This website is owned and operated by Charlotte Zimbehl, flat 4, 1c Hewison Street, London, E3 2HZ.
Company Registration: Sole Trader. VAT Registration GB 193 7227 84.
Before placing an order with Charlotte Zimbehl you must make sure to read and agree to these terms and conditions. If you are unhappy with any aspect of these, then you should contact our customer service via email at mail@charlottezimbehl.com before placing your order with us.
To order a product, you will need to register, login and follow the procedures set out in 'Your Order' section of the FAQS.
After placing an order with us, you will receive an e-mail from us acknowledging that we have received your order. Please note that this does not mean that your order has been accepted.
We must receive payment in whole for the goods that you order before your order can be accepted. Once payment has been received by us and availability of the product you have ordered is verified, we will send you an email confirming that your order has been accepted and has been dispatched. Our acceptance of your order brings into existence a legally binding contract between us.
Prices on the Charlotte Zimbehl website are given in British Pounds Sterling (£) and Euro (€).
Prices in £ and € are shown inclusive of UK sales tax (VAT) at the current rate of 20% but exclusive of delivery costs.
Please see the Shipping section in FAQS for current delivery costs and dates.
If your order is being dispatched to a destination outside the European Union (EU) then VAT will be deducted at the checkout stage and this will be shown on your invoice. If your order is being dispatched to a country which is a member state of the EU then the total price will include VAT at the current rate.
Please note Charlotte Zimbehl has no control over any customs or import duties that could be levied when the package reaches your destination country and for which you will be liable.
Please pay with PayPal when checking out. Please note that signing up for a PayPal account is now optional. You can complete your payment first and then decide whether to save your information in a PayPal account for future purchases or not.
The price of any product is the price in force at the date and time of your order. We may change the price of any product before you place an order. Before accepting your order, we will inform you if a product's correct price is higher than that stated in your order and you may cancel the order.
Under the Distance Selling regulations you have the legal right to cancel your order within 14 days of receipt of the goods. If you want to cancel your order, you need to notify us in writing within those 14 days and request a Returns Number (RN). Once you have notified us, any sum debited from your credit, debit card or Paypal account will be re-credited to your account as soon as possible and in any event within 30 days of your order.
All items intended for return must have a Returns Number (RN). RNs must be obtained within 14 working days of receipt of delivery. To obtain a RN number please email mail@charlottezimbehl.com. Once you have received your RN number, please ensure that you follow the instructions emailed to you.
Notification of returns received outside of the above time frames will not be accepted. For all returns, except where the item is faulty, you will be required to arrange and pay for the return of the products to us. Please be aware that international customs duties and sales taxes are not refunded for shipments outside the European Community (EC).
We will only accept returns provided that the goods in question are returned by you and received by us in the condition they were in when delivered to you. If you do not return the goods delivered to you or do not pay the costs of delivery, we shall be entitled to deduct the direct costs of recovering the goods from the amount to be re-credited to you.
You have a legal obligation to take reasonable care of the items while they are in your possession. If you fail to comply with this obligation, your entitlement to a refund may be affected. We request that you do not remove tags until you are completely satisfied that the items will not be subject to return within 14 days. We also request that items are returned with their original packaging.
This is not intended to be a full statement of your rights under the distance selling regulations. Full details of your rights under the distance selling regulations are available from you local Citizen's Advice Bureau or your Local Authority's Trading Standard's Office.
Subject to stock availability, we will exchange items that are returned to us within 14 days of being received by you. Please note we can only exchange an item for the same item in a different size.
All items returned as faulty will be inspected and any items deemed subject to wear and tear will not be accepted as faulty. We will replace a faulty item if a replacement is in stock and available. If you wish to be sent a replacement, please make your request clear when emailing to receive your Returns Number.
In case we cannot offer you a replacement, you will have the choice of receiving a credit note or a refund to the value of the item at the time of purchase and any shipping costs occurred. Please note that refunds onto credit cards can take up to 30 days and are subject to your bank's refund regulations.
You confirm that all information supplied by you in using this website is true and accurate and that you have the legal authority to purchase goods or services using this website.
By accepting these terms and conditions, you authorise us to use, store or otherwise process any personal information which related to and identifies you to the extent reasonably necessary to provide the services which are available through our website.
We are committed to ensuring that your information is secure. In order to prevent unauthorised access or disclosure, we have put in place suitable physical and electronic and managerial procedures to safeguard and secure the information we collect online.
Charlotte Zimbehl is committed to ensuring that your privacy is protected. Should we ask you to provide certain information by which you can be identified when using this website, then you can be assured that it will only be used in accordance with this privacy statement.
Charlotte Zimbehl may change this Policy from time to time by updating this page. You should check this page from time to time to ensure that you are happy with any changes. This Policy is effective form 01.08.2015.
From time to time we may also use your information to contact you for market research purposes. We may contact you by email, phone or mail. We may use the information to customise this website according to your interests.
We do not store credit/ debit card details, nor do we share customer details with any 3rd parties.
A Cookie is a small file which asks permission to be placed on your computers hard drive. Once you agree, the file is added and the Cookie helps analyse web traffic or lets you know when you visit a particular site. Cookies allow web applications to respond to you as an individual. The web application can tailor its operations to your needs, likes and dislikes, by gathering information about your preferences.
We use Traffic Log Cookies to indentify which pages are being used. This helps us analyse data about web page traffic and improve our website in order to tailor it to customer needs. We only use this information for statistical analysis and then the data is removed from the system.
If you have previously agreed to us using your personal information for direct marketing purposes, you may change your mind at any time by sending an email to mail@charlottezimbehl.com.
We will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by Law to do so. We may use your personal information to send you promotional information about third parties, which we think you may find interesting if you tell us you wish this to happen.
You may request details of personal information which we hold about you under the Data Protection Act 1998. A small fee will be payable. If you would like a copy of information held on you please write to Charlotte Zimbehl, Flat 4, 1c Hewison Street, London, E3 2HZ.
The term Charlotte Zimbehl or 'us' or 'we' refers to the owner of the website.
Neither we nor any third party provide any warranty or guarantee as to the accuracy, timelines, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose; your knowledge that such information and materials may contain inaccuracies or errors or the fullest extent permitted by the law.
This website contains material which is owned by or licensed to us. This material includes but is not limited to the design, layout, look appearance and graphics. Reproduction is prohibited other than in accordance with the copyright notice, which forms part of these terms and conditions.
All trademarks produced in this website, which are not the property of, or licensed to the operator, are acknowledged on the website.
From time to time, this website may also include links to other websites. These links are provided for you convenience to provide further information. They do not signify that we endorse the website(s). We have no responsibility for the content of the linked website(s).
When you place an order with Charlotte Zimbehl a confirmation of your order and the amount charged to your credit, debit card or PayPal account will be sent to the email address you have registered with us. This document will contain your unique order number and details of the items you have purchased. Please keep this documentation somewhere safe in the unlikely event you have a problem.
We accept online payment in a secure environment via PayPal (no account with PayPal necessary).
All transactions are shown in either British Pounds Sterling (£) or Euro (€) and are shown inclusive of UK Sales Tax (VAT) at the current rate which is 20% or in or Euro (€), also inclusive of 20 % VAT. This will appear on your order confirmation and is itemized for you as you pass through the checkout.
If your order is being dispatched to a destination outside the European Community (EC) this sales tax will be deducted at the checkout stage and this will be shown on your invoice. If your order is being dispatched to a country which is a member state of the EC then the total price will include VAT at the current rate.
You do not need to login or register in order to browse the Charlotte Zimbehl Website. However you cannot purchase items in the shop unless you have registered your details (your name, email address and password).
Use the links on the page to login as a returning customer, or to register for the first time. Your login details are stored securely by Charlotte Zimbehl and remain confidential. We will not sell your data to third parties or share your data with other companies.
When you are shopping with Charlotte Zimbehl online and add items to your shopping bag, they will be saved. The Shopping Bag holds products you wish to purchase while you shop, the same way you use a shopping cart in a retail store. At any time during your shopping, you can return to your Shopping Bag by clicking on the round bag icon. All or any items can be removed from your Shopping Bag at any point up until final confirmation of your order.
Stock permitting, all orders placed with Charlotte Zimbehl are usually dispatched to all customers within 2 working days.
Delivery between 9am-5pm, Monday to Friday.
Orders placed Monday to Friday will be send out within 2 business days and delivered within 3 business days.
Orders placed on Friday, Saturday or Sunday will be send out within 2 business days and delivered within 3 business days.
Charlotte Zimbehl insures each purchase during the time it is in transit until it is delivered to you. We require a signature for any goods delivered, at which point responsibility for your purchased goods passes to you. If you have specified a recipient who is not you for delivery purposes (for example as a gift) then you accept that evidence of a signature by them (or at that delivery address) is evidence of delivery and fulfilment by Charlotte Zimbehl and transfer of responsibility in the same way.
**For shipments outside of the EC, please note that the above shipping rates are not inclusive of any customs or import duties that could be levied when the package reaches your destination country. Therefore all charge will be the customer's responsibility.
All tracked deliveries will be send using DHL. You will be sent a tracking number once the goods have been dispatched.
We are only able to ship your order to one location. During the check out process, you will be asked to select the shipping address for your order.
We realise that your order may include gifts that require shipping to several different locations. To do this you will be required to place separate orders for each address you wish to ship to.
You have the legal right to cancel your order within 14 days of receipt of the goods. In this case, any sum debited from your credit or debit card will be re-credited to your account as soon as possible and in any event within 30 days of your order. If you want to cancel your order, you will need to follow the procedure set out below within the 14 days.
Charlotte Zimbehl will offer you a refund provided that the products are returned complete, in perfect condition, unused, fully labelled and with the original packaging. Charlotte Zimbehl will not accept returns for any non-faulty items that have been worn and tags removed.
Please note that you have a legal obligation to take reasonable care of the items while they are in your possession. If you fail to comply with this obligation, your entitlement to a refund may be affected. We request that you do not remove tags until you are completely satisfied that the items will not be subject to return within 14 days. We also request that items are returned with their original packaging.
Except where items are faulty and a replacement is not available, refunds for items may be given and only at the discretion of Charlotte Zimbehl. We offer Free returns for all customers in the UK. The Charlotte Zimbehl Team will organise the return, however, you will be required to print the label.
For all International returns, except where the item is faulty, you will be required to arrange and pay for the return of the products to us.
All items intended for return or exchange must have a Returns Number (RN). RN numbers must be obtained within 14 working days of receipt of delivery by emailing mail@charlottezimbehl.com with your order number and whether you would like an exchange or refund. Charlotte Zimbehl will them email you a RN number. Once you have received this, please take care to follow the instructions emailed to you. You cannot return goods without this number.
Please be aware that international customs duties and sales taxes are NOT refunded for shipments outside the European Community (EC). It is the customer's responsibility to retain copies of all tracking information and to ensure that the returned goods arrive with Charlotte Zimbehl within the above stated timeframe. Please note that Charlotte Zimbehl does not accept liability for returned goods.
When returning items you are strongly recommended to obtain proof of posting or the relevant couriers airway bills and documentation. We cannot accept responsibility for parcels lost in transit and you are advised to arrange your own insurance. We will only refund or provide an exchange for the costs of postage / transport where the item returned is faulty.
When returning an order or partial order the RN number must be stated clearly on the parcel and a copy of your original sales receipt must be enclosed.
We can only exchange an item for the same item in a different size, subject to availability within 14 days of receipt of your order. If you wish to exchange something, please follow the returns procedure and state in your email that you wish to exchange the item.
Exchanged items will only be dispatched after the returned goods have been received and undergone a quality control check. In this case, any sum debited from your credit or debit card from the sale of the returned goods will be re-credited to your account as soon as possible and in any event within 30 days of your order.
To make an exchange you will be required to arrange and pay for the return of the products to us. All items for exchange must have a Returns Number (RN). RN numbers must be obtained within 14 working days of receipt of delivery by emailing mail@charlottezimbehl.com. The Charlotte Zimbehl team will then reply with a RN number. Once you have received your RN number please take care to follow the instructions emailed to you. You cannot return goods without this number.
Exchanges must be made within 14 days of receipt of your order. Exchanges outside of this period will not be accepted. When returning an order or partial order the RN number must be stated clearly on the parcel and a copy of your original sales receipt must be enclosed.
Please note that you have a legal obligation to take reasonable care of the items while they are in your possession. If you fail to comply with this obligation, your entitlement to a refund may be affected. We request that you do not remove tags until you are completely satisfied that the items will not be subject to return within 14 days. We also request that items are returned with their original packaging including.
We offer Free returns and exchanges for all customers in the UK. The Charlotte Zimbehl team will organise the return, however, you will be required to print the label.
Faulty items will only be accepted if the goods we have delivered to you were damaged on arrival. All items returned as faulty will be inspected and any items deemed to subject to fair wear and tear will not be accepted as faulty.
All items intended for return must have a Return Number (RN). RN numbers must be obtained within 5 working days of receipt of delivery by emailing mail@charlottezimbehl.com. The Charlotte Zimbehl team will then reply with a RN number. Once you have received this, please take care to follow the instructions emailed to you. You cannot return goods without this number and we reserve the right to refuse/ return unidentified returns to the sender.
We will replace a faulty item if a replacement is in stock and available. We can only replace faulty items for the same item in the same size. If you wish to be sent a replacement, please make your request clear when emailing to request your RN Number.
Please find a size guide and conversion chart per product in the online shop.
If you have any queries please email mail@charlottezimbehl.com.


Hessian jute fabric gets its name from its inclusion on the army uniforms of German soldiers from Hesse (known, of course, as Hessians); however, in modern times hessian jute is not commonly included in clothing. This is because of its coarse texture, which is generally irritating to the skin and therefore unsuitable for most types of ordinary attire.
Many people would argue that the rough texture of this fabric scratches the skin, and comfort would not be a word commonly associated with hessian jute. However, cultures have been known to use thinner weaves to construct clothing, although this practice is not as popular in modern times.
In one specific religious context, however, it is the very discomfort that hessian jute fabric causes that has earned it a prominent place.
The cilice, or hair shirt, is a garment worn underneath outer clothing specifically to cause pain or discomfort to the wearer. While hessian jute is a popular fabric for cilice construction, history is rife with examples of people who sported much rougher and less comfortable versions of the garment, including shirts made of metal, garments that incorporate inward-pointing spikes, and entire suits made from rough fabric or animal hair.
Just as hessian jute has been in production and use for hundreds of years, historians have found evidence of cilices that date back thousands of years. Some suspect that their incorporation into religious practice predates writing systems.
Today, hair shirts (whether made from hessian jute or some other material) are perhaps best known as part of the practice of mortification of the senses, which is included in many Catholic traditions.
The purpose of flesh mortification in Catholic tradition is to remind humans of original sin and to connect them with the pain and suffering that Jesus of Nazareth felt during his death on the cross, when he is reported to have worn a crown of thorns. In theory, the discomfort of hessian jute rubbing against the skin provides a constant reminder of greater spiritual pains.
While non-religious garments of today are rarely crafted from hessian jute, certain populations may have worn such clothing in centuries past. In India, in the Ganges River delta, the jute plant is heavily cultivated. Historians have discovered evidence that poorer populations in that area may have worn clothing made from hessian jute fabric, though the more common use of the plant fibers at the time was to weave paper and ropes.
Because of its widespread availability in craft stores and as a castoff from shipped household goods, hessian jute has proven popular for craft projects, particularly those created in Sunday school and other religious classes.
Hessian jute is typically inexpensive, too, which puts it within reach of nonprofit religious organizations.


Are you tired of lying awake at night listening to the sound of chirping crickets? Worse yet, have crickets invaded your indoor space?
For effective cricket extermination services in Southwest Virginia, rely on the professionals at Perdue Exterminators. We understand what a nuisance crickets can be, and we certainly recognize that you don't want them inside your home. Our cricket extermination methods work to eliminate crickets without exposing you or your family members to unsafe chemicals. And as part of the cricket extermination process, we'll put preventative measures in place so that your cricket problem doesn't return.
With our knowledgeable crew and affordable cricket extermination rates, Perdue Exterminators is the team to call when crickets are driving you crazy. For more information or to request a quote, contact us today.


text:
Open Pond
Water Level Measurement
Hillsborough Castle is the official residence of the British Royal Family in Northern Ireland and has been the residence of the Secretary of State since the 1970s. The Castle was built in the 1770s and is set on 96 acres of ornamental grounds. The Castle and grounds have recently undergone a £24 million restoration that has seen the Castle open its gates to the public as one of Northern Irelands leading visitor attractions.
StormHarvester's technology has been deployed within the site's attenuation pond to ensure the pond provides flood resilience to downstream properties while at the same time allowing the pond to remain full of water between flood events and therefore contribute to the aesthetics of the ornamental gardens on-site. Prior to StormHarvester's involvement on the project our client feared that the aesthetic of a large empty and often muddy attenuation pond would take from the overall aesthetics sough through the restoration works. By allowing the pond to remain full or partially full of water this fear has been allayed.
By holding water in the pond in this way it has been possible to significantly reduce the quantity of suspended solids discharged off the estate. The pond is now acting as a large settlement basin increasing the settlement time of suspended solids on site by 98%.

redpajama_set_name: RedPajamaCommonCrawl


text:
#ifndef __khConfigFileParser_h
#define __khConfigFileParser_h

#include <string>
#include <vector>
#include <map>
#include <istream>
#include <exception>

class khConfigFileParserException : public std::exception
{
protected:
    std::string str;
public:
    const char* what() const noexcept { return str.c_str(); }
};
class FileNotPresentException : public khConfigFileParserException
{
public:
    FileNotPresentException(const std::string&);
};
class OptionsEmptyException : public khConfigFileParserException
{
public:
    OptionsEmptyException();
};
class KeyNotPresentException : public khConfigFileParserException
{
public:
    KeyNotPresentException(const std::string&);
};
class ValueNotPresentException : public khConfigFileParserException
{
public:
    ValueNotPresentException(const std::string&);
};
class ValidateIntegersException : public khConfigFileParserException
{
public:
    ValidateIntegersException();
};

class khConfigFileParser
{
private:
    std::vector<std::string> options;
    std::map<std::string,std::string> contents;

    bool sanitize(std::string&);
    void split(const std::string&, std::string&, std::string&);
    bool isKeyPresent(const std::string&);
    void validateIntegerValues();

public:

    void addOption(std::string);
    void parse(const std::string&);
    void parse(std::istream&);
    void clearOptions() { options.clear(); }

    int size()   { return contents.size();   }
    const std::string& at(const std::string&);
    const std::string& operator[](const std::string&);

    // allow for range looping
    std::map<std::string,std::string>::const_iterator
    begin() { return contents.begin(); }
    std::map<std::string,std::string>::const_iterator
    end() { return contents.end(); }

    // delete everything but constructor/destructor
    khConfigFileParser()                                     = default;
    ~khConfigFileParser()                                    = default;

    khConfigFileParser(const khConfigFileParser&)            = delete;
    khConfigFileParser(khConfigFileParser&&)                 = delete;
    khConfigFileParser& operator=(const khConfigFileParser&) = delete;
    khConfigFileParser& operator=(khConfigFileParser&&)      = delete;
};

#endif

redpajama_set_name: RedPajamaGithub


Global technology company Barco, has appointed Ramzi Itani as Vice President of its Middle East and Africa operations.
With experience spanning more than 25 years in the IT industry, Ramzi will be responsible for developing and accelerating Barco's enterprise, entertainment and healthcare client bases, to strengthen and expand its regional presence.
Earlier in his career, Ramzi held several leadership roles in sales, marketing and channels in companies such as 3M, Imation, Microsoft, Cisco, Symantec, Veritas, Riverbed and McAfee.


text:
Q: I want string like this in JavaScript I have JSON string array like this:
var stringold= [
    {"aptid":1,"businesname":"skulink","ownrnm":"rajiv"},
    {"aptid":2,"businesname":"prodegios","ownrnm":"sanjeev"}
]

Please check the below link for detail, what I want to achieve -
https://datatables.net/examples/data_sources/js_array.html
var newstring=[
    ["aptid":1,"businesname":"skulink","ownrnm":"rajiv"],
    ["aptid":2,"businesname":"prodegios","ownrnm":"sanjeev"]
]

A: Try this iterate through array of object and for 1st object just get the column names as for all its going to be same and for all the objects iterate over it to make data

var stringold= [
{"aptid":1,"businesname":"skulink","ownrnm":"rajiv"},
{"aptid":2,"businesname":"prodegios","ownrnm":"sanjeev"}
]

var columns = [];
var data = [];

//using forEach
/*stringold.forEach(function(ele,ind){
  var dummy = [];
  for(var prop in ele){
    if(ind == 0){
      columns.push({title:prop})
    }

    dummy.push(ele[prop]);
  }
  data.push(dummy);

});*/

//using loop
for(var i=0;i<stringold.length;i++){
  var ele = stringold[i]
  var dummy = [];
  for(var prop in ele){
    if(i == 0){
      columns.push({title:prop})
    }

    dummy.push(ele[prop]);
  }
  data.push(dummy);

};
console.log(columns,data);

A: You could iterate the objects and then the keys of the object and map the values.

var arrayOld = [{ aptid: 1, businesname: "skulink", ownrnm: "rajiv" },{ aptid: 2, businesname: "prodegios", ownrnm: "sanjeev" }],
    arrayNew = arrayOld.map(function (o) {
        return Object.keys(o).map(function (k) {
            return o[k];
        });
    });

console.log(arrayNew);
.as-console-wrapper { max-height: 100% !important; top: 0; }

redpajama_set_name: RedPajamaStackExchange


CineEurope 2018, Barcelona: 12 June 2018 - The International Union of Cinemas (UNIC), the European Cinema trade grouping, has today published its Annual Report, examining key cinema trends across the 37 territories represented by the association, accounting for 1.34 billion admissions and €8.6 billion in box office revenues in 2017 - a quarter of the global theatrical market for films.
The report - available both in print and online - provides an in-depth look at recent developments in Europe's thriving cinema-going industry.
In 2017, total admissions across the region increased by 2.5 per cent on the previous year, complemented by an increase of 1.7 per cent in box office revenues - confirming the value of cinema-going and its important position within the global cinema industry.
The above figures reflect the significant and continuous investment made in the cinema "offer" in terms of innovation both in theatres themselves and audience engagement throughout the cinema-going experience, which is becoming ever-more tailored towards a multitude of preferences.
The report also details key developments across the legislative spectrum in the form of a number of public policy issues that affect cinema operators, whilst also setting out the association's advocacy activities to ensure that cinemas remain at the heart of governmental and industry efforts towards further prosperity for the entire European film industry.
Many of the trends examined in the report will also be discussed during the week at CineEurope, its official convention and Europe's premier gathering of cinema exhibition professionals from the region and beyond.


text:
Q: How to configure the color on Git Commit Message when using vscode as difftool? I'm wondering how could I setup the color on the vscode Git Commit Message window on my M1 MacBook.
I recently bought this laptop and using vscode as my default difftool shows me no color. All my configuration works perfectly (as in git config, etc., nothing that disrupts the color itself) and the color shows when using the git diff command. So it's just the part of vscode and it's language settings.
I've been looking for a solution for a while in multiple sites, threads, issues etc., but couldn't find anything.
If someone has any idea, I'm all ears.
Thank you


Our understanding of corporate power has been clouded in smoke.
Trump recently hinted that he could use the police, military and biker gangs as armed proxies against his enemies.
Rebecca Peters, who led the campaign for Australia's massive gun buy-back, discusses the path to gun reform.
The welcome collapse of organized white supremacy also raises the specter of harder-to-track terrorist cells.
A new crop of white nationalists are joining the GOP on the sly.
Eugenicists behind the U.S.'s forced sterilizations during the last century also wanted a border wall.
Renew the Resistance! The Seven Principles of Kwanzaa Light the Way.
Kwanzaa's seven principles can guide our resistance to the state of siege we have experienced under Trump.


text:
Browse: Home / 2013 / March / 11 / Hillenbrand helps fund ceremony for Marquetry
Hillenbrand helps fund ceremony for Marquetry
By Susan Salk on March 11, 2013
Blowen runs with Marquetry. Photo courtesy Barbara Livingston
Old Friends Equine received $11,000 in donations last month following a pledge and a challenge by Laura Hillenbrand, author of the No. 1 New York Times bestsellers "Seabiscuit: An American Legend" and "Unbroken: A World War II Story of Survival, Resilience, and Redemption."
Following Hillenbrand's $5,000 pledge in donations to the Kentucky Thoroughbred retirement facility in honor of Marquetry, a great runner who died last month in a fluke stall accident, she challenged fans to open their wallets. The donations poured in.
"It was amazing," says Old Friends cofounder and president Michael Blowen. "Laura Hillenbrand has been great to us, and we were able to match her donation to honor Marquetry."
A portion of the donations will be used to give the fine horse a hero's burial on the sprawling farm where he and other great ex-racehorses lived out their retirement.
A formal ceremony is planned for the day after the Kentucky Derby, Blowen says.
In an earlier interview with OffTrackThoroughbreds.com, Hillenbrand says she was so moved by the "singular bond between the horse and Michael Blowen" that when she learned a stall accident had forced veterinarians to euthanize the animal with whom Blowen is often photographed, she was compelled to offer her support.
"I'm a longtime supporter of Old Friends," Hillenbrand said. "Marquetry was an extraordinary horse, not simply as a racehorse and a sire, but as a personality.
"I was heartbroken to hear that an accident had taken Marquetry's life."
Since losing Marquetry last month, Blowen still feels the absence of the remarkable animal, who was friendly to children and agreeable in so many ways.
"I said to my wife when we were out feeding the horses that we have a lot of really nice horses that I really like a lot, and some I really love. And if you took all of the best in all of our horses and combined it, you might get Marquetry," he says.
While the grand old horse is put to rest, Old Friends is already making room for a new stallion to come and share the fields and barns with some of racing's greats.
This week, a Kentucky bred tough guy with more than $300,000 in winnings, is set to arrive on the farm.
Sean Avery, named for the famous hockey player, is a "tough little horse" owned by Black Swan Stable, Blowen says.
"That horse has worked through more injuries than any horse I know. He's got pins in his knees, he's had chips removed, pins in his legs," Blowen says. "It seemed like every time I picked up a story on him, I'd read, 'Sean Avery had to be scratched.' "
Blowen chuckles with his trademark delight when weaving a story about a racehorse. Hard-knocking runners like Sean Avery, or brilliantly gifted stars like Marquetry, all have a place in his heart, and on the sprawling farm so admired by horse enthusiasts, and fine authors alike.
6 responses to "Hillenbrand helps fund ceremony for Marquetry"
Delrene Sims March 13, 2013 at 11:45 am | Permalink | Reply
Sorry about type I meant to type "Our Mims and I'm sure MANY other retirement /rescue groups are so deserving of support and funding" Thank you
I was lucky enough to see Marquetry the second time I visited Old Friends this last October, 2012. The love and care they lavish on all the retirees is just so inspiring. Mr. Blowen was such a joy to be around and all the volunteers and tour guides so friendly. It is a highlight of a visit to Kentucky and Blue Grass Country. Marquetry was a great horse and am happy to hear there will be a memorial service for him . Thank you for sharing this story. Our Mims and I'm sure any other groups are so deserving of support and funding.
VivienMorrison March 11, 2013 at 8:14 pm | Permalink | Reply
Beautiful story about a beautiful soul and those inspired by him to do wonderful things. I love and miss you always, Marquie Marq.
Dawn Mellen March 11, 2013 at 6:46 pm | Permalink | Reply
I have jockey David Flores saddle he rode in when he won the 1991 Hollywood Gold Cup aboard Marquetry. This needs to be mailed to Old Friends.
Heidi Carpenter March 11, 2013 at 1:23 pm | Permalink | Reply
What a great honor for Marquetry. I know he was loved by many, Mr. Blowen amongst them.
Fran March 11, 2013 at 9:28 am | Permalink | Reply
What a wonderful tribute to a wonderful horse via an incredible facility, Old Friends. Michael Blowen truly is an amazing man and horse lover. I am proud to call him my friend.


text:
Q: Socket [C++\Java] The ServerSocket receives a string only when the client closes I've a application in C++ that will run on Linux. I created with  Java a log GUI (choose Java because I've already worked with this language and Java swing). In a nutshell, the GUI creates a ServerSocket, my Application uses the log service as a client and send the log via the network to the server.
My problem is, as the title says, all the data are received when I close the client (stop it from Eclipse).
These are my pieces of code:
Server Side [Java]
ServerSocket serverSocket = new ServerSocket(3000);
System.out.println("ServerSocket created");
Socket socket = serverSocket.accept();
System.out.println("Connection received");
if (socket != null)
{
    java.io.InputStream is = socket.getInputStream();
    java.io.InputStreamReader isr = new java.io.InputStreamReader(is);
    BufferedReader br = new BufferedReader(isr);
    String a;
    do
    {
        a = br.readLine();
        System.out.println(a + " received");
    }
    while (a != null);
}

Client Side [C++]
while(true)
{
    std::unique_lock<std::mutex> lock {_mutex};
    _isLogEmpty.wait(lock,
                     [&]{return !_logs.empty();});
    try
    {
        std::string logToSend = _logs.front();
        char* messageToSendAsChar = new char[logToSend.length()+1];
        strcpy(messageToSendAsChar, logToSend.c_str());

        if (write(_fileDescriptor, messageToSendAsChar, logToSend.length()+1) > 0)
        {
            _logs.pop();
            logToSend.clear();
        }

        delete[] messageToSendAsChar;
    }
    catch (std::exception &e)
    {

    }
    catch (...)
    {

    }
}

Any help will be appreciated. Thank you!

A: I would guess that the char arrays you send from the C++ application do not contain

a line feed ('\n'), a carriage return ('\r'), or a carriage return
  followed immediately by a linefeed.
— BufferedReader.readLine() (Java Platform SE 7).

Then by closing the C++-client (thus closing the socket) the readLine method may return.
(Sorry for posting this as answer, but until now i am not allowed to post comments to questions directly)


MapMan would like to assure you that we are committed to protecting the privacy of all our users. The purpose of this Privacy Statement is to inform you of the data relating to you that we collect and use in connection with this website and the uses (including disclosures to third parties) we make of such data. We will ensure that the information you provide us with is kept private and confidential, and we will only use it to provide the services you request.
You are not under a contractual or statutory obligation to provide us with any personal data.
any other information relating to you that you provide to us or that we generate about you in connection with your use of the website.
By giving us this information, you consent to this information being collected. In the interest of your privacy, we only collect, use and retain information reasonably required for our legitimate interests.
Most non-personal information is collected via cookies or other analysis technologies. This information may be used to monitor or improve website performance. Information from the cookie alone generally will not identify you personally and we will not use this information in connection with any personally identifiable information you have provided.
To communicate with you if you choose to participate in our Forum (optional)You have the option to subscribe/unsubscribe/contribute to our forum at will.
To record that you have agreed to our terms and conditions for use of the MapMan data which you choose to download.
Non-personal information is aggregated for reporting about Plabipd website usability, performance and effectiveness. It is used to improve the website usability and website content.
We do not share your personally identifiable information with any third party providers.
MapMan is committed to protecting the information you provide. In particular we take steps to prevent unauthorised access or disclosure, to maintain data accuracy, and to ensure the appropriate use of the information we collect.
We take reasonable and appropriate measures to protect Personal Information from loss, misuse and unauthorised access, disclosure, alteration and destruction, considering the risks involved in the processing and the nature of the personal information.
We will not hold your personal data for longer than is necessary. We retain your personal data for as long as we need it for the purposes described in this Privacy Statement, or to comply with our obligations under applicable law.
MapMan strives to keep your personal information accurate. We provide you with access to your information when you login to our site, and the opportunity to change your information. To protect your privacy and security, we will also take reasonable steps to verify your identity, such as a password and user ID, before granting access to your data.
where our processing of your personal data is based on you having provided consent, the right to withdraw your consent to the processing at any time.


Early fall is over and now the struggle to keep warm begins. Now that we're heading towards winter, layering is something we could all use, especially if we want to look stylish but also feel warm and comfy at the same time. My go-to winter layer combo is a coat and a scarf. Something about this combo always evokes a nice, warm and fuzzy feeling inside and out and it's super chic too! What's more is that you can wear this combo on top of any outfit, be it a dressy one or just your everyday casual look. Here are some ideas on how to wear a scarf with your coat.
NEUTRAL – one of the easiest ways to wear your scarf with your coat is to opt for neutral colors on both. This will give you a clean, minimalistic look that is sure to stand out. Going the neutral route is also the easiest and most foolproof way to layer and pair anything and everything so if you're not sure what to wear with what, just go ahead and pick out two neutral pieces and you should be good to go.
PRINT ON PRINT – on the other hand, if going simple and minimalistic is not your thing and you're the kind who would rather opt for bold statement pieces, what you can do is to wear both coat and scarf printed instead. Doing the double print is a styling trick many of us use during the warmer months to liven up our outfits and this combo is an easy excuse to do it during fall and winter, too.
CONTRASTING COLORS – another interesting way to wear a scarf and coat together is to wear them in contrasting colors. Doing this adds much more interesting details to your looks and it's an easy way to elevate your outfit and make it look really edgy as well. If you're afraid of going over the top, I would suggest wearing your scarf in the brighter color and your coat in a darker hue so as not to overwhelm the eyes with too much vividness.
TEXTURE PLAY – sticking to fall and winter's darker color palette could sometimes mean being stuck with a rather boring outfit. One easy solution to avoid this is to add lots of different textures to your look. Play with different textures and try out different combos. Cashmere and crochet makes for an interesting look and so does leather and silk.


text:
United Nations Relief and Rehabilitation Administration (UNRRA) (1943-1946), 494 résultats 494
United Nations Office for Special Political Affairs (1955-1991), 200 résultats 200
United Nations Operation in the Congo (ONUC) (1960-1964), 107 résultats 107
United Nations Executive Office of the Secretary-General (EOSG) (1946-present), 103 résultats 103
Field Service and Successor Bodies (1948-1982), 103 résultats 103
Department of Economic and Social Affairs (DESA) (1955-present), 60 résultats 60
Secretary-General U Thant (1961-1971), 51 résultats 51
United Nations Department of Political Affairs (1992-present), 33 résultats 33
Secretary-General Kurt Waldheim (1972-1981), 28 résultats 28
United Nations Transitional Authority in Cambodia (UNTAC) (1992-1993), 27 résultats 27
Série organique
Force Commander - Headquarters Katanga Area, Air Base Operations - Cables
Force Commander - Military Personnel Branch - Registry
Force Commander - Military Operations Branch - Registry
Force Commander - Headquarters Katanga Area, Military Personnel Branch - Registry
Force Commander - Headquarters Katanga Area, Logistics Branch - Registry
Force Commander - Headquarters Katanga Area, Military Operations Branch - Registry
Force Commander - Air Division, Chartered Aircrafts - Non-Registry
Listing of Civilian and Military Records
Office of the Special Representative of the Secretary-General - Technical Assistance Counterpart Committee
Résultats 1611 à 1619 sur 1619


Home maintenance firm Homeserve has revealed that profits for this year will be at the top end of market forecasts after seeing strong levels of policy renewals.
The Walsall-based firm said it had hit its customer growth target of three per cent in the UK, with 1.8 million of new sales, compared to 1.83 million the year before.
Renewals levels remained high during the freezing weather in February and into March, with the retention rate for the full year predicted to be 82.5 per cent, and total policies of 7.5 million.
In the US, Homeserve expects customer growth in excess of 25 per cent and gross new policy sales of 270,000 – up from 246,000 they year before.
Homeserve also announced, in a trading statement, that its French business, Domeo, has seen customer growth of 13 per cent.


This essay will draw on the proposition that under the conditions of the "default scenicity" of modern communities the sacred centre is not formally designated by artifice or structure, in order to engage with the impacts of digital communication technology on the "degree of implicitness" Gans discusses. It will use the context of the Enspiral Network as a case study in the dynamics of secular, digitally mediated interaction.
Gans argues that when individuals interact informally, as part of everyday life, this implicit sacrality is realised through normative patterns of behaviour, such as politeness, the reciprocity of which serves to mediate the "symmetry of a normal encounter" ("The Last Celebrity"). A conversation held between individuals in pairs or small groups under such informal conditions will fall back on unspoken rules that permit relatively dynamic, reciprocal interaction to unfold, encouraging the use of metaphors such as "flow" to describe a particularly satisfying experience of such discourse. Of course, the degree to which such interaction is free of hierarchy is dictated to by existing intrapersonal, interpersonal, and institutionally defined dimensions of experience; the complex richness of which shows the powerful potential held in informal interaction. The governance of a "normal" encounter is realised in real time via the most ancient of dangers: to occupy the centre by commanding attention is to risk attracting the resentment of the group should that process of appropriation be unwarranted. Here, status conferred by external (institutional) means such as capital accrued in the form of economic wealth or political influence may compel the interlocutors to laugh at a weak attempt at humour, but this is a sinister laugh that defines the act of "humouring" and will not lead to a dynamic conversation.
The undermining of potential under the conditions of such an interaction shows how important the "implicitness" of secularity is to liberating symbolic exchange, and catalysing the kinetic quality of informality on any scene of culture. The case study will demonstrate how innovative organisational strategies are able to maintain a high degree of this implicitness during quite formal (as against quotidian), ritual interaction toward the execution of vital functions, such as executive decision making around the spending and distribution of funds. Specifically, the Enspiral Network has created technologies, such as the "cloud-based" decision making software, Loomio, to permit decentralised governance of their organisation and mediate the requirement for rigidly defined hierarchies. Instead, the informally realised implicit sacred—rather than being institutionally defined—is maintained on a supplementary, digitally mediated scene of interaction that operates on the basis of a set of uniquely liberated spatio-temporal constraints, where agents are networked one-to-one and one-to-many simultaneously.
This intentionally paradoxical move, to use institutional means to mediate institutional control, allows the informal dynamics of the group to defer resentment as a part of a scene where appropriate demonstrations of skill or talent trump institutionally conferred authority. There are clear advantages to such reciprocal interaction, such as the encouragement of collective (dialogic) intelligence, and attention toward the well-being of the members of the community in general, rather than according to the dictates of hierarchy. I conclude that the stability of the Enspiral Network is generated by a dedication to creating a uniquely scalable (relatively) implicit sacrality. With growth in scale, the deferral of resentment that would ensure stability usually moves from relying on informally designated, temporary hierarchies to formalised, increasingly institutional structures that are, inevitably, more hierarchical.
The Enspiral Network, however, takes advantage of the affordances of digital communication technologies to achieve an unprecedented scale of mediated, minimally hierarchical interaction via organisational strategies that seek to maintain the implicit sacrality that characterises secular 'default scenicity.' This strategy is intentionally paradoxical to the extent that it may be considered to generate an institutional foundation for ritualistic interaction, but in a manner that intends to capture the egalitarian quality of informal, everyday communal life. This is, I suggest, a harbinger of future applications of digital technology, where an increasingly reflexive and optimistic relationship with technological determinism is a commonplace.
I have previously applied originary thinking to the analysis of the effects of digital communication technology on scenes of culture, commenting on emergent forms of subjectivity and modes of attention. I explored agency associated with the networking of individuals in the unprecedented format of one-to-one, and one-to-many (in simultaneity) afforded by digital communication technology. These individuals participate in a scene of culture that is generative of a similarly novel sensibility; one whose characteristics are identifiable with the production of intentionally, and thereby reflexive, paradoxical expressions using modes of representation that reach far beyond digitally mediated interaction and exchange. This essay considers collective activity made possible by digitally mediated communication, rather than the intentionally paradoxical portrayal of these conditions. However, there is strong continuity to be discovered across these scenes of culture, which can be mapped to the fact that these scenes are primarily secular, where interaction occurs beyond formal institutions and under circumstances in which the sacred centre is implicit, rather than designated.
As individuals gather in groups, attention is garnered by force of purpose or virtue, and as mentioned above, individuals are subject to resentment should they monopolise attention beyond culturally bounded (normative) measures of justification. When celebrity intersects with everyday life, we see the evidence of this secular configuration, as the celebrity is enwrapped in an imaginary aura of sacrality—or what Eric Gans has called an 'implicit public, "institutional" scene' that separates them from ordinary people via 'a supplement of sacred presence' understood as a supplementary scene of interaction rather than an integrated phenomenon ("The Last Celebrity"). When we encounter a celebrity in the flesh, we experience this separation directly as an auratic removal. The celebrity exists as a virtual presence until met: and this collision brings about the absurd copresence of virtual and direct experience of reality.
However, the celebrity cannot transcend the dynamics of reciprocal interaction, and remains subject to the danger associated of the sacred centre, sharing "many benefits with the big-man, notably wealth and visible influence, and consequently shares as well the Schadenfreude that attends his every misfortune" ("The Last Celebrity"). The celebrity does not typically play an instrumental role in the resolution of social crises, and this peripheral function permits them to evade violent reprisal; instead they experience the humiliation of having their foibles and misadventure popularly witnessed, and frequently celebrated. This secular phenomenon, the supplement of sacred presence, is a product of a virtualizing procedure that is resonant with what can be achieved by digital communication and, as such, it is becoming increasingly quotidian. Similarly, exposure to the affordances of digital communication must displace the virtualizing potential of that medium over time from absurdity to normality.
As digital communication technology has achieved greater penetration, and literacy in the use of associated "platforms" has expanded, groups of people living in secular society have innovated to shape scenes of activity in which the centre is established and maintained as a stable, yet not rigidly institutionalised presence. A salient example has emerged with the rise of coworking over the past two decades, which has occurred as a feature of globalization and technological change. This is particularly true of creative and cultural industries since the global economic crisis of 2007-8. Organisations of all sizes are moving toward the outsourcing of tasks to a global workforce of individuals and micro to small sized businesses, generating growing isolation and labour precarity in media work and management (Deuze 2007, 2009, 2010; Hesmondhalgh and Baker, 2013). This workforce lacks the resources to create independent workplaces outside of the home and consequently lacks the community that comes with a group environment. The effect of such isolation is compounded by the work of "creatives," who function in a fast moving, highly dynamic and peer defined context. Maintaining a contemporaneous skillset, and gaining access to prospective clients, demands that the individual practitioner build and maintain strong networks that facilitate knowledge exchange and generate business opportunities. This, combined with more broadly human considerations such as community, is identified by both observers and participants as behind the strong move toward co-working arrangements.
A growing body of literature is dedicated to the study of coworking, which is not surprising given the speed with which the practice is expanding. Waters-Lynch and Potts (2016) have compiled annual data that shows a doubling pattern from 2005 to the present that is likely to continue. They define coworking spaces as offices a 'heterogeneous group of workers (rather than employees of a single organization or industry) pay to use as their place of work, to engage in social interaction and sometimes collaborate on shared endeavours' (4-5). They argue the origin of coworking spaces can be traced to a humble few in the USA in 2005, a number that by 2015 was estimated to be 7800 in more than 80 countries frequented by more than 510,000 coworkers (8).
This is in part because such environments permit individuals and small businesses to offset the precarity of their work by pooling resources to create infrastructure that is both cost effective and generative of a context in which networking can be conducted, and knowledge and skills exchanged formally and informally as work is completed. It also creates the opportunity for shared social experience and the organisation of collaborative commercial endeavours. The context often sees groups organise events based on shared interests, and the creation of sophisticated community driven business structures and practices that replace the experience of individuals as part of entities with less hierarchical, more humanistic characteristics.
Such coworkers (who identify under a range of titles including collectives, cooperatives and clusters) are economically cooperative and engage in a combination of highly entrepreneurial endeavours alongside community building and philanthropic activities. Ownership of these organisational types is distributed, as is their management, and they commonly employ relatively "flat," adaptive hierarchical structures that produce more dynamic organisations capable of rapid change. Among these is the emergent practice of "social entrepreneurship," where human and capital resources are invested in enterprise that combines capitalistic and socially defined goals, such as the creation of software that sets out to address a social issue in a format that can be marketed for scalable distribution.
These organisations are typically small of scale, and a key issue in considering the efficacy of such an entity is scalability; it is generally accepted that smaller organisations are able to conduct their operations with flatter hierarchies, and as scale increases so does complexity and with it the requirement for hierarchical structures and interaction. This essay considers the example of the Enspiral Network, an organisation based in Wellington, New Zealand, which seeks to achieve decentralised management of its affairs by dovetailing the function of social entrepreneurship with the creation of software that facilitates participatory governance. The software is combined with an ongoing, public dialogue mediated via digital platforms that is dedicated to defining strategies as they are crafted and reflexively updated with the goal of achieving the ideal set down in a published register of shared values.
The last is also crowd authored, and demonstrates the central thesis of this essay: that digital technology is being employed by groups of people living in secular society as the innovative means by which to shape scenes of activity that are able to rely on an established centre, maintained as stable without relying on rigid institutional structures. As I will demonstrate in the case study laid out below, this stability relies instead on a publicly shared discourse; a process of representation that employs the novel availability of one-to-one and one-to-many agency digital communication technology permits. Here, the implicit sacrality of the secular scene of culture is shifted to a liminal state, balanced against the explicit sacrality of rigidly hierarchical institutions to defer resentment by creating structures that leverage technology to attain broad transparency during collective decision making that is carefully recorded as a generative history for later inspection.
The Enspiral Network originated in 2010, with a group of coworkers in Wellington, New Zealand, and was catalysed by interaction with activists from the Occupy movement in 2011 (Enspiral, Network Overview). The activist's requirement for a means by which to make collective decisions led to the development of the open-source cloud-based software "Loomio." It was released in 2012, and is a defining feature of the organisation, permitting the emergence of a fluid, hybrid organisational structure that relies on decentralised, participatory governance. Loomio mediates inclusive, egalitarian processes and practices by distributing the decision-making process across a spatiotemporally diffuse network of individual participants.
The Enspiral Network is made up of number of "ventures," constellated about a central venture known as the Enspiral Foundation, a company that is owned by the network members. The Foundation 'stewards the culture' by fostering ventures, and inviting "contributors" and new members to participate. These contributors make up the extended network of decision makers who collaborate to carry out ventures (Enspiral "Our Ventures"). Much of the venture based activity is dedicated to entrepreneurship based on the creation of software capable of addressing a particular social issue, and frequently the strategy this software underpins calls for the convening of events such as public fora, learning programs and other similar opportunities for knowledge exchange. In effect, the structuration of the organisation fosters communal activities and an ongoing dialogue about the conduct of the various social enterprise it engages in.
On a case-by-case basis, contributors agree on a percentage of earnings to be funneled back into the Enspiral Foundation Ltd, (that we might think of as a "meta" venture) via cloud-based decision-making software. Rather than operate as a not-for-profit organisation, the Foundation attains greater financial freedoms by adopting the legal format of a limited liability company that is administered on the basis of a charitable constitution and a "minimal viable board" (Enspiral, "Enspiral Foundation—About"). The surrounding contributors and ventures form part of the Enspiral Foundation's direct business or operate as separate legal entities in a variety of formats, including companies but also as not-for-profits and cooperatives, and other novel hybrids. Loomio is both a registered cooperative and a limited liability company, formally the Loomio Cooperative Ltd, that is 'owned by its ten worker-members' (Enspiral, "Loomio—About").
Ventures are focused on a variety of social issues, and their titles and focus evidence the humanistic quality of the network. They include (without being limited to): Lifehack, which supports 'wellbeing projects and ventures with a tech focus'; Scoop, an independent source of news resources; Dev Academy, which provides programmer training; Bucky Box, a cloud software based food distribution assistance project; Metric Engine, an application designed to assist organisations to assess and compare performance; Rabid, which provides web and mobile application development services; Chalkle, which is software designed to assist 'learning communities'; Volunteer Impact, 'impact reporting software' dedicated to understanding the effects of environmental conservation projects; Action Station, a not-for-profit activist organisation; EXP, which runs 'events, conferences and hosts retreats within the Enspiral network, and offers consulting services in facilitation, programme design & delivery and entrepreneurship coaching'; and Orientation Aotearoa, a program to support young people to 'gain knowledge, find direction and make change' (Enspiral, "Our Ventures").
A compelling feature of this networked organisation is its scope. By adopting an entrepreneurial approach it has expanded to include in excess of 300 members, a growing number of ventures and a sophisticated market presence made up of highly polished marketing and media including a large number of websites and social media where extensive audiovisual material and written content such as blog articles regularly appear. This includes external dialogue on emergent media and a range of publication points including regular articles by participants on a popular Medium.com site entitled Enspiral Tales (for instance: Lu, 2016; Robinson, 2016; and Zuur, 2016). Members who occupy central roles in Enspiral ventures are active participants in public events and speak about the principles and details of their approach at conferences and other similar fora about these themes and strategies; frequently with an international audience, and with the explicit goal of attaining a global network of relationships and interaction. By taking advantage of a range of literacies, the network leans into the public nature of their organisation and renders the public sphere a site for reflexive engagement with their strategic approach to such goals as decentralised operations.
Network governance is thus dealt with as both a means of local decentralising, and of modelling and sharing ethical business structures and practices in a scalable—arguably "viral"—fashion. A good example of this tactic is the "Enspiral Handbook," a publicly hosted document that defines the operational parameters for Enspiral ventures presented in the style of a "wiki" or white paper. It is collectively authored, and invites contributions and updates, and is published on the Enspiral Website (Enspiral, "Enspiral Handbook"). This process and transparency forms both the basic underpinning to an agreed upon approach to organisational procedures, and provides a reflexive model for other organisations to adopt. The language, structures and practices outlined are inclusive, and focus on meaning rather than profit generation, whilst tending toward fostering literacies in the use of digital communication technologies and a process of transition based on the creation of more sustainable ecologies; both in human and environmental terms (Enspiral, "Our Ventures").
This attitude toward intellectual property and the network effect translates into active participation in the creation of open source software, and make very active use of the Github open source community as a platform to host and distribute project resources and works in progress (Github). Enspiral Network ventures sell open source software as enterprise applications and provide these freely when organisations such as not for profits and social enterprise based startups request them (Enspiral, "Our Ventures"). An example of a freely distributed software is the collaborative tool Cobudget, which permits collective coordination of business expenditure. Loomio (discussed previously) on the other hand, is purchased on a subscription basis but available without cost on application, and has now achieved a global scale of distribution—indeed, the positioning statement on the Loomio website states: "[w]e believe that more groups practicing effective, inclusive decision-making can change organisational dynamics at a global scale" (Loomio, "About"). This change making orientation is also reflected in the language employed by its representatives as part of public fora, for instance, Co-founder Alanna Krause describes Loomio as "the operating system for a new form of organisation" (Rushkoff; Enspiral, "Alanna Krause: Inventing a New Organizational Operating System"). The analogy drawn between the software that controls computational devices and which can provide the underpinnings to an intensively networked socio-technical organisation is revealing. The discourse demonstrates how a soft technological determinism marks the network both in material terms, and in relation to the affective experience of the participants.
This enterprise is controlled by few players—Google and Facebook—that dominate the market and contrive to shape the logic of a search-based economy that funnels capital to central points, drawing the representations of the real into the gravity well of its function. Algorithms that supply users with news operate to constrain world views to a "filter bubble," and to distribute with viral efficiency spurious accounts of events with a suddenness that approaches real-time.
Paradoxically, the utopian discourse that participants in the Enspiral Network engage in can be viewed as a reflex to this suddenness, and to the precarious circumstances created by the mechanisms large corporations have devised and imposed via the internet to control global flows of capital. Here is a relationship that is at once discursive and embedded in a scalable material reality; at once globally realised and locally grounded. For instance, Scoop Independent News is a venture facilitated by the network and a not-for-profit organisation that funds and supports "the vital independent sources of information that contribute to a more democratic society" in New Zealand ("Donations"). Loomio is also an acute demonstration of the desire to create a utopian island of democratic interaction that escapes the conditions of global control, by appropriating the same technical systems these conditions employ. The software is "free and open source… public infrastructure, held in the commons," that can be hosted by the user under secure circumstances ("Loomio in 1 Minute"). It is also designed to be as inclusive as possible; it is device agnostic, and is able, for example, to be deployed as a smartphone application, and allows the participants in a network equivalent rights to contribute to decision making by proposing, supporting, opposing or blocking decisions as part of an aspatial process that is encoded as an archive and record (Loomio "Loomio in 1 Minute"). Loomio, along with the broader suite of technologies discussed here, rely on a dovetailing of digital literacies with communication technology that is generative of reflexively mediated sociality. What emerges is organisational function that permits networked activity that is both entrepreneurial (governed by the market) and humanistic (governed by a communally defined ethos).
Each of these statements show a reflexive, ambivalent response to the twin imperatives of success in the market, and the maintenance of a transparent, humanistic organisational construct. They also show how the collision of these imperatives shape the intent and drive of the network; for whom the network itself is the only feasible response—and the gravity of the project is, to them, nothing less than world changing.
Entrepreneurship and market pragmatism, based primarily around open source software.
Prototyping (modelling) of strategic network effects via organisational strategies.
Parsimonious, decentralised organisational structures that rely on socio-technical systems to amplify a self-organising principle derived from activist origins.
Local integration and footing, alongside a global sensibility guided by the potentials in the network effect and the need to respond to a range of (unfolding) ecological crises.
Public communication dedicated to reflexive engagement with the network goals that is frequently marked by technologically deterministic themes and a critical attitude toward orthodox corporate structures and practices.
Originary thinking offers unique insights into this case study, where unprecedented access to globally mediated cultural exchange is generative of anti-hierarchical scenes of culture. The stability of the Enspiral Network relies on the use of digital communication technology to permit scalable participation in decision making, decentralising the governance of the network and its business operations, and working to achieve an inclusive culture and egalitarian processes. Reciprocal interaction between individual participants in the network is held up as the ideal means by which to focus merit based assessments of proposed decisions. These scenes of culture are facilitated by the network through digital interventions that seek to maintain a degree of the implicitly sacred quality of secularity. In effect, this an intentional use of structure to achieve openness, and therefore an exercise in ambivalence, or if you will, an intentionally paradoxical experiment in the relation of structure and agency. In this way, the network seeks to tap the volatile potency in emergent—self-organising—patterns of human behaviour during which scalable, publicly mediated dialogues are harnessed, and rendered capable of a focussed, instrumental social function.
This can be understood as a kind of experiment—where the laboratory is the network—built up around a reflexive attempt to achieve a public, supplementary scene on which network-based interaction is conducted. This scene relies on the unique facility of digital communication technology, but should be understood to employ virtualizing procedures that are common to all language. The use of Loomio, for example, to conduct collective decision-making relies for its stability on the immediacy of direct material experience of a community or issue that is located within the physical scope of the network. However, to use Gans's terms, the process is mediated on an 'implicit public, "institutional" scene' that remains distinct, remains virtual, and in this way is concretised as a supplement to the communal, material scene it springs from. This communal scene tends to have local roots, and a global sensibility because without the direct, corporeal and material circumstances of lived agency the virtual scene has no impendency, and boasts no immediacy: no causal relationship with the scene from which it (must) spring in order to be supplementary.
Because the collective conducts such discourse on scenes of culture that are digitally mediated, the liminal quality of the public conversation can be negotiated, and the dialogue sustained as it is simultaneously recorded as an indelible digital record. Thus, the usual limitations of scale (in terms of the number of participants) and volatility that marks dialogic interaction conducted in the public sphere are disrupted, with the paradoxical effect of destabilising the structures that reinforce hierarchy. Of course, hierarchy cannot disappear for it is required, and is vital to, structure. For instance, if a group of individuals are attempting to complete a collective task such as the building of a website, decisions must be made in an ongoing way as a function of its creation that require the expertise of an experienced project manager who would be hamstrung by a disabling lag should each decision be collectively realised. One might say the community originates and is sustained through processes that are framed as a kind of performance, staged and recorded to create and stabilise temporary hierarchies toward the completion of projects such as the creation of software or the running of events. In keeping with the scene-supplement dualism outlined above, another more stable, minimally constructed hierarchy (the collectively organised network) provides a longer lasting foundation to venture-based activity that executes a growing number of projects over time.
The originary thinker adopts the hypothesis that language emerged as a means by which to constrain growing entropy among a group of proto-humans, and to thereby mediate the failures of an existing animal hierarchy in differentiating between the members of the group. The deferral of violence previously achieved by animal hierarchization is now mediated by language; but as we know, hierarchy remains the structure that brings ongoing stability to human communities, and with it the resentment and threat of violence such hierarchy represents. The phrase "anti-hierarchical" culture is apt only if understood to describe a reflex to hierarchy, just as the postmodern is a reflex to the modern, rather than a move beyond it. In this sense, the Enspiral Network is underpinned by a more reflexive and (paradoxically) a more institutionalised process of mediating hierarchy. This mutualism, framed as resistance to hierarchy, is therefore intended to facilitate a certain freedom, but it should be noted, is in danger of devolving into a form of "groupthink," and thereby, a source of tyranny. This paradoxical outcome would not be unprecedented in human history, particularly when it comes to the influence of formal religion, and reminds us that consensus of any kind implies the normativity that typifies human culture. A formal organisational response to hierarchy can be understood in terms that are teetering on the edge of such a return.
In both utopia and dystopia, Gans argues (his italics, "Victimary Thinking Forever"), all have and are secure in a position: 'people have a place and know their place.' Under the conditions of utopia they wish to inhabit this place; in dystopia, they are likely to resent this place, but more than this, their 'masters accept and defend theirs.' The course of action taken by the participants in the Enspiral Network is inspired by the victimary; this reflex is not constrained to a group of like-minded peers, it is the decision of the group to engage in a systemic response in a manner that is inspired by the victimary elsewhere.
We could think of this as an example of what Gans (optimistically) labelled "post-victimary" discourse. It is "post-victimary," in the sense that it is an attempt to step outside the circuits of influence of victimary thinking, and is characterised by mediation of hierarchy with the goal of preventing resentment by stepping outside the feedback loop created by the perpetrator-victim relation that is implicit to rigid, enduring hierarchy. Collective organisation of this digitally networked kind tacitly acknowledges that whilst hierarchy cannot be removed from human interaction, it can be more effectively mediated; temporary hierarchies, for instance, can be permitted for the purposes of achieving a collective goal based on voluntary participation, and guided by principles that are mutually agreed upon and designed to foster community. It follows that organisations can operate on the basis of hierarchy but take advantage of digital mediation to offset the (potentially) victimary circumstances of such structure.
Under such post-victimary conditions, organised networks of workers may be an incubator for a mode of interaction that has in some modest ways begun to build on the affordances of digital technology to create a scene on which hierarchy can be mediated—indeed disrupted—to make the best of the emergent qualities in relatively unconstrained human interaction. Let us indulge a techno-utopian urge for a moment, and view the Enspiral Network from a distance through an originary lens: as a microcosmic presentation of a scalable phenomenon, one that is able to be transplanted, or to spread virally, to other organisations that form part of a global milieu: the victimary elsewhere. There, it will replace structures that currently operate according to formal, hierarchical interaction, defined by tradition established during the presently unfolding, possibly waning and primarily analog highly localised and destructible discursive epoch. Such organised networks of individuals will execute tasks and carry out projects that are decentrally governed by the participant workers, whose collective intelligence will be brought to bear in a manner that pays careful attention to the well-being of each individual equally.
Now let us return to terra firma: any careful ethnographic investigation of the lived situation of the Enspiral Network will, there is no doubt, reveal an ongoing struggle to maintain the stability one observes from afar. The micro-politics of human interaction, and the power struggles that must mark any human community cannot be wholly mediated and resolved. Similarly, any and all organisational strategies are certain to be imperfect, and subject to the shifting context of their application. Indeed, during 2016 the residual effects of hierarchy were exhibited as they engaged in a longitudinal, intensive review of their organisation they publicised as "Refactor 2016" through their various media. Alanna Krauss, quoted above as describing Loomio in terms of the technologically deterministic analogy of an "operating system," wrote an article about the review that described the 'story of how we upgraded core systems and processes in a distributed network without bosses' to address 'a number of interconnected issues' ("Breath in Leadership"). The review, she argues, was triggered by the centralising of power in the hands of the Directors of the meta-venture, the Enspiral Foundation Ltd. This was 'inconsistent with a core value of Enspiral: to distribute leadership, information, and power…. [W]ithout a corresponding executive function in the network, the very nature and purpose of governance was unclear' ("Breath in Leadership"). It is interesting to note that the term "refactor" is idiomatic of software development, and as Krauss notes, is 'something programmers do after they've been working on a piece of software for a while and they've developed a better understanding of how it should be working' ("Breath in Leadership"). Clearly, an array of complex human challenges beset the process of decentralising power, distributing governance and attaining the transparency that underpin effective mediation of hierarchical interaction. The utopian internal scene is clearly not distinct from the dystopian without, and must absorb features of the organs of capitalism the network seeks to exclude. Furthermore, the greater the network's success in generating a model of entrepreneurial endeavour that fosters a mode of capitalist endeavour wherein resentment is successfully deferred, the more it adds (however modestly) to the extension of "business as usual" by participating in the status quo.
The technologically deterministic motif, with its 'core systems and processes,' suggests that attempts to stabilise this scene of culture via a platform that is able to supplement everyday interaction and permit such things as collective decision making, is subject to the ever-present danger of metastasizing into the very rigidity it sets out to transcend. Systems are, with ritual, the basis to repeated or routine exposure, and become the source of normativity that is, in turn, the basis to institutionalised interaction. But are we able to have our institutional cake and eat it too? Can we create systems, using technical means, that govern human interaction without subjecting it to a determining hierarchization? In this instance, digital technology permits a level of reflexivity that is otherwise unavailable, and digital literacies have allowed the creation of bespoke (tailor made utopian) scenes for instrumental, organisational purposes that leverage this literacy to generate both transparency and fluidity. However, repeated use of such platforms does not remove the uncanny distance that separates the social and the technical, indeed, they rely on this difference for their function. If the technology were to be conjoined with the human a dystopian situation in which agency has been shifted to an ambiguous machine-human entity, or worse still, to the technology itself, will have occurred. This removal, or displacement, is always in danger of stripping agency of context, as is demonstrated by our growing familiarity with platforms such as Facebook, where the simultaneous access to an increasingly ubiquitous network of one-to-one and one-to-many communication partners, has also stripped individuals of context—and led scholars to adopt the phrase "context collapse" to describe the disorientation this creates (Marwick and Boyd).
Another format of context collapse occurs when supplementary and primary scenes collapse, one with the other; rather than unfolding beyond context, in this instance we have uncanny experiences such as stumbling upon a celebrity whilst purchasing groceries. Now imagine for a moment you have been propelled forward in time 35 years from 1981 to 2016, where the uncanny has become the norm. Here the possibility of scene colliding with scene has been catalysed through a precession Baudrillard predicted, and which no innovation of technology and social system can organise a response to. In this reality, the American President "Tweets" off the cuff comments that destabilise geopolitics, and using the same platform, you can send a direct personal message to your favourite celebrity (though you can't expect a response) using a device you are expected by social norm to carry with you at all times. This experience no doubt overshadows the uncanny moment of bumping into a celebrity in person at the corner store (as does time travel). However, the same socio-technical systems can be shaped toward the opposite ends, and utilised to combat the loss of context. This is precisely what the Enspiral Network sets out to do (an intentionally paradoxical response), by institutionalising a carefully located strategy that positions the technical at the boundaries to the social in order to engage as a community with the constraints that hierarchies impose.
There is consonance between the paradoxical situation of this organised disorder and the relationship between institutions and normativity. The collision of institutional structure with open-endedness liberates the network to engage in other states usually thought of as unsustainably ambivalent, for instance, market pragmatism and humanism. The originary scene for this paradoxical strategic response is the precarity created as media work was increasingly outsourced, or de-institutionalised, during the period after the GFC. It was also generated through the (apparently non-instrumental) activism conducted as part of the Occupy Movement the GFC—at least in part—inspired. Occupy refused to be institutionalised as other activism had been, and to give itself over to hierarchical organisation, and this moment is refracted through the appearance of the Enspiral Network. Its novel combination of structures and paradoxical features is the harbinger of a future in which communities innovate to take action with what is at hand, rather than wait for or protest against inaction from agents that could, and should, act now. The Governments of our nation states, and intractable institutions such as global corporations have proven themselves too path dependant to achieve genuine change; these are entities so heavily invested in the status quo that should we wait for them to deliver, let alone participate in an alternative paradigm, we can be certain it will never arrive.
Cobudget. Cobudget! http://cobudget.co/#/. Accessed 29 Jan. 2017.
Loomio. About. Loomio, 2016, https://www.loomio.org/about. Accessed 29 Jan. 2017.
Baudrillard, Jean. Simulacres et Simulation. Paris, Editions Galilee, 31 Dec. 1981.
Bouncken, Ricarda B., and Andreas J. Reuschl. "Coworking-Spaces: How a Phenomenon of the Sharing Economy Builds a Novel Trend for the Workplace and for Entrepreneurship." Review of Managerial Science, 22 Sept. 2016, 10.1007/s11846-016-0215-y.
Buchanan, Ian. "Deleuze and the Internet." Deleuze and New Technology, edited by Mark Poster and David Savat, Edinburgh, Edinburgh University Press, 14 May 2014, pp. 143–1`60.
Capdevila, Ignasi. "Knowledge Dynamics in Localized Communities: Coworking Spaces as Microclusters." SSRN Electronic Journal, Dec. 2013, 10.2139/ssrn.2414121.
Deuze, M. "Media Industries, Work and Life." European Journal of Communication, vol. 24, no. 4, 6 Nov. 2009, pp. 467–480, 10.1177/0267323109345523.
Deuze, Mark. Media Work. Malden, MA, Polity Press, 8 July 2007.
"Donations." Scoop Independent News, https://foundation.scoop.co.nz/civicrm?page=CiviCRM&q=civicrm/contribute/transact&reset=1&id=3. Accessed 2 Feb. 2017.
Enspiral. "Alanna Krause: Inventing a New Organizational Operating System." YouTube, 19 May 2015, https://www.youtube.com/watch?v=4ABqCgKi4X0&feature=youtu.be. Accessed 3 Oct. 2016.
Enspiral. "Enspiral Foundation – About." Enspiral, 2017, http://enspiral.com/ventures-and-teams/enspiral-foundation-limited/. Accessed 6 Jan. 2017.
—. Enspiral Handbook. https://handbook.enspiral.com/. Accessed 3 Oct. 2016.
—. Enspiral Tales. Medium, https://medium.com/enspiral-tales. Accessed 3 Oct. 2016.
—. "Loomio." Enspiral, 2016, http://enspiral.com/ventures-and-teams/venturesloomio/. Accessed 3 Oct. 2016.
—. "Loomio – About." Enspiral, 2017, http://enspiral.com/ventures-and-teams/venturesloomio/. Accessed 6 Jan. 2017.
—. "Network Overview." Enspiral, 2016, http://enspiral.com/network-overview/. Accessed 3 Oct. 2016.
—. "Our Ventures." Enspiral, 2016, http://enspiral.com/about-enspiral/ventures/. Accessed 3 Oct. 2016.
Enspiral. "What Is Enspiral?" YouTube, 8 Oct. 2014, https://www.youtube.com/watch?v=5O1B5vuOocU. Accessed 3 Oct. 2016.
"Enspiral Space." Facebook, 2017, https://www.facebook.com/enspiralspace/. Accessed 8 Jan. 2017.
Gandini, Alessandro. "The Rise of Coworking Spaces: A Literature Review." Ephemera, vol. 15, no. 1, 14 Dec. 2016, http://www.ephemerajournal.org/contribution/rise-coworking-spaces-literature-review. Accessed 3 Oct. 2016.
Gans, Eric. "The Last Celebrity." Chronicles of Love & Resentment, vol. 377, 2009, http://anthropoetics.ucla.edu/views/vw377.htm. Accessed 25 Jan. 2017.
—. "Post-Victimary Thinking in the Holy Land." Chronicles of Love and Resentment 218 (2000): n. pag. Web. 11 Nov. 2012.
—. "Victimary Thinking Forever." Chronicles of Love and Resentment 230 (2001): n. pag. Web. 31 March. 2013.
Garrett, L. E., et al. "Co-Constructing a Sense of Community at Work: The Emergence of Community in Coworking Spaces." Academy of Management Proceedings, vol. 2014, no. 1, 1 Jan. 2014, pp. 14004–14004, 10.5465/ambpp.2014.139.
GitHub. Enspiral. GitHub, 2017, https://github.com/enspiral. Accessed 29 Jan. 2017.
Hesmondhalgh, David, and Sarah Baker. Creative Labour: Media Work in Three Cultural Industries. London, United Kingdom, Routledge, 11 Jan. 2013.
Kojo, Inka, and Suvi Nenonen. "Evolution of Co-Working Places: Drivers and Possibilities." Intelligent Buildings International, 11 Dec. 2014, pp. 1–13, 10.1080/17508975.2014.987640.
Krause, Alanna. "Breathe in Leadership, Breathe out Leadership: Enspiral's Organisational Refactor." Enspiral Tales, 19 May 2016, https://medium.com/enspiral-tales/breathe-in-leadership-breathe-out-leadership-enspirals-organisational-refactor-884d0babf6b7#.1hshsowkj. Accessed 7 Jan. 2017.
Loomio. "Loomio in 1 Minute." YouTube, 19 Apr. 2014, https://www.youtube.com/watch?v=mqYiX3NIG2c. Accessed 3 Oct. 2016.
Managing Media Work. Edited by Mark Deuze, Thousand Oaks, CA, SAGE Publications, 27 Sept. 2010.
Marwick, A. E., and D. Boyd. "I Tweet Honestly, I Tweet Passionately: Twitter Users, Context Collapse, and the Imagined Audience." New Media & Society, vol. 13, no. 1, 7 July 2010, pp. 114–133, 10.1177/1461444810365313.
Matthews, Benjamin. "Victimary Thinking, Celebrity and the CCTV Building." Anthropoetics, vol. 20, no. 2, 2015, http://anthropoetics.ucla.edu/ap2002/2002matthews.htm. Accessed 24 Jan. 2017.
—. "Virality and the New Ostensive: Ai Weiwei's Leg-Gun Meme." Anthropoetics, vol. 21, no. 1, 2015, http://anthropoetics.ucla.edu/ap2101/2101matthews.htm. Accessed 24 Jan. 2017.
Parrino, Lucia. "Coworking: Assessing the Role of Proximity in Knowledge Exchange." Knowledge Management Research & Practice, vol. 13, no. 3, 30 Sept. 2013, pp. 261–271, 10.1057/kmrp.2013.47.
Rushkoff, Douglas. Loomio: The Occupy Inspired App for Consensus Decision Making. 19 Mar. 2014, http://www.shareable.net/blog/loomio-the-occupy-inspired-app-for-consensus-decision-making. Accessed 3 Oct. 2016.
Spinuzzi, C. "Working Alone Together: Coworking as Emergent Collaborative Activity." Journal of Business and Technical Communication, vol. 26, no. 4, 30 May 2012, pp. 399–441, 10.1177/1050651912444070.
Waters-Lynch, Julian M, et al. "Coworking: A Transdisciplinary Overview." SSRN Electronic Journal, 26 Jan. 2016, 10.2139/ssrn.2712217.
Waters-Lynch, Julian M, and Jason Potts. "The Social Economy of Coworking Spaces: A Focal Point Model of Coordination." SSRN Electronic Journal, 26 Apr. 2016, 10.2139/ssrn.2770874.
In two essays published in Anthropoetics during 2015 I paid particular attention to novel formats of celebrity, especially those with an associated aesthetic dimension, including the celebrity architect, or "starchitect", Rem Koolhaas and the celebrity artist-dissident, Ai Weiwei. These are: "Ai Wei Wei's Leg-Gun Meme, Virality and the New Ostensive" and "Victimary Thinking, Celebrity and the CCTV Building".
 A note of disclosure: some bias may be created by my familiarity with the subject matter of this essay. I work as a consultant in the creative industries, through which I have had extensive experience of coworking environments.
For example Bouncken & Reuschl, 2016; Capdevila, 2013; Gandini, 2016; Garrett, Spreitzer, & Bacevice, 2014; Kojo & Nenonen, 2014; Parrino, 2013; Spinuzzi, 2012; Waters-Lynch & Potts, 2016; Waters-Lynch, Potts, Butcher, Dodson, & Hurley, 2016.
 The Enspiral coworking venture, Enspiral Space, closed during early 2016 and is now managed as part of Rabid (Enspiral Space, 2017).
 See Gans' Chronicles of Love and Resentment 218, "Post-Victimary Thinking in the Holy Land", and 230, "Victimary Thinking Forever" for a discussion of the post-victimary.


text:
Q: Reload environment variables PATH from chef recipes client is it possible to reload $PATH from a chef recipe?
Im intrsted in the response about process signals given in the following thread:
How to have Chef reload global PATH
I dont understand very well that example that the omribahumi user gives.
I would like a clearer example with chef-client / recipe to understand,
with that he explains, seems it is possible with that workaround.
Thanks.

A: Well I see two reasons for this request:

*

*add something to the path for immediate execution => easy, just update the ENV['PATH'] variable within the chef run.

*Extend the PATH system wide to include something just installed.
For the 2, you may update /etc/environment file (for ubuntu) or add a file to /etc/profiled.d (better idea to keep control over it),
But obviously the new PATH variable won't be available to actually running processes (including your actual shell), it will work for process launched after the file update.
To explain a little more the link you gave what is done is:

*

*create a file with export commands to set env variables
echo 'export MYVAR="my value"' > ~/my_environment

*create a bash function loading env vars from a file
function reload_environment { source ~/my_environment; }

*set a trap in bash to do something on a signal, here run the function when bash receive SIGHUP
trap reload_environment SIGHUP

*Launch the function for a first sourcing of the env file, there's two way:

*

*easy one: launch the function
reload_environment

*complex one: Get the pid of your actual shell and send it a SIGHUP signal
kill -HUP `echo $$`

All of this is only for the current shell until you set this in your .bash_rc
Not exactly what you were asking for indeed, but I hope you'll understand there's no way to update context of an already running process.
The best you can do is: update the PATH with whatever method you wish (something in /etc/profile.d for exemple) and execute a wall (if chef run as root) to tell users to reload their envs
echo 'reload your shell env by executing: source /etc/profile' | wall

Once again, it could work for humans, not for other process already running, those will have to be restarted.