text:
<?php

use Illuminate\Http\Request;
use Illuminate\Database\Schema\Blueprint;
use Illuminate\Database\Migrations\Migration;

Route::get('/installer',function ()
{

        Schema::create('users', function (Blueprint $table) {
            $table->increments('id');
            $table->string('name');
            $table->string('email')->unique();
            $table->string('password');
            $table->rememberToken();
            $table->timestamps();
        });

        Schema::create('password_resets', function (Blueprint $table) {
            $table->string('email')->index();
            $table->string('token')->index();
            $table->timestamp('created_at');
        });
        Schema::create('CONTACTO',function ($tabla)
        {
           $tabla->increments('CONTACTO_ID');
           $tabla->string('TITULO',5);
           $tabla->string('NOMBRE',60);
           $tabla->string('APELLIDO',80);
           $tabla->string('TELEFONO',16)->nullable();
           $tabla->string('CELULAR',20)->nullable();
           $tabla->string('TIPO');
           $tabla->string('ORIGEN');
           $tabla->boolean('AT_CORREO')->default(false);
           $tabla->string('EMPRESA')->nullable();
           $tabla->string('WEB')->nullable();
           $tabla->string('CORREO')->nullable();
           $tabla->string('ESTADO');
           $tabla->string('CALIFICACION');
           $tabla->string('VALORACION');
           $tabla->integer('CAMPANA_ID')->nullable();
           $tabla->string('CALLE')->nullable();
           $tabla->string('NUM_EXT',6)->nullable();
           $tabla->string('COLONIA')->nullable();
           $tabla->string('CPOSTAL')->nullable();
           $tabla->text('DESCRIPCION')->nullable();
           $tabla->boolean('ESCLIENTE')->default(false);
           $tabla->timestamps();
           $tabla->index(array('CONTACTO_ID','NOMBRE','APELLIDO'));

        });
        Schema::create('CAMPANA', function (Blueprint $table) {
            $table->increments('CAMPANA_ID');
            $table->string('NOMBRE',128);
            $table->date('INICIO');
            $table->date('FINALIZACION');
            $table->boolean('ACTIVA')->default(false);
            $table->string('TIPO');
            $table->string('ESTADO');
            $table->float('INGRESOS_ESP')->nullable()->default(0);
            $table->float('PRESUPUESTO')->nullable()->default(0);
            $table->float('COSTE')->nullable()->default(0);
            $table->string('RESPUESTA')->nullable();
            $table->text('DESCRIPCION')->nullable();
            $table->timestamps();

            $table->index('NOMBRE');

        });
        Schema::create('OPORTUNIDAD', function (Blueprint $table) {
            $table->increments('OPORTUNIDAD_ID');
            $table->string('TITULO');
            $table->integer('USUARIO_ID');
            $table->integer('CONTACTO_ID');
            $table->integer('CAMPANA_ID')->nullable();
            $table->string('TIPO');
            $table->boolean('PRESUPUESTO')->default(false);
            $table->float('INVERSION')->default(0.00);
            $table->string('ETAPA');
            $table->integer('PROBABILIDAD')->nullable();
            $table->integer('FACTURA')->nullable();
            $table->float('IMPORTE')->nullable();
            $table->date('CIERRE');
            $table->text('INFORMACION')->nullable();
            $table->timestamps();

            $table->index(array('FACTURA','TITULO'));

        });
        Schema::create('TAREA', function (Blueprint $table) {
            $table->increments('TAREA_ID');
            $table->integer('USUARIO_ID');
            $table->string('TITULO',256);
            $table->string('ASUNTO',256);
            $table->date('VENCIMIENTO');
            $table->integer('CONTACTO_ID');
            $table->string('ESTADO');
            $table->string('PRIORIDAD');
            $table->boolean('NOTIFICACION');
            $table->text('DESCRIPCION')->nullable();
            // recordatorio
            $table->boolean('RECORDAR')->default(false);
            $table->dateTime('FECHA_RECORDAR')->nullable();
            // repeticion
            $table->boolean('REPETIR')->default(false);
            $table->date('REPETIR_INICIO')->nullable();
            $table->date('REPETIR_FIN')->nullable();
            $table->integer('REPETIR_DIAS')->nullable();
            //
            $table->timestamps();
            //$table->index(array('TITULO','ASUNTO'));
        });
        Schema::create('EVENTO', function (Blueprint $table) {
            $table->increments('EVENTO_ID');
            $table->integer('USUARIO_ID');
            $table->string('TITULO');
            $table->string('ASUNTO');
            $table->string('UBICACION')->nullable();
            $table->date('FECHA');
            $table->time('DE');
            $table->time('A');
            $table->boolean('ALLDAY')->default(false);
            $table->integer('CONTACTO_ID')->nullable();
            $table->text('PARTICIPANTES')->nullable();
            // recordatorio
            $table->boolean('RECORDAR')->default(false);
            $table->dateTime('FECHA_RECORDAR')->nullable();
            // repeticion
            $table->boolean('REPETIR')->default(false);
            $table->date('REPETIR_INICIO')->nullable();
            $table->date('REPETIR_FIN')->nullable();
            $table->integer('REPETIR_DIAS')->nullable();
            //
            $table->text('DESCRIPCION');
            $table->timestamps();
            $table->index('TITULO','ASUNTO');
        });

});

?>

redpajama_set_name: RedPajamaGithub


A squeeze of lemon will brighten any dish. But chewing on the peel? Sounds crazy, I know. I recently fell in love with preserved lemons because they pack all the lemony goodness, without the pucker-inducing tart.
I like to toss preserved lemon peel into a light pasta, sprinkle on white fish, combine with roasted Brussels sprouts, or even cut into thicker strips and serve on a cheese platter alongside olives (a favorite lazy dinner…).
Preserved lemons are easy to make, but take a little time, so don't try this right before you need them. Keep a jar on hand so you can add a flavorful, healthy kick to any meal.
Hit play below for a quick DIY tutorial!
Trim the ends of five lemons, then cut each lengthwise into quarters, being careful not to slice through to the bottom (the quarters should still be attached to the base).
Juice the remaining three lemons.
Rub a generous amount of salt on the inside of the five quartered lemons, then stuff into a jar. Press down with a muddler to push them in further. This will also help extract more juice.
Seal jar and store in cool, dry place for 3-4 weeks, shaking occasionally to distribute the salt (once the peel is translucent, they are ready to use).
To use lemon, remove a quarter and rinse away salt. Remove fruit and pith (the white part) and discard (it will be mushy and overly salty).
Cut peel into thin strips, then cut strips into a small dice.
WHY #1?: It's really important to buy high quality, organic lemons because you'll be eating the peel.
WHY #2?: If the lemons are not completely covered with liquid, a mold can form on top. You can remove the mold and add more lemon juice, but it's best to not let it form.
Note: As long as the lemons are covered in juice, they'll last on your counter for over a year. However, you may store in refrigerator if you prefer.
Note: This same method works for limes and oranges, too.


text:
Navy sailors distrust commanders, fear crippling political correctness
Complain of zero-tolerance disciplinary environment, excessive political correctness
Guy Snodgrass
The Arleigh Burke-class guided-missile destroyer USS Curtis Wilbur (DDG 54) fires a Standard Missile 2 (SM-2) during a missile firing exercise. (U.S. Navy photo) more >
By Rowan Scarborough - The Washington Times - Tuesday, September 30, 2014
Navy sailors harbor "widespread mistrust" in the admirals who command them, complaining of poor leadership and a disciplinary environment that tolerates absolutely no mistakes, says a survey of the fleet.
The disgruntlement runs deepest in the officer corps, where scores of commanders have been relieved of duty in recent years.
"Senior leadership should stop proactively highlighting the reliefs for cause of commanding officers, command master chiefs, and other senior enlisted advisors," said the report "2014 Navy Retention Study." "What was originally intended to demonstrate accountability to the public has, instead, resulted in a significant breach of trust with our sailors and resulting in an almost 'reality TV' mentality."
PHOTOS: BOOM! U.S. military turns ISIS targets to rubble
The independent survey was released amid complaints by some aviators about excessive political correctness as the military seeks to stamp out sexual harassment and misconduct in an increasingly gender-integrated Navy.
"Most troubling is the perception sailors hold of senior leadership," the report says under the heading "Widespread Distrust of Senior Leadership."
"Sailors feel strongly about their distrust of senior leadership, and believe the Navy has a significant risk-averse culture and zero-defect mentality," the report says. "Officers in particular hold an incredibly negative view of the current state of affairs, with vast majorities decrying the overwhelming perception of a risk averse and zero-defect mentality culture."
PHOTOS: Top 10 U.S. fighter jets
When asked whether they agreed that the Navy operates a risk-averse culture, nearly 90 percent of officers answered "yes."
Sailors also do not like wartime at sea deployments that stretch from six months up to nine months.
The report, based on an Internet survey that garnered responses from more than 5,000 sailors, was compiled by a group of active-duty Navy sailors and civilian researchers, with the Navy's support.
It was led by Cmdr. Guy Snodgrass, a "Top Gun" F-18 Hornet pilot who was a speechwriter for the Navy's top admiral and now is executive officer of a carrier strike fighter squadron. Cmdr. Snodgrass has argued that the work climate will lead to a retention crisis if not addressed.
Cmdr. Christopher Servello, a spokesman for the chief of naval personnel, said: "Not sure we agree with all of the conclusions that were drawn, but we are grateful for the effort done by this group. … Much of the raw data collected matches what we have seen in our own surveys."
Cmdr. Servello said actions being taken include "pushing decision-making down to the lowest levels of command and empowering units' leaders to train and focus on war fighting first."
He said retention is above average for officers and enlisted, but there are "pockets that have leadership's attention." These include the nuclear Navy, junior flight officers and special warfare, which includes the SEALs.
Cmdr. Snodgrass' report language is tamer than an article he wrote last winter on the U.S. Naval Institute website.
"Unfortunately," Cmdr. Snodgrass wrote, "the fact that a growing number of quality officers have already left the service or are planning to head for the doors seems to be going undetected by senior leadership."
He wrote of "a recent shift within the Navy to eradicate behavior that is, by its very nature, ineradicable."
"Put simply, there is no dollar amount that can be spent, or amount of training that can be conducted, that will completely eradicate complex issues such as suicide, sexual assault, or commanding officer reliefs for cause — yet we continue to expend immense resources in this pursuit," he said. "Sailors are bombarded with annual online training, general military training, and safety stand-downs — all in an effort to combat problems that will never be defeated."

redpajama_set_name: RedPajamaCommonCrawl


text:
Journalist orders fake Syrian passport for Dutch PM Mark Rutte
Journalist Harald Doornbos managed to get his hands on a genuine Syrian passport displaying a photo of Prime Minister Mark Rutte. All it took was one phone call and a 40 hour wait. "All you need is the telephone number of one of the many passport forgers and converted 750 euros."
Justice Sec. brings controversial refugee plan to EU; 3,100 apply for asylum in NL
On Monday State Secretary Klaas Dijkhoff of Security and Justice has the difficult task of convincing the European Union to follow the Netherlands' plan for investing in asylum shelters near crisis areas in an effort to stop the inflow of refugees to Europe. He will attempt to do this during the European meeting in Brussels on the redistribution of 160 thousand asylum seekers.
Dutch bombing missions over Syria could start quickly
The government may soon decide to extend Dutch bombarding missions against terrorist organization Islamic State to Syria, according to PvdA leader Diederik Samsom.
Dutch military investment falls by 60 percent; weapons exports down 22 pct.
The Dutch government's defense expenditure decreased by 191 millions euro to 7.4 billion euros last year. Investments in new military weapons showed a particularly strong decrease. The biggest expenses - wages and social contributions - remained the same.
Wilders belittled after fierce anti-refugee "Islamic invasion" speech
PVV leader Geert Wilders' anti-refugee, anti-Islam comments have caused many ruffled feathers in the refugee debate in the Tweede Kamer, lower house of parliament, on Thursday.
Dutch support bombing ISIS in Syria despite Defense budget woes
A narrow majority in the Tweede Kamer, lower house of parliament, has thrown its support behind the Netherlands extending its bombing attacks on Islamic States to also include Syria. At this stage the Netherlands is only participating in airstrikes against the terrorist organization in Iraq.
Ex-terror suspect: "I made up" Dutch jihad recruitment claim
Sep 9 '15 10:43
The key witness in the massive terrorism trial currently ongoing in the high-security court in Amsterdam, has withdrawn his statement. He now claims that he completely fabricated the statement.
Massive terrorism trial brings ten suspects to Amsterdam court
One of the largest terrorism trials ever in the Netherlands starts in the court in Amsterdam on Monday. A total of 10 suspects are facing charges of, among other things, participation in a terrorist organization, recruitment and conspiracy to commit terrorist offenses.
Dutch ISIS defector may have detailed military plans
The Air Force sergeant who is believed to have joined ISIS may have sensitive information on ongoing military missions, as well as personal information on his colleagues currently involved in the the fight against the terrorist organization.
Defense: Dutch Air Force sergeant likely joined ISIS
The Ministry of Defense has reason to believe that an actively serving soldier - a 26 year old sergeant at the Royal Air Force - has left for Syria to join terrorist organization Islamic State.
Terrorist threat level near critical, embassy security increased
The terrorist threat level in the Netherlands is "at the top of the range" of substantial threat, and nearing critical level, according to Minister Ard van der Steur of Security and Justice. This is because of "what happened with the Thalys and some other things". Belgium has placed extra security at the Dutch embassy in Brussels, as well as at the embassies of other countries part of the coalition fighting against terrorist organization Islamic State.
Ruling party supports using troops to protect refugees
CDA leader Sybrand Buma's idea of sending troops into Syria and creating safe havens for refugees is getting some support from ruling party VVD, though other parties are less than enthusiastic.
Five Dutch join ISIS monthly, says counterterrorism official
An average of about five Dutch people manage to leave the Netherlands to join the battle zone in Syria and Iraq every month, despite efforts by the Dutch authorities to prevent it.
Dutch ground forces should enter Syria, says CDA leader
CDA faction leader Sybrand Buma thinks that the Netherlands should be intervening in Syria too, instead of only in Iraq. He wants to deploy Dutch troops to Syria to protect refugees and bring order. He also thinks that the establishment of safe havens in Syria, Iraq and Libya, where soldiers under the banner of the United Nations or the European Union can protect refugees a viable option.
Netherlands sends €60m to Iraq, Syria & Yemen in refugee crisis response
Aug 28 '15 08:52
The government is making 58.5 million euros available to help victims of conflict in Syria, Iraq and Yemen, a spokesperson for Minister Lilianne Ploumen of Development Cooperation confirmed to the Volkskrant on Friday. According to the Minister, crisis in the Middle East region has reached unprecedented levels.
Eight suspected Dutch jihadists added to terrorist watch list
Another eight suspected Dutch jihadists have been added to the national terrorist watch list, bringing the total number of people and organizations on this list up to 40. These eight people ware believed to be involved in terrorist activities in Syria and Iraq, the Ministry of Foreign Affairs announced on Thursday.
Dutch jihadist reportedly killed in Syria
A Dutch jihadist fighting under the battle name Abu Muhammad al-Hollandi was killed in Aleppo Syria, according to several tweets from jihadist Twitter accounts.
Majority of Somalians in NL on welfare
Jul 30 '15 11:46
Nearly 70 percent of adult Somalians living in the Netherlands are on welfare benefits. More than half of the people from Syria, Iraq and Eritrea are also on welfare benefits.
General: Dutch F-16s should attack ISIS in Syria
General Tom Middendorp thinks that it would be logical that the Dutch F-16's not only fight ISIS over Iraq, but also over Syria. According to him, there is "little chance of a solution" if the terrorist organization is not also addressed in its "safe harbor".
First emergency asylum shelter to open this week
The first emergency shelter locations for asylum seekers will be put to use this week already. The first asylum seekers are expected to arrive at the IJsselhallen in Zwolle on Thursday or Friday.
Seven undocumented migrants found hidden in truck cargo
Jun 22 '15 12:37
Seven undocumented immigrants were discovered in Wijchen, Gelderland on Monday morning. A truck driver found them when he left his truck on an industrial estate
Six of 32 Dutch jihadists killed came from Amsterdam
Six of the 32 Dutch jihadists who have been killed in the war in Syria and Iraq came from Amsterdam. One of them was a minor and two have been convicted of crimes with terrorist intent.
Kids in war zones the focus of 2015 3FM Serious Request
The NPO 3FM Serious Request performance is going to attract attention to children and young adults in the war torn areas of greatest conflicts, the show's DJ Paul Rabbering announced on Sunday. Fundraising to assist those children will be the focus of this year's Glass House marathon radio broadcast, taking place later this year in Heerlen.
Brother: Killed jihadist a "naive person, who made a choice for evil"
Jun 9 '15 09:28
Jason W. describes his brother Jermaine W., who was killed in Syria, as a good, but naive person who made the wrong choices, in a letter he posted on Facebook. Jason also describes how difficult it is for his family to mourn the loss of their son and brother in the face of those wrong choices.


text:
Fajia o Escola de les lleis, també coneguda com a legalisme o legisme (en xinès 法家, en pinyin fǎjiā, 'escola de les lleis'), va ser un dels principals corrents de pensament xinesos que aparegueren durant el període dels regnes combatents (entre els anys 480 i 221 aC). Es tracta d'una doctrina política estrictament utilitarista que considerava com a poc importants a nivell pràctic les qüestions transcendentals com el propòsit de la vida o l'estudi de la naturalesa. El partidari més famós d'aquesta escola va ser Han Fei Zi (韩非 子), que defensava que per a garantir l'eficàcia d'un govern s'han d'utilitzar les tres eines següents:

 Fa (en xinès 法, pinyin fǎ, 'llei', 'principi'): les lleis han d'estar clarament escrites i ser ben conegudes del públic. Tothom ha de ser igual davant la llei. Les lleis haurien de recompensar a aquells que les compleixen i castigar a aquells que les desobeeixen. D'aquesta manera es garanteix que les mesures adoptades són sistemàticament predictibles. A més a més, el sistema de llei l'executa l'estat, no el governant, sent una afirmació de la regla de llei. Si la llei no es fa complir, fins i tot un governant feble serà fort.
 Shu (术, shù, 'mètode', 'tàctica', 'art'): tàctiques especials i "secretes" del governant per assegurar-se que ningú pretén al control de l'Estat.
 Shi (势, shì, 'legitimitat', 'poder', 'carisma'): el que compta és l'esperit de la llei i no la llei en si mateixa. Per tant, l'anàlisi de les tendències, el context i els fets són essencials per a un veritable governant.

Vegeu també
 Cent escoles de pensament

redpajama_set_name: RedPajamaWikipedia


text:
Q: Do discrete symmetries in molecules leave statistical "artifacts" like the Equipartition Theorem? In statistical mechanics we have the equipartition theorem which can derive heat capacity simply from degrees of freedom. For example, diatomic gases have an increase heat capacity of $ \frac{7}{2} N k_B T $.
I am studying Molecular Orbital Theory and there is a big emphasis on discrete symmetries and their effects on electron configuration. I was wondering if you can find statistical effects of the discrete symmetries of molecules in such a way that you could experiment on something like the heat capacity and deduce that the molecule in question has a given symmetry.
For example, in $ AH_2 $ molecules, if they bend, then we have an additional degree of freedom that could contribute to the equipartition heat capacity. This is still a continuous symmetry that was broken, but we could imagine discrete ones like $ ACH_3 $. If A is a hydrogen atom, then we have methane and a $ E 8C_3 3C_2 6S_4 6\sigma_d $, otherwise, we just get $ E 2C_3 3\sigma_v $ symmetry (from here).
Does this increase in symmetry leave any statistical artifacts that experiment could show?

A: Please correct me if I am wrong!!
After thinking for a while, I believe that you need a thermodynamic control parameter (think pressure, volume, magnetic field, etc.) that breaks the symmetry.
Consider a system with a phase space $ \Lambda $ that is symmetric under group operations $ g \in G $. If you calculate the partition function, you notice it can be broken up,
$$\begin{align}
Z &= \int_\Lambda dz~e^{-\beta \mathcal{H}(q, p; A)} \\
  &= \sum_{g \in G} \int_{\Lambda ~/~ G} e^{-\beta ~\mathcal{H}\big(T_g(q), ~T_g(p) ~;~ T_g(A)\big)} \\
  &= \sum_{g \in G} \int_{\Lambda ~/~ G} e^{-\beta ~\mathcal{H}\big(q, p ~;~ T_g(A)\big)} \\
  &= \sum_{g \in G} Z_g
\end{align}$$
where $ A $ is a statistical control variable like pressure or volume.
Computing some thermodynamic quantity would be simply done by,
$$\begin{align}
A &= \frac{\partial \log Z}{\partial A} \\
  &= Z^{-1} \sum_{g \in G} \frac{\partial Z_g}{\partial A}
\end{align}$$
If $ A $ doesn't transform under the group action, then thermodynamics will not have an artifact.
Working on an example

redpajama_set_name: RedPajamaStackExchange


I am trying to remove a member function based on the template type. The problem is to make a later template specialization match the type signature of my function in a case when it is not removed.
I tried the following code, which compiles with GCC (9.0.1) but gives an error in Clang (9.0.0). I think it also fails to build the code in MSVC++.
I would like to know how to make the code work, and also why the results are not consistent cross all the major compilers.
GCC accepting this code doesn't look right to me, I join the 'this is a bug' fraction in the comments.
Perhaps even worse: Consider my_type<double>::my_fun<bool> specialisation – it should still exist, shouldn't it?
If you wanted specialization to give users the ability to add specialized implementations, you could make my_fun_impl a free function instead of a member function. If the goal was just to specialize for certain types, you can make them private member functions.
You cannot use enable_if here to suppress a member function depending on the template parameter of the class, i.e. T (but only depending on the template parameter of the function, i.e. Q.
W/o tag type, you could do the following.
for whatever is_standard<> you want.
Not the answer you're looking for? Browse other questions tagged c++ templates c++14 c++17 or ask your own question.
Overloaded operator ambiguity on Clang but not on GCC, which one is correct?


Computer simulation of high-cost applications, especially those involving massive amounts of robotic equipment, is much more efficient than traditional laboratory means. This new textbook presents procedures that make an important contribution to the effective use of automated manufacturing. It also uses a unique combination of computer and robot skills to achieve solutions to the problems discussed throughout the text. Methods of utilizing existing simulation software are emphasized since this enables students to create workable robot designs through a better understanding of basic simulation techniques.
Robotic Simulation is designed for introductory courses in simulation. For short courses or seminars, the chapters dealing with hardware-dependent applications can easily be omitted without interfering with the continuity of the text. The book's computerized simulation approach to robotics is an indispensable supplement to the normal methods taught in a course on robots.


text:
David Oku will leave Tennessee via transfer
By Will Shelton Jan 14, 2011, 12:37pm EST
Share All sharing options for: David Oku will leave Tennessee via transfer
The nation's number one all-purpose RB recruit in the Class of 2009 will transfer and leave the Vols. David Oku leaves Tennessee after two seasons in a backup role, as confirmed by Derek Dooley via The Knoxville-News Sentinel:
"David has handled this situation in a professional way, and we mutually agreed that his departure is best for him and for our program," Tennessee coach Derek Dooley said.
Oku played behind Montario Hardesty and Bryce Brown as a true freshman, and was behind Tauren Poole and, at times, Rajion Neal this season. He saw some action as a kick returner, but never became a significant contributor to the Vol offense. He ran for 94 yards as a freshman and 174 yards this season.
Brent Hubbs at VolQuest.com believes Oku will be granted a release, which you can read into Dooley's statement. Oku becomes the latest casualty from Lane Kiffin's highly-touted 2009 recruiting class - just two years later, six of the top twelve players in that class are no longer with the program.
The bigger problem for the Vols is the future at RB - Tauren Poole will return for his senior season, with sophomore Rajion Neal behind him...but after that, it's murky. Toney Williams is still around, but never got a chance to contribute or prove himself coming off ACL surgery. The Vols have commitments from three-star RBs Tom Smith and Devrin Young, but neither are thought to be the definitive solution for the future. Then again, we thought we wouldn't be worried about this position for years when Bryce Brown and David Oku were signed together in '09. One name to watch out for in this class could be Marlin Lane, the nation's #8 RB who has decommitted from Clemson and will hopefully visit Knoxville this weekend.
With Tyler Bray slinging it, perhaps the need is a little smaller...but Tennessee still has to find a dependable running back for 2012 (or 2011 if Poole gets injured). We thought Oku could've been that guy, but he never fully developed in Knoxville. We wish him the best in the future...and hope the Vols can find the RB of the future elsewhere.


text:
Q: Share internet as Bridge instead as a Router using PFCTL (OS X)? I've got an Airport Time Capsule (TC) and a Macbook Air (MBA) and another PC.
The MBA connects the TC wirelessly while the PC connects to the MBA with Ethernet cable.
The problem:
The MBA takes the DHCP into his own, and spreads IP's from a new IP range, leaving all the devices connecting to it disconnected from the TC's network (connected to the internet but cannot communicate with any other device connected to the TC directly).
The goal:
Make any device connected to the MBA, get an IP address from the TC directly.
Meaning, the MBA shall behave as a bridge from Wifi to Ethernet network adapters.
Note: After searching the internet for more than 4 hours for a solution, plus speaking with AppleCare support for more than 2 hours on the phone, I've come to a conclusion: this cannot be done using Apple's Internet Sharing feature.
This is what I get from ifconfig:
en0: flags=8863<UP,BROADCAST,SMART,RUNNING,SIMPLEX,MULTICAST> mtu 1500
ether 84:38:35:63:98:fe
inet6 fe80::8638:35ff:fe63:98fe%en0 prefixlen 64 scopeid 0x4
inet 10.0.1.2 netmask 0xffffff00 broadcast 10.0.1.255
nd6 options=1<PERFORMNUD>
media: autoselect
status: active

bridge100: flags=8863<UP,BROADCAST,SMART,RUNNING,SIMPLEX,MULTICAST> mtu 1500
options=3<RXCSUM,TXCSUM>
ether 86:38:35:36:77:64
inet 192.168.2.1 netmask 0xffffff00 broadcast 192.168.2.255
inet6 fe80::8438:35ff:fe36:7764%bridge100 prefixlen 64 scopeid 0xa
Configuration:
    id 0:0:0:0:0:0 priority 0 hellotime 0 fwddelay 0
    maxage 0 holdcnt 0 proto stp maxaddr 100 timeout 1200
    root id 0:0:0:0:0:0 priority 0 ifcost 0 port 0
    ipfilter disabled flags 0x2
member: en4 flags=3<LEARNING,DISCOVER>
        ifmaxaddr 0 port 6 priority 0 path cost 0
nd6 options=1<PERFORMNUD>
media: autoselect
status: active

I would want somehow to make Bridge100 be with a 10.0.1.x IP letting my PC receive IP from the TC.
If you've got any idea how to make this happen, I would be very happy. Spent too much time looking for that answer.

A: You can't just bridge frames from Ethernet to a client-mode 802.11 connection because the 802.11 protocol doesn't allow it. The AP (your TC) will reject these frames because they came from a source MAC address that never 802.11-authenticated or 802.11-associated.
The way to bridge Ethernet frames across an 802.11 link is to use a relatively obscure optional provision of 802.11 known as "WDS" (Wireless Distribution System). Unfortunately it requires that both ends of the 802.11 link be configured to support it, and Apple provides no APIs to configure a Mac's Wi-Fi card for WDS mode.
You're left with the option of doing NAT, which is what Intenet Sharing does, but doesn't meet your needs, or possibly messing around with Proxy ARP, which may still not accomplish what you're really looking for.


text:
Kim C. Worley, Ph.D.
Professor, Department of Molecular and Human Genetics
kworley@bcm.edu
Postdoc, Baylor College of Medicine, 1997
Ph.D., Baylor College of Medicine, 1993
B.S., Massachusetts Institute of Technology, 1984
1989: Predoctoral training grant, National Eye Institute, National Institutes of Health
1993: Postdoctoral Fellowship, W.M. Keck Center for Computational Biology, National Library of Medicine
1993: Participant, Essential Computational Genomics for Biologists, Cold Spring Harbor Laboratory
1995: National Research Service Award Postdoctoral Fellowship, National Center for Human Genome Research, National Institutes of Health
2010: IBM Faculty Award, IBM Corporation
Computational biology, especially computer methods for analysis of genomic sequence information; bioinformatics, developing new tools to improve genomic sequence assembly, analysis and annotation.
Gelb BD, Worley KC, Griffin LD, Adams V, Chinault AC, McCabe ER. Characterization of human genomic yeast artificial chromosome inserts containing hexokinase 1 coding information on chromosome 10. Biochem Med Metab Biol. 1992;47(3):265-9.
Worley KC, Towbin JA, Zhu XM, Barker DF, Ballabio A, Chamberlain J, et al.. Identification of new markers in Xp21 between DXS28 (C7) and DMD. Genomics. 1992;13(4):957-61.
Adams V, Griffin L, Towbin J, Gelb B, Worley KC, McCabe ER. Porin interaction with hexokinase and glycerol kinase: metabolic microcompartmentation at the outer mitochondrial membrane. Biochem Med Metab Biol. 1991;45(3):271-91.
Armadillo Genome Project
Bovine Genome Project
Dolphin Genome Project
Hyrax Genome Project
Kangaroo Rat Genome Project
Megabat Genome Project
Mouse Genome Project
Rat Genome Project
Wallaby Genome Project
Y Chromosome Genome Project
Acorn Worm Genome Project
Sea Urchin Genome Project
Cuttlefish Genome Project
Richard Gibbs, Ph.D.
Rui Chen, Ph.D.
Harsha Doddapaneni, Ph.D.
Marie-Claude Gingras, Ph.D.
Robert Glenn, Ph.D., M.S.
Yi Han, Ph.D.
R. Alan Harris, Ph.D.
Jianhong Hu, Ph.D.
David Murdock, M.D., F.A.C.M.G.
Debra Murray, Ph.D.
Donna Muzny, M.S.
Xiang Qin, Ph.D.
Jeffrey Rogers, Ph.D.
Aniko Sabo, Ph.D.
Steve Scherer, Ph.D.
Fritz Sedlazeck, Ph.D.
Eric Venner, Ph.D.
Fuli Yu, Ph.D.


text:
Kristen Stewart Is Haunted by a Ghost of the Royals' Past in the Gorgeous 'Spencer'
Pablo Larraín's film, out in select theaters November 5, is more of a ghost story about the late Princess Diana than it is a biopic.
Published on 11/3/2021 at 3:27 PM
The first line Kristen Stewart utters as Princess Diana in Spencer, the not-quite-biopic from director Pablo Larraín, is: "Where the fuck am I?" She says it under her breath as she zips around the English countryside in a Porsche, responding to the fact that Diana is quite literally lost as she tries to venture to the royals' Sandringham estate by herself. But the way Stewart speaks it, the dialogue is almost like a premonition of the liminal state the princess and this movie exists in, a zone where the living and dead collide.
In its opening moments, Spencer announces itself as a "fable from a true tragedy." Familiar iconography collides with the spectral to craft a version of Diana that is both recognizable and detached from her previous representations. Stewart does not transform into the figure we know from newscasts and The Crown so much as she interprets her through a series of whispered words and bowed heads. Spencer is exquisite camp mashed up with body horror and A Christmas Carol. It's a delicious apricot soufflé, rich and fluffy all at the same time, but it might also make you a little nauseous.
Steven Knight's script takes place over three days during the Christmas holiday in 1991 as Diana's marriage to Charles (Jack Farthing) is crumbling, but Spencer isn't really interested in the historical timeline. It could be the early 1990s or the 16th century for all the filmmakers care. As Diana says to her children when they ask why they open presents on Christmas Eve instead of Christmas morning: "There is no future. The past and present are the same thing."
The plot—for what it is—is guided entirely by the rituals of the crown. Diana must keep herself together as she is subjected to one tightly scheduled event after another, be it tea or church or dinner. All the while she is being haunted. Early in the film, she takes a jacket she believes once belonged to her father off of a scarecrow. It looms over her room, a figure to which she talks and tends. But there's another presence: the ghost of Anne Boleyn, the cautionary tale about behaving yourself in these halls lest you lose your head.
Stewart's Diana is on edge from the moment she appears on screen, vibrating in her own skin to the tune of Jonny Greenwood's jittery score where horns blare and strings pierce. Larraín frames her in close up, cinematographer Claire Mathon's camera hovering just underneath Stewart's chin as the actress almost tries to use her own eyelids to shield her from public view. Stewart plays Diana as if the weight of being perceived is nearly too much to bear. And yet her Princess of Wales is also funny and playful, traits that come out especially in the scenes alongside her two sons (Jack Nielen and Freddie Spry).
William and Harry are the only other members of the royal family who get much attention in Spencer. Diana shares some scenes with Farthing's Charles, but they are cold and guided by protocol. Aside from her kids, Diana's only sources of comfort in the halls of Sandrigham are provided by members of the staff, and yet those interactions are plagued by uncertainty, too. A foreboding sign in the kitchen where chef Darren (Sean Harris) monologues to his staff as if they are going into battle cautions that the walls of this castle are thin. That tension is even present in Diana's relationship with Maggie (Sally Hawkins, lovely), her dresser who appears to be a genuine friend.
This is not the first time Larraín has deconstructed a woman better known for her tragedy and fashion than her inner life, and Spencer makes an excellent companion to his Jackie, which looked at Jacqueline Kennedy Onassis (Natalie Portman) in the days following her husband's death. Larraín recognizes the voyeurism with which the audience will approach these women, and doesn't deny viewers those pleasures while still digging deeper into her private persona and achieving an artistic high. He understands that we want to see Diana running in her famous wedding dress and dancing in vast rooms, but those moments are not just for show. They are part of the lyrical way Larraín sees the fantasy of her liberation in the face of a rigid institution that wanted her to conform to their exacting rules and traditions. Larraín is dealing in alternate realities that nevertheless effectively probe our collective perception of history. Like the jazz that permeates Greenwood's music, Spencer is a riff on Diana with Larraín and Stewart operating at the peak of their powers.
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Esther Zuckerman is a senior entertainment writer at Thrillist. Follow her on Twitter @ezwrites.


text:
Q: DBI::dbWriteTable doesn't append beyond specific number of rows and throws exception on nvarchar(max)
*

*Currently working with Professional Rstudio drivers

*I have set all varchar to max in Sqlserver table as well but it didnt help.
diag_test <- diag[1:1025]
system.time({
DBI::dbWriteTable(con, "urban_prodbi_diag", diag_test, append = TRUE)
})

Error in result_insert_dataframe(rs@ptr, values) :
nanodbc/nanodbc.cpp:1587: HY000: The incoming tabular data stream (TDS)
remote procedure call (RPC) protocol stream is incorrect. Parameter 5
(""): The supplied length is not valid for data type nvarchar(max).
Check the source data for invalid lengths. An example of an invalid
length is data of nchar type with an odd length in bytes., Timing
stopped at: 0.049 0.002 0.135

*It works with fewer rows though.

*Few subset examples:
diag_test <- diagcopy[1:1024]
system.time({
DBI::dbWriteTable(con, "urban_prodbi_diag", diag_test, append = TRUE)
})
user  system elapsed
0.042   0.000   0.109

diag_test <- diagcopy[1000:1025]
system.time({
odbc::dbWriteTable(con, "urban_prodbi_diag", diag_test, append = TRUE)
 })
user  system elapsed
0.014   0.000   0.074

*Insert didnt give any error through RODBC package on the same table schema and dataframe.


Alibaba offers 74 grc steel plate products. About 91% of these are steel sheets. A wide variety of grc steel plate options are available to you, such as astm, jis, and gb.
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GRA and A139 GRB ASTM A139 GRC GRD GRE Table 4-2 gives the designer working pressures corresponding to 50 percent of the specified minimum yield strength for several types of steel commonly used in waterworks pipelines.
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Ted Clutter (Executive Director of the Geothermal Resources Council) was always ready to help me locate or identify a photo or reference. He also provided me with his photograph of the geothermal power plants at Mammoth, California, which graces the cover of the book.


text:
Fantastic Fest, Festivals, Interviews, Movies/Entertainment
Interview…'Graceland' Writer/Director Ron Morales
Writer/director Ron Morales' Graceland is a gripping and all-too-real feeling story of a kidnapping gone wrong. Ron's work is very limited but his sophomore feature Graceland is so well-crafted and engaging you'd think he'd culled this from a lifetime of working in the film business. Before making his debut film Santa Mesa (with Melissa Leo) Ron had been working in the industry (in the camera/electrical department and as a key grip) for about 13 years and it's likely he's picked up a more than a few things watching/working on high profile films like Spider-Man 3, Michael Clayton and The Departed.
His passion project Graceland, shot entirely in his home country of the Philippines, is a brief but impacting story that takes us so deep into the messy Filipino underworld that the 84 minutes feels like a lifetime. Further it's one that, like the main character Marlon (Arnold Reyes), we want to escape from as quickly as possible. In our interview with Ron we learned that his main goal for the story to raise awareness to the atrocities that happen in the Philippines nearly everyday. Here are the highlights from our time with this writer/director who is already making quite a name for himself with his sophomore film.
Ron before we get into Graceland can you tell us about your background, your previous work Santa Mesa and how it led up to this film?
Santa Mesa was my first film. That was done in 2008 and starred Melissa Leo and Jaime Tirelli and it was my first journey to shooting back home. I feel like that American who wants to go back and discover his roots and Graceland is part of that too, this catharsis. As far as my background I've been working in the industry for about 13 years as a lighting technician and have been lucky to have gotten in that early on right after college and worked on some major motion pictures. I went to school for Photography at Parsons and went to NYU for Film after that. But all my life I've been involved within the arts whether it was music, painting or sculpture and so on and then it gradually went to film.
So being in the industry, did it help you get a leg up when working on Santa Mesa and Graceland?
Yeah it does help you in terms of getting your work to people who will be able to help you. In Santa Mesa we ended up getting Melissa Leo and so working with that caliber of talent is pretty lucky. You also get to utilize your connections.
Let's talk about Graceland, where the idea came from, the length of time crafting it, etc.
Graceland was a beast actually to write. One of the first stepping stones for the script was when I was in the Philippines visiting my cousins and I was in the car and we got pulled over be a cop and I just happened to be reading a newspaper on a recent kidnapping and that's when 2 and 2 came together and I thought, "what if something horribly went wrong in this scenario?". That was the catalyst for Graceland and from there I kept going back to the Philippines, doing a little more research on kidnapping for ransom and I submitted it to Tribeca All Access and got shortlisted in 2008. After that I scrapped the project for a while and started working on another screenplay, much more of an art house piece, having to do with sex workers in the Philippines and ex-patriots but I couldn't find funding for that.
So then in 2010 my friend Sam Rodger, who I went to NYU with, teamed up with producer Rebecca Lundgren and I after reading the script. He was like, "We gotta do this. This is a great little piece and we can actually do it". Then we all put together our friends and family and raised a little money and I ended up utilizing that research from the other trip and put it into Graceland. That made it socially relevant in and to the Philippines.
There are a lot of kidnapping movies out there but this came across very original and it has a lot to do with the pace. You slowed everything way down so it's not about wire taps and police, it's about a father looking for his daughter with very little means. You made it very layered , intricate and personal and that made it feel very real. Also based on what you said, getting your inspiration from a newspaper article events like this do happen.
It does happen. In the past decade the Philippines has been known for kidnapping for ransom. It has died down quite a bit. But in terms of the story itself I really wanted to make something both commercially watchable, in terms of pacing but what I learned as an American filmmaker but also put in all those bits and pieces of the Philippines and how I see it every time I go back home. Recently we screened it theatrically in the Philippines and the response was great.
A lot of people say it is a very dark film, which it is, but most of the viewers thanked us and said it showed the Philippines in a way we don't ever want to see it. A lot of their stuff is about escapism, like we have here, but they were really proud that we brought this story back home.
This reminds me a lot of Akira Kurosawa films in that there are no good guys or bad guys; it's just people doing what the need to survive and it's fascinating to see the motivations that Marlon (Arnold Reyes) had. You think on the surface it's a straight up kidnapping movie but reveals more layers, credit a lot of that to yourself, but can you talk about the character development and were you happy with how it came together?
I really enjoyed how it developed when I was working with the actors especially Marlon's character and how he had to hide so much from the family. The screenplay started to unfold as I was constantly rewriting it while we were shooting just because we lost locations and lost a couple actors so we had a lot to rewrite *laughs* so the last scene where Ramos is talking to the Congressman about the young girl, I rewrote that scene 2 days before we shot and was changed very much from how we had it planned all along. But that's the benefit of a low-budget film, you can take risks like that.
Also what I think helped Graceland come together as far as character development were the actors. The really dove into the roles and flushed out what could have been stereotypical carbon copies of typical archetypes. But moral dilemmas and decay of their characters, etc., I think we can all find that within ourselves as we watch it and that's what makes it a little bit more real. That and the fact of the way we shot it helped too. It's just so in your face because the camera angles we chose were just 6 to 10 inches away from the actors and so we were right there with them. No make up and the locations we chose, like actual working brothels, adds to the grittiness making it very visceral.
Viewing this an American it may surprise people that this doesn't have an adrenaline fueled ending that we're used to seeing. What you did was create something so scaled back that is showed us a much larger story/picture. It's also brilliant because it ends in uncertainty. Marlon has come this far but now he's not sure what will happen next. Will he succeed or has everything been for naught?
Well I'm glad you brought that up because I wanted it to end that way. It makes him question all his moral downfall; everything that he gave up for family. There's a couple articles I read in the Philippines about organ traffickers who recruit locally within poverty and in less fortunate communities. People are selling their kidneys to buy a TV living in these shanty homes no bigger than this little room we're in [one of the Highball's karaoke rooms in Austin, TX] and then 2 weeks later they die of infection.
So it's like these choices are made over there out of necessity and I think it rings true to Filipino psyche as well as other societies. That is the essence I want to portray in Marlon's character and I don't think there should be a clear ending in Graceland. I think that's the beauty of the story because everyone is morally compromised or is going to compromise someone else who has affected them and that's true to life everywhere.
What I'm curious about now is how different audiences, specifically different countries, view this film. Additionally how does censorship play in? In one scene Marlon goes to an underage service bar with the Congressman that audiences in America probably don't know about and won't be prepared for what they'll see.
I didn't want to dumb down what actually happens in some of those clubs. The power of the scene is that it's uncomfortable. It's not the nudity in those scenes that make you cringe, it's what one of the girls says, so dryly and removed. It's more of how she says her one line but the nudity just adds to it. As far as censorship I actually had to censor it for the commercial screening in the Philippines but it still carried its weight and its power and to me it's just because of her line. But so far we haven't got any negative response about it and I think that's because this story isn't exploiting its people, it's actually making people aware.
What do you think you've learned going from Santa Mesa to Graceland and moving forward?
I've learned to take more risks. Santa Mesa is very mild and a coming-of-age story. This is the polar opposite. I really wanted to take the risk and challenge myself as a writer and a director with touchier material and heavier subject matter and try to push the envelope a little bit more with some of these scenes. Even in the Philippines people make films about corruption or prostitution but still nothing taboo, so what I wanted to do was take something taboo and twist it into something this is commercial that would entertain you but also carry that weight of the social message.
Additionally the learning curve was huge on this film because I had less resources and less money. We made the best film we can and I think that goes back to my roots in the Philippines; trying to make something out of nothing and that's exactly what we did. We had that mentality going in there and we took it all the way to the end.
Thanks to Ron Morales for his time and for the Alamo Drafthouse and Drafthouse Films for arranging this interview. Graceland is now available on VOD and will begin its theatrical run starting April 26th, 2013.
Drafthouse FilmsFantastic FestGracelandRon Morales
By Marc Ciafardini
[Fantastic Fest Review]…The Death of Dick Long
2012 Fantastic Fest Recap (Or How I Learned To Manage My Time At Such An Overwhelmingly Awesome Film Fest)
[Fantastic Fest Review]…V/H/S: Viral


There are many great views in Hamburg. The view from the Rilano Hamburg is simply special. Sit on the terrace, watch the steamer giant, just be there. The perfect place to plan your Hamburg vacation. Should it be the city, with music, theater, Reeperbahn and a shopping spree on the Alster. The family vacation? Or rather the old country, with beautiful customs, flowering fruit trees and a good pinch of relaxation?
You have the choice. Hamburg, the pearl of the north is worth a trip in every season.


Toyin Lawani, the CEO of Tiannah Empire Place, has berated mothers who are always complaining about their children's physical attributes.
"If you don't like the truth you will not like me, cause I always say things how they are , so you don't like your kids legs ? You don't like their eyes ? They are always sick and you are blaming it all on your man ??Well didnt it occur to you that your husbands head was big and his eyes are big before you married him?


text:
Q: Transform Shopify JSONL file to JSON I have a Shopify jsonl file that I'm trying to map to a different json structure.
Given this input:
{"id":"gid:\/\/shopify\/Product\/123456789","title":"Gift Card"}
{"originalSrc":"https:\/\/cdn.shopify.com\/s\/files\/1\/1111\/2222\/products\/gift-card-01.jpg","__parentId":"gid:\/\/shopify\/Product\/123456789"}
{"originalSrc":"https:\/\/cdn.shopify.com\/s\/files\/1\/1111\/2222\/products\/gift-card-02.jpg","__parentId":"gid:\/\/shopify\/Product\/123456789"}

I'd like to have the images, mapped to the correct product id using __parentId.
[
  {
    "id":"gid:\/\/shopify\/Product\/123456789",
    "title":"Gift Card",
    "images: [
      "https:\/\/cdn.shopify.com\/s\/files\/1\/1111\/2222\/products\/gift-card-01.jpg",
      "https:\/\/cdn.shopify.com\/s\/files\/1\/1111\/2222\/products\/gift-card-02.jpg"
    ]
  },
  ...
]

A: The following solution first incrementally constructs both the dictionary and the array of objects with an id,
and then produces the desired result using map:
reduce inputs as $x ({};
  if $x|has("id") then .objects += [$x]
  elif $x|has("__parentId") then .dict[$x.__parentId] += [$x.originalSrc]
  else . # an error?
  end)
| .dict as $dict
| .objects
| map( . + {images: $dict[.id]})

Invocation
The -n command-line ooption must be used, e.g.
jq -nf shopify.jq shopify.json


Highest flexibility - thanks to the magnetic replaceable lens, kids can enjoy the Pheos Jr. Mag. DH/S always the right ski goggles.
The little one is just like the big one: The Pheos JR. Mag. DH/S ski goggles for children have the same design as the adult version and therefore offer kids a large field of vision and tremendous amount of style. The extra lens on the magnet variant ensures even greater flexibility: The light lens provides optimum vision in poor weather conditions, and the heavily tinted lens is ideal for sunny days. Thanks to the cylindrical lens, everything is always within good view. The Fogstop coating on the inside prevents the lens from misting up. In addition, both lenses are break-proof and guarantee 100% UV protection. The flexible Comfort Frame and single-layer foam padding ensure they are comfortable to wear. With the Pheos JR. Mag. DH/S, every ski trip becomes an adventure.


This week we tackle the question,What is the Bible for? What is this library of writings supposed to do in our life and community? We make the case that Scripture was designed to be read for formation, not just information. We are all being formed in a certain kind of person by our habits, our community, and our environment; Scripture is counter-formation. We read the Bible to consciously cooperate with God in shaping us into the image of Jesus.


text:
Home History Life of the Railway Navvy – Blaydon to Consett 1865-1866 – Consett...
Life of the Railway Navvy – Blaydon to Consett 1865-1866 – Consett History
During the early industrial days of the Derwent valley the advancement of the railway was all important. It moved the coal, iron, limestone as well as the people needed to keep the industries growing. This was the time of the Navvy. A hardy breed who found shelter and lodgings where they could during the long laborious months and sometimes years of laying tracks and building the bridges. During the years of 1865 to 1866 the Blaydon to Consett rail line was being constructed. Many of the navvies during this period found accommodation at Swallwell, Winlaton Mill, Winlaton, Blaydon, Ebchester and Consett. Most were boarding in standard family homes helping supplement the costs to the families that already lived there. Many times these people would have many more men boarding with them than would have been allowed in licensed properties. But these were hard times and hardy men who accepted the situation. At Swallwell there were also a couple of make shift rows of wooden houses built to help accommodate the needs of this moving workforce.
However, the most industrious created a couple of small hamlets of Turf Huts the first just after the bridge which crossed the river at Burnopfield on the way to Consett and another further on toward the town. These huts, which I suppose we today would describe as Hobbit Houses, were crudely built but set in some of the most glorious and beautiful parts of the Derwent. The homes were described as wooded construction with turf blocks for walls about a foot thick. The roofs were timbered with branches interwoven and grass turfing laid over the top. Most of the homes consisted of 2 or 3 rooms each 12 to 18 feet long and 9 to 12 feet wide with a central fire made of brick, with an abundant fuel supply. The beds where make shift, more like the cots found on boats. The furniture crude stools and tables but effective. They did not only house the workmen but also many had families who's area's were curtained off for privacy. Many of the makeshift homes where owned by the families who took in the lodgers. One of the women who owned one of the homes, Mr's Smith when talking to a reporter stated that before she would let a knew lodger into one of her beds she would make sure he had a clean shirt before he did so. In her words "When men have been on the tramp, there was know knowing where they had been" and "everyone knows that travellers got strange bedfellows".
EPSON scanner image
The main food was pork which came from the pigs which the community reared themselves. Supplemented with rabbit and other game which came their way, even in the off season. Cold tea and water from the stream was used to quench their thirst, very few of the men being drinkers. The hamlets were made up of both English and Irish workers who lived and worked together without discrimination or animosity. Many of the children of the Navvies working the Derwent, when old enough, could be found labouring at the brickworks near Pont Burn, helping supplement their parents costs. They were an industrial lot. On a Saturday the women would press the best clothes with a tiny iron, heated by the embers of the fire, and lay them out across all the beds in preparation for Sunday. They would attend the local church or sometimes a local clergy would come to them and give a service in the hamlet. It was a hard but romantic way of life.
Things were not always perfect though. Over a period of 3 months an "Extraordinary Highwayman" laid siege to the hard work navvies. On the days they were paid he would lay in wait jump out and rob them. Over and over the local police tried to catch him but to no avail. However, on 23rd Dec 1865 PC Forster of Craghead and a number of his colleagues decided to stake out the area, knowing the men had just been paid that evening. It was on the path from Leadgate to Burnopfield when they came across a fellow who had just been robbed of 3 and half pence, not a small sum in those days. They encouraged him to go back the same way, only this time they would follow in the shadows. Within only a few minutes a man jumped out of the bushes pushed the man to the ground and demanded money. The police promptly dropped on him and took him into custody. It followed that he was a man by the name of Bates who worked as a Pitman in Lintz Ford. The following day he was sent to Lanchester to appear before the magistrate.
Consett History
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text:
"Burnaby Arts Centre"
Give Art a Home
Burnaby Village Museum Video collection
1 videocassette (8 min., 5 sec.) : VHS, 29 fps, col., sd., stereo
Michael J. Fox narrates an appeal for community financial support for a new Burnaby Arts Centre, a legacy project for Burnaby's Centennial year. He describes the Centre's origin, shows the current Centre with its programs and activities, and mentions the organizations which use it. A model of the p…
BV005.8.3
"Give Art a Home" "Burnaby Arts Centre" "Capital Campaign" "7 Minutes"; with case
Michael J. Fox narrates an appeal for community financial support for a new Burnaby Arts Centre, a legacy project for Burnaby's Centennial year. He describes the Centre's origin, shows the current Centre with its programs and activities, and mentions the organizations which use it. A model of the proposed extension and its planned activities are shown in 3D animation, with facts and figures. Members of the local business community show their corporate support and the public is invited to contribute by way of a campaign called "Put your name on Burnaby's Birthday Present!".
Transcribed title
Contact Burnaby Village Museum to view film content. Reproductions are restricted by copyright holder.
Burnaby Arts Centre Capital Campaign
The Burnaby Arts Centre
The Burnaby Arts Centre Capital Campaign Committee
Copyright 1992 Burnaby Arts Centre Capital Campaign Committee
Burnaby Arts Centre Expansion
https://search.heritageburnaby.ca/permalink/councilreport10082
Council - Manager's Report
Manager's Report No.
City Council and Office of the City Clerk fonds
Report 3816 (PDF)
2-Nov-1992 Meeting Minutes (PDF)
Burnaby Arts Centre - Redevelopment
https://search.heritageburnaby.ca/permalink/archivetextualrecord56642
Burnaby Arts Council fonds
70-5-1-49
BHS1998-06
Interview with Merrill M. Gordon by Rod Fowler March 19, 1990 - Track 9
https://search.heritageburnaby.ca/permalink/oralhistory480
This portion of the interview is about Merrill Gordon's work on the Parks Board and involvement in the arts community. He talks about developing an art policy for Burnaby, the conflicting views about building a theatre at Metrotown, and the establishment of the Arts Centre at Deer Lake
1 Audio 1 Image
Burnaby Alderman Merrill Gordon (second from right) following a candidates' meeting, 1973. Item no. 480-263
Burnaby Arts Centre
Public Services - Municipal Services
Recreational Activities - Theatre
Fowler, Rod
Interview Date
Recording is of an interview with Merrill Gordon, conducted by Rod Fowler.Gordon Merrill was one of eleven participants interviewed as part of the SFU/Burnaby Centennial Committee's oral history series titled, "Voices of Burnaby". The interview is about Merrill Gordon's childhood in the Depression, including his story about the family's difficult trek to Burnaby from Alberta; his education, teachers and first volunteer activities at Grandview High School; his career at Fleck Brothers and the start of his own company Blaze Industries and later work in India; and his many volunteer activities in Burnaby. He describes how he started the Cliff Avenue United Football Club, the soccer club's subsequent growth and development, some of the people involved, and the founding of the youth soccer exchange. He also describes his work on the Parks Board and in the arts community, including the 1987 arts centre referendum, and involvement with the Burnaby Mountain Preservation Society (1988- ), and mentions his work for other groups including the New Vista Society, library board, and Burnaby Mental Health Committee. He also talks about his political career with the Better Burnaby Committee and Burnaby Voters Association, resulting in his 1972 election to Burnaby's 1973 council. To view "Narrow By" terms for each track expand this description and see "Notes".
Merrill M. Gordon was born in Saskatchewan in 1929 to parents farming north of North Battleford. After a fifth year of crop failure the family of four left the farm in 1934 to join relatives living near the corner of Union and Sperling in Burnaby. With little resources the family adapted as well as possible in the Depression years, moving often in the East Vancouver/North Burnaby area in an attempt to better their situation. Merrill's father obtained work at sawmills including Kapoor's Sawmill at Barnet, walking to work over Burnaby Mountain. After attending numerous public schools, Merrill Gordon eventually spent three years at Templeton School and then completed his education at Grandview High School of Commerce, majoring in accounting and commercial law. He worked a few years at Canadian Industries Ltd., then joined Fleck Brothers. In 1965 Merrill Gordon and his wife started their own company Blaze Industries of Canada that manufactured wood burning fireplaces, selling the company to AB Electrolux in 1980. After a short retirement, Merrill Gordon went back to work in 1981 for a company manufacturing solar panels, one project taking him and his wife intermittently to India over a four year period. Merrill Gordon helped found the political group Better Burnaby Committee, later the Burnaby Voters Association, with Alan Emmott and Bill Lewarne, ran for Burnaby Municipal Council and served one year as councillor in 1973. Merrill Gordon is well known for his over 40 years of volunteer work in Burnaby, particularly as founder in 1956 and director of the Cliff Avenue United Football Club, one of the largest soccer clubs in BC. He was also the founder of Burnaby Youth Soccer and the first youth soccer exchange with Washington State. His other volunteer work includes library trustee, Parks Commissioner (1987-1992), Director of New Vista Home for Seniors, Chair of campaign raising funds for building Shadbolt Arts Centre, and Chair of the Burnaby Mental Health Committee. In 1988 Merrill Gordon, Betty Gordon, Dean Lamont and several others formed the Burnaby Mountain Preservation Society, which advocated for the return of unused land to Burnaby from SFU and the subsequent creation of Burnaby Mountain Conservation Area. Merrill Gordon and Elizabeth Balfour (nee Leitch) (1926-2012) married in 1953 and had two children.
View All Tracks
Interviewee Name
Gordon, Merrill
Interview Location
Interviewer Bio
Rod Fowler returned to university as a mature student in the 1980s after working about twenty years in the field of economics and computerization in business in England, Europe and Western Canada. He graduated with a BA from SFU in both History and Sociology in 1987, his MA degree in Geography in 1989, and his PhD in Cultural Geography at SFU. He taught courses in Geography, Sociology, History and Canadian Studies at several Lower Mainland colleges, before becoming a full time member of the Geography Department at Kwantlen University College.
SFU/Burnaby Centennial Committee fonds
Centennial Oral History project series
MSS187-020_Track_9
Transcript Available
Web Notes
Interviews were digitized in 2015 allowing them to be accessible on Heritage Burnaby. The digitization project was initiated by the Community Heritage Commission with support from City of Burnaby Council.
Track nine of interview with Merrill Gordon
Media missing or recording not available.
Interview with Eileen Kernaghan by Rod Fowler April 10, 1990 - Track 8
This portion of the interview is about the arts community in Burnaby, who is involved, and the pros and cons for a central location for the Arts Centre
Eileen Kernaghan standing in front of four poets at the Poetry Pocket Cafe in New Westminster, October 15, 1995. Item no. 535-0014
Recording is of an interview with Eileen Kernaghan, conducted by Rod Fowler. Eileen Kernaghan was one of eleven participants interviewed as part of the SFU/Burnaby Centennial Committee's oral history series titled, "Voices of Burnaby". The interview is mainly about Eileen Kernaghan's activities with the Burnaby Writers' Society and the Burnaby Arts Council, describing the history of these organizations between 1967 and 1990. She describes the financial and other challenges facing the arts community, the various programs initiated by the Arts Council, and the development of the Burnaby Arts Centre facilities at Deer Lake. She also talks about her education, writing career, the Neville Street neighbourhood, and her and her husband's bookstore business. Ghosts believed to inhabit some of the Arts Centre's heritage buildings are also a topic of conversation. To view "Narrow By" terms for each track expand this description and see "Notes".
Eileen Kernaghan was born January 6, 1939, to William Alfred Monk (1910-2003) and Belinda Maude Monk (1908-1996), and grew up on a dairy farm near Grindrod in the North Okanagan. She attended a two room school in Grindrod, completed Junior and Senior High School in Enderby, and at age 17 in 1956, left home to attend UBC. She taught school in the North Okanagan area in the late 1950s, during which time she married her husband Patrick Kernaghan. They moved to Vancouver in 1961, Burnaby in 1963, and settled on Neville Street in the South Slope area in 1966 with their three children. Pat Kernaghan worked at Oakalla Prison as a correctional officer until his retirement in 1988. Eileen and Patrick Kernaghan owned and operated a bookstore on Neville Street from 1987 to 1999. They later moved to New Westminster. Eileen Kernaghan began her writing career at twelve years old with a story published in the Vancouver Sun. After her youngest child began school, with more free time, she started writing again and has become an award winning author of fantasy and science fiction novels. She helped found the Burnaby Writers' Society in 1967, taught writing workshops, and wrote its popular Newsletter for many years. In 1971 the Society put together a small handbook for BC writers, a venture that was expanded and published by Douglas MacIntyre in 1975 as "The Upper Left-Hand Corner: a writer's handbook for the Northwest". The book became a Canadian best-seller. During this same period Eileen Kernaghan began her successful "Grey Isles" trilogy. In 1967 she joined the Burnaby Arts Council, worked as its Coordinator from 1973 to 1984, and was a determined advocate for municipal government support for the arts in Burnaby.
Kernaghan, Eileen
Track eight of interview with Eileen Kernaghan
Interview with Eileen Kernaghan by Rod Fowler April 10, 1990 - Track 11
This portion of the interview is about Eileen Kernaghan's knowledge about William F. Wolsey's "Temple of More Abundant Life", which occupied the Art Centre's heritage buildings Ceperley Mansion and Mather House from 1954 to the 1960s, and the stories of ghosts haunting these buildings, the Anderson…
This portion of the interview is about Eileen Kernaghan's knowledge about William F. Wolsey's "Temple of More Abundant Life", which occupied the Art Centre's heritage buildings Ceperley Mansion and Mather House from 1954 to the 1960s, and the stories of ghosts haunting these buildings, the Anderson House, and the James Cowan Theatre.
MSS187-023_Track_11
Track eleven of interview with Eileen Kernaghan
Burnaby Arts Centre Project Costs
Burnaby Arts Centre Open House
Interview with Annie Boulanger by Rod Fowler April 9, 1990 - Track 4
This portion of the interview is about Annie Boulanger's views on the Parks Board and its committee looking into creating both a new theatre in Metrotown and an Arts Centre at Deer Lake, her belief that this proposal did not meet community needs, the 1987 referendum's failure, and the subsequent cr…
This portion of the interview is about Annie Boulanger's views on the Parks Board and its committee looking into creating both a new theatre in Metrotown and an Arts Centre at Deer Lake, her belief that this proposal did not meet community needs, the 1987 referendum's failure, and the subsequent creation of an Arts Policy Committee for Burnaby
Burnaby Arts Council
Persons - Volunteers
Recording is of an interview with Annie Boulanger, conducted by Rod Fowler. Annie Boulanger was one of eleven participants interviewed as part of the SFU/Burnaby Centennial Committee's oral history series titled, "Voices of Burnaby". The interview is mainly about Annie Boulanger's volunteer community work in Burnaby, including initiating the teaching of french and gymnastics at Seaforth School where her children attended, doing historical research and oral histories for Burnaby Heritage Village and the SFU Archives, becoming a long term member of the Burnaby Writers' Club, being a member and President of Burnaby Arts Council, and member of the Parks Board's Centre for the Performing Arts Committee (1987). The interview focuses attention on the Arts Council's financial difficulties between 1985 and 1990, and the need for a comprehensive approach to supporting the arts through a municipal arts policy. Annie Boulanger also talks about her parents' history, their home on Napier Street and her later home on Government Road, her education and teaching career, and her arts journalism. To view "Narrow By" terms for each track expand this description and see "Notes".
Annie Urbanovits Boulanger's parents emigrated from Hungary to Toronto, Louis in 1925 and Irene in 1930, where they married. Louis and Irene Boulanger moved to Vancouver where Louis worked in the Vancouver Shipyards during WWII and then for Nichols Chemical Company in Barnet for 15 years. While the Urbanovits family lived in Cloverdale, Louis commuted to Kask's Camp in Barnet, until they moved to Burnaby in 1951 to an old farm purchased on Napier Street. Between 1951 and 1956 Annie completed her BA degree, majoring in chemistry and english with a minor in physical education, and obtained her teaching diploma at UBC. She taught for 4 years in various locations in BC before marrying and moving to Manitoba and Ottawa. She and her husband and five children (two more children to come later) returned to Burnaby in 1964 to a home on Government Street to be close to family. Annie Boulanger became involved in the community first through her children's school, initiating and teaching french classes in Seaforth School in 1969, and supporting the development of gymnastics in school and as a municipal program. Her interest in Archives lead to doing oral histories for John Adams, curator of Heritage Village [Burnaby Heritage Village], and for SFU Archives. She became a long time member of the Burnaby Writers' Club in the 1970s, taking a course in writing non-fiction from Chris Potter. In 1983 Annie Boulanger joined the Burnaby Arts Council, becoming President in 1985. She was involved in lobbying the municipality for better monetary support and facilities for the arts and for the creation of a Municipal Arts Policy. She has continued to promote the arts in Burnaby through her appointment to Burnaby's Visual Arts Advisory Board in 1997, her arts journalism, writing regular book and theatre reviews for the local newspaper, and other activities. She was a member of the Burnaby Centennial Committee and was one of the editors of the book "Burnaby Centennial Anthology".
Boulanger, Annie
Track four of interview with Annie Boulanger
This portion of the interview is about how the Arts Council equipped the James Cowan Theatre, with a grand opening in 1971; hired staff, including Directors Byron Johnstad followed by LLoyd Barry, and Coordinators Phyllis Webb followed by Louise Holst; and developed programming and projects such as…
This portion of the interview is about how the Arts Council equipped the James Cowan Theatre, with a grand opening in 1971; hired staff, including Directors Byron Johnstad followed by LLoyd Barry, and Coordinators Phyllis Webb followed by Louise Holst; and developed programming and projects such as the Sculpture Garden
Track two of interview with Eileen Kernaghan
Naming of the Burnaby Arts Centre
https://search.heritageburnaby.ca/permalink/councilreport8184
6-Feb-1995 Meeting Minutes (PDF)
Burnaby Arts Centre Capital Campaign Fundraising Process
Council - Committee Report
Report 12702 (PDF)
22-Feb-1993 Meeting Minutes (PDF)
Burnaby Arts Centre Capital Campaign Committee
13-Jul-1992 Meeting Minutes (PDF)
Development of the Burnaby Arts Centre
24-Jun-1991 Meeting Minutes (PDF)
Malaspina Printmakers Society - Burnaby Arts Centre
22-May-1979 Meeting Minutes (PDF)
(a) Bonsor Park (b) Burnaby Art Centre
24-Jan-1972 Meeting Minutes (PDF)
Burnaby Arts Centre and Parks and Recreation Programs; Burnaby Arts Centre - Open House
Burnaby Arts Centre - Facility Survey and Long Range Plans
Press Clippings : Century Park, Burnaby Arts Centre and Lloyd Berry
Road Allowance between Canada Way and Burnaby Arts Centre
15-Aug-1977 Meeting Minutes (PDF)
This portion of the interview is about how Eileen Kernaghan became involved with the Burnaby Writers' Society and, as a representative of this club, a member of the Burnaby Arts Council in Canada's Centennial Year 1967. She describes how the structure of the Arts Council changed, and its focus on t…
This portion of the interview is about how Eileen Kernaghan became involved with the Burnaby Writers' Society and, as a representative of this club, a member of the Burnaby Arts Council in Canada's Centennial Year 1967. She describes how the structure of the Arts Council changed, and its focus on the newly acquired Art Centre buildings at Deer Lake
Burnaby Writers' Club
Track one of interview with Eileen Kernaghan
Extension of Mandate of Burnaby Arts Centre Capital Campaign Committee until 1993 December 31
4-Jan-1993 Meeting Minutes (PDF)
Burnaby Arts Centre - Arts Symposium : "Creativity for Life: The Arts and You"
A Social, Cultural and Economic Impact Study of the Burnaby Arts Centre
Burnaby Arts Centre - Purchase of Kiln, Advance Approval to Expend 1985 Capital Budget Funds
11-Mar-1985 Meeting Minutes (PDF)
Deer Lake Park - BC Hydro and BC Tel Request for a Right-of-Way to Service Burnaby Arts Centre Expansion
12-Oct-1993 Meeting Minutes (PDF)
Letter from the Malaspina Printmakers Society which appeared on the Agenda for the 1979 July 30 Meeting of Council re: Occupation of Space at the Burnaby Arts Centre
Bylaw Number: 9810 - Capital Works, Machinery and Equipment Reserve Fund Expenditure Bylaw No 17, 1992
https://search.heritageburnaby.ca/permalink/bylaw14569
Bylaw Number
Final Adoption
Bylaws - Adopted
Bylaw 9810 (PDF)
Bylaw Number: 9604 - Capital Works, Machinery and Equipment Reserve Fund Expenditure Bylaw No 8, 1991
1991 Jul 22
Burnaby Centennial Committee correspondence
Donald N. Brown collection
1 file of textual records
MSS098-039
File consists of correspondence pertaining to various events undertaken during Burnaby's Centennial Celebrations. Included in the file is information on the Burnaby Arts Centre sod-turning ceremony.
Burnaby Centennial Committee series
Donald N. Brown
Title based on contents of file
fundraising form
https://search.heritageburnaby.ca/permalink/museumartifact34874
Celebrate Our Centennial - Fundraising Form -- [1992]. Capital Campaign fundraising form for the expansion of the Burnaby Art Centre. The campaign was part of the Burnaby Centennial Celebration. The goal was to raise 3.5 Million Dollars for a four phase expansion project for Music and Sound Studios…
Celebrate Our Centennial - Fundraising Form -- [1992]. Capital Campaign fundraising form for the expansion of the Burnaby Art Centre. The campaign was part of the Burnaby Centennial Celebration. The goal was to raise 3.5 Million Dollars for a four phase expansion project for Music and Sound Studios, Performing Arts Studios, Community Art Gallery, Multi-use Studio Theatre and a Community Theatre. The form folds into an envelope that can be mailed to the City of Burnaby. The form measures 28cm x 21.5cm.
Documentary Artifacts
Documentary Artifacts - Forms
Celebrations - Centennials
Passport to Burnaby - Leaflet -- [1992]. A commemorative leaflet as part of the Burnaby Centennial Celebration. The goal was to promote travel to host centres to receive a stamp as part of a passport. When all stamps were collected the page could be entered into a draw. Participating Host Centres w…
Passport to Burnaby - Leaflet -- [1992]. A commemorative leaflet as part of the Burnaby Centennial Celebration. The goal was to promote travel to host centres to receive a stamp as part of a passport. When all stamps were collected the page could be entered into a draw. Participating Host Centres were C.G. Brown Memorial Swimming Pool, Cameron Recreation Centre, Confederation Centre, Burnaby Mountain Golf Course, Burnaby Municipal Hall, Burnaby Village Museum, Bob Prittie Metrotown Branch, The Burnaby Arts Centre, Still Creek Recycling Depot, and Bonsor Recreation Complex. The passport has been stamped for Burnaby Municipal Hall. The leaflet was produced by the Finance Department and the Centennial Committee. The leaflet measures 28cm x 21.5cm.
Passport to Burnaby
Documentary Artifacts - Leaflets
Give Art a Home campaign
https://search.heritageburnaby.ca/permalink/archivemultipleformat64770
Burnaby Historical Society Community Archives Collection
1 file of textual records + 1 videocassette (7 min.)
File consists of records pertaining to the Burnaby Arts Centre for their Capital Campaign entitled, "Give Art a Home" including a seven minute Video Home System (VHS) tape and correspondence. Also included in the file is a box of "Mr. Dressup" crayons.
Burnaby Historical Society Manuscript Collection
Image used in the campaign is by Joe Average
VHS tape has been placed in A/V Storage for preservation purposes
Mather Home, "Altnadene"
https://search.heritageburnaby.ca/permalink/museumphoto4291
Burnaby Village Museum Photograph Collection
1 photograph : b & w ; 17.5 cm x 12.5 cm
Photograph of the Mather Home, "Altnadene" taken in 1985. Caption on original matte read: "Mather home, "Altnadene", built in 1912, at 6450 Gilpin Street. W.J. Mather was the owner and he was associated with the B.C. Milling Company. It was designed by F.W. Macey. From 1939-1966 the house was used …
Donated by the Burnaby Historical Society.
Photograph of the Mather Home, "Altnadene" taken in 1985. Caption on original matte read: "Mather home, "Altnadene", built in 1912, at 6450 Gilpin Street. W.J. Mather was the owner and he was associated with the B.C. Milling Company. It was designed by F.W. Macey. From 1939-1966 the house was used by Benedictine monks. It was then purchased by the municipality of Burnaby. It is now used as part of the Burnaby Arts Centre.".
Title based on content of photograph.
Buildings - Residential - Houses
Buildings - Heritage
Burnaby Historical Society
Macey, Frank W.
Burnaby - 6490 Deer Lake Avenue
Burnaby - Deer Lake Avenue
Burnaby - 6450 Gilpin Street
Burnaby - Gilpin Street
BV017.32.21
Burnaby Lake (Historic Neighbourhood)
Douglas-Gilpin Area
Scan Resolution
Scan Date
This portion of the interview is Eileen Kernaghan's description of the Arts Council's development of the Sunday crafts festival in the park, starting in 1971 or '72 and continuing for about 20 years, with speculations as to why interest decreased.
Track three of interview with Eileen Kernaghan
This portion of the interview is about Eileen Kernaghan taking on the job of Coordinator for the Arts Council from 1979 to 1984, the start of Burnaby Summer Theatre, Playground Theatre, and a newsletter, and the choice to do less risky programming due to the 1980's recession.
Track four of interview with Eileen Kernaghan
This portion of the interview is about Eileen Kernaghan's involvement with the Burnaby Writers' Society, serving variously as newsletter editor, President and Treasurer. She describes the club's diverse membership, its role, and how it functions
Track five of interview with Eileen Kernaghan
This portion of the interview is about Eileen Kernaghan's writing career, beginning in elementary school, but becoming a focus in 1968. She talks about how the Burnaby Writers' Club helped her, her contribution to the writing of the writer's handbook, and her works published up to 1990
Occupations - Writers
Track six of interview with Eileen Kernaghan
This portion of the interview is about Eileen Kernaghan's childhood, her education and teaching career, her marriage to Pat Kernaghan and their move to Burnaby, his work at Oakalla Prison, the opening of their Neville Street bookstore, and changes in their neighbourhood
Occupations - Teachers
Occupations - Entrepreneurs
Alta-Vista (Historic Neighbourhood)
Clinton-Glenwood Area
Track seven of interview with Eileen Kernaghan
This portion of the interview is about Eileen Kernaghan's decreased involvement with the Arts Council, and a discussion about the lack of political support for the arts and speculations as to why sports seems to have more funding through the Parks and Recreation Commission. She talks about the cont…
This portion of the interview is about Eileen Kernaghan's decreased involvement with the Arts Council, and a discussion about the lack of political support for the arts and speculations as to why sports seems to have more funding through the Parks and Recreation Commission. She talks about the controversy about the proposed Metrotown theatre, the unique characteristics of arts groups in Burnaby, and the difficulty of recruiting volunteers
Track nine of interview with Eileen Kernaghan
This portion of the interview is Eileen Kernaghan's observations about the changes on Neville Street, the mix in ethnic and cultural groups, and the nature of multicultural activity in the arts community
Track ten of interview with Eileen Kernaghan
Burnaby Centennial '71 Committee collection
https://search.heritageburnaby.ca/permalink/museummultipleformat12986
59 architectural drawings + textual records + 53 photographs + 2 moving images
Collection consists of records documenting the planning and development of the Burnaby Centennial '71 Committee's commemorative project, Heritage Village (Burnaby Village Museum) prior to it's opening in November 1971. These records were created and/or accumulated by various members of the Burnaby…
The Burnaby Centennial '71 Committee was formed in accordance with the British Columbia Centennial '71 Act and was directed by the Provincial Centennial '71 Committee. In April 1970, a representative group of Burnaby citizens were appointed to the committee. Members of the committee included: Ex-Of…
Collection consists of records documenting the planning and development of the Burnaby Centennial '71 Committee's commemorative project, Heritage Village (Burnaby Village Museum) prior to it's opening in November 1971. These records were created and/or accumulated by various members of the Burnaby '71 Centennial Committee sub-committee, Heritage Village staff and the Century Park Museum Association.
The Burnaby Centennial '71 Committee was formed in accordance with the British Columbia Centennial '71 Act and was directed by the Provincial Centennial '71 Committee. In April 1970, a representative group of Burnaby citizens were appointed to the committee. Members of the committee included: Ex-Officio Mayor Robert W. Prittie; Chairman, James A. Barrrington; Vice Chairman, Gordon H. Skene; Secretary-Treasurer, Charles B. Brown; Alderman, John D. Drummond; Mrs. Joan Johnston; Mrs. Martin Dunsmuir; Miss Rose Bancroft; Msgr. J.E. Brown; Messrs. Elmer Buckingham; A.B. "Sandy" Stewart; Vic Stusiak; Fraser Wilson; Don Copan and Richard Smith. The purpose of the committee was to ensure that all Burnaby citizens as individuals, family groups or members of community organizations had an opportunity to participate and contribute to celebrations marking the 100th Anniversary of the entry of British Columbia into Confederation and further to make written suggestions of a permanent Centennial project of lasting value and significance to the community. Programs and special events sponsored by the committee included; Flag raising ceremony on January 1, 1971, New Year's Day Ceremony, parades, plays (including "Barkerville '71"), musical events, Burnaby pioneer award presentations, a horse show, lacrosse jamboree, minor baseball, volleyball, tennis, football, soccer, judo and field hockey tournaments, a swim meet, an antique car rally, Easter egg hunt, Rocketry meet, Boy Scouts outdoor action show, Girl Guides "camporee", Midsummer Festival at Burnaby Arts Centre, Rhododendrun Festival at Century Gardens, Variety show, Centennial Ball, Burnaby Rhodendrun Flower show, a Miss Burnaby Pageant, Sports Day, Burnaby Amateur Radio Club party, Centennial '71 Caravan, Centennial High School Art Contest, Sod Turning Ceremony at Heritage park Museum and opening of Heritage Village Museum in November. A sub-committee of the Centennial Committee was responsible for the development of a City of Burnaby permanent commemorative project which became Heritage Village. Sandy Stewart was the sub-committee chair who worked with Richie Smith and Vic Stusiak to develop the concept for an open- air museum reflective of a tram stop community. Architect Rudy Kovacs was hired to come up with a design for the project. Official sod-turning of Heritage Village took place on April 11, 1971. Mayor Bob Prittie officially turned the sod in front of the Elworth house before a crowd of 500. In the spring of 1971, a Heritage Village Director and Curator were hired to oversee the development of the project and acquire artifacts. Salaries were paid through the Parks Commission. The sub-committee continued to assist in overseeing the project to completion. Vic Stusiak set up an administrative structure to govern the new museum. The building of the museum was contracted by Ballarin Bros. Construction at a cost of $121,000 and work began in mid July. Trevi Construction Co. was contracted to do the finished carpentry on the project. The Century Park Museum Association was formed to govern Heritage Village with directors elected on October 26, 1971. Heritage Village officially opened on November 19, 1971 with Mayor Bob Prittie and Governor General Roland Michener in attendance. On January 27, 1972 the committee turned over the Heritage Village Project to the Corporation of the District of Burnaby. After this, the committee was dissolved and all remaining funds were transferred to the Century Park Museum Association which took over the governance of Heritage Village, later known as Burnaby Village Museum.
BV985.6018; BV020.5
Title based on content of collection
Accessions that form part of this fonds include: BV985.6018; BV000.18; BV019.52; BV020.5
Some records within this collection have restricted access - contact Burnaby Village Museum for further information
For other records regarding the history of Heritage Village Museum (Burnaby Village Museum) see also: Century Park Museum Association fonds; Don Copan fonds; Burnaby Village Museum fonds; Jesse Love farmhouse fonds
Burnaby Village Museum 5
City of Burnaby Archives 35
Office of the City Clerk 2
Architectural Drawing 1
Artifact 2
Bylaws - Adopted 2
Council - Committee Report 2
Council - Manager's Report 11
Moving Images 3
Multiple Format 2
Sound Recording 13
Textual Record 10
Buildings - Heritage 1
Buildings - Residential - Houses 1
Celebrations - Centennials 2
Documentary Artifacts 2
Documentary Artifacts - Forms 1
Documentary Artifacts - Leaflets 1
Occupations - Entrepreneurs 1
Occupations - Teachers 1
Occupations - Writers 1
Persons - Volunteers 6
Public Services - Municipal Services 1
Recreational Activities - Theatre 1
Boulanger, Annie 1
Burnaby Arts Centre 6
Burnaby Arts Centre Capital Campaign 1
Burnaby Arts Council 6
Burnaby Historical Society 1
Burnaby Writers' Club 3
Donald N. Brown 1
Fowler, Rod 13
Gordon, Merrill 1
Kernaghan, Eileen 11
Macey, Frank W. 1
The Burnaby Arts Centre 1
The Burnaby Arts Centre Capital Campaign Committee 1
Burnaby - 6450 Gilpin Street 1
Burnaby - 6490 Deer Lake Avenue 1
Burnaby - Deer Lake Avenue 1
Burnaby - Gilpin Street 1
Burnaby Arts Council fonds 7
Burnaby Centennial '71 Committee collection 1
Burnaby Historical Society Community Archives Collection 1
Burnaby Village Museum Photograph Collection 1
Burnaby Village Museum Video collection 1
City Council and Office of the City Clerk fonds 15
Donald N. Brown collection 1
SFU/Burnaby Centennial Committee fonds 13
Document 15


text:
Q: Method to solve a system of differential equations I'm studying systems of linear equations.
I'm now specifically studying systems of linear equations of the 1st order, homogeneous:
$Y' = AY$
$A$ as a constant matrix.
Now I know there are various methods to solve this systems. My professor talked about one of the method that consists on reducing the system into a single equation. Does anyone knows where can I find notes or explanations about how to apply correctly this method? I'm having trouble finding it on the internet. I find a lot of things about the method that uses eigenvalues/eigenvectors but that's a method that my professor doesn't like... Does anyone know a good text that I can look for?

A: I'm not entirely sure what your professor is hinting at, perhaps ask him/her to elaborate. I am assuming that $y$ is a vector. A homogenous differential equation of the form
\begin{align}
y' = Ay
\end{align}
has a solution of the form
\begin{align}
e^{At}y(0)
\end{align}
The procedure is similar to the one-dimensional case. Read more about the matrix exponential and how it is useful in solving DEs.

A: If there is a $b$ such that $\{b,Ab,...,A^{n-1}b\}$ is a basis (that is,
if the pair $(A,b)$ is completely controllable), then we
can reduce the system to a single differential equation.
In the above basis, $A$ has the form (controllable canonical form)
\begin{bmatrix}
0 & 1 & \cdots & 0 & 0 \\
\vdots & \vdots & \ddots & \vdots & \vdots \\
0 & 0 & \cdots & 1 & 0 \\
0 & 0 & \cdots & 0 & 1 \\
-a_n & -a_{n-1} & \cdots & -a_2 & -a_1
\end{bmatrix}
and the system of differential equations looks like
$\dot{x}_1 = x_2,..., \dot{x}_{n-1} = x_n$, $\dot{x}_n = -a_n x_1 - \cdots - a_1 x_n$, and by expanding we get the equation
$x_1^{(n)} + \sum_{k=0}^{n-1} a_{n-k}x_1^{(k)} = 0$, which is a $k$th order differential equation in $x_1$.
Such a $b$ exists iff in the Jordan normal form of $A$, there is exactly one Jordan block of $A$ associated with any eigenvalue.