Charity that is trifle to one can be precious to others. And if channelised properly it can be leveraged to bring about a revolution. That's what is happening at a remote place in Vikarabad, 70 km from here. Children who don't know where their next meal will come from are getting the best of education in idyllic surroundings.
All this thanks to the unknown benefactors. 'Zakat', the annual poor due given by Muslims, is rewriting the destiny of many an underprivileged child. The Hyderabad Zakat and Charitable Trust (HZCT), which believes in education being the most powerful weapon, is using the money collected by it to uplift the community.
Ghiasuddin Babukhan, the man behind HZCT, has now decided to hone the skills of toppers at his newly set up Hyderabad Institute of Excellence (HIE). The first batch of 115 students will be taking the Intermediate first year exam this year. What is common about these students hailing from remote parts of the State is their poverty and brilliance. Most have scored 93 per cent marks in the SSC exam. What do their parents do? They are auto-rickshaw drivers, welders or petty vendors. None of them could ever dream of providing holistic education to their wards in a corporate type institution. "A sum of Rs.1.85 lakh is incurred per student per annum and all the expenses are met through the 'Zakat' fund," says Mr. Babukhan.
He believes in using 'Zakat' money for education. Last year, HZCT collected Rs. 9 crore through 'Zakat' donation and of this 90 per cent was spent on education of poor Muslims. The Trust is supporting education of 28,000 students in 103 schools managed by the Foundation for Economic and Educational Development.
"At HIE we plan to train students to be creative thinkers and effective team players," says Mr. Babukhan.
Spread over 120 acres the HIE is designed to accommodate 2,000 students in phases.
During 2014-15 it is proposed to start classes VI to VIII with CBSE syllabus and the following year girls sections.
The HIE campus, will be formally inaugurated on Sunday.


text:
Jewelry By Visual Artists in Italy: A Critical Review
By Maria Cristina Bergesio
The international critical discourse on art jewelry is still not consistent with the use of labels (art – author – studio – contemporary – research jewelry) but the meaning is clear. 'Just as the rectangular canvas was freed from representation and became an arena for the exploration of a range of other themes, so has jewelry become a device for conceptual exploration and personal expression.' (Metcalf) 'The value of contemporary author jewelry is not to be found in its costly material, but in the special relationship that an artist has with his/her work which makes every piece an individual artefact.' (Den Besten 35) 'Poised between high-street jewelry and art (the former's glorified other, the latter's poor relative), we know what it's not ('just' manufactured artifacts for wearing), and what it wants to be (the expression of individual talent that reflects on, and sometimes influences, contemporary culture).' (Lignel) 'The term that I use, 'research jewelry,' would tend to focus on the approach to jewelry as a testing and investigation ground and at the same time to step over the complicated labels of art or artist. (Bergesio 126)
Spreading the culture of art jewelry all over the world is an ongoing battle, even if it has already been historicized, exhibited and kept in museums and has become the protagonist in many exhibitions, fairs, conferences and publications. Italy is much more reluctant to allow jewelry the possibility of being a free creative expression, free to develop and interpret the spirit of the moment. In Italy, proposing jewelry as a creative medium of expression provokes stonewalling: the jewelry world doesn't consider it jewelry and the art world doesn't recognize its creative research value. Even though in recent years new events and exhibition spaces nationwide have been added to the historical activity of the council and galleries in Padua, the Italian panorama in relation to the promotion of research jewelry remains lacking.
Jewels Signed by Visual Artists
Italy is still essentially attached to a hierarchical distinction between the various artistic disciplines, so art jewelry is identified mostly with the specific category of 'jewels by painters and sculptors.'
In Italy, from the end of the 1940s until the 1970s, we can identify a sort of intellectual fashion, which focused only on this theme and ignored the research of people totally devoted to jewelry. During those years, but also in recent times, a large number of publications, articles, exhibitions (the last of which was held in 2008) dealt with jewelry by artists, pieces signed by famous painters and sculptors, which were welcomed as an expression of the rebirth of the goldsmith's art. Although it is not only an Italian phenomenon, for nearly three decades it achieved an incredible popularity in Italy.
There is a long list of visual artists who participated in the realization of jewels: Afro, Dino and Mirko Basaldella, Giuseppe Capogrossi, Pietro Consagra, Giorgio De Chirico, Lucio Del Pezzo, Lucio Fontana, Nino Franchina and Renato Guttuso. (The position of Arnaldo and Giò Pomodoro is distinctive, as they were trained as goldsmiths and started their artistic careers by creating jewelry.) Various magazines dedicated a lot of space to this phenomenon. Some articles published in fashion magazines enhanced the peculiarity of these pieces by declaring that 'for the elegant woman it is essential to own one or more of these jewels, so in some [jewelry] caskets there is already a picture gallery of goldsmiths' works.' (Vella 1964) Reflections on this theme were written by famous writers such as Fernanda Pivano and well-known art historians such as Maurizio Fagiolo and Nello Ponente. In his book Jewels As Works of Art, Ponente stressed the link between these jewels and the language of that painter or sculptor, suggesting that this relationship 'constrained the goldsmith to forget himself, to modify his practice and his craft, so only thanks to the artists, jewelry could win back its primary artistic function.' (Ponente 43)
The first Italian to involve visual artists in the creation of jewelry was Mario Masenza. After World War Two, in the elegant jeweler's shop Gioielleria Masenza in the heart of Rome, he presented these new jewels next to the traditional ones. (The first exhibition dedicated entirely to jewelry by visual artists was organized by Masenza in 1949 at gallery Il Milione in Milan.) In the early 1960s, also in Rome, Danilo and Massimo Fumanti, members of a family of historic jewelers, decided to invest money and involve artists to increase their production. In 1967 in Milan, Giancarlo Montebello and his wife Teresa Pomodoro started to produce jewels in small series designed by painters and sculptures. (Bergesio 302) Art galleries began to commission jewelry from their artists to be sold alongside the paintings and sculptures.
Only Visual Artists Can Create Art
Beyond the cultural value of this practice, a negative consequence emerges: the dominant idea that the artistic value of a jewel emerges from the fact that a painter or sculptor participates in its realization. The label 'gioielli d'artista' (jewels by artist) placed the focus elsewhere rather than on objective consideration of the piece itself. If we look at this type of jewelry without considering the important names linked to it, it will be clear that most of the work hasn't any aesthetic autonomy. These objects totally depend on the artistic language of the painter or sculptor who designed them and they are literally transpositions into the dimensions of jewelry – miniaturizations of art works. The majority of these artists didn't participate to the concrete production of the jewels. They would present a simple sketch that the jewelers had to interpret and transform, or they might work wax, with a very few chasing or embossing the object. But all required a goldsmith to finish their pieces and to handle complex or skilled tasks such as setting stones, constructing mechanisms and so on.
Outside Italy it is more common to find nuanced judgments on this point. Writing in 1961, Graham Hughes wrote that 'This is sometimes called artists' jewelry but that is misleading: the point of the exhibition is to prove that all good jewelers are artists, to diminish rather than increase the gulf between the different types of jewel.' (Hughes) Or as Ralph Turner put it in 1976, 'It is a common mistake to assume that an artist who is painter or sculptor can necessarily create a work of art in jewelry. The medium is a difficult one and requires an attitude of mind, combined with technical skills that are not to be acquired overnight.' (Turner 24-25). In Italy, the attribution of artistic validity seems to follow this equation: art jewelry = jewelry by painters and sculptors. This misleading concept became a dogma and contributed to the division between the idea and its realization, bestowing only on a visual artist the power to transform craft into art.
Seeking An Origin for the Dogma
I'm keen to suggest that behind this sectarian way of conceiving art we can identify the idealistic vision of 'art as pure intuition,' founded by the most powerful Italian philosopher, Benedetto Croce. According to Croce, the work of art is a mental phenomenon, free from use and technique. Demonstrating the strict judgment on technique by the neo-idealistic vision of the aesthetic work, Croce wrote: 'The technical does not enter into art, but pertains to the concept of communication. . . . We must condemn as erroneous every theory which confuses aesthetic with practical activity. . . . Art is thus independent of science, as it is of the useful and the moral. . . . Technique is certainly not a special activity of the spirit.' (Croce)
Croce's influence became deeply integrated into Italian culture partly because it permeated the educational reforms of Giovanni Gentile in 1922–1924. Gentile was a philosopher and a pedagogue, who shared with Croce the same idealistic vision of culture, what he called 'the spirituality of culture.' His reforms separated strictly aesthetic education from technique (Liceo artistico – Istituto d'arte) intellectual work from manual work and declared the primacy of visual arts over craft. Consequently, it is totally understandable that the heated debate about arts and crafts that took place in Italy in the 1920s found its way into the mainstream, promoting the view that only visual artists could renovate the craft industry. In 1932, in the esteemed magazine Domus, the architect and designer Giò Ponti stressed the need for artists in the fields of manufacture 'not only for the taste renewal and fresh air of cultural contacts, but especially for the invention.' (Tonelli 128)
This statement confirmed the activities of E.N.A.P.I. (in English, the National Board for Craft and Small Industries) a state institution founded in 1925 to renovate Italian crafts through the participation of visual artists, who provided drawings for projects in ceramics, embroidery, jewelry and leather that were executed by craftspeople.
From this prospective it seems obvious that the jewels by visual artists received a lot of attention as a product with a certificated artistic aura. The activity of art jewelers remained in a shady area of culture, penalized because they were located in the craft world.
A Remarkable Change
The only thinker in Italy who developed a different opinion on this theme was Guido Gregorietti, the most important Italian jewelry historian. In the first edition of his book Jewelry Through the Ages, published in 1969, he declared: 'An important 20th-century development is the interest taken in jewelry by certain international famous artists.' (Gregorietti 303). In the revised publication of the book, he was more critical: 'This jewelry is the transfer of the expressive features of the artist from painting or sculpture to metal in reduced dimensions.' (Gregorietti 135). Moreover, he dedicated most of the content and all the images of the chapter to those makers who worked especially on jewelry (art jewelers rather than artists making jewelry). The explanation for this significant change can be found in the bibliography, where he included the main foreign publications dedicated to contemporary art jewelry, such as Gerard Bott's Schmuck (1971) or Graham Hughes's The Art of Jewelry, (1972) and Karl Schollmayer's Neuer Schmuck (1974). It is no accident that in 1983 Fritz Falk (at the time director of the Schmuckmuseum in Pforzheim) asked Gregorietti to write the critical essay for the catalogue of the exhibition Ten Padua Goldsmiths: Modern art jewelry from Italy. This exhibition was a fundamental step towards the international acknowledgement of the School of Padua, the main centre for research jewelry in Italy. In his introduction Gregorietti clears up the differences between the two kinds of jewelry. 'Although the artistic value of these works (jewels by artists) as the personality of their authors are excellent, the belief prevailed that only the goldsmith with a specific status have the best qualification for the design and realization of art jewelry, as without a deep material knowledge it is not possible to reach a poetic effect of the work.' (Gregorietti) As a fine connoisseur of jewelry history, Gregorietti understood that the real innovation in the field had to be looked for in the jewelry made by art jewelers, but his voice has been unheard for long time.
Conclusions?
In 1997, when I was working on my thesis, which dealt with two private collections of gioielli d'artista, thanks to Gregorietti's publications I had the opportunity to encounter another way to conceive of art jewelry. Although recent publications such as Gioielli d'Artista in Italia 1945-1995 completely disregard the activity of art jewelers, following Gregorietti I traveled to Padua. There I found not only the school, but a link to the international art jewelry scene. At the university, the reality of art jewelry, its history and protagonists, was just not found in the program. In Padua, thanks to the activity of the Municipality, of two private galleries and the library of Istituto Pietro Selvatico, I started researching and developing a series of reflections that I'm still carrying forward.
In the past fourteen years something has slowly begun to change in Italy. We have more galleries and spaces that show art jewelry. But in general there is not a real understanding of the value of this kind of jewelry practice. It is still not uncommon to find approaches to this world that reveal old prejudices. In one of the rare articles about this issue in a national newspaper, the choice of language is interesting. Presenting the work of Annamaria Zanella, the articles describes her as a 'sculptor-goldsmith' and her work as a 'necklace – sculpture.' (Pini 43) Is this just conventional language to make the message clearer to a wide public, or could it be considered the trace of an ancient division between the arts?
Maria Cristina Bergesio
Maria Cristina Bergesio is an art historian specializing in the history of modern and contemporary jewelry. From 2002 to 2008 she taught at the Faculty of Architecture, University of Florence. She now teaches contemporary jewelry at Le Arti Orafe Jewelry School in Florence and is the curator of the Preziosa exhibitions.
Read more about Maria Cristina Bergesio
Italian Modern Masters and Post-War Artists' Jewelry
Private Passion: Artists' Jewelry of the 20th Century
At the Crossroads of Trends and Traditions: Emerging American Jewelry Artists Today
Art Jewelry Forum Invites Applications For Its 2012 Jewelry Exhibition Award
Collecting And Social Media
The William and Judith Bollinger Gallery, Victoria and Albert Museum, London

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: iCloud NSPersistentStoreDidImportUbiquitousContentChangesNotification only called right after app launch My app uses a core data database contained inside of a UIManagedDocument.  When I am attempting to sync over iCloud, the data rarely gets refreshed.  I have turned on the ubiquity logs by adding the following app argument to my scheme.
-com.apple.coredata.ubiquity.logLevel 3

The argument log output shows that the destination device recognizes the changes soon after they are made on a source device, yet the NSPersistentStoreDidImportUbiquitousContentChangesNotification notification is not triggered.  Occasionally, the notification will get triggered a substantial amount of time after the updates have been seen, but usually not.
However, when I re-launch the app (at any time after the log has printed some text about the changes), the  NSPersistentStoreDidImportUbiquitousContentChangesNotification notification is triggered immediately, causing the data to refresh.
Note: I have subscribed to the notification.
[[NSNotificationCenter defaultCenter]addObserver:self
                                        selector:@selector(updatedFromCloud:)
                                            name: NSPersistentStoreDidImportUbiquitousContentChangesNotification
                                          object:nil];

A: You need to set the object to the NSPersistentStoreCoordinator that you're using so that the notification knows which object to listen to. You've set it to nil in your code.
Example:
[[NSNotificationCenter defaultCenter]addObserver:self
                                    selector:@selector(updatedFromCloud:)
                                        name: NSPersistentStoreDidImportUbiquitousContentChangesNotification
                                      object:self.persistentStoreCoordinator];

If you're posting the observer in a class that has access to the NSManagedObjectContext (but not the coordinator), you can simply extract the coordinator via self.managedObjectContext.persistendStoreCoordinator.
Hope this helps!

redpajama_set_name: RedPajamaStackExchange


text:
#include <stdio.h>
#include <stdint.h>
#include <unistd.h>

#include <rte_common.h>
#include <rte_cycles.h>
#include <rte_interrupts.h>

#include "test.h"

#define TEST_INTERRUPT_CHECK_INTERVAL 1000 /* ms */

/* predefined interrupt handle types */
enum test_interrupt_handle_type {
	TEST_INTERRUPT_HANDLE_INVALID,
	TEST_INTERRUPT_HANDLE_VALID,
	TEST_INTERRUPT_HANDLE_VALID_UIO,
	TEST_INTERRUPT_HANDLE_VALID_ALARM,
	TEST_INTERRUPT_HANDLE_CASE1,
	TEST_INTERRUPT_HANDLE_MAX
};

/* flag of if callback is called */
static volatile int flag;
static struct rte_intr_handle intr_handles[TEST_INTERRUPT_HANDLE_MAX];
static enum test_interrupt_handle_type test_intr_type =
				TEST_INTERRUPT_HANDLE_MAX;

#ifdef RTE_EXEC_ENV_LINUXAPP
union intr_pipefds{
	struct {
		int pipefd[2];
	};
	struct {
		int readfd;
		int writefd;
	};
};

static union intr_pipefds pfds;

/**
 * Check if the interrupt handle is valid.
 */
static inline int
test_interrupt_handle_sanity_check(struct rte_intr_handle *intr_handle)
{
	if (!intr_handle || intr_handle->fd < 0)
		return -1;

	return 0;
}

/**
 * Initialization for interrupt test.
 */
static int
test_interrupt_init(void)
{
	if (pipe(pfds.pipefd) < 0)
		return -1;

	intr_handles[TEST_INTERRUPT_HANDLE_INVALID].fd = -1;
	intr_handles[TEST_INTERRUPT_HANDLE_INVALID].type =
					RTE_INTR_HANDLE_UNKNOWN;

	intr_handles[TEST_INTERRUPT_HANDLE_VALID].fd = pfds.readfd;
	intr_handles[TEST_INTERRUPT_HANDLE_VALID].type =
					RTE_INTR_HANDLE_UNKNOWN;

	intr_handles[TEST_INTERRUPT_HANDLE_VALID_UIO].fd = pfds.readfd;
	intr_handles[TEST_INTERRUPT_HANDLE_VALID_UIO].type =
					RTE_INTR_HANDLE_UIO;

	intr_handles[TEST_INTERRUPT_HANDLE_VALID_ALARM].fd = pfds.readfd;
	intr_handles[TEST_INTERRUPT_HANDLE_VALID_ALARM].type =
					RTE_INTR_HANDLE_ALARM;

	intr_handles[TEST_INTERRUPT_HANDLE_CASE1].fd = pfds.writefd;
	intr_handles[TEST_INTERRUPT_HANDLE_CASE1].type = RTE_INTR_HANDLE_UIO;

	return 0;
}

/**
 * Deinitialization for interrupt test.
 */
static int
test_interrupt_deinit(void)
{
	close(pfds.pipefd[0]);
	close(pfds.pipefd[1]);

	return 0;
}

/**
 * Write the pipe to simulate an interrupt.
 */
static int
test_interrupt_trigger_interrupt(void)
{
	if (write(pfds.writefd, "1", 1) < 0)
		return -1;

	return 0;
}

/**
 * Check if two interrupt handles are the same.
 */
static int
test_interrupt_handle_compare(struct rte_intr_handle *intr_handle_l,
				struct rte_intr_handle *intr_handle_r)
{
	if (!intr_handle_l || !intr_handle_r)
		return -1;

	if (intr_handle_l->fd != intr_handle_r->fd ||
		intr_handle_l->type != intr_handle_r->type)
		return -1;

	return 0;
}

#else
/* to be implemented for baremetal later */
static inline int
test_interrupt_handle_sanity_check(struct rte_intr_handle *intr_handle)
{
	RTE_SET_USED(intr_handle);

	return 0;
}

static int
test_interrupt_init(void)
{
	return 0;
}

static int
test_interrupt_deinit(void)
{
	return 0;
}

static int
test_interrupt_trigger_interrupt(void)
{
	return 0;
}

static int
test_interrupt_handle_compare(struct rte_intr_handle *intr_handle_l,
				struct rte_intr_handle *intr_handle_r)
{
	(void)intr_handle_l;
	(void)intr_handle_r;

	return 0;
}
#endif /* RTE_EXEC_ENV_LINUXAPP */

/**
 * Callback for the test interrupt.
 */
static void
test_interrupt_callback(struct rte_intr_handle *intr_handle, void *arg)
{
	if (test_intr_type >= TEST_INTERRUPT_HANDLE_MAX) {
		printf("invalid interrupt type\n");
		flag = -1;
		return;
	}

	if (test_interrupt_handle_sanity_check(intr_handle) < 0) {
		printf("null or invalid intr_handle for %s\n", __func__);
		flag = -1;
		return;
	}

	if (rte_intr_callback_unregister(intr_handle,
			test_interrupt_callback, arg) >= 0) {
		printf("%s: unexpectedly able to unregister itself\n",
			__func__);
		flag = -1;
		return;
	}

	if (test_interrupt_handle_compare(intr_handle,
			&(intr_handles[test_intr_type])) == 0)
		flag = 1;
}

/**
 * Callback for the test interrupt.
 */
static void
test_interrupt_callback_1(struct rte_intr_handle *intr_handle,
	__attribute__((unused)) void *arg)
{
	if (test_interrupt_handle_sanity_check(intr_handle) < 0) {
		printf("null or invalid intr_handle for %s\n", __func__);
		flag = -1;
		return;
	}
}

/**
 * Tests for rte_intr_enable().
 */
static int
test_interrupt_enable(void)
{
	struct rte_intr_handle test_intr_handle;

	/* check with null intr_handle */
	if (rte_intr_enable(NULL) == 0) {
		printf("unexpectedly enable null intr_handle successfully\n");
		return -1;
	}

	/* check with invalid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_INVALID];
	if (rte_intr_enable(&test_intr_handle) == 0) {
		printf("unexpectedly enable invalid intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with valid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID];
	if (rte_intr_enable(&test_intr_handle) == 0) {
		printf("unexpectedly enable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with specific valid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_ALARM];
	if (rte_intr_enable(&test_intr_handle) == 0) {
		printf("unexpectedly enable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with valid handler and its type */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_CASE1];
	if (rte_intr_enable(&test_intr_handle) < 0) {
		printf("fail to enable interrupt on a simulated handler\n");
		return -1;
	}

	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_UIO];
	if (rte_intr_enable(&test_intr_handle) == 0) {
		printf("unexpectedly enable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	return 0;
}

/**
 * Tests for rte_intr_disable().
 */
static int
test_interrupt_disable(void)
{
	struct rte_intr_handle test_intr_handle;

	/* check with null intr_handle */
	if (rte_intr_disable(NULL) == 0) {
		printf("unexpectedly disable null intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with invalid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_INVALID];
	if (rte_intr_disable(&test_intr_handle) == 0) {
		printf("unexpectedly disable invalid intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with valid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID];
	if (rte_intr_disable(&test_intr_handle) == 0) {
		printf("unexpectedly disable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with specific valid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_ALARM];
	if (rte_intr_disable(&test_intr_handle) == 0) {
		printf("unexpectedly disable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	/* check with valid handler and its type */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_CASE1];
	if (rte_intr_disable(&test_intr_handle) < 0) {
		printf("fail to disable interrupt on a simulated handler\n");
		return -1;
	}

	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_UIO];
	if (rte_intr_disable(&test_intr_handle) == 0) {
		printf("unexpectedly disable a specific intr_handle "
			"successfully\n");
		return -1;
	}

	return 0;
}

/**
 * Check the full path of a specified type of interrupt simulated.
 */
static int
test_interrupt_full_path_check(enum test_interrupt_handle_type intr_type)
{
	int count;
	struct rte_intr_handle test_intr_handle;

	flag = 0;
	test_intr_handle = intr_handles[intr_type];
	test_intr_type = intr_type;
	if (rte_intr_callback_register(&test_intr_handle,
			test_interrupt_callback, NULL) < 0) {
		printf("fail to register callback\n");
		return -1;
	}

	if (test_interrupt_trigger_interrupt() < 0)
		return -1;

	/* check flag in 3 seconds */
	for (count = 0; flag == 0 && count < 3; count++)
		rte_delay_ms(TEST_INTERRUPT_CHECK_INTERVAL);

	rte_delay_ms(TEST_INTERRUPT_CHECK_INTERVAL);
	if (rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, NULL) < 0)
		return -1;

	if (flag == 0) {
		printf("callback has not been called\n");
		return -1;
	} else if (flag < 0) {
		printf("it has internal error in callback\n");
		return -1;
	}

	return 0;
}

/**
 * Main function of testing interrupt.
 */
static int
test_interrupt(void)
{
	int ret = -1;
	struct rte_intr_handle test_intr_handle;

	if (test_interrupt_init() < 0) {
		printf("fail to initialize for testing interrupt\n");
		return -1;
	}

	printf("Check unknown valid interrupt full path\n");
	if (test_interrupt_full_path_check(TEST_INTERRUPT_HANDLE_VALID) < 0) {
		printf("failure occured during checking unknown valid "
						"interrupt full path\n");
		goto out;
	}

	printf("Check valid UIO interrupt full path\n");
	if (test_interrupt_full_path_check(TEST_INTERRUPT_HANDLE_VALID_UIO)
									< 0) {
		printf("failure occured during checking valid UIO interrupt "
								"full path\n");
		goto out;
	}

	printf("Check valid alarm interrupt full path\n");
	if (test_interrupt_full_path_check(TEST_INTERRUPT_HANDLE_VALID_ALARM)
									< 0) {
		printf("failure occured during checking valid alarm "
						"interrupt full path\n");
		goto out;
	}

	printf("start register/unregister test\n");
	/* check if it will fail to register cb with intr_handle = NULL */
	if (rte_intr_callback_register(NULL, test_interrupt_callback,
							NULL) == 0) {
		printf("unexpectedly register successfully with null "
			"intr_handle\n");
		goto out;
	}

	/* check if it will fail to register cb with invalid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_INVALID];
	if (rte_intr_callback_register(&test_intr_handle,
			test_interrupt_callback, NULL) == 0) {
		printf("unexpectedly register successfully with invalid "
			"intr_handle\n");
		goto out;
	}

	/* check if it will fail to register without callback */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID];
	if (rte_intr_callback_register(&test_intr_handle, NULL, NULL) == 0) {
		printf("unexpectedly register successfully with "
			"null callback\n");
		goto out;
	}

	/* check if it will fail to unregister cb with intr_handle = NULL */
	if (rte_intr_callback_unregister(NULL,
			test_interrupt_callback, NULL) > 0) {
		printf("unexpectedly unregister successfully with "
			"null intr_handle\n");
		goto out;
	}

	/* check if it will fail to unregister cb with invalid intr_handle */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_INVALID];
	if (rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, NULL) > 0) {
		printf("unexpectedly unregister successfully with "
			"invalid intr_handle\n");
		goto out;
	}

	/* check if it is ok to register the same intr_handle twice */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID];
	if (rte_intr_callback_register(&test_intr_handle,
			test_interrupt_callback, NULL) < 0) {
		printf("it fails to register test_interrupt_callback\n");
		goto out;
	}
	if (rte_intr_callback_register(&test_intr_handle,
			test_interrupt_callback_1, NULL) < 0) {
		printf("it fails to register test_interrupt_callback_1\n");
		goto out;
	}
	/* check if it will fail to unregister with invalid parameter */
	if (rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, (void *)0xff) != 0) {
		printf("unexpectedly unregisters successfully with "
							"invalid arg\n");
		goto out;
	}
	if (rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, NULL) <= 0) {
		printf("it fails to unregister test_interrupt_callback\n");
		goto out;
	}
	if (rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback_1, (void *)-1) <= 0) {
		printf("it fails to unregister test_interrupt_callback_1 "
			"for all\n");
		goto out;
	}
	rte_delay_ms(TEST_INTERRUPT_CHECK_INTERVAL);

	printf("start interrupt enable/disable test\n");
	/* check interrupt enable/disable functions */
	if (test_interrupt_enable() < 0) {
		printf("fail to check interrupt enabling\n");
		goto out;
	}
	rte_delay_ms(TEST_INTERRUPT_CHECK_INTERVAL);

	if (test_interrupt_disable() < 0) {
		printf("fail to check interrupt disabling\n");
		goto out;
	}
	rte_delay_ms(TEST_INTERRUPT_CHECK_INTERVAL);

	ret = 0;

out:
	printf("Clearing for interrupt tests\n");
	/* clear registered callbacks */
	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID];
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, (void *)-1);
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback_1, (void *)-1);

	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_UIO];
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, (void *)-1);
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback_1, (void *)-1);

	test_intr_handle = intr_handles[TEST_INTERRUPT_HANDLE_VALID_ALARM];
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback, (void *)-1);
	rte_intr_callback_unregister(&test_intr_handle,
			test_interrupt_callback_1, (void *)-1);

	rte_delay_ms(2 * TEST_INTERRUPT_CHECK_INTERVAL);
	/* deinit */
	test_interrupt_deinit();

	return ret;
}

static struct test_command interrupt_cmd = {
	.command = "interrupt_autotest",
	.callback = test_interrupt,
};
REGISTER_TEST_COMMAND(interrupt_cmd);

redpajama_set_name: RedPajamaGithub


text:
Posted on January 14, 2022 January 12, 2022 by Bucky O'Hare
Catfish Keith – Land of the Sky | Album Review
Catfish Keith – Land of the Sky
Fish Tale Records
www.catfishkeith.com
Avid Blues Blast readers certainly know who the incomparable Catfish Keith is, he won best Acoustic Blues Album the last 2 years. For anyone not hip, Catfish Keith is one of the most original and exciting acoustic Bluesmen of our time. This is not hyperbole. All one needs to do is listen to the opening 30 seconds of Keith's 20th studio album Land of the Sky to know this is a solo performer of unparalleled mastery, originality and talent. Like all 19 of Keith's previous records, Land of the Sky is a diverse eclectic document of the artist. Ranging from gut bucket to crisp and light, the music of Land is a kaleidoscope of energy all filtered through Keith's voice, guitar and foot stomps.
What sets Keith apart is his jubilant, buoyant spirit that shines out of his exuberant performance. A true guitar master, Keith plays his many acoustic instruments like they are extensions of himself employing a wide variety of techniques to create a vast sonic palette. Interpreting classic songs by Jimmie Rodgers, Rev. Gray Davis, Memphis Minnie, Joseph Spence, Walter Davis, Jimmie Davis (the singing Governor of Texas), Charley Patton and Lil' Son Jackson, Keith's 4 originals sit in complete harmony with the classics. Keith has often said in interviews he views all the songs he performs, original and cover, similarly putting his own stamp on all the music. This plays out with cohesion and seamless flow here.
Land of the Sky is all killer no filler. There are no highlights because each performance is so present, engaging and real. However, a few tracks do illustrate Keith's unique style and talents and are of particular note:
The Joseph Spence vehicle "Bimini Gal" is a calypso variation in which Keith offers a fully in the moment improvisation. A stomping stutter chug that characterizes Bahamian guitarist Spence's style is made terra firma by Keith's incessant foot stomp. The sturdiness of the beat allows Keith to slither, chatter and skate over with pinched harmonic sound effects, slaps and thumps on the strings and the soundboard of the guitar. The vocal performance is so daring and in the moment it is insatiable.
"Santa Claus Blues," Walter Davis' holiday offering, is possibly the darkest and most brooding track here. The deep tuned down sound of the the 12 string guitar removes all the holiday cheer from the arrival of "San-ti-Claus." Allowing the instrument to wallow and plop, Keith plays this 12 bar Blues with a reckless muscular attack. But, again Keith's natural lust for life and overall positivity can't allow even this dark brooder to veer to far a field. There is such joy and zest in the performance that it transcends the holiday season pigeon hole and makes this a year round listen.
Played on a resophonic ukulele, Keith's original "Scoodle Oot 'n' Doo" is a sweet sentimental flourish. The uke riff is so sweet and catchy that if this was orchestrated with a full band it would be an Adult Contemporary hit, the kind of thing Keb Mo' might do. But here in Catfish's hands the repetitive psalm of the song allows for his expressive singing to wring every last emotive drop out.
The final track on the record is an interpretation of the metaphysical master Charley Patton's "Some of These Days." Taken to a crawling tempo, significantly slower than the original, Keith takes his time playing bottleneck slide with expressive vibrato. Keith luxuriates in this emotive strategy of giving this anguished song room to breath and allows his often intricate guitar work to shine.
Catfish Keith puts a lot of effort and thought into his albums. Like an annual Holiday greeting from a distant friend who you don't see often, Keith writes messages in his liner notes and details his thinking behind each song. This year's message finds Catfish and his partner in life and music Penny Cahill hopeful for travel and full of joy.
Land of the Sky is a wonderful reminder of the power and beauty of pure expressive music and another moving chapter in Catfish Keith's mission to spread the shine of the Blues far and wide.
CategoriesAlbum Reviews Tagsacoustic blues, Acoustic Guitar, Acoustic Music, Acoustic Roots Music, Bottleneck slide guitar, Bucky O'Hare, Catfish Keith, Charley Patton, Country Blues, Jimmie Davis, Jimmie Rodgers, Joseph Spence, Lil Son Jackson, Memphis Minnie, Original acoustic music, Rev. Gray Davis, Walter Davis
Previous PostPrevious Issue 16-2 January 13, 2022
Next PostNext Buddy Shute & the Motivators – Bar-B-Que | Album Review


Comedian Mike Birbiglia turned his sleepwalking history into material for a one-man show. A new study bolsters the case that there's a strong genetic component to sleepwalking.
A new study provides strong support for the notion that the tendency to sleepwalk is hereditary, passed from parent to child through some as-yet-unidentified gene.
Compared to children with no family history of sleepwalking, children with one parent who had ever been a sleepwalker were three times more likely to sleepwalk themselves, researchers found. If both parents had a history of sleepwalking, the odds that their child would be a sleepwalker as well rose by a factor of seven.
"These findings point to a strong genetic influence on sleepwalking," the study authors wrote Monday in the journal JAMA Pediatrics.
Sleepwalking, or somnambulism, doesn't always involve walking. A person is said to be sleepwalking if they are performing a complex task -- talking, sitting up in bed, getting dressed -- while in a state of deep sleep, according to the National Sleep Foundation. It is more common in children than adults, though some people never outgrow it.
In addition, when the children were 10, the mothers were asked whether they or their child's father had ever been a sleepwalker.
The researchers found that the prevalence of sleepwalking in children peaked around the age of 10, when 13.4% of children engaged in these nighttime excursions. That figure held pretty steady as children approached their teen years, with 12.8% of 13-year-olds reporting sleepwalking incidents in the last year.
A poor night's sleep can carry far greater consequences for teens than just nodding off in class the next morning.
Altogether, 29% of children in the study said they had sleepwalked at some point in their childhood, according to the study.
When grouped according to family history, the researchers found that 22.5% of children with no family history of sleepwalking became sleepwalkers on at least one occasion. That prevalence more than doubled -- to 47.4% -- among children who had at least one parent with a sleepwalking past and nearly tripled -- to 61.5% -- for children who counted both parents as sleepwalking veterans.
The researchers also found that youths who had suffered night terrors as young children were nearly twice as likely to become sleepwalkers after the age of 5. Unlike nightmares, which cause children to wake up abruptly, children in the midst of a night terror can spend up to 30 minutes crying, screaming and often sweating while they are only partially awake.
If you're in bed reading this, you may feel sleepy tomorrow morning.
It's possible that sleepwalking and night terrors are actually two different manifestations of a single physiological condition, the study authors wrote. Both conditions occur during the sleep stage known as slow-wave sleep, when people sleep deeply and the brain consolidates new memories.
Scientists don't know which gene variants are responsible for sleepwalking, but the study results suggest they could have something to do with regulating slow-wave sleep, the authors wrote.
Even without knowing which particular piece of DNA is passed down from parent to child, simply realizing that sleepwalking has a strong hereditary component can be useful for parents.
"Parents who have been sleepwalkers in the past, particularly in cases where both parents have been sleepwalkers, can expect their children to sleepwalk and thus should prepare accordingly," the study authors wrote.
That means making an effort to shield their children from things that are known to trigger sleepwalking, such as irregular sleep schedules, sleep deprivation and "noisy sleep environments." In extreme cases, parents might even want to invest in a home alarm system to make sure sleepwalking children don't venture outside while asleep.
For more eye-opening stories, follow me on Twitter @LATkarenkaplan and "like" Los Angeles Times Science & Health on Facebook.
Will a smartphone-free bedroom help your kid sleep longer?


text:
Centro de Investigación y Desarrollo en Ciencias de la Salud (CIDICS) de la Universidad Autónoma de Nuevo León, es una institución que provee a la sociedad de infraestructura académica y de investigación en el área de la salud, la biomedicina y la biotecnología.

Tiene su sede en un edificio de seis plantas con 15,500 m², dentro del campus de Ciencias de la Salud de la UANL, en el cruzamiento de las avenidas José Eleuterio González y Dr. Carlos Canseco, en la Colonia Mitras Centro, en la ciudad de Monterrey, Nuevo León, México.

Historia

Su construcción fue iniciada, a propuesta del entonces Secretario General de la UANL y actual exRector Dr. Jesús Ancer Rodríguez y un grupo de distinguidos universitarios en diciembre de 2006. Fue inaugurado el 29 de septiembre de 2009, por el entonces Gobernador del Estado de Nuevo León, Lic. José Natividad González Parás, y el Rector de la UANL, Ing. José Antonio González Treviño (2003-2009).

El CIDICS (antes llamado también CIDCS), fue concebido como un centro multidisciplinario, y desarrolla su trabajo de investigación con el concepto de aglutinar e impulsar las fortalezas de investigación de las Facultades de la UANL en el área de la Salud y relacionadas.

El personal de investigación del CIDICS lo conforman profesores de la UANL, quienes laboran también en las Facultades de Medicina y Hospital Universitario, Odontología, Ciencias Biológicas, Medicina Veterinaria y Zootecnia, Ciencias Químicas, Salud Pública y Nutrición, Psicología, Enfermería, Organización Deportiva, así como con el Centro Universitario de Salud y los Servicios Médicos de la Universidad.

Organización
El CIDICS  funciona con una sencilla y eficaz estructura organizacional  administrativa  que permite más fácilmente la coordinación  de los recursos,  con énfasis en las personas y en los fines sociales de la institución,  por encima de los medios de trabajo o las herramientas.
Su director es el Dr. Jesús Ancer Rodríguez.

Misión

Realizar investigación científica y tecnológica para generar conocimiento aplicado a la solución de problemas prioritarios de salud a nivel local, nacional e internacional. Integrar la investigación básica, clínica y de salud pública que permita el desarrollo científico, innovador y competitivo de la región noreste de la República Mexicana. Vincular el desarrollo de negocios de naturaleza biotecnológica para contribuir a la consolidación de una economía basada en el conocimiento.

Visión
Convertirse en un centro de excelencia, apegado a los más altos estándares de calidad nacional e internacional, para la formación de científicos e investigadores, para la generación y difusión del conocimiento y para el desarrollo e innovación tecnológica, acorde con las necesidades de globalización y en un marco de colaboración internacional que reafirme la calidad científica y tecnológica de la Universidad Autónoma de Nuevo León y posicione al Estado como líder en investigación y desarrollo en salud.

Contexto

El CIDICS está a la vanguardia en el desarrollo y puesta en acción de los instrumentos, tecnologías y herramientas necesarias para comprender, definir y responder a las preguntas esenciales en el campo clínico, la práctica médica y la salud.  El Centro  tiene una amplia gama de acciones, que van desde la salud pública, donde los datos son recogidos y analizados para la creación de políticas públicas pertinentes, a los laboratorios de alta tecnología donde la genómica y la proteómica convergen y permiten el acceso a la medicina personalizada.

Aquí, equipos multidisciplinarios realizan investigación y docencia de posgrado en colaboración con otros centros educativos y de investigación, tanto de la UANL,  como de otras universidades y el sector productivo, nacionales y de otros países.
Jerarquización De Las Responsabilidades

La oficina de la Dirección tiene relación inmediata con la Coordinación Administrativa, a cargo del Ing. Felipe E. Garza García y la Coordinación Académica, cuya titular es la Dra. Dora Elia Cortés Hernández. Existen unidades de Administración del Conocimiento, Relaciones Públicas, Informática e Imagen, oficina de Bioseguridad y los Comités de Bioética, Bioseguridad e Investigación, además de tener un responsable para cada grupo de trabajo establecido en las siguientes unidades de investigación:

El Centro cuenta con los siguientes grupos de trabajo y laboratorios:

- Bioética

- Bio-Imagen

- Unidad de Modelos Biológicos

- Bioseguridad

- CIMAT (una unidad independiente de Bioestadística y Matemáticas, del CONACyT)

- Investigación Clínica y Farmacológica

- Investigación Odontología Integral y Especialidades

- Patógenos Emergentes y Vectores

- Terapia Génica y Celular (Terapia experimental)

- Psicología de la Salud

- Prevención de VIH-ETS (Enfermería)

- Inmunomoduladores

- Influenza y Patógenos Respiratorios

- Administración del Conocimiento

- Biología Molecular, Genómica y Secuenciación

- Neurociencias

- Investigación en Salud Pública

- Vacunología

- Ingeniería de Tejidos

Infraestructura

En su infraestructura de laboratorio, el CIDICS  cuenta con:
- Un equipo de pirosecuenciación y diferentes plataformas para estudios de hibridación genómica comparativa, así como también de microarreglos.
- Plataforma de proteómica para el estudio de proteínas.
- Todo lo necesario para cultivo de células madre y terapia génica.
- Un equipo de trabajo completo para estudios epidemiológicos y de salud pública.
- Diagnóstico molecular de agentes infecciosos relacionados con enfermedades respiratorias, bucodentales, de transmisión sexual, entre otras.
- Un equipo de trabajo para el arbitraje bioético y de bioseguridad de nuestras investigaciones.
- Un espacio de alta tecnología diseñado para el uso apropiado de modelos biológicos.
- Laboratorios para estudio relacionados con problemas del sueño, psicooncología, estrés y adicciones.

El CIDICS cuenta con un Auditorio con capacidad de 200 personas y salas de juntas para el apoyo de actividades académicas y de divulgación científica (congresos, simposios, talleres etc.).

Referencias

Enlaces externos
 Sitio oficial de la Universidad Autónoma de Nuevo León UANL
 Centros de Investigación de la UANL
 Sitio oficial del Centro de Investigación y Desarrollo en Ciencias de la Salud
 CIDICS, Science for our Society
 CIDICS, Revista Ciencia CONOCIMIENTO Tecnología

Universidad Autónoma de Nuevo León
Institutos de investigación de México
Organizaciones fundadas en 2009
Instituciones educativas establecidas en 2009
México en 2009

redpajama_set_name: RedPajamaWikipedia


It does not contain all of the available information. It does not take the place of talking to your doctor.
All medicines have benefits and risks. Your doctor has weighed the risks associated with giving you CHIROCAINE against the benefits he/she expects it will have on you.
If you have any concerns about taking this medicine, talk to your doctor, pharmacist or nurse.
Keep this leaflet while you are being given CHIROCAINE. You may need to read it again.
CHIROCAINE is used to anaesthetise (numb) or make free from pain, specific parts or areas of the body before minor surgery (including surgery to the eye and mouth), and major surgery (including having a baby by caesarean section). CHIROCAINE is also used to help relieve pain during labour and childbirth and after an operation.
Your doctor, however, may have prescribed CHIROCAINE for another purpose. Ask your doctor if you have any questions about why CHIROCAINE has been prescribed for you.
CHIROCAINE belongs to the group of medicines called local anaesthetics. These medicines work by making an area of the body numb or free from pain.
CHIROCAINE is available only with a doctor's prescription.
You have ever had an allergic reaction to CHIROCAINE or any other anaesthetic. Some of the symptoms of an allergic reaction may include rash, itching or hives, swelling of the face, lips, tongue or other parts of the body, shortness of breath, wheezing or difficulty in breathing.
You are pregnant or plan to become pregnant. Your doctor will discuss the risks and benefits of receiving CHIROCAINE when pregnant.
You are breastfeeding or wish to breastfeed. Your doctor will discuss the risks and benefits of receiving CHIROCAINE when breastfeeding.
A condition called hypoxia (lack of oxygen in your blood).
If you have not told your doctor or nurse about any of the above, tell them before you are given CHIROCAINE.
These medicines may affect how well CHIROCAINE works, or may be affected by CHIROCAINE. Your doctor or pharmacist can tell you what to do if you are receiving CHIROCAINE at the same time as you are taking other medicines.
Your doctor or nurse will administer CHIROCAINE, usually by injection through a needle or into a small tube in your back (epidural).
While being given CHIROCAINE, you should drink plenty of fluids or, if you are unable to drink, your doctor will make sure that you receive plenty of fluids.
Your doctor will determine how CHIROCAINE will be given and when it will be given. This may differ from the information contained in this leaflet.
How much will be given?
The dosage for both adults and children will depend on the condition you are being treated for, on your body weight and on your medical condition.
The smallest dose that can produce an effective anaesthesia (numbing of the required area) will be used.
Your doctor will adjust the amount or frequency of your doses according to the degree of numbness required.
If there is something that you do not understand, please ask your doctor, pharmacist or nurse for help.
As CHIROCAINE is given to you under the supervision of your doctor, it is very unlikely that you will receive too much. However, if you experience any side effects after being given CHIROCAINE tell your doctor immediately. You may need urgent medical attention.
It is important that you drink a lot of water while receiving CHIROCAINE to help remove the drug from your system.
Be careful driving or operating machinery until you know how CHIROCAINE affects you. CHIROCAINE may cause dizziness or light-headedness in some people. Tell your doctor if this happens.
How long is CHIROCAINE given for?
Your doctor will tell you for how long you will be given CHIROCAINE. Even if you feel better or improve after a few days, your doctor may continue to give you CHIROCAINE.
Tell your doctor or pharmacist as soon as possible if you do not feel well while you are being given CHIROCAINE.
CHIROCAINE is used to anaesthetise (numb) specific parts or areas of the body.
All medicines can have side effects. Sometimes they are serious, most of the time they are not.You may need medical treatment if you get some of the side effects. Do not be alarmed by this list of possible side effects. You may not experience any of them.
Head ache or back ache after an epidural injection. This may not always be related to the medicine used.
Tell your doctor if you notice anything that is making you feel unwell while you are being given, or soon after finishing, CHIROCAINE, even if it is not on this list.
CHIROCAINE is stored in the pharmacy or on the ward. The injection is kept in a cool dry place and protected from light.
The bags are stored below 25°C.
The ampoules are stored below 30°C.
CHIROCAINE is available in three strengths. 2.5mg, 5.0mg and 7.5mg of clear, colourless levobupivacaine per mL of solution, in plastic ampoules as well as 62.5mg/100mL*, 125mg/100mL* and 250mg/200mL flexible infusion bags that are overwrapped in an aluminium foil pouch.
Each ampoule contains 25mg levobupivacaine as levobupivacaine hydrochloride.
Each ampoule contains 50mg levobupivacaine as levobupivacaine hydrochloride.
Each ampoule contains 75mg levobupivacaine as levobupivacaine hydrochloride.
Each bag contains 62.5mg levobupivacaine as levobupivacaine hydrochloride.
Each bag contains 125mg levobupivacaine as levobupivacaine hydrochloride.
Each bag contains 250mg levobupivacaine as levobupivacaine hydrochloride.
CHIROCAINE also contains water and small amount of sodium chloride, sodium hydroxide and hydrochloric acid.


We Can Re-Do It: The Things We Make!
I was so thrilled to have Amy, of the great blog The Things We Make, include me in an artist feature today. Amy's blog focuses on inspiration in its many forms from art, fashion and crafting to lots and lots of food. If you don't know Amy's blog already, it's time to check it out.
You can read me talking trash, crafts and fashion with her here.
New home project will be up next Tuesday!


text:
Titanic Survivor Astor and Basking Ridge
December 4, 2010 May 19, 2021 Mr. Local History
Noted High Society Playboy and Titanic Survivor Brings Notoriety to Bernards Township.
It's a fun story, but you've gotta hang in there. First we need a little background about John's father, the one who didn't survive the Titanic disaster.
The infamous Titanic
In 1909 John Jacob Astor IV divorced his wife Ava and, two years later, married his eighteen-year-old mistress Madeleine Talmadge Force, which scandalized New York society . Mr and Mrs Astor travelled to Egypt and Paris and, in the spring of 1912, decided to return to America as First Class passengers on board the brand new Titanic, probably because, given that Madeleine was 5 months pregnant, they wanted the baby to be born in America. They boarded the Titanic at Cherbourg.
John Jacob Astor IV
After the accident Astor left his suite to investigate, he quickly returned and reported to his wife that the ship had struck ice. He reassured her that the damage did not appear serious. As his wife boarded a lifeboat, Astor asked if he could accompany her, due to her "delicate condition", but an Second Officer Lightoller refused, reminding Astor of the "women and children only" rule. Taking the refusal like a gentleman, Astor then threw his gloves to his wife, and lit a cigarette. He and his dog were last seen on deck.
Astor died when the iconic ship went down on April 15, 1912. His body was recovered during the retrieval process by the crew of the Mackay-Bennett, on April 22, covered in soot, and partially crushed, leading experts to believe he had been smashed by a falling smokestack. He had $2,500 cash in his pocket. In perspective, that would be like someone walking around today with $65,000 in his pocket!
The body was delivered to Mr N. Biddle and forwarded to New York City on May 1, 1912. He was buried at the Trinity Cemetery (155th Street & Riverside Drive) New York (still the only remaining active cemetery in Manhattan). Madeleine survived to inherit $1.7 million from John, and on August 14th that same year gave birth to John Jacob Astor VI, who would grow up to become a millionaire playboy much like his father.
(Left – Eric Braeden, actor who played Johh Jacob Astor IV in the 1999 film Titanic)
So why do you need to know about John Jacob Astor IV?
The Astors were some pretty prominent people. John Jacob Astor I was the founder of the trust. Yes the trust. He was the first multi-millionaire in the country who built a huge fur trading business after the revolutionary war. Astor later became a NYC real estate baron. (Astoria, Queens ring a bell?) He died in 1848 as the richest man in America with an estimated net worth of over $20 million (est. $110 billion in 2006 dollars).
But it was his great grandson John Jacob Astor IV, also known as Colonel Astor who led this story to Basking Ridge. Astor IV was also a big real estate developer. He built what was known as the greatest hotel in the world, The Astoria, next to his cousin William Waldorf Astoria's The Waldorf. Ironically, the Waldorf Astoria hotel was the hotel used as the emergency information center after the sinking of the RMS Titatic. Keeping the Astors in the news today, it was John's estate on the Hudson , Astor Court (Rhinebeck,NY) that was recently used by the Clinton's for Chelsea Clinton's wedding in 2010.
Brook Astor
Also, you maybe have heard of Brooke Astor, the philanthropist and socialite who died at the age of 105 in 2007 and left a huge amount of money a number of social causes. Her second mariage was to John Jacob Astor IV's first son Vincent Astor (John Jacob Astor VI's brother). She had been previously married to John Dryden Kuser at the age of 16 (1919). John Dryden Kuser was a wealthy prominent resident of Bernardsville, New Jersey. John Kuser's grandfather, John Dryden was founder of Prudential Insurance who also lived in Bernardsville.
His other grandfather Anthony Kuser was President of South Jersey Gas and Electric. Brooke filed for divorce from Anthony in 1930. Kuser's top accomplishment as a New Jersey Senator was legislation naming the eastern goldfinch as NJ's state bird.
Now Bernards Township has a bit of history to share. Known as the town hall today, there is a twenty room English Tudor structure that was built in 1912 and was the home of four wealthy families – Owen, Lee, Bissell and Astor, before it was purchased by Bernards Township in 1968.
John Jacob Astor VI
John Jacob Astor VI was Astor IV's second son. John Jacob Astor VI's, sometimes referred to as "Jakey'" estate was originally built by Samuel Owen (1912) of Newark, a pharmaceutical manufacturer engineer who worked with Sir James Horlick, inventor of malted milk. The entire area was once an apple and peach fruit orchard farm named "Cedar Hill". The Owen family crest still adorns the fireplace wall in the crystal chandelier-ed dining room off to the left of the main entrance. Townspeople were invited to picnic in Owen's woods; 35 acres were planted with 5,000 peach and 1,500 apple trees. For those who live in the area, you now know how the nearby elementary school Cedar Hill got its name.
Trustees of the Owen estate then sold the property to Mr. and Mrs. George Ludlow Lee Sr. in 1940. Mr. Lee was owner/treasurer of the Red Devil Tool Company of Irvington, 1937-1950; he later became chairman of the board, renamed Red Devil, Inc., now located in Union, N.J. Mr. Lee served on the Bernards Township Planning Board and was its vice-chairman in 1944. He and his wife, Dulcinea Harrison Smith Lee, continued operation of the flourishing fruit farm, where local markets and roadside stands were supplied with the produce. Now you should know how the Ridge "Red Devils" got their name. George Ludlow Lee Sr. later lived on Chapin Road in Bernardsville before before his death on August 9, 1966 while on vacation in Portland, Maine. He died at the age of 65.
After the Lee's, Mr. and Mrs. Bissell then owned the estate. They renamed the estate "Maple Way" and lived there from 1946-1950. Mr. Bissell was executive vice-president of the Continental Grain Company in New York City.
What is now Bernards Twp Town Hall, children from nearby Oak Street School celebrate the 250th anniversary of the township in 2010 with a mural containing the iconic building once owned by the Astors.
The Bissell's sold the property to John Jacob Astor VI in 1950. You remember, John VI was still in utero in his 18 year old mother Madeleine's womb narrowly escaping death on the Titanic thanks to the "Women and children first" rule. Why a New York Playboy, at the age of 38 wanted the home back in the family is a guess. He got divorced for the 4th time in 1954, just four years after buying the property and it was noted that the property lay unoccupied for almost 8 years. Maybe a reason he repurchased the family home in the country is because he was ousted from many of the social registers (noted in NY Times in 1954) and needed a quiet place to hide out. Might have also had something to do with Brooke Astor, since she certainly was familiar with the area.
Ah, but years earlier, back in the early 1940, Astor had a huge tract of land where the present Lord Stirling stables reside. The Astor's built a barn and raised dairy cattle until the 429-acre Astor property was purchased by the Somerset County Park Commission on December 21, 1967. The county purchase was to fulfill the Park Commission Master Plan designating that a riding stable be built in the northern part of Somerset County. Lord Stirling Stable opened on the site in the spring of 1969 with 30 horses.
The hilltop home and 28 acres were purchased from John Jacob Astor 6th by Bernards Township in 1968 for $140,000. That was the last of the Astor's holdings in the area.
It was probably soon after that the beautiful antenna was added.
Bernards Township Town Hall – 2008
The historic estate was part of the 2010 Historical Society of the Somerset Hills Holiday House Tour.
We've preserved the story and image of the grand Astor Estate in our gift shop.
Bernards Township, History, People, Township HistorianAstors of Basking Ridge, Basking Ridge History, Basking Ridge Titanic, Bernards Township History, Jacob Astor Basking Ridge, Richest man in Basking Ridge, Titanic baby, Titanic Basking Ridge survivor, Titanic survivors
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The ability to get into the Flow makes personal peak performances possible. For the Flow state to occur the conditions must be set for it to emerge. You need to have the discipline to focus, then dive totally into what you're doing and surrender.
The Flow Venn Diagram T shirt is printed on a super soft blended T. True to size, printed in the USA.


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Film & TVFeature
TextKemi Alemoru
Jonah Hill and Emma Stone in Maniac will make you question what is normal
With all of the show's quirks and the characters' flaws, this Netflix show plays with the notion of reality
Maniac5
What's a more attractive proposition than a magic pill that can solve all problems of the mind? Whether that's anxiety, a bad habit, procrastination, or heartbreak, "it doesn't matter," says Justin Theroux, in his role as Dr James K. Mantleray, speaking from a sterile lab. "We can fix you." The plot of Maniac, Netflix's new surreal black comedy, follows two damaged protagonists, Owen Milgrim (Jonah Hill) and Annie Landsberg (Emma Stone), as they take part in this magic drug's clinical trial.
Most people, you could assume, would be lying if they said they hadn't wished for a quick fix for at least one of the above once in their life. Yet, when asked what problems he'd use the pill to solve, Maniac's director Cary Fukunaga smirks. "I'm pretty content with my dysfunction," he says. "I've always been that way. When I was in college, people used to do lines of Ritalin to write papers. I let them do that and I struggled on writing my shitty paper." This is the ethos that underpins the series, which is ambitious in its unrelenting peculiarity.
The show is "pretty confusing", by Fukunaga's own admission, but in an attempt at summary: throughout the ten episodes, you're forced to acquaint yourself with a new normal with each instalment. Owen and Annie's bodies mostly lay dormant, but their consciousnesses race through an eclectic mix of time periods and locations in elaborate delusions and dreams. But even in their 'real' world (or "base reality"), everything is a little… off. While the series traverses the vast space of the mind, Dazed meets the cast and crew in far more regular circumstances – the Corinthia hotel in Westminster – to unpick the the series.
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"It's set in a retro future, so all the technology looks like we made a departure somewhere in the 80s," Fukunaga explains. It's a warped vision that comes straight from the minds of esteemed novelist Patrick Somerville, and Fukunaga, who wrote the latest IT film, and is most-known for his award winning stint directing the first season of True Detective.
Fukunaga says he and Somerville would speak for hours on the phone, fretting over the minute details of creating a vivid alternate reality. "There's lots of little things that are like placed in the background. It's purposeful and planned," he explains. The consequence is that, as a viewer, you're never quite at ease, because if you're not focussed you could miss something vital. It's difficult not to get distracted by the dialogue between two characters when you notice there's a little poop-scooping bot picking up dog droppings in the background, or when you overhear a tour guide pointing to New York's famous monument, "the Statue of Extra Liberty". In that way, the audience is made to feels like Owen mid-psychosis, trying to figure out what is real, normal, and right. And it makes for gripping viewing.
Superbad alumni Emma Stone and Jonah Hill star alongside each other for the first time since the 00s comedy. Stone is as awkward and funny as you'd expect in person, but her performance in the series is a major deviation from her normal roles. Annie has been abusing a drug that makes you revisit your most traumatic memories. She spends some of her first moments on screen threatening to hurt a woman's children if she doesn't get her hands on what she needs.
The same can be said for Hill, usually a charismatic on-screen funny man who, in Maniac, is reduced to a timid and uneasy late bloomer. Owen's character's psychosis leads him to become obsessed with patterns, and he feels harassed by a fictional man that tells him that following the pattern will save the planet. It's brave to cast two well-known funny people and make them miserable, but Somerville says the decision to make them veer away from their roster was intentional, as everyone wanted "that feeling of newness". As such, both actors essentially play a different character each episode, as they work through the dream-like narratives to unpack their trauma. "That was the fun of it," says Stone, "going deeper into a character and having that be represented through five different people with Annie lying underneath all of them dormant." It also goes some way towards making you accept that if you want to engage with Maniac, you need to be willing to accept a new normal.
The expansive storyline covers grief and mental health, as well as the relationship between humans and technology. Unlike other Netflix shows, like Insatiable, She's Gotta Have It, 13 Reasons Why, the mental health issues the characters face are secondary to the elaborate plots that take centre stage. Instead, the writers set themselves the difficult task of juxtaposing these issues with comedic surrealism. "We both immediately agreed that we couldn't base the humour of our show on the illness of our patients in the mental hospital," Fukunaga explains. "We wanted to have a sense of compassion about that and base the humour on something more situational." That's why viewers watching the dramatic death of one of the doctor's in the trial will laugh throughout the scene – Annie is preoccupied trying to find more drugs, while Owen tries to tell her how he feels like his whole family thinks he is a joke. It's bizarre. "There's a lot of characters who give relief to the intensity of some of the themes that are in the show," he adds.
Maniac feels like a challenge. Not just for the cast and crew, but for the audience, who are constantly told to strive for normality and perfection in their own lives, and might not always pay attention to the quirks that make them unique. The show puts the dysfunction of the human condition under such a magnifying glass that, watching it, you might begin to question whether our individual quests for normality are ultimately futile. Everyone has their quirks and faults. Which brings us back to the idea of the magic pill. "Hopefully what comes out of the show is the idea of – do problems need fixing?" concludes Somerville. "Maybe that shouldn't be what people focus on in the first place."
Film & TVFeatureNetflixEmma StoneJonah Hill
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If you have a keyed deadbolt lock on the interior side of an exterior door I would suggest replacing this with a hand operated deadbolt. If these are used they can be a major safety concern to the occupants of the home. Why is that? In the case of an emergency if you do not have the key there is no way to open the locked door. Case in point… A fire starts in the middle of the night in the mechanical room. This room is located right below the stairs. Fire has engulfed the stairway and the only keys for the basement door are located upstairs. You can't get to them. Now the basement door to the exterior is locked and you cant get out. If your an adult it might be easy to walk over to a window and break it out. What if you are a 5 yr old? Window glass can be surprisingly strong and this combined with the panic of a fire situation could result in disaster for young children. Spend the $50 and get a typical deadbolt with a handle on it so it can be opened easily.


The Government of Canada and the Canada Research Chairs Program (CRCP) are committed to excellence in research and research training for the benefit of Canadians. Achieving a more equitable, diverse and inclusive Canadian research enterprise is also essential to creating the excellent, innovative and impactful research necessary to seize opportunities and for responding to global challenges. As such, the program is committed to the federal government's Policies on non-discrimination and employment equity.
All institutions that accept agency funding must make concerted efforts to meet their equity and diversity targets, and provide a supportive and inclusive workplace, while complying with the CRCP Equity, Diversity and Inclusion Requirements and Practices.
To this end, HEC Montréal has developed an Action Plan to Promote Equity, Diversity and Inclusion in Research entitled "Equity, Diversity and Inclusion: Keys to Excellence in Research" that will address the under-representation of the four designated groups (women, Indigenous peoples, persons with disabilities, and members of visible minorities.) when allocating its Canada Research Chairs.
Gilbert Laporte, Holder of the Canada Research Chair in Distribution Management and Full Professor (Department of Decision Sciences), appointed by the Assembly of Professors.
During the drafting of the action plan, this committee worked closely with a professor and an officer representing two of the designated groups, i.e., a woman (Caroline Aubé, Holder of the Chair in Management and Work Team Effectiveness and Full Professor (Department of Management) and a visible minority person (Bernard Bizimana, HEC Montréal Library Director). Furthermore, since there are no professors or officers in the School who voluntarily declared themselves to be either an Indigenous person or a person with disabilities, the committee requested a representative from the Human Resources Office (Geneviève Lutz, Director - Organizational Development and Quality of Life in the Workplace) to closely monitor the issues related to these two designated groups.
You may consult the Action Plan by clicking on the following link: Action Plan to Promote Equity, Diversity and Inclusion in Research at HEC Montréal developed for the Canada Research Chairs Program.
HEC Montréal believes that diversity is a source of wealth that should not be the subject of any compromise. This is why the School fully adheres to the principles of equity, diversity and inclusion. Its commitment is clear: all qualified candidates have an equal opportunity to hold a School or Canada Research Chair, regardless of their gender, race, disability or ancestry.
To this end, HEC Montréal has developed ambitious strategies to create an inclusive workplace and address any disadvantages faced by designated groups within its research and knowledge transfer community.
Therefore, this action plan serves as a benchmark for all the efforts made by HEC Montréal to honour this commitment.
The Action Plan for Equity, Diversity and Inclusion in Research at HEC Montréal entitled "Equity, Diversity and Inclusion: The Keys to Excellence in Research" is the result of an extensive consultative process.
The development of this action plan provided an opportunity for HEC Montréal to study its current practices in the recruitment, selection and retention of its researchers, and to also identify the progress, challenges and opportunities ahead.
This state of affairs led to the development of three priorities based on hard-hitting objectives. In order to meet these objectives, HEC Montréal has developed a strategic plan consisting of a series of tangible and measurable actions. This action plan, which is much more than just a list of objectives and strategies, is consistent with HEC Montréal's tradition of excellence and serves as a source of inspiration for the entire academic community.
Relevance and Boldness: Foster a proactive and innovative research community by encouraging researchers to prioritize research that contributes to business development and the betterment of society.
Commitment: Highlight the individual and collective commitment of members of the HEC Montréal community in the business world, academia and society, so that a maximum number of people can reap the benefits of a research and knowledge transfer ecosystem that is equitable, diverse and inclusive.
Rigour and respect: Create a climate of intellectual rigour, collegiality, collaboration, integrity and respect at every level of the institution.
Objective 1: Expand the pool of qualified researchers who fully represent excellence and diversity.
Objective 2: Ensure that information and awareness resources are in place to promote and support an equitable, inclusive and diverse environment across the entire campus.
Objective 3: Meet the equity, diversity and inclusion targets as calculated by the CRCP.
Objective 4: Establish processes to address and report concerns regarding equity, diversity and inclusion.
Objective 5: Foster a climate conducive to equity, diversity and inclusion within the entire HEC Montréal community.
a chairholder from the School appointed by the Assembly of Professors (renewable term of two years).
Action Plan for Equity, Diversity and Inclusion in Research at HEC Montréal entitled "Equity, Diversity and Inclusion: Keys to Excellence in Research", developed for the Canada Research Chairs Program.
Given its small number of Canada Research Chairs (CRC), HEC Montréal has easy access to data regarding its chairholders and their identity as part of a designated group. The equity targets for HEC Montréal's Canada Research Chairs consist of allocating two chairs to women and one to a visible minority person, out of a total of seven chairs. Following the allocation of three CRC in 2018-2019, HEC Montréal has met two of these three targets, with two new chairholders from the designated groups (one woman and one visible minority person). During the renewal of the CRC, the School will aim to meet the targets required by the CRCP.
A process for reporting and managing complaints related to equity, diversity and inclusion will be but in place in the next few months. In the meantime, the Director of Research and Knowledge Transfer has been designated to address any complaint and inform senior managment during Executive Committee meetings, which take place every two weeks.
The equity targets for HEC Montréal's Canada Research Chairs consist of allocating two chairs to women and one to a visible minority person, out of a total of seven chairs. Following the allocation of three CRC in 2018-2019, HEC Montréal has met two of these three targets, with two new chairholders from the designated groups (one woman and one visible minority person). During the renewal of the CRC, the School will aim to meet the targets required by the CRCP.
HEC Montréal has always focused specifically on challenges related to equity, diversity and inclusion, especially in the formulation of its regulations that frame research and knowledge transfer.
The School is committed to reintegrating a professor upon his return from leave without pay (maternity or paternity leave, for example) in the same rank and in the same position, without penalties.
2. Regulations on appointments and promotions of professors.
These regulations, which govern the aggregation and tenure processes for professors, stipulate that paternity or maternity leave and leave without pay are not reflected in the service records. These provisions are in place to establish clear guidelines, but the School remains flexible in the application of the regulations in order to grant everyone fair treatment and equal access to opportunities for advancement.
HEC Montréal has established certain guidelines to oversee research chairholders and to facilitate their integration into the workplace. HEC Montréal ensures the presence of Research Chairs (including Canada Research Chairs) in these three research areas of the strategic plan, thereby creating a stimulating framework for its chairholders.
The Research and Knowledge Transfer Office ensures this policy is implemented and respected, makes sure that the decisions taken by HEC Montréal's Chairs Committee are implemented, and is responsible for the commitments made by the School for all the chairholders. For instance, for each chair, the university budget provides scholarships for doctoral students and all chairholders have access to office space, equipment and the required administrative support.
The Policy on the Management of Chairs provides for a reduction of the teaching load for all research chairholders (paid from the funds of the Canada Research Chair, based on the professor's salary). However, this release may not exceed two courses per year in order to allow HEC Montréal students to benefit from the expertise of its researchers. This measure greatly facilitates the integration of chairholders within the School.
The Policy on the Management of Chairs also establishes a protocol for the creation, in specific cases, of an Advisory Committee whose role is to support and advise the chairholder.
Each chair also undergoes rigorous, periodic assessments by the Chairs Committee.
By overseeing the work of the chairholders, HEC Montréal strives to create an open and transparent research environment within which a culture of equity, diversity and inclusion takes root.
The rules governing the HEC Montréal faculty members are outlined in this policy. These rules are based on collegiality and judgment by peers. These peer review practices are the ultimate safeguard against the gaps that undermine the moral and ethical values of the institution.
HEC Montréal's policy is to provide fair and equitable compensation to its employees in return for the work they perform. For this, the School's remuneration is based on the principles of internal equity and ensures compliance with the principles of the Act. A point-factor method has been chosen for evaluating all the jobs in the School because it is neutral, analytical and systematic in nature. All jobs are therefore evaluated on 18 factors and the result of the evaluation determines the salary class of the job.
The corridor of flexibility is not being currently used, since, owing to its size, the School already has three Special Chair allocations.


text:
Liste der Bodendenkmäler in Rott steht für:

 Liste der Bodendenkmäler in Rott (Landkreis Landsberg am Lech)
 Liste der Bodendenkmäler in Rott am Inn


text:
A teen living under house arrest becomes convinced his neighbor is a serial killer.
All TerritoriesDomesticArgentinaAustraliaAustriaBelgiumBrazilBulgariaCentral AmericaCentral America+ChileColombiaCroatiaCyprusCzech RepublicCzech Republic/SlovakiaDenmarkEast AfricaEcuadorEgyptEstoniaFinlandFranceGermanyGreeceHong KongHungaryIcelandIndiaIndonesiaIsraelItalyJapanJordanLatviaLebanonLithuaniaMalaysiaMexicoNetherlandsNew ZealandNigeriaNorwayPeruPhilippinesPolandPortugalRomaniaRussia/CISSerbia and MontenegroSingaporeSlovakiaSloveniaSouth AfricaSouth KoreaSpainSwedenSwitzerlandTaiwanTurkeyUkraineUnited Arab EmiratesUnited KingdomUruguayVenezuelaVietnam
International (32.1%)
DistributorDreamWorks
Release DateApr 13, 2007 - Aug 2, 2007
GenresCrime Drama Mystery Thriller
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Jul 8, 2007 Sunday 22 $71,312 -42.7% +17.6% 283 $251 $79,305,519 87 false
Jul 9, 2007 Monday 22 $36,408 -48.9% -14.4% 283 $128 $79,341,927 88 false
Jul 10, 2007 Tuesday 22 $37,313 +2.5% -44.5% 283 $131 $79,379,240 89 false
Jul 11, 2007 Wednesday 22 $37,308 <0.1% -9.3% 283 $131 $79,416,548 90 false
Jul 12, 2007 Thursday 21 $38,255 +2.5% -25.7% 283 $135 $79,454,803 91 false
Jul 13, 2007 Friday 26 $65,171 +70.4% -38.6% 232 $280 $79,519,974 92 false
Jul 14, 2007 Saturday 26 $82,020 +25.9% -34.1% 232 $353 $79,601,994 93 false
Jul 15, 2007 Sunday 27 $52,908 -35.5% -25.8% 232 $228 $79,654,902 94 false
Jul 16, 2007 Monday 27 $28,382 -46.4% -22% 232 $122 $79,683,284 95 false
Jul 18, 2007 Wednesday 27 $27,909 -9.5% -25.2% 232 $120 $79,742,028 97 false
Jul 19, 2007 Thursday 26 $28,744 +3% -24.9% 232 $123 $79,770,772 98 false
Jul 21, 2007 Saturday 29 $45,130 +25.7% -45% 190 $237 $79,851,807 100 false
Jul 22, 2007 Sunday 29 $34,656 -23.2% -34.5% 190 $182 $79,886,463 101 false
Jul 23, 2007 Monday 27 $19,897 -42.6% -29.9% 190 $104 $79,906,360 102 false
Jul 24, 2007 Tuesday 27 $21,175 +6.4% -31.3% 190 $111 $79,927,535 103 false
Jul 25, 2007 Wednesday 27 $21,146 -0.1% -24.2% 190 $111 $79,948,681 104 false
Jul 26, 2007 Thursday 27 $21,323 +0.8% -25.8% 190 $112 $79,970,004 105 false
Jul 27, 2007 Friday 30 $24,168 +13.3% -32.7% 155 $155 $79,994,172 106 false
Jul 28, 2007 Saturday 29 $32,111 +32.9% -28.8% 155 $207 $80,026,283 107 false
Jul 30, 2007 Monday 27 $13,942 -41.6% -29.9% 155 $89 $80,064,113 109 false
Jul 31, 2007 Tuesday 28 $13,773 -1.2% -35% 155 $88 $80,077,886 110 false
Aug 1, 2007 Wednesday 27 $14,103 +2.4% -33.3% 155 $90 $80,091,989 111 false
Aug 2, 2007 Thursday 27 $14,712 +4.3% -31% 155 $94 $80,106,701 112 false


Pipeline Coatings Discussion: Protal 7200 - How Do I Reduce Waste?
Protal 7200 - How Do I Reduce Waste?
Every epoxy manufacturer our there will tell you to anticipate as much as a 35% waste factor when calculating how much two part epoxy you will need for your pipeline coating job (see a usage chart here). This can be a hard pill to swallow! If you're paying $40 or more per liter, 35% can quickly add up to an astounding number! (On a quick side note, if you're paying $40 per liter, please give us a call the next time you need a liquid epoxy pipeline coating because you are not buying through the proper channels!).
So in this article, I'm going to be discussing some of the ways you can maximize that liter of Protal 7200 and maybe even get your wastage number down to a less painful level. There will always be SOME waste, that is just the nature of liquid epoxies given that they do have a limited pot life due to their curing nature.
The biggest danger to waste (ie - Protal 7200 epoxy curing in the can; unused) is down time. Anyone who has ever been on a pipeline spread knows that there is going to be down time. But we've got to minimize it as much as we can. As an example, if you're going to be coating field joints on a 12" pipe (in this case: not a road bore), then in a perfect world you are hoping to get 3 field joints coated with each Liter of Protal 7200. So, before you even open the lid on that 1 Liter kit of Protal 7200; you'd better be absolutely CERTAIN that you've got 3 field joints welded; preheated and cleaned. Otherwise, you're just giving your money away. I'll repeat: THREE FIELD JOINTS READY TO GO before you even pop the lid on that Protal kit.
After the pipe has been welded, preheated and blasted clean (proper surface preparation is vitally important prior to applying any pipeline coating), there is probably going to be SOME temperature to that steel that is higher than the ambient weather conditions. Here is the interesting thing about epoxies: Their 'thickness' is going to vary depending on temperature; very much like honey. Picture a cold morning: you're eating your breakfast outside at deer camp. You reach over to where the honey sat on a table all night and it is COLD (say 40 degrees F). You turn up the honey and....nothing. It isn't flowing at all. You squeeze the tube and find that it is hard to squeeze! You've practically got a block of cement in there!.
Now picture the same thing, but the weather is different. It is a HOT, HOT Houston summer afternoon and that honey has been sitting in the sun all day. You tip up the honey and it pours out faster than you can blink; spilling all over your plate. Now you've got a mess on your hands!
In any case, you can control (to some degree) what the temperature of your pipe is when you begin brushing on the Protal 7200. If you start applying it when the pipe is 190F, the epoxy is going to get very thin. The epoxy is going to run off the pipe faster than you can work it and you're going to end up with a patch of ground that is the color of Protal 7200. Pipe too hot = high waste factor as epoxy ends up running down on the ground.
If, on the other hand, you've got a pipe that is COLD to the touch (say 75F - quick disclaimer - installing on a hunk of 75F steel would not be recommended) then the Protal 7200 is going to go on VERY thick. It won't hardly move at all, which means it is difficult to work, which means the pot stays full longer and means that your coating thickness is probably going to significantly exceed the thickness required in the specification. Longer install time (due to cold pipe) = waste factor as Protal cures in the pot. A single coat that is drastically thicker than what is required in the specification = waste as you're putting 60 mils on a field joint instead of the required 25 mils (50% waste!).
Having one of these on site can ultimately save you a LOT of money!
This builds just a little bit on the last point. If you want to minimize your waste with the Protal 7200, you absolutely MUST know two things: 1. What is the specification thickness required and 2. How thick am I putting it on? If you don't know two things; you've got a lot of problems - and waste is only one of them.
So, every crew needs to have a wet film gauge. If the spec calls for 25 mils; there is no reason to be putting on 60 mils. I know it sounds simple, but there are a lot crews out there wasting large amounts of epoxy because they don't have a way to measure their work! Insanity! Say you can buy a wet film gauge for $15. That wet film gauge will last FOREVER as long as you don't lose it (and as long as you wipe it off after every use). That wet film gauge might pay for itself over the course of 2 Liters of Protal 7200!!! Imagine the savings it could offer on a project where 15,000 Liters are used! Such a simple thing. Such a fantastic investment. Why aren't you buying a box of wet film gauges for every project?
Anytime you're working with Protal (or any epoxy) you need to be sure you're mixing properly. If you don't mix evenly; you are probably going to get a different (sometimes significantly) pot life than projected. This can cause all kind of problems. In addition you want to make sure you are not mixing in a way that fills your epoxy with air bubbles - boy will that slow down a job - resulting in epoxy curing in cans - wasting your money. At the same time though, you need to mix that Protal quickly! Mixing for 15 minutes instead of 10 has just wasted 5 minutes of your pot life. Now you're going to have to work quick.
5. Get Your Crews Trained!!
All of these points that I've listed would be covered in a training session. Yes, sometimes a training session costs money (it all depends on job size, location, notice, length, etc). But those training costs (if you even had to pay them) truly pay for themselves over the course of a pipeline job. Better trained crews absolutely lead to less Protal waste. Better trained crews lead to fewer repairs (and fewer repair costs). Better trained crews lead to faster field joint coating time (which means less labor cost). Better trained crews leads to fewer problems with inspectors (which means less labor and less repair costs).
Getting your crews properly trained is beneficial on every single level. So put in that phone call today. Ask if your next project can kick off with some product training. It will more than pay for itself in the long run.