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STARSTREAM RESEARCH
Investigation Uncovers Spy Game Surrounding UFO Mystery
Gary S. Bekkum
Were secure vaults breached at Los Alamos, a USAF base, and other locations?A national security issue buried in a UFO tale has been interpreted to an official under the Office of the Director of National Intelligence. Starstream Research investigates in a new on-line feature series titled, "Exempt from Legal Recourse."Truth is often stranger than fiction." Nowhere is this more apparent than in the latest revelations detailed by the on-line investigative report produced by Starstream Research.
I am the de facto editor and senior writer for Starstream Research, a private provider of intelligence and analysis on futuristic national and international defense, security and risk developments. I founded Starstream Research to explore areas of 'exotic' technologies that often remain outside of the bounds of conventional intelligence publications, like those produced by the esteemed "Jane's Information Group." Exploring cutting edge and 'over the edge' topics, such as the application of cold fusion research for new weapons of mass destruction technology, or the U.S. Government's twenty-year interest in using parapsychology for intelligence collection, are the norm for Starstream Research. In other words, we often explore topics which Jane's might not touch with the proverbial "ten foot pole."
Over the past few years Starstream Research has evolved from numerous contacts with scientists located around the world. They share a common vision of new and more advanced understanding of the laws of nature, and their application to practical technologies. As a result we have also bumped heads with members of the intelligence community, or their proxies in the private sector. Our latest series of stories, "Exempt from Legal Recourse," developed from sources working with the intelligence sector of the government.
As editor of Starstream Research, I have been attempting to walk a thin line between sources' requests for anonymity and the need to move our investigation forward. The result has been something of a mixed bag, leaving both readers and sources less than satisfied with the details we have provided. I am in the process of reviewing a considerable amount of material, and determining what may and may not be released to the public.
The present controversy revolves around stories released by Starstream Research, and distributed by The American Chronicle. Those stories revealed that in late August of this year, three agents of the Washington Bureau of the FBI met with an undisclosed party and discussed a UFO tale involving several former and present government intelligence officers. The UFO tale surrounds a loosely knit and unofficial group of government insiders known as the AVIARY, because they were once covertly identified only by bird names. Some members of the AVIARY remain unknown, with several of their real identities in dispute.
When questions were raised over reported entry by UFO researchers, including a former counter-intelligence officer, into secure government vaults at Los Alamos National Laboratory, a USAF base, and other locations, I knew we had a story that needed to be told to the public. We received a considerable amount of information thanks to on-going contact with U.S. Government officers and consultants by an independent investigator reporting to Starstream Research.
Confirmation that the FBI had been apprised of some of the activities was independently confirmed by another unnamed. The most interesting aspect of the case appears to be the release of personal and confidential email messages to an independent investigator close to Starstream Research, via Dan T. Smith, a private citizen who received copies forwarded from an officer of the Defense Intelligence Agency under the Office of the Director of National Intelligence. The DNI is the highest level of the U. S. intelligence community. I subsequently received confirmation of concerns over the leak of messages from a second source, as did another independent contributor.
The purpose of the transfer of the messages remains an issue of discussion, but suggests a counter-intelligence operation. A mutual undisclosed source confirmed that the issue was briefly brought before the FBI when reviewing national security clearance and procedure.
Although our focus has been on documented government interest in unusual phenomena for intelligence gathering, we suspect the use of phenomenology for intelligence may be closely tied to real cloak and dagger activities, both past and present. More disturbing is the apparent disconnect displayed in messages between parties involved in their official capacities regarding a topic far removed from any 'UFO tale.' Access to secure government vaults is a very serious matter, as was illustrated by the discovery of classified information from Los Alamos National Laboratory during a recent drug bust. The deliberate use of the so-called UFO "giggle-factor" as cover for nefarious deeds involving espionage on behalf of foreign powers is a genuine concern.Our renewed investigation was born from a special series at the Starstream Research website titled "Invasion: Earth?" which examined claims from government officers and consultants about an alien presence based upon the moon.
Substantial government sourced documentation, recently released by the CIA under Congressional mandate, provided new corroborating evidence for the claims of former CIA test subject Ingo Swann, as originally told in his out of print book, "Penetration."Although we have made no judgment about the reality of an 'alien presence,' there is no question that the tale has left a mysterious trail in official government records.After reviewing new information presented by Starstream Research on the Ingo Swann affair, a former CIA senior analyst wrote to me, "You do a service. Excellent analysis from what is officially released material needs constancy of theme and purpose, not simply "expose'" morning coffee. You do excellent analysis. I sure as heck am learning things I didn't know, but which fit like my hands in gloves I was shown but never allowed to try and put on."
Apart from boosting our egos up a notch or two, the confirmation that our investigation had elicited a positive response suggested there was more to the tale left to be uncovered. Additional details are presently under review, as the investigation remains on-going. The result of the investigation, reviews of CIA documents, and additional details are available at the Starstream Research web site:www.starstreamresearch.com
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MATTHEW D. OF THE U.K. - FINAL
MATTHEW D. FROM THE U.K. (CONTINUED)
MATTHEW D. FROM THE U.K.
FOREIGN CONTACT CASES
BARBATO
SEE THROUGH ALIENS
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IN BOTH CASES THE CAR STOPPED


Many times, CCIPR is left with unexplained phenomena that we don't necessarily deem as proof positive of the paranormal, rather, we are left with evidence that yields no logical explanation after thorough review and assessment. We would like to use this section to post some of the videos we have collected over the years that we have yet to reach a conclusion on: whether it is considered paranormal or of another reasonable explanation that we have not yet been able to ascertain. If you would like to leave any feedback on any of the video evidence presented, please send us an email. We welcome your feedback.
Investigator Todd was alone in the Jennie Wade basement (Gettysburg, PA) while the rest of the team takes a break and can be heard upstairs. During his line of questioning, he asks for the spirit of Jennie Wade to grab him when he receives a response from the spirit.
The CCIPR team debated whether or not to release this video as it is difficult to see this anomaly captured in The Orphanage in Gettysburg, PA. It appears to look like a hand but changes shape as it slowly manifests before gaining tremendous speed and disappearing.
For the first time, we are releasing it to you for YOUR review and feedback. Many of you saw it happen months ago during our live stream and we are finally posting this so you can study it and send your comments to us. Click here to let us know what you think is responsible for this happening.
Todd's iPad was hit with such a force, it left a crack on the screen which later had to be replaced. Watch it once then rewind. Notice the incredible initial speed on the iPad being knocked to the floor from the couch. We are posting this video only with the permission from the home owners.
For those that might have a hard time believing in ITC/Spirit box responses (like me - Todd), just have a listen to this. It really opened my mind. I can't remember ever having an experience like this before where the response was so trained on the what was actually happening in "our world".
CCIPR, Working in conjunction with a local collage, received exclusive rights to investigate this plot of land. With permission, CCIPR investigated the land and captured this piece of footage that shows a piece of our equipment mysteriously turning on. More to come from Duffy's Cut.
Please note that Carol and I never heard what you are about to at 9-10 seconds. The female voice is as clear as day and we only discovered it after we spent many hours reviewing our footage. It's believed this is the the same woman that stated her name as "Anastasia" in a video located below.
Our friends at Ghostly Images of Gettysburg, PA shot this video and allowed us to post it on our site. This video claims to capture an object being manipulated by an unseen force in The Soldier's Museum. For more information on Ghostly Images, you can click here.
We were called to investigate the Jennie Wade House back in 2009. You will see a black anomalous shape caught on our still camera, strange lights that seem to bob and weave, and watch the team react as our equipment was moved by an unseen force - twice.


Please scroll down this page to see my work and click on the small pictures to enlarge them.
I wanted to make a chair that was tall enough to hang a coat on the back, and low enough to sit on while putting your shoes on. It is made of sweet chestnut, with fumed chestnut inlay.
This is a small 'Davenport' style desk. It has turned legs with three drawers to the right and three mock drawers on the left. It is made of ripple sycamore and teak, with cedar of Lebanon drawer bases.


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Q: With what to start when creating a cross-platform app? So I have a well-planned idea for an app, and I want to implement it in the next year.
I did my research and decided to learn JS ,CSS and HTML using NATIVE REACT and FIREBASE.
My question is, where do I start?
Should I first learn HTML?JS?CSS? or maybe all together is the same time? maybe focusing on something else which will provide strong foundations? what will speed up the learning curve?
( P.s - I'm a second year student in software Engineering, so learning new skills & technologies is quite familiar. )

A: HTML, CSS and JavaScript in this order is a good choice.
They will all be useful in future, and rely on each other.

redpajama_set_name: RedPajamaStackExchange


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About Fencing / By Claire Miller-Randall
Is fencing a safe sport? is a question every parent asks once they really consider signing up their child for an actual fencing class or camp. We get asked that question many times by people "my kid loves to play at home with his brother or friends as jedi knights, pirates, musketeers (or Zorro or . . . ) but in actual fencing is it safe? Does it hurt? After the all the object is to hit each other with swords right?"
Actually, fencing is one of the safest sports you can enroll your child or yourself in. Plus it has life long benefits for both children and adults. Hard to believe? Several scientific studies measured the injury rate between Olympic sports. See the graph below.
Fencing is Safer than Badminton
A study conducted during the 2008 Olympic Summer Games showed there were only five sports that had fewer injuries than fencing (which were diving, synchronized swimming, rowing, kayaking, and sailing).
The study, Sports Injuries During the Summer Olympic Games 2008, was first published in the American Sports Journal of Medicine in 2009. In 2012 a Scientific American article ranked all summer and winter (2010) Olympic sports according to how many of each sport's athletes were injured during training or the games. The fact that fencing is ranked as one of the safest sports is no surprise to experienced fencers and their parents, who know that fencing as a very low injury rate.
By contrast, the summer sport with the most injuries? Soccer – had the most injuries, and it is the most common children's sports world wide. In terms of incidence in sports, soccer topped the list with an injury rate of over 30%. Fencing's injury rate fell to the opposite end of the spectrum, at close to 2.5%. The graph on the right from the studies, shows that badminton had a higher rate of injury than fencing!
Olympic Sports Injuries graph shows fencing has fewer injuries than most sports.Source Lars Engebretson, Univ. of Oslo
The research also shows that one third of all Olympic sports injuries were caused by contact with another athlete. Fencing is a non-body contact sport. Body contact between fencers is prohibited by the rules, an athlete can be penalized or disqualified if body contact is purposely made. So let's dispell some common myths about fencing!
Modern Day Fencing and Safety
Many people believe, thanks to wondeful movies, that fencing is like Zorro cutting his trademark "Z", or the musketeers who battle to the death fiercely at the drop of an insult, or like the incredible fencing scenes from the fabulous movie, The Princess Bride.
The actual goal of fencing is to touch your opponent before he touches you, The sword blades are very light and flexible. The tip of the sword (there are three different swords used in Olympic fencing), does not have a sharp point. In saber, the metal end is actually bent over, in foil and epee the end of the blade has a plunger that will depress and set off a light showing that the opponent was touched, practice epee and foil blades have a rounded rubber cap on the tip (which is rounded)
Is fencing a safe sport? It is made even safer by the fencing uniform and safety gear. The fencing uniform covers the fencer's body from head to foot with layers of gear all made for maximum safety,
The fencing mask is made from a metal mesh to protect head, and has been tested to withstand more force than a fencing blade can deliver. All gear, even the long socks, are made specifically for the sport, and meet strict requirements. See our separate article about fencing gear here.
In saber, many touches are so light that we need to look at the electric scoring machine to check if one was touched. The lighter the touch, the more energy you save for the duel.
The 4 most common fencing injuries
Of course there are typical sports type of injuries that happen. All of these types of injuries happen on the playground and other sports.
Bruising, occasionally on the arm, hand or top of the leg
Blisters and calluses. If your socks are lose or shoes not fitting blisters can occur. The weapon hand can form a callus as you use our weapon more frequently.
Muscle strains or pulled muscle, occasionally.
Twisted ankle or knee is the least frequent injury on this last that could happen. Generally it comes from a sudden jump that can happen in fencing.
Most of these can be kept to a minimum or prevented with proper warm-ups, physical conditioning, stretching and proper training. Proper technique and foundational skill learning focus on correct form and movement to keep the athlete moving easily and injury free. As you can see, fencing has a low risk of injury., The Olympic Injuries study answers the question "Is fencing a safe sport?"

redpajama_set_name: RedPajamaCommonCrawl


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June 09, 2014 / Mark Jennings
A year ago I first heard about this thing called 'The NightRider' - a 100km cycle through London at night. It sounded daunting then, and no less daunting when I signed up 4 weeks ago. Last Saturday I set off from Crystal Palace proudly wearing my Cancer Research UK jersey with hundreds of other riders, and to my complete surprise finished second, in a time of 4 hours 15 minutes.
It was one of the toughest things I have ever done, both exhilarating but very emotional at the same time. I have raised almost £700 for Cancer Research UK through the generosity of a lot of donors - some I know well, others through social networks, but everyone combined to put my head in the right place to do this challenge. THANK YOU.
The experience is hard to describe, and to be honest I didn't stop to take photos. I raced the first section to Tower Bridge and it was only because the bridge was up that I pinched myself to remember to look up and enjoy the sights. The distant hills of Crystal Palace to Ally Pally, Greenwich and the docks, the City, Wapping, Canary Wharf, bustling Soho, Abbey Road and The Oval all passed by as I dug deeper and deeper to keep going. Then, in the final stretch it was almost to much: it's an odd experience to be cycling the last 15 miles at 3am with tears in your eyes, singing to keep going to a silent London.
Even though it was a blur, there are some things I'll never forget -
Seeing the friendly face of the Cancer Research volunteers at the start line - it's a small thing but riding alone it meant a lot to know there was a team behind me
Tower Bridge at night as the bridge was raised and lowered - cars stopped, people taking selfies and we cyclists forced to pause and take it all in for a moment
Losing my bearings and convincing myself I'd taken the wrong route, then seeing St Paul's appear out of nowhere, ghostly and pale but oh so welcoming to this 'lost' rider.
The Paris-Roubaix like cobbles on the way to Wapping, and sharing the pain with two other riders, bonded by the experience
The agony and ecstasy of reaching the highest point on Hampstead and knowing it was downhill for a while
The look of surprise at the marshal when I arrived at the finish-line to say I was too early for breakfast
The medal around my neck that convinced the canteen to serve me breakfast early
Two days later, as I look back weary but exhilarated my main feeling is one of pride, and of feeling privileged to have helped the work of such a good cause. Thank you Cancer Research UK for giving me a reason to ride, I hope that one day soon I won't have to ride for you but until then I know my donations will help.
Don't forget you can still sponsor me here http://www.justgiving.com/markofrespect
Here is my Strava record for any bike geeks out there
PS I wish I had slowed down a bit, check out what London looks like at sunrise!
Photo by Nick Reinis
Photo by Steph Joels
June 09, 2014 / Mark Jennings/ Comment
nightrider, cancer research, cancer research uk, london, cycling, bikes, charity
It's going to hurt, but it's a good kind of pain
In September, as the weather turns cold and wet, I will be on a bike, in shorts, cycling 70 miles a day for 3 days.
Why? To raise money for a charity I believe in so strongly that it is worth the cuts, bruises, strains and drenching.
Last year we did this and built 2 schools and a library through Room To Read, with your support we can do even more - please donate to me to achieve this goal.
Please support me - I promise, I won't let you down http://bit.ly/supportmark
August 13, 2013 / Mark Jennings/ Comment
Inspiration, personal
charity, cycling
What did Techbikers achieve?
Well, more to the point, what did you acheive? If you sponsored me for the recent Techbikers Paris to London 200 mile cycle then you are of course awesome, but this is why ...
We will fund the following 2012 projects in Nepal:
One two room School Construction project at 22,000 USD (Brand new school built)
One constructed Library at 20,000 USD (brand new library built)
One School Library at 5,000 USD (re-purposing of an existing room in a school with no library, filled with books)
I could not be prouder today, and this extends to each of you who supported me - thank you with all my heart.
The plaque text will read: This school/library was established through the cooperation of the local community, Room to Read and TechBikers. TechBikers (40 entrepreneurs in East London) were inspired to support this space and hope that it similarly inspires the local community to dive into a world of creativity, initiative and curiosity that was opened up to us by books and learning.
charity, nepal, reading, techbikers
I MADE IT #techbikers
September 28, 2012 / Mark Jennings
I made it from Paris to London on a bike, almost 200 miles (minus a little when we got flooded off the Sussex hills) over 3 days with 40 others to raise money for Room to Read. Thank you to those who supported me with donations, tweets and Facebook messages, it made all the difference to what was the most gruelling thing I have ever done.
Be it the frosty mornings, the pea-soup fog at 40 miles an hour, the river that was once a road I cycled up or the 10 mile stretches all uphill each mile I cycled closer to home broke me but renewed me at the same time.
I know lots of you were waiting for payday to support me - this means a lot and each donation after the event has been an extra pat on the back: if you can, support me here
Some stats for the group:
Collective miles cycled: 6,925
Collective calories burned: 68,634
Collective pedal revolutions: 3,985,200 (Four million!!)
Collective feet climbed: 197,702
To add some context, that means the team cycled from London to Mount Everest, and along the way ascended its height seven times over.
From the bottom of my heart, thank you,
Support here: http://uk.virginmoneygiving.com/team/techbikers
September 28, 2012 / Mark Jennings/ Comment
charity, cycling, google, perspective, room to read, techbikers
I'll be thinking of you each painful mile and smiling
Stop, take a moment. Think of me. Yes, me. Cycling. Not a commute across London, or a casual cycle in the New Forest. Think Paris, think London. Think cycling 200 miles from Paris to London. Now back to me. Yes me. Scared. Excited. Determined.
I need your help - http://bit.ly/techbikers
It's been a long time since I was last asking for sponsorship (1992 Aberdeen to Crathie Comic Relief cycle to be exact), and now I ask again. I'm cycling with a bunch of fellow geeks to raise money for Room to Read.
Room to Read are a charity that believes that World Change Starts with Educated Children. They envision a world in which all children can pursue a quality education that enables them to reach their full potential and contribute to their community and the world.
Please, from the bottom of my heart, donate. I promise I won't let you down.
Go to Virgin Giving now and donate, selecting my name from the donation screen.
More about Room to Read
Room to Read seeks to transform the lives of millions of children in developing countries by focusing on literacy and gender equality in education. Working in collaboration with local communities, partner organisations and governments, we develop literacy skills and a habit of reading among primary school children, and support girls to complete secondary school with the relevant life skills to succeed in school and beyond.


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Home / Featured / Rev. Clay Evans, civil rights leader, evangelical broadcaster and gospel icon, dies at 94
Rev. Clay Evans, civil rights leader, evangelical broadcaster and gospel icon, dies at 94
The Rev. Clay Evans, a civil rights leader, influential evangelical broadcaster and gospel music icon, has died at 94.
News of his death was posted on social media by Pastor Charles Jenkins of Fellowship Missionary Baptist Church, the house of worship Rev. Evans founded after being ordained a minister in 1950. Rev. Evans served the church for half a century.
"He will forever be known as a civil rights leader (who worked closely with Dr. Martin Luther King and Reverend Jesse Jackson), gospel music pioneer, civic leader, community staple, and trusted counselor to all including presidents, governors, mayors, and anyone in need of advice," Jenkins said.
Rev. Evans was "has been responsible for launching the ministerial careers of ninety-three people, including Mother Consuella York, the first female to be ordained in the Baptist denomination in Chicago," according to the website of the church at 4543 S. Princeton.
In 1968, Rev. Evans ordained the Rev. Jesse Jackson.
Working with Jackson, he helped form Operation PUSH, according to the HistoryMakers website.
In some of the most heated days of the civil rights movement, he defied Mayor Richard J. Daley in welcoming the Rev. Martin Luther King to Chicago.
"When Dr. King decided to use Chicago as a northern expansion of the civil rights movement, Rev. Clay Evans had to endure some political fallout" for his support, said funeral director Spencer Leak. "The word had gone out [from City Hall] that ministers should not invite Dr. King to their churches."
Rev. Evans embraced him and worked with him, and as a result, it became difficult for him to get construction work done on his church, Leak said. "Building permits were very difficult to obtain because of his support for Dr. King," he said.
U.S. Rep. Bobby Rush (D-Ill.) joined in the condolences, calling Rev. Evans "a prophet, a priest, and a pastor to both parishioners and pastors."
He was born in Brownsville, Tennessee.
Gospel music broadcaster Bob Marovich recounted the pastor's early days in Chicago in a biography Marovich wrote with Patty Nolan-Fitzgerald for Malaco Music Group.
"He migrated to Chicago in June 1945, at age 20, with plans to be an undertaker, but he could not afford the tuition fee to attend mortuary school," said Marovich, author of "A City Called Heaven: Chicago and the Birth of Gospel Music." "Instead, he worked at a pickle factory, as a window-washer, as a pie truck driver, then found work at the Brass Rail, a local lounge, and dreamed of a future as a big band singer."
He sang with various church choirs and wrote gospel songs, including "By and By," a 1950s hit for the Davis Sisters, according to Marovich. After founding his church, Rev. Evans became a soloist and performed on his choir's gospel records.
"Sam Cooke and other professional singers attended Fellowship to enjoy the choir and listen to Evans preach," Marovich wrote.
Rev. Evans began his broadcasting career in 1952, Marovich said.
SOURCE: Chicago Source Times


So – the newest Velocity Accelerator® is a deeper-dive into context and business logic, into two crucial disciplines that work together, that are inseparable: Open-Book Management and Team-Based Performance Compensation.
The efforts of a homebuilding company to improve operating performance and business outcomes will largely fail to achieve what is possible, if it does not succeed first in creating a homebuilding team that works toward commonly-held and commonly understood business goals, versus being a collection of so-called teammates working toward individual goals.
What would be missing, is an underlying business logic that forms the necessary context for understanding everything else. That is the role of Open-Book Management.
And – not just understand the business outcome that is at stake; teammates must each have a personal stake in that business outcome. That is the role of Team-Based Performance Compensation.
Then, in Open Book Management, Case described how Steve Wilson developed the basics of OBM-inspired Team-Based Performance Compensation at Mid-States Technical Staffing Services (now Modis); Wilson subsequently described this work in The Bucket Bonus Plan.
We take a specific approach in our application of the principles of Open Book Management and Team-Based Performance Compensation.
We advise our clients to be transparent (open) and to demonstrate candor (the courage to tell and hear the truth) in the constant internal disclosure of operating and financial data, whether in meetings, or through dashboards and heads-up displays. We advise our clients to impart business literacy (understanding) to teammates, so that they understand the business of homebuilding, not just the homebuilding business; we do it through the teaching of business and production principles.
Then – we advise our clients to adopt a team-based approach to performance compensation, by way of a progressively-weighted milestone plan based on achieving targeted performance above a baseline in a specific business outcome that is impacted by the actions of every single teammate. An approach that is simple, easy to understand; visible, transparent; compelling; fast, frequent; self-funding, paid from income the company would not have otherwise generated; based on achieving a target above a baseline.
In terms of compensation – significant, meaningful. In terms of participation – all-inclusive.
Team-Based Performance Compensation should provide only for the possibility of winners or losers, not winners and losers. It should give the right to lead and demand results; it should give the desire to be lead and deliver results.
Open-Book Management and Team-Based Performance Compensation is one of the five Velocity Accelerators® highlighted (together with Critical Chain Project Management, Epic Partnering™, Building Information Modeling, and Business Process Improvement) at the next Pipeline workshop™, October 18-19, 2017, at the Ponte Vedra Inn and Club, in Ponte Vedra Beach, Florida.
"I can understand being careful with important decisions in uncertain times. I can understand increased diligence in determining a baseline that reflects current reality. I can understand having a more progressive structure to the payouts, so that each successive milestone is worth more. I can understand adjusting the distribution of the reserve between teammates, owners, and retained earnings, to 25-25-50, or 30-30-40, instead of equal shares, in order to provide more money to meet extraordinary debt service requirements. I can understand – but not agree with – the fear that would drive your flight to a supposedly-safer outcome, like Net Income.
SAI Consulting's Fletcher Groves III and I are ready to change the narrative. We're ready to build a new level of awareness.
For the upcoming Pipeline Workshop™ in Ponte Vedra Beach, Florida (April 5-6, 2017), we are excited to announce the addition of a new BIM Velocity Accelerator®. We'll share the "not-so-well-known benefits" of BIM, and why you should be acting with a sense of urgency.
Building Information Modeling is one of the five Velocity Accelerators® highlighted (along with Critical Chain Project Management, Epic Partnering™, Business Process Improvement, and Open-Book Management and Team-Based Performance Compensation) at the next Pipeline workshop™, October 18-19, 2017, at the Ponte Vedra Inn and Club, in Ponte Vedra Beach, Florida.
RB Builders' newly-acquired division has a construction schedule of 120 calendar days, but its actual cycle time is 180 calendar days. There is wide agreement that it should be able to build its homes in far-less than 120 days, because the schedule reflects "highly certain" task durations. Switching from CPM to CCPM would immediately reduce the schedule from 120 days to 96 days, cutting the schedule by 20% with no diminution of confidence; it would reduce the actual 180 day cycle time by almost 50%.
Critical Chain Project Management does more than just reduce the length of construction schedules. It also specifies a set of rules preventing behaviors that consume (and waste) the safety built into task durations. It installs a release mechanism that pulls starts into the system and keeps work-in-process at the levels required to produce faster cycle times.
Builders can put a number of these practices into place without changing the scheduling algorithms from Critical Path to Critical Chain. Critical Chain will not be a complete solution until management technology wakes up and addresses it. But – it all starts with knowledge.
Critical Chain Project Management is one of five Velocity Accelerators® (along with Business Process Improvement, Epic Partnering™, Building Information Modeling, and Open-Book Management and Team-Based Performance Compensation) that will be explored at the next Pipeline workshop™, October 18-19, 2017, at the Ponte Vedra Inn and Club, in Ponte Vedra Beach, Florida.
I remember where I was . . . I remember who I was with . . .
On Tuesday morning, September 11, 2001, sixteen years ago to the minute, I was in the offices of Fidelity Homes, in Venice, Florida, commencing a process mapping engagement to give this start-up homebuilding company a state-of-the-art set of business processes. SAI Consulting's involvement was part of a large pro bono effort, sponsored by Professional Builder, that included a number of top consultants then serving the homebuilding industry.
Sitting across the table were David Hunihan and Todd Menke, two young builders, eager to take their experience in homebuilding and pursue a National Housing Quality award. We had barely started, when David was pulled away by a telephone call. It was his wife, Lauren, asking if he was aware of what was going on in New York City.
As the events continued to unfold, in New York City, in Washington DC, in western Pennsylvania, we finally decided that it was impossible to focus on mapping workflow, and whatever we were doing did not seem all that important, anyway. We cancelled everything for the rest of the day, and, in our own ways, watched and tried to process what was happening.
Bill Lurz, then a senior editor at Professional Builder, joined us the following day. We finished the project two days later, and I drove back to my family in Ponte Vedra Beach through a tropical storm. On that day, the welcoming embraces had particular conviction.
The article was written and published in Professional Builder. The full story of Fidelity Homes was told in a six-part series on Escape from Averageness® in 2011, coinciding with the tenth anniversary of the 9/11 attack.
I still consider the events of 9/11 to be a matter of unfinished business for this country. Time has only increased my feelings about it. We were attacked, fifteen years ago, because of who we were, because of who we unapologetically remain. Our enemy sees it as unfinished business, as well.
Evil is the enemy of good; that evil has an ever-more-radical, and now secular, face. In the presence of that evil, we have failed to clearly state what war is; we have dismissed the understanding of war as the utter and complete destruction of an enemy.
It doesn't matter what we think of issues like American Exceptionalism, our place in the world, the tradeoff between national security and the constitutional rights to privacy of US citizens, the threat of terrorist attacks on our own soil, the still-unaddressed murder of US diplomats and security personnel in Benghazi, the ramifications of decisions not to intervene in Iran and Syria, the emergence of ISIS, the question of what happens when Iran becomes a terrorist regime with nuclear weapons, or the question of how long we wait on North Korea to change its taunts into action.
The discussions on all of those matters miss the point.
The discussions miss the point, because they don't address the root cause of the problem. The core problem is not the threat of future terrorist attacks or rogue regime nuclear attacks. The problem is the terrorists and their sponsors; the problem is rogue nuclear regimes and their enablers.
And, the solution is not attrition, or containment, or control, or minimization, or dismantlement of the threat, or mounting an international coalition against terror, or imposing sanctions, or providing more humanitarian aid, or granting political asylum, or creating deeper understanding, or negotiating peace, or peace, itself.
It is true that Christians are told to love their enemies. It is also true that love and forgiveness do not remove consequences, and that scripture is filled with instances when the children of God were instructed to destroy their enemies. And – yes – the One, True God, in His righteousness and omnipotence, may decide to impart His own justice to this situation.
However – absent divine intervention – we cannot afford the "problem of conjecture", as Henry Kissinger described it. We have now assured ourselves that there will be a war; if not a nuclear war, then certainly a war over who will have nuclear weapons. Competitors that already have nuclear weapons no longer fear us; the ones that will obtain them will not fear us, either. We are now in a far more dangerous, more deadly situation than we were in the aftermath of 9/11.
You are currently browsing the SAI Consulting Escape from Averageness archives for September, 2017.


I was out with John Walters of Eye magazine at the launch of Accent magazine a couple of months back and showed him my copy of Flaneur issue 02. He mused that modern indie magazines are the new pop records. A great analogy, an idea whose seductive snap was interrupted by the business of drinking alcohol. My deferred take on his insight is that the simple joy and obsession you could once develop for pop, is now delivered by lovingly made magazines. It's about the shared strangeness and eccentricity of great pop and great magazines. It's about the frequency, the deferred gratification in the age where everything is accessible now, streamed, in hi-def. And perhaps most of all, indie magazines have for fans that priceless quality that doesn't exist in the age of coolhunting where culture is social currency – a sense of being part of a unique community of like-minded lovers. Because the fact is few people buy these magazines, created by people who love making them. Let's call them Philoziners, lovers of the magazine, makers and readers. And, as John Walters suggested later, by readers in love with being makers.
Though you might not have heard of Flaneur magazine, it was nominated for a D&AD Award and has had plenty of media play such as this recent feature on the barometer of designer zeitgeist and social shareability, It's Nice That.
My journey to acquire issue 03 of Flaneur began in Soho London, zagged into Hoxton where I narrowly missed being introduced by John to issue 02's co-designer James Lunn who was at the Kemistry Gallery round the corner. I already felt a little like a flaneur, alive to the possibilities of chance and accident.
Issue 02. The cover lines for this issue acts as vision of how we might read the magazine itself.
I could have bought the magazine online, but that transactional relationship didn't feel very Flaneur. The journey of buying, the map I made of London in seeking out the issue, the wandering round magazine shops felt like a necessary entrypoint to the magazine. Like the conversations with the helpful sellers in the new Foyle's bookshop on Charing Cross Road, about whether in its new building, the famously labyrinthine bookshop still had opportunities for the book browser to get wonderfully lost. "And what does the cover of Flaneur look like?" he asked. "I think it's purple, with a photo of a 1970s barber and customer at the centre of a collage." Followed by his conversation stopper. "Which section would it be in? Is it Literature, Culture, Art, Design?" I was there for the design, for how the idea was expressed though design and imagery, for how the magazine left those divisions behind, left behind older ideas of what a magazine might be like. "Not sure," I said.
The magazine's name comes partly from the idea of the 'flaneur' in the writings of 19th Century French poet Baudelaire for whom the word meant a new type of person in the modern age, a stroller though the new urban spaces and crowds, absorbing the experience for the pleasure of it (though interestingly the word also appears in Baudelaire's The Painter of Modern Life in reference to an image-maker – Constantin Guys an illustrator from the Illustrated London News who had reported on the Crimean War). And from 20th Century philosopher Walter Benjamin for whom the Flaneur was the new human being of the modern age, the individual who browsed and absorbed the sights, sounds and smells of the modern city (read also the late great designer Alan Fletcher in our feature on Joris Vandecatseye).
The flaneur is a social type, or mindset, created at the edge of the new age of consumer goods, just as selling and commerce became a spectacle in shop window displays and shopping arcades, the flaneur is someone who experiences the world in fragments and thinks and moves in a non-linear way, without a defined purpose or a goal. An analogue version of a web surfer.
Flaneur Founder Ricarda Messner told me I could buy the issue at Ditto Press in Hackney, which was a bit of a stretch from Soho, and there was the added risk that as a middle-aged man I would be arrested by the East London fashion police. But a couple of weeks later I was visiting Proud Studio up in Hackney (they had finished making a movie). I loaded up the map on my smartphone, hopped on what Londoner's call a 'Boris Bike' and headed up to Ditto Press. Got lost on the way, an added bonus for a flaneur, and got to engage in conversation when asking some local folk for directions, before finally happening on the excellent Ditto Press space (more of Ditto next week), and finally got hold of issue 03.
Flaneur is about mapping a space, a single street, in words, pictures and design. Issue 01 explores Kantstrasse, Berlin; issue 02 Georg-Schwarz-Strasse, Leipzig. Issue 03 Rue Bernard, Montreal. Each issue is an extraordinary adventure in magazine construction and storytelling, documentary and fiction, sociology and science-fiction, illustration and street photography. Indeed it's been said that the Street Photographer is the modern flaneur. And imagery is central to the magazine, photography and typography, abstract and figurative, the way the designers play with it and make the relationship of word and image central to the experience of Flaneur.
Flaneur is about delivering the experience of the street rather than documenting it, resurrecting its history and previous inhabitants letting them walk through the present. The strapline of the magazine is "Fragments of a Street". The idea of the fragment runs from the sense of something incomplete, to something in ruins. The old idea that we can understand the whole, is a ruin, best left to big data. Flaneur is partly about making visible the zigzag of living in 2014, the experience of living in a digital culture where we can access huge swathes of the past, where the non-linear has become so habitual – in how we surf, how we constantly dip in and out of our smartphones, how we flit from talking to the person beside us, to talking to a person on the other side of the globe via social media. Though Flaneur magazine is about a single street, a fragment, it materializes the experience of the new digital environment we are living in. Sometimes exciting, sometimes overwhelming, but always with the sense that not to turn the page is to miss a connection to something vital.
"The Rolling Supernovas" a kind of Graphic novella inserted into the magazine.
Flaneur gave us an exclusive, the first time all the members of its team participated together. Founder Ricarda Messner, Editors In Chief, Grashina Gabelmann and Fabian Saul, and Art Directors and Designers Johannes Conrad and Michelle Phillips from Studio Y-U-K-I-K-O.
Why choose the title Flaneur, and I guess why Walter Benjamin/Baudelaire, as the driver of the project? How did the idea emerge?
Walter Benjamin or Baudelaire were not the driver of the project, this wasn't the premise of creating the magazine. When we started to work on our first issue, Winter 2013, I sat down with Fabian and Grashina, the editors, who formulated an editorial concept around the main idea – one street, one issue. We actually realized our approach was related to the term Flaneur as used in a literary context. Thus Benjamin and Baudelaire and their Flaneur literature have played a role but our magazine takes a contemporary approach.
I think I saw in an interview Ricarda you are a "Communications" graduate. Which communications thinkers have influenced you most? And what inspired you to create a magazine that sits at the edge of communication and art?
My study program at the University of the Arts was called 'Communication in Social and Economic Contexts' and focused on a creative and strategic conception for communication campaigns, planning and management. Again, it was more of a natural, self-developing process when it came to the core idea for the magazine. I was not influenced by theory but rather by my own observations. These days, people can use many different kinds of media to express themselves artistically. Communication can happen on so many different levels, it was interesting for me to play around with this, using the medium of print and its boundaries. To push this – one of our signatures is the collaboration with a variety of artists. A musician, a dancer, an architect, a filmmaker, a writer, a photographer (…) dive into the microcosm of a street responding very individually to it. In the end it's the print format binding the whole fragmented works together. We like to work with those limitations in order to find ways how to dive into a never-ending variety and depth that a street and the medium of print will eventually offer.
Does the idea of the Flaneur play out in the thinking of the design?
We don't intend that the reader starts at page one and reads in a linear direction. We invite our readers to dip in at any point, we use visual cross references and occasionally fragment works throughout the course of the magazine or rotate them to suggest other ways of exploring. Just like a flaneur might gather impressions from walking up and down a street, perhaps.
What do you think is Flaneur's relationship to conventional Ethnography? Flaneur may have an unconventional methodology and expression, but it's clearly capturing something of the spaces you explore?
There is definitely a parallel to conventional Ethnography when it comes to finding strategies to enter the microcosm and revealing it, but then again the flaneur method is a much more introspective method. As Benjamin put it, the street leads down, when not to the mothers, then into a past that can be even more fascinating and enchanting than his own. So there's a very subjective literary approach here and in that sense all perspectives are fruitful for us. The first glance, the curiosity of a child or the melancholy of someone that returns to a place are as relevant as the rather ethnographic perspective of a participant of the microcosm. It says 'This could be Rue Bernard' e.g. in our concept, so we're aiming for breaking up the linear, logical idea of a street in favour of fragments. There's a truth in avoiding finding a truth.
Flaneur is one of the most lavishly designed magazines around in the sense that the design is as expressive of an idea as the text. How did you come to the decision that design would be an essential component of mapping the space/street?
Flaneur is unique in that all the contributions are created especially for the specific issue. The work we commission and receive is hugely diverse and we try not to manipulate it into a Flaneur 'brand' or formula. Similarly, it doesn't make sense to fit the feeling of the street into a rigid design, but instead let the contributors' works and our own experiences guide the overarching visual outcome. It's a very intuitive and organic process. If we feel a contributor's concept could benefit from manipulating the format of the pages, we suggest it and are open to exploring things from all angles. We try to use the physically bound format of a printed magazine to its fullest potential. It's nice to embrace the tactility of an object that has qualities the screen doesn't.
Could you talk us through the design and layouts in issue 2 of "13 Amounts to a Promise"?
"13 Amounts to a Promise" is a very unique piece, and sort of the centre piece of Issue 02. The piece is written by young writer Roman Barton who has written a semi fictional / semi historical account of Leipzig, the city the issue takes place in. It's about the urban town planning in the early part of the 20th century when Leipzig was becoming a metropole. The written piece has three layers. A main body of text, footnotes and hand scribbled notes. Because of these layers we felt it was necessary to lay it out as a faux document, something perhaps found in the city, on the street, something that has for some reason got itself into the magazine.
We took the mystery of this document to a fourth dimension and decided to french-fold the entire pages of the document as if it were photocopied and folded backwards – sort of jammed into the magazine. Inside the French folds were images from the flower shop series (another story that appears later in the magazine). "13 Amounts to a Promise" was a nice example of the sort of storytelling we can achieve by collaborating closely with our contributors.
The design of this story, from photography to typography to the folds of time within the pages is extravagantly ambitious.
As each feature is specifically constructed, it must be challenging to manage both creatively and in terms of production?
Yes, it is a challenge but at the same time reflects our interests from the design, editorial, publishing point of view. Finding the red thread to create a certain narratively accessible publication but simultaneously still respecting each piece on its own. From our feedback we've been told people have to take their time and are even slightly confused sometimes with the work they are confronted with. It is not our intention to be too abstract but we're happy to challenge us and our readers.
How does the editorial process work? Do you come up with a concept for a piece and commission the writer and photographer? Does the design respond to the work as it comes in?
There's no classical commissioning with Flaneur. We meet with artists that appeal to us, discuss, check out the street and then we let them explore on their own before meeting again. It's more of a dialogue in the first place which eventually becomes a more introspective and subjective work. It's a very organic process.
We always try and get a good working relationship with the artists involved and start discussing the presentation of the work in the magazine as soon as possible. How far we can push the design and visual is always about how much trust the artists decide to give us and how much the piece allows room to be pushed, or whether or not it is necessary.
What kinds of design references have you look to when thinking around the magazine and what's been the most challenging piece of design?
We are inspired by the sort of ephemeral scraps you encounter everyday – forms, receipts, tickets, bureaucratic stuff, that public design that sort of looks a bit defaulty and functional. Also the way you find it, on other bits of designed ephemera – it has a sort of clashy effect. It's nice to subtly bring these observations into the design of the magazine.
A story, "Untitled", in which the writer's vision breaks down into fragments. It's given in scraps, some of which are 3D inserts, some of which are 2D images of scraps, giving the whole piece a 'trompe l'oeil' effect.
What are the criteria for your choice of street? Why Rue Bernard in issue 3?
The overall criteria is an intuitive approach. In the end each street has the possibility of telling interesting stories because life happens there. But the streets portrayed by us so far did something with us. Disharmonies, contrasts, subconscious feelings let you have a closer look and create a certain relationship whether positive or negative.
Issue 03 was our first international move, supported by an initiative from the local Goethe Insitut in Montreal. I was invited to get a first general impression for the town in October 2013. I had never been to Canada before, I had some clichés in my mind but there wasn't any 'real' picture I could hold on to. I was aware of Quebec's special role within its country and Montréal's anglo and francophone identity, which guided me unconsciously while driving around on a bike. On Rue Bernard there was an invisible wall in the form of Parc Avenue dividing Rue Bernard into two different worlds. I was curious and wanted to know more why its look and feel changed radically and I was then told one part belongs to the French district Outremont and the other half to the anglophone Mile-End area. Plus on the street we had a strong presence of different cultures, mainly the Hasidic Jewish Community. There was no other street giving us the same feeling – representing Montreal in a hyperlocal microcosmic sense.
Each issue feels on the edge of chaos, it's populated with so much textual, photographic, illustrative, typographic and material information – material in the sense of paper stocks/folds/sizes and in the new issue a comic inserted within the magazine. How do you decide when creatively/communication-wise it is too much? Do you pullback at any point?
The process of diving into the fragmentation of the place which is the first stage is a very energetic and impulse-driven phase. Sorting these fragments and giving them a rhythm, creating pillars inside the fragmentation is our main job as the editors in a later phase. We somehow have to gain an overview of things and we also produce the content for some series that act as pillars in the magazine ourselves. We do sometimes pullback, although this usually happens in the earlier stage. In the later stage it's more about finding links between the pieces and thus binding them into the issue. These cross-references are a key element because the pieces grow together. At this later stage there's no pulling-back, but getting the best out of each contribution that's on the way.
The endnote for a feature on Yves the barber who has worked in this shop for 27 years. A collection of things that signal something about him.
Maybe it's too difficult to stand back from your process, but to what extent does 'Berlin' (whatever Berlin means!) inform Flaneur?
Ricarda is the only native Berliner amongst us and the initial idea to take a closer look came from her return to Berlin after a stint in New York. But here it's rather the process of returning to one's roots that was important and that could have applied to any given city. But of course Berlin's reputation of being very free, easy and affordable somehow plays a role – a more hectic, expensive and business orientated city would be more difficult grounds for a group of young, independent magazine makers.
Can you tell us which street you are looking at next?
We're currently in Rome producing Issue 04. We felt like we had two options in Rome: to ignore the tourist and head to the 'outskirts' of the center or embrace the tourist as a literary figure and we chose to go with the latter.


High-flying IDEXX Laboratories (NASDAQ: IDXX) took a bit of a breather from the 14% to 16% year-over-year revenue growth it posted in the first half of the year, but the animal diagnostics company still managed a solid double-digit growth in the third quarter as earnings expanded even quicker.
David and Tom just revealed what they believe are the 10 best stocks for investors to buy right now... and Idexx Laboratories wasn't one of them! That's right -- they think these 10 stocks are even better buys.
Brian Orelli has no position in any of the stocks mentioned. The Motley Fool owns shares of and recommends Idexx Laboratories. The Motley Fool has a disclosure policy.


text:
.. _cmd_platforms_list:

platformio platforms list
=========================

.. contents::

Usage
-----

.. code-block:: bash

    platformio platforms list [OPTIONS]

Description
-----------

List installed :ref:`Platforms <platforms>`

Options
~~~~~~~

.. program:: platformio platforms list

.. option::
    --json-output

Return the output in `JSON <http://en.wikipedia.org/wiki/JSON>`_ format

Examples
--------

.. code-block:: bash

    $ platformio platforms list
    atmelavr    with packages: toolchain-atmelavr, tool-avrdude, framework-arduinoavr, tool-micronucleus
    atmelsam    with packages: framework-arduinosam, ldscripts, toolchain-gccarmnoneeabi, tool-bossac
    freescalekinetis with packages: framework-mbed, toolchain-gccarmnoneeabi
    nordicnrf51 with packages: framework-mbed, toolchain-gccarmnoneeabi
    nxplpc      with packages: framework-mbed, toolchain-gccarmnoneeabi
    ststm32     with packages: framework-libopencm3, toolchain-gccarmnoneeabi, tool-stlink, framework-spl, framework-cmsis, framework-mbed, ldscripts
    teensy      with packages: toolchain-atmelavr, ldscripts, framework-arduinoteensy, toolchain-gccarmnoneeabi, tool-teensy
    timsp430    with packages: toolchain-timsp430, tool-mspdebug, framework-energiamsp430, framework-arduinomsp430
    titiva      with packages: ldscripts, framework-libopencm3, toolchain-gccarmnoneeabi, tool-lm4flash, framework-energiativa

redpajama_set_name: RedPajamaGithub


text:
Q: Plugins system for Delphi application - bpl vs dll? I'm writing delphi app which should have capability of loading plugins. I'm using JvPluginManager as plugin system/manager ;) Now, in the new plugin wizard they say it's better to use .bpl type plugins instead of .dll plugins ... What are the pros of this solution versus dll type plugins?
So far I've found only cons of this solution:

*

*I have to put all the common interface units in separate package so that while loading plugins it won't throw any error about the other package containing common unit

*if, let's say, one of plugin developers decides to uses some well-known unit (like synapse), which doesn't have runtime package by default, and the second plugin developer does the same, than bump... it's crash here ...
So, what are actually the pros of using bpls instead of dlls compiled with runtime packages?
Thanks in advance

A: As Alexander said, a BPL is basically a DLL. But there are some conditions (from a not-so-short summary I made: http://wiki.freepascal.org/packages ):

*

*A unit can only exist once in BPL's +Exe. This avoids duplication of state (twice the   heapmanager and other global vars of system etc, VMT tables etc)

*.BPL's can only USE other .BPLs.

*This means that dynamic types like ansistring and IS/AS work properly over BPL interfaces.

*Initialization/finalization are separate procedure and their initialization order is strictly controlled. For static dynamic loading this is simpler, for dynamic loading (plugin-like) all dependancies on units are checked .

*Everything is essentially one big program, which means that the BPL's must be compiled with the same compiler version and RTL and depends on the versions other dependancies. It might be harder to make .BPL's to plugin to an existing EXE, since the Delphi version must match.

*This also means that you must deliver .dcp's for (non Delphi) .BPLs the plugin .BPLs depend on

In short: if the plugin architecture is open, make it a DLL. Otherwise people have to have the exact same Delphi version to write plugins.
Hybrid is also possible. An higher level .BPL interface for functionality you factor out into .BPL yourself and selected devels, and a rock bottom procedure DLL interface for the rest.
A third option is using DLLs, but ordain Sharemem. Strings will work, multiple Delphi versions will work. Objects can work but are unsafe (e.g. I guess e.g. D2009 with an earlier version wouldn't work). Even other language users might be able to allocate over COM, not entirely excluding non Delphi.

A: Your first con is also a pro. If you replicate shared code in each dll the dlls get bigger and bigger. Even when using dlls you can prevent this by moving shared code in a separate dll.
Pros:

*

*Types are shared. No TFont is not a TFont problem

*Memory manager is shared. Strings and classes can be used as parameter between plugins without problems.

Cons:

*

*Plugins can be built using Delphi or BCB only.

*Plugins should use the same Delphi or BCB version.

Have you considerd using COM? COM makes it possible to share types, strings and classes and the plugins can be written in many programming languages.

A: I'm not familiar of JvPluginManager, but it depends on how you're going to use BPLs.
Basically, BPL - is just a usual DLL, but its initialization/finalization work is stripped from DllMain to separate functions: 'Initialize'/'Finalize'.
So, if you're going to use BPL like usual DLL, there are no cons that I'm aware of, only pros: there will be no more troubles with DllMain. That's all. The only difference.
But BPL in Delphi also provide a convient way to share code. This means great advantages (common memory manager, no duplicated code, etc, etc). So usual BPL does a lot more than "being just a DLL".
But this also means, that now your plugin system is limited to Delphi only (well, may be C++ Builder too). I.e. both plugins and exe MUST be compiled in the very same compiler to run smoothly.
If this is acceptable for you (i.e. no MS Visual Studio, no, sir, never) - then go ahead, you can use all power of BPLs.
P.S. But upgrading such BPLs plugins can be also a nightmare, if you do not design interface side carefully. In certain worst cases, you may need to recompile everything.
P.P.S. Like I said: I have no idea, how it is applied to plugins, created by JvPluginManager.

A: Another disadvantage to BPL's.  When you switch Delphi versions you will have to re-distribute new plugins.  After many attempts at attempting to find the perfect plugin system, I ended up with COM and I have never regretted that decision.  In a commercial application which has had the plugin requirement for over 8 years, the application has continued to move forward and yet some of the plugins that were released with the first iteration still exist in their ORIGINAL form.
If you choose this method, do yourself a favor and start with a simple interface and then add new interfaces upon it.  You don't want to ever change your base interface, so keep it simple and sweet.

A: Avoid blp approach as you will have to ship a big bag of bpl with you software and thus, distribution will become bulky.
why do we use Delphi to compile small stand alone programs that just RUN anywhere without any runtime dependency. Using bpls means defeating this very purpose.
I don't know as to how comfortable you are with DLLs, but I would suggest you to use DLLs.

*

*This will give other developers (who
may get interested in your software)
a chance to use any development
language (as long as that language
can spit out dll) to write their own
plugins that can be used in your
developed software.

*Another thing is    that you will be
saved from Delphi's    vcl version
dependency tyranny. A    major weak
point of Delphi till date.


Are you ready to get started on the journey toward a better smile? The first step toward beautiful, healthy teeth is to schedule an appointment. Dr. Scharf is always accepting new patients, and we feel confident that you'll be satisfied with the treatment you'll receive here. You can schedule an appointment by calling our office or by filling out the appointment request form on this page.
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For more detailed information about what to expect on your first visit to our office, take a look at this page.
If you're looking for a top-quality, well-reviewed periodontist in Long Island, look no further than the office of Dr. David R. Scharf. Whether you've been referred by your general dentist or by a friend, or you found Dr. Scharf's practice through an online search or a television ad, you can be confident that you've come to the right place. Dr. Scharf graduated at the top of his dental school class and continues to participate in continuing education opportunities. He has personally developed a new surgical technique, has been an assistant professor in periodontics, and has published several articles in national dentistry journals. He's a board certified periodontist and a certified LANAP instructor. But perhaps most important to you is the fact that Dr. Scharf is committed to putting you first, respecting your needs and your schedule, and helping you understand the pros and cons of every treatment option. And patients recognize this. They comment frequently on his friendliness, professionalism, and expertise.
Give Dr. Scharf and his staff a chance to prove how enjoyable a visit to the dentist really can be! Schedule an appointment today.


There is another aspect of cycling as well as the Berlin-Copenhagen Cycle Route that links the two cities: The popularity of cargo bikes. Cargo bikes are often to be seen on the streets of both cities. Denmark is home to a number of major cargo bike manufacturers: Bullit, Christiana, for example.
An almost parallel society of enthusiasts has blossomed in Berlin. The Berliner Lastenrad-Netzwerk (Berlin Cargo Bike Network) has a mobile workshop to help groups build cargo bikes or modify conventional bikes. Its website: www.werkstatt-lastenrad.de features films on the building of and plans for cargo bikes. All this information is in German. If you want more information use the contact details on the website and drop the folks an eMail in English.
The Lastenrad-Fans Berlin (http://preview.tinyurl.com/d4zepuf) meet once a month to cycle round the city to encourage the city fathers to build wider cycle paths and offer safe parking areas for these bikes.
Unlike Copenhagen there does not yet appear to be a manufacturer of cargo bikes, but in a city like Berlin that is very open to new ideas, it won't be that long before somebody starts to manufacture.


Instead, Lagarde was rushed in as a replacement. Lagarde was popular, but not everyone was convinced she was the right person for the job. The late Jim Flaherty, Canada's finance minister at the time, backed another candidate. "Lagarde's selection as managing director in 2011 was a real running of roughshod over good global governance," says Paul Blustein, a senior fellow at the Centre for International Governance Innovation and the author of several books about the IMF.


text:
package bank;

/**
 * Tdd training on 15.10.17.
 */
public interface ExchangeService {

    Instrument convertInstrument(Instrument moneyToConvert,Currency currency);
}


These items are real live projects that were a direct output of the brand guidelines. The business cards, letterheads, compliment slips all have a strong corporate visual appeal, positioning QPI as a strong global player with heavy use of blue and white. The CD/ DVD wallet and cover make even the smallest deliverable look elegant, clean, modern and interesting. The internal decoration displayed here has been further developed for the internal spaces within QPI headquarters, giving the internal spaces air, light and importantly a consistent brand look.


According to an old writer, no Capuchin among the Papists may take or touch silver.
An ill example may kindle a flame which years of amended character cannot quench.
everything you touch. The very atmosphere which surrounds you breeds contagion.
infidelity and devilry in our own nature to make us no strangers to Satan's devices.
Scripture, they are, of course, prepared to doubt and quibble and cavil straight away.
him to all the world. "Let him persevere," said Tasso, "his rancour gives me no pain.
diadem of Christ, to see that one sheep feeding for ever in the pastures of eternal life.
that one soul would be a full reward for all our labour, for a soul is of countless price.
I think it was Michael Angelo who once carved certain magnificent statues in snow.
and die a disappointed man in this world, you shall not be disappointed in the next.
thirty years, he is an example to eager persons who can scarce wait thirty minutes.
day he met a Quaker gentleman, and accosted him, and was introduced to his wife.
George said, "And are you one of the Society of Friends, madam?" She said she was.
equal to us whether love ordained our pain or ease, appointed us wealth or poverty.
Human nature likes rule; but the Spirit of God works submissiveness of mind.
own bushel. They imagine that other people are as big liars as they are themselves.


Herman Charles Bosman (February 3, 1905–October 14, 1951) was born at Kuilsrivier, near Cape Town, and is considered the greatest short story writer from South Africa. Although he wrote in English, he became famous for capturing the rhythms of backveld Afrikaans speech, as evidenced in his Oom Schalk Lourens (oom means "uncle" in Afrikaans) stories and the Voorkamer sketches. Only three of his books were published during his lifetime: Mafeking Road, inspired by his trips to London; Jacaranda in the Night; and Cold Stone Jug, based on his years spent in jail for shooting his stepbrother during an argument.


Successful open day at Oakwood!
Thank you to everyone who helped to make Saturday's family activity and open day such a success! The dogs behaved beautifully, the bouncy castle was very popular and well done to the lucky winners of the fabulous hampers, the 'guess how many balloons in the people carrier?' game and the teddy bear competitions!
We were delighted to show over 25 prospective families around the school, and we hope to see them again for a more in depth visit to our classrooms after half term.
A special mention must be made of Evie Burton and Chloe Mackley, who set up and ran their own stall to raise funds for PICU, the Paediatric Intensive Care Unit at Southampton hospital. The girls went to a great deal of trouble for the day, creating games, collecting items to raffle and sell and even baking wonderful elephant cupcakes. Well done, Chloe and Evie, you were amazing and we are very proud of you!
Please head over to the Gallery section of the website for more photos from the day!


text:
Uber loses $1.1B investing in food delivery, driverless cars
LiveMint
07 February, 2020, 10:35 am
Last modified: 07 February, 2020, 10:43 am
Uber launches in Rangpur; now in all 8 divisions
EU lays out plan giving rights to Uber, Deliveroo drivers
Uber strengthens ride safety measures in Bangladesh
Uber resumes shared rides in US
The ride-hailing giant lost $1.1 billion in the fourth quarter of 2019, about 24% more than the same time last year
Uber continued to lose money as it builds up its food delivery business and develops technology for driverless cars, but revenue for its rides business nearly tripled as the company picked up more passengers around the world.
The ride-hailing giant lost $1.1 billion in the fourth quarter of 2019, about 24% more than the same time last year. The loss amounted to 64 cents per share, which was slightly better than what analysts were expecting.
Analysts polled by FactSet predicted Uber would lose $1.18 billion, or 67 cents per share, during the quarter.
Uber brought in $4.1 billion in revenue, up 37% from a year ago. Its revenue grew around the world, although the biggest gain was in the US and Canada, where Uber pulled in 41% more than last year.
But its Eats business lost $461 million in the quarter before accounting for interest, taxes, depreciation and amortization, down 66% from the same time last year as Uber put money into growing the business in a highly competitive food delivery market.
"2019 was a transformational year for Uber and I'm gratified by our progress, steadily delivering against the commitments we've made to our shareholders on our path to profitability," said Dara Khosrowshahi, CEO, in a statement. "We recognize that the era of growth at all costs is over. In a world where investors increasingly demand not just growth, but profitable growth, we are well-positioned to win through continuous innovation, excellent execution, and the unrivaled scale of our global platform."
In Uber's last earnings call, Khosrowshahi said the company's goal was to turn a full-year profit in 2021.
The fourth quarter was marked by painful disclosures at Uber.
In December, the company released a long-awaited report, in which its riders reported more than 3,000 sexual assaults during 2018.
The same month, Uber agreed to pay $4.4 million to end a federal sexual harassment probe about its internal corporate culture. But those announcements did not take a toll on the stock, which has been inching up over the past two months.
Uber's stock cratered after its IPO, falling 42% to a low of $25.99 in November. But it recovered some ground over the last month, reaching $37 on Thursday, about 18% below its IPO price.
Its losses in the fourth quarter included $243 million in stock-based compensation.
9h | Videos


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text:
Boskalis awarded seabed intervention & shore crossing contract for Woodside's Scarborough export gas pipeline
Royal Boskalis Westminster N.V. (Boskalis) says it has been awarded the contract for the seabed intervention and shore crossing activities for Woodside's proposed Scarborough export gas pipeline in North West Australia. The contract awarded by Woodside Energy Ltd. (Woodside), in its capacity as operator of the Scarborough Joint Venture, potentially carries a value of EUR 145 million if all options are called and is subject to a final investment decision which is expected in 2020. The preparatory activities for this multidisciplinary project have commenced recently. The seabed intervention and shore crossing works are scheduled to start in March 2021 with an expected completion mid-2022.
The scope of activities includes the pre-trenching of the nearshore pipeline route along a 50 kilometers section, offshore deep water excavation works, pre-lay and post-lay rock installation for pipeline and fiber optic cable crossings, the post installation burial and other protection works to ensure the stability of the pipeline. Support for the shore crossing to the onshore processing facility on the Burrup Peninsula as well as rock supply are also part of the contract. Boskalis will work to make best use of local content, based on capability and competitiveness, for the delivery of its scope of work.
Boskalis will deploy a wide variety of its in-house specialist expertise and equipment including a trailing suction hopper dredger, a backhoe dredger, a dynamically positioned fallpipe vessel and rock installation vessel, survey vessels and an offshore construction vessel.
The Scarborough gas field is situated approximately 375 kilometers offshore the Burrup Peninsula in North West Australia. The proposed export pipeline will transport natural gas between the Scarborough Floating Production Unit and the onshore processing plant. Woodside's preferred development option is to process the Scarborough gas through a brownfield expansion of Pluto LNG.
Royal Boskalis Westminster N.V. is a leading global services provider operating in the dredging, maritime infrastructure and maritime services sectors. The company provides creative and innovative all-round solutions to infrastructural challenges in the maritime, coastal and delta regions of the world. With core activities such as coastal defense, riverbank protection and land reclamation Boskalis is able to provide adaptive and mitigating solutions to combat the effects of climate change, such as extreme weather conditions and rising sea levels, as well as delivering solutions for the increasing need for space in coastal and delta regions across the world. The company facilitates the development of offshore energy infrastructure, including renewable wind energy. Boskalis is furthermore active in the construction and maintenance of ports, waterways, access channels and civil infrastructure, thus helping to facilitate trade flows and regional socio-economic development. In addition, Boskalis is a global marine salvage expert and has a number of strategic partnerships in harbor towage and terminal services (Kotug Smit Towage, Keppel Smit Towage, Saam Smit Towage and Smit Lamnalco). With a versatile fleet of more than 900 vessels and floating equipment and 11,300 employees, including associates, Boskalis is creating new horizons around the world.
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