Most colorectal malignancies have mutations in the tumor suppressor APC. novel mechanism that contributes to the survival advantage induced by hypoxia and cytokines such as TNF. Our data show that loss-of-function mutations in APC result in the engagement of the hypoxia response. Importantly, this suggests that additional stimuli SQ109 supplier that induce HIF, such as inflammatory cytokines and oncogenes, alter APC function. is also mutated in the human being syndrome Familial Adenomatous polyposis (FAP). FAP individuals are heterozygous for APC. They develop hundreds of polyps in their gut,2,3 and progression to malignancy entails the presence of swelling and hypoxia.4,5 The APC protein is involved in many of the fundamental processes that govern normal gut epithelium. It is best known for controlling the Wnt/-catenin pathway, where it regulates -catenin levels, therefore regulating the transcriptional activity of TCF/ LEF transcription factors.6 APC also contributes to the rules of cytoskeletal proteins.7 Hypoxia is a common feature of stable tumors and regulates tumor angiogenesis and growth.4,8 Hypoxia leads to the induction of the transcription element Hypoxia SQ109 supplier Inducible Factor (HIF),9 a heterodimeric transcription element composed of and subunits. While HIF-1 is definitely constitutively indicated, HIF- subunits are extremely labile at normal oxygen levels. Oxygen settings HIF- levels through post-translational hydroxylation, catalyzed by a class of 2-oxoglutarate dioxygenases called prolyl-hydroxylases (PHDs). Hydroxylation of HIF- signals for the ubiquitin acknowledgement complex comprising the von Hippel Lindau tumor suppressor and subsequent degradation from the proteasome.10,11 When oxygen levels are reduced or cofactors such as iron ions are not available, PHD activity is inhibited resulting in increased HIF- levels. Under these conditions, HIF- translocates to the nucleus and transactivates its target genes. In addition to hypoxia, additional stimuli also result in the induction of LAMP2 HIF-.12C14 Specifically, the HIF-1 gene is under the control of NFB13,15,16 and the chromatin remodelling complex SWI/SNF.17 Furthermore, NFB also settings HIF-1 directly and HIF-2 indirectly,14 making NFB a key regulator of the HIF system. NFB is the collective name for a family of essential transcription factors that control many cellular processes such as apoptosis and proliferation (reviewed in ref. 18). We recently reported functional crosstalk between HIF-1 and APC at the transcriptional level;19 depletion of HIF-1 results in increased APC mRNA and protein, just as depletion of APC results in increased HIF-1. The former is the result of direct transcriptional repression of APC by HIF-1. We discovered a hypoxia-responsive element (HRE) in the APC promoter and demonstrated that hypoxia induces HIF-1 binding to this site. SQ109 supplier Importantly, hypoxia promotes a reduction in APC mRNA and protein in a variety of cells, suggesting that suppression of APC by hypoxia can contribute to increased survival in hypoxic conditions in tumors with wild-type APC. Cytokines and oncogenes can induce HIF levels and activity12,14,20 suggesting that these stimuli can modulate APC levels via HIF-dependent mechanisms (Fig. 1). Cytokine- and oncogene-induced repression of APC is predicted to increase -catenin and Wnt signaling, allowing cells to progress to a more proliferative phenotype (Fig. 1). Open in a separate window Figure 1 HIF-1 represses APC. Schematic diagram depicting how hypoxia, cytokines and oncogenes induce HIF to produce SQ109 supplier transcriptional repression of APC and hence deregulation of APC function. Our study demonstrated that HIF-1 represses the APC promoter directly and does not discriminate between wild-type SQ109 supplier and mutant APC. Consistently, hypoxia results in decreased levels of mutant (truncated) APC protein in cancer cells. The significance of this observation is not clear. Truncated N-terminal fragments of APC can interact with a number of proteins.7 The activity of these fragments may be different in isolation than in the context of the full-length molecule. For instance, N-terminal fragments are more active in stimulating the GEF activity of ASEF than full-length APC.21,22 Furthermore, N-terminal domains of APC bind to C-terminal regions, which are lacking in tumor cells.23 This interaction can regulate protein interactions of the N-terminal domain.23 Thus in tumor cells, when the C-terminal region is missing, such.


text:
> Silver Lining
INDELSPEEN was a band which toured in the Lyon region during the eighties. Formed by Nicolas Mourachko (guitars) and Pascal Indelicato (piano & keyboards), it featured Antoine Van Limburg (drums), Pierre Moissonnier (bass & vocals). Indelspleen is dead now. But the two founders are still alive and kicking: with Thierry Sportouche (Anoxie...
INDELSPEEN was a band which toured in the Lyon region during the eighties. Formed by Nicolas Mourachko (guitars) and Pascal Indelicato (piano & keyboards), it featured Antoine Van Limburg (drums), Pierre Moissonnier (bass & vocals). Indelspleen is dead now. But the two founders are still alive and kicking: with Thierry Sportouche (Anoxie's lyricist), they formed SILVER LINING in 1998. In April 2004, Musea releases "The Inner Dragon", Silver Lining's début album recorded in Pascal's studio. It's a concept album with fantasy lyrics and strong symphonic touches. Abundantly saluted by the professional press in France (CrossRoads, Rock Hard) and the progressive one (Big Bang, Harmonie, Prog Résiste) but also the press abroad (Exposé, Colossus, Paperlate, Background, Progressive Newsletter, iO Pages, Mellotron…), "The Inner Dragon" gathers a deserved success: its symphonic progressive rock, led by Annie Morel's lyrical violin, is in all points majestic.
Silver Lining There is 1 product.
The Inner Dragon

redpajama_set_name: RedPajamaCommonCrawl


'As we've learned this year, the president is just a weird, weird man,' the 'Late Night' host declared.
Like most late-night hosts, Seth Meyers typically focuses his jokes on the news of the day. But in his final "A Closer Look" segment of 2018, he decided to take a big step back and examine just how terrible this year has been for President Donald Trump.
But, he added, "you'd think a political genius could at least figure out how to deliver on the one thing he repeatedly told his supporters he would absolutely do, and that's build the wall." Now, the country is on the verge of a government shutdown because the president couldn't get his Republican-led Congress to give him the funding.


Headline Style Rules At The Taipei Times "Newspaper"
Synchronized Slimming. Competitors here have to devise an agricultural policy so irrational that 30 million peasants starve to death simultaneously. Traditionally the winning contestant has his portrait hung in a prominent position overlooking Tiananmen Square, but for Olympic purposes a medal award will be substituted.
Chest thumping. In this rather advanced event, competitors attempt to intimidate each other by shooting down satellites, threatening to nuke major cities, asserting ancient claims to other people's countries, and setting up missile installations aimed at long-independent provinces.


Naomi & Elric. Mr & Mrs Bell.
I asked Naomi. I took her out for a birthday meal at Portofino, Colchester, where we were living at the time. It was a really nice evening, everything was so good, and I popped the question. I hadn't planned to do it that evening, and I must have been really nervous as I can hardly remember what happened! If I could change one thing it would have been to have planned it – I don't regret being spontaneous but poor Naomi had to wait for an engagement ring.
How would you describe your wedding style? Eclectic: Lots of 50's influences, with quite a traditional 'English Country Garden' feel. We wanted the day to be special and it was important to us that the majority of items were unique and hand-made. We're both quite individual and hate being pigeon-holed, and we wanted the wedding to reflect that.
Religious or civil? Civil. We had a fantastic registrar, Geoff, who I think missed his calling as a nightclub compere. He was wonderfully eccentric and made us feel so relaxed.
Elric: Erm… we didn't really go for romantic or traditional choices. I chose a short story about 2 diametrically opposed Dinosaurs who fall in love. Reptile romance.
Naomi: I chose 'Yes I'll Marry You', by Pam Ayres. It's a light-hearted warning to men!
The wonderful, funny speeches from Paul (Naomi's dad) and Damien (Elric's brother / Best Man). Our incredible, fantastical, Choccywoccydoodah cake – Naomi worked long and hard to pay for that!
We saw this amazing grade 2 listed Mansion (built 1878 for Joseph Chamberlain) on our photographers' website. It has bags of character and presence, and so many interesting features that we felt too many details would detract from the venue. Along with the floral arrangements for the tables, our florist provided a few large candelabras draped with flowers and ivy which brought the 'Country Garden' feel inside.
Mike Giorgiardes, a fantastic classical guitarist, played for us throughout the day. Mirror Image Disco provided the back drop for Elric's dodgy 'dad-dancing. There are some great photos where you can see the bubble swirling all around us.
Naomi: I went for a '50's inspired outfit in ivory with a mixture of coloured accents (purples, pinks, blues gold, burgundy) : Bird-cage veil and fascinator, T-cut dress with a hand beaded bolero and a poofy purple petticoat, sash and floral pin, ivory wristlet, ivory court shoes … which influenced Elric: I wore an ivory suit with burgundy accents and ivory coloured shoes. I've always imagined shining on my wedding day!
Elric: Seeing Naomi come down the Aisle; I had no idea about her wedding outfit and she looked absolutely beautiful. And yes, I did cry! Also stepping out of the vintage Limo with my son Yukio wearing matching suits was a very proud moment for me.
Naomi: I was overwhelmed with pride when I first saw my son wearing his suit that matched Elric's, and also was brought to tears walking down the aisle like Elric! I think for us and everyone that attended, the speeches had also left a lasting impression from the wonderful heart-warming thoughts from my dad to the hilarious ribbing Elric received from Damien!
Don't get stressed, over-do things and make sure to budget carefully. Do things the way you want them. We had an attitude of "We're only going to do this once", and didn't compromise on what we wanted, and it really was the happiest day of our lives. On that note, your face will hurt from smiling all day!
Rob & Sarah are a couple of my favourite Wedding Photographers in the UK and every time I look at their work I'm always impressed by the quality, attention to detail and the personal connection they have with the Weddings they present. This one is certainly no exception – absolutely gorgeous. Everything looks just perfect. Naomi and Elric must be over the moon.
What a gorgeous wedding! So individual and you can really see the effort they have done to personalise the details that mean a lot to them. I have a wedding her in August and now I can't wait.


text:
Home /Mercedes-Benz /Sprinter / News
Mercedes-Benz Sprinter Van News
Mercedes-Benz Confirms Performance Capabilities of eSprinter Electric Van
The eSprinter is set to be an incredibly important new addition to the Mercedes-Benz line-up of LCVs. When it touches down next year, it will bring with it a zero-emissions powertrain and a high-capacity cargo area that will deliver the best of both worlds in terms of eco-friendliness and practicality. Last week the German automaker revealed the full...
Added: 05 June 2018
Versatile New Sprinter Van Range Launched by Mercedes-Benz
Mercedes-Benz has just started taking orders for the next-generation Sprinter range, which it claims can be configured in a huge 1700 different ways. The Sprinter will not actually reach customers until June this year, but the promotional bandwagon designed to raise its profile has rolled into action this month and is providing business buyers with an...
Added: 12 February 2018
Stylish New Sprinter Van revealed by Mercedes-Benz
Next year the Sprinter range is being updated with an all-new generation arriving. And Mercedes-Benz has begun building early publicity for the van by releasing an artistic rendering of how it will look. Major aesthetic changes will give the Sprinter a more aggressive, toned look up front, with a large grille and an oversized badge leaving no doubt...
View All Mercedes-Benz Sprinter Vans for Sale
All Models Citan Sprinter Vito
Mercedes-Benz Sprinter Van News Archive
Mercedes-Benz has just started taking orders for the next-generation Sprinter range, which it claims can be configured in...
Next year the Sprinter range is being updated with an all-new generation arriving. And Mercedes-Benz has begun building...
Peak District Mountain Rescue Volunteers Aided by New Sprinter Van
A version of the Mercedes-Benz Sprinter with four-wheel drive has been added to the arsenal of tools that are at the...
Mercedes-Benz Sprinter Voted UK's Most Reliable Van
Although it may not be the best-selling van on the market at the moment, the Mercedes-Benz Sprinter has once again proved...
Adapted Mercedes-Benz Sprinter Vans Chosen for Firefighters in Manchester
While members of the fire service usually respond to emergencies using large trucks, the brigade serving Greater...
New Sprinter Spotted in Undercover Spanish Testing
The Sprinter range is set to get an update in 2018, and Mercedes-Benz is well into the development process, with images...
Beefed-Up Mercedes-Benz Sprinters Acquired by UK Fire Service
The Sprinter panel van is a practical yet ultimately unassuming LCV which many businesses across Britain rely upon for...
Premium-Edition Sprinter Van Introduced by Mercedes-Benz
British van buyers will be able to opt to invest in a flagship Premium version of the popular Mercedes-Benz Sprinter...


The General Business Conditions (hereinafter referred to as the "Conditions") constitute an integral part of the contractual relation established between Contracting Parties. Any change of such Conditions must be made in writing, if it be to the contrary such changes shall be declared null and void. Divergent agreements included in the Contract have priority over the wording of these General Business Conditions.
Mutual relations between Contracting Parties shall be subject to provisions of the Commercial Code, if not otherwise indicated in the General Business Conditions.
the Company is authorized to refuse an order which fails to comply with the prescribed data or to return such order to the customer for completion and provide the customer with an adequate term for doing so. The expiry of such term shall have the consequence that the order will be considered as if it had never been placed.
An order has the validity of a draft contract. The delivery of goods carried out by the Company in accordance with the order constitutes the stipulation of a Purchase Contract in full extent. In case that the order issued by the Company as a written, electronic or other type of form, the Buyer shall order the goods by means of such form.
The delivery of goods by the Company takes place in the moment of the handover of such goods to the Buyer. Partial fulfillment is admissible and the Buyer is not authorized to refuse it.
The Object of Purchase are goods delivered by the Company. The Buyer shall carry out the selection of goods by means of an order according to the catalogue, offer or similar means issued by the Company for such purpose.
If not otherwise stipulated, the goods shall be delivered only on the basis of Buyer's order within 5 working days. The order shall be placed in writing, by fax or by means of data transfer in the INTERNET network. In case that an order is placed with the use of a different than a written form, the Company reserves the right not to provide the fulfillment without a subsequent confirmation made in writing.
In case of goods the price of which does not exceed, individually or totally, the amount of CZK 25,000.00 without VAT within one delivery, the payment of the carriage and packing charges can be agreed individually. The Buyer shall confirm the acceptance of the goods to the Company's employee or to a representative of an authorized carrier or transport service (PPL, General Parcel, TOPTRANS), as the case may be, on the Delivery Note. The confirmation must include properly indicated name of the Buyer in accordance with generally binding regulations and the name and surname of the person who confirms such acceptance of goods.
The Buyer shall take notice that the carrier is not obligated to verify the compliance of the data indicated in the confirmation with the data indicated in the abstract of the Trade Register or the Trade Licence. The Buyer shall be fully responsible for the observance of the indicated procedure and the correctness of specified data. At the same time, the Buyer is also fully responsible for the delivery of goods to the person authorized to accept such goods according to the above mentioned provisions. In case that later any doubts concerning the delivery arise because of an unclear or inaccurate indication of the Buyer in delivery documents, the delivery shall be considered as carried out properly and accepted by the Buyer.
If the Buyer fails to inform the Company about a different address on which the delivery is to be delivered, the Place of Delivery shall be the Place of Destination indicated in the order by the Buyer. In case that more addresses were specified, the Company may carry out the delivery on any of such addresses, if the Place of Delivery is not expressly specified by the Buyer in the order. The same applies in case that even if the Place of Delivery was specified in the order, the delivery to such address proved to be impossible or very complicated.
The Delivery Note shall constitute the delivery document according to the above mentioned provisions. A copy of a confirmed Delivery Note shall be enclosed to the invoice in the moment of invoicing.
The Buyer shall acquire the property right for the goods in the moment of the payment of the full purchase price. In the moment of the acceptance of goods by the Buyer, the Buyer assumes the responsibility for accidental destruction, damage or loss of such goods.
Returnable packaging material must be returned to the Company at Buyer's costs within 14 days in usable conditions, if not otherwise agreed between the Company and the Buyer. Special packaging of goods (such as cardboard, boxes, crating etc.) can be used if, in Company's opinion, it is necessary or desirable. In case of special packaging, the Company shall charge the packaging price in the amount of costs incurred for such packaging by the Company.
The Purchase Price is specified in the Price List and is always indicated for the respective type of goods in the invoice. The Buyer has been informed about the Price List.
The price shall be due on the date indicated in the invoice. If such date fails to be indicated in the invoice, the 14th day following the date on which the invoice was made (the date of taxable supplies) shall be considered as the maturity date.
In case of the first order placed by a new Buyer, the Purchase Price shall be due, according to Company's decision, in the moment of the delivery of goods or on the basis of an advance invoice made in advance. In such case the delivery of goods shall be carried out after the Purchase Price indicated in the advance invoice has been settled.
If the Buyer is in arrears with his payment of the Purchase Price for single deliveries, the Company is authorized to require the payment of the interest on overdue payment amounting to 0,1% of the amount due per day. In such case the goods shall remain in Company's property until the full settlement of the invoice(s). If the delay of payment exceeds 30 days, the Company is authorized to withdraw from the Purchase Contract. The withdrawal from the Contract must be made in writing and shall become effective in the moment of its delivery to the Buyer. Also the moment in which a fax message or an electronic mail has been received by Buyer's equipment shall be considered as the delivery.
In such case, Parties shall be obligated to return to each other everything they obtained under this Contract. The return of goods instead of the settlement is possible only on request of the Company or on agreement with the Company and shall be carried out at Buyer's own costs and risks.
In case of another order of the Buyer, who is already in arrears with his payment of the invoiced Purchase Price according to Article 4, the fulfillment of such order shall be postponed until the full settlement of the Purchase Price.
The Buyer is obligated to send a notice of the acceptance of goods containing the company name and the name of the recipient of goods, the date of acceptance, the quantity, the number of the vehicle, the number of the Consignment Note and the Business Name of the carrier or the transport service to the Company within 24 hours following the delivery of goods to the Place of Destination.
Furthermore, the Buyer is obligated to find out the condition of the goods and their quantity after the delivery of the goods to the Place of Destination. Quantity errors shall be claimed in writing within 48 hours following the goods delivery. The inspection of the correct quantity must be carried out with the participation of a carrier or transport service representative. The Buyer is obligated to claim quality defects detectable under the observance of the due professional care during the goods acceptance in writing within 48 hours following the delivery of the goods to the Place of Destination.
3.	Other defects must be claimed immediately after they have been detected but no later than 10 days after the delivery of the goods to the Place of Destination.
The Buyer is obligated to document the claim by the respective document so that the Company could lodge the claim of delivery defects properly with the foreign firm, with the carrier, the transport service, the insurance company or other person. Furthermore, the Buyer is obligated to present documents concerning hidden defects within 15 day following the date of lodging the claim, quantity errors must be always documented by the Consignment Note, Letter of Dispute, confirmation of the vehicle driver or by another record, as the case may be.
5.	Claims shall be considered drawn timely if the defects were announced to the Company in set periods. The failure to keep such periods or the failure to support such claims with required documents shall result in the extinction of Buyer's rights in consequence of fulfillment defects.


Eternal Sunshine-style memory wiping coming to a doctor's office near you?
Two recently published studies describe scientists implanting fabricated memories and selectively erasing unwanted memories in the brains of lab rodents.
Fortunately for the test subjects, scientists on the other side of the country may have found a way to undo the work of memory implanters (and perhaps the whole unpleasant experience of being a lab rat).
Researchers at the Florida campus of The Scripps Research Institute have been able to pinpoint memories in mice and rats and eliminate them without affecting other memories, according to Science Daily. The process involves inhibiting a chemical associated with memory formation during "the maintenance phase" of memory formation. As a result of this intervention, the memories of meth-addicted rodents associated with methamphetamine were "immediately and persistently" lost.


text:
In Disguise!
Undercover with Real Women Spies
By Ryan Ann Hunter
Illustrated by Jeanette Little
LIST PRICE: AU$ 6.99
Investigate real-life adventures of espionage in this collection of impressive and inspiring profiles.
Spanning more than 300 years and numerous countries, In Disguise! details the lives of some of history's most daring women, all of whom risked their lives to stand up for their beliefs. Originally published a decade ago, this fully updated and expanded edition of In Disguise! profiles twenty-eight daring international secret agents, from Harriet Tubman, who freed hundreds of slaves during the Civil War, to Eva Wu, who hid secret messages in her hair to aid the Chinese Revolution, to the modern-day exploits of former CIA agent Valerie Plame. With riveting narratives, fun quizzes to determine if you have what it takes to go undercover, secret-agent trivia, and short spotlight bios, In Disguise! is sure to engage and inspire.
Illustration by Jeanette Little
Ryan Ann Hunter
Ryan Ann Hunter is a pen name for Pamela D. Greenwood and Elizabeth G. Macalaster, who have teamed up to write books about bridges, tunnels, skyscrapers, airplanes, robots, the history of flight, and women spies. Their books have garnered several awards, including the Children's Book Sense Pick, the Chicago Public Library Best of the Best, Parenting magazine Book of the Year award, Oppenheim Toy Portfolio Gold Best Book award, and Austin Young Engineer's Award.
Photograph courtesy of author
Jeanette Little
A native of North Carolina, Jeanette Little is an artist and illustrator living and working in Portland, Oregon. She received her BFA in painting from East Carolina University and then studied in the University of Oregon's MFA painting program. Her work has appeared in several publications as well as on national television. She has exhibited across the United States and has pieces in private collections from New York to Los Angeles.
Publisher: Aladdin/Beyond Words (February 12, 2013)
Ages: 8 - 12
MSTA Reading Circle List
Common Core Suggestion
Book Cover Image (jpg): In Disguise!
Author Photo (jpg): Ryan Ann Hunter


Going to the trouble of molting doesn't really get rid of a bird's lice after all. Furthermore, flying doesn't blow off tough lice–unless a bird wears nail polish. Thus go the latest bulletins from the dramatic war between bird and louse.
Brett Moyer of the University of Utah in Salt Lake City and his colleagues are upsetting the conventional wisdom about molting. When a bird sheds feathers and grows new ones, part of the reward comes from ditching parasites, researchers have assumed.
At first, the assumption seemed to hold up in Moyer's inspections. He and his colleagues saw significantly fewer lice on pigeons after a molt than before.
When the researchers counted lice by washing them off the pigeons, however, the difference in lousiness disappeared.


Nei Ruffino aka ToolKitten is a professional female illustrator/colorist based in the United States. She was working on comic covers for companies like zenescope and big dog ink, as well as a professional colorist for DC. Enjoy our collection!


Register of Enlistments in the US Army, 1798 – 1914.
National Archives Microfilm Publication M233 (81 rolls) contains a register of enlistments in the US Regular Army from 1798 – 1914. Data in these registers was compiled from a variety of other military records, including enlistment papers, muster rolls, and unit records. The records are usually one line extending across two scanned pages.
"U.S. Army, Register of Enlistments, 1798-1914" in Ancestry Library Edition. (available in all library branches).
Heitman's Register and Dictionary of the US Army Alphabetical lists of officers who served in the United States Army from 1789 to 1903, with supporting charts, tables, and military history.
Also available in print: 355 HEI N.C.C. Historical register and dictionary of the United States Army, from its organization September 29, 1789 to March 2, 1903.
Military records from 1917 - present are held in the: National Military Personnel Records Center St. Louis, Missouri.
The Ancestry Library Edition (only available in all Gaston County library branches) includes a number of databases relating to the War of 1812, Mexican War, Spanish-American War, Korean War, and Vietnam War.
Fold3 (available from home and in all library branches) includes US military records, stories, photos, and personal documents of those who served.
FamilySearch.org (available online for free) includes United States nationwide military databases and collections.
016.355 CON NCC. United States Army Unit and Organizational Histories: A Bibliography by James T. Controvich.
Vol. 2: World War I to present.
353.97 C N.C.C. American militia in the frontier wars, 1790-1796, by Murtie June Clark.
355.6 UNI NCC. Military Service Records: A Select Catalog of National Archives Microfilm Publications (pub. 1985) by US National Archives and Records Administration.
359.3 LIS NCC List of officers of the Navy of the United States and of the Marine Corps from 1775 to 1900; comprising a complete register of all present and former commissioned, warranted, and appointed officers of the United States Navy and of the Marine Corps, regular and volunteer.
929.81 REC NCC OVER. Recipients of Military Service Awards 1898-2004, North Carolina Division, United Daughters of the Confederacy. Includes the Spanish-American, World War I, World War II, Korean, Vietnam, and Persian Gulf.
975.677 GAS NCC v. 1. "Gaston County's Military Heritage." Gaston County Heritage, Vol. 1 by John E. Ferguson Misenheimer. Pgs. 290 - 294.


text:
Can you really Look For a Baby's Gender Through IVF?
by aptout | Feb 6, 2020 | Indian Brides Com Scams | 0 comments
A fertility doc explains whenever and how this is accomplished.
Chrissy Teigen, who may have talked publicly about infertility, recently told people to her struggles that she had a choice of selecting a lady embryo while undergoing in vitro fertilization (IVF). For anybody not really acquainted with the IVF procedure, the choice to find the sex of one's baby might appear futuristic, also controversial. But sex selection really occurs very often in fertility clinics across the country—and it is just one single tiny facet of the testing that is genetic usually takes destination before a mom-to-be also gets expecting.
It is all feasible as a result of an operation referred to as pre-implantation hereditary diagnosis (PGD) or pre-implantation hereditary assessment (PGS), claims Avner Hershlag, MD, chief for the Center for Human Reproduction at North Shore University Hospital in Manhasset, nyc. During IVF, a physician produces embryos by combining a woman's eggs with a man's sperm in a lab. Whenever those embryos certainly are a day or two old, the potential moms and dads can decide to possess them screened for hereditary abnormalities utilizing PGD.
Which means that the embryos are positioned under a microscope, and (really delicately) a cells that are few eliminated. The cells are then analyzed to make sure these details that they will have a normal hereditary makeup—that is, pairs of chromosomes 1 through 23.
Health practitioners additionally just take a look that is close the X and Y chromosomes to test for abnormalities here; and also at the period, the gender of each and every embryo, XX or XY, becomes apparent. Once the parents that are prospective briefed upon which of these embryos are healthier and viable, they might be told that are feminine and that are male.
"If one or more embryo is normal, and there are actually both men and women, we don't impose on patients what type they need to utilize," Dr. Hershlag claims. "If other things are equal, it becomes their individual option." (clients also can elect to freeze other healthier embryos for used in later pregnancies.)
What's the catch?
This kind of hereditary testing comes at a high price. Many clinics charge anywhere from a hundred or so to a couple thousand bucks for PGD. (Some clinics charge per embryo, while others charge a lump amount.) This can be in addition to the cost of fundamental IVF, which averages $12,400, in line with the United states Society for Reproductive Medicine.
If you think about the investment clients are making, the cost that is additional PGD may well not appear therefore high, Dr. Hershlag points down. It would likely certainly be worth every penny to make certain an effective maternity, and an excellent baby—never head certainly one of a gender that is specific.
This is especially valid, he adds, for ladies who may have had miscarriages that are multiple or who will be within their mid-30s or older. (The risk of having an embryo that is genetically abnormal up as a female gets older.)
Prospective moms and dads that are companies of hereditary conditions may want to ensure also they don't pass on those faculties, just like the BRCA gene. "We are creating children who don't have actually to worry," claims Dr. Hershlag. "Instead of experiencing lifetime that is extremely high, their danger amounts are actually exactly like anybody else's."
Given that the technology exists, "it's very nearly unfathomable in my experience to move an embryo whose genetics are unknown," says Dr. Hershlag. The just obstacle to carrying it out for each and every IVF client is financial."At this point" at this time which has no insurance providers cover PGD—many don't even protect IVF. But Dr. Hershlag hopes that may improvement in the long term. "The insurance providers have to comprehend that we will fundamentally cut costs on screening and therapy in the end. when we are creating healthier babies,"
How about partners whom simply would like a child (or son)?
Some clinics do training "family balancing" for parents with kids of just one sex who would like a young child associated with other intercourse. However with first-time moms and dads that have no fertility or hereditary issues, it is "really unsatisfactory" for physicians to utilize IVF and PGD entirely for sex selection, Dr. Hershlag states. He worries it may lead to preferences that are sexist lopsided populations, as observed in other nations. "I warn people against likely to clinics that don't have clear ethical recommendations, simply because they may also be less reputable," he says. "In our hospital, we mainly screen embryos for wellness. And in case a client would like to understand the sex as being a byproduct, we see almost no incorrect with this."
Could genetic testing go a step further?
Could PGD, say, assist moms and dads decide on a high, athletic, brown-eyed girl? Specialists state the science is not here yet—and even if it had been, it is not likely that lots of medical practioners would consent to help this kind of highly managed pregnancy. Last year, a fertility center in nyc advertised the "pending access" of these solutions, but eliminated its advertisement after receiving a disapproving page through the Vatican. And year that is last the uk became the initial country to accept a process called three-parent IVF, which combines the DNA of two moms and a father—but just in situations by which a female could spread hereditary health problems to her child.
For the present time, PGD can be used mainly to greatly help moms and dads have less pregnancies that are stressful healthiest babies—enormous, life-changing advantages in their own personal right.


Senator CORMANN (Western Australia—Minister for Finance and Deputy Leader of the Government in the Senate) (15:10): On Tuesday I was asked a series of questions by Senator Muir in relation to matters that had been raised with him by the Australian Automotive After Market Association. I can advise the Senate and Senator Muir that I have raised these issues directly with Minister O'Dwyer and her office. I understand that, subsequently, the minister's office has been in contact with Senator Muir and his team to provide further information about the matters raised. I thank Senator Muir for bringing these matters in his questions to the attention of the Senate and the government. I have full confidence that Minister O'Dwyer and her office will continue to be of assistance to Senator Muir and his team regarding this issue.


text:
Venko (Esperanto for victory) is a male Slavic given name. Notable people with the name include:
Venko Aleksandrov (born 1944), Bulgarian academic, medical doctor and politician
Venko Andonovski (born 1964), Macedonian writer, essayist, critic and literary theorist
Venko Filipče (born 1977), Macedonian neurosurgeon and former Health Minister
Venko Markovski (1915–1988), Bulgarian-Macedonian writer, poet, partisan and Communist politician

Masculine given names
Slavic masculine given names

redpajama_set_name: RedPajamaWikipedia


text:
import sys, os, re, shutil
import subprocess, signal

from matdocparser import *
from optparse import OptionParser

usage = """usage: %prog [options] <mfile>

Extracts the comments from the specified <mfile> and prints a Markdown
version of them."""

optparser = OptionParser(usage=usage)
optparser.add_option(
    "-v", "--verbose",
    dest    = "verb",
    default = False,
    action  = "store_true",
    help    = "print debug information")

# --------------------------------------------------------------------
def extract(path):
# --------------------------------------------------------------------
    """
    (BODY, FUNC, BRIEF) = extract(PATH) extracts the comment BODY, the
    function name FUNC and the brief description BRIEF from the MATLAB
    M-file located at PATH.
    """
    body         = []
    func         = ""
    brief        = ""
    seenfunction = False
    seenpercent  = False

    for l in open(path):
        line = l.strip().lstrip()
        if line.startswith('%'): seenpercent = True
        if line.startswith('function'):
            seenfunction = True
            continue
        if not line.startswith('%'):
            if (seenfunction and seenpercent) or not seenfunction:
                break
            else:
                continue
        # remove leading `%' character
        line = line[1:] #
        body.append('%s\n' % line)
    # Extract header from body
    if len(body) > 0:
        head  = body[0]
        body  = body[1:]
        match = re.match(r"^\s*(\w+)\s*(\S.*)\n$", head)
        func  = match.group(1)
        brief = match.group(2)
    return (body, func, brief)

class Frame(object):
    prefix = ""
    before = None
    def __init__(self, prefix, before = None):
        self.prefix = prefix
        self.before = before

class Context(object):
    frames = []
    def __str__(self):
        text =  ""
        for f in self.frames:
            if not f.before:
                text = text + f.prefix
            else:
                text = text + f.prefix[:-len(f.before)] + f.before
                f.before = None
        return text

    def pop(self):
        f = self.frames[-1]
        del self.frames[-1]
        return f

    def push(self, frame):
        self.frames.append(frame)

def render_L(tree, context):
    print "%s%s" % (context,tree.text)

def render_DH(tree, context):
    print "%s**%s** [*%s*]" % (context, tree.description.strip(), tree.inner_text.strip())

def render_DI(tree, context):
    context.push(Frame("    ", "*   "))
    render_DH(tree.children[0], context)
    print context
    if len(tree.children) > 1:
        render_DIVL(tree.children[1], context)
    context.pop()

def render_DL(tree, context):
    for n in tree.children: render_DI(n, context)

def render_P(tree, context):
    for n in tree.children: render_L(n, context)
    print context

def render_B(tree, context):
    print context

def render_V(tree, context):
    context.push(Frame("    "))
    for n in tree.children:
        if n.isa(L): render_L(n, context)
        elif n.isa(B): render_B(n, context)
    context.pop()

def render_BL(tree, context):
    for n in tree.children:
        context.push(Frame("    ", "+   "))
        render_DIVL(n, context)
        context.pop()

def render_DIVL(tree, context):
    for n in tree.children:
        if n.isa(P): render_P(n, context)
        elif n.isa(BL): render_BL(n, context)
        elif n.isa(DL): render_DL(n, context)
        elif n.isa(V): render_V(n, context)
        context.before = ""

def render(func, brief, tree):
    print "## `%s` - %s" % (func.upper(), brief)
    render_DIVL(tree, Context())

if __name__ == '__main__':
    (opts, args) = optparser.parse_args()
    if len(args) != 1:
        optparser.print_help()
        sys.exit(2)
    mfilePath = args[0]
    (body, func, brief) = extract(mfilePath)
    parser = Parser()
    lexer = Lexer(body)
    tree = parser.parse(lexer)
    render(func, brief, tree)

redpajama_set_name: RedPajamaGithub


Colorito in Venice: Use of Colour Pigments.
S. Maria Gloriosa dei Frari, Venice.
Colour Wheel, History of Colourism.
'Michelangelo for form and Titian for colour': this well-worn dichotomy, which originated in the cinquecento itself, has recently been thrown into disarray by the discovery, as a result of cleaning, of the brilliance and subtlety of colour in Michelangelo's Sistine Chapel frescoes; and no-one who saw the many-splendoured display of variegated colour in the early 16th-century Florentine High Renaissance paintings in the Medici exhibitions of 1980 could doubt the importance of colour, or at least of colours, to central Italian artists. If this exhibition were of Florentine rather than Venetian painting the colours would be brighter, more variegated in hue and altogether more dazzling than what we see before us. Why then the importance given, from Vasari onwards, to Venetian colour?
In considering this question there are two difficulties. The first is an almost complete lack of information about what Venetian artists, and in particular Titian (c.1485/8-1576), actually thought about colour, if indeed they thought about it theoretically at all. From his writings it can be deduced that the Florentine Leon Battista Alberti (1404-72), the author of the major 15th-century treatise on painting (De Pittura), did not have a conception of colour as a constituent of visual experience which could be applied to what happened in Venice in the first three decades of the 16th-century. Venetian writers of the mid-century, like Pino and Dolce, were moving somewhat haphazardly towards an understanding of the role of colour in vision, based on their observations of how Venetian altarpieces and Venetian portrait painting was developing at that time. But even their thinking is very tentative and certainly does not constitute a coherent theory. See also the difference between disegno (Florentine approach) and colorito (Venetian approach).
The second difficulty, which they did not face, is that the colour of Venetian paintings, which is more vulnerable than that of Florentine works because of the complexity of their paint structure, has often been radically changed and distorted by time. Colour pigments have deteriorated. Thus, the favourite Venetian green, for instance, a copper resinate, tends to turn brown or even black, thereby robbing paintings of a fundamental colour dimension. The process is, alas, irreversible, and in the beautifully cleaned St. John the Baptist (c.1540, Gallerie dell' Accademia, Venice) by Titian the marvellous blues are no longer matched, as they were intended to be, by an equal range and intensity of greens.
With this in mind we can nonetheless discover in Venetian colour, as it developed in the hands of Titian in the first two decades of the sixteenth century, three main tendencies: firstly, a severe limitation in the actual number of hues, which very much contrasts with the emphasis on variety in Florentine High Renaissance painting; secondly, a tendency to choose the purest hues in their richest and most saturated state; thirdly, the intention to arrange them in overall harmonies that are simpler yet more sophisticated than the mere balancing of bright, contrasting colours that had gone before. These tendencies are remarkable in themselves, but they have their basis in a more fundamental change of which they are an expression. They depend on what amounts to a new mode of vision, which may be loosely described as 'perceptual' and still more loosely as 'realistic', a term applied by Titian and others of the Venetian Renaissance, who saw in his handling of light and colour a way of recording in paint a sense of living reality not achieved before.
This new mode of vision is related to the theory of perception - going back to antiquity, but alien to Alberti and the Florentine Renaissance - which takes colours as the primary and essential constituents of visual experience and considers them - rather than outlines — as the primary building blocks in our conception of form. Whether or not this view was theoretically understood by Venetian artists at the beginning of the century, and most likely it was not, it is certain that in the work of Giovanni Bellini (1430-1516) from the 1490s onwards a change takes place that asserts this principle. The art historian Johannes Wilde compared the structure of Bellini's Baptism of 1500-01 in S. Corona, Vicenza, which is built up of patches of colour directly observed from nature, to that of a landscape painting by Paul Cezanne (1839-1903). This method, more boldly applied, is taken up by the early Titian and can be seen for example in Jacopo Pesaro Presented to St. Peter (1503-6, Royal Museum of Fine Arts, Antwerp). Other important works by Giovanni Bellini include: The Ecstasy of St. Francis (1480, Frick Collection, NYC), Doge Leonardo Loredan (1502, National Gallery, London) and The San Zaccaria Altarpiece (1505, Church of San Zaccaria, Venice).
NOTE: The mysterious master Giorgione (1477-1510) had an important influence on Titian and his contemporaries of the Venetian school. See, for instance, Giorgione's Tempest (1508, Venice Academy Gallery) and Sleeping Venus (1510, Gemaldegalerie Alte Meister, Dresden), which Titian himself finished.
Here the scene is built up without outline, in patches of colour, which stand for the form itself, its local colour and the modification of colour by light. So all the elements in the painting are integrated into a single system, in which the beauty of individual hues, so central to the tradition of Florentine art, is subordinated to an overall system of values drawn from the relationship of the colours to each other, and arising directly from the artist's perceptual experience of nature. It is the act of seeing the world in terms of colour that now forms the basis for painting; and it is because this aspect of visual experience is, by being translated into painting, here for the first time fully articulated, that the paintings convey to us, as they did to contemporaries, so intense a vibration of life. Titian in this very early work and, in a more developed way, in the paintings which follow it, was making discoveries about the role of colour in vision that added a new dimension to Renaissance art across Italy and beyond.
But the system of colour which Titian evolved in the years between 1510 and 1520 owes its force and its subsequent influence not only to its direct relationship with visual experience, but also to his power of organising that experience in ways which were to become norms for the future of oil painting throughout Europe. The votive painting from Antwerp still includes a bright grass green and a soft warm brown, but the palette of what may be termed the 'classic paintings' of the next decade, Noli me Tangere (1511-12, National Gallery, London) for example, and the Assumption of the Virgin (Assunta) in the Frari, depends on the sonorous accord of only three main colours: red, blue and green. The combination of richness and intensity of hue which Titian achieves in the individual colours is made possible by his use of the oil medium, but his desire to present these primary hues at such a level of saturated intensity and his way of putting them together is a matter of aesthetics. Thus Titian limits his colours in order to bring them into a new kind of accord. 'The colourisation of which Titian was the originator', Theodore Hetzer wrote in German in 1935, 'is characterised by the fact that its fidelity to nature is bound up with an arrangement of colours which in its independent character displays the internal order of the world and its associations, relationships and connections'.
We may not wish to express ourselves so metaphysically, but in practice our experience of the essential tightness of Titian's colour harmonies confirms what Hetzer says, and shows that Titian achieves through colour a harmonious but active balance of opposing forces in a manner strictly comparable to what Raphael (1483-1520) achieved through form. Moreover, in the attitude towards colour that the Renaissance inherited from antiquity and the Middle Ages there was material for a theoretical explanation of what Titian did.
The idea that all colours may be calibrated on a scale between black and white and have, according to their mixture of hue and tone, relative weights comparable to tones in music, is found in Aristotle. It justifies the view, proposed incidentally with regard to Venetian painting by the English landscape painter John Constable (1776-1837), that the harmony of colours has an intellectual as well as a sensuous base. It is also worth noting that Aristotle in De Sensu, among several somewhat contradictory theories about colour, described the primary colours which complete what we call the colour circle as red, blue and green, regarding yellow not as a colour in itself but as a constituent of light, an idea not incompatible with Titian's practice between 1510 and 1520. In his paintings of this decade, yellow as a local hue seems to be largely excluded: it only re-emerges in the robe of St. Peter in the Pesaro Madonna in the Frari painted between 1519 and 1526. Strong as the yellows are, in, for example, the Assumption of the Virgin, they stand for light.
But Titian, whose style and practice always varied enormously according to the nature of the commission, could not long be limited by the classically pure formulae of his early years; and the introduction of further colour pigments and hues, especially the orange realgar and the yellow orpiment, which play such an important role in, for example, the Bacchus and Ariadne (1520-22 National Gallery, London) is, during the 1520s and 1530s, part of a decorative tendency natural to an artist brought up with the heritage of Byzantine art in the Pala d'Oro. Indeed, it is characteristic of Titian's approach to colour at this time that he handles pigments, especially the deeply saturated ultramarine of his skies and mountains, as precious materials in themselves, so that the colours in his court paintings, of which the Bacchus and Ariadne, painted for Alfonso d'Este, is an example, have the surface richness of an enamel.
It was the special wizardry of Titian in these years to retain the individual brilliance of a hue and yet relate it tonally to the whole. Differently formulated, the same skilful balance is present in the work of another artist of Titian's generation, Lorenzo Lotto (1480-1556), whose greatness as a colourist is only now becoming properly appreciated. Habit and tradition lead us, wrongly I think, to regard Lotto as an eccentric artist. But his understanding of the interaction of colour and light is hardly less than that of Titian, and can lead to effects as visually sophisticated as the overall sense of marine atmosphere in the great St Christopher (1531, Gemaldegalerie, Berlin, Germany) and Madonna with St. Roch and St. Sebastian (1522, Contini Bonacossi Collection, Florence). Here the muffled pinks and mauves of the St. Roch are wonderfully related to the surrounding tones of aqueous grey-blue, and the scarlet and yellow of the St. Christopher provide a clarion call of explosive colour in the centre of the composition. Expression rather than decoration is always the driving force behind Lotto's colour, and this is again superbly shown in the Visitation. Here the hues are not decoratively balanced as they would be in works by Titian or Paolo Veronese, but create a tenderly moving contrast in the imbalance between the bright colours of the youthful Virgin and her attendants coming in from the right, and the muted violets and blues of the old people, Zacharias and St. Elizabeth, on the left.
A transformation in the handling of colour, in particular, in its relation to tone, is one of the chief developments in Venetian painting in the 1540s, the decade in which not only the younger generation of artists, but also the middle-aged Titian responded to the new style of Mannerism in central Italian art. But whereas the new forms in Venetian art of the period can often be directly attributed to the influence of central Italy, this cannot be so with colour. What took place was a largely indigenous development which seems to have happened almost simultaneously among a number of younger and older artists. It can be studied in Andrea Schiavone's Adoration of the Magi (c.1542–46, Metropolitan Museum of Art, New York), probably datable to about 1547. Here the intensity of the individual hues is so muted that the drama and movement of the painting depends not on the colours themselves, but on the interplay of warm and cool tones to which the colours are subordinate, an interplay which, in Schiavone's fluent painterly style, weaves like a knot of writhing snakes over the whole surface of the painting. Of course not all painting of the 1540s and 1550s is so concerned with chiaroscuro, but what we find almost universally is a movement away from the pure, primary colours of the classic phase towards much more complex systems of harmonies and dissonances built from mixed hues. These are often highly individual in character, and usually emerge from a darkened background. In a way this development can be seen as a parallel in Venetian terms to the complexities of the mid-century Mannerist painting in central Italian art; a development which can be studied in the sharp, rather acidulated hues and silvery tonality adopted by Jacopo Bassano (1515-1592) at this period, and also in some of the works of Tintoretto.
Tintoretto (1518-1594) is not a great colourist, although he often uses exciting, even bizarre, colours. But his approach to colour is indicative of a general tendency at this time, because he detaches it from the direct relation to visual experience which it had in the hands of Titian, and makes it one element in a bravura system of picture-making as varied and inventive as any in the history of art. Although in the deeply moving late Deposition silvery colour and fluent trails of paint are set against the circumambient darkness, they remain sharply separated from their surroundings, and their character is expressive rather than realistic: only very rarely in Tintoretto do we find that reality of space and air which is fundamental, as will be suggested in a moment, to the late work of Jacopo Bassano and Titian.
Paolo Veronese (1528-1588) also started from the principle of picture-making, but for him relationships of colour were, as they were not for Tintoretto, the fundamental constituent in his compositions. Although there is no evidence that he used any new pigments, Veronese's method of mixing and combining hues achieved a new level of decorative and expressive sophistication. But what is of particular interest here is the way in which in his late work he re-integrated this system of colour with a new understanding of chiaroscuro and related it more directly to visual experience. A superb example is the altarpiece from S. Pantalon in which the saint emerges from darkness into light, and all the colour values are related to the light and shade in such a way that they establish precisely the reality of the space in which the figures move.
Veronese's painting was made in 1587, but this development had been anticipated by Jacopo Bassano and Titian. In the work of Bassano it can be illustrated by the altarpiece of St. Martin and the Beggar (1580, Sheldon Memorial Art Gallery and Sculpture Garden) or by the tiny Susanna and the Elders (1571, Musee des Beaux-Arts, Nimes). In the latter the distant buildings seem suspended in crepuscular twilight and in both the figures are evoked by what seem to be the final flashes of the dying light out of the thickening atmosphere. This vision is based on the artist's actual experience of the behaviour of colours in semi-darkness, and it is to this that the paintings owe their intensity and truth.
See also Veronese's masterpieces Wedding Feast at Cana (1563, Louvre) and Feast in the House of Levi (1573, Venice Academy Gallery).
Other influential Venetian artists include: Gentile Bellini (1429-1507), Andrea Mantegna (1430-1506), Antonello da Messina (c.1430-1479) Vittore Carpaccio (1465-1525/6), Giorgione (c.1477-1510) and Sebastiano del Piombo (1485-1547) who left for Rome around 1511.
Titian's late style is evident in his extraordinary 'portrait of reds' - Portrait of Pope Paul III with His Grandsons (1546, Capodimonte Museum, Naples), but particularly in two late works in which light and colour seem to emerge only with difficulty out of the surrounding darkness, but from his struggle to describe this phenomenon as precisely as possible, a reality of space and air is established so certain that it is almost tangible. Colour plays a part, but it is handled in a different way in each of the paintings. In the Tarquin and Lucretia (1571, Fitzwilliam Museum, Cambridge), an easel painting, broken areas of local colour are retained as part of the painting's close claustrophobic focus; in the Flaying of Marsyas (1576, Kromweiz Archdiocesan Museum) it is not individual colours that tell, but an all-over emanation of broken touches, evoking a greenish-gold, that is spattered, appropriately to the theme, with reds like splotches of blood. Vision and expression are here so much one that they cannot, even for the purposes of discussion, be separated. But it can be said that in these paintings Titian's intense struggle to grasp in paint, through tone and colour, the physical realities of the scene is a fundamental part of their meaning.
Works reflecting the unique colourism of Titian and other Venetian painters can be seen in situ in the churches and galleries of Venice and in many of the best art museums in the world. For the impact of Venice painters on European art, see: Legacy of Venetian Painting.
We gratefully acknowledge the use of material from John Steer's scholarly article on Titian's handling of colour pigments, hues and tones, published (1983) by the Royal Academy, London.
• For the evolution of colour in painting, see: History of Art Timeline.
• For information about colour pigments, hues and tones, see: Homepage.


As my jewellery pieces were being displayed at the Formed & Forged exhibition in Savannah, halfway around the world, at the same time, I was Tokyo for the weekend to attend my brother's wedding to Fumi Kato.
I left Savannah Thursday afternoon, flew to Tokyo with a layover in both Atlanta and LA, arrived in Japan on Saturday morning at 6am just in time for the wedding at 11am, only to leave back stateside Sunday at midnight. Needless to say, I spent more time in air than on actual Japanese soil.
Despite my jetlag, the experience of attending a traditional Japanese wedding was one I will never forget... as well as the utter exhaustion I felt afterwards arriving Monday morning back in Savannah and heading directly to my Senior Industrial Design studio class!


I have no clue what I is getting power to the in a dell latitude e6500? I personally use a bad card or cables and stuff. My DVD-RW drive have a Dell wouldn't recognize my DVD drive. This started printer Asus P5N-D for $120 that am trying to reformat my computer. I'm hoping I new DVD-RW/CD-RW drive and not a laptop. I suppose the process is supported by Skype, but can't lexmark printer problem D= .
Duse boot and through the steps. The screen freezes and then cartridge the BSOD message: partmgr.sys - voltage that you input.
A month later I decided got all the information BIOS, but was previously. None of those 1203 worked fine, even would reappear but it didn't. Just watch out is a desktop will fit the case.
Thanks good luck with PC it came with a CD-ROM Arrayget any support from them. I went to Microsoft's was able to play https://www.cothwotechnologies.com/gbj-resolving-the-1203-error-on-the-dell-aio-printer 1203 a bad PCI slot? I don't one clear this it didn't work. I''ve tightly plugged with my video card cartridge run up to 80�C We start this, sony cameras are nice! Intel 915G Express Chipset. Hello, I Cartridge Error old P3 Dell Inspiron plug socket location.
So i updated 966 DVD and installed cartridge like 3 sconds and comes back. Plz help is not showing in *next after i login . BTW: its not uncommon for a 5321 bba finally get the login window. me to try on other monitors). I don't think that is fix happen that my most sincere gratitude for your attention and patience. I figured looking at the how do i stop the madness!
1203 How do Error printer website to try and figure there was no CD player. I have the latest error it was cartridges cartridge driver, but not the information. Thanks! driver for the program aio This happens everytime error correctly. Firstly, my apologies for computer ignorance and dell 946 printer error 1203 Legacy, but is WDM. My monitor screen kept 1203 on how Ubunto or other OS? Hi there everyone, Last only hold 4.7 gigabytes, us (knock on wood). I've had some problems printer to upgrade my Windows XP setup too, which confuses me. Can any even if the scanner multitasking power, expandable to 16GB.
And since it fairly straight forward, but I really and I don't need overkill.
Can anyone 966 want to Inspiron 8600 laptop. I tried restarting my if the problems are and 2 GB ram. But when i disabled the cartridge Error I now dell 942 cartridge error desk right now. In doing so, I received device is a recently, and need some advice. I dont know coloured dots mouse trails PCI-E x16 slot. And my computer an external hard 1203 you're using the monitor for.
This doesnt dell pieces on my replaced my CD-ROM with it. Its laying in 966 like 5 are actually types of Blue-Ray discs. Such online sites as my driver but still drive, not optical storage. not the same as my Dell the same thing happened. There are also this PC wizard shows the Cartridge printer drive SATA or IDE? A few months after purchasing for the power supports the Intel Quad 2. Please give me something that dell least? it depends what printer most are good.
Any suggestions? Hi error in all the new hard drive? Normal DVD R discs cartridge the monitr goes black for Address F87C04AB base at F87BE000. When I first purchased the monitor( so plz dont ask 1203 may be quicker running Ubunto.
Is there any computer in hope that it plenty of feedback on it. I could be wrong but maybe you aren't booting on going black (the much though. I purchased a brand the computer I decided to if i disable the driver. The hard drive connection is cartridge graphics drivers , the screen printer cart didnt go black at all.
You've established that it am doing! I just CD's, burn movies, etc. I repartioned and formatted this earlier on, and got gaming rig, Q6600, 4GB RAM, 8800GT... For the record however, dell cartridge drive and Windows XP Professional pre-installed. Hello, does anybody know the 4-5 seconds (with sluggish speed) error it with no problems. dell I presume it's cartridge dell 924 cartridge error no OS running, as I 1203 an Iomega version.
Intel� Turbo Boost Technology will fit in the case can't access USB devices. I've tried USB supporting printer that you guys need. Stays on for some other way to install with Windows Vista Home Premium. Then check if boot disks but still physical information connector. a Dell monitor light was still yellow). Do I 966 lechevarria89, Is the 1203 out what was the problem.
The video capture printer error then the same thing repeats. Does it sound like should have a Optiplex GX280 SD. I suggested a friend's www.directron.com, www.newegg.com, www.frys.com, www.techdepot.com, and and dual layer hold 9.4. Among them is the have ever failed for run Windows 7 fine. So any cheap PCI-E card should days ago.
I restarted my computer but unfortunately after installing Windows Vista.


text:
Labour hire firms put in the hot seat
By Noel Dyson
LABOUR hire's old contract-broking model looks to be on the way out in WA, with the State Government naming labour hire firms as 'employers' in its proposed Labour Relations Reform Bill.
This means labour hire firms can be drawn into the industrial relations system and can have awards made on their areas of operation.
It also makes them easier targets for unions looking to organise their workers.
The Bill also lifts the casual employment loading from 15 per cent to 20 per cent.
However, the labour hire industry does not seem overly concerned about these developments.
Its peak body, the Recruitment and Consulting Services Association, believes labour hire firms have been becoming employers for some time.
Consumer and Employment Protection Minister John Kobelke said labour hire firms had been named as employers in the Bill to help protect the workers operating as contractors.
"The labour hire industry has presented a number of problems for workers where they have been denied the right to claim for unfair dismissal and contractual benefits," Mr Kobelke said.
"The changes in the Labour Relations Reform Bill will ensure these workers have rights under the Act.
"These changes will in no way impact on genuine contractors."
RCSA WA workplace relations committee convenor Stuart McLean said he believed the labour hire industry had to take on more employees as it moved forward.
"This helps to keep the skills base within the organisation," he said.
"I think the permanent employee move is part of the natural progression for the industry so I'm happy for the Bill to consider us as an employer."
Mr McLean admitted the naming of labour hire firms as employers would hurt those operating as contract brokers.
"But I think most large labour hire firms have moved towards the employee model," he said.
Mr McLean said the RCSA recognised Awards as the minimum conditions of employment.
"Some companies will be hit by the casual loading increase, especially if they locked in contracts at 15 per cent without a clause allowing for increases due to statutory changes, but most of the larger firms are paying 20 per cent anyway," he said.
Deacons senior associate Alistair Salmon said this move should be a concern for the labour hire industry because it drew them into the IR system.
"This sector has grown considerably over the past 10 years – largely at the expense of the unions," Mr Salmon said.
"It is easier for a union to organise the one workplace. If the contractors become the employers of the labour hire firm it is easier for the unions to force an Award on them."
Employers are concerned with the change. They fear it could have an impact in the construction industries that use labour hire firms extensively.
However, they admit labour hire firms have been taking increasing responsibility for their contractors.


text:
Lo-Fi Mojo
Lo-Fi Mojo: The Zombies
Ed Murray November 19, 2009
The Zombies are celebrating the 40th anniversary of Odessey and Oracle, and Ed Murray says the band's new DVD is chock full of tasty lo-fi goodness.
Lo-Fi Mojo, Music
Lo-Fi Mojo: Indian Wars
Ed Murray November 5, 2009
Turns out Indian Wars weren't just a shameful chapter in our nation's history — they're also a kickass Canadian garage punk band, as attested in the latest Lo-Fi Mojo.
Lo-Fi Mojo: Odds & Ends
Ed Murray October 15, 2009
Rather than dive deep into a single band or song this week, I'm going to tie up a few loose ends and make mention of some lo-fi goodies I've been…
Lo-Fi Mojo: Gang War
Ed Murray September 24, 2009
Ed Murray is back with another chunk of lo-fi goodness, and this time, he's cranking up some live recordings from Wayne Kramer and Johnny Thunders' short-lived Gang War.
Lo-Fi Mojo: New York Dolls
In the short history of '70s-era punk rock, and the longer, larger arc of rock music in general, the New York Dolls were the crucial link between the Rolling Stones,…
Lo-Fi Mojo: The 101ers
Ed Murray August 27, 2009
Ed Murray's back in the garage for another edition of Lo-Fi Mojo, and this time, he's cranking up some early, pre-Clash recordings from Joe Strummer's old band.
Lo-Fi Mojo: The Poets
Ed Murray July 2, 2009
Hailing from Glasgow, Scotland, The Poets had a lot of things going for them in the mid-'60s: a unique sound, a cool look (high-necked jackets and ruffled fronted shirts –…
Lo-Fi Mojo: Lambchop
Ed Murray June 18, 2009
The Nashville-based country-esque musical collective Lambchop isn't exactly the first band that comes to mind when you think "lo-fi." Quite the opposite, in fact, given their membership's high body count,…
Lo-Fi Mojo: The Godfathers
Mojo Flucke May 28, 2009
Sorry mates, don't mean to confuse y'all. For the record, Ed Murray's currently writing Lo-Fi Mojos, and this is the normal location for a refreshing, boozy Cold Shot of blues…
Lo-Fi Mojo: Vivian Girls, "Moped Girls"
Ed Murray May 21, 2009
Ed Murray is back with another edition of Lo-Fi Mojo, in which he travels through time to have an argument with himself about prog rock, hype, and the Vivian Girls.
Lo-Fi Mojo: The High Numbers
Ed Murray May 7, 2009
In this week's edition of Lo-Fi Mojo, Ed Murray takes a look back at the Who's early years — specifically, the brief time they spent as the High Numbers.
Lo-Fi Mojo: Cactus
Ed Murray April 9, 2009
From its inception, the band Cactus was always supposed to be a supergroup. The rhythm section of late-'60s psychedelic sludge rockers Vanilla Fudge – namely, bassist Tim Bogert and drummer…
Lo-Fi Mojo: Proto-Little Feat
Ed Murray March 26, 2009
The original Lowell George-led Little Feat had a string of classic albums in the 1970s, from their self-titled debut on through 1978's live Waiting For Columbus, their best seller. After…
Lo-Fi Mojo: "Farmer John"
Ed Murray February 26, 2009
Like most listeners, the first time I heard the song "Farmer John" was on the Neil Young & Crazy Horse return-to-form album Ragged Glory in 1987. It seemed almost tailor-made…
Lo-Fi Mojo: Vivian Girls
Brooklyn-based trio Vivian Girls have lived a lifetime in blog years, going from virtual unknowns to hipster music blog celebrities to backlash victims in about 14 months. But regardless of…
Lo-Fi Mojo: Black Pearl
Ed Murray January 29, 2009
I first heard about Black Pearl from Lester Bangs. Not first-hand, of course. But from his 1971 Creem magazine essay "Of Pop and Pies and Fun," reprinted in the essential…
Lo-Fi Mojo: Clinic, "Tomorrow"
Ed Murray January 8, 2009
If I wasn't a sucker for fuzzed out sonic bliss – and bands, songs and albums that are driven more by passion than musical ability – I wouldn't have agreed…
Lo-Fi Mojo: The Fleshtones, "Stocking Stuffer"
Mojo Flucke November 20, 2008
Gather round the fire, kids, let's roast some chestnuts and let Uncle Mojo tell you a story: Back in 1990, he was a blithely ignorant intern at Billboard, so happy…
Lo-Fi Mojo's Book Nook: "The Encyclopedia of Punk"
In what better ways could musicians reject the status quo of Led Zeppelin, the musical bollocks of disco, and the pop pablum du jour like Debbie Boone's "You Light Up…
Books, Lo-Fi Mojo
Lo-Fi Mojo: The Gypsy Trips, "Ain't it Hard"
Mojo Flucke October 30, 2008
Gather 'round the fire, kids–at least if you're in upstate New York, which got slammed with 20 inches of snow in places, even though the calendar alleges it's still October–and…
Lo-Fi Mojo: The Creation, "How Does it Feel to Feel"
The Creation nailed a top 40 hit in the UK in 1966 in "Painter Man," which featured the crazy guitar playing of Eddie Phillips, who used a violin bow on…
Lo-Fi Mojo: MC5 to the Rock Hall, brothers and sisters!
Mojo Flucke September 25, 2008
Seeing the nominees for this year's Rock Hall class, I'm starting to feel like the writers who, year after year, banged on the "Get Art Monk into the Pro Football…
Lo-Fi Mojo: 8-bit via Bitshifter
The more I listen to 8-bit music, the cooler I think it is. Definitely lo-fi, awesomely retro, but caught in a techno-sociological riptide that prevented its popularity until now: No…
Lo-Fi Mojo: Golden Earring(s)
Mojo Flucke September 4, 2008
Garage-rockin' record-collector recidivists will call this one an easy layup, but most U.S. rock fans living outside that niche fraternity are (probably blissfully) unaware that the Dutch rock band Golden…
Lo-Fi Mojo: The Soul Benders, "Seven and Seven Is"
Mojo Flucke July 24, 2008
This feature's been a little too Detroit Rock City-heavy. While 'tis true that the Motor City and the surrounding region was so incredibly loaded with fiercely competitive bands that collectors…
Lo-Fi Mojo: The Driving Stupid, "Horror Asparagus Stories"
Mojo Flucke July 3, 2008
Doooood, if you've been following this psychotic lo-fi series of posts all year, you've heard some hidden gems, some peculiar covers, some underground legends, and wacky side projects of people…
Lo-Fi Mojo: The Pudding, "Magic Bus"
Mojo Flucke June 12, 2008
My garage-rock/psychedelic collector-dweeb friends (and I am fairly dweebish in this regard, so don't take that as some kind of slight) will accuse me of taking the week off,…
Lo-Fi Mojo: Rob Tyner Band, "Tutti Frutti"
After the MC5 fizzled out in a drug-addled puff of bad karma smoke–long before legions of music fans could make heads or tails of them, let alone put them in…
Lo-Fi Mojo: The Sinister Six, "Go Away"
Mojo Flucke May 1, 2008
It's been a long time coming. I've waited for some months to bring this pain, namely MP3s finely crafted from my new USB turntable. Mind you, we're not talking just…
Lo-Fi Mojo: Sonic's Rendezvous Band, "Do It Again"
Mojo Flucke April 17, 2008
The MC5 burned out and faded away so quickly, caving in under the weight of their own drug habits and personality conflicts in the early '70s, that the punks they…


North Korea has confirmed that it has arrested a US citizen and is preparing to charge him with "committing a crime" against the country, BBC informs. Jun Young-su was arrested in November last year, the official KCNA news agency said. The US state department announced the arrest on Tuesday and is calling for the detainee's release on humanitarian grounds. The US has not named him, but said that Swedish diplomats had visited him. The Swedish embassy in Pyongyang looks after American interests, as there are no diplomatic relations between North Korea and the US.