight," Maul said. "You're not even a real Jedi."
"It'll be a fair fight then," she retorted, looking him up and down. "You're only half a Sith."
The familiar green energy sang as she activated her lightsabers and moved to engage, one last feint. Maul lunged forward and Ahsoka took a quick step back, drawing him past the point of no return. He swung down, directly at her head, and she responded with all her strength. Her weapons locked with his, holding him exactly where she wanted him to be.
"Now!" she commanded her unseen allies. The response was fast, too fast for Maul's distracted defense. Ahsoka threw herself clear just in time. The ray shield came to life, trapping her prey with his lightsaber still raised against her.
In The Phantom Apprentice capturing Maul is a 10 minute scene that differs as such:
<ul style='list-style-type: disc;']
[*]There is no trap to spring on Maul, he surprises Ahsoka with his presence in the throne room (not the plaza)
[*]They don't taunt and then fight, they calmly converse for over 3 minutes before lightsabers are even drawn
[*]The conversation is about Maul convincing Ahsoka of his vision than of her baiting him
[*]Maul isn't captured by ray shield but tied up and stunned while Ahsoka suspends him in mid-air
[*]Her lightsaber is blue and not green
As you can see, the scenes are not even remotely alike. The same happens later in the novel with another flashback; this one depicting Ahsoka and Rex following order 66:
Now, there was the grave. Everything about it was false, from the name listed on it to the name of the person who'd killed him. It looked very real, though. And you couldn't tell clones apart when they were dead, especially not if they were buried in another's set of armor.
Ahsoka held her lightsabers, her last physical connection to the Jedi and to her service in the Clone Wars. It was so hard to give them up, even though she knew she had to. It was the only way to sell the con of the false burial, and it would buy her a modicum of safety, because whoever found them would assume she was dead, too.
She knelt, extinguishing the energy, and planted the hilts of both her weapons in the freshly turned dirt.
She stood quickly and resisted the urge to call the lightsabers back into her hands. They must be left there.
In Victory and Death we also see Ahsoka standing over the graves of clones, now both scenes could have happened separately but the big difference is that the novel clearly states she drops both of her lightsabers at Rex's marked grave whereas in the episode we see her drop one lightsaber at the unmarked grave of all the clones lost on that ship and leave it behind, meaning that these scenes can't have happened separately. This then creates all the following contradictions:
Rex is still wearing his uniform so they can't have buried a trooper in it
They have only one ship between the two so they can't instantly go seperate ways on different ships
There is no marked grave
The novel has her drop both lightsabers while the episode has her only drop one
Johnston was asked to not directly depict the Siege of Mandalore since, unbeknownst to her, early talks for season 7 of The Clone Wars were happening with Dave Filoni, so there's no denying that this is an intentional inconsistency and a retcon. Since the new canon came into play we haven't had such severe case of one work stamping on the other, especially not intentionally.
Usually I would weigh up the merits of both works but this is a specific set of circumstances. The book did set the events first and if that episode contradicted the whole novel I'd be in favour of defending it, since it is so easy to fall into the pattern that film and TV overpower printed works (and I understand that: they cost more to produce, reach a wider audience etc.) so I always want to defend the slow march towards that. Like I said though, this time is different.
Clone Wars and, in particular, Ahsoka are Dave Filoni's babies, he was behind their creation, he's stuck with them despite fan protest that they not exist, he's evolved them into what we love today and rallied the fans to them. Now that's not to say he 'owns' them. The beautiful thing about the Star Wars universe is that characters, planets, and events are brought to life and then set free to other creators. But Clone Wars was his show and it was cancelled, which is important. Filoni didn't leave and then want to come back, the show didn't finish on its own terms and now he wants more, it was cancelled without much warning or chance to write a proper ending. Bringing the show back to finish on its own terms and finish that part of Ahsoka's life was great (for us and for Disney+ marketing).
So between the show being Filoni's (and George Lucas's) creation, it being cancelled abruptly, the fan love (and planned future) for Ahsoka, and that the novel spins directly out of the show it makes sense not wanting to be tied to vague flashbacks of a Young Adult novel. Especially since the conversations and fights between Maul and Ahsoka are so detailed and revelatory in the show (and they got the original Maul, Ray Park, to do mo-cap for him).
So I am not against the show doing its own thing. Though it just makes it even odder that Johnston was allowed to keep the flashbacks. If scripts for the episodes weren't set in stone then why was she allowed to depict the flashbacks at all, the book works just as well if they're taken out or made vaguer. Why ask her not to cover the Siege of Mandalore and then let her depict parts of it? surely it should have been an all or nothing deal.
Lucasfilm Story Group's Matt Martin implies that parts were changed later on during production
Luckily, and maybe on purpose, we don't have to throw the baby out with the bathwater. Last week, when talking about Catalyst and Darth Vader Annual #2, I said it would be hard to cut parts out of either to make it fit but with Ahsoka it's different. It's essentially two chapters unrelated to the main plot comprising of just over 10 pages.
Is it worth reprinting it to take these chapters out? Most people probably wouldn't notice the difference, even less would care, and us that do have already read the book and/or know that the TV show is the definitive version, not because it reaches a wider audience but because it is a more substantial retelling from the the original creator (in addition to all the other reasons I've listed above). So is a reprint of the book warranted or can we just accept the fact that those two chapters aren't definitive and enjoy the rest of the book to its full canon potential?
I say all this to lead up to one point: This needs to be a rare exception. All the reasoning and processes I've gone through to justify this happening, those layers of events and logic, they need to stay in place. Intentional inconsistencies used as retcons can't become a regular occurrence, especially for big events (this doesn't include novelizations and reference books which are their own seperate category).
Also, those rare exceptions need to be proportionate. Another reason this exchange of canon works is because Lucasfilm are essentially saying we'll replace this very specific part of this specific book with these high budget tv episodes that essentially tell the same story minus the details. That's a good tradeoff for us as consumers and in a different league to something being made that disregards canon completely.
I don't think the Ahsoka thing is anyone's 'fault'. I think it just shows a lack of planning that's needed going forward. Hopefully, now that the final vestiges of things Disney needed to do upon purchase of Lucasfilm are over (i.e. cancel Clone Wars because it was on a rival station and produce a sequel trilogy to justify purchase) we're entering a period of long term plans.
If we can get Ahmed Best back on our side then anything truly is possible
I'm gonna leave you with a quote by Pablo Hidalgo from his twitter:
'Against my better judgment, about to start a few tweets about the dreaded C-word, canon. But first, one ground rule. This is just my opinion just my own ideas about it. It is not reflective of any company policy. It's not a commandment. It's not a rule. Just an observation.
On occasion when asked about something specific, I'll answer, 'Canon doesn't split those hairs.' What do I mean by that?
It means it's a detail that isn't catalogued. It's an increment beneath notice. And stuff like that typically means artifacts of the medium.
So, I don't see there being such a thing as 'canon dialog'. Because a comic, novel, cartoon, live action version of an event will differ.
It's my way of dodging the who-shot-first horse carcass. All that's canon is that two people entered that booth, & Greedo died. Reports vary
Here's an example of a film artifact. Look how much room is in the Death Star overbridge. This place is huge...
So why are these guys standing so close as if they can't get enough of each other? Because they had to fit into the movie frame.
In my mind, there's no such thing as their canonical distance from one another. The only 'fact' is that these guys were there and talked.
Anyway, that's it. But if you ever wanted to shatter an illusion of a movie, look at how close people stand for the sake of framing.'
It's not definitive and I don't subscribe to it 100% (since it errs on the side of unreliable narrator) but sometimes it's worth considering when we have these conflicts. Maul and Ahsoka fought, she captured him, he escaped, and her and Rex were left. Whether you subscribe to the TV show or the novels version of events the outcome is the same.
This look at canon (I've called inconsequentialism) covers a lot of the inconsistencies I've looked at the last few weeks. It's not perfect by any means but it's always interesting to look at other views of canon, especially from within the Storygroup.
We can all agree though, whatever our view on canon, we want good stories. However, as I'll explore next week: should we be slave to canon that has no story attached to it?
Until then, may your universe be canon and the Force be with you, always.
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#1 SWNN Probe, Jun 28, 2020
Great Post x 1
The Hero With No Fear Resident Sand Hater
+33,967 / 12 / -9
Generally, I think Lucasfilm has done an excellent job with the new canon. The inconsistencies between The Clone Wars and the Ahsoka novel are very overblown and minor in my opinion. As for the Vader/Catalyst contradiction, I'm content just pretending that issue of the Vader comic is non-canon since I had plenty of other issues with it.
If anything, the fact that fairly small contradictions like these are such a big deal says a lot about how well the Story Group has handled this new continuity.
#3 The Hero With No Fear, Jun 28, 2020
Embo and His Pet Anooba Force Sensitive
+4,927 / 8 / -4
The Hero With No Fear said: ↑
Yess, many legends contradictions!
#4 Embo and His Pet Anooba, Jun 29, 2020
Grand Master Galen Marek Jedi General
+107,603 / 338 / -131
It's been quite a journey.
#5 Grand Master Galen Marek, Jun 29, 2020
Ghost of Obi Wan Kenobi Rebel General
+1,321 / 20 / -4
As much as people complain about inconsistencies of Star Wars canon, it's a LOT better than the guys running the Star Trek franchise. Their retcon and franchise-layering deals with compete parallel universes that absolutely contradict stuff from the originals (Kelvin timeline, where Planet Vulcan gets destroyed, Spock becomes "emotional," Kirk is a jerk, etc). Has anybody heard of the recent youtube rumor stating that the sequel trilogy is going to be marked in a similar Kelvin Timeline fashion? Supposedly, episodes 7-9 will be soon revealed to be in an "alternate" timeline. No, I don't believe it either, and I don't think Disney/Lucasfilm will go down such a silly route. However, if you do a google search this is a rumor that is gaining credence.
#6 Ghost of Obi Wan Kenobi, Jul 1, 2020
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SWNN Probe, Dec 17, 2020, in forum: SWNN News Feed
Guest Editorial: My Journey With The Clone Wars as a Classic Star Wars Original Trilogy Fan
SWNN Probe, Sep 4, 2020, in forum: SWNN News Feed
oldbert
Editorial: Star Wars Canon - Is Landos Fate Set in Stone?
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Lock_S_Foils
Editorial: Star Wars Canon - The Catalyst Collision
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Editorial: Star Wars Canon - A Brief History and Perspective


Les Voyages Faits par le Sieur D. B. aux Isles Dauphine ou Madagascar, et Bourbon, ou Mascarenne, és années 1669, 70, 71 et 72. Dans laquelle il est curieusement traité du Cap Vert, de la ville de Surate, des isles de Sainte Helene, ou de l´Ascention. Ensemble les moeurs, religions, forces, gouvernemens et coutumes des habitans des dites isles, avec l´histoire naturelle du pais.
Dubois, Sieur [Sieur Dubois or Sieur D. B. (1626-1694) was a French traveller who reached the islands of Madagascar and Réunion at the time of early colonization by France. He wrote this book in French, published in 1674, about his journeys and the wildlife he saw including details of several species of birds endemic to Réunion that have since become extinct, such as the Réunion ibis, Réunion swamphen, and Réunion rail]. Captain Samuel Pasfield Oliver translated and edited the original French version into an English version, which was published in 1897.
A Paris Chez Claude Barbin, au Palais, sur le Second Perron de la Sainte Chapelle First Edition 1674. 1674.
First edition in new full William Cowley vellum binding covers, simple black and gilt title label to the spine, new end papers. 16mo. 6¼'' x 4''. xii., 234 pp [ix Table des Matieres]. Page 5 with loss of paper to the margin, not affecting the text block, old ink notes to verso of rear end paper. Member of the P.B.F.A.
Published by The Trustees The Aloes Book Fund, Mbabane, Swaziland September 1966. Swaziland 1966.
Hard back binding in publisher's original burgundy cloth covers, gilt lettering to the spine and the upper panel, colour illustrated end papers. 4to. 11'' x 7½''. Contains xii, 537 printed pages of text with colour and monochrome illustrations throughout. Fine condition book, in Very Good condition dust wrapper with old spillage mark to the top of the spine and lower cover, short closed tear to the upper gutter, light rubbing to the corners. No. 301 of 600 Limited Edition copies SIGNED by the author to a special limitation leaf tipped-in. List of subscribers. Dust wrapper supplied in archive acetate film protection, this protects and prolongs the life of the paper, it is not adhered to the book or to the dust wrapper. Member of the P.B.F.A.
Published by The Livingstone Press Broadway, Westminster, London First Edition 1953. London 1953.
First edition in publisher's original card wrap covers. 8vo. 7'' x 5''. Contains 96 printed pages of text with monochrome map. Without any ownership markings and in Very Good clean condition, no dust wrapper as published. Member of the P.B.F.A.
Published by IUCN, The World Conservation Union, Gland, Switzerland and Cambridge, U. K. First Edition 1990. Cambridge 1990.
Published by A. A. M. Stols La Haye et Paris First Thus Edition 1948. Paris 1948.
First thus edition in publisher's original French flap card wrap covers [softback]. 8vo. 10'' x 6½''. Contains 56 printed pages of text with full-page monochrome line illustrations on olive cream wash background. No 561 of 800 limited printed copies. Very light browning to the spine and in near Fine condition. Member of the P.B.F.A.
First thus edition in publisher's original French flap card wrap covers [softback]. 8vo. 10'' x 6½''. Contains 56 printed pages of text with full-page monochrome line illustrations on olive cream wash background. No 558 of 800 limited printed copies. Very light browning to the spine and in near Fine condition. Member of the P.B.F.A.
Published by Cahiers Charles de Foucauld 41, Rue de la Bienfaisance, Paris 1950. 1950.
First edition hard back binding in Recased in ivory white boards, plain burgundy cloth spine, attractive colour end papers, original monochrome illustrated front cover bound-in. 8vo. 9½'' x 6¼''. Contains 429 [i] printed pages of French text with monochrome illustrations and photographs on coated paper throughout, double-page map. Cheap paper browning, light rubbing to the covers and in Very Good sound and tight condition. Member of the P.B.F.A.


text:
require 'cipisek/response'
require 'cipisek/model'
require 'cipisek/response/stat'

module Cipisek
  class Response < Model
    class GroupStat < Cipisek::Response::Stat
    end
  end
end

redpajama_set_name: RedPajamaGithub


[Xen-changelog] Further changes to xm.1 man page.
Further changes to xm.1 man page.
non root will return an error.
+actions has finished you must poll through xm list periodically.
soon as it is run.
-Prints information about running domains.
+specified it prints out information about all domains.
is the total run time of the domain as accounted for by Xen.
+gone to sleep because there was nothing else for it to do.
+scheduling by the Xen hypervisor.
+FIXME: Why would you ever see this state?
+restart on crash.  See L<xmdomain.cfg> for more info.
+useful for external programs to parse the data.
+B<Note:> there is no stable guarantees on the format of this data.
+Use at your own risk.
+less utilized than a high CPU workload.  Consider yourself warned.
memory mark for how much memory a domain can have.
+Domain, as it may balloon down it's memory to give more back to the OS.
maximum memory for the domain.
+is no guarantee that it will succeed.
+careful when using this command on running domains.
host machine and there must be sufficient resources as well.
-    -l, --live                    Use live migration.
-    -r, --resource <Mbit value>   Set resource level.
+to run (memory, disk, etc).
+attempting to do other useful work.
-    -a, --all        reboot all domains.
-    -w, --wait       Wait for shutdown to complete.
+as all services in the domain will have to be shut down cleanly.


text:
Q: How can I present a modal view controller after selecting a contact? I'm trying to present a modal view controller after selecting a contact and it doesnt seem to be working.
In my -
(BOOL)peoplePickerNavigationController:(ABPeoplePickerNavigationController *)peoplePicker shouldContinueAfterSelectingPerson:(ABRecordRef)person

method, I dismiss peoplePicker, create an instance of my new view controller, then present it with
[self.navigationController presentModalViewController:newController animated:YES];

and it doesnt work. However if i PUSH the view controller it works with this code:
[self.navigationController pushViewController:newController animated:YES];

How can I accomplish this?
Thank you,

A: Simply call the presentModalViewController on your own controller instead of the navigation controller.
If you're in the context of a UIViewController:
[self presentModalViewController:newController animated:YES];

redpajama_set_name: RedPajamaStackExchange


text:
Q: Jira: Producing a report containing the stories & blocking issues associated with a release The Company I work for uses Jira to support the requirement capture & test phases of a project.  We assign stories (i.e. requirements) to a release.  As a Test Engineer, I raise bugs which I then reference in the story as "Is Blocked By".
I need to create a report which lists each of the releases and the stories associated with that release.  As I raise bugs, I need the report to also be populated by the bugs (or actually any other issue raised).
I cannot see a way of doing this within Jira directly but I have found a Jira module for Python...  I've got the following working but now I'm stuck;
from jira import JIRA
server = {"server" : "https://jira.pxr5.hw"}
login = ('bob', 'dave')

jira = JIRA (options = server, basic_auth = login)

myProject = jira.project ("QSC")

for eachVersion in myProject.versions:
    print eachVersion.name + " - " + eachVersion.id

This produces the expected output;
Release 0 - 10518
Release 0.1 - 10602
Release 0.2 - 10603
Release 1.0 - 10519
Release 2.0 - 10520
Release 3.0 - 10521
closed - 10616
work complete - 10617

From the documentation I've found, I cannot see how to return anything further by which I mean the stories under each Version and (where they exist) the bugs I've raised.
Please can you help?  Thanks for your attention.

A: I got there in the end...  Kind of... Here's a solution I found by unpicking the "raw" property...
from jira import JIRA
import sys

userName = "Dave"
userPassword = "Bob"

server = {"server" : "https://jira.pxr5.hw"}
login = (userName, userPassword)

# Open a link to Jira
jira = JIRA (options = server, basic_auth = login)

# Return an object comprising the project we're working on
myProject = jira.project ("quark")

# Get a list of the releases in the project.  Notice that the version
# has to be surrounded by single quotes as it may have spaces in it
for eachVersion in myProject.versions:
    jqlStatement = "project=quark AND fixVersion='" + eachVersion.name + "'"
    print eachVersion.name

    # Get a list of stories accociated with each release of the project
    theStories = jira.search_issues (jqlStatement)

    # Go through each story in the current release
    for eachStory in theStories:
        # The story is indented one tab with it's ID and summary name
        print "\t" + eachStory.raw["key"] + " " +  eachStory.raw["fields"]["summary"]

        # Now get a list of issue links and go through each one
        issueLinks = eachStory.raw["fields"]["issuelinks"]
        for eachLink in issueLinks:
            print "\t\t" +  eachLink["inwardIssue"]["key"] + " " + \
                        eachLink["inwardIssue"]["fields"]["summary"]


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Find out how we aim to consistently achieve the best possible result when handling your orders and executing your trades.
Best execution refers to our responsibility to take all sufficient steps to achieve the best possible result on a consistent basis when executing orders on our clients' behalf, for financial spread betting, CFD, share dealing or Smart Portfolio orders.
Our intelligent execution technology has been designed on the basis of our order execution policy to take into account these and any other relevant factors, such as the nature of the underlying markets and any specific instructions you have given us, so that we can consistently deliver what we consider to be the best possible results.
It's important for those who want to trade with us to understand how we treat your orders and execute them for you. You can find important information within our customer agreement, summary order execution policy and from the information about the quality of our execution on this page.
How does this differ for professional clients?
Getting the best price for our retail clients and minimising the total cost of the transaction takes precedence over all other factors. For professional clients, in certain circumstances we may prioritise other factors, such as the speed and probability of execution, if we determine that these have equal or greater importance compared to overall price.
Price is the most important factor for our retail clients when considering best execution, and we source our prices from multiple venues. These venues are constantly reviewed, and we will always try to add liquidity venues that improve the integrity of our price and reduce the transactional charges to our clients.
Markets can move in milliseconds, meaning the price you click to trade on may have changed by the time your order reaches us. Our order management system will never fill you at a level worse than the one you requested – however, your order may be rejected.
A symmetrical tolerance level is set a certain distance either side of your requested price – if the market stays within this range by the time we receive your order, your order will be executed at the level you requested.
If the market moves to a better level for you, our price-improvement technology will ensure you receive it.
If you submit a market order it will be filled in the size and price available when we receive it.
As getting the best price for clients is our number one best-execution consideration, reducing the spreads and transaction fees our clients face is a priority for us.
Over recent years we have charged our clients less and less for trading with us. For example, we have reduced our minimum EUR/USD spread to 0.6 and our oil spread to just 2.8. We have also introduced a more cost-effective way to add guaranteed stops to positions, so you'll only pay a premium if your stop gets triggered.
At IG we constantly monitor client rejection rate to ensure your likelihood of execution is as high as possible. Below are our order rejection rates for all spread bet and CFD asset classes, per quarter, over the last two years.
Why do clients orders get rejected?
'partial fills' (this helps with liquidity issues).
Find out how to use these features and how they could help reduce your rejection rate and improve the likelihood of your orders being accepted within the price parameters you define.
Slippage is the term for when the price at which your order is executed does not match the price at which it was requested.
Therefore comparing slippage rates on stops and limits should be a vital execution metric when comparing brokers; clients should be seeking lower stop slippage and higher limit slippage. IG has asymmetric execution logic to make this happen.
1 This is based on global data for the IG Group on non-guaranteed stops only.
Another important metric to consider is maximum automatic size which ensures a client's order is executed automatically without being rejected for too large a size. If the order is rejected, the resulting delayed execution is effectively a form of slippage.
1 This is the minimum liquidity a client should usually be able to receive per trade during main market hours. A client may be able to receive more depending on broker exposure.
The absence of manual orders increases the speed of execution you receive and improves the likelihood of us being able to execute your order at the specified price.
In instances where a greater period of time has elapsed from the order being requested to it being filled, there is an increased likelihood of the price deviating from the one requested.
If you don't have enough funds in your account to keep your trades open, you'll be put on margin call.
This refers to when the total capital you've deposited - plus or minus any profits or losses - drops below your margin requirement.
At this point, your positions will be at risk of being automatically closed out.
When we execute orders or your behalf, we will act in a fair and consistent manner in accordance with our order execution policy.
This policy outlines the factors we consider and the steps we take when handling and executing your orders. You can see a summary of that policy below, along with a list of the execution venues, exchanges, liquidity providers or brokers we may rely on to execute or price your orders.
PDFs require Abobe Reader, which is available free from Adobe.
We offer two-way quotes on a variety of markets outside of their traditional trading hours. This enables us to offer continuous, fair trading opportunities, even when the underlying market is shut. However, in these circumstances we cannot draw on the current market price as a reference, so will instead create our own prices to reflect our view of a market's prospects.
For example, we might price an out-of-hours index by taking into account the performance of other indices around the world that are open. We might also account for our overall clients' trading activity on the out-of-hours market, or factor in news stories that break outside of the trading session. Since our out-of-hours prices are market made, automatically priced off of moves in correlated markets, you'll find that our spreads are generally wider than during normal trading hours. This is all done with our clients' best interest in mind.
Remember, out-of-hours prices may be very different to those available when the market opens next, so trading on them could lead to a profit or loss that would not have otherwise been incurred if you'd waited.
To trade digital 100s, you'll need to qualify for an IG professional account.
Digital 100s enable you to trade on whether statements about the future behaviour of a market will be true or false. For example: 'EUR/USD to be above 11446.1 at 4pm' or 'Silver to be below $14.00 per ounce at the close of trading'.
Each digital 100 is priced between 0 and 100. The closer the price is to 100, the more likely it is the statement in question will be true. The closer it is to zero, the more likely it is it will be false.
If the statement you trade on does indeed end up being true, the digital 100 would close with the price settling at 100. If on the other hand the statement turns out to be false, the digital 100 price would settle at 0.
At its heart, best execution refers to our obligation to take all sufficient steps to consistently obtain the best possible result when executing orders on our clients' behalf.
Best execution is a requirement of the EU Markets in Financial Instruments Directive (MiFiD) and the Financial Conduct Authority (FCA), and applies to all firms regulated in Europe who execute orders on behalf of retail and professional clients.
What do you consider when executing my orders?
When executing your orders, our intelligent execution technology will automatically consider your individual request and the characteristics of the underlying market, including the fairness of price and likelihood of execution.
We offer over 15,000 markets to 185,000 clients (May 2017) across the globe. With more than 40 years' experience of interacting with and learning from the markets, we have taken great care to determine the best approach when executing orders for every product we offer.
An OEP, or order execution policy, is a document produced by each regulated financial services firm in the EU. It details all the execution parameters that a firm deems important to obtain the best possible result for its clients.
This includes the steps taken to achieve best execution – taking into account the nature of the client's order, the priorities the client gives in filling that order and the market in question.
How does best execution affect me?
All financial services firms in the EU that execute orders on behalf of retail clients are required to offer best execution. However, it is up to individual firms to install systems and procedures that deliver, review and monitor this. Best execution will therefore vary between firms, and an order executed by one could achieve a different result to another.
We aim to be transparent in our approach and provide you with information that enables you to assess both our execution practices and their results. You can find this information within our customer agreement and summary order execution policy. You'll also be able to see details of our execution quality over time, and understand how our practices can benefit you.
If you'd like to see full details of all our products, please visit the individual 'product details' pages on our website.
Has best execution always been important?
Delivering best execution has always been important, and we monitor our execution statistics each month to ensure we're doing all we can to achieve the best possible result for our clients. By publishing these statistics, we're being completely transparent about our performance.
How do you monitor best execution?
We monitor a variety of execution performance metrics through a monthly report. In the report, we focus on monitoring the execution factors that are deemed the most important for achieving the best possible outcome for our clients. You can find these execution factors in our summary order execution policy. On an annual basis we also provide you with information on our quality of execution (RTS 28).
For more information on best execution, please refer to our regulatory disclosures updated on a regular basis under MIFID II reporting obligations.
1 An 'active' order, submitted through our platforms, is where you give us an instruction to execute an order immediately. As opposed to 'passive' orders where you give us an instruction to execute an order later, subject to the price moving to a specific level.


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text:
Gregorio Prieto work
Federico García Lorca room
Other artists permanent work
Museum Image Gallery
Inicio / Biography
This bio is based on biographic information on Gregorio Prieto and his friends and contemporaries, on the documentation held in the Gregorio Prieto Foundation's library and archives and on the work of Vicente Nello, manager of the Gregorio Prieto Foundation, published in 1997in the catalogue Gregorio Prieto y las vanguardias (Gregorio Prieto and the avant-garde).
VALDEPEÑAS AND MADRID: THE EARLY YEARS.
On 2 May 1897 Gregorio Prieto Muñoz, was born in Valdepeñas, Ciudad Real, to Ildefonso Prieto, a carpenter, and Froilana Muñoz, who would die two years later.
In 1900 Prieto's father married Tadea Solance and opened a business, "El Bazar Español", on the ground floor of the family home.
Towards 1905 the family moved to Madrid, where Prieto's father opened a cabinetry workshop.
Gregorio Prieto discovered his passion for painting very young, and had to hide it from his disapproving father. He studied engineering for three years at Madrid's Escuela Industrial. He did not do well in his studies and went on to work in various trades with equally disappointing results, all the while secretly preparing for the entry exam for Madrid's Real Academia de Bellas Artes de San Fernando.
In 1915 he passed the exam and was offered a place, which convinced his reluctant father to allow him to study painting. He began his degree in Fine Arts the same year. His teachers included Ramón del Valle Inclán and Julio Romero de Torres and he soon became friends with his classmates Rosa Chacel, at that time a sculpture student, Timoteo Pérez Rubio, José Frau and Joaquín Valverde.
MADRID: FIRST EHIBITIONS. FRIENDSHIP WITH YOUNG POETS.
In 1919 Prieto held his first solo show at the Ateneo de Madrid and attracted positive attention from critics. Through this exhibition he met Daniel Vázquez-Díaz, who had recently arrived from Paris.
In 1920 he exhibited at the Ateneo de Bilbao, where he met the painter Aurelio Arteta.
He also participated in various joint exhibitions in 1920, and was awarded a study grant by the Ciudad Real Provincial Council.
He held further exhibitions in 1921 and 1922 and met the artist Jesús Olasagasti, who painted a portrait of him. He also exhibited his work in Barcelona, and was awarded the third medal in the Spanish National Fine Arts Exhibition. Towards 1922, he met Rafael Alberti, which was the beginning of a close, lifelong friendship. At that time, Rafael Alberti was a young painter whose interest in painting was dwindling as his passion for poetry grew. Gregorio Prieto painted two portraits of Alberti.
In 1924 Prieto exhibited his work in the Museum of Modern Art, and Enrique Díez-Canedo wrote a presentation in the exhibition catalogue. It was at this exhibition that he met Federico García Lorca, which whom he would become great friends.
Prieto paid frequent visits to García Lorca, who lived in the students' halls of residence, and there he met Juan Ramón Jiménez and Emilio Prados, among others.
Over these years he met many of the people who would go on to become his closest friends, including Vicente Aleixandre, Concha Méndez, María Zambrano and Concha de Albornoz. At the home of Concha de Albornoz, he met Luis Cernuda. He also knew Juan Chabás, Ernesto Giménez Caballero, José Bergamín, Manuel Altolaguirre and Maruja Mallo.
The Committee for Extension of Studies awarded Prieto a grant to study painting in Europe for three years. He moved to France, to study at the Colegio de España in Paris.
In Paris he met Alfonso Reyes, the then Mexican Ambassador in France, he accompanied Miguel de Unamuno on a trip to the city, he met José María Hinojosa, whose portrait he painted, and he spent time with Spanish painters including Francisco Bores, José María Ucelay, who painted his portrait, Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Torres García. He also became friends with the French poets Jean Cocteau, André Bretón, Max Jacob, Paul Valéry and Jean Cassou, and the Italian painter Filippo de Pissis.
Upon his return to Madrid, Prieto was awarded a study grant from the Academia de España in Rome, and set off to spend four years in Italy.
Before leaving for Rome he held an exhibition, organised by Spain's Friends of the Arts Society (Sociedad de Amigos del Arte). The exhibition catalogue featured introductions by his friends Vicente Aleixandre and Rafael Alberti. A leaving banquet was held in homage to Prieto, attended by Federico García Lorca, Vicente Aleixandre, Dámaso Alonso, Concha Méndez, Jesús Olasagasti, Joaquín Valverde, Daniel Vázquez-Díaz, Victorio Macho, Francisco Ayala and Enrique Díez-Canedo, among others.
Once he was settled in Rome, he resumed contact with his friend Filippo de Pissi, who is very likely to have introduced him to Rome's art scene. There he met F. T. Marinetti, Bragaglia, Carlo Carrá, Giorgio de Chirico, Corrado Cagli, who painted his portrait, F. Longhi and the writers Alberto de Moravia and Margherita Sarfatti.
He travelled broadly in southern Italy over these years, visiting Naples, Palermo, Taormina and Capri, where he met and painted a portrait of Greta Garbo.
He exhibited his work at the Rome Art Association – Alfonso Reyes dedicated a poem to him in the exhibition catalogue – as well as in Milan and the Casa d'Arte Bragaglia in Rome.
In 1931, Ramón del Valle-Inclán was appointed director of the Academia de España in Rome.
Around this time, Prieto met Eduardo Chicharro at the Academia de España, giving rise to a great friendship and an intense joint project which would result, among other creations, in a spectacular series of photographic portraits.
He travelled around Greece and its islands, and exhibited in Athens. The poet Kostis Palamas, who at that time was President of the Spanish-Greek Association, wrote about Prieto's paintings in the local press.
Prieto returned briefly to Spain. He then moved to Paris, but continued to travel around Europe, holding a number of exhibitions during these years: Berlin, Copenhagen, Oslo and Athens.
He met Manuel Altolaguirre in Paris in 1931 and painted his portrait twice. Altolaguirre printed his book of drawings, Cuerpos (Bodies).
He travelled to Egypt and exhibited in Cairo.
Prieto donated two oil paintings to Madrid's Museum of Modern Art – Caballo de Bronce (Bronze Horse) and Ruinas de Taormina (Taormina Ruins) – in appreciation of the grant for his stay in Rome. The Jeu de Paume Museum in Paris bought his oil painting Hombre y Caballo (Man and Horse).
In 1935, at a joint exhibition of modern Spanish painters, Prieto met Pablo Picasso. He travelled to England that same year and met up with his friends Concha Méndez and Manuel Altolaguirre, who were married by that time. He moved temporarily to England, where he lived in Oxford and Cambridge.
In 1936 he published a portfolio of drawings called An English Garden, featuring a poem by Ramón Pérez de Ayala, who at that time was the Ambassador of the Spanish Republic in London.
Prieto returned to Madrid to present an exhibition of his drawings at the National Museum of Modern Art. He was caught unawares by the outbreak of the Civil War, and was able to leave Spain thanks to his status as a British resident.
He exhibited his oil Luna de Miel en Taormina (Honeymoon in Taormina) in the Spanish Pavilion at the International Exhibition in Paris.
He moved to London and in these early, cash-strapped years, lived in Rafael Martínez-Nadal's home with Luis Cernuda. In 1939, he designed the set for a performance of García Lorca's La Zapatera Prodigiosa (The Shoemaker's Prodigious Wife) at King's College.
During World War II he split his time between Oxford and London, working on the BBC radio show run by Martínez Nadal and lecturing in London, Liverpool, Oxford and Sheffield. He also published the collection of drawings Estudiantes (Students).
In 1945, Luis Cernuda, who was working for the Spanish Institute in London, went to live in Prieto's house, where he would remain until leaving for America in 1947. He began his series of drawings on Shakespeare's Sonnets and John Milton's Paradise Lost.
In late 1947 he returned temporarily to Spain at the invitation of Walter Starkie, director of the British Institute in Madrid, to hold a series of exhibitions of his drawings.
RETURN TO SPAIN. THE VALDEPEÑAS MUSEUMS.
Prieto inaugurated the exhibition of his drawings of the Sonnets, Paradise Lost, An English Garden, the Students collection from Oxford and Cambridge and his various portraits of his poet friends at the British Institute in Madrid. After the exhibition ended, a dinner was held in his honour by his friends the Duke of Alba, Vicente Aleixandre, Enrique Azcoaga, Gerardo Diego, Edgar Neville, Adriano del Valle, Leopoldo Panero, Enrique Lafuente Ferrari, Gregorio Marañón, José Camón Aznar and José María Cossío, among others.
The travelling exhibition held at the various branches of the British Institute around Spain was a success, and was inaugurated in Barcelona, Seville and Gibraltar.
Valdepeñas made Prieto an "Hijo Predilecto" (Honoured Citizen) and offered him the opportunity to build a windmill-museum, an opportunity he was delighted to accept.
In 1950 he moved to Spain definitively. He maintained his old friendships with Vicente Aleixandre, Eduardo Chicharro and Juan Alcaide Sánchez. In 1968, the Gregorio Prieto Foundation was founded
During these later years, there were constant exhibitions in Spain and abroad, and Prieto received huge public acclaim. He also published the books Poesía en Línea (Poetry in Line), El Libro de Gregorio Prieto, Lorca y la Generación del 27 (The Book of Gregorio Prieto, Lorca and the Generation of '27), Verso en Línea (Verse in Line) and Cernuda en Línea (Cernuda in Line), among many others
On 13 November 1982, the windmill-museum, Museo de los Molinos, was opened in Valdepeñas.
In May 1987, the first phase of the Gregorio Prieto Foundation Museum was inaugurated, and Prieto's friends Rosa Chacel and José Hierro spoke at the ceremony.
In 1988, Prieto suffered a fall and broke his hip, confining him to a wheelchair in the final years of his life.
On 19 February 1990, King Juan Carlos I of Spain inaugurated the Gregorio Prieto Foundation Museum.
Also in 1990, Prieto was awarded the Gold Medal of Castilla-La Mancha and was named an Honorary Academic by the Real Academia de Bellas Artes de San Fernando.
Gregorio Prieto died in Valdepeñas on 14 November 1992, at the age of 95.
Gregorio Prieto works
Gregorio Prieto Museum
Gregorio Prieto Foundation
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A clique is about two things: being cool and being exclusive. Not everyone can weasel their way into the cool club, but those who can get into one group of cool friends, can often get into another. Gwyneth Paltrow might hold court in London with pals like Stella McCartney and Liv Tyler, but she also has an open invite into Jay-Z and Queen Bey's super cool kingdom.
The cliques on our list are all at the head of the class, but which one is the coolest? Which one stole their name from another classic celebrity clique? And which is the one you'd most want to join?
Check them out and then vote for which celebrity clique you'd most want to party down with!
Which Celebrity Clique Would You Most Want To Party With?


text:
Back on Ice: NHL, Players' Union Reach A Deal
By IRA PODELL, associated press — Jul 14th, 2005
Open the arenas, break out the skates and fire up the Zamboni.
The NHL is back.
After losing an entire season to a lockout, players and owners ended an all-night bargaining session Wednesday by reaching their goal: a tentative deal, expected to include a salary cap, that virtually ensures hockey will return this fall.
The six-year pact still needs to be ratified by both sides. The players' association has scheduled a members meeting in Toronto next week, while the NHL board of governors will gather next Thursday in New York for a vote.
"It's a new day," Philadelphia Flyers coach Ken Hitchcock said. "It's pretty exciting."
And about time.
"At the end of the day everybody lost," said Wayne Gretzky, the NHL's career scoring leader and the managing partner of the Phoenix Coyotes. "We almost crippled our industry. It was very disappointing what happened."
The last round of negotiations began Tuesday at noon and culminated around noon Wednesday.
Though details won't be released until both sides approve it, a salary cap would be something players' union executive director Bob Goodenow never wanted.
Once everyone signs off on the deal, the league can begin the difficult task of gaining public support. No matter who won or lost, the fight cost the NHL a full season.
"To be totally honest, I really don't care what the deal is anymore. All I care about is getting the game back on the ice," Flyers star Jeremy Roenick said.
"I think the deal is not great for the players. It is definitely an owner-friendly deal. For the last 10 years, the players have made a lot of money and now we are in a position where everybody is going to make money," he said. "Unfortunately, it had to take a whole year to get to a point where we could have been last year."
This lockout was worse than any in sports, dwarfing the one that cut the 1994-95 hockey season nearly in half and resulted in the agreement that expired last September.
In February, commissioner Gary Bettman canceled the season, making the NHL the first North American sports league to lose a year because of a labor dispute.
While the NHL seems to have gotten what it wanted, there is no way to measure the damage done to a sport that already was the least popular of the four major leagues in the United States.
If all goes according to plan, a scaled-down draft is expected to be held later this month and training camps will open in September from Vancouver to Miami.
NHL games will be back on the schedule in October.
The expected salary cap likely will have a ceiling of $39 million and a minimum around $22 million.
Player salaries will not exceed 54 percent of league-wide revenues, expected to be around $1.8 billion. Players will also put money into escrow, and after each season that will be used to balance out the set percentage based on actual revenues.
When the league relaunches in the fall, it will do so with a new salary structure that keeps high-spending teams such as Detroit, Toronto, Philadelphia and the New York Rangers in check.
The first order of business after ratification will be to get a majority of the players signed. The belief is that last season's contracts will be wiped from the books, leaving many players without deals.
Those who are still under contract will have their salaries reduced by 24 percent, a concept first proposed by the union last December.
Some high-priced players will also be on the market as teams pare payrolls to get down to the cap.
Even with the salary rollback, nine teams would've been over the cap based on payrolls at the end of the 2003-04 season.
There will also be rules changes, some that could include the size of goaltender equipment to a shootout to eliminate tie games.
Lots of talk, but no progress
TORONTO (AP) Labor talks between the NHL and its players' union resumed Wednesday, but both sides said no progress was made toward a deal. The four-hour session in the union's Toronto office was their first meeting since July 21, when the league presented six ... [Read More...]
Stop the puck! owners lock out their players
Nashville's Scott Hartnell packed his gear after working out at the team's practice facility Wednesday. AP photo by Mark Humphrey NEW YORK (AP) -- The National Hockey League is locking out its players starting Thursday, threatening to keep the sport off the ice ... [Read More...]
NHL and union reject new proposals
BETTMAN TORONTO (AP) — The NHL rejected last week's proposal by the players' association and then had its own counteroffer turned down Tuesday during a 31/2-hour negotiating session. NHL commissioner Gary Bettman said the offer made by the union last Thursday, which featured a 24... [Read More...]
Game Off! Season canceled
NHL Players Association executive director Bob Goodenow said: "Keep one thing perfectly clear. The players never asked for more money — they just asked for a marketplace." AP photo by Frank Gunn NHL commissioner Gary Bettman responded to a question during a news ... [Read More...]
Labor talks to resume today in Chicago
NEW YORK (AP) — With nothing to lose but the rest of the hockey season, Vancouver Canucks forward Trevor Linden thought his idea was worth a shot: Get together a small group of representatives from NHL management and the players' union and try to ... [Read More...]


I'm tinkering with generative writing, and searching for some tools to help me automate a cut-up method, starting from a variety of source texts. Along the way, I discovered a bit of software called dadadodo. Trouble with that is, it is a command line tool for Unix, and I'm not so skilled in that department. Enigmarelle Development did make a freeware version of it for the mac, but that was back in 2006? The app no longer works on newer macs. I'm posting it here for safe keeping, and in the hopes that somebody can help me to update this to a usable point.
update: a day later, the app has been updated to run on newer macs.
Adding files Add files to your project by dragging them into the list view. You can also use the 'Add Files' button or menu item (under the File menu.) Acceptable file types are text or HTML files. Unix .mbox files should also work, but haven't been tested.
Generating text Generate text from your source files by clicking your mouse on the 'Generate' button in the project window, or use the 'Generate' item in the File menu. With the 'Output HTML' checkbox checked, text will be output and saved in HTML format; with it unchecked output will be in plain-text format.


The SANTORINI men's shirt is made from linen and cotton, taking the best of these two materials in order to make a shirt that is as fresh as a linen one but with a little more structure from the cotton. It's one of our bestsellers.
PANAREHA's men's summer shirts offer cool and relaxed styles that can be worn on all occasions during the summer season. They come in our summer fit, developed in between the tailored and the classic fit, that guarantees the comfort and the style you want on a summer shirt.
Santorini is one of the Cyclades islands in the Aegean Sea, being the most popular island in Greece. It was devastated by a volcanic eruption, forever shaping its rugged landscape. The whitewashed, cubiform houses of its 2 principal towns, Fira and Oia, cling to cliffs above an underwater caldera (crater). There are few travel destinations that combine beautiful beaches, spectacular scenery, ancient cities, amazing restaurants and an active volcano. Santorini has all this and more.


Please not that our PE days have change and are now Thursday (Outdoors) and Friday (Indoors- gymnastics).
fully labelled with their names, and that all earrings are removed.
Reading books are changed weekly, however, if you child has finished their book it can be changed sooner.
Please make sure that your child brings their book bag daily.
This term we are learning about dinosaurs. We have asked children to bring in a shoe box or similar in as we are going to build a "Jurassic world". Children will be developing their artistic skills and exploring different media as they develop their "worlds". We will also be learning about different dinosaurs and the different historic periods of the prehistoric world. Children will be developing their enquiry skills as we research and investigate to find out more about the different aspects of dinosaurs.
We are also reading and learning the story of "The dinosaur that lost his roar" by Russell Punter.
We have been learning to tell the time to the hour and half hour and we are developing our knowledge further with adding and subtracting and finding out about missing numbers.
In science we are learning about animals and their habitats. We are learning about mammals, reptiles, amphibians, fish and birds. Topics will include herbivores, carnivores and omnivores as well as investigating about which animals are warm or cold blooded.
Some links to support your child's learning in Year 1.


The PA2120 combines a familiar, unassuming construction with efficient, flexible performance. It also offers mixing capability with source EQ (Bass/Treble), as well as a number of the same acclaimed Yamaha state-of-the-art DSP technologies featured in our professional audio gear. Whether providing background music for a cafe or restaurant, or powering a conference room or any number of applications requiring a microphone, the PA2120 provides you with a simple, yet powerful function to help shape your ideal commercial sound environment.


Tape à l'oeil, the brand that reveals and boosts kids' talents.
A super festive shoot to celebrate a year of collaboration with Tape à l'oeil. Showcasing clothes for all end of year special events, this collection was put forward in the setting of a colourful circus.
We use the content to produce all store content, from the window to all formats used in store.


Prepare for leadership careers in the biotech industry with our 10-month Berkeley Master of Engineering in Bioengineering. Learn practical problem solving and core management concepts as well as honing your technical skills with our integrated engineering and business curriculum. You'll tackle actual industry challenges through case studies and your capstone project.
Introduces you to major problems addressed by bioengineers today, along with the modern methods used to solve them. Exposes you to bioengineering research through hands-on projects in faculty labs and to entrepreneurship practices through classes and research.
Exposes you to unmet clinical need areas directly from subject matter experts. Help you analyze and correlate engineering principles to existing medical, pharmaceutical products. Prepares you for engineering careers in industries with the full spectrum knowledge of technology-to-product pathway, including applied technical skills and commercialization steps.
Prepare for a range of career options within industries developing and/or applying multi-modal imaging modalities. Course work emphasizes fundamental mathematics and physics alongside engineering principles for design innovation. Career options range from application of pre-clinical imaging in pharmaceutical testing, to engineering of novel imaging devices and modalities, to clinical research and application of emerging methodologies.
Prepares you for careers in industries that apply fundamental biomaterials science and device design to markets for clinical product manufacturing, medical implants, pharmaceuticals, diagnostics, wearable technology, and other related fields.
Teaches you how living systems sense, process, and respond to mechanical forces. Prepares you for a wide variety of career paths, including biomaterials, stem cell engineering, and medical devices such as orthopedic implants and cardiovascular grafts.
Prepares you for a career managing and analyzing genomic and molecular data, applying techniques like statistical modeling, machine learning, databases, scripting, and bioinformatics tool development/deployment in fields such as precision molecular medicine, genetic engineering, and biotechnology.
Prepares you to design and build novel biological functions and systems by applying engineering design principles and computational tools to biology to produce materials more cheaply and sustainably, and to design and construct better-performing genetic systems quickly, reliably, and safely.
If you have specific questions about the UC Berkeley Bioengineering MEng program, please contact bioe-grad@berkeley.edu.
Please note: Berkeley also offers a Master of Translational Medicine (MTM) degree, which is sponsored jointly by UCSF. We urge applicants to consider both masters programs and choose the one that is right for them. If you have specific questions about the MTM program, please contact the MTM Executive Director at mooseo@berkeley.edu.
April 25, 2019, 6–7:15 p.m.
April 30, 2019, 12:15–1:30 p.m.


"A lot of visitors would like to enjoy beaches, but still a lot of visitors would like to enjoy various kinds of plants, green forest, waterfall and wildlife. "
Kanchanaburi, or Muang Kan for short, is a province on the west of in Thailand, where it is a place for enjoying natural atmosphere. This province is not too far from Bangkok, only about 129 kilometers or about two hours by car. Not surprisingly, it becomes so popular for both foreign visitors and local residences.
As recently more and more visitors have known that Kanchanaburi offers either one day trip (from Bangkok) or a long trip towards visitors, it becomes even more popular than it was. Those who would like to get away from Bangkok to release their stress in a natural attraction at Kanchanaburi for a day trip. On the other hand, it is also obviously that a number of backpackers who like adventures are steadily increasing. Moreover, with development for tourism, Kanchanburi now is easily accessible. Many destinations have already been connected to a street.


Born in Klövsjö, Sweden on 15th April 1936; died in Stockholm, Sweden on 1st November 2013. Sten Hanson made his appearance in the early sixties as an experimental poet and composer. From an early stage he was aware of the importance of tape-recording techniques in the renewal and development of poetry's resources. Text-sound-visual image, often combined with intensely personal 'live" performances, are vital ingredients in Sten Hanson's artistic workmanship and he is ore of the forerunners in the field of multi-media art. His works include electro-acoustic pieces as well as instrumental and vocal compositions. From the end of the sixties up to 1979, he worked essentially with electroacoustic music and created, with Lars-Gunnar Bodin, Åke Hodell, Bengt Emil Johnson, the theory and the practice of a new aesthetic field: "The electronic text-sound". Sten Hanson realized a large number of works in various styles : works for television, ballet music, performances, audiovisual performances assisted by computer, pieces for instruments and tape and/or electronics, works for orchestras and computer music. Hanson was member of the International Society for Contemporary Music (ISCM) International. In Sweden, he was Director (1968-1977) and then Chairman (1980-1984) of Fylkingen, chairman of the ISCM (1975-1981), member of the Royal Academy of Music of Sweden and President of the Swedish Composers' Union (1985-1994), chairman of the International Confederation of Electroacoustic Music (ICEM) from 1997 to 2002.


text:
"""Playing with tablib. This is just a scratchpad."""

import tablib

data = tablib.Dataset()

with open('email.csv', 'r') as f:
	data.csv = f.read()

print data.dict

#with open('test.csv', 'wb') as f:
#	f.write(data.csv)


text:
The Collège Louis-Michel, named after French anarchist Louise Michel is located in Paris at 11 , on the bank of the canal Saint-Martin.

Overview
Collège Louis-Michel is a secondary school of approximately 500 pupils from 11 to 15 years of age. Subjects taught include French, Chinese, German, Latin, Spanish and English.

The students are of 20 nationalities. The school is classified as ":fr:Zone d'éducation prioritaire" (Priority Education Zone) which provides additional financial means and teaching aid.

Construction
The first building was built by the architects Daniel and Lionel Brandon  and assisted by Raoul Brandon based on a scheme dating back to 1933. The first stage was completed in July 1937 and the construction was finished in 1939 by Édouard Boegner. A bas-relief realized in 1936 by François Bazin, representing an allegory of education, decorates the facade.

In the beginning of the 2000s, the Departments of France wished to restructure and extend the Collège to adapt its premises to a capacity of 20 classes, improve the functioning of the cafeteria and increase the playground surface. Therefore, they bought a plot located on the other side of Jean-Poulmarch street for the construction of a second building. The Departments of France requested that the Council of Paris declassify the street in front of the existing building. As a result, it would be possible to build on-surface in order to provide a link between the 2 parts of the school.

In September 2002, a contest was launched for the construction of the new building, the reshuffling of the existing one, and to design a link between the 2 buildings in order to allow easy access for students between the two. However, the original submission did not successfully meet the criteria of linking the two sides of the street.

The contest and limitations were deemed a "Critical analysis of an architectural project with counter-proposal" for the "external and internal contest for hiring architects and town planners" organized in 2005 by the Transportation, Equipment, Tourism and Sea Ministry.

The new guidelines were to:

 Prepare a note to the Prefect, while looking into the relevance of the planning, especially the link between the projected construction and the street;
 Analyse the architecture and urban project;
 Propose modifications or alternative solutions.

The project of the Badia Berger firm of Architects was finally successfully agreed and delivered in June 2007.

Between 2002 and 2007 the second building was constructed, with a tunnel linking the two parts of the school.

References

External links
 Collège Louise-Michel page on ac-paris.fr

Schools in Paris
Buildings and structures in the 10th arrondissement of Paris

redpajama_set_name: RedPajamaWikipedia


text:
Amalfi Coast villa rental
The magical yet true story of La Grotta dei Fichi starts off with an unusual graduation present: a rocky path.
This was the bizarre present given by a father to his son to congratulate him on becoming a doctor of medicine.
A long, narrow path cut out from the rocks falling sheer down to the sea.
A path where peasants used to take advantage of the constant exposure to the sun, and the natural protection from the wind and rain provided by the mountains to dry out figs on wooden pallets.
Well, what could be done with this exposed path jutting out over the sea?
The newly qualified doctor had a clear plan in mind: under his white coat there beat the heart of an architect.
Before long our young doctor is investing his first earnings in his dream: a Villa embedded into the rock, in perfect harmony with its surroundings.
Building work soon starts and our hero has joined forces with a team of workers who don't shy away from even the riskiest of tasks to follow the guidelines of such a bold venture.
Every detail is designed in harmony with the natural heritage and beauty to be found on the Costiera. The idea is to create a dream, to make something magnificent rise up from nothing.
First, the bar area is carved out of a natural cave and then the swimming poolwith its portholes overlooking Li Galli islands, which have been hailed by many cultural personalities and chosen by Massine and Nureyev as the ideal location for one of Europe's most prestigious dance schools.
But as we all know, sometimes it takes dreams a long time to come true. Time goes by, the project evolves. No resource is spared in the completion of La Grotta dei Fichi, the final version of which produces a genuine "architectural gem" set in the rocks. It has become a quite unique, private place far from prying eyes.
A place that is a favoured refuge for many leading figures from the world of culture and art, on the look out for an exclusive place of total tranquillity, offering top class comfort, while at the same time, surrounded by uncontaminated, wild nature.
Then the "Pensatoio" was created. A unique setting completely jutting out into the sea of Positano and isolated from the rest of the Villa and indeed from the world. A place where the only commotion entertained is the uncontrolledstream of thoughts breaking against the rocks at the foot of the Villa.
Maybe this is the very spot where the hero of our story continues planning and drafting the outlines of his dream, a dream which took 30 years to come true: along a pathway lined with obstacles, changes of direction, but of immense satisfaction too.
Entrance and alley
Grotto bar
Subscribe to our free Newsletter to be informed of our special offers and to receive news on events at La Grotta dei Fichi.
La Grotta dei Fichi rated "excellent" by 6 travelers
With all due precautions, the excavations of Pompeii are finally accessible to the general public again.
SKY Bedroom
Click here to check for availability and make a booking request.
Look at the pictures of our enchanted villa.
The phototgraphic tour of the villa.
Amalfi Coast – Italy | Phone: +39 334 8365903 | Email: info@grottadeifichi.com
© 2021 La Grotta dei Fichi - Made by Zaniah


I just LOVE-LOVE-LOVE crabs so was wonderfully surprised to see a crab recipe in Celia's The Complete UAE Cookbook.
I'm not finicky (like my habibi) about using my fingers to dig out all the crabmeat goodness from the body and then licking my fingers at the very end (although I am mildly shy to do it in public unless everyone else is doing it). However, I've never prepared my own crabs before and was very excited to give it a go. I made this recipe in conjunction with the Emirati baked fish from last week.
This is a very seasonal modern dish using local crabs which are very tender. While crabs in city fish markets tend to be on the small side, those found on the east coast from the Gulf of Oman area, are much larger and sometimes tastier.
Crabs are in season for only four to five months of the year: the frozen variety may be substituted but the flavour may be lost in the freezing process. This dish is usually served in the evening as an hors d'oeuvre, and it is customary to eat it with the finger tips.
The shell and membranes are discarded before the legs and the body is opened and the flesh removed.
I bought five nice-sized local crabs (0.695 kg) from Lulu hypermarket at 14.90 dhs per kg ($1.80 / lb). There were bigger crabs from Pakistan that the fishmonger was trying to sell me but I wanted to be true to the recipe so I opted for the local crabs.
I added all the spices and the chopped onion to a large stockpot filled with four quarts of water and brought it to a boil. I often wonder if I am supposed to do anything with the whole loomi before I throw it into the pot like prick it with a knife or fork to allow the flavors to come out better but the skin seems quite tough and for fear of injuring myself, I just leave it alone and throw it into the cooking untouched.
While waiting for the stock to boil, I washed the crabs but didn't shell them as per the instructions. Even though I have watched my mom shell crabs countless times, I was really not looking forward to that part so was glad that I didn't have to attempt the dreaded deed. For those who are interested, a nice demonstration on cleaning and shelling crabs can be found on Chef and Steward, another Dubai-based fooderati.
Once the stock came to a boil, I put the crabs in and simmered for 15 minutes. They turn red within a minute of being placed in the stock and I was worried that perhaps there was a typo in the recipe and that Celia meant 2-5 minutes instead of 12-15 minutes – but a quick Google search on crab boiling times quickly set my anxiety at ease.
After the crabs were removed from the stock and cooled, it was time to crack open those shells and and dig my fingers in! Celia says to discard the shell but some of the best parts of the crab can be found there as there is always tomalley hidden away on the sides of the shell that can be easily removed with a small spoon. And oh how I just love tomalley and I don't care if other people think it's gross!
I'm not sure if I was supposed to be able to taste the Arabic spices in the flavor of the crabs because I certainly didn't. However, despite not tasting "Arabic," the crab meat was sweet, tender, and delicious.
Scotch was at first apprehensive to try the local crabs and was worried that they would taste funny based on the stock I made but after a few pointers on how to best get the crabmeat out with his fingers, he eventually dug in and soon started to enjoy the taste and the experience. "Apprehension removed," he said.
I love how fearless you are with your cooking. Live lobsters, crab! All things I love to eat, but am timid to prepare. Oh, and I heart tomalley too. It's the best part!
I still prefer chinese crab recipes, especially the dry chilli style (Kam Hiong)!