text:
Not to be confused with Mini-DVI.
Mini DisplayPort on a MacBook Pro
Digital and analog (via DAC) computer video connector
Micro-DVI, Mini-DVI, DVI
7.4 mm male (8.3 mm female)[1]
4.5 mm male (5.4 mm female)
Hot pluggable
Video signal
Same as DisplayPort
Pin out
External Mini DisplayPort Connector
GND Ground
Hot Plug Detect Hot Plug Detect
ML_Lane 0 (p) Lane 0 (positive)
CONFIG1 CONFIG1
ML_Lane 0 (n) Lane 0 (negative)
AUX_CH (p) Auxiliary Channel (positive)
AUX_CH (n) Auxiliary Channel (negative)
DP_PWR Power for connector
This is the pinout for the source-side connector; the sink-side connector pinout will have lanes 0–3 reversed in order, i.e. lane 3 will be on pin 3(n) and 5(p) while lane 0 will be on pin 10(n) and 12(p).
Mini DisplayPort connector.
The Mini DisplayPort (MiniDP or mDP) is a miniaturized version of the DisplayPort audio-visual digital interface.
It was announced by Apple in October 2008. Apple first introduced it in late 2008 models, and by early 2013 all new Apple Macintosh computers had the port,[2] as did the LED Cinema Display.[3][failed verification] However, in 2016 Apple began phasing out the port and replacing it with the new USB-C connector. The Mini DisplayPort is also fitted to some PC motherboards, and some PC notebooks from Asus, Microsoft, MSI, Lenovo, Toshiba, HP, Dell, and other manufacturers.
Unlike its Mini-DVI and Micro-DVI predecessors, the Mini DisplayPort can drive display devices with resolutions up to 2560×1600 (WQXGA) in its DisplayPort 1.1a implementation, and 4096×2160 (4K) in its DisplayPort 1.2 implementation. With an adapter, the Mini DisplayPort can drive display devices with VGA, DVI, or HDMI interfaces.[4][5][6]
Apple offers a free license for the Mini DisplayPort[7] but they reserve the right to cancel the license should the licensee "commence an action for patent infringement against Apple".[8]
1 Compatibility
2 Adoption
Apple replaced the DVI port from the MacBook, MacBook Air, MacBook Pro, iMac, Mac Mini, and the Mac Pro with the Mini DisplayPort. Its use as the video connector for the 24-inch Cinema Display may complicate compatibility:
Mini DisplayPort's HDCP extension disables playback of certain DRM-encrypted content on any display not designed for it. This includes some content from the iTunes Store[9] which has no such restrictions if played on a Mac without Mini DisplayPort.[10][11]
Apple's Dual-Link DVI or VGA adapters are relatively large and expensive compared to past adapters, and customers have reported problems with them, such as being unable to connect to an external display. Monitors connected to a Mini DisplayPort via these adaptors may have resolution problems or not "wake up" from sleep.[12][13][14]
While the DisplayPort specification can support digital audio, the older 2009 line of MacBooks, MacBook Pros, and Mac Minis cannot provide an audio signal through the Mini DisplayPort, and only do so over USB, Firewire, or the audio line out port. (The April 2010 line of MacBook Pro, and July 2010 iMac and later do support this[15]). This can be a problem for users who want to connect their computers to HDTVs using a Mini DisplayPort to HDMI adapter. To work around this issue, some third-party manufacturers have created dual or triple-headed adapters that get power for the adapter from a USB port, video from the Mini DisplayPort, and audio from either the USB port or the optical-out port. Either option terminates with a single female HDMI connector, thus allowing both video and audio to be channeled over the single HDMI cable.[16]
In early 2009, VESA announced that Mini DisplayPort would be included in the upcoming DisplayPort 1.2 specification.[17][18]
In the fourth quarter of 2009, VESA announced that the Mini DisplayPort had been adopted. All devices using the Mini DisplayPort must comply with the 1.1a standard.[19]
On 7 January 2010, Toshiba introduced Satellite Pro S500, Tecra M11, A11 and S11 notebooks featuring Mini DisplayPort.[20][21][22][23]
AMD released a special variant of its Radeon HD 5870 graphics card called the Radeon HD 5870 Eyefinity 6 Edition, which features 2GB GDDR5 memory, higher clock speeds than the original card, and six Mini DisplayPort outputs with a maximum resolution of 5760 × 2160 pixels (a 3×2 grid of 1080p displays).
On 13 April 2010, Apple added support for audio out using Mini DisplayPort in their MacBook Pro product line. This allows users to easily connect their Macbook Pros to their HDTVs using a cable adapting Mini DisplayPort to HDMI with full audio and video functionality.[15]
On 5 May 2010, HP announced Envy 14 and Envy 17 notebooks with Mini DisplayPort.[24]
On 20 October 2010, Dell announced XPS 14, 15, and 17 notebooks with Mini DisplayPort.[25]
On 24 February 2011, Apple and Intel announced Thunderbolt, a successor to Mini DisplayPort which adds support for PCI Express data connections while maintaining backwards compatibility with Mini DisplayPort-based peripherals.[26]
On 17 May 2011, Lenovo announced the ThinkPad X1 notebook with Mini DisplayPort.
In May 2011, Dell released the XPS 15z notebook with Mini DisplayPort.
On 15 May 2012, Lenovo announced the ThinkPad notebooks X1 Carbon, Helix, X230, L430, L530, T430s, T430, T530, W530 with Mini DisplayPort.
In 2012, Intel shipped the second generation Intel NUC of which the top model with an i5 had a Mini DisplayPort and the top i3 model had Thunderbolt through a Mini DisplayPort.
On 9 February 2013, Microsoft released the Surface Tablet, Surface Pro, equipped with Windows 8 Pro and Mini DisplayPort.
In June 2013, Intel shipped the third-generation Intel NUC with both Mini HDMI and Mini DisplayPort. (The i3 and i5 models, not the Celeron or Atom models)
On 5 July 2013, Asus announced new N Series laptops N550 and N750 with both HDMI and Mini DisplayPort.
On 25 July 2013, Dell announced the Precision M3800 mobile workstation with Mini DisplayPort.
On 8 August 2013, Dell announced the Latitude E7240 and E7440 business notebooks with Mini DisplayPort.
On 9 September 2013, Lenovo announced the ThinkPad X240s, L440, L540, T440, T440s, T440p, T540p and W540 with Mini DisplayPort.
On 22 October 2013, Microsoft released the Surface Pro 2, equipped with Windows 8.1 Pro and Mini DisplayPort.
On 20 June 2014, Microsoft released the Surface Pro 3 with Mini DisplayPort.
On 5 May 2015, Microsoft released the Surface 3 with Mini DisplayPort.
On 6 October 2015, Microsoft released the Surface Book, equipped with Windows 10 Pro and Mini DisplayPort.
On 10 October 2015, Microsoft released the Surface Pro 4, equipped with Windows 10 Pro and Mini DisplayPort.
On 2 June 2016, Gigabyte announced the Aero 14 with Mini DisplayPort.
On 11 November 2016, ECS Liva released the Liva Z Mini PC with Mini DisplayPort.
On 15 December 2016, Microsoft released the Surface Studio with Mini DisplayPort.
On 15 June 2017, Microsoft released the Surface Laptop, equipped with Windows 10 Pro, and the fifth-generation Surface Pro, equipped with Windows 10 Pro, both with Mini DisplayPort.
On 16 October 2018, Microsoft released the Surface Pro 6, equipped with Mini DisplayPort.[27]
List of video connectors
Thunderbolt – The Thunderbolt and Thunderbolt 2 interfaces used the Mini DisplayPort connector.
^ Apple Mini DisplayPort Connector Dimensions, Apple Inc., 2008
^ "About Apple video adapters and cables". Apple Support. Archived from the original on 28 February 2014. Retrieved 18 March 2020.
^ "New MacBook Family Redefines Notebook Design". Apple.com. 2008-10-14. Archived from the original on 2010-03-16. Retrieved 2008-10-24.
^ "Mini DisplayPort to DVI Adapter". Apple Store. 2008-10-14. Retrieved 2008-10-24.
^ "Mini DisplayPort to Dual-Link DVI Adapter". Apple Store. 2008-10-14. Retrieved 2008-10-24.
^ "Mini DisplayPort to VGA Adapter". Apple Store. 2008-10-14. Retrieved 2008-10-24.
^ "Mini DisplayPort Connector Licensing & Trademark Agreements". Apple Developer Connection. 2008-11-27. Retrieved 2008-11-27.
^ "Apple Mini DisplayPort Connector Implementation License Checklist" (PDF). Apple. Retrieved 2008-12-04.
^ David Chartier (November 17, 2008). "Apple brings HDCP to a new aluminum MacBook near you". Ars Technica.
^ "Apple Mini DisplayPort DRM sparks controversy". November 26, 2008.
^ "EFF: Apple DisplayPort DRM will lead to more piracy". November 26, 2008.
^ "Mini DisplayPort to Dual-Link DVI Adapter". Apple. Retrieved 2008-12-23.
^ "Mini DisplayPort to DVI Adapter". Apple. Retrieved 2009-02-18.
^ "Mini DisplayPort to VGA Adapter". Apple. Retrieved 2009-02-18.
^ a b Chris Foresman (April 13, 2010). "New MacBook Pros support audio over Mini DisplayPort". Ars Technica. Retrieved April 13, 2010.
^ Chris Foresman (July 22, 2009). "Mini DisplayPort no longer a hassle with cables and adapters". Ars Technica.
^ "DisplayPort specification to add Apple's mini connector". MacWorld. 2009-01-14. Retrieved 2009-01-14.
^ "Apple's mini connector set to be part of DisplayPort standard". AppleInsider. 2009-01-13. Retrieved 2009-01-14.
^ "Toshiba Introduces New Satellite, Tecra and Qosmio Laptops Equipped With 2010 Intel Core Processors". 7 January 2010. Archived from the original on 23 March 2010. Retrieved 30 April 2010.
^ "Toshiba Laptop Computers, Notebooks, Netbooks and Accessories - Toshiba Laptops". toshiba.com.
^ "Toshiba Tecra A11 Laptop Computers". Laptops.toshiba.com. Retrieved 2010-04-30.
^ "Toshiba: Leading Innovation". Laptops.toshiba.com. Retrieved 2010-04-30.
^ "HP Envy 14 and 17 officially official, Envy 13 slowly waves goodbye". Engadget. 2010-05-05. Retrieved 2010-05-06.
^ "Dell XPS Series Revamped". infosync. 2010-10-22. Archived from the original on 2011-09-27. Retrieved 2010-12-05.
^ "Thunderbolt Technology: The Fastest Data Connection to Your PC Just Arrived" (Press release). Intel. Feb 24, 2011. Retrieved 2011-02-24.
^ "Introducing the New Surface Pro 6 – Ultra-light and Versatile – Microsoft Surface". Microsoft Store. Retrieved 2019-03-28.


The world's most visited museum, the Louvre in Paris, will close on Friday (3 June) in order for it to move priceless artworks from display, as France declares a state of emergency due to torrential floods that are causing damage in Europe. The Louvre, plus the Musée d'Orsay on the opposite bank of the Seine, will close so staff can move the art pieces to more secure areas of the buildings.
Heavy flooding has caused the deaths of at least 10 people across Europe, as rivers burst their banks in cities such as the French capital and Bavaria, Germany. The Seine - which runs through the centre of Paris and next to the Louvre - has risen by five metres above normal levels, with more rainfall expected over the weekend.
The Musée d'Orsay shut their doors early on Thursday (2 June) as a precautionary measure after the river burst its banks in areas nearby. Emergency barriers have been put up along the river with as much as 50mm (2in) of rain fall expected overnight.
Across Paris and the Central France area, more than 25,000 people are without power, while national rail operators, SNCF, closed one of their lines which runs adjacent to the Seine. Elsewhere in France, roughly six weeks worth of rainfall was recorded in Loiret, eventually forcing motorists to abandon their cars.
In Souppes-sur-Loing, the body of an 86-year-old woman was discovered in her home. French President, Francois Hollande, declared a state of natural disaster in some areas, allowing for emergency funds to be made available.
In neighbouring Germany at least nine deaths have been recorded in the floods with several people still missing. In Simbach am Inn, Bavaria, a 78-year-old woman, plus her daughter, 56, and her granddaughter, 28, were found drowned in the basement of their house.
Chancellor Angela Merkel told the nation: "We are mourning those for whom help has come too late and who lost their lives in the floods".


***Includes perform attempt Questions*** Get the attempt prep assist you have to turn into a qualified cardiographic technician. The qualified Cardiographic Technician examination is intensely demanding and thorough try education is vital for fulfillment. CCT examination secrets and techniques research consultant is the correct prep answer for a person who desires to cross the CCT examination.
This concise textbook is perfect for any pupil or medical professional who wishes an authoritative, readable, reasonable textual content that's sharply interested in scientific psychiatry. It comprises the main appropriate scientific fabric from the best-selling Kaplan and Sadock's Synopsis of Psychiatry, 10th Edition and contains up-to-date details on lately brought psychiatric medicinal drugs.
From its very starting, neuroscience has been essentially interdisciplinary. due to swift technological advances and the arrival of enormous collaborative initiatives, notwithstanding, neuroscience is increasing way past conventional subdisciplines and highbrow barriers to depend upon services from many different fields, reminiscent of engineering, machine technology, and utilized arithmetic.


Mobile light shows come in all sizes, from the most simple T-bar with four par cans set up in less than five minutes, to the sophisticated, multi-fixture, computer-driven, intelligent lighting rig attached to a curcular truss suspended from the ceiling in the center of the banquet hall, requiring several people and several hours of set up time. Whatever you desire, we're ready to add to the elegance or turn on the excitement!
A trap many DJs fall into, and from which some never escape, is to just splash the dance floor with as much excitement as possible. It seems obvious, if you light up that focal point with a variety of colors and gobos, you've got an impressive light show and folks will want to dance more. But what are the REASONS this is a trap?
1. When folks start dancing, you hardly notice or see these effects anymore. You might see some splashes of colors and movement, (if you're looking) but with all the activity on the dance floor, those effects definitely lose their impact and pretty much just disappear.
2. A lot of bright lights shining right on the floor can annoy people. It's just too much bright stuff flashing in their eyes. After a dance for teenagers, where I had splashed the floor with those common mushroom effect lights, I candidly asked a kid how he liked the light show. I was expecting to get some praise for how cool the effects were. He just came out and said the lights hurt his eyes.
3. Concentrating on the dance floor without considering the rest of the room is only concerning yourself with 1/6 of the total area where good lighting could enhance the production.
HERE'S THE CONCEPTION: People do see the walls and even the ceiling. That's five surfaces we can illuminate. So, in many applications, you want to first "paint" the walls and ceiling with color, and then project static or moving patterns over this initial color layer. As for the dance floor—wash it with color. A color wash serves to light up the dance floor with appropriate colors, and also serves to colorfully light up the dancers. Changing colors, sound-activated or in a chase sequence of different speeds, bathing the dance area, serves to draw folks to the floor, provide atmosphere, and doesn't get lost in all the activity of moving bodies like gobos and a lot of bright flashes. Where there are lots of bodies moving around (as in DANCING), there's no longer a flat surface which is necessary to distinguish gobos and patterns.


All Poster Presenters should visit the AMS Poster Presenter Guidelines for additional information regarding your poster presentation, including poster board size and tips.
NOTE TO Wednesday/Thursday Poster Presenters: We HIGHLY recommend that you take your poster with you at the end of the Thursday AM Formal Poster Viewing. The Poster Hall will be LOCKED DOWN at Noon on Thursday and you will not be able to retrieve your poster after this time.
*Posters not removed by the teardown time will be removed and recycled.
Please note that if your poster is assigned to a Monday OR Tuesday poster session: you must stand by your poster, ready to present, during the Formal Poster Viewings on both Monday AND Tuesday.
Wednesday and Thursday poster session: you must stand by your poster, ready to present, during the Formal Poster Viewings on both Wednesday and Thursday.
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Ukie's Digital Schoolhouse powered by PlayStation, delivers its annual esports tournament to schools & colleges across the UK. It's aim, to provide an immersive careers education experience. Students aged 12-18 years can participate as players or fulfil professional roles crafted by the video games industry, for education. Skills that students develop whilst participating in the tournament are recognised by the Duke of York's Inspiring Digital Enterprise Award (iDEA).
In 2017, our inaugural tournament saw 460 students compete from four schools across the country.
This is the initial stage of the tournament which takes place in the school or college itself. Schools are encouraged to make this stage as student led as possible. In addition to the players, job descriptions have been developed with industry expertise for schools to implement; enabling teachers to recruit students in a number of Operations & Logistics roles.
These are the first of the knockout stages, held in various locations across the UK. Each participating school or college will be allocated to their nearest venue by Digital Schoolhouse. Video games industry guests are invited to attend and encouraged to mingle amongst competitors. Each qualifier is streamed live on Twitch and students are invited to shoutcast alongside professionals on the day. At each qualifier, a single team is crowned 'Regional Champion' which then goes through to the Grand Final in London. Student casters are also invited to the Grand Final to once again, cast alongside their professional counterparts.
The Grand Final is hosted in London as part of the London Games Festival. Here, the Regional Champions compete for the winning title of Digital Schoolhouse's 'UK Esports Champions'. In attendance are their peers, teachers, parents and industry guests. The day concludes with a prize giving ceremony for the winning team and a special award for the 'Best Shoutcaster'.


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For Israel's future, we must try to understand as best we can what may happen in the changing global environment and evaluate what Israel should do, beginning with a reorientation of Israel's information policy. It is first necessary to try to identify structural rather than temporary changes, in order to understand which motifs are recurring and getting stronger and which are fading away.
However, the attack on the U.S. has made it clear to the general public that, even in rich societies, considerable unforeseen vulnerability exists. One economic expression of this is the fact that certain terrorism hazards are no longer insurable with private companies. Previously, vulnerability was mainly a concern of professional risk experts. After September 11th, the use of the words "vulnerability" and "risk" has multiplied in the general media.
Is violent terrorism the main real threat to the well-being of Western society? Not necessarily. Over the years, two structural elements have been frequently mentioned as potential sources of the West's general vulnerability: dependence on oil, to a large extent imported from undemocratic countries, and the possibility of a meltdown of the global financial system.
It is now emerging that Bin Laden's ideas are shared by substantial segments of the population of Muslim, oil-producing countries such as Saudi Arabia.3 If the governments of these countries are overthrown, the flow of oil may be interrupted for some time.
The West now perceives terrorism as a much greater risk than it did before September 11th, and there is enhanced awareness that terrorism may come in many forms. For example, bio-terrorism -- the spreading of viruses and bacteria -- and environmental terrorism -- the diffusion of lethal gases -- are matters of serious concern, as the U.S. seeks to cope with an attack of anthrax.
The mayor of the small Dutch town of Bedum says that research he carried out last year showed that if a passing chlorine train had a disaster -- if one 50-ton car leaked rapidly -- this could potentially mean 5,000 deaths and 17,000 injured. The trains presently travel no faster than 10-15 kmph, which reduces the involuntary risk but increases the chances of a terrorist attack. Experts estimate that the killing of 5,000 people in New York -- and direct economic damage of over $100 billion15 -- required an investment of about $500,000 by al-Qaida. In the case of Bedum, the investment might be much smaller for the same number of deaths.
Issues frequently discussed in the media are the degree of Islam's tolerance of outsiders, the differences in worldview between fundamentalists and moderates, the nature of holy war, and religious scholars' edicts of death against people who live in other jurisdictions, of whom the edict against writer Salman Rushdie is the best known.
Since September 11th, more articles on Muslim states have appeared in the Western press than in the entire previous year. The starting-point of general knowledge is very low. "Western politicians, who two months ago didn't know a Pashtun tribesman from an Uzbek warlord, are now feverishly searching for a Pashtun alternative to Afghanistan's Taliban rulers."23 Indeed, before Ayatollah Khomeini came to power in Iran in 1979, few people had heard about Shi'ism. Before September 11th, it was mainly experts who knew about Wahhabism, an eighteenth-century group of fanatic Sunni Muslims that originated in Saudi Arabia. Now a flood of articles on the subject is appearing.
"Ibn Abdul Wahhab (1703-92), the founder of totalitarian Islam, was born...in the part of Arabia...where Riyadh is today...his cult was associated with the mass murder of all who opposed it. For example, the Wahhabis fell upon the city of Qarbala in 1801 and killed 2,000 ordinary citizens in the streets and markets."24 Qarbala is one of the holy cites of Shi'ite Islam in Iraq, and early Wahhabism sought to eradicate anything that deviated from its puritanical interpretation of Islam.
What should Israel's position be in the West's conflict with terrorism and its many supporters? While Israel would prefer not to figure in it at all, Arab and Muslim political and religious leaders often make a point of bringing Israel to center stage, as do Bin Laden and some Western politicians, policy experts, and journalists.
Israel should stay as much as possible away from issues which do not concern it. Israel has, at best, a tertiary role as a source of Muslim rage against the West, yet Israeli spokesmen appearing on network television saying "it's not us" only draw attention to the possible role of Israel as a source of Muslim anger. In a political election campaign, a candidate falsely charged by his rival with corruption only worsens his situation if he goes on television with the message: "I am not corrupt." A more successful strategy would involve shifting the spotlight onto his rival's failures.
Some of the main newspapers of the United States are not buying the "Israel is to blame" line. Thus, a Washington Post editorial on October 11, 2001 concluded: "The largest single 'cause' of Islamic extremism and terrorism is not Israel, not U.S. policy in Iraq, but the very governments that now purport to support the United States while counseling it to lean on Ariel Sharon and lay off Saddam Hussein."
The commonly accepted diagnosis in the West of the causes of Muslim rage in the months ahead may have major implications for Israel. If a new conventional wisdom evolves that Israel's problematic relations with the Palestinians is the source of Islamic anger at the West, then diplomatic pressures on Israel will grow enormously, as Western states establish new policies that seek to prevent what they believe are the "root causes" of terrorism.
One motif for Israel's future information policy is that, in the Palestinian world, the difference between "moderates" and fundamentalists is emerging as insignificant. Today, both Hamas and Yasser Arafat's Fatah organization are directly engaged in terrorism against Israelis. In fact, the distinction between moderates and extremists was overstated many decades ago as well, long before Israel entered the territories.
The late Faysal al-Husseini, the Palestinian Authority Minister for Jerusalem Affairs who died earlier this year, was considered one of the most moderate of contemporary Palestinian leaders. When visiting in Beirut, however, he said that the Palestinian people are striving toward the strategic goal of a state from the sea to the river. At the beginning of this year, "Salim Za'anun, the Chairman of the Palestine National Council, stated in an official PA newspaper that the PLO Covenant calling for Israel's destruction was never changed and, hence, remained in force."53 Thus, in tactics and strategy, the differences between Hamas and the PLO have evaporated.
Juxtaposed against the disappointing level of cooperation that the U.S. is receiving from its Arab allies, Egypt and Saudi Arabia, the Central Asian states that are providing military bases may become an attractive alternative to the states of the Arabian Peninsula. Already in 1999, the U.S. removed the Central Asian states from the operational responsibility of the U.S. Pacific Command, that defends America's Asian interests, and placed them under the responsibility of the U.S. Central Command, dedicated to the defense of the oil resources of the West in the Persian Gulf.
An emerging global realignment would also affect the foreign policy calculations of Russia's former Middle Eastern partners, particularly Libya, Syria, Iraq, and Iran. The U.S. and Iran have been part of a multilateral working-group on the future of Afghanistan at the United Nations since 1997. These contacts could now intensify. Some of these other states might seek to draw closer to the U.S., while others may sense that their freedom of action to challenge American interests has become highly constrained.
Thus, Israeli diplomacy should be alert to these developments and utilize the new alignments to protect Israeli national interests. As noted at the outset of this article, clear-sighted analysis of events, identification of emerging motifs, and integration of these findings in an orderly framework of thought, policies, and actions may enable Israeli planners to improve the nation's performance in dealing with the new era of global disorder.
*	The author is grateful to Joel Fishman, Dore Gold, Zvi Marom, and Dan Segre for their comments.
1.	Mary Douglas and Aaron Wildavsky, Risk and Culture (Berkeley: University of California Press, 1983).
2.	Netscape, October 9, 2001.
3.	New York Times, October 5, 2001.
4.	Manfred Gerstenfeld, "Neo-Paganism in the Public Square and Its Relevance to Judaism," Jewish Political Studies Review, vol. 11, no. 3 & 4 (Fall 1999):18.
5.	"Computer Experts Warn of Cyber Terror," New York Times, October 10, 2001.
6.	George F. Will, "The Next Threat: Weapons of Mass Destruction," Newsweek, October 29, 2001.
7.	Associated Press, October 3, 2001.
8.	New York Times, October 14, 2001.
9.	New York Times, October 4, 2001.
10.	Los Angeles Times, October 17, 2001.
11.	Los Angeles Times, October 7, 2001.
12.	"We Need the National Guard to Protect our Nuclear Plants," Los Angeles Times, October 11, 2001.
13.	Letter to the Editor, Los Angeles Times, October 20, 2001.
14.	"Et si Ben Laden utilisait le nucleaire?," Liberation, October 19, 2001 (French).
15.	New York Times, October 5, 2001.
16.	"Politie dwingt Planet tot schrappen miltvuur-handleiding," De Volkskrant, October 24, 2001 (Dutch).
17.	Los Angeles Times, October 3, 2001.
18.	"NRC Kept Nuclear Plant Text Public," New York Times, October 24, 2001.
19.	"Precautions Taken vs. Bioterrorism," New York Times, October 23, 2001.
20.	Manfred Gerstenfeld, Lo Stato Come Azienda (Milan: Rizzoli, 1994), p. 150 (Italian).
21.	Associated Press, October 3, 2001.
22.	Sandra Mackey, The Saudis (New York: Meridian, 1988), pp. 3-5.
23.	"Search On for Pashtun Alternatives," New York Times, October 21, 2001.
24.	Stephen Schwartz, The Spectator, September 22, 2001.
26.	Rajan Menon and Graham Fuller, "Russia's Ruinous Chechen War," Foreign Affairs, 79:2 (March/April 2000).
27.	Arnaud de Borchegrave, "Bullets of Saudi Gold," Washington Times, October 22, 2001.
28.	Stephen Schwartz, "Wahhabis in America," The Weekly Standard, November 5, 2001.
29.	Howard Schneider, "Probe Unraveling Saudis' Role," Washington Post, October 17, 2001; Joshua Teitelbaum, "Deserted: Why Riyadh Stiffs America," The New Republic, October 22, 2001.
30.	Los Angeles Times, October 11, 2001.
31.	The Economist, October 18, 2001.
32.	Associated Press, October 3, 2001.
33.	Islamische Gemeinschaft Milli Goerus.
34.	F.A.Z., October 13, 2001 (German).
35.	Liberation, October 18, 2001 (French).
36.	"Milan Islamic Center Under Suspicion," New York Times, October 27, 2001.
37.	Los Angeles Times, October 11, 2001.
38.	Lib�ration, October 18, 2001 (French).
39.	"De ongrijpbare islamitische school," NRC Handelsblad, October 20, 2001 (Dutch).
40.	As quoted in De Volkskrant, October 9, 2001 (Dutch).
41.	Associated Press, October 13, 2001.
42.	New York Times, October 14, 2001.
43.	Jerusalem Post, September 30, 2001.
44.	Jerusalem Post, October 19, 2001.
45.	"New York Cleric's Departure from Mosque Leaves Mystery," New York Times, October 23, 2001.
46.	"A Fair Sheik," Wall Street Journal, October 24, 2001.
47.	The Forward, October 26, 2001; www.forward.com/ issues/2001/01.10.26/news5.html.
48.	Wall Street Journal, September 14, 2001.
49.	Newsweek, October 15, 2001.
50.	Wall Street Journal, October 17, 2001.
51.	Los Angeles Times, October 13, 2001.
52.	Albert Londres, Le Juif Errant Est Arrive (Paris: Arlea, 1997), p. 209 (French).
53.	Dore Gold, "Jerusalem in History and International Diplomacy," Jewish Political Studies Review, vol. 13, nos. 1&2 (Spring 2001):163.
54.	Joseph Lelyveld, "All Suicide Bombers are Not Alike," New York Times, October 28, 2001.
55.	Nytimes.com, October 23, 2001.


China's foreign assets rose by 23% last year, to $2.92 trillion (£1.88tn).
The State Administration of Foreign Exchange also said that China's foreign exchange reserves accounted for almost $2tn of its overseas assets.
The remainder comprises assets such as direct investments and equities, held by state-owned banks and private firms.
The Chinese government is encouraging companies to invest more overseas, partly to help reduce upward pressure on China's currency, the yuan.
Earlier this year, some Chinese officials called for the dollar to be replaced as the world's reserve currency with a new currency run by the International Monetary Fund.
China is reportedly trying to diversify its foreign exchange reserves into other currencies than the dollar.
It recently discussed a plan with Brazil to trade directly with each other using each country's currency rather than the dollar.


Gorilla Corrosion, Intervention Technologies and Intervention Rentals have operations bases at Montrose to service the North Sea and European operations and in Qatar to service the Middle East. The company commissioned Keillor Graphics to produce three flags for its Headquarters at Lunan Bay. The flags are made up of each of the company's brands and are made up of individual pieces which have been sewn together, this type of flag production is more expensive than a printed flag, but they tend to last longer. If your company has the need for a flag contact us today for a no obligation quote.


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Research, Trends, and Behind the Scenes from space150, the agency for the next five years.
About spaceLab
About space150
At space150, we've been adapting to the future from the very beginning. Founded in 2000 as a blend of art and science, we've expanded to become a premier, full service digital agency. spaceLab is our R&D initiative, dedicated to pushing us into the future.
We are thinkers, makers, and dreamers. What you'll see here is our work in progress, people and things that inspire us, and a compass for the future.
Marc Jensen, CTO and Managing Partner
Greg Swan, PR & Emerging Media
NYT's Google Cardboard experience is another step forward for "My First VR"
The Use Case for Smartwatches
Live coding music at space150 this week
Apple and the Future
Autonomous Cars: Second Order Effects
Automotive Trends

redpajama_set_name: RedPajamaCommonCrawl


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13 – 14 feb: The Listeners Cullberg and Alma Söderberg
Date: Thursday feb 13
Time: 7.30 pm
Date: Friday feb 14
Tickets: 180 :-
Supporting members: 130:-
Student/senior/ > 26 years: 90:-
Length: 60 min
The collaboration between Cullberg and Swedish choreographer Alma Söderberg will be a new adventure as Söderberg, after gathering experience in creating solos for herself and a for a small number of dancers, will make her first big scale creation. In her first work for the company, The Listeners, Alma Söderberg will continue her research on the relationship between dance and music. At the base of every creation are three building principles: rhythm, voice and movement, all simultaneously at work and a continuous repetition of the practice. Rhythm is not only the motor of her work but also the subject of her artistic research. Sound and movement are woven together in a composition that is rich in layers of perception.
Alma Söderberg will work with eight dancers in Cullberg. Using voice, rhythm and movement they will explore the relation between listening and moving. In a performance that could be a concert in the sense that it invokes listening, the space and the bodies are played as instruments. The dance becomes a tool to describe the sound, and the sound becomes a tool to describe the dance. Sounds and movements create knots and entanglements that feedback off each other and that produces a situation where the skill of paying attention is practiced on all sides, on that of the performer-listener and on that of the audience-listener. In that sense the title does not only refer to the performers but also to the audience. The role of the performer is to notice and let notice, the skill is to listen and describe.
"The fourteen-year-old in me cannot believe that I will create for Cullberg. I have not had the ambition to create for a world-famous company, but when I got the invitation, I felt it was time for me to open up and share what I developed over the past ten years. Together with the dancers, I will work with the body as an instrument in the room. My works are rarely representative or narrative, what happens on stage is more like a concert, a musical exploration. The dancers will participate in creating the music they dance to live on stage. Listening is central, both to the silent movement and to the sounding, says Alma Söderberg about her work with Cullberg.
ABOUT ALMA SÖDERBERG
Swedish choreographer Alma Söderberg was born and raised in Malmö. She studied at The Royal Swedish Ballet School before leaving for Sevilla and Escuela de Danza de Matilde Coral to study flamenco. She has since then, studied in Stockholm, Paris, Madrid, Amsterdam and Brussels. Alma Söderberg studied choreography at SNDO in Amsterdam, and graduated in 2011. During the past years, she has been based in Brussels and toured her creations to relevant venues and important festivals all over Europe. Her work is characterized by connecting dance, music and voice. Sound and movement are always intertwined, and a research of these expressions is constantly an ongoing part of Alma Söderberg's artistry.
In 2016 she was awarded the Swedish Theatre Critics award the Thalia Prize with the motivation:
"she presents a unique kind of performing arts, joining together dance, music and voice performance in an unceasingly fascinating and rhythmic performing language."
In 2016, Alma Söderberg was awarded The Birgit Cullberg Grant by The Swedish Arts Grants Committee with the following motivation:
"Alma Söderberg stands out among Swedish choreographers. She follows her own path – genre does not determine her performing arts. It is concert, performance and dance. Alma has been called the human sound and dance machine and her solos have been described as 'sound and movement in a rhythmic symbiosis with roots in flamenco and tentacles towards Swedish folk music'. Alma Söderberg does not follow the stream, she works beyond ideological and aesthetic signs. Communication between the audience and her own body is the foundation. With movement, rhythm, music, sound and language, she breaks new ground and opens the borders of what a dance performance can and may be. She puts herself in the middle of time and beyond the conventions. With a number of solos behind her, as well as an international career, with the Birgit Cullberg Grant, we want to acknowledge a unique movement and sound artist."
ABOUT CULLBERG
Cullberg is the national and international repertoire contemporary dance company in Sweden, continuously co-creating to make cutting edge dance relevant for the many. Together with choreographers from all over the world, we are exploring ideas on how dance can be defined, produced and presented. Those explorations are the pillars of a company that is constantly in motion at the heart of the international arena. 2019-2021, Cullberg works exclusively with three associated artists: Alma Söderberg, Deborah Hay and Jefta van Dinther. The core of the company consists of 17 extraordinary individual dancers with a central role in the creations. Cullberg is led by artistic director Gabriel Smeets and managing director Stina Dahlström. Cullberg is part of Riksteatern – The Swedish National Touring Theatre.
Choreography: Alma Söderberg
Music: Dehendrik Lechat Willekens
Costume design: Behnaz Aram
Lighting design: Pol Matthé
Dramaturge: Igor Dobricic
Artistic advice: Anja Röttgerkamp
Rehearsal director: Thomas Zamolo
With eight dancers.
World premiere January, 2020, Norrlandsoperan Umeå, Sweden.
A co-production with Norrlandsoperan, Umeå, PACT Zollverein, Essen and Hellerau, Dresden.


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Wonder and the Grandeur of the Universe as the Antidote to Human-Manufactured Bias and Divisiveness: Marilyn Nelson's Stunning Poem "The Children's Moon"
A lyrical time-capsule of human history being made under the unblinking eye of cosmic time.
By Maria Popova
In one of her love letters, Margaret Fuller — who laid the foundation of American feminism, advocated for black voting rights generations before women won the vote, and believed in every fiber of her being that genius is "common as light" when given the chance — wrote of "that best fact, the Moon." A century, a Civil War, and two World Wars after her, amid the golden age of space exploration, the great Italian scientist, humanist, and Holocaust survivor Primo Levi considered the spiritual value of our cosmic dreams in his gorgeous essay "The Moon and Man," insisting that "for good or evil, we are a single people: the more we become conscious of this, the less difficult and long will be humanity's progress toward justice and peace."
Marilyn Nelson shines a sidewise gleam on that best, most unifying fact in her stunning poem "The Children' Moon," written in the voice of her own mother — one of the first black women to teach at an all-white elementary school, spearheading a classroom of twenty white second-graders at an Air Force base school in Kansas four months after Brown v. Board of Education.
Illustration by Judith Clay from Thea's Tree
Performed at the On Being gathering in 2018 and published a year earlier in Mrs. Nelson's Class (public library) — the conceptually brilliant anthology Nelson edited, featuring persona poems by twenty different poets, each taking on the voice of one of the bodies in her mother's classroom to imagine what the experience of making history together might have been like — the poem is a stunning reminder that the human capacity for wonder at the grandeur of the universe and the natural world, a capacity "common as light" among us all, will always eclipse the capacity for diminishment and divisiveness along artificial lines, lines drawn not by the reality of nature but by the selectively consensual non-reality we call culture, lines that constrict and confine and desecrate what is best and largest in our nature.
THE CHILDREN'S MOON
by Marilyn Nelson
In my navy shirtwaist dress and three-inch heels,
my pearl clip-ons and newly red-rinsed curls,
I smoothed on lipstick, lipstick-marked my girls,
saluted and held thumbs-up to my darling Mel,
and drove myself to school for the first day.
Over the schoolyard a silver lozenge
dissolved into the morning's blue cauldron.
Enter twenty seven-year-old white children.
Look, children, I said as they found their desks:
The children's moon! A special good luck sign!
We pledged allegiance, and silently prayed.
George Washington watched sternly from his frame.
I turned to the blackboard and wrote my name.
I thought I heard, She's the REAL teacher's maid!
I thought I heard echoes of history.
But when I turned, every child in the room
had one hand up, asking, What is the children's moon?
Complement with Nelson's entrancing performance of her existential-scientific poem "Faster than Light" at the third annual Universe in Verse and savor her On Being conversation with Krista Tippett (who also read an existential-mathematical poem in the same show), then revisit other titanic poets of our time performing their own work: Marie Howe reading "Singularity," Ross Gay reading "Ode to Buttoning and Unbuttoning My Shirt," Elizabeth Alexander reading "The Venus Hottentot," U.S. Poet Laureate Tracy K. Smith reading from "My God, It's Full of Stars," and Jane Hirshfield reading "Today, Another Universe."
The 50 Best Oatmeal Recipes on the Planet
Healthy Shrimp Salad


Zelak is a exclusive character from the graphic novels who made its debut in Haywire. He is a Megalink bent on destroying Earth's technology with his computer virus.
Not much is known about Zelak's early life, other than he is a part of Makino's armada.
Zelak comes to Earth with a deadly computer virus that quickly infects all electronic devices on Copper Canyon. Because of that, Max and Steel have to save the day without their technologic powers and N-Tek's help.
Computer Virus: Zelak brings a destructive virus to Earth capable of easily corrupting technology. It quickly spreads all over Copper Canyon.
Zelak has the same armor as the rest of other Megalinks, but with slight modifications. His colors scheme resembles that of Makino's.
Not much is known about Zelak's personality, but he is described as "mysterious stranger, lurking in the shadows during all calamity" by Tom Pinchuk.
"N-Tek should have heed Makino's warning!"
Tom Pinchuk, who wrote the story of the Haywire graphic novel, describes Zelak as a "21st century digital plague".


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U.S. tariffs on Canada's aluminum industry will raise costs — for U.S. manufacturers
'There's no way the U.S. is or can be self-sufficient in aluminum. That day is gone. The U.S. needs Canadian product there'
Aluminum pipes bundled for recycling in New York. Though the United States consumes 5.5 million tonnes of aluminum each year, its smelters produce just 700,000 tonnes.Scott Eells/Bloomberg
Naomi Powell
On Friday morning, a truck hauled out of a shipping yard at Sotrem-Maltech in Saguenay, Que. packed with specialty aluminum ingots bound for a foundry in the Midwestern United States. There, they were slated to be transformed into complex parts used in the manufacture of U.S. military vehicles, including four-wheel drive trucks and carriers.
It was a typical order for the company, but one that happened to take place less than 24 hours after the United States imposed sweeping tariffs of 10 per cent on Canadian aluminum — all on grounds of national security.
"Nothing much has changed for us, no," said Patrick Dube, commercial director for Sotrem-Maltech, which also makes aluminum granules for coatings on U.S. aircraft carriers. "There are very few companies who do what we do and they are all at full capacity. The only change is that it will cost 10 per cent more. And we don't know who will pay for that, the customers or us."
Following decades of specialization and a steep decline in U.S. smelting capacity, analysts say the U.S. tariffs are unlikely to deliver a blow to Canadian aluminum producers, who supply 47 per cent of the aluminum consumed in the United States. However, the levies have raised concerns about rising costs for U.S. manufacturers and downstream producers — the foundries and rolling facilities that now account for 97 per cent of employment in the U.S. Industry.
"There's no way the U.S. is or can be self-sufficient in aluminum," said John Tumazos a New Jersey based steel and aluminum industry analyst. "That day is gone. The U.S. needs Canadian product there."
Though the United States consumes 5.5 million tonnes of aluminum each year, its smelters produce just 700,000 tonnes. That shortfall is largely covered by Canada, which ships 2.8 million tonnes of the metal – or 87 per cent of its annual domestic production — from facilities located primarily in Quebec and British Columbia.
And though U.S. President Donald Trump has cited the tariffs as a way to revive employment, analysts say decades of downsizing among primary aluminum producers have left the country with limited capacity to resurrect.
Since 2007, the number of operational smelters in the U.S. has shrunk from 18 to 5, according to the U.S. Aluminum Association, which represents most American-based producers. That's in part due to the high cost of operating in U.S. currency and the difficulties of competing with producers in Quebec, who benefit from access to cheap hydroelectricity.
'I just want to scream': Trump's tariffs send corporate Canada reeling
IMF flags housing, competitiveness as risks to Canadian economy, urges 'rethink' on corporate taxes
Reviving idled smelters to full production in the United States would be a costly exercise, one that would take years to accomplish, analysts say. And even then, production would rise to a maximum of 2 million tonnes, well short of satisfying the country's appetite for aluminum.
"They've undone so much capacity and restarting that is not cost effective," said Benjamin Reitzes, Canadian rates and macro strategist at the Bank of Montreal."The likely impact will be on prices as much as anything else."
Concerned about the impact on aluminum costs which have already hit record highs this year, the U.S. Aluminum Association has called for quota and tariff-free trade with all market-based economies.
"We do have concerns that we don't have much of a smelter base in the U.S. anymore," said Matt Meenan, senior director of public affairs, for the association. "That is a problem. We're just not sure tariffs are the way to go about tackling that problem."
Given the U.S. has already slapped tariffs on suppliers from the Middle East and is slated to impose sanction on Russia's largest aluminum producer, United Company Rusal, Trump's tariffs could create a supply shortage that would paradoxically make Chinese imports more competitive in the United States, the U.S association has warned.
China has been blamed for flooding global markets with excess steel and aluminum and has faced allegations that subsidies to its domestic producers have suppressed global pricing.
Days after the U.S. imposed tariffs on Canadian steel and aluminum, raising fears of a trade war, aluminum associations from Europe, the United States, Japan, Brazil and Mexico gathered Monday in Montreal to establish a "road map" for a forum on Chinese overcapacity similar to the one created for the steel industry at the G20 summit in Hangzhou, China in 2016.
Meantime, Dube of Sotrem-Maltech is left wondering exactly how the tariffs will be imposed and who will be on the hook.
The Quebec government said Monday it will financially support smaller aluminum producers should they be squeezed by the tariffs.
"Does my customer pay? Do I? Who collects it? There is no clarity and I worry that without clarity, someone will take advantage."
• Email: npowell@nationalpost.com | Twitter: naomi_powell
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I always have a hard time getting to sleep the night before an early rise. It's the hours I work. I'm used to going to bed at four in the morning and getting up around ten. If my alarm clock is set at any time before nine then my head refuses to turn off. This morning the clock was set for seven and last night I lay in bed reading my book until two, and even then, when I finally turned the light out, I only lay there thinking about that fucking alarm clock.
Jon and Ana were picking me up in the van at ten past eight. I knew they'd be bang on time too, Jon is impeccably fucking punctual.
Despite only sleeping for five hours, I felt pretty good when I woke up. After a shower, a cup of tea and some marmalade on toast, I took Bonzo out for a quick piss. It was a beautiful morning. Tonight we would be playing the first Victims show in almost a year. I can't believe it's been so long. Seems crazy. This is the longest I've been without playing a show, since I started playing shows. The only gig I've played in the last nine months was when Battle of Santiago performed with Stig Larsson at an antique book store, and that was in November. I'm looking forward to getting things going again with Victims, now that we have a new record out.
I'm not sure how the gig is going to be tonight, though we're sure to be a bit rusty. The venue we're playing, Truckstop Alaska, is absolutely great. Last time we played there it was with Regimes, AC4 and We Live in Trenches. It was a fun night. This time around though, the show has been arranged at short notice. Martin At The Gates only asked us a few weeks ago, so that coupled with the fact that it's Valborg tonight (which seems to be a big deal here in Sweden), makes tonight's turn out hard to predict.
Jon calls me at ten to eight. I'm still out with Bonzo. He tells me he's on his way. We have to be at the venue for three pm and besides the other guys in the band, we're picking up Viktor Nitad and Stachel who runs our European label, La Familia. They're two great friends and it's really fun to have them along. I'm always happy to have extra faces in the van, and with Jon's girlfriend Ana driving, we have a good little crew today.
The van journey down to Gothenburg takes around six hours including the compulsory stop for a veggie burger at Max in Jönköping. We'd picked up Stachel from Björn Disfear's place, just outside of Nyköping. Stachel had flown in from Bremen last night to hang out and drink beer with Björn and Markus, who are really into brewing their own beer. It was good to see them and chat for a short while. Things have been pretty fucked up the last few weeks, since Henrik, the Disfear bass player, passed away. I'm sure the three of them had a toast or two in his name last night.
We arrive at the wonderful Truckstop Alaska on Hisingen Island, which Jon informs me is Sweden's third largest, just after three pm. This is one of the few times I've been to Gothenburg and seen the sun shining in the sky. Even though we're in the middle of an industrial estate, baked in the sun, the place right now looks beautiful. I'm looking forward to tonight.
We load in and then hang out for a while in the beer and grill garden they have out back. The guys who run this place should be really proud of what they have created here. They have put a lot of hard work into it. The venue itself is awesome. Really good stage, loads of sofas and lamps spread around the venue, a great selection of beer by the bottle that they keep at very cheap prices and some great food. They have a band apartment in the back with around seven beds, a kitchen and a shower, even a tv and a bunch of DVDs. As soon as you turn up here, you feel welcome. I wish we'd played more places like this with Speedhorn.
Whilst waiting to soundcheck, we hang out in the back garden, sitting on a sofa in the sun, drinking a cold bottle of Oppigård's wonderful Golden Ale. I have barely drunk a drop during the last two months. I took what we call a "white month" in Sweden, but when I got to four weeks, just carried on. No special reason, I just haven't felt like drinking for a while. It does me good to take these periods at least once a year. It's always healthy to have a little inner certification that you can go a month without drinking, not that I drink that much any more anyway... I'm happy to leave the partying for touring. There is nothing worse than being really hungover at home, and these days I get hungover after four beers. I don't even have to be drunk to get hungover any more! I must be getting old...
The beer in my hand, whilst sat on the sofa in the sun, chatting away to Viktor, tasted fucking brilliant though. I'll have to limit myself to just a couple before we play. The problem is, we're not playing until midnight. The one draw back about playing Truckstop is that you play late. Well, it's not that late, but we're here from three pm. since they open at six. I'm not sure why really. They set the stage times late since they say that "everybody comes late". Well then, why open at six? Or why not put the bands on from ten pm. and tell everybody to get their fucking arses down in time. As much as I like Truckstop, hanging around at a venue for nine hours, waiting to play, is going to kill your energy for a show. Either that, or you're going to end up steaming before you go on.
Whilst waiting around for soundcheck, Johan and I witness something that dampens the mood of this most glorious afternoon. We're sat on the steps that lead from the club down to the grill garden at the back, drinking black coffee. There are a couple of denim vest-wearing hard rocker guys (everybody in Gothenburg looks like they're in Graveyard right now) hanging around in the yard messing around with an air rifle. At first, we just chuckle to ourselves, since it's the perfect picture of the classic hard rock stereotype... dudes with beers, firing guns at shit. We soon notice though, to our horror, that they're firing at a wounded seagull that is flapping around on the ground over by the fence. We wonder what the fuck is going on! We sit there, getting wound up, when one of the guys from the club tells us they'd found the bird with a broken wing, and they were performing the humane necessity. I feel bad for even doubting the guys, I had thought that it seemed weird for people at this place to be acting like cunts. The image of that poor bird makes me pretty sad. Eventually they have to break its neck, since they can't get a shot on it. I hear the bird screaming in panic as they grab it and I have to take a deep breath. What a fucking downer. The guy who had explained to us what was going on, manages to lighten the mood ever so slightly with the comment, "Could this scene look more white trash!?", and even though we snigger, the mood is a little sombre for a while.
We soundcheck. It sounds good on stage, although we're playing the songs a little too fast. Viktor tells us that it sounds good out front, which is the most important thing. Satisfied, the whole gang heads of for a walk around the area. It's either a bus or a boat journey into the city, which feels like too much of an effort, given the time of day, so we head down to the waterside and sit there in the sun, whilst Jon points out the different landmarks of Gothenburg situated across the water. He lived here as a kid and still feels a big connection with the place. We sit there in the sun for a good hour. It's nice just to change the scene for a little while. It would have been kinda fun to head over on the short ferry to the city centre for a while, but nobody bothers even suggesting it. We're happy just sat there chatting away.
I limit myself to just two more beers before we go on stage at midnight. The coffee continues to flow though. The guys make a really great veggie lasagne that we gratefully tuck in to as well. We sit around at the venue on one of the sofas for the next three hours or so. Viktor is happily letting the beers fly, Andy is sticking to his hard disciplined ways of not touching a drop before we play, although he admits around ten pm. that he's "fucking thirsty!". Stachel has had a few and in his usual mischievous manner, has decided a sofa wrestle with Viktor is in order. Samsa and Ulf from We Live in Trenches are here hanging out, it's good to see those guys. Jon has gone off exploring his old neighbourhood with his good friend, Robban, who was the guy who did all the poetry stuff on the second Acursed record. Jon had actually brought his bowling ball bag (he's fucking obsessed right now), but a game hadn't panned out. The night is casually flowing along and by about ten pm. people slowly start steadily trickling through the doors.
Miasmal are playing before us tonight, which is Pontus from Martyrdöd's other band. They're pretty good, kind of trashy death metal with elements of crust. The bass player looks like Cliff Burton and plays fast as fuck with his fingers. I spend most of their set watching him, very impressed with his style. The drummer plays the first few songs wearing sunglasses, which looks a bit silly. I'm glad when he takes them off. I enjoy watching Miasmal although I'm starting to feel like my energy is seeping away. More coffee. There are quite a lot of people here now. I head over to Andy who's stood on the other side of the room, and from there I notice for the first time, that the drums don't sound too good. I don't know who's kit it is, and I don't know if it's the kit or the PA, but the drums sound like cardboard boxes. As I'm thinking about this, Andy leans in to my ear and shares the very same concern. We can only hope for better when we play...
With all the coffee that's being flying down my throat, I constantly have to piss. Just as Miasmal finish, I decide that I should go one last time before it's time to play. Nothing worse than being on stage dying for a slash. When I get to the Gents, there is a space between the two guys stood at the urinal. One is a Graveyard type, the other is some drunk idiot I noticed walking around the dance floor doing silly moves whilst Miasmal were playing. He's now stood there pissing, singing full blast with his eyes closed. He has this really weird, squeaky voice. I sigh, unzip and try and squeeze out a piss. I takes a while. In fact, it doesn't seem to be happening. Graveyard is looking at me. The idiot is still singing. Graveyard looks down at my knob and then asks me, "Are you just standing here holding your balls for no reason?"
"Why yes, it appears I am," I say, "I must have some sort of stage fright." The idiot is still singing and Graveyard is now grinning at me. Well this is fucking awkward. I wonder why the fuck I didn't go to the toilet in the band apartment. I joke with Graveyard, "I normally hang out in the bogs actually, it's a good way to meet people, since I don't smoke". This raises a laugh. The piss finally starts coming, although it's nothing more than a dribble. Graveyard walks off laughing, I zip up and wash my hands, leaving the idiot to his merry tune.
We're finally ready to play the show. Our first show since July 2010. All of sudden, I feel a little nervous. There are at least a hundred people in tonight. It's not as many as last time, but under the circumstances, I feel the turn out is pretty good.
Andy starts the drum fill into Death Do Us Part from the new album, and we're on our way. We're actually on our way pretty fucking fast! I'd almost forgotten that there are three tempos to every Victims song. Album tempo. Practice room tempo. Stage tempo. Stage tempo tonight feels very fucking fast! We go straight into Lifetaker and I'm already feeling the burn. I don't know if it's lack of actual gig practice, nerves or what, but it doesn't feel very tight. I guess that was to be expected though, it has been a while. The first gig of any tour is always the same. It takes a few gigs to find your stride, for the tempo of the set to find itself, until everything magically goes on to auto-pilot. That's what makes these one-off shows all the more difficult.
I get the feeling that the sound out front is not the best. I can here it from the stage even. The crowd are enthusiastic enough between songs, but there isn't much movement during them. The set feels long tonight too, and I feel that maybe we're playing too many songs from the new album. This is all stuff that comes to you during the set though. There are certain things you can only measure from gig experience.
The show is by no means shit, but it's not one that will go down in history either. It has more the feeling of a pre-season football match. A couple of things go down with Jon's gear, which takes time to get going again. Simple stuff like a lead cutting out. It all conspires to kill any momentum we're building up though. It's not until we get to about the halfway point of the set, when we play Nowhere In Time, another new one, that things start to feel like they're settling down, at least musically. But it's not long after that song that my body lets me know it's starting to tire. It needs more training, simple as that.
We get to the end of the set, not even entertaining the crowds calls for an encore. I'd snapped a string at the start of the final block, Circles/Scars, which although easily manageable, serves as a good enough excuse for everyone to call it a night. Besides, I don't think encores should be an automatic part of the set. You should go back up and play a couple more if the mood fits, and tonight it didn't.
I'd almost forgotten how fucked up I can feel after a show. I'd followed through with my new rule of not having beer on stage tonight. It's a complete waste of time in every aspect. The trouble is, I'd forgotten to take any water on stage. I'm sitting backstage, flaked out on the sofa, with Samsa and Ulf hanging out, telling me that they thought the show was really good. I can hardly focus on what they're saying for the first few minutes, and my neck feels like jelly, making it difficult for me to hold my head upright. My head eventually comes back to me though, and when it does it's nice to sit there and talk with our friends. As is often the case, people standing in the crowd have a different perspective of the show than the people standing on stage. I'm glad they enjoyed the gig. For me, it felt like hard work.
We chat some more, cool off, and then pack up. Samsa and Ulf have to leave for the night, so we say goodbye to them and then chat amongst ourselves about the gig. We decide we have to cut the set down and most likely a couple of the new songs. It's healthy to sit and dissect the gig afterwards. I'm already looking forward to getting back into the practice room, tweaking a few things, and then getting back on stage in Amsterdam in a couple of weeks time.
When I've finally cooled off and my head feels stable again, I head out to the bar with Johan. Andy is already there with Viktor and Jon, Stachel is floating about somewhere. Andy is now happily getting stuck into a few beers. I exchange one of the tickets I have for a beer of Oppigård's but it doesn't taste as good now as it did this afternoon. I think I'm too fucked to appreciate it. I end up leaving half of it. Stachel decides to start wrestling with Andy, usual Stachel behaviour when he's bored. It's funny watching the little bugger trying to pick Andy up off the floor.
We're getting up at nine in the morning, with the aim of leaving for ten. I'm working tomorrow night. The gear is packed down, but still on stage. I look at the clock and it reads three am. Johan and I decide to head back to the apartment and get some sleep. Today has been a long day. We leave Andy, Viktor and Jon at the bar who are happily getting stuck into their beer. They look chuffed.
The camping bed in the apartment doesn't look like much cop, but at that moment it feels like the most comfortable bed I've ever lay in. My body aches. The gig took a lot out of me. I give a lot to each show and my body certainly pays more for it now than it used to. I think after a few shows I'll start building up a resistance again.
When I wake the next day to the sound of my alarm, my neck is fucking killing. We all eventually stir, one by one. I ask Viktor what time they went to bed, he mumbles something about six am. Andy rolls over, looking pretty fucking tired. He asks me the time. When I tell him it's nine thirty, he moans that he thought we were leaving at nine. Brilliant. The ambitious bastard only went to bed three hours ago. He lies in bed grumbling about that whilst I sit there wondering why he didn't set his alarm.
After a quick shower we load the van, down some strong, black coffee and then we're actually on our way by ten. Ana at the wheel again. She's driven this whole trip and sold merch for us. She's a really great girl, always willing to help out. The journey home is considerably quieter than the journey here. I sleep long sections of the six hour journey home. Every time I wake I tell myself that I really should be getting on with school work. I've only got three weeks left and with a trip to Barcelona next weekend with my family, followed by a weekend of gigs with Victims the week after, I don't have much time left to get my assignments completed. I just can't keep my eyes open though. I'll have to crack down during the week and get some work done.
We get back to the Bunker at around four pm. Johan drops me off at home when we're done loading out.. Before I go to work, I'm going to need a bath and a cup of tea or two...
Don't talk about Graveyard if you don't know them. I do and it's just not cool. have more respect for them and their hometown. they are not a "type". jesus. wtf.
Besatt October 12, 2011 at 11:13 AM
Tongue. In. Cheek. Jesus. wtf.


text:
Q: Vue and rails: Share cookie I have a Rails 5.2 app with webpacker and Vue. My Rails app is using devise for authentication. I'm doing the following:
fetch("/search?q=" + this.q)
  .then(function(result) {
    console.log(result)
  })
  .catch(function() {

  });

which hits the right controller. However, the request gets redirected due to before_action :authenticate_user! in my Search controller.
I could implement JWT or some kind of authentication between the frontend and backend, but is there not a way to share a cookie in development? Unless I'm mistaken, when webpacker is in production, the code will get bundled inside my rails app, and then there wouldn't be a need for JWT.

A: fetch does not send cookies by default.
You need to include credentials:
fetch("/search?q=" + this.q, {
  credentials: 'same-origin'
})

redpajama_set_name: RedPajamaStackExchange


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National Security Advisor H. R. McMaster went further, stating that a nuclear-capable North Korea "is unacceptable [and] so, the president has asked us to be prepared to give him a full range of options to remove that threat to the American people and to our allies and partners in the region." Theredeployment of an aircraft carrier group back to the Korean Peninsula heightened speculation that the United States was preparing to attack North Korean missile-related sites.


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Our lighting approach is coupled with an evaluation of the landscape and many times we add elements, islands, focal plants and trees to create depth in the landscape. Certain techniques are used to front light, back light and cross light certian focal trees in the landscape. The vistas and point of view need to be determined and understood even if not present at the time of installation. These thoughts and nursery improvements are best handled by a Landscape Nursery professional. One of the advantages we have is that we operate out of a landscape nursery and have horticultural specialists to show the potential lighting customer the importance of these focal trees and specimen plants. Lots of interesting plants are admired during the day and not apparent at night.
Preferred Properties Lighting process includes eight seasons -both four seasons day and night. Lots of special night time scenes are during snow covered evenings, colorful fall foliage events, spring and summer color blooms. The best designers create night time scenes with no glareback.
Go to www.nightlightingdesigner.com to see night time scenes with no glareback. This means incorporating the desired night time scene with the existing post and porch lights. Many times these fixtures have the brightest possible bulb with clear vision of the bulb itself. A true no no. Techniques to fix this is to frost the lens, use frosted bulbs, take out some of the bulbs diminishing the brightness, and probably the most time consuming is to put this fixtures and other line voltage fixtures on dimmers. These efforts make the most sense when trying to perfect the lighting design.
You can see the efforts here by dimming the garage lights to blend in with the landscape lighting.
See the cross lighting technique on this Blue Atlas Cedar with stone siding backdrop. The blue ish texture of the Atlas creates interest against the wallstone and Green holly hedging.
One of the challenges for the front portico was the ability to get light up on the top peaks with shadowing or leaving a black hole. The ability to hide the wire up the gutter and come out on the top in the upper porch gave us greater flexibility to illuminate the all important area above the front door. This trade secret was taught to me by Unique Lighting specialist Nate Mullen on a job in Delaware.
Corrective pruning keeps the plant materials in an ideal scenario for optimal lighting performance. We had to trim back the hydrangea against the stone chimney for best results. Lots of thought and vision goes into each lighting design.
Wall techniques such as this strifing seen below makes the wall look well lit in the landscape.
Look closely at this incredible scene. The evergreens seem to glisten from all sides. The deciduous trees are lit from the bottom up and moon lighting gives you the romantic feel.
One of my favorite looks are the giant Oaks. They look so realistic and creates depth and reflectance in the side and back yards. This is truly an amazing night time scene.
This entry was posted in Featured Projects, landscape lighting design, landscsape lighting, lighting automation, night lighting, outdoor lighting, Outdoor Lighting / Low Voltage Lighting, Uncategorized, Unique Lighting and tagged AOLP, CAST lighting, controlscape, Featured Projects, landscape lighting, landscape lighting automation, landscape lighting design, landscsape lighting, lighting automation, lighting transformers, LITE program, low voltage lghting fixtures, night lighting, night lighting automation, outdoor lighting, Outdoor Lighting / Low Voltage Lighting, outdoor lighting automation, Unique Lighitng, Unique Lighting. Bookmark the permalink.


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text:
Applied Science University Continues to Move Up in the World Rankings
Posted by Baha Karaimeh
Advancing to 591-600 in the QS World University Rankings 2022…
The Applied Science University has achieved a new global accomplishment in addition to its illustrious record full of academic and administrative achievements locally, regionally and internationally, as it just advanced in the new rankings of the QS World University Rankings 2022, and ranked 591-600 among the top universities in the world, which makes it among the top 18 Arab universities in this ranking and among the very best universities in the Kingdom of Bahrain. ASU is also the only private university to enter this ranking for two consecutive years and achieve such advanced positions, thus competing with prestigious Arab and international universities.
With this new achievement, ASU crowns an impressive decade of excellence in various scientific and academic fields. In the QS World University Rankings for the year 2021, it was ranked 651-700, in addition to being ranked among the top 150 emerging universities under the age of 50 in the world. It is also the only university in the Kingdom of Bahrain to have a four-star rating in the QS Stars International Rating System, in addition to ranking 29th in the QS World University Rankings for the Arab Region 2021, 401+ in the Times Higher Education Impact Ranking 2021, and 37th in the Arab world in the UI GreenMetric World University Rankings for most sustainable universities.
At the local level, ASU succeeded in passing the Institutional Review by the Education and Training Quality Authority (BQA) by meeting all the requirements of all the standards and indicators in the Authority's Institutional Review Handbook, in addition to obtaining he Institutional Accreditation from the Higher Education Council (HEC), and it is the first university in Bahrain and the Gulf to obtain the ISO certificate for Educational Institutions' Management Systems ISO 21001:2018.
On this occasion, the Chairman of the Board of Trustees, Professor Waheeb Al-Khaja, congratulated the President of the University, Professor Ghassan Aouad, and all the University's employees on this achievement, pointing out that maintaining these high rankings at the Arab and international levels was no coincidence, but rather the result of the hard and diligent work of all ASU staff members towards taking the University to the level of international universities. He also extended his thanks and appreciation to His Excellency Dr. Majid bin Ali Al-Nuaimi, Minister of Education, and all the members of the Higher Education Council and the General Secretariat of the Higher Education Council for their tireless efforts to develop education in Bahrain and their constant support for the educational system in general.
For his part, the President of the University, Professor Ghassan Aouad, stated that this achievement comes as part of the University's vision to achieve leadership in higher education and within the University's strategic direction to enhance its positioning among Arab and international universities by focusing on graduating academically qualified students as per the highest educational quality standards and in line with the strategy of the Higher Education Council in the Kingdom of Bahrain. He also took the opportunity to congratulate the Chairman of the Board of Directors, Mr. Samir Nass, the Chairman of the Board of Trustees, Professor Waheeb Al-Khaja, and all the members of the two Boards on this great achievement that is the fruit of their ongoing support and close follow-up.
As for Dr. Mohammed Yousif Ahmad, the Vice President for Administration, Finance and Community Engagement, he explained that the University, since its establishment, has been focusing on the quality and diversity of its programs, and took it upon itself to be a student-centric institution by developing curricula that make the students at the heart of the educational process and by providing them with all the facilities and learning resources they need to succeed and to keep them abreast of the latest changes and developments in the various technological and academic fields.
Both Professor Ghassan Aouad, President of the University, and Dr. Mohammed Yousif Ahmad, Vice President for Administration, Finance and Community Engagement, represented ASU by attending the QS event that was held in Dubai, UAE, to announce the results of the QS World University Rankings 2022.
ASU Signs a Memorandum of Understanding with "JAFCON Consultants for Productivity Improvement"
Applied Science University Signs a Memorandum of Understanding with Huawei in the field of Information and Communication Technology


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text:
Patronyme
 Laurent Bougère, (1864-1918), est un homme politique français.
 Ferdinand Bougère, (1868-1933),  est un homme politique français, frère du précédent.

Homonymie
Homonymie de patronyme

redpajama_set_name: RedPajamaWikipedia


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