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Greatest Elongation
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by Dominic Ford, Editor
Venus. © NASA/Ricardo Nunes.
The inferior planets of the Solar System – Mercury and Venus – are those that orbit closer to the Sun than the Earth, as distinct from the superior planets, which orbit further out in the Solar System.
Because we look in on the orbits of the inferior planets from the outside, they never appear to venture very far from the Sun in the sky, whereas the superior planets can pass almost directly opposite to the Sun in the sky when at opposition.
As the inferior planets orbit the Sun, they pass alternately in front of and behind it – events which are termed inferior and superior conjunctions respectively. On such occasions they are almost completely unobservable because they are so close to the Sun in the sky that they are completely lost in its glare.
At other times, they set and rise either a few hours before, or a few hours after, the Sun, becoming visible for a few hours in either the morning or evening sky respectively.
They are visible for longest at those times when they are furthest away from the Sun in one or other direction; at such times, they are said to be at either greatest western elongation or greatest eastern elongation, depending whether they appear to the west or to the east of the Sun.
List of greatest elongations
The table below lists greatest elongations in 2021, computed from NASA's DE430 planetary ephemeris. To show events in other years, use the control below.
Greatest elongations in 2021
Date Event Separation
from Sun
24 Jan 2021 01:59 UTC Mercury at greatest elongation east 18°33' More information »
06 Mar 2021 09:48 UTC Mercury at greatest elongation west 27°16' More information »
17 May 2021 08:04 UTC Mercury at greatest elongation east 22°00' More information »
05 Jul 2021 04:01 UTC Mercury at greatest elongation west 21°32' More information »
13 Sep 2021 21:44 UTC Mercury at greatest elongation east 26°45' More information »
25 Oct 2021 03:35 UTC Mercury at greatest elongation west 18°23' More information »
29 Oct 2021 14:43 UTC Venus at greatest elongation east 47°02' More information »


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The River Colne in Colchester, looking south
near Cornish Hall End
• elevation
Brightlingsea
51°48′03″N 1°00′37″E / 51.8007°N 1.0102°E / 51.8007; 1.0102Coordinates: 51°48′03″N 1°00′37″E / 51.8007°N 1.0102°E / 51.8007; 1.0102
0 m (0 ft)
62 km (39 mi)
The River Colne ( /koʊn/ or /koʊln/) is a small river that runs through Essex, England and passes through Colchester. It is not a tributary of any other river, instead having an estuary that joins the sea near Brightlingsea. The river's name is of Celtic origin, combining the word for rock "cal" with a remnant of the word "afon", or river, giving the meaning "stony river". There are two other rivers in the UK that share the same name.
Two of the Colne's tributaries start near the villages of Stambourne Green and Birdbrook in Essex, before converging in Great Yeldham. A longer tributary, however, starts to the north-west of Cornish Hall End, flowing into the other sources just south of Great Yeldham. The river then flows south-east through Sible Hedingham, Halstead, Earls Colne, Colne Engaine, White Colne, Chappel and Ford Street before reaching Colchester.
Between Great Yeldham and Wakes Colne, the river follows the route of the former Colne Valley and Halstead Railway which ran from Haverhill before closing to passenger traffic in 1961. A mile of the route around Castle Hedingham is preserved as the Colne Valley Railway.
In Colchester
Middlemill weir, in the centre of Colchester
The Colne Valley has a flood plain approximately 300 metres in width by the time it enters Colchester. This area is used as pasture because the river at this stage has no safeguards against it rising the two feet it needs to burst its banks, although it is split between two pasture areas in Spring Lane, Old Lexden. Somewhat to the south of Colchester North railway station, the river passes under a bridge and into a concrete-lined area that was used as an open-air bathing facility until the 1970s, and is now used by canoeists.
It then meanders under a road bridge at the bottom of North Hill, and tumbles down a weir used for discharge control at Middlemill, the site of a now-demolished mill. It forms the border of Colchester's Castle Park and the cricket ground, and footbridges cross it to provide access from the town centre to residential areas on the north side of the flood plain, which occasionally floods should the river rise too much. The river encircles one side of a small lake, and then turns south-east, and then south, before falling over a large weir and becoming tidal.
After Colchester
Beyond this point, the river shows significant mud banks at low tide, and flows through the Hythe, past the University of Essex campus, and then through the village of Rowhedge and the town of Wivenhoe past the tidal barrier and down to Brightlingsea. Downstream from the barrier, the Colne is marked by navigation buoys.
Route 51 between Colchester and Wivenhoe
The banks of the Colne frequently incorporate pillboxes dating from the Second World War, particularly close to navigable crossings.
From Castle Park to Wivenhoe Railway Station, National Cycle Network Route 51 roughly follows the course of the Colne. This is a mixture of tarmac-surfaced shared-use paths, a short tarmac/gravel-surfaced area and, once out of the urban area of Colchester, a hard dirt path on the north levee of the river that passes the Hythe and the university all the way to Wivenhoe.
The Hythe area of Colchester, through which the Colne flows, was, from Roman times, a small port that supplied the town. However, the river is no longer deep enough to support ships large enough to make this viable, and water trade is now non-existent. Victorian-era plans to dredge the river once more ultimately failed.
Wikimedia Commons has media related to River Colne, Essex.
Flood warning from the Environment Agency
River Colne Countryside Project
Colne estuary partnership
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redpajama_set_name: RedPajamaCommonCrawl


Lawrence Hill is a Canadian novelist, essayist, and memoirist.
Hill was born in Newmarket, Ontario, to American immigrants, who moved to Toronto from Washington, D.C.
Hill is the author of ten books of fiction and non-fiction. In 2005, he won his first literary honor, a National Magazine Award for the article "Is Africa's Pain Black America's Burden?". His third novel, The Book of Negroes, published in some countries as Someone Knows My Name and in French as Aminata, attracted widespread attention in Canada and other countries.
Published in at least ten countries The Book of Negroes won several awards including the Rogers Writers' Trust Fiction Prize, both CBC Radio's Canada Reads and Radio-Canada's Le Combat des livres, and the Commonwealth Writers' Prize for Best Book. The novel has been chosen by community or academic reading programs encouraging all citizens (of the city in question) or incoming first-year students to read and discuss at Dalhousie University (twice), Trent University, the Calgary Public Library, The City of Rothesay, the Hamilton Public Library and the One Book One Community program linking Kitchener, Waterloo and Cambridge, Ontario.
The Book of Negroes was adapted into a six-part television miniseries, which Hill co-wrote with director Clement Virgo. The miniseries premiered in Cannes, Toronto, and Manhattan in the fall of 2014. It aired on CBC Television in Canada and on BET in the USA.
The Book of Negroes was first released in 2007 under the title Someone Knows My Name, the American publisher re-issued a new edition of the novel with the original title in 2015. HarperCollins Australia released the novel as Someone Knows My Name in Australia and New Zealand.
Hill is currently a professor of creative writing at the University of Guelph, in Ontario, Canada.
Tell us how much you like Lawrence Hill.


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The "Peliti" at the 8th Thessaloniki Biennale of Contemporary Art
You can see the program here and follow the Βiennale on FB
Thessaloniki, November 30, 2022
8th Thessaloniki Biennale of Contemporary Art
Exhibitions, projects, innovative events, meetings and new collaborations in the Biennale's programme!
Opening: Saturday, December 10, 2022
The exchange of ideas, values and norms, within a context of a multitude of cultural, geographical and political debates and conflicts, is at the core of the concept of 'geoculture' in the political and social sciences. This is the rationale behind the decision of the 8th Thessaloniki's Biennale of Contemporary Art to turn its attention to the terms 'land' ("geo-") and 'culture', connecting the cultivation of land with culture, understood as a set of resources, texts and practices which are available to people, helping them better understand and more effectively act in the world. It explores issues of memory, history, and managing both the natural and man-made environment, under the conditions of the climate, economic and refugee crises.
The participating artists focus on histories of places and people; they touch upon issues of identity, ethics, equity and sustainability; they suggest improvised ecological technologies; they explore the potential for collective existence and question the systems by which production, consumption and profitability are organized; they put into practice ideas of resource sharing and equitable living, as well as ways of reassessing the commodification of human and non-human life. Through their works, imagination becomes a crucial factor in facilitating the audience to imagine different futures.
Firmly believing that art broadens our understanding of the world, the 8th Biennale seeks not only to raise environmental awareness, but also to multiply future possibilities, with new claims and visions. The 8th Thessaloniki Biennale of Contemporary Art under the general title "Geocultura" aspires to serve as a means of communication with the world, as an act of justice and freedom, of trust and progressive thinking.
Director: Thouli Misirloglou
The Thessaloniki Biennale of Contemporary Art is financed by Greece and the European Union (European Regional Development Fund) is organised by MOMus and implemented by MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections.
The programme of the 8th Thessaloniki Biennale of Contemporary Art begins on December 10, 2022, finds its peak on March 4, 2023 with the opening of the main exhibition "Being as Communion" and ends on May 21, 2023, with its new productions.
Biennale programme in brief (in chronological order)
Exhibition "Graceland. The triumph of an uncertain path"
10.12.2022 – 23.04.2023 / opening: 10.12, 18:00
Venue: MOMus-Experimental Center for the Arts
The exhibition is a collective project by the visual artists Rania Emmanouilidou, Fani Boudouroglou and Evangelia Psoma, who experiment with various production techniques of bioplastic, paper, crystal cultivation, plantings and permaculture and create a collective worok in progress, a common place of artistic symbiosis that invites the public in an immersive experience. Believing that nothing is left untouched and stable anymore, the exhibition promises us an enclosed garden in the world that threatens us, while recognising that no shelter can protect us from the unpredictable.
Artists: Rania Emmanouilidou, Fani Boudouroglou and Evangelia Psoma
Curator: Anna Mykoniati
Exhibition "Ark: A structure of care. Contemporary artworks from the collections of MOMus-Museum of Contemporary Art and the National Museum of Contemporary Art"
Venue: MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections
The Ark concept defines various applications, repositories, and banks and collection activities that aim to rescue, protect, and preserve data, objects, and information for future use. We know that irresponsible use and abuse has led to much of the climate change and environmental degradation we face today. Storms exist as part of natural weather patterns on the planet, but warmer oceans produce stronger storms and heavier rains, which in turn increase flooding.
The aim of the exhibition is to present the visual visions, searches and inventive ways of approaching the recently emerging conditions, such as the decline of the bee, deforestation, air pollution, overheating, desertification, the food crisis, overexploitation of water resources, consumerism and climate change which altogether fight against the environment's dynamics to inspire, protect, breathe, heal, regenerate.
It is a group exhibition of contemporary art that brings together 41 Greek and foreign artists with more than 75 works of painting, sculpture, and new media from the collections of the National Museum of Contemporary Art and the MOMus-Museum of Contemporary Art.
Artists: Dimitris Alithinos, Angelos Antonopoulos, Achilleas Aperghis, Constantin (Dikos) Byzantios, Dimitris Condos, Bia Davou, Lionel Estève, Aris Georgiou, George Gerontides, Leonidas Giannakopoulos, Daniel Gounaridis, George Gyparakis, Frascisco Infante-Arana & Nonna Gurionova, Marion Inglessi, Alexandros Isaris, Valerios Kaloutsis, Christos Karas Aris Katsilakis, Antigoni Kavvatha, George Lappas, Sotiris Michou, Eleni Mylonas, George Osodi, Rena Papaspyrou, Pavlos (Dionysopoulos), Alexandros Psychoulis, Mario Prassinos, Omid Salehi, Sotiris Sorogas, Marios Spiliopoulos, Danae Stratou, Thomas Struth, Takis (Vassilakis), Theodoros (Papadimitriou), Yorgos Tsakiris, Karolos Tsizek, Costas Tsoclis, Dimitris Tzamouranis, George Vakalo, Manolis Zacharioudakis
Curators: Theodore Markoglou, Katerina Syroglou
Project "Climate parliament. Stories of the non-human"
Based on a project of the artistic groups Metagarten and Helfersyndrom, (Hamburg and Offenbach, Germany respectively), enriched by the narrative methodological forms of Yannis Angelis (Bad Homburg, Germany), a new version of the participatory action "Climate Parliament", whose artistic approach is based on creativity, storytelling, community practices, mobilization and empathy, comes to MOMus and the 8th Thessaloniki Biennale of Contemporary Art.
Curators: Yannis Angelis, Maria Kokorotskou, Areti Leopoulou, Thouli Misirloglou
Collaboration: Alexandra Chryssadakou
Project "Urban vineyard of the City of Thessaloniki"
The urban vineyard of the City of Thessaloniki was created in 2013 in the heart of the city, in the area of the Kaftantzoglio Stadium, in the area where the municipal machine shop used to be, as a result of the collaboration of the Municipality of Thessaloniki with the Viticulture Laboratory of the AUTH and the Ktima Gerovassiliou. It is the only urban vineyard nationwide. About 480 plants of wine-making varieties were planted: Xinomavro, Agiorgitiko, Malagouzia and Robola were the four Greek grape varieties that had been chosen. The urban vineyard gives added value to the reputation of Thessaloniki and strengthens the narrative of the wine and culinary culture of the city.
Project "Metropolitan Park @Thessaloniki International Fair"
The exhibition hosts works by postgraduate students of the Aristotle University of Thessaloniki in Landscape Architecture. Architects, Agronomists, Foresters, Civil Engineers, Spatial Planners, Environmental Engineers, design the location of the Thessaloniki International Fair, as a contemporary urban center park, that the city lacks, of the course "Landscape Design, Urban Space Design'.
Recreating and highlighting the image of the city from its history, natural and cultural, ensuring free public living space, urban livability, upgraded quality, natural continuity and greenery, is the creative contribution of the projects to our urban geoculture. In any case, according to the dynamics of the landscape, nature and culture which seems to have been forgotten, in the otherwise nerve-wracking sphere of this urban space, for which many plans, visions and claims exist even from Hébrard and up to this day.
Tutors: Mary Tzimopoulou, Anastasia Papadopoulou
Postgraduate students: Rallis Ambatzidis, Konstantinos Boufidis, Pavlos Darmanin, Anna Maria Giannopoulou, Ioannis Hotokouridis, Elpida Iakovidou, Stella Kalogirou, Ioanna Karametou, Dimitra Karavasili, Vassilis Konstas, Theodora Kotoula, Antigoni Kriari, Chryssa Mantzaridou, Evangelia Oikonomou, Alexandra Panagari, Antonia Perouli, Ioannis Polatidis, Nikos Printzios, Giorgos Tatazidis, Elpiniki Tzagaki
Visitors to the Meeting: Aleka Alexopoulou, Sasa Lada, Magda Pitsiava-Latinopoulou & Giorgos Zoidis, Anastasia Bourlidou, Panayota Mouratidou
Project "Manolis Baboussis. The garden"
The project hosts the video by the photographer Manolis Baboussis, who narrates to the trees his thoughts on the image, the teaching process, the art and its history, in the frame of a bigger project he conducted himself back in 2011 at the Fine Arts School of Athens, while he tried to transform the School's parking area into a garden, without any intervention.
Exhibition "Nature Tracers"
Venue: MOMus-Museum of Modern Art-Costakis Collection
The participating artists Alexandra Marati – Anna Vdakoglou, Aikaterini Gegisian and Kiril Prashkov awake our senses through "biodynamic gardens", projecting in a visual way the biological cycles of the earth and untinately of our lives, altering known works of art and giving them an unexpected sleight of hand.
The exhibition is in dialect with the exhibition "Organic Art. The Avant-garde in Petrograd (on show in the museum until 21.05.2023), in which the theory of the Russian visual artist and musician Mikhail Matiushin from the early 1920's is reflected, that art exists in nature, in the microcosm and the macrocosm and a special training of our senses and especially vision is needed in order to detect it.
Curator: Maria Tsantsanoglou
Exhibition "Down to Earth"
Venue: MOMus-Museum Alex Mylona
The exhibition – a collective proposal by the MOMus curators' team – presents the works of contemporary Greek visual artists, who, through different means and perspectives, propose a show focused on the values and processes of the earth itself. Art returns to nature, attempting to contribute to the formation of new ways of thinking and being, in order to become a fertile field for an alternative view of the world and for a fruitful symbiosis between the social and the natural.
Artists: Anemicinema (Akis Kersanidis-Chrysa Tzelepi), Zoe Giambouldaki, Marion Inglessi, Yannis Kastritsis, Katerina Moschou, Vassilis Nebegleriotis, Sotiris Panousakis, Vangelis Pliarides, I broke the vase (Nefeli Sani-Eva Matsigkou), Sophia Tolika, Giorgos Tsakiris Stratis Vogiatzis
Curators: Yannis Bolis, Domna Gounari, Areti Leopoulou, Theodore Markoglou, Thouli Misirloglou, Hercules Papaioannou, Katerina Syroglou
Exhibition "Yiannis and Miltos Manakia. People behind the lens Project"
Venue: Museum of the Macedonian Struggle
The exhibition is presented for the first time at the Museum of the Macedonian Struggle with a large collection of photographs from the personal archive of Leonidas Manaki, son of Miltos Manakia, donated to the Foundation of the Museum of the Macedonian Struggle and Modern History of Macedonia (IMMA) by the Honorary Ambassador Mr. Alexandros Mallias.
Yiannis and Miltos Manakia, originally from Abdella Grevenon, will travel through the countryside and the large urban centers of the Balkans, documenting not only the lives of the hardworking people, moments of relaxation and entertainment but also architectural landmarks, historical and social events that mark the changes of the first half of the 20th century.
Artists: Yiannis Manakia, Miltos Manakia
Curators: Stavroula Mavrogeni, Fani Tsatsaia,
Exhibition "Christos Dikeakos. The world as an open studio"
Venue: MOMus-Thessaloniki Museum of Photography
Having Thessaloniki as his place of origin and maintaining a prominent artistic profile in the Vancouver art scene since the 1970s, Christos Dikeakos (1946) has been using photographic practices to explore issues such as memory, history and the treatment of both the natural and the man-made environment. His oeuvre particularly focuses on the use of land in interaction with the way modern civilization spreads by shrinking native cultures, which are directly connected to nature.
Dikeakos' work seeks for a deeper understanding of particular ecosystems as examples of different approaches to the environment. This retrospective exhibition –first ever shown in Greece- includes works from the artist's photographic series from the 1970s onwards, creating a kind of retrospective exhibition that will introduce the Greek public to an important artist of the diaspora.
Artist: Christos Dikeakos
Curator: Hercules Papaioannou
Collaboration between the 8th Thessaloniki Biennale of Contemporary Art & the 25th Thessaloniki Documentary Festival
2 – 12.03.2023
Main exhibition "Being as Communion"
Venues: MOMus-Museum of Contemporary Art, Archaeological Museum of Thessaloniki, Museum of Byzantine Culture, National Bank of Greece Cultural Foundation, Hamidie – Islahane Cultural Venue, Eptapyrgio, Yeni Jami, Thessaloniki French Institute, Glass Box "Scultures' Garden" (seefront area), Thessaloniki Concert Hall (building M2)
The main exhibition of the 8th Thessaloniki Biennial of Contemporary Art aims to think critically about co-existence and collaborative practices as creative tools for handling the multiple crises that we face. Thinking through being as communion, 28 artists via their respective practices touch on various forms of more than human collaborations, with our spectral past and our challenging present, thinking of how we can co-exist with animate life around us, the land that we stand on, the food that we eat and the air that we breathe. "Being as Communion" will focus on inclusive practices that explore different forms of care, love and mutuality, whilst also proposing generous forms of support systems. Invited artists and artist collectives will explore the human impact on the eco-systems that we share, whilst suggesting forms of more equitable existence, for humanimal survival, probing to what extent we can learn new ways of being with, rather than dominating the world around us.
Ten key sites and museums of the city of Thessaloniki will host the exhibition's works, in dialogue with the city's layered history, allowing for a polyphonic reading of the exhibition in ten equal parts.
Artists: Jumana Emil Abboud, Campus Νovel, Aslı Çavuşoğlu, Thanasis Chondros & Alexandra Katsiani, COYOTE, Cevdet Erek, Baruchello Gianfranco, Phoebe Giannisi, Piero Gilardi, Akira Ikezoe, Vasso Katraki, Jumana Manna, Ahmed Morsi, Hira Nabi, Abraham Onoriode Oghobase, Yiannis Papadopoulos, Alexandra Paperno, Angelo Plessas, Iva Radivojević, Kostas Roussakis, Corinne Silva, Panos Sklavenitis, Sky Hopinka, Agnès Varda, Ana Vaz, Vessel (Navine G.Dossos and James Bridle), Paky Vlassopoulou, Bo Zheng
Curator: Maria-Thalea Karra
7th Thessaloniki Performance Festival
The land, the relationship with the environment and those that make it up as well as what emerges from this context, act as a filed of inspiration and action for the artists who will give with their performances will give a performative dimension to the general theme of Biennale's "geocultura".
Curator: Eirini Papakonstantinou
The programme will be announced
The 8th Thessaloniki Biennale of Contemporary Art and MOMus support the construction of the "Peliti" Seed Bank, which since 1995 has managed to change the image of Greece in relation to traditional seed varieties. Alongside, the "Peliti" has managed to influence the situation in Bulgaria, in Cyprus, in Turkey, in Europe, in African countries and in recent years it also affects the situation in the USA. The collaboration with "Peliti" will take many different forms, in an effort to strengthen the work of the community.
Info: https://peliti.gr/
Chefs for Zero Hunger and 8th Thessaloniki Biennale of Contemporary Art against hunger
In the same context of valuing and supporting solidarity actions, the 8th Thessaloniki Biennale of Contemporary Art and MOMus collaborate with the autonomous group "Chefs for Zero Hunger". The group of chefs, who are active in Thessaloniki with the slogan "no one alone, no one hungry" cook with their own resources and without financial consideration for those in need, primarily the unemployed and homeless, with locality, seasonality and tradition as the main axes.
Info: https://www.facebook.com/search/top?q=chefs%20for%20zero%20hunger
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#Biennale8 #ThessalonikiBiennale #Geocultura #MOMus
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A: You shouldn't create HTML in vue components, rather you should use the virtual DOM and things like v-for to create the HTML you want instead of doing it with createElement.
And in the case that you do use the v-dom and you run into a similar issue, you want to use key to uniquely tag each node so Vue knows what belongs with what.
But main point is that you shouldn't be manipulating the DOM directly from Vue functions ever. It's performance taxing and you lose the benefit of reactivity, as you have noticed.
Look into v-for and vue's documentation on rendering lists for what you are trying to achieve: https://v2.vuejs.org/v2/guide/list.html

redpajama_set_name: RedPajamaStackExchange


As Splendid Spoon's Senior Product Manager, you will collaborate with the CEO and senior management to better serve our customer needs, optimize digital product-market fit, and scale our business efficiently.
You will be the first true Digital Product hire at Splendid, and will own product features from conception to launch. You will excel at cross-functional collaboration and work with leadership, marketing, design, engineering, and customer experience to deliver value to users through product and feature launches. You will flow between high-level strategic planning and day-to-day project execution. You will set and achieve ambitious goals on growth, retention, engagement, and satisfaction, and be instrumental in helping the company achieve success.
Launch a product feature from start to end as the primary owner. You will work with management, development, design, marketing, and customer experience to design, build, and launch.
Make critical product decisions that optimize for Splendid's best interests against the concerns of multiple stakeholders.
Own and drive a major, complex cross-functional product effort. You will enforce the correct scope, flag risks, and coordinate stakeholders.
Perform a metric-based analysis on a product area to understand how widely it is used, by what types of users, and if there are issues in the user flow. You will use this to inform product design and roadmap decisions.


I've noticed that the "About me" page on this blog has so far got more views than any other. So I hope it won't be overly narcissistic of me to wax autobiographical for a moment, and expand (in this post and the next) on the story that I tell there, of how I came to the kind of philosophy I have now.
Philosophy intrigued me a lot in high school. My first real exposure to it was in grade 9, in 1990, in a mini-course at Queen's University offered to precocious high-school students in my home town; I came to really enjoy it in a philosophy course that my high school offered in grade 12. What appealed to me most at the time was ethics, in a conventional sense (as opposed to the expanded sense that matters to me now): explanations of why we should do what we should do. But what those courses taught me above all was that I was a committed utilitarian; everything came down to acting for the greatest happiness for the greatest number of people. Mill's Utilitarianism was the first philosophical book I ever read in the original. It's no coincidence that I was also a dedicated political activist at the time, participating in every left-wing cause I could get my hands on.
But while I saw problems with a utilitarian worldview, there wasn't much to replace it, and during those years I remained more or less a utilitarian by default. Things really changed after graduation, when I went to work for the United Nations in Bangkok, trying to edit works that would help coordinate efforts for people with disabilities in Asia and the Pacific: a supremely utilitarian or Rawlsian job, aiming to help out millions of people in the direst of physical conditions.
And I found there was that I was terribly unhappy. Small things, like paper jams on printers, drove me to desperation. I wasn't all that much more unhappy than I'd been in the previous years, but I was noticing it more. My unhappiness posed a significant problem for a utilitarian worldview, a problem that standard critiques of utilitarianism usually don't get at. Namely: in the name of the greatest happiness, I was trying to help ensure that all these poor and deprived people could have the kinds of opportunities I'd had in my own privileged upbringing. But what good is it do to that, if someone with all these opportunities and privilege can still end up miserable?


Under you found the prediction processed by our proprietary software and reviewed manually by our editors of the football match Tigres UANL-Santos Laguna, match of the championship America North & Central America: Concacaf Champions League. Even stats, standings, news and information on the football league America North & Central America: Concacaf Champions League and on teams Tigres UANL and Santos Laguna.The prediction 1x2 or under/over or goal/nogoal, with odds of bookmakers comes complete with the correct score. With this, we always try to provide gratis all the tools you need to bet responsibly and we hope winning!


Vehicle Dashboard Symbols and What They Mean. Red, yellow, green and blue. Is your vehicle running properly or does something need your attention fast? Join us as we discuss vehicle dashboard symbols and what needs to be serviced or repaired.


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Group A Streptococcus
Group A Streptococcus, also called group A strep, is a bacterium that can cause many different infections. These may cause sepsis. Sometimes incorrectly called blood poisoning, sepsis is the body's often deadly response to infection. Sepsis kills and disables millions and requires early suspicion and treatment for survival.
Sepsis and septic shock can result from an infection anywhere in the body, such as pneumonia, influenza, or urinary tract infections. Worldwide, one-third of people who develop sepsis die. Many who do survive are left with life-changing effects, such as post-traumatic stress disorder (PTSD), chronic pain and fatigue, organ dysfunction (organs don't work properly) and/or amputations.
Infections caused by group A strep
Group A bacteria cause several types of infections, most commonly:
Necrotizing fasciitis
Otitis media (ear infections)
How group A strep is spread
Group A strep bacteria live in your nose and throat, so they are spread through droplets that become airborne from coughing or sneezing or by direct contact with the mucus. Droplets may be directly breathed in if you're close enough when the person coughs or sneezes. As well, the droplets may land on a solid object that you touch later. This type of contact may also occur if people who are infected blow their nose and touch an object before washing their hands. Either way, if the bacteria are transferred to your hand or fingers and you put your hand to your face, you can become infected.
If the skin is infected, as with cellulitis or impetigo, the bacteria must come in contact with a spot of skin that had an open area, such as a cut, scrape, or bite. The opening may be so tiny that you didn't notice anything beforehand. Impetigo is common among young children as they share toys and play together.
Invasive group A strep disease
While it's common for group A strep to exist in your throat and nose, and on your skin, it is not common inside your body. When these bacteria enter your body, they can cause infections such as necrotizing fasciitis (often called "flesh eating disease") and toxic shock syndrome. These are called invasive group A strep infections.
The symptoms of a group A strep infection depend on what part of the body is infected but the common symptoms include pain in the affected area, redness, and swelling. If the infection progresses or is a systemic infection, such as scarlet fever or toxic shock syndrome, you would develop fever, muscle aches, and flu-like symptoms.
Treatment for the infections include appropriate antibiotics. Sepsis caused by group A strep should be treated urgently with both antibiotics and IV fluids. For people with necrotizing fasciitis, surgery may likely be needed to remove the affected tissue.
If you suspect sepsis, call 9-1-1 or go to a hospital and tell your medical professional, "I AM CONCERNED ABOUT SEPSIS."
The information here is also available as a Sepsis Information Guide, which is a downloadable format for easier printing.
Would you like to share your story about sepsis or read about others who have had sepsis? Please visit Faces of Sepsis, where you will find hundreds of stories from survivors and tributes to those who died from sepsis.
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Over the past 39 years, he has transformed mannequin design into high art, gaining international acclaim for his unique combination of business savvy, artistic vision, and genre-bending collaborations. His designs have consistently anticipated and defined society's perception of female beauty, and for the past five months, his work has been the subject of an exhibit at Manhattan's Museum of Arts and Design.
Back in the 1980s, at a time when mannequins functioned as glorified clothes hangers, Pucci began working with top illustrators, muralists, interior decorators, and fashion designers to transform mannequins into his own brand of avant-garde sculpture.
In 1993, he teamed up with fashion designer Ruben Toledo to create Zen Zen, a graceful but rail-thin mannequin that captured the cultural shift from statuesque supermodels, to the waif-like zeitgeist embodied by the model Kate Moss. Seven years later, he collaborated with muralist Kenny Scharf to create Swirly, a one-eyed mannequin with a pointy curl of hair that captured a playfulness that had been absent in the fashion world.
Pucci is credited with redefining mannequin design worldwide, but to fully appreciate his iconoclastic career, you have to understand the state of the mannequin business when he arrived on the scene in 1976.
Ralph Pucci International—which now occupies three floors and 48,000 square feet of prime Manhattan real estate—began as a mannequin-repair business run out of the basement of his parents' New York home. The year was 1954—the year Ralph was born—and his father was looking for a business to replace his night-shift job at the post office.
"My father would drive his Pucci Mannequin Repair truck from department store to department store picking up broken mannequins. He'd fix them at my grandfather's plaster shop and my mother, who was a very fashionable lady, would do all the wigs and makeup in the basement," says Pucci.
During the next 20 years, his parents built the business, moved to the suburbs, and eventually opened their own small mannequin factory in Manhattan. In 1972, Pucci left his suburban New York home for Northeastern and got his first real taste of city life.
When Pucci returned home in 1976 after graduation with a journalism degree, he helped out in the family business while he looked for a job in advertising. It didn't take long for the creative, ambitious son to begin pushing the boundaries of the industry.
In 1979, frustrated by the stiffness of typical department-store mannequins, Pucci, an accomplished high school athlete, developed and marketed a line of action mannequins for the new trend toward active wear. In a move that he would repeat dozens of times over the years, Pucci captured the mood of the times. His mannequins became a sensation at Macy's in San Francisco, a city that was the hotbed of the cultural revolution.
"All the other mannequin houses were making these elegant, ladylike mannequins with wigs and makeup. I have always believed that you need to do something different—you have to go your own way. That success in San Francisco gave me the courage to try different things," he says.
Five years later, when Barney's New York wanted a new mannequin for the opening of its new Manhattan department store, Pucci teamed up with Andrée Putman, one of the hottest interior designers in Paris. The result was the Olympian Goddess, a stunning gold mannequin of Amazonian proportions with broad shoulders, a powerful stance, and an art deco face.
While mannequins of the time were a size 2, the Olympian Goddess was a statuesque 4/6.
The Olympian Goddess, which captured the essence of the 1980s movement toward more confident and empowered women, debuted at a party in Pucci's SoHo loft attended by more than 1,000 fashion designers, artists, and department store bigwigs. Andy Warhol showed up unexpectedly with several of his artist friends and created a sensation by signing T-shirts and body parts of the star-struck guests.
The party made Page 6 of the New York Post, and the Olympian Goddess was the talk of the town. Ralph Pucci was a New York sensation.
"This made the picture very clear to me—I was always going to work with new, fresh talent. I loved working with these people because they were very creative, they were willing to take chances, and they weren't afraid to fail," he says.
the playful children's book illustrations of Maira Kalman.
Pucci is proud of this series because it went so strongly against the minimalist trend that dominated department store displays in the mid-1990s. Following the lead of designer Calvin Klein, department stores had adopted stark and intimidating displays intended to appeal to wealthy customers.
Pucci recalls being warned over and over that his unusual line of new mannequins would never sell. The naysayers couldn't have been more wrong.
"The whole world bought them," he says. "Ada was in stores across the U.S., in Europe, and in Australia. It was a gigantic success. It reinvented the mannequin world for the next three or four years. We really went where everyone wasn't.


The lacquered trays in ivory with bamboo handles are crafted masterpiece of the Italian manufacturer Riviere.
The hand-lacquered surface adds an additional touch of refinement to these serving aids. The bamboo handles are formed during an intricate procedure, steamed and finally polished.
The box is made of ivory-coloured Nappa leather. The interior has been lined with quilted and padded Nappa leather. The acrylic glass lid has a decorative bamboo handle.


Google Apps for Work can empower your small business to compete on a large scale. As a cloud-based productivity solution, the package provides readily accessible tools for routine business tasks. Positioned as an affordable alternative to the Microsoft Office 365, Google Apps for Work has many features that make it a compelling choice. The following four reasons will show you why you should use Google Apps for your own business.
Google Apps for Work includes some of Google's most popular apps such as Gmail, Google Drive, Google Hangouts, Google Calendar, and Google Docs. Each of these is available as a free app, but as a part of the Google Apps for Work suite, they come with additional features. With the possibility to add an unlimited number of accounts, every user gets 30 GB of email storage, custom email addresses, round-the-clock support, and a 99.9 percent guaranteed network uptime.
For $5 per user per month or $50 per user annually, businesses can access everything Google Apps for Work has to offer. The low price makes the software perfect for budget-conscious small businesses, including those that have strict requirements for security, compliance, and storage.
Users can access their apps and files from any Web browser on any device. Business owners and managers can use the Google Admin console to manage mobile users and authorized devices so that company data can stay secure. Thanks to the centralized, online character of Google Apps, companies can operate without worrying about data loss and disruptions caused by hardware failure or employee turnover.
Each Google application integrates with other apps in the suite and has features that simplify workflows and provide natural ways for interacting with clients. Companies can choose one or more domain names to associate with their Google Apps account. Best of all, the software suite requires minimal on-site technical expertise, so the use of the product will not require additions to the workforce.
Google Apps for Work provides an excellent framework for more productive meetings. Team members can use Google Calendar to plan projects, coordinate appointments, and schedule meetings. Multiple users can access the same calendar, allowing for company-wide collaboration.
Calendar integrates with Gmail, allowing users to create events and receive reminders without leaving the inbox. You can read and draft emails even without an internet connection. All the data, contacts, and messages stay in the cloud, so you can always access it without the fear of losing sensitive data.
Google Apps users can also use Hangouts, a video-conferencing app, that makes face-to-face meetings easier. Up to 15 people can join a meeting using high definition video. Hangouts also integrates with Gmail, allowing coworkers to join the same conversation from any device. This easy-to-use team chat app features intelligent muting which can prevent background noise and has the ability to focus on the person speaking.
With Google Docs, employees no longer need to struggle with the problem of multiple document versions shared via email. Instead, using this cloud-based word processor, team members can simultaneously work on the same document and see changes in real-time. Revisions are automatically saved, so employees can focus on their work without the fear of losing data.
The same principle applies to Google Sheets and Google Slides, which can be used to create spreadsheets and presentations, respectively. All of these apps can save files in many different file formats, ensuring compatibility with every customer and business.
A built-in chat feature lets employees communicate and brainstorm as they work using the core Google applications. This, along with integrated Hangouts, means that teams can communicate and collaborate with mobile employees or those that work from home. This collaborative environment makes Google Apps for Work especially attractive to business owners who have team members in different parts of the world.
Google Drive and Google Sites both give your team members easier access to information. Google Drive is a cloud-based storage platform which enables you and your employees to store data and access it from any device, whenever necessary. With this online file storage, you can have all of your data stored in one secure location. Your files can be kept private or shared with others.
With Google Sites, companies without any technical or programming skills can choose a domain name for their public websites and easily create internal sites. Without writing a single line of code, you can develop and launch an intranet with important information from your latest projects. This makes relevant information readily available to team members, clients, suppliers, and others. Information from any other Google App can be easily imported and posted on the site for employees and customers to access.
As with the other Google Apps, administrators can assign access rights to individuals or groups using built-in security features.
Google Apps for Work equips companies with tools that let them work faster and easier. As an affordable solution that requires little hands-on support, the application bundle enables even small businesses to compete on a global scale. A growing number of organizations view Google Apps as a must-have product for collaboration and accessibility. Its robust security features and cloud-based interface makes it the one office productivity suite that companies want to buy.
Facebook The Most Popular Android App: Beats Google In Its Own Game !


CHARLESTON, S.C. — Dylann Roof, 21, is the suspect in Wednesday's deadly shooting at the Emanuel AME Church in Charleston, S.C., that left nine people dead.
Police say he walked into the church and fatally shot nine people as they attended Bible study class. Witnesses told officials Roof — who is now at the center of a major manhunt, reportedly said he was at the church to shoot black people, a source told CNN.
A female survivor told family members that the gunman told her he was letting her live to tell everyone else what happened, Dot Scott, president of the local branch of the NAACP, told CNN.
Scott said she had not spoken to the survivor directly but had heard this account repeated at least a dozen times as she met with relatives of the victims Wednesday night. Scott added that she didn't know if the survivor had ended up at the hospital or being questioned by police.
Because of the church's historic significance, it is not unusual for visitors, whether white or black, to visit it, Scott said. She said she'd had no indication that any children were among the victims.
But he declined to comment on whether the suspect had let one woman escape.
The suspect was seen leaving the church in a black four-door sedan, the flier says. "The vehicle you will see has a very distinctive front license plate," Mullen added, but did not give further details on what made it stand out.
He appealed for the media to help in circulating the suspect's image and for the public to be vigilant. The clean-shaven man pictured wears a gray sweatshirt over a white T-shirt, blue jeans and Timberland boots.
Police are "going through all kinds of video" and trying to identify any private or public video that may show anything useful for the investigation, Mullen said.
"No one in this community will ever forget this night and as a result of this and because of the pain and the hurt this individual has caused this entire community, the law enforcement agents are committed and we will catch this individual," he said.
Police have not yet said what the suspect's motivation in the attack might have been but are investigating it as a hate crime.
Six of those killed in Wednesday night's attack at the Emanuel African Methodist Episcopal Church were female and three male. The victims included the church's pastor, the Rev. Clementa Pinckney.


Anna Madeley and Lucy Morton in The Turn of the Screw. Photo © Nobby Clark.
The Almeida Theatre, in an interesting first foray into co-production with the legendary horror film makers Hammer, has produced a chilling crowd pleaser in this confidently elegant stage adaptation of Henry James' famous Gothic novella.
The great haunted-house story has been reimagined now countless times, most famously in Benjamin Britten's 1954 opera, the 1961 movie The Innocents starring Deborah Kerr and the 2001 chiller The Others starring Nicole Kidman. The adapter here is playwright Rebecca Lenkiewicz, famed for her plays Her Naked Skin and The Night Season.
It's a faithful rendering of the much loved story of a young Governess (Anna Madeley) in Victorian England who is hired by the suave, patrician figure Mr Sackville (Orlando Wells), to take charge of his nephew and niece following the death of their parents. Currently being cared for by the housekeeper Mrs Grose (Gemma Jones), the Governess is given full reign as he does not want any further communications about them. On arriving at the gloomy country mansion, she initially takes a shine to her charges, but after a series of frightening apparitions – which seem to be visible only to her – she begins to suspect that all is not well with the children and that they might be deliberately playing with her mind. She learns that the ghosts are that of her predecessor, Miss Jessel, and the sinister Peter Quint, a fellow employee with whom she had a shocking affair, leading to their deaths. Having spent much time with the children she becomes convinced that the malevolent duo is now controlling them from beyond the grave.
Critical debate has raged on about the reality of the ghosts versus the sanity of the Governess, and director Lindsay Posner wisely leaves us guessing. He also keeps the pace taut throughout, except for an unnecessary interval. Peter McKintosh's atmospheric and expansive sets and Tim Mitchell's ingenious lighting superbly evoke the sinister mood and the many shocks.
Jones is gloriously strait-laced as the housekeeper and Madeley is touchingly compelling as a woman losing her mind but clinging to the straws of her religious conviction for some constancy. The real stars, however, are the children, with Emilia Jones perkily confident as Flora – managing to make you wonder if she really is the power in the relationship – and Laurence Belcher creepily precocious as Miles. He is rather old (and tall) for the part, and here Lenkiewicz makes explicit his sexual overtures to the Governess, a move which is likely to divide the Jamesians.
A stage rendering of a superior chiller like this will inevitably fail to draw out the nuances in the original book, and just as great novels often make poor movies and pulp novels often make great ones, there is the danger of reducing the piece to a sequence of bumpy incidents. The play certainly startles (and the more susceptible in the audience do jump out of their skins at times), but the underlying chilling menace of the story has probably been best drawn out elsewhere.


The basic dispensing is fine, but with high viscosity liquids, puddling and trailing can occur when the dispense head turns on and off. In order to battle this problem, we arm you with the "back-to- back" PATH method of turning on outputs in mid-path. For this to work, the best thing to do is to have one output for dispense on and one for dispense off. Going this route, we use the POST field in the software to turn on these outputs since there is no way to turn them off in the post field. By keeping them separate, we can turn on the head and turn off the head without breaking the PATH statements.
Since the PATH command (and ARC, CIR) use b-spline approximation, we can turn on outputs before the path is completed. B-spline approximation looks three points ahead in order to determine the route and speed the actuators will take to best fit the curve.
Normally, with the POST field, and using one PATH command, the output will only turn on once the PATH is finished. But if you place the PATH commands back to back, splitting up the path, you can turn on outputs before the PATH is complete. B-spline approximation sees back-to-back commands as one continuous math calculation allowing the user to post outputs in the POST column.
For example, if you want the dispense head to be fully off by position 24, with no trailing or puddling, you would turn on the output to toggle off that dispense head three points before, at 20.


Works for any MediaWiki website. In this example, I'm using wikipedia.
Note "&redirects" - without this, the page "Manic_street_preachers" won't work, because wikipedia expects the correct case of "Manic_Street_Preachers". This also works with other types of redirect, e.g. the "UK" wikipedia page redirects to "United Kingdom".
Not sure if I'd ever make use of it, but nice to know it's out there!


Lemn Sissay's life story is nothing less than incredible. At 17, he wrote his first book of poetry, which he sold to the miners and millworkers of Wigan. He has since become one of the nation's best-loved voices, performing for thousands at the 2012 Olympics, and having his poems painted on walls and etched in stone. Lemn will read poems from his latest anthology, amongst other choices.
Co-produced with Attenborough Centre for the Creative Arts.


text:
Beechmore Arts Journalism Competition
Announcement of Results:
Between our two writing competitions, we had well over a thousand entries, and the standard was really high. We are grateful to all writers who submitted work for us to consider.
THE WINNER: Post-Influencism: How Social Media is Shaping Today's Exhibition Spaces, by Helena Young
FROM THE TEAM: Post-Influencism: How Social Media is Shaping Today's Exhibition Spaces is such a fresh and thought-provoking piece of writing. There's a tendency in "high-brow" cultural circles to dismiss the role of social media, but this piece takes seriously, and deeply explores in an engaging and lively way, a trend that is radically reshaping how we interact with art. It's a real conversation starter, and we are thrilled to be able to select it for our first place prize.
POST-INFLUENCISM: HOW SOCIAL MEDIA IS SHAPING TODAY'S EXHIBITION SPACES
Helena Young
It feels like a lifetime ago but in February of this year, New York's Metropolitan Museum of Art unveiled a new $55 million interior for its exhibition of the British Decorative Arts. In a design similar to the set of Downton Abbey's sixth season, there featured as its centrepiece an ornate and expertly restored neo-baroque staircase from the 17th century, which art enthusiasts could ascend to peer at the displays from around glittering chandeliers and elaborate wall hangings.
The installation was designed to be an interactive experience that brought visitors into the very heart of British history, in all of its intimate flaws, with this impressive backdrop used to showcase nearly 700 works from across the Tudor, Georgian and Edwardian periods. Described as a "design narrative" by Met director, Max Hillein, the installation sought to create an entirely new canvas on which visitors could perceive the surrounding exhibits from, what felt like, the art itself.
But it was also an example of how today's display rooms are adapting to changes in industry demand. Before the rise of modernism in the 19th century, art would generally be displayed against busy, embellished wallpaper. These were the days of private collections and exclusivity, in which homes were occasionally opened to the public to trumpet their wealth and status. Rows of portraiture and still life were hung abreast to create a visual parade, decorated with delicate gold-lacquered furnishings and various frills.
Then, came a new age of experiment. The art gallery emerged and spaces were stripped back, with earlier excesses muted in favour of stark, cold white, allowing their exhibits to do the talking instead. These were quickly adopted globally to become a staple of museums from London to Sydney, and we became accustomed to galleries acting as the art world's Switzerland; a neutral zone in which to debate and enthuse.
Now, the minimalist era appears to be ending and with it, the days in which all a designer needed for a successful art show was an abundance of ivory paint and a propensity for LED lighting. Today's gallery owners must look to engineer something different if they want to draw in today's twenty-first century crowd.
Social media applications have played an important role in complicating this otherwise well-worn formula. The Hiscox Online Art Trade publication for 2019 found that 75% of art buyers used Instagram to purchase artworks, up from 41% in 2016. The publication and marketing of art is becoming increasingly simplified, leading the role of the gallery as the de facto middleman between creator and consumer to vastly diminish.
Art enthusiasts don't need to be taken pliantly on a guided tour and delivered a quick breakdown of masterpieces followed by an overpriced tearoom – thanks to the commercial freedom offered by the internet, they can now curate their own journey. Similarly, artists no longer have to beg and borrow to be validated by the powerful New York gallery scene. In only the click of a button, their work can be broadcast to a wider reaching audience than the Met could ever dream of.
All this has meant that in the art world, physical spaces are becoming somewhat redundant. Visitors don't wish to pay a £10 entry fee just to view Turner's 'Fishermen at Sea' like they could on any old smartphone. They want to interact with, and therefore insert themselves into, the art itself. They desire a uniquely crafted experience that will give them more followers than the pied piper.
Some galleries, such as the Met, have been quicker to recognise the issue for its commercial opportunities. Much praise was given to Beyonce and Jay-Z after their famous 'Apesh--' music video was staged inside one of Europe's most iconic galleries, The Louvre. Less attention was paid, however, to the huge surge in footfall experienced by the museum following its release, when a record-breaking 10.5 million people were said to have crossed its famed marble floors, according to director Jean-Luc Martinez.
London's National Gallery boasts a long history at the heart of the city's cultural map, and is a recognisable institution when it comes to interior design with its iconic indigo and carmine walls. The gallery ended June this year with the announcement of a £4 million refurbishment of Room 32, now flaunting a brand new "opulent, gilded space." Pains were taken to ensure that the original 19th-century decoration was recovered. As Telegraph Art Critic, Alastair Sooke put it: "at a stroke, we are transported to the dazzling interior of a Roman palazzo." It is hoped, no doubt, that the newly transformed space will be able to engage a 21st century audience with a stand out aesthetic experience; one which must be seen with naked eye, as well as camera lens.
Made-for-Instagram exhibits are clearly becoming the new normal, and it might not be long before galleries begin to invest in a comic-con style event space, inviting 'Rembrats' to dress up as their favourite Dutch military leader and recreate The Night Watch complete with a dead chicken.
As always, it's difficult to predict the end result of such a dramatic alteration to museum operations. Such elaborate new creations could lead to pricey openings and an exclusive guest list, adding to the problems of inaccessibility that currently plague many cultural centres.
However, online art also generates huge levels of engagement, which could potentially allow millions more people to develop an interest in the art world. Plus, after years of stagnant interior design, isn't it time that those museums, which are dedicated to the creative pursuit, try something a little more – well – creative?
It will be a while before curators are able to say a final goodbye to their beloved minimalist make-ups. But for those of us itching to see something more three-dimensional, it's time for galleries and designers to think outside of the box; or indeed, the frame.
ABOUT: Helena Young is a Smoggie from the dizzy heights of Middlesbrough, and also a recent English Literature graduate from The University of Manchester. She has always had a huge appreciation for journalism and has experience writing for a number of student news sites.
THE RUNNER-UP: Watching Chekhov in Tehran, by Rebecca Ruth Gould
FROM THE TEAM: Watching Chekhov in Tehran is an intriguing and precise piece of analysis that raises fascinating questions about revision in the arts, and the role of wider cultural context in the effectiveness of staging theatre. The author uses expert comparative skills to bring broader interest to what could have been quite a niche subject, which is exactly the skill of the arts journalist.
WATCHING CHEKHOV IN TEHRAN
Rebecca Ruth Gould
At thirty-five, Ivanov feels aged beyond his years. He is torn apart by his own paralysis. His wife is dying. He is deeply in debt. Revolution is in the air and on everyone's lips. Ivanov meanwhile cannot decide what to do, either with himself or with his world. He used to love his wife, yet does nothing to prevent her from dying. Mainly, Ivanov's problem is that he doesn't know what he wants. He is paralyzed by his own apathy. He is the stereotypical intellectual, the superfluous man of nineteenth century Russian literature in an age that has no use for intellectuals. Such is the plot of Anton Chekhov's first commercially successful play, Ivanov (1887). It has more global appeal than this casual summary suggests.
Although set in nineteenth century Russia, Ivanov, has had a profound resonance in twenty-first century Tehran thanks to Iranian playwright Amir Koohestani (b. 1978). Staged in Tehran in 2011 and 2016, Koohestani's Ivanov generated much interest among the theater-going public. Performances were sold out and reviews were overwhelmingly positive. I attended the production during a visit to Iran in 2016. Two weeks after watching Ivanov in Tehran, I saw an adaptation of Ivanov at London's National Theatre by playwright David Hare. Subsequently, I read each version, by Chekhov, Hare, and Koohestani, respectively, in their original languages, and was struck by the radical differences between each story, particularly in regards to gender.
[Playbill for Iranian Production of Ivanov, August 2016.]
Chekhov's Ivanov exists in two versions. The first, performed in 1887, was widely reviled as a "disgusting mess" in early reviews. A second heavily revised version was performed in 1889 to great acclaim. Unlike many productions, including Hare's, Koohestani does not follow the second version of the play, which ends with Ivanov committing suicide. Instead, he takes his cue from the first version, in which Ivanov dies of a heart attack on his wedding day. On that basis, Koohestani crafts his own dénouement, and concludes without any deaths. Ivanov's suicide has been criticized as clichéd and melodramatic, but the decision to dispense with it entirely represents a bold departure from the canonical version.
Alongside Tartuffe and Don Quixote, Chekhov's play exists in an intertextual relationship with another figure from world literature who symbolizes futility: Hamlet. Ivanov invokes Hamlet on two occasions during his conversations with Sasha, a young woman with whom he has begun a surreptitious love affair while his wife Anna approaches death. In Chekhov's text (and Hare's version), she is dying from tuberculosis, an archetypal nineteenth century disease. Koohestani assigns her the contemporary equivalent: cancer. To Sasha's insistence that "love alone can help you," Ivanov replies by focusing on his self-contempt. "There are men," he says, "I've met them, men who long to be Hamlet, it's all they want, to play the outsider, the superfluous man. To them it's glamorous…To me, it's failure." In the final act, just before he kills himself, Ivanov returns to the same theme in his conversation with Sasha: "We've been acting. I've been playing Hamlet and you've been playing the missionary…Performance over!" Although education sets such modern Hamlets apart from their surroundings, it also leads them into a condition of hopelessness. In a lengthy monologue, Ivanov laments: "I spend days and nights in idleness, in doing-nothingness, my mind, my body in permanent revolt…I have no hope, no expectation. My sense of tomorrow is gone." He then laments his lost love for his wife, and his indifference to her illness.
While the men in Ivanov are listless and unproductive, the women also operate in a context of limited life options. Yet, it is in the domain of women's agency that the Iranian version diverges most sharply from its Russian and British counterparts. Strong though she is, the Russian-British Sasha can only envision living for love. The Iranian Sasha rejects this gendered paradigm. The Russian-British Sasha declares to Ivanov her readiness to sacrifice everything for love. "For men, love is just how-are-you-darling?" the Russian-British Sasha declares, "It's just a stroll in the garden. One day, it will be a few tears at the graveside. But for us? No, it has to be life itself. If you climb a mountain, I'll climb with you. Jump over the cliff: I'll jump." Sasha gives voice to a kind of strength in these words, but hers is a stereotypically feminine strength that has been coercively aligned with weakness. Even her father perceives the limitations of Sasha's proposed sacrifice. When Sasha insists that it is her "job in life" to understand Ivanov, her father retorts: "That's not a calling. It's a prison sentence."
In rejecting the second version which ends in Ivanov's suicide, Koohestani clears a space for a different, uniquely Iranian, Sasha. As a result of the changed plot, the concluding drama is given over to Sasha in the Iranian version, not to the lackluster Ivanov. Once it has been determined that they will not marry, Ivanov asks Sasha where she plans to go. Evading his quest for specifics, she states that she is leaving generally. Unsatisfied, Ivanov probes further. He asks her whether she is leaving "this home, this city, or this country." Sasha responds elliptically to Ivanov's interrogation. "Away from you," she says simply to Ivanov's repeated entreaties. Sasha repeats this phrase a few minutes later, and the play draws to a close. As the scene acquires momentum, the Iranian Sasha becomes the star of the play.
As the curtain fell at the end of the performance I attended in the summer of 2016, the audience erupted in a standing ovation. As Koohestani has emphasized repeatedly in interviews, his Ivanov was composed in the shadow of the suppressed Green Movement that aimed to democratize Iran in 2009, in part by focusing on women's rights. While neither the playwright nor the audience could rewrite the script of Iranian political history in a single performance, they could rewrite Chekhov, and in doing so, outline a path for women's liberation.
ABOUT: Rebecca Ruth Gould is the author of the poetry collection Cityscapes (2019) and the award-winning monograph Writers & Rebels (2016). She has translated many books from Persian and Georgian, including After Tomorrow the Days Disappear (2016), The Death of Bagrat Zakharych and other Stories (2019), and High Tide of the Eyes (2019). A Pushcart Prize nominee, she was awarded the Creative Writing New Zealand Flash Fiction Competition prize in 2019.
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Security monitoring for threat identification, mitigation and compliance secures Learn how Cisco Security Manager together with Cisco Security MARS forms a. Security Monitoring, Analysis and Response System Get product information, and Response System (MARS) Release · Cisco Security Monitoring. 23 Jan Cisco Security MARS is an appliance-based, all-inclusive solution that provides superior insight into and control of your existing security deployment. Part of Cisco's security management suite, Cisco Security MARS empowers your security and network organizations to identify, manage, and counter security threats.
Security Monitoring with Cisco Security MARS Threat mitigation system deployment Gary Halleen Greg Kellogg Networks and hosts are probed hundreds or. 1 Nov We have winners! Here are the winners of October's Cisco Press book giveaway. The following readers will each get a copy of Security. Cisco Security Monitoring, Analysis, and Response System (MARS) was a security monitoring tool for network devices. Together with the Cisco Security.
6 Jul Get the Security Monitoring with Cisco Security MARS at Microsoft Store and compare products with the latest customer reviews and ratings. Cisco Security MARS 25 - network monitoring device. Part Number: CS-MARS- K9. General. Packaged Quantity. 1. Manufacturer. Cisco. Miscellaneous. Security Monitoring with Cisco Security Mars by Gary Halleen, , available at Book Depository with free delivery worldwide. Learn to set rules for traffic inbound to a firewall (toward CS-MARS) from a less trusted network. 11 Apr [DOWNLOAD] PDF Security Monitoring with Cisco Security MARS (Cisco Press Networking Technology) by Gary Halleen [DOWNLOAD] PDF.
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text:
Це сторінка неоднозначностей вулиць під власною назвою Поштова.

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 Вулиця Поштова — вулиця у Стрию.
 Вулиця Поштова — вулиця  в Херсоні.

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text:
Corporate Welfare / Subsidies
The Not-So-Special Session: Lessons Learned From a Public Policy Viewpoint
By Andrew B. Wilson on Nov 23, 2011
Talk about laying an egg! Missouri lawmakers are going
home at the end of the 50-day special session of the legislature with
little to show for their exertions.
While that is not the worst of all possible outcomes, it
represents a failure of leadership on multiple levels. Missouri Gov.
Jay Nixon should not have called the session. Leaders of the
Missouri House and Senate are equally to blame. They should have
made it clear to the governor that he would be wasting their time –
and, more importantly, taxpayers' money. In fact, they wrote a
public letter to the governor requesting that he call a special session.
Just as Missouri Sen. John T. Lamping (R-Dist. 24)
predicted at a public event at the Show-Me Institute on Tues., Oct.
4, the special session has foundered on the vain hope of a grand
compromise between two fundamentally-opposed viewpoints —
with leading figures in the Senate wanting to make major
reductions in Missouri's sprawling and out-of-control tax credit
programs . . . and House leaders prepared to extend hundreds of
millions of dollars in new tax credits to support a "Midwest China
hub" or "Aerotropolis" at Lambert-St. Louis International Airport.
In Lamping's analysis, there was never any real possibility
that Aerotropolis subsidies could win legislative approval on a
standalone basis. They were therefore tied to deep cuts in other
programs — including tax credits for low-income housing and
historic buildings, with strong support from special interests of their
own. Hence the deadlock.
What, then, are the lessons learned from this inconclusive
and not-so-special session of the legislature?
While Sen. Lamping may be right about the tactical reasons
for the impasse in the legislature, I would point to a deeper
underlying cause. Simply put, the China hub had a big credibility
problem. No one — even the supporters — seemed to believe the
extravagant promises that were made on its behalf.
St. Louis Regional Chamber and Growth Association (RCGA)
claimed that $360 million in tax credits and other subsidies for
Aerotropolis would create tens of thousands of new jobs and generate
nearly $34 billion in economic activity over a 20-year period — paying
back the original investment in taxpayers' money more than 100 times
But did anyone believe that? It is a tell-tale sign of weakness that
some of the strongest supporters of Aerotropolis subsidies framed their
arguments almost as if they were buying a ticket for Powerball. While
freely admitting to considerable skepticism about whether "Missouri can
or will pull off the China hub deal," they insisted that it was worth taking
a shot anyway — given a huge potential payout.
President Barack Obama, it may be noted, has used similar
language in talking about placing "bets" and being prepared to "double
down" in spending on clean energy, electric cars and other politically favored
enterprises or industries.
Sorry, Gov. Nixon and Mr. President, but few taxpayers these days
like the idea of political leaders playing hunches with hundreds of
millions or even billions of tax dollars. To the contrary, more and more
people are inclined to blame excessive government spending and
interference in the marketplace for the sorry state of the economy.
Over the past few years, policy analysts at the Show-Me Institute
have cited numerous instances, in St. Louis, Kansas City and other places
around the state, where targeted tax credits have failed to produce
promised economic results. The list includes failed shopping centers, the
stalled "Ballpark Village" in downtown St. Louis, and other economic
wonders that turned sour. And this is a lengthening list as we have seen
recently with other tax-favored enterprises defaulting on debts in Moberly
(Mamtek) and in Kirksville (Wi-Fi Sensors).
When the legislature reconvenes in January, let us hope that our
lawmakers realize their own limitations when it comes to picking winners
and losers. That is a task best left to the marketplace. The government
may have a role in creating infrastructure that can be used by anyone, but
targeted tax abatements are a form of corporate welfare — favoring one
group of businesses over others.
In 2012, the governor and the legislature should conduct a
thorough reexamination of the state's 61 different tax credit programs,
with the objective of channeling the savings from those that are
terminated to all Missourians – through permanent reductions in taxation.
Andrew Wilson is a resident fellow and senior writer at the Show-Me
Institute, which promotes market solutions for Missouri Public Policy.
Andrew B. Wilson


Ericsson is leading a drive to enable more interactive, personalized, and on-demand TV experiences, which is what Ericsson's pilot projects show consumers want. At the MIPTV featuring MILIA conference in Cannes, April 16-19, Ericsson showcases its extensive portfolio of IP and mobile TV services.
Ericsson's end-to-end solutions and attractive consumer capabilities, in combination with recent acquisitions, make new and innovative television experiences deliverable to any device, any time, anywhere. Such combined capabilities create new experiences that Ericsson, its customers and partners are introducing to consumers around the world.
To date, more than 120 mobile TV launches have been completed. More than 100 of the launches use cellular networks, with more than 50 of these cellular networks supplied by Ericsson. In addition to mobility, mobile TV enables a variety of services, including video on-demand, podcasting, and live or time-shifted TV programming.
Ericsson is also driving the industry with two world firsts - customized mobile TV advertising that Ericsson and the Norwegian Broadcasting Corporation (NRK) have recently trialed with consumers in Norway, and interactive mobile TV with the same partner trialed last year - creating new revenue streams for both broadcasters and operators, and a richer TV experience for consumers.
Internet Protocol TV (IPTV) is also reshaping consumer TV experiences by delivering greater interactivity, multiple digital streams and high-definition TV. While still in its infancy, IPTV is anticipated to become a mass-market service within the next few years. From a subscriber base of 6.4 million in 2006, subscriptions are expected to more than double in 2007, and grow to reach 48 million households worldwide by 2010, according to predictions from the Gartner research agency.
At the Ericsson stand in the Palais des Festivals, Level 3, Ericsson is demonstrating mobile TV and IPTV as of today, as well as a future based on a combination of mobile and home networks using two standard technologies - IP Multimedia Subsystem (IMS) from the telecoms industry and a home network based on Digital Living Network Alliance (DLNA) specifications. This TV demo is showing how users can access their digital media any time, via their mobile phones, PC or a living room TV, whatever is most convenient.


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Home Finance Fed Faces Tough Decisions as Inflation Lingers and Economic Risks Loom
Fed Faces Tough Decisions as Inflation Lingers and Economic Risks Loom
The Federal Reserve is expected to continue its fight against the fastest inflation in 40 years on Wednesday by raising rates three-quarters of a percentage point for the fourth time in a row. What officials signal about the central bank's future plans is likely to be even more important.
Jerome H. Powell, the Fed chair, and his colleagues have been rapidly increasing interest rates this year to try to wrestle inflation lower. Rates, which were near zero as recently as March, are expected to stand around 3.9 percent after this meeting.
Wednesday's move would be the sixth consecutive rate increase by the Fed. The last time it moved this quickly was during the 1980s, when inflation peaked at 14 percent and interest rates rose to nearly 20 percent. Fed officials have suggested that at some point it will be appropriate to dial back their increases to allow the full economic effect of these rapid moves to play out. The question now is when that slowdown might happen.
The Fed's most recent economic projections, released in September, suggested that it could begin next month. But prices have remained uncomfortably high since those estimates were published. That could make it difficult for Mr. Powell and his colleagues to explain why backing down in December makes sense — even if they think it still does.
Officials do not want investors to conclude that the Fed is easing up on its inflation fight, because market conditions could become more friendly to lending and economic growth as a result. That would be the opposite of what central bankers are aiming for: They are trying to slow conditions down so companies will lose their ability to charge more.
"There are good reasons to believe that the Fed should pause relatively soon," Tiffany Wilding, a U.S. economist at PIMCO. "There are going to be communication challenges to manage with this."
It's a challenge that could be on full display when the Fed releases its rate decision at 2 p.m. and Mr. Powell holds his news conference at 2:30 p.m.
What the Fed's Rate Increases Mean for You
A toll on borrowers. The Federal Reserve has been raising the federal funds rate, its key interest rate, as it tries to rein in inflation. By raising the rate, which is what banks charge one another for overnight loans, the Fed sets off a ripple effect. Whether directly or indirectly, a number of borrowing costs for consumers go up.
Consumer loans. Changes in credit card rates will closely track the Fed's moves, so consumers can expect to pay more on any revolving debt. Car loan rates are expected to rise, too. Private student loan borrowers should also expect to pay more.
Mortgages. Mortgage rates don't move in lock step with the federal funds rate, but track the yield on the 10-year Treasury bond, which is influenced by inflation and how investors expect the Fed to react to rising prices. Rates on 30-year fixed-rate mortgages have climbed above 6 percent for the first time since 2008, according to Freddie Mac.
Banks. An increase in the Fed benchmark rate often means banks will pay more interest on deposits. Larger banks are less likely to pay consumers more, and online banks have already started raising some of their rates.
The Fed doesn't want to overdo tightening.
The Fed wants to slow its brisk rate increases at some point for a simple reason: It has already adjusted policy by a lot.
Before this year, central bankers had not raised interest rates by three-quarters of a point since 1994. The jumbo rate moves in 2022 have rapidly made it more expensive for consumers and businesses to borrow money.
While those moves are already ricocheting through financial markets, they take time to trickle into the real economy. The housing market has slowed as mortgage rates have jumped, but for now, companies are hiring rapidly and the labor market remains hot. That could begin to change in the months ahead as firms find that business loans are pricier and demand is starting to wane.
Plus, there are already good reasons to expect inflation to begin to slow next year. Supply chains, tangled for years, are now swiftly healing. Housing costs have been a major driver of inflation in recent months, and many economists think they will begin to cool by mid-2023, based on moderation that is already taking hold in the rental market.
The Fed does not want to lift rates more than it needs to in order to bring inflation down. Doing so could result in slower economic growth and a weaker job market than is necessary — a mistake that would leave people out of work and families with less money, diminishing lives and livelihoods.
But backing off too early carries risks.
Just as the risks of overdoing it are immense, underdoing the policy response to inflation could also come with grave consequences.
If central bankers fail to bring price increases back under control quickly, businesses and consumers may come to expect permanently higher inflation. Workers could factor that into their wage negotiations, businesses into their pricing decisions. Inflation could begin to fuel itself.
If that happened, the Fed might need to stage an even more aggressive response to stamp inflation out — and that would come at a greater economic cost to society.
"The best thing they can do is try to balance the risks," Bill English, a former director of the Fed's monetary affairs division who is now a professor at Yale University.
Policymakers at this meeting will probably want to set themselves up to slow down in the future, he said, while leaving their options open in case data between now and the Fed's December meeting suggest that the economy and inflation will remain hot.
While inflation is expected to slow eventually, that process is likely to take time. Consumer demand is chugging along, job openings remain plentiful, and wages are still rising quickly. Energy shocks stemming from the war in Ukraine could easily push prices higher. Central bankers will want to keep an eye on those developments.
The Fed is likely to leave its options open.
Given the risks that Mr. Powell's central bank is staring down, many careful Fed watchers expect it to leave the door open to a slowdown in rate increases in December without committing to one.
"I'm not even sure they've decided: I think they really just want optionality to step down in December," said Michael Feroli, chief U.S. economist at J.P. Morgan. Of Mr. Powell, he said: "I do think he wants to make sure that December is considered a meeting where they actually go in and have a debate."
Most Fed officials have predicated slowing and eventually stopping rate increases more on the level of interest rates than on what is happening with inflation. The logic: If officials have moved rates high enough that they are clearly weighing on growth and hold them there, that will pull inflation lower over time.
"Holding the economy in a restrictive stance of policy also continues to bridle it," Mary C. Daly, president of the Federal Reserve Bank of San Francisco, said during a Yahoo Finance interview last month. "So we'll end at a rate that we think is appropriate and in terms of where to stop and look around."
Given that, a slowdown might be possible before inflation moderates, especially if growth pulls back and the labor market begins to soften.
The Fed will release a fresh set of economic predictions next month. If it does pare back the pace of rate increases then, it could simultaneously project a slightly higher path for interest rates in 2023, Mr. Feroli from J.P. Morgan noted
Such a setup would allow the central bank to communicate that it is both committing to crushing inflation and cognizant that its policy changes to date are still taking hold.
And it would underline that the Fed will need to be nimble next year if price increases are slow to fade. So far, inflation has shown no obvious response to the Fed's campaign to cool the economy.
"Inflation is likely to remain uncomfortably high for a while, and this could make continuing to hike in small increments for a bit longer the path of least resistance," David Mericle at Goldman Sachs wrote in a recent research note. Plus, with wages picking up and consumers hanging in there, "more rate hikes might eventually be needed to keep the economy on a below-potential growth path."