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This is a gorgeous antique Limoges Jean Pouyat cracker jar that has had a over a century of great care. A BEAUTIFUL HAND PAINTED CRACKER JAR. THE PAINTED DESIGN IS STRAWBERRIES AND FLOWERS.
THE FRONT IS PAINTED IN FULL COLOR AND THE LID AND BACK HAVE A LIGHT GLAZE OVER BERRIES TO LOOK LIKE SHADOW, THE HANDLES AND FINIAL ARE PAINTED WITH GOLD (FINIAL HAS A TINY GLAZE POP). THE JAR MEASURES 8 1/2" HANDLE TO HANDLE AND 5 1/4" TO THE TOP OF THE FINIAL. THE INITIALS OF THE ARTIST ARE ON THE BOTTOM B. This item weighs exactly 1 pounds 4 ounces.
You can order multiple items and are only charged for the exact weight of the combined items. We do encourage you to view our feed backs. The item "ANTIQUE JEAN POUYAT LIMOGES FRANCE CRACKER JAR HAND PAINTED & ARTIST SIGNED" is in sale since Sunday, August 7, 2016. This item is in the category "Antiques\Decorative Arts\Ceramics & Porcelain\Bowls".


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An example of an IDP.
The AA is reminding Kiwi drivers hitting the roads overseas this summer to check if they need an International Driving Permit, with an increasing number of countries now making them mandatory.
An IDP is a document which allows you to drive overseas, and while the need varies between countries, it’s recognised and recommended in many especially where English is not widely spoken as it translates into many languages.
AA Tourism Product Manager Kirsty Vincent says having an IDP is becoming more and more important in a number of countries.
“While it’s not a driver licence in its own right, by carrying both documents with you overseas, you’ll be allowed to drive legally in most countries.
“We’ve noticed a surge in Kiwis calling from overseas having had the unfortunate experience of being refused their rental car because they didn’t have an IDP. Greece has this year made an IDP mandatory for overseas drivers, and we’ve seen a number of people caught short as a result."
By the end of November, the AA had sent more than 325 IDPs by courier to overseas destinations for Kiwi travellers this year.
One of them was John Taylor who was in Europe, when the grim reality hit that he would need an IDP to drive at his next destination, Sri Lanka.
“I’ve hired cars before in several countries and always been fine just showing my New Zealand licence, which is why I left it so late. The help and service I received from AA New Zealand was stunning and far beyond expectations for which I am very grateful. I was able to easily apply online and the IDP was couriered the very next day to me in Europe,” says John.
The AA, which is the only agency that issues IDPs in New Zealand, is keen to see fewer emergency calls this summer.
“We are always happy to help when we can, but ideally, we’d love to see travellers applying for their IDP well ahead of any trips overseas to avoid the stress of phoning us from the airport. We’re more than happy to let you know whether you need one if you’re not sure, but having an IDP can make all the difference for a worry-free break,” says Kirsty.

industry_corpus2: Travel & Geography


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President Eisenhower's granddaughter has endorsed Sen. Obama.
The biggest barrier to rolling up our sleeves and preparing for a better future is our own apathy, fear or immobility. We have been living in a zero-sum political environment where all heads have been lowered to avert being lopped off by angry, noisy extremists. I am convinced that Barack Obama is the one presidential candidate today who can encourage ordinary Americans to stand straight again; he is a man who can salve our national wounds and both inspire and pursue genuine bipartisan cooperation. Just as important, Obama can assure the world and Americans that this great nation's impulses are still free, open, fair and broad-minded.
The intriguing thing about this is that Ike would have been cast out the modern Republican party. A certified bonafied war hero, Ike would have been too liberal with expenditures for things like the Interstate Highway System (a government project to which trillions of private wealth owe gratitude to) to slake the lust of today's conservatives.

industry_corpus2: Politics & Administration


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2008 ( GB ) · English · Documental · G · 100 minutes of full movie HD video (uncut).
Sounds Like Teen Spirit, full movie - Full movie 2008. You can watch Sounds Like Teen Spirit online on video-on-demand services (Netflix), pay-TV or movie theatres with original audio in English. This movie has been premiered in Australian HD theatres in 2008 (Movies 2008). The DVD (HD) and Blu-Ray (Full HD) edition of full movie was sold some time after its official release in theatres of Sydney.
Movie directed by Jamie Jay Johnson.
Produced by Kate Lawrence, Paul White, Elizabeth Karlsen, Maxyne Franklin, Simon Fawcett, Stephen Woolley, Jessica Ludgrove and Jess Search.
Given by Jamie Jay Johnson.
Commercially distributed this film, companies like Ascot Elite Home Entertainment, Warner Music, Falcon Films and Home Box Office (HBO).
This film was produced and / or financed by Number 9 Films.
As usual, this film was shot in HD video (High Definition) Widescreen and Blu-Ray with Dolby Digital audio. Made-for-television movies are distributed in 4:3 (small screen). Without commercial breaks, the full movie Sounds Like Teen Spirit has a duration of 100 minutes; the official trailer can be streamed on the Internet. You can watch this full movie free with English subtitles on movie television channels, renting the DVD or with VoD services (Video On Demand player, Hulu) and PPV (Pay Per View, Netflix).
Full HD Movies / Sounds Like Teen Spirit - To enjoy online movies you need a HDTV with Internet or UHDTV with BluRay Player. The full HD movies are not available for free streaming.

industry_corpus2: Film & Entertainment


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Current OpenStack services require plaintext passwords and credentials for various access, e.g. database, keystoneauth, etc.
Even with proper file permissions set on these files, often time during troubleshooting sessions, these configuration files are sent via emails without the passwords properly redacted.
As a basic but useful solution, we proposed using an external URL pointing to an HTTP or HTTPS url to access those secrets.
Note: This Phase 0 was merged on oslo.config in the Rocky release.
Currently, on OpenStack, we have a Generic Key Manager interface called Castellan, which means that Castellan works on the principle of providing an abstracted key manager based on your configuration. In this manner, several different management services can be supported through a single interface. To integrate Castellan with oslo.config will have a Castellan implementation to oslo.config driver defined before.
After that, we will be able to use a Castellan reference for those secrets and store it using a proper key store backend. Currently, Castellan supports Barbican and also Hashicorp Vault as backends options. For this scenario, we will be looking for using Vault as a chosen solution, since we can point to an external Vault server with no internal dependencies to other OpenStack services, also for authentication and validation methods, since Barbican needs Keystone tokens as authentication method also we need to store the Barbican and Keystone secrets present in their configuration files.
Finally, we should use some deployment tool like Ansible to create those secrets and store them properly on Vault following the Castellan interface and inject those secrets in the configuration files. So, later, we will be able to restore it properly in the configuration files, with any necessary manual steps.
Any OpenStack service which have some secrets in their configuration files, such as Glance, Nova, Keystone, Mistral and so on.
This change wants to make OpenStack services passwords and credentials management more secure, removing the plaintext passwords in the OpenStack services configuration files by using a secure and encrypted alternative following the Castellan interface for secrets management.
For the first phase of this work, the operator can update their configuration files to point to the password reference and no more using plaintext passwords. Although, after the second phase with the Puppet and/or Ansible that change will be made automatically by those tools.
We are targetting the Phase 0 for Rocky-3 and Phase 1 and Phase 2 for Stein.
We should document how to update the OpenStack Services configuration file to use the proper password references instead of the plaintext passwords.

industry_corpus2: Computing & Telecommunications


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One fails as a scientist if one cannot not replace a name such as ‘Pluto’ with increasingly accurate properties of what we now call the dwarf planet Pluto. But this has never been the case in the arts. We do not understand a painting by Picasso by discovering an ever-lengthening list of true facts about it. The goal of art is not to create paraphraseable imagery, but to create something to which no paraphrase ever does justice.
I agree that great Art produces something whose imagery is not paraphraseable, "something to which no paraphrase ever does justice" but I doubt this is the goal of Art, but rather the effect of a great work of Art. Art to my mind can never be understood by a simple list of facts, but I think that's in part because what we experience in such works as such is not fully paraphraseable, there's always more that can be said or is felt.
Great works of art exert power that is not diminished over time, power that goes beyond the normative bounds of any observer. I think this is only possible if force of these works reaches certain objective truths about the world that, if we have sufficient knowledge and emotion, can't be avoided because their power consists in their spontaneous ability to continue to generate new or deeper thoughts, newer more meaningful narratives in observers.
What do you think the goal of a work is?
Art is simply a social trait that enables one to acquire resources, mates and friends - which is why we do most of the weird social things we do.
To make us better people. To communicate quality.
If this is your understanding, Cavacava, can you explain why art is not paraphrasable?
As much a something as anything else.
I don't think artworks provide discursive explanations of what they are. The aesthetic effect we experience from certain works of art describe a spectrum of experience which is not amenable to discursive explanation because it expands beyond our typical conceptualization of the subject by opening new ground and expanding our conception of what the subject entails . The experience of art , the aesthetic effect is lost in any attempt at interpretation of what is experienced. If there is no remainder, nothing left out of the explanation then what is explained is not a work of art.
Art as expression creates narratives which intersect with existing narratives either negatively or positively, the movement is dialectical. It is only by negation of existing meanings in art that new meanings can be experienced, and our notions can be expanded. Kandinsky's abstractions are not based on representations of the exterior world, they are interpretations of an interior world of feelings/values/meanings, which sets him apart from other abstract artists such as Picasso or Mondrian.
I don't think that great works of art are simply things, rather I think they pull things out of simple material existence into processes, or ways of experiencing which if you can catch their vibe separates them from other experiences.
The "goal" depends. The conscious goal of the artist? Sometime's there isn't one. The metaphysical telos of art in general? Big shoes to fill, no? I like what Berdyaev said about art, paraphrasing: "art wants to create actual being, but fails." Art has the divine creative urge, to create being itself. Laughable or controversial, maybe, but real.
Even for myself, my motives for making art depend. I will say, in leu of the Witty quote I just posted to the TPF Quote Cabinet, that the music I've made that I found to be the most personally satisfying and cathartic was the work that was the most personal and honest, as cliche as that is. The personal goal, for me, of making music is to go deeper and deeper, both into myself as I evolve (or devolve), and also into the medium that I have available to me. To explore my own being concurrently with exploring the medium, and to explore how the two interact, and how they interact with the world. All of this is a product of the world around me; the world and the life I find myself in dictate how I respond to the medium, and to what extent I can go into myself to pull a piece of myself out and transform it into something.
I can understand how art if understood as semblance fails to create actual being, that's why Plato kicked the imitative arts out of his Republic, but if an artist composes a song with lyrics and melody, a work of art, doesn't that song have actual being?
and does not remain a glove without a hand.
Yes "If you are unwilling to know what you are, your writing is a form of deceit." and yes, "All of this is a product of the world around me; the world and the life I find myself in dictate how I respond to the medium, and to what extent I can go into myself to pull a piece of myself out and transform it into something"
Kandinsky and Wittgenstein seem to bring ethics into the goal of art, the duty that one owes to one's art as one of its devout practitioners. So then perhaps a goal of art is to produce ethically authentic works, that further our understanding of truth because they can enable observers to experience a facet of the artist's self which is consciously or unconsciously transformed and presented in the work of art.
An artist's job is to give the seed of inspiration what it needs to come into this world. Once the baby has arrived, the artist gives it up to the world to go out and find independent life in other souls.
I like your analogy, Do you think that inspiration is independent of the artist that becomes inspired; that perhaps the artist's insight is already shared in the artist's community and that the artist through his/her sensitivity and skill enables a synthesis of existing ideas which are presented in a novel manner in the work of art.
Yes, it appears as something independent. On reflection, it's apparent that an artist's time and place are part of the medium in a way. It puts an interesting slant on "artistic community" to think about artists who worked alone throughout their lives. The ones I know of all happen to be women: Vivian Maier, Emily Dickinson, and Hilma Klint are some that I think of as biggies who were loners.
It's interesting to compare Hilma Klint to Kandinsky.
I don't know that much about Hilma Klint, however looking at her works, all those circles, reminds me of all those squares Mondrian painted.
Kandinsky wrote a theory of his work published in 1912 "Concerning The Spiritual In Art"
Unlike most abstract artists Kandinsky did not look to nature or the universe for inspiration, he looked inside himself and gave expression to his interior feelings, emotions, what he suggests is the pure or essential pictorial plane, and he did this by means of the figurative, the external, which for him is the non-essential plane.
They may have worked alone, but no one can fully isolate themselves from society, they have to be raised by someone, go to school and learn. Yes they can become eccentric, and perhaps by in being so isolated they can see further and clearer than those who are so fully enmeshed in society that it is impossible for them to have such a point of view.
True. Would you say the meaning of a piece of art is public in the same way the meaning of a statement is?
There are cultures where that's how art is understood. A Chinese watercolor painting can be clearly translated into words.
Science explores the universe and things in it.
Art does not explore itself, that's the consumption of art (some art is surely self-exploratory, however), like science it tends to explore the universe and things in it.
Some art may be hard to paraphrase, but its meaning has finite strokes. No, study of a single Picasso does not reveal ever increasing detail because the Picasso itself is a limited study of something else.
If we're forced to compare art to science, it's hard to speak to its "goals" as the goals of scientific endeavors are varied (it is not merely the pursuit of knowledge). Likewise the goals of artistic endeavors are many.
A scientific work yields descriptive and predictive power over the physical world by making rigidly defined and testable statements in procedural fashions. Artistic works can also yield descriptive and predictive power over things in the physical world, but they tend to do so without the organization, consensus, and rigidity which science demands as prerequisite.
Good science describes relationships that are hard to reduce.
Good art says things which are hard to paraphrase.
I think good art is indeed good because it "says something" that is difficult to compress or is very specific. In the case of Picasso, by distorting and removing so much, what remains is brought into greater focus.. Good art reveals, and it does so with ineffable style by using clever compositions of imprecise language.
They say a picture is worth a thousand words, but how many words can a Picasso fetch?
In high school I had a very talented art teacher who showed us his magnum opus which was a hyper-realistic painting of an old row boat tied to a dock. It was so realistic that I could not distinguish it from a photograph. Here was a work of art completed with more organization and rigidity than most other artworks, but he was almost ashamed of it and now I can gather why: it said little to nothing of value or intrigue. It was a painting imbued with skill beyond what I can fathom, and really that was the only remarkable thing about it. It's language was too precise. A grainy black and white photograph would have stated more.
What reveals more about the world and is harder to paraphrase, a photograph of a person or Picasso's portrait of them? In describing the photo, we would have a long list of details, and in describing the Picasso we might also need to list all the details which have been intentionally warped and omitted. It's kind of paradoxical that a photograph contains more information than a painting, generally (Picasso could probably have done what he did working from photographs to begin with) but a good painting even from a photograph can mean so much more. Photos tend to contain more data, but good art simplifies to magnify, making them more interesting and meaningful.
Science is the same way though: we observe vastly mixed phenomenon and try and bring fundamental parts and relationships into focus. Science seeks to highlight by simplifying and magnifying.
A painting is generally more interesting than a photo because the painting makes commentary. The commentary of the painting might be contained in the photograph but discerning it would require the lens of the artist (additional data perhaps).
So to conclude, good art says more with less. It trims detail into a kind of negative space where it becomes ambiguous, and what remains therefore becomes the object of focus. Often times we do not have suitable language for the things artworks communicate. The beauty of life, the curves of nature, the hubris of man. Such specific and contextual (lacking better terms) concepts and experiences are sometimes most efficiently expressed through a non-verbal medium, and if a work of art efficiently communicates a perception or notion I find worthy or interesting, I'll call it good art.
But I'm reluctant to discount prose; A picture can be worth a thousand words but a well written book can be worth thousands and thousands of pictures.
I am not sure I understand here. Is it because he is imitative in the way Plato suggests in the Republic or do you mean that Picasso always founds new ways of presenting what he had previously presented.
Yes, I wanted to bring that up, I don't agree with Harman that there is a finite interpretation, in fact I would strenuously argue against any finite limit, as long as there are humans there will be arguments about what is the correct way to interpret. I think the reason why masterpieces are masterpieces is because they continue to strongly affect their observers.
What reveals more about the world and is harder to paraphrase, a photograph of a person or Picasso's portrait of them?
The photo and the portrait are both mimetic, in a photo time is frozen as it presents a reality which as you indicate presents much more detail and more information. Yet it is still a simplified reality, since it presents a 3D object in 2D. The portrait distorts her face providing an overt commentary (to use your word) prior to any interpretation. Simplifying it as you suggest. While the figurative elements in the artwork may be simpler than the photo, the art work presents a much deeper view of the character in the portrait. It goes beyond the surface to the invisible in a way that is very difficult to replicate using a camera.
So then perhaps a goal of art is the communication of a way of understanding/experiencing by means of simplification and stylizing of its object.
What I mean to say is that a single painting or work of art might be analogous to a single scientific detail like "dwarf" in "dwarf planet". Comparing science to the study of a single artwork instead of the on-going body and process as a whole seemed vastly unfair in the analogy. The additional context makes it clear that its point was not to produce this effect, but I think my objection might be down to the authors somewhat loose usage of the terms art and philosophy (Do we define art/philosophy by specific products? By their processes? Their goals?). As he reassures us though, the issue is of mere taxonomy.
This definition resonates very strongly with what I consider to be good art. In addition to this, art which invents complexity which is not there in the first place (instead of simplifying and focusing), the dreaded abstract art, tends to say nothing at all by obfuscating and randomly distorting until all tangible meaning is lost. Anti-art.
I see now that Harman doesn't claim that art is not paraphrasable. He merely says that art may be created that "no paraphrase ever does justice."
Quoted in my opening post and you quoted in your response to me.
I didn't deny this only that I don't think it is art's goal.
You said art's goal is to "To communicate feeling/value/meaning.", and I wonder how such a goal differentiates it from other human endeavors which also attempt to communicate feeling/value/meaning?
So the butcher, the baker, the cobbler, the culter, the chef...don't have an aesthetic?
Isn’t the aesthetic of an artwork something different? It serves no utility, unlike the work of the other artisans you mention, Cava.
Yes, that's my point. What's your answer ND?
Sorry missed the utility part...does the whole exist for the benefit of the parts or do the parts exist for the benefit of the whole, where is the utility?
I don't have an answer, necessarily, in regards to the artisan. I suppose the "whole" of a loaf of ["whole-wheat"] bread is the nutrition and sustenance. Some parts of that are the flavor and texture, and the aesthetic of what the loaf looks like. Is it a cheap mass-produced loaf from the supermarket? Is it a fancy, expensive artisan loaf with perfect little crevices and colors? Was it an imperfectly shaped loaf made at home by someone who loves you? These are all aesthetic considerations of the loaf. Is that what you're getting at? If so, I'd say the parts serve the whole, when it comes to the utilitarian artisan. The parts still have value in themselves, though.
But it's not clear to me when it comes to a painting, or a piece of music. What is the "whole" here? I don't know. The artwork doesn't have a clear utility (nutrition). Nutrition of the spirit, maybe? An attempt to create "actual being" that fails?
By the way, I don't think I responded to your response to me, sorry. I'm too lazy to drag up the Berdyaev quote, but my understanding is that by actual being (that was a paraphrase), he meant Being, capital B, in a philosophical sense. I interpret it as the creative urge as a literal urge to create Being in the way the divine ("God") created being (thats the worldview Berdyaev is working from). And that urge is always a failure. I should drag up the quote because it's hard to wrangle with.
The word ''art'' is very vague but I think art is a medium of expression. The message may be everything under the sun and the medium too has a similar range.
What you want to say and how you want to say it.
These are all aesthetic considerations of the loaf. Is that what you're getting at? If so, I'd say the parts serve the whole, when it comes to the utilitarian artisan. The parts still have value in themselves, though.
I agree that "the parts serve the whole", that the parts are the means to an end, that their utility is only realized by the whole or end. In a similar way, water, yeast and flour are essential parts for making a loaf of bread. These parts at the immanent level of composition are purposeful. These parts, again similar to a loaf of bread, are transformed in the process of composition into a whole which is categorically different from the parts.
At the level of the whole, a loaf of bread sustains life, utility at this level is different from the composition utility that made it, yet it retains some of the essential characteristics of what and how it was made (almost like a dialectic). A work of art does not have the same kind of utility as a loaf of bread. We can compare loaves of bread for texture, moistness, aroma, flavor and so on, as well as how or if it sustains our body. A work of art also can be described in the terms of color, hue, saturation, or cadence, pitch, meter...but in the case of art what is sustained, broadened, or enhanced is our spirit..."Nutrition of the spirit"
The oldest works of art are estimated at around 40000 years old preserved in caves in various parts of the world. The most famous are at Lascaux in France, but they are also in Indonesia. Many of these paintings are fabulously stylized. I especially like the hand stencils that appear in these caves.
It is almost like they are waving at us, 'we were here'.
So, yes art is a medium of expression and expression is an essential characteristic of man from the get go. Understanding this "vague" term is the challenge. That challenge goes beyond, painting, music, sculpture...into our virtual world, where new concepts (or transformation of existing concepts) of what comprise art art are emerging.
They may or may not. Art is just a concept, and as such it can be applied to practically anything. Framing something as art is like an invitation to view a subject in a new or aesthetic way, where we might appreciate what has been previously taken for granted, see new or renewed meaning, or perhaps generally expand our conception of a subject (as I think you mentioned).
I'd say it's going beyond the rational but practical rationality is actually rather irrational, I'm beginning to understand.
I encountered a new set of notions out of the post-modern camp a few days ago (i guess it's not all bad!) which describes the essence of art almost exactly as you've formulated it.
Russian "Defamiliarization" (ostranenie), German "Distancing Effect" (Verfremdungseffekt), and Derrida's "Difference" (Différance).
It takes what is real by virtue of familiarity and presents it in an unfamiliar, magnified, or distorted way, thereby causing new perceptions and perspectives to emerge in the consumer.
This may not be the precise definition covering all "art", but it's a good start toward defining "good art".
A good work of art is designed to induce a reaction within the individuals who observe it. You can love or hate the work art. The induced reaction is important. Art is a way to trigger the unconscious mind of the audience.
The creative energy for the art, comes from the unconscious mind of the artist. The good artist builds a bridge between his unconscious mind, and the unconscious minds of his audience. The unconscious minds of the great artists, anticipate the future, and can convey this vision to others though the art; unconscious bridge to the future.
For example, art during the industrial revolution, changed from photographic clarity, to the fuzziness of impressionist art. This change paralleled the shift in culture away from the historical farm life, based on centuries of pastoral repetition, to unprecedented factory life. The industrial revolution had an impact on human nature, making things fuzzy. The art movement anticipated this change.
Abstract art, which came next, anticipated other changes in culture, made by theory like relativity and uncertainty, where cause and affect became distorted; determinate versus indeterminate. The artists unconsciously sensed and/or anticipated the change, and helped make it conscious.
Idol worship has a connection to the unconscious art affect. The golden calf was a good work of art, that had power over some people, due to its unconscious induction affect. The ancients would project the induced feelings, as coming from the work of art; god in the art. The induced affect was inside them all the time. The art made it conscious. A new car has an art affect, in the sense it induces a feeling of importance.
One modern artist from the 1950's. who was prophetic of now was Escher. He has a work of art called Relativity. In this work of art, there are people climbing staircases at all angles. If you look at any particular staircase, the reference appears fine, by itself. However, if you look at the bigger picture, all the references cannot exist at the same time.
The trick behinds this affect is connected to creating an illusion of 3-D, using 2-D; flat paper. A 3-D illusion can exist in 2-D, but it will not exist in actual 3-D. I can draw a ball on a flat piece of paper to look 3-D. But it you touch it with your finger you can feel it is flat. It can fool the eye but not touch.
Logic is based on cause and affect, which is 2-D (x,y). Logic can create spatial illusions which look 3-D to the eye, but which do not exist in 3-D. One such affect is connected to special relativity. Einstein defined three parameters in special relativity; relativistic distance, time and mass. However, most of physics only uses space-time and ignores relativistic mass. This downgrade from 3-D to 2-D, allows 3-D illusions in 2-D. If you include mass; energy balance, the illusions are easier to see.
If it is so, why does art play that role? Why is art the way it is?
The same way and role that the peacock's feather plays. It encourages mates to choose them because it shows fitness.
Art is everywhere, even if it is not called art. The new 2018 summer clothing styles are a type of art. This is art you wear. Good art induces an emotional reaction. New clothes induce positive feelings. Designer clothes give the best buzz. The former is individual and the latter is collective.
The golden calf affect; god in the art, can induce unconscious projection, so one feels better if surrounded by the god in the clothes. The tribal hunter will wear the skin of his prey, to acquire the spirit of the animal; golden calf affect. The skin is not a god, but a trigger to what is inside of us.
The reason this affects works is the unconscious mind is the original instinctive mind. Modern humans have become unnatural due to willpower and choice. There is a sense or need to return to its roots. Art brings us there, while culture swings the pendulum the other way. Fashion needs to reboot constantly to trigger the feelings since they are temporary.
Some art brings the individual back to their roots for a short time, while other art brings the herd back, or warns the herd that there are hazards to instinct, ahead.
Shoes are a common female art induction. Shoes fit on the feet, which touch the earth. Shoes are connected to natural instinct; of the earth. The problem is the golden calf induction is not permanent, but needs to be rebooted constantly; new shoes, since culture pulls women the other way, away from natural instinct. The shoe girl is often the cultural girl, not the natural girl. She has more unconscious potential for the trigger.


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TheatreUSF alumna Kristen Zur earned her master's in collaborative theatre making from Coventry University in England earlier this year.
The program, a collaboration with the renowned Frantic Assembly theatre company, provides students with advanced understanding and skills in performance, improvisational process, and composition.
Zur graduated from USF with a bachelor's degree in theatre with a concentration in performance in 2015.
TheatreUSF alumna Stacey Davila is now costume supervisor for Ballet Hispánico in New York City. Formerly an intern for the ballet, she accepted the position in spring 2018.
Davila's responsibilities include building costumes for new dance works, costume fittings, alterations, dyeing, and costume inventory. Davila works not only in New York, but on the road with the touring company.
Additionally, Davila works with the other departments of Ballet Hispánico, which include the second company BHdos, the Ballet Hispánico School of Dance, and the Community Arts Partnerships program.
Davila earned a bachelor's degree in theatre with a concentration in theatre design from USF in 2015.

industry_corpus2: Subject Education


text:
Hi, I'm Internet's sweetheart Keenahn Tiberius Jung. We had fun today, but wokeness is no laughing matter.
This is an algorithmic recommendation based on @keenahn's trips history to find places people they haven't been to yet that other people with similar travels as them also went.

industry_corpus2: Artificial Intelligence


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The 2011 Z Nationals was a huge success! Thanks to all of you who came out & participated.
Check out www.facebook.com/Znationals for continuing coverage of the 2011 event.
Visit this image gallery for photos of the 2011 event.
The 2011 event will be the 7th anniversary of Z Nationals and we will be taking to the track at Atlanta Motor Speedway on Sunday to celebrate. Check out the detailed itinerary page for all the details. Make plans to join us now and check back often for new announcements and details.
-Fri. September 23th - Arrival, Registration, and Tech inspections at Z1 Motorsports followed by a cruise and dinner.
-Sat. September 24th - Car Show / Dyno Competition / Open House at Z1 Motorsports. Banquet & Party afterwards. Register HERE online to attend on Saturday, enter the car show, or dyno your car at the event. All Zs and Gs are invited to participate.
9/11/2011 - Z Nationals Photo Shoot taking place this evening with Championshop IMSA Cars and more!
9/10/2011 - Passes to the Indy Grand Prix at Barber Motorsports Park added to the Z Nationals Giveaways / Parts Specials Page!
9/9/2011 - Due to volume, Quality Inn and Suites has been added as an additional overflow hotel honoring the $69 per night Event rate.
9/8/2011 - Z Nationals Giveaways / Parts Specials Page updated with the most recent Specials available for purchase at Z1 motorsports Saturday September 24th!
9/7/2011 - Road Atlanta donated 4 day passes to Petit Lemans the weekend following Z Nationals. Z Nationals Giveaways / Parts Specials Page updated!
9/6/2011 - Skip Barber Racing School Class added to the Giveaways!! Z Nationals Giveaways / Parts Specials Page updated!
Skip Barber Racing Schools - The speed is in you. Unleash it here.
Thousands of dollars worth of prizes will be given away at the 2011 Z Nationals. The following Items are the larger more expensive giveaways that you will enter your red tickets for throughout the day Saturday, September 24th. You and your registered guests will receive 2 free red tickets at the registration table Saturday by REGISTERING ONLINE. Additional red tickets will be available for purchase throughout the event and at the giveaways display.
Items with a retail value of less than $500 will be given away at Z1 Motorsports near the close of the event on Saturday, September 24th. Items with a retail value of $500 or more will be given away at the Awards Banquet Saturday evening at the Lion Golf Club. You MUST be present to win!
The following items were on sale at the Z1 Motorsports parts counter from 10:00am to 4:00pm during the show on Saturday, September 24th.

industry_corpus2: Automobiles


text:
What is Product Data Management (PDM)? Organizing, controlling and finding company files and information. Sharing information effectively with other departments. Keeping track of project or product changes and history. SOLIDWORKS PDM lets you and your project or product team members access, store, change, and approve design data.
How PDM help? Increases team productivity, reduces errors and frustration, increases visibility, increases security and saves money.
PDM Workgroup uses SolidWorks Explorer, files are stored in a local cache. Project and file hierarchy and file names must be unique.
Tab based administration. Can control read or write project access.
Simple structure based on indexed text files. Performance issues with larger group.
Simple structure based on indexed text files. Re-indexing is often.
Primary or secondary revision chosen on check in.
Working revision can be overwritten at users choice.
Revision table can be controlled during check in.
All access and commands through task pane.
References indexed and renaming may not propagate (phổ biến rộng rãi).
Quality information available in configuration specific report.
AutoCAD support, other CAD files are not suitable (phù hợp) for management.
Can add most file types. Must have unique file name.
Must be worked on in separate cached (nơi giấu, nơi trữ) folder.
Designed to be associated with CAD data.
Limited to regular SolidWorksd templates. No functionality related to non SolidWorks.
New top level projects must be added by an administrator.
Single search form, values must typed in. Result report can be edited.
Limited global process control. Globally controlled for all files.
Permission are changed by forcing checkout by other user.
Requires notification host service. Automation is done by Task Scheduler.
Task is executed on local machine at specific time designated by user.
Embedded tabs and preview for quick access to file information.
Web portal suitable for internal use only due to security reasons.
EPDM is a Windows Explore extension uses regular folder structure. Can manages complex projects. Unique file names is an option.
Graphical interface (giao diện). Administration rights categorized.
Controlled centrally by SQL Database. Can control much more than read or access.
Replication (sự tái tạo; bản sao) possibility. Standardized by workflow.
Archive (văn khố) of files is separate. Exchange revisions of files while open in SolidWorks.
Imposible to overwrite. Use regular open and save dialog.
Separate from "Version" of files.
Permissions can be controlled by revision.
References are captured in database and kept up to date.
Tab in Windows Explorer designated to BOM Management.
Flexible to show BOM in many different formats.
Compare BOM against other revisions. One button to excel format.
BOM can be frozen and passed through approval process.
Suitable (thích hợp) for managing any CAD, specific support Creo Parametric, Solid Edge, Inventor and AutoCAD. Can manage any file.
Typical support includes native (nơi sinh, gốc) add-in, file reference, revision, properties.
Template functionality can automate creation process.
Preview 400 different file types. Permission can control where specific files go.
Can control windows properties inside files to drive information in.
Template can be made from any file or folder. Templates are common (phổ biến) practice for new project creations.
Automatic serial numbers can be generated and used in file name. Properties can be driven into the contents of the file.
Single window for all searching. Customizable search forms to make searching easier for users.
Values can be selected from drop down lists. Favorites can be created and repeated with single click.
Files are automatically assigned based on name, location and user.
Architecture is secure and passes FDA (US Food & Drug Administration) quality requirements.
Controlled by workflow or by user subscription.
Automated e-mail template. Easily customizable.
Automation is on demand or executed by workflow transition.
Task is executed on server or designated machine.
SSL 128bit encrypted for secure access. Avoids FTP site usage.
Can check out and perfrom search from web portal. Requires eDrawing installed for previewing.
SOLIDWORKS PDM Standard is a document management product offering included with SOLIDWORKS Professional and Premium versions, that is based on the same architecture used by the current SOLIDWORKS PDM Professional. This makes SOLIDWORKS PDM Standard 100% compatible with SOLIDWORKS PDM Professional, which allows you to easily upgrade from Standard to Professional at any time. PDF files will be able to be managed in SOLIDWORKS PDM Standard, however since Tasks, Add-ins and API support is not included, no automated creation of PDFs will be possible. In addition, viewing PDF files will not be possible via the View File menu or in the Windows Explorer Preview tab.
SOLIDWORKS EPDM Multi-site replication allows the sharing of data across multiple locations. This functionality can ensure that all locations have the latest versions of files. EPDM allows the automation and standardization of creating documents, such as ECO’s. Templates can also automatically create a predefined folder structure and automatically name these folders. For example, a folder could be named after project number or customer. EPDM Multiple Workfolws allows a separate workflow for different products, departments and divisions and unlimited Workflow States allows the creation of a workflow that accurately represents a company’s product lifecycle.
Replacing Components: Assembly toolbar —» Replace Components —» Multi-site replication allows the sharing of data across multiple locations. This functionality can ensure that all locations have the latest versions of files. EPDM allows the automation and standardization of creating documents, such as ECO’s. Templates can also automatically create a predefined folder structure and automatically name these folders. For example, a folder could be named after project number or customer. EPDM Multiple Workfolws allows a separate workflow for different products, departments and divisions and unlimited Workflow States allows the creation of a workflow that accurately represents a company’s product lifecycle.


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We recently had the pleasure of working with a lovely couple in Wilmington, DE. They had been in contact with us for about a year before they decided to go ahead and order a new garage door.
The old door was a 15'x7' wooden door. It had peeling paint and rotting wood as older wooden doors often do. The homeowner jokingly said she was waiting for the neighbors to throw her out of the neighborhood for her unsightly garage door. :) She came to us with a quote from Home Depot for the same door. We were not only able to match the price, but our price actually came in just below the quote from Home Depot. She was thrilled to be able to work with a small personable, but professional business, someone she could trust to do the job right and stand behind their work. The door was a special order door, but from the time she put down the deposit, it was only 14 days until the new door was installed. Jerome and his brother-in-law removed the old door and installed the new one in four hours. As with all our garage door installs, they added new weatherstripping around the door to ensure a proper seal and finished look. Take a look at the before and after photos!
I received this email during the installation process..."The guys are just finishing up and before it slips my mind I want to let you know they did a great job, they were meticulous and the door looks beautiful. I'm so happy with it, wish I did it a year ago. I'm sure my neighbors are delighted as well. When I get to my laptop I will sing the praises of your business on social media." We are so pleased with how the door turned out, and even more pleased that the customer was more than happy with it.
When a customer agrees to do business with you, it doesn't only mean that you were the best price or the greatest deal. It also means that they trust you. They trust you to come to their home and to do a good job. Having someone's trust is never a small thing, and at Bay Area Overhead we want each and every customer to know that we value your trust. And we will do everything in our power to make sure that after each job that trust is not broken but stronger than before.
If you call up a garage door company about a problem with your garage door, one of the questions they may ask is "Does your door use Extension Springs or Torsion Springs?" What does that even mean? All garage doors use springs to counter balance the weight of the door. Without the springs you wouldn't be able to even lift most doors.
EXTENSION SPRINGS: Extension springs are located parallel to the horizontal track across the ceiling on both sides of the door. They lift the door through a series of cables and pulleys.
TORSION SPRINGS: Torsion springs are mounted to the header above the top the door. You can see them from inside the garage when the door is closed. Torsion springs lift the door using torque applied to a shaft.
Which spring system is better? In our opinion, and in the opinion of many overhead door companies, torsion springs are the way to go. However, in some instances extension springs may be necessary due to low headroom. Torsion springs are stronger and more durable. They offer smoother and more controlled movement, which helps keeps the door balanced correctly. A torsion spring setup uses less moving parts, with less parts there's less that can go wrong or wear out. Torsion springs generally cost more than extension springs, but the additional cost is well worth it. With all that said, extension springs are used in hundreds of thousands of garages. If for some reason, your garage can't accommodate a torsion spring, an extension spring will be just fine.
Many times before selling a home, people will tackle a few projects to enhance curb appeal and help attract prospective buyers. But no one wants to spend thousands of dollars just to sell their home. This is where ROI comes in. ROI stands for Return On Investment. Lots of remodeling projects will raise the value of your home, thus helping you regain some of the money spent. Replacing the garage doors on your home is one of the top 5 projects less than 5k with the greatest ROI. A garage door is the biggest moving item in your home, and if you have a front facing garage can take up 1/3 of your home's exterior. Depending on what type of garage door you choose to buy, you could regain over 90% of the cost all while greatly enhancing the look of your home. Still don't think that a new garage door will increase the value of your home? Take a look at a few of these Before & Afters courtesy of Clopay's Foto-Finish Friday Contest.
Want to know what a new door would cost for your home? Give us a call today at 410.398.2205 or go to our Get A Quote page and fill out the form. We will have a quote to you within 24 hours.
CHAIN, BELT OR SCREW DRIVE OPENERS?
Residential garage door openers are either chain drive, screw drive or belt drive. If you look in the long rail that extends from the opener power head to the front wall, you will either see a chain (similar to what's on your bike), a long screw, or a plastic belt. Each of these types of openers have their advantages and disadvantages, and it's up to you to decide which one will work best for you.
SCREW DRIVE: In a screw driven opener, the carriage is attached to a long threaded rod along the rail. As the motor turns the rod, the carriage slides up or down along the threads.
Advantages: Screw driven openers have less moving parts that chain or belt driven openers, which means less parts to wear out. Because screw drive openers are directly driven, they offer higher power.
Disadvantages: Screw driven openers tend to be move expensive than the chain or belt driven openers, and they don't far too well in area with big fluctuations in temperature.
CHAIN DRIVE: In a chain driven opener, the carriage is attached to a long chain which is looped around a sprocket in the power head. As the motor turns, it turns the sprocket, which in turns moves the chain and the carriage either up or down.
Advantages: Chain driven openers are the most economical style of opener. They have been around for a long time and are known to be reliable.
Disadvantages: Chain driven openers can be very noisy. While some people prefer this so they know when the garage door is being opened, others would rather a quieter version, especially if they have living space above the garage. The chain itself needs to be greased and tightened every so often as it will start to sag.
BELT DRIVE: Belt driven openers run exactly like the chain driven openers, except instead of a chain they use a plastic belt.
Advantages: The biggest advantage of a belt drive opener is the noise, or lack thereof. Compared to their chain driven counterparts, the belt drive openers are virtually silent. There is little to no maintenance and the belts are guaranteed by most manufacturers to last a lifetime.
Disadvantages: Belt driven openers tend to be more expensive to purchase and service.
So what you are looking for in an opener will determine which type is best for you. Here are links to our best screw drive opener, chain drive opener and belt drive opener, however we do have lesser priced options available. Check out our Garage Door Openers page under Services for the complete list.
Picture this. You pull into your driveway with a car full of groceries. It's pouring rain, you're starving and still have to unload all the groceries and make dinner before you can eat. You press that fancy little button built in the ceiling of your car to open the garage door, and...nothing happens. You press it again, a little harder this time. Still nothing. So you're stuck making several trips from your car to the front door (which is all the way on the other side of the house) in the rain. There are times when a situation like this is unavoidable, but by maintaining your garage door and opener properly you can drastically reduce your chances of being stuck outside your garage in the pouring rain.
We have put together an easy checklist for you to do every year. We recommend inspecting your garage door in the fall. That way you'll know it's working properly for the upcoming winter, when having a garage door is the greatest luxury.
There's a downloadable version at the bottom of this post, but here's what steps you should take to ensure you get the maximum life out of your door and prevent problems before they arise.
1. Visually inspect each door section. Look at them from inside and outside the garage. Small dents and dings won't really affect the doors performance, but a large crack of dent could cause the door to not function properly.
4. Lubricate springs with WD-40, white lithium or any garage door lubricant.This will keep them working smoothly and prevent rusting. Here's a link for the kind we use. It can be purchased at your local Home Depot for less than $7.00.
5. Run the door up and down a few times and look at the alignment. Make sure the door is moving smoothly and the springs are lifting the door evenly from each side. If the door is going up crooked you have a problem.
7. Visually inspect all hinges, brackets and hardware. If any hinges or other hardware appears loose, tighten it up.
8. Visually inspect the weather seal at the bottom of the door. If it's dry rotted, cracked or torn, you should replace it to ensure a proper seal when the door is closed.
9. Visually inspect all the cables. Cables are used to lift the door and contain springs. If you see any fraying, you should have the cable replaced.
10. Visually inspect the door track. It should allow the door to move smoothly up and down. If your track is bent or broken, you should have it checked out or replaced.
11. If you garage doesn't have an access door, you should have a manual release handle in case the opener fails. Test this to ensure it is working.
12. If you have a garage door opener, disconnect it by pulling the emergency release. Open the door manually and let go halfway up. If you door does not hold itself midway up, your springs need to be adjusted or replaced. Do not attempt to replace garage door springs, especially torsion springs. They are under a lot of pressure and could cause serious damage, injury or even death if not handled properly.
If you have a garage door opener, you'll want to give it a once over as well.
1. Start with the opener bracing, that's the support holding the opener to the ceiling. It'll most likely be angle iron of some sort. Give it a little shake to ensure that it is solid.
2. Run it up and down a few times and just double check that it is working properly. Watch and listen for anything that might be out of the ordinary.
3. Check that the wall control, outside keypad and car remotes work properly and replace batteries if needed.
4. Check and replace light bulbs in the opener if needed.
5. Perform a Non-Contact Reverse Test. With the door all the way up, place an object, like a cardboard box, in between the sensors. Press the button to put the door down. It should reverse and go back up. If it goes all the way down, disconnect the opener and do not use it until it serviced. Having an opener that doesn't comply with today's safety standards is dangerous.
6. Perform a Contact Reverse Test. This time place a piece of wood on the ground under the door, roughly 1.5" inches high. Run the garage door down on the wood. It should go back up after hitting the wood. If it doesn't reverse, disconnect the opener and do not use it until it serviced. Having an opener that doesn't comply with today's safety standards is dangerous.
A garage door is the largest moving object in your home and, if not cared for and maintained properly, can cause serious injury. If anything is worn out, bent, broken, or could possibly cause a problem in the near future, you should have it checked out by a professional garage door company.
If this whole process sounds a little daunting give us a call at 410.398.2205. At Bay Area Overhead we offer a 30 Point Inspection and Tune Up for $90.00. This tune up includes all the tightening and adjustments, batteries, light bulbs etc. Click here to see a full list of what's included.

industry_corpus2: Real Estate & Construction


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Revenue recognition transition adoption Options- Full or modified retrospective?
The deadline for adoption of the new revenue recognition standards under ASC606 is fast approaching.
Public companies need to adopt for fiscal years beginning in 2018 while private companies have until 2019.
The changes in how to account for software and services can be significant, often requiring the break out of underlying performance elements that were bundled together under current reporting standards.
The guidance lays out two alternatives for disclosing the revenue recognition transition , both of which require dual accounting to support the disclosure requirements.
Under the full retrospective approach, the full prior two years of financials are restated to the new standards to provide an apples to apples comparison between the years under the new standards.
Under the full retrospective approach, the sooner that a multi-book solution can be implemented, the better.
A multi-book approach accounts for new contracts under both standards.
In a perfect world, implementing this type of dual accounting at the beginning of the retrospective period would be ideal, but most companies will need to perform recast calculations on some period of contracts.
The full retrospective also requires two points to calculate a cumulative adjustment.
First, a cumulative adjustment will need to be performed at the beginning of the retrospective period and then again at the date of adoption to adjust the company’s primary books to the new standards as per below diagram.
The modified retrospective is a bit simpler in that it only requires one cumulative adjustment of open contracts as of the date of adoption and only requires the cumulative impact calculation of open contracts vs the period by period recast required to support a full retrospective.
First, the establishment of a legacy GAAP standard book will provide the accounting for the comparative disclosure during the year of adoption.
Secondly, the establishment of an ASC606 book reflecting the new standards. This book will assist with calculating the cumulative adjustment as well as providing visibility to accounting differences between the old and new standards leading up to the year of adoption.
Let’s take a quick look for highpoints and low points for each approach, and offer a few reasons why a company might choose one over the other.
Therefore , regardless of the which method is choosen to disclose revenue recognition transition, there will be a significant effort which need to assess properly .These options include considerations for historical data restating requirements and overall data volume requirements. Discuss and engage your Implemenation partner to plan for this transition and deploy technologies to support these new requirements.
Question : Is there an approach to transition to the new accounting standard?
Entities are permitted to apply the new revenue standard either retrospectively subject to some practical expedients (that is, to restate prior periods for a consistent basis of accounting and presentation) or through an alternative transition method [full retrospective ].
The alternative transition method requires an entity to apply the proposed guidance only to contracts not completed at the date of initial application. Then, recognize the cumulative effect of adoption as an adjustment to the opening balance of retained earnings in the year of initial application. Under this approach, the financial statements before and after implementation will not be comparable.
Moreover , Retrospective transition requires applying the new guidance to all prior periods (subject to certain practical expedients).
The underlying principle of the new standard is that an entity will recognize revenue to depict the transfer of goods or services to customers at an amount that the entity expects to be entitled to in exchange for those goods or services.
Finally, the business can recognize revenue when they meet the performance obligations.
If that fulfillment happens at a distinct point in time, revenue can be recognized right then.
If the obligation is satisfied over time—for example, a technical support contract—the business needs to decide how to measure the progress and completion of that obligation.
The customer concurrently receives and consumes the benefits provided by the entity’s performance as the entity performs.
The entity’s performance creates or enhances a customer-controlled asset.
The entity’s performance does not create an asset with an alternative use and the entity has a right to payment for performance completed to date.
Regarding the last bullet, a right to payment exists if an entity is entitled to payment for performance completed to date if the customer terminates the contract for reasons other than the entity’s nonperformance.
Performance Obligations Satisfied at a Point in Time – An entity will recognize revenue at a point in time (when control transfers) for performance obligations that do not meet the criteria for recognition of revenue over time.
The entity has a present right to payment for the asset.
The entity transferred legal title to the asset.
The entity transferred physical possession of the asset.
The entity transferred the significant risk and rewards of ownership to the customer.
The customer accepted the asset.
Output Methods – Units produced or delivered, contract milestones, or surveys of work performed.
Input Methods – Costs incurred, labor hours expended, time lapsed, or machine hours used.
Step 4 allocates the transaction price to the distinct POBs in a contract. An entity typically allocates the transaction price to each POB based on the relative standalone selling prices of each distinct good or service promised in the contract.
If a contract has more than one performance obligation, the business needs to provide an accurate estimation as to that obligation’s standalone selling price versus the total agreed upon amount.
ASC 606 allows for includes three methods of figuring this amount—adjustment market assessment, expected cost plus margin, and residual.
The next step is to determine the transaction price, the amount of consideration that the seller expects to be entitled to in exchange for transferring the control of goods or services promised in the contract.
The transaction price is the amount of consideration that an entity expects to be entitled to in exchange for transferring promised goods or services to a customer, excluding amounts collected on behalf of a third party (i.e. sales taxes).
The transaction price is the amount the business expects to receive in return for transferring the goods or services outlined in Step 1. The amount can be fixed, variable, or a combination, but is allocated specifically to the performance obligations outlined in Step 2.
Therefore , once these performance obligations are fulfilled, the business can recognize this as revenue.
When a certain amount of cash is transferred to the business simultaneously with the promised goods or services, this is quite easy. But, more complex payment arrangements require additional thought.
The transaction price may be variable or contingent upon future events, including discounts, refunds, rebates, credits, incentives, performance bonuses, etc.
Expected Value – Sum of the probability weighted amounts for various possible outcomes.
Most Likely Amount – The most likely amount in a range of possible amounts.
A performance obligation is the basically promise to transfer goods or services to a customer.
In this step, the business needs to identify all the distinct performance obligations in an arrangement.
can be transferred independent of other performance obligations.
Any goods or services that can't be deemed distinct should be bundled together until they can be.
Performance obligations can also cover an obligations the customer might expect because of their history, which can make this step more complex.
Revenue is one of the most important key performance indicators (KPIs) used by investors when assessing a company’s performance and prospects.
guidelines set by the Securities and Exchange Commission (SEC) to communicate their financials effectively to investors. Based on the operations in different countries, businesses sometimes need to comply with more than one set of standards.
Most of the companies located in North America or Europe comply with generally accepted accounting principles (GAAP) and International Financial Reporting Standards (IFRS). Recently, the standards-setters developed new revenue-related standards (IFRS 15 and Accounting Standards Codification [ASC] 606), which ensure clarity and transparency in reporting revenue. These new guidelines require a substantial change in the way currently revenue is being reported compared to the new revenue recognition standards.
ASC 606 dictates that a business can account for a contract when all these criteria are met.
The parties have approved the contract and intend to perform their respective obligations.
Each party's rights regarding the goods or services to be transferred can be identified.
The payment terms can be identified.
The risk, timing, or amount of the entity's future cash flows are expected to change (contract has commercial substance).
Regarding the collectability criteria, the entity will assess at the inception of the contract whether it is probable it will collect the transaction price.
Credit losses arising from a contract that was probable of collection at inception will be recognized as an expense in the income statement.

industry_corpus2: Finance & Economics


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I have recently discovered an interesting little curiosity about the English language most of us have either never noticed or just haven’t given much thought to. It has to do with the English spelling and pronunciation of place names in different countries. When we talk about places in Germany, Italy or Greece, native English speakers tend to use names that have historically been translated into English. Sometimes the names were borrowed from Italian or French names. Names like Cologne, Naples, Vienna, Venice, Munich, Athens and Rhodes are all obviously English or translations into English. However, when discussing places with French, Portuguese or Spanish names such as Avignon, Nice, Salamanca, Sao Paulo or Madrid, the tendency is to keep spelling and pronunciation more or less consistent with the host language in question. English Conversation students at the Smith’s School of English in Kotoen スミス英会話 甲東園 are aware that the name Paris cannot have the ‘S’ pronounced in French, but at least English spelling is consistent.
When we study the map of Japan, we find two important facts worthy of note. Firstly, the Hepburn Romanized Transliteration is usually used to write place names in ‘English’, similar to how people’s names are written in passports. With only a rudimentary understanding of Japanese hiragana pronunciation, it is actually easy to learn place names in Japan with surprisingly accurate pronunciation, even when alphabetized with Hepburn.
The map shown is a good place to start learning the names of the major regions in Japan. Everyone already knows O-ki-na-wa!


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Is there a quick/easy way to do this (for at least a rough estimate) ?
I'm benchmarking algorithms and I thought it would be cool to know the absolute speed at which my computer is executing instructions and compare that with my asymptotic analysis.
If you want to know what your CPU can do, then look at the documentation. Your CPU vendor specifies the latency and throughput of all instructions, as well as a variety of other information (how many instructions can be issued or retired per cycle, cache latencies and much more). Based on this, you can compute the theoretical peak throughput.
If you want to do what your CPU is actually doing then run your own code and measure its performance.
This is a typical case of "In theory, theory and practice is the same, in practice they are not".
Modern CPU's have very sophisticated logic in them, which means that the ACTUAL number of operations performed is different from what you'd think from just looking at code or thinking about the problem [unless you have a brain the size of a small planet and know how that particular CPU works]. For example, a processor may speculatively execute instructions on one or another side of a branch, even if it hasn't quite got to the branch - if that's the "wrong" side, then it will discard the results of those instructions - but of course it took time to execute them.
Instructions are also executed out of order, which means that it's hard to predict exactly which instruction will execute when. There are some exceptions.
You will only get (anywhere near) the theoretical throughput if you are pushing data and instructions through all the available execution units at once - this means having the right mix of instructions, and of course ALL of the code and data in caches.
So, in theory we could stuff the processor full of instructions that maxes it out, by writing very clever code. In practice, that turns very very very quickly into a hard task.
However, the question is about measuring the throughput of instructions, and on modern CPU's, this is very much possible with the right extra software. On linux perftool or oprofile, for windows there is Intel's VTune and AMD's Code Analyst. These will allow you (subject to sufficient privileges) to fetch the "performance counters" in the processor, which has counters for "number of instructions", "number of float operatons", "number of cache misses", "branch mispredicted" and many, many other measurements of processor performance. So given a sufficient length of runtime (at least a few seconds, preferrably more), you can measure the actual count or clock cycles that a processor performs.
In practice these days, the effective number of instructions depends primarily on memory latency, which is the main bottleneck on performance. Waiting for data is bad. Processors can alleviate this problem somewhat with techniques such as caching, pipelining and concurrency, but the issue remains and will only get worse over time.
Proper implementation can make a huge difference. You may want to check out this question about cache-friendly code.
Modern CPUs are pipelining instruction processing, so there is no constant as such.
You could however, read out number of CPU ticks at start of your algo and at the end. I think this is as low level as you can get with such measuring.
You can use Perf tool in Linux. It is easy to use.
Not the answer you're looking for? Browse other questions tagged c++ c algorithm sorting benchmarking or ask your own question.

industry_corpus2: Programming


text:
We all know how Darth Vader shared his big secret with Luke Skywalker, but what if he had delivered the news in a handwritten note instead? And what if someone found that letter, as well as all of the drafts that landed in the Dark Lord’s trash can? In the riotously funny collection Dear Luke, We Need to Talk. Darth, John Moe finally reveals these lost notes alongside all the imagined letters, e-mails, text messages, and other correspondences your favorite pop culture icons never meant for you to see.
From The Walking Dead to The Wizard of Oz, from Billy Joel to Breaking Bad, no reference escapes Moe’s imaginative wit and keen sense of nostalgia. Read Captain James T. Kirk’s lost log entries and Yelp reviews of The Bates Motel and Cheers. Peruse top secret British intelligence files revealing the fates of Agents 001–006, or Don Draper’s cocktail recipe cards. Learn all of Jay-Z’s 99 problems, as well as the complete rules of Fight Club, and then discover an all-points bulletin concerning Bon Jovi, wanted dead or alive—and much more.
Like a like a bonus track to a favorite CD or a deleted scene from a cult movie, Dear Luke, We Need to Talk Darth offer a fresh twist on the pop culture classics we thought we knew by heart. You already know part of their story. Now find out the rest.


text:
Castleview Primary School is Proud and Thrilled to be Able to Introduce the Winner of the ‘Robert Owen Inspirational Educator of 2017’, Ms Lindsey Watt!
Ms Watt was presented on 20 September in Glasgow at the Scottish Learning Festival.
The award was presented by the Deputy First Minister and Cabinet Secretary for Education, Mr John Swinney MSP.
Castleview students and staff watched the surprise announcement live at their assembly.
We are so proud of our Headie.


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Allmark Properties' portfolio includes six properties totaling 538 units in Rancho Cucamonga. The communities are operated as a single entity through a shared facilities agreement.
McLean, Va.-based Capital One has provided a $50 million Fannie Mae 10-year fixed-rate loan to Allmark Properties to refinance a six-apartment portfolio. The apartment communities feature a total of 538 units, and are located in the Riverside-San Bernardino MSA city of Rancho Cucamonga, Calif. Newport Beach, Calif.-based Capital One Multifamily Finance Senior Vice President Chuck Christensen originated the transaction. A repeat customer of Capital One and Fannie Mae, Allmark Properties owns and manages more than 2,500 California and Texas rental units.
“This transaction was challenging in part because the borrowing entities were not single-asset entities and five out of six of them owned another non-related asset,” Christensen told MHN. “Also, the borrowers preferred to not remove all of the turf at the property in order to achieve the savings required to implement the green program.
Allmark developed the half dozen contiguous properties in the Terrace Portfolio during the period from 1971 to 1978, inclusive. They are Fir Terrace, Arrow Terrace, Cucamonga Terrace, Placer Terrace, Terrace 78 and Terrace 12. The six are operated as a single entity through a shared facilities agreement.
Noting steadily rising interest rates, Allmark eagerly sought to refinance. But the prepayment penalty on its existing loan gave the company pause.
Once Capital One presented Allmark with an analysis of available alternatives, its choice proved to be Fannie Mae’s Streamlined Early Rate Lock program. This option permitted the company to lock in rates while waiting three months for its prepayment penalty to decline to an acceptable level. “We have worked with Capital One on a number of transactions over the years,” said Allmark CFO Steve Strebel.
The six contiguous properties are located in the Rancho Cucamonga foothills and together feature a resort-style layout, with amenities that include tennis courts, basketball courts, a dog park, business center, barbecue areas and swimming pools. The combined property has been carefully maintained by Allmark.


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Ipsy is a subscription-based company that sends small bags with makeup and toiletries aimed at your Style Profile (based on your skin color and makeup preferences) each month. This month, my Ipsy bag came just in time for Valentine’s Day!
This month’s Ipsy Glam Bag’s theme is Love Is Just A Word… Ipsy is awesome because they send the samples in a reusable and themed makeup bag. They are really handy for traveling, daily shopping or keeping small items close on the go!
This month’s glam bag was nice, but not as amazing as the January bag.
An interesting and smoky color. Cruelty-free. 2 grams.
2. Blush Cheek Powder in Peach Bellini by Model Co.
I’m not big on blush so we’ll see how this turns out. I like the color. 3.6 grams.
I love face oil and this one is no exception. It is light and nicely scented. .34 fl ounces.
This is a great scent! It smells like flowers, maybe gardenias? .29 fl ounces.
The Bag: Pink and white checked with a pink zipper. Cute and Valentine-y, but definitely not for me. This one will probably get donated.
For only $10/month, Ipsy is definitely worth it! I easily get $20+ worth of products each time. Try Ipsy for yourself!

industry_corpus2: Others


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Anita Kelleher is passionate about development – individual, organisational, community and international. With 20 years experience in strategic analysis and long-range planning, coupled with transformational leadership and development expertise, Anita typically works with government and community benefit organisations building their capacity to successfully navigate the emerging challenges of the 21st century. Her practice is notable for its customised project design, strategic thinking, and for crossing boundaries – disciplinary, cultural, political, sectoral – drawing from a diverse range of intelligence sources to catalyse ideation, creativity and innovation. In addition to positioning clients for future development and change, Anita’s projects have resulted in long-range plans 20-50 years out, product and service innovations, tri-sector partnerships, community activation and shifts in organisational values.
Anita holds an Master of Business Leadership; Master of Future Studies; and a PhD in Social Science (Future Global Governance). Anita is Chair of the Australasian Node of the Millennium Project, and a member of the Association of Professional Futurists and World Futures Studies Federation. Learn more about Anita at her site or via her LinkedIn profile.
Anita Sykes Kelleher is an experienced futurist and strategist with a passion for helping organisations and communities realise their potential. Building on her extensive advisory experience with international, corporate and government divisions of Jardine Lloyd Thompson, Anita launched her consultancy network, Designer Futures, in 2002 and for the past thirteen years has earned a reputation as a trusted adviser to public, private and non-government organisations in Australia and internationally.
Anita’s expertise in strategic foresight and community engagement has shaped leading organisations and award-winning projects that have achieved lasting results. Using a blend of proven methods and experimental, leading edge approaches, she brings a transformative, participatory approach to creating options for the future, developing strategy and policy, and building resilience in organisations and communities.


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"The Big Bang Theory: 5 Reasons Why It’s Actually Good For Nerds"
"How 'Big Bang' became ruler of the TV universe"
We discuss The Itchy Brain Stimulation - Was this a sweeps worthy episode? Was Penny out of line with Lucy? Should Lucy have been brought back at all at this point? And more!
The title is Simulation not Stimulation!


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New legislation, such as Part III of the Disability Discrimination Act (DDA) and the revised British Standard BS8300, all point to the need for design to be more inclusive. From October 2004, the DDA stated that service providers may have to make ‘reasonable adjustments’ in relation to the physical features of their premises to overcome physical barriers to access.
If you are refurbishing a ward or working on a new build project, the reception desks will need to be accessible to both disabled and non-disabled people.
Therefore, in order to meet the requirements, when designing the counter provision should be made for people to access them from both standing and seated positions. BS8300 provides invaluable advice on dimensions for the counters – in particular the lower section, which would be accessed by wheelchair users or people who are seated.
If you have any questions about our healthcare nursing station reception counters email us, or fill in our enquiry form. Alternatively you can call us on 01843 604896.

industry_corpus2: Health & Medicine


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Jim Minge opened his first credit union account when he was six years old, but it still took him some time to find his professional calling as a credit union leader. A naturally friendly, native Texan, Minge audited many types of companies for Ernst & Young before joining Randolph-Brooks Federal Credit Union in 1993 as an auditor. He held several roles in his 18 years at RBFCU before taking the helm at Texas Trust Credit Union ($1.2B, Arlington, TX) in 2011.
Here, Minge talks about what he’s learned through the years, how he found his way from auditor to credit union CEO, and why there’s no room for a big ego when it comes to helping members.
My dad worked on Security Hill in San Antonio, so I was a member of Security Service Federal Credit Union as a child. I’ve known what credit unions were for as long as I can remember, but I didn’t work at one initially in my career. As a CPA and auditor, I performed audits for a public accounting firm and was attracted to the handful of bank clients I served.
I was blessed at a fairly young age with my first leadership role at Randolph-Brooks Federal Credit Union. I was there for 18 years, and the CEO I worked for — Randy Smith — believed in moving people around to give us opportunities. Four of us competed for Randy’s job when he retired. We all had excellent training, which was a great problem for the credit union.
I became CEO of Texas Trust Credit Union seven years ago. When I wake up in the morning, my first thought is, “How many people are we going to help today?” It’s different from what the CEO of a big bank likely wakes up thinking, but it fits me and I’m happy.
One of the hardest things you can do is delegate effectively and trust people to make good decisions that align with your vision. The balance of delegating and maintaining a light management style — to ensure things keep heading in the right direction — is a difficult thing. I can’t claim I’m great at it, but I have pushed myself to build relationships and trust the people around me.
If you look at great leaders and the people around them, you see the entire team feels ownership of the business. It’s difficult to let go and not control everything, but delegation is how the people around you grow in their careers and the credit union grows and thrives.
I’ve been fortunate in that the majority of the senior leadership team that was here when I took over as CEO is still here today. We have great people who have a positive attitude. I want my team to care about who we are as an organization and what we’re doing everyday — that’s the baseline to me. The difference we make in members’ lives is why we’re all here.
As for my leadership team, we’re just regular folks. We’re part of the team. Life’s too short to have a big ego. As an organization, we’re trying to get a little bit from a lot of members for a long time.
I started running nearly 10 years ago, and there’s something magical about it. I do a longer run of six to 10 miles most weekends that helps me focus and recharges my batteries. Afterward, I feel much more balanced and able to focus on priorities.
I also like to work with my hands. The process of woodworking or doing a home improvement project helps me see something tangible that’s not related to my day job. If you see something beautiful, there’s a craftsman behind that.
Everyone finds their own source of inspiration. These are the two I’ve found later in life and really enjoy.
Life’s too short to have a big ego. As an organization, we’re trying to get a little bit from a lot of members for a long time.
I’m proud our folks have taken advantage of opportunities to move up within the credit union. I had a great mentor who taught me that true success is about how successful you make the people around you — it’s not how big the organization gets, it’s watching the people around you thrive and prosper. I find the most professional joy in giving people opportunities and watching them blossom. When I retire, I want the board to have a hard decision to make with at least three or four qualified candidates ready to move up.
One of the most difficult decisions I’ve ever had to make was after a merger five years ago. It was the first merger of any size that I’d done and the first merger the credit union had done in some time. I learned a lot from it. We were trying to do 100 different things at the same time and we let the organization grow too much, too fast. As a result, we had to offer an early retirement package, make a small reduction in our workforce, and go on an expense diet.
It was a tough decision for me. I’d never been through anything like that in my career, and it taught me a lot of lessons. As a result, I think I do a better job today of saying “no” because I’m responsible for our employees, their families, and their livelihood. Sometimes saying no to requests — or adding them to our “someday” list — is the most responsible thing we can do.
Part of our magic is cooperation. As an industry, there are a lot of examples of credit unions sharing and making one another better. However, I think there are opportunities for more partnerships. For example, a larger credit union could easily help five or six smaller ones reduce their overhead through an umbrella relationship or shared operations model.
I see a lot of opportunity there, especially as scale in our industry keeps changing. I don’t feel like a $1 billion credit union is necessarily a big credit union anymore — the number to achieve true scale advantages keeps moving north. We must find ways to help one another so we can all succeed and break down the barriers to collaborate more through partnerships.
Collaborating across departments requires a strategic mindset, but making time to talk about strategy is difficult. Callahan & Associates is here to help your leadership team focus on what’s important.


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comprehensive understanding of ancient architecture. The purpose of the whole project was not archaeology in a strict sense, but to establish a foundation for a new modern architecture that would be based on all available explicit and implicit knowledge and examples from Antiquity.
their authors: humanists like Cervini and Agustín, artists like Sangallo, Vignola and Palladio or antiquarians like Ligorio and Strada – all (temporary) members of the Accademia.
As Marcello Cervini's secretary, Stephanus Winandus Pighius collected inscriptions and drawings of ancient artifacts of all genres, mainly reliefs of Roman sarcophagi and tombstones. His scientific estate, bound in the 17th century and now in Berlin, shows many parallels to an anonymous collection of relief drawings in Coburg, Germany. In both codices, the Pighianus and the Coburgensis, the drawings show a remarkable and unrivaled precision documenting the ancient monuments with all damages and minute elements: In this 'philological' approach they can be seen as the most important sources for our knowledge about the largest corpus of ancient reliefs. A second remarkable feature of the Codex Pighianus is the ordering of the material: inscriptions and artifacts like tombstones, portraits, brick-marks, measuring instruments etc. are arranged as “antiquitates”, a classification model established since Flavio Biondo. Among them, the sarcophagi reliefs are ordered according to the mythological relations between the scenes and/or persons. These different orders display Pighius’ efforts to arrange the diverse material as an 'encyclopedic system of knowledge'. The paper presents examples from the codices in comparison with the surviving objects and discusses the methodological approach of Pighius and his collaborators.
The Corpus Inscriptionum Latinarumwas started in 1853 by Theodor Mommsen who regarded the epigraphic collections in the Vatican Library, among them the comprehensive codices by Jean Matal, as indispensable sources for ancient Roman inscriptions. Matal collected them in Rome between 1546 and 1550 as secretary to his friend, the Spanish bishop Antonio Agostín. Matal explicitly mentions Pighius, Philandrier, Martin de Smet, Guillaume Budé and many others in his annotations to the collected inscriptions. Besides taking their own very precise transcriptions they also personally examinated those that had been already published or collected by others. Pighius’ collection was created in the same time as Matal’s collection, and they both may still have been in contact after Matal had moved to Cologne in 1550 and Pighius came back to the Netherlands after Cervini’s death in 1555. – Like the drawings after ancient reliefs in the Codices Coburgensis and Pighianus, the inscriptions are represented in their original surviving state with all damages, while any interpretation and correction is clearly distinguishable. The paper will present examples of the strictly philological work from Pighius' and Matal’s collections and analyse their methodology.
before 1543, he seems to have been in contact with some of the members of the Roman Accademia della Virtù like Agostín and Matal or the later cardinal Granvelle. Fugger also had close relations to Onofrio Panvinio, the most important young scholar of the Roman circle who called himself a disciple of Jean Matal. Fugger did not only collect one of the largest libraries of the Renaissance, now an important part of the Bayerische Staatsbibliothek, Munich, but commissioned several antiquarian projects, maybe the most important among them being the drawings of ancient coins and medals from Jacopo Strada's workshop. Strada also was sent by Fugger several times to Italy to buy antiquities and books. The paper will investigate Fugger's role as a patron of the studia humanitatis, especially with regard to the Roman circle of the Accademia della Virtù, and his role in the creation of Strada's corpus of drawings.
many of the documented monuments have been destroyed or damaged later, the drawings are the only or (at least) the best surviving sources providing information about them. While it seems implausible that the draftsmen – some of whom could be identified with craftsmen from the Fabbrica di San Pietro – could have developed the methodology and pursued this project over years on their own, Italian and French notes indicate that the drawings had been commissioned by more educated persons. During the 1540s and 1550s, only the Accademia della Virtù can be regarded as this group. Possible relations between the drawings and the influential books by the architects Vignola and Palladio will be discussed.


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A wide range of professionals working in medical facilities, performing arts conservatories and the fitness industry use Polestar Pilates. Polestar Pilates certifications are respected on an International level by the fitness and rehabilitation industries and are setting standards worldwide. Click here for more information on Polestar Pilates Asia.
In 2016 we are pleased to introduce a brand new curriculum for the Polestar Pilates qualification, enhancing the programme to make it more flexible with online modules as well as more affordable.
Focus Pilates is the exclusive host centre for Polestar Pilates training in Singapore, and conducts courses in the three main streams including Comprehensive Rehabilitation, Comprehensive Studio and Pilates Mat.
Polestar offers the most comprehensive Pilates rehabilitation and fitness curriculum and certification in the world today. The curriculum for Polestar courses is internationally standardised so you can continue any of the courses in countries which host Polestar Pilates Programmes.
Health and fitness professionals, who are interested in basic instruction in the use of Pilates Mat and Equipment exercises to supplement their current practice. From personal trainers to Yoga instructors to Physiotherapists, this could be the perfect complement to your existing skills with Pilates tools. The Gateway Course is a great way to get started!
Teachers who wish to add Pilates to their repertoire in order to get the best out of their students, including Physical Education teachers and Ballet teachers.
Pilates enthusiasts who want to experience Pilates at a deeper level.
Competency-based instruction measures student's ability to justify exercise selections or treatment plans so you understand every aspect of the exercises and why you are teaching it.
The 2016 enhanced curriculum features online training and components, allowing students flexibility in their study schedule, as well as affordability.


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In a surprise cabinet reshuffle which took effect on Friday November 10th, 2017, Prime Minister Dr. Ralph Gonsalves has set aside from the portfolio as Minister of Finance, which he held since his Unity Labour Party administration came to office in 2001.
The portfolio of Minister of Finance now rests with Camillo Gonsalves, who will maintain his ministerial responsibilities for Economic Planning and Sustainable Development.
Minister of Agriculture, Saboto Caesar now has the additional responsibilities for Industry, Labour and the Bureau of Standards.
Minister of Transport and Works, Urban Development and Local Government, Senator Julian Francis will take on the further responsibility of Postal Services.
Minister of Education, Reconciliation and Ecclesiastical Affairs St.Clair Jimmy Prince will take on the added responsibility for Information, to include the Agency for Public Information and the National Broadcasting Corporation.
Prime Minister Gonsalves will continue as Minister of National Security, Air and Sea Port Development, Immigration and Legal Affairs.
The Prime Minister is expected to outline further details of his cabinet reshuffle and other national issues at a media conference on Monday November 13th.