text:
@ECHO OFF
SETLOCAL EnableExtensions EnableDelayedExpansion

ECHO Build Amqp.Net Lite
ECHO.

SET return-code=0

SET build-sln=amqp.sln
SET build-target=build
SET build-config=Debug
SET build-platform=Any CPU
SET build-verbosity=minimal
SET build-test=true
SET build-nuget=false
SET build-version=

IF /I "%1" EQU "release" (
  set build-target=build
  set build-config=Release
  set build-nuget=true
  SHIFT
)

IF /I "%1" EQU "clean" (
  set build-target=clean
  SHIFT
)

IF /I "%1" EQU "test" (
  set build-target=test
  SHIFT
)

IF /I "%1" EQU "pack" (
  SET build-target=pack
  set build-config=Release
  set build-test=false
  set build-nuget=true
  SHIFT
)

:args-start
IF /I "%1" EQU "" GOTO args-done

IF /I "%1" EQU "--solution" GOTO args-solution
IF /I "%1" EQU "--skiptest" SET build-test=false&&GOTO args-loop
IF /I "%1" EQU "--nuget" SET build-nuget=true&&GOTO args-loop
IF /I "%1" EQU "--config" GOTO args-config
IF /I "%1" EQU "--platform" GOTO args-platform
IF /I "%1" EQU "--verbosity" GOTO args-verbosity
SET return-code=1
GOTO :args-error

:args-solution
  SHIFT
  SET build-sln=%~1
  GOTO args-loop
:args-config
  SHIFT
  SET build-config=%1
  GOTO args-loop
:args-platform
  SHIFT
  SET build-platform=%1
  GOTO args-loop
:args-verbosity
  SHIFT
  SET build-verbosity=%1
  GOTO args-loop

:args-loop
SHIFT
GOTO :args-start

:args-error
CALL :handle-error 1
GOTO :exit

:args-done

IF /I "%build-sln%" EQU "amqp-nanoFramework.sln" SET build-test=false
IF /I "%build-sln%" EQU "amqp-netmf.sln" SET build-test=false

FOR /F "tokens=1-3* delims=() " %%A in (.\src\Properties\Version.cs) do (
  IF "%%B" == "AssemblyInformationalVersion" SET build-version=%%C
)
IF "%build-version%" == "" (
  ECHO Cannot find version from Version.cs.
  SET return-code=2
  GOTO :exit
)

ECHO Build solution: %build-sln%
ECHO Build target: %build-target%
ECHO Build version: %build-version%
ECHO Build configuration: %build-config%
ECHO Build platform: %build-platform%
ECHO Build run tests: %build-test%
ECHO Build NuGet package: %build-nuget%
ECHO.

IF /I "%build-config%" EQU "" GOTO :args-error
IF /I "%build-platform%" EQU "" GOTO :args-error
IF /I "%build-verbosity%" EQU "" GOTO :args-error

CALL :findfile NuGet exe
ECHO NuGet: "%NuGetPath%"

CALL :findfile MSBuild exe
ECHO MSBuild: "%MSBuildPath%"

CALL :findfile dotnet exe
ECHO dotnet: "%dotnetPath%"

CALL :findfile MSTest exe
ECHO MSTest: %MSTestPath%

IF /I "%build-target%" == "test" GOTO :build-done
IF /I "%build-target%" == "pack" GOTO :build-done

:build-start
TASKKILL /F /IM TestAmqpBroker.exe >nul 2>&1

IF /I "%build-target%" == "clean" GOTO :build-target
IF /I "%build-target%" == "build" GOTO :build-target
ECHO Unknown build target "%build-target%"
GOTO :args-error

:build-target
SET return-code=0
FOR %%G in (%build-sln%) DO (
  CALL :run-build %build-target% %%G
  IF ERRORLEVEL 1 (
    SET return-code=1
    GOTO :exit
  )
)

:build-done

IF /I "%build-target%" == "clean" GOTO :exit

IF /I "%build-test%" EQU "false" GOTO :nuget-package

TASKLIST /NH /FI "IMAGENAME eq TestAmqpBroker.exe" | FINDSTR TestAmqpBroker.exe 1>nul 2>nul
IF NOT ERRORLEVEL 1 (
  ECHO TestAmqpBroker is already running.
  GOTO :run-test
)

SET TestBrokerPath=.\bin\%build-config%\TestAmqpBroker\TestAmqpBroker.exe
ECHO Starting the test AMQP broker
ECHO %TestBrokerPath% amqp://localhost:5672 amqps://localhost:5671 ws://localhost:18080 /creds:guest:guest /cert:localhost
START CMD.exe /C %TestBrokerPath% amqp://localhost:5672 amqps://localhost:5671 ws://localhost:18080 /creds:guest:guest /cert:localhost
rem Delay to allow broker to start up
PING -n 1 -w 2000 1.1.1.1 >nul 2>&1

:run-test
IF /I "%build-sln%" EQU "amqp-dotnet.sln" GOTO :run-dotnet-test

IF "%MSTestPath%" == "" (
  ECHO MSTest.exe does not exist or is not under PATH. Will not run tests.
  GOTO :exit
)

ECHO.
ECHO Running NET tests...
"%MSTestPath%" /testcontainer:.\bin\%build-config%\Test.Amqp.Net\Test.Amqp.Net.dll /nologo
IF ERRORLEVEL 1 (
  SET return-code=1
  ECHO Test failed!
  TASKKILL /F /IM TestAmqpBroker.exe
  IF /I "%is-elevated%" == "false" ECHO WebSocket tests may be failing because the broker was started without Administrator permission
  GOTO :exit
)

ECHO.
ECHO Running NET40 tests...
"%MSTestPath%" /testcontainer:.\bin\%build-config%\Test.Amqp.Net40\Test.Amqp.Net40.dll /nologo
IF ERRORLEVEL 1 (
  SET return-code=1
  ECHO Test failed!
  TASKKILL /F /IM TestAmqpBroker.exe
  GOTO :exit
)

ECHO.
ECHO Running NET35 tests...
"%MSTestPath%" /testcontainer:.\bin\%build-config%\Test.Amqp.Net35\Test.Amqp.Net35.dll /nologo
IF ERRORLEVEL 1 (
  SET return-code=1
  ECHO Test failed!
  TASKKILL /F /IM TestAmqpBroker.exe
  GOTO :exit
)

IF NOT "%build-sln:amqp.sln=%" == "%build-sln%" GOTO :run-dotnet-test
IF NOT "%build-sln:amqp-dotnet.sln=%" == "%build-sln%" GOTO :run-dotnet-test
GOTO :done-test

:run-dotnet-test
ECHO Running DOTNET (netcoreapp 2.1) tests...
"%dotnetPath%" test -c %build-config% --no-build test\Test.Amqp\Test.Amqp.csproj -- no-broker
IF ERRORLEVEL 1 (
  SET return-code=1
  ECHO dotnet Test failed!
  GOTO :exit
)

:done-test
TASKKILL /F /IM TestAmqpBroker.exe

:nuget-package
IF /I "%build-nuget%" EQU "false" GOTO :exit

IF "%NuGetPath%" == "" (
  ECHO NuGet.exe does not exist or is not under PATH.
  SET return-code=1
  GOTO :exit
)

IF /I "%build-config%" NEQ "Release" (
  ECHO Not building release. Skipping NuGet package.
  GOTO :exit
)

IF NOT EXIST ".\Build\Packages" MKDIR ".\Build\Packages"
ECHO Building NuGet package with version %build-version%
IF NOT "%build-sln:amqp.sln=%" == "%build-sln%" GOTO :package-main
IF NOT "%build-sln:amqp-vs2015.sln=%" == "%build-sln%" GOTO :package-main
IF NOT "%build-sln:amqp-dotnet.sln=%" == "%build-sln%" GOTO :package-dotnet
GOTO :package-netmf
:package-main
"%NuGetPath%" pack .\nuspec\AMQPNetLite.nuspec -Version %build-version% -BasePath .\ -OutputDirectory ".\Build\Packages"
IF ERRORLEVEL 1 (
  SET return-code=1
  GOTO :exit
)
:package-dotnet
FOR %%G IN (AMQPNetLite.Core AMQPNetLite.Serialization AMQPNetLite.WebSockets) DO (
  "%NuGetPath%" pack .\nuspec\%%G.nuspec -Version %build-version% -BasePath .\ -OutputDirectory ".\Build\Packages" -Symbols -SymbolPackageFormat snupkg
  IF ERRORLEVEL 1 (
    SET return-code=1
    GOTO :exit
  )
)
:package-netmf
IF NOT "%build-sln:amqp-netmf.sln=%" == "%build-sln%" (
  FOR %%G IN (AMQPNetLite.NetMF AMQPNetMicro) DO (
    "%NuGetPath%" pack .\nuspec\%%G.nuspec -Version %build-version% -BasePath .\ -OutputDirectory ".\Build\Packages"
    IF ERRORLEVEL 1 (
      SET return-code=1
      GOTO :exit
    )
  )
)
IF NOT "%build-sln:amqp-nanoFramework.sln=%" == "%build-sln%" (
  FOR %%G IN (AMQPNetLite.nanoFramework AMQPNetMicro.nanoFramework) DO (
    "%NuGetPath%" pack .\nuspec\%%G.nuspec -Version %build-version% -BasePath .\ -OutputDirectory ".\Build\Packages"
    IF ERRORLEVEL 1 (
      SET return-code=1
      GOTO :exit
    )
  )
)

GOTO :exit

:exit
EXIT /b %return-code%

:usage
  ECHO build.cmd [clean^|release^|test^|pack] [options]
  ECHO   clean: clean intermediate files
  ECHO   release: a shortcut for "--config Release --nuget"
  ECHO   test: run tests only from existing build
  ECHO   pack: create NuGet packages only from Release build
  ECHO options:
  ECHO  --solution ^<value^>    [amqp.sln]   solution to build
  ECHO  --config ^<value^>      [Debug]   build configuration (e.g. Debug, Release)
  ECHO  --platform ^<value^>    [Any CPU] build platform (e.g. Win32, x64, ...)
  ECHO  --verbosity ^<value^>   [minimal] build verbosity (q[uiet], m[inimal], n[ormal], d[etailed] and diag[nostic])
  ECHO  --skiptest            [false]   skip test
  ECHO  --nuget               [false]   create NuGet packet (for Release only)
  GOTO :eof

:handle-error
  CALL :usage
  SET return-code=%1
  GOTO :eof

:run-build
  ECHO Build solution %2
  IF /I "%2" EQU "amqp-dotnet.sln" (
    "%dotnetPath%" %1 -c %build-config% -v %build-verbosity% %2
    IF ERRORLEVEL 1 EXIT /b 1
  ) ELSE (
    "%NuGetPath%" restore %2
    IF ERRORLEVEL 1 EXIT /b 1
    "%MSBuildPath%" %2 /t:%1 /nologo /p:Configuration=%build-config%;Platform="%build-platform%" /verbosity:%build-verbosity%
    IF ERRORLEVEL 1 EXIT /b 1
	IF /I "%2" EQU "amqp-netmf.sln" (
      ECHO Build other versions of the micro NETMF projects
      FOR /L %%I IN (2,1,3) DO (
        "%MSBuildPath%" .\netmf\Amqp.Micro.NetMF.csproj /t:%1 /nologo /p:Configuration=%build-config%;Platform="%build-platform: =%";FrameworkVersionMajor=4;FrameworkVersionMinor=%%I /verbosity:%build-verbosity%
        IF ERRORLEVEL 1 EXIT /b 1
      )
    )
  )

  EXIT /b 0

:findfile
  IF EXIST ".\Build\tools\%1.%2" (
    SET %1Path=.\Build\tools\%1.%2
  ) ELSE (
    FOR %%f IN (%1.%2) DO IF EXIST "%%~$PATH:f" SET %1Path=%%~$PATH:f
  )
  GOTO :eof

redpajama_set_name: RedPajamaGithub


Claim your FREE tickets to Asia GT Festival at Sepang International Circuit this weekend here!
First held in 1929, the annual Formula One Monaco Grand Prix is the most popular car race of all time.
It is held on the Circuit de Monaco, where racers have to selit-selit the incredibly tight and narrow city streets, severe elevation changes and tunnels.
You cannot make a mistake here! If you do, habis kalah terus la.
As it is the most challenging course, one doesn't necessarily need a good car; but definitely has to be an amazing driver.
Also known as Indy 500, this is the grandfather of all car races.
Business Insider cited it as "arguably the fastest racing series in America." 33 cars pecut for a total of 800 km at a speed approaching 370 km/h, making it one of the most nerve wrecking race series.
The crashes are always big, and almost all racers have experienced losing control and hit the walls.
As tradition, winners kiss the brick finish line and presented with a bottle of milk?!
All those risks you took, you definitely need cold milk afterwards leh.
If you are a 90s kid, you definitely have heard of Daytona race. In fact, you must've played the game in an arcade and thought you were a terer driver even without licence.
Anyhoooo. The inaugural Daytona 500 is NASCAR's prestigious event, first held in 1959. It is the apex of stock car racing in the US, only to be rivaled by Indy 500.
The track is located in NASCAR birthplace – Daytona Beach, Florida – and the track is 800 km long.
While other modernized tracks are controlled for a relatively safe courses, Le Mans can't be tamed.
Infamously known as the "Grand Prix of Endurance and Efficiency", the race runs on Circuit de la Sarthe.
It is a mix of specialized racing roads and closed public roads. It runs for 24 hours for a whopping 5005 km!
This is the only racing event where drivers have to fix their own cars if they crash it. There was one incident where a car crashed in the middle of the night, and vanished for hours before being found again.
It is truly a class of its own and perhaps the most prestigious race of them all.
Need to pump a quick adrenalin this weekend but tak sempat to claim your FREE tickets to Asia GT Festival at Sepang International Circuit this weekend?
No problem! Just head to our booth at the festival and get yours. But remember, first come first served! So cepat-cepat ya!


For me the *top two* requirements are: *(1) exceptional intelligence* and*(2) extreme motivation.* Founders cannot build any company for the long term unless they all possess these two qualities.
Three *less conventional* requirements might be: *(3) belief*: that special little spark in any co-founder's eye that tells you they believe in what they're doing. *(4) integrity*, because without this trust cannot be built between two founders, or the founders and their future team. *(5) dedication* you need a co-founder who will _always_ have the business foremost in mind.
*Take your time.* If you don't have a co-founder, and you need one, exercise patience. This will help you make the right choice.
*Stay away from big egos.* Pay attention to the use of pronouns like "I" where it seems "we" or "the company" might be more appropriate.
*Avoid people with independent agendas*, which can create "impossible long term fits." For example, if Joe Co-founder wants to go to business school, Joe is probably not a good choice.
* Life changes: if one of the co-founders decides to change from working part-time to full time on the project, and the other doesn't it leads to conflict.
* Strengths: if co-founder has a set of skills in say operations for the last decade, its unlikely for him/her to appreciate marketing or sales (not just generically, but the process and tactics). Careful when you assign responsibility… ensure they align with the co-founder's and your strengths.


text:
Q: How do I access serial port in RED? I need to access some weighing machines via serial port. How could I red/write data from/to it using the RED Programming language ?

A: Serial port and most of I/O are not yet implemented in Red.
Please have a look at the Red Trello board to get an overview of the parts left to be done.

A: As DocKimbel mentioned, most IO support is not yet implemented, but that does not mean you can't manually implement the functionality in Red/System.
The following information is pertinent if you are compiling for Windows.
To keep things simple I'd recommend following a polling approach as described in the first half of this article.
Actually most of the functions you need are already in simple-io.reds. Specifically, you'll have to use the following functions under the simple-io context:

*

*CreateFileA

*ReadFile

*WriteFile

You may also need DeleteFileA, and GetLastError. simple-io doesn't import them (only the wide string variant on DeleteFile), so you'll have to do them yourself by importing it from kernel32.dll in stdcall mode. You'll also need to import SetCommState().
BOOL WINAPI SetCommState(
  _In_ HANDLE hFile,
  _In_ LPDCB  lpDCB
);

You will need a DCB (Device Control Block) struct for the second parameter.
Once you get it working at the Red/System level then can you wrap each of your basic com functionalities in a routine! abstracting out some of the low level c aspects and exposing the low-level code to your Red code.

redpajama_set_name: RedPajamaStackExchange


text:
The Mystery of Amelia Earhart
Amelia Earhart in 1937.
Amelia Earhart was a rebel from birth. Born on July 24th, 1897 in Atchison, Kansas, she always found ways to challenge the Victorian and Puritan expectations common to the time still set upon her and other women, defining "feminine" with a narrow scope. As a child, she even collected articles about successful women in male-dominated environments. She perfected a reckless sledding technique known as "body slamming," which usually was seen only among boys. She wanted to cut her hair short, but had to do so slowly, bit by bit, so her mother would not notice. She was ten when she first saw airplanes on display at a state fair, and this experience sparked an interest in flying that never left her.
4. Career
In 1920, Amelia's father took her to the Long Beach Air Show in California, where she paid $5 to take a short plane ride. As soon as the airplane lifted off the ground, she knew that she had to learn to fly someday herself. She worked odd jobs and saved up money to take flying lessons and, in 1921, she purchased her own plane, naming it "The Canary" for its bright yellow color. Her flying instructor, Anita "Neta" Snook, never saw Amelia as a highly skilled flyer. Her ambition and enthusiasm for flying, more than sheer skill, were what led her to become one of the world's most famous aviators. A true pioneer, Amelia was the 16th woman in the world to receive a pilot's license at the time.
3. Discoveries
Amelia went on to set many records in aviation. She set several speed records, especially in 1930 and 1931. On May 21, 1932, she became the first woman to fly solo across the Atlantic Ocean. Later in 1932, she formed and became president of the Ninety Nines, a women's aviation club designed to promote female participation in flying. Over the next few years, Amelia embarked on more "firsts", and became the first person to fly solo between Hawaii and California, and the first person to fly solo from Los Angeles to Mexico City.
Throughout her career, Amelia was always a woman in a man's world. She lived in a time just as the women's suffrage movement was starting to make headway, and she had to work hard to prove herself. This task never daunted her, and she quickly proved her prowess as an airplane pilot. Once the press began to take notice of her, she struggled to maintain the independence and personal space that were so important to her. Later in her career, she also struggled to adapt to changes in technology, and preferred to stick to old methods and technology in spite of advances in the field.
1. Disappearance
Amelia Earhart is perhaps most famous for her mysterious disappearance in 1937. She decided to embark on a record-setting flight around the equator. After travelling 22,000 miles and running into constant difficulties along the way, Amelia, and her navigator Fred Noonan, vanished somewhere over the Pacific Ocean. All searches for clues to this mystery have been fruitless. Yet her dramatic disappearance has only added to the legacy she left behind. Amelia once said her mission was to "produce practical results for the future of commercial flying and for the women who may want to fly tomorrow's planes." She accomplished this mission, and has inspired countless pilots and encouraged thousands of women across the country. Her organization, the Ninety Nines, still proudly supports female pilots today.
Jessica Lynn April 25 2017 in Society
History And Mystery Behind The Origin Of Stonehenge
Where Is Amelia Island?
More in Society
Pentecostalism
Qing Dynasty
Historical Methods Of Execution
Punjabi Language
What Was The Dawes Act?

redpajama_set_name: RedPajamaCommonCrawl


Just like a sneeze, we can catch the bad thoughts of others that can potentially misinform our decisions. I wonder if you have ever stopped to wonder why something so simple and unimportant made you so angry and anxious enough you wanted to break out in tears? Or if you stopped to think this behaviour had been witnessed by you and then made you feel incredibly uneasy, to repeat observed behaviour that wasn't even yours in the first place?
Daniel Colman (1996) stated that "anger builds on anger", I would take it further and say like anxiety it can appear contagious unless contained. And that keeping a lid on it is one of ours and society's biggest challenges.
To combat this, it's a suggestion of soothing the endless loop of what some term as melodrama or dissociative behaviour and that these thoughts being affected is a natural human trait, it's about letting it out in controlled and intelligent ways. And about protecting your own boundaries and limiting the discovery of these very raw emotions from those that could potentially do you more harm than good, especially in business.
Raw and very honest emotions should really be saved for those who care most about you and for those who can support you through, or a confidential session with your therapist.
Emotional Intelligence - so what is it and how do we tap into it in useful and meaningful ways?
Put simply, Emotional Intelligence is the capacity to be aware of, control, and express one's emotions, and to handle interpersonal relationships with balance and empathy. It's often noted that "emotional intelligence is the key to both personal and professional success". But is that really the case and really what it is? And how are these measures of success formulated? It seems a lot of pressure to conform to a perfection that even Nietzsche stated doesn't exist as far back as the late 1880's. So why then, is it that we have people striving for perfection and killing themselves to do this (not in the literal sense, but the pressure sense). And why is it, that people believe making loads of money is the success level we should all achieve? And if we don't, we are simply failures?
Recently, someone who shows great Emotional Intelligence markers is New Zealand's Prime Minister Jacinda Ardern As Ms Ardern has currently shown the world stage, Leadership and ability to navigate a path filled with trepidation and emotion. This extraordinary woman has shown what real Leadership, Emotions and Relationship development along with the importance of Empathy and compacity are, especially when thrown in at the deep end, as a consequence of the dire pursuits of terrorist and it's aftermath.
Ms Ardern's humility and ability to simply convey the very decency of human emotions and care, whilst governing, will be in written up in the history books and student records for many years to come. Which makes me ask, what do you think you would be known for? What drives you? How do you think you will be thought of, by others, colleagues, friends and lovers? Does it matter? I leave this over to you and look forward to reading your comments. Go gently.


text:
See also | Discussion Forums on the KS Toolkit
DGroups
Alternatives to DGroups
Contributed by: Andrew Hubbertz, 30 March 2008, summarizing responses to his query about alternatives to DGroups
I want to thank everyone who responded to my request for alternatives to DGroups. I tried to reply to each personally; my apologies to anyone I may have missed.
As promised, I will attempt to summarize the responses I received.
First of all, a couple of general observations that were shared: •	It was noted that an important feature I did not mention was ease of programming •	As well, "free" is a relative term, as some free products require significant investments, expertise, etc. to make them fully functional
Secondly, on the merits of DGroups itself, one response was worth quotation at some length:
"...Eventually we decided to use DGroups. It was not the most technically sophisticated option, but the feature set seemed good enough. We thought it would be beneficial for our group to stand alongside other DGroups users within a common environment, and we hoped members of our group may gain confidence to use DGroups for other purposes within their own organisations.
"Now that our online community has been launched I am coming to regret the decision to use DGroups. As you may be aware, DGroups is going through a transition in its management so this is probably a matter of timing. Right now the core features of DGroups are quite dated and although it is based on a robust listserve (Lyris), the quality of integration between the email engine and the web user interface leaves much to be desired. There has been considerable enthusiasm about a future upgrade to "DGroups 2.0" yet seemingly a lack of project management to achieve timely results.
"There remain many reasons to use DGroups (it probably meets most of your requirements) and I remain optimistic about the new management regime under CIGI/Igloo despite current frustrations. However if you are needing to launch a new email group in the short term, you might find Google Groups a more straightforward option."
As to alternatives to DGroups, this respondent forwarded a report that makes the following observations:
"Google Groups is free to use. It is feature rich and easy to use. Advertising is unobtrusive and it works well in a low bandwidth environment. [X] highly respected for its work with online technical communities, uses Google Groups as its preferred platform for over 30 email groups relating to water and sanitation and international development. This is a general platform and its "brand" is not generally associated with international development. (See http://groups.google.com)
"Drupal is an open source platform, highly regarded for online communities. It is very flexible and would require installation and configuration... (See http://www.bryght.com/)
"CIARIS is a new platform developed in Portugal for multilingual online communities. Initially funded by ILO and EU it has possibilities for application by other organisations for other purposes and is attracting considerable interest across the development sector. (See http://www.ciaris.org/) [Note: More on CIARIS below – A Hubbertz]
"OnlineGroups.Net has also been highly recommended. It offers the possibility to host unlimited number of different email groups via a customised "home page." (See http://onlinegroups.net/)"
As to choices made by other organisations:
One major multi-lateral organisation has had a developer produce a customized system, meeting their particular requirements, which includes ease of use and accessibility (especially for users in developing countries).
The following are services that are currently used or are being studied by respondents. Some are commercial (free or fee-based), some are non-commercial:
CIARIS
(Learning and Resources Centre on Social Inclusion)
http://www.ciaris.org/
Sponsored by ILO, EC, and various Portuguese agencies.
Communities of Practice for Local Government
http://www.communities.idea.gov.uk/welcome.do
Only available to users in the UK. May be of interest for the features that are included.
dgCommunities
http://topics.developmentgateway.org/index.do
"dgCommunities is a collaborative space for professionals working to reduce poverty and promote sustainable development worldwide. Share knowledge, tools, contacts, and more with members in 200 countries. Each online community is centered on specific themes and guided by experts in the field. Thousands of information resource links are included, plus valuable member services."
(From the website)
Denise Senmartin reported in an email to this list:
"Another platform to consider is the Development Gateway dgCommunities. You can contact them to ask about having a private closed dgCommunity for your specific team. I used to work with them so know that were migrating to an open source CMS that will add many functionalities to the already existing ones (posting of content, discussion forums, uploading your profile, news and events, automatic alerts, etc). However there are costs as you need to cover the technical maintenance costs."
Global Facilitation Network for Security Sector Reform (GFN-SSR)
http://www.ssrnetwork.net/webgroup/index.php "The Global Facilitation Network for Security Sector Reform (GFN-SSR) is funded by the UK Government's Global Conflict Prevention Pool (GCPP), a collaborative initiative of three UK government departments: the Department for International Development (DFID), the Ministry of Defence (MOD) and the Foreign and Commonwealth Office (FCO)." "…the website houses a number of restricted access webgroups. These are all targeted at a different audience and designed to allow users to upload documents/information, find contact details and talk/blog online in a secure environment."
GoogleGroups
http://groups.google.ca/grphp?hl=en&ie=UTF-8&tab=wg
From Steve Song, in an email to this list:
"Doubtless GoogleGroups is known to you. In terms of ease-of-use it is without peer in terms of a combined mailing-list and web environment. However, you do have to tolerate some text advertising. Also, if you privacy is an issue for your group, googlegroups may not be the best choice."
http://www.nexo.com/
"Groups of people use Nexo to do more online: •	Create Web sites and email lists •	Share pictures, videos, files and Web favourites •	Have discussions •	Create shared calendars and vote on activities"
Commercial but apparently free to user.
OpenSourceHost
http://opensourcehost.com/
"OpenSourceHost is a specialized hosting company focused on providing quality web space and support for php/mysql open source software systems. This includes, but is not limited to, content management systems, bulletin boards, photo galleries, blogs, e-learning systems, etc."
Steve Song commented, in an email to this list:
"For about USD70 per year, you can set up a domain and they will install a combination of Wordpress/Mediawiki/Mailman for you that will do pretty much all you describe. It will require more work on your side to customise it to suit your group but it has worked very well for me. You can see a very simple example at http://www.goodtogreatfoss.org/ which was set up for a workshop."
SocialText
http://www.socialtext.com/
"As the first wiki company, Socialtext is the leader in making web collaboration secure, scalable and easy to use. A Socialtext wiki is a secure, group-editable website. Instead of sending emails and attachments, Socialtext customers use private web pages to work together."
Basically a fee-based, commercial service, but they offer a free trial version.
Tomoye's Simplify
http://www.tomoye.com/Features.html
Simplify is a Tomoye product that is in the process of being replaced by Ecco. The respondent is unsure whether the latter will have all of the critical functionality available in Simplify. The respondent reports that their version has been highly customized.
The product has a toggle between low-bandwidth and high-bandwith versions. It also has fully integrated webpage and email interface. This is a commercial product.
Eldis Communities
http://community.eldis.org/
Users may subscribe at no charge and participate in a number of groups. They may also create their own groups, which may be open to all other members or only to persons authorized by the creator. This is in beta version.
ECS (Electronic Collaborative Services)
Developed by WA Research SA (Switzerland) and used by WHO, UNAIDS, UNHCR, SADC, HDNet, etc.
It is available to other organizations. I can provide contacts upon request.
I have not been able to view ECS, but it was developed to support collaborative work on the web, including work with researchers in the South.
Retrieved from "http://wiki.km4dev.org/index.php?title=Email_Lists&oldid=2097"


On behalf of the Tourism Authority of Thailand, B2B Baltic.Travel has made eight destination brochures on "Amazing Thailand" in all three Baltic languages in year 2012.The materials were carefully translated, designed and printed.The brochures can now be sent to travel agencies who promote and sell Thailand as a destination. The brochures detail popular destinations in Thailand, such as Bangkok, Chiang Mai, Krabi, Phuket and many other beautiful places as well as information about attractions, activities, special events, accommodation, local products and how to get there.The Tourism Authority of Thailand understands that this is very useful material also for consumers, thousands of whom will be attending the travel and tourism fairs in the Baltic countries.
If you are interested in getting these brochures for your agency, please feel free to ask, and we will arrange direct delivery.


At our beach wedding we were given 2 leis. The use of leis in wedding ceremonies is a culturally significant tradition common in Hawaii. The lei symbolizes the mutual exchange of love & respect. At it's advent, the lei was used as a peace agreement between Chiefs and that too is an unspoken aspect while swapping covenants & vows. This is why when you are in Hawaii, when someone hands you a lei never refuse. It's considered to be rude to reject a free gift of love & acceptance.
Though our wedding was held on the beautiful sandy beaches of Lake Michigan, we were each given a beautiful lei which consisted of hundreds of small glassy seashells strung together on three thin wires. Without having any personal racial or ethnic ties to Hawaiian culture we declined to use them in the ceremony but kept them as keepsakes of our special day. I loved that these leis started with peace. As a divorcee starting life over, my strong desire was for a life of peace. Peace from the pain of a difficult marriage that started much before I was ready to be an adult, let alone a wife. I longed for peace from the pain of a custody battle which ripped my entire soul to shreds. I longed for a different life. So when I ran off and married him on the beach, a peace agreement felt most fitting.
Hey can we live together peacefully? Awesome. That was my heart's desire.
A few years later, after a move, I took the leis and hung them with my other necklaces from a hook in our closet. One morning our precocious one year old daughter found one of the leis, yanked it off the hook and put it in her mouth, as toddlers do. I imagine them scanning each room for potential choking hazards zeroing in on their target and going in for the kill. I saw she had the lei and didn't protest. I underestimated her just as much as I had underestimated my husband. I didn't think she could break it just as I didn't think he could break us.
A few minutes later when I noticed she broke the wire the seashells had all ready cascaded onto our entire bedroom floor with handfuls of tiny seashells going into her mouth by the fistful. I took them out of her mouth & escorted her from the scene of the crime. The symbol of love and respect lay scattered across our floor. How ironical.
We were running late for Church and I was stressed & sweaty. The image of this broken lei got to me and I was choked up. I put her in her crib to play and got on my knees to survey the damage. The seashells had found a way under our bed and dressers and half way across the room. The wires were broken, yes but many of the individual seashells were also broken. How did she manage to create this much havoc in five minutes flat? They were everywhere. Not a crevice unturned. I started scooping them up into piles the irony growing thicker by the second.
This fragmented lei was once a beautiful necklace, just as I was once a beautiful bride brimming with desire for a marriage that would heal. But the marriage didn't heal and in fact did more damage than if it hadn't happened it all. It became my own fragmented nightmare full of abuse, neglect & betrayal. My heart felt as broken and spread thin as these tiny shells littering our bedroom floor. Here I was gathering these broken shards together just as time and time again I had gathered my own broken heart, just as I had gathered us together while talks of divorce loomed over our heads. Just as I had gathered counselors, praying people & clergy to intercede. All I'd done for 14 months straight was gather and gather more broken pieces and to what end?
I got down on my knees to pray to God for hope and healing, just as I found myself on my knees attempting to put something back together that would never be able to go back to what it was. I stared at the pile. Some were only chipped. Some were missing key pieces. Some had been stepped on and mangled to near decimation. They weren't going to be neatly strung back onto the wires that was for certain. Our marriage wasn't neatly going to survive the damage it had undergone. The failure of the shells to be a part of the lei they once were was as inevitable as me being who I once was before I entered this failed peace agreement. What was broken in me, would never be, could never be brought back to life. I became a shell of that woman; foolish with desire, naive with trust and eager with futile hope built on lies as thin as the wire stringing those fragile sea shells together.
When fragile things are strung along by lies and betrayal, they tend to snap. I grabbed a handful and with a strong squeeze crushed them under the weight of my anger. I watched the tiny little shards fall back to the floor purposeless. Maybe, I wondered, it's time for me to snap.
*This musing was written awhile ago. There has since been reconciliation and restoration due to the miraculous healing power of God and our desperate desires for His power to make all things new in our lives. I could have added that story here too, but Chile we'd need more much time than this. Let's save that for another day shall we? In the meantime, know that much work has been done, I am safe and we are closer to that original peace agreement than we ever were before.
This entry was posted in Relationships and tagged desire, divorce, healing, hope, longing, marriage. Bookmark the permalink.


text:
Policy Uncertainty Hitting Job Creation: Fed Report
Published November 29, 2011 Reuters
Small businesses would hire and invest more if Washington offered a clearer idea about plans for taxes and government spending, researchers at the Federal Reserve Bank of Cleveland said on Tuesday.
Measuring the impact of policy uncertainty has long dogged economists. The question of its impact is particularly relevant now because measures of uncertainty have spiked in recent years.
The issue also colors the political debate on the regulation of banks and the healthcare market, and whether to extend tax cuts that could prop up economic growth next year.
The Cleveland Fed researchers used an index that measures uncertainty by the amount of newspaper coverage on the topic, as well as how many tax policies will expire in the coming year absent action and how much forecasters disagree on future government spending and inflation.
This index, they found, correlated tightly with small business plans to hire and invest, as measured by data from the National Federation of Independent Business going back to 1986. The NFIB data was used because it signals broader economic trends in employment and investment.
"While the downturn and weak recovery certainly had a large negative effect on small business hiring plans, policy uncertainty has exacerbated this effect," researchers Mark Schweitzer and Scott Shane said in their report.
The percentage of businesses planning to hire would have been 6 points higher in the summer of 2011 if not for the effects of uncertainty, they found. The toll on capital expenditures, which include investments in equipment and buildings, was similar.
The policy uncertainty index, which goes back to 1985 and was developed by economists at Stanford University and the University of Chicago, rose to an all-time high over the summer as a budget debate in Washington brought the government close to the brink of being unable to pay its bills.
The index also has spiked around presidential elections and the two U.S. invasions of Iraq during the period.
Schweitzer and Shane said their research should serve as a warning to policymakers, who critics say have shirked their responsibility to make tough decisions about long-term policy.
"Policymakers should take seriously the widespread anecdotal reports that policy uncertainty is adversely affecting small business owners' expansion plans," the report concluded.


Super Dollfie® 17 Boy "Black Jack"
Super Dollfie® 17 Boy "Kiriko"
Pre-order Limited Edition: Super Dollfie® 17 Boy "Black Jack"
The scars on the face and different skin colors are created only by make-up; they are not sculpted.
The body of Black Jack is unpainted SD17 Boy Body, and there are no scars on his body except the one on the center of his face.
*Accepting pre-orders has been closed.
please visit the official website of the store for the delivery schedule.
* Depending on the design, disassembly may be required to put on the outfit.
* Please be careful as the color of the wig may stain the surface of the doll. We recommend the use of a "Dollfie® Head Cap" to prevent the wig from staining the doll's head.
Young Black Jack × Super Dollfie® Collaboration Project Items are available only in Japan.
VOLKS USA INC. or Tenshi-no-Sumika in Seoul.


Battersea is the quintessential modern gentleman. A contemporary leather sofa who's clean cut style and solid build will add a bold touch to even the smallest of rooms. Like his rich family history, his seat cushions go way back, leaving ample room to nestle down in his strong, square arms. He is entirely English, handmade by master craftsmen like all of his Old Boot relatives, so you can sit comfortably in the knowledge that he was built to last.
Foam cores maintain the plumpness of his utterly cosy cushions, whilst duck feather topping gives them that 'lived in' look and also adds an extra touch of softness that you can often miss with a leather sofa. He wears both our beautifully aged, vintage leather and our super soft, super thick, rustic leather, the choice is yours as we think he looks terribly handsome in both. If you're after something a little less straight and a bit more rebellious, you should meet Battersea's nephew - Urbanite, he aspires to be like his uncle but is a true character in his own right, a fine example of the English youth.


as defined by the Code Monétaire et Financier (French regulations on financial transactions) or on a contractual basis.
Firm: using DCF and multiples (peers, comparable transactions) in various context (equity deal, legal purpose, etc.).
Patent and patent portfolio for assets disposal, Joint Venture incorporation including contribution in assets, negotiations, etc. using the royalties' methods and the costs impacted by the lifetime of the assets.
Management package, stock-options plan, preferred shares, etc. using financial methods: Black & Scholes, binomial model, Monte-Carlo simulation.
We valuate in various context of equity deals with a strong competence in innovative industries. Our expertise is based on multi-criteria approaches to perform financial valuation of firms, patents or patent portfolios, other intangible assets, etc.
We work closely with Intellectual Property lawyers and advisors.
Based on an analysis of your needs, we combine intrinsic and/or analogical methods of valuation.
DCF (Discounted Cash Flows). Assessment of the company value based on net cash flows likely to be generated, discounted to the ratio corresponding to the revenue expected by shareholders in function of field of activity. This is predicated on availability of business plan and balance sheets, as well as projected income statements prepared by management.
Return method. Based on profits shared; applies to companies distributing dividends on a regular basis. Based on the discounting of dividend flows, it entails evaluation of company policies over several budget years.
Stock ratio method : ratios are chosen after sampling comparable companies (and according to context, turnover, EBIT, net results, PER), and a corrective rate is applied if necessary.


Can you imagine weaving in a place where you have access to fully-stocked shelves of colors and fibers? Or, imagine someone with excellent color sense setting up a warp-faced project for you to weave, giving you the freedom to simply focus on pattern. This is what it was like at Vävstuga Weaving School for More Swedish Classics.
Set up on a four-shaft loom, band weaving with pick-up is simplified (or complicated, depending on how you see it). Five treadles are used to raise and lower threads. A pick-up stick is used to lift pattern threads, and a band shuttle stick is used to beat in the weft. Being a warp-faced weave, all the color is in the warp, and the weft is mostly hidden.
Becky's Rep Weave in Four Blocks on Eight Shafts. I took this opportunity to experiment with patterns. You might call this "playing with blocks." Again, being a warp-faced weave, the color is pre-determined by the arrangement of the warp ends. The thin 16/2 cotton weft alternates with a thick weft of mini string yarn, giving the characteristic ribbed surface.
Worry happens when I don't think I have what it takes to do the job, or when I think I won't have enough of what I need. When Becky Ashenden prepares the warp, I certainly have no worries about choosing colors. And, with an abundant supply of 16/1 linen, I can combine three shades to produce a gorgeous, rich red, with no fear that the color supply will run out before I finish.
Deep red, burgundy, and coral 16/1 linen are wound together for the pattern weft in Smålandsväv. The warp is 16/2 line linen. This is the project in "More Swedish Classics" that gave me the most pleasure AND the most angst. …but that's a story for another day.
We have a Father in heaven who knows all the things we need. All he asks is that we get to know him so we can learn to do things his way. It is much like weaving within the guidelines of the studio where we've been given the privilege to weave. Is that too much to ask? For his part, then, he sees to it that we have everything we need, giving us access, through his Son, to his great supply closet.
May your needs be amply supplied.
Wonderful photos and am jealous of your being able to go to the V studio. Where might I find the instructions for band weaving on a 4s loom. Thanks.
Hi Helen, I wish everyone could go to Vavstuga with me! Maybe you can go sometime.
This is my first experience with band weaving on a 4 shaft loom. I'm not at liberty to hand out Becky's instructions for the class. I'm not sure where else to find instructions for this. I do know that the Baltic patterns in Anne Dixon's "Inkle Pattern Directory," pgs.61-81, can be used for this type of set up. We used 4 shafts and 5 treadles; 1 of the treadles just lifted the pattern threads, and then we used the pick-up stick to create the pattern.
I followed you the next week at More Classics. Amazing. (I was at Basics with Steph.) Your voice for this experience is perfect.
How exciting! It's always fun to have shared experiences with other weavers. I agree – it was an amazing class!


What is the best price for a return flight from Paris to Los Angeles?
How many airlines fly direct from Paris to Los Angeles?
There are 5 airlines who fly direct from Paris to Los Angeles.
How many flights are there a week from Paris to Los Angeles?
There are 28 flights per week from Paris to Los Angeles, as of March 2019.
How long does it take to fly from Paris to Los Angeles?
11h 20min is average flight time from Paris to Los Angeles.
Which airline is the most popular from Paris to Los Angeles in March 2019?
Air France is most popular airline from Paris to Los Angeles in March 2019.


The contact owns a 2000 Chevrolet K2500. The contact noticed fuel on the floor underneath the vehicle. When he pulled the fuel tank from the vehicle and removed the plastic cover, he noticed that it had collapsed and split the seam open on the tank. There were no warning indicators prior to the failure. The dealer was not notified. The manufacturer stated that there were no recalls for the issue. The current and failure mileages were 82,823. Updated 09/13/08. The evaporator canister was filled with dirt and debris and caused the fuel tank to collapse from the vacuum, which split the gas tank at the seam and released all the fuel. The fuel tank, fuel pump and evap canister had to E replaced. Updated 09/17/08.


The entry deadline for the Drinks Retailing Awards 2019 is now closed, please email melody.beveridge@agilemedia.co.uk if you wish to be contacted once entries are open for 2020.
The Drinks Retailing Awards are among the trade's biggest highlights, bringing together the leading lights in retail.
Not only is our judging process one of the most rigorous and thorough of all the industry awards, but we are also unique in covering the entire breadth of the take-home market, striving to reflect excellence in as many areas of the trade as possible. Every year, we look to honour retailers who have delivered excellent service, range and value, to create successful and profitable operations.
For our winning retailers, taking home a Drinks Retailing Award represents the ultimate accolade for their business and is a huge achievement. All retailers who make it to the final round are invited to attend the awards as our guest. The awards are presented at a glittering ceremony in February at one of London's most prestigious venues, The Dorchester Hotel. The Drinks Retailing Awards is a recognised symbol of excellence.
"Thank you so much for another great Drinks Retailing Awards. It is always great to see you all and the awards evening was up to its usual extremely high standards – I can't begin to guess how much work you all must have to put in to getting such a great event put together and running so smoothly. I know the standard of entries just continues to get better every year for the DRAs. So it was an honour once again for our little shop to get the chance to come along and be represented amongst such distinguished names in the drinks industry."


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Q: style and work with arr in vue.js. How styling only active element? I have cards array and button on every card. If I click my button, all buttons are changing style.
How apply style to active button not for all?
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Lightweight rucksack with many storage possibilities making it easy and flexible to pack. Brilliant water proof"rolltop". The construction is completely silent without any rattling parts. Detachable bird sack included. Outer fabric of the durable and water resistant material MollTec.


A 1″ deep collar available as a martingale, house collar or clip fastening collar This rainbow collar has been hand made with a multi coloured rainbow trim stitched onto a red poly webbing. All collars are made with strong welded or cast hardware. All house collars are lined in satin.


"Music is what feelings sound like," wrote an unknown author. In Kain B. Fairbrooks' new release, The Music Girl," a victimized child kept in isolation by her own parent not only discovers that the timeless power of music holds the key to express her emotions but also to facilitate her freedom. At just 20 years old, Fairbrooks is a newcomer to the writing scene but has made the inventive decision to ignore many of the conventions of fictional storytelling and write The Music Girl as a poem.
Q: For starters, tell us a bit about your journey as a writer and what (or who) inspired you to pen your first story?
A: Ahhh the one who inspired me was my mom. She used to tell me and my sister stories only using her imagination. And I absolutely loved it to death! She would even encourage us to tell stories back to her and this started my whole "I wanna be a writer" when I was five years old. In first grade, the principal of my elementary school noticed that I wouldn't go out for recess but I would spend my time writing inside. I showed her a short story I wrote and she loved it and got it published. It sat in the school library for years while I was attending there. After that I played around with my writing, improving it- learning more techniques until the end of high school where I started getting…haha somewhat serious!
Q: Did you read books before bedtime as a child?
A:Yes I did! Just quite a few, though.
Q: What are some of the titles we might have found on that childhood bedside table?
A: The Complete Tales of Beatrix Potter was one. The Road To Elyon, Dr. Seuss's array of stories, a bunch of fairytales, Mother Goose, and newspaper comics!
Q: So what might we find on your bedside table these days?
A: Haha nothing! I know, it's weird.
Q: One book at a time or multiple books?
A: One book at a time. It tastes better that way.
Q: Would you describe yourself as an introvert or an extrovert and what influence does that have on your creativity, energy levels and response to feedback about your work?
A: I would think I'm an extrovert. Sometimes my creativity runs really high and boosts up my energy causing me to write multiple stories at once. Especially when I've had a social interaction.
Q: Tell us what The Music Girl is about.
A: The Music Girl is about a young lady who went through ten years of abuse and neglect from her envious mother who locks her in the attic. In the attic, she realizes that she wasn't alone. There stood a very old piano that still worked and so she began learning how to play. Crying out her pain through music. One day, she escapes her mother's wrath by killing her mother and burning down the mansion she was held captive in. She throws away her name and all that she is and begins her musical journey, learning how to play various instruments from people off the streets and professionals.
Q: The choice to craft The Music Girl as a poem story is an interesting one. What governed that decision for you?
A: There was this story before The Music Girl that I wanted to write in the fashion of a poem but tell a story. Though, my inner thoughts told me that people wouldn't like it- I shouldn't try it- what if people don't get it? So I dropped the idea, now regretting it horribly! But a few months later, I thought of The Music Girl and went…maybe it won't be so bad? What's the worst that can happen? A few chapters later and I absolutely loved writing in such a strange way. Also the people on Figment* helped me see that this was a great decision to write it like this, so I kept it!
Q: Did you work from an outline or just allow the scenes to flow spontaneously?
A: I let the scenes flow naturally. Though sometimes I wished I used an outline.
Q: Writers often spend a lot of time editing, editing, editing. Did you do your edits as you were writing or wait until the entire thing was finished?
A: I edited as I was writing it. Because I posted each chapter on Figment every day, I had to make sure that it was on point or else my conscious would get to me. 'Why did you post that crap?' it would say.
Q: Was there anything significant you ended up editing our prior to publication?
A: I'm pretty sure I ended up doing the opposite and adding more in than editing out.
Q: Who's your target readership for The Music Girl and what would you like them to take away from it by the time they reach the end?
A: Probably adults who had a horrible past and couldn't let it go. I wanted to show people that things happen, horrible things, and it'll try to pop itself up back in your life and make you afraid of the future. But you can't let it do that. You can't let it ruin you. Something like that, I suppose.
Q: The choice to self-publish has become a popular one for today's writers, especially insofar as the desire to control one's intellectual property and move it on to the market as quickly as possible. What are some of the things you learned during this process and what are you doing to spread the word that your new book is available?
A: Some of the things I learned are that there are people willing to help you spread the word but also to do your research beforehand. I ran into a lot of free promotional things while trying to spread the word. People do free postings on Facebook, tweets from Twitter, and give your book a read and make a blog post about it. Even book tours. It's really incredible!
A: I'm in the process of publishing two illustrated children's books by Light Books and working on a horror novel called Thy Broken Mind which you can vote for online!
Q: What do you do if you come across a dry spot in your writing or hit the all-dreaded writer's block?
A: I usually walk away and go hang upside down on the couch while looking at Oblique Strategies on my phone. Or play video games! Depends how bad it is.
Q: Ever have a bad day? If so, what gives you strength to get through it?
A: Yes I have! Laughter and music. Sometimes when it rains, it pours hard and you forget to laugh.
Q: Morning person or evening person?
A: Dogs all the way!!
A: Oooh….cheesecake. I'm sorry my beloved Boba.
Q: Movies that make you laugh or movies that make you cry?
A: Movies that make me laugh.
Q: The most favorite thing you have in your closet?
A: My Alucard cosplay coat that I got autographed by Crispin Freeman, an English dub voice actor!
Q: Pandas, polar bears, koalas or grizzlies?
A: That I enjoy raves!
Q: Where can they learn more about your work?
A: Probably the best place is my Figment page, which has all the rough drafts of a lot of my writings, Basilica Press, and Twitter!
"Poetry," wrote Dylan Thomas, "is what in a poem makes you laugh, cry, prickle, be silent, makes your toe nails twinkle, makes you want to do this or that or nothing, makes you know that you are alone in the unknown world, that your bliss and suffering is forever shared and forever all your own." In this month's feature interview, award-winning published poet Larry Schug invites us inside his world and introduces us to the elements that inspire him to be creative.
Q: Let's start with a brief overview of your journey as a writer. For instance, did you come from a literary background when you were growing up or did the desire to write not take root until adulthood?
A: My mother and father were both readers. My dad read westerns, Louis L'Amour, etc. and my mother read romance novels; not exactly classic literature, but a story is a story. Though my father only finished eighth grade and my mother just high school, they somehow set me on the reading path. My mom's sister, who was a school teacher, taught me to read before I started school and I've been an avid reader my whole life. I've always been fascinated with words, their power to paint pictures in my brain, to make my heart beat fast, to stir emotions inside me, the sounds they make coming out of my mouth. I think I was a decent writer in school, at least academically, if not creatively. It did not cause me pain to write book reports, term papers or essays for class, in fact, I enjoyed doing so. I do remember getting positive feedback from a teacher for a poem I wrote in third grade and, for some reason, that stuck with me as something I could do well. But really, my ambition as a child was to be a baseball player or a cowboy, not a writer. I continued writing poems while growing up, but never showing them to anyone or even keeping any of them. I actually wrote quite a bit while in the army, a way to achieve catharsis, more than anything, but again, not keeping them or sharing them with anyone. After my parents died while I was in my thirties, I wrote poems to express my grief and I finally shared them with other people, some of who told me I had a gift and should try to publish them. I finally listened. To this day, I think my best poems come from dealing with grief, having survived my parents, a brother and good friends who have passed on. I guess you might say I have broadened my horizons to include writing about everything I've encountered in life.
Q: What part did/does poetry play in your life and in shaping your particular outlook about the world and about your relationships with others?
A: At this point, I think I see life as a poem constantly being written, the way I imagine a musician sees the world as song or the way a painter perhaps views the world as images to be painted. My wife and I are fortunate to be able to live on a beautiful piece of property we share with deer, coyotes, otters, sand hill cranes and a wide variety of bird life. I am enamored and influenced by the natural world, its beauty, its grace and the way it has shaped us. I'm a dedicated "tree hugger" and very concerned by what seems like our planet's slow but certain degradation. I sincerely hope I'm wrong about that and I hope that my poetry in some way can influence others to do better by our little planet. Earth is the only place we can live and what makes it such a magnificent place is its beauty and all the other creatures that share our planet with us. A goal for my poetry is to inspire others with the beauty, variety, and magnificence of our world and I do see signs of hope in the upcoming generations.
I feel a need to write my life and my observations down and poetry is the form it most frequently takes. Poetry helps me figure out this state of being we call life in all its twists and turns. Being a fairly shy person, I've found poetry is a way for me to communicate. I also like to read poetry. I read poetry every day as a learning tool, but also I love the music inside words. Poetry enlightens me, shows me life in new and unexpected ways and from different viewpoints. Poetry teaches me how to be a human being.
Q: Your biography reflects that you've spent a lot of time at physical labor. How does this come out in your poems?
A: Writing is a physical task. I think performing most kinds of physical work is doing "one thing at a time". I've worked as a paperboy, groundskeeper, farm worker, forest firefighter, forestry technician, grave digger, dish washer, factory worker and recycler, all of which are physical and repetitive. I find my make-up is well suited to these kinds of tasks and I see them as Zen-like in their performance in that a person must be aware of what their body is doing in order to work safely and efficiently, focused in the here and now. I've also been heating my house with firewood for at least half my life and cutting, splitting, carrying and stacking firewood must be done with this same Zen-like outlook. I would probably make a good ant or honey bee (perhaps I was in a past lifetime!) as that is how it seems they go about their work, picking up pollen at a flower and returning to the hive or gathering leaves and returning to the anthill repeatedly. Writing poetry is no different, especially when it comes to re-writing or finding the right word to accomplish the work of a poem. Poetry requires intense attention to the job at hand, not a multi-tasking approach. I write all my poems with a pen on paper, including all re-writes. I like the physicality of doing it this way; for me, writing is as much physical as mental. Only after a poem is "finished" does it go to the computer.
repair its threads of twisted waters.
Mending Mittens is the real Larry Schug. It reflects my relationship with physical work and also brings out my spiritual side. It captures me as a "dreamer", yet, I think portrays me as being realistic. This poem captures my love of the natural world and all of its inhabitants and my fears and sorrow at the injuries we are inflicting on what gives us our very life.
Q: Has retirement – and the change of lifestyle this has introduced – impacted your writing and creative processes?
A: It has, in that while I was working I had to "schedule" my writing to early morning or evening times. Now I'm free to stop what I'm doing and write if I feel the need. What I may have lost in concentrated discipline, I have gained back in time. Yet, I feel I have maintained the proper discipline needed to be productive. I now spend more time away from people, but when I am with others it is not solely in a work environment, which was rather limiting. I am not a hermit. I volunteer as a writing tutor with college students and also volunteer as a naturalist, both of which provide an avenue of contact with people in a more open way. I think my creativity has expanded with an increase in time devoted to different pursuits. Another change is that I have more time to read, which is important to writing, opening up new avenues of thinking.
Q: Share with us how a new poem is conceived in your imagination and how long it takes to actually be "born" for a publishable debut.
A: Poems come from paying attention to being alive and all that entails. Again, this a Zen-like outlook and just as meditation requires that a person be mindful of their breathing, poetry requires that I must be aware of what is going inside as well of outside of me. With practice, I've been able to develop a sense of poetry in everything. I can't think of anything not fit for a poem. Along with that, my internal dialogue seems to have a visual component; in that I see things that happen as poetry and I see my thoughts as poems if I pay attention to them with a poetic outlook. A poem often begins with an image in my head. Having said that, I write down my thoughts and observations and then transform them into poems with the use of language, metaphor, sound and all the other tools in a poet's toolbox. If lucky, the poem may just happen, but most likely, I'll have to go to work and make these thoughts or images into a poem, shaping them in a poetic form. All this can happen quickly, but more often it's like trying to put a puzzle together, which takes time. Rewriting is crucial. Each poem has a life of its own and its own time frame. I think I've learned to listen to the poem and let it tell me how it needs to be written. Like a lot of endeavors, the journey is as important as the destination. I've also learned to let a poem tell me when to stop, when it is done, when enough is enough.
Q: What governs your decision on how to physically format a poem? The New Yorker, for example, has a gimmicky fondness for displaying a lot of poems as inverted pyramids, antlers, skinny columns and PacMan circular motifs – none of which really adds to a greater appreciation of the content. I'd be curious as to how you approach the presentation question.
A: How a poem appears on paper is important. Line breaks are crucial in finding the correct form and so, in that way, the poem forms itself. I write in complete sentences, not fragments, but that does not mean a line of a poem can't be just one word if that words needs to be emphasized. This can lead to a poem assuming an unconventional shape. I've only written one "picture poem" in which the poem formed an image, in this case a stalk of wheat, in the poem "The Roots Know", published in my first book, Scales Out of Balance.
A: I have always been a "morning person", probably because I got up with my dad who was an early riser. My first real job was as a paperboy, delivering the morning Minneapolis Tribune. This does not necessarily apply to my writing schedule, though I do feel a certain receptivity early in the day. I try to keep myself open and receptive at all times. I always make sure I have paper and pen with me as I go through the day, so location is not much of a factor either, though I do most of my writing in a notebook on a small wooden typewriter table in "my corner" of the upper floor of our small house.
Q: You devote a section of At Gloaming to New Mexico and Ghost Ranch. Explain the connection.
A: Ghost Ranch is a retreat/educational/conference center near Abiquiu, New Mexico. It is a place of peace and creativity, perfect for contemplation. I have been going there for the past nineteen years with a group of college students as part of a service program called Alternative Break Experience sponsored by Campus Ministry at the College of St. Benedict. We work for Ghost Ranch, helping them to fulfill their mission and also work in the community doing various kinds of work from cleaning acequias (irrigation ditches), working at a local animal shelter, planting trees with an environmental organization and helping the elderly or working in local schools. Ghost Ranch has a long history, going back to the Spanish incursion into New Mexico and the native cultures that inhabited the area before that and finally to the Anglo-American culture, but the history of the land goes back to the dinosaurs. Georgia O'Keefe had a house at Ghost Ranch and did much of her painting there and, somewhat ironically, the people who developed the atomic bomb at Los Alamos went to Ghost Ranch for R and R. The focus of our experience is environmental justice, but we also learn much about local history, geology and about the mix of Anglo, Hispanic and Native cultures. It is a place of great beauty in the high desert, a land of mesas, buttes, arroyos and mountains. All this, plus the people I've met and worked with, is very inspiring to me to me as a poet. The culture and landscape is vastly different than the culture I grew up in here in Minnesota and I have fallen completely in love with it. I think the difference is something I needed to experience and explore and, for me, what better way than poetry? This difference has opened new doors to my way of thinking and seeing things that I need to translate to poetry.
Q: Who are some of the poets whose work you admire and who may have had an influence on your own writing style?
A: Duluth, Minnesota poet Barton Sutter, a former Creative Writing teacher of mine, is a big influence. Lucille Clifton, Ted Kooser, Jimmy Santiago Baca and John Caddy are just a few of many poets who have influenced me and taught me through their poems. John Caddy in particular, showed me that it was ok to write about growing up in an alcoholic family situation and that good poetry can come from that experience. I almost hate to list anyone, because it seems an insult to leave so many great poets off this list. When I speak to students I tell them that it's imperative to read good poetry in order to write good poetry. All of the poets I've mentioned write in a clear and understandable yet lyrical voice. I do like to stretch my brain, but I really don't like poetry that I can't understand and leaves me scratching my head in befuddlement.
Q: If you could go to lunch with any of these poets, who would it be, where would you go, and what question would you most like to ask?
A: Tough question. Today I would choose Jimmy Santiago Baca because I'd like to know more about him and also because he lives in New Mexico and we could go to my favorite restaurant, El Farolito, in El Rito, New Mexico and eat the world's best sopapillas. His background is intriguing and I think he'd be a great person to know. I would love to hear his thoughts on writing poetry, how he goes about it, its purpose, etc. I'd ask him all the questions you're asking me in this interview.
Q: Your poetry has been recognized with a number of awards. Congratulations! Tell us about them.
A: I have won a number of local grants from the Central Minnesota Arts Board and had a couple poems nominated for the Pushcart Prize, but the award I am most proud of is winning a Loft McKnight Fellowship in 2008. My second book, Caution: Thin Ice was a Minnesota Book Awards finalist and Arrogant Bones was a Midwest Book Award finalist. I certainly don't think any award means that a person is a "good" writer. Awards are pretty subjective and, really, luck plays a part. I think an award means that something I wrote touched a certain human being or group of them at a certain time. It is a validation of what I do, of course, but my ego is not so big as to put a lot of self-congratulatory stock in any award. They serve as a source of motivation to push myself farther.
Q: Poetry is often labeled as a writing venue that doesn't pay very well. Sadly – and at least in California – the study of poets and poetry composition in classrooms has been steadily diminishing. What's your response to this?
A: I suppose I get rather cynical, sometimes, about this, but it is what it is. As Guy Clark once sang, "Ain't no money in poetry, that's what sets the poet free". I certainly don't write poetry for any monetary reward or compensation, but, I'm afraid the fact that our society doesn't place much monetary value on poetry somehow reflects its cultural value in America in 2014. I recently had a poem chosen to be the subject of a painting, a poet/artist collaboration, which was a great honor. The painting will sell for $1200.00; the poem will sell for $0.00.
Q: Your best advice to an aspiring poet?
A: I would tell them to read good poetry, study it and figure out what makes it appeal to you. This is imperative. I learn more from reading the poems of others critically, than I've ever learned in a classroom. I'd also tell them to read more of everything else they can get their hands on—fiction, non-fiction, newspapers, cereal boxes, street signs; anyplace they can find a written word . I would advise them to pay attention to life. Put down the electronic devices and use all your senses—sight, hearing, taste, smell, touch and use your brain. Think your own thoughts. Explore your emotions honestly. Don't be afraid to go places inside or outside of yourself that may not be pleasant places to visit. Be honest with yourself. And, of course, there is the best advice on how to get better at anything– practice, practice, practice.
Q: If you were asked to write a job description for the occupation of "poet," what would it say?
A: Pay attention to being alive and pass that on in your writing. A poet must keep in mind that he or she is not writing only for himself or herself, though that may be a part of what we do. Hopefully, other human beings will read our work; therefore it is part of our job to put into words what others may not be able to express. We should be able to enable others to achieve catharsis and healing, help them think and spark their curiosity. We must write as documenters of the past and the present. Particularly we must honor the "now", for it is the only time we have. We are the story tellers and the "rememberers" of the tribe. We are artists in the same sense as any other artist-painter, sculptor, musician or dancer. We must also be entertainers, not so much as in the Hollywood sense of the word, but in a more thoughtful way. J. F. Powers, a famous American fiction writer of the last century, once told me a writer is nothing but an entertainer. We all need to be entertained and when we are, it can lead to a more meaningful existence. It is a blessing to entertain and to be entertained. If we are not entertaining, who is going to read or listen to our words?
A: I think many people are surprised that I, as a poet, am not an academic, which, I think, is the stereotypical view of a poet. As I've stated above, I have made a life of doing menial, physical labor. I worked in the maintenance department at the College of St. Benedict in St. Joseph, Minnesota for 34 years and when my first book came out, it was greeted somewhat with surprise by the faculty that a person who mows the grass or sorts other people's garbage (the fancy name for this is Recycling Coordinator) had an interest in or talent for poetry. Having said that, I must say I was very well accepted by the faculty and administration for my literary efforts. I received a lot of support, often being asked to speak in classes and having my books used as texts in various classes as well as official publications of the college.
A: Right now, I'm just writing poems with no real goal for them as far as a new book. That will happen when it happens. I do like to explore a subject in detail. I have been writing lately about what goes on in Kay's Kitchen, a small town café in St. Joseph, Minnesota that I have frequented for 40 years or more. I'm currently working on another poem that takes place there, though it is purely fictional as far as the characters and what they do, but at the same time, realistic.
Q: Where can readers discover more about you and your work?
A: My web site is www.larryschugpoet.com. Readers can also google me and find some poems and newspaper and magazine articles. Send me an e-mail; I love to converse with readers.
A: I would just like to thank you for this opportunity. I have learned much about myself as I answer the questions and see my writing in a clearer light. I would ask the casual reader to explore poetry. Contrary to popular opinion, poetry is not dead. It's a vibrant art form that in some way relates to everyone.


Over the past year, the US Embassy's Foreign Commercial Service has linked up many US businesses with Vietnamese partners for franchise deals, said an embassy representative.
Frank Joseph, a commercial officer of the US Embassy, stated this at a seminar themed "Franchising: Opportunities and Challenges" held in Ho Chi Minh City on June 12.
Current international franchises in Vietnam are mainly from the US, Hong Kong, Singapore and Thailand, with well-known names such as KFC, Pizza Hut, Round Table Pizza and Hard Rock Cafe.
Joseph said that franchises bring a huge benefit for both businesses and the country.
They help to raise turnover and promote businesses' prestige, create more jobs and offer customers more options, he said.
Sean T. Ngo, a representative from the Vietnam Franchises Co. Ltd, said that businesses that offer franchises will grow rapidly and have the capacity to out pace their rivals in the market place while businesses that take on a franchise will benefit from cheaper input materials and support, including training programmes from the parent company.
However, he said, in order to guard against risks both parties have to fulfill their commitments and work closely with each other.


Childrenswear Centre was founded in 2005, and is located at 4518 Us Highway 9 in Howell. It employs 2 employees and is generating approximately $98,000.00 in annual revenue.
Childrenswear Centre can be found at Us-9 4518. The following is offered: Children's Clothing. The entry is present with us since Sep 10, 2010 and was last updated on Nov 14, 2013. In Howell there are 3 other Children's Clothing. An overview can be found here.


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Complex of forecasting emergencies
GIS "Operator"
Complex of forecasting emergencies is intended to perform automated predictive modelling and assess the potential consequences of emergencies. Complex of forecasting emergencies (hereinafter referred to as the "Emergencies Forecast" Complex, the Complex) performs the construction and analysis of mathematical models of emergency situations (ES) according to the following scenarios:
occurrence of ES on a chemically hazardous object;
occurrence of ES on a radiation-hazardous object;
occurrence of ES on a biologically hazardous object;
occurrence of ES on a dangerously explosive object;
occurrence of ES on a hydraulic structure.
Complex of forecasting emergencies is a part of the GIS "Operator" and the GIS "Panorama".
Using this complex, it is possible to calculate the parameters of the damaging factors and build a zone of possible damage as a result of an emergency's occurrence. The damage area is drawn onto the map of the emergency area with symbols that comply with the requirements of the Ministry of Emergencies. The calculation takes into account weather conditions that are entered by the operator at the time of calculation.
When modeling emergencies in a hydraulic structure during a spill of liquid, the shape of the terrain, which is determined by the height matrix, is taken into account. In the emergency's model on a radiation-hazardous object, matrix of a relief can be additionally used to specify the damaged area.
It is possible to save the results of modelling emergency situations for their subsequent reuse. It is also possible to use the source data from already saved models when building a new emergency model. This allows you to perform a more detailed assessment of the development of a possible emergency situation by forming a whole set of models of this situation with a change in only one or several variable factors: for example, wind direction or time from the beginning of the accident.
Using the obtained spatial results of modelling emergencies using standard tools of GIS "Panorama" and GIS "Operator", a number of analytical operations can be carried out. For example, to determine the buildings (personnel, population) that fell into the affected area, to calculate the remoteness of objects from the accident area, to calculate the routes of evacuation or access of special equipment using the road graph, etc.
The "Emergency Forecast" complex is implemented as an applied task intended for operation in the GIS "Panorama" and in the GIS "Operator". The task is started from the menu item "Tools - Run Applications".
Modeling occurrence of emergency on a biologically hazardous object (BHO)
Algorithm of model is implemented on the basis of methodological guidelines «Methodology for assessing the sanitary and epidemiological state in disaster areas, calculation of sanitary losses in epidemiological foci» (Manual for civil servants FOIV, M, 2001). Result of modelling is a set of calculated indicators in accordance with the methodology, as well as an approximate distribution area displayed on the map, determined on the basis of the number of infected inhabitants and the given population density obtained as a result of the calculation.
Modeling occurrence of emergency on a radiation-hazardous object (RHO)
As a result of modeling emergencies at a radiation hazardous object, a matrix terrain model is formed containing the values of the radiation dose rate (MDI) taking into account the relief and the time elapsed since the accident.
The accuracy of forecasting zones of Radiation Contamination of the Territory (RCT) as a result of an accident at a nuclear power plant can be improved by joint modelling of the terrain and the radiation environment.
Modeling occurrence of emergency on a chemically hazardous object (CHO)
The algorithm is implemented on the basis of the Methodology for predicting the extent of infection with highly toxic substances in accidents (destruction) at chemically hazardous objects and vehicles, RD.52.04.253-90 (approved by the Chairman of the USSR State Committee of March 13, 90 and the NGO of the USSR of March 14, 90 g .).
The calculations are performed in two separate scenarios:
emergency release of highly toxic substances (HTS) (calculation for one substance);
destruction of CHO.
Based on Appendix 3 of the Methodology RD.52.04.253-90, a directory was compiled that takes into account the method for storing the emergency-chemically hazardous substances (ECHS). The operator, indicating ECHS from this table, should no longer indicate the method of its storage. The table also contains the values of auxiliary coefficients depending on the storage method of ECHS, which are not indicated in Appendix 3 of Methodology RD.52.04.253-90, but mentioned in the context of the Methodology (for example, K1 = 1 and K7 = 1 for compressed gases).
The output data are the Depth and Area of the contamination zone, a map with the «contamination zone» plotted on it, as well as a spatial matrix with the estimated time of approach of the contamination cloud in each cell.
Modelling of occurrence of emergency on a dangerously explosive object (DEO)
It is based on an algorithm whose purpose is to find excess pressure at the front of the shock wave and evaluate the damage caused by it, as well as the nature of the impact of the air shock wave onto a person.
The explosion model algorithm is based on the following regulatory documents and calculation methods:
Methodology for assessing the consequences of an accident at fire and explosion hazardous facilities. A collection of techniques for predicting possible accidents, disasters, natural disasters in the RSChS,. Book 2. // Ministry of Emergencies of the Russian Federation, Moscow, 1994.
GOST R 12.3.047-98. Fire safety of technological processes. General requirements. Control methods.
Methods for assessing the consequences of accidents at hazardous production facilities: Collection of documents. Series 27. Vol. 2.M .: State Unitary Enterprise "Scientific and Technical Center "Industrial Safety", 2001. 224 p.
Kozlitin A.M., Yakovlev B.N. Man-made emergencies. Forecasting and assessment. Deterministic methods for quantifying the dangers of the technosphere: Textbook. The allowance./ Ed. A.I. Popova. Saratov: Sarat. state tech. un-t, 2000.
The scope of the algorithm extends to cases of explosion of gas - and vapor-air mixtures formed during accidents at explosive objects.
The result of the execution of the algorithm for the model of occurrence of emergency on a dangerously explosive object is:
map with the drawn contamination zones;
calculation results:
cloud parameters (radius, cloud volume) for a detonation explosion;
parameters of detonation and air-shock waves;
radiuses of the affected areas of people and objects;
probabilities of lethal injury to a person depending on distance to the explosion center.
Modeling occurrence of emergency on a hydraulic structure (HS)
The model is based on an algorithm designed for forecasting and assessing emergency situations at liquid industrial waste storage facilities and spatial modeling of the spreading zones of liquid industrial waste as a result of such emergencies.
The algorithm is based on the technique of "RD 03-607-03. Guidelines for calculating the development of hydrodynamic accidents on liquid industrial waste storage devices. "
When calculating the spreading zone of liquid industrial waste, the data on the terrain are used, therefore, without a matrix of heights as part of the initial data, it is not possible to perform calculations.
The following assumptions are made in the methodology:
calculation is made for the depth of the layer of liquid and of unconsolidated waste of at least 25 cm;
waste in a storehouse can be a homogeneous or heterogeneous composition;
cross-section section of the proran (closure channel) is assumed to be rectangular and constant over the entire length;
after the formation of closure channel, the liquid spreads over the area with a natural slope;
a hydraulic jump occurring at the transition of a stream from a section with a slope of the bottom more than critical one onto a section where the slope is less than critical one is not considered;
the accuracy of the calculations of obtained output matrix of the flooding zone largely depends on the quality of the relief matrix in the source data.
Result of performing the calculations of model of the emergency is the matrix of the calculated zone of spreading liquid waste.
Calculation can be performed in one of two modes:
The volume of leaked waste is known and is set by the operator;
The volume of leaked waste is calculated as a result of assessing the possible formation of pro-hole in the waste storage according to a set of many parameters characterizing the waste storage, specified by the operator.