text:
Q: jquery datatables filtered pagination Using iTotalRecords and iTotalDisplayRecords with filtering does not seem to work with pagination and table display length
Here is my datatables js code:
transTable.dataTable({
    "aaSorting": [[0,"desc"]],
    "sPaginationType": "full_numbers",
    "bJQueryUI": true,
    "aLengthMenu": [[10, 25, 50, 100, 200, -1], [10, 25, 50, 100, 200, "All"]],
    "iDisplayLength": 10,
    "bProcessing": true,
    "bServerSide": true,
    "sAjaxSource": "",
    "sServerMethod": "POST"
    "aoColumns": [
        { "mData": "datetime"},
        { "mData": "trans"},
        { "mData": "type"}
    ]
});

When I first load the JSON (just POSTs to same page), the pagination works and displays correctly as does sorting. My default display per page is 10.
However, when I filter using the search box, the relevant POST params are:
{  ...
  iDisplayStart: 0
  iDisplayLength: 10
  sSearch: searchText
  ...
}

The SQL query run is:
SELECT
*
FROM
trans
WHERE
  (type LIKE "%searchText%") OR
  (trans_id LIKE "%searchText%") OR
  (datetime LIKE "%searchText%")
ORDER BY "datetime" DESC
LIMIT 10 -- 0 is iDisplayStart so no OFFEST set here and 10 is iDisplayLength

My json response is as such:
{
  'aaData': [the query result rows],
  'iTotalRecords: 10000, //total number of records in the table
  'iTotalDisplayRecords: 10,
  'sEcho': //POST params "sEcho" value
}

Because there is a LIMIT 10 on the query, iTotalDisplayRecords will be 10.
You would think the pagination would say "Displaying 1 to 10 records of 1,234 (filtered from 10,000) and allow pagination through the 1,234 records (123 pages). But no. It says: "Displaying 1 to 10 records of 10,000" with no pagination.
If I get rid of the iDisplayLength, the pagination text looks correct and the pagination works correctly, however the table is displaying all 1,234 records, not just 10.
What am I doing wrong?

A: IIRC, iTotalDisplayRecords should be the number of records that are part of your filtered set (1,234).
I set up my paginated datatables by using output parameters in my sql to count the total number of records in my database (10,000) and the number of filtered results (1,234) then pass that in my json (together with the data and the number of draws) as iTotalRecords and iTotalDisplayRecords respectively.
Screenshot of implementation


Autoflowering cannabis seed products would be the comparable to any regular ones and the task of germination is the same, the fact remains the only distinctions are in the manner you treat you seedling when it has sprouted. Dry roots are dead roots thats a straightforward truth…. nonetheless they havent got damp 'soggy' feet. Stone wool is a great medium to develop the early-stage cannabis veggie in. Following seedling has started sprouting a considerable main system, you can transfer the veggie into the coco coir.
Awsome post, Let me start growing outside next yr , And begin by seeds. PH (yes, the 'p' should be lowercase) means potential of hydrogen. Problems with unwanted nitrogen aren't common on view; it's much more common to see nitrogen toxicity on inner vegetation, specially when overzealous growers overload with nourishment.
Because of the fact maybe it's difficult to secure a natural garden world with the right diet, you must consider supplementing it. Lots of the ingredients that you will need to add include steamed bone food, organic worm castings, bloom bat guano, blood stream meal, rock and roll phosphate, Epson salts, nice lime or dolomite, azomite to supply the place with monitor elements and humic acid solution solution.
However the thing is, at least in Larimer Condition, these growers are going after rules. Allow surface of the medium dry before watering to avoid this. I frequented the hydro store today and got something or two. Meagan Holt, of Mill Creek, Washington, said she has trouble getting the right kind of plants for the oil that alleviates her 4-year-old lady Madeline's intractable epilepsy, which didn't react to some 20 pharmaceuticals that doctors recommended.
Our liberal regulations regarding plant count number volume are being abused by people that would like to ship cannabis outside the state," Wist says. Most likely the simplest way to start is to put them outside in good globe when the elements gets warm and hold out 70 days.
My Not wanting to declare, you can place your seed products in any manner you want. Hydroponic cultivation generally occurs in greenhouses or indoors, although there is no useful obstacle to growing outdoors. Before transplanting, you could carefully cut the pot open to help the main foundation easier develop and broaden.
More likely to look whenever a grower is using greatly filtered or sluggish osmisis(RO) normal water to feed vegetation, since boron can be found in most basic plain tap water,but that's actually not the most frequent reason growers see boron zero their cannabis vegetation!


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KELLY MOUNTAIN LOOKOUT
First used in 1930 with a 100' tree platform and a log cabin, this 40' pole L-4 tower was built in 1938. It was destroyed in 1958. This lookout was the setting for Pete Pomeroy's book "The Mallory Burn" which was later made into a Wonderful World of Disney television special titled "Fire on Kelly Mountain".
Nez Perce National Forest
10 miles east of Riggins
Idaho County, Idaho
USGS Benchmark RA1282

redpajama_set_name: RedPajamaCommonCrawl


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Home › Texas Immigration & Family Law FAQs
Texas Immigration & Family Law FAQs
Immigration law is complicated and difficult to navigate without a knowledgeable and experienced legal team on your side. Whether you are seeking to immigrate, start your own business, bring a family member, or fight against deportation, the Peek & Toland can provide the guidance you need for success. Our Austin immigration attorneys specialize in immigration law and speak both English and Spanish. Contact us online or call us to learn about our services at (512) 474-4445.
We have organized the most frequently asked questions regarding immigration based on the following topics:
How does the naturalization process work?
The basic process requires a person to be a permanent resident. Additionally, an individual may be eligible for naturalization if s/he is:
18 or older;
A permanent resident for a specific amount of time (usually five years, but less for some individuals);
A person of good moral character;
Has basic knowledge of U.S. history and government;
Has a period of continuous residence and physical presence in the U.S., and
Able to read, write, and speak English. However, there are exceptions to this rule based on the applicant's age and years of permanent residence in the U.S.
Additionally, certain spouses of U.S. citizens and those who have served in the U.S. military during the past war or currently in combat may be eligible to apply for naturalization sooner. However, fulfilling all these requirements does not necessarily mean a person will be granted citizenship. A person seeking citizenship must also pass an English literacy and civics test, show that s/he is of good moral character, and take an Oath of Allegiance to uphold the U.S. Constitution.
What does good moral character mean?
The U.S. government has determined that the definition of good moral character requires that the person applying for citizenship be of good moral character for at least five years prior to their application.
The law states that a person is not of good moral character if:
The person was convicted of an aggravated felony after November 29, 1990, even if the conviction was more than five years prior to the citizenship application. A person seeking citizenship should consult with an attorney if they are unsure if their prior misdemeanor or felony is classified as an aggravated felony under U.S. immigration law.
Even if an individual has never been convicted of a felony, the U.S. government may decide to review an individual's entire history prior to the five years of good moral character to determine whether the individual is of good moral character.
Do I need to study for the Naturalization and English Test?
Yes, it is recommended that you take a moment to review the study materials that are available online. If an individual fails either portion of the Civics Test or English Test, s/he will be granted one additional opportunity to take the section of the exam s//he failed within 90 days of failing. If the individual fails the exam a second time, his or her application will be denied.
Below are links to information on each exam, as well as study materials.
Information on How the Test is Scored
Study Materials for the U.S. Civics and History Test
Study Materials for the English Test
The Naturalization Self-Test
What happens if my Naturalization application is denied?
You will have the following two options:
The denied applicant may request a N-336 Hearing with a new hearing officer;
The denied applicant may petition a federal district court to review the application. This is a form of judicial review.
If your Naturalization application has been denied, please contact the Peek & Toland . Our attorneys have years of experience with immigration law and can help you understand your options.
How can I determine if I am eligible for Citizenship through my parents?
You may be eligible for citizenship through your parents if:
Each parent is U.S. citizens, both parents were married at the time of birth, and at least one parent was living in the U.S. prior to the birth of the child;
One parent is a U.S. citizen, both parents were married at the time of the birth, the U.S. citizen parent had been physically present in the U.S. or its territories for a period of five years at some time in his or her life prior to the birth, in which two of those years were after the parent's 14th birthday, and the child's birthday is on or after November 14, 1986, or
One parent is a U.S. citizen, both parents were married at the time of the birth, the U.S. citizen parent had been physically present in the U.S. or its territories for a period of ten years at some time in his or her life prior to the birth, in which five of those years were after the parent's 14th birthday, and the child's birthday is after October 10, 1952 but before November 14, 1986.
How can I determine if I'm eligible for Automatic Citizenship through my parents?
A child born outside the U.S. is a citizen after birth through their parents if:
At least one parent is a U.S. citizen, the child is currently under the age of 18, residing in the U.S. in the legal and physical custody of the U.S. citizen parent, and the child was under the age of 18 or not yet born on February 27, 2001; or
The child was under the age of 18 from December 24, 1952 to February 26, 2001, the child was residing as a green card holder in the U.S. and one of the following events took place:
Both parents naturalized the before the child's 18th birthday or if
One parent is deceased and the surviving parent naturalized before the child turned 18;
The parents legally separated and the parent maintaining legal an physical custody naturalized before the child turned 18;
The child was born out of wedlock, there is no legally established paternity and the mother naturalized before the child turn 18; or
The child was adopted by a U.S. citizen parent, the child resides legally in the U.S. in the legal and physical custody of the U.S. citizen parent and meets the following conditions after February 27, 2001 but before his or her 18th birthday:
•The adopted child was adopted before his or her 16th birthday and the parents had legal custody and resided with the child for at least two years; or
•The child was admitted to the U.S. as an orphan (IR-3) or Convention adoptee (IH-3) whose adoption by his or her U.S. citizen parent(s) was fully completed abroad; or
•The child was admitted to the U.S. as an orphan (IR-4) or Convention adoptee (IH-4) who came to the U.S. to be adopted and the child's adoptive parent(s) completed the adoption before his or her 18th birthday.
How do I determine if I'm eligible to apply and obtain a green card through a family member?
An individual may be eligible to obtain a green card if the applicant is:
An immediate relative of a U.S. citizen, which includes the following:
•A spouse;
•An unmarried child under the age of 21; and
•Parents of a U.S. citizen petitioner who is 21 years or older;
A family member of a U.S. citizen fitting into a preference category, which includes the following:
•Unmarried sons or daughters over the age of 21;
•Married child(ren) of any age;
•Brothers and sisters (if the U.S. citizen petitioner is over the age of 21).
A family member of a green card holder; which includes the following:
•A spouse; and
•An unmarried child of the sponsoring green card holder;
A member of a special category, which includes the following:
•Battered spouse or child;
•A K non-immigrant;
•A person born to a foreign diplomat in the U.S.;
•A V non-immigrant; or
•A widow or widower of a U.S. citizen.
Am I eligible for a green card through my employer?
There are primary methods of obtaining a green card through an employer; however, before an immigrant seeking a green card through an employer can apply for a green card, the employer may have to meet certain requirements with the Department of Labor.
The four methods of obtaining a green card through an employer are as follows:
Green Card Through a Job Offer
Green Card Through an Investment
Green Card Through Self Petition
Green Card Through Special Categories of Jobs
For example, an employer seeking to employ an immigrant with a certain status must show that there are not enough able, willing, and qualified U.S. workers in the geographic location who can fulfill the position and that no U.S. workers are displaced by the foreign workers. In some instances, an employer may seek a foreign employee with extraordinary ability in a certain profession, and investors or entrepreneurs are given priority to immigrate.
What are the requirements for a Visa?
A foreign visitor must disprove a presumption that s/he is intending to immigrate. To disprove this presumption, a visitor must demonstrate to the consulate or consular officer at the embassy:
The purpose of the foreign visitor's stay in the U.S. is for business, pleasure, or medical treatment;
The visitor plans to stay in the U.S. for a limited, specific amount of time;
The visitor has evidence of sufficient funds to cover the expense of his or her stay in the U.S.;
The visitor has evidence of compelling social and economic ties abroad; and
The visitor has a place of residence outside the U.S. in addition to binding ties that ensure their return abroad at the end of the visit.
What is the process of obtaining a Visa?
To obtain a visa, a foreign visitor must apply for a visa at the U.S. Embassy or the consulate in the country or jurisdiction where the visitor permanently resides. A foreign visitor may apply for a visa outside his or her country; however, it is more difficult to qualify for a visa outside the visitor's home country.
Anyone between the ages of 14 and 79 is required to participate in an interview process before obtaining a visa. Even though those over the age of 80 and under the age of 13 are generally not required to interview, the U.S. Embassy or consulate may still request an interview.
The interview is the first step for applying for a visitor visa. The wait time for obtaining an interview can be long; therefore, it is important for the foreign visitor to begin the visa application process as soon as possible.
What do I do if my Visa application is denied?
If an applicant's visitor visa is denied, an applicant may re-apply for a visa if s/he has evidence to overcome the denial. Please contact the Peek & Toland if your visitor visa has been denied and our experienced immigration attorneys can help you with your re-application.
What is deferred action for childhood arrivals?
Deferred action is not permanent residency and it is not citizenship. Deferred action is a discretionary act of prosecutorial discretion that defers a removal action of an immigrant. While the immigrant is in deferred action, the immigrant will not be removed (deported) from the U.S.
What are the requirements to be eligible for deferred action?
The immigrant must have come to the U.S. under the age of sixteen;
Have continuously resided in the U.S. for at least five years preceding June 15, 2012 and must be present in the U.S. on June 15, 2012;
Currently in school, a graduate from high school or GED recipient, or is honorably discharged as a veteran of the Coast Guard or Armed Forces of the U.S.;
Have not been convicted of a felony offense, a significant misdemeanor offense, multiple misdemeanor offenses, or otherwise pose a threat to national security or public safety; and
Not above the age of 30.
How long will a period of deferred action last?
According to the U.S. Department of Homeland Security deferred action will only be granted for two year periods. When the two year period expires, the immigrant will need to renew the deferred action and have his or her case reviewed.
What if I have a pending removal (deportation) case against me or I have a final order of removal (deportation) against me?
The new directive applies to those individuals who have pending removal cases against them and those who have final orders of removal against them. Regardless of pending removal proceedings or a final order of removal, an individual who meets all the criteria may request review of his or her case for deferred action.
Does deferred action apply to individuals who are not in removal (deportation) proceedings or have a final order of removal against them?
Yes. However, those individuals who meet the criteria must request review by the USCIS.
Does deferred action provide individuals with a path to citizenship or permanent legal status?
No, deferred action does not grant any further permanent legal status or citizenship. However, deferred action does not allow those individuals who meet the criteria to live and work in the U.S. for the two year period.
If I'm approved for deferred action can I apply for employment authorization?
Yes, those individuals who meet the criteria and are approved for deferred action may apply for employment authorization.
How will the recent news affect the DREAM Act?
Based on the information we have received, Congress is still considering the DREAM Act and how best to provide certainty to young immigrants living in the U.S.
Contact a Texas Immigration Law Attorney
If you have additional questions about immigration law or would like to consult with an attorney about your eligibility, contact the Peek & Toland . Our experienced Austin immigration attorneys look forward to helping you with your case and answering your questions. Complete an online contact form or call us at (512) 474-4445 for a consultation in English or Spanish.


MinMaxx Realty Inc., Brokerage has established itself as the Best Value Provider of real estate services in the market. We have been selling homes, condominiums and commercial properties in GTA since 2006 including Milton, Oakville, Burlington, Mississauga, Brampton, Markham, Richmond Hill, Toronto as well as other areas in GTA / Golden Horseshoe and beyond.
MinMaxx is proud to offer through its Brokerage-wide Team Approach way better service than any independent agent or team in the market, and that combined with our top notch expertise and support system leads to industry leading results. Based on statistics from an independent audit, MinMaxx has been ranked as the #1 Team for 5 years in a row across all companies and brands in GTA! This is one of many things that make the company unique.


As part of the working visit to Kyrgyzstan, the Gazprom delegation led by the Management Committee Chairman Alexey Miller met with the Gazprom Kyrgyzstan team in Bishkek today.
The parties addressed the issues of the company's integration into Gazprom Group, particularly streamlining Gazprom Kyrgyzstan's organizational structure with regard to procedures applied in Gazprom. It was pointed out that at the moment the Articles of Association of the subsidiary company were approved and the Board of Directors was elected.
The meeting participants also touched upon the progress with a number of production, marketing, financial & economic and social activities at Gazprom Kyrgyzstan.
"The paramount task of Gazprom Kyrgyzstan today is to operate safely during the winter heating season. We earmarked extra funds to get ready for winter and lowered prices of the gas purchased on the border with Kazakhstan. We are also looking into the possibility of increasing liquefied hydrocarbon supplies to the southern parts of the Republic. In mid-term, we face the challenge of arranging gas supplies to the southern Kyrgyzstan and we consider six options of laying the North-South gas pipeline; exploration works will also be intensified across the Republic. In long-term, we will stick to the General Gasification Scheme for Kyrgyzstan till 2030 and we will finish it by this year end.
The Gazprom Kyrgyzstan team will be focused on solving the paramount tasks to improve gas supplies to hundreds of industrial facilities and thousands of households in the Republic.
For Gazprom Kyrgyzstan, its merger with Gazprom will result in higher performance and better social security to the employees," said Alexey Miller at the meeting.


Most manicures you perform will allow you to use one or the other, or perhaps just natural light to cure the nails.
To ensure proper curing of UV nail gels it is VERY important to always use the UV nail lamp that was designed specifically for the UV gel product of your choice and recommended by the manufacturer and to cure as directed.
Mini USB UV Nail Gel Curing Lamp Light Nail Gel Polish Dryer Nail Art Machine. I recorded a full video review with a demo that you can watch below.
Guangzhou iBeautyLead Trading Co., Ltd., Experts in Manufacturing and Exporting UV Lamp,Nail Drill and 1275 more Products. In addition, once it is fully understood that LED lights offer the safest artificial lighting on the market, it is possible to find an online retailer to order these safer lights for the home.
Exclusive Latest Product Professional Two Handed Nail Uv Lamp - Buy 2017 Professional Mini Led Uv Lamp Manicure Foldaway Personal Nail Lamp,Pocket Portable Mini Mouse Shape Fashion Led Nail Lamp,Professional Finger Uv Led Lamp Nail Dryer 3.
These UV or LED lamps used to be really expensive and bulky, but there are a ton of quality nail lamp options available in a huge range of prices now.
Just by doing a simple calculation, you will see that purchasing a nail lamp totally makes sense.
With the rapid growth of gels in the market, many nail techs have found themselves bombarded with questions regarding gel lamp technology.Then a gel or shellac manicure is the perfect recommendation. Nail LED UV Lamp from Shenzhen Beauty360 Technology Co., Limited. Search High Quality Nail LED UV Lamp Manufacturing and Exporting supplier on Alibaba.com.
Fit Gel Type: LED gels, UV gels, e.g.Shellac, Hard Gels, nail polish gel, sculpture gel, gem glue etc. It features a sliding tray on the bottom which means you can also use this lamp for pedicures after removing it. Our website has a lot of great information about our products but you can only browse the information.
Shenzhen Qianhai Thinlan Technology Co., Ltd., Experts in Manufacturing and Exporting Nail Dryer,LED Nail Lamp and 15000 more Products. Unfollow nail uv lamp to stop getting updates on your eBay feed.In the past Gels contained a UV photo-initiator which allows the gel to become hard when exposed to UV (Ultra Violet) light.Sally Beauty offers salon professional LED and UV nail lamps and lights for gel manicures, UV nail polish, and LED nail polish curing. Shop now.The difference is the amount of electricity the nail lamp itself uses and it is related to the speed of the curing time.A higher wattage LED nail lamp will cure your nail polish quicker than one with a lower wattage.
I receive a lot of questions about UV and LED lamps for curing gel polish, and thought it might be helpful to provide a brief comparison of the two.This black 36W UV nail lamp is perfect for quickly drying your gel painted nails.
UV Nail Lamp, Morpilot 9X 24W LED UV LED Nail Dryer Curing Lamp LED Gel Polish Light, UV Gel Nail Art Lamp Nail Care Tools With Sensor at Walmart and save.Product Description This Gelnailsuk led lamp is specially designed for gel polish nail art and with 48W high power, it can be used to dry the UV and LED gel fast and effectively.


Beautiful 18th c. Spanish Madonna of cage form representing "La Virgen Dolorosa". This Madonna is in overall excellent condition: her hands have remained intact with minor rubbing to the surface; she retains her resplandor or halo; her face has minor flaking to her chin area and normal desirable patination; the cage support is original; her clothing was probably replaced in the 19th c., but is faithful to the 18th c. style. Her undergarment and faded silk dress are completely hand stitched while her cloak appears to be later and is both hand and machine stitched. She has 19th c. jewelry. The Madonna measures 16.6", together with her crown she measures 18.5". Thank you for visiting.


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Failed: The US hypersonic missile did not ignite the engine
By Boyko Nikolov	 On Jul 30, 2021
WASHINGTON, BM – The United States failed for the second time in its attempt to test its first and only hypersonic missile, the AGM-183A, designed to be launched from a bomber. On July 28, the missile was successfully attached to the B-52H bomber, but when an attempt was made to launch it, the engine that powered the AGM-183A did not start at all.
Damn. Looks like the AGM-183A test failed again. pic.twitter.com/DfXcnbgr9L
— Davis (@DLT649) July 29, 2021
It's time for US hypersonic weapon – it will be everywhere
US received the first fighter launching hypersonic missiles
US and Norway will build an engine for hypersonic weapons
In April, the US Air Force made the first attempt at a real test of its hypersonic missile, but then the problem was different – it was not successfully attached to the bomber. Even then, the Pentagon announced that the main goal of the US Air Force was the first successful test to be performed by the end of July this year, but as it can be seen, it was again unsuccessful.
The official press release of the US Air Force says that in the test on July 29 the missile successfully separated from the bomber, showed full release, working navigation systems, good control, and mobility of the blades, but when it came time to turn on the engine and to direct the missile at the target, this did not happen.
So far, the AGM-183A has had several successful tests, but "dry tests" i.e. simulations. The same types of tests were recently conducted in the United States on the latest warhead W88 Alt 370, which is expected to become an integral part not only of the AGM-183A but also of other types of the cruise or anti-ship missiles.
Elon Musk will make heat shields for US hypersonic missiles
The US Air Force is looking for new ways to fabricate heat shields (missiles) that could work in demanding hypersonic applications. For this purpose, a new industrial contract was concluded to research and select appropriate material technologies and production methods. Elon Musk's company – SpaceX, was his beneficiary.
The US Air Force commissioned SpaceX to develop a concept for producing heat shields for future US missiles operating at very high air velocities. The agreement is the result of a tender procedure carried out on the initiative of the Pentagon, in which – according to general assurances – "many bidders" took part. The public tender was titled "Multipurpose thermal protection systems for hypersonics."
The contract for USD 8.5 million was concluded between the Air Force Research Laboratory (AFRL) and SpaceX in December 2020. However, the information was not made public until the end of February this year. "The aim is to improve the technology of manufacturing thermal protection systems to enable low-cost mass production of such next-generation devices," says the award announcement.


Environment Response Architecture (ERA Architects) is an experienced and award winning architectural practice providing specialised expertise on architectural projects with an environmental agenda, green architecture and sustainable development. ERA Architects was founded in early 2001 by Ken Stucke; the sole director.
ERA Architects won the Enviropaedia 2013 Eco-Innovation award for its project House Jones. Situated in the heart of Johannesburg, this home can operate completely independently of the Johannesburg City Council, by generating its own electricity, collecting and storing its own water and recycling its sewerage for irrigation purposes. The house is a luxury example of high comfort performance and aesthetic living with a seamless relationship between indoors and outdoors. The home has received significant publicity including television and magazine features.
ERA Architects was the design architect for a low-energy office development in Lusaka, (value US$20m), and the architect for the United Nations Sustainability Award winning project, the Johannesburg Eco-City in Ivory Park.
ERA Architects was the environmental and low-energy specialist in several other projects, including the winning proposal for the Department of Trade and Industry (DTI) new campus in Pretoria.
Ken has also worked hands on as a contractor in various countries, ranging from France and England to Botswana and South Africa. This length and breadth of experience has provided him with a firm grasp of the environmental and technological issues at work in the construction industry.
Ken has been asked to be part of several expert critique panels and workshops, asked to review the design proposals or establish project briefs. These include the Greenhouse Project in Johannesburg; a high profile project with government and municipal backing as part of the drive to revive the city center, and the CSIR"s Centre for Alternative Technology project in Pretoria.
Ken has published papers in technical journals, including The New Headquarters for Low energy Building Design in a Hot Dry Climate, (Ken Stucke & Rik Leus. Botswana Journal of Technology Vol. 10 No. 1 April 2001), and contributed to articles in various publications; including Urban Green File & Enviropaedia. He has also presented various papers at conferences over the years, including the ISES Solar Academy in Johannesburg 2002, and the Demand Side Management Impact conference in Pretoria 2002.
Ken was sponsored by SIDA, the Swedish aid agency, to assist in a training course in Sweden focusing on furthering professional expertise in low-energy buildings and thermal simulation software; Dynamic Energy Response Of Buildings (DEROB).
South Africa is no novice when it comes to design and architecture. Those who take the time to scroll through homify will definitely be amazed at the amount (and quality) of designs completed by local geniuses.
Hier op homify is ons mal daaroor om na pragtige huise te kyk, veral wanneer hulle sommer reg hier in Suid-Afrika te sien is, en/of deur plaaslike argitekte ontwerp is.


The magnificent Romanesque Revival nave of St. Cecilia Parish in Boston was the venue Monday night for the Vespers of 1610 by Monteverdi. Scott Metcalfe directed 27 of the region's leading early-music singers and instrumentalists in Tenet/Green Mountain Project's fourth consecutive performance of a series begun two days earlier at the Church of St-Jean-Baptiste in New York.
The Vespro della Beata Vergine work known today as the Vespers of 1610 has been familiar to music historians for at least a century but came to the attention of the musical public rather more recently. At least three arrangements for modern forces that came out after World War II made this one of the first examples of music from before the 18th century to enter the 20th-century mainstream. The BSO even performed it here in 1974, under Michael Tilson Thomas, with Susan Davenny Wyner, among the soloists; just last month in San Francisco, Thomas conducted the concluding Magnificat.
Yet the work's purpose, contents, and basics of intended performance practice and form have all been mysterious, setting off vigorous specialist debates. In intensity these have approached the better-known and not unrelated disagreements concerning Bach's choir composition. Some have held that Monteverdi's Vespers, like Bach's Art of Fugue, was never meant to be offered in its entirety, yet it does seem to have been composed for a ceremonial celebration during the composer's lifetime. But it was also meant to demonstrate Monteverdi's capabilities as a composer within an idiom—music for the Roman Catholic liturgy—with which he had not yet been identified at that point in his career. Unlike Bach's masterpiece, it dates from the middle rather than the end of a career. Moreover, it was probably intended to serve as a portfolio that would help the composer get a better job—not as a collection of pieces exemplifying expert composition for students.
Just three years later Monteverdi did gain a more prestigious position, moving from the ducal court of Mantua to the Basilica of St. Mark in Venice. But the Vespers, although sharing things with the music of Gabrieli, Monteverdi's great Venetian predecessor, had no exact precedents, nor did it find any exact imitations.
As published, the Vespers comprised 13 compositions: five large choral psalm settings; four motets mainly for smaller groups of voices; a hymn whose stanzas are set for varying numbers of voices and instruments; a unique Sonata for eight instruments, joined by a single voice that enters periodically to repeat a brief prayer to the Virgin; and, enfolding all, a brief versicle, based on the famous Toccata that opened Monteverdi's Orfeo of three years earlier, and a concluding multisectional Magnificat.
Monteverdi provided two versions of the Magnificat, one for six voices and another for seven, with instruments; naturally we heard the latter on Monday night. We also heard six chanted antiphons, such as would have been added in an actual Vespers service to precede each of the psalms and the Magnificat. Absent were the additional instrumental pieces which certain conductors, notably Andrew Parrott, sometimes substitute for some of the antiphons, following the practice of Monteverdi's time.
I've described the music and its background in detail because without it one can't fully understand either Monteverdi's achievement or that of the Green Mountain Project. Assembling these components into a satisfying presentation is no easy task. The director must choose from different editions and conflicting scholarly opinions about such fundamental matters as pitch, instrumentation, and order of the movements—and of course the number of singers. Despite critiques, Metcalfe by and large followed the findings of Parrott, whose views, set forth originally in a 1984 article in Early Music, remain persuasive to most specialists.
Until last night's performance I hadn't felt the unqualified admiration that the work instills in many. The style is distinctive, although one must speak here of at least two distinct styles. The motets, for one, two, or three solo voices (always with organ continuo), resemble in a general way the similarly scored settings of secular poetry that Monteverdi published during the following decades in his last two books of madrigals. The motets share with them an intense musical rhetoric, seemingly reflecting an urge to paint musically every affective or pictorial phrase in the text. This has been criticized by musicologist Gary Tomlinson as rendering the composer's secular works of the period mannered and incoherent.
The psalms and the Magnificat, on the other hand, incorporate the so-called reciting tones, which would have been chanted in an everyday Vespers service. Consisting largely of a single repeated note, these "tones," when embedded within Monteverdi's polyphony, produce stretches of music based on a single harmony. All the busy counterpoint and embellishment sung simultaneously by the other voices cannot disguise the essentially static nature—however ingenious Monteverdi's varying ways of incorporating the reciting tone into the texture, and however grand the sound.
Hence another challenge for the director of a complete performance is to avoid longueurs in the psalms, while encouraging the soloists toward a coherent and unmannered interpretation of the motets. Beyond that, every movement poses other challenges, often profound, for players as well as singers: virtuoso figuration for the soloists, tricky rhythms and counterpoint for the ensemble. How well did they succeed?
Metcalfe's elegant notes mentioned minor departures from the version printed in 1610, chiefly a few instrumental doublings of some of the vocal parts. I also noticed use of three singers rather than one for some of the sustained cantus firmi, the prolonged reciting tones around which Monteverdi constructs his counterpoint. Presentation by a group makes the cantus firmi marginally less expressive or individual, particularly in the Sonata. But these lines, which look simple in the score, can be taxing when sung by a soloist. They also can become inaudible, swamped by the busier surrounding music.
Comprising at least 30 distinct numbers or movements, the Vespers lasted nearly two hours without intermission. The varied scoring and placement of singers and players within the church led to an elaborate choreography that went off without a hitch. I don't know how closely the positioning of the musicians resembled what would have occurred in a historical vespers service, but having the types of music—chant, choral polyphony, certain individual vocal or instrumental parts—emanate from different locations added to the diversity of effect. The body of performers usually stood in place at the front of the audience, grouped in one or two semicircles around a small portative organ and two lutes (which played throughout, as continuo). Singers ranging from one to 10 were flanked on either side by instruments: six strings and five winds. The first antiphon was chanted by a second group of singers, standing behind the main group, but most of the subsequent antiphons were chanted from the organ loft at the back of the church. When not needed in a given piece, singers and instrumentalists walked to the side after subsequent numbers began to ensure continuity. Thus there was no applause until the end, when the entire ensemble received the standing ovation it deserved.
Also a fine violinist, Metcalfe directed the opening versicle and response while also bowing, as he did in other portions of the program. Most of the larger pieces were directed in conventional manner; the smaller ones went off without a conductor.
In reviewing an event where every participant stood out, it is burdensome to cite every individual, number or moment, yet there remains much to say. The chanted antiphons were done with the exquisite attention to phrasing and intonation that we have come to expect from the singers, several of whom also work with Metcalfe's Blue Heron. The style was probably not that of Monteverdi's day, rather a modern one approximating some sort of medieval practice—but reconstructing early Baroque chant remains unexplored territory.
In the polyphonic movements, lively tempos and expressive, at times dramatic, singing reduced the danger of monotony even in the more austere numbers. I wondered a little about this approach only in two psalms, "Lauda Jerusalem" and especially "Nisi dominus," whose elaborate opening in 10-part counterpoint tends to blur at the rapid speed Metcalfe chose. But perhaps this was Monteverdi's intention, and only at this tempo could the subsequent dialog between the two five-part choirs of this psalm have attained the intensity it did.
Over the course of the evening, ensemble artistic director Jolle Greenleaf formed in many numbers a marvelous pair with fellow soprano Molly Quinn. Particularly expressive was Greenleaf's exquisitely shaped solo on the final line of the motet "Pulchra es." Quinn brought unexpected drama to many of her own solos, notably in passages within the first psalm, "Dixit dominus." Equally imaginative was the addition of small ornaments to the cantus firmus, which I noticed particularly from Jason McStoots in the "Laudate pueri"; this helped reduce any possibility of his part sounding merely dutiful. The ending of this heavily scored psalm, in which most of the voices and instruments drop out to leave McStoots and fellow tenor Owen McIntosh in unison, was at once surprising and striking. In the motet "Duo seraphim," McStoots not only gave a vivid display of the demanding coloratura but also led the ensemble with perfect timing. On this basis alone he would have to be considered among America's finest early-music specialists—which is not to take anything away from the splendid singing of his fellow seraph McIntosh or the equally agile figuration of tenor Brian Giebler, who joined them at the end of this motet.
"Nigra sum," the first of the motets and in modern terms a tenor solo, was sung beautifully by Aaron Sheehan. Another motet, "Audi coelem," received a powerful presentation from Sumner Thompson, listed in flyers as a tenor but described in the booklet as a baritone, reflecting that Monteverdi's tenor parts lie low by modern standards. "Audi coelum" requires strength in the low register and sweetness on the (relatively) high notes, both of which Thompson provided abundantly.
He also furnished a shattering "omnes" (Everybody!) at the climactic moment in the motet, calling for six singers to join him at what Metcalfe described in his notes as "the most directly personal and touching moment of the work." It was indeed the most affecting portion of the concert, unless that occurred with the following antiphon, "Ecce Maria," which was chanted by several of the men standing in the center aisle, effectively within the audience.
The Magnificat, like the Sonata, is as much instrumental as vocal. I noted in particular the strong singing of Thompson and baritone Jesse Blumberg in the "Et exaltavit." To this the recorders and trombones provided a splendidly quiet contrast in the "Quia respexit." The recorders, heard only here, were intoned ably by cornettist Opsahl and trombonist Greg Ingles, with the reliable Mack Ramsey and Erik Schmalz on the lower brass. Metcalfe contributed fine violin playing to the "Fecit potentiam." In the ensuing "Deposuit," an inspired effect was produced as Matthews and Opsahl turned away from the audience—and from their instrumental partners Metcalfe and Tollaksen—to give the impression of distance as they echoed the latter. Echos, a favorite Baroque device, were also heard in "Audi coelum," where Blumberg sang perfectly, albeit invisibly, from behind the choir.
The "Esurientes" calls for two altos to sing phrases of quiet sustained tones without accompaniment, alternating with the instruments. Brackett and Warnken likewise accomplished this task perfectly, remaining on pitch. In the final "Gloria patri," the echoing coloratura of baritones Thompson and Mischa Bouvier, singing from opposite sides of the choir, was as strong and exhilarating as if it were the beginning of the program. Yet this did not preclude lovely continuo accompaniment in the quieter parts of this movement from lutenists Hank Heijink and Daniel Swenberg. Jeffrey Grossman's organ continuo work supported the other musicians selflessly and without miscue throughout a long yet engaging evening of most accomplished musicianship.
Altogether, this was one of the finest performances of any type that I've heard. A model for historical approach, fitting imaginative and passionate execution to scrupulous scholarship, it banished all doubts that the Vespers deserves its reputation and that Monteverdi here created something startlingly original and integrated.
Ditto. What a joy to read this review. One can almost hear it! St Cecilia, patron saint of music, must be smiling.


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Mini batch NMF: Theano based GPGPU implementation of NMF with beta-diveregence and mini-batch multplicative updates.


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Q: Re-writing a JavaScript variable to HTML5 canvas when the value of the variable has been updated I'm wondering if there's an easy way to 're-write' the value displayed by a JavaScript variable on a HTML5 canvas when the actual value of the variable has been updated by the user?
For example, I'm using the HTML5 canvas and JavaScript to write a very simple game to teach users some basic Welsh.
Currently, I have two arrays: one containing 10 .png images for the numbers 1-10, and the other containing 10 strings for the Welsh words for the numbers 1-10.
When the user views the page, the canvas displays a 'start game' button, which when clicked, draws one random element from the images array, and one random element from the words array, as well as an image of a tick and a cross.
If the image and the word represent the same number, the user should click the tick, if they do not, the user should click the cross. If the user makes the right selection- I have a currentScore variable whose value is increased by 5 (initiated at 0), if they make the wrong selection, the value of currentScore remains the same.
When I view the page in the browser, and play the game, if I click on the tick when the image and word represent the number, I can see that the value of currentScore is increased by 5 in the console, but the value of currentScore displayed on the canvas remains the same. Similarly, if I click the cross when they do not match, the score is increased in the console, but not on the canvas.
So the logic behind the code is right, and it works, I'm just not sure how I can get the value displayed for currentScore to be updated on the canvas each time its actual value is updated.
The function I'm using to do this is below:
function drawLevelOneElements(){
            /*First, clear the canvas */
            context.clearRect(0, 0, myGameCanvas.width, myGameCanvas.height);
            /*This line clears all of the elements that were previously drawn on the canvas. */
            /*Then redraw the game elements */
            drawGameElements();

            /*Create an array of words for numbers 1-10 */
            var wordsArray = new Array();
            wordsArray[0] = "Un";
            wordsArray[1] = "Dau";
            wordsArray[2] = "Tri";
            wordsArray[3] = "Pedwar";
            wordsArray[4] = "Pump";
            wordsArray[5] = "Chwech";
            wordsArray[6] = "Saith";
            wordsArray[7] = "Wyth";
            wordsArray[8] = "Naw";
            wordsArray[9] = "Deg";

            /*Use Math.random() to generate a random number between 1 & 10 to draw the word and image to the canvas */
            var drawnImage = Math.floor(Math.random()*10);
            var drawnWord = Math.floor(Math.random()*10);

            /*Draw an image and a word to the canvas just to test that they're being drawn */
            context.drawImage(imageArray[drawnImage], 100, 30, 30, 30);
            context.strokeText(wordsArray[drawnWord], 500, 60);

            /*Now draw the tick and cross to the canvas */
            context.font = "30pt Calibri"; /*Set text font and size */
            context.drawImage(tick, 250, 200, 50, 50);
            context.drawImage(cross, 350, 200, 50, 50);

            /*Add an event listener to the page to listen for a click on the tick or the cross, if the user clicks
                the right one to indicate whether the image and word relate to the same number or not, increase the
                user's score*/
            myGameCanvas.addEventListener('click', function(e){
                console.log('click: ' + e.pageX + '/' + e.pageY);
                var mouseX = e.pageX - this.offsetLeft;
                var mouseY = e.pageY - this.offsetTop;
                /*If the tick is clicked, check whether or not the image and word represent the same number, if they do,
                    increase the score, if not, leave the score as it is*/
                if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage == drawnWord)){
                    currentScore = currentScore + 5;
                    console.log('Current Score = ' + currentScore);
                } else if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage != drawnWord)){
                    currentScore = currentScore;
                    console.log('Current Score = ' + currentScore);

                /*If the cross is clicked, check whether or not the image and word represent the same number, if they
                    don't, increase the score, otherwise, leave the score as it is*/
                } else if((mouseX > 350 && mouseX < 400) && (mouseY > 200 && mouseY < 250) && (drawnImage != drawnWord)){
                    currentScore = currentScore + 5;
                    console.log('Current Score = ' + currentScore);
                } else if ((mouseX > 350 && mouseX < 400) && (mouseY > 200 && mouseY < 250) && (drawnImage == drawnWord)){
                    currentScore = currentScore;
                    console.log('Current Score = '+ currentScore);
                } else {
                    console.log('The click was not on either the tick or the cross.');
                }
            }, false);

I wouldn't have thought it would require too much code to do this, but I just can't work out how to do it. Any help would be much appreciated. Thanks!
*EDIT*
I've added the code in as you suggested, but the score displayed on the canvas is still not updated for some reason...
if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage == drawnWord)){
                    currentScore = currentScore + 5;
                    context.clearRect(currentScorePositionX, currentScorePositionY, 20, 20); /*Clear the old score from the canvas */
                    context.strokeText(currentScore, 650, 15); /*Now write the new score to the canvas */
                    console.log('Current Score = ' + currentScore);
                } else if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage != drawnWord)){
                    currentScore = currentScore;
                    console.log('Current Score = ' + currentScore);

Any suggestions?

A: Something that may not have occurred to you, is that canvas elements can be transparent, and stacked on top of each other. This way, you could have a GUI only canvas, and an action canvas, and keep them separate. Absolute positioning will make this work, if you're not confident in css, and want an example, just say.

A: You need to clear a part or all of your canvas and redraw it in order to update the canvas display. You are already doing this in the first line of drawLevelOneElements() - you clear the whole screen. To clear just a section you can do:
context.clearRect(x, y, scoreDigitWidth, scoreDigitHeight);

x and y are the coordinate of your score digit and scoreDigitWidth and scoreDigitHeight the width and height. Then you can fill this cleared area using context.drawImage(). You could initiate the process using a continually loop updating the frame or if it doesn't need updating often just run it after line:
currentScore = currentScore;

I.e when you know the new score.
You're normally better clearing and redrawing just what has changed on the canvas instead of all of it. Here's a good article on performance. http://www.html5rocks.com/en/tutorials/canvas/performance/.
It looks like quite a simple animation, you might be better off using just html elements (divs, imgs, etc) instead of the canvas, this will allow users with browsers that don't support the canvas element to still use it, namely IE8<.

A: Building on what Ed Kirk said, you can detect when the score variable has changed by comparing it against itself every so often (say, 50 milliseconds for starters).
Example:
var myScore = 0;
var myOldScore = myScore;

setInterval(function() {
    if(myScore != myOldScore) {
        myOldScore = myScore;
        // the variable has changed, write it to the canvas
    }
}, 50); // will execute every 50 milliseconds

A: I've made a few changes to my function, and now have the follwing code:
/*Add an event listener to the page to listen for a click on the tick or the cross, if the user clicks
                the right one to indicate whether the image and word relate to the same number or not, increase the
                user's score*/
            myGameCanvas.addEventListener('click', function(e){
                console.log('click: ' + e.pageX + '/' + e.pageY);
                var mouseX = e.pageX - this.offsetLeft;
                var mouseY = e.pageY - this.offsetTop;
                /*If the tick is clicked, check whether or not the image and word represent the same number, if they do,
                    increase the score, if not, leave the score as it is*/
                if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage == drawnWord)){
                    currentScore = currentScore + 5;
                    var scorePositionX = currentScorePositionX;
                    var scorePositionY = currentScorePositionY;
                    context.clearRect(scorePositionX, scorePositionY, 30, 30); /*Clear the old score from the canvas */
                    context.strokeText(currentScore, 650, 50); /*Now write the new score to the canvas */
                    console.log('Current Score = ' + currentScore);
                } else if((mouseX > 250 && mouseX < 300) && (mouseY > 200 && mouseY < 250) && (drawnImage != drawnWord)){
                    currentScore = currentScore;
                    console.log('Current Score = ' + currentScore);

                /*If the cross is clicked, check whether or not the image and word represent the same number, if they
                    don't, increase the score, otherwise, leave the score as it is*/
                } else if((mouseX > 350 && mouseX < 400) && (mouseY > 200 && mouseY < 250) && (drawnImage != drawnWord)){
                    currentScore = currentScore + 5;
                    context.clearRect(currentScorePositionX, currentScorePositionY, 20, 20); /*Clear the old score from the canvas */
                    context.strokeText(currentScore, 500, 50); /*Now write the new score to the canvas */
                    console.log('Current Score = ' + currentScore);
                } else if ((mouseX > 350 && mouseX < 400) && (mouseY > 200 && mouseY < 250) && (drawnImage == drawnWord)){
                    currentScore = currentScore;
                    console.log('Current Score = '+ currentScore);
                } else {
                    console.log('The click was not on either the tick or the cross.');
                }
            }, false);

This is now displaying the current score, and updating it every time the user correctly selects the tick or the cross, however, when drawing the new score to the canvas each time, rather than removing the previous drawing of the score and writing the new score in its place, it simply writes it over the top, so both the old score and the new score are displayed in the same location- which is a bit of a mess, and makes it hard to read.
Also, the location and font & size of the score are not where I had intended- I had intended that it be displayed in my 'score bar' as previously mentioned, however, it is now displayed below the score bar, on the main 'display' section of the canvas. Also the font is different- the numbers are not displayed as usual characters, i.e. 5, 10, etc, but the font is larger, and is like 'bubble writing', with white space in the middle of the digits. The font is also much larger- at least twice the size of the text I have displayed in the 'score bar'.
Could someone point out to me what I'm doing wrong here? Thanks very much!

redpajama_set_name: RedPajamaStackExchange


text:
Three-Year-Old Barred From School Picture For 'Extreme' Haircut
A three-year-old boy was told he couldn't take part in his very first school photo because administrators found that his hair was too "extreme."
According to reports, three-year-old Delaney Templeton arrived at school excited to be in his class's photo, but administrators wouldn't allow him to have his picture taken because his "extreme" hair was too short.
"I was absolutely furious," Julieann Yates, Delaney's mother, said to the Sunderland Echo. "I was really, really mad. We were really looking forward to having his picture taken with the other children, and he was talking about it on the way to nursery that morning. It would have been his first ever school photos. I was very, very upset and angry."
Yates says that her son has had the same haircut since he started at the preschool back in September and it hasn't been a problem.
"Most of the school had their photos taken," said Yates. "My son was refused because of his hairstyle. He has had the exact same hairstyle since he started nursery in September, and the school has never said it was inappropriate. He was the only one in his year who was excluded, but there were a lot of children in the school, with comb overs, who had their photos taken."
Despite Yates' outrage, headteacher at Southwick Community Primary School Trish Stoker says that parents are informed of the hair policy at the beginning of the year.
"Every family with a child at our school receives a home school agreement which includes the school uniform policy and extreme haircuts," said Stoker. "Also letters are regularly sent out to remind parents of the school rules on extreme haircuts. That agreement, drawn up and agreed by staff and parents/carers at our school is there to help maintain levels of attainment, behaviour and discipline and improve standards."
A similar story in which another British schoolboy was reprimanded for his haircut was reports by Opposing Views last week, although in that case, the boy was suspended.
Sources:Metro UK, Sunderland Echo, Daily Mail / Photo Source: Sunderland Echo
extremeSchoolPhotohaircutEngland
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11-Year-Old Forced To Walk 40 Minutes To School Due To Bus Pass Technicality
Boy Suspended For 'Gang-Related' Haircut
School Expells 8-Year-Old For Making Toy Gun From Paper (Video)
Father Calls For Principal's Firing After Son Banned From Posing With Favorite Gun In School Picture (Photos)
8-Year-Old Jordan Bennett Suspended From School For Making Gun Shape With His Hand While Playing With Friends


10 June 2013, London: Ashton Rose, London's leading boutique property consultancy, today announced they have joined the British Property Federation (BPF), a professional organisation devoted to representing the interests of all those involved in property ownership and investment. Membership of the BPF gives Ashton Rose the opportunity to share its expertise on the premium property market in the UK and to contribute to the growth and development of the professional community.
Andrew Panting, the Director of Operations at the BPF, welcomed Ashton Rose and said the Federation would benefit from a new perspective on property.
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Stunning new view from ESA's Herschel space observatory of the iconic Horsehead Nebula in the context of its surroundings. The image is a composite of the wavelengths of 70 microns (blue), 160 microns (green) and 250 microns (red), and covers 4.5x1.5 degrees. The image is oriented with northeast towards the left of the image and southwest towards the right.
The Horsehead Nebula resides in the constellation Orion, about 1300 light-years away, and is part of the vast Orion Molecular Cloud complex. The Horsehead appears to rise above the surrounding gas and dust in the far right-hand side of this scene, and points towards the bright Flame Nebula. Intense radiation streaming away from newborn stars heats up the surrounding dust and gas, making it shine brightly to Herschel's infrared-sensitive eyes (shown in pink and white in this image).
To the left, the panoramic view also covers two other prominent sites where massive stars are forming, NGC 2068 and NGC 2071.
Extensive networks of cool gas and dust weave throughout the scene in the form of red and yellow filaments, some of which may host newly forming low-mass stars.


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Derek Jeter Joined 7-9-2011 3000 Hit Club, Baseball's 3000 Hits Club Knowledge Base!
Derek Sanderson Jeter is an American former professional baseball shortstop who played 20 seasons in Major League Baseball (MLB) for the New York Yankees.
Derek Jeter is a five-time World Series champion, Jeter is regarded as a central figure of the Yankees' success of the late 1990s and early 2000s for his hitting, baserunning, fielding, and leadership.
Derek Jeter is the Yankees' all-time career leader in hits (3,465), doubles (544), games played (2,747), stolen bases (358), times on base (4,716), plate appearances (12,602) and at bats (11,195).
His accolades include 14 All-Star selections, five Gold Glove Awards, five Silver Slugger Awards, two Hank Aaron Awards, and a Roberto Clemente Award.
Derek Jeter became the 28th player to reach 3,000 hits and finished his career sixth all-time in career hits and the all-time MLB leader in hits by a shortstop.


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The PJ Tatler
How Vladimir Putin Stole a Super Bowl Ring
By Rick Moran 10:55 AM on June 15, 2013
I remember this story at the time because it struck me as particularly generous. It was reported in 2005 that New England Patriots owner Robert Kraft, one of the real good guys in sports and a legendary philanthropist, gave Russian Prime Minister Vladimir Putin his Super Bowl ring. Kraft was on a trip with other business executives to St. Petersburg when they were granted an audience with Putin.
The rest of the story is like something out of a tale that might have been told of Ivan the Terrible:
Kraft explained the incident happened while Sandy Weill and other business execs were in St. Petersburg. "I took out the ring and showed it to [Putin], and he put it on and he goes, 'I can kill someone with this ring,' " Kraft told the crowd at Carnegie Hall's Medal of Excellence gala at the Waldorf-Astoria."I put my hand out and he put it in his pocket, and three KGB guys got around him and walked out."
Kraft released a statement at the time, "President Putin, a great and knowledgable sports fan, was clearly taken with its uniqueness. I decided to give him the ring as a symbol of the respect and admiration that I have for the Russian people and [his] leadership.
Amazing. But the story doesn't end there. Despite his statement, Kraft wanted the ring back and enlisted the aid of the Bush White House in retrieving it:
But Kraft really wanted the 4.94-carat bauble back, he said Thursday, admitting he'd gotten a call from the George W. Bush-run White House, saying, "'It would really be in the best interest of US-Soviet relations if you meant to give the ring as a present." (In fact the Soviet Union had collapsed 14 years earlier.)
But, Kraft said, "I really didn't [want to]. I had an emotional tie to the ring, it has my name on it. I don't want to see it on eBay. There was a pause on the other end of the line, and the voice repeated, 'It would really be in the best interest if you meant to give the ring as a present.' " The ring is now reportedly kept in the Kremlin library.
One could apply a metaphor about Putin purloining elections to this story but it goes far beyond that. Doing business in Russia basically means doing business with Putin. Corruption is rampant and it is believed that Putin has become fabulously wealthy as a result of kickbacks from foreign businesses. The once penniless former KGB agent has become a billionaire by milking the system for everything he can get.
So it isn't necessarily surprising that Putin would literally pocket a $25,000 ring. The surprise is that the US government didn't stand up to him and demand the ring's return. Such petty thievery should have been very publicly and explicitly rebuked by the Bush administration and the fact that it wasn't says a lot about how our government deals with this new Czar of all the Russias.
Rick Moran has been writing for PJ Media for 13 years. His work has appeared in dozens of media outlets including the Washington Times and ABC News. He was an editor at American Thinker for 14 years. His own blog is Right Wing Nut House. For media inquiries, please contact [email protected].
Read more by Rick Moran


text:
// Copyright (c) ppy Pty Ltd <contact@ppy.sh>. Licensed under the MIT Licence.
// See the LICENCE file in the repository root for full licence text.

using osuTK;

namespace osu.Game.Rulesets.Osu.Objects.Drawables
{
    /// <summary>
    /// A component which tracks the current end snaking position of a slider.
    /// </summary>
    public interface ITrackSnaking
    {
        void UpdateSnakingPosition(Vector2 start, Vector2 end);
    }
}

redpajama_set_name: RedPajamaGithub


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Fade to Black – Die schönen Morde des Eric Binford (Originaltitel: Fade to Black) ist ein US-amerikanischer Psychothriller aus dem Jahr 1980 unter der Regie von Vernon Zimmermann, der auch das Drehbuch schrieb.

Der Film kam im Oktober 1980 ins Kino. Fade to Black war damals kommerziell erfolglos. Später entwickelte er sich zum Kultfilm von Horrorfans.

Handlung

Der schüchterne Eric Binford lebt bei seiner im Rollstuhl sitzenden Tante und verbringt die Freizeit ausschließlich mit Fernsehen. Besonders mag er alte Klassiker. Seine Liebe zu Filmen zeichnet auch darin ab, dass er in einem Distributionszentrum für Filme arbeitet. Sowohl privat als auch beruflich hat Eric soziale Schwierigkeiten, da er sich von seiner Tante ständig beim Fernsehen gestört fühlt und von seinem Chef tyrannisiert wird, weshalb er sich in seine Filmwelt flüchtet. Eric trifft eines Tages auf ein Model namens Marilyn O'Conner, welche seiner Lieblingsschauspielerin Marilyn Monroe zum Verwechseln ähnlich sieht. Als Marilyn ihn aber beim ersten gemeinsamen Date verlässt, ist Eric gekränkt und verliert nach und nach den Bezug zur Realität.

Im Lauf der Zeit wandelt sich Eric immer mehr vom schüchternen jungen Mann zum Psychopathen, der, privat und beruflich gedemütigt, nur bei seinen Filmen Trost findet und schließlich sogar Rache an den Leuten nimmt, die ihm das reale Leben zur Hölle machen, wobei er immer Filmszenen nachstellt:

Als seine Tante den Fernseher gegen seinen Willen abstellt, stößt er sie im Rollstuhl von der Treppe, was einer Szene aus Der Todeskuß ähnelt. Seinen Chef erschreckt er in der Gestalt der Mumie buchstäblich zu Tode, da dieser bei seinem Anblick einen Herzinfarkt erleidet. Richie, Binford's Arbeitskollege, wird von ihm in der Kleidung des Cowboys Hopalong Cassidy erschossen. Bei einem Angriff auf eine Frau im Kostüm von Dracula trinkt er sogar ihr Blut, nur um die Szene perfekt nachzustellen. Diese Taten ziehen das Interesse des Kriminalpsychologen Dr. Jerry Moriarty auf sich. Moriarty's Arbeit wird von seinem Vorgesetzten behindert, der selbst den Mörder fassen will.

Als Eric den Filmproduzenten Gary Bially, der Eric's Idee für einen neuen Film als seine eigene ausgab, als der Filmgangster Cody Jarret aus Sprung in den Tod im Friseurladen umbringt, wird sein Gesicht öffentlich bekannt. Moriarty schafft es, Eric zu überraschen, als dieser in einem Fotostudio gerade eine Filmszene aus Der Prinz und die Tänzerin nachstellt, um sich mit Marilyn zu versöhnen. Moriarty's Auftauchen bringt Eric, der nun endgültig jeden Bezug zur Realität verloren hat und nicht einmal mehr weiß, wer Binford sei, dazu, mit Marilyn auf das Dach des TCL Chinese Theatre zu flüchten. Die Polizei umstellt das Gebäude, auch Moriarty macht sich auf den Weg. Binford, der immer noch in seiner Filmwelt lebt und glaubt, es könne für ihn kein schlechtes Ende geben, da sie sich in Hollywood befinden, sperrt Marilyn in das Treppenhaus. Kurz darauf wird er von Polizisten angeschossen und tödlich verwundet. Während er sich zum Dachrand schleppt, zitiert Binford mit letzter Kraft seine Lieblingsszene aus "Sprung in den Tod" (die Todesszene von Cody Jarret), bevor er sich, nun im Licht der Polizeischeinwerfer sichtbar, wie vor einem Publikum verbeugt und vom Dach stürzt.

Merchandise
 Von Ron Renauld wurde ein englischsprachiges Buch zum Film mit dem Titel Fade to Black (ISBN 0-523-41409-9) geschrieben, das 1980 bei Pinnacle Books erschien.

Auszeichnungen
Der Film wurde 1981 für sechs Saturn Awards nominiert, unter anderem als bester Horrorfilm, für die beste Regie (Vernon Zimmermann) und für den besten Hauptdarsteller (Dennis Christopher). Eve Brent wurde als beste Nebendarstellerin ausgezeichnet.

Video
Mitte der 1980er wurde die englischsprachige Originalversion Fade to Black als VHS-Heimvideo von Media Home Entertainment und am 24. August 1999 von Anchor Bay Entertainment auf DVD veröffentlicht. 2012 erschien er bei CDV Laservision auf deutsch als DVD.

Weblinks

Einzelnachweise

Filmtitel 1980
US-amerikanischer Film
Horrorfilm
Thriller
Horrorkomödie

redpajama_set_name: RedPajamaWikipedia


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Comité Solar
Programa Energía Solar
Innovación Energética
Hidrógeno Verde
Iniciativas Transversales
Desarrollo Tecnológico
Innovación y emprendimiento
Fortalecimiento de la Infraestructura de la Calidad
First small-scale CSP project in Chile begins testing stage
The initiative was awarded innovation in energy of the year at SunRISE 2019.
The first small-scale concentrated solar power plant developed in Chile, the SolarBosch project, began its testing phase to assess the behavior of the heliostat control system, which was designed for this initiative with the support of Chile's Economic Development Agency (CORFO) line on validating and packaging innovation challenges.
During the trials, heliostats will aim for two targets to gauge the effectiveness of followers and mirrors. Once the tests are completed and the followers' effectiveness has been demonstrated, Enerbosh, the company in charge of the project, hopes to build a CSP plant to supply heat to its galvanizing facilities.
The future plant will be located in the municipality of Quilicura, which also constitutes a milestone for being the first CSP plant projected in the central area of Chile." Once the testing stage is completed, we hope to build 300 heliostats, and the tower will be located as close to the galvanized pool as possible, since it will receive the heat from the plant. Once the system has been tested at a profitable scale, electricity could begin to be produced," said Andrés Bosch, Enerbosh representative and project leader. The help provided by CORFO's financing tools was also highlighted, since it facilitates developing innovations in different productive sectors. "Without CORFO's financing, we would not have been able to begin the project," added Bosch.
The project seeks to enable the use of CSP technology on a small scale with one main difference: current CSP towers use molten salts as heat transfer fluid and storage medium, while this project uses air and copper slag as heat transfer fluid and storage medium, respectively. According to Tomás Baeza, Innovation area of Solar Committee, "with initiatives like this, we shine a light on a significant ecosystem that is making innovation in energy. We have projects that seek to expand the use of renewable energy, and a small-scale CSP project could become a more sustainable solution for companies' thermal processes."
SolarBosh also won the 2019 edition of SunRISE, the largest energy innovation meeting held in Chile. Now, the challenge is to complete the testing phase and provide the outcomes that will allow them to obtain the financing to build the plant.
Twitter comite_solar
LinkedIn Comité Solar
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Visita Técnica Solar World Congress
+ Ver más Videos
Enlace Solar
SolarPACES
International Energy Agency- Photovoltaic Power Systems Programme (PVPS)
Energía Abierta
Comité Solar, Agustinas 640, Piso 16, Santiago, Chile. Teléfono: +56 2 24969600


Reside Music or chances are you'll merely say Reside Efficiency, is a concert normally of music in entrance of viewers. four-9 p.m. July 14, the fifth-annual Do Good Fest presents music by Phillip Phillips, Serena Ryder, Syml, Caitlin Canty and the Chad Hollister Band on the garden at National Life Group, Montpelier. They're at the beaches on the weekends and they rock and roll and appeal to a whole bunch of music lovers at every gig.
The character of a live performance varies by musical genre , particular person performers, and the venue. In an identical method, a particular musician, band, or genre of music may appeal to live performance attendees with comparable gown, coiffure, and conduct. Here's just a sampling of among the live music events and shows in Music Metropolis.
Held in Prescott Park, our live performance series and music festivals deliver some of the best talent from across the globe to Portsmouth. Concert promoters ought to provide loads of water for all individuals in attendance, and failure to do so may lead to critical injury or loss of life.
Whether you're just arriving in Austin, Texas for the first time or you are a native coming house, you can be greeted on the airport with dwell music at three totally different airport venues. Not all concerts are accepted for live performance attendance.
Recording artists go on tour to promote file gross sales and introduce their followers to new musical compositions. Receive our weekly publication & updates with new occasions out of your favourite artists & venues. Free concert events are given between April and October at The Plaza, making the music collection "Reside From The Plaza" one of many extra standard music venues around.