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Crossing the Des Plaines River
Crossing the Des Plaines River Shortcrossing Provides Big Challenges
When it comes to tunneling, the City of Joliet, Illinois, may not have the wealth of experience that some other, major urban centers may have. After all, there are no subways to dig, no mountains to traverse. But that doesn't mean it can't tackle a tricky project. Recently, the City successfully completed a bore under the Des Plaines River as part of its program to improve water quality.
The keys to success? Proper planning, assembling a strong team, and collaboration.
At first glance, the project looked fairly routine: build an 865-ft tunnel, 111.5 in. in diameter, underneath the Des Plains River. But there was one interesting wrinkle. Due to the fact that the river was channelized in the 1920s, the eastern shaft elevation was lower than the elevation of the river. That meant that if any water from the river found its way into the tunnel, there would be a potential for large-scale flooding.
Recognizing this potential, the City worked with the contractor, Triad/Midwest Mole IV, to develop a unique pilot bore approach to verify the ground conditions along the tunnel route, ensuring that tunneling could be constructed without risk of flooding. With peace of mind, the tunnel was then successfully bored, moving Joliet one step closer to improving water quality in the Des Plaines.
The area that is now Joliet was first settled in the 1830s and was incorporated as a city in 1852. Like in many other eastem and Midwestern cities of the day, combined sewers — containing both sanitary and storm water flows — were built in the city's core. The Des Plaines River Crossing is part of Phase II of Joliet's 1ong-term control plan to capture excess storm water flow and convey it to a new wet weather treatment facility.
The new tunnel will convey excess flows from the westem side of the river to the eastern side, site of the existing treatment plant as well as the future wet weather facility. The City of Joliet worked with consulting firm Strand Associates in the development of the long-term control plan, which included the construction of the tunnel.
Once the tunnel project advanced to the design phase, Mott MacDonald was brought in to perform a risk analysis and was later retained as resident engineer in a joint venture with V3.
A joint venture of Triad/Midwest Mole was the tunneling subcontractor for the project and used a contractor—refurbished Lovat RM110 IBM with a Robbins Rockhead to mine the tunnel.
"While a tunnel of this length and diameter may not be considered big within the tunneling world, for us it was a significant undertaking," said Allison Swisher, Civil Engineer, City of Joliet. "Not only was this our first tunnel, but the potential of flooding added a level of concern going into the project."
GZA GeoEnvironmental conducted the geotechnical exploration, which included seven borings on both land and in water. The data showed competent rock at the design tunnel elevation below the river. With the rock conditions and short length of the tunnel, drill—and-blast was thought to be the most likely construction method. However, when the five bids were opened, the lowest – submitted by Joseph J. Henderson & Son – proposed TBM tunneling.
A joint venture of Triad/Midwest Mole was the tunneling subcontractor for the project and used a contractor—refurbished Lovat RM110 TBM with a Robbins Rockhead to mine the tunnel from west to east through dolostone bedrock with expected unconfined compressive strength of about 18,000 psi. The cutting diameter of the TBM was set at 111.5 in. Aldea Services was retained as the contractor's designer.
Joseph J. Henderson & Son constructed the launch shaft while Triad/Midwest Mole constructed the reception shaft. Shaft construction involved drilling and blasting and the installation of ring beam and lagging in overburden and rock bolts in the bedrock.
The initial plans for tunneling included drilling probe holes in advance of the excavation, but the use of a small TBM with limited face access and room for extra equipment made this approach less practicable. So, Triad/Midwest Mole proposed drilling a 6-in. pilot hole adjacent to the tunnel alignment at the elevation of the tunnel crown. The contractor built an entry seal and gate valve on the shaft wall in the event that water was encountered. Using a Vermeer 100×120 horizontal directional drill, an Inrock hammer and Inrock guidance system, Triad/Midwest Mole completed the probe to the satisfaction of owner.
"We encountered an occasional clay seem during the bore, but very little groundwater," said Steve Abernathy, Vice President, Midwest Mole. "The ground was very consistent with what they found in the boring. We got about 6-8 gpm of water coming out of the probe hole, which gave us a high degree of confidence that we weren't going to encounter any catastrophic flows."
As a contingency, the contractor was required to have dewatering pumps in the shafts capable of moving 2 gpm for every 10 ft of tunnel-equal to about 1,600 gpm over the length of the tunnel.
Navigating the probe drill also presented a challenge. The City had to coordinate with the Illinois Department of Transportation to set up tracking equipment on the I-80 bridge, as well as with the Department of Natural Resources to manage boat traffic that could also interfere with navigation.
"Completing the probe drill without encountering any major inflows helped put us at ease that we would not find a fissure or connection to the river while tunneling," Swisher said. "We were pleased with the out-of-the-box way of addressing our concems."
Once the probe was completed and the project team was comfortable with proceeding with TBM tunneling, Triad/Midwest Mole launched the machine. Because the TBM was configured for hard rockwith grippers, the contractor affixed a steel tube to the bottom of the shaft in which the TBM was placed. The TBM then used its grippers to grip the inside of the pipe and push its way forward. As soon as the machine had entered the rock far enough, the steel starter tubes were removed.
"The shaft was going to be used for a pump station, so it was large enough to allow launching the machine this way," said Brian Liotti, Project Engineer, Midwest Mole. "We were able to use this approach in lieu of building a starter tunnel by drill-and-blast."
Once underway, crews were able to advance an average of about 20-30ft per day working 11-hour shifts. Tunneling began late July 2015 and was completed on Dec. 21. At the shallowest point along the alignment, there was 24 ft of cover.
Crew placed 60-in. diameter Hobas pipe to carry wet weather flows, in addition to two 24-in. sanitary sewer pipes and two 6-in. PVC conduits, which were grouted in place using 200 psi cellular grout.
First Time Owner's Approach
Despite the relatively short length and small diameter, the Des Plaines River Crossing was a major undertaking for the City of Ioliet. As such, the City did its due diligence in preparing for the project, engaging consultants and the contracting community to utilize best practices and maximize its chances for success.
"The City did not have experience in tunneling, but understood that tunneling under a river and flood wall carried unique risks," said Mike Vitale, Senior Vice President and Regional U.S. Tunnel Practice Leader at Mott MacDonald. "They were proactive in seeking out specialist tunneling advice from the onset of the project, and receptive to implementing recommended risk mitigation measures. The City was a great client to work for."
Joliet undertook a risk analysis, used a geotechnical baseline report(GBR) as part of the contract documents, and employed a dispute resolution board. As it turned out, the DRB was not needed "but was a good backstop," according to Swisher.
"The most critical element in completing this tunnel was that we were able to get the right project team involved early on," Swisher said. "Once the team was in place, we maintained communication and everyone was able to work well together."
Shaft construction involved drilling and blasting and the installation of ring beam and lagging in overburden and rock bolts in the bedrock.


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Il Blue Streak era un missile balistico a raggio intermedio britannico progettato nel 1955, con una massa e prestazioni simili a quelle di armi statunitensi quali i Thor.

Ma negli anni '60 il governo britannico decise di abbandonare il programma dei missili balistici basati a terra. Il Blue Streak venne trasformato in un vettore spaziale, ruolo in cui operò fino all'avvento degli Ariane, e nello stabilire un'impeccabile carriera confermò la bontà del progetto originale, anche se non particolarmente avanzato.

Altri progetti

Missili superficie-superficie
Missili balistici a raggio intermedio
Lanciatori britannici

redpajama_set_name: RedPajamaWikipedia


I am researching a Service Broker performance problem. I'm in the initial stages of investigating this, but I could really use some pointers on where to look for the issue and whether the design has obvious flaws.
Service Broker is being used for messaging between a database and an application (the application has been developed in C# and runs as a Windows service on another server). The database puts messages on the queue and the application removes them.
There are two services (initiator and target) on the same SQL Server. The database (also on the same server) sends a message from the initiator service to the target service. There are 10 conversations open, corresponding to 10 threads on the application. These are long-running conversations which are only ended and replaced if needed. There are never more than 10 conversations being used.
The calling application opens a transaction (using .NET), calls a stored procedure which receives the top 1 message where the conversation ID matches the one being handled by that thread. The application commits that transaction after it's certain that there are no errors.
We expect to process about 2 messages per second per thread (20 messages per second). This rate will be constant for hours, with slow times only coming at night.
In testing on a performance-test server that has been well-provisioned with hardware, the message rate is acceptable for less than a minute. After that, the performance rapidly slows. Once the performance is fully "slowed", it takes one hour to receive 1600 message from the 10 conversations, with no more being added. "Unacceptable" does not even begin to describe this performance.
Interestingly enough, the process generally performs well when running on local (developer machine) installations of SQL Server with the application also running locally. The local tests are limited in time and scope, but they out-perform the servers easily. It performs poorly on every "production-level" server to which it's been deployed. Code profiling indicates that almost all of the time is spent calling the stored procedure with the RECEIVE statement.
I'm not experienced in performance tuning SQL Server, but I suspect I'm about to learn that. However, the dismal performance of this process on well-provisioned servers makes me believe that the design is flawed. I do know it's nearly impossible to "tune" a poor design.
Does anyone see a smoking gun in this description? Any tips on how to proceed?
i'm experiencing a similar issue with service broker and wanted to know if you were able to resolve it?
I'm sorry, this was never resolved.
The Service Broker piece was a small part of a massive corporate conversion project that had fundamental flaws. The entire project failed and never went to production (thankfully).


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Sixth Circuit Follows Suit in Affirming Preliminary Injunction of Contractor Vaccine Mandate
Government Contracts Insights
On January 12, 2023, the U.S. Court of Appeals for the Sixth Circuit joined the Fifth and Eleventh Circuits in upholding a preliminary injunction against the enforcement of the Biden Administration's effort to impose on federal contractors a variety of COVID-19 safety-related protocols, including a vaccine mandate. Describing the scope of the executive mandate as "stunning," the Sixth Circuit concluded that the Federal Property and Administrative Services Act (commonly known as the Procurement Act or Property Act) "does not confer the authority to promulgate a rule, including the contractor mandate, that simply makes contractors more efficient," and that "the President exceeded his authority in issuing" Executive Order 14042. The district court nonetheless abused its discretion in enjoining the requirement for all federal contractors in the plaintiff states, the Court of Appeals held, and limited the preliminary injunction to the parties to this case only: Ohio, Kentucky, Tennessee, and two Ohio sheriff's offices.
Joseph R. Palmore
J. Alex Ward
Krista A. Nunez
Roke Iko
Adam L. Sorensen
Appellate + Supreme Court
Government Contracts + Public Procurement

redpajama_set_name: RedPajamaCommonCrawl


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Are You Ready for the Next Age of Crowdfunding?
By Rob Marvin PCmag
In Part One of our explainer on the government-regulated crowdfunding investment space, we talked about how businesses and investors should navigate the now-regulated crowdfunding landscape.
Entrepreneurs and start-ups that have never had access to traditional venture capital funding can now raise up to $1 million through online Regulation Crowdfunding (Reg CF) portals, and middle-class non-accredited investors can contribute 5-10 percent of their income per year in Reg CF offerings, depending on their net worth.
But Reg CF is only one side of the equity crowdfunding coin, which also includes something known as Regulation A+ (Reg A+).
To start, equity crowdfunding means online investors actually get a stake in the start-up or SMB as opposed to traditional nonprofit crowdfunding platforms like Kickstarter and Indiegogo, which are easy ways to lose your money.
Reg CF and Reg A+ are part of the 2012 Jumpstart Our Business Startups (JOBS) Act, which has been reworked and updated over the past several years to address the crowdfunding economy and encourage new forms of protected, regulated start-up and SMB funding and investment. Reg CF is Title III and Reg A+, which went into effect in 2015, is Title IV.
"The entire purpose of Regulation Crowdfunding is to allow emerging companies to raise capital faster, cheaper, and more efficiently than ever before, and we are optimistic that over time, this will be prove to be the case," said Darren Marble, CEO of digital marketing agency CrowdfundX.
A Quick Explainer on Reg A+ and Reg CFPCMag has a detailed explanation on how Reg A+ works and how accredited Reg A+ portals operate, but the gist is that compared to Reg CF, Reg A+ deals in higher funding amounts that are more tightly regulated.
Both regulations deal with unaccredited investors as opposed to traditional VC investors, private equity firms, and hedge funds. But Reg A+ requires full SEC approval of each offering (as opposed to formally notifying the SEC of a Reg CF offering), and two years' worth of audited financial data. Investors also have to self-certify their net worth before they can start putting money down.
Reg A+ has two funding tiers: Tier 1 caps the maximum amount a business can raise per year at $20 million and Tier 2 at $50 million. Funding portals must register separately with the SEC and FINRA as expressly Reg CF or Reg A+ marketplaces (though you can be both). There are no limits on how much individuals can invest in Tier 1 offerings, but Tier 2 investments are limited to a maximum of either 10 percent of the investor's net worth or net income, whichever is higher.
Rod Turner, founder and CEO of approved Reg A+ crowdfunding portal Manhattan Street Capital (MSC) said Reg CF is more like a traditional seed round, while Reg A+ fills the role of a much heftier Series A, B, or C funding round. There are no restrictions stating a company can't raise a Reg CF round this year, and a Reg A+ round a year or two later.
"Title III is essentially seed financing; you don't need wealthy friends and relatives, you don't need access to angel investors," said Turner. "[The regulation] is filling a great need both from companies that had no real chance because of their geography, and for smaller businesses looking to raise an amount too small for VCs or angel investors to consider. With Title III you can be in podunk nowhere and as long as you market your product well and it's appealing to consumers, you can raise capital."
MSC measures Reg A+ statistics monthly. Its latest report found that the number of mid-stage companies and mature start-ups adopting Regulation A+ funding is currently at approximately 116, with the aggregate capital of all those intended raises adding up to $1.9 billion, up from $1.2 billion in January.
To get a sense of the vast difference in scale between Reg CF and Reg A+, look no further than Mark Cuban. Speaking recently at the Salt Conference, the entrepreneur, investor, and Shark Tank host told attendees at the hedge fund summit that Reg A+ is a huge opportunity to counter Silicon Valley VC culture with a new way for businesses to raise significant capital.
"The SEC has Reg A+, which simplifies the paperwork for [a] $25 million or $50 million offering. These rules with Reg A+ have just been crystallized recently and there is a huge opportunity and I've been talking to folks about creating a fund that says the goal is to invest in [a] start-up, but part of the effort is we're going to try to take them public within four to five years," Cuban said, according to The Street.
New Money, New Business, New OpportunitiesMost coverage of the new crowdfunding regulations has focused on start-ups and entrepreneurs, but in a way that misses the point. A hot new start-up with innovative tech or a great-looking growth forecast can always court traditional VC investment. The companies that can really benefit from the comparatively small investment limits of Reg CF are under-the-radar small businesses that have been around a while, have a stable business plan, and just need that extra push
Jeff Koeppel, Of Counsel with the Law Offices of Kirk Halpin & Associates, P.A, advises public and private companies on private equity and debt issuances, corporate governance, contracts, deal structuring, joint ventures, and other corporate and securities matters. He said as this space matures, Regulation Crowdfunding will be particularly helpful to mature small businesses with a financial track record and a solid local presence seeking to raise a small amount of capital. Maybe it's hiring new employees or expanding to new local retail locations, or maybe a manufacturer wants to expand the factory floor or buy new equipment.
"These are the folks whose bank line of credit was cancelled in the last financial downturn or who don't want to pay the rate being charged. It may be a local music store, dry cleaner, or even an auto repair shop that just needs a few hundred thousand dollars to open a store in another neighborhood," said Koeppel, who also spent three years at the SEC as a Senior Attorney-Advisor in the Division of Corporation Finance.
Koeppel pointed to a British crowdfunding site called Crowdcube as a good example of how this kind of equity crowdfunding should work. Crowdcube took advantage of UK crowdfunding regulations to introduce something called The Burrito Bond, which helped Mexican restaurant chain Chilango expand to more locations in London. The Reg CF-like offering paid investors 8 percent interest over four years, and raised more than £2 million.
Crowdcheck CEO Sara Hanks agreed that local small businesses have the most to gain. Crowdcheck is a due diligence, disclosure, and compliance firm for online funding and investment, and Hanks is also a corporate and securities attorney with experience at several law firms as well as the SEC. The firm does due diligence and compliance filing for both Reg CF and Reg A+ offerings.
As laid out in Part One, established SMBs may also be in a better position to handle the upfront costs and recurring fees arising from accounting and legal due diligence and financial reviews. "I see Regulation CF as being helpful for 'Main Street' type businesses that find it very hard to get funding, and yet could provide meaningful job growth and economic activity if only they could grow," said Hanks.
Where Crowdfunded Investment Goes From HereThis new way of investing is still in its infancy. The next months and years will bring a lot more Reg CF and Reg A+ portals into the space, and businesses all across the spectrum, from start-ups and SMBs to small to midsize enterprises (SMEs) looking for a different kind of funding.
Depending on the business, crowdfunding might be a more appealing option than VCs and traditional investment, even if the start-up has the option. It requires adherence to SEC and FINRA rules and paying a percentage off the top to a portal, but Reg CF and Reg A+ leaves founders and owners with full control of board seats. Equity crowdfunding also lets founders set the values of their own companies, from how much investors can buy shares for and what the minimum investment will be.
The next big question is how the big mainstream crowdfunding and VC portals respond. AngelList, arguably the biggest start-up marketplace out there, is already embracing Title III with a recently spun-off investment marketplace dubbed Republic. MSC's Turner added that if Kickstarter, Indiegogo, RocketHub, Crowdfunder, and the like entered the equity crowdfunding space as well (though it would require substantial effort on their part to build an entirely new SEC-compliant section of their business separate from donation-based crowdfunding), they'd have the consumer investor base to set the market.
"With Indiegogo, they have such a large scale compared to any other Title III platform," said Turner. "If they do a good job of making it possible for the companies making money in Title III to communicate with initial investors who've been contributing to Indiegogo campaigns for a couple years, that's a tremendous advantage in what they can offer."
Aside from whether or not Kickstarter and Indiegogo enter the fray, the game could be about to change even more. The SEC is meeting in the near future to discuss the re-definition of an "accredited investor" to account for inflation, which could disqualify up to 40 percent of qualified households in the US based on net worth.
If a change like that went through, non-accredited investment opportunities like Reg CF and Reg A+ could become exponentially more popular very quickly. It's the dawn of an entirely new paradigm for how business ventures are funded in the United States, and we're definitely not in Kansas anymore.
This article originally appeared on PCMag.com.


Testimonials from Corvette Customers - MacMulkin Corvette - 2nd Largest Corvette Dealer in the World!
The Corvette Team at MacMulkin Corvette prides themselves on providing a top-notch purchasing experience for every one of our customers. We work diligently with each and every customer from building their Corvette and walking them through the ordering process, to introducing them to their new Corvette and spending as much time as necessary to explain each and every feature of their car.
Below are some of the awesome reviews we've received from our customers!
"I just purchased the car with the assistance of Jesse LaMontagne and had a wrap installed upon Jesse's suggestion. Great job. I wish to add that Kenny G delivered me the car on Saturday in a most diligent and comfortable manner. I have only praise for all the professionals at MacMulkin from the people that routed my calls for the sales dept, to the men who prepped the car for delivery and also Mark who was the first person to assist me in my search for my 1st Vette who remembered me six months later. Thanks also for the team approach to marketing Corvettes and how that team made this purchase easier than all others in a lifetime of car purchases. Your Company is consistent in its philosophy of no fees and as far as I know the lowest cost dealer. Thank you for a flawless transaction with zero drama." – Mark Bobroff.
"Tommy Jr. and his Corvette team made our out of State purchase seamless and pleasant. Every step of the process was explained and handled professionally. They always responded to questions in a timely manner. A special Thanks to Nicole and Jessy." – Alfred P.
"It was a pleasure dealing with Tommy Jr. in placing the order for my Grand Sport and negotiating the trade for my 14 stingray. I was kept informed of my order status and delivery. When the car arrived I dealt with Mark, Jesse, and Kenny G who made it a very easy and pleasant experience. This is my second corvette from MacMulkin and I highly recommend the dealership and staff." – John Reardon Jr.
"I'd like to say a big thank you to Jessy, Kenny G, Mark and Sierra! We love our new Corvette Grand Sport and you all were terrific to work with. Especially a big thank for getting it ready on this past Friday when I needed it and working through all the last minute challenges. Kenny, thank you for the thorough pre-flight check out and for helping me in the dozen phone calls after I took delivery.


p>Join the Hangar Flying update from AirVenture 2007 in Oshkosh with Pilot Dan, Pilot Kent, and Pilot Mike talking about Pilot Kent's approach and landing to Oshkosh using the NOTAMed "Fisk arrival." Listen as the amazing Oshkosh air traffic controller calmly handles the white knuckle situation as Kent and other landing planes have to get out the way of a "Bozo to Oshkosh".
Eclipse surprises everyone by flying in a V-tailed single engine jet prototype, the Eclipse Concept Jet.
Cessna shows the Cessna Light Sport Aircraft "The Skycatcher".
Cirrus "unveils" the Cirrus Light Sport Aircraft but there's a catch.


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Q: what is the correct path to pro lightswitch development for someone with c# winforms background I have just started with LS and it looks like I will have to muck with Silverlight/xaml/LS extensions to go beyond what is provided out of box. My background is winforms / c#. Never done wpf, asp.net, silverlight, xaml etc.
1) Should I learn wpf and/or XAML first or can I jump right into silverlight control development ?
2) Do I need to know asp.net ?
thanks

A:
1) Should I learn wpf and/or XAML first or can I jump right into silverlight control development ?

You should know XAML, but that is included when you learn Silverlight. Don't do 'WPF first', it's another branch. When you know (a fair bit of) SL you can look at developing controls.

2) Do I need to know asp.net ?

A little. Not much beyond the generated host pages.
But when moving outside/beyond LightSwitch, you may want to look at WCF and DataServices.

redpajama_set_name: RedPajamaStackExchange


LCL Beauty provides high-quality multifunction facial machines so your clients can feel glamorous and beautiful after each visit. Try any of our Patent Pending Diamond Microdermabrasion Skin Softening and Exfoliation Systems that provide essential exfoliation to the outer layer of skin. This stimulates cell growth for a smoother, fresher appearance of skin. You'll find machines that can do up to 22 miraculous treatments for your clients. Plus, our multifunctional stations are perfect for any budget!


They size small, we recommend a bigger size than the one you normally wear. Between two sizes (i.e., EU 38.5) we recommend you choose the biggest size (i.e., EU 39).
Nuage Noir Velours is a delicate model in a feminine form and colour. Using sustainable and recycled materials we have created a comfortable model for your everyday. It's a classic with an ecological touch!


Kol Shalom asked that their home be humble, inspirational, and connected to nature, with a strong emphasis on green architecture. These themes shaped the structure and were referenced throughout the process.
The building with sanctuary space, administrative offices, classrooms, bathrooms, catering kitchen and support services, is designed with the anticipation of future expansion for sanctuary space and social hall, as well as a second level of classrooms.
The form came out of the desire to incorporate two concepts: protection and welcoming. The exterior masonry walls enclose that which is hidden inside, protecting it from the outside. The custom masonry inset panels recall Jewish holidays that are connected to nature. The variation in the texture of the masonry walls and strip windows play off of the velocity of the movement on the adjacent road. Their height responds to the scale of the neighborhood.
In contrast, the main entry arch welcomes the congregation inside and breaks the protective exterior wall. The form recalls the shape of the Hebrew letter ה, representing the name of God. The main doors are decorated with a bronze tree design, recalling the Tree of Life. The glass walls between the entrance and masonry wings are covered with a custom Hebrew letter pattern.
The sanctuary is an open and tranquil spiritual space. The 15-foot high ceilings and full height windows allow light in, connecting the space to the wooded area at the back of the site. The ark is a17-foot wide cantilevered structure, with stained glass sliding doors. The imagery, commissioned by the congregation, recalls nature.
The project is LEED Gold certified. Some of the major elements incorporated into the design include a geothermal well system, green roof, and views to the outside and continuous insulation outside of the exterior wall framing to reduce thermal bridging.


Treat yourself to the special gift of retreat. Join Dzogchen lineage holder, best-selling author and spiritual activist Lama Surya Das, along with Lama Daniela and Lama Christopher, for a week of awakening at the beautiful Serra Retreat Center in Malibu, CA., from Sunday, March 24th through Sunday, March 31st 2019.
This is a joyful opportunity to unfurl our heart and mind, supported by the beautiful natural elements of sky, mountains and ocean, as well as precious Dzogchen pith instructions.


This issue has been occurring for around 6 weeks, came out of the blue and progressively affected multiple sites.
We have DrayTek Vigor 2860 routers configured with two VLANs - one being the primary and used by all equipment on site minus a UniFi AP (AP-Pro or AP-AC-Pro) which is on a separate VLAN to provide customer WiFi.
On the affected sites, if the AP is plugged into this second VLAN, the whole network slows down. Remote ping responses over an IPSec VPN go to an unstable 300-500ms, but if we plug that AP into the switch connected to the primary VLAN then speeds return to 50-60ms and are stable.
No firmware updates have been applied to the DrayTek at the point where the issue began and firmware updates to try and rectify the issue haven't resolved it.
Firmware updates for the UniFi APs have also had no effect.
Completely confused as to how the issue began, and more so how to rectify.
Any assistance appreciated, can provide more information if needed.
If I had to guess based on available information - running a virtual network on that router may be too taxing. vLANs are really cool, but are less efficient than a flat network/firewalled subnets. You might consider configuring the interfaces with firewall rules to separate the "main" network and the guest WiFi, rather than having two virtual networks to improve performance.
Another option would be a better performing firewall/router, or a l3 switch to handle the vLAN and offload it from what appears to be more of a WAN gateway than a high-performance firewall. If you wanted to do this on the cheap something like pfSense on a hypervisor might work for you.
Sorry, think I've missed some information on this.
The locations operating DrayTek routers are small retail locations with standard POS & office equipment running on VLAN1, with customer WiFi running on VLAN2. There are no virtual machines running.
The V in vLAN stands for virtual. Virtual Local Area Network.
My hypothesis for you to test was that this is a limitation of the hardware, but it could also be a configuration issue, an issue with the WAP, the firewall, or even clients connected to the customer WiFi. Are there apartments above the storefront that might be using the customer WiFi, downloading torrents or something like that which might cause network congestion?
Do you know exactly when the issue started? Did you try looking at logs on the firewall and the access-point?
I would honestly setup UniFi in a traditional productions and guest network without the second VLAN. UniFi can do it's own "inter-VLAN" dropping so people on the guest network cannot access the production network. I think it would be an easier solution. Out of curiosity, is there any data flowing when connected to the customer VLAN? I do know my office had troubles with almost every older model of DrayTek routers with VLAN's until we tried the Vigor 2960. That is different though, we had a lot more VLAN's and I will assume a lot more traffic per VLAN.


The stakes have never been lower, but Steven Universe thrives on the small stage. The episode's plot is simple: Steven and Buck Dewey make T-shirts together, then disagree about what said T-shirts are for. It's a light, sit-com-esque premise that leads into an earnest look at what growing up can take from us. Nothing explodes, nobody fuses with anybody, and the B-plot is a running discussion about ownership of art and the incompatibility of art and capitalism. Imagine an episode of Dragon Ball Z where Goku just repairs a shoe while arguing with Bulma about the value of the 24-hour news cycle.
The episode begins with Steven proudly showing the Gems his handmade poster advertising guitar lessons from Greg. The Gems react with varying levels of tolerant interest, but down at the Big Donut the ever-hip Buck Dewey sees memetic potential right off the bat. Buck convinces Steven to abandon posters and join him to print T-shirts on his father the mayor's old campaign equipment. In the process the two boys stumble over Buck's childhood "Vote for My Dad" drawings, something Mayor Dewey remembers fondly but to which his son reacts with frustrated embarrassment. Mayor Dewey's evolution from heartless robot to fumbling, uncool dad as he awkwardly pats Buck on the back and shouts Carter-era buzzwords like "Peace in the Middle East!" makes for a surprisingly affecting arc.
Mayor Dewey's squareness is in conflict with his son's age-bracket-appropriate irony, but Steven's unabashed love for Greg represents a chance for Buck to revisit the purity of what he at Steven's age felt for his own father. So, like all good teenagers, Buck realizes this and sets about cynically attempting to sabotage it. "You really love your dad," he observes to Steven after insulting the younger child's heartfelt but unskilled artwork. "It's funny." Buck takes Steven's drawing and uses it to make Greg, or "Guitar Dad," an object of ridicule. It takes Steven a while to cotton on to what's happening, and he and Buck spend a while firing T-shirts at passers-by from a rooftop hideout (bringing back in the process the "Buy T-shirt Cannons" T-shirt cannon, easily my favorite Steven Universe gag) before Buck admits what he's doing.
The older kid tries to play off his cruel prank like performance art, arguing that it exists on its own merits and shouldn't be questioned and the conflict between Buck's adolescent cynicism and Steven's youthful idealism plays out with corrosive realism. We've all been the little kid trying to act cool around our older siblings and their friends, and conversely we've all wished our kid siblings and their obnoxious friends would stop being so damn chipper and blissfully ignorant all the time. Buck, whether he realizes it or not, resents the apparent lack of complexity in Steven's connection to Greg, but what he's really taking aim at with his faux-avant guard jerkishness is the loss of his own innocent love for his dad.
Steven has been kind of a beloved sidekick to the Cool Kids on several of their adventures, and bringing conflict into that dynamic is a smart move that deepens and textures Steven's and Buck's relationship. It's helped by writer/storyboarder Lamar Abrams' cool, nuanced voice work for Buck and his easy chemistry with Zach Callison's Steven; the two sound like siblings and it adds weight to their falling out and to their reconciliation. It's worth noting that the empty warehouse outside of town, a location Steven Universe uses often and to great effect, frames most of Buck's interactions with Steven and is the site of some really stellar, understated artwork by Abrams and Hellen Jo.
The Gems are kind of out of focus again, but their two appearances are memorable for the sheer density of jokes crammed into each (they're assembling IKEA furniture!) and for the fact that they never leave the couch in the beach house's living room. I like the idea that they sit in place and stare fixedly at nothing until Garnet senses trouble. "Steven," Pearl admonishes when Steven comes to the Gems for help, "this sounds like a very abstract problem." It is, and it's hard to imagine another show that, rather than punishing Buck for his misdeeds or rubbing the harshness of reality and growing up in Steven's face, would commit to exploring the value of the unaffected connection between a parent and a child.
Steven Universe posits that this form of connection holds value even later in life when cultural forces conspire to drive wedges between fathers and their sons. There's a refreshing lack of preachiness in the show's defense of love, and when Buck sees his love for his father recreated in his childhood drawing he ultimately chooses to set cynicism aside. I think the choice to frame the scene like something out of Leon: The Professional is a little weird, but the end result is heartfelt and the closing shot of Buck rocking a Guitar Dad shirt without a trace of irony feels earned.
That said, we now live in a universe where Steven Universe dropped an overt and extended reference to infamous sniper Charles Whitman and the clock tower shootings.


Summary Most developers would be able to create and even parse an XML packet using simple string manupulation. Hovever the MSXML DOM make the task trival and enable the development, manipulation and parsing of very complex XML documents.
XML is becoming a popular way to pass complex data in a mostly human readable form. In the article we will discuss how to create an XML document then parse the document to get particular data out of it. It is quite easy to create XML using simple text strings but we will use the very powerful MSXML Document Object Model. Remember, DOM is goood.
As MSDN would say "XML is the universal language for describing and exchanging data". For more detail see.
For this article it is something that looks like this UsingXmlDom.xml file.
Microsoft has a COM object called the Microsoft MSXML Parser tool to create and parse XML. To use this we need to add the following code to stdafx.
//      Check the hresult and throw it in an execption if unsucessfull.
Because we are working with COM will also need to call CoInitialize(NULL); and CoUninitialize(); in our code and start-up and shutdown.
When building XML documents and working with COM, I have found the following functions very handy. They can be added to the code above where they are called. The first just converts a COM execption into a MessageBox. The second and third are used add data to the XML document.
//      Display any com error in a MessageBox.
//Disable error The identifier string exceeded the maximum allowable length and was truncated.
//      Start a new XML element.
//      sNodeName   The new node name.
//      pNode       The node to add the new node to.
//      The Node base or the new element.
//      Add Attributes to the Given Element.
//      sAttribute  The title of the Atttribute.
//      sValue      The value of the attribute.
//      pNode       The node to add the attributes to.
Now lets build the XML document here. Some parts of this are optional. ie The Processing Instruction and the Comment. Note that at then end the XML document may be accessed as a string or saved to a file.
//      Fill and XML packet of Data.
//Add the Process instruction to the top of the document, "Optional"
//Add some comments to the document, "Optional"
Building XML is only half the story the things get interesting when we need to extract data from the XML document. In this example we will extract all the <MyPerson> elements. We will display the text for each element and all of its attributes. Note in this example there are three <MyPerson> elements in separate branches of the tree and that the IXMLDOMNodeListPtr object contains all elements.
"       <MyPerson Name=\"Tod\" Age=\"55\" />"
It is a best code i ever found over the net. I was searching for the same. actually i need was much more than this, but it help me in begining my coding.
I am from Russia. I looked information how I can insert Atribute into Node by means of createNode function. I have find it only your page. The grate THANKS!
Very good! However, where did the class notation come from on some of the methods (i.e. `CDlgOutXML::`).
I look at a way to get all the information store in the xml file but, it`s hard to find descriptions of all functions of DOM API.
Now it works fine. But i need to get only the information of a specific node and not searching it in all the tree.
I have been in this module to create an XML for two days and several MSXML parser have made me crazy. The code you have made is too good.
Thanks for the help you have done.
It is simple and self explanatory.


text:
Tuesdays With Hildy: With NHL 12 Being Released Today, What's Your Favorite Ice Hockey Game?
By hildymac@hildymac Sep 13, 2011, 1:43pm CDT
Share All sharing options for: Tuesdays With Hildy: With NHL 12 Being Released Today, What's Your Favorite Ice Hockey Game?
"How does it feel to be the most overrated player in sports video game history, and ride that to a spot in NHL 12 over Brett Hull?" "Well, I got this hideous drawing that doesn't look like myself, so I guess it feels right. It feels right."
I'm a video gamer. Generally, I prefer sports and good old fashioned side scrollers - a throwback to my NES days. Thankfully, EA Sports' NHL series are the best sports games out there. Of course, they've been going on since NHLPA '93 (ahhh, a lack of league licensing rights - good times), which makes them one of the longest running franchises in video games today.
Of course, the EA series isn't the only game that's populated video game consoles. You have to go aaaaall the way back to Intellivision to get NHL Hockey, which was released in 1980. The Atari 2600 also had Ice Hockey, which presumably wound up more like Ice Pong than anything else. Also, according to the box art, it involved magical rainbows:
The more well-known games came out in 1988. Blades of Steel, by Konami, had the superior graphics, gameplay, and the correct number of players on each team. It also had some cracked out penalties, such as only the loser from a fight getting sent to the box. Also released in 1988 was Nintendo's Ice Hockey, which had no basis in reality at all but did give us three beloved characters: Fat, Thin, and Medium:
Hockey video games really didn't start getting awesome until the Genesis and NES. Heck, even our very own Brett Hull got into the act:
Wait. Where's the Bluenote? Oh, that's right! Another NHLPA- only game. Have no fear! NHL Stanley Cup had NHL licensing, but no NHLPA. If you smush them together, you have a pretty decent hockey game with oddly confusing graphics that tried to take advantage of the SNES' 16 bit technology. They both kind of look like Starfox on Ice.
NHL 94 is a game that has developed a cult following, and for a reason. It's the first actual hockey game for the SNES and Genesis to feature the whole shebang: players, teams, and - for the Genesis - blood. Also, it has that obnoxious little kid that'd come up and bang on the glass for no reason at all, which was a nice touch as we all know that kid exists. There're countless downloads and game mods out there for SNES ROMs, some of which plug in recent squads that you can play as. These people have no lives, but the results of this lack of life is awesome.
NHL '98 (my personal favorite) was the final game released for a 16 bit system. NHL '99, which featured only a mildly concussed Eric Lindros on the cover, also featured the Nashville Predators for their inaugural season.
EA's games have improved over the years and have basically forced 2KSports' games off of the PS3 and Xbox 360 completely due to the fact that EA is awesome and 2K tends to be terrible. The players look like zombies and the play's sluggish. Heck, the games're so bad that 2K even decided to quit, not making one for the Wii this season. They even failed at an iPhone game.
I know I left quite a few off. What games are your favorites? Discuss the merits, and tricks you've used to blow Chicago out of the water. Also, has anyone made Jeremy Roenick's head bleed?
Parayko, Schenn, and Tarasenko are returning Reinforcements are coming.


text:
module Channel9
  # Dynamic bytecode stream builder.
  class Builder
    attr :stream
    attr :label_counter

    def initialize(stream)
      @stream = stream
      @label_counter = 0
    end

    def make_label(prefix)
      "#{prefix}.#{@label_counter += 1}"
    end

    def set_label(name)
      @stream.set_label(name)
    end

    def line(filename, line, pos = 0, extra = "")
      @stream.line(filename, line, pos = 0)
    end

    # generate methods based on instruction names
    def method_missing(name, *args)
      if (instruction = Instruction.get(name))
        @stream << instruction.new(@stream, *args)
        return self
      else
        super
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


1.What type of tube I must use to obtain the blood for a molecular diagnostic study?
In general, for any molecular genetics study, a 5 ml EDTA tube (purple cap) is required.
In doubt or special tests consult to Secugen previously.
2. Do I need to use the tube that secugen shipping or may i use other similar tube?
If you have received tubes from Secugen that you cannot use or are not valid for your extraction system, you can use any EDTA tube (purple cap).
3. If I request for more than a test, should i send a tube for each analysis?
Usually a single tube of blood with 3-5 ml is sufficient to perform several analyzes.
4. If I had isolated the dna, can i send it to Secugen?
If your DNA has a purity (absorbance ratio 260/280 nm) between 1.7 and 1.9, except in exceptional cases, your DNA will be valid for the molecular genetics study.
5. Can I use other than blood samples?
Yes, you can use other types of samples such as saliva, skin or muscle biopsy, amniotic fluid, etc.
In these cases, please consult to Secugen previously.
6. Is the responsibility of Secugen the sample transportation?
Yes, for samples sent from Spain, Secugen is responsible for collecting the sample and transfer it to our laboratory, ensuring the quality of the process.
7. Can I send the sample on my own?
Yes, you can send us the sample directly to our laboratory.
8. What documents should I send attached with the sample?
For each sample is necessary to send us the application form of the test, filled and signed with information on the ordering physician, and the letter of undertaking to pay.
In your first time, you must also send us the customer sheet, stating in which fiscal data center billing.
9. How long does it take to get the result?
In general, most studies are conducted within 30 days of receipt of the sample in our laboratory.
10. Must I send a new sample if I need request a new test for a patient was tested before?
No, we store samples for several months.
Consult before to do a new extraction to the patient, in most cases it is not necessary and can speed up the process of the study.
11. What is the procedure to request a new analysis of a sample that was sent to Secugen?
12. Can I get other diagnostics not listed in the website?
For a newly diagnosed, you must contact to Secugen and explain which diagnostic you are requiring for.
In most cases Secugen will develop it and may provide the diagnostic in approximately 45 days.
13. How can I contact to know the status of a test?
Contact to the laboratory and you will be informed ASAP.
14.Where should I contact to solve an administrative incidence?
Our administration department will resolve any administrative advocacy on bills.
15. Which quality systems is accredited Secugen in?
The Secugen's quality system is certified according to ISO9001.
We are also licensed by the Health Bureau of Madrid Region Government to perform genetics analysis (CS12137), and we participate as members of the EMQN (European Molecular Genetics Quality Network) in trials of DNA sequencing and diagnostic of Huntington's disease and spinocerebellar ataxias.


text:
Journal #69 - Jonas Staal - IDEOLOGY = FORM
Journal #69 - January 2016
IDEOLOGY = FORM
1. We Are All Terrorists Here
A young cat is curling around the legs of Diyar Hesso—filmmaker, teacher, and one of the main organizers of the Rojava Film Commune in the city of Derbisiye, in the Canton of Cezîre.1 As I watch the animal play, I hear Hesso say, "He's Terrorist." I look up confused. "His name," Hesso explains, "the name of the cat is Terrorist." And with a smile, "Because we're all terrorists here."2
"Here" is the autonomous region of Rojava (West-Kurdistan), located in what many will know as northern Syria. In 2011, Kurdish revolutionaries, in alliance with Arabs, Assyrians, and other peoples from the region, declared Rojava independent from the Assad regime and established a system that they refer to as "democratic confederalism," or stateless democracy.3 This practice of democracy without the state is structured by a collectively written social contract that defines the key principles of the revolution: self-governance, gender equality, the right to self-defense, and a communal economy.4 Through communes, cooperatives, and councils, the performance of stateless democracy has now taken shape over three years. Its primary aim is the development of a system of thought and political practice that structurally undermines the monopolization of power. These decentralized structures are referred to as the "Democratic Self-Administration of Rojava," which comprises the total assemblage of self-governing political entities from this autonomous region.5
Teacher Raperin Derik leads an ideological training for local women organizers of Yekitiya Star in Derîk, Cezîre Canton, in the autonomous region of Rojava, 2014. Photo: Jonas Staal.
I have previously written about the practice of stateless democracy in the context of the Rojava revolution, and here I will engage two related concepts: the form and the performance of stateless democracy.6 The nation-state is a structure that demands of its subjects a specific self-consciousness as "citizens." Abiding by the monopoly of power enforced by the state takes the form of a series of performative acts that are demanded of citizens—from paying taxes to voting—through which the form and legitimacy of the state is strengthened. As such, one could argue, the form of the state embodies a script. Those that perform this script are granted a certain privilege for their service in maintaining the state's legitimacy. This is different in the case of those who are deemed irrelevant as potential citizens (undocumented migrants, refugees, and so forth) or who attempt to challenge, alter, or rewrite the scripts through which the stage we call the state directs us (social movements, whistleblowers, liberation organizations, i.e. "terrorists," and so forth). In the case of stateless democracy, the form of the nation-state is rejected and replaced by a performance based on an ideology of self-governance at all levels of society. This performance brings about a proliferation of new forms, rather than being subjected to a single given one. The success of stateless democracy relies on what the Kurdish revolutionaries refer to as the "mentality" of the individuals constituting the communal organizations that perform self-governance at the base; one could also say that it concerns the state we are in—both literally in terms of the state as a structure of governance, and metaphorically in terms of our "state of mind." The manner in which the ideology of stateless democracy is internalized defines whether or not its performance can be successful.
In this light, Hesso's joke—"We're all terrorists here"—rings very true. We are not talking about terrorists in the sense of the sheer physical violence perpetuated by the Islamic State on whoever does not abide by its brutal Saudi-exported and US-armed Wahhabi doctrines, but rather people who are terrorists by default, because the Kurdish revolutionaries have separated themselves from the form of the state as such.7 While an imperialist state such as the US employs non-state or extraterritorial entities such as drones, extralegal prisons, and proxy armies (out of which the Islamic State emerged), this love for extraterritoriality embodies a mere wish to expand the state, rather than a liberation from it. Unsurprisingly, the imaginary of the Islamic State—the "rogue" proxy-child of foreign intervention and financing—cannot but strive for yet another state. While its rhetoric focuses on the establishment of a worldwide caliphate, recently leaked documents, such as those that became known as the "ISIS Papers," show a rigid but rather conventional blueprint for a new nation-state.8 According to Dilar Dirik, representative of the Kurdish Women's Movement, non-state entities that truly "live without approval" are of a different kind, as they are subjects engaged in the terrifying process of emancipation—a rejection of old forms in an attempt to perform new ones.9 The notion of "changing mentality" names that terrifying process, for we are not merely speaking of a changing of guards from Assad's soldiers to Kurdish defense forces, but of a rejection of the internalized guards and the oppression the old regime represented within the individual performer. Non-state entities that change mentality move beyond the usual script imposed upon them through the form of the nation-state. Consequently, they live a dual form of terror: the terror of liberation, and the state-terror that is employed to punish those that engage in this process.10 For regimes such as Erdoğan's in Turkey, the true terrorists are those that Hesso describes: the humans and cats that decide to go off-stage—or better, off-state—altogether.11] that they have been offering to Isis, that blood-stained 'caliphate' would long since have collapsed—and arguably, the Paris attacks may never have happened." David Graeber, "Turkey could cut off Islamic State's supply lines. So why doesn't it?," The Guardian, November 18, 2015 →] The fourth wall of the geopolitical theater that the Kurds are dismantling consists of performing the fact that life beyond the state is possible, even though no one yet knows exactly which form this life will take.
What we can say with regard to the new forms that the Rojava Revolution has developed so far is that the assemblage of radical institutions gathered in the Democratic Self-Administration of Rojava is essentially the "form"—or the transformative base—of stateless democracy. The formation is transformative in that its decentralized, conflicting, and complex structures are hard to unify even in thought. As such, they interrogate the very idea of what the form of a nation, people, or community is supposed to entail in terms of a homogeneous entity. The heterogeneous, self-assessing nature of power performed through the disciplined practice of stateless democracy attempts to undermine any monopolization of power by all possible means. While "discipline" might be considered a problematic term for some, for the Rojava revolutionaries the capacity to collectively govern goes hand in hand with the governance of the self. This governance no longer takes place through an external actor—the "cop inside our head," in this case the former Assad regime—but through an attempt to define oneself as both an actor in and cocreator of the collective script entitled stateless democracy: a script that is performed off-state and thus, inevitably, a script that has to be performed as a terrorist.
Filmmaker and teacher Khwshman Qado leads a teaching session at the Rojava film Commune in Derbisiye, Cezîre Canton, in the autonomous region of Rojava, 2015. Photo: Ruben Hamelink.
2. Revolutionary Realism according to the Rojava Film Commune
The term "discipline" in this context can be understood in two ways: discipline in terms of a capacity to self-regulate one's performance in order to develop the common script of stateless democracy; but also discipline in terms of one's field of expertise. How, in this regard, does the discipline of performing stateless democracy relate to the discipline of form, the discipline of art?12 To answer this question, I will return to Diyar Hesso of the Rojava Film Commune. When I asked him about the specific relation of the nation-state to the form of art, he explained:
If you look at the history of art from the perspective of statehood, we see the emergence of an art that I would call "unrealistic." With that I mean that we see ourselves faced with an art that is consciously separated from societal developments, what is called "art for art's sake." In the context of the Rojava revolution we aim to develop a realistic art that is of a specific use, one could say a "useful art."13
With this notion of "realism," Hesso does not refer to a figurative realism, an art that derives from the mimicry of natural appearances. Rather, Hesso speaks of a revolutionary realism, meaning the kind of reality that becomes possible through a revolutionary practice but is not yet present. Revolutionary realism means that we reject the scripts that define what is realistic and what is utopian, what is proper citizenship and what is a terrorist act. Revolutionary realism focuses on shaping new possible realities once we have rejected the forms that structure our current performance, in this case specifically controlled within the stage of the nation-state.14
Members of the Rojava Film Commune mobilize workers in the city of Amude, Cezîre Canton, in the autonomous region of Rojava, to attend the screening of the 1921 film The Kid by and with Charlie Chaplin, 2015. Photo: Rojava Film Commune
The question, from one artist to another, is how the transformative practice of stateless democracy and the new forms of self-assessing power that it tries to establish relate to the morphology of art. With the term "morphology," originally derived from biology, I refer here to what I believe defines the concept of art: the knowledge and practice of visual literacy.
Visual literary means our capacity to "read" form, but also to create form. For example, one can look at the depiction in a painting (it shows Marat in a bath after having been stabbed by a political opponent), but one can also read its construction, the anatomy of its form: its materiality, its accumulated layers of paint resulting from a series of performative acts—brushstrokes. The morphology of art contains at least as much information as a description of the image that a given artwork depicts.15
But this analysis and understanding of morphology is not limited to the confines of a painting or museum; one could, for example, engage in a morphological analysis of a parliament. If we would limit ourselves to a descriptive understanding of what a parliament depicts, we learn that it is a place where politicians and the government assemble. A morphological reading of a parliament, on the other hand, will tell us more: it shows us the parliament as an arena, as a theatrical space, where power is performed both through a specific spatial configuration, a specific number of actors, a composition of symbols, as well as an overall choreography. From a descriptive perspective, it is only of relative importance whether the parliament is circular, square, or triangular—the only thing that is important is that it's a parliament, and functions as such: people assemble, debate, vote, and this has a certain impact on the external world. From a morphological perspective—from a perspective that reads into the form of the parliament—we understand that a square parliament creates a different spatial and social dynamic than a circle, to the point that the form and choreography of the assembly affect the outcome: an open-air parliament might produce a radically different outcome than a covered one; a parliament with benches might produce a radically different outcome than a parliament with chairs.16 Each spatial configuration, each object, each choreography inscribes a set of ideas into the performance of its actors. So while the nation-state is a construct that demands a specific performance, so do the shapes and forms through which its power is articulated and inscribed upon those speaking in its name. Ideology, in other words, has a material reality, which one can understand through morphology: through art.17 The discipline of the revolutionary practice of stateless democracy thus also affects the possibilities of the discipline of art to engage new, yet unscripted morphologies.
Upon a superficial reading there might appear to be a relation between the ideal of "revolutionary realism" as derived from Hesso's words, and what in the Stalinist era of the Soviet Union became known as "socialist realism." In his "Speech to the Congress of Soviet Writers," cultural minister Andrei Zhdanov stated that "in our country the main heroes of works of literature are the active builders of a new life—working men and women, men and women collective farmers, Party members, business managers, engineers, members of the Young Communist League, Pioneers." Zhdanov explained that the task of the artist was "knowing life, so as to be able to depict it truthfully in works of art, not to depict it in a dead, scholastic way, not simply as 'objective reality,' but to depict reality in its revolutionary development."18 Art historian Boris Groys explains that this notion of "realism" in "socialist realism" had indeed little to do with the idea of an accurate representation of objective reality, but was rather "oriented to that which has not yet come into being but which should be created."19
The main difference between the two realisms is located in the collective dedication to the possibilities of a revolution (revolutionary realism) on the one hand, and the brutal singular enforcement of a decision of what a revolution is dictated to be (socialist realism) on the other. Socialist realism relies on the idea that the crystallization of the will of the proletariat finds its absolute form in the creation of a "socialist" state with a single author, in this case Stalin: the tragic role of socialist realism in that context is to depict a future society which, by definition, cannot be realized though the schizophrenic and violent state machinery developed around this single leader. Revolutionary realism, on the other hand, engages with an ideal of politics in which power is in a continuous process of self-assessment: its "realism"—in its most ideal outcome—is one that engages the new formations that come as a result of the collective, common performance of stateless democracy. Echoing the famous '68 dictum "Be realistic, demand the impossible," Hesso thus refutes the idea that realism is defined by what is currently present rather than by what is possible:
We as the Rojava Film Commune try to represent the dreams and imaginary of this revolution. We believe in an art that connects the historical culture of society with a new revolutionary morality and politics. Our cause is society's cause; but not the society that is already present, the society that we're constructing as we speak.20
As a consequence, the transformative base of the practice of stateless democracy affects the conditions of artistic practice. The result is a highly speculative form of revolutionary realism: a formation of art based on the "imaginary and dreams" that are already present, albeit not in a fixed form, but in a process of permanent transformation. As such, the practice of stateless democracy reintroduces, both in politics and in art, the idea of a permanent revolution of form.
Drawing of the new public parliament and surrounding park in the city of Derîk, Cezîre Canton, in the autonomous region of Rojava, designed by the Democratic Self-Administration of Rojava in conjunction with New World Summit, 2015.
3. Ideology Materialized
When Rojava was declared autonomous and announced its commitment to stateless democracy, this changed the whole infrastructure of the region, as the material remnants of Assad's regime were suddenly declared stateless—or, following Hesso's joke: these infrastructures became "terrorist"; their existing morphology began to mutate.
What used to be the northern region of Syria and is now Rojava consists of many government buildings, monuments, and parliaments built by the former regime. But with the Rojava revolutionaries' rejection of the nation-state paradigm, they also lost the overall form that maintained their unity. Suddenly, the government buildings, monuments, and parliaments were left formless. That is to say, for those non-state subjects that embody the revolutionary cadre of the autonomous region, these infrastructures had abdicated their previous construction of power. They were no longer acknowledged in their authority, as the form of the nation-state as such was no longer recognized. The practice of stateless democracy stripped government buildings of their power; it reduced public monuments to isolated islands no longer capable of enforcing their historical narratives; and it handed over the exclusive space of the parliament to communal councils and assemblies. Ideology changed the nature and meaning of form, even though this is not yet the same as creating new forms in the way that Hesso and the Rojava Film Commune are investing in a transformative culture that takes the imaginaries of the revolution as its point of departure.
So what kind of morphology can we observe emerging? In many ways, Rojava can be seen as a gigantic squat. It's a squatted country, which, due to the ideological perseverance of the Kurdish revolutionaries, has begun to alter the meaning of the remnants of the nation-state that were left behind. When I visited the region for the first time in 2014 with my organization, the New World Summit, we were hosted by Amina Osse, the minister of foreign affairs for the Cezîre Canton, and Sheruan Hassan, the international representative of the Democratic Union Party (PYD). They were the ones who introduced my organization to the altered and new institutions that the Democratic Self-Administration was constructing all over the region.21 Old monuments portraying Assad and his father were appropriated into monuments for martyrs and thinkers of the new revolution; old military buildings now house schools or centers for the ideological training of the self-organized protection units of the region; municipal parliaments are now occupied by communes and cooperatives that have begun to govern their own neighborhoods, villages, and cities. Democracy had become liberated from the nation-state, although the practice of stateless democracy still struggles to reshape the old remnants of the regime to benefit revolutionary transformation.
Construction of the new public parliament and surrounding park in the city of Derîk, Cezîre Canton, in the autonomous region of Rojava in early December, 2015. Photo: Ruben Hamelink/New World Summit.
Our New World Summit has been working with the revolutionary Kurdish movement since 2012. Its representatives were among the first contributors to the temporary parliaments that our organization developed in theaters, art institutions, and public spaces in Berlin, Leiden, Kochi, and Brussels.22 As an artistic and political organization, our idea has been to reclaim the concept of the parliament as a temporary and public space, where we invite those dealing with parliamentary exclusion, such as blacklisted and stateless political organizations, to appear. Over the course of two years, our parliaments have hosted more than thirty organizations: representatives of liberation movements from the Basque Country, Catalonia, Kurdistan, Azawad, Ogadenia, Oromia, Tamil Eelam, the Philippines, West Papua, and East Turkestan. But here, in Rojava, our imaginary of a stateless parliament was no longer an object of speculation: in Rojava, all parliaments are stateless.
When Amina Osse and Sheruan Hassan suggested that we organize one of the New World Summit parliaments in Rojava, a fundamental separation between the imaginary of art and the imaginary of politics—as Hesso had named it—was overcome. The revolutionary imaginary of politics reached out to that of the arts. Ever since, my organization has worked with the Democratic Self-Administration of Rojava to develop a new, public parliament: a stateless parliament for a stateless democracy. Its construction is an attempt to engage what Hesso described as the useful art of revolutionary realism: a parliament that both expresses a political vision, but at the same time serves as a tool to bring this vision into practice.
What the Democratic Administration of Rojava in collaboration with the New World Summit has begun to construct is essentially an architecture that connects the material reality of the creation of a space with the aim of transforming mentalities along the lines of the practice of stateless democracy—transforming the state not just in terms of its infrastructure, but also in terms of the specific "state of mind" that the performance of the nation-state implies. Rather than occupying an existing building, we began to construct a public parliament that from beginning to end was shaped by the ideological propositions of stateless democracy. We approached the notion of ideology as a material form; we approached ideology as a morphology.
For example, Rojava claims to be recuperating democracy's origins as found in the form of the agora (assembly) of ancient Greece, the space where the theater of politics began. The fact that Rojava's parliament is designed as a public space is a result of the declaration of Rojava's stateless democracy, which by definition turned all parliaments into public, communal domains. The circular shape of the parliament derives from the shape of the assembly and its attempt to dislocate power from a clear center and instead engage in an egalitarian social composition in which the distance between people is equalized. The circular arches represent the foundational pillars of the practice of stateless democracy, each carrying one of the key concepts of the collectively written social contract that forms the basis of the autonomous Rojava region. The trilingual representation of words on the arches, such as "Confederalism," "Gender Equality," and "Communalism," is an expression of the cultural diversity of the region; the Democratic Self-Administration always communicates simultaneously in Assyrian, Arabic, and Kurdish. The large canvasses that cover the roof of the parliament are hand-painted fragments of flags representing organizations that play a key role in the Democratic Self-Administration, together giving shape to a new confederate whole. Revolutionary practice and a revolutionary imaginary created the ideological design of the parliament; its morphology is ideology materialized.
The Constructivist aesthetics of the parliament engage the principle of a permanent self-interrogation of power in the practice of stateless democracy: the spherical shape of the parliament is no perfect circle; it does not commemorate a successful revolution of the past, but one that is enacted continuously in the present. The pillars of the parliament and the principles they represent are not necessarily in unity; they seek for connections, and in the process often stand in public conflict with one another. The decentralized placement of the arches that form the parliament as a whole further strengthens this sense of a parliament that is in permanent construction, even when it is finished.23 The permanent construction of the public parliament thus also aims at a permanent aesthetic and ideological self-interrogation, a parliament in a state of self-critique: a hybrid architectural manifesto that can only be completed through the ongoing engagement of its users. This ideal of permanent construction relates directly to the self-assessing structures of power employed by the Rojava revolutionaries: its morphology thus cannot but engage these same principles in the domain of aesthetics.
The parliament, as the Democratic Self-Administration and the New World Summit intend it to be, is ideology materialized. Not just as a mere form, but as a form to be performed, and a performance aimed at self-interrogation and transformation. Rojava has shown that revolution is first of all a performance of ideology. The Rojava revolution is not one that hopes for a different world in an unknown future when statehood is achieved and utopia has developed properly and linearly, as our revolutionary textbooks have taught us. Rather, it is revolution as a painstakingly won process of building a new society through a change of mentality and a change of performance: through a change of form. The Rojava revolution proposes a different performance of politics, and as such, also a different performance of art.
Murals in a destroyed Kurdish cultural center in the city of Kobanê, in the autonomous region of Rojava, have been smeared over by Islamic State militants. The mural in the center of the image depicting a sun and a pen mentions bears the name "Confederation of Kurdish Students" in Kurdish and Arabic; the graffiti by Islamic State militants on the left states "There is no god but God. Muhammad is the messenger of God" in Arabic, 2015. Photo: Jonas Staal.
4. Ideology = Form
The evental moment of the Rojava revolution has liberated the performance of democracy from the construct of the nation-state. Rather than performance following the prescribed scripts of the state, the revolutionary break from old oppressors and masters allows for ideology to be performed differently, to take a different form. Concepts of self-governance, long in the making through decades of guerrilla struggles in the mountains of Bakûr, are liberated from their bondage to a structure of governance that was never their own.
Revolutionary realism—the one and only true realism—thrives, and the formula that structures the paradigm of a new world is spelled as follows: Ideology = Form.
… Out of old monuments, new shapes grow: the images of father and son Assad disappear, and a multiplicity of faces emerge, those of the martyrs of the Rojava revolution. A swarm of fighter-portraits consuming the pedestals one piece at the time …
… In Kobanê, for months the epicenter of the struggle between the Kurdish revolutionaries and the Islamic State, reconstruction is in full swing. Despite Erdoğan's refusal to allow for a humanitarian corridor, soberly built foundations of new houses have emerged all over. Just one neighborhood remains in ruins. No one touches a single stone or bombshell there: the ruins have been declared a monument—an enormous, permanent, and open scar in the heart of the city …
… On the first floor of a bombed cultural center, where children play with half-melted guns, a series of murals is still visible. Despite the bullet holes and the black graffiti of Islamic State militias smeared on the walls, the depictions of traditional Kurdish instruments and covers of books by local poets have remained …
… A few streets from the bombed cultural center, a new one has opened. A sharply dressed teacher sits in the garden with his students, playing traditional folk songs. Songs of defiance, performed in defiance. Stubborn forms that will be performed, again and again, despite everything, against everything, for resistance is life … 24
… During a conference, a Kurdish party leader lectures in Arabic. While having fought for the right to speak Kurdish, now she decides not to: she was a former minority, now a majority; her Arab listeners were a majority, now a minority. She could perform power, but decides not to …
… A former guerrilla fighter is now a minister. She has been offered a private car and driver; she is offered the services of waiters and cooks; she is offered a bodyguard and bulletproof glass. Instead, she does the dishes for her assistant, she cooks for her team, she walks home alone. She performs differently …
… In Rojava, cats silently move through ruins and new building sites; they stand guard with fighters and rest with artists. Even the cats have changed form; even cats are terrorists here.
This essay is dedicated to the artists of Rojava that taught me how to make a world: Nesrin Botan, Abdullah Abdul, Masun Hamo, Diyar Hesso, Onder Çakar, Şéro Hindé and Khwshman Qado. I further thank composer and poet Samuel Vriezen for discussing with me the mathematics of egalitarianism and political transformation, and philosopher Vincent W. J. van Gerven Oei for his relentless editorial support in writing this essay.
Jonas Staal is a visual artist whose work deals with the relation between art, propaganda, and democracy. He is the founder of the artistic and political organization New World Summit, which develops parliaments for organizations excluded from democracy, and the New World Academy (together with BAK, basis voor actuele kunst, Utrecht), which invites artists and students to work together with organizations invested in emancipatory politics. He is also the initiator of the Ideological Guide to the Venice Biennale, a free smartphone app that provides insight on the social, political, economic and overall ideological backgrounds of every pavilion in the 2013 biennale. His recent publication Stateless Democracy (with Renée In der Maur and Dilar Dirik), deals with the cultural and political revolution in Rojava (northern-Syria), and can be download here () Staal is currently working on his PhD on Art and Propaganda in the twenty-first Century at the PhDArts program of the University of Leiden, The Netherlands.
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1. We Are All Terrorists Here A young cat is curling around the legs of Diyar Hesso—filmmaker, teacher, and one of the main organizers of the Rojava Film Commune in the city of Derbisiye, in the Canton of Cezîre. 1 As I watch the animal play, I hear Hesso say, "He's Terrorist." I look up confused. "His name," Hesso explains, "the name of the cat is Terrorist." And with a smile, "Because we're all terrorists here." 2 "Here" is the autonomous region of Rojava (West-Kurdistan), located...
Conversations - IDEOLOGY = FORM
Notes - IDEOLOGY = FORM
An undated press release from the Rojava Film Commune, founded in 2015, states: "The most valuable outcomes of the cinema will be delivered to the peoples of Rojava in their own languages. We shall not allow the cinema to be simplified to become an industrial tool, or a consumable and exhaustible object. The squares of our villages will become our culture and art centers. Our factories and our restaurants will become cinema halls. Our vibrant streets will be our films sets." See →
Interview conducted with Diyar Hesso at the Rojava Film Commune, Derbisiye on October 30, 2015.
See Stateless Democracy, eds. Dilar Dirik, Renée In der Maur, Jonas Staal (Utrecht: BAK, basis voor actuele kunst, 2015).
"Social Contract," in ibid., 131–58.
My own research in the autonomous Rojava region taught me the following: The foundation of the practice of stateless democracy is located in the commune, of which there are dozens in every small city. The city municipality has the responsibility to meet the communes' infrastructural demands, but cannot enforce its own will upon the communes. For the cantonal council—three in total, from the east to the west of Rojava: Afrin, Kobanê, and Cezîre—the political task is that of coordination and international mediation on behalf of the communes and municipal councils. Finally, the trans-cantonal supreme council connects the three cantons and has the task of facilitating communication within this mosaic of political entities.
Jonas Staal, "To Make a World, Part III: Stateless Democracy," e-flux journal 63 (March 2015) →
"Turkey's role has been different but no less significant than Saudi Arabia's in aiding ISIS and other jihadi groups. Its most important action has been to keep open its 560-mile border with Syria. This gave ISIS, al-Nusra, and other opposition groups a safe rear base from which to bring in men and weapons … Most foreign jihadis have crossed Turkey on their way to Syria and Iraq … Turkey … sees the advantages of ISIS weakening Assad and the Syrian Kurds." Patrick Cockburn, The Rise of the Islamic State: ISIS and the New Sunni Revolution (New York: Verso, 2015), 36–7.
"The document—written as a foundation text to train 'cadres of administrators' in the months after Isis's leader, Abu Bakr al-Baghdadi, declared a 'caliphate' in Iraq and Syria on 28 June 2014—sketches out how to organise government departments including education, natural resources, industry, foreign relations, public relations and military camps." Shiv Malik, "The Isis papers: leaked documents show how Isis is building its state," The Guardian, December 7, 2015 →
Dilar Dirik interviewed by Jonas Staal, "Living Without Approval," in Dirik et al., Stateless Democracy, 48.
I write this in line with a series of conversations with writer Vincent W. J. van Gerven Oei on the subject of "progressive terrorism." With this term we do not refer to what is generally considered "terrorism" in terms of the violence of non-state actors, which, as we discussed, can differ from being the (necessary) result of a liberation struggle (e.g., the PKK) or embody a mere oppressive mimicry of the violence of the state (e.g., Islamic State). With "progressive terrorism" we specifically relate to a terror of form, meaning the existence or emergence of forms that existing structures—such as that of the state—cannot contain, and thus must refer to as "terrorism." For example, the Polish writer Witold Gombrowicz—an essential reference for both Van Gerven Oei and me—in many ways dedicated his lifework to confronting the internal formlessness of any structure of governance, thought, or sexuality: the terror of form in Gombrowicz's work embodies the necessity to recognize one's own authorship in confronting this essential formlessness, rejecting any glorification of form as "natural" or "authentic" in its supposed "mature" authority. "Living without authority" in that regard interrelates with Dilar Dirik's definition of autonomy as "Living without approval": both name the terror and necessity of liberation.
Especially from the perspective of Turkish President Erdoğan, the existence of the autonomous Rojava region represents a threat to his increasingly dictatorial policies. The rise of the progressive Democratic People's Party (HDP), which unites both progressive Turks and the Kurdish movement, and which managed to pass the high electoral threshold in the last two elections, has increased the regime's fear that Rojava will attempt to unite with Bakûr, the northern part of Kurdistan, which Erdoğan considers to be southeastern Turkey. Erdoğan's regime even tolerated the fundamentalist Islamic State's use of its borders in order to get rid of the Kurdish autonomists, and Turkey's strong position in the NATO alliance has been exploited by all possible means in order to gain international support to renew the war against the PKK and block humanitarian corridors or even economic exchange with the Rojava region. A recent article by anthropologist David Graeber gives a clear overview of Erdoğan's use of the Islamic State for his own purposes: "Had Turkey placed the same kind of absolute blockade on Isis territories as they did on Kurdish-held parts of Syria, let alone shown the same sort of 'benign neglect' towards the PKK and YPG [the Kurdish militant organizations from North and West Kurdistan
In a private conversation on October 17, 2015, in the city hotel of Derîk, Amina Osse, the minister of foreign affairs for the Cezîre Canton, elaborated on what she referred to as "democratic discipline." With this term she named not the role of the state in enforcing democracy upon its subjects, but rather the necessary moral and ethical compass of an individual in bringing about the collective performance of stateless democracy. In a democracy without the state, the capacity to outsource responsibility to an external structure of governance disappears, meaning that we essentially "self-govern": both in relation to our individual role in the performance of stateless democracy, and that of the community in which we partake. This is effectively summarized by the political group TATORT in their assessment of the practice of stateless democracy in Northern Kurdistan, when they say, "Popular participation generates a politicization of society, in which each person may become an autonomous political actor." See TATORT Kurdistan, Democratic Autonomy in North Kurdistan (Porsgrunn: New Compass, 2013), 21.
Interview conducted with Diyar Hesso in the Rojava Film Commune, Derbisiye on October 30, 2015. One will note how Hesso's introduction of the notion of "useful art" resonates with what artist Tania Bruguera has termed "Arte Útil," following her creation of the Arte Útil Association in 2011: "Arte Útil aims to transform some aspects of society through the implementation of art, transcending symbolic representation or metaphor and proposing with their activity some solutions for deficits in reality … Arte Útil practices try to address the levels of disparities of engagement between informed audiences and the general public, as well as the historical gap between the language used in what is considered avant-garde and the language of urgent politics, science and other disciplines." Tania Bruguera, "Glossary," →. Bruguera's frequent collaborator, theorist Stephen Wright, elaborates further that "usership … names not just a form of opportunity-dependent relationality, but a self-regulating mode of engagement and operation. Which makes usership itself a potentially powerful tool. In the same way that usership is all about repurposing available ways and means without seeking to possess them, it can itself be repurposed as a mode of leverage, a fulcrum, a shifter, and as such, a game-changer." Stephen Wright, Toward a Lexicon of Usership (Eindhoven: Van Abbemuseum, 2013), 68.
In the process of editing this text, Brian Kuan Wood noted in this regard that "'realization' here is a key term alongside realism when it comes to form. To be realist assumes a position with regard to the real, where to realize is to alter the status of the real." Personal e-mail exchange, December 2015.
Whereas the term "morphology" today has significance in domains as different as linguistics, biology, and mathematics, Johann Wolfgang von Goethe is considered to have defined the term in relation to the study of plants, rejecting examinations of plant organisms in the tradition of Linnaean taxonomy: "The close proximity of Goethe's perception of art and his study of nature suggests that the choice of the same methods for both fields is based on similar intentions. In several essays, Goethe wrote about his aims as a scientist … His intensive visual examination of natural phenomena, his efforts to objectify empirical observations, to use comparisons, and to establish series of observations, formed the basis for his project of morphology. Goethe defined morphology as 'the science of form (Gestalt), formation (Bildung) and transformation (Umbildung) of organic bodies.' Morphology was based on careful examination of forms and their modifications under different external circumstances, as well as on intuition in order to find archetypes (Typen, Urphänomene) and fundamental rules of their (trans)formation." Johannes Grave, "Ideal and History: Johann Wolfgang Goethe's Collection of Prints and Drawings," Artibus et Historiae 27.53 (2006): 183.
A relevant study in this regard was developed by architect Francis Cape, who analyzed the role of the bench in different communalist groups in the United States. The "utopian bench" in his analysis becomes the visual and ideological foundation for communalist politics: the surface on which we organize and articulate what a community is, should or could be. Francis Cape, We Sit Together: Utopian Benches from the Shakers to the Separatists of Zoar (New York: Princeton Architectural Press, 2013)
My first attempt to define the practice of art in terms of a morphology was published as "Een wereld maken," Metropolis M 1 (2015).
Andrei Zhdanov, "Speech to the Congress of Soviet Writers," Art in Theory 1900–1990, eds. Charles Harrison and Paul Wood (Hoboken, NJ: Wiley-Blackwell), 420.
Boris Groys, The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship and Beyond (New York: Verso, 2011), 24.
Interview conducted with Diyar Hesso in the Rojava Film Commune, Derbisiye on October 30, 2015.
It is important to name the variety of political parties that are, like the PYD, united in the Movement for a Democratic Society (Tev-Dem): an association of political parties and grassroots movements from all over the region. Within the Tev-Dem coalition, women's organizations are also prominently present, such as Yekitiya Star, which is part of the larger Kurdish Women's Movement and chooses its own women representatives and runs autonomous cooperatives and communes. Each of these organizations also runs its own academies, such as the Tev-Dem and PYD academies, but also the Star Women's Academy, where jineology (the science of women) is taught. Throughout the Rojava region, the cultural dimension of the revolution is shaped by the Movement for a Democratic Art and Culture network (Tev-Çand), which consists of cultural institutions in each village and city that organize theater and musical performances, but also exhibitions and education for children and adolescents—the Rojava Film Commune being one of them.
The main contributors from the Kurdish revolutionary movement to the New World Summit have been Rojda Yildirim and Dilar Dirik of the Kurdish Women's Movement, Adem Uzun of the Kurdish National Congress (KNK), Dilşah Osman of the Kurdish Democratic Society Movement in Europe (KCD-E), and Havin Guneşer of the International Initiative. See the New World Summit video channel for their lectures →
Architect Paul Kuipers, a member of the New World Summit, and myself have based a lot of our collaborative work on Russian Constructivist art and architecture, but we have also taken a lot of influence from Brazilian architects: of course Niemeyer, Lucio Costa, and Burle Marx, but even more Lina Bo Bardi (1914–1992), who further translated the European modernist paradigm of the infamous Congrès International d'Architecture Moderne (CIAM) into the specific context of contemporary Brazilian society. Bo Bardi took the step of developing a modernism that in many ways ran counter to the European administrative and formalist paradigm by investing far more in the sociabilities of architecture and its relation to other cultural domains, such as art, music, and theater. Her work formed a key reference in developing the interrelating political and social dimensions of the parliament, from its function as a space of political assembly to its cultural manifestation and—through the surrounding park—its role as a recreational space. Part of my research on Brazilian architecture that informed the construction of the Rojava parliament was published as Nosso Lar, Brasília: Spiritism—Modernism—Architecture (Rio de Janeiro/Heijningen: Capacete & Jap Sam Books, 2014).
One of the most well-known Kurdish slogans: Berxwedan Jiyane, "Resistance is Life."
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Q: DELETE VALIDATION for DataGridView I wan't some help about my DELETE button.
At first my the code was a success. It can delete both the data's from the vb program as well as the data of the database which is located at MS Access.
But, when I added some validations to my DELETE button, adding it some MessageBoxstyle and MessageBoxButton it just won't work. It only deletes the entry of the textboxes not the data itself.
My Question Would be...
I wan't my program to not only DELETE the data on the textboxes but also the data that corresponds on the DatagridView when I press "YES" on the confirmation message. And when I click on the NO button it'll only just remain as it is. HOW do you do this???
Please someone help me. I'm new to this and still learning. I'm still a student and I really need this for my System... thank you!
Here is my code!
Imports System.Data.OleDb
Imports System.Text.RegularExpressions
Public Class Monitoring_Form
Dim connect As OleDbConnection
Dim adapter As OleDbDataAdapter
Dim commnd As OleDbCommand
Dim dataset As DataSet
Dim datatable As DataTable
Dim table As DataTableCollection
Dim binding As New BindingSource
Dim id As Integer
Dim Email As Boolean

Private Sub btn_cdelete_Click(sender As System.Object, e As System.EventArgs) Handles btn_cdelete.Click
    txt_customerID.Text = id

    If MessageBox.Show("Are you sure you wan't to DELETE this record?", "Delete Confirmation", MessageBoxButtons.YesNo, MessageBoxIcon.Warning) = Windows.Forms.DialogResult.Yes Then

        commnd = New OleDbCommand("delete  FROM CustomersInfo WHERE FirstName = '" + txt_firstname.Text + "'", connect)
        commnd.ExecuteNonQuery()
        MsgBox("ENTRY SUCCESSFULLY DELETED!")

        txt_customerID.Text = ""
        txt_firstname.Text = ""
        txt_lastname.Text = ""
        txt_add.Text = ""
        txt_cnumber.Text = ""
        txt_email.Text = ""

        '' Me.dgv_1.Rows.RemoveAt(Me.dgv_1.CurrentRow.ToString())

    Else

    End If

End Sub

I've just edited my Question to make it clear for you guys. Please help and sorry for the mistake.
This is the revision of my code