Once upon a time, there was a kingdom by the sea. Some of the people who lived there were farmers, some were fishermen, some were merchants, some were craftsmen, and far up on the mountain in an old and rather worn down abbey, a group of men and women lived to study the old stories and tales of the kingdom. These were the wise people of the kingdom and they were called upon for advice in times of trouble.
For many years, there had been no trouble in the kingdom. The fields were fertile and trade was good. The people were happy and prosperous and for the most part they behaved pretty decently towards one another and towards the people of the neighboring kingdoms. However, after many years the kingdom fell on hard times. The kingdom and all the kingdoms surrounding it experienced famine. To be honest, the famine was much more pronounced and serious in the surrounding kingdoms than it was in the kingdom by the sea.
However, the people had become quite used to being happy and prosperous so even before things become very difficult they became afraid and angry. It wasn't long before they were not getting along with each other very well. It turned out that they had been happy and for the most part decent because they were prosperous and not the other way around.
Their fear made them start blaming each other. The merchants blamed the farmers for not planting extra crops in the good years. The farmers blamed the merchants because they said the prices had not been high enough for them to have planted extra in the good years. The artisans were angry at both the farmers and the merchants because obviously one or both of those groups had to be at fault, it certainly wasn't the artisans. The fishers were beginning to hoard their fish instead of bringing them to market. All of the people in the kingdom by the sea blamed the neighboring kingdoms for not being able to feed their people and asking for grain and supplies and so on. Some people wanted to quit trading with the neighboring kingdoms altogether.
This in its turn made the king very much afraid, because far back in the history of the kingdom, his great, great, great, great grandfather had been made king because the people had chased off another king after a famine. Now the king was not suffering at all because the people had to pay him tributes of money and food. He was actually mighty rich. He'd never been hungry a day in his life, and he really didn't want to try it, as the people in the country who were hungry simply couldn't shut up about how terrible it was, so he began to consider how he might continue to be a mighty king with a full table.
He thought and thought and thought about it and he finally decided that the only thing to do was to be practical. There was not enough food for all the people. He would have to choose who would eat and who would not. He and his friends were quite fond of their banquets. It wouldn't do to give those up. It made him a little sad, but facts were facts.
He knew that it would be up to him to decide who would eat and who would not eat. Of course, he realized that those who weren't chosen would not be very happy about the fact. It wouldn't do to let them know they would not receive their share of the kingdom's food until they were too weak and poor to do anything about it. He'd read his history carefully and he was fairly certain where that king long ago had gone wrong. He didn't intend to make the same mistakes.
After he'd decided, sadly and fearfully, what he must do, but before he had started to carry out his plans, one of his advisors came to him.
Now the king had already pretty well made up his mind what he was going to do and to whom he was going to do it, but in the meantime he thought it best to keep the people happy. After all, some of them were going to be quite unhappy soon enough. And he didn't want the panic to set in until he had assumed control of the situation. So he made a great show of calling the wise man and he set up a large hall, with a throne for himself and enough room for many citizens to attend.
He sent a messenger far up the mountain to the abbey. At the bottom of the mountain, the messenger blew his horn and waited. After a time, the abbess caused a basket to be let down (the only way up the cliffs to the abbey on the mountainside) and in it was a small, homely, bearded man. The man was dressed in plain white robes that were obviously quite old, but which had at least been cleaned and nicely pressed. The wise men and women did not receive a tribute from the people. They had to make do with a few scrawny goats and an arid mountain garden. They managed to grow a nice nearly wild grape for wine and this was all they had to trade.
Strangest of all, the people believed that the things that this unimaginably huge God had said and done when he was at his smallest were the most important things. And they based all their wisdom on thinking and acting as their God had done, not when he was big and important and causing earthquakes and imploding stars, but when he was a person just like them. This at least was the gist of what they were taught from the time they were very small. The people didn't pay it too much mind. That's what they had the Wise Ones for.
The Wise Ones in the abbey spent all their time thinking about the stories of the Person God (and not so much time thinking about the Very Large God) and trying to put the ideas they might glean into practice as best they might for that was their purpose and duty. When one of them was called into the kingdom, which was almost always in times of trouble (for the people almost forgot they existed when times were good), he or she went and listened to the king and his advisors and then recounted the story they thought would be most helpful to the situation.
When the wise man arrived he was led to the front of the assembly. The messenger had already told him why he had been called and he had thought about the best story to tell the people on his journey to the city.
The king, who did not have high hopes for this performance, allowed the small man to come to the front of the assembly and speak. He supposed that the man might ask them all to make some sort of sacrifice or perform some sort of ritual. He thought he vaguely remembered such things from the stories he had heard. But the man said that he would simply recount a story that he thought might help.
"How many people," someone called out from the crowd.
"He was magic!" someone yelled out from the crowd.
"God is magic!" someone else yelled.
George smiled. "Interestingly he didn't blame them at all. He was worried about them. He asked some of his closest friends if they might have something to feed everyone. But even his closest friends had somehow been caught off guard. They didn't have anything either.
The king shrugged. He would never have allowed someone to smear mud on his eyes. Ridiculous story.
There was some grumbling in the room, and George could see that the people were becoming a little alarmed. He continued.
George looked around the audience, pleased with the story, certain that the crowd would see the point.
The shouts and calls, until George settled the crowd. "Listen," he said, "The point is that we have to do the things the Person God has asked us to do! Those of you who have food should be willing to share it. That's the thing that makes the magic work!" George winced at the word magic, but he figured it was pointless to try to get them to understand anything more complicated. The crowd once again began shouting out their disapproval.
"Why the king here has plenty of food! I saw it in the store houses on the way here! I'm sure he would be happy to share with everyone!" George said, waving his hands madly above the crowd. He was certain that the king, who indeed had stored up a lot of food, would understand his story. He also knew that it was a king's job to feed his people. He was quite pleased to see how well prepared the king was.
The crowd was too caught up in its internal uproar to hear him. But not so the king. The king's face turned pale and then it turned as red as a strawberry. He whispered something to his guards and they gathered up George and ushered him into a small stone room at the back of the great hall and left him there behind a locked door. The crowd was so busy arguing they hadn't taken notice of George's abduction.
The king followed them and saw that George was tucked safely away. He waited a few moments so that the crowd might think he'd been speaking to George, then he returned and stood and faced the crowd. With his great red cape and golden crown, he was much more imposing than poor George could hope to be in his threadbare robes and scraggly beard.
The crowd looked up at him, relieved. The king was someone who said things they understood. They didn't always like the things he said, but they understood them. And there was something comforting about the fact that he could simply make them do what he said anyway. Not so much to think about.
The king stood for a moment, looking kingly, letting the people admire him. And then he cleared his throat and began to speak soothingly.
"George has agreed that in our present circumstances, this policy of sharing will probably not be enough to release the magic we need to feed ourselves for the duration of the famine. And so he has been good enough to volunteer to be a sacrifice for us. It's a little known fact that our ancestors used to sometimes sacrifice a person in times of drought or difficulty. And who better to appease our God than a wise man?" here the king paused to look sad.
The people caught their breath collectively. It had been many, many ages ago since any such thing had been done. But they were beginning to be hungry. And they were afraid. Besides, no one had ever talked the king out of a single thing he'd wanted to do. They were silent, but I'm afraid that most of them were thinking better George than one of us.
So the king commanded a very tall pyre to be built. On top of this he had his men place a stake with chains. He had certain herbs brought to be placed on the fire. He wanted the whole thing to look like an important ritual. He wasn't quite sure what he was doing, but then neither were most of the people. He made certain that the crowds would be kept at enough distance so that they could not hear any more of George's silly and pointless stories. And then he went into his rooms and prepared a fine speech about sacrifice and the great gifts that God would bestow on a people who would humbly sacrifice one of their few wise men and he put on his robes and his great gold crown with the rubies. By the time he had finished, morning had become dusk.
He went out to the funeral pyre and gave his speech. After his fine speech, during which he managed a tear or two, (he really had no reason to dislike George and it did seem like rather a waste, since George was of one of the wise people who pressed out his wine for him each year) and then he commanded George be brought before him.
Now George, had had no idea of any of this when he was hustled out of the room by the king's men. The crowd had looked mighty riled up and for all he knew, the imprisonment might be for his own protection. Nevertheless, he was slightly bored and he began talking to the nervous young man who had been left in charge of him. No one had seen any need to put one of the king's best men in charge of guarding the small and strange prophet.
But what the king hadn't counted on was that George had lived and breathed the stories for so long that they had become for him a sort of magic. He didn't have to talk to the nervous young man for very long.
By the time the guards came to take him away, he and the young man were gone more than half the way back to the abbey on a fine swift horse. The young man spoke to the abbess and after some contemplation, she caused the basket to be pulled up the cliffs. The young man was taken in by the abbess and in his turn, he married a wise woman and made wine and worked hard in the arid garden and learned their stories and sang their songs.
As for the king, he had to substitute a baker for the wise man, and when the crowd saw that he was taking one of them, instead of someone they didn't know so very well, they became even more fearful. They began to quietly grumble against him and by the third year of the famine, they had run him out of the kingdom and replaced him with the baker's son.


The Golden Door was the eighth story in the anthology Decalog. It was written by David Auger. It featured the First Doctor, Steven Taylor, Dodo Chaplet and the Sixth Doctor.
The Doctor, Steven and Dodo have just arrived on Bukol on a passenger liner and are passing through customs. However, when the Doctor shows his visa, the image is of a different man. To the Doctor's shock, his companions denounce him as an imposter. The Doctor is taken away and interrogated by Yerma, who doesn't believe his story. He thinks the Doctor might be a criminal named Mykloz, who is a master of disguise.
Dodo and Steven, in the presence of a Bukolian guard, discuss the situation, wondering how the man could have tricked them into believing he was the Doctor. When Yerma brings the Doctor to them, Dodo attacks him, demanding to know where the Doctor is, and Steven threatens to kill him.
Yerma allows Dodo and Steven to accompany him on a search of the liner for their missing friend. They find an unconscious blond man who they say is the Doctor and who recognises them, with some surprise. They tell him that someone has been impersonating him. The Doctor is taken to a hospital to be treated for the injuries sustained in the attack on him. Meanwhile, Dodo and Steven enjoy a meal with Yerma. When he has to leave them briefly, they notice that a man is staring at them. Afraid, they run away, and he follows.
They manage to give him the slip and end up in an alley. They encounter the old man from customs, who they claimed is not the Doctor. He wants an explanation of what happened to them. Dodo apologises to him, but when Yerma arrives, she screams that the imposter is here. The old Doctor runs away.
As the Doctor makes his escape, he sees an old friend, Anu-Ak, who recognises him and brings him to his apartment. They see the Doctor on the news, listed as a fugitive, and Anu-Ak remembers that he has an old television transmission that can prove the Doctor's identity.
In a cell on the liner, the real Dodo sits in a corner while the real Steven paces the room, getting on Dodo's nerves. However, she eventually finds a hatchway, and with some difficulty they escape from their cell.
Meanwhile, at the hospital, an orderly injects the blond Doctor with something, and as the Doctor watches, the orderly's appearance shimmers and takes the form of Mykloz — from whom the Doctor is trying to rescue two Maleans. Mykloz gloats that he has injected the Doctor with a compound that will kill him and leaves the room. The Doctor tries to follow, but collapses on the floor.
Yerma watches Anu-Ak's television transmission.Despite its lack of a licence, Yerma is prepared to accept the Doctor's claim of his identity. A Bukolian official brings in the real Dodo and Steven, and they are glad to see the Doctor. However, Yerma is confused as to why they now claim that the old man is the Doctor. The Doctor concludes there are three imposters.
They head for the hospital to find the other "Doctor", but his hospital room is empty.
The Doctor and Yerma have much to discuss, so Dodo and Steven visit the carnival. A Bukolian official approaches them and tries to take them away, but is stopped by the blond Doctor. The official resumes Mykloz' appearance; he thinks Steven and Dodo are the other two Maleans and wants to kill them. The Doctor tries to convince him that they are the real Steven and Dodo, not the "mutant" Maleans that Mykloz is hunting. Mykloz runs off but is eventually captured by Bukolian officials.
When Yerma learns from the Doctor and his friends that Mykloz is a shape shifter, he is alarmed and they head for the detention centre. The deputy is dead and Mykloz is gone. Yerma tries to seal off the building, but "the deputy" has already left.
The blond Doctor watches two carnival performers. They are Orsa and Alëza, the "mutant" Maleans that Mykloz has been assigned to kill. The Doctor has brought them to Bukol for their safety. On Bukol is located the Sanctuary, a gateway to another dimension where the two Maleans can be safe. As they make their way to the Sanctuary, guided by the Gatekeeper, Mykloz tries to stop them. He fires a weapon, but Orsa and Alëza have passed through the gateway and are safe. The weapon's discharge reacts violently, and Mykloz disappears. The Gatekeeper tells the Doctor that Mykloz could be anywhere in space and time.
The stories in Decalog are linked by the story Playback, in which psychic Silverman examines various items in the stranger's pockets. For this story, he examines the globe.


text:
Bristol City's Lee Johnson ready to send Wolves message to rest of Championship
The Robins boss has been speaking ahead of the clash at Ashton Gate
Aidan McCartneySports Wire Content Editor
GET THE LATEST ROBINS NEWS STRAIGHT TO YOUR INBOX
Bristol City head coach Lee Johnson wants to beat Sky Bet Championship leaders Wolves on Saturday and in doing so send out a message that they can still be caught.
Wolves head into the match eight points clear of the second placed Robins after a stunning season under the management of Nuno Espirito Santo.
And the Molineux side know that a victory at Ashton Gate in Saturday's teatime fixture would see them move a step closer to Premier League football next season.
Johnson's in-form side can cut the gap to five points with half the season still to play and the boss is keen to keep pace with the run-away leaders.
He said: "It'll be a tough game on Saturday but we'll do everything we can to get a result for the City faithful.
Jamie Paterson of Bristol City celebrates scoring a goal to make it 1-0
Bristol City vs Wolves top of the table clash set for Ashton Gate sell out
"They've spent a lot of money on their squad but it's alright spending money – you still have to get the right players in and they've built a fantastic squad.
"I think from the league's point of view, it's important we win the game to bring Wolves back into us and the rest.
"It's a big game and the players have to recover, rest up and be ready, including our young lads."
The top-of-the-table clash is close to selling out with less than 400 home tickets available with the Black Country side set to bring 3,600 supporters to Ashton Gate.
Bristol City vs Wolves - build-up
Wolves team news
Ticket update
Pundit prediction
Johnson now wants the same atmosphere as City enjoyed when they knocked Manchester United out of the League Cup last week.
He added: "A lot of money has to be shelled out at Christmas, so it was a great crowd against Reading and we're very appreciative of that support.
"We're going to need a similar type atmosphere to the Manchester United game and the second half against Reading because Wolves are a top, top side."
"These are Premier League games we're having at the moment," said Johnson. "Our fans have been excellent. We'll need them again. It's another night game and should be a great atmosphere.
"It's still relatively early as far as our league position is concerned, but we will do our best to keep churning out performances and hope that, in the end, those will produce results."
Lee Johnson
Bristol Rovers FCTisdale calls for chaos from Bristol Rovers players against depleted Charlton AthleticPaul Tisdale looks ahead to Saturday's League One clash against Charlton Athletic at the Mem after three wins in their past four league games
Bristol City press conference recap: Dean Holden and Dan Bentley on Preston, injuries and January
Football NewsUpdates from the club ahead of Alex Neil's side coming to town.

redpajama_set_name: RedPajamaCommonCrawl


text:
Dangerous waves, rip currents make local beaches hazardous
By Cate Cauguiran
Dangerous waves, rip currents possible on Lake Michigan
CHICAGO (WLS) -- A beach hazard warning issued for Cook County and Northwest Indiana Friday will remain in effect until Friday evening.
Officials warned of possible life-threatening waves and rip currents in both locations.
Water can be dangerous at any time, but if you aren't used to swimming in rough conditions, Mary Nan Best of Wells Street Beach said its best not to swim at all.
Waves got as high as six feet in some places.
"I asked the parents when I was down on the beach to please stay within arm reach of their kids, only take kids in the water if they themselves can rescue themselves or the kids. Not to go in if they can't," Best said.
At 31st Beach, some beachgoers stayed on the sand rather than risking a swim.
"Driving into the beach we were looking to see, and we saw the current and we just like we're just going to cool out in the sun today," said Chantaya King.
Peter Maher and his wife kept a close eye on their children in Northwest Indiana.
"They don't get too far from us. You know they enjoy the water, they're always in it but conditions like this they're never too far from us," Maher said.
Experts say even the best swimmers can't escape these dangerous conditions.
"There's this big misnomer that people assume, 'Hey, I know how to swim, my kids have had swim lessons, I don't have to worry about drowning.' But that's not the case. It's kind of like saying, 'I know how to run. I can run a marathon,'" said Co-Founder and Executive Director of Great Lakes Surf Rescue Project Dave Benjamin.
If you do get caught in a rip current, it is essential to remain calm, Benjamin said.
"People need to understand panic is the first stage of drowning," Benjamin said. "If you can't get over that initial panic, you're likely not going to survive unless somebody else is rescuing you."
Benjamin also said that if you are attempting to save someone, take a flotation device for yourself. Often, would-be rescuers end up drowning themselves.
chicagoswimmingrip currentlake michigan


Disaster risk trends help us to determine whether our DRR efforts are effective.
Disaster risk trends are a measure of the sustainability of development. Trend analysis helps us to understand patterns of disaster risk and, consequently, whether disaster risk reduction is being effective. Using disaster trends to inform policy and practice requires a good understanding of the limits of these trends. The pattern the trend displays (rising, falling or fluctuating) is only as real as the amount, quality and reliability of the data used. For instance, patterns of disaster losses may actually reflect a number of factors unrelated to disaster risk, including the time period over which they are measured and improvements in disaster risk reporting. In order to account for these problems, analysts determine the statistical significance of the trend.
"The last decade has seen dramatic reductions in disaster mortality in selected countries and regions. But not all countries have been able to reduce the vulnerabilities associated with disaster mortality faster than the hazard-exposed population has increased.
Global loss trends indicate that the rapid growth of economic assets in hazard prone areas is increasing disaster risk.
Mortality losses are concentrated in a few intensive disasters, and recent disasters give the false impressions that global mortalities are on the rise.
"Whereas most high-income countries have significantly reduced extensive risk associated with losses over short return periods (the average frequency with which a particular loss is expected to occur), mortality and economic losses associated with extensive risk appear to be trending upwards in low and middle-income countries."
In the Caribbean, climate change will contribute an additional US$1.4 billion to expected annual losses by 2050 (Figure). This figure only represents the losses associated with increased wind damage and excludes additional losses from storm surge due to sea level rise.
The pursuit of unlimited economic growth has led to an increasing and unsustainable overconsumption of energy, fresh water, forests and marine habitats, clean air and rich soil at the global scale. Many ecosystems that play vital protective and provisioning roles are being degraded beyond the point of recovery, which can magnify hazard levels, increase vulnerability and challenge resilience.
In general, those countries that have managed to reduce disaster mortality significantly have also managed to enhance disaster management within a broader context of improving development indicators.
Climate change and exposure to natural hazards threaten to derail international efforts to eradicate poverty by 2030.


text:
Kama Terms of Service
Effective from 22/07/2020 (View previous versions)
These terms apply to the Kama mobile app (App).
Your attention is drawn in particular to the following terms:
Use of the App by children
Your health and safety when using the App
Our liability to you
When you sign up for an account to access the App, you'll be asked to confirm whether you agree to these terms. If you don't agree to these terms, you shouldn't confirm that you do and should delete the App from your device.
You should also read our Privacy Policy which, although not part of the contract between us, includes important information about what data, including personal data, we collect from and about you when you use the App.
If you've got any questions or concerns relating to these terms, please contact us at hi@kama.co.
Kama is the trading name of Project 3000 Limited, a limited company registered in England and Wales under company number 12133721. Our registered office is at 42 Tournay Road, London SW6 7UF, United Kingdom.
Apple® and Google™ terms also apply
Your use of the App may also be subject to the rules and policies of the Apple® App Store® and Google Play™ Store, depending on the type of device you have installed the App on. Where there are any differences between those rules and policies and these terms, those rules and policies will apply instead.
Changes to these terms
We may make minor changes to these terms without notifying you, as long as those changes don't materially affect your rights. If we make any changes to these terms which may materially affect your rights, we'll try to give you reasonable notice in advance by email or by drawing your attention to such changes within the App. If you don't agree any changes, you shouldn't confirm your agreement to them and should delete the App and your account.
This doesn't affect your legal rights as a consumer or rights to a refund in accordance with the rules and policies of the Apple® App Store® and Google Play™ Store (as appropriate).
Changes to the App
We may make changes to the App at any time to add functionality or improve performance, reflect changes to your device's firmware, address security issues or comply with any applicable law or regulation. If you choose not to install any updates, you may not be able to continue using the App or the App may not perform as it should.
Given the mature nature of the content, we don't direct the App towards children, nor do we knowingly collect personal data about children. For this purpose, a 'child' means anyone under the age of 18 or the age of majority in the place where our Website or App are being accessed.
We've assigned an age rating of 17+ to our App in the Apple® App Store®. This is equivalent to an ESRB 'Mature' rating and PEGI 16+ rating. To find out more about how to set parental controls on your child's Apple device, please visit the Apple website.
If you hold parental responsibility for a child under the age of 18 and are concerned that we've collected personal data about your child, please contact us at hi@kama.co.
Your access to the App
We're giving you personally the right to use the App. You may not transfer the App, including your subscription to the App, to anyone else. If you sell any device on which the App has been installed, you must delete the App from it.
If you install the App onto any device which isn't owned by you, you must have the device owner's permission to do so. You'll be responsible for complying with these terms whether or not you own the device.
If you choose, or are provided with, a username, password or any other piece of information as part of our security procedures, you must treat such information as confidential and not disclose it to any other person.
We reserve the right to disable your account at any time if you've notified us, or we've reason to believe, that your account has been compromised in any way.
The App is provided for information purposes only. It does not create any relationship of physician or therapist and patient. If you're concerned that your use of the App could pose a risk to your mental or physical health and safety, you should obtain professional or specialist advice before using the App.
Although we only work with reputable and experienced therapists to develop the content available through the App, we make no representation or warranty, or give any guarantee, that the App will benefit you or be fit for your particular purposes.
Your use of the App
You may only use the App for private and non-commercial purposes.
You agree that unless permitted by the laws of the country or territory in which you reside, you will not:
rent, lease, sub-license, provide or otherwise make available, the App to any person
copy the App, except as part of the normal use of the App
translate or modify the App nor permit the App to be combined with, or become incorporated in, any other programs
disassemble, de-compile, reverse engineer or create derivative works based on the App nor attempt to do any such things
use any script or other automated process to interfere with or manipulate the App or the results generated from your use of the App
not "crawl", "scrape" or otherwise collect any data or information from the App using any automated process (including but not limited to bots, scrapers and spiders)
not use the App to circumvent any geographic/territorial restrictions
We may suspend or terminate your access to the App (and your subscription) if we receive notice from any person that, or we have reason to believe that, you have breached these terms.
Ownership of the App
We and our licensors own all intellectual property and other rights in and to the App which are licensed, not sold, to you. We and our licensors retain ownership of all copies of the App, including those installed on your devices. Any third party software (for example, open source software libraries) included in the App are licensed to you under the relevant third party's licence terms which can be accessed within the App.
Without affecting your legal and other rights as a consumer or otherwise under the laws of the country or territory in which you reside, to the fullest extent permitted by law:
the App is provided on an "as is" and "as available" basis and we make no representations or warranties as to satisfactory quality, merchantability, fitness for purpose or non-infringement
we don't represent or warrant that any content made available through the App will always be available or be uninterrupted or error-free
in no event will we (or any person or company associated with us in any capacity) be liable to you for any business losses or for indirect or consequential losses (including exemplary or punitive damages), even if we've been advised of the possibility of those losses arising
your sole remedy for any problems or dissatisfaction with the App will be to delete the App and cancel your subscription, subject to the rules and policies of the Apple® App Store® and Google® Play™ Store (as appropriate)
our aggregate liability for all other claims will be limited to US$100 (or the equivalent amount in the official currency of the country or territory in which you reside)
Termination of your subscription
Subject to the rules and policies of the Apple® App Store® and Google Play™ Store, you may terminate your subscription at any time by emailing hi@kama.co.
The following terms will survive the termination of your subscription and agreement with us:
Terms which apply if you downloaded the App from the Apple® App Store®
Terms which apply if you downloaded the App from the Google® Play™ Store
If you've downloaded the App from the Apple® App Store®, you agree that:
the agreement set out in these terms is between you and us, not with Apple® and that we are solely responsible for the App
Apple® is not responsible for providing any maintenance and support with respect to the App
we are solely responsible for any warranties made in respect of the App
in the event of any failure of the App to comply with any warranty, you may notify Apple® and, where applicable, Apple® will refund the purchase price for the App to you; but to the maximum extent permitted by applicable law, Apple® will have no other warranty obligation with respect to the App and Apple® will not be responsible for addressing any claims relating to the App or your possession or use of the App, including (but not limited to), product liability claims; any claims that the App fails to comply with any applicable legal or regulatory requirement; and any claims arising under consumer protection or similar legislation
Apple® is not responsible for the investigation, defence, settlement and discharge of any claim by another person that the App or your possession and use of the App, infringes that other person's intellectual property rights
Apple® and its subsidiaries are third party beneficiaries of these terms and, upon your acceptance of these terms, Apple® will have the right (and will be deemed to have accepted the right) to enforce these terms against you as a third party beneficiary
you are not located in a country that is subject to a U.S. Government embargo, or that has been designated by the U.S. Government as a "terrorist supporting" country, nor are you listed on any U.S. Government list of prohibited or restricted parties
If you have downloaded the App from the Google® Play™ Store, you agree that the terms of the Google® Play™ Developer Distribution Agreement will override these terms to the extent that these terms conflict with the terms of such agreement and that each member of Google's group of companies will be third party beneficiaries of these terms and may enforce these terms against you as a third party beneficiary.
Other important terms:
Promotional offers: We may offer special promotions on the content that you can access through the App, which may be subject to additional terms and conditions. We'll draw your attention to any additional terms and conditions relating to such offers prior to sign-up.
We may transfer our agreement with you to someone else: We may transfer our rights and obligations under these terms to another organization. If you're unhappy with the transfer, you may terminate your agreement with us as set out above.
If a court finds part of these terms illegal, the rest will continue in force: Each section of these terms operates separately. If any court or other relevant authority decides that any of them are unlawful, the remaining sections will remain in full force and effect.
Even if we delay in enforcing these terms, we can still enforce them later: If we don't insist immediately that you do anything that you're required to do under these terms, or if we delay in taking steps against you in respect of your breach of these terms, that won't mean that you don't have to do those things and it won't prevent us taking steps against you at a later date.
Waiver of class actions: Where permitted by the laws of the country or territory in which you reside, you and we agree that each of us may bring claims against the other only in an individual capacity and not as claimant/complainant/plaintiff in any purported class or representative action. Unless you and we agree, no arbitrator or judge may consolidate more than one person's claims or otherwise preside over any form of a class or representative action.
Which laws apply to these terms: Unless otherwise required by the laws of the country or territory in which you reside, any claim, dispute or controversy arising out of or in connection with these terms (including non-contractual claims or disputes) will be subject to the laws of England and Wales (without regard to choice or conflicts of law principles).
Where you may bring legal proceedings: Unless otherwise required by the laws of the country or territory in which you reside, in the event of any claim, dispute or controversy arising in connection with these terms (including non-contractual claims or disputes), the parties will try to reach an out-of-court settlement and if no settlement can be reached, such claim, dispute or controversy must be referred to the courts of England and Wales (meaning that no other country's or territory's courts can preside over the matter). We don't accept any codes of conduct as mandatory in connection with these terms.


text:
Q: TextView pushes buttons off screen with HorizontalScrollView I am aiming for a layout similar to the native calculator app. I want text to trail off the left of the screen without moving the buttons on the right. Currently my text moves to the left until filling the screen at which point the buttons are pushed off the right edge.
<LinearLayout
    android:layout_width="match_parent"
    android:layout_height="wrap_content"
    android:layout_gravity="top"
    android:layout_weight="1"
    android:gravity="right"
    android:orientation="horizontal" >

    <HorizontalScrollView
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:scrollbars="none" >

        <TextView
            android:id="@+id/display_view"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:singleLine="true"
            android:textColor="@android:color/white"
            android:textIsSelectable="true"
            android:textSize="30sp" />
    </HorizontalScrollView>

    <LinearLayout
        android:layout_width="wrap_content"
        android:layout_height="wrap_content"
        android:orientation="vertical" >

        <Button
            android:id="@+id/delete_button"
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:onClick="onDelete"
            android:text="@string/delete_button" />

        <Button
            android:id="@+id/equate_button"
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:onClick="onEquate"
            android:text="@string/equate_button" />
    </LinearLayout>
</LinearLayout>

A: You don't need to put your TextView into a HorizontalScrollView, it will automatically become scrollable when the text exceeds the bounds. See docs: http://developer.android.com/reference/android/widget/TextView.html#attr_android:scrollHorizontally
Just add android:scrollHorizontally="true" to the TextView in the layout.
You may also need to change the text view's layout_weight to 0 or set its layout_width to something fixed (like 100dp).
To get the text to go right-to-left, set the gravity on the TextView to be android:gravity="right|center_vertical"
I also humbly refer you the source of the calculator app you are trying to emulate: https://github.com/android/platform_packages_apps_calculator/tree/master/src

redpajama_set_name: RedPajamaStackExchange


This is the Saturday Evening Post NORMAN ROCKWELL Stoneware Plate Set...4 Different Coordinating Designs which had been covers for the Saturday Evening Post...Each Plate Measure 10 1/2 Inches Wide...Includes: MERRY CHRISTMAS - COUPLE DANCING - December 8, 1928; MERRY CHRISTMAS - MAN WITH TWO GEESE - December 10, 1932; SANTA READING MAIL - December 21, 1935; MISTLETOE - December 19, 1936 Shipping weight is 14 lbs.
includes shipping. This is a set of three collector Christmas plates from Andre Restieu's "Noel Vitrail" series patterned after stained glass panels at the Cathedral of Chartres, France. Included are: the 1975 edition plate #AX155 ,La Fuite En Egypte, the 1977 plate #BO856- Refus d'Herbergement. the 1978 plate # BD727 La Purification. Each plate beautifully replicates the colors of midieval stained glass.
includes shipping.This is a 1983 Royal Doulton Christmas Carols 'Silent Night' Collector Plate. It is is the 1st in the series of six plates. The front has the Christmas 1983 on the bottom of the picture, and the sheet music to the song around the rim. The back has the Royal Doulton hallmark and name, as well as 'Christmas Carols' and the title, Silent Night and the words to the song. The plate is approx. 8.5 inches in diameter.
Celebrating the Golden Jubilee of Queen Elizabeth II, this plate was made by Wedgwood for the Daily Mail in 2002. Will be a great addition for any collector of royal memorabilia.
A Celebration of the Life of the Queen Mother Plate, made by Wedgwood for the Daily Mail in 2002 Will be a great addition for any collector of royal memorabilia.
Price includes shipping. This vintage 9" latticed collector plate is from Berggren. It portrays the Var Sa God saying against a floral scene.
Price includes shipping. This is an 8" diameter "cookie cutter' edged collector plate. Trimmed in gold, it depicts the symbols and star of the Order of the Easter Star. It is marked "hand painted". Although it is not stated, this seems to be mid 50's Japan.
This beautiful plate was inspired by Cinerella's castle, the symbol of Magic Kingdom park in Walt Disney World Resort. The lovely blue glass plate measures 8" by 6".Price includes shipping.
Price Includes shipping. This item is a collector plate from Calhoun's titled, "Balloon Man" based on an original painting by Dominic Mingolla. The piece is 8 1/2" in diameter, 3/4" deep at the rim, by 5 1/8" across the base.The decoration consists of a man selling balloons in a park with two small children looking at the multi colored balloons.
From Grolier Collectibles Ltd, this is the 1995 Mother's Day Plate -Happy Mother's Day. It depicts Goofy holding a Mother's Day sign. Shipping included in price.
From Grolier Collectibles Ltd, this is the 1996 Mother's Day Plate - We Made It Ourselves. It depicts Huey, Dewey, and Louie Disney's Donald Duck's nephews having just painter a Mother's Day sign. Shipping included in price.
From Grolier Collectibles Ltd, this is the 1997 Mother's Day Plate - Disney's The Lion King. It features Baby Simba and Mom. Shipping included in price.
The quote on the back of the plate- "And the Baby Bear said,"Someone's been sleeping in my bed..and there she is!". The plate depicts a stern looking Mr.Bear with Mrs. Bear and Baby Bear looking at Goldilocks just waking.This is the first issue of the set of Knowles series of Classic Fairy Tales by Scott Gustafson. This one is plate #14042 A PRICE INCLUDES SHIPPING.
The quote on the back of the plate- "And everywhere that Mary went, the lamb was sure to go." sets the tone for the classic story. The plate depicts young curly blond Mary carrying her chalk board and climbing a stone wall with the lamb climbing right in back of her. This is the second of the set of Knowles series of Classic Mother Goose by Scott Gustafson. This one is plate #6776 A PRICE INCLUDES SHIPPING.
The quote on the back of the plate- "Along came a spider and sat down beside her..." sets the tone for the classic story. The plate depicts a colonial Little Miss Muffet sitting on a park bench eating her curds and whey- with an eloquent spider tipping his hat to her. This is the first of the set of Knowles series of Classic Mother Goose by Scott Gustafson. This one is plate #116 61 A PRICE INCLUDES SHIPPING.


text:
January 9, 2020 8:47AM PT
Rotterdam-Bound 'La Fortaleza' Picked Up by Reel Suspects for World Sales (EXCLUSIVE)
By Elsa Keslassy
Elsa Keslassy
International Correspondent @elsakeslassy	FOLLOW
Elsa's Most Recent Stories
Scandinavia's NENT Group Pulls Plug on Non-Scripted, Sets Sights on Drama and Film
Distrib Films Acquires U.S. Rights to Studiocanal's 'The Perfect Nanny,' 'Someone Somewhere' (EXCLUSIVE)
"La Fortaleza," Jorge Thielen Armand's Venezuelan film which is set to compete at Rotterdam, has been acquired by Paris-based Reel Suspects for world sales.
"La Fortaleza" is the first feature film produced by the Blockchain-powered platform Breaker, and is co-produced by Louise Bellicaud and Claire Charles Gervais of In Vivo Films, whose recent credits include "Abou" which played at Cannes's Critics Week.
The film opens as Venezuela's economic crisis explodes into riots on the streets of Caracas. It follows a middle-aged man, Roque (Jorge Roque Thielen), as he heads for the Amazon jungle to revive the abandoned lodge he built during happier, healthier days. As the jungle closes in on him, good friends encourage bad habits and whisper promises of finding gold.
"Jorge's film is extremely powerful and fits perfectly IFFR's (Rotterdam festival's) vision of discovering new talents," said Matteo Lovadina, Reel Suspects's CEO. Referring to blockchain technology, Lovadina added that "the production team behind the film is working on making our work easier and clearer for all persons involved."
"'La Fortaleza' is an exciting an opportunity for Breaker and Reel Suspects to use our innovative blockchain revenue management technology to manage the collection revenue and the payment of royalties generated from the film's release
around the world," said Breaker CEO Kim Jackson.
Jake Craven, Breaker's VP of content who negotiated the deal with Lovadina, said it "marks one of the first instances where the new technology of blockchain will be used in place of a traditional collection account management service and provide better transparency for the film's producers and participants."
Reel Suspects
A24 Closing In on Miranda July's Sundance Player 'Kajillionaire' (EXCLUSIVE)
Indie powerhouse A24 is closing in on worldwide distribution rights to Miranda July's long-awaited third feature film "Kajillionaire," insiders close to the deal told Variety, fighting off numerous other interested parties in a competitive situation. The Oscar-winning distributor is outrunning bidders including Bleecker Street, Focus Features, and Neon, source said. The deal that's expected to [...]


In her latest body of work, Body Politic, Melissa Cameron departs from earlier themes to explore the political arena. Melissa confronts her fears regarding weapons of war in a series of works imbued with her signature piercing precision. Rich narratives are embedded in oversized jewels and wall works that reward digging deep. Expanded definitions of the body as vehicle for jewelry are revealed, and what is brought front and center is man's ongoing inhumanity to man.
Vicki Mason: What led you to jewelry as a career after your initial degree in interior architecture in Perth, in Western Australia, and did you undertake any formal training?
Melissa Cameron: In grade 10, in high school, for an assignment I shortlisted two careers: jeweler and architect. Ten years later I was working as an interior architect in Perth and making jewelry for friends and to sell at a local market on the side, knowing that the jewelry I had made in high school was more intensive and satisfying. After a dark night of the soul I had an epiphany (which actually occurred in daylight hours at the Art Gallery of Western Australia; while looking at the Howard Taylor retrospective I realized that people from my town could be artists), and I acknowledged that while I loved architectural design, I loved jewelry too, so I decided to head back to school. I had been accepted to undertake some making units back at my old university under Brenda Ridgewell when I was involved in a car accident at work, which accelerated my transition process somewhat as I was suddenly unable to work full time. I completed a year-long postgraduate diploma of jewelry production at Curtin University, and then my new husband and I packed up and moved to Melbourne so I could undertake a master's of fine art under Marian Hosking at Monash University, which I completed in 2009.
You moved from Australia to America in 2012. Has this move, and adapting to and living within another culture, affected your work?
I can say now that the move really affected my sense of myself as a political body. In many ways my situation makes my political standing feel precarious—but at the same time because of the way that the United States is structured, even though I as a political body have very few rights, as an economic body I am afforded better opportunities than many who were born in this country.
You've titled your new exhibition Body Politic, which in the dictionary I looked at is defined as "a people regarded as a political body under an organised government". Are you also playing with ideas about the human body as political, discussions around sexuality, our own autonomy over our bodies, etc., all of which potentially sit under the umbrella of your title? Which of these reference points were you interested in exploring?
Melissa Cameron: I've been looking into Aesop's fable of The Belly and the Members and other literature that informs the idea of the body politic, and I am stuck on the idea that an organized government is meant to be representative of the people that form its constituent parts (admittedly the class distinctions implied in many a retelling of the narrative stratify more or less specifically who holds the most power.) I personally am beholden to a state that does not represent me, as I am not allowed to vote in the country in which I live. Yet as a white woman of a certain class, my interests are often better represented than those of many citizens of that state, which makes me question what, or rather who, constitutes the state and, inversely, who it is meant to be representing. I find this question especially potent when a state makes decisions that are against the actual human bodies of its members, and the opposite, when you are not a member of said state, what gives that state a claim against your body. The tension that exists between these two ideas—who has the right to make a decision about my body, and what gives them that right—are the ideas that I have been investigating, through the long history of this tension played out in armed conflict.
Where does your interest in weaponry and the tools/machinery used for killing another human being come from?
Melissa Cameron: I think I have the opposite of an interest in weaponry. I have a grave fear of the tools and machines that are used for killing people. I wanted to counter my own fear, and the idea that I think many of us have, that the weapons we have developed today are so much more dangerous, more lethal, than those of previous generations. I have an interest in history and archaeology, so I went in search of weapons from historical cultures that could lay claim to being equally gruesome to the ones that we might encounter today. In one sense my fears are just more grounded now, since the weapons I have depicted mark out the devil I know.
Can you please explain the curious titles of works like, for example, 154 @ 30 rpm (scale 1:4)?
Melissa Cameron: The titles offer a truncated explanation of the works, but are probably more successful in prompting the viewer to ask questions. In most cases they relate to facts and figures that are at the foundation of the pieces, like the number of iterations of a motif or the scale of the artwork in relation to the scale of its referent. Several works are made in such a way that when fully unfurled they are full-scale depictions of what they name; the Arrow 1:1 and Bow 1:1 works can be laid out to show the full length of a period bow and arrow. The M1 Abrams is a type of tank used by many nations, including the Australian Army. The title 1100 Shot Round refers to the amount of holes that were drilled into that work, which itself references a particular cartridge (the M1028) that when fired from the cannon of the M1 Abrams has a shotgun-like effect, in that it sprays out close to 1,100 individual 9.5mm (3/8 inch) tungsten balls. The 154 @ 30 rpm (scale 1:4) from the Gun work, which you refer to in your question, uses a particular incident to illustrate the AR-15's capabilities. In the incident, it was counted that the weapon was fired 154 times in a between 11- to 14-minute period. It was reported that the shooter frequently reloaded the 30-round magazine before emptying it. In the piece there are 77 confetti-sized holes cut through the steel, and the 77 cut-out pieces are used in the neckpiece, making 154 representations of bullet holes in the whole series. There are 30 shells depicted on the same piece, representing the 30 rounds per magazine that the weapon can hold, and the rifle itself is depicted at quarter scale, which is denoted by the 1:4 in the title.
I'm interested in the works from the Escalation series. Your work Tank is made from a non-stick pan and the works RPG@1:9, 22 radius@1:9, Anti-personnel Round, and Un-handle are made from a hand trowel. The strength of this work derives in part from the oxymoronic relationship between domesticity and warfare and the affiliation that you forcefully create between them. There are various ways to argue the interconnectedness of the military with the domestic. Can you talk us through how these everyday objects from the kitchen and garden relate to the tank and machine gun, both weapons for killing?
Melissa Cameron: As you say, there are many connections between weapons and domestic objects. First and foremost, they are both tools used daily by humans, and both were designed, or evolved, alongside the human body.
A striking connection for me comes down to the mutability of material. As an artist who likes working with steel because of its material properties, I know that a piece of steel, when of a certain width and grade, cuts just like another piece of steel. A new flat sheet will cut like a hand trowel, will cut like a tortilla pan. Materially I value its strength and weight, the same as many other designers and manufacturers, and because of that, one piece of steel might end up on my table, or in my garden, and another piece might go to the instrument panel of a tank, or to form a part of an RPG-7, an anti-tank rocket-propelled grenade launcher. With an in-demand commodity, the organization of the market determines where each new piece of steel goes. If there is more money to be made in one arena, chances are more steel will end up serving that area of the market. What makes my domestic steel different from that military steel? Hardening treatment, and geography. Historically, in times of shortage, it was common that one's trinkets, or at least scrap steel, would be surrendered to make machines of war, making the two the exact same thing.
I also note that it is my privilege to see the interconnectedness in somewhat abstract terms, as I don't live in an environment where the two frequently come into contact with one another.
The neckpiece Body/Politic has a message encoded in it, in binary code. Similarly, most of the large neckpieces, once worn, will no longer be recognizable as a sword, missile, etc., nor will their connection to domestic utensils be clear. Which begs the question—to what extent is ignorance a necessary part of your audience's skill set?
Melissa Cameron: Good question! In this series I became better at obliterating the original object and disguising the forms created from the object as I went along. Some of the earlier pieces are more ostensibly wearable, while in the later ones the functional object has been all but lost. These works are arguably more successful jewelry pieces, as their desirability and wearability is not impeded by their storytelling ability. I would think it hard to wear a quarter-scale rifle and remain ignorant, but in the Drone works the motif is hard enough to make out without decoding the over 1700 bit binary/ASCII message. I think that all jewelry has a narrative, though it is more often one that has been interwoven into the piece by the wearer. To me the strength of jewelry is in this tradition of its holding a meaning and/or message, and so I have encoded my messages in these works, sometimes very deeply. I don't expect them to be found by most people who see them. But for those who are interested and who seek them out, the reward is hopefully worth the effort, if sometimes horrifying.
In the series HEAT, you've made "jewellery for the wall." What was the inspiration for this?
Melissa Cameron: The jewelry for the wall in HEAT II was the best way to present the story it is depicting. It is my attempt to capture the scale and violence of the force that the original image of the armor-pierced tank documented. Outside of a gallery, the configuration of the long chain will not exist, but on the panels that accompany the neckpiece and the brooch, the story of how they came to take that shape, and how there came to be so many parts, is very clear.
The HEAT panels, like a lot of the work in Body Politic, have an "on" and "off" state. They can be worn, and then returned to the wall, to "complete" that installation. This co-dependency between a sculptural and a wearable object echoes what Seth Papac, for example, has done in his recent series. What do you think is gained or lost in the process?
Melissa Cameron: The HEAT II panels in this installation are not meant to take wearable form, but you are right, in another version I have made one panel a wearable breastplate from the central panel. The neckpiece and brooch are much more easily/traditionally wearable, but are also able to be placed back into the installation configuration.
Obviously the ability for any jewelry work to break down the fourth wall from artwork to personal adornment allows it a freedom to reach out to viewers, a freedom that few other art forms have. In these works, there is at least a temporary trade-off in form and in the work's easy legibility. These pieces rely on the context of the surrounding works to receive the full message, but I'm not willing to say that a partial interpretation is less valid than the shock of seeing someone wearing a bright red RPG pin on their chest. Being in the world, the works' potential to communicate anything, and their ability to become the recipients of yet more layered narratives, is enormously increased.
There are many ways to interpret your recent body of work. One of them is that it is a form of commentary on the complicity of every man in every war waged since the dawn of humanity. Are you hoping that people who buy and wear (or exhibit) your work will carry that message into the wider world?
Melissa Cameron: At this stage I'm just happy that you managed to pick up on that message! The reason that I took images of every work displayed on my body is to acknowledge that responsibility for the work, the messages, the motifs, all of it, is on me. I don't want to assume that someone who owns or wears the work will have that same feeling of ownership of my message. But I also have the feeling that so long as humans deny their role in the escalation of violence we will not see the change needed to end these cycles, so I guess my secret hope is that people will ruminate on my complicity at least.
Having realized this exhibition of new work, will you now go on to expand on ideas it has raised, or is it a discrete series existing as a response to an idea you have now exhausted? In short, what is next on the work agenda for Melissa Cameron?
Melissa Cameron: I'm not yet sure. I had visions of what the Drone pieces would be for over 18 months before I managed to finish them, and I have not had the same attraction to research to the same depth the other weapons that I began investigating in the intervening time. The Caltrops works are little sidelines that I could continue, as in my research I found that there is a couple of thousand years of material to work with, but right now I'm not in a hurry to go there. Investigating this series was really depressing, and as much as there is more that I could find to say, I'm not in a place personally at the moment that I want to extend my own misery in this direction. However, the social and political context that has informed these works has expanded my definition of the body, and the body is what my works serve, so it's likely that there will be further investigations resulting from that awareness.
The final works I made for this exhibition are the Body/Politic works, which are picking up on these themes at a slightly shifted angle. These ideas are recent and because they are able to deliver short and sharp messages in an appealing format, (and since I don't have to plumb the depths of what humanity is willing to do to itself in order to make them), I can see myself continuing with them for a while.
What makes a piece of jewelry "pop" and "sing" for you?
Melissa Cameron: The perfect melding of design, intent, and execution. I look for clarity. To me clarity sings.
Do you have a favorite tool and, if so, what is it?
Melissa Cameron: I'm a bit of a tool queen, so that's a tough one. I can't go past a nastily pointy pair of tweezers, but I could not work without AutoCad, a drill bit/press, and a decent saw frame loaded with 6/0 blades.
Do you listen to music in the studio/workshop? If so, what to?
Melissa Cameron: I have done, a lot, but in recent times music has become an unwelcome emotional trigger so I tend to listen to podcasts. The Drone works are presented to you by Answer Me This and Radiolab, with help from 99% Invisible and Another Round. Body Politic owes a debt to Snap Judgment and the rest—Escalation and HEAT II—are thanks to a bunch of Australian comedians' podcasts. As for music, my upset-looking demeanour in the images was helped by Taman Shud by The Drones, Nugget by Cake, and by Future of the Left, PJ Harvey, and Nick Cave, among others.


text:
In Cellular Technology What Is a Cell?
By joseph / May 6, 2022 May 6, 2022
What is cell and function?
Which of these are digital cellular technologies?
What is a cluster in a cellular system *?
What is cell in one word answer?
What are the 4 types of cells?
Why are cells called cells?
What is cell class8?
Why is the cell important?
What are the 3 main functions of a cell?
How does cell phone service work?
How mobile phones communicate with cell sites?
What is cell splitting and cell Sectoring?
What are co channel cells?
What is the condition of handoff?
Why wireless communication is used?
What is cell in short form?
What is cell short sentence?
Where is RNA located?
What is RNA function?
What color is DNA in real life?
What are the 7 functions of a cell?
What are the 3 shapes of cells?
In a cellular network, a cell is a geographical region covered by the frequency transmitted by a base station. A cell site is the collection of components that transmit this frequency.
Similarly, What is a cell in cellular data?
Data sent or received via a mobile network is sent to or received from a central hub or station known as a cell. One cell covers a certain geographic region, and the cells overlap to successfully convey your data and reach a bigger audience.
Also, it is asked, What you mean cellular?
cellular is a term used to describe a kind of cell (Entry 1 of 2) a cellular structure cellular growth 1a: of, related to, or consisting of cells b: cellular immunity mediated by cells. 2: containing cavities: cellular rocks with a porous texture.
Secondly, What is cell in cellular radio system?
Each cellular base station is given a set of radio channels to utilize within a certain geographic region known as a 'cell.' Frequency reuse refers to the process of identifying and assigning channel groups for all of a system's cellular base stations.
Also, What is a cell in cellular system Mcq?
In a cellular system, what is a cell? Explanation: In a cellular system, a cell is a tiny geographic region. A set of radio channels is assigned to each cellular base station inside a cell that may be utilized in another cell. 19.
People also ask, What is example of cell?
A cell is the smallest unit of an organism that has a nucleus. A cell is a cellular unit found in the tissue of an animal muscle. This is a storm cell. To share or reside in a jail cell.
All living organisms are made up of cells, which are the fundamental building components. There are billions of cells in the human body. They support the body's structure, absorb nutrients from meals, transform those nutrients to energy, and perform specific activities.
Global System for Mobile Communications (GSM), General Packet Radio Service (GPRS), cdmaOne, CDMA2000, Evolution-Data Optimized (EV-DO), Enhanced Data Rates for GSM Evolution (EDGE), Universal Mobile Telecommunications System (UMTS), Digital Mobile Telecommunications System (DMTS), Digital Mobile Telecommunications System (DMTS), Digital Mobile Telecommunications System (DMTS), Digital Mobile Telecommunications System (DMTS), Digital Mobile Telecommunications System (DMTS
In a cellular system, what is a cluster? Explanation: A cluster is a collection of N cells. These cells make advantage of the whole range of frequencies accessible to the cellular system at the time.
A live organism's structural and functional unit is the cell. In other terms, a cell is the building block of a live thing (for the sake of clarity).
The Four Major Cell Types Epithelial cells are the cells that line the inside of the body's surface. These cells are in close proximity to one another. Nerve cells are the cells of the nervous system. Communication is a specialty of these cells. Muscle cells are the cells that make up muscles. These cells have been designed to contract. Cells of the connective tissue.
A cell is the fundamental building block of life as we know it. It's the tiniest unit capable of reproducing itself. After using a very early microscope to examine a piece of cork, Robert Hooke proposed the word 'cell' in 1665, derived from the Latin cella, which means storage or chamber.
Cells: The cell is life's fundamental structural and functional unit. Cells are the building blocks of all living beings. Tissues are made up of cells, tissues are made up of tissues, organs are made up of organs, organ systems are made up of organ systems, and organ systems are made up of organ systems. As a result, the cell is the structural unit, or building block, of the living organism.
All living things, from microbes to people, rely on cells for structure and function. They are the tiniest form of life, according to scientists. The biological machinery that produces the proteins, chemicals, and signals that control everything that occurs within our bodies is housed in cells.
Energy generation, molecular transport, and cell reproduction are the three primary tasks of a cell. Cells are the fundamental structural and functional unit of life.
A phone's microchip uses an electrical signal to modulate (or vary) a radio wave. The radio wave goes through the air to a nearby cell tower, which transmits your voice to the person you're calling, and then reverses the process so that the person on the other end can hear you.
Radio waves are used to communicate with wireless telephones. Calls are linked by a system of base stations, also known as cell sites, which relay calls across telecommunications networks and are used by wireless service providers to define their network coverage regions.
Cell splitting is a technique for separating a larger cell into smaller cells. Macro cells are the parent cells that were previously crowded, whereas microcells are the smaller cells. Another way to boost capacity is to divide cells into sectors.
A cluster of cells is a collection of cells that have completely occupied the available frequency range. Co-channel cells are two cells in an adjacent cluster that share the same number of RF channels and so utilize the same set of RF channels.
When a mobile phone goes into a new cell while a conversation is in process, this is known as handoff. The MSC switches the call to a new channel associated with the new base station. 2. Handoff does not need allocating voice and control channels to the incoming base station's channels.
Wireless Communication's Benefits Installing and maintaining wireless networks is less expensive. Data is sent more quickly and at a higher rate. Maintenance and installation costs are lower than for other types of networks. The wireless network may be accessed at any time and from any location.
Learning Leadership Center of Excellence. Continuing Education and Lifelong Learning (CELL) is an acronym for Continuing Education and Lifelong Learning. Cognitive Exploration of Language and Linguistics (CELL) is an acronym for Cognitive Exploration of Language and Linguistics (University Essen, Germany)
a tiny place for inmates; a cell (n): the smallest living component of the body. Listen to everything | All of the sentences (with pause) "Hair is made up of dead cells," as in "Hair is made up of dead cells."
The cytoplasm is where most RNA is located. It is, however, produced in the nucleus, where DNA is transcribed to make messenger RNA.
The basic function of RNA is to translate information into proteins. RNA transmits genetic information, which is translated into diverse proteins required for biological functions by ribosomes. The three primary forms of RNA involved in protein synthesis are mRNA, rRNA, and tRNA.
Scientists can extract DNA from tissue samples using modern laboratory procedures, allowing them to pool tiny quantities of DNA from thousands of different cells. When this DNA is gathered and processed, it turns into a white, sticky, and transparent material.
They give structure and support, help in reproduction, and enable development via mitosis. They also allow passive and active transport, generate energy, and initiate metabolic processes. Structure and support should be provided. Mitosis may help you grow faster. Allow both passive and active modes of transportation. Create energy. Metabolic Reactions should be created.
Squamous, cuboidal, and columnar are the three main forms associated with epithelial cells.
The "in cellular technology what is a cell quizlet" is an interactive quiz that will help you learn about the basics of cells.
The "cellular network architecture" is a cellular technology that sends and receives signals to and from the cell towers. These signals are used to send information over long distances. The "cellular network architecture" also includes a device that transmits the signal, called the base station.
what is cellular technology
cellular technology examples
what is cellular system
cellular technology pdf


text:
Home InternationalAfrica	S. Africa deploys army to quell violent protests, looting
AfricaCrimeHealth
S. Africa deploys army to quell violent protests, looting
JOHANNESBURG, July 15 — Soldiers have been deployed in KwaZulu-Natal and Gauteng provinces to deal with violent protests and looting, the South African army said on Monday.
The South African National Defense Force (SANDF) said it was invited by the National Joint Operational and Intelligence Structure to help law enforcement agencies.
"The deployment will commence as soon as all deployment processes are in place," SANDF Director of Defense Corporate Communication Brig. Gen. Mafi Mgobozi said.
"The SANDF's deployment objective is to provide safety and a safe working environment" for police and other law enforcement agencies when "they carry out their Constitutionally mandated law and order duties," he said.
Police said six people were killed and 219 people arrested over the weekend in Gauteng and KwaZulu-Natal following violent protests after former president Jacob Zuma was jailed for 15 months for contempt of court. Hundreds of shops and businesses across the two provinces were looted. (Xinhua)
Greece announces mandatory vaccination for health care professionals
Zimbabwean President has urged South Africa to resolve the unrest peaceful for the benefit of the region.
UNICEF joins Namibia in denouncing girl's brutal killing
Zuma corruption trial postpone matter until 10 August
(Special for CAFS) Africa CDC roots for community...
Namibia to vaccinate 60% of the population.
Pensioner raped at Mayara village
Tunisian president receives 1st dose of COVID-19 vaccine
Woman arrested with diamonds and elephant tusks granted...
Chinese researchers identify new leprosy gene variants
Murder accused Boois testifying Thursday
Mugufuli 's Controversial decisions during his Presidency.
#1 cornhole decals October 28, 2021 - 9:27 pm
[…] Here you can find 88483 additional Info on that Topic: namibiadailynews.info/s-africa-deploys-army-to-quell-violent-protests-looting/ […]


text:
J. Phys. IV France 133 (2006) 9-16
The ICF status and plans in the United States
E.I. Moses, G.H. Miller and R.L. Kauffman
Lawrence Livermore National Laboratory, PO Box 808 L-466, Livermore, CA 94551, USA
The United States continues to maintain its leadership in ICF as it moves toward the goal of ignition. The flagship of the program is the National Ignition Facility (NIF) presently under construction at LLNL. Experiments had begun on the first four beams of the National Ignition Facility just at the time of the last IFSA Conference. Several new successful campaigns have been conducted since then in planar hydrodynamics and hohlraums as well as activating the VISAR diagnostic for equation of state experiments. Highlights of these results will be reviewed. Presently, the four beam experimental capability has been suspended while the first eight beams are being installed as the first step in building out the project. Meanwhile, much progress has been made in developing ignition designs for using NIF. An array of designs having several ablator materials have been shown computationally to ignite with energies ranging from the design energy to as low as 1 MJ of laser energy. Alternative direct drive designs in the NIF indirect drive configuration have been developed by LLE. This wide array of design choices has increased the chance of achieving ignition sooner on the facility. Plans are now being developed to begin an ignition experimental campaign on NIF in 2010, a little over a year after completion of the facility. Other US facilities are also implementing improved capabilities. Petawatt lasers are now under construction at the University of Rochester and Sandia National Laboratory. The Z pulsed power machine at Sandia National Laboratory is being refurbished to improve its performance. The ongoing research program at the OMEGA laser at the University of Rochester and the Z machine at Sandia National Laboratory as well as at the Nike, Trident and Janus lasers remain strong, performing experiments supporting the NIF ignition plan and direct drive ignition. There also is an active program in the broader field of high energy density science on these facilities. These activities will be reviewed here as well as presented in talks throughout the conference.
Progress in direct-drive inertial confinement fusion research at the laboratory for laser energetics
Inertial Confinement Fusion
Europhysics News Vol. 29, No. 6, 1998, pp. 202–205
Hohlraum X-ray deposition in indirect-drive ICF ablator materials


(FNA)- Syrian army soldiers repelled terrorists' massive attack on their positions in Damascus after hours of clashes, inflicting major losses on them.
The ISIL terrorists' large-scale attack to capture the government forces' positions in Eastern Ghouta was fended off by the strong defense of the Syrian military men.
Meantime, the Syrian army and popular forces continued their military advances in other parts of Syria, including Aleppo and Raqqa, over the past 24 hours.
Syrian Army troops repelled Jeish al-Islam's offensive on their positions in Eastern Ghouta and then in a rapid counterattack pushed the militants back from the battlefield, capturing the Air Defense Battalion Base to the Northeast of Damascus city.
The army men fended off Jeish al-Islam's attack on their strongholds in Eastern Ghouta, killing and wounding a number of militants near the Air Defense Battalion Base.
Then, the army troops launched a powerful counterattack on the militants' lines, targeting the farms and military base Northeast of the militant-held town of Hazrama.
The army's rapid counterattack resulted in the capture of the Air Defense Base in Hazrama's Northeastern outskirts.
Syrian Army troops and popular forces are getting ready to carry out a fresh round of offensives to liberate the territories that are still under the control of ISIL and Jeish al-Fatah in different parts of Aleppo province, a military source disclosed on Tuesday.
The source said that the pro-government forces that recently liberated the Eastern neighborhoods of Aleppo city are about to launch large-scale offensives against ISIL positions in Eastern and Northeastern Aleppo and Jeish al-Fatah positions in Southern and Southwestern Aleppo.
The sources added that liberation of the Eastern districts of Aleppo was a great victory, but anti-terrorism battles in Aleppo province are still underway.
Based on reports, the Syrian military forces are about to start an operation from the Northern direction to free the towns of Deir Hafer and al-Bab, while other units will kick off their operation from the South to take back the districts of Rashedeen 4 and 5 and then Khan Touman.
The Kurdish-led Syrian Democratic Forces (SDF) have driven ISIL out of 110 villages in the course of the Euphrates Rage Operation in Raqqa province since November 5, the Kurdish sources disclosed Tuesday.
The SDF in its latest statement announced that the Kurdish fighters have taken control of 110 villages, tens of farms and key hills in the Euphrates Rage Operation since November 5th, while ISIL has suffered 277 casualties in the operation.
The SDF also advanced significantly against ISIL in the second phase of its Raqqa operation.
The ISIL terrorist group suffered a heavy death toll and its military hardware sustained major damage after its attack on government positions in Eastern Homs was warded off by the Syrian Army troops.
Terrorists targeted several masts of power lines in Southwestern Damascus, cutting off transmission of electricity to Quneitra province in Southern Syria.
Terrorist groups affiliated to Fatah al-Sham Front (previously known as the al-Nusra Front) detonated the power transmission masts to Quneitra province in al-Khazrajiyeh region in Western Ghouta.
A source in Quneitra province said that the terrorists detonated the bombes in three major transmission masts of electricity lines in al-Khazrajiyeh.
In the meantime, terrorist groups deployed in Sa'asa'a prevented maintenance units to repair a high voltage electricity mast in Quneitra that was destroyed by militants a couple of days ago.
Syrian Army troops and Air Force targeted ISIL's positions and the concentration centers of other militant groups that had breached the newly-brokered ceasefire in different parts of Hama, inflicting major losses on the militants.
The army men fended off terrorists' attack on government force' positions in al-Sat'hiyat region Southwest of the town of al-Salamiyah, killing or wounding a number of them and forcing the rest to retreat from the battlefield.
The army's artillery units also targeted militants' gatherings and movements in al-Dalak and Eidoun flanks, killing a number of them and destroying their military equipment.
The army aircraft meantime, carried out several combat flights over the gatherings and movements of ISIL in the village of Hamadi Omar, killing several terrorists and destroying at least seven military vehicles.
The ISIL terrorists also came under air raid in the town of Aqayrabat and sustained major casualties.
Within last 24 hours, truce agreements have been signed with representatives of 6 inhabited areas of the Latakia (2), Damascus (2), and Homs (2) provinces.
The total number of inhabited areas, the leaders of which had signed reconciliation agreements, has reached 1032.
Negotiations on joining ceasefire regime have been continued with field commanders of illegal armed groups in Muaddamiyet al-Shikh in the Damascus province, and detachments of armed opposition in the Homs, Hama, Aleppo, and al-Quneitra provinces.
The number of ceasefire application forms signed with leaders of armed groupings remained 88.
Within last 24 hours, 36 shellings performed by illegal armed formations have been registered in the provinces of Aleppo (19), Damascus (16), and al-Quneitra (1).
In the Damascus province, armed formations of the Jaysh al-Islam grouping, which had claimed to be the opposition one, have fired mortars and small arms against Jaubar (twice), Kabun, and al-Qasa.
Ahrar al-Sham armed formations have fired mortars against al-Sakhine quarter in the Aleppo city. Free Syrian Army armed formations have shelled Hai Saif al-Daula quarter in the Aleppo city.
In the Aleppo province, terrorist groupings of Jabhat Fateh al-Sham (Jabhat al-Nusra) and ISIS have fired MLRS, mortars, antitank grenade launchers and small arms against Ansar inhabited area, Binyamin (twice), Leramon, Aqyul (twice), Karim Muhas, Tarba Lul, Tarik al-Bab, Dahiya al-Assad, Karim Katariji, and Ashrafiyah quarters, al-Assad military academy, area of the paperboard plant and gas factory, electricity station in Sheikh Said quarter, and Kastello trade center in the Aleppo city.
In the Damascus province, terrorists have shelled Haush Harabu, Arbil (two times), Haush Nasri, Jaubar (three times), Bala al-Kadima (two times), Mazraad Mahmud, al-Wafidin camp and highway near Harasta.
Terrorists have also shelled Hadar in the al-Quneitra province.
– in the State Hospital in Masyaf in the Hama province – about 1 ton.
Within last 24 hours, 302 civilians have left the blocked areas of the Eastern Aleppo under the auspices of the Russian Centre for reconciliation. More than 1,100 civilians have returned to their houses in the eastern areas of Aleppo, which had been liberated from insurgents.
In accordance to the decision of the President of Syria, 10 insurgents, who had laid down their arms, have been granted amnesty.
Russian Defense Ministry spokesman said on Tuesday that western countries are urging to impose sanctions against Russia after 80,000 civilians were liberated in Syria's Aleppo.
Major-General Igor Konashenkov said over the past 24 hours, the Syrian army had been able to liberate from militants almost half of Eastern Aleppo where 80,000 civilians reside, Al Masdar reported.
"Now it turned out that the release of over 80,000 Aleppo residents held hostage by gunmen was not part of the plans of the UK and French Foreign Ministries, the US Department of State and the German Bundestag. They even urged to impose new sanctions for that," the spokesman said.
According to Konashenkov, there are tens of thousands of children in the liberated areas.
"Many of them were provided, for the first time in a long while, with food, drinking water and medical assistance in the humanitarian centers deployed by Russia. Over the past few years, these Syrians have been used as human shield by terrorists of every stripe and color in Aleppo. It was they who were allegedly protected by all Western politicians," he said.
Within last 24 hours, truce agreements have been signed with representatives of 4 inhabited areas of the Latakia (3) and al-Suwayda (1) provinces.
The total number of inhabited areas, the leaders of which had signed reconciliation agreements, has reached 933.
Negotiations on joining ceasefire regime have been continued with field commanders of armed groups in the Muaddamiyah al-Sham inhabited area in the Damascus province, and detachments of the armed opposition in the Homs, Aleppo, and al-Quneitra provinces.
Within last 24 hours, 42 shellings performed by illegal armed formations have been registered in the provinces of Aleppo (17), Damascus (17), Latakia (5), Daraa (1) and Hama (2).
Armed formation of the Jaysh al-Islam grouping, which had claimed to observe the ceasefire, has fired mortars and small arms against Jaubar, Blelije, Mazraat Mahmud, highway near Duma, and positions of the government troop near height 612 in the Damascus province.
Ahrar al-Sham armed formation has fired mortars against Azizi in the Aleppo province.
Moreover, Ahrar al-Sham formation has fired mortars, air defence systems and improvised MLRS against Quinsibba and Rasha in the Latakia province. This armed formation has also used an UAV fitted with an explosive device in Ain al-Qantara in the Latakia province.
In the Damascus province, armed formations of terrorist groupings have fired improvised MLRS, mortars and small arms against Arbil, Haush Nasri and Harabu inhabited areas, Ibn al-Walid hospital and Kusair farm near Duma, electricity station and sports ground in Jaubar.
Ansar inhabited area, Manyan, Dahiya al-Assad, 1070, Leramon, al-Maidam, Ashrafiyah, and al-Masharqa quarters of the Aleppo city, al-Assad military academy, Kastello trade center, Higma School, areas of the paperboard plant, and the SIRIATEL mobile communications station have been shelled in the Aleppo province.
Terrorists have also shelled against Mardes and Suran (Hama province), Barza Tahtani (Latakia province), and Osman (Daraa province).
Two humanitarian events have been held in the Aleppo city (Tishrin kindergarten and camp for refugees near al-Muhafaza), in course of which citizens had received about 4 tons of humanitarian aid (food products and items of first necessity).


text:
<?xml version="1.0" encoding="utf-8"?><!--
  ~ Copyright (c) 2016. Osred Brockhoist <osred.brockhoist@hotmail.com>. All Rights Reserved.
  -->

<LinearLayout xmlns:android="http://schemas.android.com/apk/res/android"
    android:layout_width="match_parent"
    android:layout_height="match_parent"
    android:orientation="horizontal">

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="match_parent"
        android:layout_weight="0.5"
        android:gravity="center"
        android:orientation="vertical">

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:text="@string/month_select_dialog_year" />

        <NumberPicker
            android:id="@+id/month_select_dialog_picker_year"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content" />
    </LinearLayout>

    <LinearLayout
        android:layout_width="match_parent"
        android:layout_height="match_parent"
        android:layout_weight="0.5"
        android:gravity="center"
        android:orientation="vertical">

        <TextView
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:text="@string/month_select_dialog_month" />

        <NumberPicker
            android:id="@+id/month_select_dialog_picker_month"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content" />
    </LinearLayout>
</LinearLayout>

redpajama_set_name: RedPajamaGithub


THROUGH THE LENS – New Orleans hasn't seen a night like this since the late 1990's, a theater packed to capacity, hands in the air, sweat dripping off of every forehead in the building…listening to TRANCE MUSIC!?!??!?!
Indeed trance it was, New Orleans' own Group Therapy session by none other than London's Above & Beyond. Jono Grant and Tony McGuinness took the Anjunabeats helm for the night, Paavo Siljamäki was unable to make the show for reasons unspecified. The DJ/Producer trio, who is ranked in DJ Magazine's top 100 list of DJ's year after year since their inception in 2000, and riding high with a current wave of success having placed at #4 in 2008 & 2009, #5 in 2010 & 2011, and most recently at #25 for 2014.
night I'd still be recovering.
This being Above & Beyond's first stop in New Orleans ever they pulled no punches in making a lasting impression. Playing their new album, "We Are All We Need", in full sandwiched between sweet, progressive melodies that took us back to when there was no "EDM". Greeting fans in between songs, pulling anxiety stuck girls to the stage to "PRESS THE BUTTON" as if Avicci were alive and real, ready to DROP THE BASS and shoot death lasers from his eyes. But tonight there were no death lasers, just beautiful music. Trance Music.


Your Carpets Have Ever Seen!
let Cheyenne, Wheatland & Laramie, WY's Cowboy Jones tackle the toughest stains.
Do Your Carpets Need a Little TLC?
Our team of highly trained professionals can handle all of your steam cleaning needs for all of these and more in Cheyenne, Wheatland & Laramie, WY! We also offer stain and odor removal, as well as a low-moisture carpet cleaning that won't take hours to dry after being serviced. You'll love watching your floors be instantly restored ! They'll look like new after our team is through with them. Call Cowboy Jones Carpet Cleaning to see what we can do for you.
Whether you're trying to rid your carpets of pet stains or tracked in mud, Cowboy Jones Carpet Cleaning of Cheyenne, Wheatland & Laramie, WY can help. We use state-of-the-art cleaning equipment and the latest technology to steam clean your carpets and make them like new. We offer low moisture carpet cleaning so you can have us service your home or office's floors as often as needed. Unlike other steam cleaning options, it won't take a large chunk out of your daily routine thanks to its fast drying time. Within two hours of your appointment, you'll be all set and can go about business as usual!
Cowboy Jones' team of technicians can also revive your furniture using the same methods we use for your carpet. Don't chalk stained or smelly upholstery up to a lost cause - restore it with the help of carpet cleaning experts! Reach out to Cowboy Jones Carpet Cleaning for a free service estimate in Cheyenne, Wheatland & Laramie, WY.


This 62 year old man presented with thigh pain and swelling. MRI imaging showed a large mass within the quadriceps muscle (vastus lateralis). Biopsy was performed at the time of initial evaluation and confirmed a high grade undifferentiated sarcoma. The tumor was localized to the thigh (Stage III).
The next two images above show the extent of the tumor at the time of surgery. The last image demonstrates how most of the mass is fluid and blood, as the large bulk of the mass does not take up contrast and remains dark.
Surgery involved exposing the affected portion of the quadriceps (first image below) and removing the tumor with surrounding layer of intact muscle (second image). The remaining portions of the quadriceps were then sutured together (third image). The final image shows the healed thigh incision nine months later.
Nine months later he returns, reporting no pain and regularly walking up to 2-3 miles for exercise.
This 17 year old girl presented with several months of gradually worsening knee pain. The first image is the initial X-ray where there is subtle increased density inside the top portion of the tibia (arrows). The second image is the initial MRI, where the tumor is more obvious, replacing the marrow (long arrow) and also breaking out of the bone (short arrow). Image guided biopsy confirmed osteosarcoma. CT scans of her lungs and other studies showed the tumor was localized to the bone only (Stage IIa). The patient then started chemotherapy and about 3 months later was ready for surgery.
The next two images show the initial portion of her surgery. This consisted of exposing the proximal portion of the tibia (third image), leaving a layer of muscle and tissue covering the area where the tumor had extruded from the bone (two arrows). The last image shows the knee region after the entire proximal tibia was removed.
Once the bone is removed, a "trial" implant is assembled to match the size of the removed portion of tibia (first image below). This is tested inside the patient for correct fit. Then, the actual implant is assembled and inserted into the both the femur and tibia (second picture).
When reconstructing the proximal tibia, it is critical that the thigh muscles (quadriceps) are reconnected to the proximal tibia so that the patient can actively extend the knee and walk properly. Since the original tendon connection is removed along with the tibia, we use a portion of the calf muscles ("medial gastrocnemius") to bridge the two areas (third picture below). The final X-ray is shown on the right.
Two year later, she walks with a barely perceptible gait abnormality. She is attending college and reports no pain when walking. A video is below.
This 18 year old boy had pain in his knee that was not going away over a period of months. Eventually X-rays were done (first image on the left) which show the hallmark findings of osteosarcoma. As seen more closely on the second image, there is a mass adjacent the bone which is calcified. This is almost definitive for osteosarcoma. The last two are MRI images showing the tumor extending up and outside the femur. His tumor was localized to the femur (Stage IIb).
After biopsy confirmed osteosarcoma, he was begun on standard chemotherapy. The total duration of chemotherapy is about nine months. Surgery is typically done three months into therapy. The images below show the surgical procedure. In the first, the knee region has been exposed and the distal portion of the femur already removed. The large rubber band is encircling and protecting the large blood vessels found behind the femur. The second image shows the removed bone, with a layer of muscle and tissue covering the portion where the tumor had protruded outside the bone.
The third image below shows the assembled prosthesis already implanted into the femur and tibia. To better mimic the natural movements of the knee, this type of implant allows for both flexion and rotation of the joint through the (white) plastic components. The last image is the X-ray showing the implant inside the patient.
Seven years later, the now young man has finished college and is working full time. He does not think too often about his artificial knee and walks normally, as can be seen in the video below.


text:
Want to watch?
Go behind the scenes to learn from Sundance Advisors in our Conversations from the Labs series. This collection of videos will deepen your understanding of all the creative disciplines that are supported through our Labs including Feature Film Directing and Writing, TV Writing, Emerging/Interdisciplinary Media, Documentary, Producing and Film Music.
In this video from the 2021 Directors Lab, Founding Senior Director Michelle Satter leads a discussion with veteran Cinematographers Robert Elswit (Michael Clayton, There Will Be Blood), Bradford Young (Ain't Them Bodies Saints, When They See Us) and Charlotte Bruus Christensen (A Quiet Place, The Hunt). They explain their preparation process, collaboration between a director of photography and a director and the impact of camera and lighting on storytelling. Each DP provides insight into using cinematography to tell their stories, sharing clips from The Hunt, shot by Bruus Christensen; Untitled, a short film by Young; and Michael Clayton, shot by Elswit.
Other conversations in this ongoing series include those with editors Michelle Tesoro, Joi McMillon, Teri Shropshire & Dylan Tichenor; cinematographers Stephen Goldblatt, Robert Elswit, Brad Young and Charlotte Bruus Christensen; writer/director Miguel Arteta, writer/director Walter Salles, writer/director Randa Haines and more.
Charlotte Bruus Christensen
Charlotte Bruus Christensen is a cinematographer whose most recent work can be seen in the upcoming Amazon feature ALL THE OLD KNIVES, directed by Janus Metz and starring Chris Pine and Thandiwe Newton. She also shot and directed BBC ONE'S BLACK NARCISSUS starring Gemma Arterton and Alessandro Nivola. She lensed George Nolfi's film, THE BANKER, starring Samuel L. Jackson and Anthony Mackie. more...
Robert Elswit
Profession: Cinematographer Description: 5'10" tall, 170 lb. Balding with sandy grey hair, freckles, pale complexion. Cruel, sardonic sense of humor. Bulky upper body with low center of gravity. Long narrow scar down the middle of chest cavity. Chain smokes except when drinking heavily. Short stubby hands used to punctuate rapid neurotic speech. more...
A native of Louisville, Kentucky, award-winning cinematographer Bradford Marcel Young moved to Chicago at age 15 to live with his father. There, he received early artistic inspiration from the works of Romare Bearden, Jacob Lawrence, and Aaron Douglas. Young studied film at Howard University, where he was influenced by Haile Gerima. more...
Tags:DirectingVisual Storytelling


text:
PEOPLE - October 19, 2016
Don't gamble on your future, says former NRL champ
Former NRL player and descendent of the Gamilaroi people, Ashley Gordon, will share tips about what it means to gamble responsibly at a community barbeque to be held by the Gippsland and East Gippsland Aboriginal Cooperative.
Mr Gordon has been a gambling counsellor for seven years and is executive director of the NSW Aboriginal Safe Gambling Services. He is also a researcher with Southern Cross University and is on the Federal Ministerial Expert Advisory Group on Gambling.
The community barbeque will be held at Bairnsdale City Oval at 12.30pm today as part of Responsible Gambling Awareness Week which runs until October 23.
GEGAC will also formally launch their Safe Gambling Program at the barbeque.
"We will be focusing on providing safe gambling messages, financial counselling and financial literacy programs, as well as facilitating access to gambling counselling," chief executive officer Lionel Dukakis said.
Victorian Responsible Gambling Foundation chief executive Serge Sardo said GEGAC is a great example of how others can use the week as an opportunity to talk about what it means to gamble responsibly.
"We encourage friends, family members, parents, teachers, sporting coaches and everyone in the community to have a conversation about ways to reduce the potential for harm from gambling," he said.
"The significant increase in online betting and advertising has made it especially important to talk to young people about responsible gambling.
"Gambling is very visible now in our community and if people are planning to gamble, we want them to be informed about the practical ways to gamble without harm.
"Being informed allows individuals, the community and industry to make appropriate decisions about their gambling behaviour and for those who might be experiencing issues to know there is help available," he said.
The post Don't gamble on your future, says former NRL champ appeared first on National Indigenous Times.