GMDC provides a great return on our investment of both time and money. These marketing conferences truly do give us the best ROI of any other conference that we attend. At GMDC we have the ability to meet with executives from many manufacturers, as well as other wholesalers and retailers, to exchange ideas and to build business plans.
I found the GMDC mobile app to be beneficial in many ways. The app keeps track of the times and locations of conference events, houses the contact information for each participant, and provides alerts if something changes.
The key to our distribution success has been in building long lasting, top-to-top relationships, within both large and small supermarket retailers. This was only achieved by attending the HBW conference year, after year, after year . . . Some 10 years later, L&R is proud to say we have gained over 10 new customers exclusively because of our attendance at the GMDC HBW conference.
Our designation as an MWBE company has helped us with marketing our company but nowhere does it have more impact than with GMDC and their conferences. GMDC and their retailer/wholesaler member make a special effort to select us for appointment and are genuinely interested in supporting our business. GMDC really delivers on their commitment to make our time at the conferences highly productive.
The Showcase is traditionally one of our best-selling tools at a GMDC Marketing Conference. Our customers can easily visualize how our products will look merchandised in their stores. Our closing rate for new and seasonal items has risen several fold through the use of the Showcase.
The format, programs, spouse and social events and staff support set GMDC apart from all other industry events. We get more done in less time than anywhere else.
We had excellent success, much better than we ever anticipated. In addition, this is one of the finest, best run conventions I have ever attended! Everything worked and you were great hosts. I know it may be part of your everyday routine, however nothing was a problem with any of our many requests. Thank you again for making this show a success for Koss Corporation!
We've placed several items in the Preview Box program and it allowed us to get products in front of our customers before meeting them at the conference. This opened doors of advanced opportunity for us with our retail trading partners, as well as maximized our time at the conference there isn't a better way of selling than to talk to a customer about a product they are familiar with – this is a great selling tool that Big Time Products will take advantage of in the future.
It's all about the attitude of the people I get to know and do business with. We're all in this to build and grow GM & HBW categories together.
Senior V.P. Sales, Bradshaw International, Inc.
The benchmarks and sales information I'm supplied with are fresh, trusted, and give my group incredible value in mining insights and understanding shopper behavior.
Director of Retail Merchandising, Kinney Drugs, Inc.
I'm able to meet with hundreds of suppliers at events and connect with them all year round; I can't get that opportunity anywhere else.
GM & HBW are so diverse, but GMDC helps me see the trends with a new lens and exposes me to new products, technology and ways to reach consumers.
Business Grp. Manager HBC/Cosmetics, Wegmans Food Markets Inc.
GMDC is our most trusted business partner. That's what's kept us coming back for more than 20 years now.
GMDC gives you access to exclusive data, insights and leading industry experts.
There's an ongoing commitment to education and productivity. When we attend a GMDC marketing conference, we know that the amount of growth and discovery we achieve will be more than we can do anywhere else in that amount of time.
CCO & Senior VP Sales & Marketing, Intuity Medical, Inc.
The association provides us with industry awareness and best practices to keep us ahead of the curve and able to give our customers what they need, before they know they need it!


text:
Q: Had any of the heroes experienced the inhabitants of the Cathedral, before arriving in Tristram? The lore states that heroes travelled to Tristram after the events that led Leoric to madness.

"[...] hearing rumors of a corrupting evil, vast riches, and arcane magic."

More specifically, Aidan was a warrior, and returned to these events after fighting in the war against Westmarch.

Upon returning to Tristram and seeing his father raised from the dead, his younger brother missing and Lazarus gone, he journeyed into the depths of the labyrinth under the Cathedral.

Is there any evidence that these heroes had experienced any of these kinds of creatures before the events of Tristram?
Edit: I understand that the Horadrim were involved in sealing the Prime Evils when they were first banished to Sanctuary, however, that was a few hundred years before the events of Tristram. Additionally, while Deckard was working on his collection of knowledge on the Legions of Hell, this would likely not have been common knowledge at the time either.

A: It's uncertain.
While yes, certain people, such as the Zakarum, and the Horadrim did know about/were affected by/were directly involved with the Prime Evils before the events of the Darkening of Tristram, there is no hard evidence to say that Aidan, Moreina and Jazreth specifically had personally experienced, or knew of the rising evils emerging from the Cathedral in Tristram.
That said;
The Sisterhood of the Sightless Eye, and the Vizjerei clans were both founded on the knowledge, and experience, of Demons.
The Sisterhood of the Sightless Eye are a branch-off from the Askarri clan - a clan of Amazons that knew of demons, based on an ancient prediction

Askarri oracles predicted the events of the Dark Exile thousands of years before it occurred; their predictions also included the fact that the three Prime Evils would rise again. Thus, the warriors of the Amazon Caste trained for millennia.

Source
The sisterhood is also based on an artifact created by an Angel, the Sightless Eye, leading to the assumption that they too know of its origin, and the existence of angels, and Demons ad physical creatures.
The Vizjerei Clan are far more involved in this matter however, having their origins founded in the Summoning of demons:

In the year -1992, the Vizjerei Sorcerer Jere Harash summoned the first demon into Sanctuary.

Source
From there however, the Vizjerei clan spurned these practices, after the Mage Clan Wars, turning their attention instead to Elemental magic.
The timeline places the founding of these clans, and the Events of Tristram, millennia apart.

*

*The year -1992 Jere Hrash Summons the First Demon

*The year -1799 Mages who retain their memories from the Sin War declare that no mage must ever again summon a demon into the world, that humanity must remain free of angelic and demonic influence.

*The year -203 The end of the Mage Clan wars, where the Vizjerei swear off summoning, switching to elemental magics.

*The year 1019 Diablo, the last of the Prime Evils to be tracked down after their banishment to Sanctuary.

*The year 1258 The events of the Darkening of Tristram take place.

It is unclear when the events forming the Sisterhood of the Sightless Eye occur, but it is likely that as a branch of the Askarri clan, they too, have had a similar history to the Vizjerei.
One last note
During the events of Diablo 1, Deckard Cain only announces himself as a member of the Horadrim after the heroes return with knowledge of Lazarus' plan, and his involvement with Diablo. This can mean two things:

*

*The Horadrim (and similar orders) believe that the existence of Demons in Sanctuary is ancient history (though history - not myth or legend)

*They wish to keep the Conflict, and everything associated with it, hidden from those that are not involved.

In conclusion
Knowing their history, it's possible that Aidan, Moreina, and Jazreth do know that Demons do exist; but nothing to say that they themselves have experienced demons, or have any proof (particularly in Aidan's case) that these aren't just horror stories. So, upon entering the cathedral, Their reactions could span from "The evils has returned" to "I thought these were just stories to scare naughty children!", but none of them have come into contact with hellspawn before this point.

redpajama_set_name: RedPajamaStackExchange


As a country, Australia has the ability to respond to global changes with above-average productivity in global growth sectors. These factors underpin its steady growth making it a low-risk destination to do business.
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There are many business ventures you can come up with, especially when you have financial support and a plan on what to sell or services..the place to where you will put up the business, if you need partners or help…this ideas are great too!


text:
Living News
Manu S Pillai's latest book features episodes from India's history and the lives of its prolific figures
Living Aishwarya Sahasrabudhe Jun 25, 2019 10:37:44 IST
Nationalism, politics, religion and that unquenchable thirst for power, all find their way into Manu Pillai's latest work, The Courtesan, The Mahatma and The Italian Brahmin – a collection of anecdotes plucked from Indian history, from the lives of Maharajas and Begums, saints and soldiers.
Pruned and formatted to fill a column, the essays that appear in this work of historical non-fiction were first published in Mint Lounge and other dailies such as The Hindu and The Hindustan Times, while their untrimmed drafts continued to be 'filed away quietly' by the author. These nuanced writings and thoroughly researched episodes from the lives of history's instrumental figures – Queen Victoria, Wajid Ali Shah, Meerabai, Mahatma Gandhi, Dara Shukokh and others – form Pillai's latest collection which offers a glimpse into a realm of victories and foibles that is India's history.
Manu S. Pillai's The Courtesan, The Mahatma and The Italian Brahmin.
Interestingly, through his writings, Pillai draws the reader into some excessively overt and ostentatious yet intriguing snippets from the past and in doing so establishes the appropriate context in which said events must be observed. Emphasising the need for 'context,' he points out, "It is the fashion of the day to hold yesterday's rulers to today's standards. Add a dose of communal antipathy, and you will find Islamic "tyrants" all over the place, as though they had a copyright on violence, while Hindu kings were all about virtue."
The truth is more complicated, he explains, because until 200 years ago, violence and power went hand in hand. Irrespective of being Hindu or Muslim, the ruler had to exert violence to exercise power and do so publicly.
Tipu Sultan, for instance, Pillai says, stood up to the British on the one hand, and on the other desecrated temples in the lands of enemy kings that he conquered. He called Kerala Hindus infidels and yet employed many such "infidels" as ministers and functionaries in his court. He is regarded as a hero by a certain quarter even as some of his acts were horrific.
Then how do we regard Tipu Sultan? Was he a brave, heroic soldier or a violent conqueror?
"Context is what helps us comprehend this and shows us how it is not a case of either-or. On the contrary, he was all of this at once."
Pillai warns therefore that even as we take pride in our rich history, it should always be accompanied by self-awareness. It is crucial to acknowledge the context in which these actions were made possible.
"Pride should not eclipse the realities of feudalism, caste, class, and other dynamics that shaped society."
The Courtesan, The Mahatma and The Italian Brahmin, marks Pillai's third work of historical non-fiction. The author who won the Sahitya Akademi Yuva Puraskar for his debut book, The Ivory Throne, attributes his pursuit of this subject to the wealth of stories that are around us and the 'few efforts we have made as a people to disseminate them.' Among these are stories of 'Telugu devotional literature, for instance, where God appears as a customer on his way to solicit the services of courtesans,' 'conflict between Hindu elites and their Islamic counterparts,' and 'women who smashed so many glass ceilings (and even obstacles made of tougher stuff).' Through his work, Pillai suggests he is trying to "construct a bridge so that these tales can travel down, and we too can walk across and know our past more fully, in all its layered, exquisite complexity."
Manu S. Pillai's latest work marks his third book of historical non-fiction. Image credit: Satyajit V. Patil
Unlike his previous books, slightly weighty, elaborate 'tomes' on the Majesties of Travancore, and his 2018 work Rebel Sultans: Deccan From Khilji to Shivaji, this collection is filled with crisp narratives sprawled across multiple periods in an attempt to "try and present interesting, engaging, significant topics, themes and figures from Indian history without overwhelming the reader."
In fact, in the essay, A Forgotten Indian Queen in Paris, the author describes his own travels from London to the French capital tracing the whereabouts of the graves of the baby princess and the last Begum of Awadh. After tracking down the cemetery in Paris, it was still a challenge to locate the Begum's grave which is now identified by a plaque but until January 2018 lay unmarked, "a square plinth overgrown with weeds," upon which people would sit to bum a smoke.
Pillai's columns are presented in two parts: histories from Before the Raj and Stories From The Raj. He writes about the devotion of saint Chokhamela and the spunk of Akbar's wife Jodhabai or Mariam uz-Zamani (accounts differ as to her name) as well as the escapades of 'Veer' Savarkar and the British politic during the Imperial Rule.
Of all of these, he concedes, he particularly enjoyed studying certain British personalities such as Lord Curzon in new perspectives, the story of the Muslim deity who exists in two south Indian temples and of the Brahmin woman who back in 1905, long before the #MeToo era 'called out society's hypocrisy in matters of sexuality and power.'
Pillai, formerly Chief of Staff to MP Shashi Tharoor and to Lord Karan Bilimoria, CBD, writes heavily about rulers embroiled in political moves and countermoves and the inevitable bureaucratic messes that follow. However, the underlying motif of several of his essays is to scrutinise the place of tradition and caste hierarchy in history.
What the author finds fascinating is "how custom and tradition are invented over time and in different places for political reasons."
He points out, "Indeed, much of what we see as "timeless tradition" is actually not all that old, and was born out of specific contingencies at specific times."
To explain this, he narrates the simultaneously earnest and comical tale of the Maharaja of Jaipur's trip to England in 1802. Summoned by his political suzerain, the Maharaja whose Brahminical injunctions forbade him to cross the kalapani (sea) was in quite a conundrum about his overseas travel, until a solution presented itself.
His travel arrangements: "The King carries with him thousands of litres of Ganga water, his bed is placed on soil from Jaipur so that "technically" he is on Indian soil; and with him travels his family deity – he is merely "following" God who is headed abroad!"
The story exemplifies the monarch's way of negotiating change on his own terms, the larger message being that tradition is hardly immutable, it has changed in the past, and it must change with time if it is to survive.
The author also notes that from the very beginning caste oppression had sparked protests. "Often these were couched in devotional language and the vocabulary of faith, but caste was always opposed from below and always imposed by those above."
"What I wanted to show, through the stories of Basava and Chokhamela for instance, was that caste was never "accepted" by many important and original Indian thinkers."
Furthermore, on his essay about Sati Dana Suramu, a play designed as a parody of social conventions, he explains that we often put the heroes of history on a pedestal. We "have this sense often that people in the past were all noble, always guided by religion, orthodox, pure."
But historically, they too had a sense of humour and the ability to critique and lampoon. They would question social norms and were even capable of positively flouting them. They had their own share of weaknesses, strengths, flaws and obduracies. He states that laying these contradictions bare is a deliberate attempt to show that "we have to understand history, not sit in judgment over it."
Pillai's book offers a thoroughly engrossing read of personalities featured prominently in history textbooks or revealed only in footnotes in their various shades. Their choices, mistakes and accomplishments offer a rather grandiose picture of India's past and of the flagrant rule of one dynasty after another as history navigated the tides of change.
Manu S Pillai's The Courtesan, The Mahatma and The Italian Brahmin has been published by Context/Westland
Updated Date: Jun 25, 2019 10:37:44 IST
Tags : Begum Of Awadh, British Raj, Chokhamela, FWeekend, Historical Non Fiction, Lord Curzon, Mahatma Gandhi, Manu Pillai, Manu S Pillai, Queen Victoria, Sahitya Akademi Yuva Puraskar, Telugu Devotional Literature, The Courtesan The Mahatma And The Italian Brahmin, The Ivory Throne, Veer Savarkar, Wajid Ali Shah
Budget 2019: Ahead of his 150th birth anniversary, Mahatma Gandhi top of Centre's agenda in an otherwise mixed-bag Budget
RBI to come out with mobile app to help visually challenged identify currency notes; invites bids from tech firms to develop app
US Election 2020: Kamala Harris surges to second spot among 20 Democratic presidential aspirants after first debate
IFFI 2019: Prakash Javadekar says Academy president John Bailey to head international jury

redpajama_set_name: RedPajamaCommonCrawl


text:
Ibn Warraq es el seudónimo de un exitoso y controvertido autor de libros sobre el Islam nacido en 1946 en el seno de una familia musulmana de Rajkot, India. Actualmente vive en Estados Unidos. Es una de las voces críticas con lo que considera la naturaleza opresiva del Islam y de la religión en general. Su obra más conocida es  Por qué no soy musulmán (Why I Am Not a Muslim), concebida al modo en que Bertrand Russell lo hizo en Por qué no soy cristiano.

Por su condición de apóstata y de crítico del Islam, debe ocultar su identidad. Por ello se conocen pocos datos biográficos. Todo lo que se sabe es que nació en Rajkot, India en 1946 y, tras la creación de Pakistán, su familia se mudó a Karachi. Después fue enviado a estudiar a Gran Bretaña. Se licenció en Filología Árabe en la Universidad de Edimburgo, y fue alumno del prestigioso arabista no musulmán Montgomery Watt, que había escrito una biografía de Mahoma en dos volúmenes. Allí descubrió lo que considera la naturaleza perversa del Islam y decidió abjurar. Actualmente es jefe del departamento de investigación del Center for Inquiry en el estado de Nueva York, donde investiga los orígenes del Corán y la expansión del Islam.

El nombre Ibn Warraq (árabe: ابن وراق) es un seudónimo adoptado tradicionalmente por los autores disidentes a lo largo de la historia del Islam, derivado del filósofo agnóstico del siglo IX Ibn al-Warraq. Ibn Warraq ha escrito varias obras en las que ha tratado desde una perspectiva crítica y laica temas como los orígenes del Corán y la vida de Mahoma. En otros libros ha promovido también los valores laicos universalistas entre los musulmanes. Según propia confesión fue el caso Rushdie y el ascenso del islamismo lo que le empujó a escribir libros que cuestionasen los dogmas fundamentales del Islam y, en particular, los argumentos de los «apologistas occidentales del islamismo». Sostiene que las grandes civilizaciones islámicas del pasado fueron establecidas a pesar del Corán, no debido a él, y que solamente un Islam secularizado puede librar a los Estados musulmanes de la «locura fundamentalista».

En marzo de 2006 suscribió, junto a otros 11 intelectuales entre los que se encontraba el propio Salman Rushdie, el manifiesto «Una llamada a la libertad. Unidos hagamos frente al nuevo totalitarismo», respuesta a la virulenta reacción por unas caricaturas sobre Mahoma publicadas en un periódico danés.

Obras
 1995 – Why I Am Not a Muslim (Por qué no soy musulmán, Ediciones del Bronce, Barcelona, 2003 ISBN 84-8453-146-5).
 1998 – Origins of the Koran: Classic Essays on Islam's Holy Book, publicado por Ibn Warraq, Prometheus Books, 1998, ISBN 1-57392-198-X
 2002 – What the Koran Really Says: Language, Text, and Commentary, publicado y traducido por Ibn Warraq, Prometheus Books, 2002, ISBN 1-57392-945-X
 2003 – Leaving Islam: Apostates Speak Out, Prometheus Books, 2003, ISBN 1-59102-068-9
 Quest for the Historical Muhammad, publicado y traducido por Ibn Warraq, Prometheus Books, 2000, ISBN 1-57392-787-2
 Un ensayo sobre la obra Orientalismo, de Edward Said: "Debunking Edward Said: Edward Said and the Saidists: or Third World Intellectual Terrorism"

Véase también
Daniel Pipes
Robert Spencer
Serge Trifkovic
Bat Ye'or
Koenraad Elst
Ayaan Hirsi Ali
Mark A. Gabriel
Taslima Nasrin
Salman Rushdie
Ali Sina
Oriana Fallaci
Theo van Gogh

Referencias

Enlaces externos
 Institute for the Secularisation of Islamic Society
 Boston Globe: Losing His Religion
 Trends and Flaws in Some Anti-Muslim Writing as Exemplified by Ibn Warraq  Jeremiah D. McAuliffe, Jr., Ph.D.
 Why I am not a Muslim: The Origins of Islam

Personas de Guyarat
Escritores con seudónimo
Islamólogos
Ateos activistas
Ateos de la India
Apostasía
Críticos del islam
Escritores de India del siglo XX
Orientalistas de India
Escritores de India del siglo XXI
Humanistas de India
Persecución a los ateos

redpajama_set_name: RedPajamaWikipedia


text:
// Only compile this code on iOS. These files should NOT be included on your Mac project.
// But in case they are included, it won't be compiled.
#import <Availability.h>
#ifdef __IPHONE_OS_VERSION_MAX_ALLOWED

#import <unistd.h>

// cocos2d imports
#import "CCDirectorIOS.h"
#import "CCTouchDelegateProtocol.h"
#import "CCTouchDispatcher.h"
#import "../../CCScheduler.h"
#import "../../CCActionManager.h"
#import "../../CCTextureCache.h"
#import "../../ccMacros.h"
#import "../../CCScene.h"

// support imports
#import "glu.h"
#import "../../Support/OpenGL_Internal.h"
#import "../../Support/CGPointExtension.h"

#import "CCLayer.h"

#if CC_ENABLE_PROFILERS
#import "../../Support/CCProfiling.h"
#endif

#pragma mark -
#pragma mark Director - global variables (optimization)

CGFloat	__ccContentScaleFactor = 1;

#pragma mark -
#pragma mark Director iOS

@interface CCDirector ()
-(void) setNextScene;
-(void) showFPS;
-(void) calculateDeltaTime;
@end

@implementation CCDirector (iOSExtensionClassMethods)

+(Class) defaultDirector
{
	return [CCDirectorTimer class];
}

+ (BOOL) setDirectorType:(ccDirectorType)type
{
	if( type == CCDirectorTypeDisplayLink ) {
		NSString *reqSysVer = @"3.1";
		NSString *currSysVer = [[UIDevice currentDevice] systemVersion];

		if([currSysVer compare:reqSysVer options:NSNumericSearch] == NSOrderedAscending)
			return NO;
	}
	switch (type) {
		case CCDirectorTypeNSTimer:
			[CCDirectorTimer sharedDirector];
			break;
		case CCDirectorTypeDisplayLink:
			[CCDirectorDisplayLink sharedDirector];
			break;
		case CCDirectorTypeMainLoop:
			[CCDirectorFast sharedDirector];
			break;
		case CCDirectorTypeThreadMainLoop:
			[CCDirectorFastThreaded sharedDirector];
			break;
		default:
			NSAssert(NO,@"Unknown director type");
	}

	return YES;
}

@end

#pragma mark -
#pragma mark CCDirectorIOS

@interface CCDirectorIOS ()
-(void) updateContentScaleFactor;

@end

@implementation CCDirectorIOS

- (id) init
{
	if( (self=[super init]) ) {

		// portrait mode default
		deviceOrientation_ = CCDeviceOrientationPortrait;

		__ccContentScaleFactor = 1;
		isContentScaleSupported_ = NO;

		// running thread is main thread on iOS
		runningThread_ = [NSThread currentThread];
	}

	return self;
}

- (void) dealloc
{
	[super dealloc];
}

//
// Draw the Scene
//
- (void) drawScene
{
	/* calculate "global" dt */
	[self calculateDeltaTime];

	/* tick before glClear: issue #533 */
	if( ! isPaused_ ) {
		[[CCScheduler sharedScheduler] tick: dt];
	}

	glClear(GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT);

	/* to avoid flickr, nextScene MUST be here: after tick and before draw.
	 XXX: Which bug is this one. It seems that it can't be reproduced with v0.9 */
	if( nextScene_ )
		[self setNextScene];

	glPushMatrix();

	[self applyOrientation];

	// By default enable VertexArray, ColorArray, TextureCoordArray and Texture2D
	CC_ENABLE_DEFAULT_GL_STATES();

	/* draw the scene */
	[runningScene_ visit];

	/* draw the notification node */
	[notificationNode_ visit];

	if( displayFPS_ )
		[self showFPS];

#if CC_ENABLE_PROFILERS
	[self showProfilers];
#endif

	CC_DISABLE_DEFAULT_GL_STATES();

	glPopMatrix();

	totalFrames_++;

	[openGLView_ swapBuffers];
}

-(void) setProjection:(ccDirectorProjection)projection
{
	CGSize size = winSizeInPixels_;

	switch (projection) {
		case kCCDirectorProjection2D:
			glViewport(0, 0, size.width, size.height);
			glMatrixMode(GL_PROJECTION);
			glLoadIdentity();
			ccglOrtho(0, size.width, 0, size.height, -1024 * CC_CONTENT_SCALE_FACTOR(), 1024 * CC_CONTENT_SCALE_FACTOR());
			glMatrixMode(GL_MODELVIEW);
			glLoadIdentity();
			break;

		case kCCDirectorProjection3D:
		{
			float zeye = [self getZEye];

			glViewport(0, 0, size.width, size.height);
			glMatrixMode(GL_PROJECTION);
			glLoadIdentity();
//			gluPerspective(60, (GLfloat)size.width/size.height, zeye-size.height/2, zeye+size.height/2 );
			gluPerspective(60, (GLfloat)size.width/size.height, 0.5f, 1500);

			glMatrixMode(GL_MODELVIEW);
			glLoadIdentity();
			gluLookAt( size.width/2, size.height/2, zeye,
					  size.width/2, size.height/2, 0,
					  0.0f, 1.0f, 0.0f);
			break;
		}

		case kCCDirectorProjectionCustom:
			if( projectionDelegate_ )
				[projectionDelegate_ updateProjection];
			break;

		default:
			CCLOG(@"cocos2d: Director: unrecognized projecgtion");
			break;
	}

	projection_ = projection;
}

#pragma mark Director Integration with a UIKit view

-(void) setOpenGLView:(EAGLView *)view
{
	if( view != openGLView_ ) {

		[super setOpenGLView:view];

		// set size
		winSizeInPixels_ = CGSizeMake(winSizeInPoints_.width * __ccContentScaleFactor, winSizeInPoints_.height *__ccContentScaleFactor);

		if( __ccContentScaleFactor != 1 )
			[self updateContentScaleFactor];

		CCTouchDispatcher *touchDispatcher = [CCTouchDispatcher sharedDispatcher];
		[openGLView_ setTouchDelegate: touchDispatcher];
		[touchDispatcher setDispatchEvents: YES];
	}
}

#pragma mark Director - Retina Display

-(CGFloat) contentScaleFactor
{
	return __ccContentScaleFactor;
}

-(void) setContentScaleFactor:(CGFloat)scaleFactor
{
	if( scaleFactor != __ccContentScaleFactor ) {

		__ccContentScaleFactor = scaleFactor;
		winSizeInPixels_ = CGSizeMake( winSizeInPoints_.width * scaleFactor, winSizeInPoints_.height * scaleFactor );

		if( openGLView_ )
			[self updateContentScaleFactor];

		// update projection
		[self setProjection:projection_];
	}
}

-(void) updateContentScaleFactor
{
	// Based on code snippet from: http://developer.apple.com/iphone/prerelease/library/snippets/sp2010/sp28.html
	if ([openGLView_ respondsToSelector:@selector(setContentScaleFactor:)])
	{
		[openGLView_ setContentScaleFactor: __ccContentScaleFactor];

		isContentScaleSupported_ = YES;
	}
	else
	{
		CCLOG(@"cocos2d: WARNING: calling setContentScaleFactor on iOS < 4. Using fallback mechanism");
		isContentScaleSupported_ = NO;
	}
}

-(BOOL) enableRetinaDisplay:(BOOL)enabled
{
	// Already enabled ?
	if( enabled && __ccContentScaleFactor == 2 )
		return YES;

	// Already disabled
	if( ! enabled && __ccContentScaleFactor == 1 )
		return YES;

	// setContentScaleFactor is not supported
	if (! [openGLView_ respondsToSelector:@selector(setContentScaleFactor:)])
		return NO;

	// SD device
	if ([[UIScreen mainScreen] scale] == 1.0)
		return NO;

	float newScale = enabled ? 2 : 1;
	[self setContentScaleFactor:newScale];

	return YES;
}

// overriden, don't call super
-(void) reshapeProjection:(CGSize)size
{
	winSizeInPoints_ = [openGLView_ bounds].size;
	winSizeInPixels_ = CGSizeMake(winSizeInPoints_.width * __ccContentScaleFactor, winSizeInPoints_.height *__ccContentScaleFactor);

	[self setProjection:projection_];
}

#pragma mark Director Scene Landscape

-(CGPoint)convertToGL:(CGPoint)uiPoint
{
	CGSize s = winSizeInPoints_;
	float newY = s.height - uiPoint.y;
	float newX = s.width - uiPoint.x;

	CGPoint ret = CGPointZero;
	switch ( deviceOrientation_) {
		case CCDeviceOrientationPortrait:
			ret = ccp( uiPoint.x, newY );
			break;
		case CCDeviceOrientationPortraitUpsideDown:
			ret = ccp(newX, uiPoint.y);
			break;
		case CCDeviceOrientationLandscapeLeft:
			ret.x = uiPoint.y;
			ret.y = uiPoint.x;
			break;
		case CCDeviceOrientationLandscapeRight:
			ret.x = newY;
			ret.y = newX;
			break;
	}
	return ret;
}

-(CGPoint)convertToUI:(CGPoint)glPoint
{
	CGSize winSize = winSizeInPoints_;
	int oppositeX = winSize.width - glPoint.x;
	int oppositeY = winSize.height - glPoint.y;
	CGPoint uiPoint = CGPointZero;
	switch ( deviceOrientation_) {
		case CCDeviceOrientationPortrait:
			uiPoint = ccp(glPoint.x, oppositeY);
			break;
		case CCDeviceOrientationPortraitUpsideDown:
			uiPoint = ccp(oppositeX, glPoint.y);
			break;
		case CCDeviceOrientationLandscapeLeft:
			uiPoint = ccp(glPoint.y, glPoint.x);
			break;
		case CCDeviceOrientationLandscapeRight:
			// Can't use oppositeX/Y because x/y are flipped
			uiPoint = ccp(winSize.width-glPoint.y, winSize.height-glPoint.x);
			break;
	}
	return uiPoint;
}

// get the current size of the glview
-(CGSize) winSize
{
	CGSize s = winSizeInPoints_;

	if( deviceOrientation_ == CCDeviceOrientationLandscapeLeft || deviceOrientation_ == CCDeviceOrientationLandscapeRight ) {
		// swap x,y in landscape mode
		CGSize tmp = s;
		s.width = tmp.height;
		s.height = tmp.width;
	}
	return s;
}

-(CGSize) winSizeInPixels
{
	CGSize s = [self winSize];

	s.width *= CC_CONTENT_SCALE_FACTOR();
	s.height *= CC_CONTENT_SCALE_FACTOR();

	return s;
}

-(ccDeviceOrientation) deviceOrientation
{
	return deviceOrientation_;
}

- (void) setDeviceOrientation:(ccDeviceOrientation) orientation
{
	if( deviceOrientation_ != orientation ) {
		deviceOrientation_ = orientation;
		switch( deviceOrientation_) {
			case CCDeviceOrientationPortrait:
				[[UIApplication sharedApplication] setStatusBarOrientation: UIInterfaceOrientationPortrait animated:NO];
				break;
			case CCDeviceOrientationPortraitUpsideDown:
				[[UIApplication sharedApplication] setStatusBarOrientation: UIInterfaceOrientationPortraitUpsideDown animated:NO];
				break;
			case CCDeviceOrientationLandscapeLeft:
				[[UIApplication sharedApplication] setStatusBarOrientation: UIInterfaceOrientationLandscapeRight animated:NO];
				break;
			case CCDeviceOrientationLandscapeRight:
				[[UIApplication sharedApplication] setStatusBarOrientation: UIInterfaceOrientationLandscapeLeft animated:NO];
				break;
			default:
				NSLog(@"Director: Unknown device orientation");
				break;
		}
	}
}

-(void) applyOrientation
{
	CGSize s = winSizeInPixels_;
	float w = s.width / 2;
	float h = s.height / 2;

	// XXX it's using hardcoded values.
	// What if the the screen size changes in the future?
	switch ( deviceOrientation_ ) {
		case CCDeviceOrientationPortrait:
			// nothing
			break;
		case CCDeviceOrientationPortraitUpsideDown:
			// upside down
			glTranslatef(w,h,0);
			glRotatef(180,0,0,1);
			glTranslatef(-w,-h,0);
			break;
		case CCDeviceOrientationLandscapeRight:
			glTranslatef(w,h,0);
			glRotatef(90,0,0,1);
			glTranslatef(-h,-w,0);
			break;
		case CCDeviceOrientationLandscapeLeft:
			glTranslatef(w,h,0);
			glRotatef(-90,0,0,1);
			glTranslatef(-h,-w,0);
			break;
	}
}

-(void) end
{
	// don't release the event handlers
	// They are needed in case the director is run again
	[[CCTouchDispatcher sharedDispatcher] removeAllDelegates];

	[super end];
}

@end

#pragma mark -
#pragma mark Director TimerDirector

@implementation CCDirectorTimer
- (void)startAnimation
{
	NSAssert( animationTimer == nil, @"animationTimer must be nil. Calling startAnimation twice?");

	if( gettimeofday( &lastUpdate_, NULL) != 0 ) {
		CCLOG(@"cocos2d: Director: Error in gettimeofday");
	}

	animationTimer = [NSTimer scheduledTimerWithTimeInterval:animationInterval_ target:self selector:@selector(mainLoop) userInfo:nil repeats:YES];

	//
	//	If you want to attach the opengl view into UIScrollView
	//  uncomment this line to prevent 'freezing'.
	//	It doesn't work on with the Fast Director
	//
	//	[[NSRunLoop currentRunLoop] addTimer:animationTimer
	//								 forMode:NSRunLoopCommonModes];
}

-(void) mainLoop
{
	[self drawScene];
}

- (void)stopAnimation
{
	[animationTimer invalidate];
	animationTimer = nil;
}

- (void)setAnimationInterval:(NSTimeInterval)interval
{
	animationInterval_ = interval;

	if(animationTimer) {
		[self stopAnimation];
		[self startAnimation];
	}
}

-(void) dealloc
{
	[animationTimer release];
	[super dealloc];
}
@end

#pragma mark -
#pragma mark Director DirectorFast

@implementation CCDirectorFast

- (id) init
{
	if(( self = [super init] )) {

#if CC_DIRECTOR_DISPATCH_FAST_EVENTS
		CCLOG(@"cocos2d: Fast Events enabled");
#else
		CCLOG(@"cocos2d: Fast Events disabled");
#endif
		isRunning = NO;

		// XXX:
		// XXX: Don't create any autorelease object before calling "fast director"
		// XXX: else it will be leaked
		// XXX:
		autoreleasePool = [NSAutoreleasePool new];
	}

	return self;
}

- (void) startAnimation
{
	NSAssert( isRunning == NO, @"isRunning must be NO. Calling startAnimation twice?");

	// XXX:
	// XXX: release autorelease objects created
	// XXX: between "use fast director" and "runWithScene"
	// XXX:
	[autoreleasePool release];
	autoreleasePool = nil;

	if ( gettimeofday( &lastUpdate_, NULL) != 0 ) {
		CCLOG(@"cocos2d: Director: Error in gettimeofday");
	}

	isRunning = YES;

	SEL selector = @selector(mainLoop);
	NSMethodSignature* sig = [[[CCDirector sharedDirector] class]
							  instanceMethodSignatureForSelector:selector];
	NSInvocation* invocation = [NSInvocation
								invocationWithMethodSignature:sig];
	[invocation setTarget:[CCDirector sharedDirector]];
	[invocation setSelector:selector];
	[invocation performSelectorOnMainThread:@selector(invokeWithTarget:)
								 withObject:[CCDirector sharedDirector] waitUntilDone:NO];

//	NSInvocationOperation *loopOperation = [[[NSInvocationOperation alloc]
//											 initWithTarget:self selector:@selector(mainLoop) object:nil]
//											autorelease];
//
//	[loopOperation performSelectorOnMainThread:@selector(start) withObject:nil
//								 waitUntilDone:NO];
}

-(void) mainLoop
{
	while (isRunning) {

		NSAutoreleasePool *loopPool = [NSAutoreleasePool new];

#if CC_DIRECTOR_DISPATCH_FAST_EVENTS
		while( CFRunLoopRunInMode(kCFRunLoopDefaultMode, 0.004f, FALSE) == kCFRunLoopRunHandledSource);
#else
		while(CFRunLoopRunInMode(kCFRunLoopDefaultMode, 0, TRUE) == kCFRunLoopRunHandledSource);
#endif

		if (isPaused_) {
			usleep(250000); // Sleep for a quarter of a second (250,000 microseconds) so that the framerate is 4 fps.
		}

		[self drawScene];

#if CC_DIRECTOR_DISPATCH_FAST_EVENTS
		while( CFRunLoopRunInMode(kCFRunLoopDefaultMode, 0.004f, FALSE) == kCFRunLoopRunHandledSource);
#else
		while(CFRunLoopRunInMode(kCFRunLoopDefaultMode, 0, TRUE) == kCFRunLoopRunHandledSource);
#endif

		[loopPool release];
	}
}
- (void) stopAnimation
{
	isRunning = NO;
}

- (void)setAnimationInterval:(NSTimeInterval)interval
{
	NSLog(@"FastDirectory doesn't support setAnimationInterval, yet");
}
@end

#pragma mark -
#pragma mark Director DirectorThreadedFast

@implementation CCDirectorFastThreaded

- (id) init
{
	if(( self = [super init] )) {
		isRunning = NO;
	}

	return self;
}

- (void) startAnimation
{
	NSAssert( isRunning == NO, @"isRunning must be NO. Calling startAnimation twice?");

	if ( gettimeofday( &lastUpdate_, NULL) != 0 ) {
		CCLOG(@"cocos2d: ThreadedFastDirector: Error on gettimeofday");
	}

	isRunning = YES;

	NSThread *thread = [[NSThread alloc] initWithTarget:self selector:@selector(mainLoop) object:nil];
	[thread start];
	[thread release];
}

-(void) mainLoop
{
	while( ![[NSThread currentThread] isCancelled] ) {
		if( isRunning )
			[self performSelectorOnMainThread:@selector(drawScene) withObject:nil waitUntilDone:YES];

		if (isPaused_) {
			usleep(250000); // Sleep for a quarter of a second (250,000 microseconds) so that the framerate is 4 fps.
		} else {
//			usleep(2000);
		}
	}
}
- (void) stopAnimation
{
	isRunning = NO;
}

- (void)setAnimationInterval:(NSTimeInterval)interval
{
	NSLog(@"FastDirector doesn't support setAnimationInterval, yet");
}
@end

#pragma mark -
#pragma mark DirectorDisplayLink

// Allows building DisplayLinkDirector for pre-3.1 SDKS
// without getting compiler warnings.
@interface NSObject(CADisplayLink)
+ (id) displayLinkWithTarget:(id)arg1 selector:(SEL)arg2;
- (void) addToRunLoop:(id)arg1 forMode:(id)arg2;
- (void) setFrameInterval:(int)interval;
- (void) invalidate;
@end

@implementation CCDirectorDisplayLink

- (void)setAnimationInterval:(NSTimeInterval)interval
{
	animationInterval_ = interval;
	if(displayLink){
		[self stopAnimation];
		[self startAnimation];
	}
}

- (void) startAnimation
{
	NSAssert( displayLink == nil, @"displayLink must be nil. Calling startAnimation twice?");

	if ( gettimeofday( &lastUpdate_, NULL) != 0 ) {
		CCLOG(@"cocos2d: DisplayLinkDirector: Error on gettimeofday");
	}

	// approximate frame rate
	// assumes device refreshes at 60 fps
	int frameInterval = (int) floor(animationInterval_ * 60.0f);

	CCLOG(@"cocos2d: Frame interval: %d", frameInterval);

	displayLink = [NSClassFromString(@"CADisplayLink") displayLinkWithTarget:self selector:@selector(mainLoop:)];
	[displayLink setFrameInterval:frameInterval];
	[displayLink addToRunLoop:[NSRunLoop currentRunLoop] forMode:NSDefaultRunLoopMode];
}

-(void) mainLoop:(id)sender
{
	[self drawScene];
}

- (void) stopAnimation
{
	[displayLink invalidate];
	displayLink = nil;
}

-(void) dealloc
{
	[displayLink release];
	[super dealloc];
}
@end

#endif // __IPHONE_OS_VERSION_MAX_ALLOWED

redpajama_set_name: RedPajamaGithub


Image Title: Elegant Screened In Porch Cost Screened Porch Best Screened Porches Ideas On Screened In Porch Cost Designs. Filename: elegant-screened-in-porch-cost-screened-porch-best-screened-porches-ideas-on-screened-in-porch-cost-designs.jpg. Image Dimension: 400 x 300 pixels. Images Format: jpg/jpeg. Publisher/Author: Clovis Green. Uploaded Date: Saturday - January 12th. 2019 03:01:26 AM. Category: Interior. Image Source: houseandgarden.co.uk.
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A brand new specialised psychiatric facility in Bendigo will provide 80 mental health beds for Bendigo and the surrounding area. Minister for Mental Health Mary Wooldridge said that people with mental illnesses would be offered unique care in the centre, which is designed to combine services on one site. The project would include an integrated psychiatric facility that combined all bed-based psychiatric services with other inpatient services on the one site which would be a first for Victoria.
We have had a request for an explanation of the Mini Mental Status Examination.
We are currently in the process of producing it and will be available soon.
If you have any requests for specific scenarios to accommodate your curriculum requirements, please let us know.
15 March 2013 the Minister for Health launched a new guide for Mental Health Professionals and those that will be working with those in the Mental Health industry. The new guide is to recognise and treat Borderline Personality Disorder.
The Clinical Practice Guideline for the Management of Borderline Personality Disorder was developed by the National Health and Medical Research Council (NHMRC) at the Government's request.
Mental Health Education is online.
Our list of video featurettes include: Strength Based Model, An Aggressive Assessment, Bi Polar Assessment, Crisis Intervention, Drug and Alcohol Assessment, Dual Diagnosis, Early Psychosis, Generalised Anxiety Assessment, Homeless Issues In Remote Areas, Mental Health Clinicians In Remote Areas, Mild and Moderate Depression Assessments, Motivational Interviewing and Sexual Abuse Disclosure.
Also, take a look at our free preview – it contains an example of what is contained in the video featurettes.
And don't forget to look at the information resources included – these are all FREE.


BENSALEM, Pa.--(BUSINESS WIRE)--Apr 4, 2019--Law Offices of Howard G. Smith announces an investigation on behalf of First Choice Healthcare Solutions, Inc. investors ("First Choice" or the "Company") (OTC: FCHS ) concerning the Company and its officers' possible violations of federal securities laws.
On November 14, 2018, both a criminal indictment and civil action were filed by the US Department of Justice and Securities and Exchange Commission respectively against then-Chief Executive Officer, President, and Board Chairman Christian Romandetti, Sr., along with other alleged co-conspirators. Romandetti was charged regarding his connections with the arrangement of a multi-million dollar pump-and-dump scheme in which the price and volume of First Choice shares was falsely controlled through artificial generation of trading volume and price movements as well as materially false representations and omissions in communications with investors.
If you purchased First Choice securities, have information or would like to learn more about these claims, or have any questions concerning this announcement or your rights or interests with respect to these matters, please contact Howard G. Smith, Esquire, of Law Offices of Howard G. Smith, 3070 Bristol Pike, Suite 112, Bensalem, Pennsylvania 19020 by telephone at (215) 638-4847, toll-free at (888) 638-4847, or by email to howardsmith@howardsmithlaw.com, or visit our website at www.howardsmithlaw.com.


One of Europe's fastest growing lighting companies, SLV Lighting began through the pure joy of playing with light to discover all that it's capable of. Infuse your home with that same enthusiasm with colored lighting effects and fun, funky designs.
SLV Lighting is an innovative provider of residential and commercial lighting for interior and exterior use. Founded in 1979 and based in bach-Palenberg, Germany, SLV is one of the fastest-growing and most successful lighting companies in Europe. The 32-year history of SLV Lighting simply began with the joy of playing with light.
Colored lighting effect devices and decorative items created the basis for a company which quickly became one of the market leaders in contemporary lighting designs, technical lighting and living area illumination.


Max said, "Be still" and tamed them with the magic trick of staring into all their yellow eyes without blinking once.
Music, to soothe the savage breast.
For the week following the massacre we got there – doing the kindness the PM urged long before she or any of us envisioned the dire event that would bring the outpouring of love and caring to birth in volumes rarely witnessed.
I wrote some weeks ago about 'random acts of kindness' being translated into consistent acts of kindness. Now surely is the time (as suggested by other commentators) to keep the flame of caring alive. Last week we transformed what we believed in theory about NZ into a luminous reality. "Walk while you have the Light" urged the Nazarene. Well aware that slipping back into old ways was easy he added "lest darkness overtake you." And from the East we have "when a man sees that the god in himself is the same god in all that is, he hurts not himself by hurting others" (Isa Upanishad).
While admitting to agnosticism the PM added she did have faith – in humanity. What better quality to bring out the best in people: unwavering belief that as a race we are one and inhabit one planet we call home? Affirming unity whilst celebrating our diversity dogma, creed and belief systems find their place as simply tools of worship, eclipsed by the power and awe of loving hearts and caring minds -the goal of all aspirational striving and the creation of a better world.
"Technology to cut a cow's methane emissions by up to 30 per cent could be introduced to New Zealand farms later this year if regulators give it the green light.
"So far the supplement is undergoing registration in North America and application has been made in Europe." Our Environmental Protection Agency will have to approve.
Yei, lets get more cows!
Our Environmental Protection Agency will have to approve.
Sigh. My italics. No they shouldn't. They should approve after they've checked it out thoroughly.
For instance, and just off the top of my head.
What is the effect of the additive on groundwater based drinking water systems. Don't you think that Christchurch has had enough issues without the additive caused zombie apocalypse starting there?
What is the prolonged effect on deep groundwater – does it dissipate or concentrate? Not point in getting a short-term beneficial effect if it kills the water reservoirs that we're going to need to survive the heat that is coming regardless of what this additive does right now.
Basically, turn your brain on and try not to replicate the stupidity of the 20th century.
All sensible observations…and there is another to add, time….the potential impacts may not be immediate nor immediately apparent….how long do we trial?
History is littered with examples where detrimental effects were slow to materialise, asbestos and various pesticides/herbicides spring to mind.
Why dont we just actually reduce our production of the main driver of CC ( and bloody fast)….fossil fuels?
Seems like you took a meaning from what I wrote that I did not intend to imply! The report says the EPA "will make the decision" about whether it will happen or not. That was what I meant.
This happened with the last great idea to counter N20 "created" by bacteria feasting on cow urine; applications to pasture of a product that destroyed soil bacteria – brilliant! China said, No Thank You, to our milk. Quick withdrawal of product. In any case, a biocide, sprayed across farm? What were they thinking??
If you think you can get a bio technological fix to a biological problem forget it.
It's much safer to experiment with biological controls in a complex, diverse environment where there are buffers galore. Farms are not such places, having had their biodiversity mowed, ploughed, burned, sprayed and strip-grazed to a near billiard-table state of simplicity, thereby rendering them vulnerable to every ill under the sun; pestilence loves a vacuum and swoops in the moment the farmer's back is turned.
"Taupō-based Tuaropaki Trust and Japanese construction company Obayashi Corporation, have signed a memorandum of understanding to start producing hydrogen, a fuel which produces no carbon emissions. Tuaropaki Trust opened the Mokai geothermal power station, near Taupō, in 2000".
Looks like we're getting there, eh? How? Industry is finally going Green. Better late than never!
Just adding my usual note of (sarcastic) caution.
There is a reason why there are geothermal sources in Taupo. That is because it is a currently active volcano. One that is probably a bit overdue for an eruption (and one that isn't known for having small eruptions). Do we really want to have a infrastructure project in portable fuels started there?
It is also a long way between Taupo and Auckland. Hydrogen isn't exactly the most stable of substances to carry in a raw form. Does this mean that they'll be transporting what would be a hydrogen bomb (at least in a oxygenated atmosphere) up state highway one? Could they at least warn us so that we can evacuate the road first?
Personally, I'd be in favour of a plant somewhere in Southland. It has a lower population, a ability to use soon-to-be surplus hydropower (assuming that they don't get around to putting in the main lines required to move manpouri power north) and can be transported by coastal shipping in bulk.
Yep, 1800 or so years is a blip in geological time and I also wondered about the sealing issue re containment. I saw an update on this plant day before yesterday but google couldn't locate it for me this morning, unfortunately. It made me think they must've come up with new tech for the sealing process, because they seemed to be moving into production.
If not, it could have an explosive effect somewhere along the line. Good to see a partnership involving Maori, Japan & capitalism helping solve the climate-change problem though, eh? I like the symbolism it evokes.
When the last round of talks about the future of Tiwai Point was going on, I recall Patrick Strange (then CEO of Transpower) saying most of the grid would handle it fine, there would only need to be an upgrade to get the power to the Waitaki basin.
IIRC he said maybe a couple of summers and around $300 million to do the upgrade.
The report's author, Andrew Clennett of Taranaki-based Hiringa Energy, is enthusiastic about the potential hydrogen could have in transitioning the regional economy. "Port Taranaki, which was already experienced in handling industrial chemical products, would be a key hub for hydrogen export." "The development of a hydrogen industry will be further supported by the region's industrial, service and operational industries, strong culture of health and safety, and deep-water port with easy access to export markets in Australia and Asia".
The plan indicates the prospect of the creation of 7070 jobs in Taranaki. "The region's oil and gas industry was currently responsible for an estimated $1.57b of Taranaki's total GDP, and directly employed 4340 fulltime equivalent roles." So the new industry is seen as more than replacing the old, with substantially more local employment.
At least Taranaki is a port.
But my question would be as to what they are doing with the carbon from methane after they detach the hydrogen from it?
Well, the usual route to industrial production of hydrogen is steam reformation of methane. Which emits the carbon as CO2. But there's an alternative in the works which bubbles the methane up through a molten metal, and allegedly the carbon stripped of its hydrogen remains as a solid floating on the surface. Which could just be dumped at the bottom of a disused mine.
Personally, I'm pretty skeptical of hydrogen ever playing a big part in our energy future. But I'm starting to get a bit more curious about ammonia's potential.
Good question. Let's hope the chemists involved figure out how to make it useful at a suitable cost. Soil benefits from biochar bigly (if you'll excuse the trumpism) so I'd prefer they do that. Taranaki soil is already rich from the local mountain so I suggest we deploy biochar in flat regions with poor soil but sufficient rainfall for crops – but others may have a better idea.
It'd be kind of nice if the rough formula for the equation were out before funding got approved. On the face of it a natural gas based hydrogen production is just another fossil fuel extraction without even a distribution infrastructure. It needs solid measurable benefits to be more than a costly waste of time.
Folks have had 30 years to pick up on the Greens' principle of true-cost accounting. If decision-makers are costing it without applying that principle, one would suspect they are National/Labour voters (polite way of saying slow learners). So I agree. One could also cite the precautionary principle.
Yes Dennis, I think when the PM and the treasurer talked of not shocking regions and cities with the transformation she saw in the eighties, it was referencing strategic and planned transformations like this. They did say there were more jobs in going green than in propping up oil.
Poisonous plants in NZ to watch out for with children in mind.
Saltbush seems a very useful plant, Australian but is it grown here.
The saltbush grows in the semi-arid and arid regions of mainland Australia. While usually found in dry environments, saltbush can also grow amongst granite tors and wet claypan margins. The species of saltbush known as 'Atriplex nummularia' is the largest of the Australian saltbush, growing to heights of 3m.
Old man saltbush is one of the most common forage shrubs used in southern Australia. It provides a useful forage resource particularly in times when other feed is scare and has been planted on both saline and non-saline soils. Its drought tolerance has allowed it to be grown in areas of particularly low rainfall.
Name "saltbush" refers to the ability of plant to thrive on the salty soils. … Saltbush has strong root system that can grow to the depth of 20 feet. People often plant saltbush near the coasts to prevent erosion of the soil. Native Americans used twigs and leaves of common saltbush as a source of yellow pigment.
Food? Saltbush. Information about Saltbush including applications, nutritional value, taste, seasons, availability, storage, restaurants, cooking, geography and history.
Neglected rough sites that are overgrown and full of weeds!
Thinking through practice by a keen green, tells us what he learned.
Hemp came up on Open Mike Sat 23/3 so some is transferred here with note of where to get the full account.
"So what's so special about hemp? For a start, it's really high in GLA (an omega 6 fatty acid), which is anti-inflammatory. Aside from quinoa, it's also the only complete plant-based protein source, with all 20 amino acids. It's easily digestible, unlike whey or other commonly isolated protein sources, and the fibre content helps with digestion and gut health."….
Might be a thing Shane Jones could get into to break the building materials cost deadlock.
Information and products also available at https://www.hempfarm.co.nz (disclaimer: I have no commercial interest in these products).
Fun facts…. hemp requires no pesticides or herbicides to grow, unlike cotton.
The pollution in waterways from pesticides etc used for growing cotton in the USA is gobsmacking.
Hemp takes around 90 days to grow until harvested. Compared to say a pine tree which takes 20-25 years. One year of pine tree growth = 3 hemp harvests (saving a few months for soil reconditioning and seasons). Making for better use of land, thinking of the fires we had, those pines will take decades to replace, however if it was hemp it would only take months.
Both can be used for textiles among other applications. Rayon is a cellulose fibre, usually made from wood pulp.
Just a thought…. we have an MDF plant in our region, MDF is made from wood pulp, steamed etc, if that's the case surely hemp could be used to make MDF.
Hemp is an incredible textile and such a versatile plant. Perfect growing conditions for hemp in NZ.
FARMERS INTERESTED IN GROWING HEMP?
We will be holding an information evening on growing hemp in Southland.
Southland Federated Farmers Building 70 Forth Street Invercargill.
I've been musing tonight on the goings-on lately. Came up with a plan for solving the copycat massacre problem, wondered about writing it into here. Realised solo advocacy is often not the best way to go.
Came up with alternate plan for developing collaboration. The future: peaceful co-existence. How to get there? Dream on. No, that hasn't worked. We have to live the dream. Aborigines in Oz explain that they live in their dreamtime, why not us. Martin Luther King had a dream, famously said so, was living his way towards it till the end. Sometimes I think we are here for a reason, and such dreams remind us why.
GWS suggested I was demonstrating statesman-like attributes, which gave me a bit of a fright, so I didn't respond – knowing those with negative thoughts would be drawn like moths to a flame if I did. But musing on that alerted me to the possibility that I was tacitly exhibiting behaviour I was looking for in others. I know I've commented on the lack of statesmen since Mandela at least once or twice here in the past. We need that function. So, playing the fool, why don't I act on that basis as an experiment?
So I figured I'd ask you, Robert, to participate on the basis of your perception & emotional intelligence. My proposal: form a sub-group of Standard commentators to design a collaborative process. I suggest we first ask Greywarshark if he will participate on the basis of his life experience. He can play the role of sage, or any other he chooses. I will lead the consensus process since I have a track record of success doing so in politics, but will be open to advice at any stage, and will prefer such organic input as seems appropriate. Does that sound like something worthwhile to do? If so, and Grey agrees, then the next step would be to use the core group to extend itself by inviting several others who have established a suitable track record here to participate.
The following step would be to appraise my proposal for solving the problem, and participants to decide if they can endorse, approve or support it. If consensus is reached that it is worth taking further, we would collectively present it for the appraisal of the site moderators, and ask them to make a collective decision about whether it would be suitable to post to the Standard for the evaluation of commentators. So it is similar to a polling process at each stage. If the process works according to this plan, the experiment will seem worthy of replication on other topics where there is a need for collective agreements.
Humanity survives more via collective decision-making than personal decisions, so we need to incorporate a praxis for doing it! Think of this as a key component of resilience design, that will operate as a model to empower communities. Good idea?
this is the second rain we had here since December, the garden is a bit frayed at the edges and the end of summer has arrived.
yes, it is bit the same here, mugginess and hot during the day, crisp and clear at night.
my peaches are already in the freezer, apples to stew next and crab apples for jelly. took in the last of hte tomatoes and courgettes and now cooking a nice sauce for tea tonight. I am looking at planting a few more fruit trees along the fence line and am rethinking my courgettes. i will have to plant them a different place next year as i would like them to have all the space they need. I like them as plants, and they are an excellent nursery plant i find. their spiky leaves are not appreciated by the crawlers.
so much fun with so little investment.
"Studying the level of radioactive carbon-14 in the Ngāwhā kauri's rings would allow scientists to pinpoint more accurately when the reversal occurred and for how long.
I guess the power is from geothermal sources? Ngawha Springs spring to mind.
Thanks my head tells me to hurry up and get on with things rather than up till now sitting reading and listening to events. But I thought before I got on with jobs that I should check about the geothermal side. Thanks for filling me in, so to speak.


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The HETcompact is our mobile mini deduster solution. It meets all basic characteristics required for applications in the pharmaceutical and chemical industry (e.g. in cleanrooms). Applications are possible for toxic and respirable dusts. The filtered clean gas is led back into the room air. Filter changing takes place with our safe-change-system, eliminating dust contact.
HETcompact applications are of course possible beyond the pharmaceutical and chemical industry.


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The Tailgate »
Today in history 1-13
Author Topic: Today in history 1-13 (Read 34 times)
remrogers
FinsandFur member
Johnny Cash performs at Folsom Prison
In the midst of depression and a steep decline in his musical career, legendary country singer Johnny Cash arrives to play for inmates at California's Folsom Prison on January 13, 1968. The concert and the subsequent live album launched him back into the charts and re-defined his career.
Despite his outlaw image, Cash never went to prison, save for a few nights drying out in various jails. It was not his own experience but rather the crime film Inside the Walls of Folsom Prison that inspired him to pen "Folsom Prison Blues," which was a modest hit for Cash in 1956. The song, characteristically mournful, is written from the point of view of an inmate "stuck in Folsom Prison" after shooting a man in Reno "just to watch him die" - Cash explained that he wanted to come up with the most senseless reason imaginable for the speaker to have committed murder. A decade later, Cash's alcoholism and addiction to pills had taken a marked toll on his health. Cash was popular in prisons across America and was known to correspond with imprisoned fans, and first played at Folsom in 1966 on the suggestion of a local preacher. Two years later, needing something to jump-start his career, he convinced his record company to let him record a live album there.
Cash felt a personal responsibility to put on a good show at Folsom. He rehearsed feverishly in the days leading up to the concert and taught himself "Greystone Chapel," a song written by Folsom inmate Glen Sherley. Despite the presence of armed guards on the walkways above them, and the warden's prohibition against standing during the show, Cash's audience was raucous, invigorating the performers and lending a unique verve to the live recording. Cash tailored the setlist to prisoners, including the namesake song and ending with "Greystone Chapel." The album went to No. 1, as did a subsequent album recorded at San Quentin, and suddenly Cash was a household name again.
The iconic performance linked Cash permanently with prisoners in the American imagination. In his 1971 song "Man in Black," Cash explains that he adopted his trademark dark clothing in solidarity with "the poor and the beaten down" as well as "the prisoner who has long paid for his crime." Cash testified before Congress and met with President Richard Nixon to discuss prison reform in 1972, and continued to crusade on behalf of the imprisoned for the rest of his career. Live at Folsom Prison stands as a testament to the bond he felt with inmates as well as a major entry in the canon of 20th Century American music.


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How Will Soundtrap Acquisition Change Spotify? The Industry?
Here we look at the implications of Spotify's recent purchase of Swedish cloud-based collaborative creative space Soundtrap as the streaming giant looks to increase the breadth of its offerings by providing consumers with more than just streaming in advance of it's anticipated IPO.
On November 17th, 2017, Spotify announced its intention to acquire Soundtrap. For some context, Soundtrap is a Swedish startup that offers an online music studio which provides a free and cloud-based collaborative space for artists that include a collection of its own loops. Users on Soundtrap can mix together their instruments to produce interesting tracks with a global group of musical talent. The deal was reported to be "at least" $30 million. In the first half of 2017 Spotify bought four other companies, including AI startup Niland, a data recognition firm called startup Sonalytic, TV content recommendation platform MightyTV and blockchain tech startup MediaChain. Each acquisition reflects Spotify's efforts to diversify its business beyond streaming and to prepare for an expected $20 billion IPO for the company.
The Soundtrap deal reflects Spotify's attempts to broaden the scope of its services by offering more than just streaming, but also music creation capabilities. Many believe Spotify's expansion will allow people to record their music and upload it directly to the streaming service, giving new talent an avenue to reach global audiences. Spotify's own statement about the purchase said "Soundtrap's rapidly growing business is highly aligned with Spotify's vision of democratizing the music ecosystem," which reflects the company's strategic goals of making music creation a more level playing field.
There are traditionally significant barriers to entry for an emerging artist that wants to produce a studio-quality album or song. An artist would need to purchase time at a studio and then utilize professional editing tech such as Pro Tools in order to polish their sound. They would then need to find a partner to help distribute the music on multiple channels. This Spotify purchase could mark a change in the song production dynamic by making it much easier to create studio content, but it also poses multiple questions.
Spotify always wants to offer quality musical content, but what (if any) controls will they have in place if any musician can leverage Soundtrap to get user-generated content onto the Spotify platform? Industry experts are wondering about any quality controls that Spotify might put in place in regards to accepting new music. Doing this might be difficult considering the subjective nature of determining the "quality" of a piece of music and the dozens of musical genres. Performing QC at this level would require Spotify to ramp up its curation team, which is already tasked with managing new content coming from aggregators such as SongCast. It could also use a crowdsourcing approach to allowing new content by giving the Spotify community (or a subsection) the opportunity to vote on the best new user-generated content.
Spotify does have a recording studio inside of their own offices and offers it to major and independent acts to produce exclusives. Therefore, Soundtrap could be seen as a way for Spotify to produce even more content, and become a type of "farm system" for creating bigger-name acts that are highlighted as Spotify exclusives. Soundtrap's is ideally suited for this purpose. The company's offering functions in a similar fashion to Google Docs by providing users with a real-time recording experience that functions across multiple devices and platforms, so it's open to a wide variety of talent.
This acquisition will help further cement Spotify's place as the most desirable destination for emerging musicians. Artists want more avenues for producing music and potentially turning fans into revenue, and the Spotify-Soundtrap alignment is geared to meet these needs. Artists want distribution simplicity, which is why they're attracted to firms that can provide them access to global fan bases and the chance to earn solid royalty payments.
Has Spotify Regained #1 Spot In US Subscriptions?
After K-Pop's Big Week, What Comes Next?


The first modifications were some simple ones to improve airflow — namely, extending the chimney down to grill level and sealing some of the air gaps with JB weld.
You can also see in that picture part of the electronics setup: the stoking fan, a 10cfm fan which can be turned on and off electronically to control the rate at which the charcoal burns (and thus, the smoker temperature). Normal smokers depend completely on the chimney effect, which works well, but the only way to control airflow is by adjusting the intake and outflow openings, which is inexact and can also be greatly affected by wind conditions.
This is a Stoker, from Rock's Barbque. Based on a TINI board, it has 5 inputs and outputs for temperature sensors and fans, as well as the user interface you can see here for controlling the fans and configuring temperature setpoints. It also has an ethernet port, which I have connected to a wireless bridge (you can see it hiding above the controller in the picture above) so that it can connect both to my local network and the Internet as well.
Here, I have Sensors 1 and 3 set up in different locations in the smoker, pulling the ambient ('cooking') temperature. Sensor 1 is controlling Blower 1 (the fan), and if the temperature goes past the target, the fan will turn on or off (some hysteresis is introduced to keep the fan from turning on and off rapidly when near the target temp).
As you can see, I started the smoker around 9:30, added the bird at around 10, and proceeded to cook it for about 5 hours. Here, the purple line is the temperature according to a temperature probe inserted into the deepest part of the breast, and the blue line moving at right angles is the fan output, either on or off.
One of the best things about the smoker setup is that I no longer have to watch it like a nervous mother hen — I wasn't even at the house between 10:30 and 12, but I never worried because I'd forwarded a port on my router to the stoker's web interface and could check on it as much as I wanted.
Wondering, as I was, where the 'Move Window' option went to? Or the Restore/Size/Move/Maximize/Minimize options? Just shift-right-click on the app in the taskbar and you'll get that menu.
It makes me appreciate companies like SliceHost, who don't offer an SLA and aren't afraid to say so.
Over at the EngineYard blog, they have a couple of posts on working with RoR apps at scale, on general scaling and on sharding your database. We've had to do a few of these things already for certain customers and will hopefully have to do more in the future, but I think one of the important takeaways is that you shouldn't do any of these things before you actually have a need to.
Almost all optimizations for performance are going to introduce some amount of friction in your development process and possibly add failure points, as well — and if you have a solution that works right now, and is going to work for what you estimate the load to be over the next month or two (depending on your release cycle), then you have solved the problem you have right now, and should spend that time adding features or fixing bugs instead.
In a comment to the page, Gregg Pollack points to his screencasts on Scaling Rails — I haven't watched them yet, but he had a good session on ActiveRecord at last year's Lone Star Ruby Conference.


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You are here: Home / Front feature / Sculpture stirs resistance debate
Sculpture stirs resistance debate
Seventy years after they helped liberate Norway from the Nazi German occupation, members of the resistance organization known as Osvaldgruppen (The Osvald Group) have finally won recognition in the form of speeches and a sculpture. The latter, though, has stirred nearly as much debate as the group itself.
This new sculpture, set up as a monument to the Osvald Group for its resistance efforts during World War II, has attracted both criticism and debate. It was unveiled in front of Oslo's central train station on May 1st, the Labour Day holiday. PHOTO: newsinenglish.no
Five surviving members of the Osvald Group unveiled the sculpture meant to serve as a monument to the group's contribution during World War II, and to the lives lost as a result of their resistance efforts. The group was one of the first and most active armed civilian groups resisting the Nazi German invasion of Norway, and known for its members' daring acts of sabotage against German installations and the Norwegian industry that served them throughout the war.
The Osvald Group was best known, however, for being led by radical socialist Asbjørn Sunde, a member of Norway's communist party NKP during the 1930s who fought fascism in Spain and started resisting the Nazi movement early. He used the cover name "Osvald Pettersen," hence the name later given to the group he led even before the Nazi invasion of Norway in 1940. The Osvald Group later took orders from both the exiled Norwegian government in London and officials in the Soviet Union.
While Sunde was one of Norway's most important resistance leaders, his Soviet ties and communist sympathies were unpopular after the war and he was convicted of spying for the Soviet Union in 1954. The Osvald Group and its members never won the honours, public gratitude and positions of post-war power accorded other Norwegian resistance heroes.
The monument to the Osvald Group depicts a hammer smashing a swastika, and was still attracting attention this week. PHOTO: newsinenglish.no
Efforts to finally honour the group, in line with the long-overdue recognition accorded the Pelle Group of wartime saboteurs just two years ago, emerged with the formation of a committee to raise an "anti-fascist monument" in front of the train station, since much of the Osvald-led sabotage was against state railway NSB. The committee's jury unanimously commissioned the sculpture by Bjørn Melbye Gulliksen entitled Knus nazismen (Smash Naziism), but now it's become the subject of even more controversy because of its depiction of a hammer smashing a swastika.
Several art experts, art collector and real estate investor Christian Ringnes, Aftenposten commentator Harald Stanghelle and others have complained about the sculpture. Ringnes called it "superbrutalistic and old-fashioned," suggesting it would best belong "in the 1960's Soviet Union." Stanghelle described it in Aftenposten as "a 19-ton monument in best Soviet style," and questioned whether it should have been erected in front of the central station. Art historian Tommy Sørbø called it "banal" and claimed it lacked artistic value. Another art historian, Jan Kokkin, branded it as a "scandalously bad sculpture that should be removed as fast as it came up," symbolically last Friday, on the May 1st Labour Day holiday.
The leader of the committee that selected Gulliksen's design, Hans O Felix, was unrepentant. "There will certainly be many opinions about the monument and that's just fine," Felix told newspaper Dagsavisen. "The process was carried out in a good manner and it was a unanimous jury (who chose the sculpture) and it's gone through several municipal agencies. We've gone by the book. I have a good conscience."
The city, meanwhile, has only granted temporary placement at the central station and the monument may later be moved. The five survivors of the Osvald Group itself were more concerned with finally receiving recognition, for better or worse.
"I think the unveiling was dignified and fine," Anne Marie Malmo, who was part of the Osvald Group in Bergen, told Aftenposten. "What's most important is that those who gave their lives (to the resistance effort) will be remembered."
Filed Under: Front feature, News Tagged With: Liberation day, politics, World War II


http://www.JewishWorldReview.com | In 1981, a group of demonstrators set up camp outside a British air base to protest the government's decision to allow U.S. nuclear-tipped cruise missiles to be based there.
The Greenham Common Women's Peace Camp initially generated a great deal of publicity, inspired imitators in other countries, sporadically tried to block access to the air base and perhaps reached its zenith in 1983 when as many as 70,000 people turned out for one of their demonstrations.
The women survived several attempts by police to evict them, and eventually the authorities left their tent cities alone, as long as the women, and they were almost all women, confined themselves to picketing, leafleting and chanting.
In 1991, thanks to a nuclear-arms treaty with the Soviet Union, the last of the cruise missiles were removed, taking with them, one would have thought, the reason for the camp. But the women stayed on for nine more years, expressing an increasingly vague and inchoate commitment to "peace." Many of the Greenham women cited a sense of unity, sisterhood, shared purpose and, when pressed, little desire to return to the humdrum routine of their former lives.
One senses that, in accelerated fashion, the Occupy Wall Street movement has arrived at that point. On Wall Street and in cities across the country, the protesters have effectively made their point about income inequality — the 1 percent versus the 99 percent; lopsided tax breaks given to hedge-fund managers and the proclivity of Wall Streeters to lavishly reward themselves regardless of whether their performance merits it. And, yes, economically the great middle class has been stagnant for a decade or more.
As the Occupy movement drags on — the first encampment went up Sept. 17 — the issues that inspired it are receding in the public consciousness and the issue has increasingly become the encampments themselves.
There have been problems of noise, sanitation, isolated incidents of crime and violence and the inevitable run-ins with police, but generally the Occupy movement has been a benign one. But its time in the public square is over. Public space meant for the enjoyment of the many should not be arrogated to advance the interests of the few.
Go home. Find political candidates who share your views and go to work for them. Raise money. Man phone banks. Knock on doors. Help the poor and minorities and those with limited English get government IDs in states that have passed voter-suppression laws.
And don't forget to vote yourself. It really works in this country. Always has.


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Mon, 4th March 2013
Hillsong United has gone hipster.
While using the "h word" to describe anything is usually a derogatory dig at its perceived pretentiousness, it's not so in this case.
Zion takes Hillsong United's musical sound and style in a very different direction from its conventional stadium-rock-anthem sound of previous years. Punchy rock guitar solos and heavy drums are exchanged for pulsing synth beats and haunting string and percussion sections.
A subtler, more restrained vocal style is also favoured here over United's traditionally raw, powerhouse, anthemic vocals, giving Zion a more ethereal and meditative feel.
Each of these 13 tracks bears the musical influence of some of the major indie/alternative acts to hit the Australian music scene in the past few years.
Lead track "Relentless" opens the album strongly with catchy synth and percussion, and soaring male vocals akin to that of indie band Imagine Dragons. The quiet power and poetic lyrics in the song "Scandal of Grace" is reminiscent of the distinctive acoustic/synth arrangements found in Matt Corby's music.
"Zion (Interlude)" and "Heartbeats" channel Temper Trap in their innovative electro-rock riffs and multi-layered musical construction. However, it is the transcendental "Oceans (Where Feet May Fail)", evoking the pensive, piano-driven sound and echoic vocals of The Civil Wars and Florence and the Machine, that is the real stand-out track on this album.
However, Zion is still distinctly Hillsong in sound and writing. The essential gospel message remains intact throughout, with more thoughtful lyrics, reflecting a worshipful focus on God and what He has done for us. This is a welcome change from the straightforward one-line call-and-response style of previous years.
The upside to this is an album that is enjoyably fresh and interesting, and that resounds with the youth that United are there to serve.
There are downsides, however. The lyrics are occasionally abstract, making the basic gospel message a little unclear amid the metaphors, especially to those who may be unfamiliar with the gospel. The reliance on synth to carry most of the songs can also be somewhat distracting from worship, and makes it harder to adapt these songs to an average congregational setting.
The 30-minute DVD behind-the-scenes documentary channels similar hipster vibes and looks like it's been filmed through the entire range of Instagram filters. Featuring an interview with United band leader Joel Houston, and a few bonus songs, it rounds out Zion as a nice little extra but is not very substantial.
While not without its flaws, Zion is an album with more character, texture, cohesion, depth and emotional substance than some of its predecessors. Zion also demonstrates United's ability to continually evolve with youth music culture and make worship relevant to each new generation. Consider this high praise for something so hipster.
Amanda Lum
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Qeeboo Rabbit Chair
Color: Bright Orange
Adult / Bright Orange - $470.00Adult / Violet - $470.00Adult / Red (pre-order) - $470.00Adult / Pink (pre-order) - $470.00Adult / White - $470.00Adult / Black (pre-order) - $470.00Adult / Light Grey - $470.00Adult / Dove Grey (pre-order) - $470.00Adult / Green (pre-order) - $470.00
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A fun and colourful statement from Italian design legend Stefano Giovannoni.
Also available in Rabbit Baby size.
The "Rabbit Chair" is the latest creation from the magic hat of key Italian designer Stefano Giovannoni, who is best known for his fun, playful and iconic household objects. Available in different colours, the Rabbit Chair is perfect for a contemporary kid's playroom, but is also versatile enough to be used both indoors and outdoors.
The idea of the rabbit comes from the connection between its silhouette and the silhouette of a chair, where the rabbit's ears become the setback of the chair. It has a double variation, for adults and for kids, and there is also a third version, illuminated, that can be a lamp.
Young and old can sit down and lean back against the rabbit's ears, or sit front-facing, riding it and using the ears as an armrest.
The rabbit is a gentle animal, lovable and tender. In Western and Eastern culture it symbolizes love and fertility, it is a sweet and auspicious object that brings good fortune and good wishes.
Material: Moulded polyethelene
Dimensions: 68.8cm x 39.5cm x 80cm (LxDxH)


Imagine being able to perform the classic haunted deck whilst the spectator holds the cards. A card is freely chosen from a regular deck of cards. The card is openly lost in the deck while the spectator holds everything. Now without the magician touching anything, the cards cut themselves in the spectator's hands. The selected card then slowly crawls out the deck and immediately everything can be examined. You have to see this to believe it.
EVERYTHING happens in the spectator's own hands.
Very easy to do with an instructional DVD included.


National Supply Source - Industrial Supplies, Tools and … Industrial distributor for cutting and precision tools, machinery, shop supplies and material handling products.
Sheet or coil products with holes punched through them to ... Perforated Metal comes in a selection of hole shapes, sizes, gauges and material types (including plastic).
mill. 9 Single-com- partment mill. 10 Mill bearing arrangements and drive concepts x tube mills, x rod mills, grinding and drying of diverse materials, such as minerals of tube mills. Selection of the appro- a classifying plate lining and a.
rod mills selection criterion, Drive Shafts For Industry. saqa. s semi ing, autogenous assessment criterion range the selection of the different processes is explained.
principle operation of coal mill classifier; , sodium in beneficiation process; , material selection rod mill liner for rod mill . Contact Supplier.
Over 100 Corporates Rely on us for Customer Centric Solutions and Timely Deliveries. Customer Centric Solutions and Timely Deliveries.
Rod mill sand is driven by the rod mill to drive the rod in the steel bar rotation, fall and other sports, ... material selection rod mill liner for rod mill - srpc.


I tried to use the generated clock of timer 4 as input for a counter1 and counter1 should fire the compare match event after 42 clock cycles.
// turn on compare A interrupt.
// turn on compare B interrupt.
With define USE_A I get the following waveform: USE_A the interrupt is fired every ~66200µs sounds like the 16bit counter overflow.
With define USE_A commented out I got the following wired result: USE_B 219µs clock on 1180µs clock of. the only idea I have for this is a reset or something.
Does anybody have an idea whats wrong with my counter code?


text:
Writing & Language Center
Conversation Practice
Tutoring Process & Guidelines
English Conversation Practice
Spanish Tutoring and Conversation Practice
Become a Peer Tutor
Summer Bridge English
Boost Your English Skills
New Bridge Courses Coming Soon!
Pass the Torch
Join a Study Team
History Since 1994
Donate to Pass The Torch
Conversation Practice Hours
Practice Your English Speaking and Listening Skills
Many students comment that they have some difficulty understanding rapidly delivered lectures, and may lack the confidence or vocabulary to engage in verbal conversations with English dominant classmates.
Our online Conversation Practice Hours offer a comfortable and informal environment for anyone, especially international students, to practice speaking and listening to English.
Each group is led by an English speaker.
We talk with each other, and we also listen to recorded media to practice hearing comprehension.
We also make friends with each other across national boundaries.
There are no assignments, and the atmosphere is very informal.
What subjects do we cover? Anything that you want to talk about!
Days, Times, and Location
Conversation Practice Hours are hosted in the LRC Zoom Room and on-campus in Building 3600 and Sunnyvale Center.
Tue/Thur: 3pm - 5pm with Ann
Fri: 11am - 1pm with Ann
@ 3600 Building with Ann: Wed, 11am - 1pm
@ Sunnyvale Center with Sharon: Wed/Thu, 12pm - 2pm
Everyone is Invited to Join In!
If you are already skilled in English, please join us. You can contribute to the learning process and meet some new friends as well.
JunKai Jin, writing in "The Script", Foothill's Student newspaper, 20 June 2017
As an international student who has adapted to US culture, I have some suggestions for my classmates. Most of the international students are not really good at English when they just come here, and then most of them are afraid of communicating with the native speakers and only meet friends who come from the same country as them. As a result, they don't have the chance to speak English and cannot improve without practice. Don't be afraid of using English to communicate with other students. Use English as much as you can, because practice is the best way to improve English.
Meet with a Tutor
Winter 2023 HOURS (1/17-3/29)
MON-THU: 11 a.m. – 7 p.m.
FRI: 11 a.m. – 4 p.m.
SAT: 12 p.m. – 4 p.m.
Online Spanish Tutoring
MON-THU: 4 p.m. – 6 p.m.
FRI: 12 p.m.- 3.p.m.
@ Building 3600
MON-THU 11 a.m. - 5 p.m.
ONLINE BY-APPOINTMENT
MON-THU: 11 a.m. - 7 p.m.
FRI 11 a.m. - 4 p.m.
ONLINE SCHOLARSHIP & APPLICATION WRITING
MON-WED: 5 p.m - 7 p.m.
ENGLISH & SPANISH GROUP CONVERSATION PRACTICE
@ Building 3600 (WLC)
English: WED, 11 a.m - 1 p.m.
Spanish: WED, 12 p.m. - 3 p.m
@ Sunnyvale Center
English: WED & THU, 12 p.m. - 2 p.m.
English: TUE & THU, 3 p.m. - 5 p.m. & FRI 11 a.m. - 1 p.m.
Spanish: FRI, 1 p.m - 4 p.m.
wlc@fhda.edu
Building 3600 (behind the Library)
More Campus Tutoring Services
STEM Center


Doris Patterson isn't proud of her teenage years. She hung out with the wrong crowd and quit school in the 11th grade. Her mistake is one repeated too often in Fayetteville's poorest neighborhoods. Here, poverty is handed down from one generation to the next and success stories can seem an unlikely narrative.


Discussion in 'General Tech Help & CD Burning Help' started by Pearl Jammzz, Nov 23, 2001.
What is the best program to use to rip isos/cue sheets? I really need to know cause I have some games I would like to up o some of these ftps. Thanks in advance.
Yup, CDRWin is my choice as well. It's also my choice for burning.
anyone have the cd key or whatever this thing needs to get it off the 1x speed evaluation crap? Would really help thanks. Also, it rips it to .bin and not .iso. How do I get it to rip into .iso? or does it even matter?
so if I burn a .bin it should burn like an .iso?
oh yeah, does anyone know the unlock code?
Well thats a nice prog however a newer one is also good. Isobuster.
might wanna check it out.
That's nice, but what does IsoBuster have to do with ripping or burning ISO's? What it does is it lets you explore a CD's File System while by-passing Windows.
Ak - you use too many colors in your posts.
Well, this time I wanted that line to stick out.
DJ does rule! Nero is awesome as well.
edit - CDRWin is probably the best choice for BIN/CUE stuff. A lot of people like FireBurner, but I prefer CDRWin over it hands down.


Economic recession. The "New Economy". Unemployment reaches double digits. Everywhere you turn, the news seems to broadcast the glum reality that having money is the new luxury. Looking at your bank account can leave you wondering how you're going to pay all the bills. Where can you budget in your fashion fix?
It's the perfect time to consult fashion collections to help re-evaluate your wardrobe. Museums that exhibit fashion are the perfect fashion fix to inspire you to re-invent your current wardrobe. And best of all, they are either free or of very little cost. With all that historic inspiration, it's much easier to create new styles and combinations of clothing you already own.
The Museum @ FIT has just released a comprehensive list of current and upcoming fashion exhibits around the world. Please visit their schedule to find a museum near you. Unable to visit any of the listed collections? Visit Exhibiting Fashion, a gorgeous site dedicated to fashion exhibits.