Home » Blog » What is a Backsplash?
A backsplash is a section of material added onto the wall behind a sink or a counter, usually in a kitchen. Tiles are one of the most common types of backsplash materials. The main purpose of kitchen backsplashes is to provide an easy-to-clean surface so that messes or splashes such as spattering cooking oil won't mark painted walls or wall paper. Backsplashes can also add great style and color to a kitchen.
There is no set area that a backsplash should occupy other than being large enough to contain cooking splatters. Backsplashes range from those just big enough to extend a little past the stove or sink to a sort of running backsplashes that continues around the kitchen. An extended type of backsplash may add a look of cohesiveness to a small kitchen. For a large kitchen, a single backsplash can make a dramatic focal point. Having a focal point such as an interesting pattern or mix of colors can draw the eye to a certain kitchen feature such as a glass sink or stainless steel stove.
Backsplashes should coordinate with the style of the kitchen they're in. For example, a shiny ceramic tile backsplash is perfect for a modern kitchen, but is likely to look out of place in kitchens decorated in a more rustic, old fashioned style. Hand-painted and unglazed tiles may add quaint charm to a backsplash while materials such as stainless steel and stone tend to create a totally different mood.
Tiles that are formed to make a pattern can work in most kitchens if the design, color and textures work with the kitchen's style. A popular look for a backsplash is a border of tiles with other tiles placed in a pattern inside the border. The tiles used may be all solid colored or some could be patterned such as Talavera or other hand-painted tiles. Mirrors can be used as a backsplash, but they tend to show spatters easily and may reflect unflattering images such as odd angles of cupboard doors.
Backsplashes of any material usually look best if they contrast with the kitchen cabinet colors. For example, a white tile backsplash can look striking in a kitchen with black or dark wood cabinets. If the kitchen cabinets are white or a light wood, a stainless steel backsplash may add an interesting look. Although kitchen backsplashes are often associated with the stove area, they can also look great behind the sink area. For example, a glass block backsplash is sometimes used as an alternative to a kitchen window when the view is not that desirable.


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Whether you'd like to admit it or not, you would've had many moments when you'd ask yourself – "Does he like me?" Maybe you like him too, or you can't really figure out your own feelings, but you're not sure if he feels the same.
To be honest, it's not that difficult of a job to find out if a guy is into you. His behavior, his words, and his actions must be enough for you to make an educated guess about his intentions. Speaking on the behalf of the male gender, you can find out if he thinks of you as more than just a friend.
Let's have a look at a few of the most obvious sign that he likes you.
Well, this is the first and most important sign that he likes you. If he asks you too many questions like what you ate, what you're doing right now, or what you did at 2 a.m. on a particular day, he wants to keep the conversation going.
Also, if he keeps on asking questions while his female friends are around, it probably means that he likes you. So, if you have been experiencing something similar there's no need to feel confused.
Guys are usually not the best at remembering things, but if a guy remembers exactly what you told him a month ago, then girl, he's into you. Nobody's interested in knowing how your cousin got mugged a month ago or what your aunt said to your mom on your last birthday.
So, consider yourself lucky if he remembers the little things because no one does that unless they are close or interested in you.
This might be difficult for you to notice. Of course, a guy tends to gets jealous when you are busy talking with other friends while he's around. He will obviously act as if nothing's wrong but as soon as you turn around he'll start asking himself questions like "what's he doing here?" , "Why was she ignoring me?" etc. He'll do all that because he wants your attention, if you observe something like that in the presence of your friends, know that he probably likes you.
Sometimes knowing a guy's intentions can be difficult. For instance, many guys ignore the girl they like. There are two reasons behind this. Either the guy is very shy or he just wants to know if you care about him before expressing his feelings.
So how to be sure it is either of the cases? Well, if he is ignoring you for no reason at all and when you go talk to him everything seems perfectly fine, it could be one of the above-mentioned reasons. However, there's also a possibility of him not liking you at all if he ignores you. It might also be because he has a girlfriend or doesn't like something about you.
This could be the clearest hint that he wants you, but only if he doesn't go around asking every different girl for her number. No guy would ask for your number if doesn't want to talk to you. And it has a lot to do with the situation as well.
For example, if he asks for your number because that's the only way for him to contact you when he needs to inform you about something regarding school/college/work, then he's not into you. But if he asks for your number saying he wants some help with work/ making notes, then he's surely trying to establish a good relationship before taking things forward.
If he tries to act all smart and behaves like a 'Mr. Know it all' when you are around, chances are that he's trying to impress you. You might see him acting all cool and funny so that he gets to spend time with you.
Always remember that no one would do that unless they like you. So, if you notice that he acts differently whenever you enter the scene, there's a big chance that he likes you.
Note this down and take a test to see if he really likes you. Get a haircut, dress differently, change your glasses (if you wear them) or change your hairstyle and see if he notices. If he doesn't notice any of these changes, you've got your answer.
However, if he starts talking about how good this new change is instead, then he's the one.
Well, if you see his text pop-up as soon as you reach home, it means that he's interested in talking to you. And if these conversations keep going on for hours and hours, then you should get a hint that he likes you.
So, if he texts you everywhere, leaves comments on your pictures, and keeps on talking for endless hours, it means he never gets bored of talking to you. And that only means he likes to be with you and talk to you.
There may be certain times when you couldn't dress appropriately or are not satisfied with the way you're dressed. If he still compliments you and talks about how beautiful you look, how great a dress looks on you, and that your hair looks nice, etc. this makes it pretty clear that he likes you no matter what you wear or how you end up looking.
Usually, guys aren't too concerned about how they look while going to school or work. However, things might be a lot different if they are trying to impress someone. If he's dressing up well, wears different clothes every day, smells good, talks in a better way, etc. just know that it's because of you.
Guys often keep things a little cool when they are trying to leave a good impression, so if that has started happening since you both have started talking, keep in mind that he's making an effort to impress you and make you like him.
It's not like you can control a guy's feelings and change them around as you wish; you can barely control your own. But when you're sure about the guy you like and he is doing all the above-mentioned things to tell you that he's interested in you, it's time to stop being shy.
You should take your friendship to the next level, as long as both of you are alright with it. Some guys are shy and some are confident enough to ask you out after only a week of chatting. Just make sure he's giving all those signs because if he isn't, you are just another girl for him.


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My 11 year old daughter loves this shop but I try an avoid it because I find everything is ridiculously overpriced! Considering it's aimed at a young girls market i think it's too pricey.
Have been wanting my ears pierced again for a while. Where to go? A colleague mentioned Claire's and I thought I can't go there, it's full of young girls! Well I went, and I was behind a young girl who was also wanting her ears pierced. The staff were very good with her.
When it was my turn, the assistant took her time and didn't rush me. Everything was clean and sterilised. I was concerned that she wouldn't get the piercings even on both sides. It didn't hurt at all and they are even.
Very happy with the service and overall experience.
They have some cute stuff like bags and hair accessories but the shop is a tad pricey but they usually have sales on.
Used to love Claire's, especially the hairbands I collected loads of them.
I used like claire's a lot, it's a nice place to get pretty earrings,jewellery and accessories for good prices!! I also got my ears pierced there years ago and they were so professional and not pricey at all - i really really loved the earrings on show and i love so many of the products. You can get hair bands, phone cases, jewellery, make up, and so many other things! Great for younger kids.
I am absolutely in love with Claire's. The doughnut necklace from Claire's has added some sweet to my jewellery collection. I have got some cute lip glosses and lip colours from Claire's that I love wearing during the daytime and it stays for about 4-5 hours on my lips.
The Claire's website layout makes it easy to find what you want, and you can use the filters to find things by age group, price range and colour etc which is helpful.
They sell all kinds of cute things from hats, bags, purses, skin care, nail polish, jewellery, toys, dressing up costumes, hair accessories, popsockets, makeup, school supplies and much much more. They often have great deals such as buy one get one free, and you'll always be able to find some awesome deals in the sales, for example I recently got a set of two phone cases for just £4.
As well as the website Claire's have an app which you can also shop on, and if you use your computer to shop online you can sign up to their feed to get alerts when new ranges and sales are on. I have the feed on because I like looking at their stuff.
I use Claire's a lot to buy gifts for friends, and for myself I use it to buy things like facemasks, hair accessories, Pusheen products, Pucker Pops and their cute school stationery.
Delivery is £3.50 and free if you spend over a certain amount, I think it's currently if you spend over £40, but you can get free click and collect delivery which is what I use, it only takes around 3 days to get your items. Next day delivery is £5.50 which I've only used once when I bought a gift for someone but the items did arrive the very next day.
New Claire's customers can get 20% off their shopping by signing up to their emails. I'm signed up and they don't send out too many emails at all.
As well as shopping on the website you can also check out links to the Claire's style book blog, it has updates on what's new and also the things that Claire's get up to behind these scenes, it's actually quite interesting.
I definitely recommend Claire's for buying gifts, thes pictire show some of my favourite pieces which I've had from Claire's and the Christmas stuff is just super cute.


text:
Screening the Past > Introduction: A New Source of History
Introduction: A New Source of History
Bill Routt
This piece has an interesting cultural history. It was originally published in Le Figaro on 25 March 1898 and reprinted later that year as a twelve-page pamphlet, Une nouvelle source de l'histoire: création d'un dépôt de cinématographie historique . Then it appears to have been forgotten for sixty-five years – or, at least, I cannot find it mentioned in the books I have at hand. Perhaps it is not surprising that Terry Ramsay [1] and Paul Rotha [2] were ignorant of the piece, or that it escaped the Anglophonic compilers of the Film index. [3] But Maurice Bardèche and Robert Brasillach do not mention it in their two-volume Histoire du cinéma, [4] nor does Georges Sadoul in volume 2 of the Histoire générale du cinéma [5] where it might have been discussed. It is not even cited in the third edition, published in 1973, with the collaboration of Bernard Eisenschitz.
However, in 1963 Jacques Deslandes devoted some attention to the "Nouvelle source" in Le Boulevard du cinéma, [6] even beginning his chapter on "Les actualités reconstituées" with an epigraph drawn from [Boleslas] Matuszewski. He notes that claims for the "incontestable and absolute truth" of filmed images, like those made by Matuszewski, suggest that the first spectators' comprehension of what they saw on the screen was "apparently so easy and so immediate" that "it seems that the first animated images were perceived with the particular vision of children or schizophrenics". (p. 61) At the same time, Deslandes is about to make a case for Méliès's reconstructed docu-dramas, and so he draws a kind of phenomenological accuracy out of what Matuszewski says: film may not quite be a "truthful and infallible eye-witness", but for the ordinary man of the cinema and for the historian, "the cinema is indeed the most perfect means that can be given to anyone to re-live an event as-if-you-were-there and at-the-moment-when-it-happened". (p. 61)
The translation by Julia Bloch Frey reprinted here, dates from 1974. [7] It appeared in an issue of the UNESCO journal, Cultures, entitled "Flashback: films and history", built around the theme of the representation of history in film. The "Nouvelle source" was offered as an example of a very early attempt to "analyse the mutual relationships of these two forms of communication" by the issue's editor, G. S. Métraux. [8] This is the way in which one lecturer at La Trobe University has used the document in teaching for more than twenty years. Métraux also provided some biographical information on Matuszewski, supplied by Professor Zbigniev Czeczot-Gawrak of the Art Institute of the Polish Academcy of Sciences:
Matuszewski was born in Warsaw where, with his brother Zygmund, he set up a photographic laboratory. It seems that in 1896 he had worked for a time with the Lumière brothers in Paris. In 1898 he created in Poland the "Lux-Sigismund" firm which produced several reels on life in Poland and on Polish folklore. One of his successors was Jan Skarbek Matuszewski, whose newsreels on World War 1 and on the origins of the Second Polish Republic are one of the main sources of visual information on these troubled years. (p. 217)
In the "Nouvelle source", Matuszewski was arguing for a museum of historical filmed images – and for a job for himself. To do this, he had first to argue for the supreme significance of film as "a new historical source" – that is, for its infallibility and its truth. Deslandes points out that the "Nouvelle source" is a document of cultural politics "through which [Matuszewski] was trying to interest the civil authorities (who, of course, did not react), the powerful figures of the day, in his idea". (p. 60) But Deslandes assigns little weight to the circumstance which has attracted most positive attention recently: that in 1898 Boleslas Matuszewski had a plan for a national film archive.
This is how Richard Abel deals with the piece in 1988 in a paragraph tracing the idea of a cinema museum up to 1913, [9] and how Paolo Cherchi Usai, Malgorzata Hendrykowska and Bernard Chardère refer to Matuszewski's work more recently. [10] But in English, at least, Penelope Houston has made the strongest case for the significance of the piece. In Keepers of the frame , she calls the "Nouvelle source" "a paper which must rank as one of the most unexpected and remarkable in film history: a considered, reasoned proposal for the creation of a film archive". [11] She approvingly cites Matuszewski's proposals for selection by committee, preservation of negatives and the need to curtail viewing of some materials. She adds some specific detail to Matuszewki's anecdote about a film of his having cleared up a diplomatic contretemps and fills in a little of his biography: that later in 1898 he showed a film of an operation to members of the medical profession in Warsaw, that he was in Paris in 1901, and that "two Polish researchers" were "inquiring into his life" in 1992. (p. 12) [12]
Houston offers a more sympathetic summary of Matuszewski's argument for the historical value of film than Deslandes had been able to muster thirty-one years before. She emphatically agrees with the "Nouvelle source" about "the value and potential of film as historical evidence, as a primary source in its own right" (p. 10). Like Deslandes, she quotes one of Matuszewski's lines about the cinema: "It has a quality of authenticity, exactitude and precision which is unique to it". (p. 10) [13] But where Deslandes used lines like this as indirect confirmation of film's propensity for recreating immediate experience, Houston seems to be making a case for the importance of film as proof in the way that visual evidence is often used in trials. Matuszewski himself made a distinction between "a proof of history" [document historique] and "a fragment of history itself" [parcelle de l'histoire] that appears to correspond roughly to the distinction I have drawn between Houston's use of the "Nouvelle source" and Deslandes's.
And what Houston says of Matuszewski is surely not foreign to his concerns. His idea of the cinema is that it is a record of what has happened in front of the camera, just as his idea of history is what might be recorded by an all-observing angel. But Matuszewski's perceptions are so acute that in 1896 he can suspect, even rue, the non-fiction cinema's dependence upon staged spectacle: "planned ceremonies", parades, demonstrations and the like. In 1896 he tells us what we will witness in newsreel and television news coverage for a hundred years and more. What film can offer in its record of these events is mere accuracy, and Matuszewski is acutely aware of this. In contradistinction to such camera opportunities he places "the beginnings of action, initial movements, unexpected events which elude the camera exactly as they escape the news agencies" that it would be a good thing for the cinema to record, if it could.
At the same time, like the ordinary person of the cinema today, Matuszewski is electrified, vivified, precisely by the mere experience:
Thus this cinematographic print [épreuve] in which a scene is made up of a thousand images, and which, unreeled between a focussed light source and a white sheet, makes the dead and the absent stand up and walk, this simple band of printed celluloid constitutes not only a proof of history, but a fragment of history itself, and a history which has not grown faint, which does not need a genius to resuscitate it. It is there, barely asleep, and like those elementary organisms which after years of dormancy are revitalized by a bit of warmth and humidity, in order to reawaken and relive the hours of the past, it only needs a little light projected through a lens into the heart of darkness!
His case, argued in these terms, is intuitively compelling. And ultimately, the outcome of that argument is not really a question of choosing between the proof and the fragment. What is being celebrated in this passage, and throughout Matuszewski's piece is specificity: the specificity of filmed images and the specificity of history. Indeed, the historical specificity of any filmed image is inescapable, and this is what finally grounds the potential productivity of filmed images for the study of history, a "human science" which must derive from and feed into specific events, circumstances, conditions. In this context, Matuszewki's "poetic" diction is not a rhetorical strategy to compel submission to argument, but an integral part of the argument. For art ultimately validates itself in its specific incarnations, in individual works, rather than in general rules, just as the filmed image and the kind of history Matuszewski assumes are validated by their specificity. The style of his writing, then, performs his fundamental position.
The specificity of the filmed image is what is at issue in those legal proceedings where audio-visual materials are used as evidence. It is a prominent feature of some televised sports coverage as well. However, the use of film as "proof" in this sense is not a strong argument for historical film archives, although Houston suggests (p. 12) that it does seem to have played a role in the creation of such an archive – perhaps the first film archive in the world – at the British Imperial War Museum around 1917. After all, it is the specificity of the filmed image that makes the vision machine valuable in waging war and spying. "Imagine," Matuszewki exults, "a military or naval manoeuvre whose phases have been collected on film by a cinematographer: any debate can be rapidly brought to a close" – and it is specificity in this sense which links Houston's reading of Matuszewski with Paul Virilio's argument for the inter-relation of the technologies of war and of cinema. [14]
Such arguments as Virilio's and Houston's presume that at least some people believe that the cinema is a machine for seeing better, like a microscope or a telescope. The history which would benefit from such a machine would be a scientific history, reasoning from specific instances to general rules: a history the aim of which would be to know for certain what really happened. Now, although there is a great deal in the "Nouvelle source" that feeds this sort of supposition, the passage that I have cited gestures towards another, slightly different, idea of the cinema: the idea of seeing anew. Other parts of the piece also hint at this theme: Matuszewski's advocacy of the filmed "slice of life as the cross-section of a nation and a people", his evocation of a class of school children looking at film which shows "the calm or troubled faces of a deliberating assembly", "the imperceptible progress of things in motion . . . seized by the lens", the effect of "the manifestations of a great nation" upon "simple souls", and the hermetic allusion to "completely unexpected and compelling events" which Matuszewski has recently photographed in Paris. The history that would benefit from these images might well be a history that is constantly renewed, reframed – the aim of which would be to recognise uncertainly that one cannot ever know what really happened, although one may at times see it plainly enough.
If one part of Matuszewki's plan for an archive was realised by the First World War in the secret sources of military intelligence, another may have come to fruition in Les Archives de la Planète, Albert Kahn's project for documenting the world, which was actively pursued under the direction of Jean Brunhes between 1909 and 1931. According to Sam Rohdie, who is currently involved in working with the photographic and cinematic material collected under this heading, the Archives seem to have preferred cinematic footage for recording "history" and still photographs for documenting "geography". [15] I do not know of any connection between Matuszewski and this project, but it would not be surprising if one were to be discovered.
The "Nouvelle source" was not the only thing on the cinema that Matuszewski had published in Paris during 1898. Again, it seems we may owe the rediscovery of La photographie animée, ce qu'elle est et ce qu'elle doit être[Animated photography as it is and as it should be] to Jacques Deslandes. At any rate, in 1968 Deslandes and Richard quoted a long passage from it in the second volume of their Histoire comparée du cinéma, [16] part of which was also quoted in 1985 by Steve Neale: [17]
The cinematograph is not, essentially, a thing of pleasure, a toy for big children. Being the absolutely faithful reproduction of the movements of the whole of nature, it realises the most astonishing conquest that humanity has yet made of forgetfulness; it preserves and reconstitutes what could not be revived by simple memory or by its auxiliaries, the written page, drawing, photography. And this new addition to the Treasury of Common Memories, this resurrection of what once appeared to be the most fugitive from the past that escapes us, can and ought to serve humanity as writing, printing, engraving and shorthand do.
Like them, the cinema prevents those things from yesterday that are essential to the progress to tomorrow from vanishing in forgetfulness. Among those things, things in movement, the elusive image of which one would not have dreamed a few years ago could have been made fast, are assuredly not the least precious to keep.
The new invention not only reproduces them, but, what is scientifically more important, it permits the acceleration of movement that is too slow to be observed, slowing it down if it is too fast, stopping one of its phases if one wants to see only a part. It suffices to turn the handle of the projector more or less rapidly or to stop it altogether to make the bud of a flower blossom in two minutes, to slow down or suspend a horse's galop, the surgeon's lancet, the violinist's fingers and bow.
Chronophotographic projection . . . is an easy and subtle attention that supplements human attention.
Matuszewski, like Virilio much later, insists upon confounding the new vision offered by the cinema with the better vision demanded by science. As Deslandes and Richard stress, this misses the point so clearly grasped by the "simple souls" and school children Matuszewski uses as tropes for the audience: that the cinema is a spectacle, a transformation. Yet in tying what the cinema sees to the work of memory, La photographie animée and such projects as Les Archives de la Planète also appear to be moving towards establishing a link between the filmed image and that theory of images exposited by Henri Bergson in Matière et mémoire, [18] , and expropriated for the cinema more recently by Gilles Deleuze in Cinema 1 and Cinema 2 . [19] In the last paragraph of what I have quoted Matuszewki writes that the projected image manifests itself as " une attention " – an attention, as though there were many different attentions. This has the effect of positioning "attention" as a concept, and it immediately made me think of Bergson, who devotes about forty pages to attention in sections of Matter and memory dealing with "recollections and movements" and the "realisation of memories". These sections introduce the concept of the "virtual image", which Deleuze makes the cornerstone of his discussion of the "crystal image" in Cinema 2 (58-70). If this is not a line, it is at least a rhizome.
Established under the sign of Bergson, Matuszewski's Depository of Historical Cinematography would operate as a subsection of the Treasury of Common Memories, other subsections of which would include the Fiction Film Archive, the Gallery of Art, and the Library of Babel. LikeLes Archives de la Planète and more sinister plans for global surveillance, Matuszewki's is finally a powerfully impossible scheme, whose most passionate latter-day advocate is surely Valerio Camillo, the fictional creator of a Theater of Memory in Carlos Fuentes's Terra nostra :
"You do not understand me, monsignore. The images of my theater bring together all the possibilities of the past, but they also represent all the opportunities of the future, for knowing what was not, we shall know what demands to be: what has not been, you have seen, is a latent event awaiting its moment to be, its second chance, the opportunity to live another life. History repeats itself only because we are unaware of the alternate possibility for each historic event: what that event could have been but was not. Knowing, we can insure that history does not repeat itself; that the alternate possibility is the one that occurs for the first time. The universe would achieve true equilibrium. This will be the culmination of my investigations…" [20]
[1] Terry Ramsay, A million and one nights: a history of the motion picture (New York: Simon and Schuster, 1926).
[2] Paul Rotha, The film till now: a survey of world cinema (London: Jonathan Cape, 1930).
[3] The film index: a bibliography, 3 vols (New York: Museum of Modern Art Film Library and the H.W. Wilson Co, 1941).
[4] Maurice Bardèche and Robert Brasillach, Histoire du cinéma, 2 vols (Paris: 1935).
[5] Georges Sadoul, Histoire générale du cinéma: Les pionniers du cinéma (1897-1909) (Paris: Éditions Denôel, 1947).
[6] Jacques Deslandes, Le boulevard du cinéma á l'époque de Georges Méliès (Les Éditions du Cerf: Paris, 1963). Further references to this source appear as page numbers in brackets. The translations from sources cited in French are by William D. Routt, except for the translation of the "Nouvelle source".
[7] Boleslas Matuszewski, "A new source of history: the creation of a depository for historical cinematography", Cultures 2 , no. 1 (1974): pp. 219-222.
[8] G. S. Métraux, "Introduction", Cultures 2 , no. 1 (1974): p. 217. Further references to this source appear as page numbers in brackets.
[9] Richard Abel, French film theory and criticism: a history/anthology 1907-1939 , vol. 1, 1907-1929 (Princeton: Princeton University Press, 1988), p. 11.
[10] Paolo Cherchi Usai, "Origins and survival," in The Oxford history of world cinema , ed. Geoffrey Nowell-Smith (Oxford: Oxford University Press, 1996), p. 12; Malgorzata Hendrykowska, "East Central Europe before the second world war," in The Oxford history of world cinema , ed. Geoffrey Nowell-Smith (Oxford: Oxford University Press, 1996), p. 383; Bernard Chardère, Le roman des Lumière: le cinéma sur le vif (Éditions Gallimard, 1995) , p. 423.
[11] Penelope Houston, Keepers of the frame: the film archives (London: British Film Institute, 1994), p. 10. Further references to this source appear as page numbers in brackets.
[12] It goes without saying that Screening the past is interested in anything more that research has turned up on Matuszewski.
[13] Houston is working from what appears to be her own translation of the piece. The phrase about the "quality of authenticity" is attributed in Houston's translation to "the camera" (10). The same phrase is translated by Frey as "It can be said that intrinsic to animated photography has [sic] an authenticity, exactitude and precision which belong to it alone". The French, as quoted by Deslandes (60), is " On peut dire que la photographie animée à [sic] un caractère d'authenticité, d'exactitude, de précision, qui n'appartient qu'à elle ". Houston's omission of any English equivalent for " on peut dire ", doubtless strengthens her position, just as the inclusion of the phrase strengthens Deslandes's. "Animated photography" is an important concept in Matuszewski's thinking, as should become apparent a little later in this Note.
[15]Paul Virilio, War and cinema (London: Verso, 1989).
[16] Sam Rohdie to the author, 2 December 1996.
[17] Boleslas Matuszewski, La photographie animée, ce qu'elle est, ce qu'elle doit être , pp. 10-12, quoted in Jacques Deslandes and Jacques Richard, Histoire comparée du cinéma , vol. 2, Du cinématographe au cinéma, 1896-1906 (Paris: Casterman, 1968), p. 13. This passage has been translated here by William D.Routt, with the help of Danielle Pottier-Lacroix.
[18] Steve Neale, Cinema and technology: image, sound, colour (London: Macmillan Educational, 1985), 54. The quotation of part of this passage in Neale's book (in a different translation from that offered here) is referenced to Deslandes and Richard (p. 13), and Neale is, in turn, quoted in the context of discussing Matuszewksi by Richard Abel (see note 9), who does not refer to La photographie animée .
[19] Henri Bergson, Matière et mémoire (Paris: 1896).
[20] Gilles Deleuze, Cinema 1 (Paris: Les Éditions de Minuit, 1983) and Cinema 2 (Les Éditions de Minuit: Paris, 1985). A further reference to CInema 2 appears as page numbers in brackets.
[21] Carlos Fuentes, Terra nostra (Harmondsworth: Penguin Books, 1978), p. 646.
After more than 35 years teaching film, media and cultural studies, William D. Routt retired from academia in 1998. Since then he has published work on Australian film (including The Picture That Will Live Forever with Ina Bertrand), early cinema (including "Innuendo 1.5" in LOLA) and anime (including "De Anime" in The Illusion of Life 2).View all posts by Bill Routt →

redpajama_set_name: RedPajamaCommonCrawl


Great looking faucet. It is well made and makes the kitchen look more modern. The faucet was extremely easy to install and the instructions were easy to understand. I would definitely recommend this faucet if you are interested in this style.
Bring the technology, convenience, and durability of an industrial restaurant-quality faucet into your home with this Bolden dual function kitchen faucet. The Bolden has a host of convenient features to make your clean up and meal prep less time and labor intensive. The 20-inch hose is retractable, making it perfect for even a deep sink, and you have two different spraying options; a high-powered stream for cleaning messy dishes, and a water-efficient aerated stream for washing hands and lighter tasks.
Faulty faucet. Plumber says he sees it often in theses cheap made in china faucets. Looks nice though!
I love this faucet! Looks great and is very easy to use both as a stationary faucet and as a flexible sprayhead which extends beyond the sink.
Love this faucet! Matte black just as stated and that is exactly what I was looking for. You can't find faucets like this at the local home improvement store for this price. It came quickly and was easy to install. We have had other Kraus faucets and they have always worked well for us!
I love the look of it, it's flexibility and utility. The extending hose is helpful, and the switch to change spray types is easily accessible and very useful.
The quintessential faucet for the modern farmhouse. Not too tall but not too small either. The stainless steel finish is slick and matches perfectly with my other appliances. Buy it and you will be forever loving doing the dishes!
Oh I LOVE LOVE LOVE my new faucet.... A kitchen faucet is so important and this one looks as good as it functions!
I love this faucet - its very sleek, modern, and high-end looking. The finish is beautiful (we got the matte black color) and the install was easy and straight forward.
"Do any of the Kraus Pull Down Kitchen Faucets come with a base plate to cover up a sink/counter with 3 holes?"
Hello, Thank you for your inquiry. We have various kitchen faucets that are supplied with a deck plate. When searching you can confirm by checking the model spec sheet to see what is including. If not included we would recommend you purchase DP01 which is available in matte black, chrome, and stainless steel.
"Will this Faucet work in Uganda with European Plumbing?"
"Is this a Kraus faucet?"
Yes, this is a Kraus faucet, I have it and love it. It has the Kraus name on the front of it, and came in a Kraus box.
"What is the diameter size of the bottom of the faucet?"
The measurement is approximately 2.12 inches.
All of the good reviews for this brand and Overstock was also the best price available.
Reviews were good. Like the combo finish.
"How is the water pressure?"
The Flow Rate (GPM) is 1.80, we have not received any complaints with water pressure. The stream pressure is sufficient to remove food of plates.
"How far can you pull out the sprayer? Can you pull it all the way to the base of the sink?"
Yes, the sprayer reaches the base of the sink. I've never actually tried to pull the sprayer out as far as it will go, but I routinely put a gallon-size drink container on the counter to the left of the sink and pull the sprayer over to the top to fill it with water, and there's never been a problem. I'm really pleased with this faucet overall - the function, the looks, and the quality of it. I would recommend this faucet to anyone that wants a commercial look without the monster size of a real commercial faucet, and if I ever end up moving, I would want this faucet or a similar Krause faucet in a new place.


text:
Q: working azure logging setup I've been trying to setup trace logging for a while and I simply can't get it to work properly.  It doesn't help they are so many wrong/outdated articles on this topic.  But please can someone give me a good and practical setup for trace logging & viewing for Azure (1.6)
All I want to do is the ability to capture and view trace messages from my app.
I started out with standard DiagnosticMonitorTraceListener but that ends up in table storage.  I can't for the life of me figure out how I'm supposed to interact with the Logs in table storage.  In Visual Studio I can 'view' it but it's so extremely cumbersome to use it it's practicaly useless.  No sorting, have to write cumbersome date filters which half of the time don't work.
Custom logs seem the way to go.  I have worked a lot with log4net, so I picked that one.   You can redirect log4net to trace but then you end up with the same crappy table storage.  Custom log file it is.  Now I'm already confused if this is supported or not.  Some articles mention diagnostic file locks causing all sorts of issues.  Not sure if this is still a problem, regardless it's weird, why give custom-log transfer capability when you can't read/write the logs?!  Anyway I haven't had any issues writing to the log (that I have noticed).
Set up is according to the MSDN articles (extra vague and very spread out btw).  Define LocalStorage element in ServiceDefinition (128Mb).  Add directory log transfer in role startup.  Go.  This seems to work.  Until after a while the role craps itself during a restart with a OverallQuota is not big enough message and the role just dies and refuses to come up.   There is sooo much space available even within the 4080Mb, this simply does not make sense.
Again followed articles on increasing the quota, but those seemed to make matters worse.  Set the DiagnosticStore size to 8Gb in ServiceDefinition.  Does not work.  Still craps out, only with the higher number.  Setting the OverallQuota to be equal to 8Gb as well does not help either.   For some reason an install on a clean image works fine, but when there is a restart or an update it decides to calculate the quota's differently.   Regardless of  of the size of the DiagnosticsStore, the 'calculated' value is always OverallQuota + Log4Net LocalStorage.  Nothing I do seems to change that.  Extremely frustrating as it's seems to work, only to die sometime later.
I've also tried diagnostics.wadcfg, but couldn't get Azure to pick them up.  I made sure they were copied to root output folder and removed any changes to the monitor from my code.  Nada, zip... went through all the log files I could find on the instance.  Not a single mention or error anywhere.
Why is this so hard on Azure?  Trace logs are the most basic logging tool for any application.  This is really killing the Azure experience.

A: We're using Log4Net on Azure as well
Minor warning, when running multiple roles per instance, I've only been able to get one role [main role] to actually successfully write logs... [not good!!!]
How to set it up... Easy as.
in Global.asax as per usual configure log4net
protected void Application_Start()
{
    log4net.Config.XmlConfigurator.Configure();
}

in your role entry point... run the configuration as well. F#*^ knows why, but if you don't do it in both places it won't work (well not in my case anyway)
public override void Run()
{
    log4net.Config.XmlConfigurator.Configure();
}

Then in your config files
<log4net>
    <appender name="TraceAppender" type="log4net.Appender.TraceAppender">
        <layout type="log4net.Layout.PatternLayout">
            <conversionPattern value="%date [%thread] %-5level %logger [%property{NDC}] - %message%newline" />
        </layout>
    </appender>
    <root>
        <level value="ALL" />
        <appender-ref ref="TraceAppender" />
    </root>
</log4net>

Make sure you have Azure tracing enabled
<system.diagnostics>
     <trace>
          <listeners>
              <add type="Microsoft.WindowsAzure.Diagnostics.DiagnosticMonitorTraceListener, Microsoft.WindowsAzure.Diagnostics, Version=1.7.0.0, Culture=neutral, PublicKeyToken=31bf3856ad364e35" name="AzureDiagnostics">
                  <filter type="" />
             </add>
          </listeners>
     </trace>

We opted not to use Storage Studio reason being, any data coming out of Azure you pay for... data transactions within Azure is free, hooking into Table storage is easy as pie, so we built a screen to show logs, took 2/3 hours works like a bomb

A: We're using log4net quiet successfully with Azure, however we are dumping data into Azure Table Storage.
It is definitely a more scale-able solution.  I highly recommend that you purchase a license for Cerebrata's (now RedGates) Storage Studio to ease the pain of dealing with Azure Table Storage and their Diagnostics Manager to ease the pain of looking at trace logs.

A: For scenarios where there are large amounts of log data, we have tried directed the data into Blobs - partly using the using EtwTraceListener, as well as send critical pieces of information that we need to act on to Table Storage. We use both the AzureStorageTraceListener as well as created a custom TraceListener that directs the data to our own Azure Table - because the OOB schema did not meet our requirements. Because WADLogsTable can grow quickly  and we need a way to trim it without incurring a huge Storage Txn cost or taking Tracing offline while we finish deleting/recreating the Table, we use our custom table which creates a different table for each month.
Ranjith
http://www/opstera.com

A: I use custom logging to write log data out to Azure table storage for all my sites. However, like you rightly point out, retrieving the data from the tables is the awkward bit. Therefore I also have a local internal-use only website running on our premises which retrieves the data from the Azure tables and stores it in a local database. Although you do pay to transfer data out of the Azure system, the costs are miniscule. Our logging solution for all our websites costs us less than £1 per month.
Having the data moved into a local database means that it is infintely more queryable than keeping it in the Azure system. I maintain a discussion on Azure logging which discusses a lot of the issues above and also provides links out to code examples.

redpajama_set_name: RedPajamaStackExchange


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One main cause of lower back / hip pain is due to the irritation of the sciatic nerve (AKA Sciatica). As this nerve is the main nerve supply to our lower body - it can cause an array of symptoms such as local pain, burning, sharpness and even referring pain all the way down into the toes! Recent statistics show that a staggering 4 out of 10 people will develop sciatica pain in their lifetime, causing debilitating hip and lower back pain.
The sciatic nerve runs out of our lower back and through/beneath our piriformis muscle; a small muscle deep within the buttocks next to the sacrum. It supports the movement of your hips, legs, and feet, therefore, irritation or swelling of this muscle can cause pain, poor movement and loss of balance.
Tight/irritated Piriformis muscles have an array of treatment options including medications like aspirin or anti-inflammatory, physical therapy, and even surgery.
Whilst medications to give symptom relief, they don't necessarily aid in the long term release of the irritation/tension in the muscles. Below are some great videos on stretches that you can have some incredible relief of the symptoms due to the sciatic irritation.
It's important to note that you should warm up before the stretches for a few minutes, and remain within the comfort limits. Warm ups could include things such as walking or even using a heat bag on the area to get some blood flow. For ongoing issues, it is always recommended to consult a health practitioner for ongoing support.
There are various causes of low back pain, hip pain and sciatica, and there are various treatment options available so we always recommend having a professional assess your spine as some underlying issues can cause irreversible damage if not treated correctly.
Place a tennis ball in a sock (helps grip ball better). Stand shoulder width apart and place ball on wall. Shift your weight onto one leg and lean the other piriformis (buttocks muscle) onto the ball. Lean forward and push buttocks into ball whilst rolling up and down it. To get a deeper release of the piriformis - rotate knee out to the side. Do several minutes and then swap sides.
Start by crossing one ankle over top of the other knee and sit up tall and lean forward with your shoulders. Gently lean forward at the waist (make sure you don't bend your back as you don't want to be rounding) - you should feel tension on the outside of your hip.


Growing up, there was a girl that I knew who was so smart, she actually came across as quite strange to other children. I was always considered very smart and bright, but this girl was weirdly intelligent – I'm talking savant like intellect.
Her prowess at math and ability to take in information was off the charts – I remember she read a hockey almanack we had in a local library and she could tell you every Stanley Cup Champion from the 1920's through the mid 80's at the time. She also knew who the leading scorer in the NHL was for every year and how many goals and assists they got that season.
She was also one of those people who could tell you that July 14th, 1957 was a Sunday – you could give her any day and she'd go back and work it what day of the week it fell on in a matter of seconds.
I found her curious whenever I would see her around, but most of the other kids were freaked out by her. Those types of strange intellectual capabilities often result in a lack of social skills and she suffered a bit from that.
There was this one time though that I'll never forget, we had a school fundraising fair and one of the games they had was you'd pay a quarter, they'd put a blindfold on you, they'd lift the lid off a plate, you'd smell what was on it, and if you guessed right, you got a prize.
She played this game, underneath the lid cut up into quarters was an apple.
This young girl said that she could smell "red".
Everyone laughed and thought she was making a joke, but she persisted that she could smell the colour red.
The teacher who was running the game put the blindfold back on her, walked over a few feet away pulled some grass out of the ground, brought it back and made her smell it.
She said she could smell "green".
Some people thought it was funny and she was having them on. A few people thought it was a bit weird and wandered off. I was curious and I think that male teacher also thought there was more going on than a very smart little girl playing silly buggers for the crowd.
It's one of those memories I had that always stuck with me, but today, I was reading an article about a woman who had an extremely high, genius level IQ who had been diagnosed with synesthesia – a neurological development where some senses get intertwined.
Synesthesia has only become relatively accepted in the neurological sciences in the last ten to fifteen years as brain scan technology has improved and neurologists have the ability to see these people's brains light up in the "wrong" spots or in concurrent places when they shouldn't.
Interestingly, some neurologists now say that maybe some of these people with synesthesia have a completely different perspective on common reality than the rest of us because their senses are so out of order.
In the case of the patient in the article I was reading, the neurologist hypothesised that her brain had to be incredibly more efficient laying down neuro pathways and engrams because she was experiencing so many concurrent sensations that to make sense of this woman's brain just ordered the information better and could retrieve it faster.
I love the topic of perception and perspective.
It got me thinking about this girl I grew up with – maybe because she only smelled things in a limited range of colours, she missed out on the amazing fragrances that we take for granted, but she could factor equations at the speed we take to tie our shoes.
Her entire perception of reality would have been entirely different from most of ours – how enlightening would that be if you could see the world differently?
I think that's something we all need to do from time to time.
Earlier this afternoon, I ran across a problem in something I was working on in another part of one our businesses. Something that we offer to some of our clients had just become extremely difficult to deliver on over the last few weeks and it's soaked up SO MANY cycles trying to get it sorted, but we just can't quite get there.
It was a crazy experience. I found myself trying to re-wire my brain to not think of a solution or even an "out of the box" answer, but what if I just wasn't even smelling an apple, what if I was smelling red instead.
I had my answer – solve the other problem.
Without going into specifics, what we're providing with this service is effectively a preventative for a different problem "included" in a different product.
Think of it like taking a Vitamin B Complex every day that has a Vitamin C supplement as well – it prevents scurvy by happenstance. However, if you removed the C supplement and ate a couple oranges in the morning, you'd get probably more benefit.
We didn't even realize that that's what this other piece was ACTUALLY doing, because we never thought of it like that – we were smelling grass, not green.
I quickly pinged two other clients by Messenger and within 20 minutes we had the answer – kill the problematic part of the existing service, provide an additional offering separate but all inclusive for the same price.
Our quality and delivery speed goes up, our costs and complexity diminish!
The next time you run into one of these problems in your business that seems like you're stuck in a paradox that you're unable to resolve, try totally changing the way you view not just the problem or the solution, but the whole perspective on where that problem actually exists.
Think of it in 4D rather than just 3D in a manner of speaking.
Try and make your brain smell green instead of grass.
I don't know whatever happened to that girl I knew growing up – it sounds bad, but I reckon she's either working on developing quantum computers somewhere or she's homeless and people think she's crazy.
There's a fine line between genius and madness and sometimes, I think we misunderstand both of them.


text:
CENTER FOR SPORTS CARDIOLOGY
Cardiovascular Wellness & Prevention Program
E-Academy
Initiatives | Facts about SCA & AEDs
The UW Medicine Center for Sports Cardiology is actively involved in community outreach programs to improve the health of the public.
Nick of Time Foundation – A comprehensive Youth Heart Screening Program and CPR/AED training initiative conducted in partnership with the Nick of Time Foundation.
Heart of Schools Project – A model program aimed at providing and implementing school-based AED programs.
AEDs and Emergency Planning for SCA
Nick of Time Foundation
The Nick of Time Foundation and UW Medicine sports medicine and cardiology physicians have teamed together to develop a Youth Heart Screening Program. This is a collaborative effort of volunteer sports medicine, cardiology, and primary care physicians from UW Medicine, Seattle Children's Hospital, and other area hospitals, sonographers, the Nick of Time Foundation, local paramedics, emergency medical technicians, firefighters, and other community volunteers. The goal of this outreach is to provide a comprehensive heart screen to high school students and student-athletes to prevent sudden cardiac arrest through early detection of heart disorders. The heart screen includes a comprehensive history, physical exam, ECG, and echocardiogram (if other tests indicate one is needed). Each student also receives hands-only CPR and AED training. To date, over 10,000 students have been screened. The events promote sudden cardiac arrest awareness, provide a critical service to the community, and present unique opportunities for clinical training and research.
For more information, visit the Nick of Time Foundation: www.nickoftimefoundation.org
Heart of Schools Project
The Heart of Seattle Schools Project was the collective work of volunteer medical professionals and other community leaders dedicated to making our schools and community safer from sudden cardiac arrest. Through private funding and other community resources, the goal of the project was to assist the Seattle School District equip every public school in Seattle with defibrillators (AEDs), provide CPR & AED training to staff, and develop a comprehensive emergency response plan for sudden cardiac arrest at each school. The Heart of Seattle Schools Project was privileged to partner with the Seattle Seahawks, the Nick of Time Foundation, and Seattle Public Schools in this important initiative. In September 2011, 136 AEDs were implemented throughout the Seattle School District. In November 2011, the first life was saved as a direct result of the program – a 45 year old who suffered sudden cardiac arrest while playing pick-up basketball at South Shore School. Currently the project is helping other school districts implement school-based AED programs.
For more information, visit the Heart of Seattle Schools: www.heartofseattleschools.org
Facts about SCA:
Sudden Cardiac Arrest (SCA) is the sudden onset of an abnormal and potentially lethal heart rhythm. SCA is the leading cause of death in the U.S. affecting over 350,000 individuals per year. SCA is also the leading cause of sudden death in exercising young athletes.
The annual risk of SCA in young athletes ranges from 1 in 40,000 to 1 in 100,000; however, some athletes are at higher risk, specifically male and African-American athletes.
Approximately two-thirds of all SCA cases in athletes occur in two sports: men's basketball and football.
SCA can be effectively treated through prompt recognition, early cardiopulmonary resuscitation (CPR), and early use of a defibrillator (AED).
AEDs are portable devices that read and analyze the heart rhythm and provide an electric shock to restore the heart to a normal rhythm if necessary.
Emergency Response Planning:
Every school, club, and organization that sponsors athletic activities should be prepared to respond to a collapsed athlete with an acute cardiac emergency. An emergency response plan for SCA with written policies and procedures is recommended to ensure an efficient and structured response to a cardiac emergency.
An emergency response plan for SCA including access to an AED increases the likelihood of bystander CPR, reduces the time to defibrillation, and improves survival from SCA.
Successful programs require an organized and practiced response, an established communication method to activate the emergency medical services (EMS) system, and rescuers trained and equipped to provide CPR and defibrillation.
The strongest predictor of survival after SCA is a short time interval from arrest to defibrillation (shock). However, even the best EMS systems can have delays; the average time from 9-1-1 call to arrival on scene for an SCA victim is 6-8 minutes. In the U.S., the average survival rate for out-of-hospital cardiac arrest is < 8%.
Research has shown that having on-site AEDs available in public locations such as schools, airports, and casinos to treat SCA increases the survival rate approximately 10 times (to greater than 60-80%!).
Many people wonder if AEDs are safe to use. While training is helpful, AEDs come with simple instructions including voice and visual prompts and can be used by any lay responder. The AED will not provide a shock to the heart unless an abnormal heart rhythm is detected.
Recognition of SCA:
Prompt recognition of SCA is the first step to an efficient emergency response.
Coaches, sports medicine professionals, and other anticipated first responders to SCA in an athlete must maintain a high index of suspicion for SCA in any collapsed and unresponsive athlete.
SCA should be assumed in any collapsed AND unresponsive athlete, especially with no head trauma, and the emergency response activated.
Delayed recognition of SCA can lead to critical delays or even failure to activate the EMS system, initiate CPR, and provide early defibrillation.
Resuscitation also can be delayed because SCA is mistaken for a seizure. Brief seizure-like activity or involuntary arm and leg movements occur in over 50% of young athletes with SCA. Thus, seizure = SCA until proven otherwise.
Another challenge to recognizing SCA in athletes includes inaccurate rescuer assessment of pulse or respirations. Occasional gasping can occur in the first minutes after SCA and can be misinterpreted as normal breathing.
Management of SCA:
Treatment of SCA begins with early recognition, early CPR (starting with chest compressions), and early defibrillation.
The American Heart Association emphasizes the time sensitive interventions for victims of SCA and has outlined four critical steps in a "Chain of Survival" to save lives in the event of a cardiovascular emergency:
Early recognition of the emergency and activation of the local EMS system (call 9-1-1)
Early cardiopulmonary resuscitation (CPR)
Early defibrillation (AED)
Early advanced life support and cardiovascular care (Hospital)
If a player collapses and is unresponsive, rescuers should:
1) Call 9-1-1
2) Begin chest compressions (CPR)
3) Retrieve and apply an AED as soon as possible.
All efforts should be made to minimize interruptions in chest compressions both before and after defibrillation.
UW Center for Sports Cardiology © 2017 All Rights Reserved


Article from the Moreland Leader about the end of Medium Art Space. It was a great place for artists to work, collaborate, meet other artist, exhibit, put on events, and live. It will be missed. Four of the artworks in the photo above are by me.
After Google searching for 'Paul' I mixed together many of the Paul's of the internet.
After Google searching for 'Jane' I mixed together many of the Jane's of the internet.


text:
Structure and Order of Chapters in The Trial
Franz Kafka Biography
On K.'S Guilt, the Court, and the Law
The Neurotic Element in Kafka's Art
Composition and Reception of The Trial
Understanding Kafka
Kafka's Jewish Influence
Kafka — A Religious" Writer?"
Kafka and Existentialism
Critical Essays Structure and Order of Chapters in The Trial
As we follow K.'s stumbling through the story, we get the distinct feeling that there is not much of a development he goes through. Not even Huld, for instance, with all his insight and connections, knows whether K.'s case has ever gotten off the ground. There is no "way," or, more appropriately, whatever appears to be K.'s "way" assumes an altogether different meaning in the thicket of the Court's endless mazes. Kafka once wrote, "The true way leads over a rope which is not strung up in the air but a little above ground; it seems designed to cause us to stumble rather than be walked on." What we have in The Trial is a detailed depiction of K.'s directionless stumbling.
The abrupt beginning is a good case in point. We know nothing about K.'s background, and his attempt to vindicate himself through a written petition referring to his past fails miserably before he has a chance of carrying it through. To argue that a major structural reason for this absence of a "way" lies in the closely defined time span of the novel is not very convincing. Many twentieth-century novels also deal with strictly defined time spans and yet do not confront the reader with such a complete tabula rasa of their heroes' backgrounds.
Each chapter has the pronounced tendency to start all over again because thematic interconnections are unclear if not absent altogether. The entire section with Titorelli, for instance, is but a variation of the section with Huld. Both scenes rely on a mediator to even get K. in touch with Huld and Titorelli, respectively. This repetitiveness is important, especially if we see the authorities as a reflection of K.'s ruminating consciousness (conscience). Kafka freely admitted that the multiplicity of possible directions was a subject that was close to him personally: "I always had to tackle the radius and then to break it off . . . The center of the imaginary circle is full of beginnings." The broken off "radiuses" of this novel are the many chapter fragments. Frequently, they do not seem to lead anywhere except to ever-new beginnings — to K.'s former girl friend Elsa, to his mother, to the lawyer's regular get-togethers at the pub fragments included at the end of the 1969 Vintage Book edition used here).
Kafka himself was aware of the fragmentary character of his work (about four-fifths, fragments) and also recognized his inability to complete things. This inability lay buried in his overly keen perception of the infinite possibilities following from each kaleidoscopic situation and his uncompromising desire for writing the "true" rather than the "necessary," to use the priest's final comment to K. He was, as he said himself, obsessed with writing and yet doomed as a writer because he could never hope to trace the manifold ramifications of each aspect or nuance. It is important to see that his repeated breaking off of "beginning radiuses" is not a flaw of this particular novel, but the consistent result of his temperament that corresponded to his frustratingly imperfect, and hence fragmentary, world view. Kafka was by temperament and outlook committed to remain uncommitted.
It does not follow from this, however, that there is no unity in the novel. The Court is, as Titorelli says, "everywhere," and it does indeed hold together the diverse radiuses of action. The Court holds them together in the sense that all scenes are pervaded by incomprehensibility which unites all of K.'s flounderings. It is of course true that this statement of cohesion is a negative one: to the extent it exists, it is the result of the absence of direction, commitment, a "way" — one radius traveled to the end.
The Trial has a particular problem because there has been considerable disagreement as to the order of several chapters. It has been argued that, well-rounded though the scenes and the central pieces within this novel are ("Before the Law," for instance), some of the chapters are almost interchangeable as far as their placement goes. This is said to be the direct result of the lack of coherence of the novel — that is, the virtual absence of a plot. Though there is something to this argument, "interchangeability" is probably too harsh a word. It would presuppose that Kafka, the exceedingly conscientious writer, deliberately refrained from an overall pattern for the novel.
Brod's arrangement of the chapters was valid, or at least accepted as such, until a new arrangement was attempted by Herman Uyttersprot in his detailed study, On the Structure of Kafka's "Trial" (Brussels, 1953). His argument is that Brod's arrangement is wrong in several instances, especially as far as the novel's time factor goes. Uyttersprot discovered that the events of the novel cannot be fitted into the time interval between K.'s thirtieth and thirty-first birthdays. How can, he argues, winter (Chapter 7) precede autumn (Chapter 9) in the course of the one year of K.'s trial? He rearranged a few chapters, even included a few fragments that had been added as loose ends by Brod. He places Chapter 4 right after Chapter 1, arguing that the sentences in Chapter 4 referring to Frau Grubach's insults against Fräulein Bürstner in Chapter 1 find a more logical continuation this way. His main argument, however, concerns the crucial Chapter 9.
Whether one adheres to Brod's original arrangement of this chapter in next-to-last position or prefers the new order of Chapter 9 preceding Chapter 7, the parable chapter is the artistic culmination point of the novel. If one accepts the new arrangement, the scene between K. and the priest loses its paramount position as the major pointer to K.'s immediate end. It rather assumes the role of a portentous warning to
K. One can certainly argue that it makes more sense to have the priest reprimand K. in Chapter 7 while there is still time (this presupposes that K. does have alternatives while fighting his case), rather than only before his end. In fact, the frantic involvement with his case begins only after the priest's parable and sub-sequent discussion.
Plausible though the new arrangement is, all we know for a fact is that Kafka did not finish The Trial. Moreover, several possible arrangements are certainly compatible with each other. It may well be that Brod and Uyttersprot give us the original and later arrangement, respectively. What we do know is that these problems result from Brod's inexact notes and rather free way of editing, which, in turn, are partly the consequence of his lifelong and intense friendship with Kafka.
Previous The Neurotic Element in Kafka's Art
Next Composition and Reception of The Trial


As some things often go, the Roll process might get accidentally run a day or two early and then what o you do?
In DataFlo, normally at the end of each month (or end of the period) you run the "Roll Monthly Sales Totals" (MSO-U-03) process to put the "Current" period numbers into their current year buckets and then clear the current year fields so that the new period numbers can be stored.
As some things often go, the Roll process might get accidentally run a day or two early and then what do you do? It used to be you had to have someone write/run a rebuild sales analysis utility program which took a while and could even cost you a few dollars. Well, here is a fast little utility program that will "unroll" the Sales Analysis files so you can run the process again later.
The following program may be entered and compiled into your DW-CONV file. To execute this program you will need to provide the password "HOWDY".
Warning: You should backup your data before running this program. Once this program is run you cannot reverse the data. Although this program has been tested by Kore, we do not guarantee that will perform as expected.
Notes: This program is compatible with DataFlo Version 5.4 and higher. This program can be run when users are processing Invoices.
** WARNINGS: No Reversal after this program is run.
** NOTE    : This program can be run with users processing Invoices.
PRINT "Cannot read ANALYSIS table, program halted!"
PRINT "Period calculated as ":PERIOD:", program halting, cant process!"
PRINT "Period to Unroll is calculated to be ":PERIOD:"."
IF ANS # "Y" THEN PRINT "Program halted!"
READU ITEM FROM F.SAPART,ID ELSE ITEM=""
READU ITEM FROM F.SACUST,ID ELSE ITEM=""
READU ITEM FROM F.OPTIONS,ID ELSE ITEM=""
99 CRT "Updating the Sales Analysis Control Table"


text:
Google deems Bernie Sanders' economic plan a 'phishing scam'
Technology_Internet
By Stephen Dinan - The Washington Times - Wednesday, November 25, 2015
Democratic presidential hopeful Bernard Sanders' economic plan triggered Gmail's "phishing scam" antenna, with the mail system saying the senator's liberal campaign promises — including lower prescription drug prices and free college for all — sound like frauds.
"Be careful with this message. It contains content that's typically used to steal personal information," Gmail said in a bright red warning box that appeared at the top of a message sent by Mr. Sanders' campaign Friday, laying out his "Agenda for Working Families."
"This message could be a scam," Gmail says in its page explaining why it flagged the message as a "phishing scam." Phishing is a specific type of spam email that scammers use to try to entice users to disclose bank accounts or other sensitive information.
The Sanders campaign declined to comment for this article, but a representative for Google, the Internet giant that runs Gmail, said the company thinks it has figured out the problem.
"A regression in the spam filter's machine learning framework was determined to be the root cause. The issue affected only a very small percentage of the overall email received by Gmail and it has now been resolved," the representative said.
According to Gmail, messages are automatically analyzed based on the sender and the content of the message. In this case, the Sanders press release was sent by Michael Briggs, a campaign spokesman, and similar messages weren't marked as spam or phishing, so it's probably that Mr. Sanders' wording caused his message to be labeled a scam.
The offending email complains that America's economy is failing, stiffing working families while rewarding billionaires.
"My plan would make Wall Street banks, profitable corporations, millionaires and billionaires pay their fair share of taxes. My plan would provide living wages for working people and ensure equal pay for women," Mr. Sanders says, ticking off his plans to raise taxes by $1 trillion and spend it on infrastructure, guarantee free tuition at public colleges and universities, raise the minimum wage, raise Social Security benefits and cut prices on prescription drugs.
Ira Winkler, president of Secure Mentem and a cybersecurity specialist, said the campaign likely triggered Gmail's filters because it included phrases that spammers use to try to sell prescription drugs and by offering things free of charge — in this case, the promise to pay for education at public colleges and universities.
"The way spam filters tend to work is you've got scoring. And the more time trigger words are used, scoring tends to go up. So if you see words like 'free,' if you see words like 'prescription drugs,' that keeps triggering it," Mr. Winkler said.
"When you put out a campaign message filled with fluff it's not unexpected," he said.
He said one solution for businesses is to sign up with a trusted bulk emailing company, which works with services such as Gmail to make sure they know the messages are legitimate — a practice known as "whitelisting."
Mr. Winkler said spam labels could happen to any politician emailing promises to voters and using red-flag words.
"If you use the word guarantee, that's another flag," he said.
It was unclear why Mr. Sanders' message was deemed phishing rather than regular spam. Phishing messages usually include links scammers use to collect sensitive personal information.
Mr. Sanders' message did not appear to have any such links.
• Stephen Dinan can be reached at sdinan@washingtontimes.com.


"The hard-hitting DMRs and SRs the professional has can be used to secure an objective from a distance, while his rapid-fire sidearm can be used close-in. The camera and LTMs can help the pro survive being flanked and ambushed, and can be used tactically to defend objectives to assist his team. In addition, stealth training lets the pro get up close and personal, getting the drop on unsuspecting enemies."
Professional is a kit set to be featured in Battlefield Hardline. It is similar to the Recon kit featured in previous Battlefield installments and has access to the bolt-action sniper rifles, the semi-automatic designated marksman rifles, and the fully automatic machine pistols, along with reconnaissance and stealth equipment. The kit is suited for long-range engagements, spotting enemies for their teammates to attack, and creating defensive positions.
The weaponry the Professional has access to, the sniper rifles and designated marksman rifles, are better suited for taking on enemies from long-range due to their low rate of fire, high accuracy, and their high damage against enemies, especially to the head. To give them a chance of survival at close-range, they are equipped with machine pistols, which have a high rate of fire compared to the handguns available to the other kits.
The Laser Tripmines the Professional has access to allows them to create defensive positions, either for themselves or for the objectives, as they serve to block enemies from going through without getting killed.
The Camera automatically spots enemies in a 90 degree cone in front of it, giving players a way to perform reconnaissance from different spots and without having to keep pressing the Spot button.
The Decoy is a gadget that its main purpose is to distract the enemies by putting in fake enemy indicators on their minimaps, which may keep them from going to the area it is placed in and/or keeps the enemies pre-occupied with looking for your non-existent teammates on the minimap, allowing you and/or your actual teammates to take them out with less risk.
The Stealth Training gadget allows players using the Professional kit to be stealthy as their footsteps will not be as loud as players from the other class or without the gadget, which is useful for flanking enemies as long as they don't spot the players using it.
The Professional class character models for the Undercover Law Enforcement and the Criminal Bangers had a completely different appearance in a earlier build from late 2014 as evident from gameplay videos posted on YouTube back in December of 2014, with the players playing Hotwire in the Everglades.
The Undercover Professional character model wore dress pants, a dress shirt with rolled up sleeves, glasses, and suspenders with the pistol holster on the left and the badge on the right.
The Bangers Professional character model wore a black mask covering their face, cargo pants, and a cargo jacket with a hoodie underneath.
The Undercover Professional in the earlier build.
The Bangers Professional in the earlier build.


text:
Q: Unsolved problems in graph theory Is there a good database of unsolved problems in graph theory?

A: Wikipedia has a listing of open problems in graph theory.

A: Here are a few that I know of (with overlap of course).
It's unclear how up-to-date they are.
Douglas West's page: http://www.math.illinois.edu/~dwest/openp/
The Open Problem Garden: http://www.openproblemgarden.org/category/graph_theory
Erdos' Problems on Graphs: http://www.math.ucsd.edu/~erdosproblems/


Motor yacht PALOMA is a historic yacht measuring 60.25m (197' 8") originally built in 1965 by the Ishikawajima-Harima shipyard, Japan. Yacht PALOMA received a complete rebuild in 2003-04 in Malta to the Owner's personal designs.
During PALOMA's refit, she received new onboard systems, and most of her interior and exterior equipment including an all-new engine room with the latest engineering equipment and an ultra-modern navigation and communication systems were installed.
The interior décor reflects an understated contemporary English style with a mixture of fine, colorful fabrics complemented by her original wood paneling that enhances the warm and cozy atmosphere. Classic Yacht PALOMA has a vast main salon with several cozy sitting areas, a large couch, bar facilities, an office area and a large Plasma screen television.
Forward of the main salon is the formal dining area which can be closed off. There is also an audio/visual entertainment room located forward of the dining area that is set up with Plasma TV and music systems.
The exterior is vast with an abundance of areas to relax. Her sundeck boasts a large circular Spa Pool surrounded by fixed seating, and there are also sun beds on the level. The Upper deck is spacious, great for entertaining or event charters with a comfortably shaded area aft and a comfortable table for alfresco dining forward, once again shaded by an electric bimini. Her aft deck is also large and features fixed seating along her classic canoe stern aft and an al fresco dining table able to seat up to 12 guests.
PALOMA can host up to 40 guests for Static events such as the Monaco Grand Prix and Cannes Film Festival.
PALOMA yacht can accommodate up to 12 charter guests in 7 cabins. Her huge master cabin is located forward on the main deck and is extremely spacious with "His" and "Her" ensuite bathrooms. There is also a large Plasma TV screen is also set up in this cabin. A further ten guests can be accommodated on the lower deck in 2 double and two twin cabins, all with ensuite facilities. There are also two single cabins which share a shower room. All cabins are a good size and feature different color schemes reflecting the understated-contemporary English style found in the décor on the main deck. The bathrooms feature neutral with beige marble tops and hand-basins and modern chrome accessories, providing a mixture of tradition and contemporary style. Single cabin available for staff upon request. Can also be utilized as a day head/steam room.


text:
Прото́нний шторм (, SPE) — потенційно небезпечний прояв Сонячної активності, зумовлений потоками протонів та іонів, які внаслідок сонячного спалаху або коронального викиду маси отримали значні енергії й швидкості. Це явище також має назву космічних радіаційних штормів.

Досягаючи Землі, протонні шторми залежно від їхньої інтенсивності призводять до порушень короткохвильового зв'язку і до неполадок у роботі електрообладнання, викликають іонізацію верхніх шарів земної атмосфери й утворення в ній радіоактивних ізотопів (C-14, Be-10 та ін.). Це є однією з причин появи полярних сяйв.

Див. також

 Список сонячних бур
 Подія Каррінгтона
 Магнітна буря
 Сплеск вуглецю-14 у 774 році

Примітки

Інтернет-ресурси
 Solar Particle Events Affecting the Earth Environment 1976 — present
 SWPC alert descriptions
 Carrington Super Flare, NASA Science News, May 6, 2008
Сонячна система
Космічні загрози

redpajama_set_name: RedPajamaWikipedia


Upcoming first-person survival horror game Outlast II will arrive next month in both physical and digital formats, developer Red Barrels revealed on Monday.
In Outlast II, you'll play as husband and wife investigative journalist team Blake and Lynn Langermann as they look into the "impossible" murder of a pregnant woman in Arizona. What you'll apparently find is a "darkness so deep: that no one could shed light upon it and a "corruption so profound" that going mad may be the only sane thing to do. Sounds like fun.
Unlike fellow horror game Resident Evil 7, Outlast II will not feature virtual reality support – at least, not at launch. There also isn't any DLC planned for the new game, Red Barrels said on Twitter.
Outlast II lands on PlayStation 4, Xbox One and PC on April 25 for $29.99. Also available on the same day is Outlast Trinity, a physical collection that consists of the original Outlast, the Outlast Whistleblower DLC and Outlast 2, yours for $39.99.


Mary Robinette Kowal is a writer, professional puppeteer and an incredible narrator. She is also cast member of the award-winning podcast Writing Excuses and a three-time Hugo Award winner. Mary Robinette is with us today to discuss the Lady Astronaut novels, an amazing science fiction series that takes us on an alternate timeline after a meteor strike in the 1950s threatens the future of humanity.
In this interview we also discuss Mary Robinette's experience as she joined me for the launch of the Parker Solar Probe in August 2018 and how this will impact her future writing.
Dr. James R. Hansen is the writer of the book "First Man: The life of Neil A. Armstrong". He was Neil Armstrong's one & only authorized biographer, obtaining 55 hours of audio recordings and 800 emails during his interviews with Neil (plus a few rounds of golf along the way). First Man has been adapted into a movie, with Dr. Hansen serving as a consultant, releasing October 2018 by Universal Pictures. The movie is directed by Academy Award winner Damien Chazelle and stars Ryan Gosling as Neil Armstrong.
Dr. Hansen is the Professor Emeritus of History at Auburn University in Alabama. He's an expert in aerospace history and the history of science and technology.
Dr. Nicky Fox is the Heliophysics Division Director at NASA Headquarters. She earned her PhD in Space Physics from the Imperial College of Science in London and has worked for both APL and NASA over her 20 year career. She's worked on such projects as the NASA Polar spacecraft and the International Solar Terrestrial Physics Mission. Most recently Dr. Fox is heavily involved with the Parker Solar Probe, which launched on August 12, 2018. In this episode she describes the goals of the probe, as well as her advice to parents for encouraging their children to pursue a career in the science field. We also feature video and hi-fidelity sound from 4 miles away from the launchpad as the Solar Probe lifted off on its way to study the Sun.
"Behind the Sun" by the Red Hot Chili Peppers used with permission from Warner Bros. Records.
Dr. Joshua Fisher is the Science Lead for the ECOSTRESS Mission, a mission designed to study the Earth's climate. Dr. Fisher is a Scientist at NASA's Jet Propulsion Laboratory. I was fortunate to first meet Dr. Fisher recently at Cape Canaveral to witness the launch of ECOSTRESS aboard the SpaceX CRS-15 resupply mission to the International Space Station. The ECOsystem Spaceborne Thermal Radiometer Experiment on Space Station (ECOSTRESS) will measure the temperature of plants and use that information to better understand how much water plants need and how they respond to stress.
Comments? Visit OnlineCoffeeBreak.com or call (317) 862-4700 to leave a comment we can share on the air!
Dr. Eugene Parker is the solar astrophysicist who developed the theory of the supersonic solar wind and predicted the Parker spiral shape of the solar magnetic field in the mid-1950s. In this episode Dr. Parker joins us by phone to discuss his incredible theories about the Sun and NASA's Solar Parker Probe mission. Dr. Parker was elected to the National Academy of Sciences in 1967 and has received numerous honors throughout his career. Most recently he was awarded the Medal for Exceptional Achievement in Research by the American Physical Society for his fundamental contributions to space physics, plasma physics, solar physics and astrophysics for more than 60 years. NASA recently renamed the Parker Solar Probe after him, the first time in history that a spacecraft was named after a living person.


text:
Q: What permissions do we need to create file_format in Snowflake I am trying to create file_format to create stage in snowflake with custom role. I have assigned privileges to create stage and use the storage integrations, schema, database but it is still showing me error "SQL access control error: Insufficient privileges to operate on schema 'PUBLIC'.
It's able to create stage without file_format parameter but file_format is required for creating table.
Thanks
The code so far I have tried
grant create stage on schema public to role my_role2;
grant usage on integration s3_int to role my_role2;
GRANT USAGE, MONITOR ON ALL SCHEMAS IN DATABASE test TO ROLE my_role2;
grant create table on schema TEST.PUBLIC to role my_role2;

create or replace file format my_csv_format
type = csv field_delimiter = ',' skip_header = 1
field_optionally_enclosed_by = '"'
null_if = ('NULL', 'null')
empty_field_as_null = true;

create or replace stage demo_stage url=''
STORAGE_INTEGRATION="s3_int"
file_format = my_csv_format;

Creating file _format is giving error ""SQL access control error: Insufficient privileges to operate on schema 'PUBLIC'. It's able to create stage without file_format parameter but file_format is required for creating table.

A: As documented here, your role needs the CREATE FILE FORMAT privilege on the schema


Leak Detection Associates manufactures high sensitivity leak detection systems for the pharmaceutical, medical device and food industries. Our present helium leak test system, called the SIMS 1284+, combines the latest in helium leak detection technology along with our SIMS software for data collection and analysis. Using helium as a tracer gas, packages can be quantitatively tested to levels far exceeding bubble/dye penetration tests, pressure decay, mass extraction, and high voltage leak detection. Our systems follow the guidelines set forth by USP 1207 and more specifically by ASTM F2391-05. This test method description was authored by Leak Detection Associates.
Quantitative leak rate data not only provides pass/fail package seal quality and container closure integrity, but allows for direct comparison across various packaging materials/forms, production line settings, and stability storage conditions. The technology and equipment can be used for package design, tooling qualification, production line setup and package quality monitoring.
Our systems are ideally suited for packages (cold form aluminum blisters, foil pouches, vials, syringes, and cartridges) requiring a higher level of seal and closure integrity to provide gas permeation or microbial ingress protection/security. With proper test fixtures to eliminate helium permeation, plastic packaging components (vials, syringes, and cartridges for example) can utilize the helium leak methodology.
Leak Detection Associates is considered the world leader in pharmaceutical helium leak detection, as well as other industries, with our strong technical background and years of experience.
The detection of these defects involves the use of a light tracer gas which is capable of locating even the smallest leak quickly. The turnkey SIMS 1284+ unit, offered by LDA, Inc., measures the helium flow rate escaping from the test package through any and all leaks that are present thanks to a calibrated helium-specific mass spectrometer. The rate at which helium escapes from a package can be closely correlated to the rate at which water vapor, oxygen or other gasses may enter or escape from a package.
Packages are filled with helium on-line, or off-line, and then placed in a Vacuum Test Fixture Module to measure the rate at which helium escapes from the package. A Head-Space Analysis Module is then used to measure the concentration of helium in the package, and provide an Actual Helium Leak Rate. Obtaining the helium concentration level normalizes the leak rate to 100% helium, thereby allowing a direct comparison between various package forms and packaging conditions.
The SIMS 1284+ Helium Leak Detector is ideally suited for a wide variety of packages (cold form blisters, foil pouches, parenteral vials, etc.) requiring a higher level of seal integrity to provide gas permeation or microbial ingress protection and security. It is also a reliable means of ensuring properly sealed packages at the onset of stability packaging runs.
Quality verification of stability test packages have saved some of our customers thousands of dollars by not having to re-start stability studies due to poorly sealed packages.
We offer different versions of the basic pharmaceutical SIMS unit which are available for purchase/lease as well as rental options with technical support and R & D programs. While there are common elements to each SIMS Unit, there are also product-specific custom elements that are designed to meet the needs of a given client.
Pharmaceutical Helium Leak Testing services on a project or contract basis – On-site or Off-site.
On-site Installation, Validation, and Training services for our helium leak testing units.
Industrial Helium Leak Testing services such as weld seams, vessels, pump casings, valves, etc.
Test Methodology development and Design of Experiment (DOE) capabilities.
On-Site Technical Support and Consulting for Helium Leak applications.
Helium leak detection offers unparalleled sensitivity for finding leaks. It is quantitative, giving an accurate measurement of the rate of a leak, as opposed to the pass/fail results obtained with bubble/dye penetration tests, pressure decay, mass extraction, and high voltage leak detection.
Our clients include pharmaceutical clients such as Merck/MSD, Pfizer, Amgen, Novartis, Bristol-Myers Squibb, West Pharmaceutical Services, Noven Pharmaceutical, and Lohmann Therapy Systems.


Alicia Staley is the Patient Advocate at Cure Forward. She is a three-time cancer survivor, first diagnosed with Hodgkin's disease as a sophomore at Syracuse University. After 15 years in software design and information systems management, Alicia began applying her engineering background to improve the patient experience for those dealing with cancer. As an inspirational speaker, Alicia reaches many different audiences, providing insight into life as a 26+ year cancer survivor.