PORTLAND, Ore.--(BUSINESS WIRE)--Lattice Semiconductor Corporation (NASDAQ: LSCC), the leading provider of customizable smart connectivity solutions, today announced the release of the USB3-GigE VIP IO Board, extending the design interface options with the Video Interface Platform (VIP). Based on Lattice's award-winning Embedded Vision Development Kit, the VIP platform offers embedded system designers the flexibility of interchangeable input and output boards to simplify connectivity to a broad variety of video interfaces. The newly released USB3-GigE VIP IO Board complements existing VIP offering consisting of the ECP5™ VIP Processor Board, CrossLink™ VIP Input Bridge Board, HDMI VIP Input and HDMI VIP Output Boards, and DisplayPort™ VIP Output and Input Boards.
The modular VIP platform provides designers with the ability to build an embedded vision prototyping system quickly by mixing and matching different input and output boards, eliminating cumbersome manual wiring and enabling faster time-to-market through a unified connector. At the base of the platform is the Embedded Vision Development Kit which combines the benefits of the CrossLink mobile bridging FPGA, the optimized ECP5 image signal processing FPGA, and the high-bandwidth, high-resolution HDMI ASSP onto a single, ready-to-use design platform. Lattice's new USB3-GigE VIP IO Board enables Ethernet connections at gigabit speeds and USB 3.0 connectivity, extending the VIP interface options, and ensuring simplified prototyping for embedded vision systems.
In addition to a variety of hardware options, Lattice's VIP offers IPs from 3rd party VIP ecosystem partners. IP options include commercial grade Image Signal Processing and networking stacks, Helion Vision's GigE Vision, and a variety of different sensor input boards and DisplayPort IP (including eDP support) from Bitec.
For more information about Lattice's VIP ecosystem and the USB3-GigE board, please visit http://www.latticesemi.com/VIP.
For more information about Lattice's Embedded Vision Development Kit, please visit http://www.latticesemi.com/en/Products/DevelopmentBoardsAndKits/EmbeddedVisionDevelopmentKit.
Lattice will be exhibiting at Embedded Vision Summit 2018 in Santa Clara from Tuesday, May 22 to Wednesday, May 23, where members of the Lattice team will showcase some of its latest advancements in Edge connectivity and Edge computing solutions in the Industrial, Automotive, and Consumer markets. To schedule a press meeting, please contact: lattice@racepointglobal.com. To schedule a customer meeting, please visit: http://www.latticesemi.com/en/About/ContactUs.aspx.
Lattice Semiconductor Corporation, Lattice Semiconductor (& design), ECP5, CrossLink, DisplayPort and specific product designations are either registered trademarks or trademarks of Lattice Semiconductor Corporation or its subsidiaries in the United States and/or other countries. The use of the word "partner" does not imply a legal partnership between Lattice and any other entity.
Lattice expands VIP platform, offering embedded system designers the flexibility of interchangeable input and output boards to simplify connectivity.


text:
class ResetPasswordPresenter
  include ActiveModel::Model
  include ActiveModel::AttributeMethods
  include ActiveModel::Translation

  attr_accessor :password, :password_confirmation

  validates :password, presence: true, confirmation: true
end

redpajama_set_name: RedPajamaGithub


text:
Midnight's Children by Salman Rushdie
Reading guide: Midnight's Children by Salman Rushdie
A reading guide to the one of author Salman Rushdie's most reknowned works and Best of Booker Prize-winning novel Midnight's Children
Born at the stroke of midnight at the exact moment of India's independence, Saleem Sinai is a special child. However, this coincidence of birth has consequences he is not prepared for: telepathic powers connect him with 1,000 other 'midnight's children' all of whom are endowed with unusual gifts. Inextricably linked to his nation, Saleem's story is a whirlwind of disasters and triumphs that mirrors the course of modern India at its most impossible and glorious.
Starting points for discussion
Consider the role of marriage in Midnight's Children. Do you think marriage is portrayed as a positive institution?
Do you think Midnight's Children is a novel of big ideas? How well do you think it carries its themes?
If you were to make a film of Midnight's Children, who would you cast in the principle roles?
What do you think of the novel's ending? Do you think it is affirmative or negative? Is there anything you would change about it?
What do you think of the portrayal of women in Midnight's Children?
What is the significance of smell in the novel?
Midnight's Children is narrated in the first person by Saleem, a selfconfessed 'lover of stories', who openly admits to getting some facts wrong. Why do you think Rushdie deliberately introduces mistakes into Saleem's narration? How else does the author explore the theme of the nature of truth?
What do you think about the relationship between Padma and Saleem? Consider the way that Padma's voice differs from Saleem's. Does language have an important role to play in Midnight's Children?
Consider the reaction of Saleem and his parents to the discovery that he is not their son. Do you think Amina and Ahmed are good parents? Why does Saleem refer to India as 'Mother India'?
Does Rushdie's portrayal of the family challenge your views of Indian society in any way?
Throughout his narration, Saleem uses the images and language of Bollywood to describe the actions unfolding.
How effective do you think this technique is? Discuss the ideas of perspective, illusion and reality raised by the novel.
An extended image of the radio is used to describe one of the central events of the novel: the first appearance in Saleem's head of the other midnight's children. Why do you think Saleem uses modern media forms as a way of understanding what is happening to him? How well does this square with his use of myth and legend?
Do you think the blend of the ancient and the modern works in Midnight's Children?
Saleem veers between the past, the present and the future. What do you think Rushdie is trying to achieve by rejecting a more straightforward chronological structure? Compare Saleem-the-child with Saleem-the-adult.
Would you agree that both are convincing characters? How are the personal and the public linked throughout the novel?
Discuss the ways in which the Midnight's Children Conference reflects the make-up of India after the Partition.
Discuss Saleem's belief that his life influences the fate of his nation. Why do you think he feels guilty and responsible?
Midnight's Children was written in 1981. How relevant do you think it is to 21st century debates about fanaticism?
Why do you think the final chapter is entitled 'Abracadabra'? How successful do you think the use of magic is in terms of furthering your understanding of the novel?
In 2008, Midnight's Children won the Best of Booker award. Why do you think this novel has been singled out for this award?
Download the reading guide
WITH A NEW 40TH ANNIVERSARY INTRODUCTION BY THE AUTHOR
Born at the stroke of midnight at the exact moment of India's independence, Saleem Sinai is a special child. However, this coincidence of birth has consequences he is not prepared for: telepathic powers connect him with 1,000 other 'midnight's children' all of whom are endowed with unusual gifts. Inextricably linked to his nation, Saleem's story is a whirlwind of disasters and triumphs that mirrors the course of modern India at its most impossible and glorious
Salman Rushdie is the author of fourteen novels - Grimus, Midnight's Children (for which he won the Booker Prize and the Best of the Booker), Shame, The Satanic Verses, Haroun and the Sea of Stories, The Moor's Last Sigh, The Ground Beneath Her Feet, Fury, Shalimar the Clown, The Enchantress of Florence, Luka and the Fire of Life, Two Years, Eight Months, and Twenty-Eight Nights, The Golden House and Quichotte (which was shortlisted for the Booker Prize) - and one collection of short stories: East, West. He has also published four works of non-fiction - Joseph Anton, The Jaguar Smile, Imaginary Homelands, and Step Across This Line - and co-edited two anthologies, Mirrorwork and Best American Short Stories 2008. He is a member of the American Academy of Arts and Letters and a Distinguished Writer in Residence at New York University. A former president of PEN American Center, Rushdie was knighted in 2007 for services to literature.
Quichotte by Salman Rushdie: 'The road was his home, the car was his living room'
Books they tried to ban
Did you know Little Red Riding Hood was once banned in Germany for being thought to represent the Nazis? Here are 15 books they tried to stop you from reading.
An evening with Salman Rushdie, 29 August 2019

redpajama_set_name: RedPajamaCommonCrawl


It's not every day you choose the corner of Hardware Lane and Bourke Street as a meeting place, but it had been the second time that week for me and this time I was the early one, waiting out the front of a popular cafe, deciding I wanted a proper hot meal, and hearing another girl (also meeting her friend for lunch on the corner) voicing the same.
Peeking through the window at That Place's blackboard menu, I was instantly salivating at their field mushroom and haloumi burger.
"What are you ordering?" My friend asked, after I easily convinced her that this place, That Place, should be our lunch venue.
It seems I am a predictable eater.
We sat outside despite the sudden lack of sun, wanting fresh air but having to dodge the smokers.
Our meals arrived moments later. My friend seemed to enjoy her toasted sandwich.
My burger was on a fluffy, almost brioche type bun. The mushroom had been tastily grilled, full of flavour. The haloumi was soft and fresh, without being too salty. The fresh rocket gave a nice balance. The chips were crispy, crinkle cut and well salted.
Of course the best part of the meal was catching up with my friend who I had not seen for over a year. But the food definitely added to our lunch being a good one.


text:
513 Fiction entries in Magazine
with original-language text
The Stranger and the Old Lady
By Noura Bensaad | December 1, 2017
A stranger follows an old woman through a city's streets at night in this charged work by Tunisian master of the short story Noura Bensaad. "What do you know?" "Nothing." "What do you hear?" "Silence." "What do you see?" "Transparency." "Where are you going?" "Where my feet take me." The stranger walks through the city. He comes across an old lady. In her...
I Am Not Your Cholo
By Marco Avilés | November 1, 2017
Marco Avilés grapples with questions of difference and discrimination for immigrants in Peru and the US in this essay from his book No soy tu cholo, published in Peru by Debate, an imprint of Penguin Random House Grupo Editorial. An earlier version appeared originally in Ojo Publico. An American couple relocated to Lima and opened a hamburger joint in one of the city's culinary hotspots: the formidable Calle Dante, in Surquillo, a neighborhood full of...
Bahaa and Shareef Escape to New York
By Ezzedine Fishere | November 1, 2017
Two men in a devout Muslim community face drastic consequences when they publicize their relationship in this excerpt from a novel by Egyptian writer Ezzedine Fishere. Shareef can't believe how much he loves Bahaa and how little he cares about the consequences. This love was maybe his last chance to get a good grip on his emotional security and self-confidence. But to do that, Shareef knew he had to do something else—he had to come out of the closet. The problem was that Bahaa...
House Taken Over
By Yuri Herrera | November 1, 2017
A family must learn to adapt when their house takes on a life of its own in this playful homage to Julio Cortázar by Mexican author Yuri Herrera, winner of the 2016 Best Translated Book Award for Fiction. &°°° couldn't be happier. @°°° couldn't be happier. The twins *~ and #~ couldn't be happier. Roanoke, the dog, was less enthusiastic, but agreed to lie in a corner of the laundry room, which elegantly hollowed out a spot as...
The Madman of Bonanjo
By Alain Mabanckou | November 1, 2017
A local madman in Bonanjo, Cameroon, regales a stranger with stories about his country's history, and his own, in this short story by Congolese author and 2015 Man Booker International finalist Alain Mabanckou. "The untold want by life and land ne'er granted Now, Voyager, sail thou forth, to seek and find" —Walt Whitman, "Leaves of Grass" ...
from "The Book of Disappearance"
By Ibtisam Azem | November 1, 2017
Reckoning with the loss of his grandmother, a young man inquires into the nature of memory and cultural identity in this excerpt from a novel by Palestinian writer Ibtisam Azem. Listen to Ibtisam Azem reading from "The Book of Disappearance". It is close to midnight now and I feel so tired I cannot fall asleep. Do you remember that evening when I slept at your place in Jaffa, a month before you moved to live with my parents? I was tossing and turning and I had gone to...
By Hiromi Itō | November 1, 2017
Japanese poet Hiromi Itō meditates on dislocation, violence, and shifting terrains of language in this narrative poem. It was the year the Persian Gulf War started and came to an end I came on my own to California I had no roots, no family with me, I felt like I could do no wrong One day someone bewildered me by asking What brought you here? Translating it literally, the question sounded like What transported you to this place? It wasn't someone specific from somewhere,...
By Tuhin Das | November 1, 2017
Tuhin Das reflects on a writer's struggle against censorship in Bangladesh and the power of words and empathy in difficult times. Listen to Tuhin Das reading "The Assassin" in Bengali. I give you these lines For you deserve them Many years later you will come to know Someone wrote these for you one day. I write when a dark night Has gathered over Bangladesh My writer friend is afraid A mournful clock by his bed Rings out suddenly He wakes up His eyes...
Crime in Ramallah: Noor's Story
By Abbad Yahya | July 1, 2017
In this excerpt from A Crime in Ramallah, Abbad Yahya's narrator Noor remembers his adolescence in Palestine, marked by the second intifada. At its peak, the intifada took over my parents' lives. They weren't explicitly affiliated with any one faction, but they tended to support anything Islamic, and the intifada fueled the continued rise of Hamas. My older brother's wife was an activist, a leader in fact, and our family was very proud of...
Life with a Tiger
By Harkaitz Cano | May 1, 2017
Never mind how it got here. If the previous tenant left it behind thoughtlessly or on purpose, if it sneaked in through a window while we weren't looking, if, maybe, the neighbor who hates our vinyl collection put it here to fuck us over or was it maybe the man in the blue overalls who comes monthly to check the water, the gas, the electricity meters. I've consulted my favorite thinkers: Wittgenstein, Cioran, Steiner, but they have no answers. All I know is there is a tiger in...
By Miren Agur Meabe | May 1, 2017
They told us to be careful, that men would do nasty things to us at the smallest slip-up. The saying carried the sound of sewer waters, of something dirty, and dark, like forest tracks. Despite this, we let it nestle in our mouths, to have a feel of its viscous, foreign nature. In hallways, sprawled under weak light bulbs, the hard coldness of the floor tiles traveled up our buttocks, and we pressed our legs tight to conjure up a spark from our rosy pearl. We checked the limpets on...
The Art and Horror of the Argentine Asado
By Mariana Enriquez | May 1, 2017
The Argentine national food is the asado. I won't go on about its mystery and metaphors, because that tends to be mere decoration, sometimes exaggerated, other times just rubbernecking. Really, it's a simple custom. You cook meat on a parrilla (grill), or on a disc, or even stuck onto metal spears if the asado is out in the open. In Argentina, we eat the whole cow. Its intestines, which we call chinchulines. Its glands, or sweetbreads, which we call mollejas and are...
Instructions for Eating Granny Ora's Kibbeh
By Moshe Sakal | May 1, 2017
I. Exile Let's see. I grew up in Tel Aviv, in a neighborhood where almost everyone was Ashkenazi. I remember a literature teacher at school who claimed that mothers in fiction control their children through food. And indeed, my childhood friend's Polish-Jewish mother used to say: "If they want to eat—they'll eat. If they don't want to eat—they'll also eat." Another neighborhood mother would fling open the window and yell in a...
Delbahar and Ghee
By Prasanta Mridha | May 1, 2017
Translator's Note: Discovering Prasanta Mridha's essay series "Lost Livelihoods" was a delight. The first one I spotted was about black market Indian mill-woven cotton saris—a flourishing business during the early eighties. I was instantly transported to my childhood. There were many products being smuggled from India, but saris are the contraband I have a direct memory about. Bangladeshi mill cottons, according to my grandmother, had not achieved the softness of...
From "Poems"
By Mikhail Eremin | April 1, 2017
The postwar ruins (Roofs ripped off, The charred walls.) do not resemble Skeletons, stripped by the predators— The gnawed-upon scraps of ribs, Crushed to dust cranial bones. Only that the same birds Flock to the remains As to scorched ground. 2003 To be struck in the forest by a flash of light, where there's crunch And crackling, rustle and creaking underfoot, and the hush That brings to mind wheezes and groans, whispering and sighs, Where every measly bush is...
By Shamshad Abdullaev | April 1, 2017
On the Death of Jean Vigo The day was silent to distraction, only the dog's growl traveled beyond the window undulating slightly, barely eschewing the bellows of the echo. A person— that's something interior (therefore, incapable of habituating itself to Being). To rise, get out of bed, handle a book, open a responsive door— no more than trifles, but these ministrations are mystical rites when they are inspired...
Eddie's Funeral
By Amarsana Ulzytuev | April 1, 2017
Businessman from Mongolia. Irkutsk Like a raven on a stripped branch, sitting alone on the roof of a highrise. Having lost everything, from the height of the thirteenth floor, dangles his feet. The angels of death—the photographers, TV journalists— have already turned on their cameras, The embassy, the other side of the sacred shore, has already been notified. Enkh Etrech, dear one, what have you...
By Jovanka Uljarević | March 1, 2017
In these two poems by Jovanka Uljarević, words conceal and convey, bind and liberate. The Body of Your Unrest we spread out through cities avoiding the fields rarely dropping by museums are you counting the buried places how many are there yet to see even their names I no longer know screaming across the mountains we stop by library shelves to drink up a gallon of high quality mustiness in how many of them will we grow old is there anything that...
By Dragana Tripković | March 1, 2017
In this poem, Dragana Tripković careens through time and space, the lasting and the ephemeral. It is not too late to write about time It is not too late to write right now about time. I must leave the signpost, because the South wind starts to blow in the middle of December. Moments like these can make a man love the wrong thing or the wrong person. The big station clock hasn't worked for twenty-five years Its black, Roman lines menace with stiff...
By Tanja Bakić | March 1, 2017
Tanja Bakić seeks the textures of the intangible, the familiar, and the strange within the porous border between subject and object. *** An open wound Under the hot earth Calls me out. I look at the sky With another's eyes. A star like An eyeball Stares at me. I leave behind What I once used To be. And keep my pain. Velvet I am now. *** Your luminous body Casts up Mine as a shadow. A tear falls Onto a bone. In the water, Under the water, Naked I swim....
Page 5 of 26 pages ‹ First < 3 4 5 6 7 > Last ›


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Veneciafrenia (2022)
A group of spanish tourists in Venice finds themselves fighting for their lives against locals that are not too keen on foreigners.
Genre: Adventure, Horror, Thriller
Director: Álex de la Iglesia
Actor: Ingrid García Jonsson, Silvia Alonso, Goize Blanco
Shazam! Fury of the Gods (2022)
Sequel to the 2019 film 'Shazam!'.
The Mummy Returns (2001)
Rick and Evelyn O'Connell, along with their 8-year-old son Alex, discover the key to the legendary Scorpion King's might: the fabled Bracelet of Anubis. Unfortunately, a newly resurrected Imhotep has…
Tarsilinha (2022)
Tarsilinha sets off on a journey to save her mother's memory. The only way to do this is to find her mom's stolen keepsakes and overcome her own fears.
The Little Mermaid (2023)
The youngest of King Triton's daughters, and the most defiant, Ariel longs to find out more about the world beyond the sea, and while visiting the surface, falls for the…
Genre: Adventure, Family, Fantasy
A '90s globetrotting adventure that introduces the Maximals, Predacons, and Terrorcons to the existing battle on earth between Autobots and Decepticons.
Genre: Action, Adventure, Sci-Fi
A wooden puppet embarks on a thrilling adventure to become a real boy.
The King's Daughter (2022)
King Louis XIV's quest for immortality leads him to capture and steal a mermaid's life force, a move that is further complicated by his illegitimate daughter's discovery of the creature.
A recently widowed man and his two teenage daughters travel to a game reserve in South Africa. However, their journey of healing soon turns into a fight for survival when…
Genre: Adventure, Drama, Horror
Following a mysterious disappearance on a jump, a group of skydivers experience paranormal occurrences that leave them fighting for their lives.
Super-Hero partners Scott Lang and Hope van Dyne, along with with Hope's parents Janet van Dyne and Hank Pym, and Scott's daughter Cassie Lang, find themselves exploring the Quantum Realm,…
For as long as they can remember, the Solé family has spent every summer picking the peaches in their orchard in Alcarràs, a small village in Catalonia. But this year's…
Country: Spain, Italy


Natalie runs our ship! As Director of Operations, she is constantly researching ways to improve and strengthen our processes to continue to grow our company. Natalie graduated with a Bachelor of Science Degree in Communication Studies at Long Beach State and uses her skills to successfully manage our team. When she is not writing proposals and sending out contracts, you can find her on a soccer field. She is passionate about mentoring and empowering young women, specifically girls on youth soccer teams. Now, as Director of Coaching for an entire youth program, she simultaneously coaches four teams.


text:
Home » Ericsson says new US fines likely over Iraq corruption
Ericsson says new US fines likely over Iraq corruption
saad April 14, 2022 April 14, 2022
STOCKHOLM: Swedish telecoms equipment giant Ericsson said Thursday it will likely have to pay new fines to the US Department of Justice over suspected bribes to the Islamic State group in Iraq.
Chief executive Borje Ekholm conceded in a newspaper interview in February that some of Ericsson employees may have bribed IS members for road transport through areas controlled by the group in Iraq.
The admission was made before the publication of a report by the International Consortium of Investigative Journalists (ICIJ) revealing that an internal Ericsson investigation from 2019 was never made public.
The internal probe had identified possible corruption between 2011 and 2019 in the group's Iraqi operations.
In the company's quarterly earnings statement on Thursday, Ekholm said Ericsson was "fully committed to cooperating" with the US Department of Justice.
"The resolution of these matters could result in a range of actions by DOJ, and may likely include additional monetary payments, the magnitude of which cannot at this time be reliably estimated," he said.
The Swedish firm's shares have lost almost a quarter of their value since mid-February.
Ericsson already agreed to pay $1 billion in penalties to US authorities to close corruption cases in Djibouti, China, Vietnam, Indonesia and Kuwait in 2019.
Ekholm said in the statement that the company was "limited in what we can say" about the events in Iraq, but he said in March that it was "a very serious matter, and involves embarrassing and unacceptable conduct in the past".
In its earnings statement, Ericsson reported that net profit fell eight percent to 2.9 billion Swedish kronor (280 million euros, $307 million).
The company had announced on Monday that it would set aside provisions of 900 million kronor to cover the financial hit from its suspension of activities in Russia following Moscow's invasion of Ukraine.
Ericssons first-quarter sales beat expectations but its operating profit of 4.7 billion kronor was below an estimate by analysts surveyed by Bloomberg News.
Volkswagen sees impact of Ukraine war despite profit bounce
Shanghai cases hit peak as Xi reiterates urgency of COVID curbs


Look around and compare prices before choosing which insurance policy to purchase. Every company offers different rates depending on many different factors. You can select the least expensive insurer when you compare rates from various competitors, and you will lower your cost in the process.
Check insurance rates for different car models before you go car shopping. Ask your insurance agent to tell you which cars will get the best rates. This can be quite helpful to you when it comes to selecting a car, whether new or used. The higher its safety rating, the lower your premium.
There are insurance plans beyond what is legally required that offer better protection. Making sure you have the right amount of coverage, even if the cost is a little more, is important in the event of an accident. If you buy uninsured motorist coverage, your insurance company will pay out in the event of a hit-and-run accident or if you are involved in an accident with someone who does not have insurance.
Downgrade your vehicle to a less-sporty model. Insurance companies charge higher rates for insuring a sports car. Choose a smaller car with a less flashy profile. If you have a motor that is large, it will cost more for insurance. Also, since sports cars are more often the target of theft, they are more expensive to insure.
The most beneficial tip when it comes to auto insurance is to maintain a spotless driving history. An automobile accident quickly raises your insurance rates. Avoid dangerous situations and know your driving limits to ensure you stay safe and pay less. Don't drive at night if your visibility is poor at these times.
TIP! Begin by taking an honest look at at the kind of insurance coverage that you actually need. Coverage varies widely, giving you lots of options, although many of them will not apply to your situation.
Raise your deductible to save some money on premiums. This strategy carries some risks, but as long as you're willing to set aside money each month to cover the cost of your deductible in case of an accident, it can be an excellent way to cut costs. You will have a lower premium if you have a higher deductible.
Remember that the annual cost of a car insurance policy is just one factor of many that must be considered. You also need to familiarize yourself with the details of a policy, such as the amount of the deductible, the coverage levels and the limitations of any benefits.
TIP! Property damage liability is a very important thing to include in your auto insurance policy. Any damage to property made by you in an accident is covered by this level of insurance.
Request from the insurance agent a detailed list of available discounts. Read the discounts options carefully, and mark each that could apply to your situation.
TIP! Try not to leap at the lowest policy quote you receive. Cheap may be exactly what you get! You have to get to know more about the company and the policy that you are opening before you rely on it to cover any damages that occur during an accident.
If you are considering signing up with another insurance provider, you should allow your policies to overlap rather than going a single day without any coverage. Not having auto insurance is a risky game of chance. Accidents can happen at the most unexpected moments, and you want to make sure you are covered no matter what.
One thing that many people overlook when reviewinging car insurance is that they may not be covered for other "uninsured" drivers. This is something you will really want to consider since it increases the price that you will pay. You protect yourself from facing the horrible situation of being hit by an uninsured driver.
This article has shown you that insurance is more affordable than people think. You really can get good rates if you shop around and inquire into carrier discounts.


How to Use an Animated GIF as Wallpaper on Your Mac Posted by Osas Obaizamomwan on Jun 03, 2016 in How To , Mac Tips Tricks , Mac Wallpapers , Wallpapers The creation of the animated GIF has changed my life for forever.
Before, we jump to our main topic, let us gather some knowledge about the wallpaper. Wallpaper is the background image or design furnished like a desktop user interface on a computer.
Some of you may already know about this feature in VLC, but it was new to us—if you go to VLC's preferences and hit the Video button, you'll have the option to choose the output type.


Zimmer Spine has announced the recall of a medical device that is used during spinal fusion surgery, as it has been determined that it may break inside of a patient's body, causing internal injuries and blood loss. Ummm…wow, that can't be good.
The Zimmer PEEK Ardis Inserter is used to implant the PEEK Ardis Interbody Spacer, a device used in posterior spinal fusion procedures. The inserters are being recalled because Zimmer Spine has received reports of PEEK Ardis Interbody Spacer implant breakage when the implant is subjected to excessive lateral and/or off-axis forces from the inserter during surgery. Zimmer estimates from reports that the inserters appear to be breaking at a rate of about 0.52%, or one out of approximately every 200.
The part number and lot number are located on the inserters.
While there have been no post-operative complaints regarding the breakages, Zimmer warns that the fractured implants could cause dural tears and blood loss.
Surgeons and hospitals worldwide are being warned to immediately stop using the PEEK Ardis Inserter and return any in their inventory to Zimmer Spine. Unfortunately for Zimmer, this also means that the PEEK Ardis Interbody Spacer cannot be used either, since it cannot be implanted without the Inserter.
The recalled medical devices were distributed from June 2008 through December 2012. About half were distributed in the U.S. and the rest were sold around the world.
Patients with questions are encouraged to visit their website.


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נוה ירושלים - Neve Yerushalayim
Campus and Dorms
[dropcap type="circle" color="#ffffff" background="#555555″]S[/dropcap]tudents attending Bnos Avigail come from all over the world, but mainly from North America and Great Britain. They are highly motivated to excel in Torah learning and commitment.
In January 1987, after years of occupying rented quarters, Neve Yerushalayim moved to its magnificent new campus in Har Nof, Jerusalem's largest modern religious suburb. The beautifully landscaped campus is situated on an elevated six-acre plot of land offering a tranquil atmosphere and breathtaking views of the Jerusalem hills.
Twelve buildings currently occupy the campus. Students in the various programs are housed in eight fully-furnished residences and take their meals in the dining hall that is equipped with a modern kitchen. Three academic buildings provide classrooms, computer and science laboratories, libraries, and administrative offices. One of the academic buildings, recently completed, serves as a science and arts complex and includes an advanced audio-visual center.
Other facilities on the campus are an amphitheater that provides a spectacular setting for outdoor lectures and performances, a gym, and a synagogue that serves both the students and community residents. Future building plans call for a large auditorium and a sports and health complex for both the students and the community.
Bnos Avigail students are housed in two student residences located on the Neve Yerushalayim campus. Each residence contains six apartments and each student apartment has four dormitory rooms, a kitchen, washroom facilities including showers, and a laundry room for hand washables. (Automatic washers and dryers are available on campus.)
Dormitory life is friendly, broadening, and educational. Although students come from various countries and walks of life, they work together to create a harmonious home-like atmosphere.
Fill out your information and a member of our staff will be in touch with you
Request Application
Want to apply to Neve?
Fill in your details and we'll get back to you in no time
Want to Apply?
We'll get back to you in no time.
For questions, please email welcometoneve@nevey.org


text:
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Luzifer may refer to:

 the German noun for Lucifer
 Luzifer (restaurant chain), a German restaurant chain
 Luzifer (film), a 2021 Austrian horror film
 a pseudonym for Lu Märten (1879-1970), German writer and activist

redpajama_set_name: RedPajamaWikipedia


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Home » Podcasts
Kim Roberts
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Excerpt of "Annibelle June, " composed and performed by Abigail Washburn and Bela Fleck
Jo Reed: That's poet Kim Roberts reading "The Thing in the Thing." It's from her recent collection The Scientific Method and this is Art Works—the weekly podcast produced at the National Endowment for the Arts. I'm Josephine Reed.
We close out National Poetry Month with one of Washington DC's literary lights, Kim Roberts. Kim has published five books of poetry. She's founding editor of Beltway Poetry Quarterly; and co-founding editor of Delaware Poetry Review, and she's also a literary historian, whose research focuses on writers who've lived in the District. Kim is an observational poet rather than a confessional one---informed by a lively curiosity and a distinctive poetic voice.
Her most recent collection is The Scientific Method. In The Scientific Method, Kim combines poetry about Thomas Alva Edison, Ming the oldest living clam, the pineapple and the American Herring Gull. Her work is both thought-provoking and refreshing; her subjects—clearly unusual. How many poets, after all, write about science?
Kim Roberts: I've always been curious about science but I always assumed that I couldn't do it. In my household the skills were divided. And my brother got math and science and I got English and social studies. But as it turns out, you don't need to have training as a scientist to write about what I would consider popular science, public science. It just takes curiosity and reading. And I think actually, the fact that I'm not a specialist has made it possible for me to translate science for a non-specialist audience, at least, I hope so. That's part of the goal.
Jo Reed: How did this book, The Scientific Method, how did it come to be?
Kim Roberts: Oh, I suppose the way all of my books come to be is not, there's not any real plan to begin with. I just start writing things that fascinate me. And one poem grows from the next. And at some point, I think oh, these might all go together in a manuscript.
Jo Reed: And did you start doing research about science when you realized you could have a collection of poems that looked at science from various angles?
Kim Roberts: No. I've just been sort of heading in that direction for a while. And…
Jo Reed: So your reading was taking you there?
Kim Roberts: Yes, that's right. That's right. I wasn't really thinking in terms of oh let's set up a theme for a book. It sort of happened more of its own accord.
Jo Reed: Organically, as we say.
Kim Roberts: There you go. A good scientific word.
Jo Reed: Exactly. Now, you mentioned, though, you spent some time at a field station in Minnesota, correct?
Kim Roberts: Yes. Last summer I was lucky enough to get a grant to be a writer in residence at a scientific field station. The grant was sponsored by the Science Museum of Minnesota. It was terrific, the field station was specifically looking at bodies of water. It's the St. Croix River that the research station is on.
Jo Reed: I know that river.
Kim Roberts: You know that river. And so the scientists just welcomed me with open arms. They were happy to show me how instruments in their lab worked. But they were also happy for me to take me out with them to do water sampling. I spent one whole day learning about harmful algal blooms in lakes in the northern Midwest. It was fascinating. It was terrific to see someone else's obsession at work.
Jo Reed: Was this a one-off, or do they have an ongoing program?
Kim Roberts: They've had other artists in residence in there.
Jo Reed: They have. So that's something they do.
Kim Roberts: Yes. It's something they do regularly. And so there are different artists who are in residence there every summer.
Jo Reed: Are the scientists expected to interact with the artists? Or vice versa?
Kim Roberts: No, not particularly. I loved being among scientists, but, you know, it is true that some of the artists who come really are there just to do their own work. They're not interested in interacting that much. And I made it clear right from the start that I wanted to look through their microscopes. I wanted to learn about what their projects were. I wanted to really take full advantage of being there.
Jo Reed: What's your earliest experience with poetry? How did you get into the poetry game?
Kim Roberts: Hm, that's really interesting, you know, strangely enough I was writing poems as a very young child. I was interested in the musicality of language from really early on. Poetry has been a part of my life from the time I was just a little girl.
Jo Reed: Did your parents read poems to you? Did they have an interest in literature and poetry?
Kim Roberts: No, not particularly. They certainly had an interest in the arts and took me regularly to museums and performances. My father was a big opera buff. So the arts were well represented in the household.
Jo Reed: When did you know it was something that you were really wanted to do?
Kim Roberts: I guess I would say in college. You know, in college you have to declare yourself at some point. You have to pick a major. And I ended up at a college where you could actually major in creative writing. There aren't a lot of places where you can get a bachelor of fine arts in creative writing. But I went to Emerson College in Boston. And I started taking classes in the creative writing department quite frankly to boost my grade point average because I assumed I would do well. I've always liked writing. But then once I was in those classes, you know, I got sucked in. And then the longer I was in college, the more passionate I started to get about creative writing. I was writing both fiction and poetry.
Jo Reed: Well, that leads exactly to my next question, why poetry? What was it about poetry that spoke to you?
Kim Roberts: I started as a fiction writer, but of all of the various components of fiction if you break it down you have characterization and setting and dialog and what, symbolism and plot. I am least interested in plot. You have to include some plot. The readers demand it. But it really…
Jo Reed: Of which I would be one.
Kim Roberts: But it really is the thing that interests me least. And so it became clear that that was going to be the weakness in any prose writing that I did. And so it was with great relief that I switched over to poetry.
Jo Reed: How did they react when you made it clear you were going to be a poet?
Kim Roberts: Oh, my parents were always very against this idea. This was a totally alien idea to them. And I think it scared them quite a lot. But I think actually much about me scared them quite a lot.
Jo Reed: I'd love to have you read a poem, and I'd like you to read the title poem, "The Scientific Method"
Kim Roberts: Okay. So this is a poem that was inspired by visiting the Thomas Alva Edison laboratory complex in New Jersey. It's a national historic site now. And what makes that place so incredibly marvelous is that they have not just the buildings but also all of the things inside the buildings have been preserved. So the curators have thousands and thousands of items. They have all of the items in the metallurgical lab. They've got all of the old recording machinery in the music recording studio. It's amazing. And even the store rooms, they have some of the original raw materials that were there.
So this is a poem in two parts. And it's really about the two different ways that science happens in increments or in large intuitive leaps. So the first part is, "The Chemistry Laboratory."
"Test tubes and retorts. Powders in stoppered bottles, some bright blue. Chemistry proceeds in increments. We try this. Fail. Try that. From stoppered bottles, some bright blue powder of nickel citrate. Try this. Wrong amount. Try that. The pure color of a robin's egg. Powder of nickel citrate waits to reveal its secrets. The colors burnt orange, robin's egg bloom in the high pressure distill. To reveal a thing's secrets, patience and precision are required. To bloom in a high pressure distill demands just the smallest change. Patience and repetition are required. Watch your test tubes and retorts, your powders, for just the smallest change. Proof of how chemistry proceeds in increments."
Part two is "The Stock Room."
"The new supplies have just arrived. Rhinoceros horn and elephant hide cataloged and shelved, wait mutely for some mucker to decide that their covalent dipeptide might serve some unaccustomed duty. When blizzards locked two men inside Fessenden and Ales survived three days on items picked astutely from the new supplies. Wayward innovation thrives as muckers wander down the aisles buggered by the absolutely varied proofs of worldly beauty, fresh applications might devise. Eccentric fancy is their guide through the new supplies."
Jo Reed: Kim Roberts reading "The Scientific Method." Patience and repetition and patience and persistence, it also applies to poetry. No?
Kim Roberts: Absolutely. Absolutely. These methods that scientists use are the methods that anyone in any creative field uses. Little tiny increments, little edits and then big leaps.
Jo Reed: Both impossible to predict.
Jo Reed: You're in college. You want to write poetry. And there are many people who want to do that, but you actually do it and have published five books.
Kim Roberts: <laughs> It took a while but yes.
Jo Reed: I understand that. So what's the trajectory from wanting to do that in college and then actually being able to make a life where you do do it?
Kim Roberts: I also went to graduate school and so I have a matched set of degrees, a BFA and an MFA both in creative writing. So it was in graduate school where I learned some of the skills that you need to be professional about this. And then since graduate school, I've done a lot of work as an arts administrator. And the skills that you use for organizations also work well to your own personal benefit. So I know how to get myself grants and fellowships and how to apply for things. How to present myself. How to make proposals for books.
Jo Reed: Right. It's the part two. There's the writing of the poetry but then there's the finding the funding for the writing of the poetry and then there's the promoting the poetry that you write.
Kim Roberts: Right, right. And there are many people who really fine writers who just can't do the other side, what I call "po-biz" and so their work suffers for that. It's unfortunate that we are expected now to do it all. But there are no longer editors in the publishing business who work with you to refine your work. They want a finished book. There are no longer publicists who are going to set up readings for you. Poets, you pretty much have to do it for yourself.
Jo Reed: Now, The Scientific Method is divided into three parts. Tell me how you organize the book.
Kim Roberts: Well, the themes sort of run in and out throughout but I have most of the more science-ey poems in the first section. And the second section has a lot of poems about Judaism and Jewish identity. And the third section has a lot of poems about place, and the place specifically is Washington D.C. where I live. That makes it sounds like it's very neatly divided, the themes sort of flow in and out. But, in general, there are three major themes in the book.
Jo Reed: I'd like you to read something from the second section. The section that deals with Judaism, and your parents and grandparents as well, and the poem I have starred is "A Boy Named Schmutz."
Kim Roberts: Okay. So, this is a poem that really is based on a real experience from my father's childhood. And the reason I wrote it is because my father never spoke about his childhood. He never spoke about anything personal at all. So the fact that I happen to know one story is rather remarkable. I'm not quite sure why I know this story or how it came about that he told this. He was too taciturn. He just didn't speak about himself. So schmutz is, of course, a Yiddish word meaning dirt.
"A Boy Named Schmutz."
"His mother dressed him up so fine. Spent all her cash on sailor suits, wool knickers with the sewn-in pleats and floppy grosgrain ribbon ties. The Coney Island crowd of boys liked him, though. His dirty jokes. His pitching arm. Also the way he let his mother dress him up then watched her face go purple red, screaming down the tenement walls to all of the ragged neighbor boys who called him out to stickball games. 'His name is Irving' she would shout to my father and his gang below. 'It's Irving you dirty indigents. You impecunious gutter rats.' No one screamed as gloriously. 'How dare you beggars call him schmutz.'"
Jo Reed: Good reading. It's a very visual poem.
Jo Reed: How do poems start for you? What gets you at your desk and writing?
Kim Roberts: Poems start for me with something outside myself. Poems always start by something I'm reading, something that I'm looking at, a historic site that I go to, a painting that I'm looking at. They start with something that I read or experience that just clicks. If I can't stop thinking about it that's the sign.
Jo Reed: Now, what's your writing routine? Do you try to write every day?
Kim Roberts: Oh, I wish I was more disciplined like that. I get away with not being disciplined because I happen to be fairly prolific. So no, I don't write every day. But I do write a lot. I guess I would say my routine is to write a lot and hope that a small proportion of that will rise to the surface and be what I call a keeper.
Jo Reed: How do you decide?
Kim Roberts: Oh you sort of know with what feels right. You don't know right away, of course. You write something and you think I'm a genius. Look at what I've just done. And then you let it sit for a while. And then you realize actually I'm an idiot.
<group laughter>
Kim Roberts: So, you know, much of what I write is not actually usable, but that's part of the process. That's an important part for me is to write a lot of crappy poems. And from that, take that small percentage that I want to keep working on. I do quite a lot of editing and sometimes…
Jo Reed: That's what I was going ask to you.
Kim Roberts: …the editing process will last a year or more before I move forward with doing something public with a poem. But I do have a writer's group that I share works in progress with. And we meet once a month and they are invaluable.
Jo Reed: I assume during the editing process, that's also another place where you decide what's a keeper and what's not.
Kim Roberts: Oh absolutely. Yeah.
Jo Reed: The editing process can be daunting for lots of people.
Kim Roberts: Editing, it's a hard skill. I hope that I have become better at it. I think I have become better at it. When I was a younger writer I would often edit a poem to death, you could feel the spark in it just sort of seeping away as you edited. And so it's not perfection that you're looking for in the editing process. It's more the refining.
Jo Reed: I'd love to hear another poem, how about "The International Fruit of Welcome," another poem from section two.
Kim Roberts: Sure.
"The International Fruit of Welcome."
"A pineapple is the perfect gift to bring to a blind date. A pineapple is like a blind date, spikey and armored at first, with the hope of sweetness inside. A pineapple is the perfect housewarming gift. You don't have to wrap it. It doesn't spill inside your car. It comes in its own house. A pineapple is the perfect birthday gift. You might prefer a coconut, that planet molten at the core. But the pineapple has a better hairdo, better wardrobe. It never goes out of style. Think all of those historic houses with pineapple bolsters, pineapple finials, pineapples carved above lintels. Such a sophisticated fruit. Every sailor wants one."
Jo Reed: Okay. What inspired that poem, which I find charming.
Kim Roberts: <laughs> It really is true that if you go to historic sites, which I happen to adore, especially historic sites that are in seafaring towns, historically seafaring towns you will see pineapples everywhere. They were a colonial sign of hospitality. They were very hard to come by. And if you served a pineapple to your guests, that was the ultimate gesture of hospitality. So you will see, oh, all over Boston, all over a lot of these New England seaside towns that had that kind of history of trade and a whaling industry, you see pineapples everywhere. They actually are carved into the architecture. So I was thinking about that. And I actually did watch a video of a friend's sister. She had set up a series of blind dates and then decided to video them. I know, It was an art project. At any rate one of the people who showed up and had agreed to be videoed brought a pineapple with him and that was the start.
Jo Reed: You can't make that up.
Kim Roberts: Nor should you.
Jo Reed: Nor should you.
Jo Reed: Let me ask you this, are there questions you find yourself exploring over and over again or returning to as you write?
Kim Roberts: Yeah. I think in some sense you could argue that most poets are writing a version of the same poem for their entire lives. I think that actually our most successful poems are the ones where we allow ourselves to really just sort of go over a bend with our obsessive natures. And I certainly have an obsessive nature myself. But I'm also quite frankly, obsessed with other obsessives. And that's often a starting point for me as well, reading about people who are just so passionate about one thing.
Jo Reed: You're also the coeditor of two journals, the Delaware Poetry Review and Beltway Poetry Quarterly, which you founded.
Kim Roberts: Right. Yes, I actually co-founded one and founded the other on my own. Both of them are on online literary journals. And they really exist to help promote poets from the mid-Atlantic region and to try and find a larger readership for these poets. And so having them online is a really important tool. You can just reach so many more people.
Jo Reed: Beltway Poetry Quarterly came first then about, I don't know, half a dozen years later, you started the Delaware Poetry Review – why, what was the need for the second journal?
Kim Roberts: Well, there was a group of people who were already editing other journals who came together to co-create the Delaware Poetry Review. And that was simply because of all of the Mid-Atlantic States, Delaware had the fewest literary journals. It was the least well served of the area. So, in every issue we include some writers from Delaware. The idea was to provide another venue.
Jo Reed: And you're also a literary historian.
Kim Roberts: I am. Yeah. I've really focused on writer's who have had strong ties to Washington D.C. And I have a book coming out next year, spring of 2018, from the University of Virginia Press. And it's called "A Literary History of Washington D.C. from Francis Scott Key to Zora Neale Hurston." So what I'm doing there is I'm looking at the history of Washington D.C. from its founding up to just the beginnings of modernism – so that earlier history which is not as well-known. And the book includes portraits and excerpts. But it also includes four walking tours. And I've been leading these literary walking tours for a couple of decades now. So there's one, Walt Whitman and the Civil War. I also do the Dunbars, Paul Laurence Dunbar and his wife Alice Moore Dunbar Nelson. And that's the Reconstruction period. Henry Adams during the Gilded Age. And then Zora Neale Hurston, Langston Hughes and others who were active in D.C. during what's now become known as the Harlem Renaissance. So looking at major sort of groups of writers around different time periods but all in D.C.
Jo Reed: Which takes us so neatly to the third section of your book of poetry. Why don't you read "Double Indemnity?"
Kim Roberts: Okay. So I mention an archive in here at the University of Maryland. It's an archive of Maryland writers.
"Double Indemnity."
"No, not insurance. What I meant to say was double identity as in Boutros Boutros-Ghali, William Carlos Williams, Sirhan Sirhan, Lady Gaga. For these folks, surely, the postman always rings twice. But now I've Mildred Pierce'd [ph?] myself to the image of James M. Cain typing away in his little white house in suburban Maryland. His typewriter is preserved in a university library. I've seen it. I've seen the change from manual to electric to electronic to what the hell is a typewriter. And no one will be archiving our battered, beloved iPads even if they once belonged to Yo-Yo Ma, Flavor Flav or Marky Mark. Now, all of our devices must do at least two things, phone cameras, calculator umbrellas. But in truth all of us lead double lives, an outer story plus a hidden story separated by such a thin skin. Tell us that one, again, Ford Madox Ford. Kris Kristofferson. Humbert Humbert. Richie Rich."
Jo Reed: "Double Indemnity," Kim Roberts. I like your sense of humor in that poem.
Kim Roberts: Oh, thank you. Thank you. Yes. I can't help myself with the puns.
Jo Reed: When you think of yourself as an artist, as a poet what do you feel pretty confident about claiming? And no one will think you're arrogant.
Kim Roberts: I guess curiosity and engagement with things outside of myself. You know, I think there are parts of myself that get revealed nonetheless because it's me writing about these subjects. But usually my goal is not to be confessional but to explore something that piques my curiosity, something that I can learn something new from.
Jo Reed: What do you work on being better at?
Kim Roberts: Well, you can never learn enough about craft. I feel like I'm constantly trying to get the content of the poems, what I'm saying, to somehow speak to either matchup with or do the opposite, work completely intention against the song elements of the poem. So what it says and how it says it have to be related, be sparking against each other, otherwise I'd be writing prose, I guess. I'd be writing nonfiction. What poetry does, and does so well is those song elements. And if the language is not exciting, the poem is not working. I guess, again, I'm showing my hand here. It's not really plot that is the most interesting. It's how it's said.
Jo Reed: Kim Roberts, thank you, I really appreciate it. I so enjoy your work. I think the poems are very idiosyncratic, and I feel like I'm taking a walk with you, and you're taking me down these alleyways and byways that I would wander into on my own, and you're pointing everything out that I might've missed. That I'm sure I would've missed, so it makes sense to me that you do walking tours around D.C., because you do textual tours with your poetry. I really appreciate it.
Kim Roberts: That's lovely. Thank you.
Jo Reed: Thank you.
That' Kim Roberts—her book is called The Scientific Method------ You've been listening to Art Works produced at the National Endowment for the Arts. To find out how art works in communities across the country, keep checking the "Art Works" blog, or follow us @NEAARTS on Twitter. For the National Endowment for the Arts, I'm Josephine Reed. Thanks for listening.
Poet, editor and literary historian
Kim Roberts brings a poet's eye to The Scientific Method
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The Dave Blog » About
David C. Smith was born on August 10, 1952, in Youngstown, Ohio. In addition to many essays and short stories, he is the author or coauthor of 22 published novels, primarily in the sword-and-sorcery, horror, and suspense genres. Ten of his novels from the 1970s and 1980s are now being revised to be republished by Borgo Press/Wildside Press; the first three—which form the epic fantasy trilogy The Fall of the First World—are now available. They will be followed by Magicians and The Eyes of Night—two modern occult novels featuring the sorcerer David Trevisan—and five sword-and-sorcery novels featuring the character Oron.
In addition, Smith is the author of the screenplay Seasons of the Moon, based on his novel; has coauthored the play Coven House (with Keith Huff, author of the Jeff Award–winning play A Steady Rain); and coauthored the screenplay Magicians (with Joe Bonadonna, author of Mad Shadows and Three Against the Stars), based on the David Trevisan novels.
Smith is also author of the postsecondary English grammar textbook Understanding English: How Sentences Work.
Aside from writing fiction, Smith has worked as an advertising copyeditor and English teacher and for more than twenty years as a scholarly medical editor. He has served on the staff of Neurology, was the editorial production manager of the American Journal of Ophthalmology, and for more than ten years has been the managing editor of the Journal of the American Academy of Orthopaedic Surgeons.
Smith, his wife, Janine, and their daughter, Lilia, live in Palatine, Illinois, outside Chicago.
Further information about David C. Smith and his writing is available in his entry on Wikipedia


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let cliente = document.getElementById("txtnome").value;

var buscaVeiculo = CriaRequest();

buscaVeiculo.open("GET", "getVeiculos.php?", true);

buscaVeiculo.onreadystatechange = function () {

    if (buscaVeiculo.readyState == 4) {

        if (buscaVeiculo.status == 200) {
            let respostaPHP = buscaVeiculo.responseText;
            // console.log("RETORNO PHP BUSCA FATURA >>>>> " + buscaVeiculo.responseText);
            document.getElementById("veiculo").innerHTML = buscaVeiculo.responseText;
        }
    }
}
buscaVeiculo.send(null);}

getVeiculos.php
$sql = "SELECT * FROM veiculos WHERE active=1";
if($result = mysqli_query($link, $sql)){
    echo "<select class='form-control' id='dropVeiculo'> ";
    echo "<option value=\"NSELECIONADO\">"  . "SELECIONE" . "</option>";
    while ($row = $result->fetch_assoc()){
    echo "<option value=\"$row[matricula]\">"  . $row['matricula'] . "</option>";
    }
    echo "</select>";
} else{
    echo "<option>" . "SEM RESULTADOS" . "</option>";
}´´´

com este codigo que criei aparecem todas, alguem pode dar uma ajuda?

na tabela veiculos
clieneEmpresa;
matricula

clientes
nomeClienteEmpresa

A: Você pode passar o id do cliente como parâmetro de query, exemplo:
Na função onde você quer pegar todas as matrículas de um cliente faça desse maneira:
function pegarMatriculasPeloClienteId(id){
  /* Resto do seu código */

  $sql = "SELECT * FROM veiculos WHERE active=1 AND cliente_id = " + id;

  /* Resto do seu código */
}

cliente_id é sua chave estrangeira aonde é feito o relacionamento da matricula com o cliente
Lembrando que concatenar um parâmetro de query com a entrada de um usuário não é uma boa prática e te pode dar muita dor de cabeça no futuro, então recomendo pesquisar sobre Injeção de SQL e como contornar essa falha.

A: Você está esquecendo de meter o ID ou a coluna que representa cada utilizador na sua query. Vou supor que tem cada utilizador com um ID.
$sql = "SELECT * FROM veiculos WHERE active=1 AND ID = '<id utilizador>' ";. Se não tem uma coluna com um ID deverá ter outra coluna que seja unica para cada utilizador.

redpajama_set_name: RedPajamaStackExchange


text:
require File.expand_path(File.dirname(__FILE__) + "/../spec_helper")

describe Braintree::CreditCardVerification, "search" do
  describe "self.find" do
    it "finds the verification with the given id" do
      credit_card_params = {
        :expiration_date => "05/2012",
        :number => Braintree::Test::CreditCardNumbers::FailsSandboxVerification::Visa,
        :options => {
          :verify_card => true
        },
      }
      credit_card_verification = Braintree::Customer.create(:credit_card => credit_card_params).credit_card_verification
      found_verification = Braintree::CreditCardVerification.find(credit_card_verification.id)

      found_verification.should == credit_card_verification
    end

    it "raises a NotFoundError exception if verification cannot be found" do
      expect do
        Braintree::CreditCardVerification.find("invalid-id")
      end.to raise_error(Braintree::NotFoundError, 'verification with id "invalid-id" not found')
    end
  end

  describe "self.search" do
    before(:each) do
      @customer_params = {
        :first_name => "Tom",
        :last_name => "Smith",
        :email => "tom.smith@example.com",
      }
      @billing_address_params = {
        :postal_code => "90210"
      }
      @credit_card_params = {
        :cardholder_name => "Tom Smith",
        :expiration_date => "05/2012",
        :options => {
          :verify_card => true
        },
        :billing_address => @billing_address_params,
      }

      customer_create_result = Braintree::Customer.create(@customer_params)
      @customer = customer_create_result.customer
    end

    it "searches and finds verification using verification fields" do
      max_seconds_between_create_and_search = 120
      result = Braintree::CreditCard.create(@credit_card_params.merge({
        :customer_id => @customer.id,
        :number => Braintree::Test::CreditCardNumbers::FailsSandboxVerification::Visa,
      }))
      credit_card_verification = result.credit_card_verification

      found_verifications = Braintree::CreditCardVerification.search do |search|
        search.billing_address_details_postal_code.is @billing_address_params[:postal_code]
        search.created_at >= (Time.now() - max_seconds_between_create_and_search)
        search.credit_card_card_type.in Braintree::CreditCard::CardType::Visa
        search.credit_card_cardholder_name.is @credit_card_params[:cardholder_name]
        search.credit_card_expiration_date.is @credit_card_params[:expiration_date]
        search.credit_card_number.is @credit_card_params[:number]
        search.ids.in credit_card_verification.id
        search.status.in credit_card_verification.status
      end

      found_verifications.should include(credit_card_verification)
    end

    it "searches and finds verifications using customer fields" do
      result = Braintree::CreditCard.create(@credit_card_params.merge({
        :customer_id => @customer.id,
        :number => Braintree::Test::CreditCardNumbers::Visa,
      }))
      credit_card = result.credit_card

      found_verifications = Braintree::CreditCardVerification.search do |search|
        search.customer_email.is @customer_params[:email]
        search.customer_id.is @customer.id
        search.payment_method_token.is credit_card.token
      end

      found_verifications.count.should eq(1)
    end

    describe "card type indicators" do
      it "returns prepaid on a prepaid card" do
        cardholder_name = "Tom #{rand(1_000_000)} Smith"

        result = Braintree::Customer.create(
          :credit_card => {
          :cardholder_name => cardholder_name,
          :expiration_date => "05/2012",
          :number => Braintree::Test::CreditCardNumbers::CardTypeIndicators::Prepaid,
          :cvv => '200',
          :options => {
            :verify_card => true
        }
        })

        search_results = Braintree::CreditCardVerification.search do |search|
          search.credit_card_cardholder_name.is cardholder_name
        end

        verification_id = search_results.first.id

        found_verification = Braintree::CreditCardVerification.find(verification_id)
        found_verification.credit_card[:prepaid].should == Braintree::CreditCard::Prepaid::Yes
      end
    end
  end
end


Find the right tour for you through Chitimba. We've got 3 tours going to Chitimba, starting from just days in length, and the longest tour is days. The most popular month to go is , which has the most number of tour departures.


text:
The Good Right? Not quite.
Paul Nizinskyj / News /	0 comments
On Tuesday, Tim Montgomerie launched his Good Right campaign to galvanise One Nation elements of the Conservative party ahead of the general election and, it is hoped, swing floating voters – even Labour ones – toward supporting David Cameron in May.
The campaign's first post, 12 Policies to Build a One Nation Conservative Party, very deliberately harks back to what was, admittedly, an electoral high point for the party – the 1950s and early 1960s heyday of Churchill, Eden and Macmillan.
But at what price did this electoral success come? In the very early days of a recovery from one of the greatest financial crises the West has ever faced, do we really want to be harking back to the days when the Conservatives did as much as Labour to turn the United Kingdom into the economic basket case it became in the 1970s?
Are these really the policies of a better Britain, or just posturing in a popularity contest? Let's see.
MORE HOUSEBUILDING, MORE HOME OWNERSHIP
1. A Harold Macmillan-sized, state-supported housebuilding programme to cut the future cost of housing benefits and to rebuild the idea of a property owning democracy again (Blog for the Chartered Institute for Housing). The homes should be designed to the highest environmental standards in order to secure long-term energy efficiency. If Simon Wolfson is correct the return on converting greenfields in prosperous parts of Britain into new garden cities will more than pay for itself in the decades ahead.
No, no, no. Anyone following the nail-bitingly close contest in Thurrock (which, if you aren't, you should be because UKIP's Tim Aker has a very real chance of taking the south Essex seat in May) will know that the borough is a shining example of just how untrustworthy councils are when it comes to adequately maintaining their own housing stock. Tenants there live in the most appalling conditions, with mould an especially big problem. Furthermore, the council has changed hands between Labour and the Conservatives a number of times over the years – each party blames the other but you might say it is, in fact, the system which is to blame.
It's worthwhile remembering that the greatest period of homebuilding prior to the post-war period was the 1930s – when a general lack of planning regulations and greenbelt areas allowed an enormous boom in the private construction of suburban housing which effectively built this country out of the Depression and left us with a housing stock which is still desirable and of a high quality today. This was done not with the help of the Government but in its absence. Strip back the obstacles developers face and, as businesses, they will provide the homes people need.
HIGHER TAXES ON EXPENSIVE PROPERTIES AND LUXURY GOODS, LOWER TAXES ON THE LOW-WAGED
2. Freedom for local authorities to levy additional council tax bands on high value properties with a requirement that the overall tax burden does not rise (Mark Field MP article) and the introduction of a super consumption tax of the kind recommended by entrepreneur and philanthropist Bill Gates – at least until the deficit is eliminated. We must all be in this together. Additionally, in the longer-term, a progressive consumption tax could fund lower income tax for lower earners (Background Forbes article).
This is not necessarily the lefty 'Eat the Rich' dog whistle it initially comes across as. In the aforementioned Mark Field article, the point is made that, not only are council tax bands set at 1991 prices, but the top top band is set at properties valued at anything over £320,000 which means "a Knightsbridge oligarch, for instance, is paying £1,353.48 annual council tax for a £60 million home – exactly the same as properties worth one-thirtieth that sum." If one accepts a progressive property taxation, that is an absurd situation. Taxing "luxury goods," however, would take the party into far murkier – and more arbitrary – waters. What kind of things are we talking about? Don't poorer people save up for luxury goods, too?
HIGHER WAGES FOR LOWER-PAID BRITONS
3. Above-inflation increases in the minimum wage to encourage employers to invest in a more highly skilled workforce – every year until there is clear evidence of any negative impact on job creation.
This is an incredibly bizarre suggestion for any Conservative to make given that the Treasury's own research (see page 10) predicts the planned rise in the minimum wage to £7 an hour by 2015/16 will result in unemployment increasing by 14,000. One thing this proposed policy gets right, however, is that a rise in the minimum wage will indeed encourage businesses to "invest in a more highly skilled workforce." All the evidence currently points to the suggestion that the minimum wage benefits older, more experienced workers at the expense of younger, less experienced ones (pages 10 & 15) as employers become choosier about what their inevitably smaller workforce should look like. With youth unemployment already higher than the overall figure, this would not be wise.
ABANDON PLANS TO RAISE THE INCOME TAX THRESHOLD AND TARGET ALL SPARE FUNDS ON INCREASING WORK INCENTIVES THROUGH THE UNIVERSAL CREDIT
4. As the Resolution Foundation has recommended the most pro-poor way of using limited funds is to increase the allowances within the Universal Credit – rather than raise the basic threshold for paying income tax (85% of the benefit of which will accrue to the 50% highest earners). This will be more socially just and do most to increase incentives to work.
In many ways, working down this list feels very much like wandering further and further down the rabbit hole. Raising the income tax threshold has been one of the most popular policies implemented by this Government and, despite being a Liberal Democrat policy, has proven especially popular with the Tory grassroots – a group of people who could otherwise be forgiven for being made to feel like an irritating hurdle rather than valued supporters of late. The entire policy goes against the grain of one of the core tenets of Conservatism – that people prosper by keeping more of what they earn rather than relying on handouts.
A RENEGOTIATION WITH EUROPE THAT CUTS ENERGY AND FOOD BILLS – AND PROTECTS THE INTERESTS OF THE LOW-PAID
5. The Common Agricultural Policy inflates food prices. EU-wide energy policies inflate household gas and electricity bills – as well as disadvantage UK manufacturing industry – without cutting global emissions. Unqualified free movement of labour benefits employers and the wealthy at the expense of the lower-paid (Professor Robert Rowthorn's analysis for Civitas). All of these issues should be at the heart of the creation of a more socially just European Union. (More from the Global Warming Policy Foundation paper (PDF) on the need to suspend regressive green measures).
No Conservative worth their salt, even many europhiles, could argue with this. Well, most of it. The "creation of a more socially just European Union" sounds a little too wet. And it would all be academic, anyway, with our ultimate goal – Brexit.
MORE INVESTMENT IN NORTHERN INFRASTRUCTURE TO CREATE A MORE BALANCED ECONOMY
6. All proceeds from the exploitation of shale gas within Northern England to fund expanded Northern infrastructure (See ConservativeHome manifesto).
We're big on fracking and big on the North of England (two thirds of the CfL executive are from God's Own County – the proper one). The idea tax revenues from a Northern industry ought to stay in the North is a nice one, though this could also go hand in hand with further decentralising taxing and spending power to local or regional councils. The Scottish independence referendum has already opened the floodgates on this issue and it could conceivably become a reality in coming years. All that said, infrastructure and an incredible explosion of wealth and prosperity in the North of England were created by industry and industry alone in the nineteenth and early twentieth centuries without a great deal of Government involvement.
OPEN UP PRIVATE SCHOOLS TO THE BRIGHTEST PUPILS FROM LOWER INCOME HOMES
7. "All private schools, both boarding and day schools, all of which are charities, should be forced by law to accept 25% of their intake as scholarship boys and girls, funded by the State on a means-tested basis" (an idea proposed by Matthew Parris).
Again the heavy hand of the State reveals itself when a far less coercive alternative exists, i.e. the voucher system of education, which Conservatives for Liberty supports as the best way of opening up access to good private schools.
A WISER STATE, FOCUSED ON LONG-TERM STRATEGIC NEEDS
8. New fiscal rules that put investment in infrastructure, science and long-term research at the heart of state spending and which protect it in lean times. Plus stronger "equivalence tests" to reduce the pay, perks and pensions premium enjoyed by most public sector workers but which also provides Whitehall with the freedom to pay more to reforming civil servants.
Again, not much to argue with here. Checking the tendency of politicians to be short-sighted and overly influenced by momentary swings in voter mood is a positive step and bringing the public sector in line with the rest of the population which pays for its perks will be popular as well as just. Labour and the unions may call it a "race to the bottom" but we – and most private sector workers – call it fair. Its time to rein in the infantalised whingers who cry over golden goodbyes being replaced with silver ones.
GOVERNMENT SPENDING THAT IS MORE FOCUSED ON THE MOST DESERVING CORNERS OF THE NATION
9. The abolition of the Barnett formula and its replacement with a new needs-based assessment that will favour poorer parts of the UK including Wales, Cornwall and seaside towns (CapX background article) and reductions in the benefits enjoyed by better off pensioners to reduce the deficit and fund early intervention programmes.
It's difficult to argue in favour of the hideously outdated Barnett formula, particularly in the days of devolution, which for Scotland at least will see tax levying powers granted to Holyrood in the near future. The subsidisation of Scotland's economy, real or perceived, while Scots MPs still vote on English laws will only fuel resentment between the two nations and is better off scrapped. Reducing the benefits enjoyed by better off pensioners would also be consistent with the Coalition removing child benefit from well-off parents – and would once again set the trap for Labour and the Left to expose their grotesque subservience to ideology over reality by opposing it.
FAMILY HUBS TO REPLACE CHILDREN'S CENTRES AND MEASURES OF SOCIAL PROGRESS TO BE PRODUCED ALONGSIDE MEASURES OF MATERIAL GROWTH
10. A movement towards measures of poverty and also to support services that are focused on underlying causes of disadvantage including family breakdown, addiction, indebtedness and social dislocation – and not just the narrow obsession with redistributing income that is currently dominant in public policy (Christian Guy of the Centre for Social Justice introduced this idea in The Independent).
The upshot of Christian Guy's article in The Independent focuses on removing the obstacles the poor face in improving their lives rather than relying on the "quick fixes" of welfare, which is a much more sensible approach than Labour's preferred method of buying votes helping the poor. The greatest care must be taken, however, that the role of family hubs to "offer relationship and parenting help, out-reach to Dads, couple mediation, birth registration and ante-natal support" does not result in mission creep towards Scotland's terrifying Orwellian "named person" system. As mission creep is the default setting of statism, this is a danger.
REFORMS OF POLITICAL FUNDING THAT CREATE A MORE COMPETITIVE CAPITALISM AND A MORE DYNAMIC PUBLIC SECTOR
11. A reform of political donations so that there are strict and low limits on the extent to which the privately wealthy or unions can create crony forms of capitalism or a privileged status for public sector workers (See point 8 of this CapX piece). There should not be direct state funding of political parties but small donations could be encouraged by charitable relief.
Okay, so we're crawling out of the rabbit hole now. Crony capitalism is definitely not cool and a political system where the two main parties are supported primarily by big business on one side and public sector unions on the other is not a healthy state of affairs. We approve this message.
FINANCIAL ASSISTANCE FOR PEOPLE OF LIMITED MEANS TO ENTER PARLIAMENT
12. Introduction of a £1 million bursary scheme to help people of more diverse backgrounds to become Conservative MPs (The cost of becoming a Tory MP has been estimated at an average of £40,000).
The details of this hypothetical bursary would of course affect our judgement of it but there are nonetheless concerns about it in principle. How would such a bursary be distributed? Would this not simply establish a form of patronage for CCHQ to tread further over the prerogative of associations? Perhaps, perhaps not, but they are questions which need to be answered.
So, a few good points, and a few fairly "meh" ones. But, overall, a depressingly high socialism content. One can only hope that, as Stephen Bush suggested in the Telegraph's Morning Briefing, it may have come a little late for the general election.
« The left wing obsession with political correctness
is a war against free thought	» Sugar & obesity: The revolving door of
Govt. regulation strikes again


text:
Family receives hateful letter after disabled daughter shows goats in competition
Posted 10:35 AM, July 29, 2019, by Tribune Media Wire
CORYDON, Iowa - The Turnbulls have had to figure out a lot of things when it comes to caring for their daughter, Stella. The 12-year-old was born with the children's version of ALS and she was only given a month to live. So, when she told her parents she wanted to show goats, it was just one more challenge to overcome.
"One thing we've learned about her is if there's something she wants to do, we'll try to help her to figure out how to make that happen," Sarah, her mother, told WHO.
The solution was a platform next to her motorized wheelchair for the goat to put its front legs on. While Stella can't groom or feed her goat, Lou, she had to train her to use the platform and walk with her.
"Stella had to work a lot with her out on our farm to make sure that Lou was in good position and had to practice for being out in the ring," said Sarah.
Stella has had early success, winning her first competition at the Southern Iowa Fair. Her parents say they were just happy she was there.
"To see her out there on her own doing something she loves to do is priceless. She speaks with her eyes, and when she came out of there her eyes were bright and she was very proud, and it just makes us proud as parents," said Travis, her father.
But not everyone was as supportive. After Stella's win, her parents received an anonymous letter suggesting Stella didn't do enough work to show a goat, and that her parents should be "ashamed." But it was one particular line that upset the family the most.
"It said, 'you need to quit trying to make your daughter normal,' and what is normal? To us you need to just go out and do your best. If nothing else, it just motivates me even more to make sure she can do everything that everyone else can do."
"It said, 'you need to quit trying to make your daughter normal,' and what is normal? To us you need to just go out and do your best. If nothing else, it just motivates me even more to make sure she can do everything that everyone else can do," said Travis.
The family says they don't want to dwell on the letter, saying they want to focus on motivating others who might have a disability.
"We hope that the fact that she was able to do this just inspires others to not give up and being able to help others say 'OK, we can do this,'" said Sarah.
On Sunday, Stella showed her goat at the Wayne County Fair and plans to show at other fairs in the future.
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