text:
Black Combe Junior School, Millom
Church of St George, Millom
Church of the Holy Trinity, Millom
Hodbarrow Iron Ore Mines (1850 - 1968)
Millom Castle
Millom Infant School
Millom School
St James' Catholic Primary School, Millom
War Memorial, Millom
Wikipedia: Millom
Grid sq: SD1680
About Millom
Help build the Millom Timeline
Millom is a town and civil parish on the north shore of the estuary of the River Duddon around 7 miles (11.3 km) north of Barrow-in-Furness in southwest Cumbria, England. Millom was constructed as a new town, beginning in 1866 and subsumed the village of Holborn Hill. Built around ironworks, the town grew to a size of over 10,000 people by the 1960s, but has struggled since the works were closed in 1968. Culturally, Millom is notable as the birthplace of poet Norman Nicholson, and as a major centre of amateur rugby league.
The name is Cumbrian dialect for "At the mills". The town is accessible both by rail and an A class road. Historically in Cumberland, the parish had a population of 7,829 in 2011 and is divided into four wards, Holborn Hill, Newtown North, Newtown South and Haverigg.
Millom is mentioned in the Domesday Book as one of the townships forming the Manor of Hougun which was held by Tostig Godwinson, Earl of Northumbria.
Millom Castle is a grade I listed building and scheduled ancient monument which by 1739 was in dilapidated condition.
In 1251 a market charter was granted by King Henry III of England to John de Huddleston, Lord of Millom. A charter for an Easter fair at Holy Trinity Church was also granted at the same time.
Millom is the most southerly town in the historic county of Cumberland.
The Whitehaven & Furness Junction Railway opened a station in 1850 known as 'Holborn Hill Halt' until Millom new town was built in 1866. It was taken over by the Furness Railway in 1866.
A map of 1862 shows that all that existed was a small hamlet by the name of Holborn Hill on the northwest side of the railway line. It had a railway station, inn and a tile and brickworks. By 1899 a small town had grown up here, with terraced streets on either side of the railway, a public library, police station, banks, hotels, school, market square and allotments.
In the intervening years, the Hodbarrow iron mines began extracting haematite from deposits between the village of Holborn Hill and the seashore at Hodbarrow. The first shafts were sunk in the 1850s, by 1881 there were seven pits operated by the Hodbarrow Mining Company. Millom & Askam Iron Company built Millom Ironworks and the first furnaces were completed in 1866. The opening of the ironworks lead to the building of Millom newtown. The Hodbarrow Outer Barrier (seawall) was completed in 1905 to protect the mines from the sea. It took five years to construct at a cost of almost £600,000. The Hodbarrow Mines and Millom Ironworks were closed in 1968. The town's population of 10,997 in 1967 fell to 7,101 by the 1971 census.
In 1877 the expanding town needed more water and Whicham Beck was dammed at Baystone Bank (54.261226,-3.274237) to form Baystone Bank Reservoir. The reservoir remained in use until about 1996. It was drained in 2011, the dam removed and the valley returned to its original form. This work was carried out by water network company United Utilities.
During the Second World War an airfield, RAF Millom, was developed on flat coastal land at Haverigg. This was an advanced flying training station, mainly for Observers and also Air Gunners. Aircraft stationed there were firstly the Blackburn Botha and Fairey Battle, then the more popular and successful Avro Anson. Post-war this became the site of HM Prison Haverigg.
Throughout its history, the town has struggled with socio-economic problems, especially after the Industrial Revolution, thus being infamously called by the Mayor of Copeland, 'a place of despair'. However it was noted that the people who came to work in the mines in the late 1800s endured poor living conditions on the marshes that later became Millom New Town, with great fortitude and good humour.
Millom has a town council and is part of the Borough of Copeland. With the local government changes of county boundaries in 1974, the administrative county of Cumberland was abolished and Millom formed part of the new county of Cumbria.
Millom is within the Copeland UK Parliamentary constituency and the North West England European Parliamentary constituency.
The latest round of proposals in the Sixth Periodic Review of Westminster constituencies would place Millom in the Barrow and Furness constituency as part of boundary changes to abolish the Copeland and Workington constituencies.
Millom's economy is now mainly based around retail, services and tourism. It is a relatively low wage area, with a lot of people employed in skilled trades such as building, painting and decorating. Many also work in the service sector in hotels, pubs and shops within the nearby Lake District national park. Higher wage centres are Barrow-in-Furness to the south and Sellafield to the north-west with commuting each way on the road or via the railway. There is also some commuting as far as Kendal.
Millom itself has a small town centre and does not offer much in the way of local employment, especially for young people. The prison at Haverigg, away is the largest nearby employer.
There are 2 static caravan parks at Haverigg which provide some tourism income, and some holiday cottages also in Haverigg, mainly on the harbour front.
Millom owes it existence to the discovery of iron ore and the opening of mines and iron works in the 19th century. At the peak of production, some half a million tons of iron ore were transported from here for smelting. By the 1970s the importance of this had declined and the town suffered economic depression. A film in the This England series was made about Millom and broadcast in 1979 by Granada Television.
Millom was granted the status of a Fairtrade town in 2004.
Millom Palladium (a theatre, bar and full multi-functional venue) is a historic part of the town. Completed in 1911, it has stood on the site for over 100 years. This locally treasured building and entertainments venue is home to Millom Amateur Operatic Society (MAOS) founded in 1909 and is currently an ongoing project run and managed by a registered charity and group of volunteers with hopes to re-instate the cinema facility within the building. The facility currently hosts pantomime and music events and can be hired for weddings, balls, private parties etc. It has a full in-house 30KW PA with independent onstage monitor mixing and a full theatre lighting system.
The Beggar's Theatre is a multi-function arts base with several activities, performing-arts based, for local talent and provides a venue for touring theatres, stand-up comedians etc.
Run by Jakki Moore, the venue also offers a series of drama, dance and drumming workshops for children. They put on a summer arts festival every year.
Millom Network Centre, based on the grounds of Millom School, offers adult education, business and public meeting space and other business services.
The Norman Nicholson Society promotes and explores the work of the town's most famous son, the writer Norman Nicholson, who spent his whole life in the town.
The town also has organisations providing services for the elderly in a number of venues. A number of sports organisations operate in the town; notably rugby and cricket. For the less physically active, a chess club exists as does a Scrabble club although both of these are currently dormant; lacking enthusiastic players.
Millom is also home to the Hardknott Brewery who used to have a bar at the railway station serving their locally brewed beers but his has now closed and been replaced by a Cafe.
St. George's Church stands proudly within the town on a small hill and with its steeple is the biggest landmark of the town being visible from quite a distance.
The area's bigger landmark is the significant hill of Black Combe standing 1,970 ft (600 m) above sea level. It forms a grand panoramic viewing platform of the south-west Lake District area and offers a view of England, Scotland, Ireland and Wales on a clear day.
Millom Discovery Centre (previously known as 'Millom Folk Museum' and 'Millom Heritage Museum And Visitor Centre') presents a snapshot of past times in Millom, paying particular attention to the historical development of the area brought about by the significant iron ore mining and iron works.
Millom Rock Park is situated high on the north rim of the nearby Ghyll Scaur Quarry in the parish of Millom Without. A viewpoint in the Rock Park permits views into the working quarry and overlooks the processing machinery. There is an avenue of 15 large rock specimens with detailed interpretation panels.
There are two nature reserves near the town, both of which are located on the Duddon Estuary; an internationally important area for wildlife and designated a 'Site of Special Scientific Interest' or SSSI. Hodbarrow Nature Reserve is owned by the RSPB and is located to the south of the town, which in October 2005, saw the unveiling of its new public aid, with logos produced by local artists Stuart Edwards and Holly Parminter. Millom Iron Works Local Nature Reserve is located to the east of the town. Both reserves are important for tern species and a number of wading birds and waterfowl. Hodbarrow is renowned for large numbers of wildfowl during the winter. Various birds of prey can be seen hunting on both reserves throughout the year.
In 1866 the Hodbarrow Mining Company built a lighthouse on Hodbarrow Point to guide ships to its dock. When the company built a seawall in 1905 to protect its mineworkings, it established a new lighthouse on the wall and abandoned the old one. Both structures still stand; indeed the newer lighthouse (which had itself been abandoned in 1949) was in 2004 refurbished and relit as part of a local community initiative.
RAF Millom Museum closed in 2010.
Millom is served by Millom railway station on the Cumbrian Coast Line. The A5093 road goes through the town and is itself a loop off of the A595. The town council supports the building of a road bridge across the Duddon estuary between Millom and the Furness peninsula.
Millom School is a secondary school and sixth form, for pupils from 11 – 19 years old. It houses the adult education centre, swimming pool, an all-weather sports pitch and the "Melvyn Bragg Drama Studio" which was opened in 2005. There are a number of other schools in the town including Millom Infants School, The Nursery, St James' Catholic Primary School and Black Combe Junior School built in the early 1970s; its first headmaster, Frank Eccles, died 1 January 2013 aged 89.
Primary health care is provided at the town's 'community' hospital. It also provides some clinics – physiotherapy, podiatry and has a small x-ray facility. The inpatients occupy one ward spanning a 6 (now 5) bed bay, a 4-bed bay, twin and single rooms. The hospital does not offer A+E service nor any other 'drop-in' healthcare services. The nearest A+E (Accident and Emergency) service is at Furness General Hospital away by road at Barrow-in-Furness.
Millom's original parish church is Holy Trinity, a grade I listed building dating to the 12th century. In 1877 the growth of the town required the building of another church and architects Paley and Austin were commissioned to build St George's, a grade II listed building. There are also Roman Catholic, Baptist and Methodist churches and a community church. The Jehovah's Witnesses also have a Kingdom Hall in the town. Places of worship map
Millom Recreation Centre comprises a large sports hall and a small multi-gym and caters for a wide range of different sports. Millom has a Crown green bowling club, tennis and cricket are also played in the town.
Millom Rugby League Club is the oldest existing amateur rugby league club in the world having been founded in 1873.
Millom has a thriving Rugby Union club which was formed in 1873, making it one of the oldest rugby clubs in England. They train and play at Wilson Park, Haverigg. Both Junior and Senior rugby is catered for with Junior male and female teams competing throughout the season.
Norman Nicholson, poet and author, whose work was published by T. S. Eliot at Faber and Faber, spent his entire life in Millom. He is commemorated by a blue plaque.
Jimmy Settle, English international footballer, was born in Millom in 1874.
John A. Agnew, British-American political geographer.
Visit the page: Millom for references and further details. You can contribute to this article on Wikipedia.
Timeline (15 events)
Iron-Mining Sculpture, Millom
Millom library
Millom Station - Cumbrian Coast Line
Market Square, Millom
The clock tower in the Market Square, Millom
Millom post office and banks
Steam train special passes through Millom
Terraced housing, Millom
View of Millom from the park
St George's Church, Millom
Holborn Hill area of Millom
Old building on Moor Road
from IllustratedChronicles (flickr)
Corpl Martin - King's Own Lancashire Regiment - Millom (DCM)
Isaac Wren - 8th E Yorks - Millom (Killed)
Brave Cumberland Soldiers
RSPB Hodbarrow Nature Reserve
View across site of Millom Ironworks
Information board, Millom Ironworks
from https://www.cumbriacountyhi...
- "Industrial town in Millom parish, Allerdale above Derwent ward, Cumberland. Millom was UD from 1894 to 1934.....Hodbarrow iron mine, which was to become 'the most productive haematite mine in ...
Added by: Simon Cotterill , Edited by: Edmund Anon Last modified: 8 months, 2 weeks ago, Viewed:347 times,


text:
Q: Calling a function within function does not work as expected? I'm designing a maze generator in python and have various functions for different steps of the process. (I know the code can most definitely be improved but I'm just looking for an answer to my problem first before I work on optimizing it)
the first function generates a base maze in the form of a 2D list and works as expected:
def base_maze(dimension):
    num_rows = int((2 * dimension[1]) + 1)          #number of rows / columns
    num_columns = int((2 * dimension[0]) + 1)       #from tuple input

    zero_row = []                                   #initialise a row of 0s
    for i in range(num_columns):
        zero_row.append(0)

    norm_row = []                                   #initialise a row of
    for i in range(num_columns // 2):               #alternating 0s and 1s
        norm_row.extend([0,1])
    norm_row.append(0)

    maze = []                                       #initialise maze
                                                    #(combination of zero rows
    for i in range(num_rows  // 2):                 # and normal rows)
        maze.append(zero_row)
        maze.append(norm_row)
    maze.append(zero_row)

    return maze

Another function gets the neighbors of the selected cell, and also works as expected:
def get_neighbours(cell, dimension):

    y = cell[0]                                     #set x/y values
    max_y = dimension[0] - 1                        #for reference

    x = cell[1]
    max_x = dimension[1] - 1

    n = (x, y-1)                                    #calculate adjacent
    e = (x+1, y)                                    #coordinates
    s = (x, y+1)
    w = (x-1, y)

    if y > max_y or y < 0 or x > max_x or x < 0:        #check if x/y
        raise IndexError("Cell is out of maze bounds")  #in bounds

    neighbours = []

    if y > 0:                                       #add cells to list
        neighbours.append(n)                        #if they're valid
    if x < max_x:                                   #cells inside maze
        neighbours.append(e)
    if y < max_y:
        neighbours.append(s)
    if x > 0:
        neighbours.append(w)

    return neighbours

the next function removes the wall between two given cells:
def remove_wall(maze, cellA, cellB):

    dimension = []
    x_dim = int(((len(maze[0]) - 1) / 2))           #calc the dimensions
    y_dim = int(((len(maze) - 1) / 2))              #of maze matrix (x,y)
    dimension.append(x_dim)
    dimension.append(y_dim)

    A_loc = maze[2*cellA[1]-1][2*cellA[0]-1]
    B_loc = maze[2*cellB[1]-1][2*cellB[0]-1]

    if cellB in get_neighbours(cellA, dimension):   #if cell B is a neighbour

        if cellA[0] == cellB[0] and cellA[1] < cellB[1]:            #if the x pos of A is equal
            adj_wall = maze[(2*cellA[0]+1)][2*cellA[1]+1+1] = 1     #to x pos of cell B and the y pos
                                                                    #of A is less than B (A is below B)
        elif cellA[0] == cellB[0] and cellA[1] > cellB[1]:          #the adjacent wall is set to 1 (removed)
            adj_wall = maze[(2*cellA[0]+1)][2*cellA[1]+1-1] = 1
                                                                    #same is done for all other directions
        if cellA[1] == cellB[1] and cellA[0] < cellB[0]:
            adj_wall = maze[(2*cellA[0]+1)+1][(2*cellA[1]+1)] = 1

        elif cellA[1] == cellB[1] and cellA[0] > cellB[0]:
            adj_wall = maze[(2*cellA[0]+1-1)][(2*cellA[1]+1)] = 1

        return maze

yet when I try to put these functions together into one final function to build the maze, they do not work as they work on their own, for example:
def test():
    maze1 = base_maze([3,3])
    maze2 = [[0, 0, 0, 0, 0, 0, 0], [0, 1, 0, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 0, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 0, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0]]

    if maze1 == maze2:
        print("they are exactly the same")
    else:
        print("WHY ARE THEY DIFFERENT???")

    remove_wall(maze1,(0,0),(0,1))
    remove_wall(maze2,(0,0),(0,1))

these will produce different results despite the input being exactly the same?:
test()
they are exactly the same
[[0, 0, 0, 0, 0, 0, 0], [0, 1, 1, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 1, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 1, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0]]
[[0, 0, 0, 0, 0, 0, 0], [0, 1, 1, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 0, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0], [0, 1, 0, 1, 0, 1, 0], [0, 0, 0, 0, 0, 0, 0]]

A: The problem is in your base_maze function, where you first create two types of row:
zero_row = []                                   #initialise a row of 0s
for i in range(num_columns):
    zero_row.append(0)

norm_row = []                                   #initialise a row of
for i in range(num_columns // 2):               #alternating 0s and 1s
    norm_row.extend([0,1])
norm_row.append(0)

This is fine so far and works as expected, however when you build the maze from there
for i in range(num_rows  // 2):                 # and normal rows)
    maze.append(zero_row)
    maze.append(norm_row)
maze.append(zero_row)

You are filling up the maze list with multiple instances of the same list. This means if you modify row 0 of the maze, row 2 & 4 will also be affected. To illustrate:
>>> def print_maze(maze):
...     print('\n'.join(' '.join(str(x) for x in row) for row in maze))
...
>>> print_maze(maze)
0 0 0 0 0
0 1 0 1 0
0 0 0 0 0
0 1 0 1 0
0 0 0 0 0
>>> maze[0][0] = 3
>>> print_maze(maze)
3 0 0 0 0
0 1 0 1 0
3 0 0 0 0
0 1 0 1 0
3 0 0 0 0

Note that rows 0, 2, & 4 have all changed. This is because maze[0] is the same zero_row instance as maze[2] and maze[4].
Instead, when you create the maze you want to use a copy of the row lists. This can be done easily in Python using the following slicing notation
for i in range(num_rows  // 2):
    maze.append(zero_row[:]) # note the [:] syntax for copying a list
    maze.append(norm_row[:])
maze.append(zero_row[:])

redpajama_set_name: RedPajamaStackExchange


Basically I removed everything off the front screenset and have added new objects.
I didn't edit any combobox items so they should be fine and I think those are the only things with an "index"
Check the layer numbers of your objects if the layer exists. I've got the same error when I mistyped a layer number to a higher value.


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text:
Rudolf Bartsch (* 15. September 1929 in Rosenberg/Oberschlesien; † 21. Juni 1981 in Berlin) war ein deutscher Schriftsteller.

Leben
Rudolf Bartsch war der Sohn eines Angestellten. Er wuchs bei seinem Großvater in Kreuzburg/Oberschlesien auf, wo er die Volks- und Oberschule besuchte. Nachdem er als Angehöriger einer Kampfgruppe der Hitlerjugend noch an der Endphase des Zweiten Weltkriegs teilgenommen hatte, übersiedelte er 1945 nach Görlitz, später nach Leipzig. Nach der Schule arbeitete er als Landarbeiter und Maurer; ab 1950 besuchte er ein Lehrerbildungsinstitut. In den 1950er Jahren wechselte er zum Journalismus. Ab 1951 leitete er die Arbeitsgemeinschaft Junger Autoren des Landes Sachsen. Als Mitglied der SED war er von 1954 bis 1958 Abgeordneter im Bezirkstag in Leipzig. Von 1955 bis 1956 studierte er am Literaturinstitut Johannes R. Becher in Leipzig; anschließend lebte er als freier Schriftsteller in Ost-Berlin.

Rudolf Bartsch war Verfasser von naturalistischer erzählender Prosa und Fernsehdrehbüchern, die häufig zeitgeschichtliche Themen behandeln. Sein größter Erfolg war der stark autobiografisch geprägte Roman Geliebt bis ans bittere Ende, in dem Bartsch seine eigenen Kriegserlebnisse verarbeitete. Dieses Werk erschien bis zum Jahr 1977 beim Mitteldeutschen Verlag Halle in 12 Auflagen.

1962 schrieb der streitbare Romanautor die Fabel und das Szenarium zu dem Fernsehfilm "Die Sprengung"" (1964, Regie: Peter Hagen). Dieser Film wurde in der DDR allerdings nie aufgeführt, da er als "politisch renitent" verboten wurde. Eine Kopie des Films wurde 2012 im Deutschen Rundfunkarchiv Potsdam-Babelsberg aufgefunden. 2012 fand dann auch seine Uraufführung statt.

Werke (Ausw.)
 Man kann nicht immer stumm sein. Halle (Saale) 1953
 Tür zu, es zieht. Berlin 1955
 Geliebt bis ans bittere Ende. Halle (Saale) 1958
 Ein Zug fiel aus. Halle (Saale) 1960
 Aufruhr in Bangsville. Berlin 1961
 Schüsse am Gefängnis. Berlin 1961
 Diskretion. Rudolstadt 1962
 Die Sprengung 1964
 Der Arzt muss schweigen. Berlin 1965
 Zerreißprobe. Berlin [u. a.] 1969
 Der Mann, der über den Hügel steigt. Berlin 1972

Literatur

 Günter Agde: Publiziert: Schuld, Angst, Lebensgier, Utopie. Rudolf Bartschs »Geliebt bis ans bittere Ende«. Verboten: sein Fernsehfilm »Sprengung«. In: Neues Deutschland, 23. Februar 1013, nd-aktuell.schuld-angst-lebensgier-utopie.html

Weblinks

Einzelnachweise

Autor
DDR-Literatur
Literatur (20. Jahrhundert)
Roman, Epik
Literatur (Deutsch)
Deutscher
Geboren 1929
Gestorben 1981
Mann

redpajama_set_name: RedPajamaWikipedia


text:
// Copyright 2017 The Nomulus Authors. All Rights Reserved.
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.

package google.registry.tools;

import static com.google.common.truth.Truth.assertThat;
import static org.junit.jupiter.api.Assertions.assertThrows;
import static org.mockito.Mockito.verify;
import static org.mockito.Mockito.when;

import com.google.api.services.dns.Dns;
import com.google.api.services.dns.model.ManagedZone;
import com.google.api.services.dns.model.ManagedZoneDnsSecConfig;
import org.junit.jupiter.api.BeforeEach;
import org.junit.jupiter.api.Test;
import org.mockito.ArgumentCaptor;
import org.mockito.Captor;
import org.mockito.Mock;
import org.mockito.junit.jupiter.MockitoSettings;
import org.mockito.quality.Strictness;

/** Unit tests for {@link CreateCdnsTld}. */
class CreateCdnsTldTest extends CommandTestCase<CreateCdnsTld> {

  @Mock Dns dnsService;
  @Mock Dns.ManagedZones managedZones;
  @Mock Dns.ManagedZones.Create request;
  @Captor ArgumentCaptor<String> projectId;
  @Captor ArgumentCaptor<ManagedZone> requestBody;

  @BeforeEach
  void beforeEach() throws Exception {
    when(dnsService.managedZones()).thenReturn(managedZones);
    when(managedZones.create(projectId.capture(), requestBody.capture())).thenReturn(request);
    command = new CreateCdnsTld();
    command.projectId = "test-project";
    command.dnsService = dnsService;
  }

  private ManagedZone createZone(
      String nameServerSet, String description, String dnsName, String name) {
    return new ManagedZone()
        .setNameServerSet(nameServerSet)
        .setDnsName(dnsName)
        .setDescription(description)
        .setName(name)
        .setDnssecConfig(new ManagedZoneDnsSecConfig().setState("ON").setNonExistence("NSEC"));
  }

  @Test
  void testBasicFunctionality() throws Exception {
    runCommand("--dns_name=tld.", "--name=tld", "--description=test run", "--force");
    verify(request).execute();
    assertThat(projectId.getValue()).isEqualTo("test-project");
    ManagedZone zone = requestBody.getValue();
    assertThat(zone).isEqualTo(createZone("cloud-dns-registry-test", "test run", "tld.", "tld"));
  }

  @Test
  void testNameDefault() throws Exception {
    runCommand("--dns_name=tld.", "--description=test run", "--force");
    ManagedZone zone = requestBody.getValue();
    assertThat(zone).isEqualTo(createZone("cloud-dns-registry-test", "test run", "tld.", "tld."));
  }

  @Test
  @MockitoSettings(strictness = Strictness.LENIENT)
  void testSandboxTldRestrictions() {
    IllegalArgumentException thrown =
        assertThrows(
            IllegalArgumentException.class,
            () -> runCommandInEnvironment(RegistryToolEnvironment.SANDBOX, "--dns_name=foobar."));
    assertThat(thrown).hasMessageThat().contains("Sandbox TLDs must be of the form \"*.test.\"");
  }
}

redpajama_set_name: RedPajamaGithub


text:
Israeli NGO asks for slander charges against defeated Oscar nominee
(JNS.org) The film "5 Broken Cameras," which was criticized in the pro-Israel community for showing anti-Israel bias before falling short in the Best Documentary category at last month's Academy Awards, is now facing legal challenges.
A poster for "5 Broken Cameras." Credit: Kino Lorber.
Consensus—an Israeli NGO comprised of hundreds of reserve and non-commissioned Israel Defense Forces officers described as "Guardians of the IDF spirit"—filed an official request with the Attorney General of Israel for "5 Broken Cameras" to face slander and incitement charges, Israel National News reported.
In the film, directors Guy Davidi and Emad Burnat cover Palestinian demonstrations to stop Israel's construction of the security fence near the town of Bil'in. The film implies that Israel used excessive force to disperse such demonstrations, focusing on Burnat's video cameras, which are repeatedly damaged as a result of those clashes.
Consensus, according to Israel National News, wrote to the attorney general that the film "was edited, clip after clip, shot after shot, to the point where it has no connection to reality."
"The essence of the movie and the main motif is presented through a long scene of scenes that were 'pre-prepared'… in which soldiers are shown using [non-lethal] riot control measures (something that was not emphasized by the directors—which gives the false impression that the soldier is holding a live weapon) against protesters who are shown as not having provoked any response," Consensus wrote.
The NGO pointed to the film's "overlapping scenes with 'soldiers' attacks'" during which "'peace-loving' protesters are seen singing, hugging trees, extending an olive branch to the IDF soldiers and more."
"We hope that the Attorney General will understand how severe the directors' actions were, in editing the film with a clear agenda, and will decide to put them on trial for the serious incitement throughout the film," the group wrote.
Consensus previously uploaded a response to "5 Broken Cameras" on YouTube. The clip, "5 Broken Cameras—The Real Story," is an animated spoof of the Academy Awards ceremony and behind-the-scenes footage from the film.
Posted on March 13, 2013 by JNS.org.

redpajama_set_name: RedPajamaCommonCrawl


Coworking could be a kind of work that involves a shared operating surroundings, typically associate degree workplace, and freelance activity. in contrast to in a very typical workplace surroundings, those coworking are sometimes not used by identical organization. usually it's engaging to work-at-home professionals, freelance contractors, or who travel often times who find yourself operating in relative isolation.


At the age of eleven Lukas Weber was a good and passionate tennis player. In Tirol he even was the best. 13 years later he belongs to Austria's volleyball elite. Both sports have one thing in common: the ball needs to go over the net. At the same time the two sports cannot be more different: "In tennis it was just me on the court. The fascinating thing about volleyball is to play in a team", says Weber about his metamorphosis from tennis player to volleyball player.
The fascination of being a unit, the social mechanisms in a team – these are still aspects that he finds interesting about volleyball. And they characterize not only him as a player but he influences the whole Austrian national team as Austria's head coach Michael Warm confirms: "Lukas is the emotional and social heart of the team in which he enjoys a lot of respect", says the German who pursues the strategy of approaching his players very individually.
He probably is the best diagonal player in the world, superstar, top-earner, model athlete, Serbia's poster-boy for several years - and in September one of Austria's opponents at the CEV European Championship 2011: Ivan Miljkovic.
The 31-year-old Miljkovic shamelessly took advantage of the fact that there are no regulations limiting the biceps circumference of volleyball players. The 2.07-metre giant in the ranks of Fenerbahce Istanbul has to carry quite a massive 'package' on his upper arms – a true weapon that is dreaded all over the world and won him the top-scorer award at many tournaments and his teams numerous titles. His opponents do not only dread the power of his hits but also their variability. In addition, the tall Miljkovic who has an impressive six-pack also has an enormous explosiveness.


text:
Guest Blog: Mark Pryor Remembers Philip Kerr
April 5, 2018 mysterypeopleblogLeave a comment
I met Philip Kerr thanks to that great matchmaker, the fellow who (as much as anyone I know) brings writers together, and also introduces them to readers: BookPeople's own Scott Montgomery. It was at the store, Phil was doing a reading and a signing, and afterward Scott introduced us and invited me to join the two of them at dinner.
Immediately, Phil and I hit it off, and I was thrilled because he was, and still is, one of my favorite writers. (When Philip died this week, the personal loss was compounded by the knowledge that I will have just one more Bernie Gunther book, the one just published, left to read.) That friendship is why, I'm sure, Scott asked me to write a little about Phil to mark his passing, to honor our mutual friend.
But I want to start not by talking about the man, but about his Bernie Gunther books, to linger on those for a moment. Why? Because they are Phil's legacy, wonderful gifts of brilliant story-telling and if you've not read them, I want to explain why you should (and if you have, you'll be nodding along in agreement).
They are all about the man, Bernie Gunther. He's a policeman in Berlin, and the books are set in and around the Second World War. Sounds pretty grim, right? But that was part of Phil's genius, taking one of the darkest times in human history and infusing them with the wit, charm, and sometimes-disguised morality of his detective. Bernie himself is no angel, that's always made clear—he drinks and smokes and chases women. He's not afraid to pull the trigger, either, but he only does so when necessary and in the search for justice for some poor murder victim, or to save his own skin from someone infinitely more callous, someone genuinely wicked. In my opinion, and I've only been reading crime fiction for forty years, so what the hell do I know, Bernie Gunther is one of the most compelling characters ever in the genre.
Phil's books are more than just adventures for Bernie, though, they are also phenomenal explorations of history. Every book will teach you something new about the period in which it is set, and each time it's a delightful learning experience, a revelation of fascinating sub-stories, not a dry info dump or a preachy pedagogical exercise. Always filled with characters from the era that we recognize, so many bad Germans, who are complemented by colorful characters created by the devious, mischievous mind of Philip B. Kerr. And reading them you will travel to places like Germany, France, Russia, and Argentina.
Now, about Phil. He's actually a hard man to write about, partly because I know that he'd shrink away from the accolades and public praise that have come from every corner of the literary world since his death. I can see him now, a little smirk on his face that says, "Go on, write something that I can't pick apart as phony."
I'll try. The first time I saw him was that reading at BookPeople, and I call it a reading not because he read from his new book but because he literally read his talk to the audience. I thought that odd, he was so charming and funny it was hard for me to understand why he needed to read his presentation.
Afterward, we talked about the touring he has to do for each book, and he admitted that he was an introvert and didn't always enjoy public appearances. He found them challenging sometimes, I think, for the added reason that he was almost always the smartest man in the room (his law degree was topped off with post-graduate studies in German law and philosophy) and he had an inability to suffer fools (at all, let alone gladly).
Example: at a subsequent event at BookPeople where I hosted Phil and lobbed dumb questions at him, I'd turned it over to the audience and some eagle-eyed reader asked him about mistakes in the book that we were discussing, some minor factual or temporal error. Phil was curt, and made no apology for either his tone or the mistake. His response, in effect, was, "I'm human and humans make mistakes. If you want error free books read one written by a robot. Next question."
As a relatively new author myself, and certainly not anywhere near Phil's level of success, I was momentarily taken aback at his raw honesty. But that's what it was, honesty. And, for the record, he was right. I, too, have endured pointers to alleged mistakes and, even though the person challenging me was wrong (you can buy strawberries in the Pyrénées mountains in winter!), I was still polite and even mildly apologetic. But not Philip Kerr. He didn't need to pander to an audience member asking what he thought was a silly question. He was honest enough to say what many of us might have thought, but probably wouldn't say.
But don't think he wasn't kind. He was. I've told this story many times, and I'll tell it again because it shows what kind of person he was. He was talking about the publisher-arranged drivers who ferry him from the airport to the hotel and to the book events. This quiet, brilliant, introvert told me that should I ever be the writer being picked up by a volunteer, I should always sit in the front passenger seat and never the back seat. If someone is giving you their time because they love your books, don't you dare treat them like a hired taxi driver. This from the man who, I am convinced, would every time liked to have sunk into the back seat with his thoughts to enjoy some peace and quiet.
I am so sad that I won't get more advice from him, and that there will be an end to the Bernie Gunther books. I am angry, even, that I didn't get to say good bye and that we won't have one more drink at the Four Seasons bar and comment inappropriately about half of the people in the room. As a prosecutor, my humor is blacker than most people's but Phil was one person I could share it with, without shame or reticence.
Yes, I am both sad and angry, but I am also grateful. Grateful for his books that have given me so much pleasure, that have inspired me to be a better writer myself. But also for those moments of quiet amusement we shared. The sushi and beer we consumed on South Congress, the car rally we enjoyed that same night. The twinkle in his eye when I handed him an AR-15 with laser scopes at a range south of Austin. His gentle laughter when I choked down some oysters at his favorite restaurant in London. His stories of meeting Tom Hanks and drinking with Gerard Depardieu. That was the thing about Philip Kerr, he knew how to tell a story, be it over 300 pages of a book, or over a gin and tonic in the pub. It was his gift.
There was one story we wanted to share together—it was an idea for a TV show, one that excited us both for a while, based right here in Austin. Charlie Sector, it was to be called. A cop show that we both threw ideas at, and he wrote a treatment for. It didn't get off the ground but that didn't stop us talking about it every time we saw each other. There's always so much left undone, isn't there? So much left to do.
I'll miss you, Phil, but thanks. Thanks for everything.
Mark Pryor's latest novel is Dominic.
bernie gunther, bernie gunther series, mark pryor, philip kerr
Interview with Brad Meltzer
3 Picks for April


text:
Could the new coronavirus really kill 50 million people worldwide?
Health | Analysis 11 February 2020
By Michael Le Page and Debora Mackenzie
There are many things we don't know about the new coronavirus
Li Jianan/Xinhua News Agency/PA Images
If the spread of the new coronavirus isn't halted, it could infect 60 per cent of the world's population and kill 1 in 100 of those infected – around 50 million people.
This is what Gabriel Leung, chair of public health medicine at Hong Kong University, told The Guardian newspaper on 11 February. Is he right? The short answer is that no one knows, because there are many things we still don't know about the virus.
First, can we stop it spreading globally? So far, there have been over 40,000 cases in China, and 24 other countries have reported around 300 cases. The virus is spreading much more readily than other coronaviruses that have jumped from animals into people.
Halting its spread requires identifying and isolating those who are infected. This could be especially difficult because some people might be infectious even when they have only mild symptoms. And while the average time from people being infected to showing symptoms is around three days, it might sometimes be as long as 24 days – more than the two-week quarantine period currently recommended.
Read more: African nations step up efforts to prevent spread of coronavirus
China is taking drastic measures to contain the virus, but it isn't clear if they are working. There has been a fall in the number of new cases reported per day, but this could be due to hospitals being overwhelmed. It also seems China is now not counting people who test positive for the virus but don't show symptoms.
There is a good chance that wealthy countries could contain the trickle of cases currently being detected. The worry is that the virus is already spreading widely in countries that lack the resources to detect it.
The head of the World Health Organization has warned that we may only be seeing "the tip of the iceberg". If so, the chances of preventing a global pandemic are low.
That brings us to the next question: how many people will be infected if the virus goes global? It has been estimated that 24 per cent of the world's population was infected by the 2009 H1N1 swine flu pandemic, despite older people having pre-existing immunity because they had been exposed to similar viruses.
As far as we know, no one has any pre-existing immunity to the 2019 coronavirus. Each infected person also appears to be infecting two to four others on average, compared with 1.5 for flu. So Leung's estimate of 60 per cent getting infected appears plausible, but we can't say for certain.
"You can't really gauge what's going on with this," says David Heymann at the London School of Hygiene and Tropical Medicine, who led the global response to the SARS outbreak in 2003.
The severity of the virus is also key. Early estimates of the death rate from new diseases are typically much higher than the true figure, because only serious cases are detected. For instance, it is now thought the 2009 flu killed 1 in 5000 people, far fewer than first feared.
Read more: Will the coronavirus become a pandemic – and what happens if it does?
Initial reports of a 2 per cent death rate from the 2019 coronavirus were based on dividing the number of deaths by the number of confirmed cases. But this doesn't take into account the delay between people falling ill and either recovering or dying, or the fact that doctors were testing only people who already had pneumonia – the most serious cases.
Based on estimates of the number of mild cases going uncounted, Neil Ferguson of Imperial College London calculates that 1 per cent of those infected are dying – the same percentage used to calculate the 50 million deaths estimate. This could still be an overestimate, not least as treatments in development could reduce the death rate further.
But Leung's estimate actually misses another potential cause of deaths due to the coronavirus – people dying because normal healthcare services are disrupted by the outbreak.
"The worry is not just those infected by the coronavirus itself, but all the services that will no longer run," says Devi Sridhar at the University of Edinburgh, UK. "You will see all kinds of knock-on effects."
These will be most serious in poor countries whose health systems are already struggling. For instance, children began dying from measles when vaccination stopped during recent Ebola outbreaks in Africa. "UNICEF calls these the uncounted dead," says Sridhar.
However, even rich countries could struggle. The UK's pandemic plans are for something of a similar magnitude to 2009 H1N1 flu, for instance, which killed up to 500,000 people globally.
Paul Hunter at the University of East Anglia, UK, thinks the coronavirus will end up killing even fewer people than the 2009 flu. "I don't expect we will have that degree of fatality with this coronavirus, but I might be wrong," he says. "If it is much worse than H1N1, then it would be horrendously difficult to handle."
Coronavirus: Risk of death rises with age, diabetes and heart disease
Coronavirus may have been circulating undetected in the US for 6 weeks
Coronavirus: What are the worst symptoms and how deadly is covid-19?
We'll soon know if covid-19 can be treated with HIV and Ebola drugs


Lightning Cut: Is Your Church Serving You Happy Meals?
In this episode, Pastor Richard covers the topic of what to look for in a church. What are the benefits of attending a Confessional Lutheran Church versus seeker-driven churches? Pastor Richard points to: Christ, the Sacraments, the Liturgy, and the Confessions as four reasons why the Confessional Lutheran Church rocks! Issues, Etc. Link: Find a […] ↓ Read the rest of this entry… The post Lightning Cut: Is Your Church Serving You Happy Meals? appeared first on Worldview Everlasting.
Did a Massachusetts court ban Christian schools?
Pope condones contraception to avoid Zika?
Going to "church" might not automatically make you a Christian, but being a self-righteous legalist who hates Jesus' words definitely makes you not one. The Daily Fix is a running commentary on life, death, the world, the Church, and what the Bible says God thinks about it all. Questions about the Lutheran Ninja Clan and […] ↓ Read the rest of this entry… The post The Daily Fix: Being a Christian without Jesus appeared first on Worldview Everlasting.
Lightning Cut: I'm Not a Witch! I'm Not a Witch!
So what is it with women and covering their heads? Why does Paul tell them to do it, yet today we don't make an issue out of it? Are we being inconsistent in our application of Scriptural mandates?? Around the Word Devotions (http://www.whatdoesthismean.org/devotions.html) Rightly Divided Daily Meditation Blog (https://rightlydividedbible.wordpress.com/) Questions about the Lutheran Ninja Clan […] ↓ Read the rest of this entry… The post Lightning Cut: I'm Not a Witch! I'm Not a Witch! appeared first on Worldview Everlasting.


text:
Home -> Astronomy News -> Solar System -> Europa
TOPIC: Europa
RE: Europa
Title: Active Cryovolcanism on Europa?
Author: William B. Sparks, Britney E. Schmidt, Melissa A. McGrath, Kevin P. Hand, John .R. Spencer, Misty Cracraft, Susana E. Deustua
Evidence for plumes of water on Europa has previously been found using the Hubble Space Telescope (HST) using two different observing techniques. Roth et al. (2014) found line emission from the dissociation products of water. Sparks et al. (2016) found evidence for off-limb continuum absorption as Europa transited Jupiter. Here, we present a new transit observation of Europa that shows a second event at the same location as a previous plume candidate from Sparks et al. (2016), raising the possibility of a consistently active source of erupting material on Europa. This conclusion is bolstered by comparison with a nighttime thermal image from the Galileo Photopolarimeter-Radiometer (PPR) which shows a thermal anomaly at the same location, within the uncertainties (Spencer et al. 1999). The anomaly has the highest observed brightness temperature on the Europa nightside. If heat flow from a subsurface liquid water reservoir causes the thermal anomaly, its depth is ~1.8-2 km, under simple modeling assumptions, consistent with scenarios in which a liquid water reservoir has formed within a thick ice shell. Models that favour thin regions within the ice shell that connect directly to the ocean, however, cannot be excluded, nor modifications to surface thermal inertia by subsurface activity. Alternatively, vapour deposition surrounding an active vent could increase the thermal inertia of the surface and cause the thermal anomaly. This candidate plume region may offer a promising location for an initial characterization of Europa's internal water and ice and for seeking evidence of Europa's habitability.
Hubble Spots Possible Venting Activity on Europa
Best Evidence Yet for Reoccurring Water Vapor Plumes Erupting from Jupiter's Moon
When Galileo discovered Jupiter's moon Europa in 1610, along with three other satellites whirling around the giant planet, he could have barely imagined it was such a world of wonder.
This revelation didn't happen until 1979, when NASA's Voyager 1 and 2 flew by Jupiter and found evidence that Europa's interior, encapsulated under a crust of ice, has been kept warm over billions of years. The warmer temperature is due to gravitational tidal forces that flex the moon's interior - like squeezing a rubber ball - keeping it warm. At the time, one mission scientist even speculated that the Voyagers might catch a snapshot of geysers on Europa.
Europa: Our best shot at finding alien life?
After two decades of development and "heartbreak", scientists are on the verge of sending missions to explore the ocean world of Europa. Could this be our best shot at finding life elsewhere in the Solar System?
Orbiting the giant planet Jupiter is an icy world, just a little smaller than Earth's moon.
From a distance, Europa appears to be etched with a nexus of dark streaks, like the product of a toddler's chaotic scribbling.
Europa Plumes
Title: Probing for Evidence of Plumes on Europa with HST/STIS.
Author: W. B. Sparks, K. P. Hand, M. A. McGrath, E. Bergeron, M. Cracraft, S. E. Deustua
Roth et al (2014a) reported evidence for plumes of water venting from a southern high latitude region on Europa - spectroscopic detection of off-limb line emission from the dissociation products of water. Here, we present Hubble Space Telescope (HST) direct images of Europa in the far ultraviolet (FUV) as it transited the smooth face of Jupiter, in order to measure absorption from gas or aerosols beyond the Europa limb. Out of ten observations we found three in which plume activity could be implicated. Two show statistically significant features at latitudes similar to Roth et al, and the third, at a more equatorial location. We consider potential systematic effects that might influence the statistical analysis and create artifacts, and are unable to find any that can definitively explain the features, although there are reasons to be cautious. If the apparent absorption features are real, the magnitude of implied outgassing is similar to that of the Roth et al feature, however the apparent activity appears more frequently in our data.
Read more (3447kb, PDF)
Europa moon 'spewing water jets'
Further evidence has been obtained to show that Jupiter's icy moon Europa throws jets of water out into space.
Scientists first reported the behaviour in 2013 using the Hubble telescope, but have now made a follow-up sighting.
It is significant because Europa, with its huge subsurface ocean of liquid water, is one of the most likely places to find microbial life beyond Earth.
NASA's Hubble Spots Possible Water Plumes Erupting on Jupiter's Moon Europa
Astronomers using NASA's Hubble Space Telescope have imaged what may be water vapour plumes erupting off the surface of Jupiter's moon Europa. This finding bolsters other Hubble observations suggesting the icy moon erupts with high-altitude water vapour plumes.
The observation increases the possibility that missions to Europa may be able to sample Europa's ocean without having to drill through miles of ice.
NASA to Hold Media Call on Evidence of Surprising Activity on Europa
NASA will host a teleconference at 2 p.m. EDT Monday, Sept. 26, to present new findings from images captured by the agencys Hubble Space Telescope of Jupiters icy moon, Europa.
Date: May 12 17:57 2015
NASA Research Reveals Europa's Mystery Dark Material Could Be Sea Salt
NASA laboratory experiments suggest the dark material coating some geological features of Jupiter's moon Europa is likely sea salt from a subsurface ocean, discolored by exposure to radiation. The presence of sea salt on Europa's surface suggests the ocean is interacting with its rocky seafloor -- an important consideration in determining whether the icy moon could support life.
Date: Feb 1 10:36 2015
Cassini Search Finds No Europa Atmospheric Plumes
Recent analysis of data collected by NASA's Cassini spacecraft during its 2001 flyby of Jupiter sheds new light on the atmosphere of the planet's moon Europa. Results show that recently discovered gas plumes on Europa do not contribute to the thin atmosphere, said PSI Senior Scientist Amanda Hendrix, a co-author on a paper titled "A New Understanding of the Europa Atmosphere and Limits on Geophysical Activity."
While it is certainly possible - even likely - that plume activity occurs, it was at a level too low to be detectable by Cassini's ultraviolet imaging spectrograph, or UVIS, Hendrix said.
Date: Sep 8 17:30 2014
Scientists Find Evidence of 'Diving' Tectonic Plates on Jupiter's Moon Europa
Scientists have found evidence of plate tectonics on Jupiter's moon Europa. This indicates the first sign of this type of surface-shifting geological activity on a world other than Earth.
Researchers have clear visual evidence of Europa's icy crust expanding. However, they could not find areas where the old crust was destroyed to make room for the new. While examining Europa images taken by NASA's Galileo orbiter in the early 2000s, planetary geologists Simon Kattenhorn, of the University of Idaho, Moscow, and Louise Prockter, of the Johns Hopkins University Applied Physics Laboratory in Laurel, Maryland, discovered some unusual geological boundaries.
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moon Europa


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Sometimes we should really treat everything like a dog does. They live the moment, they don't live in the past or don't think at the future. They simply live the moment.
Horses are the same. They do not carry grudges but they do remember a human who has mistreated them. But for the most part they live in the now.


text:
The ninth of 10 children born to Harmen Gerritzsoon van Rijn, a prosperous miller, and Neeltgen Willemsdochter van Zuytbrouck, the daughter of a baker, Rembrandt was born in Leiden, Holland – then considered to be one of the principal artistic and intellectual centers in Holland.
At the age of 13 he enrolled in Leiden University but soon left to pursue art, first as an apprentice to a history painter in Leiden and later under the tutelage of Pieter Lastman, a famous artist in Amsterdam. Returning to Leiden, Rembrandt opened a studio – while still in his teens – with his friend, Jan Lievens, who had also studied under Lastman.
By the end of 1631, Rembrandt returned to Amsterdam, having accepted a commission from a well-known physician in the city. He lived with Hendrik van Uylenburg, a successful art dealer, whose cousin he married in 1634. Rembrandt's marriage to Saskia van Uylenburg was a benefit to his career, providing him access to wealthy patrons who eagerly commissioned his portraits.
As his career flourished, Rembrandt's private life was beset by tragedies. Of the couple's four children, three died before reaching the age of three months. The artist suffered more heartbreak when Saskia died shortly after the birth of their son, Titus, who lived to adulthood – but would pre-decease his father.
After Saskia's death, Rembrandt hired Geertje Direx to care for his young son. When the relationship soured – leading to a legal battle – he turned to Hendrickje Stoffels, who eventually became his common-law wife. While the couple's first child died as an infant, their daughter, Cornelia, survived.
Rembrandt had a penchant for an ostentatious lifestyle and was plagued with an obsessive desire to accumulate art and other possessions. After years of living beyond his means, he was forced to declare bankruptcy in 1656. Over the next two years, his home and many of his possessions were auctioned to pay his creditors.
Having lost his wealth, Rembrandt moved with Hendrickje and his children to a small cottage on the outskirts of Amsterdam. He outlived both Hendrickje, who died in 1663 at the age of 37, and Titus, who died in 1668. Within a year of his son's death, Rembrandt died – on October 4, 1669 in Amsterdam – and was laid to rest in an unmarked grave in the Westerkerk.
In many ways, Rembrandt's etchings are more important than his paintings. He revolutionized a medium that was, in his day, simply a copyist's tool. Rembrandt painted portraits to sustain himself financially but he made etchings for his personal pleasure, to extend the potential of the etching medium, and to feed his desire for continual creativity. He carried with him a copper plate as most artists carry a sketchbook. In etching Rembrandt allowed himself to create freely without the academic restraints of his day.
Rembrandt was the great master of the Baroque Age, a time known for a style with dramatic application of light and shadow – a technique called "chiaroscuro." He remains one of history's most innovative and influential original printmakers. He created more than 300 etchings in his lifetime, many of which he labored over obsessively, often resulting in multiple states or variations in the evolution of an etched image.
Scholars have divided his etching output into different categories according to subject. Each reveals a different facet of Rembrandt's personality. His portraits, including his self portraits, reveal the complexity of his psychology and reveal his general moods over the years. His many religious etchings demonstrate a vast knowledge of both testaments, while his beggar and genre scenes are still being analyzed for their meaning and intent. Rembrandt's contributions to the medium of etching have inspired countless artists, including many of the most important etchers of all time like Goya, Whistler, Chagall and Picasso. More than 350 years later, his etchings continue to astonish us in their virtuosity, insight and dramatic presence.
Timeline of Rembrandt's Life and Work
1606 Rembrandt Harmenszoon van Rijn is born on July 15th
1620 Enrolls at Leiden University, but leaves shortly thereafter
1621 Begins apprenticeship with Leiden painter Jacob van Swanenburgh
1624 Sets up studio in Leiden, collaborating with friend Jan Lievens
1624-25 Spends six months studying with renowned painter, Pieter Lastman, in Amsterdam
1626 Returns to Leiden and begins to produce etchings
1628 Accepts his first pupils
1631 Moves to Amsterdam and becomes a successful professional portraitist
1634 Marries Saskia van Uylenburgh, the daughter of a successful art dealer
1635 Saskia gives birth to son Rumbartus, who dies after two months
1638 Daughter Cornelia is born but dies after three weeks
1639 Rembrandt and Saskia move to the house on the Breestraat—now known as the Rembrandt House in Amsterdam
1640 A daughter, also named Cornelia, is born but dies one month later
1641 Titus—Rembrandt's only child with Saskia to live to adulthood—is born in September
1642 Saskia dies, probably from tuberculosis
1654 Rembrandt's common-law wife, Hendrickje Stoffels, gives birth to Cornelia, the only child to survive the artist
1656 Rembrandt is declared bankrupt by the High Court of Holland
1656-1658 House and possessions are sold at auction
1660 Moves to a modest house on the Rozengracht
1663 Hendrickje dies when the plague sweeps Amsterdam
1665 Rembrandt produces his last etching, a portrait of physician Jan Antonides van der Linden
1668 Titus marries on February 28, but dies a few months later and is buried in the Westerkerk
1669 Titus' wife gives birth to a daughter, Titia. Rembrandt dies on October 4th and is buried in an unmarked grave in the Westerkerk
Sold Artwork


text:
Q: Nav menu will not close when clicking the button I have attempted to follow a guide for a scroll reveal website, however i keep running into the issue where my nav menu will not close, it constantly shows, however the code i copied over is the exact same as in the video/documentation. The idea is that when i click a javascript made button it should close my nav then open it.
Would appreciate some help

/*=============== SHOW MENU ===============*/
const navMenu = document.getElementById('nav-menu'),
      navToggle = document.getElementById('nav-toggle'),
      navClose = document.getElementById('nav-close')

/*===== MENU SHOW =====*/
/* Validate if constant exists */
if(navToggle){
    navToggle.addEventListener('click', () =>{
        navMenu.classList.add('show-menu')
    })
}

/*===== MENU HIDDEN =====*/
/* Validate if constant exists */
if(navClose){
    navClose.addEventListener('click', () =>{
        navMenu.classList.remove('show-menu')
    })
}

/*=============== REMOVE MENU MOBILE ===============*/
const navLink = document.querySelectorAll('.nav__link')

const linkAction = () =>{
    const navMenu = document.getElementById('nav-menu')
    // When we click on each nav__link, we remove the show-menu class
    navMenu.classList.remove('show-menu')
}
navLink.forEach(n => n.addEventListener('click', linkAction))

/*=============== CHANGE BACKGROUND HEADER ===============*/
const scrollHeader = () =>{
    const header = document.getElementById('header')
    // When the scroll is greater than 50 viewport height, add the scroll-header class to the header tag
    this.scrollY >= 50 ? header.classList.add('bg-header')
                       : header.classList.remove('bg-header')
}
window.addEventListener('scroll', scrollHeader)

/*=============== SHOW SCROLL UP ===============*/

/*=============== SCROLL SECTIONS ACTIVE LINK ===============*/

/*=============== DARK LIGHT THEME ===============*/

/*=============== SCROLL REVEAL ANIMATION ===============*/
/*=============== GOOGLE FONTS ===============*/
@import url("https://fonts.googleapis.com/css2?family=Dancing+Script:wght@600&family=Lora:wght@500;600&family=Poppins:wght@400;500&display=swap");

/*=============== VARIABLES CSS ===============*/
:root {
  --header-height: 3.5rem;

  /*========== Colors ==========*/
  /*Color mode HSL(hue, saturation, lightness)*/
  --first-color: hsl(19, 64%, 54%);
  --first-color-alt: hsl(19, 64%, 52%);
  --title-color: hsl(19, 16%, 15%);
  --text-color: hsl(19, 16%, 35%);
  --text-color-light: hsl(19, 8%, 55%);
  --body-color: hsl(19, 100%, 96%);
  --container-color: hsl(19, 100%, 97%);

  /*========== Font and typography ==========*/
  /*.5rem = 8px | 1rem = 16px ...*/
  --body-font: "Poppins", sans-serif;
  --title-font: "Lora", serif;
  --subtitle-font: "Dancing Script", cursive;
  --biggest-font-size: 2.25rem;
  --h1-font-size: 1.5rem;
  --h2-font-size: 1.25rem;
  --h3-font-size: 1rem;
  --normal-font-size: .938rem;
  --small-font-size: .813rem;
  --smaller-font-size: .75rem;

  /*========== Font weight ==========*/
  --font-medium: 500;
  --font-semi-bold: 600;

  /*========== z index ==========*/
  --z-tooltip: 10;
  --z-fixed: 100;
}
@media screen and (min-width: 1024px) {
  :root {
    --biggest-font-size: 4rem;
    --h1-font-size: 2.25rem;
    --h2-font-size: 1.5rem;
    --h3-font-size: 1.25rem;
    --normal-font-size: 1rem;
    --small-font-size: .875rem;
    --smaller-font-size: .813rem;
  }
}

/*=============== BASE ===============*/
* {
  box-sizing: border-box;
  padding: 0;
  margin: 0;
}

html {
  scroll-behavior: smooth;
}

body {
  font-family: var(--body-font);
  font-size: var(--normal-font-size);
  background-color: var(--body-color);
  color: var(--text-color);
  transition: background 0.4s; /* for dark mode animation */
}

h1, h2, h3 {
  color: var(--title-color);
  font-weight: var(--font-medium);
}

ul {
  list-style: none;
}

a {
  text-decoration: none;
}

img {
  max-width: 100%;
  height: auto;
}

/*=============== THEME ===============*/

/*========== Variables Dark theme ==========*/

/*==========
    Color changes in some parts of
    the website, in light theme
==========*/

/*=============== REUSABLE CSS CLASSES ===============*/
.container {
  max-width: 1024px;
  margin-inline: 1.5rem;
}

.grid {
  display: grid;
  gap: 1.5rem;
}

.section {
  padding-block: 5rem 1rem;
}

.section__title {
  font-size: var(--h1-font-size);
  font-family: var(--title-font);
  margin-bottom: 1.5rem;
}

.section__subtitle {
  display: block;
  font-size: var(--h2-font-size);
  font-family: var(--subtitle-font);
  color: var(--first-color);
  margin-bottom: 0.5rem;
}

.section__title,
.section__subtitle {
  text-align: center;
}

.main {
  overflow: hidden; /* For animation ScrollReveal */
}

/*=============== HEADER & NAV ===============*/
.header {
  position: fixed;
  width: 100%;
  background-color: var(--body-color);
  top: 0;
  left: 0;
  z-index: var(--z-fixed);
  transition: box-shadow .3s, background .4s;
}

.nav {
  position: relative;
  height: var(--header-height);
  display: flex;
  justify-content: space-between;
  align-items: center;
}

.nav__logo,
.nav__toggle,
.nav__close{
  display: flex;
  color: var(--title-color);
}

.nav__logo{
  align-items: center;
  column-gap: .5rem;
  font-family: var(--title-font);
  font-size: var(--h3-font-size);
  font-weight: var(--font-semi-bold);
  transition: color .3s;
}

.nav__logo img{
  width: 25px;
}

.nav__logo:hover{
  color: var(--first-color);
}

.nav__toggle{
  font-size: 1.25rem;
  cursor: pointer;
}

@media screen and (max-width: 767px){
  .nav__menu{
    position: fixed;
    top: -100%;
    left: 0;
    background-color: var(--body-color);
    width: 100%;
    box-shadow: 0 8px 20px hsla(19, 64%, 24%, .1);
    padding-block: 3.5rem;
    transition: top .4s;
  }
}

.nav__list{
  display: flex;
  flex-direction: column;
  text-align: center;
  row-gap: 2rem;
}

.nav__link{
  color: var(--title-color);
  font-weight: var(--font-medium);
  transition: color .4s;
}

.nav__link:hover{
  color: var(--first-color);
}

.nav__close{
  position: absolute;
  top: 1rem;
  right: 1.5rem;
  font-size: 1.5rem;
  cursor: pointer;
}

.nav__img-1,
.nav__img-2{
  position: absolute;
  opacity: .2;
}

.nav__img-1{
  width: 100px;
  top: .75rem;
  left: -2rem;
  transform: rotate(165deg);
}

.nav__img-2{
  width: 50px;
  right: -1rem;
  bottom: 0;
  transform: rotate(-30deg);
}
.
/* Show menu */
.show-menu{
  top: 0;
}

/* Change background header */
.bg-header{
  box-shadow: 0 2px 8px hsla(19, 64%, 24%, .1);
}

/* Active link */

/*=============== HOME ===============*/
.home{
  position: relative;
}

.home__container{
  row-gap: 3rem;
  padding-top: 2rem;
}

.home__img{
  width: 300px;
  justify-self: center;
}

.home__data{
  text-align: center;
}

.home__title{
  font-size: var(--biggest-font-size);
  font-family: var(--title-font);
  margin-bottom: 1rem;
}

.home__title img{
  width: 40px;
}

.home__title div{
  display: flex;
  align-items: center;
  justify-content: center;
  column-gap: .5rem;
}

.home__description{
  padding: 0 1rem;
  margin-bottom: 2.5rem;
}

.home__leaf-1,
.home__leaf-2{
  position: absolute;
  opacity: .2;
}

.home__leaf-1{
  width: 80px;
  top: 8rem;
  left: -1rem;
  transform: rotate(90deg);
}

.home__leaf-2{
  width: 100px;
  right: -2rem;
  bottom: 1rem;
  transform: rotate(-15deg);
}

/*=============== BUTTON ===============*/
.button{
  display: inline-flex;
  align-items: center;
  column-gap: .5rem;
  background-color: var(--first-color);
  padding: 1rem 1.5rem;
  border-radius: 4rem;
  color: #fff;
  font-weight: var(--font-medium);
  transition: background .3s;
}

.button i{
  font-size: 1.5rem;
  transition: transform .3s;
}

.button:hover{
  background-color: var(--first-color-alt);
}

.button:hover i{
  transform: translateX(.25rem);
}

/*=============== ABOUT ===============*/
.about{
  position: relative;
}

.about__container{
  row-gap: 3rem;
}

.about__data{
  text-align: center;
}

.about__title img{
  width: 30px;
}

.about__title div{
  display: flex;
  justify-content: center;
  align-items: center;
  column-gap: .5rem;
}

.about__img{
  width: 300px;
  justify-self: center;
}

.about__leaf{
  width: 100px;
  opacity: .2;
  position: absolute;
  right: -1.5rem;
  bottom: 11rem;
  transform: rotate(-15deg);
}

/*=============== POPULAR ===============*/
.popular__container{
  padding-top: 4rem;
  grid-template-columns: 250px;
  justify-content: center;
  row-gap: 5.5rem;
}

.popular__card{
  position: relative;
  background-color: var(--container-color);
  padding: 7rem 2rem 1.5rem;
  box-shadow: 0 8px 20px hsla(19, 64%, 48%, .08);
  border-radius: 1rem;
  text-align: center;
}

.popular__img{
  width: 220px;
  position: absolute;
  inset: 0;
  top: -2.5rem;
  margin: 0 auto;
  transition: transform .4s;
}

.popular__name{
  font-size: var(--h3-font-size);
  font-family: var(--title-font);
  margin-bottom: .25rem;
}

.popular__description{
  display: block;
  font-size: var(--smaller-font-size);
  margin-bottom: 1rem;
}

.popular__price{
  font-size: var(--h3-font-size);
  font-weight: var(--font-medium);
  color: var(--first-color);
}

.popular__button{
  display: flex;
  background-color: var(--first-color);
  padding: 6px;
  border-radius: 50%;
  border: none;
  outline: none;
  color: #fff;
  font-size: 1.25rem;
  box-shadow: 0 4px 20px hsla(19, 64%, 20%, .2);
  position: absolute;
  bottom: 1.25rem;
  right: 1.25rem;
  cursor: pointer;
  transition: background .3s;
}

.popular__button:hover{
  background-color: var(--first-color);
}

.popular__card:hover .popular__img{
  transform: translateY(-.25rem);
}

/*=============== RECENTLY ===============*/

/*=============== NEWSLETTER ===============*/

/*=============== FOOTER ===============*/

/*=============== SCROLL BAR ===============*/

/*=============== SCROLL UP ===============*/

/* Show Scroll Up*/

/*=============== BREAKPOINTS ===============*/
/* For small devices */

/* For medium devices */

/* For large devices */
<!DOCTYPE html>

        <meta charset="UTF-8">
        <meta name="viewport" content="width=device-width, initial-scale=1.0">

        <link rel="icon" type="image/png" href="assets/favicon.png">

        <link href="https://cdn.jsdelivr.net/npm/remixicon@2.5.0/fonts/remixicon.css" rel="stylesheet">

        <link rel="stylesheet" href="assets/styles.css">

        <title>Kaas</title>

                    Kaas

                            Home

                            About us

                            Popular

                            Recently

                            Geniet van

                               Goeie Kaas

                            Geniet van lekkere kaas met je hele familie
                            Of gewoon alleen.

                            Bestel Hier

                        About Us

                                Wij Bieden U

                            Goede kaas

                            Kaas die van de echte kaasboer komt,
                            beter dan de kaas van de supermarkt,
                            beter dan dit kan het niet.

                De Beste Kaas

Populaire Kaas

Kaas 1

                        Kaas 1

                        €5,00-

                        <button class="popular__button">

                        </button>

Kaas 2

                        Kaas 2

                        €5,00-

                        <button class="popular__button">

                        </button>

Kaas 3

                        Kaas 3

                        €5,00-

                        <button class="popular__button">

                        </button>

                        Recent toegevoegd

                            Kaas 1

                            Kaas 2

                            Bekijk hier de nieuwe producten.

                            Bestel Hier

it appears that for some reason the close button will not close the menu
it is constantly displaying for me and i truly don't understand why.
in the video i watched it simply removes the close menu when clicking the X
and when u click the 4 dots it should open the menu.
It also appears that the 4 dots are stuck in the bottom left of the nav menu in stead of being in the top right where they're meant to be.
Would greatly appreciate some help.
As per request i have inserted the full html/css/javascript into the post. Do keep in mind the project is not fully finished yet

A: It actually does work. Take a look into your CSS and you'll see that you're using a Media Query in which you're positioning the .nav__menu outside of the screen. The Media Query has a max-width: 767px;, so on everything wider than that, the CSS won't get applied. If you start to resize your screen, you'll see that eventually the hamburger menu will disappear and works just fine when clicking on the button!
@media screen and (max-width: 767px){
  .nav__menu{
    position: fixed;
    top: -100%;
    left: 0;
    background-color: var(--body-color);
    width: 100%;
    box-shadow: 0 8px 20px hsla(19, 64%, 24%, .1);
    padding-block: 3.5rem;
    transition: top .4s;
  }
}

A: I think you need to add toggle function in js. Also, I changed some css code

/*=============== SHOW MENU ===============*/
const navMenu = document.getElementById('nav-menu'),
      navToggle = document.getElementById('nav-toggle'),
      navClose = document.getElementById('nav-close');

/*===== MENU SHOW =====*/
/* Validate if constant exists */
if(navToggle){
    navToggle.addEventListener('click', () =>{
         const navs = document.querySelectorAll('.nav__list')

  navs.forEach(nav => nav.classList.toggle('Navbar__ToggleShow'));
      // const closeMenu = document.getElementById("nav-close");
      // closeMenu.classList.toggle("nav-close")

    })
}

/*===== MENU HIDDEN =====*/
/* Validate if constant exists */
if(navClose){
    navClose.addEventListener('click', () =>{
      const navs = document.querySelectorAll('.nav__list')
      navs.forEach(nav => nav.classList.remove("Navbar__ToggleShow"));

    })
}

/*=============== REMOVE MENU MOBILE ===============*/
const navLink = document.querySelectorAll('.nav__link')

const linkAction = () =>{
    const navMenu = document.getElementById('nav-menu')
    // When we click on each nav__link, we remove the show-menu class
    navMenu.classList.remove('show-menu')
}
navLink.forEach(n => n.addEventListener('click', linkAction))

/*=============== CHANGE BACKGROUND HEADER ===============*/
const scrollHeader = () =>{
    const header = document.getElementById('header')
    // When the scroll is greater than 50 viewport height, add the scroll-header class to the header tag
    this.scrollY >= 50 ? header.classList.add('bg-header')
                       : header.classList.remove('bg-header')
}
window.addEventListener('scroll', scrollHeader)

/*=============== SHOW SCROLL UP ===============*/

/*=============== SCROLL SECTIONS ACTIVE LINK ===============*/

/*=============== DARK LIGHT THEME ===============*/

/*=============== SCROLL REVEAL ANIMATION ===============*/
/*=============== GOOGLE FONTS ===============*/
@import url("https://fonts.googleapis.com/css2?family=Dancing+Script:wght@600&family=Lora:wght@500;600&family=Poppins:wght@400;500&display=swap");

/*=============== VARIABLES CSS ===============*/
:root {
  --header-height: 3.5rem;

  /*========== Colors ==========*/
  /*Color mode HSL(hue, saturation, lightness)*/
  --first-color: hsl(19, 64%, 54%);
  --first-color-alt: hsl(19, 64%, 52%);
  --title-color: hsl(19, 16%, 15%);
  --text-color: hsl(19, 16%, 35%);
  --text-color-light: hsl(19, 8%, 55%);
  --body-color: hsl(19, 100%, 96%);
  --container-color: hsl(19, 100%, 97%);

  /*========== Font and typography ==========*/
  /*.5rem = 8px | 1rem = 16px ...*/
  --body-font: "Poppins", sans-serif;
  --title-font: "Lora", serif;
  --subtitle-font: "Dancing Script", cursive;
  --biggest-font-size: 2.25rem;
  --h1-font-size: 1.5rem;
  --h2-font-size: 1.25rem;
  --h3-font-size: 1rem;
  --normal-font-size: .938rem;
  --small-font-size: .813rem;
  --smaller-font-size: .75rem;

  /*========== Font weight ==========*/
  --font-medium: 500;
  --font-semi-bold: 600;

  /*========== z index ==========*/
  --z-tooltip: 10;
  --z-fixed: 100;
}
@media screen and (min-width: 1024px) {
  :root {
    --biggest-font-size: 4rem;
    --h1-font-size: 2.25rem;
    --h2-font-size: 1.5rem;
    --h3-font-size: 1.25rem;
    --normal-font-size: 1rem;
    --small-font-size: .875rem;
    --smaller-font-size: .813rem;
  }
}

/*=============== BASE ===============*/
* {
  box-sizing: border-box;
  padding: 0;
  margin: 0;
}

html {
  scroll-behavior: smooth;
}

body {
  font-family: var(--body-font);
  font-size: var(--normal-font-size);
  background-color: var(--body-color);
  color: var(--text-color);
  transition: background 0.4s; /* for dark mode animation */
}

h1, h2, h3 {
  color: var(--title-color);
  font-weight: var(--font-medium);
}

ul {
  list-style: none;
}

a {
  text-decoration: none;
}

img {
  max-width: 100%;
  height: auto;
}

/*=============== THEME ===============*/

/*========== Variables Dark theme ==========*/

/*==========
    Color changes in some parts of
    the website, in light theme
==========*/

/*=============== REUSABLE CSS CLASSES ===============*/
.container {
  max-width: 1024px;
  margin-inline: 1.5rem;
}

.grid {
  display: grid;
  gap: 1.5rem;
}

.section {
  padding-block: 5rem 1rem;
}

.section__title {
  font-size: var(--h1-font-size);
  font-family: var(--title-font);
  margin-bottom: 1.5rem;
}

.section__subtitle {
  display: block;
  font-size: var(--h2-font-size);
  font-family: var(--subtitle-font);
  color: var(--first-color);
  margin-bottom: 0.5rem;
}

.section__title,
.section__subtitle {
  text-align: center;
}

.main {
  overflow: hidden; /* For animation ScrollReveal */
}

/*=============== HEADER & NAV ===============*/
.header {
  position: fixed;
  width: 100%;
  background-color: var(--body-color);
  top: 0;
  left: 0;
  z-index: var(--z-fixed);
  transition: box-shadow .3s, background .4s;
}

.nav {
  position: relative;
  height: var(--header-height);
  display: flex;
  justify-content: space-between;
  align-items: center;
}

.nav__logo,
.nav__toggle,
.nav__close{
  display: flex;
  color: var(--title-color);
}

.nav__logo{
  align-items: center;
  column-gap: .5rem;
  font-family: var(--title-font);
  font-size: var(--h3-font-size);
  font-weight: var(--font-semi-bold);
  transition: color .3s;
}

.nav__logo img{
  width: 25px;
}

.nav__logo:hover{
  color: var(--first-color);
}

.nav__toggle{
  font-size: 1.25rem;
  cursor: pointer;
}

@media screen and (max-width: 767px){
  .nav__menu{
    position: fixed;
    top: -100%;
    left: 0;
    background-color: var(--body-color);
    width: 100%;
    box-shadow: 0 8px 20px hsla(19, 64%, 24%, .1);
    padding-block: 3.5rem;
    transition: top .4s;
  }
}

.nav__list{
  display:none;
}

.nav__link{
  color: var(--title-color);
  font-weight: var(--font-medium);
  transition: color .4s;
}

.nav__link:hover{
  color: var(--first-color);
}

.nav__close{
  position: absolute;
  top: 1rem;
  right: 1.5rem;
  font-size: 1.5rem;
  cursor: pointer;
}

.nav__img-1,
.nav__img-2{
  position: absolute;
  opacity: .2;
}

.nav__img-1{
  width: 100px;
  top: .75rem;
  left: -2rem;
  transform: rotate(165deg);
}

.nav__img-2{
  width: 50px;
  right: -1rem;
  bottom: 0;
  transform: rotate(-30deg);
}
.
/* Show menu */
.show-menu{
  top: 0;
}

/* Change background header */
.bg-header{
  box-shadow: 0 2px 8px hsla(19, 64%, 24%, .1);
}

/* Active link */

/*=============== HOME ===============*/
.home{
  position: relative;
}

.home__container{
  row-gap: 3rem;
  padding-top: 2rem;
}

.home__img{
  width: 300px;
  justify-self: center;
}

.home__data{
  text-align: center;
}

.home__title{
  font-size: var(--biggest-font-size);
  font-family: var(--title-font);
  margin-bottom: 1rem;
}

.home__title img{
  width: 40px;
}

.home__title div{
  display: flex;
  align-items: center;
  justify-content: center;
  column-gap: .5rem;
}

.home__description{
  padding: 0 1rem;
  margin-bottom: 2.5rem;
}

.home__leaf-1,
.home__leaf-2{
  position: absolute;
  opacity: .2;
}

.home__leaf-1{
  width: 80px;
  top: 8rem;
  left: -1rem;
  transform: rotate(90deg);
}

.home__leaf-2{
  width: 100px;
  right: -2rem;
  bottom: 1rem;
  transform: rotate(-15deg);
}

/*=============== BUTTON ===============*/
.button{
  display: inline-flex;
  align-items: center;
  column-gap: .5rem;
  background-color: var(--first-color);
  padding: 1rem 1.5rem;
  border-radius: 4rem;
  color: #fff;
  font-weight: var(--font-medium);
  transition: background .3s;
}

.button i{
  font-size: 1.5rem;
  transition: transform .3s;
}

.button:hover{
  background-color: var(--first-color-alt);
}

.button:hover i{
  transform: translateX(.25rem);
}

/*=============== ABOUT ===============*/
.about{
  position: relative;
}

.about__container{
  row-gap: 3rem;
}

.about__data{
  text-align: center;
}

.about__title img{
  width: 30px;
}

.about__title div{
  display: flex;
  justify-content: center;
  align-items: center;
  column-gap: .5rem;
}

.about__img{
  width: 300px;
  justify-self: center;
}

.about__leaf{
  width: 100px;
  opacity: .2;
  position: absolute;
  right: -1.5rem;
  bottom: 11rem;
  transform: rotate(-15deg);
}

/*=============== POPULAR ===============*/
.popular__container{
  padding-top: 4rem;
  grid-template-columns: 250px;
  justify-content: center;
  row-gap: 5.5rem;
}

.popular__card{
  position: relative;
  background-color: var(--container-color);
  padding: 7rem 2rem 1.5rem;
  box-shadow: 0 8px 20px hsla(19, 64%, 48%, .08);
  border-radius: 1rem;
  text-align: center;
}

.popular__img{
  width: 220px;
  position: absolute;
  inset: 0;
  top: -2.5rem;
  margin: 0 auto;
  transition: transform .4s;
}

.popular__name{
  font-size: var(--h3-font-size);
  font-family: var(--title-font);
  margin-bottom: .25rem;
}

.popular__description{
  display: block;
  font-size: var(--smaller-font-size);
  margin-bottom: 1rem;
}

.popular__price{
  font-size: var(--h3-font-size);
  font-weight: var(--font-medium);
  color: var(--first-color);
}

.popular__button{
  display: flex;
  background-color: var(--first-color);
  padding: 6px;
  border-radius: 50%;
  border: none;
  outline: none;
  color: #fff;
  font-size: 1.25rem;
  box-shadow: 0 4px 20px hsla(19, 64%, 20%, .2);
  position: absolute;
  bottom: 1.25rem;
  right: 1.25rem;
  cursor: pointer;
  transition: background .3s;
}

.popular__button:hover{
  background-color: var(--first-color);
}

.popular__card:hover .popular__img{
  transform: translateY(-.25rem);
}

.Navbar__ToggleShow {
    display: flex;
    flex-direction: column;
    text-align: center;
    row-gap: 2rem;
  }

/*=============== RECENTLY ===============*/

/*=============== NEWSLETTER ===============*/

/*=============== FOOTER ===============*/

/*=============== SCROLL BAR ===============*/

/*=============== SCROLL UP ===============*/

/* Show Scroll Up*/

/*=============== BREAKPOINTS ===============*/
/* For small devices */

/* For medium devices */

/* For large devices */

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Recycled and sustainable accessories for flooring systems.
unique technical components for flooring industry with Noise Reduction Technology (NRT).
Hard surface flooring utilizing a fiberboard core and Melamine wear layer that is available in blocks, planks, and squares and can be installed as individual units.
Cork Rubber and Rubber products for different applications.
Why choose this underlay for your LVT flooring?
Click hear to listen the impact sound with flooring and underlay.
Cork is the common denominator used in all our underlays. When applied beneath a flooring system, a cork-based underlay provides greater comfort, protection and longevity to the final floor, ensuring greater energy efficiency and better acoustic and thermal insulation.
A cork underlay protects your flooring against imperfections that might appear in the underfloor, eliminating the telegraphic effects caused by using the floor.This quality can also result in material and labour savings in many cases, eliminating the need for patching or repairing minor substrate defects.
The company contacted us in regards to a solution for vinyl flooring.
It was a property manager, who owned well over 100,000 apartment units. The company had a problem. They had embarked on a program to replace the carpet and pad in the living and dining room areas of existing apartment units with vinyl plank (LVT) flooring.
How would you define nowadays' flooring industry?
High performance for final flooring.
High impact sound insulation in flooring screed application.
The dark tone of Amorim Cork Composites' expanded cork agglomerate, used in the wall covering, also ensures a high level of acoustic performance for the lounge. The cork-based flooring is supplied by Amorim Revestimentos.
Simulate online the different types of flooring combined with Acousticork solutions.
To meet the high standards of acoustic performance expected in the project of the new Four Seasons building in Bangkok, a cork underscreed with recycled rubber was applied to the entire area of the hotel, including common areas. The flooring was then finished with laminated wood and ceramic material.
Every floor needs its underlay.
When does the first stripping take place?


text:
Villa Wolax är en historisk villa på ön Kustö i S:t Karins i det finländska landskapet Egentliga Finland. Byggnaden fullbordades år 1899 som en sommarvilla till Johan Oswald Wasastjerna och hans maka Johanna Wilhelmina Adelaide Wasastjerna (född Wrede af Elimä).

Historia och arkitektur
Under 1800-talet byggde många rika stadsbor sommarvillor på natursköna platser på landsbygden i Finland. Sommarställena uppfördes vanligtvis nära goda förbindelser. Kustö hade, till exempel, regelbunden ångbåtstrafik till och från ön på 1800-talet.

Det finns två våningar i Villa Wolax och en veranda mot stranden. I salen finns målningar av Axel Haartman. Målningarna föreställer olika landskap från Kimito. Villan hörde till samma släkt fram till 1970-talet. Den sista ägaren var Johan von Wright. Efter von Wright har villan fungerat som hotell och konferenscenter.

Förutom villan finns det även en bastu och gårdsfogdehus på tomten.

Källor

Byggnader i S:t Karins
Villor i Finland
Byggnader invigda under 1800-talet


Actor Mamnun Hasan Emon and model-actress Airin Sultana have paired up for the first time in a film titled 'Akash Mahal'. Noted filmmaker Delwar Jahan Jhantu is making the film under the banner of Impress Telefilm.
DhakaLive has news that the shooting of the film has begun at the Bangladesh Film Development Corporation (BFDC) in the capital from October 14.
Emon said about the film, "I started my film career through Impress Telefilm's film 'Daruchini Dwip'. Later, I acted in a few other films of this organization.
After completing the shooting at FDC, the next phase of shooing will be shot in Gazipur and Cox's Bazar.
Emon started his career by modeling. He acted in several dramas. Then he acted in numerous films, including 'Gohine Shobdo', 'Lal Tip', 'Jonakir Alo', 'Ma er Jonno Pagol', 'Ontorongo' and 'Porobashinee'.
On the other hand, Airin Sultana started her media career after winning the Best Smile Award in Pantene You Got The Look 2008 contest. She has walked on numerous ramps both locally and abroad. On November 2013 Airin made her debut in the film industry with the movie Bhalobasha Zindabad directed by Debashish Biswas. In 2015 she appeared in the film 'U-Turn'. She has made her mark on small screens also. Her first television drama was 'Manpower' by Ashutosh Sujon.


Millwall manager Neil Harris couldn't hide his delight after watching The Lions beat Swindon Town 2-0 at The Den on Saturday afternoon.
First-half goals from Lee Gregory and Aiden O'Brien did the damage, but the scoreline didn't paint the full picture on an afternoon when Millwall could and probably should have scored several more.
The result made it three straight wins at The Den in all competitions and Harris, whose side face Blackpool next up, was full of praise for the way in which Millwall overcame The Robins.
"First and foremost I'm delighted with a clean sheet," he said.
"I'm delighted with our professionalism to win the game. Some of our play was outstanding and we were really good going forward.
"We had to be patient at times against a footballing team and then counter with pace. Our movement was great; it was just the execution itself which could've been slightly better.
"On a whole, if we are sitting here having got five or six, we could've still been talking about more.
"I've got a few goalscorers in the dressing room who will be a little bit disappointed not to have added to the tally.
"We should've scored more goals but overall I'm delighted with the clean sheet and the attacking play."
Harris reserved special praise for strike duo Gregory and Steve Morison, who on another day could've each had hat-tricks.
"I thought my centre-forwards were outstanding," the boss added.
"It's hard as a centre-forward to play here sometimes when you haven't got the ball. I know that.
"You have to work hard, you have to set a tempo and show the crowd that you're doing the right things, and I thought Steve and Lee did that.
"At times we couldn't get near the ball because they overload the areas and they pass it, so our shape into two banks of four was spot on. I look forward to watching back how good we were.
"It's a pleasing afternoon all round. We are edging towards where we want to be in regards to our home form."