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Joan Conrow
Musings, etc.
Filmmakers distort GMO ag in Hawaii
May 17, 2017 May 17, 2017 Joan Conrow
Hollywood has a long history of romanticizing and misrepresenting Hawaii. Now indie directors are getting into the act with a slew of "documentaries" that gravely distort agriculture in the Islands, most especially the GMO seed crops.
These flicks have become so common in recent years — not coincidentally coinciding with the rise of the anti-GMO movement in Hawaii — that they're in danger of creating a whole new genre: earnestly erroneous docudramas. They all follow the same cookie-cutter formula: "Paradise" is being "poisoned" by multinational chem companies, and it can be saved only by white knights (read Caucasian activists) and a return to ancient agricultural practices.
Though most of the filmmakers are unknowns, actor Pierce Brosnan's wife Keely recently got into the act with "Poisoning Paradise," as did pro surfer Cyrus Sutton with "Island Earth."
You might reasonably ask what a celebrity's wife and a surfer know about agriculture. The answer, upon viewing their films, is very little.
But that's OK, because these movies aren't really about farming. They're about promoting an ideology — a romanticized, Utopian view that the world can be fed from backyard plots, without pesticides, using traditional methods that have been largely abandoned in favor of practices that are far more efficient and less labor intensive.
Ill-informed surfers opine about farming in Sutton's new flick. Photo by Island Earth.
Because who really does want to spend their time toiling in the hot, humid tropics growing the traditional Hawaiian food source, taro? Certainly not foodies. Or celebrity wives. Or surfers. Which is why taro production has plummeted and Hawaii imports so much farm labor from Micronesia, Mexico and the Philippines.
What's annoying, though, is that these filmmakers feel they must trash modern agriculture, especially biotechnology, in order to advance their ideology. Which does make sense when you consider it's a lot easier, and more fun, to make a movie than to actually put a farming philosophy into practice — despite all the rhetoric about waging a "food revolution."
Still, it sounds so hip to preach, as Sutton and others do, about the social injustice of Hawaii importing 90 percent of its food while the evil chem corps grow seeds; the environmental travesty of poisoning a pristine island ecosystem with pesticides as citizens valiantly battle the marauders.
The reality however, is something very different. Hawaii hasn't fed itself since the early 1960s, when the advent of refrigerated cargo containers and jet travel made it much cheaper to import food than produce it locally. Meanwhile, the Islands have thousands of acres of fallow farm land, much of it state-owned, where the activists could put their bucolic dreams into practice — if only they were willing to do the work.
And yes, the ancients did manage to feed themselves because the entire population devoted much of its time to producing food; they cultivated every inch of available land (to the detriment of low-elevation forests and endemic species); they ate a limited diet that most modern folks would reject, and they didn't have to feed 8 million tourists annually. Sutton's romanticism aside, Hawaii is never going back to the days of olde.
What's more, the seed companies have been a part of Hawaii agriculture for half-a-century, and nobody said a peep until the anti-GMO movement turned its sights on the Islands, intent on destroying the parent seed production that is carried out there.
So they started spreading a lot of lies that Sutton and his fellow filmmakers regurgitate without question, along with the sites that promote their movies. Which is why we have Sutton and GrindTV saying that Kauai school children were poisoned by seed company pesticides — that never actually happened — and Sutton and Modern Farmer claiming that the seed fields are used to test restricted use pesticides.
Wrong. Pesticide testing is done in closed facilities on the mainland. Hawaii's land is used to grow hybrid and GMO parent seed, which is shipped to breeders all over the world, and to test the efficacy of various traits as they're grown out in an actual field setting.
The filmmakers also trot out the same cast of characters — ill-informed surfers, failed politicians, Earthjustice attorneys, Center for Food Safety lobbyists and a few token Hawaiians who have become the indigenous poster children of the anti-GMO movement — to claim that they and the aina (land) are being poisoned by these companies.
Except the antis never been able to present any evidence of health harm — save for one dubious hair sample — or environmental damage. Indeed, a state survey found urban Honolulu streams, not farm areas, had the highest concentration of pesticides. And pesticides used to treat termites turned up far more often, and in far greater quantities, than ag pesticides, in the multi-year, statewide water samples collected by Surfrider.
We never hear, in these movies, from the many locals and Hawaiians who willingly and happily work in the seed fields, and chafe at allegations that they're harming the land and their fellow citizens. We never hear how the seed companies support food production by growing their own crops, sub-leasing fields to small farmers and maintaining irrigations systems. We never hear that all the leading scientific agencies agree that GMO foods are safe. And we certainly never hear how some GMO seeds actually reduce pesticide use.
Food crop being grown on Pioneer's Oahu seed farm. Photo by Alika Napier
That's because the indie filmmakers have a specific narrative to advance, and they're sticking to it, regardless of inconviences like reality and facts.
In his interview with Modern Farmer, Sutton claimed:
Making this movie, I tried to check my biases at the door. I've learned since making this film that to say GMOs are bad is akin to saying something like a computer or cellphone is inherently bad because it gives off radiation, or that nuclear power is bad. I don't think we're going to get very far in the conversation if we villainize a specific technology, but I am deeply concerned by our society's deployment of those [GMO] technologies. These companies hold up niche applications of GMO technology, like golden rice or the GMO papaya, as potentially feeding the world, but the vast majority of its use is to create resistance to proprietary blends of chemicals, and this is all being tested in Hawaii. As a storyteller, I needed to cut through that greenwashing and let people know what's actually going on.
Unfortunately, Sutton failed to check his biases, cut through the greenwashing of the anti-GMO movement or let people know what's actually going on in the Islands. Instead, he – and the other filmmakers who have flocked to the Islands to tell the same canned story — advance a false, simplistic narrative that is just as damaging to Hawaii as the phony concepts used to promote mass tourism.
Which is partly why I produced Hawaii GMO Papaya: Real Solutions, Real Lives as an antidote.
Published by Joan Conrow
Writer. Thinker. Multimedia communicator.	View all posts by Joan Conrow
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1 thought on "Filmmakers distort GMO ag in Hawaii"
Bradley choquette (@Bradleychoquet2) says:
Boy, for "poisoned" ground, Pioneer grows really good looking lettuce.


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September 21 2019, 12:01am, The Times
Cult of gender identity is harming children
The idea that biological sex can be ignored is now so pervasive that the BBC is peddling it to primary school pupils
How do I know I'm a woman? Because I have female biology: a uterus and ovaries? Or because I like "feminine" things: sparkly clothes, make-up, vamping about. What if they appeal less than "masculine" stuff: muddy sports, short hair, boots. Am I then not a woman, but some in-between gender? Should I demand that the world calls me not "she" and "her", but "they" and "them"?
The Oscar-winning singer Sam Smith, a gay man, has "come out" as non-binary because, rehearsing a dance routine, he discovered a "vivacious woman inside my body". He said of his fat-deposits: "There's a bit of a woman in me who won't let me look like that. I put on weight in places women put on weight. That spring-boarded everything."…

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About IUPUI
Jaguar Life
IUPUI Newsroom
IUPUI Newsroom »
Tom Sachs exhibition opens at Herron School of Art and Design
INDIANAPOLIS -- Tom Sachs' "Radiant City: Paintings 2006-2016" opens at the Herron School of Art and Design on Jan. 11.
The exhibition encompasses nearly two decades of works by the internationally renowned artist. Comprising the first-ever survey exhibition of his paintings, "Radiant City" brings together more than 25 works that showcase the central themes of his art: consumerism, space exploration and cultural progress.
The free exhibition, in the Berkshire, Reese and Paul galleries at Eskenazi Hall, 735 W. New York St., opens with a reception from 5:30 to 8:30 p.m. Jan. 11 and runs through Feb. 18.
Sachs is known for objects and expansive installations that playfully reimagine -- and provocatively riff on -- modern life. This unprecedented exhibition traces his interest in combining pop icons and corporate logos with a handcrafted aesthetic. Herron gallery director Max Weintraub describes Sachs' mining of pop culture as "navigating the fault lines between the handmade and the mass-produced."
Sachs will give an artist's talk at 5:30 p.m. Jan. 25 in Room 450 of the IUPUI Campus Center, 420 University Blvd. This event is free and open to the public, but space is limited. To reserve seats, RSVP to hgallery@iupui.edu with the subject line reading "Sachs Talk."
The exhibition and artist's talk are made possible in part by the generous support of Julie and David Eskenazi.
About Tom Sachs
Tom Sachs was born in New York in 1966. He has had solo exhibitions at the Brooklyn Museum, the Contemporary Austin, Deutsche Guggenheim (Berlin), Aldrich Contemporary Art Museum (Connecticut) and Fondazione Prada (Milan). His work is in numerous public collections, including the Solomon R. Guggenheim Museum (New York), San Francisco Museum of Modern Art, Whitney Museum of American Art (New York) and Centre Georges Pompidou (Paris). Sachs lives and works in New York.
Also opening Jan. 11:
"Staging Silence (2)," a film by Hans Op de Beeck, opens in the Marsh Gallery, continuing through Feb. 25. In this first Indiana presentation of the Belgian artist's film installation, the real and the imaginary fuse as anonymous hands assemble miniature dioramas of timeless, dreamlike settings.
"Close Reading," work by Herron faculty members Jean Robertson and Craig McDaniel, opens in the Basile Gallery, continuing through Jan. 31. The exhibition explores the relationship between visual and verbal modes of communication and the expression of meaning.
About the Herron galleries:
Herron's galleries showcase the artwork of emerging and established contemporary artists and designers, serving the community as a vibrant site of exploration, participation and learning. All Herron exhibitions and artist's talks are free and open to the public.
Monday-Tuesday: 10 a.m.-5 p.m.
Wednesday: 10 a.m.-8 p.m.
Thursday-Saturday 10 a.m.-5 p.m.
Parking is free, courtesy of The Great Frame Up Indianapolis. Park in the visitor section of the Sports Complex Garage (west of Herron's Eskenazi Hall), or park on the upper floors of the Riverwalk Garage (south of the Sports Complex Garage) until 6 p.m. Park on any floor after 6 p.m. Bring your parking ticket to the Herron galleries for validation.
Tom Sachs' "First Moon Landing"
Print Quality Photo
Richard Schneider
rcschnei@iu.edu
Web version: http://news.medicine.iu.edu/releases/2017/01/tom-sachs-survey-exhibition-herron.shtml
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text:
Q: how to plot data selectively in python I'm trying to do some data analyzing using python and I have got the data displayed successfully. But there is a problem with the figure.
As you can see, the x-axis(date) is quite messed up. The reason is that the data format is like(collected on daily-basis):
2014-12-30,1423.98,1424.16,1407.51,1407.51
2014-12-29,1433.80,1433.84,1409.53,1424.67
...

I put the first row(dates) in an array and used the array as x-axis.
I have a solution myself, which is to only output x-axis when the month changes(like '2014-11', '2014-12',...), but I don't know any function that can do this...
Can anyone help me with my problem?
Thanks!

A: There's actually quite a bit of examples out there on this topic already I'd wager. It kind of depends on how exactly do you get your dates (which format etc..).
If you're not doing something overly out of this world and settle with the datetime module you can take a look at the example bellow. Fair warning from personal experience, locators and formatters are susceptible to weirdest bugs once the number of ticks reaches a very high number.
import matplotlib.pyplot as plt
import matplotlib as mpl
import numpy as np
from datetime import date, timedelta

#####################################
###  Creating data for plot,
###  PLEASE include this in your next question.
#####################################
times = []
startdate = date(2014, 1, 1)
enddate = date(2016, 12, 22)
while startdate < enddate:
    times.append(startdate)
    startdate += timedelta(days=1)

x = []
for i in range(0, len(times)):
    x.append(np.random.random(10))

First example, per months and days. The ticks for days are there, I just haven't shown them on the graph.
months = mpl.dates.MonthLocator()
days = mpl.dates.DayLocator(1) #find every 1st day of month
monthsFormatter = mpl.dates.DateFormatter('%b')

fig, ax = plt.subplots()

ax.xaxis.set_major_locator(months)
ax.xaxis.set_major_formatter(monthsFormatter)
ax.xaxis.set_minor_locator(days)

ax.plot(times, x)

plt.show()

Second example is something like this, per year basis with a more "detailed" formatter.
years = mpl.dates.YearLocator()
months = mpl.dates.MonthLocator()
yearsFormatter = mpl.dates.DateFormatter('%Y:%b')

fig, ax = plt.subplots()

ax.xaxis.set_major_locator(years)
ax.xaxis.set_major_formatter(yearsFormatter)
ax.xaxis.set_minor_locator(months)

ax.plot(times, x)

plt.show()

which looks something like:

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text:
DanceFair 2017: 3 Products & Show Highlights
Nicky Romero presents a masterclass at DanceFair 2017 in The Netherlands.
DJ Vintage
April 19, 2017 | Read time: 3 mins
DanceFair 2017 music production Pro
Last updated 24 March, 2018
Little over a month ago, I attended DanceFair 2017 in the Netherlands, the sixth edition of a show aimed squarely at DJ/producers. Not as well reported as some of the more established shows, with 6000 square metres of expo floor there is nonetheless plenty to do.
One of the main attraction of DanceFair is the "demo drop" service where you can quickly and efficiently bring your music to the attention of some of the best labels. Also they work hard to offer lots of workshops, masterclasses, presentations and so on covering just about any issue that might be of interest to DJs and producers. From production tips to recording and mastering, from legal issues to marketing and anything in between, there are sessions for everyone.
Of course, shows are inevitably about shiny new things, so here are some of the things I noticed that might be of interest to our readers.
djay Conversion Utility & Traktor Tag Sync Utility
It's not pretty, but it does the job… the djay / Traktor conversion utility, one of two from this source.
What manufacturers don't want to give us, users create themselves. It's the reason Dutch DJ MixMasterG has created two tools to help him achieve something not possible within the relevant platforms.
While only available for Mac OS and of course pretty niche, these utilities only cost pennies and just may help some readers out.
djay Conversion Utility lets you transfer cues, loops, beatgrids, keys and more from Traktor Pro 2 to Rekordbox, from Traktor Pro 2 to djay ("regular" or "Pro"), and from Rekordbox to djay.
Traktor Tag Sync: It's not pretty, but… yeah you get the drill.
Meanwhile, the Traktor Tag Sync Utility (formerly Traktor Key Checker) does a few Traktor housekeeping tasks for you. It checks if all your Traktor tags have proper Camelot keys in them and collects the tracks that don't in a separate playlist for easy repair. It also checks if all tags from your iTunes library came across to Traktor correctly. It will also reformat the key info in such a way that the information is usable in the comment field, alongside a few other MP3 and other tagging issues.
LD Systems MAUI 2G
The G2 MAUI systems offer excellent sound for the money.
One of the first to market with a highly portable single sub/ twin satellite PA systems that belied their small size in recent years, LD Systems has faced lots of competition, many competitors featuring array satellites instead of "traditional" models.
But with the MAUI 2G systems LG has two great offerings again. they are one sub / one satellite systems, so you'd need two for stereo, and they are pretty compact and portable. Sound is good, the biggest of the two systems definitely fuller than the smaller one. A built-in mixer, Bluetooth connectivity and a few other semi-standard features complete the packages.
Features 2 x 6.5" lows in the sub, 8 x 3" midrange arrays and 2 x 1" tweeters with waveguide horn, all powered by a 500W RMS class D (digital) amp, the smaller MAUI 11 G2) is just €545 street. So just under €1,100 gets you a stereo system small enough to set up in your practice room and powerful enough for most smaller parties (75 to 100 people should be easily done with a pair of these). For all you fashion junkies, they are available in white as well as black.
Big brother MAUI 28 G2 has 2x 8" in the sub, 16 (yup, 16!) 3" midrange speakers and also 2x 1" high end with waveguide horns. There's 1000W RMS digital power to drive these speakers to a full, warm, complete sound with plenty of low end oomph, with market price around €999 apiece meaning the system offers excellent value as well.
Improved Alpine MusicSafe Pro
Alpine is about to launch an improved version of its MusicSafePro ear protection.
Alpine is a worldwide supplier of hearing protection. The company has a few product lines that are great if you want relatively low-budget, generic solutions. They told me that they will be coming out with an improved version of their most popular model, the MusicSafe Pro, with a new shape for even better comfort and better (swappable) filters.
While they made my custom earplugs, which are great, this is a service that is only available to the Dutch and Swiss markets and soon to the UK market, whereas the off-the-shelf models are available anywhere (and for less cash, naturally).
Certainly after the non-event of Musikmesse (although this show was actually just before that one), DanceFair has its finger on the pulse for DJs, and for that reason alone, if you're wanting to attend a European show in Spring next year, maybe scrub out Musikmesse and insert this one instead!
Were you at DanceFair? Got anything you'd like to add to the above? Any views on these products? Let us know in the comments…
4 Talking Points From Dancefair 2014
13 DJ Gear Shows & Conferences To Watch Out For
The Sad Decline Of DJing At Musikmesse 2017
Laidback Luke: "I Don't See Myself As A Real DJ..."
Getting Success
Collaborating With Other DJs & Musicians – Why & How To Do It
DJing is often seen as a "solo" thing, but it needn't be. Indeed, it can get pretty lonely as a DJ, as many of us know – despite the fun-loving, sociable image DJs often have. Whether it's to deal with this loneliness, to get inspired and do something more creative/appealing to the public, or to … Continued


Round I Competition Piece: La Fille Mal Gardée, Pas de Deux (1789): Music by Ferdinand Harold, Choreography by Jean Dauberval, Coached and Staged by Winthrop Corey, Lighting by Jeff Fontaine, Costume Sketches by Natalie Garfinkle.
Round II Competition Piece: Choreographic Offering (1964), Music by Johann Sebastian Bach, Choreography by Jose Limón, Coached and Staged by Roxane D'Orléans Juste, Lighting by Jeff Fontaine, Costume Sketches by Natalie Garfinkle.
Solos: Dancers prepare their own solos prior to arriving at NYIBC.
Round III Competition Piece: Satanella, Pas de Deux (1848), Carnival in Venice, Music by Cesare Pugni, Choreography by Marius Petipa, Coached and Staged by Valentina Kozlova, Lighting by Jeff Fontaine, Costume Sketches by Natalie Garfinkle.
Once again, students aged seventeen to twenty-four, arrived from around the world to participate in what is now a bi-annual, rather than the previous tri-annual event, the New York International Ballet Competition (NYIBC), held at Alice Tully Hall, Lincoln Center. Ilona Copen founded the first of eight competitions in 1984, and I was there to see Victoria Mazzarelli win the gold. Ms. Mazzarelli was one of five guest artists dancing at the final NYIBC Gala, and she remains radiant and sprightly.
For two weeks, twenty-four young competing couples practiced their own solos, as well as three designated competition pieces, at the Joan Weill Center for Dance on the West Side, not far from Tully Hall, where Rounds I, II, III, and the Gala would be presented. The couples arrive either together or solo, to be matched by Ms. Copen, Ms. D'Antuono, and/or staff with a suitable partner. They practice the arrangements, two classical ballets and one modern, together in equally timed segments, so that there is an equally competitive chance to be successful.
Students have the individual opportunity (awarded for the dancer, not the two partners) to win gold, bronze, or silver medals. Sometimes a student is also awarded an apprenticeship contract to a major dance company. In addition, each dance competition participant has the chance to be seen by all the judges on the four nights at Tully Hall. These judges are artistic directors of major ballet companies. Students are also given housing, meals, "host family" logistical assistance, and Broadway and Lincoln Center ballet tickets. Translators are available, and students translate for each other, as well.
Below are photos taken during the two-week competition rehearsals in June.
My schedule did not permit me to attend Round I, but La Fille Mal Gardée was repeated at the Gala by soloists, Daniel Sarabia, Cuba, and Hanae Seki, Japan, plus two couples from the Philippines and China. Round II included the opportunity to see Choreographic Offering fourteen times, fourteen couples. It was an elegant modern piece, with long sweeping gestures, solid yellow or orange unitards, barefoot dancers, and, in each instance, differently interpreted.
Some dancers, four of whom had already been eliminated from prize-winning status, were smiling and buoyant, others more serious and intense. Some looked into the distance, while others gazed upon each other. One couple exuded enthusiasm and energy, while another was more lyrical and languid. One male partner appeared a bit stiff and taut, while his female partner was flexible and extended. Each couple had to dance on several levels and rise and lift from the floor of the stage. Jose Limón's work is fascinating to watch, and it was an excellent choice for this Round. Roxane D'Orléans Juste did a fine job of coaching and staging this complicated work.
The twenty-four solos, presented after intermission, ranged from Tanguedia, choreographed by Tara Milton Catao to music by Piazzolla (one of two works set to Piazzolla's music), to Go with the Opportunity, choreographed by Gao Chen Ming to music by Defalla. Most of the scores and dance styles in this section were contemporary, some with electronic effects and spoken overtones. Few were traditional or familiar in genre, and a few were too campy and ill conceived. However, all dancers exhibited superb skills and professional training. Some of my favorites were Reflection on the Water, classically danced by Eliana Figueroa from Argentina to a Debussy score, , dynamically danced by Yassaui Mergaliyev from Kazakhstan to a Mancini score, and Libre, percussively danced by Daniel Sarabia from Cuba to a Carlinos Brown score.
Round III included a twelve couple consecutive performance of Petipa's Satanella Pas de Deux, coached and staged by Valentina Kozlova. With backward leaps for the males, lightning spins for the females, elegant pointe work, and aristocratic and meticulously challenging choreography, each couple brought something special to this Round III. Seventeen of the twenty-four dancers were still competing, and fatigue barely set in, in spite of the week's hot weather, as the participants valiantly exuded full energy and enthusiasm in every step and spin. In some cases, long-time partners gave each other poignant support, even though one may have been already eliminated in the previous round, such as in the case of USA's Adam Stein (eliminated) and Nicholle Rochelle (competing). The sight of young ballet dancers warming up in the wings was quite reminiscent of Degas' natural paintings of ballet and dance rehearsals.
The Awards Ceremony/Gala Performance was a beautifully orchestrated series of events, and Ilona Copen and Eleanor D'Antuono are to be congratulated for what must have been a most challenging planning experience, even given the fact that this was the eighth NYIBC Gala event. Violette Verdy, formerly of NYC Ballet, who now teaches at Indiana University, was awarded a gold medal for lifetime achievement. Adriana Santini was a warm hostess, but I did so miss the late Tony Randall, who had so elegantly hosted this event throughout the years.
The Youskevitch Award, a one-year contract with American Ballet Theatre, was not awarded this year, but Joseph Gatti, winner of the male division Gold, is already a member of ABT Studio Company. The Arpino Award, a one-year contract with the Joffrey Ballet, went to Christine Rocas of the Philippines. Daniel Sarabia of Cuba won Silver, and Altankhuyag Dugaraa of Mongolia won Bronze. No Gold went to the females, but Ms. Rocas won Silver, and Hanae Seki of Japan won Bronze.
All of the three competition pieces were repeated, as were several solos. In addition, five guest artists, who were winners of NYIBC in past seasons, entertained this crowd of extreme dance enthusiasts. Caitlin Valentine danced Stand by Me to music of BB King, Mari Savitski danced Bagatelle to "Traditional" music, Norbert Nirewicz danced Barcelona to a mixed score, Ogulcan Borova (whom I remembered as quite virtuosic in 2003) danced Both of Me to a Santana score, and Victoria Mazzarelli, winner of Gold in the very first NYIBC in 1984, danced The Second Detail to a Thom Willems score.
La Fille Mal Gardée was performed, as mentioned above, with various participants in the Adagio, two Variations, and Coda. The Limón piece was presented tonight by Katie Pivarnik, USA, and Glyn Scott, Australia, who seemed to be perfectly matched throughout these events. Joseph Gatti and Isabelle Boynton danced the final competition piece, Satanella, which allowed Gatti to show his classical power and vivacious vitality. Andre Teixera from Brazil danced a Piazzolla scored Toccata with black briefs and glowing muscularity. Christine Rocas' Rituals, to a Joey Ayala score, allowed the audience to once again see her elegance and elasticity.
Gatti's Burning Heart, a self-choreographed solo with a Jutras Benoit score, was repeated as the closing work and brought the audience to its feet. Mr. Gatti has a mesmerizing presence, mature poise, and sensational style and skills. He's definitely a dancer to watch, as he engages the audience with his primal force. Candid photos were taken outside Tully Hall, following this memorable NYIBC 2005 Gala. Kudos to Ilona Copen, Eleanor D'Antuono, Judges, Coaches, Choreographers, technicians, Audrey Ross Publicity, and the entire ensemble of forty-eight NYIBC participants for another successful NYIBC 2005 that satisfied even the most ardent balletomane.


text:
Dusk 'Til Dawn
New tech, new opportunities for night ops.
As night vision and other technologies have made night operations safer, interest has reawakened in allowing helicopters to fight fires, transport critically injured patients and chase bad guys after dark.
As much as helicopters add value to ground-based colleagues — search and rescue teams, police officers and more — their absence can also be keenly felt. After a fatal two-helo collision in 1977, the U.S. Forest Service barred most night operations in the huge acreage it governs.
A calamitous 2009 fire in Los Angeles County ended that era in one stroke. The cost of not risking helicopters and crews during that fire was a far greater inferno: 160,000 acres burned and two firefighters killed. Policy was changed and the ban lifted shortly thereafter. In 2010, the Forest Service declared its night flights could resume.
"Support technology, such as night vision goggles, helicopter terrain awareness, and warning systems for helicopter night operations, has evolved to where operations can be conducted with a high degree of reliability," the Forest Service concluded.
While firefighting helicopters still rarely fly after nightfall, the revision was broadly welcomed in many other rotorcraft sectors.
Also boosting the need for nighttime ops are cultural and sociological factors. A large percentage of crime is committed or attempted when it turns dark and fleeing perpetrators, terrorism suspects, mental patients, arsonists and others vanish into the night.
Less frighteningly for nighttime rescue crews, wilderness hikers, mountaineers, nature photographers, scouts and others get lost in limited visibility. People are injured, suffer hypothermia, heart attacks, snake bites, bear maulings — not to discount feckless gun owners, fireworks-burned revelers and violent road-ragers.
Many rotorcraft are now designed for or adaptable to night missions. The world's best-of lists vary, but typically include models from Airbus Helicopters, Leonardo Helicopters, Bell, Sikorsky, Boeing and Russian Helicopters.
Operators in different sectors acquire the aircraft in several displacements of classes. Bell alone sells about two dozen "mediums" out of the Jet Ranger mold, like the U.S. Forest Service's own night-duty Bell 205.
Civil/general aviation operators, police and sheriffs' departments fly various models. They can be small, like the MD 500, a version of the U.S. Army Hughes MH-6 "Little Bird;" medium-large, like the MH-60 Blackhawk and its numerous variants; and large, like Sikorsky CH-53 iterations and Boeing CH-47 Chinook variants. Extra-large includes Ericson's S-64 Air-Crane with its 10-12 ton hoist capacity.
Some nocturnal birds may be purpose-built, others de-accessioned from official agencies for entertainment and evening tours. Nevada's Mr. D's offers thrill-seekers rides in its D Model MD-500s, acquired from the Las Vegas Metropolitan Police Department. The Houston PD aviation unit, conversely, employs its E Model MD-500s for more serious duties. The Arizona Department of Public Safety (AZDPS) flies five rotorcraft, the four Bell B-407s and one B-429 covering 113,000 square miles. The busy Maryland State Police Aviation Command employs all its rotorcraft to perform medevac, aerial law enforcement, search and rescue, homeland security and disaster assessment.
Sikorsky S-92 outfitted for night ops.Sikorsky
Meanwhile, various daylight operators want to work the night shift. One is Cal-Fire, a major California fire-management player. Spokesman Scott McLean told R&WI new helicopters were expected before long and, assuming the craft are certified and deployable with approved equipage, may become night operational.
Indeed, adjunctive gadgetry is a helicopter mainstay, even more plentiful than the airframes. As a walkthrough of any trade show glitteringly attests, the aftermarket is robust for all sectors and segments, day or night. Important safety and navigation tools include searchlights, loudspeakers, thermal cameras and night-vision goggles (NVGs).
As with many platforms, night equipage tends to be stripped-down versions of armed forces hardware. Usually boasting multiple applications, they're often produced by the same firms, such as L3 Technologies, which sells Wescam electro-optical/infrared imagers. GPS pioneer Garmin now hawks multiple complex systems and flight deck integration tools and services.
High-intensity illumination is a worthy option for many darkside missions. An example is Boeing and Spectrolab's SX-16 Night 30-40 million candlepower searchlight. The six-pound, remote control-focused light has a claimed one-mile "target range" and the Maryland State Police swears by theirs. Luis Castro, Boeing and Spectrolab's marketing executive, said, "The expanded use of searchlights, EO/IR and NVG's pave the way, allowing a range of customers to increase night operations."
HEMS, for one, said Castro, "has seen an increase in nighttime operations, especially overseas in regions governed by EASA (European Aviation Safety Agency), followed by an uptick in firefighting requirements. Of course, law enforcement has always been active in night operations."
Altogether, the gear helps improve night operations, giving pilots increased confidence and operators more reason to hire certified nighttime pilots, Castro said.
"Helicopters are typically first responders in metropolitan or rural areas in close proximity to them, because they can typically control a fire [for example] much faster than deployed fixed-wing aircraft," Castro said.
A Sikorsky S-76 operated by Arkansas Childrens' Hospital Angel One transport service. Sikorsky
Loudspeakers are often valuable for pilots flying at night. Harold (Hal) Summers, director of flight operations and technical services for the Helicopter Association International (HAI), has spent 60 years in and around helicopters. During an interview with R&WI touching several topics, he said of public address systems, "[They] make people stand back, or if there are injuries on the ground, you may need to communicate with the injured or rescuers."
Forward-looking Infrared (FLIR), a Cold War advance, continues playing a key night role. Based on thermal imaging, specialized linked FLIR cameras feed information to fixed- and rotary-wing cockpits. They translate infrared radiation emitted from human and other heat sources into imagery, creating video output. FLIR clarifies what without it are ghostly, low-contrast and diffuse objects. Gladly, FLIR and its flight deck neighbors tease out not just humans, but cell towers, cliff faces, grain silos and wayward aircraft.
Possibly the most indispensable piece of specialized gear, though, is the night-vision goggles (NVGs). Long utilized by covert types beforehand, the mandated eyewear got its public debut in 1992's blockbuster "Silence of the Lambs," when moviegoers got their first glimpse of and view through the device.
NVGs are only part of the policy and regulatory landscape. FAA issues myriad directives for dusk-to-dawn rotorcraft operators and pilots, platforms and equipage. ADS-B is another federally required navigation element, and HAI's Summers champions it.
Discussing aerial close calls, he explained, "There are all kinds of systems that point out other traffic in your area. As we switch to ADS-B, the mandate is ADS-B Out so the air controllers can see you; ADS-B In requires a screen in the aircraft allowing you to see aircraft around you that are (also) ADS-B equipped."
Citing as an example the heavily air-trafficked Gulf of Mexico, Summers stressed, "The aircraft that are IFR (instrument flight rules) certificated — that's key, I'm not talking about small craft that aren't certificated for instruments — but all these aircraft … have the instruments required and [experienced, rated pilots]. All those flights now are done under instruments using ADS-B."
Previously, Summers recalled, "the FAA and controllers, since they couldn't see you, had to protect a 60-mile block of airspace so nobody else got near you, [making you] wait to take off until they cleared that airspace. Now with ADS-B they're down to five miles. And versus about 12-1300 IFR flights a year in 2017 — when I ran the numbers for the offshore helicopter industry — it had risen to 26,000. They couldn't have done it without ADS-B."
Any discussion of night helicopters is incomplete without acknowledgement of the associated risk. It certainly exists, though not to the degree suggested by lurid, often-incomplete media accounts. And yet, largely forged by them, perceptions — that of the public, lawmakers and regulators — are powerful things.
Given the deaths of some military, law enforcement, HEMS and firefighting personnel through the years, wannabe night-duty pilots may ponder whether extra pay or prestige is worth it.
So, are accidents common? Far from it.
Medevac and HEMS rescue, a major category, is illustrative, and soberly compiled statistics belie the popular impression. According to Scotland-based Aerossurance.com, the chance of a HEMS pilot dying was 1 in 50 in 1980; today, it's 1 in 750, a marked improvement. This, despite the increase of the HEMS fleet from 151 in 1986 to 852 in December 2016. HAI's Summers cites similar figures, noting the great rarity of mishaps, compared to "the many, many thousands of safe transports" of injured, ill or lost people.
Finally, anecdotes suggest night ops overall are gaining some incremental traction, though registering too few blips for anyone to keep score. Summers sees little growth in the stateside industry, mostly "a lot of replacements and maybe upgrades, new platforms as they come along," but not many new kinds of missions. Rather, he urges U.S. stakeholders to study far-sighted corporate developments in Asia.
Advancing the Art and Science of Flight
In this issue, we focus on some of the technologies that are advancing…
Rotor Operators Begin 'Earnest Search' to Meet ADS-B Mandate
Equipment suppliers, helicopter manufacturers and operators appear to…
Training with The Brain in Mind
High-tech simulators may be too realistic for new fliers, but…
V-22 At 30: Looking Back on Three Decades of the World's Only Production Tiltrotor
Thirty years after its first flight, the V-22 is a mainstay in U.S.…
RAIDER: Rotor & Wing Witnesses First Public Flight of Sikorsky's Fast Attack prototype
Raider is now flying on an almost-weekly basis and has transitioned to…
Law Enforcement Notebook
The Difficult Privilege
As law enforcement aviators, we are tasked with protecting and serving…
Coming Up: September/October 2019
Here's what to look forward to in the next issue of R&WI.


text:
Why didn't Voyager fly to the end of the Bajoran wormhole in the Gamma Quadrant?
When Voyager was stranded in the Delta Quadrant, it would seem they had two options: either fly straight towards Federation space in the Alpha Quadrant, or go to the far end of the Bajorn wormhole in the Gamma Quadrant.
A common response to this question is that the end of the Bajoran wormhole would have been no closer. Indeed, maps of the galaxy that I've seen show that the distance is pretty much the same. This makes distance a non-factor, but I can think of two others:
The Federation knows about the approximate location of Borg space because Q took the Enterprise D there. Voyager should have known that flying directly towards Starfleet HQ would take them through Borg space. The Dominion in the Gamma Quadrant would surely be a much lesser evil.
The direct route to the Alpha Quadrant would take Voyager closer to the centre of the galaxy, where stars are denser, therefore there would likely be more civilisations, therefore more potential for conflict. (Voyager could not know in advance that they would be able to circumvent this region of space.)
The only downside I can think of is that the Bajoran wormhole may no longer be there when they get there. Why didn't Voyager fly to the end of the Bajoran wormhole in the Gamma Quadrant?
star-trek star-trek-voyager borg star-trek-dominion
TimwiTimwi
Q didn't take the Enterprise-D to Borg space, just the cube nearest to the D's current position (and if you like, the retconned information given from the ENT episode Regeneration, was heading towards Earth from the delta quadrant since 2153, giving the cube some 212 years before 2365, during the events of Q Who). – dkuntz2 Nov 26 '11 at 16:52
"The Dominion in the Gamma Quadrant would surely be a much lesser evil." Really? As far as I can tell, Voyager wouldn't have stood a chance flying through Dominion space. At least they knew that the Borg would pretty much leave them alone if they weren't perceived as a threat. – Lightness Races with Monica Oct 10 '16 at 14:51
"closer to the centre of the galaxy, where stars are denser, therefore there would likely be more civilisations" I'm not convinced (without data) that there are more habitable stars closer to the centre of the galaxy. If anything, I'd expect this increased density to increase the statistical frequency of stellar events, and reduce the chances of life. – Lightness Races with Monica Oct 10 '16 at 14:52
The maps of the Star Trek galaxy you have seen are likely to be inaccurate. The dialog in "The Price" and "False Profits" shows that the Caretaker's Array where the Voyager appeared is likely to be less than 200 light years from the line between the Gamma and Delta Quadrants. Thus most points in the Gamma Quadrant are likely to be closer to the Caretaker's Array than the Federation is. – M. A. Golding Apr 11 '18 at 2:44
Even in the Voyager episode Q2, Q Junior brought 3 Borg Cubes to Voyager, as opposed to transporting the whole ship to the Delta quadrant – ackmondual Apr 16 '18 at 23:56
There is no canon explanation for why they didn't opt to head for the Gamma Quadrant and seek out the Bajoran wormhole, but there are a few reasons why that wouldn't have been a good idea:
Immediately after the destruction of the Caretaker array, Janeway makes the command decision to head directly to the Alpha Quadrant. The most direct, unambiguous path to the Alpha Quadrant is a straight line.
Quadrants are enormous: tens of thousands of light years across. The vastness of the quadrants leads to two things:
Even if you granted all the knowledge gleaned from the Dominion War (which occurred after Voyager was thrown into the Delta Quadrant), the Gamma Quadrant was not explored in any great detail. It's pretty safe to assume Voyager would have no idea how to find the Bajoran Wormhole save for "heading to the Gamma Quadrant".
Similarly, even though the Federation knew the Borg existed somewhere in the Delta Quadrant, the quadrant hadn't been mapped at all. Assuming the Borg were on Janeway's radar as something to absolutely avoid during the consideration on whether to head directly home, there was a pretty good chance (all things being equal) that Voyager would never run into them.
You say that heading close to the center of the galaxy would have lead to more potential conflict, but that's against the charter of Starfleet: to seek out new life and new civilizations and "to boldly go where no man has gone before." Janeway likely would've seen it as an opportunity, not a hazard.
Based on this, Janeway's decision seems to have been the correct one and the safest bet.
Of course, the simplest answer to all of this is that the Delta Quadrant was a perfect blank slate upon which to base the series as it was completely unknown—save for part of one episode—to the rest of Star Trek canon, and Voyager running into the Borg made for good TV after the success of Star Trek: First Contact.
Plus, the federation did mine the wormhole. It's not like Voyager would have known that. If they did happen to find the wormhole, whos to say that it wasn't still mined (even though we know it was unmined by the time they finished, but still, it could have been). Additionally, the federation has allies in the Beta Quadrant... – dkuntz2 Feb 27 '11 at 21:26
I can't tell you how excited I was when they happened upon those two Ferengi in 'that' episode. I had been hoping they would through the whole series. – DampeS8N Nov 23 '11 at 4:27
Also, I think that distance from the caretakers array to the Federation, or at least Federation explored space versus the Gamma Quadrant wormhole are about the same. – Tyson of the Northwest Feb 17 '12 at 1:44
Janeway should have slept with Q and in return Q would have sent Voyager back to alpha quadrant. Whats simpler than using female "charms" as proven trough out the history of mankind... – no9 Feb 5 '14 at 12:14
Finding the wormhole's other end would be simple. They knew approximately where the other end was, and you can orient yourself with stars, like Voyager's astrometrics systems do. – Nate Watson Sep 10 '15 at 17:15
Considering the number of times in DS9 that the wormhole was nearly destroyed, over a seven year period, it would be extremely foolish to assume that it would still be there in seventy years. Voyager could well be faced with a seventy year journey to where the wormhole used to be, then another seventy year journey back to the Alpha quadrant.
Mike ScottMike Scott
And keeping in mind that that 7 year period was supposed to be 70 years. The likely hood of the wormhole lasting that long is very small. – Sponge Bob Feb 26 '13 at 1:21
Except that the orbs of the Prophets have been appearing in space near Bajor for 10,000 years. Examining the Dinorus Belt to find the origin of the orbs, Sisko and Dax found the wormhole, and realized that it had been stable for 10,000 years. So the information available to Starfleet and Janeway indicated that the wormhole should last for millennia in the future. – M. A. Golding Apr 11 '18 at 2:35
@M.A.Golding The wormhole is physically stable, but it's far from being politically stable now that people know it's there. After its discovery, there were repeated attempts to close it or block it. – Mike Scott Apr 11 '18 at 4:40
That's a great question, I've wondered that myself.
I have several theories in addition to the ones described above.
Even if it would take years to reach Earth, establishing communications (in particular two-way) would be important (and for personal reasons as well). In addition, new technologies or intelligence could improve their speed (e.g., engine upgrades). Since subspace comm is not instantaneous or unlimited in range (warp 9.9 if I remember correctly), reducing the distance to earth by heading towards the alpha quadrant would allow establishing such communications earlier.
Janeway hoped to find additional wormholes and similar phenomena along the way which would cut the trip. By going towards earth, they can make use of more localized or short-range shortcuts. And the chances of finding a wormhole are likely equivalent everywhere.
UriUri
This second bullet applies equally well if they are headed to the far end of the wormhole. – ThePopMachine Sep 10 '15 at 19:37
1 look at the star trek galaxy map found online, and it appears the distance to the wormhole is close enough to equal that it would be dismissed as an option the instant someone mentioned it. If you're barely capable of making it home, then you take the direct route. You wouldn't take the risk of being barely capable of making it to an alternate route for getting home.
If you're presented a 50 mile walk home, you don't go 50 miles to a bus station.
Gramps FordGramps Ford
Except that the Star Trek galaxy maps are likely to be inaccurate. The dialog in "The Price" and "False Profits" shows that the Caretaker's Array where the Voyager appeared is likely to be less than 200 light years from the line between the Gamma and Delta Quadrants. Thus most points in the Gamma Quadrant are likely to be closer to the Caretaker's Array than the Federation is. – M. A. Golding Apr 11 '18 at 2:39
Three errors made by some posters here:
One:
The Gamma Quadrant exit of the Bajoran wormhole has a very specific location. Space is very, very transparent. You can see objects that are billions of light years away, unless you are looking through the dust clouds near the plane of the galactic disc. The Galaxy has over 100 globular star clusters that surround it in all directions - most of them are not obscured by galactic dust clouds.
Measuring the angles to three or more globular clusters would be enough to measure the position of the Gamma Quadrant exit of the Bajoran wormhole very precisely, and it would have been done many times, at least once by each science ship that passed through it. And Voyager would have measured its position near the Ocampa Array from observations of globular star clusters.
According to the Voyager pilot episode "Caretaker", just about a minute after being transported to the Ocampa Array Ensign Kim says:
KIM: Captain, if these sensors are working, we're over seventy thousand light years from where we were. We're on the other side of the galaxy.
So obviously starship sensors can measure positions very rapidly.
http://www.chakoteya.net/Voyager/101.htm
If Janeway wanted to head for the Gamma Quadrant exit of the Bajoran wormhole they could have plotted a very precise course toward it.
Two:
The Dominion did not rule the volume of space that included the Gamma Quadrant exit of the Bajoran wormhole.
DS9 made contact with various space travelers that come through the Bajoran Wormhole in the first season and into the second season and none of them mentioned that they were subjects of the mighty Dominion and the Federation better stay on good terms with the Dominion.
Obviously the Dominion border must have been tens, hundreds, or thousands of light years away from the Gamma Quadrant exit of the Bajoran wormhole.
The Dominion ordered the Federation to stay out of the Gamma Quadrant and the Federation ignored their warning. The Federation obviously considered the space traveling realms that were closer to the Gamma Quadrant exit of the Bajoran wormhole to have more right to control who used it than the Dominion did.
If the Dominion ruled the space that included the Gamma Quadrant exit of the Bajoran wormhole they could have and would have simply stationed a war fleet by the mouth of the wormhole to blast each and every starship that came out of the mouth of the wormhole. But they didn't.
Three:
By the time that Voyager was lost in the Delta Quadrant the Federation probably already had rough maps of the size and location of the Dominion. The Dominion probably didn't keep its borders secret. Thus Voyager could have plotted a course that took it past Dominion space and turned back to come to the Gamma Quadrant exit of the Bajoran wormhole from the direction opposite to the Dominion and least likely to be conquered by the Dominion.
Molag Bal
M.A. GoldingM.A. Golding
I will dispute Point 1: Voyager was thrown into the Delta quadrant well after the events of Wolf 359, but the encounters with the Dominion had only just begun.
With the Borg, it was possible to avoid them, since they knew what to look for, and extremely dangerous to fight, but events at Wolf 359 had shown that it was possible to win.
The Dominion on the other hand, was still a complete unknown, but was already showing signs by the time of Voyager's disappearance that the Federation was unwelcome in the Gamma quadrant.
IzkataIzkata
I think the Voyager crew chose the route in question because it was safer. At this time, the the Borg's specific borders weren't widely known, so in terms of Borg encounters, one efficient route is just as unsafe as another efficient route. On the other hand, on the Gamma quadrant end of the wormhole is the Dominion's home territory. There is no way a single federation vessel could break all the way through the dominion to reach the wormhole. We saw how a galaxy class handled a few of their fighters, and Voyager is less powerful than those. Aside from the Borg, whose exact locations were unknown anyway, the direct route was mostly unknown, which one could regard as safer than the dominion. I think they took the non-wormhole route because it was safer.
Nate WatsonNate Watson
Voyager was thrown into the DQ weeks after the first encounter with the Jem'Hadar... it was in Season 3 of DS9 after episode 6.
Janeway at the very least would have had knowledge of the Dominion residing in the Gamma Quadrant... and knew them to be a threat. However, the Defiant was already well in service by then and was designed to fight and defeat the Borg (per Sisko's own words)... and since Voyager was state of the art, it stands to reason it would also have much of the same technologies as the Defiant... but was faster, warp-wise. The Defiants shields in the initial encounter with Jem'Hadar ships actually held up nicely, so SF obviously implemented those lessons learned from the Borg which likely was more effective against Dominion ships (the Dominion didn't have superior tech over the Federation really, just better Intel on the Federation and its technology from the ships they captured in the first 2 years of DS9).
Anyway, Voyager knew (or should have known) where the Bajoran GQ end of the wormhole was, but it had no guarantees it would have been there by the time they reached it, plus I would imagine that going straight for the GQ (where a hostile Dominion resided) was likely not a good idea. If the trip would have taken Voyager same amount of time and if the wormhole wasn't there, or something else happened, then they would have to travel on their own back to the AQ from there again.
It was a better decision to just go back to the AQ directly from their original location and not take a chance with the wormhole.
But I take issue with the premise it would have taken them over 70 years to do so. Mainly because according to canon data, Warp 9.9 = 4 billion miles per second, and that would result in 21 473 times speed of light. Even Harry Kim stated in the early seasons 'traveling at relative velocity of 2 billion miles per second' - or 10 736 times speed of light - when discussing a plan to beam Chakotay out of a Kazon ship. Even at that velocity, it would have taken Voyager 7 or 7.5 years to get back - the writers could have gone with that.
Voyagers maximum sustainable cruise velocity is Warp 9.975. Past 9.9, each increment results in exponential increase in velocity, which would mean that Warp 9.975 would take Voyager about a week to traverse 75 000 lightyears.
And no, it's not far fetched. Most Federation ships were never seen achieving Warp 9.9 (or even 9.5) sustainably (and by that I mean as a cruising velocity) before Voyager in the first place, and the damage Voyager received in it's initial pull into the DQ was extensive (possibly preventing them from achieving those speeds and forced them to use slower velocities like Nebula class ships of the time, while their 'maximum' sustainable speed was reduced to say 9.5 - as Tuvok mentioned in Threshold episode that Paris exceeded their maximum velocity, which was mentioned to be 9.9).
I realize the show hinged on the premise of the ship taking decades to get back, but for their technology and overall cruising speed Voyager was said to have, it would have been easier for the writers to say that Voyager was thrown well beyond the Milky Way. Warp 9.97 would equate to about 2.748 million times speed of light...
The observable universe is about 91 billion Lightyears across... Throwing Voyager about 192.398 million lightyears away would have resulted in a 70 year trip. Now THAT would have been far better and more suitable for their technology and ability.
Voyager was an entirely new ship class, so it wouldn't be a stretch that Starfleet managed to make it a lot faster than all other ships in their fleet given faster than exponential developments and what happened in TNG with warp speed explosions in the first season (remember 'where no one has gone before'? - Enterprise-D was said it would take just over 300 years to get back from a distance of about 2.7 million lightyears away... that's about 15 000 times speed of light - at a velocity of Warp 9.2, or 9.4 at the time for the Enterprise-D - or maybe 9.6).
And we've seen the USS Prometheus (the experimental ship from Voyager's season 4 message in a bottle) that it was travelling at Warp 9.9 towards Romulan space - so it's likely that newest SF ships would be a lot faster - at least Warp 9.9 and above for sustainable cruising velocities.
I apologize for a bit of a rant... but thought it was relevant to mention.
RDFozz
DeksDeks
Not the answer you're looking for? Browse other questions tagged star-trek star-trek-voyager borg star-trek-dominion or ask your own question.
Can anyone explain the Star Trek astrography (i.e. quadrants)?
Has Starfleet improved interstellar travel?
In Star Trek: Voyager, why didn't Janeway just go back in time and use the Barzan wormhole?
How is Voyager so well known within the Delta Quadrant?
How was Voyager still in the Delta Quadrant at the end of the series?
Could the Quadros 1 probe have been launched in 2193?
Why was it decided to set Star Trek Voyager in the Delta Quadrant?
Why do aliens from the Delta Quadrant also refer to that part of the galaxy as 'Delta Quadrant'?
Why did it take 10,000 years to discover the Bajoran wormhole?
Were the Borg Always intended to be a Delta Quadrant power?
Why didn't the Borg try to invade Romulus first?


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Q From Lee Burough in Colorado Springs, USA: We've never heard the word feckless here in our part of the USA. Yet we hear it occasionally in BBC television productions. What is its origin? Why isn't it used here?
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text:
package org.red5.server.api.stream;

import java.util.Map;

import org.red5.server.api.IConnection;

/**
 * A connection that supports streaming.
 *
 * @author The Red5 Project
 * @author Luke Hubbard (luke@codegent.com)
 * @author Steven Gong (steven.gong@gmail.com)
 */
public interface IStreamCapableConnection extends IConnection {

    /**
     * Return a reserved stream id for use. According to FCS/FMS regulation, the base is 1.
     *
     * @return Reserved stream id
     * @throws IndexOutOfBoundsException
     *             when it is impossible to reserve new stream
     */
    Number reserveStreamId() throws IndexOutOfBoundsException;

    /**
     * Return a reserved stream id for use with a preference for the one supplied.
     *
     * @param streamId
     *            supplied stream id
     * @return Reserved stream id
     * @throws IndexOutOfBoundsException
     *             when it is impossible to reserve new stream
     */
    Number reserveStreamId(Number streamId) throws IndexOutOfBoundsException;

    /**
     * Unreserve this id for future use.
     *
     * @param streamId
     *            ID of stream to unreserve
     */
    void unreserveStreamId(Number streamId);

    /**
     * Deletes the stream with the given id.
     *
     * @param streamId
     *            ID of stream to delete
     */
    void deleteStreamById(Number streamId);

    /**
     * Get a stream by its id.
     *
     * @param streamId
     *            Stream id
     * @return Stream with given id
     */
    IClientStream getStreamById(Number streamId);

    /**
     * Create a stream that can play only one item.
     *
     * @param streamId
     *            Stream id
     * @return New subscriber stream that can play only one item
     */
    ISingleItemSubscriberStream newSingleItemSubscriberStream(Number streamId);

    /**
     * Create a stream that can play a list.
     *
     * @param streamId
     *            Stream id
     * @return New stream that can play sequence of items
     */
    IPlaylistSubscriberStream newPlaylistSubscriberStream(Number streamId);

    /**
     * Create a broadcast stream.
     *
     * @param streamId
     *            Stream id
     * @return New broadcast stream
     */
    IClientBroadcastStream newBroadcastStream(Number streamId);

    /**
     * Total number of video messages that are pending to be sent to a stream.
     *
     * @param streamId
     *            Stream id
     * @return Number of pending video messages
     */
    long getPendingVideoMessages(Number streamId);

    Map<Number, IClientStream> getStreamsMap();

}

redpajama_set_name: RedPajamaGithub


text:
X-Plane 10 Scenery--LOWS W.A. Mozart Airport
X-Plane 10 Scenery--LOWS W.A. Mozart Airport, Austria. The Salzburg Airport W. A. Mozart (IATA: SZG, ICAO: LOWS) is located inside the city of Salzburg and is the second largest airport of Austria. The airport was taken into operation on the 16th of August 1926 and was named after the composer Wolfgang Amadeus Mozart who was born in Salzburg. The airport is located about 4 km west of the center of Salzburg, inside the district named Maxglan, about 2 km from the German border, next to Ainring and Freilassing. The airport's elevation is 430 m asl on the terrain of the former Untersberger moor and in the vicinity of the enclosed basin of Salzburg. The Untersberg (mountain) is located south of the airport. The scenery is based on a conversion done by andreasmax named "LOWS - Salzburg W.A.Mozart V9", which originally was done by Gianni. Because of copyright law the scenery was done completely from scratch. Thereby the above mentioned scenery was used as a template included actual information from open sources to build the aiport new. Features photorealistic scenery, rename of runway and taxi signs from August 2012 included, compatible to OSM+autogen from PliotBalu, realistic ground texture on the airport area, park positions, taxiways, runways, etc. conform to VACC data, vehicles at the apron, realistic markings on the apron and taxiways, different buildings in the vicinity, night textures and realistic lighting, openable hangar doors and gates, ground traffic, ATC taxi lines for AI traffic. Scenery by AXDG.
Previous File X-Plane 9.70 Scenery--LOWG Graz Thalerhof
Next File X-Plane 10 Scenery--Dublin Airport


With thousands of different glazing terms and types of glass on the market, we know the glass industry isn't always 'clear' so we have compiled a short list of our most commonly asked questions below.
Yes. While it is true that Horizon Glass is primarily a subcontract glazing firm and we specialize in commercial construction and renovation, we also have the resources to handle most any residential glass need, and we also proudly offer walk-in customer service as those glass-needs arise. If you are in need of any glass/mirror related assistance, please call us at 303-293-9377 and ask to speak to one of our service technicians.
If I Bring In My Own Glass/Mirror, Will You Cut It Down For Me?
Our technicians are happy to help but please understand that any glass/mirror you provide is provided at your own risk, meaning that we cannot replace it if it is broken during the cutting process. In many cases, this risk is relatively minimal but a good rule of thumb to follow is the thicker the glass, the harder it is to cut which exponentially increases the potential risk of it breaking.
Do You Remove Or Re-use Glass?
If you have any unwanted glass or mirror we can certainly remove it for you at a reasonable cost. Unfortunately we do not purchase pre-owned glass, and with respect to recycling old glass we are presently exploring resources for this.
Do I Really Need Tempered Glass? Why Does It Take Longer To Get?
While it is true that tempered glass is somewhat more expensive than traditional annealed (flat) glass if we are recommending it, it's because you need it. Tempered glass is made through a process where regular glass is re-heated and rapidly cooled to 'temper' it, making it 4 to 5 times stronger. Tempered glass is also considerably safer in that, when shattered, it breaks into small, pebble-like fragments rather than sharp shards. Due to these features, tempered glass is required by universal building codes for use in areas such as shower doors, doors, and certain windows. Unlike standard glass, which can typically be cut to size from stock pieces of glass kept in our shop, tempered glass will immediately shatter when cut, which means it must be manufactured in the correct size and shape. This results in a longer lead time but the benefits of tempered glass are well worth the wait!
Do You Do Automotive Glass?
Unfortunately we do not provide any auto glass services, however, we are glad to try and provide reliable auto glass resources at your request. Just call, and we'll do our best!


text:
Real Estate(Opens in new window)
Wheels(Opens in new window)
Pro Football Weekly(Opens in new window)
Today's Ads(Opens in new window)
Daina Estell
September 09, 2020 at 2:31 pm CDT
Daina Marie Estell, daughter of Dennis Morris and Frances (Utley) Voschelle was born April 9, 1964 in Osceola, Iowa and passed away Saturday, August 29, 2020 at Greater Regional Hospice Home in Creston, Iowa at 56 years old.
Daina received her education in Osceola, IA where she attended Clarke Community High School.
She married David Daeges in 1981 and later divorced. She was united in marriage to Todd Lane Estell on December 18, 1988 in Osceola, Iowa. Following Todd's passing in 2007, Daina and David reunited and have been longtime companions since then. Daina's working career mirrored her personal trait of always helping others and being a caregiver to those who needed help. She first worked as a waitress and cook and later provided in-home daycare for over ten years. In recent years, Daina provided in-home respite care for adults, until her cancer diagnosis in November 2019.
Daina was a strong, independent woman. She had an infectious laugh and loved her family. She was also an avid eBayer and loved to visit any thrift store or Goodwill looking for treasures. Her children remember her as a great cook, and they loved her corn mush, potato salad, and cherry cheesecake. In her spare time, Daina enjoyed spending time with her grandkids, camping, fishing, hunting mushrooms, and planting flowers. Following her diagnosis of multiple sclerosis in March 2015 and her later diagnosis of small cell lung cancer, Daina became very involved in support groups for both illnesses.
Those relatives who preceded Daina in death were her father, Dennis Morris; husband, Todd Lane Estell; grandparents, Mable and Elmer Utley; grandparents, Orville and Mary Morris; brother-in-law, Donald Wayne Ruth; mother and father-in-law, Norma Irene and Phil Estell; step-father, Jim Long.
Daina is survived by, mother, Frances Joan Voschelle; longtime companion, David Daeges of Creston, IA; children, Davy (Krystal) Estell of Creston, IA, Tara (Landon) Hedrick of Galloway, OH, Chelsey (Austin) Eblen of Creston, IA, Briann Estell (Isaiah Foster) of Creston, IA, and Jacob Daeges of Creston, IA. Also surviving are her sisters, Denise (Gene) Morris of Clarence, IA and Dwaun (Karl) Ruth of Lorimor, IA; step-sister, Shanda (Michael) Hiatt of Osceola, IA; grandchildren, Emma Estell and Evan Estell as well as many other relatives and friends.
Memorial services will be held at Kale Funeral Home in Osceola, on Saturday, September 12, 2020 at 10:30 am with son-in-law, Landon Hedrick officiating.
The family and funeral home asks that anyone in attendance at the memorial service please follow social distancing guidelines. The use of face coverings are required. If you are unable to attend the service in person, a live stream will be available at www.kalefuneralhome.com on Daina's tribute wall beginning at 10:30 am, Saturday.
Interment will be in the Maple Hill Cemetery.
In lieu of flowers contributions may be directed to her family. Online condolences may be directed to the family at www.kalefuneralhome.com
Thank you readers
Former Clarke County Attorney arrested after driving incident in Warren County
Osceola Foods creates hope for families of students looking to further their education
COVID-19 vaccines arrive in Iowa
Copyright © 2020 Osceola Sentinel Tribune. All rights reserved. Published in Osceola, IA, USA, by Shaw Media.


The desklogic design allows wall fixed layouts to be installed over a large wall-mounted 3-part trunking up to 200 x 60mm format. The multi-position internal back panels will allow your trunking to be accessible or concealed, as required.
In the case of free-standing layouts, similar 3-part trunking can be fitted into the carcases, either facing forward or backwards and be screened from view for an uncluttered appearance.


text:
<?xml version="1.0" encoding="UTF-8"?>
<project xmlns="http://maven.apache.org/POM/4.0.0"
         xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
         xsi:schemaLocation="http://maven.apache.org/POM/4.0.0 http://maven.apache.org/xsd/maven-4.0.0.xsd">
    <parent>
        <artifactId>java-knowledge-parent</artifactId>
        <groupId>com.xulf.java</groupId>
        <version>1.0-SNAPSHOT</version>
        <relativePath>../java-knowledge-parent/pom.xml</relativePath>
    </parent>
    <modelVersion>4.0.0</modelVersion>

    <artifactId>java-knowledge-apix</artifactId>

    <name>java-knowledge-apix</name>

    <dependencies>
        <dependency>
            <groupId>junit</groupId>
            <artifactId>junit</artifactId>
        </dependency>
        <dependency>
            <groupId>dom4j</groupId>
            <artifactId>dom4j</artifactId>
        </dependency>
        <dependency>
            <groupId>jaxen</groupId>
            <artifactId>jaxen</artifactId>
            <version>1.1.6</version>
        </dependency>

        <!-- httpclient-->
        <dependency>
            <groupId>org.apache.httpcomponents</groupId>
            <artifactId>httpclient</artifactId>
        </dependency>

        <!--xstream-->
        <dependency>
            <groupId>xmlpull</groupId>
            <artifactId>xmlpull</artifactId>
        </dependency>
        <dependency>
            <groupId>xpp3</groupId>
            <artifactId>xpp3</artifactId>
        </dependency>
        <dependency>
            <groupId>com.thoughtworks.xstream</groupId>
            <artifactId>xstream</artifactId>
        </dependency>

        <!--jackson-->
        <dependency>
            <groupId>com.fasterxml.jackson.core</groupId>
            <artifactId>jackson-core</artifactId>
        </dependency>
        <dependency>
            <groupId>com.fasterxml.jackson.core</groupId>
            <artifactId>jackson-databind</artifactId>
        </dependency>

        <!--gson-->
        <dependency>
            <groupId>com.google.code.gson</groupId>
            <artifactId>gson</artifactId>
        </dependency>

        <!--apache lang3-->
        <dependency>
            <groupId>org.apache.commons</groupId>
            <artifactId>commons-lang3</artifactId>
        </dependency>

        <dependency>
            <groupId>commons-collections</groupId>
            <artifactId>commons-collections</artifactId>
        </dependency>

        <!--lombok -->
        <dependency>
            <groupId>org.projectlombok</groupId>
            <artifactId>lombok</artifactId>
        </dependency>

        <!--guava-->
        <dependency>
            <groupId>com.google.guava</groupId>
            <artifactId>guava</artifactId>
        </dependency>

    </dependencies>
</project>


Brown Water? Manganese In Your Water?
Manganese is a natural metal, one of the most abundant found in the earth's crust where it is present in the form of oxide, carbonate, silicate or sulphide. Manganese is regularly found in drinking water supplies. The presence of high levels of manganese in your water can be noticed, as the colour will have a black/brown tint.
A sudden colour change in your water may be for two reasons, there is either an increase due to natural seasonal changes in the raw water source or it could be just a disturbance of manganese that had settles in your pipes.
It is unlikely to cause any health problems from either short or long term exposure; it just doesn't look very nice. Our drinking water only contributes to a very small amount of our dietary intake of manganese; the majority of it comes from our food.
If you notice the water in your washing machine looks discolored, just repeat the wash without adding fabric softener.
Running your cold tap for a little while until it runs clear can normally clear out the discoloration. If this doesn't work check with your neighbors to see if their water is discolored too and give your local water board a call.
Do you have hardness in your drinking water?
4th Classic mistake you are making with your UV!
3rd Classic mistake you are making with your UV!
1st Classic mistake you are making with your UV!


The Tuesday before Thanksgiving we had a full Cafe. 23 guests joined us for dinner at our tables while 2 guests had take away.
We were also blessed with an army of volunteers. Key Club student Emily volunteered for the first time while regular Amalia and Lewis, with three friends came in time for service. Captain Fern had four adult friends, Holly, Brian, Tracie, and Mary come with 8 teenagers. MESH staff regulars, Adrienne, Bonny, and Joe rounded out the crew.
Cookies and tangerine for dessert.
As always, our guests were very appreciative of the warm, hearty meal.
The Carol Starr MESH Cafe at Shomrei (Montclair Emergency Services for the Homeless) is a cooperative effort between the MESH organization and local synagogues and churches. Volunteers at each institution cook and serve hearty, nutritious meals for the hungry. Shomrei's turn is on Tuesday nights. A good meal, and perhaps as important, social interaction and companionship offer respite to those who need it. Please help fulfill this crucial mitzvah by volunteering.
To sign up to help, go to shomrei.org/mesh.
A long time member of Shomrei, Fern is a past President of the Synagogue. She is one of Shomrei's MESH Cafe (Montclair Emergency Services for the Homeless) chefs. Fern founded Minerva Consulting. She consults to the healthcare industry on commercializing brands and developing the next generation of marketers.


I am thankful for the size that I do not put in the neighborhood home center.
This review is about item#35509013.
I could not find the 25mm type of government fuse, it was saved by treating it with Monotaro.
This review is about item#35508995.
Quality is also good and it is saved for cost. It is unexpectedly very thankful that there are shops with 25 mm tube fuses.
This review is about item#35509004.
Evaluation comment can not be done yet because it is before use, but 25mm glass tube fuse was quite absent at the shop front. It was saved.
The short type of 250 mm is saved because it is not placed in ordinary mass merchandisers.
This review is about item#35509022.
Because the old turnip is 25 mm · 7 A designation. When I looked at the picture, I was not familiar with medium-sized slender board wire fuse for home appliances, so it was uneasy, but since it is "auto fuse" purchased on trial. After all, it is 125 v 7 A with a line fuse, and the hand held tester does not know the difference from the 12 v product. I have tried it for the current car for two weeks but there is no problem at present. If possible, please explain whether this line fuse is different from the conventional 12v version · What is the exchange problem?
It is an ordinary tube fuse. Since this model size is getting out of line at the shop front, it is very much appreciated that it is always on sale at all times.


text:
Gilberto Silva
EPL Index > Gilberto Silva
West Ham's stadium move is a bad omen
Since switching to the Olympic stadium, West Ham United's home form seems to have taken a dip but it's not the first time a club has struggled to adapt to it's new surroundings. There's been a few stadium changes in the Premier League in recent years, with Arsenal's switch to the Emirates being one of the biggest in English football history. West Ham played their first fixture at the unfamiliar Stratford turf on 4th August in a Europa League qualifier …


What the Emperor Cannot Do is a collection of tales, legends, and parables that Doroshevich wrote in imitation of a variety of 'Oriental' tales. There are 'Chinese Tales', 'Arabian and Other Tales', and 'Indian Tales", and not the least of Doroshevich's accomplishments is how well he imitates the different styles and approaches and uses them to his own ends.
The tales are relatively simple and straightforward, but often with beautifully twisted morals. So, for example, many of the Chinese tales feature a well-meaning Emperor who is entirely cut off from the masses he rules, and whom corrupt advisers mislead about the actual state of the nation. In one tale the emperor pities the unfortunates who, on a rainy day, don't have a hat to cover their heads with; his underlings (and their underlings) rectify the situation -- by beheading anyone who doesn't have a hat, allowing them to then assure the emperor that: "In all of Peking there is not one Chinese who does not have a hat to put on his head in the rain", leaving the emperor overjoyed at how prosperous all his subjects are.
They'll pass a law that it is light by day and dark at night. That water's wet and sand is dry. And people will be convinced it is light by day not because the sun shines, but because those children of misfortune, elected Arabs, have ordained it so. And that water is wet and sand is dry not because Allah created them like that but by order of the delegates. People will come to believe in the delegates' wisdom and omnipotence. As for what they will come to think of themselves, only Allah knows !
The way the viziers assure that the laws don't quite have the desired impact is absolutely inspired, and the story resonates particularly nicely in this post-'Arab Spring' time of piecemeal democratization in much of the Arabic world.
His parables stylized as Oriental tales are timeless. They sound as topical today as they did in Doroshevich's time.
Another very nice (re)discovery from Glas.
Russian author Vlas Doroshevich (Влас Михайлович Дорошевич) lived 1864 to 1922.


text:
Q: Python: Df takes Data from Df before ´´´
import ssl
import smtplib
import pandas as pd
from GoogleNews import GoogleNews
ssl._create_default_https_context = ssl._create_unverified_context
googlenews = GoogleNews()
googlenews.set_encode('utf_8')

A: As get_news() doesn't accept a list, a straight forward approach would be to iterate over all your locations using a forloop. Then, save all the separate DFs in a list and finally concat them.
Make sure to use clear() to clear your previous search.
import ssl
import pandas as pd
from GoogleNews import GoogleNews
ssl._create_default_https_context = ssl._create_unverified_context
googlenews = GoogleNews()
googlenews.set_encode('utf_8')
googlenews.set_lang('en')
googlenews.set_period('7h')

cities = ['New York', 'Los Angeles', 'London', 'Munich', 'Amsterdam', 'Madrid']
messages = []

for city in cities:
    googlenews.clear()
    googlenews.get_news(city)
    new_table = []
    for row in googlenews.results():
        new_table.append({
            'City': city,
            'Title': row['title'],
            'Date': row['date'],
            'Link': row['link'],
            'Source': row['site'],
        })
    df = pd.DataFrame(tabelle_neu)

    if not df.empty:
      df['Link'] = df.apply(lambda row: \
                            "{}".format(row.Link,
                            row.Link.split('/')[2]), axis=1)
      messages.append(df)

df_total = pd.concat(messages, axis='index')

# drop duplicates with same title
df_total.drop_duplicates(subset=['Title'], keep='last', inplace=True)

pd.DataFrame.to_csv(df_total)


text:
Activities of the Office of the Government
Ministerial Bodies
This page has been archived
Jiří Weigl
Director of Václav Klaus Institute
Jiří Weigl graduated in foreign trade economics from the University of Economics in Prague and subsequently in the specialisation of Oriental and Arabic Studies from the Faculty of Arts of Charles University in Prague. Prior to 1989 he worked as a researcher at the Economic Institute of the Czech Academy of Sciences, where he received a postgraduate degree in the field of global economics. In 1990 he entered the Ministry of Finance, where he focused on the issue of international financial institutions and the International Monetary Fund, and worked as an adviser to the then Federal Minister of Finance Václav Klaus. He completed a research internship at the International Monetary Fund focused on financial programming and policy.
In 1992 he moved on to the Office of the Government of the Czech Republic, where he served as economic adviser to the Prime Minister, and from June 1993 to 1997 he was the Head of the Board of Advisers of the Prime Minister. He then worked at Investiční a poštovní banka as Senior Director for Strategy and Marketing.
In the years 2000 to 2003 he worked as the Director of the Centre for Economics and Politics (CEP). In the 1990s he was a member of the Supervisory Board of the National Property Fund and served on the supervisory boards of several major companies (Czech Railways, Czechoslovak Airlines, Investiční a poštovní banka (IPB), Český Telecom, and the coal extraction and processing company Sokolovská uhelná). He has been the Chancellor of the Office of the President of the Czech Republic since March 2003.


text:
Machi-gurumi Museum at-home No.11-No.20
Suppin-ya
Suppin-ya(Large size)(PDF:35KB)
The contents of exhibition
a long cubic handwarmer
3396, Sawara-I, Katori City
Natural goods for your life
Eco-Shop, Suppin-ya, sells natural Japanese general goods. Our shop front is one of the traditional historic buildings designated by the government. The intention to preserve the old townscape allows us to provide natural goods for the consumers.
The shop was founded as a furniture shop. Even now it is still open next to our shop.
Our museum displays a piece of a long cubic handwarmer manufactured by a skillful craftsman. In present day Japan, this kind of furniture may be out of use, but its presence makes us feel cheerful and lively.
And, on the wall in the depth of our shop, is hanging an old wall clock made in the early Showa Period.
Enjoy the sight of the daily articles in the good old days. Every weekend, around the handwarmer we can have merry talks with the visitors over a cup of tea.
Sato Hardware Store
Modern Warehouse
Sato Hardware Store(Large size)(PDF:20KB)
tools and life
In the 1st year of Heisei (1989), this hardware shop was completed as the post-modern ku-ra (warehouse) with a structure which can eliminate moisture to protect the iron and steel utensils against corrosion.
The big key designed in the center of the second floor level is the symbolic door key the visitors may be asked to turn. Our shop has also been built to resist earthquakes and will continue to do so for another 100 years.
The fire bell tower at the foot of the Tadataka-Bashi Bridge was presented to the town in the 10th year of Showa (1935) by our ancestor.
The charcoal hearth of ebony has been used since the early Showa Period. The Nan-bu (now lwate Pref.) iron kettle keeps its original condition in spite of the long lapse of time. The fire-proof Han-ten (a short coat) is believed to have been sewn in the Edo Period. It is a great surprise to see how this high technique protected fire fighters from the danger of fire sparks against the coat.
Shojoh
Sawara Cinematic Museum
Shojoh(Large size)(PDF:44KB)
photo collection of location in Sawara
http://www.shoujyou.com/index.html
9:00-17:00 (on Sundays 10:00-16:00)
Traditonal Fish Food Shop
Sawara, which preserves the landscape of old Japan, can have a lot of good locations for shooting both movies and commercial films.
Some parts of our shop front and interiors were used as the background of movies, such as 'The eel,' (the winner of the grand prise in Cannes film festival), 'Kura (ware house)', 'Shun-tou (spring lights)',and 'Kai (oars)', starring Matsu Takako, based on the novel by Miyao Tomiko. Many pictures are displayed inside the shop.
The third son of our family played as a hero in a TV drama, 'Ultra-man Dyna'.
Help yourself to the delicious pickles served in the shop.
Ootaka-En
Museum of Tea and Tabocco
Otaka-En(Large size)(PDF:39KB)
old signbord of tobacco and tea
At the shop front are displayed two signboards, such as the 'Ippuku Issen' sign (a cup of tea for one coin) which originated in the middle Edo Period (1603-1877), and the 'Ten-gu Tobacco' sign , a brand which was created by a tobacco tycoon named Mr. Iwaya. The Otaka-en used to be the sales agency of the lwaya Tobacco Company.
You can see a publicity poster of 'o+ Kumoi' which brand was derived from a well-known 'geisha' woman called Kumoi, who made a blend of tobacco on her own and smoked it and thus won her great popularity from the smokers of the time. o+ is a coat of arms from the 'Satsuma' clan, a feudal lord of southern Kyusu which is famous for producing good tabacco.
Kanoya Textile Shop
Kanoya Textile Shop(Large size)(PDF:29KB)
a folding screen inlaid with Gyo-ku-seki
508, Sawara-I, Katori City
a folding screen, no counterpart anywhere in the world
Here is a folding screen inlaid with Gyo-ku-seki (sliced precious stones). This screen may have no counterpart anywhere in the world.
There is a Japanese old saying that if a woman obtain a Gyo-ku (a precious stone) she can succeed in marrying a rich man.
The Gyo-ku contains the five To-ku (good virtues): Gi (rightousness), Jin (benevolence), Chi (intellect), Yu (courage) and To-ku (high virtue). The Gyoku can provide its holder with the spiritual strength produced from such virtues.
Enjoy the display of the things the ex-owner of our shop collected.
Hatter Kobayashi
Handmade, Heartwarming Museum
Hatter Kobayashi(Large size)(PDF:29KB)
paintings by Mr.TAKAHASHI, Tohzan etc.
not regular
A watercolor picture
A watercolor picture by Mr. TAKAHASHI,Tohzan: he once visited Sawara on his sketching trip. He sat on a bench in front of our store drawing a picture. The storekeeper served him a cup of tea and had a good time chatting with him. The next day, the painter came to our shop and presented a picture as a token of his thanks. This picture is a piece of our family treasure which reminds us of the personality of a tenderhearted painter.
A photograph by Mr. HIGO,Kazutaka: this was awarded as the gubernatorial prize in the 17th Saitama Prefecture Photo Salon Competition in 2001. 0ne day when the shopkeeper was opening the door, he was asked by a stranger to take a picture of him. Several days after that encounter, our family were amazed to see a big photograph in a page of a newspaper which said it had been awarded the best prize at the competition. This photograph shows a good example of how to spend time after our retired life.
A big candle (length of 48.5 cm and max width of 13cm) was actuany used in 2000 as lighting on the Noh stage of Kurokawa Noh,which is designated as a national important intangible cultural asset.
PHARMACY OGAWA
Stone shop SHIRATORI
Stone Museum
SHIRATORI(Large size)(PDF:33KB)
stone carvings dating back to early year of Showa
http://www.shiratori-stone.co.jp/
Established in the 1st year of Meiji
This workshop, established in the 1st year of Meiji (1868), displays a group of stone works into which the memory of a history of 137 years is carved. The great skill of each craftsman can remind us of Sawara's economic prosperity in the early years of Showa (1925-).
Suimu-kan
the Imaginary Views of Sawara
Suimu-kan(Large size)(PDF:43KB)
paintings of the Imaginary Views of Sawara
Aspiraiton City, Sawara
You can enjoy lots of paintings of the imaginary views of Sawara's townscape and the fantastic, visionary world, drawn by a native painter of Sawara, his spiritual home.
Record shop Ootomo
Music and Image Shop
Record shop Ootomo(Large size)(PDF:30KB)
a tin hand warmer (made in China) and so on
Established in the 21st year of Showa (1946) as a shop selling radio sets, the shop started the sale of the phonographic records in the 36th year of Showa (1961). The items displayed in the shop have been collected by the shop owner herself. The tin hand warmer is a special favorite of hers.
Machi-gurumi Museum at-home No.1-No.10
児童扶養手当のよくある質問
香取市広報紙編集業務委託に係る公募型プロポーザルの実施結果
広報かとり Web版(No.103 平成22年7月1日)


Im new to this site. I've glanced in before when I had seen posts on another support website. I feel like the website I was on previously isn't exactly right for me and... Idk Im kind of all over the place so it wasn't helping me to be on an all over the place website basically.
I'm not officially diagnosed with any eating disorder, the last time I went to a psychiatrist he claimed I was just depressed and didn't have an eating disorder despite my habits and so I don't really know what I fall under.
Basically my habits started back in middle school with compulsive overeating(aka getting anxious, fixating on food then eating way more than anyone should be able to) Id always been overweight so no one really noticed the strange eating. This went on until I became obese. I hit a breaking point and decided to lose weight by counting calories using an app. I started out all fine and dandy until I started obsessing over calorie deficits. Eventually I went down to 1000 calories a day plus exercise until I lost around 120 pounds. At that point I had what I consider to be my first binge (out of control, crazy, stuffing my face with food followed by the anxious fixating and stuffing myself with more food throughout the day followed by guilt, regret and panic about weight loss). ever since then ive been stuck in a cycle of binge/try to stop by eating more normally/fail/binge/purge in some form or another/have a mental break down/ restrict/ binge and repeat.
Ive lost and gained a lot and am now stuck in this cycle and I want so badly to stop gaining before I just give up on myself. I dont know if im ready to recover from my disordered eating completely but I do want to at least slow down this cycle if possible and give myself the fighting chance to be who I want to be instead of someone constantly in psychological torment from being out of control.
Sorry for the long post but I thought this would be the best way to let you all know about me.
Last edited by Equinoxicwitch; 09-18-2014 at 06:05 PM.
Hi there and welcome to the forum. You've described a pattern so many of us are familiar with and that is so painful and I'm sorry you're struggling this way. I hope - rather I'm fairly confident - you will find some good support here, and some compassion that you desperately need.
For me it symbolises being trapped in a prison youve made yourself. youve made something that was once just a part of the body a prison to yourself its a bone cage and the metal makes it inhuman... impersonal. the person trapped inside is also painted in colors like she is dead but where her skin peaks through there is still life and vitality. to me it represents so many parts of an eating disorder and I connected to it because of that.
Welcome go the forum may I also mention how your way with words is pretty capturing, really drew me in.
I hope you settle in soon.
Welcome to WE, and I hope you find the support you need here!


text:
Q: Using ZK: How to add a script into the head tag from java? Using ZK, I'm trying to add a script into the header tag programmatically.
How can I do this?

A: Finally I found a solution! Someone in ZK's Forum gives these possible solutions:
http://forum.zkoss.org/question/96845/using-zk-5-how-to-add-a-script-into-the-head-tag-from-java/
"I know two ways for that:
1.Put the declarartion of the javascript file in the lang-addon.xml
lang-addon.xml
<?xml version="1.0" encoding="UTF-8"?>

<language-addon>

. . .

<!-- 4. Path to Bootstrap javascript library -->
<javascript src="~./cyborg/less/bootstrap/js/bootstrap.min.js" type="text/javascript" charset="UTF-8" />

</language-addon>

2. Add manual in java code:
if (view instanceof Window) {

        Window win = (Window) view;
        PageCtrl pc = (PageCtrl) win.getPage();
        pc.addBeforeHeadTags("<script type=\"text/javascript\">" + "(function(i,s,o,g,r,a,m)"
                + "{i['GoogleAnalyticsObject']=r;i[r]=i[r]||function(){"
                + "(i[r].q=i[r].q||[]).push(arguments)},i[r].l=1*new Date();" + "a=s.createElement(o),"
                + "m=s.getElementsByTagName(o)[0];" + "a.async=1;a.src=g;m.parentNode.insertBefore(a,m)" + "})"
                + "(window,document,'script','//www.google-analytics.com/analytics.js','ga');" + "ga('create', "
                + this.trackingID + ", 'auto'); " + "ga('send', 'pageview');" + "</script>");

    } else {
        throw new UiException("This view model must be applied from a Window component.");
    }

from api:
void org.zkoss.zk.ui.sys.PageCtrl.addBeforeHeadTags(String tags)

Adds the tags that will be generated inside the head element and before ZK's default tags. For example,
((PageCtrl)page).addBeforeHeadTags("");

"


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