text:
<?php

declare(strict_types=1);

namespace Psi\Bridge\ContentType\Doctrine\PhpcrOdm;

use Doctrine\ODM\PHPCR\Mapping\ClassMetadata;
use Psi\Component\ContentType\Field;
use Psi\Component\ContentType\FieldLoader;
use Psi\Component\ContentType\FieldOptions;
use Psi\Component\ContentType\Standard\Storage as Type;

/**
 * The FieldMapper maps the correct PHPCR-ODM field for the given content-type
 * field.
 */
class FieldMapper
{
    private $encoder;
    private $fieldLoader;

    public function __construct(
        PropertyEncoder $encoder,
        FieldLoader $fieldLoader
    ) {
        $this->encoder = $encoder;
        $this->fieldLoader = $fieldLoader;
    }

    public function __invoke($fieldName, Field $field, ClassMetadata $metadata, array $extraOptions = [])
    {
        $type = $field->getStorageType();
        $options = array_merge([
            'multivalue' => false,
        ], $extraOptions);

        if ($type === Type\ObjectType::class) {
            $options = $field->getStorageOptions();
            $this->unrestrictChildClass($options['class'], $metadata);
            $metadata->mapChild([
                'fieldName' => $fieldName,
                'nodeName' => $this->encoder->encode($fieldName),
                'nullable' => true,
            ]);

            return;
        }

        if ($type === Type\CollectionType::class) {
            $this->mapCollectionType($fieldName, $field, $metadata);

            return;
        }

        if ($type === Type\StringType::class) {
            $metadata->mapField([
                'fieldName' => $fieldName,
                'type' => 'string',
                'nullable' => true,
                'multivalue' => $options['multivalue'],
            ]);

            return;
        }

        if ($type === Type\IntegerType::class) {
            $metadata->mapField([
                'fieldName' => $fieldName,
                'type' => 'long',
                'nullable' => true,
                'multivalue' => $options['multivalue'],
            ]);

            return;
        }

        if ($type === Type\BooleanType::class) {
            $metadata->mapField([
                'fieldName' => $fieldName,
                'type' => 'boolean',
                'nullable' => true,
            ]);

            return;
        }

        if ($type === Type\DoubleType::class) {
            $metadata->mapField([
                'fieldName' => $fieldName,
                'type' => 'double',
                'nullable' => true,
            ]);

            return;
        }

        if ($type === Type\DateTimeType::class) {
            $metadata->mapField([
                'fieldName' => $fieldName,
                'type' => 'date',
                'nullable' => true,
                'multivalue' => $options['multivalue'],
            ]);

            return;
        }

        if ($type === Type\ReferenceType::class) {
            $metadata->mapManyToOne([
                'fieldName' => $fieldName,
                'strategy' => 'hard',

                'nullable' => true,
                'cascade' => ClassMetadata::CASCADE_ALL,
                'multivalue' => $options['multivalue'],
            ]);

            return;
        }

        throw new \RuntimeException(sprintf(
            'Do not know how to map field of type "%s"',
            $type
        ));
    }

    private function mapCollectionType($fieldName, Field $field, ClassMetadata $metadata)
    {
        $options = $field->getOptions();
        $collectionField = $this->fieldLoader->load($options['field_type'], FieldOptions::create($options['field_options']));

        if ($collectionField->getStorageType() === Type\ObjectType::class) {
            $options = $collectionField->getStorageOptions();
            $this->unrestrictChildClass($options['class'], $metadata);

            $metadata->mapChildren([
                'fieldName' => $fieldName,
                'fetchDepth' => 1,
                'filter' => $this->encoder->encode($fieldName) . '-*',
                'cascade' => ClassMetadata::CASCADE_ALL,
                'nullable' => true,
            ]);

            return;
        }

        if ($collectionField->getStorageType() === Type\ReferenceType::class) {
            $metadata->mapManyToMany([
                'fieldName' => $fieldName,
                'strategy' => 'hard',

                'nullable' => true,
                'cascade' => ClassMetadata::CASCADE_ALL,
            ]);

            return;
        }

        // assume that other types are scalars...
        $this->__invoke($fieldName, $collectionField, $metadata, [
            'multivalue' => true,
        ]);
    }

    private function unrestrictChildClass(string $class, ClassMetadata $metadata)
    {
        if (!$class) {
            return;
        }

        if (!$childClasses = $metadata->getChildClasses()) {
            return;
        }

        $childClasses[] = $class;
        $metadata->setChildClasses($childClasses);
    }
}

redpajama_set_name: RedPajamaGithub


A terrific debut. 4/5 stars.
This review will be rather sparse as I think the less you know about the plot of The Sister, the more you'll enjoy it. And the more I say, the more spoilery things will get, so I'll keep this brief.
If I hadn't know this was Louise's debut novel, I never would have guessed. So the first thing I have to say is, congratulations Louise!
I read The Sister in one, 4-hour sitting and I think that's probably how it's best enjoyed. The plot switches between events in the past and present, keeping us in the dark and building suspense while slowly revealing the characters' secrets. I thought this time jumping was well-handled and it only confused me once (I think because it had been alternating past and present and then there were two consecutive chapters in the "now"). As long as you pay attention to the "Then" and "Now" markers at the start of each chapter you'll be fine.
My only frustration was with the main character who I dearly wanted to smack hard more than once. I do understand that her gullibility is essential to the plot – if she kicked the person being nasty to her in the bum after the first suspicious thing they did then the story would be over about a third of the way in – but it didn't stop it being rather frustrating at points.
However, that aside, this is a well-paced story with plenty of twists and turns to keep you guessing. There are enough revelations and hints to allow you to make some guesses before the final reveal (and get some of them right!), but enough is held back to guarantee a few final shocks.
Overall: a fantastic debut and I look forward to reading Louise's next book!
Thanks so much for reviewing Claire. It's much appreciated.
A good summing up Claire – I too found the main character annoyingly trusting at times! But at the same time, the reader is drawn straight in to the heroine's world and dramas, with some good twists in the plot.
Thank you and yes! Even though you wanted to smack her, that's a good sign that you're getting involved! 🙂 If you didn't care, that would be much worse.
I had such a hard time reviewing this one! The slightest hint and you take some of the suspense away. And it is so hard to believe it's a debut novel.
I know! Louise is great. I was particularly impressed with all the zipping back and forward in time because I've seen that not handled as confidently by some authors who are several books into their careers.
The ending is a bit of a shock!
I added this one to my list right after reading your Wednesday post…and now, with your review in mind, I am going over to download it. Thanks!


IPSWICH, Mass. — October 1, 2013 —EBSCO Information Services (EBSCO) is pleased to announce that Acquisitions Librarian Jamie Wilson, from Millsaps-Wilson Library of Millsaps College in Jackson, Miss., is the winner of the 2013 EBSCO Charleston Conference Scholarship. Ms. Wilson will use the scholarship to attend the 33rd Annual Charleston Conference, which will take place in Charleston, S.C. from Nov. 6-9.
In keeping with the conference's theme of, "Too Much is Not Enough," scholarship applicants were asked to submit a short essay addressing how to maximize the abundance of information resources to meet the user needs in a time of finite financial resources. Ms. Wilson's essay focused on serving users more effectively with methods that come from an investment of time and willingness to adapt. Communication, cross training and utilization of evaluation and discovery tools were among the points discussed to help librarians provide a better experience for the user with minimal budget impact. To read Ms. Wilson's entire essay, go to the Charleston Conference website.
EBSCO has sponsored a Charleston Conference scholarship for the past five years. Funds must be used by the winning librarian for conference registration and related expenses. Judges for this year's scholarship were Addlestone Library of the College of Charleston Assistant Dean for Technical Services and Collection Development Katina Strauch; J. Willard Marriott Library of the University of Utah Associate Director for Scholarly Resources and Collections Rick Anderson; EBSCO Information Services Vice President, Academic, Law and Public Library Markets Kittie Henderson.


text:
```c
size_t tagha_bc_op(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op)
```

### Description
writes an opcode that takes no operands.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.

### Return Value
amount of bytes taken up by the opcode.

## tagha_bc_op_imm
```c
size_t tagha_bc_op_imm(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op, const uint64_t imm)
```

### Description
writes an opcode that takes an immediate value operand.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.
* `imm` - immediate value to be encoded.

### Return Value
amount of bytes taken up by the opcode.

## tagha_bc_op_reg
```c
size_t tagha_bc_op_reg(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op, const enum TaghaRegID reg)
```

### Description
writes an opcode that takes a single register operand.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.
* `reg` - register ID to be encoded.

### Return Value
amount of bytes taken up by the opcode.

## tagha_bc_op_reg_reg
```c
size_t tagha_bc_op_reg_reg(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op, const enum TaghaRegID dest, const enum TaghaRegID src)
```

### Description
writes an opcode that takes a two register operands.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.
* `dest` - destination register ID to be encoded.
* `src` - source register ID to be encoded.

### Return Value
amount of bytes taken up by the opcode.

## tagha_bc_op_reg_imm
```c
size_t tagha_bc_op_reg_imm(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op, const enum TaghaRegID reg, const uint64_t imm)
```

### Description
writes an opcode that takes a register and immediate value operand.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.
* `reg` - destination register ID to be encoded.
* `imm` - source immediate value to be encoded.

### Return Value
amount of bytes taken up by the opcode.

## tagha_bc_op_reg_mem
```c
size_t tagha_bc_op_reg_mem(struct HarbolByteBuf *const tbc, const enum TaghaInstrSet op, const enum TaghaRegID dest, const enum TaghaRegID src, const int32_t offset)
```

### Description
writes an opcode that takes two registers and an offset operand.

### Parameters
* `tbc` - pointer to a `struct HarbolByteBuf` object (byte buffer). Can be `NULL` to return the amount of bytes the opcode takes up.
* `op` - opcode value.
* `dest` - destination register ID to be encoded.
* `src` - source register ID to be encoded.
* `offset` - 4-byte offset to be encoded.

### Return Value
amount of bytes taken up by the opcode.


text:
answeredquestions.html?date=2015-05-27&_page=0&_properties=tablingMember.label,answer.questionFirstAnswered,answer.attachment.fileName,uin&_sort=uin
Immigrants: English Language
To ask the Secretary of State for the Home Department, what consultation was conducted with stakeholders affected by the reforms for delivery of approved English language qualifications for settlement and citizenship effective from November 2015; how the decision was communicated to teaching providers and learners; and whether an impact assessment was undertaken.
Birmingham, Northfield
Richard Burden

The possibility of changes to the English language requirement for settlement and nationality was discussed as part of the SELT procurement process. Letters announcing the change to test arrangements have been sent to a range of organisations. As this change relates to the implementation of existing policy, no formal impact assessment was required.

Old Bexley and Sidcup
James Brokenshire
Biography information for James Brokenshire
Biography information for Richard Burden
Developing Countries: Sustainable Development
To ask the Secretary of State for International Development, what the Government's policy is on the (a) number and (b) content of the Sustainable Development Goals produced by the UN Open Working Group.

The UK maintains that a short set of goals and targets to replace the Millennium Development Goals would be ideal, but we recognise the strong consensus among UN member states to maintain the Sustainable Development goals and targets on the Open Working Group in their current form.

The UK has consistently supported the content of the proposed Sustainable Development Goals. We welcome in particular Goal 1 on ending extreme poverty, Goal 5 on Gender which strongly reflects UK priorities including ending female genital mutilation and early forced marriage, and Goal 16 on peaceful and inclusive societies, good governance, and access to justice.

Biography information for Justine Greening
Official Residences
To ask the Prime Minister, if he will rent out (a) Chequers, (b) Chevening and (c) Dorneywood.

Chequers, Chevening and Dorneywood are not owned by Government. They are administered by trustees in accordance with the terms of the individual trusts.

Mr David Cameron
Biography information for Mr David Cameron
Department for Energy and Climate Change
Energy Efficiency Deployment Office
To ask the Secretary of State for Energy and Climate Change, what her policy is on expanding the scope and budget of the Energy Efficiency Deployment Office; and how many staff are employed in that Office.

The Government is committed to improving energy efficiency. Work on energy efficiency has been carried out across several directorates in the Department over recent years. Following an internal reorganisation within the Department earlier in 2015, the Energy Efficiency Deployment Office no longer exists. The work it previously carried out is now undertaken in a number of different directorates, including those focused on home energy use and business and local energy use.

Andrea Leadsom
Biography information for Andrea Leadsom
To ask the Prime Minister, by what formula will party political makeup of new appointments to the House of Lords be made over this Parliament.

Appointments will be made in the usual way. Appointments will be vetted for propriety by the House of Lords Appointments Commission.

To ask the Prime Minister, what his policy is on reform of Prime Minister's Questions.

I refer the hon. Member to the letter I sent to him today. A copy is attached here, and has been placed in the Library of the House.

2015.06.03 PM to Paul Flynn MP.pdf
2016.06.03 PM to Paul Flynn MP
Income Tax: Tax Allowances
To ask Mr Chancellor of the Exchequer, what the cost to the public purse will be by 2020 of increasing the personal allowance to £12,500 per annum; and from which area of expenditure that cost will be met.

The cost of raising the income tax personal allowance may be approximated using the "Direct effects of illustrative tax changes" table as published at the following address:

https://www.gov.uk/government/publications/direct-effects-of-illustrative-tax-changes

The table shows the cost of a £100 increase and a 10% increase in the personal allowance. This can be used to scale the proportionate cost to raise the personal allowance to a level where indexation would take it to £12,500 by 2020-21.

South West Hertfordshire
Biography information for Mr David Gauke
Electoral Register
To ask the Minister for the Cabinet Office, with reference to to the Written Statement of 9 January 2015, HCWS18, on maximising voter registration, what proportion of each of the funding streams has been spent in (a) England, Wales and Scotland combined, (b) England, (c) London, (d) the London Borough of Islington and (e) Islington South and Finsbury constituency to date.
Islington South and Finsbury
Emily Thornberry

A full breakdown of the funding allocations for all EROs is available at the following link: www.gov.uk/government/news/10-million-boost-for-voter-registration

John Penrose
Biography information for John Penrose
Biography information for Emily Thornberry
To ask the Minister for the Cabinet Office, with reference to to the Written Statement of 9 January 2015, HCWS18, on maximising voter registration, if the Government will provide further funding to electoral registration officers to maximise voter registration once the transition to individual electoral registration is complete.

Over £14million has been invested over the last two financial years to support the completeness and accuracy of the register, including in the run up to the General Election.

The Electoral Commission is due to publish an analysis of the electoral registers used for these elections in June and the Government will consider further steps in the light of this report.

To ask the Minister for the Cabinet Office, with reference to the Answer of 6 May 2014 to Question HL6721, what steps the Government plans to take to maximise voter registration before 1 December 2015.
# Counting has been applied to this query. PREFIX dcterms: <http://purl.org/dc/terms/> PREFIX parl: <http://data.parliament.uk/schema/parl#> PREFIX xsd: <http://www.w3.org/2001/XMLSchema#> SELECT DISTINCT ?item WHERE { ?item a parl:WrittenParliamentaryQuestion ; parl:answer ?ans . ?item dcterms:date "2015-05-27"^^<http://www.w3.org/2001/XMLSchema#dateTime> . OPTIONAL { ?item parl:uin ?___0 . } } ORDER BY ?___0 ?item OFFSET 0 LIMIT 10

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: no more movie in pygame 1.9.2 on my new Raspberry Version 3 I'm making a software solution playing mpeg on a Raspberry Pi. It worked with an older Raspberry, using Debian, Python and Pygame 1.9.1.
I understand that Pygame 1.9.2 , which comes with Jessie, doesn't have the module "movie" anymore. However, my python-script uses the module because it gives the opportunity to start a mpeg-1 movie with an accuracy of 100 miliseconds. With Jessie, my python-script doesn't work anymore.
What can I do?
Does Pygame 1.9.2 have an alternative?
Can I add pygame.movie to Pygame 1.9.2?
Can I install pygame 1.9.1 in my Raspberry, running Jessie?
Can I run an older Debian on my Version 3 raspberry? - Answer: no.

redpajama_set_name: RedPajamaStackExchange


text:
Polskie Towarzystwo Studiów Jidyszystycznych  powstało w 2010 roku i zostało zarejestrowane jako stowarzyszenie w Sądzie Rejonowym w Warszawie. Jego celem jest prowadzenie, promocja i popularyzacja badań naukowych języka i cywilizacji jidysz, jest grupą osób, które badają teksty żydowskie.

Prezesem PTSJ jest  dr hab. Joanna Lisek, prof. UWr.

Prezesi
 dr hab. Joanna Lisek (2019-)
 dr hab. Magdalena Ruta (2016-2019)
 dr hab. Joanna Nalewajko-Kulikov (2013-2016)
 prof. dr hab. Monika Adamczyk-Garbowska (2010-2013)

Linki zewnętrzne
 Strona internetowa PTSJ

Przypisy

Organizacje żydowskie w Polsce
Stowarzyszenia kulturalne
Stowarzyszenia mniejszości narodowych w Polsce
Stowarzyszenia w Warszawie

redpajama_set_name: RedPajamaWikipedia


Becoming a widow is difficult under any circumstances, and most of us can only imagine the trauma involved in being shot at and fearing for one's life. Seeing your spouse's lifeless body, having to leave it behind, and not have it recovered…is absolutely unbearable, yet all of this is exactly what happened on September 30, 2010, according to Tiffany Hartley.
I interviewed Tiffany not long after the horrific incident that occurred on Falcon Lake, a reservoir on the Rio Grande. The U.S.-Mexican border runs through the middle of the lake, and she and her husband of eight years, David Hartley, had gone on a sightseeing tour on the Mexican side of the reservoir.
Tiffany said that she and David were enjoying a beautiful day and riding jet skis together in what was later learned, was a problem, drug-traffic area. The unknowing couple was taking photos of a partially submerged church and things were initially calm. At the time, Tiffany and David lived in McAllen, Texas, about 10 minutes from the border, and David worked in Mexico for an oil company, so they were quite comfortable in riding over to the Mexican side of Falcon Lake that fateful day. Moreover, they had previously lived in Reynosa, Mexico for 2-1/2 years.
Mrs. Hartley said that at first, there was no one around. Then she and David saw three boats heading right for them. To her astonishment, shots were fired. Tiffany was behind David on her jet ski, and he motioned for her to come around and get past him despite the fact that his jet ski was faster than hers. She complied and Tiffany believes that David was protecting her by placing himself between her and the shooters. Tiffany rode around David's jet ski, but they were unable to verbally communicate with one another because of all of the noise.
While shots were hitting the water next to her, Tiffany looked back and repeatedly yelled, "Honey! Honey!" It was a name she said she and David always called each other. Tiffany then witnessed her husband being thrown off into the water and she screamed in horror. Tiffany instinctively turned and went back to David. She quickly got off of her jet ski and turned over David's unmoving body only to realize that he was gone. Tiffany, a petite 4'10" woman, tried desperately to lift her husband's 250-pound body onto her jet ski, but she just didn't have enough strength.
An investigation ensued by Mexican officials and Tiffany was hopeful that her husband's body would be retrieved, but that didn't occur. Things actually worsened when the lead Mexican investigator on the case, Rolando Armando Flores Villegas, was beheaded during his investigation of the case. Some believe the Mexican drug cartels to be ruthless and heartless beyond comprehension.
Since this terrorizing event, Tiffany has been involved in a media frenzy. She has gone around the country to appear on a number of programs, including ABC's Good Morning America, Dr. Phil, and CNN's Anderson Cooper 360, asking for help in finding her husband's body and talking about border safety. Tiffany has been engulfed in a whirlwind but remains strong in her tireless efforts to bring David home for a proper burial and to raise the issue of violence at America's doorstep.
I asked Tiffany what she would like to see happen and she replied, "Bring David home. I'd also like to see our government do what needs to be done to seal the border. If we need to shut down the border and not let people come across, that's what we need to do. And we need to have people stop going to Mexico." She expressed that even so-called "tourist areas" are not safe.
She said that Zapata County Sheriff, Sigifredo Gonzalez, is in the midst of putting up over 400 signs on the U.S. side of Falcon Lake to create awareness of possible violence, but Tiffany added, "I want signs saying 'In Memory of David' put up and I'd like to have a phone number included that people can call to get weekly updates regarding what's happened on Falcon Lake." She said that she must create such signs and provide them to Sheriff Gonzalez for approval, and then they would be placed at Falcon Lake mile markers and in the boat launch area.
After speaking at length to this young woman who has unwillingly been added to the ranks of millions of widows in America and meeting her in person, I sense that she is a strong force. Although she has had little time to grasp her new reality, Tiffany Hartley has found strength and perhaps her life's mission through her husband's death. I believe that she will be instrumental in making changes, and I admire her for those efforts.
None of us knows how or when our loved ones will be taken from us, but through the adversity, we oftentimes find a cause to stand for. I pray that Tiffany's voice will continue to be heard and I pray that she will eventually be able to get closure. Lastly, I too pray that the body of David Hartley will one day be found.
I wish the very best for my new friend and fellow widow, Tiffany Hartley, and I applaud her efforts to effect change in regards to border control.


Triple Chocolate Layer Cheesecake by karyn amos. A Thermomix ® recipe in the category Desserts & sweets on www.recipecommunity.com.au, the Thermomix ® Community.
Grease and line the base and sides of a 25cm springform pan.
Place butter (roughly chopped) into Mixing Bowl and melt for 3 min/50 degrees/speed 1.
Add biscuits. Combine 15 sec/speed 8.
Empty mixture into the prepared pan. Press firmly until the surface is even. Place in fridge for 30 minutes to set.
Place white chocolate into Mixing Bowl and 100 grams of the cream. Melt 6 mins/50 degrees/reverse/speed 2.
Meanwhile in a small bowl mix together 1 teaspoon of gelatine powder with 1 tablespoon of boiling water until no lumps remain.
When chocolate is melted, scrape sides and add prepared gelatine, 30 grams sugar, and 250 grams of cream cheese.
Pour over set base and smooth the surface. Ensure evenly spread. Place in freezer for 15 mins to set.
Place milk chocolate into Mixing Bowl and 100 grams of the cream. Melt 6 mins/50 degrees/reverse/speed 2.
Place dark chocolate into Mixing Bowl and 100 grams of the cream. Melt 6 mins/50 degrees/reverse/speed 2.
Pour over set base and smooth the surface. Ensure evenly spread. Place in fridge for 3 hours or until set.
Remove cheesecake from pan. Dip a sharp knife in HOT water, dry the knife. Press the tip of the knife into the centre and then cut down sharply. Clean the knife and make hot for each cut to ensure nice layers.
I used Cadbury Dream for the white chocolate, then Coles brand milk and dark chocolate.
You can use raw sugar. Just mill for 10 sec/speed 9 prior to layer 1 and set aside.
Submitted by __amybrown__ on 18. April 2019 - 00:33.
For someone who is not good at making sweets, this was a fun cake to make! I made a few little variations after seeing someone's Facebook post & also from reading a few comments prior to making it.
I changed the order in which I layered it. I wanted it to have lightest color on top, so I first poured the dark chocolate, followed by the milk & then the white.
I didn't add the sugar to each layer (and I didn't regret this, as we all found it sweet enough).
I only added half the gelatine it said to, as I had read some people didn't add it at all & it still set well, so I decided to just go with a little.
Finally, the top layer, I added 1 teaspoon of peppermint essence, as well as one drop of yellow & one drop of blue food colouring, to make a nice green.
I finished with a crushed up Nestlé Aero Peppermint bar, just to garnish.
Can you freeze this folks?
Submitted by Denise spencer on 6. January 2019 - 16:03.
Submitted by Lara21889 on 5. October 2018 - 09:44.
How can i make this gluten free as the chocolate ripple biscuits contain gluten?
Submitted by Riverstone on 1. October 2018 - 12:13.
This was fantastic and loved by everybody. I didn't add any sugar at all, and only used half a teaspoon of gelatine in each chocolate layer. Turned out perfectly!
Submitted by mopepe on 14. September 2018 - 20:23.
Submitted by Dee182 on 29. December 2017 - 13:16.
Amazing Recipe ! I left out the gelatine and it set really well ! A huge hit Chrsitmas day !
Submitted by melissahammond on 9. December 2017 - 21:02.
So easy, delicious and a massive hit with friends. Everyone thought I had bought it and have since put me on a cake making pedestal.
Submitted by CJ81 on 25. October 2016 - 14:51.
Omg this sounds amazing!! I can not wait to try it!
Super easy to make !!!!
Submitted by Jemjoy on 10. October 2016 - 20:16.
Submitted by Srsmith on 5. October 2016 - 22:00.
Submitted by Chickita79 on 4. October 2016 - 20:39.
This is the most amazing (decadent) cake! I made it for a dinner party and one of our friends commented that it was possibly one of the best cakes he'd ever eated (and he's a real sweet tooth). A small slice goes a long way, but good luck only having one slice!
I too added some raspberries to the white chocolate layer which cut through the sweetness, and cut back on some of the gelatine.
Submitted by Cat Plane on 6. September 2016 - 21:53.
great recipe, I left the sugar out and it was still really sweet, kids and hubby loved it too, will definitely make it again.
Submitted by sevenhuysens on 27. February 2016 - 16:32.
Yummo! Delicious thank you for posting.
Submitted by mattsmith3065 on 10. February 2016 - 10:16.
Very rich cheese cake but easy to make and the wife loves it!
Submitted by Panda1 on 4. January 2016 - 11:10.
Looked amazing and tasted really good but was a little stiff. I might decrease the geletine next time I make it. Thanks for the recipe though.
Submitted by Chess on 1. January 2016 - 19:51.
Submitted by Lindseyrob on 2. August 2015 - 16:26.
Submitted by Dee82 on 27. December 2014 - 13:44.
Submitted by Ashcat on 24. December 2014 - 16:25.
Submitted by thermomike on 29. June 2014 - 12:31.
Submitted by chlossy on 3. June 2014 - 15:30.
easy as & a hit with everyone!
Submitted by pinkkat on 1. June 2014 - 17:10.
Delicious! First cheesecake I've made in the thermomix instead of my kitchen aid and it was a success.
when melting the chocolate/ganache I found if I didn't scrape down at least once I wad left with lumps of chocolate on the side of the bowl - but that was easy to do or if I forgot I just cooked it for a bit longer to all melt.
Submitted by Clubloretta on 1. June 2014 - 14:19.
Submitted by clareb97 on 11. May 2014 - 22:45.
Easy to make, and the presentation & taste are amazing. Absolutely a crowd-pleaser.
This is a must make recipe!
Submitted by briana on 6. May 2014 - 19:29.
This is a must make recipe! DELICIOUS! (Make sure you share it with friends or you will eat way too much of it yourself!). By the way, a dash of Baileys in the milk chocolate layer goes quite nicely.
Submitted by missmliss on 30. April 2014 - 10:39.
Submitted by CAlesi on 20. April 2014 - 21:12.
This cheese cake is absolutely delicious. Simple to make for a beginner! I took it to a dinner party last night and everyone was asking for the recipe!


text:
Jerry Seinfeld: Comic, Writer, Producer, And Now: Car Critic? Here Are The 11 Cars The Star Has Reviewed So Far In His Series 'Comedians In Cars Getting Coffee'
By Angelo Young @angeloyoung_
Comedian Jerry Seinfeld
It's been 13 years since the last episode of "Seinfeld," the immensely popular sitcom created by Jerry Seinfeld and Larry David that aired on NBC from 1989 to 1998. Since then, both creators have moved on to other successful projects, including David's HBO series "Curb Your Enthusiasm" and Seinfeld's 2002 documentary "Comedian," about the more cerebral and challenging aspects of stand-up comedy.
Like "Tonight Show" comic host Jay Leno, Seinfeld has spent a portion of his immense wealth -- estimated to be as much a $800 million, according to celebritynetworth.com -- on his car-collecting hobby. The infatuation is so strong that in 2001 the comic built a high-tech 20-car garage in Manhattan's West 83rd St., complete with climate control for his Porsche collection, which includes the first 911 ever made. (Leno is still probably the world's Car Fanatic No. 1. He has his own massive machine shop to fabricate metal and 3-D printed plastic parts for his huge collection of old classics, and he also maintains an auto blog.)
Last year, Seinfeld took his love of cars, comedy and coffee to the Internet with the first season of the appropriately named "Comedians in Cars Getting Coffee." As the title suggests, each episode features Seinfeld taking one or another of his famous comedians-in-arms out for coffee in one or another of history's quirkiest, sexiest and rustiest cars.
Along the way, Seinfeld has added another bullet-point to his long résumé: car critic.
Taking a little bit of rebel chef Anthony Bourdain's recipe for funny, unassuming and sometimes scathing criticisms, Seinfeld offers a glimpse into his own car knowledge.
The second season of the program kicked off recently with comic Sarah Silverman. The next episode, featuring David Letterman, will premiere Thursday.
Here are the cars Seinfeld has driven in every episode (in reverse order) of his online program so far, and what he said about them:
Season Two, Episode One
Jerry takes comedian Sarah Silverman to Millie's Café in Silver Lake, Calif., in a 1969 Jaguar Series II E-Type convertible with 266 horsepower.
"When the E Type was introduced Enzo Ferrari said that this was the most beautiful car ever designed. In the 1960s if you wanted to project power, grace and style this was the car you drove."
Season One, Episode 10
Jerry takes Michael Richards – the actor who played the wacky neighbor in "Seinfeld" – to The Malibu Kitchen in a rusty, beat-up 1962 split window Volkswagen Type II double-cab bus with duct tape on the vinyl seats, sporting a 60 horsepower four-cylinder engine.
"What's cool about this bus to me is that it was used as a service truck for a VW-Porsche repair shop in Campbell, California. It has a flat bed, two rows of seats and an extra door on one side."
Season One, Episode 9
Jerry takes actor, film director, producer and comedian Carl Reiner to Norm's in Los Angeles in a 1960 Rolls Royce Silver Cloud II.
"It has a very elegant turning radius of 42 feet … As a car it's horrible, but it's a nice living room with wheels."
Jerry takes standup comic Colin Quinn to Fort Defiance Café in Brooklyn, in a blue, six cylinder 150 horsepower 1976 Triumph TR6.
"Another great squared-jawed bulldog British sportscar. The color is Tahiti Blue – in the 70s people just always tried to work the word 'Tahiti' into anything. I'm sure English people in the 70s thought if they could somehow get to Tahiti this is the blue they would see."
Jerry takes comedic writer Barry "Ted L. Nancy" Marder to Berndix Diner in Hasbrouck Heights, N.J., in a cream-colored 1966 356 Porsche SC Cabriolet Dutch Police car, with an attached blue siren and a 94 hp flat four-cylinder engine.
"Why the Dutch police in the 1960s felt that they needed Porsche convertibles to do their job I don't know, but I love this thing."
Jerry takes Bob Einstein, the actor and comic writer famous for his fictional stuntman character, Super Dave Osborn, to Nate & Al's in Beverly Hills, in a dark blue 1970 Mercedes 300 SEL 6.3.
"It was invented by a Mercedes engineer, [Erich] Waxenberger. He was the first guy who took a really big engine and stuffed it into a regular four-door sedan to make a gentleman's supercar . . . It's special. It's like you [gesturing to Bob Einstein]. You look normal, but there's something weird going on inside."
Jerry takes Joel Hodgson, creator of "Mystery Science Theater 3000," to Skylark Diner in Edison, N.J., in a blue 1963 Volkswagen Karmann Ghia, with its four-cylinder Porsche 912 engine, suspension and brakes.
"This was a sports car for guys who wanted a sports car but also wanted a VW. So you had to have a sense of humor. I love 'em."
Jerry takes "30 Rock" star Alec Baldwin to Fairway Market Café in Manhattan, in a red 1970 Mercedes 280 SL, 170 hp straight 6, 2.8 liter.
"This was a car for guys want a sports car but don't really want to be inconvenienced. It's an 'I get what young people are doing and I'm part of it, but I will not be putting my mattress on the floor.'"
Jerry takes Brian Regan to Rae's Restaurant in Santa Monica, Calif., in a blue-and-black 1970 Dodge Challenger T/A (340 hp V-8).
"This was the pony car of dreams of the 70s because of Barry Newman and 'Vanishing Point.'"
Jerry takes Ricky Gervais to City Island Diner in City Island, NY, in a blue 1967 Austin Healey 3000, straight 6 150 hp.
"This is a car if you wanna say 'I really love British sports cars and dammit I will go down with that ship if I have to.'"
Jerry takes Larry David to John O'Groats in Los Angeles in a blue 1952 Volkswagen Beetle, V-4 25 hp (with its wacky semaphore turn signals).
"If like me you feel like true humility is always in short supply, this is the car for you."


text:
module Fluent
  class TextParser
    class JSONFlatParser < JSONParser

      config_param :separator, :string, :default => '.'

      def flatten_with_path(nested, parent_prefix = nil)
        res = {}

        nested.each_with_index do |elem, i|
          if elem.is_a?(Array)
            k, v = elem
          else
            k, v = i, elem
          end

          key = parent_prefix ? "#{parent_prefix}#{@separator}#{k}" : k # assign key name for result hash
          key = key.gsub('.', @separator)

          if v.is_a? Enumerable
            res.merge!(flatten_with_path(v, key)) # recursive call to flatten child elements
          else
            res[key] = v
          end
        end

        res
      end

      def call(text)
        record = Yajl.load(text)

        if value = record.delete(@time_key)
          if @time_format == 'ms'
            time = (value.to_i / 1000).to_i
	    timestamp = Time.at(value.to_f / 1000).strftime('%FT%T.%3N%:z').to_s
	  elsif @time_format
            time = @mutex.synchronize { @time_parser.parse(value) }
            timestamp = Time.at(time).to_s
          else
            time = value.to_i
            timestamp = Time.at(time).to_s
          end
        else
          if @estimate_current_event
            time = Engine.now
            timestamp = Time.at(time).to_s
          else
            time = nil
            timestamp = nil
          end
        end
        record = flatten_with_path(record)
	record['@timestamp'] = timestamp if timestamp

        if block_given?
          yield time, record
        else
          return time, record
        end
      rescue Yajl::ParseError
        if block_given?
          yield nil, nil
        else
          return nil, nil
        end
      end
    end

    # Add JSONFlatParser to the registry
    register_template("flat_json", Proc.new { JSONFlatParser.new })
  end
end


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text:
Facts & Fiction
• Royal Flying Corps •
• Research data •
The period between May 1912 and March 1918, coinciding with the short life of the Royal Flying Corps, represented one of the most interesting, exciting and turbulent periods in the development of British aviation.
It was a time of innovation, experimentation, rapid change, triumph and tragedy, populated by a colourful and diverse cast of characters, some of whom would lead tragically short lives and others who would achieve leading positions in wartime and post war aviation. Many of the design, construction, operational and logistical lessons learned during that period have resulted in techniques and practices that are still in use today.
Researching this period presents many challenges. Whilst a substantial amount of documentary evidence remains, much has been destroyed and the remaining data is often incomplete and inaccurate. The researcher must collect, collate and analyse a large volume of material to ensure reliability, and cannot rely on a single source.
The purpose of this site is to provide free access to original documentation for researchers, historians and genealogists in a consistent format to enable further analysis, assist in the identification of errors and save the considerable time involved in data collection. The site also provides information in respect of some of these early developments and events, and lists some common errors. Much of the material contained in the 'AIR 1' series at the National Archives has been collated and appears here, comprising the contents of over 70,000 pages of documents.
To search the site type 'search_term site:airhistory.org.uk/rfc' into Google or your search engine
the overview gives a brief outline of the origins and development of the RFC, its structure and organisation.
the aircraft pages give the history of every aircraft operated by the RFC and early Royal Air Force, and provides access to the downloadable contents of original documents.
the people pages provide research sources in respect of the officers and men of the RFC/RAF including a comprehensive index to names.
Facts and Fiction
the facts and fiction pages provide access to articles on specific events and issues such as the departure of the Expeditionary Force to France in August 1914, the early system of aircraft markings, and common published errors.
the reference pages provide links to the principal sources of information and reference material.
May 19 major update to people
Nov 17 Gotha War Diary
Nov 17 new people files
Sep 17 new serial files
Aug 17 US additions
May 17 minor amendments
Oct 15 Exp Force amendments
Oct 15 minor additions
Jan 15 major file update
Jun 14 updated Army List
Jun 14 updated Gazette file


Tiny timber ghost town between Launceston and St Helens.
Goulds Country is a wooden township. It comprises a few timber buildings set on the side of gently undulating hills with the dramatically beautiful Blue Tier rising behind it. This is Tasmania at its most rural and idyllic.
Goulds Country is located 147 km west of Launceston via the Tasman Highway and 273 km north east of Hobart via the Midland and Esk Highways.
Gould's Country is named after Charles Gould who was a geologist who arrived in the area in the 1860s. It was previously known as Kunnarra. There is a story that the area - it is hardly a town - was named on a Friday afternoon in Hobart by a government body where everyone wanted to go home for the weekend. To speed the process up someone suggested that it be named after Charles Gould and the best they could come up with was Gould's Country.
When I first went to Goulds Country (it seems to have dropped the apostrophe) in 1995 the few locals who were still living there were eager to tell me of how in the 1860s the geologist Charles Gould had come through the area searching for tin lodes and, although the place was known as Kunnarra, he renamed it Goulds Country. No one seemed to know why he decided to name it after himself ... but he did. Around 1875 payable tin was discovered in the area and by 1880 the Anchor Mine was in operation. In the sixteen years between its opening and 1896 the Anchor Mine yielded 30,734 tons (31,227 tonnes) of ore and in 1899 it produced 18,300 tons (18,594 tonnes) which yielded a healthy 62 tons (63 tonnes) of pure tin. The following year, with the population of the town around 400, William Trowbridge built the town's first hotel but, partly because it was built of timber like all the buildings in the town, it burnt down in 1910. A new hotel, the Travellers Rest was built shortly after. It still stands but no longer operates as a hotel. In her pamphlet An Introduction to Goulds Country, which I obtained in 1995, Jennifer P. Burns sums up the appeal of the town "We believe Goulds Country is a fine, unadulterated example of early Tasmania; of how people selected a site and built a pub or a shop and a dwelling. Goulds Country as it stands today is worth keeping and is part of Tasmania's heritage." That's about it. The appeal lies in the simple fact that it is a window into the old tin mining towns of north-east Tasmania. Mind you, no story of a town would be complete without mention of the characters who lived there and my favourite, told to me by the two people in the photo, is of Alex Johnson who moved to Goulds Country when he was in his sixties. Undaunted by the physical labour involved, he cut and cleared timber and bush from his 50 acres (20.2 ha) of land. It was a remarkable achievement and as a reward for all his fitness and hard work he lived until he was 96. They breed them tough around Goulds Country.
* In the 1860s the country around Goulds Country was explored by the geologist Charles Gould.
* From 1880-1896 the Anchor mine produced 30,734 tons of ore (31,227 tonnes). The water for the mine was brought from the Marie-Louise Dam on the Blue Tier by water race.
* In 1899 the mine produced 18,300 tons (18,594 tonnes) of stone which yielded 62 tons (63 tonnes) of tin ore.
* By 1900 Goulds Country had a population of 400 and the town had a telegraph office, a school, churches, council chambers, a court, bank and public hall.
* The town's first hotel was built in 1900 by William Trowbridge. It was destroyed by fire in 1910. However a new public house 'The Travellers Rest' was built.
* When the tin was exhausted the miners moved away and most of the houses were demolished.
There is no visitor information centre in Goulds Country. The closest is 21 km east at St Helens Visitor information Centre, 61 Cecilia Street, St Helens, tel: (03) 6376 1744.
The page I wanted was on Poatina, Lottah and Gould's County but I could not view.
The Goulds Country Hotel, Traveller's Rest, no longer stands – it also burned down in about 1998, and the second image of a house – the old post office, I think, also burned down a year or so back. The old school house still stands – the last of a few original buildings left – though the school itself, a one room building, was moved to St Helens when that town was established, to become its first school house, or so the story goes. We have trouble finding information or early photos of the old school/house or even a date for their establishment but we believe it was in the 1860s. Goulds Country was the original East Coast township.
The first 'timber house with residents' image was occupied by Mary Johnson who was born at Lottah or Piomena and who died a few years ago in (I believe) her 90s. Two buildings adjoin each other and the first was her family's shop apparently.
Some information about Goulds Country can be found here http://www.bluetier.org/articles2/kburns.htm.
Thanks so much for all this information on Goulds Country. A major contribution.
I have read that New Goulds Country was apparently the original name before it was shortened.
I also have to amend what I said about the old post office and other buildings – it was originally a shop, not a PO. What is now a bed and breakfast was the old Post Office. The 'timber house with couple of residences' was the Council Chambers.
The decision to name the place (New) Goulds Country may not have been an ego trip by Mr Gould, but instead a decision made in Hobart – or that also may just be folklore! Either way, Goulds Country's history is hard to pin down, but it's still a beautiful place to visit.
The current guest house was previously the post office which was run by my great-grandfather, Alex Johnston. My grandfather was Neil Benjamin Johnston and my father is Dal Johnston who is now 82 yrs old and lives in Hobart.
Beautiful country and great achievements in the mining days of Lottah from all who worked hard.
There are several decendants of the Goulds Country Johnstons living in Hobart. Gerald Louis Johnston (living son of Aub). Also Brock Johnston and Hugh Johnston, both great grandsons to Aub Johnston. I enjoyed visiting Aub at the old store and Mary across the road wirh their stories of Clifton and earlier times and miss them dearly.
There is really no reason to go to Gould's Country - just look at the timber houses and recognise that there was once a thriving town with a population of 400 which was driven by tin mining. Now it is a ghost town. A reminder of the transient nature of mining towns.
The view from Gould's Country across the local dairy farm.


Éric Fournier took part in the game on May 6, and with his winnings says he plans to fulfill a dream of attending the Daytona 500.
The show is scheduled to air on TVA on June 8, at 6:56 p.m.
Since 2003, the game has seen 922 people win over $53.1 million.
So far, 41 people from the Eastern Townships have won more than $2.1 million as participants.


Animal Lover(AUS)Finds More for Schwarz!
Apprentice Denis Schwarz rode a copy book race and got Animal Lover(AUS) to find more where it mattered most to crack her maiden, over 2000m at the Vaal Racecourse, on 26 April 2018. This was Animal Lover's(AUS) first attempt over this distance and she won a good race, in spite of racing green. She should keep improving and it may pay to follow her. Congratulations to owners Dan Side, Rob Scott & Mark Currie.


April 26.	Members are invited to join us for a tour of our Watercraft Hall, which is the home of the remaining 460 vessels not accessible to the public.
April 26.	Captain Meahger's presentation of modern photos and footage provides a contemporary view of the Northwest Passage and a unique perspective on the challenges faced by the Franklin Expedition.
May 1.	Join us for a trip to NYC to visit Ellis Island and the Statue of Liberty!
May 9 - May 31.	Captain Jack Spratt's two-hour historical charter boat Encore tours the harbors of Stonington and Watch Hill, Little Narragansett Bay, Pawcatuck River, Sandy Point and Napatree.
May 9.	RESCHEDULED from November: Join us as Dwight Collins recounts his harrowing journey of over 2,000 miles across the Atlantic Ocean, a feat which earned him the world record for fastest human-powered crossing.
May 12.	Celebrate Mother's Day at Mystic Seaport Museum!
May 18.	Please join us for our Annual Members' Meeting.
May 27.	2018 is the 150th anniversary of Memorial Day. Join us as we mark the day as they did in 1876.
June 1 - June 2.	Mystic Seaport Museum will be transformed in celebration of Viking culture.
June 6 - June 9.	Come hear an amazing array of performers from across the world perform traditional and contemporary maritime music.
June 13.	Start your weekend early with a musical Thursday night cruise downriver on SABINO!
June 14.	Mystic Seaport will be hosting a Naturalization Ceremony along with officials from the U.S. Citizenship and Immigration Services Department.
June 20.	Explore the newly opened exhibition, "Streamlined: From Hull to Home" after hours, when the Museum is closed to the general public.
June 28 - June 30.	The festival, which is hosted in partnership with WoodenBoat Publications, celebrates the design and craftsmanship of wooden craft.


text:
R-Girl's Rock је други мини-албум јапанског рок бенда Скандал. Овај албум обрада је изашао 17. новембра 2010. године. Први и једини сингл из овог албума "Secret Base ~Kimi ga Kureta Mono~" изашао је 21. априла 2010. године али само у дигиталном издању.

Албум је дебитовао на Орикон недељним листама на деветом месту са 13 555 копија проданих. У Јапану је укупно продато 19 908 копија. На Billboard Japan Top Albums лситама албум е достигао осмо место.

Преглед Албума
Наслов албума "Respect Girl's Rock" у преводу значи "Поштујте рок девојака". Харуна Оно је изјавила да се израз "Girl's Rock" односи на Момое Јамагући од које је то чула много пута у детињству на ТВ-у и зато су одлучиле да користе песму Rock 'n' Roll Widow у албуму. Sunny Day Sunday је прва песма у којо је Рина Сузуки преузела улогу водећег вокала од Харуне.

Листа Песама

Појаве

Референце

Албуми 2010.
Албуми групе Scandal


Lady Dee's Mega package Lavendel (lavender) ZauberEi - 4 ply, 4 colors - 5 skeins - gesamt 600g/21.12oz, 2280m/2493yd. Fiber Content: 50% cotton 50% polyacrylic.
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text:
How Sewing Can Support Your Mental Health
by Lydia Smith on 16 July 2019 Read in
Unpicking the craft of needlework; how it can help you switch off, improve your mental health, make new friends – and even save the planet
Most of us can feel overwhelmed by the relentless demands of the digital world. Endlessly scrolling through social media, replying to emails, and checking apps, can make it difficult to switch off.
Mindful practices are a popular antidote to this. And sewing, as well as knitting, is increasingly recognised as an effective way to help with anxiety and depression.
The concentration these demand not only helps to calm the mind, but learning to repair clothing helps tackle the environmental impact of fast fashion, too. Here's a quick look at why you might want to explore the world of needlework.
1. Sewing is mindful
Engaging in a mindful activity like sewing can help us pay attention to our thoughts and feelings, which can improve our mental health.
Creating something with your own hands provides a sense of accomplishment that can boost mental health
"Being creative is incredible for your wellbeing," says Aliss Oxley, a sewing lover who set up the Workshop Sewing Cafe, in Leeds.
"It gives you an outlet to focus energy, but can also give you an enormous sense of accomplishment, which is a great way to support your mental health.
"People say sewing can be almost meditative. You concentrate on what you're making, and the process of your construction," she says. "It means your focus is solely on the activity of stitching."
2. A distraction from negative thoughts
When you're crafting, you're giving your mind a break, too. One study, which introduced knitting to the lives of patients with anorexia, found 74% of participants described feeling distracted or distanced from negative emotional states, as well as more relaxed.
James McIntosh began to knit when he was struggling with depression. He recently wrote a book called Knit and Nibble, which explores knitting, cooking, and mindfulness.
"The fear, anxiety, panic and sadness, was too much. One day I found two chopsticks in my flat and some string, looked on YouTube, and started to cast on," he says. "Before I knew it, I had knitted 'something or other'.
"I noticed that each stitch became a breath, each breath a feeling, and the stitch was a tangible sign that my feelings were worth something, that I was worth something."
3. A social activity
Loneliness has huge implications for our health, and social isolation is growing in the UK, with 2.4 million adults feeling lonely, according to the Office for National Statistics. Joining a sewing group – which you can often find on Facebook – is a good way to meet people.
Issy Woolford-Lim is an avid fan of needlecraft. "I go to a weekly group, which gives me social contact and encourages me to get out of the house, even when I'm down," she says. "We're all very positive and encouraging with each other, which I love."
"Try to find your local haberdashery or fabric shop," Aliss says. "The sewing community is incredibly friendly, and they should have some great advice to get started – from sewing meet-ups, to fabrics and patterns. They'll point you in the right direction."
4. A creative sense of achievement
Creating something with your own hands provides a sense of accomplishment that can boost mental health. In studies of people with depression and other chronic illnesses, textile crafts were found to increase self-esteem and improve the sense of wellbeing.
James struggled to find fashionable knitting patterns for men, so he started creating his own. "The first time I put on something I had knitted, I felt proud of myself again – an intimate and personal feeling," he says. "I was knocked badly by homophobia in my native Northern Ireland, which triggered the depressive episode, and a stitch at a time helped me to realise that I was worth something."
5. Fixing helps tackle fast fashion
Our clothes are fast, inexpensive, and mass-produced, which enforces cheap labour and generates a huge amount of pollution. Global textile production creates 1.2 billion tonnes of carbon emissions a year, according to research by the Ellen MacArthur Foundation – more than international flights and shipping. Repairing clothes instead of throwing them away can prevent fabric ending up as landfill, and lets you know you're doing something positive to help our planet.
Lydia Smith
Lydia Smith is a UK-based journalist who has written for national newspapers and magazines with a focus on health, wellbeing and human rights.
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text:
De Sea Cat is een Engelse luchtdoelraket voor de korte afstand.

De Sea Cat werd door de Royal Navy in gebruik genomen in het begin van de jaren tachtig voor de nabije luchtverdediging van de jagers van de Countyklasse en de fregatten van de Leanderklasse (Improved Type 12). Later werd de raket ook geplaatst aan boord van de oudere fregatten van de Rothesayklasse (Type 12) en in de jaren zeventig nog aan boord van de fregatten van de Amazon klasse (Type 21).

De Sea Cat is naar diverse landen geëxporteerd. De Nederlandse Koninklijke Marine gebruikte de Sea Cat aan boord van de fregatten van de Van Speijkklasse, halfzusterschepen van de Leanderklasse.

Van de Sea Cat bestaat ook een variant die is aangepast voor gebruikt vanaf het land: de Tigercat.

De Sea Cat werd deels elektronisch, deels visueel naar het doel geleid. Het maximale bereik bedroeg ongeveer 3,5 kilometer. De Sea Cat is in de jaren tachtig bij de Royal Navy vervangen door de Sea Wolf.

Luchtdoelraket


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Below are 19 best pictures collection of Mobile Home Refinancing photo in high resolution. Click the image for larger image size and more details.


text:
Visible Light-Induced Transition Metal Catalysis
Kelvin Pak Shing Cheung, Sumon Sarkar, Vladimir Gevorgyan
In recent years, visible light-induced transition metal catalysis has emerged as a new paradigm in organic photocatalysis, which has led to the discovery of unprecedented transformations as well as the improvement of known reactions. In this subfield of photocatalysis, a transition metal complex serves a double duty by harvesting photon energy and then enabling bond forming/breaking events mostly via a single catalytic cycle, thus contrasting the established dual photocatalysis in which an exogenous photosensitizer is employed. In addition, this approach often synergistically combines catalyst-substrate interaction with photoinduced process, a feature that is uncommon in conventional photoredox chemistry. This Review describes the early development and recent advances of this emerging field.
Chemical Reviews
https://doi.org/10.1021/acs.chemrev.1c00403
Accepted/In press - 2021
10.1021/acs.chemrev.1c00403
Dive into the research topics of 'Visible Light-Induced Transition Metal Catalysis'. Together they form a unique fingerprint.
Photocatalysis Chemical Compounds 100%
Photon Chemical Compounds 33%
Transition Element Chemical Compounds 25%
Chemical Transformation Chemical Compounds 22%
Chemistry Chemical Compounds 20%
Energy Chemical Compounds 16%
Shing Cheung, K. P., Sarkar, S., & Gevorgyan, V. (Accepted/In press). Visible Light-Induced Transition Metal Catalysis. Chemical Reviews. https://doi.org/10.1021/acs.chemrev.1c00403
Visible Light-Induced Transition Metal Catalysis. / Shing Cheung, Kelvin Pak; Sarkar, Sumon; Gevorgyan, Vladimir.
In: Chemical Reviews, 2021.
Shing Cheung, KP, Sarkar, S & Gevorgyan, V 2021, 'Visible Light-Induced Transition Metal Catalysis', Chemical Reviews. https://doi.org/10.1021/acs.chemrev.1c00403
Shing Cheung KP, Sarkar S, Gevorgyan V. Visible Light-Induced Transition Metal Catalysis. Chemical Reviews. 2021. https://doi.org/10.1021/acs.chemrev.1c00403
Shing Cheung, Kelvin Pak ; Sarkar, Sumon ; Gevorgyan, Vladimir. / Visible Light-Induced Transition Metal Catalysis. In: Chemical Reviews. 2021.
@article{112a1422db5d4f69b53ac0c8daa68093,
title = "Visible Light-Induced Transition Metal Catalysis",
abstract = "In recent years, visible light-induced transition metal catalysis has emerged as a new paradigm in organic photocatalysis, which has led to the discovery of unprecedented transformations as well as the improvement of known reactions. In this subfield of photocatalysis, a transition metal complex serves a double duty by harvesting photon energy and then enabling bond forming/breaking events mostly via a single catalytic cycle, thus contrasting the established dual photocatalysis in which an exogenous photosensitizer is employed. In addition, this approach often synergistically combines catalyst-substrate interaction with photoinduced process, a feature that is uncommon in conventional photoredox chemistry. This Review describes the early development and recent advances of this emerging field. ",
author = "{Shing Cheung}, {Kelvin Pak} and Sumon Sarkar and Vladimir Gevorgyan",
note = "Funding Information: We thank the National Institute of Health (GM120281), National Science Foundation (CHE-1955663), and Welch Foundation (Chair, AT-0041) for financial support. S.S. thanks the Eugene McDermott Graduate Fellowship, UT Dallas. Publisher Copyright: {\textcopyright} 2021 American Chemical Society.",
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journal = "Chemical Reviews",
T1 - Visible Light-Induced Transition Metal Catalysis
AU - Shing Cheung, Kelvin Pak
AU - Sarkar, Sumon
AU - Gevorgyan, Vladimir
N1 - Funding Information: We thank the National Institute of Health (GM120281), National Science Foundation (CHE-1955663), and Welch Foundation (Chair, AT-0041) for financial support. S.S. thanks the Eugene McDermott Graduate Fellowship, UT Dallas. Publisher Copyright: © 2021 American Chemical Society.
N2 - In recent years, visible light-induced transition metal catalysis has emerged as a new paradigm in organic photocatalysis, which has led to the discovery of unprecedented transformations as well as the improvement of known reactions. In this subfield of photocatalysis, a transition metal complex serves a double duty by harvesting photon energy and then enabling bond forming/breaking events mostly via a single catalytic cycle, thus contrasting the established dual photocatalysis in which an exogenous photosensitizer is employed. In addition, this approach often synergistically combines catalyst-substrate interaction with photoinduced process, a feature that is uncommon in conventional photoredox chemistry. This Review describes the early development and recent advances of this emerging field.
AB - In recent years, visible light-induced transition metal catalysis has emerged as a new paradigm in organic photocatalysis, which has led to the discovery of unprecedented transformations as well as the improvement of known reactions. In this subfield of photocatalysis, a transition metal complex serves a double duty by harvesting photon energy and then enabling bond forming/breaking events mostly via a single catalytic cycle, thus contrasting the established dual photocatalysis in which an exogenous photosensitizer is employed. In addition, this approach often synergistically combines catalyst-substrate interaction with photoinduced process, a feature that is uncommon in conventional photoredox chemistry. This Review describes the early development and recent advances of this emerging field.
U2 - 10.1021/acs.chemrev.1c00403
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JO - Chemical Reviews
JF - Chemical Reviews


Eo Studios was formed in early 1998 as a Web site design and new media service company located in Athens, Georgia.
We provide professional high end web design & database services and multimedia CD production for interactive presentations and software solutions utilizing Flash, Shockwave and server side solutions.
Official Web site of the internationally acclaimed rock band R.E.M.
Our company model is based on operating as a profitable, business-driven, creative partnership. The Eo production team includes several lead artist/programmers and support staff. We collaborate as creative designers, information technologists, and product managers selected to meet the requirements of each project. The success of the company has come from providing clients with integrated, state-of-the-art new media solutions designed to meet specific communication and commercial goals.
2) producing innovative solutions within a reliable production schedule.
Note: This is the non-frames version of the site developed for search engines only. Please revisit the site using a frames-capable browser.
Eo Studios provides new media services in three market sectors: Art/Entertainment, Health/Education, and Business Solutions.
We offer consulting services and integrated products like dynamic Web sites and unified software. Our expertise in current interactive technology is extensive. The following summary lists primary solutions and product specialties in our three main market areas.
Some of the most exciting work we develop serve the Art/Entertainment market. From high profile bands to large entertainment sites with hundreds of online movies, Eo Studios develops and maintains dynamic content for a growing number of artists and organizations.
Learning, training and exploration characterize the new media solutions we provide for the health and education sectors. Our team develops integrated solutions for hospitals, universities and health care organizations. Eo Studio's partnership with Jun Consulting, an established Medical sofware provider, has enabled us to expand our Health Care services to a growing client base.
Eo Studios provides dynamic new media solutions for the demanding corporate industry. Our strengths and experience include web site design, interactive presentations, database development and e-commerce solutions.


A friend of mine was reading my blog and saw that I'm terrified of cooking fresh fish. Wanting to rectify my dilemma she wrote an excellent piece on how you can cook fresh fish at home and included a Homemade Salmon with Sweet Potato Fries recipe. She also gave me permission to reprint her article to share it with my readers. So Here is Angie's advice on how to cook Fresh Fish at home.
I recently read in my friend Louise's blog that she didn't cook fresh fish at home. In the same week I spoke with at least 3 other friends who said a similar thing about being intimidated by cooking fish or thinking that cooking fish would stink up your house. I think I even remember my mom saying that to me a while back when I said I'd made salmon for dinner. Well, I want to set the record straight right here and now! Cooking fish is easy and it does not stink up your house if you do it right! Let's address these issues one at a time.
1. Myth: Cooking fish will stink up your house. There are two things you can do when handling and cooking fish that will leave you with a smelly kitchen. Follow these steps and you won't have that problem. The first rule of a non-smelly kitchen is to remove the wrapper that your fish came in and put it in your outside trash. Most smell from fish comes from the wrapper in your trash can. The second rule is never fry fish in your house! I grew up in the south, and know that there's nothing better than fried fish. But like we do it in the south, have your fish fry outside, not in your house.
2. Myth: Cooking fish is hard and should be left to professionals in restaurants. If you can turn on your oven, you can cook fish. The key to cooking good fish is to not over cook it. I've cooked both farm raised and wild salmon and have found that the wild salmon needs less cooking time. As long as you watch the clock and take your salmon out of the oven at the right time or even a little early you'll have a delicious, healthy dish.
I tend to be more of a naked cook, meaning that I don't like a lot of sauces or embellishments on a good piece of meat or fresh veggies. We eat a lot of steamed or roasted veggies with little more than salt and pepper on top. The same goes for a nice piece of meat or fish. That said, below is a recipe for salmon with a simple sauce for those of you who prefer toppings on your fish. Along with that is a recipe for very simple sweet potato fries that my kids love! Speaking of kids, a family member said the other day that kids don't like fish. Well, I beg to differ! Salmon is one of my daughter's favorite foods. Maybe it's because we live in the Pacific Northwest, but fish is not an icky food in my house; quite the opposite.
Hopefully some of you out there who believed Myths #1 and #2 above will give this recipe a try and see how easy it is to prepare your own fresh, healthy, tasty fish in your own home!
1. Run your hand across the top of the fillet to make sure there aren't any bones. If you feel a bone remove it with your fingers or a pair of pliers used in the kitchen.
2. Mix ranch dressing, mustard and dill in a small bowl. Mix in bread crumbs if you are using them.
3. Place fillet skin side down on a greased cookie sheet. spread mustard mixture evenly over top of fillet.
4. Place fillet in an oven preheated to 350 degrees and cook for about 15 minutes for wild salmon and 20 minutes for farm raised or thicker fillet. Salmon should flake easily with a fork when finished.
1. Cut sweet potatoes into sticks that are fry sized making sure that no stick is more than about 1/4 inch thick in either direction.
2. Put fries into zip top bag then add oil and salt. Squeeze out all the air and zip the bag. Squish potatoes around until they are well coated with oil and salt.
3. Pour potato sticks onto a cookie sheet or baking dish in a single layer then roast for about 30 minutes at 350 degrees turning sticks over half way through cooking.
Angie is in my MOMS Club and has been a great friend who helped me in my greatest time of need just by being part of MOMS Club. She blogs at Angie's Suburban Oasis often about recipes, volunteers for MOMS Club and at her kids' school. She also finds time to write the occasional bit of code for a local community college.
Thanks for the tips on how to cook fish. I've never cooked it myself, but I love the taste of salmon.
We eat fish at home at least once a week! And those sweet potato fries look absolutely yummy!
I've been searching for some sweet potato fries recipes. Thanks!
I'll have to try the sweet potato fries recipe, that sounds great!


text:
22 Oct Building a Foundation – Lekha Poddar interview
Posted at 21:20h in Copy Writing by Rajesh Punj
'Lekha Poddar 2010, courtesy of Lekha Poddar and the Devi Art Foundation'
In terms of everything positive that is of the contemporary Indian art scene now, then Lekha Poddar is its tour-de-force. Demonstrative and equally demanding of what she expects of those around her, Poddar's original interests, fashioned by her son Anupam Poddar; appear to have expanded well beyond the visual arts and into the realms of cultural diplomacy. Based between Gurgaon, (Delhi), and London; and with an eye on the art scenes in Lahore, Tehran, Karachi and Kabul; the Devi Art Foundation's attentions are as inclusive of the regions immediately outside of India as humanly possible. Outspoken in her criticism of the infrastructure for the arts in India, Poddar is fully aware of what is and isn't working there. And rather than letting things take care of themselves, she is known for positively lambasting the art establishment of which she is a part. Responding to India's Venice Biennale absence last year, Poddar forthrightly commented that before we think of going on to global platforms, we need to get our house in order in India. Accusing the powers that be of infrastructural failings that have allowed for a climate of inertia. Leading the way with a creditable alternative, the foundation appears to have gone from strength to strength, and in five years they have managed to amass a vast collection of works of immeasurable significance, from the early and contemporary periods.
Devi Art Foundation, Gurgaon, courtesy of Lekha Poddar and the Devi Art Foundation
Harper's Bazaar Art: What is happening outside of Mumbai and Delhi in India in terms of art now?
Lekha Poddar: Bangalore, Pune, things are happening there, Kolkata as well. Not a whole lot happens but there are two people, Abhishek Basu (of Abhishek Basu Contemporary), and Prateek Raja of Experimenter Gallery, both in Kolkata, both are doing amazing things. And I think Prateek is very important for the contemporary scene, because I think what he is doing is really path breaking. Sitting there in Kolkata with no cliental, but selling to the world, and establishing a really good global reach. Really taking up artists who I am not saying would not be taken up by other galleries, but I think he (and his wife Priyanka) picks very carefully and he picks very well. And the artists are not all based in Kolkata; they are from Bangladesh, Pakistan, of course Indian, and some are in Kolkata. I think (Prateek) is really amazing. It is one of the best gallerists in India at the moment, and I do think he is truly brilliant. Mort Chatterjee and Tara Lal have also done what other galleries have not done, introducing performance art before anybody had even though of it.
HBA: Does that come with greater awareness of the contemporary European and American art scenes?
LP: I think a little yes; I think otherwise I find that the Indian galleries unfortunately are really lacking professionalism, and they are not pushing boundaries. Some are taking care of their artists; this that and the other. But basically it is all about the market, rather than creating a market. You can say, 'I am following the market, so what do I do if so-and-so doesn't sell'. But it shouldn't be about creating a great deal of hype over an artist in order to create a market for them. If you look at their practices and guide them, that proves better in the long run.
HBA: That appears to be an enormous infrastructural issue with how the arts are managed in India; is that the case?
LP: I think so, very often the artists don't like very much conversation, and the gallerists won't have that conversation either. And if we want to move forward, developing an artist and providing them with a platform is a very important part of the art world. I mean gallerists should guide their artists, criticise their work, and also agree with their work. Give them a direction as to what the market would like, or discuss the next sets of works. I think it is very important, but unfortunately I am not sure enough it is really happening.
HBA: Is that to do with the more established gallerists thinking entirely of art as a commercial enterprise, and not as a vocation with a long view?
LP: My judgement is that from the turn of the century there was a very small market (in India); the artists and the gallerists had a great camaraderie, and they were all friends. But the market was small then; a small market with a small number of collections all with manageable prices. And then if we move forward fifty, sixty, seventy years; post two thousand, especially post two thousand and four, the boom came. And I don't know if the gallerists even realised how to negotiate that whole thing. Everybody was so happy selling, and the artists were so happy selling, but nobody; possibly one or two did, but by-and-large nobody got into that stage of conversation between the two, (the gallerists and the market), of what to present to the market.
HBA: Are you suggesting at the time gallerists were collectively unable to discuss what was happening among themselves, in order to seek a more sustainable infrastructure for the arts thereafter? And can that be blamed on a climate of cultural selfishness in India that is more damaging to the arts than anything else?
LP: I think in India that is a problem, a huge problem, everybody wants to do their own little thing. And it is something to do with our DNA possibly, I don't know if it is the same with the Chinese, the Malaysians or Indonesians, but I think that is an Indian characteristic across the board, and across any field. Unfortunately it is in our DNA.
HBA: Has this kind of cultural selfishness acted as an achilles' heel for the contemporary art scene in India?
LP: I am saying that I imagine all of this is a western import. All of this, the idea of the 'museums', and 'gallerists'. So I feel that over post-colonial India that that legacy carried on, and as I was saying the original market was very small to begin with. Those few galleries and artists interacted, because there were about ten collectors. There were really not that many, and the artists' base was also small, there might have been between fifty and seventy artists all over India. Others were preoccupied with small things that were not particularly relevant. And then this explosion of contemporary art happened in a period when India was opening up economically; and they (western collectors and gallerists) created a market driven economy, and obviously the art was simultaneously market driven. So I don't know if everyone has even had the chance to sit back and even think. And also more significantly because we have no critics, (which we touched upon earlier), we have no critical writing. So unfortunately it became a free for all. Because there is nobody to give a decent review of any exhibition, or there is no one who knows enough to even criticise it. So until someone gets into that whole thing, and brings it out into the open, we will continue to suffer for it.
HBA: Does that not require a great deal of honesty on the part of gallerists, dealers, collectors, and artists alike in India?
LP: Beyond honesty you need to know, you yourself need to know. Otherwise everyone is living in a vacuum because of there being a lack of everything to sufficiently support the arts in India. I think in India because gallerists don't take the initiative to guide their artists enough, the artists themselves in their mid-twenties, and early thirties begin to think they know it all. 'I don't wish to listen to the nonsense that these external people are saying'. But fundamentally if there were people who knew their art, and the art scene well enough, in order to make it clear that this is what is happening around you, and if this is your kind of art then this is the kind of direction you should take; then they would possibly listen. Somebody has to be authoritative enough to do that, and it depends as you said on art schools, and art education taking a lead.
HBA: I remember the damning statement you made in Art Newspaper this year, aimed at those responsible for Indian art internationally; after it was confirmed there would not be an Indian Pavilion at the Venice Biennale last year. And I quote 'Before we think of going onto global platforms, we need to get our house in order in India. To have a dialogue on public/private partnerships, we first have to strengthen our (art) academia, curatorships, critical writing, cataloguing, displays and so forth. How are we going to sustain the top of the pyramid when there is no base?' Do you still believe that to be the case?
LP: I still maintain that. Why start at the top of a pyramid when we don't have a base. Obviously the Venice biennial is very important, and of course we should push ourselves to be on an international platform. But I also feel that there has to be good curating for that to happen, that there has to be good backing. Artists have to be chosen very carefully, and it should not only be about artists who are market led. You know you really do need to have a whole critical appraisal of the art scene, and I agree in India it is happening slowly. We have the Kochi-Muziris Biennale which has been hugely successful, and I am pretty sure the next one in December 2014 will be a shade better. So a very small base is being created. The (India) art fair is serving a purpose I suppose in a very small way, yes they have huge footfall because the population numbers are so big. But very definitely until we get educational institutions correct, until we get people who become slightly more professional; and I refer to the gallerists and the artists, and until we have proper reviews and sound criticism for the arts in India, we are always going to be in this state of flux.
HBA: Therefore it becomes even more imperative for everyone to empowerment themselves, in order those involved in the arts can have a more informed debate. Clearly that's not happening fast enough.
LP: In today's world it is so easy via the net to see what is happening in the world. Even the generation of artists who started in the mid 1990's, possibly for ten years of their lives, they had access (to the internet), but not such abundant access. Today everything is a click of a button away, so whether you are there or not there, if you are really interested in learning and knowing, you can actually just do it from your room. You have to want to be curious, and you also need that kind of inquisitive mind to say I want to know more.
Subodh Gupta, Rani 2001, courtesy of Lekha Poddar and the Devi Art Foundation
Sudarshan Shetty, Love 2 2006, courtesy Lekha Poddar and the Devi Art Foundation
Subodh Gupta, Chimta 2003, courtesy of Lekha Poddar and the Devi Art Foundation
HBA: So in terms of the Devi Arts Foundation, located just outside Delhi; what was the catalyst that lead to you acquiring works of art, and that then becoming something more substantial?
LP: Well as far as buying art was concerned in the mid-eighties, matching up with friends, I used to buy, but never thinking it was ever going to become a collection. And we then made a new home in 1998, and my son Anupam who had just returned from university met Bharti Kher, and he initially kept saying do you mind if I buy art of my generation. He ventured on, and basically started the collection, and then would nudge me after a year or so and suggested why don't we do this together. And it involved art which to be honest I didn't understand initially and I was not familiar with; and my generation were not familiar with installation art and video art. So this was all very new material for me. It took me a little while and I got into the swing of things, and we started buying a lot of works together. Affordable works, because these were young artists, who were trying and experimenting, and there were conversations and dialogues. But of course with the boom in 2004 and so on all of that slowed a little. I am not sure if we have ever stopped buying but everything changed.
In his day Swiss psychiatrist and psychoanalyst Carl Jung introduced the idea that "the creation of something new was not accomplished by our intellect, but by the play instinct acting from inner necessity. The creative mind playing with the objects it loves." And that reflex to rally together objects...
06 August, 2020 Publications
Claude Monet saw painting entirely as an act of abstrac- tion, even with his easel rooted en plein air, saying of representation, "Try to forget what objects you have before you—a tree, a house, a field. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it...until it gives you your own impression of the scene before you." This same sense of sight as sensation directed Sheela Gowda's first forays into art and guided her development as she came to see art as an arrangement of colored forms on a flat surface....
22 July, 2020 Publications
There is a light-heartedness about Brussels based artist Lionel Estèvethat permeates his work as a lightness of touch. Seeing the things we leave to the litter as part and parcel of his colour field container canvases and rock sculptures. In the acclaimed novel by Indian author Arundhati Roy, The God of Small Things, she explains detritus as the detailsthat dissolve into our lives. ...
Studio Nienke Hoogvliet's disruption of the textile trade modestly explores how we might change the industrial system to exist more naturally with colour. The aim is to avoid the harsh chemicals of synthetic dyes that pollute rivers, and ultimately end up as fast fashion in landfills. The thinking is about finding a more transparent supply chain for fashion....
Americans Dan Flavin and Bruce Nauman saw coloured light as equal to the promise of paint in the era of Abstract Expressionism, able to alter space by opening it up and as easily closing it down, with the flick of a switch, Flavin explains, "realising that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctions in the room's composition." ...
11 April, 2020 Publications
Drawing to define his alter ego, Belgian artist Rinus Van De Velde appears intent on subverting the original sentiments of art and language - of an image and narrative supporting one another and vice versa - by critically, casually and very comically upending them, as individual entities play off one another. ...
29 March, 2020 Publications
The eleventh edition of Abu Dhabi's Art Fair, branded in black- and-white as 'Abu Dhabi Art' at pivotal points across the port city, intends, for the absence of 'Fair' from its title, to concentrate on the cultural – as was explained at the inaugural press conference - with mention of geographies and agendas that are cerebral rather than sales-driven.'ArtFair'orotherwise,AbuDhabiArt,underthestewardship of Dyala Nusseibeh and lead curator Omar Kholeif, both of whom are in their third year, appears intent on replacing one 'c' word for another - the 'commercial' for the 'curatorial' - in order, as Nusseibeh explains, it can better embrace the social and cultural currency of contemporary art, that turns sales into generative seeds, for the country's own creative canon....
12 February, 2020 Publications
If there's one thing you can always guarantee about the Tate Modern's Turbine Hall commissions it's that they always provoke. Monuments tend to celebrate the good, great, but also the really bad. American artist Kara Walker addresses a whole host of critical moments of modern history in her monument, what is remembered and what is forgotten. Inverting, subverting and reclaiming, Fons Americanus is an "origin story of the African diaspora" whose contents are very much still with us even if they are often ignored or rewritten....