text:
"Our State Fair is a Great State Fair"
Published September 28, 2012	Archive , Collections , Exhibitions Closed
Tags: Brian Cobble, Drown a Clown, H. O. Kelly, State Fair of Texas
Don't Miss it; don't even be late! Opening today, the State Fair of Texas inspired us to unearth a few gems from the collection.
Brian Cobble, "Drown a Clown," 2011, pastel on paper, gift of Susan H. and Claude C. Albritton, III, © Brian Cobble
Squire Haskins Photo, Neg. No. N1377-3
Artist H. O. Kelly demonstrates painting in the Museum Court during the 1960 State Fair. An H. O. Kelly Retrospective was one of the Museum's exhibitions for the 1960 Fair.
Friday Photos: Welcome, Elijah!
Published September 28, 2012	Friday Photos 3 Comments
Tags: education department, Melissa Nelson, People
Are you winking at us Eli?
I feel most privileged to introduce you to Mr. Elijah Nelson Gonzales, the youngest member of the DMA family! Melissa and her husband welcomed healthy little Eli into the world on Monday, September 10. We think he's about the cutest thing ever – don't you agree?
Mommy and Eli
Eli's first trip to Target!
Hey buddy.
A beautiful family
Congratulations Melissa! We're missing you while you're away from the office (and the blog), and we look forward to seeing you soon. Bring Eli by the DMA any time you want – the world of art is waiting for him…
Nicole Stutzman
Chair of Learning Initiatives and Dallas Museum of Art League Director of Education
The Man with the Top Hat
Published September 27, 2012	Creativity 1 Comment
Tags: Art, Center for Creative Connections, creativity, Dallas Museum of Art, exhibition, Posters of Paris
In preparation for the upcoming exhibition Posters of Paris: Toulouse-Lautrec and His Contemporaries, the Center for Creative Connections staff has been prototyping a new interactive art-making activity. Inspired by poster-making at the Denver Art Museum, we are including a hands-on poster-making space in the exhibition. Our current prototype activity has a limited array of characters which our visitors can choose and combine to create their own poster; but as you can see, creativity still flourishes. Though each of these three posters below uses the man with the top hat in a similar placement in the composition, the context in which he is placed is quite different.
On the left is an 8-year-old boy's romantic combination of the man with the top hat (with a slender cigarette) and Jane Avril. In the middle, a young man has replaced that slender cigarette with a hefty cigar. All of the romance is gone with the shadowy figures in the background looking on as the man with the top hat strangles a poor rooster. Pictured on the right is a collaborative piece created by a group of women from the Art Institute of Fort Worth. Each woman took a turn adding to the composition in what ended up as a playful hodge-podge.
Swing by the Dallas Museum of Art from October 14 – January 20 to see Posters of Paris and create your own poster! What will you do with the man with the top hat?
Jessica Nelson
C3 Gallery Coordinator
Bon Voyage to The Icebergs
Published September 26, 2012	American Art , Behind-the-Scenes , Curatorial 2 Comments
Tags: Better Angels of Our Nature: The Arts during the Civil War and Reconstruction, D.C., Dallas Museum of Art, Frederic Edwin Church, Metropolitan Museum of Art, Smithsonian American Art Museum in Washington
Considered by some to be the DMA's Mona Lisa, Frederic Edwin Church's The Icebergs has been a destination icon for museum visitors ever since it was placed on display in 1979. Measuring slightly over 7 feet high and 11 feet wide in its frame, and weighing a cumbersome 425 pounds, it is the anchor of the American galleries in both a figurative and literal sense. Consequently, its presence is as keenly felt as its absence. Yet, there are times when a museum must make a sacrifice—albeit reluctantly–in the support of new art historical scholarship.
Frederic Edwin Church, "The Icebergs," 1861, oil on canvas, Dallas Museum of Art, gift of Norma and Lamar Hunt, 1979.28
The Icebergs is to play a pivotal role in the presentation of the upcoming exhibition The Civil War and American Art, which will open at the Smithsonian American Art Museum and travel to the Metropolitan Museum of Art in New York. Longtime members of the DMA will be pleased to know that this important exhibition has been organized by the DMA's former curator of American Art Dr. Eleanor Jones Harvey, who has been with the Smithsonian American Art Museum since 2003. The exhibition will feature key works by America's greatest artists of the era. These works channeled the conflicting emotions of a nation coming to grips with a reality that altered the very fabric of its identity and transformed its once unassailable optimism into dread for the unknown outcomes that lay ahead.
Frederic Edwin Church, "Cotopaxi," 1862, oil on canvas, Detroit Institute of Arts, Founders Society Purchase, Robert H. Tannahill Foundation Fund, Gibbs-Williams Fund, Dexter M. Ferry Jr. Fund, Merrill Fund, Beatrice W. Rogers Fund, and Richard A. Manoogian Fund, Photo courtesy Detroit Institute of Arts
Key to charting the path from America's loss of faith to its eventual hope of redemption will be four monumental landscapes by Frederic Church: The Icebergs, Cotopaxi, Aurora Borealis, and Rainy Season in the Tropics. The first two works have often been paired in a binary context of arctic and tropics, but, in this presentation, their multiple layers of meaning are to be revealed. In the case of The Icebergs, Church changed its title to The North for its debut just twelve days after the beginning of the war in 1861. He also donated all the ticket proceeds to the Union Red Cross. In his painting of the following year, Cotopaxi, Church depicted paradise rent asunder by the volcanic and explosive forces of nature as a symbolic reflection of the cleaving of a nation. A month before the end of the war, Church exhibited Aurora Borealis, wherein the darkness of the endless arctic winter echoed the weariness that dominated the American psyche. In Rainy Season in the Tropics, presented in 1866 after the close of the war, Church delivered the viewer—and a nation—from its trials and tribulations into a paradise redeemed by a nourishing rain and the promise of a double rainbow.
Frederic Edwin Church, "Aurora Borealis," 1865, oil on canvas, Smithsonian American Art Museum, Gift of Eleanor Blodgett, Photo courtesy Smithsonian American Art Museum
Frederic Edwin Church, "Rainy Season in the Tropics," 1866, oil on canvas, Fine Arts Museums of San Francisco, Museum purchase, Mildred Anna Williams Collection
For those wanting to bid a fond farewell to The Icebergs before its departure, please be sure to do so before mid-October, when it will be removed from view. If you would like to see the DMA's masterpiece in the context of the exhibition, it will be at the Smithsonian American Art Museum in Washington, D.C., November 16, 2012–April 27, 2013, and then in New York at the Metropolitan Museum of Art May 21–September 2, 2013.
Sue Canterbury is The Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art.
Welcome Back Volunteers!
Published September 25, 2012	Art & Teaching Closed
Tags: Art, art and games, collections, Dallas Museum of Art, game, Go van Gogh, program, teaching, training, volunteers, works of art
Earlier this month Go van Gogh staff welcomed back the returning volunteers for our first training session of the year. We kicked off the day with an artist personality quiz, revealing our artist dopplegangers from the collection. As someone who has always walked to the beat of her own drum, it was no surprise that I turned out to be a Georgia O'Keeffe. Looking around the room, I noticed a good mix of rebelious Jackson Pollocks, bold and brilliant Pablo Picassos, calm and tranquil Claude Monets, and unique and inquisitive Frank Gehrys.
The rest of the day was primarily spent playing a trivia game that Melissa, Amy, and I created based on the Arts of Mexico Go van Gogh program. Picassos, O'Keeffes, Monets, Pollocks, and Gehrys were all mixed together into teams to compete against each other for the honorable title of Trivia Game Winner. With a variety of questions from true-false to multiple choice, teams had to race against the clock to form their answer before time ran out. However, not all the questions were so straight forward; the game also featured difficult bonus questions and hands-on teaching challenges that warranted extra points. Getting the players on their feet, a teaching challenge could ask the team to pose as a work of art in a frozen tableau, solve a puzzle, or lead an activity from the program as if they were teaching in a classroom. To catch a glimpse of all the fun, check out the slideshow below.
At the end of the day, volunteers took the time to reflect on the session. Here's how many of them described the day:
Lots of good high energy
A good refresher to the program
Engaging and fun, loved the game!
Teachers, don't forget to schedule a Go van Gogh classroom visit (or two, or three…) this school year.
Hannah Burney
Community Teaching Programs Assistant
The Arts of Man turns 50
Published September 24, 2012	Archive , Curatorial , Exhibitions Closed
Tags: cave paintings, caves at Lascaux, The Arts of Man
Fifty years ago, the Museum was installing the exhibition The Arts of Man (October 6, 1962-January 1, 1963). The exhibition was a major undertaking, including almost 500 objects and encompassing the entire museum. The exhibition attempted to "present in selective form representative art objects from all of the world's major civilizations." (The Arts of Man Press Release, 1962) The Arts of Man was arranged chronologically, starting off with a facsimile of a segment of the paintings in the caves at Lascaux. The complex of caves, in southwestern France, are famous for their Paleolithic cave paintings, estimated to be over 17,000 years old.
Museum curator John Lunsford painted the Lascaux facsimile.
John Lunsford spoke about The Arts of Man and the Lascaux facsimile in an oral history conducted in 2002.
"The public response was overwhelmingly positive, and we may even have extended it a little bit—but obviously the bringing of it together was the big thing, and the entry piece was my reconstruction segment of the Lascaux cave paintings. Barney [Delabano, exhibition designer] built the cave structure out of framing, canvas, and plaster. And I got up on a scaffold… And I picked the famous long bull. I'll be immodest enough to say it wasn't a bad facsimile. It was very effective, and we kept it dimly lit—and it was the only ersatz thing in the whole show, everything else was real."
Hillary Bober is the Digital Archivist at the Dallas Museum of Art.
Culinary Canvas: Blood Orange Vanilla Cupcakes
Published September 21, 2012	Culinary Canvas 2 Comments
Tags: cupcake, Friday Photos, orange, recipe, Reves Collection, still-life
The many wonderful artworks at the DMA can certainly be a rich source of inspiration for all types of artists. One art form I enjoy is cooking, so I thought it would be fun to take a culinary tour through the collection and see what works could inspire me in the kitchen.
For my first recipe, I'm starting in the Reves Collection with a Cézanne and something sweet—who can resist a cupcake? Try it out and let me know what you think!
Paul Cézanne, Still Life with Carafe, Milk Can, Bowl, and Orange, 1879-1880, Dallas Museum of Art, The Wendy and Emery Reves Collection
Blood Orange Vanilla Cupcakes with Vanilla Buttercream
Yields about 30 cupcakes
Cupcakes:
1 cup (2 sticks) unsalted butter, room temperature
1 vanilla bean
2 tablespoons finely grated blood orange zest, from about 2 blood oranges
4 large eggs, room temperature
¾ cup heavy cream
¾ cup nonfat milk
½ cup freshly squeezed blood orange juice
1 ½ tablespoons pure vanilla extract
1 tablespoon orange liqueur, such as Cointreau (optional)
Preheat oven to 350° F. Line standard muffin pan with paper liners.
Split vanilla bean lengthwise and scrape out seeds with the edge of a knife. Cream butter, sugar, vanilla seeds and orange zest in the bowl of a stand mixer with paddle attachment, beating at medium speed until light and fluffy, about 2-3 minutes. Add eggs one at a time, mixing until combined and scraping down sides of bowl after each addition.
In measuring cup, whisk together cream, milk, orange juice, vanilla extract and orange liqueur. In medium bowl, sift together flour, baking powder, baking soda and salt. Beginning and ending with dry ingredients, add flour mixture to mixer in 3 batches, alternating with 2 batches of cream mixture. After each addition, mix on low speed until just combined.
Divide batter evenly between liners, filling each cup about ¾ full. Bake 18-20 minutes, or until a toothpick inserted in the center comes out clean.
Splash of heavy cream
Beat butter in the bowl of a stand mixer with whisk attachment on medium-high speed for 5 minutes, until pale and shiny. Add powdered sugar, vanilla, and salt, mixing on low until combined. Add cream. Increase speed to medium-high and continue whipping mixture for 5 minutes until light and creamy. Additional sugar or cream can be added to achieve desired consistency.
The tasty result: my interpretation of the painting in fondant and frosting
Cupcake recipe adapted from Annie's Eats and frosting recipe adapted from Savory Sweet Life.
Assistant to the Chair of Learning Initiatives
Re-visiting Anytown USA
Tags: Anytown USA, docents, Jack Pierson
Last month, I shared teacher responses to the following prompt for the artwork Anytown USA by Jack Pierson:
The letters that make up this sculpture come from a variety of places. Imagine that each of the letters came from signage on buildings in Anytown USA. Select one letter and write a description of the business you think used that letter in its signage. Remember, your response must be inspired by the look and feel of the font/letter you select.
Anytown USA, Jack Pierson, 2000, Dallas Museum of Art, gift of the Junior Associates, 2004.10.a-i, © Jack Pierson
I repeated this same exercise with our docents this week, and their responses were equally as clever and creative. Below are descriptions for some of the businesses that the DMA docents think populate Anytown USA.
A is for Nan's Diner, which has been around since the 1950s. The booths and stools are covered in yellow vinyl, and the diner is known for their breakfast menu. The A may also be from a sign for Carvel's Ice Cream Shop, whose interior is decorated in primary colors. The whole store smells like hot fudge and cotton candy.
NY is for New York Bagels, a shop that's open all night and is a favorite late night hangout. NY may also represent the New York Pantyhose Company, because the NY in this work of art comes in a pair–just like pantyhose!
T is for the Small Town News, a local newspaper that reports on weddings, births, and everything that's happening at the schools. It might also stand for the Texaco gas station, which is still a full-service station.
O is from the sign of the John Silk Feed Store, which caters to farmers and ranchers. The employees are "good ol' boys" and the store smells like hay, fertilizer, and cedar shavings. The O might also be from the sign of the Apothecary Shoppe, which had served the town for 60 years until it was forced to close because of a big chain store.
W may be from the sign of the family-owned Main Street Hardware Store. The store is cluttered, but they carry specialized products that you can't find at other stores. The W might also belong to the Washateria, which is filled with the whir of washers and dryers.
U is for the Final Rest Undertakers, a quiet space decorated with muted colors. Past customers might say, "He looks so natural, but it costs so much." On the other end of the spectrum, U might also be from the sign of a saloon/boarding house. A loud and crude place, there's a player piano in the corner and women wander the lobby wearing only their petticoats.
S is for the General Store, whose owners know everyone in town. The stores sells everything you could ever need, and there's also a large pickle barrel in the corner. The S could also be part of the sign for a soda fountain, which is the favorite hangout of all of the teenagers in Anytown USA.
A is part of the sign for the local baseball stadium, which houses a minor league team. It gives the town a sense of sophistication and makes it feel like maybe it's a larger town than it actually is. The A could also be from the local Anheuser-Busch distributor, the town's largest employer.
Without a doubt, the answers for that final A were unanimous in all four groups of docents who participated in this exercise. What is it about that font that screams baseball and/or beer?
Many of the docents commented on the sense of nostalgia that their responses held. I'm looking forward to trying this activity with students to find out if Anytown becomes more modern when it's examined from their point-of-view.
Shannon Karol
Manager of Docent Programs and Gallery Teaching
Back Where It Started: Dallas Video Festival
Published September 19, 2012	Dallas , DFW , Guest Blog Post , Special Events 2 Comments
Tags: Dallas Museum of Art, Dallas Video Festival, video art
Coming up in just ten short days, the Dallas Video Festival will launch its 25th Anniversary Festival here at the DMA. The festival will include screenings of feature-length works as well as shorts, animation, and other new media, "The Texas Show," workshops, and more!
Recently, I spoke with Bart Weiss, DVF Artistic Director and all around " video guy," about the history of the festival.
So, the Video Festival is celebrating its 25th anniversary this year, back at its original home venue, the DMA. How did the Video Festival start and how did it happen to start at the DMA?
A dear and longtime friend of mine, John Held, Jr., was working on a program that was going to take place at the DMA called Video as a Creative Medium. It was a two-evening program; the first evening featured local video artists and the second evening featured video art from around the world, including works from Michael Smith and other up-and-coming video artists. It was a very successful program. Afterwards, I was chatting with John and Melissa Berry, the program manager at the DMA at the time, and just blurted out, "We should do this again next year, and for four days!" Thus the idea of the Video Festival was born.
I should also mention that on the first evening of the Video as a Creative Medium program, I met a lovely woman named Susan Teegarden, who is now my wife!
The Video Festival ran the first few years basically out of the DMA's programming office and was not its own organization. Two of the founding board members of the official new organization, The Video Association of Dallas, were those very helpful and supportive DMA staffers–Melissa Berry and Sue Graze (the DMA's contemporary art curator at the time).
What are a couple of your fondest memories of video festivals over the years?
Of course, I have many, many fond memories of past festivals, but one that really sticks out to me was one I could have never planned for. I cannot recall the exact year, but we had John Wylie Price participating in the festival. We were doing a program that included showing clips of the television show Amos 'n' Andy. John was part of a conversation that debated whether this show was beneficial or damaging to the African American community since it often played upon stereotypes in the story lines.
We also had Steve Allen in town and he was going to be leading the program that was to follow Price's. Allen attended Price's program and instead of doing the schedule program, he ended up continuing the conversation with Price about how many communities–Jewish, African American, and others–often use humor to deal with the pain they experience as part of their history.
An absolutely incredible dialogue erupted and this moment is one that I think of often.
What can we expect at this year's festival?
There are so many great things planned for this year's festival–to pick out just a couple would be like looking down at your hands and deciding which finger on your hand was your favorite!
In general though, this year's festival will feature many incredible Dallas filmmakers, who this year have made some of the greatest work of their lives. Some of these major local players whose work will be featured include (but are not limited to) Julia Dyer, Alan Govenar, Mark Birnbaum, and of course Allen and Cynthia Salzman Mondell, for whom we will hold a great tribute. All of this programming coming together so wonderfully is a statement to how important video art is, and doing the festival at the Museum makes it all the more powerful.
We hope to see you at the festival, September 27-30. For more details and to buy tickets and passes, visit the Dallas Video Festival's website.
If you need further convincing to come check out the festival, here are a few pictures from Video Fests over the years.
Denise Helbing is the Manager of Partner Programs at the Dallas Museum of Art.
Visit the Museum Without Leaving Your Classroom!
Published September 18, 2012	Art & Teaching , works of art Closed
Tags: elementary outreach, Go van Gogh
Self-portrait collages created by 2nd grade students at Green Elementary during a Searching for Faces Go van Gogh program
Calling all teachers! Do your students like experimenting with art materials and exploring artworks from other times and places? As you begin to plan your school year, we hope you'll consider inviting the Dallas Museum of Art to your classroom for a Go van Gogh outreach program. Here are some reasons we think Go van Gogh is a great way to spend a morning:
Visit the Museum without leaving your classroom! Go van Gogh brings images of artworks from the Museum for interactive conversations.
Make an artwork to take home. Go van Gogh brings all the supplies your class will need to make a take-home art project.
Connect to your curriculum. Go van Gogh programs are geared for specific grade levels, and often dove-tail with subjects students are already learning.
Travel around the world. Go van Gogh programs feature art from Africa, Mexico, Japan, and other far-off places.
Get a free pass. Each student who participates in the Go van Gogh program receives a free family pass to visit the Museum.
Some quick facts about Go van Gogh:
Programs are offered to 1st-6th grade classrooms at schools within Dallas city limits.
Go van Gogh is free-of-charge!
Scheduling is first-come, first-served. There is no limit to the number of programs you can schedule.
Visit our website to learn more about Go van Gogh program offerings and to schedule a program for your classroom.
We hope to visit your classrooms this school year!
Amy Copeland
Coordinator of Go van Gogh Outreach


text:
2006-07Regular SeasonRound 10
Montepaschi 73
Oostende 62
Local time: 18:00 PALAESTRA
Montepaschi ended Telindus Oostende's hopes of a spot in the elimination rounds with a 73-62 win in the Group C finale on Tuesday in Siena, Italy. Montepaschi, which had already clinched first place in the group, improved to 8-2, Oostende, which needed to win to advance to the next stage, dropped to 4-6 and finished the regular season in last place. Elvir Ovcina helped the visitors out to a big, early lead, but Motepaschi fought back to take a 38-36 halftime advantage. The Siena held Oostende to a mere 9 third-quarter points as its lead grew to double figures and Rimantas Kaukenas came up strong down the stretch to secure the victory. Kaukenas, Lonny Baxter and Terrell McIntyre led Montepaschi with 16 apiece and Joseph Forte added 10. Baxter also had 9 rebounds and 4 steals. Rashard Wright had 13 for Oostende, Ovcina and Eric Hicks 12 each and Lavar Postell 11 points and 5 assists. Ovcina and Hicks also cleaned the glass, finishing with 12 and 10, respectively.
Ostende raced out to a fast start with Ovcina on fire, scoring 7 straight points from the perimeter and under the basket. Siena tried to stay in the game with Kaukenas's three-pointers making it 6-11. Oostende coach Sharon Drucker used a 2-3 zone defense to cover the arc, but Forte answered with an other triple to reduce the hosts' deficit to 9-13. Ovcina was also a big force on defense, blocking Shaun Stonerook and unleashing Wright on a fastbreak to make it 10-17. Five straight points by Lonny Baxter brought Siena closer as Ostende continued to struggle from the free-throw line (4-for-9 after 8 minutes), but Wright nailed an incredible triple as the 24-second clock expired to put Telindus up 15-21. Siena answered with a dunk by Luigi Datome, but the first quarter ended with Ostende ahead 17-22. After some quiet minutes, McIntyre appeared with a pair of three-pointers to put Montepaschi ahead for the first time. Baxter added three points of his own to cap a 9-0 run for the hosts. Ostende didn't wait to respond and took the lead again through Postell and Hicks. But two turnovers in a row by Ovcina and an 8-2 run sparked by McIntyre and Baxter gave Siena a 5-point advantage. Wright's jumper fixed the score at 38-36 at halftime.
The second half started with 2 minutes of turnovers and missed shots for both teams. Ocvina broke the ice with a dunk, which was followed by Forte, who maintained a 2-point lead for Siena. Sam Van Rossom blasted the tie in an awful third quarter, but Romain Sato and Forte answered from downtown, pushing Siena to 47-43. The hosts were more aggressive alternating zone and man defenses and added other 6 free throws with Sato, Baxter and Forte making it 53-43. Hicks tried to reduce the difference, but at the end of the third quarter, the score was 54-45. A Datome three-pointer and a Kaukenas layup helped Siena to build a double digit-margin at the beginning of the fourth quarter. A flagrant foul by Postell on Stonerook gave Montepaschi the chance to increase the lead, but the hosts earned owned only 1 point and in the following play, Van Rossom reduced to 60-49. Two free throws by Wright brought Oostende back within 9, but Kaukenas answered with basket and foul to make it 63-51 as the clock became more of a factor, showing only three-and-a-half minutes to go. Oostende's best efforts reduced Siena's lead to 65-57, but Kaukenas once again switched shut the visitors down and effectively ended their season as Montepaschi fans celebrated a 73-62 win and the first place in group C.
Federico Cappelli, Siena
Referees: MEDAN, DRAGAN; LOTTERMOSER, ROBERT; RUTESIC, ZDRAVKO
Montepaschi 17 21 16 19
Oostende 22 14 9 17
Oostende 22 36 45 62
Montepaschi
4 FORTE, JOSEPH 25:00 10 1/4 2/4 2/2 3 3 3 1 1 2 4 13
5 MCINTYRE, TERRELL 25:00 16 0/1 4/8 4/4 1 2 3 2 1 4 4 17
6 BAXTER, LONNY 26:00 16 6/11 4/7 3 6 9 1 4 1 1 1 3 4 22
7 BOISA, VLADIMER 15:00 0/2 1 1 1 1 3 -4
8 EZE, BENJAMIN 13:00 0/1 1 1 2 1 1 1 3 -1
9 CARRARETTO, MARCO 5:00 0/1 1 -2
10 SATO, ROMAIN 23:00 7 0/1 1/2 4/6 1 4 5 2 3 1 1 6 17
11 DATOME, LUIGI 16:00 5 1/2 1/3 1 1 1 1 1 4
12 D'ERCOLE, LORENZO 1:00 2 1/1 2
13 KAUKENAS, RIMANTAS 28:00 16 3/5 2/4 4/5 1 2 3 3 2 3 3 5 18
18 LECHTHALER, LUCA 1:00 1 1
20 STONEROOK, SHAUN 22:00 1 0/2 0/2 1/2 4 4 1 2 1 1 3 1 -1
Totals 200:00 73 12/28 10/26 19/26 8 25 33 14 18 14 3 2 21 25 90
Head coach: PIANIGIANI, SIMONE
4 ILONGO, CHRISTIAN DNP - - - - - - - - - - - - - - -
5 LHOTE, LAURENT 2:00 1 1 1
6 VAN ROSSOM, SAM 37:00 9 3/4 1/1 1 1 1 3 4 3
7 WRIGHT, RASHAD 40:00 13 3/6 1/8 4/6 1 2 3 4 1 4 6 9
8 POSTELL, LAVOR 30:00 11 1/1 1/3 6/6 1 7 8 5 1 2 4 4 21
9 BELLIN, SEBASTIEN DNP - - - - - - - - - - - - - - -
10 PETROVIC, VESELIN 12:00 5 2/5 0/1 1/3 2 2 4 3 2 3 2 -1
12 MC GOWAN, GLEN ANTHONY 10:00 0/2 0/2 1 4 1 -8
14 HICKS, ERIC 35:00 12 6/10 0/5 4 6 10 1 1 3 1 4 3 12
15 OVCINA, ELVIR 34:00 12 3/11 1/1 3/4 2 10 12 2 2 4 1 1 1 5 19
Totals 200:00 62 18/39 4/14 14/26 11 26 37 12 13 18 2 3 25 21 58
Head coach: DRUCKER, SHARON
This game has no play by play yet
PIANIGIANI, SIMONE
"We knew that Oostende would use the zone to try to reduce our offense. They have done the same facing Hapoel which has a system like ours. At the beginning of the game we were a little bit nervous as attacking the 2-3 zone but the answer was good in the second quarter. We wanted to win this game to keep on with our growth process."
DRUCKER, SHARON
"I want to congratulate Siena for the first place in our group. I think we have done a good job in defense but in offense we have missed too many free shots and it is very hard to win in a court such this with those averages. During the season we have had lots of problems also for injuries but now we want to focus on our championship."
STONEROOK, SHAUN
"The importante thing was to win this game because we wanted to win the regular season with the best record among all groups. The zone? We have a lot of players who can shoot from the arc with high percentage and they took open shots. But we have to be more aggressive coming into the paint."
REGULAR SEASON EIGHTHFINALS QUARTERFINALS SEMIFINALS FINALS
Gran Canaria 58
Nancy 89
Hemofarm 81
Besiktas Istanbul 80
Ventspils 84
Anwil Wloclawek 82
FMP Belgrade 85
Snaidero Udine 78
Hapoel Migdal 95
Khimki 101
Lukoil Academic 77
EiffelTowers 89
Crvena Zvezda 92
Dexia Mons 76
PAOK 57

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to resolve the C:\fakepath? <input type="file" id="file-id" name="file_name" onchange="theimage();">

This is my upload button.
<input type="text" name="file_path" id="file-path">

This is the text field where I have to show the full path of the file.
function theimage(){
 var filename = document.getElementById('file-id').value;
 document.getElementById('file-path').value = filename;
 alert(filename);
}

This is the JavaScript which solve my problem. But in the alert value gives me
C:\fakepath\test.csv

and Mozilla gives me:
test.csv

But I want the local fully qualified file path. How to resolve this issue?
If this is due to browser security issue then what should be the alternate way to do this?

A: On Chrome/Chromium based apps like electron you can just use the target.files:
(I'm using React JS on this example)
const onChange = (event) => {
  const value = event.target.value;

  // this will return C:\fakepath\somefile.ext
  console.log(value);

  const files = event.target.files;

  //this will return an ARRAY of File object
  console.log(files);
}

return (
 <input type="file" onChange={onChange} />
)

The File object I'm talking above looks like this:
{
  fullName: "C:\Users\myname\Downloads\somefile.ext"
  lastModified: 1593086858659
  lastModifiedDate: (the date)
  name: "somefile.ext"
  size: 10235546
  type: ""
  webkitRelativePath: ""
}

So then you can just get the fullName if you wanna get the path.
Note that this would only work on chrome/chromium browsers, so if you don't have to support other browsers (like if you're building an electron project) you can use this.

A: I use the object FileReader on the input onchange event for your input file type! This example uses the readAsDataURL function and for that reason you should have an  tag. The FileReader object also has readAsBinaryString to get the binary data, which can later be used to create the same file on your server
Example:
var input = document.getElementById("inputFile");
var fReader = new FileReader();
fReader.readAsDataURL(input.files[0]);
fReader.onloadend = function(event){
    var img = document.getElementById("yourImgTag");
    img.src = event.target.result;
}

A: I came accross the same problem. In IE8 it could be worked-around by creating a hidden input after the file input control. The fill this with the value of it's previous sibling. In IE9 this has been fixed aswell.
My reason in wanting to get to know the full path was to create an javascript image preview before uploading. Now I have to upload the file to create a preview of the selected image.

A: If you really need to send the full path of the uploded file, then you'd probably have to use something like a signed java applet as there isn't any way to get this information if the browser doesn't send it.

A: If you go to Internet Explorer, Tools, Internet Option, Security, Custom, find the "Include local directory path When uploading files to a server" (it is quite a ways down) and click on "Enable" . This will work

A: Some browsers have a security feature that prevents JavaScript from knowing your file's local full path. It makes sense - as a client, you don't want the server to know your local machine's filesystem. It would be nice if all browsers did this.

A: Use file readers:
$(document).ready(function() {
        $("#input-file").change(function() {
            var length = this.files.length;
            if (!length) {
                return false;
            }
            useImage(this);
        });
    });

    // Creating the function
    function useImage(img) {
        var file = img.files[0];
        var imagefile = file.type;
        var match = ["image/jpeg", "image/png", "image/jpg"];
        if (!((imagefile == match[0]) || (imagefile == match[1]) || (imagefile == match[2]))) {
            alert("Invalid File Extension");
        } else {
            var reader = new FileReader();
            reader.onload = imageIsLoaded;
            reader.readAsDataURL(img.files[0]);
        }

        function imageIsLoaded(e) {
            $('div.withBckImage').css({ 'background-image': "url(" + e.target.result + ")" });

        }
    }

A: I am happy that browsers care to save us from intrusive scripts and the like. I am not happy with IE putting something into the browser that makes a simple style-fix look like a hack-attack!
I've used a  to represent the file-input so that I could apply appropriate styling to the
 instead of the < input > (once again, because of IE). Now due to this IE want's to show the User a path with a value that's just guaranteed to put them on guard and in the very least apprehensive (if not totally scare them off?!)... MORE IE-CRAP!
Anyhow, thanks to to those who posted the explanation here: IE Browser Security: Appending "fakepath" to file path in input[type="file"], I've put together a minor fixer-upper...
The code below does two things - it fixes a lte IE8 bug where the onChange event doesn't fire until the upload field's onBlur and it updates an element with a cleaned filepath that won't scare the User.
// self-calling lambda to for jQuery shorthand "$" namespace
(function($){
    // document onReady wrapper
    $().ready(function(){
        // check for the nefarious IE
        if($.browser.msie) {
            // capture the file input fields
            var fileInput = $('input[type="file"]');
            // add presentational  tags "underneath" all file input fields for styling
            fileInput.after(
                $(document.createElement('span')).addClass('file-underlay')
            );
            // bind onClick to get the file-path and update the style

            fileInput.click(function(){
                // need to capture $(this) because setTimeout() is on the
                // Window keyword 'this' changes context in it
                var fileContext = $(this);
                // capture the timer as well as set setTimeout()
                // we use setTimeout() because IE pauses timers when a file dialog opens
                // in this manner we give ourselves a "pseudo-onChange" handler
                var ieBugTimeout = setTimeout(function(){
                    // set vars
                    var filePath     = fileContext.val(),
                        fileUnderlay = fileContext.siblings('.file-underlay');
                    // check for IE's lovely security speil
                    if(filePath.match(/fakepath/)) {
                        // update the file-path text using case-insensitive regex
                        filePath = filePath.replace(/C:\\fakepath\\/i, '');
                    }
                    // update the text in the file-underlay
                    fileUnderlay.text(filePath);
                    // clear the timer var
                    clearTimeout(ieBugTimeout);
                }, 10);
            });
        }
    });
})(jQuery);

A: Use
document.getElementById("file-id").files[0].name;

instead of
document.getElementById('file-id').value

A: seems you can't find the full path in you localhost by js, but you can hide the fakepath to just show the file name. Use jQuery to get the file input's selected filename without the path

A: The best solution for this, I've found, is to use a middleware like Multer. Here's a quick rundown:

*

*npm i multer

*Add enctype="multipart/form-data" to your html form.

*In your backend dock where you're making your post request, require multer (const multer = require('multer'))

*In the same dock, set your upload destination: const upload = multer({dest:'uploas/'}). This will automatically create a local folder called 'uploads' where your files will be added. The code I've included shows you how to upload to your local disk storage. If you're using cloud storage (e.g. AWS, Azure, Cloudinary etc.) you can check out the Multer docs to see how to manage that. There aren't too many extra steps though.

*in your post request, add 'upload.single' (for one file) or 'upload.array' (for multiple files), like this:

router.post('/new', upload.single('image'), async function(req, res) { //'image' should be the name of the input you're sending in the req.body
  console.log(req.file) //note, if you're using 'upload.array', this should be 'req.files'
});

the req.file will have a full path name that you can use in your post request. For more information, check out the Multer docs:
https://www.npmjs.com/package/multer
I hope this helps!

A: Hy  there , in my case i am using asp.net development environment, so i was want to upload those data in asynchronus ajax request , in [webMethod] you can not catch the file uploader since it is not static element ,
so i had to make a turnover for such solution by fixing the path , than convert the wanted image into bytes to save it in DB .
Here is my javascript function ,
hope it helps you:
function FixPath(Path)
         {
             var HiddenPath = Path.toString();
             alert(HiddenPath.indexOf("FakePath"));

             if (HiddenPath.indexOf("FakePath") > 1)
             {
                 var UnwantedLength = HiddenPath.indexOf("FakePath") + 7;
                 MainStringLength = HiddenPath.length - UnwantedLength;
                 var thisArray =[];
                 var i = 0;
                 var FinalString= "";
                 while (i < MainStringLength)
                 {
                     thisArray[i] = HiddenPath[UnwantedLength + i + 1];
                     i++;
                 }
                 var j = 0;
                 while (j < MainStringLength-1)
                 {
                     if (thisArray[j] != ",")
                     {
                         FinalString += thisArray[j];
                     }
                     j++;
                 }
                 FinalString = "~" + FinalString;
                 alert(FinalString);
                 return FinalString;
             }
             else
             {
                 return HiddenPath;
             }
         }

here only for testing :
 $(document).ready(function () {
             FixPath("hakounaMatata:/7ekmaTa3mahaLaziz/FakePath/EnsaLmadiLiYghiz");
         });
// this will give you : ~/EnsaLmadiLiYghiz

A: You would be able to get at least temporary  created copy of the file path on your machine. The only condition here is your input element should be within a form
What you have to do else is putting in the form an attribute enctype, e.g.:
<form id="formid" enctype="multipart/form-data" method="post" action="{{url('/add_a_note' )}}">...</form>

you can find the path string  at the bottom.
It opens stream to file and then deletes it.

redpajama_set_name: RedPajamaStackExchange


A proposal to expand alcohol sales at the Tivoli Theatre in Downers Grove is the source of debate on the Downers Grove Village Council, as some commissioners questioned the merits of the plan during a meeting Jan. 9.
DOWNERS GROVE – A proposal to allow the Tivoli Theatre to serve alcoholic beverages at all movies rather than just special events stirred some significant debate Jan. 9 at the Downers Grove Village Council meeting.
Commissioner William Waldack voiced concerns about the proposal, which calls for full liquor service at the theater, 5021 Highland Ave. Currently, liquor is only served at the Tivoli during special events such as concerts or other live shows.
The Village Council is expected to vote on the matter at an upcoming meeting. The village's Liquor Commission recommended approval of the request.
"Downers Grove is unique, and if we base all our decisions on what the neighbors are doing, then it becomes an automatic race to the bottom," Waldack said.
Waldack added the village has a duty "to make not just millennials happy, but to make all of our residents safe, and that includes children, and adults in their use of alcohol."
The proposed ordinance would limit sales to one drink per person at a time. It also requires the Tivoli to expand its food service. Alcohol would not be served from the theater's concession stand.
Waldack said he was particularly concerned about the presence of alcohol during movies where children are present.
Waldack also said it would be difficult to control underage drinking at the theater.
He said he would consider alcohol sales at evening movies or at films aimed at adults.
Willis Johnson, president of Classic Cinemas, the company that owns the Tivoli, said the theater would not sell alcohol during children's movies.
Commissioner Marge Earl said she was concerned about controlling the sale of alcohol at the theater.
Earl said she was open to limiting alcohol to the theater's lobby.
However, commissioner Bob Barnett said movie patrons who purchase a drink would prefer to enjoy while watching the film.
"It doesn't seem like a very reasonable solution to me," Barnett said. "I think this is much ado about nothing."
Mayor Martin Tully said he was surprised by the response to the proposal.
"I was kind of surprised by the push back on this because there's just no evidence to support some of the concerns," Tully said.
He said there have never been problems at the Tivoli Theatre or the nearby Tivoli Bowl, which also is owned by Classic Cinemas, regarding the sale or consumption of alcohol.
Tully pointed out the recently opened Fun Zone, 2011 63rd St., has a liquor license even though it primarily caters to children.
"We could legislate to the lowest common denominator here, but I just don't see any of this ever actually manifesting itself," Tully said.


text:
(-) Citizen (5)
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Property tax (4)
Building or renovating (3)
(-) Water in the home (1)
Mobility and infrastructure (7)
Difficulties on roads (3)
Regional road (3)
Environment and agriculture (4)
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Pollution and waste (3)
Soils (3)
Culture, tourism and leisure (3)
Family, health and social (3)
Aid and support (1)
Public security (1)
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Paying my property tax
Property tax is a regional tax on real estate located in the Walloon region. Property tax is calculated based on cadastral income, as established by the federal administration. You will receive a…
Obtain information from the Soil-Stade Database (Banque de Données de l'Etat des Sols, BDES)
Soil is an essential resource in Wallonia, which is why a special decree is dedicated to its management. The new version of this decree, which was adopted by the Wallonia Parliament on 1 March 2018,…
Correct a plot in the Soil-State Database (Banque de Données de l'Etat des Sols, BDES)
The Soil-State Database (BDES) provides all citizens access to the administration's data regarding the state of soil in Wallonia. It also makes it possible to issue official extracts during certain…
Getting an official extract from the Soil-State Database (BDES)
An official extract is an official administrative document issued by the Soil-State Database (BDES). The official extract, which was introduced by the soil decree of 1 March 2018, aims to provide a…
Registering, updating and renewing my organisation's registration with the EMAS system in Wallonia
EMAS (Eco-Management and Audit Scheme) is an environmental-management and auditing system from the European Union. EMAS is an exceptional tool for guaranteeing the environmental performance,…


Before I write about the topic of integrity I just need to add a little disclaimer in order to avoid any beat up sessions I might get from the locals around here. I do not always get it right, I have made many mistakes but have learnt from them and grow from these mistakes daily.
Choosing integrity is a practice that should become a habit. Integrity does not always come naturally. It is in our default nature that we choose otherwise. We have to make sure that we have enough self-awareness to make correct choices that are filled with integrity. We have to train our minds to choose integrity daily. If we don't intentionally train ourselves we run the risk of making bad decisions instead of good ones.
Why should you choose integrity?
Firstly we should choose integrity because integrity will always build up your personal brand and your business. Making decisions with integrity in mind will always build your reputation and never break it. It can also create a positive snowball effect in your business or organisation.
A common thread that we see in business or in an organisation is that we attract who we are. So if we are attracting strong leaders and clients it is because we are leading in a higher capacity. The same goes for leading with integrity, if we lead with integrity, we will attract leaders and partners who have the same values and ideas that we have. The more people who adopt the same values and ideas that you have, the more the organisation becomes stronger and concentrated.
So we have spoken about integrity and why integrity is important, we have also discussed that integrity is a choice and is not always our default setting. In this next piece we will have a few practices that we can put into place in order to grow our integrity.
Secondly, be uncompromising in your values. We need to realise that no matter how enticing or beneficial it might be, if it does not fit, let it go! Allowing things to happen that go against your values might be beneficial short term but in the long run it does have the potential to sabotage what you have worked so hard to build up. Make decisions that will be beneficial to you for a life time, and not for a season.
And finally, find a partner or a friend that you can be accountable to and do check in's with. The reality is that it's very difficult to stay on the straight and narrow path. Allowing people to come into our lives and help us stay on the path is important for us if we want to create a long lasting legacy. Another saying I remind myself is 'show me your friends and I'll show your future.' Those close to us can help us achieve our goals and remind us of the people we want to be. They can also inspire us to remain patient with our values, rather than rush and make what could be the worst decision of our lives.
As the old saying says 'Rome was not built in a day' the same goes for us who are building a life full of integrity. Each day is an opportunity to grow in our integrity, when we first lay down our values it can seem like it is big boots to fill. But as we grow daily, we will grow into our big boots as well.


Trains the model for a fixed number of epochs (iterations on a dataset).
Vector, matrix, or array of training data (or list if the model has multiple inputs). If all inputs in the model are named, you can also pass a list mapping input names to data. x can be NULL (default) if feeding from framework-native tensors (e.g. TensorFlow data tensors).
Vector, matrix, or array of target (label) data (or list if the model has multiple outputs). If all outputs in the model are named, you can also pass a list mapping output names to data. y can be NULL (default) if feeding from framework-native tensors (e.g. TensorFlow data tensors).
Integer or NULL. Number of samples per gradient update. If unspecified, batch_size will default to 32.
Number of epochs to train the model. Note that in conjunction with initial_epoch, epochs is to be understood as "final epoch". The model is not trained for a number of iterations given by epochs, but merely until the epoch of index epochs is reached.
Verbosity mode (0 = silent, 1 = progress bar, 2 = one line per epoch).
List of callbacks to be called during training.
View realtime plot of training metrics (by epoch). The default ("auto") will display the plot when running within RStudio, metrics were specified during model compile(), epochs > 1 and verbose > 0. Use the global keras.view_metrics option to establish a different default.
Float between 0 and 1. Fraction of the training data to be used as validation data. The model will set apart this fraction of the training data, will not train on it, and will evaluate the loss and any model metrics on this data at the end of each epoch. The validation data is selected from the last samples in the x and y data provided, before shuffling.
Data on which to evaluate the loss and any model metrics at the end of each epoch. The model will not be trained on this data. This could be a list (x_val, y_val) or a list (x_val, y_val, val_sample_weights). validation_data will override validation_split.
shuffle: Logical (whether to shuffle the training data before each epoch) or string (for "batch"). "batch" is a special option for dealing with the limitations of HDF5 data; it shuffles in batch-sized chunks. Has no effect when steps_per_epoch is not NULL.
Optional named list mapping indices (integers) to a weight (float) value, used for weighting the loss function (during training only). This can be useful to tell the model to "pay more attention" to samples from an under-represented class.
Optional array of the same length as x, containing weights to apply to the model's loss for each sample. In the case of temporal data, you can pass a 2D array with shape (samples, sequence_length), to apply a different weight to every timestep of every sample. In this case you should make sure to specify sample_weight_mode="temporal" in compile().
Integer, Epoch at which to start training (useful for resuming a previous training run).
Total number of steps (batches of samples) before declaring one epoch finished and starting the next epoch. When training with input tensors such as TensorFlow data tensors, the default NULL is equal to the number of samples in your dataset divided by the batch size, or 1 if that cannot be determined.
Only relevant if steps_per_epoch is specified. Total number of steps (batches of samples) to validate before stopping.
A history object that contains all information collected during training.


In a series of newly commissioned essays from the leading scholars and advocates in criminal justice, Invisible Punishment explores, for the first time, the far-reaching consequences of our current criminal justice policies. Adopted as part of "get tough on crime" attitudes that prevailed in the 1980s and '90s, a range of strategies, from "three strikes" and "a war on drugs," to mandatory sentencing and prison privatization, have resulted in the mass incarceration of American citizens, and have had enormous effects not just on wrongdoers, but on their families and the communities they come from. This book looks at the consequences of these policies twenty years later.
Did You Hear the One About the Theft of the American Presidency?


text:
CREATE OR REPLACE FUNCTION convert_to_integer(v_input text)
RETURNS INTEGER AS $$
DECLARE v_int_value INTEGER DEFAULT NULL;
BEGIN
    BEGIN
        v_int_value := v_input::INTEGER;
    EXCEPTION WHEN OTHERS THEN
        RAISE NOTICE 'Invalid integer value: "%".  Returning NULL.', v_input;
        RETURN NULL;
    END;
RETURN v_int_value;
END;
$$ LANGUAGE plpgsql;

DROP MATERIALIZED VIEW IF exists ginco_migration.vm_data_model_source CASCADE;
DROP SEQUENCE IF EXISTS vm_data_model_source;
CREATE SEQUENCE vm_data_model_source CYCLE;
CREATE MATERIALIZED VIEW ginco_migration.vm_data_model_source AS
 SELECT nextval('vm_data_model_source'::regclass) AS id,
    m.anneerefcommune,
    m.typeinfogeomaille,
    convert_to_integer(m.cdnom) AS cdnom,
    m.jourdatedebut,
    m.statutobservation,
    m.occnaturalite,
    m.typeinfogeocommune,
    m.cdref,
    m.heuredatefin,
    m.dspublique,
    m.codemaille,
    m.validateurnomorganisme,
    m.identifiantpermanent::uuid AS identifiantpermanent,
    m.versionrefmaille,
    m.observateurnomorganisme,
    m.versiontaxref,
    m.referencebiblio,
    m.typeinfogeodepartement,
    m.diffusionniveauprecision,
    m.codecommune,
    m.denombrementmax::integer,
    m.codedepartement,
    m.anneerefdepartement,
    m.observateuridentite,
    m.deefloutage,
    m.natureobjetgeo,
    m.codeme,
    m.orgtransformation,
    m.versionme,
    m.occetatbiologique,
    m.occstatutbiologique,
    m.identifiantorigine,
    m.dateme,
    m.heuredatedebut,
    m.denombrementmin::integer,
    m.versionen,
    m.nomrefmaille,
    m.statutsource,
    m.occsexe,
    m.nomcommune,
    m.typeinfogeome,
    m.codeen,
    m.organismegestionnairedonnee,
    m.objetdenombrement,
    m.commentaire,
    m.obsmethode,
    m.typeen,
    m.nomcite,
    m.typeinfogeoen,
    m.jourdatefin,
    m.occstadedevie,
    m.jddmetadonneedeeid,
    m.sensimanuelle,
    m.codecommunecalcule,
    m.submission_id,
    m.sensiversionreferentiel,
    m.sensiniveau,
    m.codedepartementcalcule,
    m.deedatedernieremodification,
    m.sensialerte,
    m.sensidateattribution,
    m.nomcommunecalcule,
    m.nomvalide,
    m.sensireferentiel,
    m.sensible,
    m.codemaillecalcule,
    m.provider_id,
    m.geometrie,
    m.cdnomcalcule,
    m.cdrefcalcule,
    m.taxostatut,
    m.taxomodif,
    m.taxoalerte,
    m.user_login
   FROM ginco_migration.<NOM_TABLE> m
   -- on ne prend que les JDD non supprimé car la table gn_meta.t_datasets ne comprend que les JDD non supprimé
   join gn_meta.t_datasets d on d.unique_dataset_id = m.jddmetadonneedeeid::uuid
    where m.geometrie is not null
   ;

-- Insertion des données
DELETE FROM gn_synthese.synthese;
DELETE FROM gn_synthese.t_sources
WHERE name_source = 'Ginco';

-- creation d'une source
INSERT INTO gn_synthese.t_sources
(
  name_source,
  desc_source,
  entity_source_pk_field
  )
VALUES(
  'Ginco',
  'Données source Ginco',
  concat('ginco_migration.', :GINCO_TABLE_QUOTED)
);

UPDATE gn_synthese.defaults_nomenclatures_value
SET id_nomenclature = ref_nomenclatures.get_id_nomenclature('STATUT_VALID', '6')
WHERE mnemonique_type = 'STATUT_VALID';

-- suppresion des contraintes, on tentera de les remettre plus tard...
ALTER TABLE gn_synthese.synthese DROP CONSTRAINT IF EXISTS check_synthese_date_max;
ALTER TABLE gn_synthese.synthese DROP CONSTRAINT IF EXISTS check_synthese_count_max;

INSERT INTO gn_synthese.synthese (
unique_id_sinp,
id_source,
entity_source_pk_value,
id_dataset,
id_nomenclature_geo_object_nature,
id_nomenclature_obs_technique,
id_nomenclature_bio_status,
id_nomenclature_bio_condition,
id_nomenclature_naturalness,
id_nomenclature_diffusion_level,
id_nomenclature_life_stage,
id_nomenclature_sex,
id_nomenclature_obj_count,
id_nomenclature_observation_status,
id_nomenclature_blurring,
id_nomenclature_source_status,
id_nomenclature_info_geo_type,
id_nomenclature_sensitivity,
count_min,
count_max,
cd_nom,
nom_cite,
meta_v_taxref,
the_geom_4326,
the_geom_point,
the_geom_local,
date_min,
date_max,
observers,
id_digitiser,
comment_context,
last_action
)
SELECT
  m.identifiantpermanent::uuid,
  (SELECT id_source FROM gn_synthese.t_sources WHERE name_source = 'Ginco'),
  m.identifiantpermanent,
  (SELECT id_dataset FROM gn_meta.t_datasets ds where ds.unique_dataset_id = COALESCE(m.jddmetadonneedeeid::uuid, NULL)),
  t1.id_nomenclature,
  t2.id_nomenclature,
  t3.id_nomenclature,
  t4.id_nomenclature,
  t5.id_nomenclature,
  t6.id_nomenclature,
  t7.id_nomenclature,
  t8.id_nomenclature,
  t9.id_nomenclature,
  t10.id_nomenclature,
  t11.id_nomenclature,
  t12.id_nomenclature,
  t13.id_nomenclature,
  t14.id_nomenclature,
  m.denombrementmin,
  m.denombrementmax,
  tax.cd_nom,
  m.nomcite,
  substring(m.versiontaxref from 1 for 50),
  m.geometrie,
  public.st_centroid(m.geometrie),
  public.st_transform(m.geometrie, 2154),
  concat((to_char(m.jourdatedebut, 'DD/MM/YYYY'), ' ', COALESCE(to_char(m.heuredatedebut, 'HH24:MI:SS'),'00:00:00')))::timestamp,
  concat((to_char(m.jourdatefin, 'DD/MM/YYYY'), ' ', COALESCE(to_char(m.heuredatedebut, 'HH24:MI:SS'),'00:00:00')))::timestamp,
  m.observateuridentite,
  (select id_role from utilisateurs.t_roles tr where tr.nom_role = m.user_login LIMIT 1),
  m.commentaire,
  'I'
FROM ginco_migration.vm_data_model_source as m
left JOIN ref_nomenclatures.t_nomenclatures t1 ON t1.cd_nomenclature = m.natureobjetgeo AND t1.id_type = ref_nomenclatures.get_id_nomenclature_type('NAT_OBJ_GEO')
left JOIN ref_nomenclatures.t_nomenclatures t2 ON t2.cd_nomenclature = m.obsmethode AND t2.id_type = ref_nomenclatures.get_id_nomenclature_type('METH_OBS')
left JOIN ref_nomenclatures.t_nomenclatures t3 ON t3.cd_nomenclature = m.occstatutbiologique AND t3.id_type = ref_nomenclatures.get_id_nomenclature_type('STATUT_BIO')
left JOIN ref_nomenclatures.t_nomenclatures t4 ON t4.cd_nomenclature = m.occetatbiologique AND t4.id_type = ref_nomenclatures.get_id_nomenclature_type('ETA_BIO')
left JOIN ref_nomenclatures.t_nomenclatures t5 ON t5.cd_nomenclature = m.occnaturalite AND t5.id_type = ref_nomenclatures.get_id_nomenclature_type('NATURALITE')
left JOIN ref_nomenclatures.t_nomenclatures t6 ON t6.cd_nomenclature = m.diffusionniveauprecision AND t6.id_type = ref_nomenclatures.get_id_nomenclature_type('NIV_PRECIS')
left JOIN ref_nomenclatures.t_nomenclatures t7 ON t7.cd_nomenclature = m.occstadedevie AND t7.id_type = ref_nomenclatures.get_id_nomenclature_type('STADE_VIE')
left JOIN ref_nomenclatures.t_nomenclatures t8 ON t8.cd_nomenclature = m.occsexe AND t8.id_type = ref_nomenclatures.get_id_nomenclature_type('SEXE')
left JOIN ref_nomenclatures.t_nomenclatures t9 ON t9.cd_nomenclature = m.objetdenombrement AND t9.id_type = ref_nomenclatures.get_id_nomenclature_type('OBJ_DENBR')
left JOIN ref_nomenclatures.t_nomenclatures t10 ON t10.cd_nomenclature = m.statutobservation AND t10.id_type = ref_nomenclatures.get_id_nomenclature_type('STATUT_OBS')
left JOIN ref_nomenclatures.t_nomenclatures t11 ON t11.cd_nomenclature = m.deefloutage AND t11.id_type = ref_nomenclatures.get_id_nomenclature_type('DEE_FLOU')
left JOIN ref_nomenclatures.t_nomenclatures t12 ON t12.cd_nomenclature = m.statutsource AND t12.id_type = ref_nomenclatures.get_id_nomenclature_type('STATUT_SOURCE')
left JOIN ref_nomenclatures.t_nomenclatures t13 ON t13.cd_nomenclature = m.typeinfogeoen AND t13.id_type = ref_nomenclatures.get_id_nomenclature_type('TYP_INF_GEO')
left JOIN ref_nomenclatures.t_nomenclatures t14 ON t14.cd_nomenclature = m.sensiniveau AND t13.id_type = ref_nomenclatures.get_id_nomenclature_type('SENSIBLE')

JOIN taxonomie.taxref tax ON tax.cd_nom = m.cdnom::integer
;

redpajama_set_name: RedPajamaGithub


We are currently looking for Substitute School Bus Drivers and Substitute Bus Attendants. Substitute Driver positions earn $18.00 per hour and Substitute Bus Attendant positions earn $10.50 per hour. All positions may lead to a permanent position with full benefits.


text:
/*
 * file Projector.h
 *
 * author luoxw
 * date 2016/11/10
 *
 *
 */
#pragma once

#include "Direct3D11Renderer.h"

namespace lostvr {
	typedef int EnumEyeID;
	const EnumEyeID SEnumEyeL = 0;
	const EnumEyeID SEnumEyeR = 1;

	class BaseTextureProjector
	{
	public:
		BaseTextureProjector();
		~BaseTextureProjector();

		virtual bool IsInitialized(IDXGISwapChain* swapChain) const = 0;
		virtual bool InitializeRenderer(IDXGISwapChain* swapChain) = 0;
		virtual Direct3D11Helper* GetRenderer() = 0;
		virtual bool InitializeTextureSRV() = 0;
		virtual ID3D11ShaderResourceView* GetTextureSRV() = 0;

		virtual void DestroyRHI();

		virtual bool PrepareSRV() { return true; }

		bool InitializeProjector(
			IDXGISwapChain* swapChain,
			uint32 width, uint32 height,
			const LVMatrix& leftView,
			const LVMatrix& leftProj,
			const LVMatrix& rightView,
			const LVMatrix& rightProj);

		bool InitializeRHI();
		bool UpdateTexture();

		ID3D11Texture2D* GetFinalBuffer(EnumEyeID eye);
		ID3D11RenderTargetView* GetFinalBuffer_RTV(EnumEyeID eye);
		void SetEyePose(EnumEyeID Eye, const LVMatrix& EyeView, const LVMatrix& Proj);

		void* operator new(size_t i)
		{
			return _mm_malloc(i, 16);
		}

		void operator delete(void* p)
		{
			_mm_free(p);
		}

	protected:

		// renderer properties
		ID3D11Texture2D*			BB[2];
		ID3D11RenderTargetView*		RTVs[2];
		ID3D11DepthStencilState*	DSS;
		ID3D11RasterizerState*		RS;

		// scene properties
		ID3D11Buffer*				VB;
		ID3D11Buffer*				IB;
		ID3D11InputLayout*			VL;
		ID3D11VertexShader*			VS;
		ID3D11PixelShader*			PS;
		ID3D11SamplerState*			Sampler;
		ID3D11Buffer*				WVPCB;

		UINT RecommendWidth;
		UINT RecommendHeight;

		FrameBufferWVP	EyePose[2];

	public:
		LVVec3 Translation;
		LVVec3 Scale;
		LVVec3 Rotation;
	};

	class BaseTextureProjector_Direct3D9 : public BaseTextureProjector
	{
	public:

		virtual bool IsInitialized(IDXGISwapChain* swapChain) const override
		{
			LVASSERT(0, "BaseTextureProjector_Direct3D9::IsInitialized", "get called");
			return false;
		}

		virtual bool InitializeRenderer(IDXGISwapChain* swapChain) override
		{
			LVASSERT(0, "BaseTextureProjector_Direct3D9::InitializeRenderer", "get called");
			return false;
		}

		virtual bool IsInitialized_Direct3D9(IDirect3DDevice9* device) = 0;
		virtual bool InitializeRenderer_Direct3D9(IDirect3DDevice9* device) = 0;

		bool InitializeProjector_Direct3D9(
			IDirect3DDevice9* device,
			uint32 hmdWidth, uint32 hmdHeight,
			const LVMatrix& leftView,
			const LVMatrix& leftProj,
			const LVMatrix& rightView,
			const LVMatrix& rightProj);
	};
}


Stormy is a business located in Monastiraki in Athens in Attica. Stormy operates in the Advertising Agencies area of business.
If you are the owner/manager of Stormy and you would like to edit or delete your listing, please Create a Greece.com Account to Claim your Listing.


text:
"use strict";
Object.defineProperty(exports, "__esModule", { value: true });
const Exporter_1 = require("./Exporter");
const Project_1 = require("../Project");
const Icon = require("../Icon");
const fs = require("fs-extra");
const path = require("path");
class AndroidExporter extends Exporter_1.Exporter {
    constructor() {
        super();
    }
    async exportSolution(project, from, to, platform, vr) {
        let safename = project.getName().replace(/ /g, '-');
        this.safename = safename;
        let targetOptions = {
            package: 'tech.kode.kore',
            screenOrientation: 'sensor',
            permissions: new Array(),
            disableStickyImmersiveMode: false
        };
        let cflags = '';
        for (let flag of project.cFlags)
            cflags += flag + ' ';
        let cppflags = '';
        for (let flag of project.cppFlags)
            cppflags += flag + ' ';
        if (project.targetOptions != null && project.targetOptions.android != null) {
            let userOptions = project.targetOptions.android;
            if (userOptions.package != null)
                targetOptions.package = userOptions.package;
            if (userOptions.screenOrientation != null)
                targetOptions.screenOrientation = userOptions.screenOrientation;
            if (userOptions.permissions != null)
                targetOptions.permissions = userOptions.permissions;
            if (userOptions.disableStickyImmersiveMode != null)
                targetOptions.disableStickyImmersiveMode = userOptions.disableStickyImmersiveMode;
        }
        const indir = path.join(__dirname, '..', '..', 'Data', 'android');
        const outdir = path.join(to.toString(), safename);
        fs.copySync(path.join(indir, 'gitignore'), path.join(outdir, '.gitignore'));
        fs.copySync(path.join(indir, 'build.gradle'), path.join(outdir, 'build.gradle'));
        fs.copySync(path.join(indir, 'gradle.properties'), path.join(outdir, 'gradle.properties'));
        fs.copySync(path.join(indir, 'gradlew'), path.join(outdir, 'gradlew'));
        fs.copySync(path.join(indir, 'gradlew.bat'), path.join(outdir, 'gradlew.bat'));
        fs.copySync(path.join(indir, 'settings.gradle'), path.join(outdir, 'settings.gradle'));
        fs.copySync(path.join(indir, 'app', 'gitignore'), path.join(outdir, 'app', '.gitignore'));
        let gradle = fs.readFileSync(path.join(indir, 'app', 'build.gradle'), { encoding: 'utf8' });
        gradle = gradle.replace(/{package}/g, targetOptions.package);
        gradle = gradle.replace(/{cflags}/g, cflags);
        cppflags = '-frtti -fexceptions ' + cppflags;
        if (project.cpp11) {
            cppflags = '-std=c++11 ' + cppflags;
        }
        gradle = gradle.replace(/{cppflags}/g, cppflags);
        let javasources = '';
        for (let dir of project.getJavaDirs()) {
            javasources += '\'' + path.relative(path.join(outdir, 'app'), path.resolve(from, dir)).replace(/\\/g, '/') + '\', ';
        }
        javasources += '\'' + path.relative(path.join(outdir, 'app'), path.join(Project_1.Project.koreDir.toString(), 'Backends', 'System', 'Android', 'Java-Sources')).replace(/\\/g, '/') + '\'';
        gradle = gradle.replace(/{javasources}/g, javasources);
        fs.writeFileSync(path.join(outdir, 'app', 'build.gradle'), gradle, { encoding: 'utf8' });
        let cmake = fs.readFileSync(path.join(indir, 'app', 'CMakeLists.txt'), { encoding: 'utf8' });
        let defines = '';
        for (let def of project.getDefines()) {
            defines += '  -D' + def + '\n';
        }
        cmake = cmake.replace(/{defines}/g, defines);
        let includes = '';
        for (let inc of project.getIncludeDirs()) {
            includes += '  "' + path.resolve(inc).replace(/\\/g, '/') + '"\n';
        }
        cmake = cmake.replace(/{includes}/g, includes);
        let files = '';
        for (let file of project.getFiles()) {
            if (file.file.endsWith('.c') || file.file.endsWith('.cc') || file.file.endsWith('.cpp') || file.file.endsWith('.h')) {
                files += '  "' + path.resolve(file.file).replace(/\\/g, '/') + '"\n';
            }
        }
        cmake = cmake.replace(/{files}/g, files);
        let libraries1 = '';
        let libraries2 = '';
        for (let lib of project.getLibs()) {
            libraries1 += 'find_library(' + lib + '-lib ' + lib + ')\n';
            libraries2 += '  ${' + lib + '-lib}\n';
        }
        cmake = cmake.replace(/{libraries1}/g, libraries1).replace(/{libraries2}/g, libraries2);
        // prevent overwriting CMakeLists.txt if it has not changed
        const cmakePath = path.join(outdir, 'app', 'CMakeLists.txt');
        if (!fs.existsSync(cmakePath)) {
            fs.writeFileSync(cmakePath, cmake, { encoding: 'utf8' });
        }
        else {
            const file = fs.readFileSync(cmakePath, 'utf8');
            if (file !== cmake)
                fs.writeFileSync(cmakePath, cmake, { encoding: 'utf8' });
        }
        fs.copySync(path.join(indir, 'app', 'proguard-rules.pro'), path.join(outdir, 'app', 'proguard-rules.pro'));
        fs.ensureDirSync(path.join(outdir, 'app', 'src'));
        // fs.emptyDirSync(path.join(outdir, 'app', 'src'));
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main'));
        let manifest = fs.readFileSync(path.join(indir, 'main', 'AndroidManifest.xml'), { encoding: 'utf8' });
        manifest = manifest.replace(/{package}/g, targetOptions.package);
        manifest = manifest.replace(/{screenOrientation}/g, targetOptions.screenOrientation);
        manifest = manifest.replace(/{permissions}/g, targetOptions.permissions.map((p) => { return '\n\t<uses-permission android:name="' + p + '"/>'; }).join(''));
        manifest = manifest.replace(/{metadata}/g, targetOptions.disableStickyImmersiveMode ? '\n\t\t<meta-data android:name="disableStickyImmersiveMode" android:value="true"/>' : '');
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main'));
        fs.writeFileSync(path.join(outdir, 'app', 'src', 'main', 'AndroidManifest.xml'), manifest, { encoding: 'utf8' });
        let strings = fs.readFileSync(path.join(indir, 'main', 'res', 'values', 'strings.xml'), { encoding: 'utf8' });
        strings = strings.replace(/{name}/g, project.getName());
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'values'));
        fs.writeFileSync(path.join(outdir, 'app', 'src', 'main', 'res', 'values', 'strings.xml'), strings, { encoding: 'utf8' });
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'mipmap-hdpi'));
        Icon.exportPng(path.resolve(to, safename, 'app', 'src', 'main', 'res', 'mipmap-hdpi', 'ic_launcher.png'), 72, 72, undefined, from);
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'mipmap-mdpi'));
        Icon.exportPng(path.resolve(to, safename, 'app', 'src', 'main', 'res', 'mipmap-mdpi', 'ic_launcher.png'), 48, 48, undefined, from);
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'mipmap-xhdpi'));
        Icon.exportPng(path.resolve(to, safename, 'app', 'src', 'main', 'res', 'mipmap-xhdpi', 'ic_launcher.png'), 96, 96, undefined, from);
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'mipmap-xxhdpi'));
        Icon.exportPng(path.resolve(to, safename, 'app', 'src', 'main', 'res', 'mipmap-xxhdpi', 'ic_launcher.png'), 144, 144, undefined, from);
        fs.ensureDirSync(path.join(outdir, 'app', 'src', 'main', 'res', 'mipmap-xxxhdpi'));
        Icon.exportPng(path.resolve(to, safename, 'app', 'src', 'main', 'res', 'mipmap-xxxhdpi', 'ic_launcher.png'), 192, 192, undefined, from);
        fs.copySync(path.join(indir, 'gradle', 'wrapper', 'gradle-wrapper.jar'), path.join(outdir, 'gradle', 'wrapper', 'gradle-wrapper.jar'));
        fs.copySync(path.join(indir, 'gradle', 'wrapper', 'gradle-wrapper.properties'), path.join(outdir, 'gradle', 'wrapper', 'gradle-wrapper.properties'));
        fs.copySync(path.join(indir, 'idea', 'compiler.xml'), path.join(outdir, '.idea', 'compiler.xml'));
        fs.copySync(path.join(indir, 'idea', 'gradle.xml'), path.join(outdir, '.idea', 'gradle.xml'));
        fs.copySync(path.join(indir, 'idea', 'misc.xml'), path.join(outdir, '.idea', 'misc.xml'));
        fs.copySync(path.join(indir, 'idea', 'runConfigurations.xml'), path.join(outdir, '.idea', 'runConfigurations.xml'));
        fs.copySync(path.join(indir, 'idea', 'copyright', 'profiles_settings.xml'), path.join(outdir, '.idea', 'copyright', 'profiles_settings.xml'));
        if (project.getDebugDir().length > 0)
            fs.copySync(path.resolve(from, project.getDebugDir()), path.resolve(to, safename, 'app', 'src', 'main', 'assets'));
    }
}
exports.AndroidExporter = AndroidExporter;
//# sourceMappingURL=AndroidExporter.js.map


Build a Non-Stop Content Marketing Machine jycmba 68 4 yearsmorrnel (697): Thees are great ideas. I hate asking for something when I know it is easy to find on my own.
Dedicated Social Network for Marketing Pros Belew 6 4 yearstienny (658): Not an easy job. Isn't it?


text:
all types Research university (1542) University of applied sciences (388) Institute for international education (136) Other (60)
all institutions Aeres University of Applied Sciences (30) Amsterdam University of Applied Sciences (12) Amsterdam University of the Arts (8) ArtEZ University of the Arts (24) Avans University of Applied Sciences (6) Breda University of Applied Sciences (18) Business School Netherlands (4) Christian University of Applied Sciences Ede (7) Codarts, University for the Arts (5) Delft University of Technology (52) Design Academy Eindhoven (1) Driestar Christian University for Teacher Education (2) Eindhoven University of Technology (44) Erasmus University Rotterdam (81) Fontys University of Applied Sciences (45) Gerrit Rietveld Academy (3) HAN University of Applied Sciences (22) HAS University of Applied Sciences (3) HKU University of the Arts Utrecht (8) HU University of Applied Sciences Utrecht (6) HZ University of Applied Sciences (7) Hanze University of Applied Sciences, Groningen (38) Hotelschool The Hague (3) ICRA (4) IHE Delft Institute for Water Education (105) Inholland University of Applied Sciences (7) KIT (Royal Tropical Institute) (16) Leiden University (233) MDF-Training & Consultancy (4) Maastricht School of Management (MSM) (15) Maastricht University (80) NHL Stenden University of Applied Sciences (20) Netherlands Business Academy (3) Nyenrode Business University (4) Radboud University (130) Radio Nederland Training Centre (RNTC) (7) Rotterdam University of Applied Sciences (15) Saxion University of Applied Sciences (22) T.M.C. Asser Institute (2) THIM Academy Fysiotherapy (1) TIAS School for Business and Society (3) Team Academy (1) The Hague Academy of Local Governance (8) The Hague University of Applied Sciences (19) Tilburg University (74) Tio University of Applied Sciences (15) University of Amsterdam (197) University of Groningen (206) University of Humanistic Studies (2) University of Twente (89) University of the Arts, The Hague (17) Utrecht University (114) VHL University of Applied Sciences (16) Viaa Reformed University of Applied Sciences (3) Vrije Universiteit Amsterdam (155) Wageningen University & Research (78) Webster University (9) Windesheim University of Applied Sciences (2) Wittenborg University of Applied Sciences (11) Zuyd University (10)
all cities 's-Hertogenbosch	(2) Almere	(5) Amsterdam	(396) Apeldoorn	(12) Arnhem	(33) Assen	(3) Breda	(24) Breukelen	(4) Buren	(4) Delft	(162) Den Bosch	(2) Den Haag	(65) Deventer	(11) Diemen	(3) Dronten	(25) Ede	(11) Eindhoven	(61) Emmen	(4) Enschede	(102) Gouda	(2) Groningen	(236) Haarlem	(2) Hengelo	(3) Hilversum	(8) Leeuwarden	(28) Leiden	(223) Maastricht	(102) Middelburg	(1) Nieuwegein	(1) Nijmegen	(135) Rotterdam	(103) Tilburg	(87) Utrecht	(135) Velp	(10) Venlo	(22) Vlissingen	(6) Wageningen	(81) Zwolle	(7)
all qualifications Master (1346) Bachelor (415) Certificate / Diploma (332) Other (31) PhD (2)
all types Postgraduate (1342) Undergraduate (417) Short course (294) Summer course (69) Preparatory (2) Other (2)
all ECTS < 30 (355) 30 - 60 (705) 61 - 90 (71) 91 - 120 (592) 121 - 240 (402) > 240 (1)
all durations < 1 month (281) 1 - 3 months (43) 4 - 6 months (51) 7 - 11 months (32) 1 - 2 years (1313) > 3 years (407)
all languages English (2116) French (3) German (5) Italian (1) Spanish (1)
Economics, commerce, management and accounting (322)
General programmes (263)
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Mathematics, natural sciences and computer science (213)
Teacher training (11)
Actuarial Science and Mathematical Finance: Quantitative Risk Management
Master Postgraduate Amsterdam
Field of study Economics, commerce, management and accounting
Course summary Become a high-level risk professional and specialize subjects such as Financial Econometrics and Banking Risk Management in the master track Quantitative Risk Management.
Course description The economic, financial and societal developments of our times - crises, systemic risks, contagion, unemployment, aging - call for high-level risk professionals with a rigorous and solid training, that is based on forefront academic research and simultaneously explicates the practical usefulness of the methods, techniques and tools offered. This asks for a unique combination of mathematics, probability and statistics, and optimization and econometrics on the one hand, and economics, insurance and finance, and computing on the other hand.
Study subjects -
Course objectives -
ECTS credits 60.00
Instruction modes case study, group discussion, lecture, individual assignment, literature study, oral presentation, research, research proposal, tutorial, working group, self study
Accreditation NVAO
Department Faculty of Economics and Business
Information about the institution A modern university with a rich history, the University of Amsterdam (UvA) traces its roots back to 1632, when the Golden Age school Athenaeum Illustre was established to train students in trade and p
Students holding a foreign academic degree should basically have the same knowledge to enter the MSc programme succesfully. Typically, a BSc in Mathematics or Physics gives the required level of calculus and linear algebra. But also a rather thorough knowledge of probability and mathematical statistics is required. More info on www.uva.nl/msc-actuarial-science
A GRE is compulsory
Most recent transcript of grades
Knowledge of the linear regression model is also required, e.g. through an econometrics course or included in the statistics course. As for economics, we assume knowledge of finance, for instance a course in Investment and Portfolio Theory.
IELTS listening 6
IELTS reading 6
IELTS speaking 6
IELTS writing 6
1 Sep 2019 1 Jun 2019 1 Apr 2019
2019 (FT) € 2083 n.a. n.a.
Student Service Desk
Telephone number +31 (0) 20 525 8080


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text:
The One I Left Behind by Jennifer McMahon (William Morrow, January 2013)
In 1985, the residents of Brighton Falls, Connecticut were living in fear of Neptune, a serial killer who delivered the hands of his most recent kidnapped victim to the police station only to pose the dead woman's body in a public place a few days later. Thirteen-year-old Reggie is having a hard enough time between being the child of a single mother who has more interest in drinking and men than her daughter, dealing with being an outcast in school and navigating her friendship with Charlie, a detective's son and Tara, a goth who never really lets Reggie in. Now her mother Vera has been kidnapped and her hand has turned up at the police station, but her body is never found and Neptune stops kidnapping women. As soon as she was able, Reggie left her home town and is now living in Vermont, a successful architect who specializes in sustainable structures. She has lost touch almost completely with anyone from her home town, including her aunt, and has a hard time forming close relationships. She couldn't be more surprised when she gets a call from her aunt that Vera has been found in a homeless shelter and is in a hospital in Connecticut. Knowing it's the right thing to do, even though she does not want to revisit her past, Reggie travels to Connecticut where she takes her mother out of the hospital and back to the house where Vera and her sister grew up. Before she is able to sort things through, Reggie is confronted with her past head on the many ghosts and secrets she kept hidden for so long. She knows that Neptune is still alive and watching everything and knows that she must put aside her fears to uncover his secrets before he kills again. Jennifer McMahon deftly weaves a story that flashes back to 1985 with Reggie and Vera's reunion and recovery. She slowly reveals things, allowing glimpses of the truth, keeping readers off balance until the very end. This novel easily combines a suspenseful story line with characters that readers will come to sympathize and empathize with as they face past and present demons.
Truth in Advertising by John Kenney (Touchstone, January 2013)
Finbar Dolan looks to have it all: he has left his blue-collared life in Boston behind, landed a job with a Madison Avenue ad agency and has a big account with a diaper company. As he approaches 40, he realizes his life is a mess: he is all but estranged from his large Irish family, he recently called off his wedding, he really doesn't love his job and can't get himself to take a vacation, and he doesn't want the stress over Christmas of creating, producing and editing a multi-million dollar Super Bowl commercial. A call from his older brother Ed telling Fin their father, an abusive man who left their family when Fin was a young teenager, is dying and neither Ed, nor Fin's sister or other brother, plan on visiting him. Not sure why, Fin finds himself heading to New England to see his father one last time, and in doing so, finds the time and peace of mind to reevaluate where his life is, where he has been and where it is going and where he would want it to be going (with co-worker Phoebe if he's honest with himself). Fin is a character to empathize with, at times be angry at, but cheer for the entire way. Told with a certain amount of self-deprecating humor and honesty, Truth in Advertising introduces a new, welcomed voice in fiction.
There Was an Old Woman by Hallie Ephron (William Morrow, April 2013)
Evie Ferrante is working on an exhibit for the Five- Boroughs Historical Society, Seared in Memory, which will include the engine of the plane that crashed into the Empire State Building on a Saturday in 1945, when she receives a message from her sister Ginger about their mother. Evie and Ginger's mother, a heavy drinker for most of their lives, lives in a small community in the Bronx, Higgs Point, and, they are not surprised to learn, has been living in squalor. Ginger flatly refuses to deal with their mother and demands Evie take her turn. Evie reluctantly turns the finishing up of her exhibit to her assistant and travels to the Bronx where she finds her mother's home in deplorable condition. The neighborhood has not change a lot from when Evie grew up there, and she runs into Finn Ryan, running his father's neighborhood store, who is now working with a group to preserve the Soundview Watershed. As Evie begins to clean her mother's home, she learns that there have been some disturbing events in the neighborhood recently, and that her mother's last words to her neighbor before the EMTs took her away were "Don't let him in until I'm gone." something that makes any sense to neither woman. The more time Evie spends in Higgs Point, the more she realizes there is something sinister occurring, something that brings back memories from her childhood that she has pushed deep down and something from which she is afraid she will not be able to escape. There Was an Old Woman draws readers into Evie's story little by little until they are caught up in the suspense and deception found in quiet Higgs Point.
Always Watching by Chevy Stevens (St. Martin's Press, June 2013)
Dr. Nadine Lavoie helped Annie O'Sullivan after she was kidnapped, raped and tortured (in Still Missing); she guided Sara Gallagher as she came to terms with the fact that her biological father was a serial killer who had hunted women for more than thirty years and might be coming after Sara (in Never Knowing). Now, Nadine has to face the demons of not only her past, but her present, as she attends to Heather, a young woman who has attempted suicide several times, and has found herself in the Vancouver hospital where Nadine now practices. Heather and her husband Daniel mention that once they left the commune they were living in after Heather miscarried, Heather started on a downward slide. Nadine realizes that the community in which Daniel and Heather were living had its roots in a commune Nadine lived in as a pre-teenager with her mother and older brother, one of which Nadine has few memories, but suspects may have contributed to her claustrophobia and feelings of terror each time she hears the name Aaron Quinn. Nadine begins searching not only for answers for Heather, but for herself, hoping to finally heal her demons. At the same time, Nadine, a recent widow, is searching the streets of Vancouver for her daughter Lisa who is fighting demons of her own, including a drug problem, some of which Nadine is not even aware of. Coming to terms with your past is hard enough, but when Nadine realizes the mistakes she made that are costing her present with Lisa, she becomes even more determined to learn what happened at the camp and stop the members from ever doing these things again. A tightly written novel, Chevy Stevens explores the story behind Dr. Nadine Lavoie and shifts it to the fore front bringing to it the same suspense she captured telling the stories of Nadine's patients.
All You Could Ask For by Mike Greenberg (William Morrow, April 2013)
Mike Greenberg, the ESPN King of Guy Talk and host of Mike and Mike, has written his first novel from the point of view of not one woman, but three, and has done remarkably well capturing the sensibilities of a woman. Samantha tends towards being an extreme athlete and is a very independent woman until she falls in love and has a whirlwind courtship with the man Daddy tells her is the wrong guy. Guess what? Daddy is always right. Brooke is the happily married mother of twins, is wildly in love with her husband and has plans to rock his world with the gift she has chosen for his fortieth birthday; instead, he turns the tables on her making a request that rocks her world in a much different way. Katherine appears to have everything: a corner office, Upper East Side apartment, South Hampton home, an assistant, a driver, but there is one thing always out of her reach: the companionship and friendship of another human. These seemingly disparate women share two things in common: Greenwich, Connecticut and something that proves to be life altering for all of them and brings them together to form uncommon bonds. A very well written first novel with three characters to care about and root for, to laugh with and to cry with.
Saturday Night Widows by Becky Aikman (Crown, January 2013)
New York Newsday writer Becky Aikman found herself widowed at the age of forty-four when her husband died after a four-year battle with cancer. Bernie was also a writer, someone with whom Becky shared not only her personal life, but her professional life, and is now not sure how to live her life and deal with her sadness and grief. Traditional support groups do not work for Becky as many of the women are older and demonstrate a lot of anger toward Becky who is looking how to move on, not forgetting her husband, but living the rest of her life. Becky assembles a group of women between the ages of forty and fifty-seven who have all recently lost their husbands: some to illness, one to suicide, one from the effects of alcoholism, but all unexpectedly; some of them have young children, some older children, some none, but all are interested in grieving their losses and living their lives as strong, independent women, and possibly finding a new person with whom to share the next part of their life, now, navigating the minefields that come with an older relationship, children, jobs and lives in other areas. Through dinners together, a spa weekend, a lingerie shopping spree and finally a trip to Morocco, these strangers form a unique bond, laugh, cry and heal. Becky Aikman tells her story, and those of her newly found friends, with humor and frankness as she navigates grief, which she learns does not necessarily come in nice neat stages, and offers support and hope for anyone dealing with life altering changes.
The Truth About Love and Lightning by Susan McBride (William Morrow, February 2013)
Gretchen Brink's mother was honest to a fault when Gretchen was growing up. Gretchen, who saw the results of such honesty first hand has told a few lies in her life to save the feelings of others, but there was one lie in particular that she has kept telling for almost forty years that is about to come back and make her confront it head on. Gretchen, who was a single mother, is living in the house that belonged to the family of her daughter Abby's father, Sam, with her twin sisters who are blind. Sam never met Abby, going on a missionary trip to Africa just after Gretchen learned she was pregnant and never returning. Now, after a devastating tornado, a man with amnesia falls back into Gretchen's life, a man she is sure is her long-lost Sam. At the same time, Abby shows up on Gretchen's doorstep, running away from her boyfriend Nate in Chicago, announcing that she is pregnant. As Gretchen and Abby get to know each other again, and as Gretchen tries to help the strange man discover who he is, without projecting too much Sam on to him just in case, secrets from the past begin to emerge, secrets that have roots before Gretchen and Sam, secrets that will either bind the three together or tear them apart forever. With an eye toward detail, Susan McBride writes a story that you won't want to end with characters you won't want to leave. It is a story about family, loving them and forgiving them, and ourselves, loving ourselves and forgiving ourselves, how we live with the truth and how we live with the lies we tell, and where reality is found between the two.


Phil's Blog » Front Foot NPOs?
In the late noughties I was watching the box set of West Wing. It took quite a while. I was impressed by the dynamic of the way the White House team worked for and with President 'Jed' Bartlett.
Having viewed quite a few episodes one weekend I came up with an alliteration I quite liked: how the team from CJ to Josh, from Leo to Sam was fast and focused, with some fun at times as well. There was lots of feedback to each other (even if it wasn't wanted!), yet this forthright way of working was quite forgiving too (at least to those in the team).
I called this the features of the Front Foot Organisation (FFO). Over the coming months we developed the initial ideas into a set of actions to help achieve these characteristics – actions to achieve greater direction, momentum, co-ordination and balance within a team or organisation. We provided an assessment and even applied the FF idea to the family as part of a talk for fathers and sons at a school I was working with.
The FFO idea has proved to be one of the most popular and enduring of idenk ideas since first outlining it in 2008. Despite the fact that the genesis of the 'front foot' idea is unclear (though it is rooted in sports and even politics) it has a broad face validity and is widely used. You regularly hear how people want to put their 'best foot' forward, not be on the 'back foot', avoid being 'wrong footed'. Our feet are in our mouths, literally!
I truly believe that each and every Noble Purpose enterprise should be a FFO. People who join them certainly expect them to be. The standard we assume is high – very high. However, often Noble Purpose Organisations are far from beacons of front footedness.. And when that happens, as we have noted, expectations are dashed and cynicism grows.
The CEO or Director of an NPO is actually their 'chief culture officer'. The ideas on the FFO provide a handy checklist for that senior person to start working on the awareness, alignment, attitudes needed. They provide pointers about what to tolerate and what to hold firm on.
Social workers use a simple acronym to think about what to do 'upstream' to achieve the results that are needed when working with a young person. For example, when supporting a child in care they try to consider any Antecedents to observed challenging Behaviour and the negative Consequences that can result for a child and those helping them.
The Front Foot ideas offer some pointers to Antecedent Actions that leaders can use to get the outcomes they want. Results that achieve the purpose of the NPO.


text:
Erich Fellgiebel (4. října 1886 – 4. září 1944) byl německý generál, který se zúčastnil Stauffenbergova pokusu o převrat.

Životopis
Narodil se v Pöpelwitz roku 1886 poblíž Vratislavi ve Slezsku. V 18 letech vstoupil do pruské armády s hodností kadeta. Za první světové války sloužil s hodností kapitána v generálním štábu. Roku 1928 byl povýšen na majora. Další povýšení ho čekalo roku 1933, kdy byl povýšen na podplukovníka a roku 1934 se stal plukovníkem. V roce 1938 se stal generálem a velitelem spojové služby Wehrmachtu. 26. srpna 1939 měla německá armáda zaútočit na Polsko, ale Hitler si to na poslední chvíli rozmyslel. Fellgiebel musel zastavit celou německou armádu, která pochodovala do Polska.

Operace Valkýra a soud
Měl za úkol po Stauffenbergově atentátu přerušit veškeré spojení Vlčího doupěte se světem. Byl odhalen a zatčen. Lidový soud (Volksgerichtshof) jej odsoudil k trestu smrti, popraven byl v Plötzensee.

V populární kultuře
Vernon Dobtcheff ztvárnil Fellgiebela ve filmu Atentát na Hitlera (1990). Harold Krassnitzer ho zahrál roku 2004 ve filmu Stauffenberg. Eddie Izzard ho hrál ve filmu Valkýra.

Reference

Externí odkazy

Muži
Nacisté
Narození v roce 1886
Úmrtí v roce 1944
Narození 4. října
Úmrtí 4. září
Úmrtí ve Věznici Plötzensee

redpajama_set_name: RedPajamaWikipedia


text:
The Ecosystem: people and skills.
The Ecosystem:
and skills.
people and skills.
The Open Radio Team
Collaborations with consultants, freelancers and advisors specialized in specific sectors of the audio and broadcast industry have been added around the technical platform of Open Radio, ranging from professional training to technology, from writing journalistic and narrative texts to voice-overs, from digital marketing to commercial distribution of products and services.
Alessandro Stefanoni
Born in Milan, he is one of the founders of Radio 2.0 in Bergamo area, an FM. DTT and Internet station from which the Open Radio business branch originated: an ecosystem at the service of publishers and third-party companies. He has a complete experience in the field of radio and audio, including the coordination and production of radio instore in Italy and abroad.
Francesca Bacinotti
Journalist and Speaker
Always in love with radio, she has become one of its voices. A journey that began with a professional course and an internship at Radio Gold, passing through GRP, Discoradio and for 7 years at R101, an Italian national station of the Mediaset group. Journalist and speaker, Francesca in addition to radio also produces audio, voice overs and podcasts.
Carlotta Ponzio
Journalist, Speaker, Podcast author
Journalist and radio and advertising speaker, for years she has been studying the use of the voice in all its aspects and applications. Born into a family entirely dedicated to radio waves – the founders of Radio Azzurra Novara, Italy, 1975 -, she attended numerous professional courses in diction, acting, voice-over, to arrive in recent years at the dubbing academy with Cristian Iansante and Roberto Pedicini, and the Master in Podcasting and Storytelling of Il Sole 24 Ore and Audible.
Alessandro Rinaldi
He claims to be a computer programmer, but no one usually believes him. So even though he has good eyesight, he bought a pair of glasses to look more "nerdy". Seriously, Alessandro is a full stack software developer, operating in different sectors and with a problem solving approach. In the broadcasting field, from a very young age he created solutions for the virtualization of radio studios, for AoIP connections and, more recently, the entire technical structure underlying the Open Radio project.
Laura Badiini
Digial media manager, Speaker and Podcaster
She has dedicated 20 years to radio and, thanks to the digitalization of the media, now offers complete communication services, giving people and companies the opportunity to tell their stories. She considers the study and updating of her knowledge fundamental, as well as the training of clients, to whom she provides the tools to best achieve their goals.
Marco Casa
Journalist, Speaker and Podcaster
Since 2001 Marco has dedicated himself to local radio with the cultural programs of radio Marconi and national radio with the infomobility service of the Radio Traffic Agency for Radio 24, Radio Capital and Radio Rai. In recent years he has created Radionizza.it, a podcast magazine dedicated to Italians living on the French Riviera. He puts his voice at the service of others but he also loves writing and editing programs and commercials, and transmitting his passion through seminars and courses.
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