text:
Q: Graphical User Interface not repainting canvas with action button This is a program run within a graphical user interface, to produce a geological fault. You should be able to choose a varying extension through the checkbox, then hit display for the canvas to be repainted. However, the canvas does not repaint and update unless the applet viewer is changed in size (minimized, maximized etc).
I've made changes based on duplicate/similar questions but am still having problems
Help would be much appreciated,
thanks
import java.awt.*;
import javax.swing.*;
import java.awt.event.*; //Import event handler classes
import java.awt.geom.*; // Geom packages

public class Listric_gui extends JFrame
                            implements ActionListener, ItemListener {

JPanel pane = new JPanel ();
JComboBox Extension;
static MyCanvas can1;
//Class Variables
static float[]x = new float[201];
static float[]y = new float[201];
static float[] hwd = new float [201];
//static float Dip = 0f;
static int end = 200;
static int i, e1;

static int x_ending=160, y_ending = 35, ticksize=5;
static float x_orig = 50f, y_orig=50f, x_scale=4f, y_scale=5f,hwd_orig=50f,hwd_scale=5f;

    Listric_gui () {
     try{
            UIManager.setLookAndFeel (
            //"com.sun.java.swing.plaf.windows.WindowsLookAndFeel");
            UIManager.getSystemLookAndFeelClassName());
        } catch (Exception e) {
            System.err.println("Can't set look and feel: " + e);
        }

    GridBagLayout gridbag = new GridBagLayout();
    GridBagConstraints constraints = new GridBagConstraints();
    pane.setLayout(gridbag);
    setBackground(Color.lightGray);

    //Title
    buildConstraints(constraints, 0,0,5,1,0,10);
    constraints.fill = GridBagConstraints.BOTH;
    Font f = new Font ("Helvetica", Font.BOLD, 22);
    JLabel label1 = new JLabel("Fault Modelling Program", JLabel.CENTER);
    label1.setFont (f);
    //label1.setBackground(Color.white);
    label1.setBackground(Color.red);
    gridbag.setConstraints(label1, constraints);
    pane.add(label1);

    //Initialise Button objects
    //File
        buildConstraints(constraints, 0, 1, 1, 1, 1, 10);
        constraints.fill = GridBagConstraints.BOTH;
        Font f1 = new Font("Helvetica", Font.BOLD, 14);
        JButton file = new JButton("File");
        gridbag.setConstraints(file, constraints);
        file.setFont(f1);
        pane.add(file);

    //Input
        buildConstraints(constraints, 1, 1, 1, 1, 1, 0);
        constraints.fill = GridBagConstraints.BOTH;
        //constraints.ipadx = 10;
        JButton input = new JButton ("Input");
        gridbag.setConstraints(input,constraints);
        input.setFont(f1);
        pane.add(input);

    //Run
        buildConstraints(constraints, 2, 1, 1, 1, 1, 0);
        constraints.fill = GridBagConstraints.BOTH;
        JButton run = new JButton ("Run");
        gridbag.setConstraints(run, constraints);
        run.setFont(f1);
        pane.add(run);

    //Display Button
        buildConstraints(constraints, 3, 1, 1, 1, 1, 0);
        constraints.fill = GridBagConstraints.BOTH;
        JButton display = new JButton ("Display");
        gridbag.setConstraints(display, constraints);
        display.setFont(f1);
        pane.add(display);

    //Quit button
        buildConstraints(constraints, 4, 1, 1, 1, 1, 0);
        constraints.fill = GridBagConstraints.BOTH;
        JButton quit = new JButton ("Quit");
        gridbag.setConstraints(quit, constraints);
        quit.setFont(f1);
        pane.add(quit);

    //Fault Geometry label

        buildConstraints(constraints, 0, 2, 1, 1, 1, 10);
        constraints.fill = GridBagConstraints.NONE;
        constraints.anchor = GridBagConstraints.SOUTH;
        JLabel label2 = new JLabel ("Fault Geometry", JLabel.CENTER);
        label2.setFont(f1);
        gridbag.setConstraints(label2, constraints);
        pane.add(label2);

    //Geometry - Listric

        buildConstraints(constraints, 0, 3, 1, 1, 1, 10);
        constraints.fill = GridBagConstraints.NONE;
        constraints.anchor = GridBagConstraints.NORTH;
        JCheckBox C1 = new JCheckBox ("Listric");
        gridbag.setConstraints(C1, constraints);
        pane.add(C1);

    // Geometry - Planar

        /*buildConstraints(constraints, 0, 4, 1, 1, 1, 10);
        constraints.fill = GridBagConstraints.NONE;
        constraints.anchor = GridBagConstraints.NORTH;
        JCheckBox C2 = new JCheckBox ("Planar");
        gridbag.setConstraints(C2, constraints);
        pane.add(C2);*/

    //Checkbox group define so that only one selected at time
        ButtonGroup bg = new ButtonGroup ();
        bg.add(C1);
        //bg.add(C2);

    //Extension Label
        buildConstraints(constraints, 0, 4, 1, 1, 1, 10);
        constraints.anchor = GridBagConstraints.SOUTH;
        JLabel label3 = new JLabel ("Extension", JLabel.CENTER);
        label3.setFont(f1);
        gridbag.setConstraints(label3, constraints);
        pane.add(label3);

    //Extension Choice
        buildConstraints(constraints, 0, 5, 1, 1, 1, 10);
        constraints.fill = GridBagConstraints.NONE;
        constraints.anchor = GridBagConstraints.NORTH;
        JComboBox Extension = new JComboBox ();
        Extension.addItem ("0 km");
        Extension.addItem ("5 km");
        Extension.addItem ("10 km");
        Extension.addItem ("15 km");
        Extension.addItem ("20 km");
        Extension.addItem ("25 km");
        Extension.addItem ("30 km");
        gridbag.setConstraints(Extension, constraints);
        pane.add(Extension);

    //Draw Canvas
        buildConstraints(constraints, 1, 2, 4, 5, 0, 0);
        constraints.fill = GridBagConstraints.BOTH;
        MyCanvas can1 = new MyCanvas (); // paint method in seperate class
        gridbag.setConstraints(can1, constraints);
        can1.setBackground(Color.white);
        pane.add(can1);

        //Add all event listeners to components
        display.addActionListener(this);
        quit.addActionListener(this);
        Extension.addItemListener(this);
        run.addActionListener(this);
        //can1.addActionListener(this);
        setContentPane(pane);
    }
    static void buildConstraints(GridBagConstraints gbc, int gx, int gy, int gw, int gh, int wx, int wy){
        gbc.gridx = gx;
        gbc.gridy = gy;
        gbc.gridwidth = gw;
        gbc.gridheight = gh;
        gbc.weightx = wx;
        gbc.weighty = wy;
    }

    public Insets getInsets() {
        return new Insets (10, 10, 10, 10);
    }

//declare actionlistener method
public void actionPerformed (ActionEvent ae) {
        String label = ae.getActionCommand();
        if (label == "Display") {
            can1= new MyCanvas();
            Modelling m1 = new Modelling ();
            //if (can1 != null) {
            can1.revalidate();
            can1.repaint();
            can1.setVisible(true);
            }else if (label == "Quit")
            System.exit(0);
    }
   public void itemStateChanged (ItemEvent evt) {
        String s = (String) evt.getItem ();
        System.out.println("Item: " + s );
        int state = evt.getStateChange();
        System.out.println("State: "+ ((state == ItemEvent.SELECTED) ? "Selected": "Deselected"));
        System.out.println("Setting new Extension string...");
           if (s == "0 km")
               e1 = (int) 0f;
           else if (s == "5 km")
               e1 = (int) 5f;
           else if (s == "10 km")
               e1 = (int) 10f;
           else if (s == "15 km")
               e1 = (int) 15f;
           else if (s == "20 km")
               e1 = (int) 20f;
           else if (s == "25 km")
               e1 = (int) 25f;
           else if (s == "30 km")
               e1 = (int) 30f;
        }
}
//End of controlling class
//Class for modelling fault
class Modelling {
Modelling () {
    calc ();
}
private void calc () {
    float Sum1, Sum2, Sum3, Sum4;//Initialise variables
    float A = 30f;
float B = 25f;
float C = -1f;
float Zd = 20f;
//float x0 = 60f;
float D = 1f;
    int k;
        //Loop for calculating fault 1 coordinates
        for(k=0;k<=Listric_gui.x_ending;k++){
        Listric_gui.x[k] = (float) k;
        Sum1 = (Listric_gui.x[k] - A);
        Sum2 = ((Sum1/Zd)*C);
        Sum3 = D - ((float)Math.exp(Sum2));
        Sum4 = (A * Sum3);
                    Listric_gui.y[k] = Sum4;
        if(Listric_gui.x[k]<=30) {
           Listric_gui.y[k]=0;
        }

        //System.out.println("x = " +x[k] + " y = "+ y[k]);
        }
        //Loop for calculating hangingwall deformation

        //Initialise Variables

        Listric_gui.hwd [k] = (float) k;
        //Listric_gui.e1 = 30;
        for(k=0;k<=Listric_gui.x_ending;k++){
        //hwd [k] = (-(Sum4 - (A *(D - ((float)Math.exp(Sum2 - e1))))));
            Listric_gui.hwd[k] = 0f;
        if(Listric_gui.x[k]>30)
            Listric_gui.hwd[k] = Listric_gui.y[k]-Listric_gui.y[k-Listric_gui.e1];
System.out.println("x = " + k + " hwd = "+ Listric_gui.hwd [k]);
}
}
}

//Listener Method
//draw Class
class MyCanvas extends JPanel {
int k, i;
    public void paintComponent (Graphics screen) {
        super.paintComponent(screen);
        Graphics2D screen2D = (Graphics2D) screen;

    screen2D.setColor(Color.red);
    GeneralPath ln = new GeneralPath();
    ln.moveTo(Listric_gui.x_orig,Listric_gui.y_orig);
    for(k=0;k<=Listric_gui.x_ending;k++) {
    ln.lineTo((Listric_gui.x[k]*Listric_gui.x_scale)+Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.y[k]*Listric_gui.y_scale)));
    ln.closePath();
    screen2D.fill(ln);
    }
    GeneralPath ln2 = new GeneralPath();
    ln2.moveTo(Listric_gui.x_orig,Listric_gui.hwd_orig);
    for(k=0;k<=Listric_gui.x_ending;k++) {
    ln2.lineTo((Listric_gui.x[k]*Listric_gui.x_scale)+Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.hwd[k]*Listric_gui.hwd_scale)));
    ln2.closePath();
    screen2D.fill(ln2);
    }
    //Fault profile graphically
    screen2D.setColor(Color.red);
    GeneralPath ln3 = new GeneralPath ();
    ln3.moveTo(Listric_gui.x_orig,Listric_gui.y_orig);
    for(k=0;k<=Listric_gui.x_ending;k++) {
    ln3.lineTo((Listric_gui.x[k]*Listric_gui.x_scale)+Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.hwd[k]*Listric_gui.hwd_scale)));
    screen2D.draw(ln3);
    }
    //draw footwall
    GeneralPath ln4 = new GeneralPath ();
    ln4.moveTo(Listric_gui.x_orig,Listric_gui.y_orig);
    for(k=0;k<=Listric_gui.x_ending;k++) {
    ln4.lineTo((Listric_gui.x[k]*Listric_gui.x_scale)+Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.y[k]*Listric_gui.y_scale)));
    screen2D.draw(ln4);
    }
//x axis
BasicStroke xpen = new BasicStroke(2f, BasicStroke.CAP_BUTT,BasicStroke.JOIN_ROUND);
screen2D.setStroke(xpen);
screen2D.setFont(new Font("Serif", Font.PLAIN, 11));
screen2D.setColor(Color.black);
GeneralPath xaxis = new GeneralPath();
xaxis.moveTo(Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.y_ending*Listric_gui.y_scale)));
xaxis.lineTo((Listric_gui.x_orig+(Listric_gui.x_ending*Listric_gui.x_scale)),(Listric_gui.y_orig+(Listric_gui.y_ending*Listric_gui.y_scale)));
for (i=0; i <=(Listric_gui.x_ending); i=i+20){
    Line2D.Float ticks = new Line2D.Float(((i*Listric_gui.x_scale)+Listric_gui.x_orig), ((Listric_gui.y_orig)+(Listric_gui.y_ending*Listric_gui.y_scale)), ((i*Listric_gui.x_scale)+Listric_gui.x_orig), ((Listric_gui.y_orig+Listric_gui.ticksize)+(Listric_gui.y_ending*Listric_gui.y_scale)));
    screen2D.draw(ticks);
    screen2D.drawString(""+i, ((i*Listric_gui.x_scale)+Listric_gui.x_orig), ((Listric_gui.y_orig)+(Listric_gui.y_ending*Listric_gui.y_scale))+20);
}

//y axis
BasicStroke ypen = new BasicStroke(2f, BasicStroke.CAP_BUTT,BasicStroke.JOIN_ROUND);
screen2D.setStroke(ypen);
screen2D.setFont(new Font("Serif", Font.PLAIN, 11));
screen2D.setColor(Color.black);
GeneralPath yaxis = new GeneralPath();
yaxis.moveTo(Listric_gui.x_orig,Listric_gui.y_orig);
yaxis.lineTo(Listric_gui.x_orig,(Listric_gui.y_orig+(Listric_gui.y_ending*Listric_gui.y_scale)));
screen2D.draw(yaxis);
for (i=0; i <=Listric_gui.y_ending; i=i+5){
    screen2D.drawString(""+i, ((Listric_gui.x_orig))-15, (Listric_gui.y_orig+(i*Listric_gui.y_scale)));
    Line2D.Float yticks = new Line2D.Float(((Listric_gui.x_orig)), (Listric_gui.y_orig+(i*Listric_gui.y_scale)), (((Listric_gui.x_orig+Listric_gui.ticksize))), (Listric_gui.y_orig+(i*Listric_gui.y_scale)));
    screen2D.draw(yticks);
}

//Y axis label
screen2D.setFont(new Font("Serif", Font.PLAIN, 14));
screen2D.draw(xaxis);
AffineTransform orig = screen2D.getTransform();

screen2D.drawString("Depth(km)", Listric_gui.x_orig-20, Listric_gui.y_orig-20);
screen2D.rotate(-Math.PI/2);
screen2D.setTransform(orig);

//X axis label
screen2D.setFont(new Font("Serif", Font.PLAIN, 14));
screen2D.drawString("Distance (km)", Listric_gui.x_orig+(Listric_gui.x_ending*Listric_gui.x_scale/2), Listric_gui.y_orig+(Listric_gui.y_ending*Listric_gui.y_scale)+40);

//Values
screen2D.setFont(new Font("Serif", Font.PLAIN, 10));
screen2D.setColor(Color.red);
int y_val = 25;
for (k = 0; k <=160; k=k+5){
    screen2D.drawString(" X = " + String.valueOf(Listric_gui.x[k]) + " Y = " + String.valueOf(Listric_gui.y[k]), (Listric_gui.x_orig+(Listric_gui.x_ending*Listric_gui.x_scale)+35), y_val);
    y_val = y_val+10;
}
//print screen for hwd values
int y_val2 = 25;
for (k = 0; k <=160; k=k+5){
    screen2D.drawString("X = " + String.valueOf(Listric_gui.x [k])+ " Hwd = " + String.valueOf(Listric_gui.hwd[k]),(Listric_gui.x_orig+(Listric_gui.x_ending*Listric_gui.x_scale)+155),y_val2);
    y_val2 = y_val2+10;
}

//Title
screen2D.setColor(Color.black);
Font f1 = new Font("Helvetica", Font.BOLD, 24);
screen2D.setFont(f1);
screen2D.drawString("LISTRIC FAULT", (Listric_gui.x_ending*Listric_gui.x_scale/2)+Listric_gui.x_orig,(Listric_gui.y_orig-10));

}
//Define main block
    public static void main (String args[]){
        JFrame frame = new Listric_gui();
        //Method to exit
    WindowListener l = new WindowAdapter (){
                    public void windowClosing (WindowEvent e) {
                        System.exit (0);
                    }
    };
                    frame.addWindowListener (l);
    //frame.setSize(800,600);
    frame.pack();
    frame.revalidate();
    frame.repaint();
    frame.setVisible (true);
    if(Listric_gui.can1 != null){
    Listric_gui.can1.revalidate();
    Listric_gui.can1.repaint();
    Listric_gui.can1.setVisible(true);
}
}
   private static final int PREF_W = 600;
   private static final int PREF_H = 400;

   @Override
   public Dimension getPreferredSize() {
      return new Dimension(PREF_W, PREF_H);
   }
}

redpajama_set_name: RedPajamaStackExchange


text:
ARCHIVED - Authorities consider expropriating Los Alcázares properties to restore original floodwater channel
Aerial photographs from 1927 show that the Rambla de la Maraña used to flow through what is now built-up land
In the aftermath of the disastrous flooding caused by the gota fría storm in mid-September in various parts of the Region of Murcia, especially in towns along the western shore of the Mar Menor, various attempts are being made to outline ways in which future disasters of the same kind.
It is generally agreed that the effects of torrential storms like the one of 12th to 14th September have been exacerbated by the growth of built-up areas along the shore of the Mar Menor, especially over the last 50 years or so, and with this latest episode constituting the second catastrophic flood in Los Alcázares in under three years most of the proposals aired so far concentrate on the town. Here as in other locations the natural channels caused by floodwater over the course of millennia have been eliminated by the urban sprawl, and in statements made by Mario Urrea, the head of the CHS water infrastructures administration body in the Segura Basin, even the possibility of expropriating private homes in order to re-create these channels is being considered.
Other infrastructures are also being held at least partly to blame, with the AP-7 motorway effectively forming a barrier to water which would previously have followed its natural course towards the coast, but Sr Urrea mentioned the possibility of expropriation while outlining the options available to prevent floodwater in the Rambla de de La Maraña and the Rambla del Albujón from inundating coastal conurbations. He explains that the natural channels which can be seen in aerial photographs taken by Julio Ruiz de Alda in 1927 simply no longer exist, and that the Rambla de La Maraña "ought" to flow right through what is now Los Alcázares.
If the argument is taken to its logical conclusion, then the decision could eventually come down to one of cost: which is more expensive, to divert the flow of floodwater to a different course, or to expropriate properties and return it to its original route?
It is far to early to conclude that the CHS actually advocates the knocking down of part of Los Alcázares in order to restore the natural floodwater channel, but Sr Urrea's statements do illustrate two important points; firstly, the role of urban growth in exacerbating the recent flooding in Los Alcázares should not be underestimated, and secondly, with the climate crisis likely to imply more and more extreme weather events in the future, no course of action can be ruled out in order to prevent natural disasters causing widespread damage and the loss of human life.
Follow Murcia Today on Facebook to keep up to date with all the latest news, events and information in the Region of Murcia and the rest of Spain: https://www.facebook.com/MurciaToday/

redpajama_set_name: RedPajamaCommonCrawl


text:
Intensity &
from different sports
Energy Systems and their application to training principles
Exercise physiology is underpinned by the energy systems. When we exercise our body is constantly working to supply muscles with enough energy to keep going. The way energy is made available to muscles changes depending on the specific intensity and duration of exercise
Role of Adenosine Triphosphate (ATP)
Glycolysis – aerobic and anaerobic
Principles of training – intensity and duration
Energy system continuum
Energy systems application to sport
Overview of the Energy Systems
Adenosine tri-phosphate (ATP) is the only energy source for all bodily functions and activities (movements)
When ATP is used for energy production it must be replenished
The body can replenish (recreate) ATP aerobically or anaerobically
Where is one Aerobic Energy System which requires oxygen to replenish ATP and two Anaerobic Energy Systems that can recreate ATP to produce energy without the need of oxygen
These are the 3 Energy Systems
ATP-PC System or Alactic System – ATP and creatine phosphate (CP) are present in very small amounts in the muscle cells. The system can supply energy very quickly because oxygen is not needed for the process. No lactic acid is produced in the process (Alactic)
Anaerobic Glycolysis or Lactic Acid System uses carbohydrates (glucose) stored in the muscles as Glycogen. Because no oxygen is required to re-synthesise ATP, energy is produced quickly. Also because no oxygen is used in the process lactic acid is produced as an end product.
Aerobic System – This system uses carbohydrates (glucose/glycogen) and fats to replenish ATP. Because oxygen is required for the process, energy production takes a little longer but can continue for a much longer duration. Because of the presence of oxygen, no lactic acid is produced.
Intensity and duration
The energy systems are all working at the same time (See Energy Continuum). However the predominant Energy System used to re-supply ATP depends on 3 things: -
INTENSITY of exercise. (How hard you are working). The more intense the exercise the greater amount of (Anaerobic Energy) – Creatine phosphate and muscle glycogen will be used. Low to medium intensity exercise will use predominantly the aerobic system
DURATION of exercise. (How long you are exercising). E.G. If the exercise is high intensity and lasts over 2 minutes then both CP and Muscle Glycogen will become depleted and need repaying. Intensity of exercise will drop as the aerobic system becomes more dominant.
FITNESS LEVEL of the performer. Individual levels of both aerobic and anaerobic fitness will impact on the predominant energy system being used. A higher level of aerobic fitness will mean it will take a performer longer to reach the Anaerobic Threshold (The point at which the performer gets more energy from the anaerobic systems rather than aerobic). This is beneficial because when a performer begins to work anaerobically there is only a limited supply of energy available (PC and muscle glycogen - up to 2 minutes max). If the exercise continues to increase then the performer will run out of anaerobic energy and return to using aerobic whereby performance will then drop. This can be seen at the last few stages of the multi stage fitness test where the performer struggles to stay in time with the 'beeps' and eventually has to stop.
The greater the anaerobic fitness the longer the performer can work in the anaerobic zone. In reality most people have anaerobic stores that last just over a minute. A trained performer can last up to 2 minutes, and also be able to 'tolerate' greater amounts of lactic acid in their muscles.
In practice, all these factors work together to determine which are the predominant energy systems being used during the activity.
The energy systems work together to replenish ATP.
The 3 energy systems are the ATP-PC, Anaerobic Glycolysis and Aerobic.
The energy systems all work together at the same time to keep replenishing ATP. At no point will only one energy system will be used, but there is often a predominant system.
The predominant energy system used during exercise will depend on the intensity and duration of the activity and the individual's levels of fitness.
ATP-PC system is predominantly used during maximum intensity activities lasting no longer than 10 seconds.
Anaerobic Glycolysis system is predominantly used for high intensity activities lasting approximately 1 minute
Aerobic system is predominantly used during medium to low intensity activity.
The predominant energy system being used at rest is the aerobic system.
Anaerobic Glycolysis system is predominantly used for high intensity activities lasting approximately 1 minute.
It is important to be able to provide practical sporting examples of when each of the energy system is being predominantly used. Good knowledge and understanding is demonstrated by being able to highlight the link between intensity and duration of exercise as well as the individual's level of fitness to the predominant energy system being used.
Practical Examples From Different Sports
Example 1. In netball the ATP-PC system would be the predominant energy system used when a Centre sprints at maximum intensity or 100% to get into space to receive the ball.
The candidate has therefore demonstrated with the example that there is a direct link between the ATP-PC system and maximum or 100% intensity.
Example 2. The Anaerobic Glycolysis or lactic acid system would be predominantly used in netball when a centre works at a high intensity for duration of up to 40 seconds. This could occur if a team fails to score, resulting in a prolonged period of play. Also during this time most of the CP stores would have been depleted, therefore the body would rely on the anaerobic glycolysis system for energy.
The candidate has demonstrated with the example that the anaerobic glycolysis system is high intensity and is used over longer periods of anaerobic exercise. The answer also shows further knowledge through the link between the depletion of CP as the predominant energy source and the use of muscle glycogen as the predominant source.
Example 3. The Aerobic System would be predominantly used by a centre in netball in medium to low intensity phases of play when the ball is out of play or when returning for a centre pass when a goal has been scored. An increased level of aerobic fitness would be mean the centre would take longer to reach anaerobic threshold and therefore would maintain anaerobic energy stores for longer which means a higher intensity can be maintained throughout the duration of the game.
The candidate has used an appropriate example to make the link between low to medium intensity exercise and the aerobic system. There is also understanding of how aerobic fitness levels influence the predominant energy system used.
Key points Covered
Energy Continuum is the interchanging of the energy systems during exercise
The energy system being predominantly used is dependent on the type of activity being performed.
The predominant energy system being used will depend on the intensity and duration of exercise and the fitness level of the performer.
Practical Application/explanation
In reality, the energy systems never work in isolation and are ALL working at different percentages at different times. E.G. when jogging the body will still be using a very small proportion of the ATP-PC system and when sprinting the Aerobic system will also be used albeit in very small amounts. As stated the percentage use of each of the energy systems will be constantly changing particularly in games type sports where the intensity and duration of the exercise being performed is constantly changing. For example during a game of football a wide player may sprint down the line beating defenders using approximately
85% ATP-PC
13% Anaerobic Glycolysis
2% Aerobic
Then when he stops to prepare to cross the ball when confronted by a defender the proportion of each system will change because the intensity of the exercise will drop and hence the proportion of the energy systems being used will change:
20% Aerobic
At the end of a match, competition or activity the proportion of each energy system will be totalled. Examples of this can be seen in the table below.
All the energy systems work together in varying proportions to replenish ATP
The factors that determine the proportions of the energy systems used are intensity and duration of the exercise and the fitness levels of the individual.
Threshold - The point at which the predominant energy system being used cannot provide sufficient ATP to maintain the current intensity of exercise. E.G The threshold for the CP/lactic acid system is approximately 10 seconds (after very high intensity exercise) after this the stores are depleted and the Anaerobic Glycolysis system will become the predominant system to provide ATP.
Anaerobic Threshold – The point that which the aerobic system cannot sustain energy production (ATP replenishment) at this intensity and the anaerobic glycolysis (lactic acid) system becomes the predominant system.
A common misconception with energy systems and the energy continuum is that during exercise the body will replenish ATP using one system (e.g. aerobic) then as intensity gets harder the body switches completely to another system (anaerobic Glycolysis)then as it gets harder again, only the ATP-PC is used. In practise, as the intensity increases there will be a gradual move towards the anaerobic glycolysis and ATP-PC systems from the aerobic system, but the aerobic system will still be helping to replenish ATP.
As with the energy systems the candidates must link the energy continuum to the intensity and duration of the exercise and fitness level of the performer if appropriate within the answer (see Energy Systems top tips).
What is the 'Energy Continuum' and explain the factors that determine the energy systems used during exercise. (5)
Compare the energy demands of 2 different sporting activities of your choice. Estimate and justify the contribution of each of the 3 energy systems for each activity
3a Energy continuum for a 1500m race
ATP-PC System
Lactic Acid System
Aerobic System
(i) Using the information in the table, explain the energy continuum during a 1500m race. (4)
Commentary - Graph 1 & 2
Relationship between energy systems, heart rate and blood lactate
Watch the player who has a red and white circle around them. Throughout the clip, all energy systems are being used interchangeably. The intensity of the play dictates the predominant energy system supplying ATP. An example of this is when the player carries the ball into contact and works at a high intensity, the ATP-PC system is the predominant energy system. As exercise intensity increases then so does heart rate and lactic acid. When the player is working anaerobically the heart rate is above the anaerobic threshold at 170 beats per minute, furthermore when they produce more than 5 minimoles of lactic acid they are also deemed in the anaerobic zone. The opposite is the case towards the end of the clip, where the player is less involved and the aerobic energy system becomes the predominant energy system. There is also a drop in heart rate and levels of blood lactate are also reduced.
Short-term responses to exercise
If you follow the player that is highlighted, there are a number of mechanisms that are controlling his heart rate and breathing rate. The three main control mechanisms for heart rate and stroke volume are hormonal, neural and intrinsic control. Hormonal control is the influence of adrenaline and noradrenaline on heart rate. Within the clip, just before the player is about to receive the ball there will be a slight anticipatory rise in heart rate cause by the release of adrenaline; this prepares the player for the subsequent period of play. Acetylcholine is another hormone, but this has the opposite affect and is responsible for reducing heart rate. Neural control is a main control mechanism for both heart rate and respiration or breathing. It is made up of receptors picking up a variety of changes in the body. As exercise intensity increases, chemoreceptors pick up chemical changes in the blood due to increased levels of carbonic and lactic acid. Proprioceptors detect the increase in movement within the joints and muscles, baroreceptors detect pressure changes within the arteries and finally thermoreceptors detect increases in body temperature. This information is sent to the Cardiac Control Centre which via the autonomic nervous system speeds up heart rate and to the Respiratory Control Centre, which speeds up ventilation rates. Finally, intrinsic control is the heart internally controlling itself. There are two factors to consider, first of all as the temperature of the cardiac muscle rises, the speed of nerve impulses are faster, which in turn increases heart rate. A second intrinsic mechanism relates to Starling's Law of the Heart. As venous return increases so does stroke volume. This increased blood flow back into the heart causes the heart chambers to stretch, which leads to the myocardium contracting with greater force, sending more blood out of the heart per beat.
© WJEC CBAC LTD 2016


text:
Gynaecopolis (City of Women) is an ancient city in Lower Egypt.

History
Gynaecopolis was known in Ancient Egypt as 'Per Nebet Imau'. This city was the capital of the Gynaecopolite nome mentioned by Strabo, and coins having its impress in the age of Hadrian are still present. Some geographers believe the city of Gynaecopolis is actually the ancient city of Anthylla, even though the former city was found south of what was presumed to be Anthylla. It may have been in the area of Kom el-Hisn.

Other information
Herodotus mentions that it used to furnish the ancient Egyptian queens with sandals and other female goods.
It was assigned by Persian kings of Egypt to their queens, to provide them with sandals or girdles.

References

Archaeological sites in Egypt
Former populated places in Egypt

redpajama_set_name: RedPajamaWikipedia


Happy Thursday! Today I'm sharing another Arrowsmith tank I made for Brian, with the new Thin Line strike offs from Vinegar and Honey.
Allison and Lauren were so generous to give away their strike offs for some of the new custom prints, which is how I was able to receive this one. The Thin Green Line designates militar recognition and honor, so this one is highly appropriate since Brian is a Navy veteran. Also, I mentioned that if I won the fabric, I would make a tank for Brian in memory of his cousin, who was killed in action in Iraq while serving in the Army. So, that's what I did.
The colors are bright (the green anyway) and rich. I love how the grays are distressed and almost look like concrete. Very cool. Brian really likes this one too because it's patriotic but not over the top. Unlike his Fourth of July tank I blogged earlier – ha!
I believe preorders close August 1st, so make sure you get yours in! They also have red and blue lines available as well, for fire and police recognition.
I love that you sew for your hubby so much too! We need more male models. 🙂 This tank looks great, those VHCO girls are the best aren't they?
Yes!! We also need more men's patterns!


Welcome to week number 2! I hope that you enjoyed reading about our Pinspired ideas. I am so excited to do week number two. I hope that we can double the people that joined last week so that by summer we have a nice group of people following and finding or contributing awesome pinterest ideas and outfits or recipes.
I wanted to start a linky for things that are pinspired. I know linky parties can be time consuming, but I think this one will be fun and quick. Plus I know I found a TON of things on Pinterest and either nailed or failed them. Summer is coming and I want to start my projects!!!
So this is the outfit I wanted to try to recreate. Obviously, I love Gwenith, but Gwenith I am not. Her outfit is just darling though.
Here was my recreation. Funny enough it was the week of our St. Patrick's Day craftivity so my kids did what they were feeling lucky for. One of my little sweeties recreated ME in my outfit, so I had to share how my pinspired look had her recreate something. So cute. She nailed it.
It was winter so I didn't do heels or a jacket. I also added my own little flair with a scarf, but I actually like mine better!!!
It started with this picture from Mrs. Terhune's blog that got my wheels spinning. My filing cabinet is what you would call messy place of organized chaos of files. Only replace messy with disaster and replace organized with a cluster you know what and take out files and put in piles of random papers so smooshed in there that I didn't use anything the entire first nine weeks of school.
So, I started with making my binder covers. That was fun!
As you can see though, I am making progress. While I was there, I decided I might as well make the read alouds easy to find as well. So this happened! I am still in the process of making labels. I am sort of organizing by months, season and topic so I can easy find what I need. I haven't decided if folders will go in alphabetical order or by how I teach them. I am actually thinking alphabetical may be easier for my OCD personality.
I keep my pacing in the front - first sheet in the sheet protector, then all my others go into sheet protectors as well. I only put one project into a protector. If it is a packet it all goes in one. If it is just a sheet, they go back to back so only two sheets in there. It really made me decide what I use and don't use because sheet protectors can be expensive. I got mine from Costco because I wanted the thicker plastic. they aren't cheap material. They are really nice. They were 200 for 12 dollars I believe. It may only be 100. I can't remember.
My husband is coming to school to build a big bookshelf to house them all. I don't want them spread across two different shelves. That will make me batty.
I also have binders, which I LOVE! I have gotten so many compliments on how organized I am. They make making copies SO easy and I love how everything is organized so nicely.
Thank you for putting this linky together! What a great idea and a great way to get new ideas! Love your binders. I'm in the process of moving my file folders to binders too. What a looooonnnngg process that is. But, I know I'll be happy when they're all organized.
Oh! I like those pants! I need to get some pants with color.
How fun that your husband is going to come in and build you a bookshelf!! I wish I could get some custom shelving in my room! That would make things so much easier!! Sorry I didn't link up this week, but I'll make sure to get my link up ready for next week!!


text:
Encontre o seu próximo book favorito
Love Story Writer
De Daisy Bacon
Salvar para mais tardeSalve Love Story Writer para ler mais tarde
Duração: 150 páginas2 horas
Bold Venture Press
LOVE STORY WRITER is crammed with practical information on the art and craft of creating and selling the romantic story. It does not pretend to "teach" you how to write. Yet the novice or the professional writer will find more help in this wise and witty book than in many so-called text books. It takes you from the gestation of the idea to its final submission to a magazine. It tells you why so many manuscripts fail to sell. It tells you, very simply, how you can avoid the most common pitfalls that keep authors from success. It tells you more about editors, their habits and crochets, than any other book of its kind. Started on a writing career before she became one of America's most successful and highest paid editors, Miss Bacon shares her insights and experience in managing a successful publication and authoring romantic fiction. Her advice gives us a glimpse into a past era, but remains as fresh today as when the pulps dominated newsstands across America.
With introductions and afterwords by pop culture historians Laurie Powers and Michelle Nolan.
Daisy Bacon
Daisy Bacon was born in Union City, Pennsylvania, and eventually migrated to New York City in the 1920s. While her writing career was in its infancy, she answered a job listing at Street & Smith Publications and eventually became the editor of Love Story Magazine. Under her direction, Love Story Magazine, became the top-ranking newsstand seller -- and the only weekly -- among women's magazines. Known as a "lucky" editor for giving new writers their start, she received and read thousands of unsolicited manuscripts each year. During World War II, Miss Bacon edited Detective Story Magazine, and was the final editor of The Shadow and Doc Savage, the most famous superheroes of the pulp magazine era. Miss Bacon retired in the 1950s and penned Love Story Writer. Much of her retirement was devoted to writing. In the 1960s, she began her own publishing imprint, Gemini Books. Miss Bacon died in 1986 at her home in Port Washington, NY, at the age of 87 years.
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Composição e Redação Criativa
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Amostra do livro
Love Story Writer - Daisy Bacon
by Daisy Bacon
Introduction by Laurie Powers
Afterword by Michelle Nolan
Published by Bold Venture Press
www.boldventurepress.com
Copyright 1954 by Daisy Bacon. All Rights Reserved.
This book is available in print at most online retailers.
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means without express permission of the publisher and copyright holder. All persons, places and events in this book are fictitious. Any resemblance to any actual persons, places or events is purely coincidental.
License Notes
This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you're reading this book and did not purchase it, or it was not purchased for your enjoyment only, then please purchase your own copy.
A Note About the Author
Chapter One — What a Love Story is
Chapter Two — Can the Experts Help You to Write Love Stories?
Chapter Three — How Can I Find Out What the Editor Wants?
Chapter Four — Cinderella Becomes a Stumbling Block
Chapter Five — On Love, Geography
Chapter Six — Getting Along With the Story
Chapter Seven — Appearance of the Manuscript
Chapter Eight — Dear Editor: I Take My Pen in Hand …
Chapter Nine — The Grass Is Always Greener
Chapter Ten — Keeping Up With the Parade
Connect with Bold Venture Press
By Laurie Powers
WHO was this Daisy Bacon, and why should you read Love Story Writer now?
Daisy Sarah Bacon was the editor of Street & Smith's Love Story Magazine, the biggest selling pulp fiction magazine during the dark days of the Depression and World War II. Love Story Magazine was such a formidable leader in the romance pulp fiction field that, in 1941, it was described in Writer's Yearbook as "a magazine larger than Harper's Magazine, The American Mercury, and The Atlantic Monthly rolled together." In addition to Love Story Magazine, Daisy also commandeered several other Street & Smith magazines, including some of the most popular of the era: Detective Story Magazine, The Shadow Magazine, Doc Savage Magazine, and Romantic Range. Daisy became such a formidable presence in the pulp fiction industry that, early on in her career, she was given the title Queen of the Pulps.
Daisy was born on May 23, 1898, in Union City, Pennsylvania. Both her mother and father were descendants of some of the most venerable families in American and English history. Her father was a descendant of a cousin of Sir Francis Bacon, and her mother was a descendant of William Bradford, five-time governor of Plymouth Colony. Daisy herself was a member of the Daughters of the American Revolution.
Raised in Westfield, New York, she was the valedictorian of her high school. Shortly after graduating from high school, Daisy, her mother, and her half-sister Esther moved to New York City. There Daisy took on several different jobs and tried to make a go of being a freelance writer. She experienced some initial success, publishing two nonfiction articles in the Saturday Evening Post in 1924. But in 1926 she found herself needing a change and, supporting her sister and mother by then, a full-time job. Enter Street & Smith, the biggest pulp fiction publishing company in the world, where Daisy began work on March 13, 1926.
Daisy's first job at Street & Smith was to work on the advice column, The Friend in Need, that appeared in Love Story Magazine. Over the next two years she read thousands of letters, selected those that would appear in the magazine, and answered their questions with help from other staff. At the same time, she took it upon herself to learn everything she could about the company and what it took to produce a nationally-distributed magazine. She also wrote four short stories that appeared in Love Story Magazine. Then, in 1928, she received the call to become the editor of Love Story. She was just turning 30 years old.
At the time she became editor, Daisy knew that the magazine needed some updating. Even though women had earned voting rights in 1920 and the sexually-aware flapper was the American symbol of sexual freedom, the stories were still set in dime-novel settings in which the heroines were orphans and helpless waifs, imprisoned by evil relatives.
Daisy began to steer Love Story Magazine towards including more stories that featured young women who were emancipated, self-sufficient, and confident. By the early 1930s, the magazine had reached a circulation of 600,000 copies, setting a record that was never broken by any other pulp fiction magazine. During that time, in addition to the hundreds of manuscripts that showed up at Street & Smith every month, the Love Story office was receiving over 10,000 letters a month from people wanting either to be published in the magazine or the advice of Laura Alston Brown, the fictitious author of the A Friend in Need column.
In 1929, Daisy hired her sister Esther, who became her indispensable associate editor. Over the next eighteen years Esther would touch almost every aspect of the magazine's production, so Daisy could dedicate most of her time to reading the endless avalanche of manuscripts that arrived in the Love Story office and edit stories until they were suitable for publication. It is to her-half sister, Esther, that Daisy originally dedicated this book, and rightly so.
It wasn't long before Daisy became known as an editor who worked well with writers, especially those trying to break into publishing. She took great pains to help writers; stories that needed help weren't just rejected and sent back with a note. Instead, she marked up manuscripts with suggestions on how to make them better. As a result, many writers would see their first stories appear in love story and many of them continued to be loyal to Daisy and continued to send her stories for many years.
What made Love Story so successful? Much of it can be credited to Daisy's uncanny ability to know what the reading public wanted in a Love Story. She stressed the importance of the story itself, rather than the love interest. She insisted that the most interesting stories can be found in the most mundane of settings, in the most ordinary of jobs, in the smallest of towns. The writer had to juggle several elements, she admits, but this ability was necessary for an intriguing yet believable story.
In 1941, Daisy was given Detective Story Magazine to manage. Daisy and Esther now had three magazines to supervise: Love Story Magazine, Romantic Range, and Detective Story Magazine. Love Story was discontinued in 1947, although it would be resurrected briefly in the early 1950s with another publisher. In total, Love Story had generated 1,158 weekly issues, each of which contained 8 to 10 stories. In 1948, Daisy was handed two of the most popular of the Street & Smith pulp magazines, The Shadow and Doc Savage. Then, in 1949, Street & Smith announced that they were discontinuing all of their pulp magazines. Daisy was shown the door.
Daisy decided to not pursue getting another job; instead, she retired even though she had just turned 51. She bought a house in Port Washington on Long Island and spent the first few years of her retirement writing two books: a novel based on her years at Street & Smith, and this book, Love Story Writer. She struggled with the novel for many years and, if it was ever finished, it never saw publication, and no manuscript has survived. But Daisy found the writing of this book much easier, and Love Story Writer was published by Hermitage Books in 1954.
In her early 60s, Daisy started her own publishing company, Gemini Books, and reprinted Love Story Writer as a paperback under the title Love Story Editor. She also wrote the occasional article, including one very famous piece, The Golden Age of the Iron Maiden, that appeared in The Roundup Magazine in 1975. In that piece, Daisy brings us into the world of Street & Smith and its demise, which she felt was due to mismanagement.
Daisy died in obscurity in 1986, but her legacy lives on. Her personal papers, stored by her Port Washington neighbors for decades, are now being used as sources for a full biography of Daisy that will appear in the next few years. And every year, the Daisy Bacon Fund Scholarship grants awards to high school students in Port Washington that want to pursue careers in journalism.
SO why read this book now? After all, most of the instruction in this book was directed to the writer who wants to be published in magazines in the 1950s, and the pulp fiction magazine has been long gone. But the principles behind the Love Story have not changed, and these can be applied to writing both short stories and novel-length books. All of the instruction that Daisy provides is timeless, and her passion for helping writers break into the publishing world shows on every page of Love Story Writer.
Daisy dispels the myths around writing the love story, such as that it is the easiest kind of story to write. She discusses when to embrace the Cinderella story and when to avoid it. She stresses that the romance story doesn't have to take place in the exotic or enticing settings; the best stories are those that take place in the settings that are close to the writer.
For writers wanting to get published, Daisy's tips on that aspect still ring true. Know your publication. Know what the editor wants in a story. Make sure your submission is exactly what is called for in the requirements. This chapter on the latter instruction, although written when all submissions were sent via regular mail on bond paper, is still relevant because it stresses the importance of writing the best cover letter, and having your submission in the best possible and most readable condition. Those requirements apply whether you're sending hard-copy or an email attachment. All of these components are aspects of getting the love story published, or any story written in any other type of genre, that will never change.
For those who are interested in the history of pulp fiction, Daisy provides enough information to satisfy anyone who wonders what it was like to edit a magazine during the golden age of the pulp magazine. Her anecdotal examples and personal experiences are woven in seamlessly, so that before you know it, you are swept away in the story of this relative or that coworker or her many examples. In her conversational tone she brings us into the world of what it took to edit these magazines that enraptured an entire generation of American readers.
Laurie Powers
Laurie Power's interest in pulp fiction began in 1999 when she discovered that her paternal grandfather, Paul S. Powers, (1905–1971) had been a successful writer of stories that appeared in magazines such as Weird Tales, Wild West Weekly, Western Story Magazine, Real Detective Tales, Thrilling Western, and many more. Since then, Laurie has been very active in the community of pulp fiction historians, writers, and collectors. She wrote the prologue and epilogue that appear in her grandfather's memoir, Pulp Writer: Twenty Years in the American Grub Street, has published several collections of her grandfather's stories, and has spoken to a variety of audiences on the history of pulp fiction. Laurie is now writing a biography of Daisy Bacon and has written articles and book introductions about Bacon and the romance pulps.
A Note on the Author
When Pennsylvania-born Daisy Bacon moved to New York in the late 1920s, she got a part-time job as a dress model and a part-time job doing bookkeeping for an auctioneer. She proceeded to write pieces about the auction rooms which she sold to Thomas Costain of the Saturday Evening Post. Then she saw a want ad in the N.Y. Times; the opening was an editorial position on Love Story Magazine. She applied and landed the job. Quite soon she became editor of this publication — a weekly with a huge circulation. And she became famous.
At various times she edited other magazines simultaneously with getting out Love Story Magazine. From 1930 to 1932 it was a first person magazine called Real Love that appeared twice a month. Then there was a confession magazine called True Love Stories. In 1937 she edited Pocket Love, a forerunner of the paperback books of today. 1n1939 she edited Romantic Range which gave Ranch Romances a good run for the money. During World War II she was the editor of Detective Story Magazine which was distributed overseas to
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text:
Pass and discount
Didatics
News Eng
FONDAZIONE GIULIANO GHELLI
Giuliano Ghelli (1944–2014) had a sentimental attachment to Poppi, the birthplace of his parents, and he exhibited there in 2006, preparing the ground for the foundation that was set up in his name the following year in cooperation with the municipality.
About twenty works were housed in Palazzo Giorni with the intention of creating a permanent exhibition space to display the artist's forty-year long career. They were later moved to the old stables in Castello dei Conti Guidi where can be seen today.
In the summer of 2013, on the occasion of one of his major exhibitions Giuliano Ghelli. Racconti a colori. 50 anni in viaggio tra pittura e scultura, the collection was expanded with new acquisitions, notably the l'Esercito di terracotta [Terracotta army], an installation of female busts lined up on the castle's main staircase.
Piazza della Repubblica 1, 52014 Poppi Tel. (+39) 0575 520516 www.fondazionegiulianoghelli.orginfo@fondazionegiulianoghelli.org
Toscana '900Fondazione Giuliano Ghelli 04.14.2015
A project dedicated entirely to the art of the 20th century in Tuscany: exhibitions and events, but also a guide and a multimedia application for telling the story of a region and of a century through a thousand voices
A project
Contacts | Press Area | Site map | Credits
© 2015 ENTE CASSA DI RISPARMIO DI FIRENZE - CF 00524310489


text:
package net.lingala.zip4j.zip;

import java.io.File;
import java.io.FileInputStream;
import java.io.FileNotFoundException;
import java.io.IOException;
import java.io.InputStream;
import java.io.RandomAccessFile;
import java.util.ArrayList;
import java.util.HashMap;

import net.lingala.zip4j.exception.ZipException;
import net.lingala.zip4j.io.SplitOutputStream;
import net.lingala.zip4j.io.ZipOutputStream;
import net.lingala.zip4j.model.EndCentralDirRecord;
import net.lingala.zip4j.model.FileHeader;
import net.lingala.zip4j.model.ZipModel;
import net.lingala.zip4j.model.ZipParameters;
import net.lingala.zip4j.progress.ProgressMonitor;
import net.lingala.zip4j.util.ArchiveMaintainer;
import net.lingala.zip4j.util.CRCUtil;
import net.lingala.zip4j.util.InternalZipConstants;
import net.lingala.zip4j.util.Zip4jConstants;
import net.lingala.zip4j.util.Zip4jUtil;

public class ZipEngine {

	private ZipModel zipModel;

	public ZipEngine(ZipModel zipModel) throws ZipException {

		if (zipModel == null) {
			throw new ZipException("zip model is null in ZipEngine constructor");
		}

		this.zipModel = zipModel;
	}

	public void addFiles(final ArrayList fileList, final ZipParameters parameters,
			final ProgressMonitor progressMonitor, boolean runInThread) throws ZipException {

		if (fileList == null || parameters == null) {
			throw new ZipException("one of the input parameters is null when adding files");
		}

		if(fileList.size() <= 0) {
			throw new ZipException("no files to add");
		}

		progressMonitor.setCurrentOperation(ProgressMonitor.OPERATION_ADD);
		progressMonitor.setState(ProgressMonitor.STATE_BUSY);
		progressMonitor.setResult(ProgressMonitor.RESULT_WORKING);

		if (runInThread) {
			progressMonitor.setTotalWork(calculateTotalWork(fileList, parameters));
			progressMonitor.setFileName(((File)fileList.get(0)).getAbsolutePath());

			Thread thread = new Thread(InternalZipConstants.THREAD_NAME) {
				public void run() {
					try {
						initAddFiles(fileList, parameters, progressMonitor);
					} catch (ZipException e) {
					}
				}
			};
			thread.start();

		} else {
			initAddFiles(fileList, parameters, progressMonitor);
		}
	}

	private void initAddFiles(ArrayList fileList, ZipParameters parameters,
			ProgressMonitor progressMonitor) throws ZipException {

		if (fileList == null || parameters == null) {
			throw new ZipException("one of the input parameters is null when adding files");
		}

		if(fileList.size() <= 0) {
			throw new ZipException("no files to add");
		}

		if (zipModel.getEndCentralDirRecord() == null) {
			zipModel.setEndCentralDirRecord(createEndOfCentralDirectoryRecord());
		}

		ZipOutputStream outputStream  = null;
		InputStream inputStream = null;
		try {
			checkParameters(parameters);

			removeFilesIfExists(fileList, parameters, progressMonitor);

			boolean isZipFileAlreadExists = Zip4jUtil.checkFileExists(zipModel.getZipFile());

			SplitOutputStream splitOutputStream = new SplitOutputStream(new File(zipModel.getZipFile()), zipModel.getSplitLength());
			outputStream = new ZipOutputStream(splitOutputStream, this.zipModel);

			if (isZipFileAlreadExists) {
				if (zipModel.getEndCentralDirRecord() == null) {
					throw new ZipException("invalid end of central directory record");
				}
				splitOutputStream.seek(zipModel.getEndCentralDirRecord().getOffsetOfStartOfCentralDir());
			}
			byte[] readBuff = new byte[InternalZipConstants.BUFF_SIZE];
			int readLen = -1;
			for (int i = 0; i < fileList.size(); i++) {

				if (progressMonitor.isCancelAllTasks()) {
				    progressMonitor.setResult(ProgressMonitor.RESULT_CANCELLED);
				    progressMonitor.setState(ProgressMonitor.STATE_READY);
				    return;
				}

				ZipParameters fileParameters = (ZipParameters) parameters.clone();

				progressMonitor.setFileName(((File)fileList.get(i)).getAbsolutePath());

				if (!((File)fileList.get(i)).isDirectory()) {
					if (fileParameters.isEncryptFiles() && fileParameters.getEncryptionMethod() == Zip4jConstants.ENC_METHOD_STANDARD) {
						progressMonitor.setCurrentOperation(ProgressMonitor.OPERATION_CALC_CRC);
						fileParameters.setSourceFileCRC((int)CRCUtil.computeFileCRC(((File)fileList.get(i)).getAbsolutePath(), progressMonitor));
						progressMonitor.setCurrentOperation(ProgressMonitor.OPERATION_ADD);

						if (progressMonitor.isCancelAllTasks()) {
						    progressMonitor.setResult(ProgressMonitor.RESULT_CANCELLED);
						    progressMonitor.setState(ProgressMonitor.STATE_READY);
						    return;
						}
					}

					if (Zip4jUtil.getFileLengh((File)fileList.get(i)) == 0) {
						fileParameters.setCompressionMethod(Zip4jConstants.COMP_STORE);
					}
				}

				outputStream.putNextEntry((File)fileList.get(i), fileParameters);
				if (((File)fileList.get(i)).isDirectory()) {
					outputStream.closeEntry();
					continue;
				}

				inputStream = new FileInputStream((File)fileList.get(i));

				while ((readLen = inputStream.read(readBuff)) != -1) {
					if (progressMonitor.isCancelAllTasks()) {
					    progressMonitor.setResult(ProgressMonitor.RESULT_CANCELLED);
					    progressMonitor.setState(ProgressMonitor.STATE_READY);
					    return;
					}

					outputStream.write(readBuff, 0, readLen);
					progressMonitor.updateWorkCompleted(readLen);
				}

				outputStream.closeEntry();

				if (inputStream != null) {
					inputStream.close();
				}
			}

			outputStream.finish();
			progressMonitor.endProgressMonitorSuccess();
		} catch (ZipException e) {
			progressMonitor.endProgressMonitorError(e);
			throw e;
		} catch (Exception e) {
			progressMonitor.endProgressMonitorError(e);
			throw new ZipException(e);
		} finally {
			if (inputStream != null) {
				try {
					inputStream.close();
				} catch (IOException e) {
				}
			}

			if (outputStream != null) {
				try {
					outputStream.close();
				} catch (IOException e) {
				}
			}
		}
	}

	public void addStreamToZip(InputStream inputStream, ZipParameters parameters) throws ZipException {
		if (inputStream == null || parameters == null) {
			throw new ZipException("one of the input parameters is null, cannot add stream to zip");
		}

		ZipOutputStream outputStream  = null;

		try {
			checkParameters(parameters);

			boolean isZipFileAlreadExists = Zip4jUtil.checkFileExists(zipModel.getZipFile());

			SplitOutputStream splitOutputStream = new SplitOutputStream(new File(zipModel.getZipFile()), zipModel.getSplitLength());
			outputStream = new ZipOutputStream(splitOutputStream, this.zipModel);

			if (isZipFileAlreadExists) {
				if (zipModel.getEndCentralDirRecord() == null) {
					throw new ZipException("invalid end of central directory record");
				}
				splitOutputStream.seek(zipModel.getEndCentralDirRecord().getOffsetOfStartOfCentralDir());
			}

			byte[] readBuff = new byte[InternalZipConstants.BUFF_SIZE];
			int readLen = -1;

			outputStream.putNextEntry(null, parameters);

			if (!parameters.getFileNameInZip().endsWith("/") &&
					!parameters.getFileNameInZip().endsWith("\\")) {
				while ((readLen = inputStream.read(readBuff)) != -1) {
					outputStream.write(readBuff, 0, readLen);
				}
			}

			outputStream.closeEntry();
			outputStream.finish();

		} catch (ZipException e) {
			throw e;
		} catch (Exception e) {
			throw new ZipException(e);
		} finally {
			if (outputStream != null) {
				try {
					outputStream.close();
				} catch (IOException e) {
					//ignore
				}
			}
		}
	}

	public void addFolderToZip(File file, ZipParameters parameters,
			ProgressMonitor progressMonitor, boolean runInThread) throws ZipException {
		if (file == null || parameters == null) {
			throw new ZipException("one of the input parameters is null, cannot add folder to zip");
		}

		if (!Zip4jUtil.checkFileExists(file.getAbsolutePath())) {
			throw new ZipException("input folder does not exist");
		}

		if (!file.isDirectory()) {
			throw new ZipException("input file is not a folder, user addFileToZip method to add files");
		}

		if (!Zip4jUtil.checkFileReadAccess(file.getAbsolutePath())) {
			throw new ZipException("cannot read folder: " + file.getAbsolutePath());
		}

		String rootFolderPath = null;
		if (parameters.isIncludeRootFolder()) {
			if (file.getAbsolutePath() != null) {
				rootFolderPath = file.getAbsoluteFile().getParentFile() != null ? file.getAbsoluteFile().getParentFile().getAbsolutePath() : "";
			} else {
				rootFolderPath = file.getParentFile() != null ? file.getParentFile().getAbsolutePath() : "";
			}
		} else {
		    rootFolderPath = file.getAbsolutePath();
		}

		parameters.setDefaultFolderPath(rootFolderPath);

		ArrayList fileList = Zip4jUtil.getFilesInDirectoryRec(file, parameters.isReadHiddenFiles());

		if (parameters.isIncludeRootFolder()) {
			if (fileList == null) {
				fileList = new ArrayList();
			}
			fileList.add(file);
		}

		addFiles(fileList, parameters, progressMonitor, runInThread);
	}

	private void checkParameters(ZipParameters parameters) throws ZipException {

		if (parameters == null) {
			throw new ZipException("cannot validate zip parameters");
		}

		if ((parameters.getCompressionMethod() != Zip4jConstants.COMP_STORE) &&
				parameters.getCompressionMethod() != Zip4jConstants.COMP_DEFLATE) {
			throw new ZipException("unsupported compression type");
		}

		if (parameters.getCompressionMethod() == Zip4jConstants.COMP_DEFLATE) {
			if (parameters.getCompressionLevel() < 0 && parameters.getCompressionLevel() > 9) {
				throw new ZipException("invalid compression level. compression level dor deflate should be in the range of 0-9");
			}
		}

		if (parameters.isEncryptFiles()) {
			if (parameters.getEncryptionMethod() != Zip4jConstants.ENC_METHOD_STANDARD &&
					parameters.getEncryptionMethod() != Zip4jConstants.ENC_METHOD_AES) {
				throw new ZipException("unsupported encryption method");
			}

			if (parameters.getPassword() == null || parameters.getPassword().length <= 0) {
				throw new ZipException("input password is empty or null");
			}
		} else {
			parameters.setAesKeyStrength(-1);
			parameters.setEncryptionMethod(-1);
		}

	}

	/**
	 * Before adding a file to a zip file, we check if a file already exists in the zip file
	 * with the same fileName (including path, if exists). If yes, then we remove this file
	 * before adding the file

	 *
	 * Note: Relative path has to be passed as the fileName
	 *
	 * @param zipModel
	 * @param fileName
	 * @throws ZipException
	 */
	private void removeFilesIfExists(ArrayList fileList, ZipParameters parameters, ProgressMonitor progressMonitor) throws ZipException {

		if (zipModel == null || zipModel.getCentralDirectory() == null ||
				zipModel.getCentralDirectory().getFileHeaders() == null ||
						zipModel.getCentralDirectory().getFileHeaders().size() <= 0) {
			//For a new zip file, this condition satisfies, so do nothing
			return;
		}
		RandomAccessFile outputStream = null;

		try {
			for (int i = 0; i < fileList.size(); i++) {
				File file = (File) fileList.get(i);

				String fileName = Zip4jUtil.getRelativeFileName(file.getAbsolutePath(),
						parameters.getRootFolderInZip(), parameters.getDefaultFolderPath());

				FileHeader fileHeader = Zip4jUtil.getFileHeader(zipModel, fileName);
				if (fileHeader != null) {

					if (outputStream != null) {
						outputStream.close();
						outputStream = null;
					}

					ArchiveMaintainer archiveMaintainer = new ArchiveMaintainer();
					progressMonitor.setCurrentOperation(ProgressMonitor.OPERATION_REMOVE);
					HashMap retMap = archiveMaintainer.initRemoveZipFile(zipModel,
							fileHeader, progressMonitor);

					if (progressMonitor.isCancelAllTasks()) {
						progressMonitor.setResult(ProgressMonitor.RESULT_CANCELLED);
						progressMonitor.setState(ProgressMonitor.STATE_READY);
						return;
					}

					progressMonitor
							.setCurrentOperation(ProgressMonitor.OPERATION_ADD);

					if (outputStream == null) {
						outputStream = prepareFileOutputStream();

						if (retMap != null) {
							if (retMap.get(InternalZipConstants.OFFSET_CENTRAL_DIR) != null) {
								long offsetCentralDir = -1;
								try {
									offsetCentralDir = Long
											.parseLong((String) retMap
													.get(InternalZipConstants.OFFSET_CENTRAL_DIR));
								} catch (NumberFormatException e) {
									throw new ZipException(
											"NumberFormatException while parsing offset central directory. " +
											"Cannot update already existing file header");
								} catch (Exception e) {
									throw new ZipException(
											"Error while parsing offset central directory. " +
											"Cannot update already existing file header");
								}

								if (offsetCentralDir >= 0) {
									outputStream.seek(offsetCentralDir);
								}
							}
						}
					}
				}
			}
		} catch (IOException e) {
			throw new ZipException(e);
		} finally {
			if (outputStream != null) {
				try {
					outputStream.close();
				} catch (IOException e) {
					//ignore
				}
			}
		}
	}

	private RandomAccessFile prepareFileOutputStream() throws ZipException {
		String outPath = zipModel.getZipFile();
		if (!Zip4jUtil.isStringNotNullAndNotEmpty(outPath)) {
			throw new ZipException("invalid output path");
		}

		try {
			File outFile = new File(outPath);
			if (!outFile.getParentFile().exists()) {
				outFile.getParentFile().mkdirs();
			}
			return new RandomAccessFile(outFile, InternalZipConstants.WRITE_MODE);
		} catch (FileNotFoundException e) {
			throw new ZipException(e);
		}
	}

	private EndCentralDirRecord createEndOfCentralDirectoryRecord() {
		EndCentralDirRecord endCentralDirRecord = new EndCentralDirRecord();
		endCentralDirRecord.setSignature(InternalZipConstants.ENDSIG);
		endCentralDirRecord.setNoOfThisDisk(0);
		endCentralDirRecord.setTotNoOfEntriesInCentralDir(0);
		endCentralDirRecord.setTotNoOfEntriesInCentralDirOnThisDisk(0);
		endCentralDirRecord.setOffsetOfStartOfCentralDir(0);
		return endCentralDirRecord;
	}

	private long calculateTotalWork(ArrayList fileList, ZipParameters parameters) throws ZipException {
		if (fileList == null) {
			throw new ZipException("file list is null, cannot calculate total work");
		}

		long totalWork = 0;

		for (int i = 0; i < fileList.size(); i++) {
			if(fileList.get(i) instanceof File) {
				if (((File)fileList.get(i)).exists()) {
					if (parameters.isEncryptFiles() &&
							parameters.getEncryptionMethod() == Zip4jConstants.ENC_METHOD_STANDARD) {
						totalWork += (Zip4jUtil.getFileLengh((File)fileList.get(i)) * 2);
					} else {
						totalWork += Zip4jUtil.getFileLengh((File)fileList.get(i));
					}

					if (zipModel.getCentralDirectory() != null &&
							zipModel.getCentralDirectory().getFileHeaders() != null &&
							zipModel.getCentralDirectory().getFileHeaders().size() > 0) {
						String relativeFileName = Zip4jUtil.getRelativeFileName(
								((File)fileList.get(i)).getAbsolutePath(), parameters.getRootFolderInZip(), parameters.getDefaultFolderPath());
						FileHeader fileHeader = Zip4jUtil.getFileHeader(zipModel, relativeFileName);
						if (fileHeader != null) {
							totalWork += (Zip4jUtil.getFileLengh(new File(zipModel.getZipFile())) - fileHeader.getCompressedSize());
						}
					}
				}
			}
		}

		return totalWork;
	}
}

redpajama_set_name: RedPajamaGithub


Welcome to the Dreamwidth community for the j-pop group Hey! Say! JUMP!
Please read the rules before joining, and make sure you acquaint yourself with the tags guidelines if you choose to post! The request masterpost can be found here! If you have any questions, please don't hesitate to contact the moderators, grayscale and yomimashou by PM!
Hey! Say! JUMP debuted on November 14, 2007 as a ten-member all-male j-pop idol group under Johnny's and Associates. The "Hey! Say!" in the group's name refers to the current Heisei period, in which all the members were born, and JUMP is an acronym for "Johnny's Ultra Music Power." The group is divided into two subgroups: Hey! Say! BEST, comprised of the five older members, and Hey! Say! 7, comprised of the younger members. The group has since released nine singles and two albums.
Because Morimoto Ryutarou has been removed from the Johnny's website for Hey! Say! JUMP, he has not been listed in the profile and is tagged as a "former member." If anything changes, the appropriate changes will be made in this community, as well.


Most people would decide to drive a brand-new auto all of the time, if given the choice. It's just about impossible to maintain a car in immaculate condition all of the time with paint damage being caused the components by corrosion and washing techniques that are incorrect, together with the damage brought on by injuries – bumper scuffs, scratches, dents, dings and scrapes.
Nonetheless, there's now a brand new way of repairing these old difficulties. SMART repairs came over to Britain soon after and were introduced in the USA. This really is possible because of the specialist and the specialist tools techniques that permit only the damaged to be repaired by a SMART repair technician are and not over painting undamaged parts of the automobile, squander materials and time.
Lots of people choose a mobile INTELLIGENT repairer to fix slight cosmetic damage for their car as they are intending to sell it and realise that the resale value is raised by removing signs of wear and tear and damage, others pick the BRIGHT repair route because they want the look and feel of a fresh car despite the fact that the automobile is several yrs old. Yet more motorists select this process when they will have a lease return inspection on a hire car and realise the enormous invoice they will be facing if they don't find an economical means of returning the auto to an as new condition. Whatever the rationale, bright repair is the obvious choice for anyone attempting to restore the former glory of their vehicle minus the usual enormous auto body shop prices.
It's a fact that in the majority of situations involving minor cosmetic auto body damage like auto dent removal bumper scuffs and alloy wheel refurbishment, mobile smart repair is the easiest solution to save time plus money.


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Thriller Live in Singapore Marina Bay Sands
Malaysia Asia Monday, May 02, 2011 Marina Bay Sands , Singapore 0 Comments
Thriller Live in Singapore Marina Bay Sands is currently the talk of the world ever since the passing of Michael Jackson.
This stage musical which is scheduled from the 3rd to 15th May 2011 is created to highlight all of his work from the childhood days, the Jackson 5 and till his solo mission as the King of Pop.
This spectacular, high-octane show promises fans a unique experience with amazing performers taking you to the era of amazing music. It also marks the first Jackson's dedicated live theatrical experience ever!
Thriller Live in Singapore
The musical was first established in 2006 and arrived in London's West End after three acclaimed UK tours.
Six months before Michael Jackson's untimely death in June of 2009, Thriller Live opened at the Lyric Theatre in the West End of London.
The show has also traveled to many countries around the world making its debut in Singapore.
Smooth Criminal from the show - Picture courtesy of ambassador tickets
Moonwalking its way around the world right into Marina Bay Sands Singapore, Thriller Live brings to life the sensational dancing and distinctive sound of the Jacksons' greatest hits which have been choreographed by award-winning director and choreographer Gary Lloyd.
Michael's greatest hits also from an international cast of 15 and a 6-piece live band that is sure to impress audiences.
The show features over two hours of hit songs including I Want You Back, ABC, Can You Feel It, Off the Wall, The Way You Make Me Feel, Smooth Criminal, Beat It, Billie Jean, Dirty Diana, They Don't Care About Us, Thriller and many more from Michael Jackson.
If you have been a fan of the King of Pop, this is one show that you should not miss.
Smooth Criminal at Thriller Live
Free Self-Parking at Marina Bay Sands Singapore
Purchase 2 tickets in any category for shows on Monday through Thursday at the Sands & Grand Theaters and present your tickets at the Theater Box Office or B2 Concierge (near the canal) at The Shoppes at Marina Bay Sands when you arrive for the show to redeem your free self-parking.
Dates for the show;
03 May 2011 to 15 May 2011
Grand Theater Marina Bay Sands
Tue-Fri: 7.30 pm
Sat-Sun: 1.30 pm & 7.30 pm
Approx 2 hr 20 minutes
Ticket Prices for Thriller Live in Singapore;
VIP Box - S$680 (For 4 seats)
VIP Seats - S$170
A Reserve - S$130
B Reserve - S$110
C Reserve - S$90
Thriller Live Ticket Promotions;
S$400 for Family Package [2 Adults & 2 Children (3 - 18 yrs old)
Applicable to Matinee shows only
Applicable to A Reserve only
A limited number of Family Packages available
S$70 for Students
Full-Time students with valid student pass.
Please note that random checks on concession tickets will be conducted at the point of entry.
Patrons unable to present proof of eligibility are required to upgrade their concession tickets to full price tickets.
Applicable to C Reserve only
Applicable for all performances
Limited tickets available
Children 2 years and under may be admitted free of charge, provided they do not occupy a seat (they must be seated on the lap of a parent or guardian).
All patrons age 2 years and above must purchase ticket for admission.
No Photography, Video recording, and Audio recording is allowed for this event.
Where to buy tickets for Thriller Live in Singapore
Hotel Lobby, Tower 1 L1
Retail Concierge, The Shoppes L1
SkyPark ticketing counter, Tower 3 B1
Theater, The Shoppes B1
ArtScience Museum L1
For corporate bookings and box seats;
Please contact Robin at +65 6688 1044
sales@baseentertainmentasia.com
Of all the famous musicals shows around the world, most of them are making their way to Southeast Asia namely Malaysia and Singapore. Some of them have a lengthy performance while some of them are limited time.
For the musical fans, here is your chance to catch one of the best musicals this decade based on one of the most famous people the world has known - Michael Jackson. For a limited time only, catch the Thriller Live in Singapore Marina Bay Sands.
What to do in Singapore
By Malaysia Asia a la/s Monday, May 02, 2011
Labels: Marina Bay Sands, Singapore, What to do in Singapore


Augmented Analytics and Artificial Intelligence in the spotlight at Gartner Data & Analytics Summit.
.CONTENT BODY Augmented analytics, continuous intelligence and explainable AI are the top trends in data and analytics technology that have significant disruptive potential over the next three to five years, says Gartner.
Speaking at the Gartner Data & Analytics Summit in Sydney today, Rita Sallam, research vice president at Gartner, said data and analytics leaders must examine the potential business impact of these trends and adjust business models and operations accordingly, or risk losing competitive advantage to those who do.
"The story of data and analytics keeps evolving, from supporting internal decision making to continuous intelligence, information products and appointing chief data officers," she said.
"It's critical to gain a deeper understanding of the technology trends fueling that evolving story and prioritize them based on business value," she added.
Gartner recommends that data and analytics leaders talk with senior business leaders about their critical business priorities and explore how the following top trends can enable them.
Augmented analytics is the next wave of disruption in the data and analytics market. It uses machine learning (ML) and AI techniques to transform how analytics content is developed, consumed and shared. By 2020, augmented analytics will be a dominant driver of new purchases of analytics and BI, as well as data science and machine learning platforms, and of embedded analytics.
Augmented data management converts metadata from being used for audit, lineage and reporting only, to powering dynamic systems. Metadata is changing from passive to active and is becoming the primary driver for all AI/ML.
Continuous intelligence is a design pattern in which real-time analytics are integrated within a business operation, processing current and historical data to prescribe actions in response to events. By 2022, more than half of major new business systems will incorporate continuous intelligence that uses real-time context data to improve decisions.
The core value proposition of blockchain, and distributed ledger technologies, is providing decentralized trust across a network of untrusted participants. The potential ramifications for analytics use cases are significant, especially those leveraging participant relationships and interactions.
Trend No. 10: Persistent Memory ServersNew persistent-memory technologies will help reduce costs and complexity of adopting in-memory computing (IMC)-enabled architectures. Persistent memory represents a new memory tier between DRAM and NAND flash memory that can provide cost-effective mass memory for high-performance workloads. It has the potential to improve application performance, availability, boot times, clustering methods and security practices, while keeping costs under control. It will also help organizations reduce the complexity of their application and data architectures by decreasing the need for data duplication.


NEW YORK (GenomeWeb) – Sysmex, a Japanese in vitro diagnostics company, has signed a deal to acquire all the shares of Oxford Gene Technology, OGT said today.
Upon completion of the deal, OGT will become a wholly owned subsidiary of Sysmex. Further terms were not disclosed, though OGT CFO Tim Hall said that the deal is likely to close by mid-June.


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