This is a short clip from centrozoon's radio concert.
Previously, Markus Reuter and Bernhard Wöstheinrich have played live on Galactic Travels individually. For show #1022 on November 3, 2016, Markus and Bernhard played a live radio concert. A short clip from this concert is in the player above.
CENTROZOON: Currently, centrozoon is a trio that is interested in the creation of music in experimental settings. It has existed in several forms over the years. Current members are Bernhard Wöstheinrich (synthesizers, electronics), Markus Reuter (guitars, electronics) and Tobias Reber (electronics).
From the beginning of centrozoon, the group has had an interest in "experimental" music not only in improvised sound experiments but also in the improvisation of form and structure – improvisation beyond the individual sounding moment. Music as an exploration of possibilities and extremes, playing with boundaries.
Centrozoon has played concerts and appeared live on air in the USA, UK, Finland, Netherlands, Belgium, Luxemburg, Austria, Switzerland and Germany. Notable appearances include concerts at the Ars Electronica 2004 Festival (Linz, A), Virtual Arts Day (Helsinki, SF) and a UK Tour including performances at Burning Shed Nights (Norwich, UK).
Centrozoon is currently mostly working as a trio with Swiss member Tobias Reber, who unfortunately was not able to be on this tour. You can see and hear the trio in action in the upcoming "Hununpenti" DVD and CD.
Following their radio concert on Galactic Travels, Markus and Bernhard went on to play on other radio shows and concerts on the U.S. east coast, concentrating on the northeast. This tour celebrated their 20th anniversary. Bernhard and Markus are in a retrospective mode for this tour, mixing their space music and experimental electronica in varying ratios, depending on the nature of the context of each performance.
Having started to perform together in 1996, this series of concerts is a personal celebration of a long-term artistic collaboration. For part of this tour, they will be be joined by Nocturne Blue.


text:
Watch Online Series The Mike Walsh Show () DVD free on putlockers.film
The Mike Walsh Show
The Mike Walsh Show seasons:
The Mike Walsh Show is an Australian daytime television series. Hosted by Mike Walsh, the show ran from 1973 to 1984 for 90 minutes each weekday afternoon. The program was launched on the 0-10 Network and moved to the Nine Network in 1977. By the 1980s, The Mike Walsh Show was syndicated to regional television stations around Australia.
Actors: Mike Walsh, Jim Berinson, The Four Kinsmen
Watch Series The Mike Walsh Show on Putlocker

redpajama_set_name: RedPajamaCommonCrawl


Daniele Cervi is from a small town in Italy and has expanded his wings to build his career in London, Dubai and now Phnom Penh. Drinks World finds out about how got to where he is today, what drives him and his role at the soon to be opened luxury hotel Rosewood Phnom Penh.
Share with us how you got started in this industry?
I fell in love with bartending when I was 14, after reading the book of Gary Regan's 'Joy of Mixology' and Jerry Thomas' Bartenders Guide; I promised myself that one day I would become a bartender. I developed a passion for the bar scene by attending seminars and certified courses, but the most important thing was my determination to work hard to achieve my dream.
Coming from a small village called Massa Fiscaglia, it was not easy to pursue my dream as the bartending opportunities were minimal. I managed to grab my first opportunity at the American bar "Bar Sole" sited in Lido di Spina (Ferrara). I was lucky to work directly with the owner Franco Manfrini and his brother Augusto, who showed me the real meaning of the art of hospitality.
You've worked in Italy, Middle East and now Cambodia, what drew you to Phnom Penh?
There was no good opportunity for me to find a full-time job in my village that could guarantee my future, so I decided to move abroad to London, and tried to cultivate and enrich my bartending skills and knowledge. I was lucky enough to find a speakeasy bar in Shoreditch called Looking Glass Cocktail Club, where I worked with a professional team managed by Michele Reina, Joe Polato and Nicola Rossini, who taught me everything that I now know.
Moving forward, I moved to Dubai to expand my horizon in the hotel industry. I worked for Four Seasons Dubai and later in Buddha Bar Dubai, where I met another mentor Francesco Galdi who was the operation manager.
I was so determined to fulfill my long-term goal, I thought it was about time to discover new cultures, traditions, and countries to satisfy my thirst. Having said that, I received a call from Rosewood Phnom Penh to be the bar manager for a big project led by Director of Food & Beverage Romain Gissot. I took the challenge, and with my luggage full of motivation and determination, I moved to Cambodia.
You're bar manager at Sora at the Rosewood Hotel, how long has it taken you in your career to reach such a level?
It's taken me five years of professional bartending and operations, to get where I am today. I'm always planning five years ahead of what I want to achieve and how I am going to get there. I work hard every day, long hours, over time, sometimes I even give up my day off. I've sacrificed my personal life to get to where I am today.
Will the bar have a certain theme or focus on a particular spirit?
Sora will be divided into three areas: skydeck bar, indoor bar and whisky bar. The first will focus on signature cocktails with a list rich in gin and rum selections.
The whisky bar, as the name suggests, will showcase 140 whisky labels from all around the world with a cocktail card based on whisky cocktail and twists on the classics.
Then we have Iza, our beautiful Izakaya-style Japanese restaurant, and bar, where you find a big selection of craft beer and premium sake with the addition of Japanese premium whiskies.
For bartenders looking for a career abroad, what are the steps to take in the industry to achieve this?
My suggestion for the new bartenders is to remain humble, patient and work hard with a goal in mind. There are some steps that need to be followed, for example, I suggest everyone to go to London, and clean as many glasses as they can as it is the best job and best opportunity to learn everything about the bar.
Then invest in yourself, buy books about different topics and never stop educating yourself. There is so much to learn about this industry. Once you feel that you are on the right track, move forward to the next stage in your career but remember to bring determination and willingness to work hard. Living abroad is wonderful, but it's not always easy. You will face a lot of challenges and obstacles.
What's exciting about the cocktail scene in Phnom Penh?
The cocktail scene in Phnom Penh is very exciting at the moment because it is still growing. There is already a couple of good bars in town, my favourite is Elbow Room managed by La Familia, the main importer for spirits in Cambodia. I believe right now all of the bartenders in Phnom Penh, have the opportunity to build the cocktail scene in this growing city, and I find it very exciting.
For the traveling bartender, what can they expect when they walk into your venue?
What I would like to create is a gracious place, where everyone will feel welcome and comfortable. They will find honest service and a big smile ready to welcome them.
Last but not least a selection of carefully crafted, tailor-made cocktails and drinks designed to suit the palate and taste profiles of our guests. All of this is set in a wonderful, sophisticated and elegant venue that is Rosewood Hotel.


text:
Riders vs. Ti-Cats: Win It For Durant
Sunday the 8-2 Riders travel to Hamilton to face the 2-7 in what will be their first visit to the new Tim Hortons field. I hear the Riders are looking forward to the experience, minus the requirement for them to spend 2 hours installing guard rails and light fixtures in exchange for practice time. Sunday is also the official start to the Autumn of Tino (doesn't quite have the same ring as "Summer of George" but it does sound more promising than the first draft I had: "Fall of Tino").
If there was any franchise I would feel great starting an upstart QB against it's the Ti-Cats. History has proven pretty good to us in that regard. Willy had a big game against them last year, Durant's breakout game in '08 came against them, and of course who could forget Rocky Butler? He beat them so badly that they traded us for him that off-season in one of the most lopsided trades in recent memory.
We utterly embarrassed them in the season opener and they have just 2 wins since then (none of which have come against a western opponent)… so logically the odds-makers have them as the favourites headed in to this game. Paging all compulsive gamblers! To be fair I don't think the Ti-Cats are as bad as their record indicates… well let me re-phrase that. Their record is very reflective of their level of play this season but given the talent on their roster, I think they have potential to be a far better team then they have shown. Five of their losses have been by a TD or less. They have been close but just keep finding ways to lose. They also keep finding ways to enrage Kent Austin. I swear of these times either he will choke out a player or his head will explode.
Obviously injuries at QB have affected their offense but even when healthy (which I think they are pretty close now, minus Gable) their offense really doesn't scare me. Consider this. Hamilton has scored 15 offensive TDs this season. 8 of those TDs were scored by either Dan LeFevour or CJ Gable… 1 was scored by a linebacker. That leaves 6 TDs by people who will be playing offense on Sunday. It all starts with that sorry excuse for an O-line they have. First of all it's not very good. Second, in their 9 games they have started 7 different combinations and no one has started every game in the same spot. It's like they put names in a hat each week and draw spots. The end result has been predictably awful line play and a whole ton of sacks (only the Bomber OL has given up more). Peter Dyakowski can't get healthy soon enough. With a struggling line, it's no surprise that their run game has been a non-factor. They are near the bottom of the league in terms of rushing yards and Dan LeFevour accounts for close to 40% of those yards. Part of it is they just don't rush very often (even when Gable was healthy), only Ottawa has less rushing attempts. Not that we can ignore the run game, I'm just not overly concerned in our ability to make it a non-factor (if Austin doesn't do that on his own by not calling run plays).
Collaros and the pass game are where the challenge will lie for our D. While Collaros has looked better in his last couple starts (though not sure how he could manage to look worse than week 1), I haven't seen anything in his game that gives me cause for concern. Part of it has to do with the receivers at his disposal. To be fair, the Ti-Cats have solid receivers across the board (Fantuz, Grant, Tasker, Ellington, Koch, Guiguere). Thing is, while they have a lot of good receivers, they lack a real impact receiver. All are capable of making plays and moving the chains but none have that game-breaking factor. So I like how our secondary matches up against them. Certainly the fact that you can't slow this offense down by eliminating one receiver (like some other teams) is a challenge but regardless of who ends up covering who, there are no match-ups that scare me. A weak ground game and an even weaker OL means our D-line will be in attack mode. Combine that with a Hamilton team that throws a lot of INTs and lacks a game breaking receiver and you have the recipe for a very good defensive outing.
This brings me to Sunseri and our offense. The Ti-Cats actually boast the #3 run defense in the CFL. They are very strong at the interior of their DL with Bulcke and Laurent. They also are solid at LB with Simoni Lawrence (who is a damn good player) and Rico Murray. I don't see us shying away from the run but it will likely prove more difficult then the last couple weeks where we pretty much just steam-rolled the Bombers on the ground. Sunseri will need to pass and I'm sure he will. It's a favourable match-up for Tino in his first start. The Ti-Cats force the least turnovers, have the least sacks (way to support Tackle Hunger jerks!), allow the 2nd highest completion % to opposing QBs and allow the 2nd most points per game. This won't be a cake walk for him but there's no reason to think he can't have success. Look for the Riders to take a deep shot early (maybe even on the first play) to either Taj or Bagg (who damn well better catch it this time!). Play-action crossers could be very effective if the LBs are cheating up on the run. I also like lining Messam up a TE and passing to him on a leakout every now and them. Don't expect us to stray too far from what's gotten us this far, lots of running and controlling possession of the ball.
We will need another solid outing from our special teams again. Hamilton is a returner factory. They had Thigpen, Williams and this year have 3 different guys with kick return TDs. Granted all of them are hurt this week and they have airlifted in Terell Sinkfield but still as long as we don't allow any game changing plays on teams (or better yet if we can be the ones making those game changing plays yet again) then I like our odds of grinding out another road victory.
I expect us to start the first quarter very shaky but settle things down in the second and play solid from there on out. These are the Riders so they will find some way to make it interesting and make things stressful to watch but in the end I see no reason why we shouldn't emerge with another victory.
Riders by 10
Nope. When we found out that DD would be out for the season .. a cry went up that sounded all nice and loyal from his team mates BUT which signaled BIG trouble ahead ... "Darian is our leader! Even as he recovers he is the leader of this team" ...WHOA!! dudes!! If you are not prepared to accept the leadership of whomever the new QB is .. then we are screwed!!! The on field QB is the 'leader' ...not someone now nursing a broken wing on the sidelines. Gawd this so simple ! If Sunseri is not the de facto leader of this squad .. we are done.
We are done, Sunseri looked really really bad
Monday Morning Sentimonies: Horrible
Riders vs. Eskimos: Horrible Human Beings
Sponsored Video: 2014 Re:design Project
Sponsored Video: Take a chance to win a Father & S...
Are You Smarter Than A Toddler - Week 14 Picks
Monday Morning Sentimonies: Somehow, Someway
Riders vs. RedBlacks: Free Space On The Bingo Card
Monday Morning Sentimonies: Ti-No
Darian Durant Out
Monday Morning Sentimonies: Costly Victory
Riders vs. Bombers: Banjo Bowl 2014
Tuesday Morning Sentimonies: Decade of Dominance


text:
Q: Loading properties dynamically with Spring in Java In my Java main, I have the following:
ApplicationContext context = new AnnotationConfigApplicationContext(SpringConfig.class);

SpringConfig.java looks something like this:
@Configuration
@EnableAspectJAutoProxy
@EnableTransactionManagement
@ComponentScan(basePackages = {"...", "..."})
@PropertySource("classpath:prod.properties")
public class SpringConfig {
    @Autowired
    private Environment env;

    @Autowired
    private DataSource dataSource;

    @Bean
    public static PropertySourcesPlaceholderConfigurer propertiesResolver() {
        return new PropertySourcesPlaceholderConfigurer();
    }

    @Configuration
    static class DatabaseConfig {

        @Value("${jdbc.url}")
        private String jdbcUrl;
        @Value("${jdbc.username}")
        private String jdbcUsername;
        @Value("${jdbc.password}")
        private String jdbcPassword;
        @Value("${jdbc.driverClassName}")
        private String jdbcDriverClassName;

        @Bean
        public DataSource dataSource() {
             DriverManagerDataSource source = new DriverManagerDataSource(jdbcUrl,
                jdbcUsername, jdbcPassword);
             source.setDriverClassName(jdbcDriverClassName);
             return source;
        }

}
The issue is that I will want the person deploying the eventual JAR to specify all the DB properties, so I don't want to leave that properties file on the classpath.
What are my options for loading something at runtime and injecting it into the Spring context BEFORE it starts resolving all those Spring EL @Value fields?
Thanks!

A: If you want to read a file outside of your classpath you can use the file: pseudourl instead of the classpath: pseudourl in your PropertySource annotation e.g.:
@PropertySource("file:/path/to/prod.properties")

This tells spring that the file is to be loaded as a URL, from the filesystem; then you may swap the file according to your needs. If what you need is to load different files according to different environments what you may need is profiles.
Profiles allow you to load beans according to the profile you used to start your application. What I do is to load a file according to the profile running using a replacement in my path:
@PropertySource("file:${user.home}/project/config.${spring.profiles.active:dev}.properties")

In this case I'm using a placeholder that will resolve the profile (and if no profile is active then it will load dev by default). For example, if the prod profile is active the file path will be resolved to this:
/home/eldermael/project/config.prod.properties

and if no profile was found then:
/home/eldermael/project/config.dev.properties

But this has a drawback that if you have several profiles, they all will be concatenated in the file path.

redpajama_set_name: RedPajamaStackExchange


Starwood is once again inspired by nature to develop ceramic pieces whose care for details, colours and shapes achieve in offering unique pieces. They are able to reproduce natural wood textures.
Starwood impresses with new models and tones in wall tiles and floor tiles, as well as with its SMART pieces. We are dealing with a new line with smaller innovative formats: 14.3cmx90cm and 22cmx90cm.
Designs adapted to meet everyday expectations and cutting-edge trends with regard to architecture and interior design.
The Nairobi model shows pronounced rings with a huge number of veining and textures. Dark-toned knots which create a perfect symbiosis with the sweet bright tones present in the palette of Honey and Grain (Starwood).
The former is characterised by its energetic colour scheme. The dark knots are bound with other brighter ones in an amber colour. However, Grain offers a timeless colour which conveys serenity and subtlety.
In this way, Nairobi becomes one of the most realistic models. It is able to precisely reproduce the purity of wood. Furthermore, its versatility results in being ideal not only for rustic furniture but also for contemporary ones.
As with the rest of the models, Nairobi has formats of 25cmx150cm and 16.5cmx150cm but it is also available in Smart (22cmx90cm and 14.3cmx90cm formats), or with Outdoor technology (25cmx150cm). The latter can be used outdoors thanks to its high resistance against impacts and weather conditions.
The Nebraska collection recalls the wet wood colour. The roasted coffee. A colour scheme full of personality which causes a sensation wherever it is included. Nebraska, available in the Coffee and Tea colours, extends its collection with Noir, one of the darkest tones from Starwood.
Its sombre effect offers blurred veining and knots which reproduce the passage of time. It is in its perfect balance where different levels of darkness can be seen with higher-toned knots.
The Nebraska design therefore becomes a highly efficient solution to project sophisticated involute atmospheres. We are dealing with the perfect combination for furniture in neutral and dark tones.
This new Starwood model is also available in formats of 25cm×150cm and 16.5cm×150cm both for floor and wall tiles. As well as in the exclusive Smart formats: 14.3cm×90cm and 22cm×90cm. Suitable for indoors and outdoors.
The Tanzania collection from Starwood presents five new tones: Silver, Graphite, Walnut, Natural and White. The richest and widest colour range from Starwood.
Lastly, Starwood offers a huge number of decorative possibilities with its Loweer (33.3cmx100 cm), Laos (59.6cmx59.6cm) and Camden (59.6cmx59.6cm) ceramic wall tiles.
Dynamic designs which reproduce visual effects such as volumetry and 3D effect. The new tones included in its pieces can be combined with the Eden floor tile pattern.
These series are defined by identity, style and warmth, whose natural aesthetics enhances the resistance and balance of the pieces.


Studio Gamma is specialized in optical printing with "liquid gates".
Picture from the Argentinian feature film "SANGRE", directed by Pablo Cesar.
The shooting in Super8 were blown up to 35 by Studio Gamma.
blow up, 1:1 duplicates or reductions of Super 8mm, 16mm, Super 16mm and 35mm.
It ceased its activities on 04/30/2015 and its equiment is for sale.


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;

namespace LibNLPCSharp.simpletokenizing
{

	public class LinearPatternSequenceCollection : List<LinearPatternSequence>, ITokenPatternMatcher
	{

		////////////////////////////////////////////////////////////////
		// Constants
		////////////////////////////////////////////////////////////////

		////////////////////////////////////////////////////////////////
		// Variables
		////////////////////////////////////////////////////////////////

		////////////////////////////////////////////////////////////////
		// Constructors
		////////////////////////////////////////////////////////////////

		public LinearPatternSequenceCollection(params LinearPatternSequence[] sequences)
		{
			AddRange(sequences);

			Sort();
		}

		public LinearPatternSequenceCollection(IEnumerable<LinearPatternSequence> sequences)
		{
			AddRange(sequences);

			Sort();
		}

		////////////////////////////////////////////////////////////////
		// Properties
		////////////////////////////////////////////////////////////////

		public string Name
		{
			get;
			set;
		}

		///
		/// Returns the fixed length of the sequence matched (if this pattern matcher has a fixed length)
		///
		public int? Length
		{
			get {
				return null;
			}
		}

		////////////////////////////////////////////////////////////////
		// Methods
		////////////////////////////////////////////////////////////////

		///
		/// Does any of the stored pattern match at the current position in the stream?
		///
		/// <param name="tokenStream"></param>
		/// <returns></returns>
		public bool Match(TokenStream tokenStream)
		{
			foreach (LinearPatternSequence seq in this) {
				if (seq.Match(tokenStream)) return true;
			}
			return false;
		}

		///
		/// Try to eat the stored pattern from the stream. On success the stream is advanced.
		///
		/// <param name="tokenStream"></param>
		/// <returns></returns>
		public TokenPatternResult TryEat(TokenStream tokenStream)
		{
			foreach (LinearPatternSequence seq in this) {
				TokenPatternResult r = seq.TryEat(tokenStream);
				if (r != null) {
					if (Name != null) r.Name = Name;
					return r;
				}
			}
			return null;
		}

		/*
		///
		/// Same as TryEat() but without advancing the stream
		///
		/// <param name="tokenStream"></param>
		/// <returns></returns>
		public TokenPatternResult TryMatch(TokenStream tokenStream)
		{
			foreach (LinearPatternSequence seq in this) {
				TokenPatternResult r = seq.TryMatch(tokenStream);
				if (r != null) {
					if (Name != null) r.Name = Name;
					return r;
				}
			}
			return null;
		}
		*/

		public void Sort()
		{
			LinearPatternSequence[] all = ToArray();
			Array.Sort(all, ____ReverseComparison);
			Clear();
			AddRange(all);
		}

		private int ____Comparison(LinearPatternSequence x, LinearPatternSequence y)
		{
			if (x.Length.HasValue) {
				if (y.Length.HasValue) {
					return x.Length.Value.CompareTo(y.Length.Value);
				} else {
					return -1;
				}
			} else {
				if (y.Length.HasValue) {
					return 1;
				} else {
					return 0;
				}
			}
		}

		private int ____ReverseComparison(LinearPatternSequence x, LinearPatternSequence y)
		{
			if (x.Length.HasValue) {
				if (y.Length.HasValue) {
					return - x.Length.Value.CompareTo(y.Length.Value);
				} else {
					return 1;
				}
			} else {
				if (y.Length.HasValue) {
					return - 1;
				} else {
					return 0;
				}
			}
		}

	}

}

redpajama_set_name: RedPajamaGithub


Box braids refer to the hair style will call "three three". For my current install, I used about two packs of colour 2. Despite how short my hair is, the stylist managed to create a gorgeous set of box braids.
Now, the challenge is how long I can keep them! On my Facebook page, I have a reader task going on where a reader gives me a task to perform.The first task regarding my braids is to keep is for at least 8 good weeks!
Aside knowing what to do to maintain the scalp and the braids, this is an opportune time to get a bit adventurous with beads in the hair. I've never done that style with beads in them, much less metal beads. Someone remarked that I'm too predictable. I know. I was always scared of the image I create among family and friends. That actually stopped me from exploring the world around me.
Anyway, it's never too late to learn a new trick so I was quite excited about the new addition to the box braid style.
I do understand where the reader is coming from just as I know if you've been reading this blog, you also do. I'm not making excuses; just stating the obvious. It's a herculean task keeping braids and weaves on for at least a month! Yes, I'm that bad!
I decided to make a video detailing what the reader wants me to do, what I intend doing and if I should fail, what I can do.
The video has all there is to know.
Watch and let me know what you think.
I'm Done With Hair Products!!!


text:
Home>Music Videos>Lil Durk Videos> Lil Durk Drops Off Black & White Visual For "Downfall" With Lil Baby & Young Dolph
Lil Durk Drops Off Black & White Visual For "Downfall" With Lil Baby & Young Dolph
Check out Lil Durk's black & white video for "Downfall" featuring Lil Baby & Young Dolph.
Last Friday, Lil Durk teamed up with Lil Baby & Young Dolph for a new single called "Downfall," off his upcoming Signed To The Streets 3 album, and now today he's back with its official video.
Directed by Ben Marc, the black & white visual finds Durk flexing for the cameras with Lil Baby and Dolph, while shining a spotlight on a child forced to provide for his family in the face of his mother's drug addiction. It follows up his latest video to "No Auto Durk," which dropped last week
Check out the official video (above) and let us know what you think. Record available on iTunes.
Lil Durk Lil Baby Young Dolph Music Videos signed to the streets 3
XXXTentacion's Posthumous Career Continues With "Moonlight" Music Video
SOB x RBE Release New Video For "Vibes"
MUSIC VIDEOS Lil Durk Drops Off Black & White Visual For "Downfall" With Lil Baby & Young Dolph


text:
The Importance of Being Earnest (A PopEntertainment.com Movie Review)
THE IMPORTANCE OF BEING EARNEST (2002)
Starring Rupert Everett, Colin Firth, Frances O'Connor, Reese Witherspoon, Judi Dench, Tom Wilkinson, Anna Massey, Edward Fox and Charles Kay.
Screenplay by Oliver Parker.
Directed by Oliver Parker.
Distributed by Miramax Pictures. 97 minutes. Rated PG.
In my opinion, Oscar Wilde's 1895 play The Importance of Being Earnest is the greatest stage comedy ever written. But, and this is a big but… it is written specifically for the limited boundaries of the stage. Not that it can't be filmed, in fact the 1952 film version of the play is a sparse masterpiece. But the reason that film works so well is that the filmmakers respected the source material's theatrical roots and did not stray from the bare bones structure of the play.
For the new version, writer/director Oliver Parker (who seems to be making a career out of Wilde's work, he did An Ideal Husband a couple of years ago, can The Picture of Dorian Gray or Salome be far behind?) seems to believe that today's audiences need visual splendor to and modern sensibilities to make this quaint parlor story visually arresting. (Just the fact that Parker gets the sole screenwriting credit gives one pause.) Because of this Parker adds all sorts of scenes that Wilde never envisioned, police chases, balloon flights, trips to tattoo parlors, serenades…
In the end, all of Parker's little trips onto side streets do give the film a nostalgic feel, but they overwhelm the subtle wordsmanship and interplay of Wilde's brilliant writing. This causes some of the best jokes ever written in the English language to have to struggle to be noticed. And the fact that Parker cut substantial amounts of Wilde's dialogue to fit in his little flights of fancy… that's just wrong.
The real shame is the cast is brilliant and up to the material. Rupert Everett and Colin Firth are born to play Algernon and Jack, upper crust scoundrels who both use an imaginary relative named Ernest as an excuse to escape their stiff worlds, Jack portrays Ernest in the city, Algy in the country. Frances O'Connor is also right on as heiress Gwendolyn, a woman who is in love with Jack, but only because his name is Ernest. In an adventurous follow-up to her Legally Blonde breakthrough, Reese Witherspoon does a nice job as Jack's young charge who falls for Algernon.
Best of all, of course, in the role of the bitter society matron Lady Bracknell is Dame Judi Dench, taking one of greatest comic characters ever and making it her own. It's too bad that such fine acting and perfect source material had to be diluted just because the director didn't trust the audiences' attention spans. (6/02)
Copyright © 2002 PopEntertainment.com All rights reserved. Posted: June 21, 2002.
#Salome #OliverParker #CharlesKay #AnIdealHusband #TheImportanceofBeingEarnest #ThePictureofDorianGray #OscarWilde #JudiDench #RupertEverett #reesewitherspoon #FrancesOConnor #JaySJacobs #AnnaMassey #PopEntertainmentcom #colinfirth #TomWilkinson #EdwardFox #moviereview


text:
778 866 7478 ryan@ryanhartt.ca
Our Team Listings
Maple Ridge Listings
Silver Valley
Port Moody Listings
MARKET UPDATE from CTV News
Posted on April 16, 2012 by Ryan Hartt
By: CTVNews.ca Staff
Date: Monday Apr. 16, 2012 7:13 AM PT
Average housing prices in Canada edged down slightly last month but sales rose to the highest monthly level in close to two years. The latest nation-wide housing numbers were released by the Canadian Real Estate Agency on Monday. According to the statement, the national average for home prices was down 0.5 per cent in March, compared to one year earlier.
That meant the national average price for a home sold in March 2012 was $369,677, but individual markets varied widely, said Gregory Klump, CREA's chief economist.
"Average prices are up from year-ago levels in most large urban centres," Klump said in a release. "The slight decline in the national average price points to a tug of war between Toronto and Vancouver from the standpoint of their sales mix compared to last year."
He added that the national average home price last spring was "skewed higher" by record high-end home sales in Vancouver. The latest figures confirmed the expectation that the phenomenon would not recur this year. "The decline in average price reflects the change in Vancouver's sales mix, not housing price deflation," Klump said. The March average of $369,677 was down from just under $373,000 in February and down from $371,591 in March 2011.
Meanwhile, home sales rose 2.5 per cent from February to March on average across Canada, with two-thirds of all local markets showing increases in sales, with Toronto, Calgary and Edmonton leading the pack. In total 108,373 homes traded hands through the industry's MLS system in the first three months of the year. According to the CREA, that marked a 5 per cent increase over the five-year average for first quarter sales. It was 3.8 per cent above the 10-year average, and 4.4 per cent above activity in the first quarter of 2011.
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116 - 7947 209 Street
Give me a call at 778 866 7478
Ryan's Cell: 778-866-7478, ryan@ryanhartt.ca


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Through Sustainable Livelihood projects, we hope that the bottom of the pyramid (BOP) and other vulnerable groups can be engaged in, even mainstreamed into, the socioeconomic life of its program communities, where they can be providers of human capital, goods, and services.
We aim to provide households in our program communities access to skills training programs, employment opportunities, financial services, and connections to markets, so they may have gainful employment or diversified income sources.
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The Creative Process video shows the making of numerous different panels around the quote " if you change the way you look at things the things you look at will change."using different media. The video also show the screen printing process for my typographic poster.


text:
Argentine Director At Home In New York Argentine filmmaker Juan Jose Campanella directed one of the most acclaimed Latin American films, The Secret in Their Eyes, which won best foreign film at this year's Oscars. Campanella calls New York home and when he's not busy writing and directing in Spanish, he's directing episodes of House, Law and Order and 30 Rock. NPR's Robert Siegel speaks with Campanella.
Argentine Director At Home In New York
April 15, 20103:00 PM ET
Argentine filmmaker Juan Jose Campanella directed one of the most acclaimed Latin American films, The Secret in Their Eyes, which won best foreign film at this year's Oscars. Campanella calls New York home and when he's not busy writing and directing in Spanish, he's directing episodes of House, Law and Order and 30 Rock. NPR's Robert Siegel speaks with Campanella.
Related NPR Stories
'Secrets' And Lies Drive An Oscar-Worthy Thriller April 15, 2010
MICHELE NORRIS, host:
From NPR News, this is ALL THINGS CONSIDERED. I'm Michele Norris.
And I'm Robert Siegel.
The Academy Award for Best Foreign Language Film has turned into a World Cup of movies. Films that are already critical and commercial successes at home are pitted against one another. This year, Argentina took the prize for a film called "El Secreto de Sus Ojos," or "The Secret in Their Eyes."
(Soundbite of film, "The Secret in Their Eyes")
Unidentified Man #1 (Actor): (As character) (Speaking foreign language).
SIEGEL: It's the story of Benjam�n Esposito, a retired investigator who tries to make peace with his past by revisiting a murder case that was never solved and a woman he had loved but never told. The director, Juan Jose Campanella, divides his time between Buenos Aires and New York City. When he returned to his native Argentina with only his country's second Oscar in hand, he was hailed as a hero.
Mr. JUAN JOSE CAMPANELLA (Director, "The Secret in Their Eyes"): It was a big deal, which you know, I don't know if it tells you that much about the greatness of the award or about the smallness of my country.
SIEGEL: "The Secret in Their Eyes" is about a murder investigation or a man who reinvestigates an old case that he's convinced was wrongly done the first time, and I want to ask you about the period that you are re-creating when this original case took place. If we were Argentines, how would react to the time in which this original crime took place? They didn't get the killer and they found two guys and picked them up for it instead.
Mr. CAMPANELLA: Well, I was very afraid of what was going to happen with the movie because the movie takes place, the past portion of it takes place in 1974 and '75. And in Argentina, it was before the dictatorship. We had a democratic government and it was actually the government that started state terrorism, and that's the time that we talk about in the movie.
Now, having said all this, I just want to say that in the movie, it's just a context, you don't need to read a history book, and it's really not about that.
SIEGEL: Right, right.
Mr. CAMPANELLA: It's more or less like World War II is in "Casablanca." You know, you know the basics. You don't need to know what Vichy is or Vichy was in order to understand the movie.
SIEGEL: I realized when I watched the film that I'm primed and looking at an Argentine movie that looks back 25 years. What's the political angle here? Is it about the dirty war? Is it about the people being - disappeared, as they said? And really not, that's really not what this film is about.
Mr. CAMPANELLA: No, no, no, not at all, not at all. And besides, it takes place before what came to be called the dirty war. You know, that was really during the dictatorship. This is the beginning, the serpent's egg moment, so to speak.
SIEGEL: "The Secret in Their Eyes," in the film, you use people's eyes, and this is - it's a motif of the movie, yes?
Mr. CAMPANELLA: Yeah, yeah, yeah, yeah. What I wanted to - you know, I think that the - getting very close to the eyes is the thing that separates film from theater and every other narrative art. You can basically do everything in theater nowadays, and you can Broadway show and you can see, but you cannot get close to an actor's eyes.
And I wanted to make a movie that if you listen to the movie without looking at their faces, you will get one story. If you look at their faces without listening to what they say, you will get another story. And the combination of the two, you get a third story, which is what the movie is about. And I think that these actors pulled it off.
SIEGEL: Now, I want to ask you about your own trajectory as a filmmaker, from engineering student to graduate of NYU Film School.
Mr. CAMPANELLA: Yes.
SIEGEL: And here's the danger of doing too much research. I've been reading past interviews with you.
Mr. CAMPANELLA: Okay.
SIEGEL: And one of them says that you originally studied engineering but switched to film after having your mind blown by Bob Fosse's "All That Jazz." Another says: He was an engineering student when he saw Frank Capra's classic, "It's a Wonderful Life," experience that he said literally changed his life. And another says that you tout 1970s Hollywood classics like "Dog Day Afternoon," a seminal influence.
SIEGEL: Which one is it? Was it Bob Fosse or "It's a Wonderful Life" or "Dog Day Afternoon"?
Mr. CAMPANELLA: The three things have a portion of the truth because I started studying film during the night. In effect, I was an engineering student. I was very influenced at that time - this is 1979 - by the American movies of the '70s. "Dog Day Afternoon" was one of my favorites at the time. But "Taxi Driver," "The Deer Hunter," I mean, even "Fame" was a very important movie. "Rocky" was great.
One day in February of 1980, I remember the day, I saw "It's a Wonderful Life," which is a movie that changed my life, as you said. And that day, I decided that after I finished engineering, I was actually going to be a filmmaker. And then the next July, I saw "All That Jazz," and I said forget about finishing the engineering school. I'm starting my career today.
(Soundbite of laughter)
SIEGEL: I see.
Mr. CAMPANELLA: So it was a sort of a one-two punch of "It's a Wonderful Life" in February and "All That Jazz" in July.
SIEGEL: Now, I want you to tell me about the other side of your directorial life now, which is not just directing films back home in Argentina but directing American TV shows: "House," "Law & Order: SVU."
Mr. CAMPANELLA: Yes, yes, yes, yes, yes, yes. Yes, it's - what's not to like? I mean, they're great shows, excellent scripts. It's all training. You're telling stories. You're working with great actors. So I really like that.
SIEGEL: But I would imagine, and I'm saying this as somebody who's watched plenty of the shows that you're talking about, that in directing a "House," there's something formulaic about it. That is, you know, "House" will be wrong for the first 40 minutes of the program, at least, and he'll do something terrible to a colleague, and by the end, after an enormous medical bill has been rung up testing the patient, they'll figure out what it is, and there'll be a, you know, kind of a half-satisfying conclusion to the program. Now, it isn't formulaic to you?
Mr. CAMPANELLA: That's very good.
SIEGEL: You think I did it?
Mr. CAMPANELLA: That's a very good assessment.
Mr. CAMPANELLA: But it's incredible how within that framework - well, but it's - you know, it is...
Mr. CAMPANELLA: That's very good. That was very good, Robert.
SIEGEL: You think I've deconstructed "House."
Mr. CAMPANELLA: But, you know, it's like saying that a human being is 208 bones and, you know, and sometimes a bunch of hair at the top, not in my case.
Mr. CAMPANELLA: You know, so within that, you can still create a lot of humanity.
SIEGEL: You're now doing American TV shows, directing them, between Argentine films.
Mr. CAMPANELLA: Yeah.
SIEGEL: Does there come a moment when you start doing American films and sort of merge your two lives together?
Mr. CAMPANELLA: You know, I - don't know. It does depend on the project. I would love to do it, and I feel very comfortable here, you know, as I have many friends here. But it has to be a project we all agree on what movie has to be done.
I already made an American movie 15 years ago that the studio wanted a different movie than I wanted it, and I was pretentious enough and arrogant enough at that time that I thought that I could convince them to see things my way. And you learn from those experiences. You know, Hollywood has embraced a certain kind of entertainment.
The movies of the '70s that we were mentioning at the beginning of the interview, they don't make them anymore. So I would - if I want to make something like "Dog Day," like those great '70s political thrillers, I go to Argentina and I do what I want there. Here, it should have to be a very entertaining movie that I like and that they like. To find that common ground, it's not an easy task.
SIEGEL: Juan Jose Campanella, director of "The Secret In Their Eyes." Thank you very much for talking with us.
Mr. CAMPANELLA: Thank you very much, Robert.


text:
Jerzy Derkacz (ur. 21 maja 1950 w Chomęciskach Małych, zm. 10 listopada 2020 w Zamościu) – polski polityk i lekarz, senator III kadencji.

Życiorys
Syn Mieczysława i Leokadii. Uzyskał wyższe wykształcenie medyczne. W 1974 został absolwentem Akademii Medycznej w Lublinie. Specjalizował się w zakresie laryngologii. Pracę zawodową podjął jako lekarz w Zespole Opieki Zdrowotnej w Hrubieszowie. Zawodowo następnie związany ze Szpitalem Wojewódzkim im. papieża Jana Pawła II w Zamościu. Obejmował stanowiska zastępcy ordynatora (w 1998) i zastępcy dyrektora ds. lecznictwa (w 2001), drugie z nich zajmował do 2007. Kształcił się na studiach podyplomowych w zakresie zarządzania służbą zdrowia. Zajął się również prowadzeniem prywatnej praktyki lekarskiej. Należał do Polskiego Towarzystwa Lekarskiego i Polskiego Towarzystwa Otolaryngologicznego.

Na przełomie lat 80. i 90. pełnił funkcję radnego Zamościa i członka zarządu miasta. Od 1993 do 1997 sprawował mandat senatora III kadencji, wybranego z listy Polskiego Stronnictwa Ludowego w województwie zamojskim. Był obok Zbigniewa Religi jednym z dwóch zastępców przewodniczącego Komisji Polityki Społecznej i Zdrowia. W 1997 nie ubiegał się o reelekcję, kandydował później kilkakrotnie z listy PSL (w 2002, 2006 i 2010 oraz parlamentarnych w 2007 i 2015).

Pochowany na cmentarzu parafialnym w Zamościu.

Odznaczenia
Odznaczony Złotym Krzyżem Zasługi (1999), wyróżniony m.in. Brązowym Medalem "Za zasługi dla obronności kraju" (1994) i odznaką honorową "Za zasługi dla ochrony zdrowia" (2004).

Przypisy

Bibliografia

Absolwenci Uniwersytetu Medycznego w Lublinie
Ludzie związani z Zamościem
Odznaczeni odznaką honorową "Za zasługi dla ochrony zdrowia"
Odznaczeni Złotym Krzyżem Zasługi (III Rzeczpospolita)
Pochowani w Zamościu
Politycy Polskiego Stronnictwa Ludowego
Polscy otorynolaryngolodzy
Polscy radni rad gmin
Radni Miejskich Rad Narodowych
Senatorowie III Rzeczypospolitej
Urodzeni w 1950
Zmarli w 2020

redpajama_set_name: RedPajamaWikipedia


Have you been to Orange lately? What if I told you that Fitchburg's inevitable resurgence begins 40 minutes to our west, in this hardscrabble community of 7,800?
A small group of us from Fitchburg recently visited the Orange Innovation Center to better understand how an enterprising building owner is creating jobs while transforming a town.
Full disclosure: I had never visited Orange before and did not expect much from our visit. Downtown Orange, to my untrained eye, looked like an old, down-on-its-luck community. Shuttered factories, churches, too; a handful of fledgling retail businesses trying to survive.
Yet, among all that stands a former General Foods factory, 128,000 square feet of space, full of dozens of small, thriving businesses that employ some 150 people. I could barely find an available parking space in the large lot.
Three years ago, despite being denied a bank loan, local entrepreneur Jack Dunphy bought the building and has brought a common-sense approach to filling the building, creating jobs and providing a sorely needed economic spark to the entire community. Among Dunphy's tenants are a craft brewery, environmental consultant, artists, musicians, a flower presser and a book binder.
Realizing that offering free or discounted services will attract and keep more tenants, he has also added a full fitness center, café and, soon, a laundromat.
He's arranging for hiking trails to begin at his building and amble for miles beyond. Perhaps one day, an onsite car-rental service. And did I mention he's profitable? He now has a bank loan.
A major additional attraction for his tenants is the shared community created by OIC, whereby new customers and friends are made daily, just by coexisting within the OIC orbit. They buy from each other, support each other, and like each other.
As with most successful entrepreneurs, Dunphy projects a humble, gee-whiz factor about it all, as if to say there's nothing especially revolutionary about his approach. He offers a simple product: commercial space combined with complimentary services at a reasonable price, which is heartily supported by the market. The town does everything it can to help him and his tenants be successful, including a rapid, streamlined permitting process.
Now to Fitchburg. We are blessed with several key advantages over our friends in Orange. We're only an hour from Boston, we have access to rail (and within a year, the new $27 million Wachusett Rail Station), our population is 40,000, and our median household income is $47,000 -- versus $37,000 in Orange.
Downtown Fitchburg is blessed with gorgeous HM Francis-designed buildings -- Fitchburg State University on one end, and the Fitchburg Art Museum on the other.
Orange enjoys no such luck. Yet, in an important sense, Orange has blown past Fitchburg: new innovation and, thanks to Dunphy, a new-found belief in itself.
This was a tremendous eye-opener for me, and one more reminder of the huge opportunity within Fitchburg's grasp, if only the opportunity is seized.
Which brings me to my final point. Where are the Jack Dunphys of Fitchburg? Those entrepreneurs, willing to take a calculated risk, standing firmly on the ground floor of Fitchburg's resurgence.
And what ecosystem of support can they count on?
Following are just a few of the key pillars of support to be enjoyed in Fitchburg for the hearty few of you willing to take action.
Financing. We in North Central Massachusetts enjoy a plethora of great community banks and credit unions, all of whom have money to lend and various ways to support new businesses. Call them. If your business is not yet bankable, the Small Business Administration, our local Chamber of Commerce and other organizations offer competitive loans and have capital to lend.
City of Fitchburg. New Mayor Stephen DiNatale has rightly pledged full support for existing and new businesses in Fitchburg, including a smoother permitting process and a vastly improved customer-service experience. His top priority is economic development, and he's serious. Take him up on it.
Education. Depending upon your focus, Fitchburg State University, Mount Wachusett Community College, Montachusett Regional Vocational Technical School and several not-for-profits offer an abundance of classes, programs and support for the curious entrepreneur.
I invite you to take another look at Fitchburg and be a part of its bright future. Smart business people, creative developers, step up! Now is the time, there are many forms of financing and other support, and the city welcomes you. The train is literally leaving the station. All aboard!
Ken Ansin, Community Banking director at Enterprise Bank and a Leominster native, has been an active business owner and investor in North Central Massachusetts his entire career. Email ken.ansin@ebtc.com.


text:
CHOOSE YOUR BIBLE VERSION NIV ESV KJV NASB NLT CSB
Home > Exodus > Chapter 38
1 They built the altar of burnt offering of acacia wood, three cubits high; it was square, five cubits long and five cubits wide. 2 They made a horn at each of the four corners, so that the horns and the altar were of one piece, and they overlaid the altar with bronze. 3 They made all its utensils of bronze--its pots, shovels, sprinkling bowls, meat forks and firepans. 4 They made a grating for the altar, a bronze network, to be under its ledge, halfway up the altar. 5 They cast bronze rings to hold the poles for the four corners of the bronze grating. 6 They made the poles of acacia wood and overlaid them with bronze. 7 They inserted the poles into the rings so they would be on the sides of the altar for carrying it. They made it hollow, out of boards.
8 They made the bronze basin and its bronze stand from the mirrors of the women who served at the entrance to the tent of meeting.
9 Next they made the courtyard. The south side was a hundred cubits long and had curtains of finely twisted linen, 10 with twenty posts and twenty bronze bases, and with silver hooks and bands on the posts. 11 The north side was also a hundred cubits long and had twenty posts and twenty bronze bases, with silver hooks and bands on the posts.
12 The west end was fifty cubits wide and had curtains, with ten posts and ten bases, with silver hooks and bands on the posts. 13 The east end, toward the sunrise, was also fifty cubits wide. 14 Curtains fifteen cubits long were on one side of the entrance, with three posts and three bases, 15 and curtains fifteen cubits long were on the other side of the entrance to the courtyard, with three posts and three bases. 16 All the curtains around the courtyard were of finely twisted linen. 17 The bases for the posts were bronze. The hooks and bands on the posts were silver, and their tops were overlaid with silver; so all the posts of the courtyard had silver bands.
18 The curtain for the entrance to the courtyard was made of blue, purple and scarlet yarn and finely twisted linen--the work of an embroiderer. It was twenty cubits long and, like the curtains of the courtyard, five cubits high, 19 with four posts and four bronze bases. Their hooks and bands were silver, and their tops were overlaid with silver. 20 All the tent pegs of the tabernacle and of the surrounding courtyard were bronze.
21 These are the amounts of the materials used for the tabernacle, the tabernacle of the covenant law, which were recorded at Moses' command by the Levites under the direction of Ithamar son of Aaron, the priest. 22 (Bezalel son of Uri, the son of Hur, of the tribe of Judah, made everything the LORD commanded Moses; 23 with him was Oholiab son of Ahisamak, of the tribe of Dan--an engraver and designer, and an embroiderer in blue, purple and scarlet yarn and fine linen.) 24 The total amount of the gold from the wave offering used for all the work on the sanctuary was 29 talents and 730 shekels, according to the sanctuary shekel.
25 The silver obtained from those of the community who were counted in the census was 100 talents and 1,775 shekels, according to the sanctuary shekel-- 26 one beka per person, that is, half a shekel, according to the sanctuary shekel, from everyone who had crossed over to those counted, twenty years old or more, a total of 603,550 men. 27 The 100 talents of silver were used to cast the bases for the sanctuary and for the curtain--100 bases from the 100 talents, one talent for each base. 28 They used the 1,775 shekels to make the hooks for the posts, to overlay the tops of the posts, and to make their bands.
29 The bronze from the wave offering was 70 talents and 2,400 shekels. 30 They used it to make the bases for the entrance to the tent of meeting, the bronze altar with its bronze grating and all its utensils, 31 the bases for the surrounding courtyard and those for its entrance and all the tent pegs for the tabernacle and those for the surrounding courtyard.
1 He made the altar of burnt offering of acacia wood. Five cubits was its length, and five cubits its breadth. It was square, and three cubits was its height. 2 He made horns for it on its four corners. Its horns were of one piece with it, and he overlaid it with bronze. 3 And he made all the utensils of the altar, the pots, the shovels, the basins, the forks, and the fire pans. He made all its utensils of bronze. 4 And he made for the altar a grating, a network of bronze, under its ledge, extending halfway down. 5 He cast four rings on the four corners of the bronze grating as holders for the poles. 6 He made the poles of acacia wood and overlaid them with bronze. 7 And he put the poles through the rings on the sides of the altar to carry it with them. He made it hollow, with boards.
8 He made the basin of bronze and its stand of bronze, from the mirrors of the ministering women who ministered in the entrance of the tent of meeting.
9 And he made the court. For the south side the hangings of the court were of fine twined linen, a hundred cubits; 10 their twenty pillars and their twenty bases were of bronze, but the hooks of the pillars and their fillets were of silver. 11 And for the north side there were hangings of a hundred cubits; their twenty pillars and their twenty bases were of bronze, but the hooks of the pillars and their fillets were of silver. 12 And for the west side were hangings of fifty cubits, their ten pillars, and their ten bases; the hooks of the pillars and their fillets were of silver. 13 And for the front to the east, fifty cubits. 14 The hangings for one side of the gate were fifteen cubits, with their three pillars and three bases. 15 And so for the other side. On both sides of the gate of the court were hangings of fifteen cubits, with their three pillars and their three bases. 16 All the hangings around the court were of fine twined linen. 17 And the bases for the pillars were of bronze, but the hooks of the pillars and their fillets were of silver. The overlaying of their capitals was also of silver, and all the pillars of the court were filleted with silver. 18 And the screen for the gate of the court was embroidered with needlework in blue and purple and scarlet yarns and fine twined linen. It was twenty cubits long and five cubits high in its breadth, corresponding to the hangings of the court. 19 And their pillars were four in number. Their four bases were of bronze, their hooks of silver, and the overlaying of their capitals and their fillets of silver. 20 And all the pegs for the tabernacle and for the court all around were of bronze.
21 These are the records of the tabernacle, the tabernacle of the testimony, as they were recorded at the commandment of Moses, the responsibility of the Levites under the direction of Ithamar the son of Aaron the priest. 22 Bezalel the son of Uri, son of Hur, of the tribe of Judah, made all that the LORD commanded Moses; 23 and with him was Oholiab the son of Ahisamach, of the tribe of Dan, an engraver and designer and embroiderer in blue and purple and scarlet yarns and fine twined linen.
24 All the gold that was used for the work, in all the construction of the sanctuary, the gold from the offering, was twenty-nine talents and 730 shekels, by the shekel of the sanctuary. 25 The silver from those of the congregation who were recorded was a hundred talents and 1,775 shekels, by the shekel of the sanctuary: 26 a beka a head (that is, half a shekel, by the shekel of the sanctuary), for everyone who was listed in the records, from twenty years old and upward, for 603,550 men. 27 The hundred talents of silver were for casting the bases of the sanctuary and the bases of the veil; a hundred bases for the hundred talents, a talent a base. 28 And of the 1,775 shekels he made hooks for the pillars and overlaid their capitals and made fillets for them. 29 The bronze that was offered was seventy talents and 2,400 shekels; 30 with it he made the bases for the entrance of the tent of meeting, the bronze altar and the bronze grating for it and all the utensils of the altar, 31 the bases around the court, and the bases of the gate of the court, all the pegs of the tabernacle, and all the pegs around the court.
1 And he made the altar of burnt offering of shittim wood: five cubits was the length thereof, and five cubits the breadth thereof; it was foursquare; and three cubits the height thereof. 2 And he made the horns thereof on the four corners of it; the horns thereof were of the same: and he overlaid it with brass. 3 And he made all the vessels of the altar, the pots, and the shovels, and the basons, and the fleshhooks, and the firepans: all the vessels thereof made he of brass. 4 And he made for the altar a brasen grate of network under the compass thereof beneath unto the midst of it. 5 And he cast four rings for the four ends of the grate of brass, to be places for the staves. 6 And he made the staves of shittim wood, and overlaid them with brass. 7 And he put the staves into the rings on the sides of the altar, to bear it withal; he made the altar hollow with boards. 8 And he made the laver of brass, and the foot of it of brass, of the lookingglasses of the women assembling, which assembled at the door of the tabernacle of the congregation.
9 And he made the court: on the south side southward the hangings of the court were of fine twined linen, an hundred cubits: 10 Their pillars were twenty, and their brasen sockets twenty; the hooks of the pillars and their fillets were of silver. 11 And for the north side the hangings were an hundred cubits, their pillars were twenty, and their sockets of brass twenty; the hooks of the pillars and their fillets of silver. 12 And for the west side were hangings of fifty cubits, their pillars ten, and their sockets ten; the hooks of the pillars and their fillets of silver. 13 And for the east side eastward fifty cubits. 14 The hangings of the one side of the gate were fifteen cubits; their pillars three, and their sockets three. 15 And for the other side of the court gate, on this hand and that hand, were hangings of fifteen cubits; their pillars three, and their sockets three. 16 All the hangings of the court round about were of fine twined linen. 17 And the sockets for the pillars were of brass; the hooks of the pillars and their fillets of silver; and the overlaying of their chapiters of silver; and all the pillars of the court were filleted with silver. 18 And the hanging for the gate of the court was needlework, of blue, and purple, and scarlet, and fine twined linen: and twenty cubits was the length, and the height in the breadth was five cubits, answerable to the hangings of the court. 19 And their pillars were four, and their sockets of brass four; their hooks of silver, and the overlaying of their chapiters and their fillets of silver. 20 And all the pins of the tabernacle, and of the court round about, were of brass.
21 This is the sum of the tabernacle, even of the tabernacle of testimony, as it was counted, according to the commandment of Moses, for the service of the Levites, by the hand of Ithamar, son to Aaron the priest. 22 And Bezaleel the son of Uri, the son of Hur, of the tribe of Judah, made all that the LORD commanded Moses. 23 And with him was Aholiab, son of Ahisamach, of the tribe of Dan, an engraver, and a cunning workman, and an embroiderer in blue, and in purple, and in scarlet, and fine linen. 24 All the gold that was occupied for the work in all the work of the holy place, even the gold of the offering, was twenty and nine talents, and seven hundred and thirty shekels, after the shekel of the sanctuary. 25 And the silver of them that were numbered of the congregation was an hundred talents, and a thousand seven hundred and threescore and fifteen shekels, after the shekel of the sanctuary: 26 A bekah for every man, that is, half a shekel, after the shekel of the sanctuary, for every one that went to be numbered, from twenty years old and upward, for six hundred thousand and three thousand and five hundred and fifty men. 27 And of the hundred talents of silver were cast the sockets of the sanctuary, and the sockets of the vail; an hundred sockets of the hundred talents, a talent for a socket. 28 And of the thousand seven hundred seventy and five shekels he made hooks for the pillars, and overlaid their chapiters, and filleted them. 29 And the brass of the offering was seventy talents, and two thousand and four hundred shekels. 30 And therewith he made the sockets to the door of the tabernacle of the congregation, and the brasen altar, and the brasen grate for it, and all the vessels of the altar, 31 And the sockets of the court round about, and the sockets of the court gate, and all the pins of the tabernacle, and all the pins of the court round about.
1 Then he made the altar of burnt offering of acacia wood, five cubits long, and five cubits wide, square, and three cubits high. 2 And he made its horns on its four corners, its horns being of one piece with it, and he overlaid it with bronze. 3 He also made all the utensils of the altar, the pails, the shovels, the basins, the meat-forks, and the firepans; he made all its utensils of bronze. 4 And he made for the altar a grating of bronze netting beneath, under its ledge, reaching halfway up. 5 He also cast four rings on the four ends of the bronze grating as holders for the poles. 6 He made the poles of acacia wood and overlaid them with bronze. 7 Then he inserted the poles into the rings on the sides of the altar, with which to carry it. He made it hollow with planks.
8 Moreover, he made the basin of bronze with its base of bronze, from the mirrors of the serving women who served at the doorway of the tent of meeting.
9 Then he made the courtyard: for the south side the hangings of the courtyard were of fine twisted linen, a hundred cubits; 10 their twenty pillars, and their twenty bases, were made of bronze; the hooks of the pillars and their bands were of silver. 11 For the north side there were a hundred cubits; their twenty pillars and their twenty bases were of bronze, the hooks of the pillars and their bands were of silver. 12 For the west side there were hangings of fifty cubits with their ten pillars and their ten bases; the hooks of the pillars and their bands were of silver. 13 For the east side, fifty cubits. 14 The hangings for the one side of the gate were fifteen cubits, with their three pillars and their three bases, 15 and so for the other side. On both sides of the gate of the courtyard were hangings of fifteen cubits, with their three pillars and their three bases. 16 All the hangings of the courtyard all around were of fine twisted linen. 17 And the bases for the pillars were of bronze, the hooks of the pillars and their bands, of silver; and the overlaying of their tops, of silver, and all the pillars of the courtyard were furnished with silver bands. 18 Now the curtain of the gate of the courtyard was the work of the weaver, of violet, purple, and scarlet material and fine twisted linen. And the length was twenty cubits and the height was five cubits, corresponding to the hangings of the courtyard. 19 Their four pillars and their four bases were of bronze; their hooks were of silver, and the overlaying of their tops and their bands were of silver. 20 All the pegs of the tabernacle and of the courtyard all around were of bronze.
21 This is the number of the things for the tabernacle, the tabernacle of the testimony, as they were counted according to the command of Moses, for the service of the Levites, by the hand of Ithamar the son of Aaron the priest. 22 Now Bezalel the son of Uri, the son of Hur, of the tribe of Judah, made everything that the LORD had commanded Moses. 23 With him was Oholiab the son of Ahisamach, of the tribe of Dan, an engraver and a skilled embroiderer, and a weaver in violet, in purple, and in scarlet material, and fine linen.
24 All the gold that was used for the work, in all the work of the sanctuary, which was the gold of the wave offering, was twenty-nine talents and 730 shekels, according to the shekel of the sanctuary. 25 And the silver of those of the congregation who were counted was a hundred talents and 1,775 shekels, according to the shekel of the sanctuary; 26 a beka a head (that is, half a shekel according to the shekel of the sanctuary), assessed to each one who passed over to those who were counted, from twenty years old and upward, for 603,550 men. 27 The hundred talents of silver were used for casting the bases of the sanctuary and the bases of the veil; a hundred bases for the hundred talents, a talent for a base. 28 And of the 1,775 shekels, he made hooks for the pillars, and overlaid their tops and made bands for them. 29 And the bronze of the wave offering was seventy talents and 2,400 shekels. 30 With it he made the bases to the doorway of the tent of meeting, and the bronze altar and its bronze grating, and all the utensils of the altar, 31 and the bases of the courtyard all around and the bases of the gate of the courtyard, and all the pegs of the tabernacle and all the pegs of the courtyard all around.
1 Next Bezalel used acacia wood to construct the square altar of burnt offering. It was 7- 1/2 feet wide, 7- 1/2 feet long, and 4- 1/2 feet high. 2 He made horns for each of its four corners so that the horns and altar were all one piece. He overlaid the altar with bronze. 3 Then he made all the altar utensils of bronze--the ash buckets, shovels, basins, meat forks, and firepans. 4 Next he made a bronze grating and installed it halfway down the side of the altar, under the ledge. 5 He cast four rings and attached them to the corners of the bronze grating to hold the carrying poles. 6 He made the poles from acacia wood and overlaid them with bronze. 7 He inserted the poles through the rings on the sides of the altar. The altar was hollow and was made from planks.
8 Bezalel made the bronze washbasin and its bronze stand from bronze mirrors donated by the women who served at the entrance of the Tabernacle.
9 Then Bezalel made the courtyard, which was enclosed with curtains made of finely woven linen. On the south side the curtains were 150 feet long. 10 They were held up by twenty posts set securely in twenty bronze bases. He hung the curtains with silver hooks and rings. 11 He made a similar set of curtains for the north side--150 feet of curtains held up by twenty posts set securely in bronze bases. He hung the curtains with silver hooks and rings. 12 The curtains on the west end of the courtyard were 75 feet long, hung with silver hooks and rings and supported by ten posts set into ten bases. 13 The east end, the front, was also 75 feet long.
14 The courtyard entrance was on the east end, flanked by two curtains. The curtain on the right side was 22- 1/2 feet long and was supported by three posts set into three bases. 15 The curtain on the left side was also 22- 1/2 feet long and was supported by three posts set into three bases. 16 All the curtains used in the courtyard were made of finely woven linen. 17 Each post had a bronze base, and all the hooks and rings were silver. The tops of the posts of the courtyard were overlaid with silver, and the rings to hold up the curtains were made of silver.
18 He made the curtain for the entrance to the courtyard of finely woven linen, and he decorated it with beautiful embroidery in blue, purple, and scarlet thread. It was 30 feet long, and its height was 7-1/2 feet, just like the curtains of the courtyard walls. 19 It was supported by four posts, each set securely in its own bronze base. The tops of the posts were overlaid with silver, and the hooks and rings were also made of silver.
20 All the tent pegs used in the Tabernacle and courtyard were made of bronze.
21 This is an inventory of the materials used in building the Tabernacle of the Covenant. The Levites compiled the figures, as Moses directed, and Ithamar son of Aaron the priest served as recorder. 22 Bezalel son of Uri, grandson of Hur, of the tribe of Judah, made everything just as the LORD had commanded Moses. 23 He was assisted by Oholiab son of Ahisamach, of the tribe of Dan, a craftsman expert at engraving, designing, and embroidering with blue, purple, and scarlet thread on fine linen cloth.
24 The people brought special offerings of gold totaling 2,193 pounds, as measured by the weight of the sanctuary shekel. This gold was used throughout the Tabernacle.
25 The whole community of Israel gave 7,545 pounds of silver, as measured by the weight of the sanctuary shekel. 26 This silver came from the tax collected from each man registered in the census. (The tax is one beka, which is half a shekel, based on the sanctuary shekel.) The tax was collected from 603,550 men who had reached their twentieth birthday. 27 The hundred bases for the frames of the sanctuary walls and for the posts supporting the inner curtain required 7,500 pounds of silver, about 75 pounds for each base. 28 The remaining 45 pounds of silver was used to make the hooks and rings and to overlay the tops of the posts.
29 The people also brought as special offerings 5,310 pounds of bronze, 30 which was used for casting the bases for the posts at the entrance to the Tabernacle, and for the bronze altar with its bronze grating and all the altar utensils. 31 Bronze was also used to make the bases for the posts that supported the curtains around the courtyard, the bases for the curtain at the entrance of the courtyard, and all the tent pegs for the Tabernacle and the courtyard.
1 Bezalel constructed the altar of burnt offering from acacia wood. It was square, 7 1/2 feet long and 7 1/2 feet wide, and was 4 1/2 feet high. 2 He made horns for it on its four corners; the horns were of one piece with it. Then he overlaid it with bronze.
3 He made all the altar's utensils: the pots, shovels, basins, meat forks, and firepans; he made all its utensils of bronze. 4 He constructed for the altar a grate of bronze mesh under its ledge, halfway up from the bottom. 5 He cast four rings at the four corners of the bronze grate as holders for the poles. 6 He made the poles of acacia wood and overlaid them with bronze. 7 Then he inserted the poles into the rings on the sides of the altar in order to carry it with them. He constructed the altar with boards so that it was hollow.
8 He made the bronze basin and its stand from the bronze mirrors of the women who served at the entrance to the tent of meeting.
9 Then he made the courtyard. The hangings on the south side of the courtyard were of finely spun linen, 150 feet long, 10 including their twenty posts and their twenty bronze bases, with silver hooks and silver bands for the posts. 11 The hangings on the north side were also 150 feet long, including their twenty posts and twenty bronze bases. The hooks and bands of the posts were silver. 12 The hangings on the west side were 75 feet long, including their ten posts and their ten bases, with silver hooks and silver bands for the posts. 13 And for the east side toward the sunrise, 75 feet long, 14 the hangings on one side of the gate were 22 1/2 feet, including their three posts and their three bases. 15 It was the same for the other side of the courtyard gate. The hangings were 22 1/2 feet, including their three posts and their three bases. 16 All the hangings around the courtyard were of finely spun linen. 17 The bases for the posts were bronze; the hooks and bands of the posts were silver; and the plating for the tops of the posts was silver. All the posts of the courtyard were banded with silver.
18 The screen for the gate of the courtyard was made of finely spun linen, expertly embroidered with blue, purple, and scarlet yarn. It was 30 feet long, and like the hangings of the courtyard, 7 1/2 feet high. 19 It had four posts with their four bronze bases. Their hooks were silver, and their top plating and their bands were silver. 20 All the tent pegs for the tabernacle and for the surrounding courtyard were bronze.
21 This is the inventory for the tabernacle, the tabernacle of the testimony, that was recorded at Moses's command. It was the work of the Levites under the direction of Ithamar son of Aaron the priest. 22 Bezalel son of Uri, son of Hur, of the tribe of Judah, made everything that the Lord commanded Moses. 23 With him was Oholiab son of Ahisamach, of the tribe of Dan, a gem cutter, a designer, and an embroiderer with blue, purple, and scarlet yarn, and fine linen.
24 All the gold of the presentation offering that was used for the project in all the work on the sanctuary, was 2,193 pounds, according to the sanctuary shekel. 25 The silver from those of the community who were registered was 7,544 pounds, according to the sanctuary shekel-- 26 one-fifth of an ounce per man, that is, half a shekel according to the sanctuary shekel, from everyone twenty years old or more who had crossed over to the registered group, 603,550 men. 27 There were 7,500 pounds of silver used to cast the bases of the sanctuary and the bases of the curtain--one hundred bases from 7,500 pounds, 75 pounds for each base. 28 With the remaining 44 pounds he made the hooks for the posts, overlaid their tops, and supplied bands for them.
29 The bronze of the presentation offering totaled 5,310 pounds. 30 He made with it the bases for the entrance to the tent of meeting, the bronze altar and its bronze grate, all the utensils for the altar, 31 the bases for the surrounding courtyard, the bases for the gate of the courtyard, all the tent pegs for the tabernacle, and all the tent pegs for the surrounding courtyard.
What does Exodus chapter 38 mean?


COBCOE is the membership organisation for British Chambers of Commerce associations in Europe.
ACA has formed a partnership with COBCOE who have members in 35 European countries encompassing 12,000 businesses. COBCOE encompasses a unique pan-European network of trusted organisations and 50 Chambers of Commerce & business organisations based in UK and around the world. Support provided includes the international trade support Make Europe Work programme and services.
The EACP is organized as a partnership based on Letters of Intent. It provides the opportunity for each member to participate in one or several working groups that aim at solving common challenges and contribute to the development of each member cluster to achieve high-level performance by developing and realizing various joint projects.
Hamburg Aviation works for aviation in the Hamburg metropolitan region: Airbus, Lufthansa Technik, Hamburg Airport and more than 300 other companies with more than 40,000 highly qualified employees. Together, they cover the entire lifecycle of an aircraft and the entire value creation chain of aviation: from development, production and assembly via the air transport system and maintenance through to recycling. In addition, there are excellent universities and training facilities as well as leading research institutes. This makes the metropolitan region the third largest location of the civil aviation industry worldwide.
For advice on doing business in Germany this service is free and confidential.
NRW.INVEST is NRW's economic development agency. It helps businesses to trade with and grow in mainland Europe, via NRW (adjacent to The Netherlands and Belgium). There are over 1,450 UK companies located in NRW, more than any other German State. Well known UK firms established there include BP, Vodafone, Rentokil, Lush, Rexam, AO, Capita, GKN, Dyson and Johnson Matthey.
NETWORK OF AEROSPACE AND DEFENSE INDUSTRY PLAYERS IN AUVERGNE-RHÔNE-ALPES REGION.


text:
<?php

/**
 * Consult the documentation for more details at:
 * https://github.com/skymeyer/Vatsimphp/tree/master/docs
 **/

use Vatsimphp\VatsimData;
use Vatsimphp\Log\LoggerFactory;
use Monolog\Logger;
use Monolog\Handler\StreamHandler;

require_once '../vendor/autoload.php';

// Create custom logger based on Monolog (note: every PSR-3 compliant logger will work)
// see https://github.com/php-fig/fig-standards/blob/master/accepted/PSR-3-logger-interface.md
$logFile = __DIR__ . '/../app/logs/vatsimphp_custom.log';
$logger = new Logger('vatsimphp');
$logger->pushHandler(new StreamHandler($logFile, Logger::DEBUG));

// Register custom logger
LoggerFactory::register("_DEFAULT_", $logger);

$vatsim = new VatsimData();
$vatsim->loadData();

// see app/logs/vatsimphp_custom.log for the result


text:
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You are here: Home / Products and Quality Standards / BIOFILMS 6: Biofilms in Medical Devices and Impact
BIOFILMS 6: Biofilms in Medical Devices and Impact
By Niru Martins Leave a Comment
In earlier discussions in this series, biofilms and how they come about were introduced. Overview of the risk and impact in food, restauration, human wellbeing as well as control measures were also provided
In this part, we provide information on biofilms and potential threat to an important aspect of healthcare delivery, the use of medical devices to treat disease conditions and / or improve patient wellbeing as in daily diagnosis, cardiac malfunction, kidney conditions, etc.
What is a medical device?
any instrument, apparatus, appliance, software, implant, reagent, material or other article intended by the manufacturer to be used, alone or in combination, for human beings for one or more of the following specific medical purposes: — diagnosis, prevention, monitoring, prediction, prognosis, treatment or alleviation of disease,
diagnosis, monitoring, treatment, alleviation of, or compensation for, an injury or disability,
investigation, replacement or modification of the anatomy or of a physiological or pathological process or state,
providing information by means of in vitro examination of specimens derived from the human body, including organ, blood and tissue donations, and which does not achieve its principal intended action by pharmacological, immunological or metabolic means, in or on the human body, but which may be assisted in its function by such means. The following products shall also be deemed to be medical devices
devices for the control or support of conception,
products specifically intended for the cleaning, disinfection or sterilisation of devices …
In daily healthcare experience in hospitals, health clinics, healthcare centres, at the dental centres and eye clinics, the variety available may range from relatively uncomplicated to the very complex ones, which may be seen without particular notice.
They include, among many, bandages for dressing wounds, stethoscopes, catheters, transfusion equipment, stethoscopes, injection needles, surgical aides and equipment, dentures, pacemakers, defibrillators, artificial body parts (limbs, bone parts, etc.) large and expensive healthcare equipment such as X-Ray machines and dialysis machines, etc. all of which could be contaminated by microbes and form potential growth sites for biofilms if adequate care is not in place.
Importantly, all medical devices directly or indirectly come in contact with patients to diagnose and treat a medical condition and improve wellbeing. It may contribute to the process and task of delivering better treatment and wellbeing such as an healthcare optimisation and delivery computer software.
Electronic medical diagnostic stethoscope
St John Ambulance Dual Headed Stethoscope
Catheters are tunnelled under the skin with the opening being external. They can last and function for a long time provided the they are very well cared for on the external parts and the skin around them to avoid microbial contamination, potential development of infection including biofilms, which can be complicated in certain cases depending on location on the body, type of microbes and other factors.
Hip and / or groin and spinal replacement surgery is an area of particular attention and care to prevent infection
So also, is spinal cord treatment with external bodies or objects including metals and their alloys
A Haemodialysis machine: the complexity of the machine means that a robust contamination prevention practice must be in place to stop microbes taking hold and causing infections.
Microbes Identified from Different Types of Medical Devices
Pathogens Associated with Cardiac Implantable Electronic Devices (CIED) Infection (Saliba, E. et al. 2016).
The prevalence of in infection is very variable. Staphylococcus aureus and S. epidermidis infections were most prevalent particularly at the early stage. Methicillin Resistance Staphylococcus aureus (MRSA) infection occurs but rarely.
Ahsan, S. Y. Saberwal, B. Lambiase, P. D. et al. (2014) A simple infection-control protocol to reduce serious cardiac device infections. Europace. 2014;16(10):1482–1489
American Cancer Society – Catheters adapted from: https://www.cancer.org/treatment/treatments-and-side-effects/central-venous-catheters.html
Durante-Mangoni, E. Mattucci, I. Agrusta, F. Tripodi, M. F. Utili, R. (2013) Current trends in the management of cardiac implantable electronic device (CIED) infections. Intern Emerg Med. 2013;8(6): 465–476
Lekkerkerker, J. C. van Nieuwkoop, C. Trines, S. A. et al. (2009) Risk factors and time delay associated with cardiac device infections: Leiden device registry. Heart. 2009;95(9):715–720.
Medical Devices Regulation (MDR) 2017/745/EU amends Medical Devices Directive 2001/83/EC, Regulation (EC) No 178/2002 and Regulation (EC) No 1223/2009 and repealing Council Directives 90/385/EEC and 93/42/EEC
Padeletti, L. Mascioli, G. Perini, A. P. et al. (2011) Critical appraisal of cardiac implantable electronic devices: complications and management. Med Devices (Auckl). 2011; 4:157–167
Sandoe, J.A. Barlow, G. Chambers, J.B. et al. Guidelines for the diagnosis, prevention and management of implantable cardiac electronic device infection. Report of a joint Working Party project on behalf of the British Society for Antimicrobial Chemotherapy (BSAC, host organization), British Heart Rhythm Society (BHRS), British Cardiovascular Society (BCS), British Heart Valve Society (BHVS) and British Society for Echocardiography (BSE). J. Antimicrob Chemother. 2015;70(2):325–359
Sohail, M.R. Henrikson, C.A. Braid-Forbes, M.J. Forbes, K.F. Lerner, D.J. (2011) Mortality and cost associated with cardiovascular implantable electronic device infections. Arch Intern Med. 2011;171(20):1821–1828
Spinal cord adapted from Wikipedia: https://en.wikipedia.org/wiki/Spinal_cord#/media/File:Diagram_of_the_spinal_cord_CRUK_046.svg
Surrey Orthopaedic Clinic: Hip and groin adapted from http://www.surreyorthopaedicclinic.com/conditions?gclid=EAIaIQobChMIlY-rv9r63wIVxJTVCh19wARYEAAYAyAAEgL7t_D_BwE
Viola, G.M. Awan, and L. L. Darouiche, R. O. (2010) Nonstaphylococcal infections of cardiac implantable electronic devices. Circulation. 2010;121(19):2085–2091
Welch, M. Uslan, D.Z. Greenspon, A.J. et al. (2014) Variability in clinical features of early versus late cardiovascular implantable electronic device pocket infections. Pacing Clin Electrophysiol. 2014;37(8):955–962
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Tag: snowmelt
Sewage Blending Stirs Up Debate
Many environmentalists fear the practice of sewage blending would become more routine if a new EPA policy is enacted. (Photo by M. Vasquez)
Officials at the Environmental Protection Agency are considering a new policy for sewage treatment plants. Many environmentalists say if the policy is adopted, it will lead to increased water pollution and greater risk to public health. The Great Lakes Radio Consortium's Mark Brush reports on the debate over sewage blending:
https://environmentreport.org/wp-content/uploads/2005/01/brush_011705.mp3
(sound of water in sewer)
Some sanitary sewers are tied in with storm sewers. So when there's a big rainstorm, or when there's a fast snowmelt, all that water can inundate some sewage treatment plants. To tackle this problem, some treatment plants have adopted a practice known as "blending." The excess sewage is re-routed around the slower parts of the treatment plant. The dirty water is then mixed with the water that's been cleaned. It's sometimes given a shot of chlorine, and then released into creeks, rivers, and lakes.
Kurt Heise oversees the operation of a sewage treatment plant on the Detroit River. He says the practice of blending is necessary in order to keep the plant from being overwhelmed.
"When you have a wet weather event, an extreme wet weather event, if we were to allow all of that combined water in through the normal process the treatment process would be ruined."
Sewage blending has been around for a long time. To plant operators, it's a necessary step in handling large amounts of dirty water. But to some people, blending is not seen as a good option. They want the practice to stop.
Instead, they say, cities should invest in their systems to make sure they can fully treat all the water that comes to the plant. Kurt Heise says, if his plant were required to do this, it wouldn't make sense economically.
"It would almost result in doubling the size of our plant and spending just untold amounts of dollars for an event only happens a few times a year."
Sewage treatment plant operators say you have to weigh the costs and the benefits before spending hundreds of millions of dollars on expanding the treatment plants. The decision of whether or not to allow blending has been left up to state and local regulators. But recently, the U.S. Environmental Protection Agency has weighed in on the subject. And ever since they suggested new guidelines for allowing blending, environmentalists have been critical of their plan. Mike Shriberg is the Great Lakes advocate for the Public Interest Research Group. It's an environmental consumer activist organization.
Shriberg says the draft blending policy, the way it's written now, is too broad. And will allow the practice of blending to become routine.
"Our fear is that when you've got a treatment plant that uses blending, they're never going to upgrade to full treatment sewage. And so if a treatment plant is allowed to blend they're not going to go up to full treatment capacity they have no incentive to do that anymore. It's sort of the cheap way out."
Sewage treatment operators say blending is better than seeing the raw sewage overflow into waterways. And they say it's better than spending large sums of money to fix a problem that only occurs a few times a year. But critics say the EPA doesn't have a good handle on how often blending is used, and what kind of health risks are associated with the practice.
Some initial studies have been done on blended sewage and how it might affect public health. Joan Rose is a water microbiologist at Michigan State University. She's written a report on the health risks associated with blended sewage.
"So what I found was that if people were actually swimming in the water and there was a discharge of a blended sewage upstream, that their risk of getting sick, actually getting sick with a virus or a parasite was about a hundred times greater – when there was a blended discharge as opposed to if the water was fully treated."
Rose says some of these viruses, such as Hepatitis-A, are highly contagious. At this point, there are no good estimates on how many people get sick from blended sewage each year. It's never been studied, so the impact of blending on public health is unclear. Ben Grumbles is the Assistant Administrator for water at the EPA. He says the EPA is considering the billions of dollars at stake in expanding the nation's sewer treatment plants versus the risk to public health.
"What we're trying to do is to clarify what's legal and what isn't legal and to recognize the economic realities that sewage teatment plants face across the country in terms of their infrastructure needs, but foremost and above all what leaves the facility has to meet Clean Water Act permit limits."
But the Clean Water Act permit limits don't measure all the viruses, bacteria, and parasites found in blended sewage. And so some environmentalists and scientists say meeting the limits doesn't necessarily mean protecting public health. Grumbles says officials are still reviewing the tens of thousands of comments they received after releasing the draft blending policy.
He says he doesn't know what the final rule will look like, or if they'll issue a rule at all. One thing is likely, if the policy is finalized the way it's written now, it's expected that environmental groups will take the EPA to court.
For the Great Lakes Radio Consortium, I'm Mark Brush.
The EPA on its Blending Policy
Read the NRDC's report on "The Growing Problem of Sewage Pollution" (.pdf)
A closer look at a sewage treatment plant
Author Mark BrushPosted on January 17, 2005 Categories Features, Polluted BeachesTags activist, bacteria, benefits, blending, cheap, chlorine, cities, clean water act, cleaned, consumer, contagious, costs, creeks, detroit, dirty, dollars, economic, environmentalists, epa, great lakes, guidelines, health, hepatitis, incentive, invest, lakes, legal, michigan state university, microbiologist, operators, overwhelm, parasite, policy, process, public health, public interest research group, rainstorm, risks, rivers, sanitary, scientists, sewage, sewers, sick, size, snowmelt, storm, swimming, system, treatment plants, virus, water, weather, wet
Point: Agreements Will Help Protect Great Lakes
The proposed Annex 2001 agreement is the subject of lively debate as to whether it will help or hinder the conservation of the Great Lakes (Photo by Jeremy Lounds)
In 1998, an Ontario company wanted to sell Lake Superior water overseas. Their proposal raised fears that Great Lakes water could be diverted with little oversight. Now, officials from the eight states and two provinces in the region have come up with two proposed agreements that would regulate new water diversion requests. The proposed agreements are known as the Annex 2001 Implementing Agreements. Great Lakes Radio Consortium commentator Cameron Davis says the agreements are a good first step in protecting a cherished resource:
https://environmentreport.org/wp-content/uploads/2004/10/davis_101804.mp3
In 1998 an Ontario company wanted to sell Lake Superior water overseas. Their
proposal raised fears that Great Lakes water could be diverted with little oversight.
Now, officials from the eight states and two provinces in the region have come up with
two proposed agreements that would regulate new water diversion requests. The proposed
agreements are known as the Annex 2001 Implementing Agreements. Great Lakes Radio Consortium
commentator Cameron Davis says the agreements are a good first step in protecting a cherished
When I was growing up, my family and I used to go to the beach every Sunday. As I stood
looking out over Lake Michigan, I was awed at how it seemed to go on forever. Today I know
better. The Great Lakes are a gift left from the glaciers thousands of years ago. That's
because less than 1% of Great Lakes water is renewed every year from rainfall, snowmelt,
and groundwater recharge.
Two proposed agreements by the states and provinces would make diversions of Great Lakes water
to places outside of the Great Lakes a virtual impossibility.
The agreements look to be a vast improvement over current laws. First, federal law in the U.S.
allows a diversion only if every Great Lakes Governor approves. That seems like a tough standard
to meet, but in fact, it's already allowed two diversions of Great Lakes water to take place. In
the 1990's, diversions were approved to Pleasant Prairie in Wisconsin and another one to Akron,
Ohio. The water was used for municipal supplies.
Second, the proposed agreements are an improvement over the Boundary Waters Treaty – a pact
signed between the U.S. and Canada almost 100 years ago. The treaty doesn't cover one very
important Great Lake: Lake Michigan. Because Lake Michigan is solely within the U.S. and not
shared with Canada, the treaty leaves the lake unprotected. This is a problem because Lake
Michigan is directly connected to Lake Huron. So water diverted out of Lake Michigan means
water diverted out of Lake Huron.
The agreements are a good first step, but they need to be stronger. For example, they require
regional approval for diversions of water that go outside of the basin of more than one million
gallons per day, but they don't require regional approval for withdrawals of up to 5 million
gallons per day that stay in the Great Lakes. In addition, the draft agreements need to do a
better job at requiring water conservation before potential water withdrawals can be considered.
We have a choice. We can be against the agreements and keep the status quo or work to make
them even stronger. We need to work to protect our region's water so that our kids can continue
to look out over the Great Lakes and see them for what they are: vast, magnificent, but fragile
natural treasures.
Host Tag: Cameron Davis is the executive director of the Lake Michigan Federation.
The Council of Great Lakes Governors on Annex 2001
More comments on the Annex 2001
More on water usage in the Great Lakes
Author Cameron DavisPosted on October 18, 2004 Categories Commentary, Water WithdrawalsTags agreements, akron, approval, basin, beach, boundary waters, canada, conservation, diversions, family, federal, gallons, gift, glaciers, governor, great lakes, groundwater, improvement, lake huron, lake michigan, laws, municipal, ohio, outside, pleasant prairie, potential, problem, proposed, provinces, rainfall, regional, renew, shared, snowmelt, states, supplies, treaty, water, wisconsin, withdrawals


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Q: how to retrieve class:function with clang I have a CXCursor that marks the place where the declaration of a function in C++. I know how to get the method name, or the USR... but how can I get the Class Name (that the method is a part of)
The code that I am parsing with libclang is:
Number3D* ParseObjectFace::RetFaceVertex(){
    // some code...
}

When I try to print the cursor information I use:
clang_getCString(clang_getCursorUSR(cr));
//output "c:@C@ParseObjectFace@F@RetFaceVertex#"
clang_getCString(clang_getCursorDisplayName(cr));
//output "RetFaceVertex()"

How can I get "ParseObjectFace" (the class name)?

A: You can use clang_getCursorSemanticParent to retrieve the "semantic parent" of a cursor. As quoted from the documentation:

The semantic parent of a cursor is the cursor that semantically contains the given cursor.
  [...]
  In the out-of-line definition of C::f, the semantic parent is the the class C, of which this function is a member.

In your example, something like the following should work:
// Retrieve the semantic parent (the class in this case)
CXCursor parent = clang_getCursorSemanticParent (cr);

clang_getCString (clang_getCursorDisplayName (parent));
// Should yield "ParseObjectFace"


text:
Civil, Environmental and Architectural Engineering
CEAE Professor Shideh Dashti's Research Selected as Editor's Choice in ASCE Journal
CEAE professor Shideh Dashti researched how tall buildings affect adjacent underground structures during earthquakes with a group including professors from the University of Illinois and engineers from the Arup Group. They produced a research paper on their findings titled "Influence of Tall Buildings on Seismic Response of Shallow Underground Structures" that was published and selected as an editor's choice by the American Society of Civil Engineers (ASCE).
Engineers have long observed the potential for buildings to transmit forces into the surrounding soils but have little understanding of how these affect nearby underground structures. Dr. Dashti and her team used a centrifuge facilities located at CU Boulder and at the University of California, Davis, to test prototype building and structure combinations using both mid- and high-rise buildings with cut-and-cover tunnels and braced excavations. They used a centrifuge for geotechnical modeling because of its ability to scale between testing and in situ conditions. Researchers found that the buildings do transmit large lateral loads to underground structures during seismic events and were able to reasonably reproduce the measured response numerically.
Dr. Dashti's findings are beneficial to the growing field of earthquake design. Millions of people worldwide live in areas that experience seismicity and are threatened by earthquakes. Engineers have sought to expand their knowledge of the behavior of structures and foundations during seismic events in order to improve structural safety and resilience. Dr. Dashti's findings will help to lessen the impact earthquakes have on infrastructure by allowing engineers to understand their effect and work to mitigate it.
UCB 428, Boulder, CO 80309-0428
Office: Engineering Center, ECOT 441
Email: ceae@colorado.edu
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