Like is пїЅ she likes our mind unpleasant impression bring nations together. Her blond hair and not everyone goes didn't like her, but when we began to communicate closer I understood I was.
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Clean with duster table, piano "My home is my fortress" at times I feel dissatisfied with myself, especially when I fail to do something.


text:
Q: Next.js - Link does not work in production I use NextJS 9.1.3 and I am generating a navigation in my project using the following code:

import { useRouter } from 'next/router';
import { Menu, Icon } from 'antd';
import PropTypes from 'prop-types';
import Link from 'next/link';

const Navigation = () => {
  const navPoints = [
    {
      id: 0,
      key: '/index',
      icon: 'info',
      title: 'Testpage',
      path: '/',
    },
    {
      id: 1,
      key: '/helloworld',
      icon: 'info',
      title: 'Hello World',
      path: '/helloworld',
    },
  ];

  const propTypes = {
    onClick: PropTypes.function,
    href: PropTypes.string,
    icon: PropTypes.string.isRequired,
    title: PropTypes.string.isRequired,
  };

  const defaultProps = {
    onClick: Function.prototype,
    href: '',
  };

  const CustomNavPoint = React.forwardRef(
    ({
      onClick, href, icon, title,
    }, ref) => (
      <a href={href} onClick={onClick} ref={ref}>
        <Icon type={icon} />
        {title}
      </a>
    ),
  );
  CustomNavPoint.propTypes = propTypes;
  CustomNavPoint.defaultProps = defaultProps;
  CustomNavPoint.displayName = 'CustomNavPoint';

  const router = useRouter();
  const currentRoute = router.pathname;
  return (
    <Menu
      selectedKeys={[currentRoute === '/' ? '/index' : currentRoute]}
      mode="horizontal"
      overflowedIndicator={<Icon type="bars" />}
    >
      {navPoints && navPoints.length
        ? navPoints.map((el) => (
          <Menu.Item key={el.key} title={el.title}>
            <Link href={el.path} passHref>
              <CustomNavPoint icon={el.icon} href={el.path} title={el.title} />
            </Link>
          </Menu.Item>
        ))
        : null}
    </Menu>
  );
};
export default Navigation;

In development mode it runs perfectly, but if I do:
yarn build

yarn export (next export)

then the Links won't work in the production build.
I have read that passHref is important as well as the click function, but the navigation points do not work.
Although the anker tag gets the correct path:

What is the problem with that, can someone help here ?

redpajama_set_name: RedPajamaStackExchange


text:
package org.apache.flink.connectors.hive;

import org.apache.flink.annotation.PublicEvolving;
import org.apache.flink.api.connector.source.Boundedness;
import org.apache.flink.api.connector.source.SplitEnumerator;
import org.apache.flink.api.connector.source.SplitEnumeratorContext;
import org.apache.flink.connector.file.src.AbstractFileSource;
import org.apache.flink.connector.file.src.ContinuousEnumerationSettings;
import org.apache.flink.connector.file.src.PendingSplitsCheckpoint;
import org.apache.flink.connector.file.src.assigners.FileSplitAssigner;
import org.apache.flink.connector.file.src.enumerate.FileEnumerator;
import org.apache.flink.connector.file.src.reader.BulkFormat;
import org.apache.flink.connector.file.table.ContinuousPartitionFetcher;
import org.apache.flink.connectors.hive.read.HiveSourceSplit;
import org.apache.flink.core.fs.Path;
import org.apache.flink.core.io.SimpleVersionedSerializer;
import org.apache.flink.table.catalog.ObjectPath;
import org.apache.flink.table.data.RowData;
import org.apache.flink.util.Preconditions;

import org.apache.hadoop.hive.metastore.api.Partition;
import org.apache.hadoop.mapred.JobConf;

import javax.annotation.Nullable;

import java.util.ArrayList;
import java.util.Collection;
import java.util.Collections;
import java.util.List;

/**
 * A unified data source that reads a hive table. HiveSource works on {@link HiveSourceSplit} and
 * uses {@link BulkFormat} to read the data. A built-in BulkFormat is provided to return records in
 * type of {@link RowData}. It's also possible to implement a custom BulkFormat to return data in
 * different types. Use {@link HiveSourceBuilder} to build HiveSource instances.
 *
 * @param <T> the type of record returned by this source
 */
@PublicEvolving
public class HiveSource<T> extends AbstractFileSource<T, HiveSourceSplit> {

    private static final long serialVersionUID = 1L;

    private final JobConfWrapper jobConfWrapper;
    private final List<String> partitionKeys;

    private final String hiveVersion;
    private final List<String> dynamicFilterPartitionKeys;
    private final List<HiveTablePartition> partitions;
    private final ContinuousPartitionFetcher<Partition, ?> fetcher;
    private final HiveTableSource.HiveContinuousPartitionFetcherContext<?> fetcherContext;
    private final ObjectPath tablePath;

    HiveSource(
            Path[] inputPaths,
            FileEnumerator.Provider fileEnumerator,
            FileSplitAssigner.Provider splitAssigner,
            BulkFormat<T, HiveSourceSplit> readerFormat,
            @Nullable ContinuousEnumerationSettings continuousEnumerationSettings,
            JobConf jobConf,
            ObjectPath tablePath,
            List<String> partitionKeys,
            String hiveVersion,
            @Nullable List<String> dynamicFilterPartitionKeys,
            List<HiveTablePartition> partitions,
            @Nullable ContinuousPartitionFetcher<Partition, ?> fetcher,
            @Nullable HiveTableSource.HiveContinuousPartitionFetcherContext<?> fetcherContext) {
        super(
                inputPaths,
                fileEnumerator,
                splitAssigner,
                readerFormat,
                continuousEnumerationSettings);
        this.jobConfWrapper = new JobConfWrapper(jobConf);
        this.tablePath = tablePath;
        this.partitionKeys = partitionKeys;
        this.hiveVersion = hiveVersion;
        this.dynamicFilterPartitionKeys = dynamicFilterPartitionKeys;
        this.partitions = partitions;
        this.fetcher = fetcher;
        this.fetcherContext = fetcherContext;
    }

    @Override
    public SimpleVersionedSerializer<HiveSourceSplit> getSplitSerializer() {
        return HiveSourceSplitSerializer.INSTANCE;
    }

    @Override
    public SimpleVersionedSerializer<PendingSplitsCheckpoint<HiveSourceSplit>>
            getEnumeratorCheckpointSerializer() {
        if (continuousPartitionedEnumerator()) {
            return new ContinuousHivePendingSplitsCheckpointSerializer(getSplitSerializer());
        } else {
            return super.getEnumeratorCheckpointSerializer();
        }
    }

    @Override
    public SplitEnumerator<HiveSourceSplit, PendingSplitsCheckpoint<HiveSourceSplit>>
            createEnumerator(SplitEnumeratorContext<HiveSourceSplit> enumContext) {
        if (continuousPartitionedEnumerator()) {
            return createContinuousSplitEnumerator(
                    enumContext,
                    fetcherContext.getConsumeStartOffset(),
                    Collections.emptyList(),
                    Collections.emptyList());
        } else if (dynamicFilterPartitionKeys != null) {
            return createDynamicSplitEnumerator(enumContext);
        } else {
            return super.createEnumerator(enumContext);
        }
    }

    @Override
    public SplitEnumerator<HiveSourceSplit, PendingSplitsCheckpoint<HiveSourceSplit>>
            restoreEnumerator(
                    SplitEnumeratorContext<HiveSourceSplit> enumContext,
                    PendingSplitsCheckpoint<HiveSourceSplit> checkpoint) {
        if (continuousPartitionedEnumerator()) {
            Preconditions.checkState(
                    checkpoint instanceof ContinuousHivePendingSplitsCheckpoint,
                    "Illegal type of splits checkpoint %s for streaming read partitioned table",
                    checkpoint.getClass().getName());
            ContinuousHivePendingSplitsCheckpoint hiveCheckpoint =
                    (ContinuousHivePendingSplitsCheckpoint) checkpoint;
            return createContinuousSplitEnumerator(
                    enumContext,
                    hiveCheckpoint.getCurrentReadOffset(),
                    hiveCheckpoint.getSeenPartitionsSinceOffset(),
                    hiveCheckpoint.getSplits());
        } else {
            return super.restoreEnumerator(enumContext, checkpoint);
        }
    }

    private boolean continuousPartitionedEnumerator() {
        return getBoundedness() == Boundedness.CONTINUOUS_UNBOUNDED && !partitionKeys.isEmpty();
    }

    private SplitEnumerator<HiveSourceSplit, PendingSplitsCheckpoint<HiveSourceSplit>>
            createContinuousSplitEnumerator(
                    SplitEnumeratorContext<HiveSourceSplit> enumContext,
                    Comparable<?> currentReadOffset,
                    Collection<List<String>> seenPartitions,
                    Collection<HiveSourceSplit> splits) {
        return new ContinuousHiveSplitEnumerator(
                enumContext,
                currentReadOffset,
                seenPartitions,
                getAssignerFactory().create(new ArrayList<>(splits)),
                getContinuousEnumerationSettings().getDiscoveryInterval().toMillis(),
                jobConfWrapper.conf(),
                tablePath,
                fetcher,
                fetcherContext);
    }

    private SplitEnumerator<HiveSourceSplit, PendingSplitsCheckpoint<HiveSourceSplit>>
            createDynamicSplitEnumerator(SplitEnumeratorContext<HiveSourceSplit> enumContext) {
        return new DynamicHiveSplitEnumerator(
                enumContext,
                new HiveSourceDynamicFileEnumerator.Provider(
                        tablePath.getFullName(),
                        dynamicFilterPartitionKeys,
                        partitions,
                        hiveVersion,
                        jobConfWrapper),
                getAssignerFactory());
    }
}

redpajama_set_name: RedPajamaGithub


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With chiropractic care, many patients have successfully conquered their lower chronic back pain. It's successful because it focuses on.
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If your body goes overboard making prostaglandin, those contracting muscles can cause some major cramping—creating pain that.
Chiropractic treatment is an excellent example of the importance of this.
is effective in adults for: acute, subacute, and chronic low back pain;.
(4); Epidural steroid injections give short term but not long-term relief of low back pain. (4); Spinal cord stimulation is moderately effective for failed back surgery.
Inversion therapy using an inversion table is a non-surgical treatment your doctor may recommend to help relieve low back pain and sciatica.
Chiropractic care does. Adjustments are a safe, effective low back pain management technique for restoring correct alignment to the spine. Adjustments help to.
Low back pain is the second most common reason for doctor visits, and.
into the effectiveness of non-surgical spinal decompression involves.
Many of the prescription medicines offer powerful relief from the symptoms of low back pain, but with powerful side effects. Although chiropractic care will not "cure" menstrual symptoms, it can relie.
How To Relieve Upper Back Pain At Home: May 18, 2016. Stretching with scoliosis can help alleviate back by releasing tension in. stretches you can do at home or in the gym to temporarily relieve back pain. them away from your chest until your feel a stretch in your upper back.
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How To Relief Lower Back Pain: What can cause low back pain? What are treatment options? Read this neurosurgeon-edited guide illustrating surgical and nonsurgical solutions.
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text:
<?php

/**
 * BuddyPress DB schema
 *
 * @package BuddyPress
 * @subpackage CoreAdministration
 */

// Exit if accessed directly
if ( !defined( 'ABSPATH' ) ) exit;

/**
 * Get the DB schema to use for BuddyPress components
 *
 * @since BuddyPress (1.1.0)
 *
 * @global $wpdb $wpdb
 * @return string The default database character-set, if set
 */
function bp_core_set_charset() {
	global $wpdb;

	require_once( ABSPATH . 'wp-admin/includes/upgrade.php' );

	return !empty( $wpdb->charset ) ? "DEFAULT CHARACTER SET {$wpdb->charset}" : '';
}

/**
 * Main installer
 *
 * Can be passed an optional array of components to explicitly run installation
 * routines on, typically the first time a component is activated in Settings.
 *
 * @since BuddyPress (1.0.0)
 *
 * @param array $active_components Components to install
 */
function bp_core_install( $active_components = false ) {

	// If no components passed, get all the active components from the main site
	if ( empty( $active_components ) ) {
		$active_components = apply_filters( 'bp_active_components', bp_get_option( 'bp-active-components' ) );
	}

	// Install Activity Streams even when inactive (to store last_activity data)
	bp_core_install_activity_streams();

	// Install the signups table
	bp_core_maybe_install_signups();

	// Notifications
	if ( !empty( $active_components['notifications'] ) ) {
		bp_core_install_notifications();
	}

	// Friend Connections
	if ( !empty( $active_components['friends'] ) ) {
		bp_core_install_friends();
	}

	// Extensible Groups
	if ( !empty( $active_components['groups'] ) ) {
		bp_core_install_groups();
	}

	// Private Messaging
	if ( !empty( $active_components['messages'] ) ) {
		bp_core_install_private_messaging();
	}

	// Extended Profiles
	if ( !empty( $active_components['xprofile'] ) ) {
		bp_core_install_extended_profiles();
	}

	// Blog tracking
	if ( !empty( $active_components['blogs'] ) ) {
		bp_core_install_blog_tracking();
	}
}

/**
 * Install database tables for the Notifications component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_notifications() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_notifications (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				user_id bigint(20) NOT NULL,
				item_id bigint(20) NOT NULL,
				secondary_item_id bigint(20),
				component_name varchar(75) NOT NULL,
				component_action varchar(75) NOT NULL,
				date_notified datetime NOT NULL,
				is_new bool NOT NULL DEFAULT 0,
				KEY item_id (item_id),
				KEY secondary_item_id (secondary_item_id),
				KEY user_id (user_id),
				KEY is_new (is_new),
				KEY component_name (component_name),
				KEY component_action (component_action),
				KEY useritem (user_id,is_new)
			) {$charset_collate};";

	dbDelta( $sql );
}

/**
 * Install database tables for the Activity component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_activity_streams() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_activity (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				user_id bigint(20) NOT NULL,
				component varchar(75) NOT NULL,
				type varchar(75) NOT NULL,
				action text NOT NULL,
				content longtext NOT NULL,
				primary_link varchar(255) NOT NULL,
				item_id bigint(20) NOT NULL,
				secondary_item_id bigint(20) DEFAULT NULL,
				date_recorded datetime NOT NULL,
				hide_sitewide bool DEFAULT 0,
				mptt_left int(11) NOT NULL DEFAULT 0,
				mptt_right int(11) NOT NULL DEFAULT 0,
				is_spam tinyint(1) NOT NULL DEFAULT 0,
				KEY date_recorded (date_recorded),
				KEY user_id (user_id),
				KEY item_id (item_id),
				KEY secondary_item_id (secondary_item_id),
				KEY component (component),
				KEY type (type),
				KEY mptt_left (mptt_left),
				KEY mptt_right (mptt_right),
				KEY hide_sitewide (hide_sitewide),
				KEY is_spam (is_spam)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_activity_meta (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				activity_id bigint(20) NOT NULL,
				meta_key varchar(255) DEFAULT NULL,
				meta_value longtext DEFAULT NULL,
				KEY activity_id (activity_id),
				KEY meta_key (meta_key)
			) {$charset_collate};";

	dbDelta( $sql );
}

/**
 * Install database tables for the Notifications component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_friends() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_friends (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				initiator_user_id bigint(20) NOT NULL,
				friend_user_id bigint(20) NOT NULL,
				is_confirmed bool DEFAULT 0,
				is_limited bool DEFAULT 0,
				date_created datetime NOT NULL,
				KEY initiator_user_id (initiator_user_id),
				KEY friend_user_id (friend_user_id)
			) {$charset_collate};";

	dbDelta( $sql );
}

/**
 * Install database tables for the Groups component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_groups() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_groups (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				creator_id bigint(20) NOT NULL,
				name varchar(100) NOT NULL,
				slug varchar(200) NOT NULL,
				description longtext NOT NULL,
				status varchar(10) NOT NULL DEFAULT 'public',
				enable_forum tinyint(1) NOT NULL DEFAULT '1',
				date_created datetime NOT NULL,
				KEY creator_id (creator_id),
				KEY status (status)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_groups_members (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				group_id bigint(20) NOT NULL,
				user_id bigint(20) NOT NULL,
				inviter_id bigint(20) NOT NULL,
				is_admin tinyint(1) NOT NULL DEFAULT '0',
				is_mod tinyint(1) NOT NULL DEFAULT '0',
				user_title varchar(100) NOT NULL,
				date_modified datetime NOT NULL,
				comments longtext NOT NULL,
				is_confirmed tinyint(1) NOT NULL DEFAULT '0',
				is_banned tinyint(1) NOT NULL DEFAULT '0',
				invite_sent tinyint(1) NOT NULL DEFAULT '0',
				KEY group_id (group_id),
				KEY is_admin (is_admin),
				KEY is_mod (is_mod),
				KEY user_id (user_id),
				KEY inviter_id (inviter_id),
				KEY is_confirmed (is_confirmed)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_groups_groupmeta (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				group_id bigint(20) NOT NULL,
				meta_key varchar(255) DEFAULT NULL,
				meta_value longtext DEFAULT NULL,
				KEY group_id (group_id),
				KEY meta_key (meta_key)
			) {$charset_collate};";

	dbDelta( $sql );
}

/**
 * Install database tables for the Messsages component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_private_messaging() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_messages_messages (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				thread_id bigint(20) NOT NULL,
				sender_id bigint(20) NOT NULL,
				subject varchar(200) NOT NULL,
				message longtext NOT NULL,
				date_sent datetime NOT NULL,
				KEY sender_id (sender_id),
				KEY thread_id (thread_id)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_messages_recipients (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				user_id bigint(20) NOT NULL,
				thread_id bigint(20) NOT NULL,
				unread_count int(10) NOT NULL DEFAULT '0',
				sender_only tinyint(1) NOT NULL DEFAULT '0',
				is_deleted tinyint(1) NOT NULL DEFAULT '0',
				KEY user_id (user_id),
				KEY thread_id (thread_id),
				KEY is_deleted (is_deleted),
				KEY sender_only (sender_only),
				KEY unread_count (unread_count)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_messages_notices (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				subject varchar(200) NOT NULL,
				message longtext NOT NULL,
				date_sent datetime NOT NULL,
				is_active tinyint(1) NOT NULL DEFAULT '0',
				KEY is_active (is_active)
			) {$charset_collate};";

	dbDelta( $sql );
}

/**
 * Install database tables for the Profiles component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_extended_profiles() {
	global $wpdb;

	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	// These values should only be updated if they are not already present
	if ( ! bp_get_option( 'bp-xprofile-base-group-name' ) ) {
		bp_update_option( 'bp-xprofile-base-group-name', _x( 'General', 'First field-group name', 'buddypress' ) );
	}

	if ( ! bp_get_option( 'bp-xprofile-fullname-field-name' ) ) {
		bp_update_option( 'bp-xprofile-fullname-field-name', _x( 'Display Name', 'Display name field', 'buddypress' ) );
	}

	$sql[] = "CREATE TABLE {$bp_prefix}bp_xprofile_groups (
				id bigint(20) unsigned NOT NULL AUTO_INCREMENT PRIMARY KEY,
				name varchar(150) NOT NULL,
				description mediumtext NOT NULL,
				group_order bigint(20) NOT NULL DEFAULT '0',
				can_delete tinyint(1) NOT NULL,
				KEY can_delete (can_delete)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_xprofile_fields (
				id bigint(20) unsigned NOT NULL AUTO_INCREMENT PRIMARY KEY,
				group_id bigint(20) unsigned NOT NULL,
				parent_id bigint(20) unsigned NOT NULL,
				type varchar(150) NOT NULL,
				name varchar(150) NOT NULL,
				description longtext NOT NULL,
				is_required tinyint(1) NOT NULL DEFAULT '0',
				is_default_option tinyint(1) NOT NULL DEFAULT '0',
				field_order bigint(20) NOT NULL DEFAULT '0',
				option_order bigint(20) NOT NULL DEFAULT '0',
				order_by varchar(15) NOT NULL DEFAULT '',
				can_delete tinyint(1) NOT NULL DEFAULT '1',
				KEY group_id (group_id),
				KEY parent_id (parent_id),
				KEY field_order (field_order),
				KEY can_delete (can_delete),
				KEY is_required (is_required)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_xprofile_data (
				id bigint(20) unsigned NOT NULL AUTO_INCREMENT PRIMARY KEY,
				field_id bigint(20) unsigned NOT NULL,
				user_id bigint(20) unsigned NOT NULL,
				value longtext NOT NULL,
				last_updated datetime NOT NULL,
				KEY field_id (field_id),
				KEY user_id (user_id)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_xprofile_meta (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				object_id bigint(20) NOT NULL,
				object_type varchar(150) NOT NULL,
				meta_key varchar(255) DEFAULT NULL,
				meta_value longtext DEFAULT NULL,
				KEY object_id (object_id),
				KEY meta_key (meta_key)
			) {$charset_collate};";

	dbDelta( $sql );

	// Insert the default group and fields
	$insert_sql = array();

	if ( ! $wpdb->get_var( "SELECT id FROM {$bp_prefix}bp_xprofile_groups WHERE id = 1" ) ) {
		$insert_sql[] = "INSERT INTO {$bp_prefix}bp_xprofile_groups ( name, description, can_delete ) VALUES ( " . $wpdb->prepare( '%s', stripslashes( bp_get_option( 'bp-xprofile-base-group-name' ) ) ) . ", '', 0 );";
	}

	if ( ! $wpdb->get_var( "SELECT id FROM {$bp_prefix}bp_xprofile_fields WHERE id = 1" ) ) {
		$insert_sql[] = "INSERT INTO {$bp_prefix}bp_xprofile_fields ( group_id, parent_id, type, name, description, is_required, can_delete ) VALUES ( 1, 0, 'textbox', " . $wpdb->prepare( '%s', stripslashes( bp_get_option( 'bp-xprofile-fullname-field-name' ) ) ) . ", '', 1, 0 );";
	}

	dbDelta( $insert_sql );
}

/**
 * Install database tables for the Sites component
 *
 * @since BuddyPress (1.0.0)
 *
 * @uses bp_core_set_charset()
 * @uses bp_core_get_table_prefix()
 * @uses dbDelta()
 */
function bp_core_install_blog_tracking() {
	$sql             = array();
	$charset_collate = bp_core_set_charset();
	$bp_prefix       = bp_core_get_table_prefix();

	$sql[] = "CREATE TABLE {$bp_prefix}bp_user_blogs (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				user_id bigint(20) NOT NULL,
				blog_id bigint(20) NOT NULL,
				KEY user_id (user_id),
				KEY blog_id (blog_id)
			) {$charset_collate};";

	$sql[] = "CREATE TABLE {$bp_prefix}bp_user_blogs_blogmeta (
				id bigint(20) NOT NULL AUTO_INCREMENT PRIMARY KEY,
				blog_id bigint(20) NOT NULL,
				meta_key varchar(255) DEFAULT NULL,
				meta_value longtext DEFAULT NULL,
				KEY blog_id (blog_id),
				KEY meta_key (meta_key)
			) {$charset_collate};";

	dbDelta( $sql );
}

/** Signups *******************************************************************/

/**
 * Install the signups table.
 *
 * @since BuddyPress (2.0.0)
 *
 * @global $wpdb
 * @uses wp_get_db_schema() to get WordPress ms_global schema
 */
function bp_core_install_signups() {
	global $wpdb;

	// Signups is not there and we need it so let's create it
	require_once( buddypress()->plugin_dir . '/bp-core/admin/bp-core-schema.php' );
	require_once( ABSPATH                  . 'wp-admin/includes/upgrade.php'     );

	// Never use bp_core_get_table_prefix() for any global users tables
	$wpdb->signups = $wpdb->base_prefix . 'signups';

	// Use WP's core CREATE TABLE query
	$create_queries = wp_get_db_schema( 'ms_global' );
	if ( ! is_array( $create_queries ) ) {
		$create_queries = explode( ';', $create_queries );
		$create_queries = array_filter( $create_queries );
	}

	// Filter out all the queries except wp_signups
	foreach ( $create_queries as $key => $query ) {
		if ( preg_match( "|CREATE TABLE ([^ ]*)|", $query, $matches ) ) {
			if ( trim( $matches[1], '`' ) !== $wpdb->signups ) {
				unset( $create_queries[ $key ] );
			}
		}
	}

	// Run WordPress's database upgrader
	if ( ! empty( $create_queries ) ) {
		dbDelta( $create_queries );
	}
}

/**
 * Update the signups table, adding `signup_id` column and drop `domain` index.
 *
 * This is necessary because WordPress's `pre_schema_upgrade()` function wraps
 * table ALTER's in multisite checks, and other plugins may have installed their
 * own sign-ups table; Eg: Gravity Forms User Registration Add On
 *
 * @since BuddyPress (2.0.1)
 *
 * @see pre_schema_upgrade()
 * @link https://core.trac.wordpress.org/ticket/27855 WordPress Trac Ticket
 * @link https://buddypress.trac.wordpress.org/ticket/5563 BuddyPress Trac Ticket
 *
 * @global WPDB $wpdb
 */
function bp_core_upgrade_signups() {
	global $wpdb;

	// Bail if global tables should not be upgraded
	if ( defined( 'DO_NOT_UPGRADE_GLOBAL_TABLES' ) ) {
		return;
	}

	// Never use bp_core_get_table_prefix() for any global users tables
	$wpdb->signups = $wpdb->base_prefix . 'signups';

	// Attempt to alter the signups table
	$wpdb->query( "ALTER TABLE {$wpdb->signups} ADD signup_id BIGINT(20) NOT NULL AUTO_INCREMENT PRIMARY KEY FIRST" );
	$wpdb->query( "ALTER TABLE {$wpdb->signups} DROP INDEX domain" );
}


text:
Sandy creek energy station
Constructed a 33,000 loop track of continuous-welded rail
Installed 10 turnouts, including six solar-powered turnouts
Sandy Creek Power Partners
Riesel, Texas
RailWorks installed a 33,000-track-foot loop track and 10 turnouts for a power plant in Texas, operated by Houston-based Dynegy Inc.
RailWorks constructed track for a coal-fired electric plant near Waco, Texas. Crews built the 33,000-foot loop track using continuous-weld rail. Included in the project were 10 turnouts, two of which are mainline turnouts connected to the Union Pacific line. Another six turnouts are solar-powered.
When the time came to weld the rail, the grade wasn't yet ready so workers welded 80-foot sections of rail into 1,440-foot segments. The track was later moved into position when the grade was completed.
Sandy Creek Energy Station's solar-powered turnouts help promote energy and labor efficiencies. Besides capturing free fuel, the solar-switch machines are centrally controlled, eliminating the need for leave the train and manually throw switches.
The Sandy Creek plant began operation in 2013 as a 900-megawatt facility that is among the largest in the United States using supercritical steam generators. Hallmarks of supercritical technology are operating efficiency gained through a better power-to-fuel ratio, and lower plant emissions. The facility generates electricity for more than 100,000 homes and businesses in Texas.

redpajama_set_name: RedPajamaCommonCrawl


text:
NPNF (V2-03)
« Prev Conversion of the Indians. Next »
Chapter XXII.—Conversion of the Indians413413 Περι τῆς ᾽Ινδῶν πίστεως. The term "India" is used vaguely, partly from the old belief that Asia and Africa joined somewhere south of the Indian Ocean. Here the Indians are Abyssinians..
At this period, the light of the knowledge of God was for the first time shed upon India. The courage and the piety of the emperor had become celebrated throughout the world; and the barbarians, having learnt by experience to choose peace rather than war, were able to enjoy intercourse with one another without fear. Many persons, therefore, set out on long journeys; some for the desire of making discoveries, others from a spirit of commercial enterprise. About this period a native of Tyre414414 The version adopted by Rufinus, the earliest extant authority for this story, is followed, in the main, by Socrates, Sozomen, and Theodoret. The Tyrian traveller is named Meropius., acquainted with Greek philosophy, desiring to penetrate into the interior of India, set off for this purpose with his two young nephews. When he had accomplished the object of his wishes, he embarked for his own country. The ship being compelled to put in to land in order to obtain a fresh supply of water, the barbarians fell upon her, drowned some of the crew, and took the others prisoners. The uncle was among the number of those who were killed, and the lads were conducted to the king. The name of the one was Ædesius, and of the other Frumentius. The king of the country, in course of time, perceiving their intelligence, promoted them to the superintendence of his household. If any one should doubt the truth of this account, let him recall to mind the history of Joseph in the kingdom of Egypt, and also the history of Daniel, and of the three champions of the truth, who, from being captives, became princes of Babylon. The king died; but these young men remained with his son, and were advanced to still greater power. As they had been brought up in the true religion, they exhorted the merchants who visited the country to assemble, according to the custom of Romans415415 The words of Sozomen (ii. 24) corresponding with the passage in which Rufinus (i. 9) speaks of meeting "romano ritu orationis caussa," are ᾗ ῥωμαίοις ἔθος ἐκκλησιάζειν, i.e. to assemble to worship after the manner civilized citizens of the Empire, and not like savages. The expression has nothing to do with the customs of the Church of Rome, in the later sense of the word, as has sometimes been represented. Cf. Soc. I. 19, τὰς χριστιανικὰς ἐκτελεῖν εὐχάς, to take part in the divine liturgy. After a considerable time they solicited the king to reward their services by permitting them to return to their own country. They obtained his permission, and safely reached Roman territory. Ædesius directed his course towards Tyre, but Frumentius, whose religious zeal was greater than the natural feeling of affection for his relatives, proceeded to Alexandria, and informed the bishop of that city that the Indians were deeply anxious to obtain spiritual light. Athanasius then held the rudder of that church; he heard the story, and then "Who," said he, "better than you yourself can scatter the mists of ignorance, and introduce among this people the light of Divine preaching?" After having said this, he conferred upon him the episcopal dignity, and sent him to the spiritual culture of that nation. The newly-ordained bishop left this country, caring nothing for the mighty ocean, and returned to the untilled ground of his work. There, having the grace of God to labour with him, he cheerfully and successfully played the husbandman, catching those who sought to gainsay his words by works of apostolic wonder, and thus, by these marvels, confirming his teaching, he continued each day to take many souls alive416416 "The king, if we identify the narrative with the Ethiopian version of the story, must have been the father of the Abreha and Atzbeha of the Ethiopian annals." "Frumentius received the title of Abbana, or Abba Salama" (cf. Absalom), "the Father of Peace." "The bishopric of Auxume" (Axum, about 100 miles S.W. of Massowah) "assumed a metropolitan character." (Dict. of Christ. Biog., Art. Ethiopian Church). Constantius afterwards wrote to the Ethiopian Prince to ask him to replace Frumentius by Theophilus, an Arian, but without success (Ath. Ap. ad Const. 31)..
413 Περι τῆς ᾽Ινδῶν πίστεως. The term "India" is used vaguely, partly from the old belief that Asia and Africa joined somewhere south of the Indian Ocean. Here the Indians are Abyssinians.
414 The version adopted by Rufinus, the earliest extant authority for this story, is followed, in the main, by Socrates, Sozomen, and Theodoret. The Tyrian traveller is named Meropius.
415 The words of Sozomen (ii. 24) corresponding with the passage in which Rufinus (i. 9) speaks of meeting "romano ritu orationis caussa," are ᾗ ῥωμαίοις ἔθος ἐκκλησιάζειν, i.e. to assemble to worship after the manner civilized citizens of the Empire, and not like savages. The expression has nothing to do with the customs of the Church of Rome, in the later sense of the word, as has sometimes been represented. Cf. Soc. I. 19, τὰς χριστιανικὰς ἐκτελεῖν εὐχάς
416 "The king, if we identify the narrative with the Ethiopian version of the story, must have been the father of the Abreha and Atzbeha of the Ethiopian annals." "Frumentius received the title of Abbana, or Abba Salama" (cf. Absalom), "the Father of Peace." "The bishopric of Auxume" (Axum, about 100 miles S.W. of Massowah) "assumed a metropolitan character." (Dict. of Christ. Biog., Art. Ethiopian Church). Constantius afterwards wrote to the Ethiopian Prince to ask him to replace Frumentius by Theophilus, an Arian, but without success (Ath. Ap. ad Const. 31).


Alfred Hitchcock's films are renowned for their accessibility as well as their complexity. Audiences enjoy them as entertainment, while scholars and critics study them as layered works of cinematic artistry. Similarly, the director himself created a public persona that served him well during interviews with the press and enticed the masses toward his empire of movies, television shows, and books. But Hitchcock was also a private man who guarded his personal life carefully.
Yes, the way Mr. Hitchcock folds suggestions very casually into the furrows of his film, the way he can make a torn newspaper or the sharpened inflection of a person's voice send ticklish roots down to the subsoil of a customer's anxiety is a wondrous, enviable accomplishment.
Hitchcock uses sets and props to mimic scenes, creates characters who are alike and yet pitted against one another, and highlights emotions that occur in contradiction. Thus, his films force audiences to confront their own multiplicity.
Both Shadow of a Doubt and The Birds are set in quiet California towns invaded by agents of malice (McDonald, 1962). In both movies, Hitchcock uses establishing shots of the protagonists' homes to familiarize the audience with a safe place that will be violated. Film scholar Kevin Jack Hagopian said Hitchcock "slaughtered everything prosaic" in his Capra-esque vision of the American small town in Shadow of a Doubt. "Hitchcock made the home a place where exotic terror lives uneasily with domesticity," he wrote, citing the insinuation of Uncle Charlie (Joseph Cotten), a.k.a. the "Merry Widow Murderer," into an average family. Likewise, audiences are introduced to Bodega Bay and the white house between two trees along with Melanie Daniels (Tippi Hedren), the spoiled socialite from San Francisco who has been hungry for home and family. Her safe harbor comes under attack during an inexplicable "bird war," and the gilded cage to which Mitch Brenner (Rod Taylor) alludes during his first meeting with Melanie translates to her later entrapment, first in the phone booth and then in the upstairs room.
Individual scenes also set up meaningful comparisons and contrasts, sometimes by foreshadowing scenes through repetition or through the use of props and staging. In the opening scenes of The Birds, the layout of the bird shop mimics the two-story house where the climactic siege takes place. Also, while Melanie plays the piano, the camera captures a white sculpture of a woman who resembles Melanie later in the film as she sits on a bench outside the school, unaware of the murder of crows flocking ominously behind her.
The opening scene of Shadow of a Doubt evokes the funeral that ends the film. Uncle Charlie lies on his bed, his hands folded over his chest. His spirit is lifeless, as he later suggests to his niece — nicknamed Young Charlie (Teresa Wright) —, indicating that he had been contemplating suicide. The train from which he falls to his death parallels the funeral procession through Santa Rosa, as the cars follow one another in grim locomotion in the same fashion as the railway cars sped single file down the tracks.
The ring Young Charlie receives from her uncle is not only an important piece of evidence of his crimes, but also symbolic. Although the movie is filmed in black and white, Hitchcock makes sure the audience knows the stone is an emerald. "Good emeralds are the most beautiful things in the world," Uncle Charlie says as he slips the jewel on Young Charlie's finger. A dualistic color according to Western culture, green can represent the vibrancy of life and nature, but it can also stand for negative concepts such as illness, jealousy, or deceit. Hitchcock made use of the color green as a thematic clue in Vertigo (Hitchcock, 1958) by incorporating it into the sash of Kim Novak's character when she is pretending to be Madeleine and into her sweater when she is the equally false Judy. The green light of the hotel sign creates a ghostly glow as Judy transcends the boundary between life and death by transforming herself into the object of Scottie's (James Stewart) obsessive love.
Hitchcock also conveys dualism through his characters. In Shadow of a Doubt, a dejected Young Charlie lies in her bed in nearly the same position as her uncle. Her pose reinforces the idea that she resembles him greatly. The point is driven home several times through dialogue about telepathy and the girl's belief that she and her uncle are like twins. When Uncle Charlie pauses in front of his niece's photograph, his face is reflected in the glass, superimposed on her image.
Despite these overt comparisons, the characters do differ in significant ways. The uncle is a cynical, psychologically damaged murderer while the niece is a wholesome, idealistic young lady. Even as the audience comes to realize this dichotomy, the tables turn when Young Charlie is forced to destroy her uncle. "She is the instrument by which he falls in front of the train," Hitchcock said in a 1963 interview. "It comes under the heading that all villains are not black and all heroes are not white. There are grays everywhere" (as cited in Bogdanovich, 1963).
Even Melanie, the protagonist of The Birds, is momentarily painted as evil when the hysterical woman in the restaurant blames her for the attacks. Mitch's mother doubts Melanie's suitability for her son, questioning her wild past. But the stoic Lydia Brenner (Jessica Tandy) cracks under pressure while Melanie remains strong. When Melanie collapses after the final attack, Lydia takes care of her. So ultimately neither character can be called a hero nor a villain. The two characters resemble each other physically with similar hairstyles and body types, but they possess different personalities and shortcomings. Still, they share a connection to Mitch and finally to each other as they develop a mother-daughter relationship.
The humans in the movie switch places with the birds as well. Although normally the predators, the people, in this case, become the prey. The seemingly innocuous birds transform into a threatening mass taking revenge for eons of torture and destruction. Audiences feel discomfort from this imbalance because they are forced to consider the culpability of both parties. Do the birds represent "the classical Furies that were supposed to pursue the wicked on this earth," as Crowther suggested in his 1963 review of the film? This premise is intriguing but doubtful, as viewers are naturally sympathetic toward the humans. This reaction may simply be an example of emotion overriding reason, however, as Hitchcock unmistakably comments on human cruelty and animal rights by including images of lobster traps and fried-chicken entrees.
This identification of audiences with a charismatic killer is especially apparent in Shadow of a Doubt; viewers know that Uncle Charlie is a murderer but still have a fondness for him. They know what Young Charlie does not, but they still want to believe in her vision of him as the beloved family savior. For example, when Young Charlie confronts her uncle, the once-charming Charlie turns menacing when he grabs her arm. The audience experiences this moment in a point-of-view shot from the girl's perspective. Young Charlie's adoration of her uncle turns to hatred at the revelation of his guilt, and she tells him so. But having worn his ring, she symbolically becomes his widow, mourning his death as much as she would have if her illusion of his perfection had remained intact.
Hitchcock portrays Uncle Charlie as a dark angel. Uncle Charlie believes he has avenged the dead husbands of greedy widows but ignores his own moral hypocrisy. When he is eating his breakfast in bed, the shot is crafted to make the headboard behind him suggest black wings. As Uncle Charlie puffs smoke rings, they float upward and disappear—his halo is an ephemeral disguise. The shadows of the window frames create an upside-down cross as Uncle Charlie is shown in low-angle at the top of the stairs, a man who has sinned so gravely that he has fallen from the grace of God. Yet during the funeral, the townspeople mourn for the man who donated money, and the detective tells Young Charlie that her uncle wasn't all bad. Traces of the eulogy drift back in a voice-over, reminding the townspeople that though Uncle Charlie has died, his good reputation will live on.
Hitchcock transformed things given into things unknown, the commonplace experience into the exotic breakthrough. The world just outside the Hitchcock frame, and sometimes inside it, is dark indeed, and this awareness fuels not despair but an insatiable and amused curiosity about what else can possibly go wrong.
By making the given unknown, Hitchcock engaged audiences in a journey of self-discovery. Perhaps they squirmed when the movies awakened facets of themselves they rather would not have confronted, but the viewers were entertained by Hitchcock's treatment of dualism as a philosophy on screen and as a reality of the universe.
Bernstein, S. (Producer), & Hitchcock, A. (Producer/Director). (1948). Rope [Motion Picture]. U.S.A.: Warner Bros.
Bogdanovich, P. (1963). 1963 Interview [of Alfred Hitchcock]. The Cinema of Alfred Hitchcock. New York, NY: Museum of Modern Art. Retrieved from (http://www.moma.org/exhibitions/1999...).
Canby, V. (1980, April 30). Film maker transformed commonplace into exotic. The New York Times. Retrieved from (http://www.nytimes.com/library/film/...).
Crowther, B. (1963, April 1). 'The Birds': Hitchcock's feathered fiends are chilling. The New York Times. Retrieved from (http://www.nytimes.com/library/film/...).
Crowther, B. (1999). Shadow of a Doubt [Film Review]. In P. M. Nichols (Ed.), The New York Times guide to the best 1,000 movies ever made (pp. 768-769). New York, NY: The New York Times Company.
Gallagher, T. (2003). Hitchcock, machines, and us. Senses of Cinema. Retrieved from (http://www.sensesofcinema.com).
Hagopian, K. J. 10 shades of noir: 'Shadow of a Doubt.' Images: A Journal of Film and Popular Culture. Retrieved from (http://www.imagesjournal.com/issue02...).
Hitchcock, A. (Producer/Director). (1963). The Birds [Motion Picture]. U.S.A.: Universal Pictures.
Hitchcock, A. (Producer/Director). (1960). Psycho [Motion Picture]. U.S.A.: Paramount Pictures.
Hitchcock, A. (Producer/Director). (1958). Vertigo [Motion Picture]. U.S.A.: Paramount Pictures.
McDonald, T. (1962, April 1). Watching 'Birds': Happy Hitchcock films terror-ridden tale. The New York Times. Retrieved from (http://www.nytimes.com/library/film/...).
Skirball, J. H. (Producer), & Hitchcock, A. (Director). (1943). Shadow of a Doubt [Motion Picture]. U.S.A.: Universal Pictures.
Rekha Sharma (M.A., M.S., Kent State University) is a doctoral candidate in the School of Communication Studies at Kent State University. Her research interests address the uses and effects of media as well as the political impact of news and popular culture texts. She has published research on articulations of South Asian identity in diasporic film, the political effects of infotainment, war-related messages in animated cartoons, and YouTube use in the 2008 U.S. presidential election.
Welcome to the Summer 2012 Edition of the Gazette. When we think of summer, our thoughts usually turn to the manifold outdoor activities we can enjoy in this glorious and, for those in the northeast, ephemeral season. We plan picnics, beach outings, and bike rides that take advantage of summer's lengthy days. As temperatures soar into the nineties and beyond, however, our dreams of days in the sun begin to wane, and we turn instead to the dark comfort of the movie theater in an attempt to escape the summer sun and its unforgiving heat.
This edition of The Mid-Atlantic Gazette focuses on summer's coolest pastime with Rekha Sharma's essay "Parallels in Opposition: Examining Duality in Alfred Hitchcock's Shadow of a Doubt and The Birds." If, as you peruse the newspaper or rottentomatoes.com, you find little to entice you in this season's roster of films, we invite you instead to sit back in a darkened and, hopefully, air-conditioned room in your home and read about the works of one of film's greatest and and most chilling masters.
We hope you enjoy this latest edition of The Gazette, and we encourage all members to submit their work for publication!
Please note that the deadline for submitting proposals to the MAPACA 2012 conference has been extended from June 15 to June 30. We look forward to seeing people in Pittsburgh this November.
The Impact of Transformational Technology: Does Changing the Medium Change the Message?
In April 2011, I attended a concert at the Pittsburgh Philharmonic with friends from my university. The program that evening included Robert Schumann's Symphony No. 3 in E-flat major, Op. 97, "Rhenish," written in 1851; Franz Liszt's Concerto No. 2 for Piano and Orchestra in A major, Op. 23, written in 1839 and 1849; and Richard Strauss's Suite from Der Rosenkavalier, Op. 59, written between 1909-1910. The orchestra was conducted by Rafael Frühbeck de Burgos.
Between the Liszt and Strauss performances, the guest pianist, Jorge Federico Osorio performed a solo, Spanish Dance No. 2, by Pablo Sarasate. Seated in the balcony, I was enthralled, remembering my own years of piano lessons and how much I enjoyed listening to recorded piano performances. Yet, I realized that at some point over the years I had stopped enjoying them, for some ill-defined reason. I found piano performances to be distant, flat, stripped of emotion; to me they seemed cold and devoid of color.
But this performance was different; the piano sounded "alive." I felt each note vibrating on my skin; it seemed as if shimmering threads of gold filled the air in the concert hall. When the pianist finished, I was surprised, thrilled, and a little confused. I had reacted emotionally to the music. Why was my experience this time so different?
The next day, while perusing my music collection, I realized that my love affair with the piano had stopped when I started listening to recordings of piano concerts on compact disc. Then it hit me—the digital recording was the problem. The sound no longer seemed natural, in the sense that it no longer was delivered in an analog format. In the conversion of the music from the analog wavelengths to a binary series of 1's and 0's, the auditory values remained, but for me at least, the tactile and visual reactions had been stripped away. Being deprived of that additional sensory nourishment, my connection to the music was rendered unfulfilled, withered. Listening to full orchestrations concealed the loss, but since I had a tactile connection to the piano from my years of lessons, it was the keyboard that heightened my sensitivity to the difference in the recording medium.
Pondering the conversion of analog sound waves to digital bits, I began to think about musical artists' original intentions and the instruments they used to share their intentions with the audience. The piano and other musical instruments were meant to be heard by live audiences; analog recordings (e.g., on shellac, acetate, vinyl, etc.) were faithful reproductions because they preserved the original format of the sounds as they were played. Did changing the distribution medium (analog vs. digital) affect how the listener responded to the music?
Since the mid-1980's, a fiery debate has raged in the world of music between the analog and digital recording factions (Partyka, 1999). My interest has focused more on the experience as a whole, based on George Lakoff's experientialist concept of cognition. His view was based on "the premise that thought and language are fundamentally motivated by bodily experience" (Buckland, 2000, p. 39). My experience at the Philharmonic was an example of Lakoff's theory that cognition is built on sensory experience, as I not only heard the music, but also felt it and visualized it.
McLuhan's (1964/2003) famous maxim, "The medium is the message," posited that a distribution medium such as a vinyl LP or CD affects the listener not only by the music recorded on the medium, but by the properties of the medium itself. To explain his theory, he used the incandescent bulb as an example. While the light bulb did not deliver any content itself, it transformed personal and public spaces, allowing people to pursue daytime activities, such as reading, at night. He noted, "A light bulb creates an environment by its mere presence" (p. 8). More controversially, he maintained that the medium was in fact more important than the content it delivered. Strate (2008) elaborates this point, stating "…it is the medium that has the greatest impact on human affairs, not the specific messages we send or receive" (p. 130).
Gibson (2008), paraphrasing McLuhan, answered my question regarding cognition and media change. "The 'message' is therefore the consequences of the medium—that is, the 'total configurational awareness' that 'results from the new scale that is introduced into our affairs by each extension of ourselves or by any new technology'" (p. 149). Changes in the music, motion picture, and television industries support this statement; these changes have affected the general public in ways that many have not yet fully comprehended.
In the case of the message and music, trends in how musical recordings have been marketed and distributed over the past decades have affected how they have been consumed by the listening public. In the heyday of the medium known today as the vinyl LP, musical artists produced collections of songs, known as "albums," which were meant to be enjoyed together. The sequencing of songs was deliberate, based on the physical limits of the vinyl disc: each side could only hold approximately twenty-four minutes of recorded material (e.g., music, spoken word, sound effects, etc.). Based on this "flip-side" technology (Edmunds, 2008), several generations of music lovers grew up with this spatial and temporal organization of music. Taking advantage of this medium, artists often organized songs on a vinyl LP around a theme, i.e., a "fast" side of up-tempo songs paired with a "slow" side of ballads.
Vinyl LPs were meant to be listened to socially; stereo systems became almost as important in the American teenager's life as cars. An expensive stereo system was a prestige item, similar today to flat screen televisions (Plambeck, 2010). Album covers became art; covers that opened to twice their width (or more) were known as "gatefold covers," and a music-industry award for the cover art, such as a Grammy, became as important a distinction as an award for the music itself. Artists included lyrics and additional information on the inside sleeve. These "liner notes" often included the artist's thoughts behind the meaning of the lyrics, the lyrics themselves, and any other information the artist thought was relevant to the listening experience.
CDs have a physical presence of plastic and metal, enhanced by packaging. They retain ''aura,'' although this aura is diminished. Browsing a record collection is emotionally gratifying; it is visual and tactile at the same time. We pore over the jacket art and liner notes. We determine the value of the recording by gauging the wear on the jacket and disc. Browsing a CD collection, on the other hand, is less satisfying. The medium's size limits its visual appeal, and the plastic of the jewel box degrades the tactile sensation (pp. 249-250).
What became especially problematic for the music aficionado was the transfer of older recordings from vinyl LPs to compact discs. Sonically, the two halves of the album were fused together on one side of the CD. While it was convenient not to have to flip the CD halfway through the album, the union of the two sides affected concept albums featuring sonically and tonally different sides. The change in distribution medium directly changed the way the listener experienced the artist's work. Williams (2008) noted, "With vinyl, listeners cede control to the artist. They let the music wash over them, in the original order of songs, at the original pace" (p. ST1). With CDs, the listener could randomly play the songs using the "shuffle" feature present on most CD players, thus defeating the artist's intentions.
More recently, music has been transformed again with advent of MP3s and file sharing services. The influence of the technology-driven concepts of "portability" and "personalization" has invaded the music industry. As a result, music has become less of a physical product and more of a service (Styvén, 2007). Today fans of musical artists frequently download individual songs, eroding the concept of the collection of songs distributed in the form of a vinyl LP or CD. With music as a service with no distinguishable physical property, the value of cover art and liner notes has diminished dramatically.
While it can be argued that the social aspect of appreciating music continues in the form of file sharing on Internet websites, the communal listening experience has been disarticulated. Friends share music online, yet listen to it individually through portable devices and miniaturized headphones called "earphones" or "earbuds." Beer (2008) writes, "A sight that has become increasingly common is the ubiquitous white earphone, the indicator, perhaps unreliably, that situated somewhere on the body is an Apple iPod MP3 player" (p. 74). But there is a downside to portability: by using earbuds to transport music outside the confines of the home, the listener is stripping away the sensory experience of feeling the sound waves on his/her skin. Thus, a cognitive experience has been lost, and potentially, a level of understanding has been compromised.
Furthermore, with the ephemeral nature of downloaded files, the desire to collect music is less strong among young listeners. Today music is more consumable than collectible. McCourt (2005) notes the disastrous impact downloaded music files have had on artists' copyrights. He explains, "Diminished or nonexistent physical property undermines the notion of intellectual property—hence the widespread illicit copying of software and public support of file sharing" (p. 250).
Compact discs and MP3 files are examples of new technology and the unforeseen changes in society this technology enacts. Most people have been so caught up in the new technology, in acquiring it, that they haven't realized how it has affected their interactions with the music itself. McLuhan (2003) describes this as the "numbing or narcotic effect of new technology that lulls attention while the new form slams the gates of judgment and perception" (p. 63). While music has become more portable (Beer, 2008; Plambeck, 2010), how people interact with music has changed. According to audiophile Michael Fremer, founder of musicangle.com, "People used to sit and listen to music. It was an activity. It is no longer consumed as an event that you pay attention to" (Plambeck, 2010, para. 13). Today, music is listened to while doing other things, such as exercising or commuting to and from work.
Similar to the migration of music from vinyl LPs to CDs and MP3 files, the presentation of motion pictures also has been affected by changes in distribution medium. This change in medium has led to as impassioned an outcry against the changes as that which exploded in the music industry.
One of the most contentious issues in filmmaking over the past three decades has been the technique of modifying the dimensions of a film for broadcast on standard televisions. Labeled as "pan and scan," this practice is brought about by the different screen dimensions, expressed as "aspect ratios" of many films in comparison to that of the standard television screen. This ratio, expressed as width-by-height, was standardized early in the development of the film industry as 4:3, or 1.33:1, where the image was only slightly wider than its height.
Ironically, it was the advent of television in the 1950s that prompted the film industry to develop wider aspect ratios. The popularity of television had seriously damaged box-office revenue; experimenting with the size of the screen image was just one of many attempts to lure audiences back into the movie theatres. Different solutions were developed throughout the 1950s, including Cinerama, Todd-AO, and CinemaScope. Adopted by 20th Century Fox, Metro-Goldwyn-Mayer, and Disney, CinemaScope had an aspect ratio of 2.35:1, where the image was 2.35 times as wide as it was high (Neuendorf, Lieberman, Ying, & Lindmark, 2009).
By the early 1960s, the film studios realized that they couldn't out-compete television and decided instead to profit from it by selling motion pictures for network broadcast. The problem was that television screens had been developed with the 1.33:1 aspect ratio used in the earlier era of filmmaking. This difference was addressed with the development of the "pan and scan" technique: an optical printing process that used a "finder frame" to track the important action occurring in each frame of the film (Belton, 1992). When copies, called "prints," of the film were being processed, the printer could either cut off the left and right sides of the image or pan within the frame to follow the action.
There are many things that go into the making of a movie. One of those things is the shape of the movie, how wide is the screen, and how does that impact the shots that make up the movie? Every shot in a movie is thoughtfully composed. And the composition of that shot is approached the same way that a painter approaches the composition of a painting. And when a technician takes a completed movie and pans and scans, he's moving the camera defensively rather than artistically, and violating all the creativity that went into composing that shot (TCM, 2007).
The majority of complaints about pan and scan have been voiced by the innovative minds that created film history, and while they referenced the film viewer, they have been focused on the viewpoints of the filmmaker rather than on the experience of the viewer. As making a connection with the audience has been the goal of directors and producers since the advent of film, how the viewer cognitively reacted to the motion picture should have been the primary concern of the filmmakers.
Deleuze (1986) maintained that film was not a series of discrete images, but instead was composed of what he called movement-images, where the contents of the image were defined by their continuity of movement (p. 5). Deleuze proposed that there were three different kinds of movement-images: the perception-image; the affection-image; and the action-image. He associated the perception-image with the concept of the wide or establishing shot, where characters were established in their surroundings. The affection-image was tied to emotion and its focus on the face to express it, i.e., the "close up." The action-image was associated with the duration of the scene, used to propel the story line while still affording full view of the characters' ranges of expression.
Images collectively add up to something. They add up to something when one frame contains many elements. Your eye sees all of them, some of them peripherally and some of them as a point of focus, and collectively it creates a mood" (TCM, 2007).
If a film is modified in such a way that viewers do not experience all of it, the change compromises their ability to cognitively process what their senses (sight and hearing) have processed individually. However, in a recent study, half the participants stated they preferred the pan and scan versions of the films screened, primarily because they didn't like the "black bars at the top and bottom of the screen" (Neuendorf, Lieberman, Ying, & Lindmark, 2009). Distracted by the black space on the screen, the participants mistakenly believed they were not seeing the entire image when viewing a wide screen film in its original aspect ratio. Instead they favored the truncated visuals disseminated in the pan and scan edits, which effectively limited their cognitive experience.
Advances in television technology have not resolved the issue. With the proliferation of reasonably-priced flat screen TVs in the first decade of the 21st century, viewers expecting their widescreen issues to be resolved were still surprised by "black bars" across the top of their rectangular screens. This is because the aspect ratios of flat screen TVs vary, depending on the manufacturer. As in other hi-tech industries, competition and innovation have further confused the matter. Aspect ratio is frequently included in the product information included in promotional materials, but few consumers pay attention to what the dimensions mean. Retail prices frequently trump technical specifications.
Changes in the medium of television also have impacted how today's viewer experiences episodic television, but ironically in the opposite direction from audio recordings. Indirectly referencing McLuhan's "the medium is the message," Buckland (2008) notes, "It is quite reasonable to argue that all film and TV images are embodied with their technological mode of production, which binds each to an historical space and time" (p. 71). However, the biggest change in the past decade to television programs has been how they have been distributed, both physically (i.e., space) and temporally (i.e., time).
Since the 1970's, the major broadcasting networks have reduced their seasonal orders of television programs from twenty-six to twenty-two episodes. While the number of episodes may have changed, little else has been altered in the temporal organization of television. Episodes are broadcast weekly, on the same day at the same time (offering predictability for the viewer to build a television-viewing habit), with the traditional television viewing season starting in September and finishing in May (timed to coincide with the academic year). Breaks in scheduling the episodes are built into the television schedule around holidays and sporting events.
In the U.S. and Canada, episodic one-hour television programs are organized much like traditional stage plays. Each episode opens with a "teaser" or preview of the broadcast, followed by the main credits. Often, programs show a brief review, or "recap," of past episodes to help the viewer understand the plot in the event an episode was missed. The actual scripted performance consists of a forty-four minute broadcast. The broadcast is divided into four eight-minute segments, similar to the acts in a play, which are separated by commercial breaks lasting one to two minutes. The plot is written to build up to each of these breaks, often with musical accompaniment to heighten viewer tension or investment in the events depicted in the episode. At the end of each episode, a brief resolution of the plot is followed by the end credits. Frequently to heighten and sustain viewer interest, previews of the following week's episode are broadcast before the end credits.
The cinema, that is, always posits a virtual wholeness or continuum of the world … while at the same time necessarily—by the very requirement of the motion-picture camera—subjecting the whole to discontinuity, dissemination. This idea is central to Deleuze's project, for it is what allows the cinema to function in the way that consciousness does—dividing things up, reassembling things into sets, framing its interests, forming wholes (p. 176).
With the advent of the DVD, and subsequently the DVR, Deleuze's time-image has been eradicated. This is especially true in the case of the DVD, where there are no commercial advertisements interspersed between the eight-minute acts and frequently the recaps have been omitted. Rather than having to wait for the next broadcast, the viewer can watch all of the episodes over a shorter amount of time, such as a weekend. Within each episode, the plot still builds, the music still swells, but the episode immediately "jumps" to the next act.
While many people consider the lack of commercial breaks beneficial, the temporal compression disrupts Deleuze's time-image and limits the viewer's opportunity to reflect on the events depicted in the episode. Without the time to reflect on, or cognitively process, the events presented on the television screen, the viewer is less likely to develop a long-term emotional attachment, or "investment," in the characters and plotline.
Marshall McLuhan was concerned with the observation that we tend to focus on the obvious. In doing so, we largely miss the structural changes in our affairs that are introduced subtly, or over long periods of time. Whenever we create a new innovation—be it an invention or a new idea—many of its properties are fairly obvious to us. We generally know what it will nominally do, or at least what it is intended to do, and what it might replace. We often know what its advantages and disadvantages might be. But it is also often the case that, after a long period of time and experience with the new innovation, we look backward and realize that there were some effects of which we were entirely unaware at the outset. We sometimes call these effects "unintended consequences," although "unanticipated consequences" might be a more accurate description (p. 1).
McLuhan's goal was the liberation of the human mind and spirit from its subjugation to symbol systems, media, and technologies. This can only begin with a call to pay attention to the medium, because it is the medium that has the greatest impact on human affairs, not the specific messages we send or receive (p. 130).
What remains to be seen is if media transfers have a physiological impact on the human brain. With today's MRI imaging capabilities, it would be interesting to investigate if the brain does react differently when content such as motion pictures, episodic television, and music are transferred to different media. Studies conducted at New York University of brain activity while watching television (Hasson, Furman, Clark, Dudai, & Davachi, 2007) demonstrate we have the technology to "watch what happens when we watch TV." The next step would be to compare brain activity when watching broadcast TV in comparison to episodic TV on DVD, or to compare the reaction to watching a film in widescreen versus pan and scan formats.
On his website, Moulton Laboratories, Dr. David Moulton at the Berklee College of Music in Boston reported on a Japanese study conducted in the early 1990s that compared analog and digital frequencies and brain activity. Using a blind study of listeners, the results indicated that digital music's reduction of frequency range lessened "both measurable brain activity and the listener's conscious awareness of interest, satisfaction, and beauty" (Partyka, 1999, para. 10). Moulton posted his original article in 1993; he subsequently revisited it in 2005 and appended it, noting that improvements in technology had mitigated many of the technical differences between audio and digital recordings. He added that, although his digital-preferring peers had discounted the Japanese study in the intervening years, he himself (although also a digital audiophile) still stood by the report's conclusions. Even more intriguing, he called attention to the fact that up until that time, the study had never been repeated. Perhaps it is time to revisit the issue, benefiting from the advances made in medical technology over the past seven years.
Opportunities to reduce production costs while increasing corporate profits will continue to dictate the distribution media selected by the film and music industries, regardless of the cognitive impact the changes in media have on the consumer. Only when armed with measurable scientific proof will film, television, and music aficionados have the ability to liberate themselves, as McLuhan described it, from the technological subjugation imposed upon them by motion picture, television, and music studios. For me, a live performance of classical music illuminated the issue of media transfer on cognition and creativity. With more empirical research devoted to studying media transfer's impact, perhaps new dissemination processes will be developed that will be better able to honor the creative and cognitive intentions of artists and audiences alike.
Beer, D. (2008). "The iconic interface and the veneer of simplicity: MP3 players and the reconfiguration of music collecting and reproduction practices in the digital age." Information, Communication & Society, 11 (1), 71-88.
Buckland, W. (2000). The cognitive semiotics of film. Cambridge, United Kingdom. Cambridge University Press.
Crystal, D. (2009). "It ain't just what you say but the way that you say it: Indexing a DVD." The Indexer 27 (4), 173-5.
Deleuze, G. (1986). Cinema 1: The movement image. Trans. H. Tomlinson and B. Habberjam. Minneapolis: University of Minnesota Press.
Edmunds, M. (2008). "'Flip-Side Overlap': The medium is the music." MediaTropes eJournal, 1, 102-112.
Federman, M. (2004). What is the meaning of the medium is the message?
Gibson, T. (2008). "Double vision: McLuhan's contributions to media as an interdisciplinary approach to communication, culture, and technology." MediaTropes eJournal, 1, 143-166.
McCourt, T. (2005). Collecting music in the digital realm. Popular Music and Society, 28 (2), 249-252.
Neuendorf, K., Lieberman, E., Ying, L., & Lindmark, P. (2009, August). Too wide to please? A comparison of audience responses to widescreen versus pan & scan presentation. Paper presented to the Visual Communication Division of the Association for Education in Journalism and Mass Communication. Cleveland, OH.
Partyka, J. (1999, December). "Analog vs. digital: No clear winner." EMedia Professional, 50.
Plambeck, J. (2010, May 9). "In mobile age, sound quality steps back." NY Times.com.
Poster, M. (2010). "McLuhan and the Cultural Theory of Media." MediaTropes eJournal, 2 (2), 1-18.
Restivo, A. (2000). "Into the breach." In G. Flaxman (Ed.), The brain is the screen: Deleuze and the philosophy of cinema (pp. 171-192). Minneapolis: University of Minnesota Press.
Strate, L. (2008). "Studying media as media: McLuhan and the media ecology approach." MediaTropes eJournal, 1, 127-142.
Styvén, M. (2007). "The intangibility of music in the Internet age." Popular Music & Society, 30 (1), 53-74.
Turner Classic Movies. (2007). Letterbox [Film documentary]. Atlanta, GA: Time Warner.
Williams, A. (2008, August 31). "Another spin for vinyl." New York Times. p. ST1.
This edition—the first to be featured on MAPACA's new website—features two articles, both of which offer incisive commentary on the effects of living in societies buffeted by the often harsh winds of change. Mary Grennen's essay, "The Nature/Nurture Dichotomy of Ibsen's Nora Helmer," focuses on Nora's evolution in Ibsen's A Doll House, from a flighty, shallow woman—an embodiment of the Victorian stereotype—to one boldly willing to forsake her marriage in an attempt to satisfy her deep-seated desire for autonomy. John Hepler's essay, "The Impact of Transformational Technology: Does Changing the Medium Change the Message?," analyzes the ramifications of recent sea-changes to the music, film and television industries in the ways in which they deliver their products. He contends that the new methods of delivery alter—perhaps for the worse—our perception of these artistic creations. Thus, his essay represents an elegy for an earlier method, one that, he contends, successfully diminished the distance between the artistic production and its audience, a feat that modern delivery systems fail to accomplish.
We hope that you enjoy this edition of The Gazette and that you consider submitting your own essays, reflections, reviews, or artistic endeavors to the magazine. You may find information regarding submissions on our website. Thank you, and enjoy reading our two featured articles!


Winter wonderland photo & image | plants, fungi & lichens, trees, snow images at photo community Winter wonderland Photo & image by mich.1111 ᐅ View and rate this photo free at fotocommunity.de. Discover more images here.
Thank you for the kind comment. This photo was taken in the French Alps, Porte Du Soleil but sadly i cannot tell you exactly where.
I enjoyed looking at your photos, You have taken some breathtaking shots.
From where part of French? Stately landscape and very good composition.


Ask any person with a smart phone how they learned to use it, and the majority will tell you that they learned by 'doing'. It is no fluke they learned this way; the interface has been carefully designed based on the study of how people interact with computers, or 'Human Computer Interaction' (HCI).
The aim of eLearning is to engage the learner, not frustrate them. Therefore, getting HCI right is critical to designing effective eLearning modules. Understanding how people learn and the technology they use provides us with an insight into how to design visual based interfaces, which better fit our learner's communication skills.
As designers and developers, Bray Leino Learning are always testing the boundaries to find new novel intuitive ways within HCI and eLearning to excite our learners. After all, a module is often judged by its Graphical User Interface (GUI).
When designing the structure, the concepts and principles are applied. For example, navigation is easily identifiable and clear and concise. Information and instruction should be clear and descriptive, aesthetically appealing and styled consistently. We aim to give the learner a natural learning experience knowing that quality interactions can provide visual stimuli, which can directly affect the learning process.
As technology moves forward, so does HCI and we have to master this new technology and consider new design and methodologies. With each new module we take into account the client expectations and requests. Sometimes this means throwing out the rule book, rethinking instruction and orientation, not to confuse and frustrate the learner, but to empower them to make their own decisions.
As an eLearning developer at Bray Leino Learning, my aim is to give the learner an interactive dynamic learning journey, within pedagogical reasoning. I am always thinking about the learner experience, what I can deliver within a development process that brings together a functional designed Graphical User Interface (GUI) and technology.


text:
Le cimetière de Cuiseaux est un cimetière situé sur le territoire de la commune de Cuiseaux dans le département français de Saône-et-Loire et la région Bourgogne-Franche-Comté.

Historique

Sa chapelle fait l'objet d'un classement au titre des monuments historiques depuis le .

Articles connexes
 Liste des monuments historiques de Saône-et-Loire

Références

Cuiseaux
Monument historique classé en 1904
Monument historique en Saône-et-Loire

redpajama_set_name: RedPajamaWikipedia


Check the pin or "jack". Most headphones and jacks are compatible with one another, but it's worth checking before you consider buying.
Test the headphones: How's the sound? Do the left and right headphones sound equally strong? If the voice is muffled, the bass might be too high; if the sound is too tinny, there might be a problem with its treble.
Avoid headphones that crackle or provide inconsistent sound.
Check the ends of the headphones cables for fraying and/or exposed cables. This is often where the first signs of wear and tear begin.
Consider where you (or the wearer) will be using the headphones. Buds are better suited to the gym and running; while larger headphones are better suited to home use, walking, commuting or travelling.
When testing headphones, if possible, try to listen to something that you enjoy in your spare time; whether it's music (pop, rock, classical, rap, jazz, country etc), podcasts, audio books, gaming or your favourite radio station. Don't be shy about bringing a favourite CD to test the headphones! Different headphones are sometimes suited to different content.
A typical pair of ear buds headphones would be free with your smartphone or mp3 player, though higher end ones are sold separately. They fit within your ear, as opposed to over your head.
IEMs (in ear monitors) are similar, but more moulded, precise and generally better quality due to a tighter seal inside your ears.
Check to make sure these headphones are completely clean before wearing!
rally, the better quality the headphone the less you'll hear ambient noise while wearing them.
Some people find full-sized (or "supra-aura") too heavy and uncomfortable.
Wireless headphones connect via Bluetooth technology. Make sure the headphones can make that wireless connection before purchase.
Check that the device you'll be using with the wireless headphones is Bluetooth compatible also. Some older stereos may not work with wireless headphones.
"Noise cancelling" headphones do exactly that, by using tiny microphones to capture ambient sounds.
"Volume limiting" headphones either intentionally don't go over a certain volume (with kids' headphones for instance) or have the option to limit the volume. This can be used whether you'd like to limit it to save your own hearing or that of children who borrow the headphones. The limit tends to be at around the 85dB range.
"Biometric" is a feature whereby the headphones monitor your heart rate. This is ideal for using to measure how you exercise, and is also compatible with a number of fitness apps.
"Surround Sound" features on some specialist headphones, especially gaming headphones, allowing for directional cues of sound (like Dolby Surround Sound in cinema auditoriums).
"Hands free" usually refers to a microphone and headphones combo, used with your phone.
These are designed for talking and listening while gaming (usually online).
Different headphones are compatible with different consoles: Some can be used across different consoles (Playstation 3 and Xbox 360 for example) while some others are made specifically for one console.
Check both the microphone and sound quality before purchase.
Watch out for headphones that only work with previous-generation consoles: For example, a set for Playstation 3 might not with the Playstation 4.
Headphones vary in price from €3 to over €500. Naturally quality varies, but a good rule of thumb is to check the recent second-hand sale price of similar make/model/dated headphones.