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We're all familiar with programs that add icons to the system tray - Windows NT/2000's Task Manager, the Microsoft offline files synchronisation manager, and many other third-party apps.
Quite frequently, these icons open a dialog of some sort when double-clicked. The normal procedure is to simply hide or show the window. It would be nice if the window displayed the same animation used when minimizing or maximizing a window to and from the task bar. This article shows how simple it is to do just that.
It is actually very simple to duplicate the effect of the minimizing and maximizing animation - just one function call will do the trick. DrawAnimatedRects is used to draw and animate a rectangle. Here's the prototype:
BOOL WINAPI DrawAnimatedRects(HWND hwnd, // handle to clipping window  int idAni, // type of animation  CONST RECT *lprcFrom, // rectangle coordinates (minimized)  CONST RECT *lprcTo // rectangle coordinates (restored) );
When animating the caption, the hwnd argument is the handle to the window to be animated, rather than the window to use for clipping and it cannot be NULL, as suggested in the documentation. The lprcFrom and lprcTo RECTs describe the start and the end positions of the animation.
The interesting argument is idAni, which sets the type of animation to display. If this is set to IDANI_CAPTION, the window caption will animate from the lprcFrom to lprcTo, in the same way as windows are minimized and maximized.
(As a brief aside, the include files that come with Visual C++ 6 include definitions for not only IDANI_CAPTION, but also IDANI_OPEN and IDANI_CLOSE. There is no documentation as to what IDANI_OPEN and IDANI_CLOSE do, and when plugged into the example code, they fail to produce any animation at all. Perhaps it was intended that Windows display an animation when opening and closing a window in the same way as the Mac does. Whatever was intended, it doesn't appear to have been implemented.
Another thing to note is that the headers for the current Platform SDK - April 2000 - only define IDANI_OPEN, so it is necessary to either use the Visual C++ 6 headers, or manually define the missing values, which is what the example code does)
It's not enough to know how to display the animation; we also need to know the start and end position. When minimizing, the "from" value is simple, you can use the RECT of the window. This gives us the correct width of the window, but the height is going to be larger than the caption bar. This is not a problem, however. We have told Windows that we are animating the caption, so Windows only uses the caption's height.
The "to" value is slightly trickier. We need to get the RECT of the system tray. Unfortunately, there is no documented way to do this, and each method we can use has its downside.
The most accurate way of getting the system tray dimensions is to actually get the system tray's window. Through judicious use of the very handy Spy++ utility, we can see that the system tray is a window of class "TrayNotifyWnd", which is a child of the top-level window of class "Shell_TrayWnd". We can easily get these windows using FindWindow, and then simply call GetWindowRect to get the dimensions of the system tray. As this gives the best results, this is the preferable method, but it must be remembered that this is undocumented and utilises window class names and hierarchies that might not exist in future versions of the shell, so mustn't be relied upon. If this method fails, we drop through to the next method.
The nearest thing we can get to a documented method is to use the SHAppBarMessage function with the ABM_GETTASKBARPOS message. This will return us the bounding rectangle and edge position of the task bar. From this we can tell where the system tray is. If the edge position is the left or the right of the screen, the tray is at the bottom of the task bar. If the edge position is the top or the bottom of the screen, the tray is to the right of the screen. The only problem with this method is that it doesn't give us the actual coordinates of the system tray, just the rough position - we have to give a default size for the system tray.
There is still the possibility that this will fail. This is really only likely if explorer has been replaced by a third party shell. Many of these shells now support a system tray (Shell_NotifyIcon sends a WM_COPYDATA message to a top level window of class "Shell_TrayWnd", which is the task bar) If we find this window, we can get some dimensions for the system tray.
If all else fails, we just use a default value in the bottom right of the screen.
Obviously enough, when maximizing, the "to" and "from" values are the opposite to when minimizing.
Windows allows the animation to be disabled (using a registry setting, or a tool such as the infamous TweakUI), so we must check for that before calling DrawAnimatedRects. This is a simple call to SystemParametersInfo, with the SPI_GETANIMATION value. If the animation has been disabled, the window is simply hidden; otherwise, we call DrawAnimatedRects.
There are two main files in the example project included with this article. MinimizeToTray.cpp contains the functions to minimize and restore the window, and MinimizeDemo.cpp contains a simple dialog app that demonstrates how to use these functions.
MinimizeToTray.cpp contains two public functions:
VOID MinimizeWndToTray(HWND hWnd); VOID RestoreWndFromTray(HWND hWnd);
The MinimizeWndToTray function displays the minimize animation and hides the window passed in as a parameter. The RestoreWndFromTray function displays the restore animation and shows the passed in window. Neither of these functions adds or removes a system tray icon - that is left to the caller.
One thing to note is that if Shell_NotifyIcon is called before DrawAnimatedRects, the entire taskbar is erased, and not redrawn until the animation is complete. As long as the shell icon is removed after the animation, the taskbar is drawn properly. So call Shell_NotifyIcon after calling MinimizeWndToTray or RestoreWndFromTray.
MinimizeDemo.cpp shows how to use the two functions in an actual app, and even shows a simple use of the Shell_NotifyIcon function. The dialog is minimized to the tray in response to the WM_CLOSE message and to the SC_MINIMIZE WM_SYSCOMMAND message. The dialog is restored when the icon is double-clicked.
This code is very easy to use. Simply drop the MinimizeToTray.cpp file into your project, and add two function calls to your app. There are plenty of comments in the source files, and the MinimizeDemo.cpp sample is very easy to follow.
This code is public domain. Feel free to use and abuse it in any way you want. If you do use it though, I'd appreciate it if you dropped me a quick note. Consider it emailware.
The main purpose of this article was to explain how to use DrawAnimatedRect, and provide as near to foolproof method as possible of finding the position of the system tray. I didn't intend to describe how to use Shell_NotifyIcon. However, it is a reasonable place to pass along a couple of tips on common problems:
The most prevalent problem with notification icons is that once you display a menu for the icon, clicking outside of the menu doesn't dismiss it. Apparently, "this behaviour is by design" and is documented in Microsoft's Knowledge Base article Q135788.
Another problem frequently encountered is that the notification icon stays in the system tray, and disappears when the mouse moves over it. This is simply that the program hasn't removed the icon before quitting - a call to Shell_NotifyIcon with NIM_DELETE before exiting will sort this out.
Finally, we have a somewhat tricky one. When double-clicking on one icon, it is sometimes possible to also activate another. This happens if the first icon is removed in response to the double-click message. As this message is sent in response to the mouse button being pressed, released and then pressed again, Windows still has a button up event left to send. And because the icons have moved in response to the first icon being removed, this message is sent somewhere it wasn't intended for. That icon may then innocently enough take action in response to this message.
This is a situation where no one can take blame. However, it is one we can work around. Instead of removing the icon once we action on the double-click event, we remove it in response to the second button up, everything works perfectly. The easiest way to do this is to set a flag when we receive a double-click event, and remove the icon when the flag is set in the button up handler. The example code included shows how to do this.
1.0 28 June 2000 Initial version
1.1 19 October 2000 Added useful tips on using Shell_NotifyIcon. Thanks to Darren Schroeder for reporting this potential problem!
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When thinking about selling your Providence house, you need to know that you have options! Listing your home on the MLS is not the only way to sell your house. More and more people are learning how to sell their home's without an agent, which in turn, saves time and money! Learn more about it works in our latest blog!
How To Sell Your House Without An Agent in Providence
What are the benefits to listing without an agent?
There are numerous benefits to eliminating the middle man. One of the biggest benefits is saving money. Both on commissions and out of pocket expenses when you go to list the home.
To be able to offer a competitive property, you will most likely need to make some repairs and upgrades to the home. If you have ever done a home repair project yourself, you will know that there are typically unforeseen costs and several trips to Home Depot. If you hire a pro, your costs can be significantly higher. Only take on projects you know you are capable of. This isn't the time to start practicing your new wall texturing methods.
When you don't use a realtor, you don't have to pay anyone a commission. A direct sale between two private parties will allow you to keep money in your pocket! You can expect to pay about 6% of your final sale price is commissions to the agents. This can be several thousand dollars! Also, when you work with n agent, you will typically be bound by a listing agreement, giving them the exclusive right to sell. This means, no matter how you sell the home (even if you find the buyer yourself) you will still owe a commission to your agent.
How do I get started?
Set your price, but do your homework first. People often think their homes are worth more than they actually are. Don't count on Zillow or other sites to give you your home value. Most realtors never go by these numbers as they often become skewed by false data. Research is key when determining the value of your home. Look at what houses in your area are selling for. Not what they are listed at, but what the final sales prices are. You can ask a realtor to help with a CMA, get information without signing a listing agreement. If you try to set your price high and aren't seeing any interest, you can always lower it. However, prospective buyers will be able to see your pricing history on the MLS and sites like Zillow and Trulia. Repeated, small drops can make you look desperate as a seller, or it could signal that something is wrong with the home. Try to set a fair and well-thought out price from the get-go, and you won't have to deal with lowering it or not having interest. You can always seek the opinion of a professional appraiser. This will typically cost a few hundred dollars.
Work Your Advertising Game
Pictures say a thousand words! Time and time again, you see real estate listings with poor imagery. If you want to sell your house using online advertising, you need to have great pictures! If your pictures don't look professional, hire a pro! This might be one of the best things you do when selling your home. In addition to great pictures, you need to make sure the text gives as much detail about the property as possible. Let people know exactly what they are getting, and make sure to touch on every amenity the house offers. Be sure to be mindful of Protected Classes in all of your advertising.
Make It Happen!
You will want to prepare your house for listing. Clean like you have never cleaned before and make any noticeable repairs. Get a head start on packing by removing all clutter and personal items. People don't like to feel as if they are intruding when they enter your home.
Make a list of selling points/upgrades to show prospective buyers. If the AC was replaced last year, and the roof the year before that, be sure to let them know. Hand out a flyer or brochure with this information, as well as your contact info. You will also want to be a "concierge" to prospective buyers. An agent can usually answer questions about the area, and you should be able to too. Make a map with important places marked. Know where schools are and how long commutes take.
You've Found A Buyer, Now What?
Create a contract and accept only WRITTEN offers that include a deposit. You should consult with an attorney and accept the offer only on their approval. Without an agent, you will need to handle all legal and financial paperwork. It is best to work with a lawyer, and a title company you know and trust!
Are you interested in selling your Providence home without using an agent? We can help! If you have any questions or are interested in a no-obligation offer, send us a message now! If you would prefer to speak on the phone, give us a call anytime! 401-229-4190

subset: commoncrawl


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Cherie Blair, barrister
It's been a journey from my upbringing to an understanding of something that my head cannot explain but my heart knows to be true.
Jeremy Vine, broadcaster
There is a subjective reason and an objective reason. The subjective reason is that I find consolation in my faith. The objective reason is that the story of the gospels has stood the test of time and Christ comes across as a totally captivating figure.
In moments of weariness or cynicism, I tell myself I only believe because my parents did; and the Christian faith poses more questions than it answers.
But I still return to believing, as if that is more natural than not doing so.
Richard Swinburne, emeritus professor of philosophy, University of Oxford
To suppose that there is a God explains why there is a physical universe at all; why there are the scientific laws there are; why animals and then human beings have evolved; why human beings have the opportunity to mould their character and those of their fellow humans for good or ill and to change the environment in which we live; why we have the well-authenticated account of Christ's life, death and resurrection; why throughout the centuries millions of people (other than ourselves) have had the apparent experience of being in touch with and guided by God; and so much else.
In fact, the hypothesis of the existence of God makes sense of the whole of our experience and it does so better than any other explanation that can be put forward, and that is the grounds for believing it to be true.
Peter Hitchens, journalist
I believe in God because I choose to do so. I believe in the Christian faith because I prefer to do so. The existence of God offers an explanation of many of the mysteries of the universe – especially "Why is there something rather than nothing?" and the questions which follow from that. It requires our lives to have a purpose, and our actions to be measurable against a higher standard than their immediate, observable effect. Having chosen belief in a God over unbelief, I find the Christian gospels more persuasive and the Christian moral system more powerful than any other religious belief.
I was, it is true, brought up as a Christian, but ceased to be one for many years. When I returned to belief I could have chosen any, but did not.
Jonathan Aitken, former politician
I believe in God because I have searched for Him and found Him in the crucible of brokenness. Some years ago I went through an all-too-well-publicised drama of defeat, disgrace, divorce, bankruptcy and jail. In the course of that saga I discovered a loving God who answers prayers, forgives and redeems.
James Jones, Bishop of Liverpool
One word: Jesus. All that you imagine God would be, He is. His life and His love are compelling, His wisdom convincing.
Richard Chartres, Bishop of London
I believe in God because He has both revealed and hidden Himself in so many different ways: in the created world, the Holy Bible, the man Jesus Christ; in the Church and men and women of God through the ages; in human relationships, in culture and beauty, life and death, pain and suffering; in immortal longings, in my faltering prayers and relationship with Him. There is nothing conclusive to force me into believing, but everything suggestive, and constantly drawing me on into the love of Christ and to "cleave ever to the sunnier side of doubt".
David Alton, Lib Dem peer
The notion that humanity and the cosmos are an accident has always seemed implausible. A world littered with examples of complex genius – from developments in quantum theory to regenerative medicine – points us towards genius more perfect and more unfathomable than ourselves. The powerful combination of faith and reason led me as a child to believe in God.
Unsurprisingly, as I matured into manhood, that belief has not been immune against the usual catalogue of failure, sadness and grief; and belief has certainly not camouflaged the horrors of situations I have seen first hand in places such as Congo and Sudan. Paradoxically, it has been where suffering has been most acute that I have also seen the greatest faith.
By contrast, the more we own or have, the more difficulty we seem to have in seeing and encountering the Divine.
Professor Stephen R L Clark, philosopher
I believe in God because the alternatives are worse. Not believing in God would mean that we have no good reason to think that creatures such as us human beings (accidentally generated in a world without any overall purpose) have any capacity – still less any duty – to discover what the world is like.
Denying that "God exists" while still maintaining a belief in the power of reason is, in my view, ridiculous.My belief is that we need to add both that God is at least possibly incarnate among us, and that the better description of God (with all possible caveats about the difficulty of speaking about the infinite source of all being and value) is as something like a society. In other words, the Christian doctrine of the incarnation, and of the trinity, have the philosophical edge. And once those doctrines are included, it is possible to see that other parts of that tradition are important.
Nick Spencer, director of Theos, the public theology think tank
I would say I find Christianity (rather than just belief in God) the most intellectually and emotionally satisfying explanation for being.
Stephen Green, director of the fundamentalist pressure group Christian Voice
I came to faith in God through seeing the ducks on a pond in People's Park, Grimsby. It struck me that they were all doing a similar job, but had different plumage. Why was that? Why did the coot have a white beak and the moorhen a red one? Being a hard-nosed engineer, I needed an explanation that worked and the evolutionary model seemed too far-fetched and needful of too much faith!
I mean, what could possibly be the evolutionary purpose of the bars on the hen mallard's wings, which can only be seen when she flies? Or the tuft on the head of the tufted duck?
So I was drawn logically to see them as designed like that. I suppose I believed in an intelligent designer long before the idea became fashionable. So, that left me as a sort of a deist. But God gradually became more personal to me and I was drawn against all my adolescent atheist beliefs deeper and deeper into faith in Jesus Christ.
Douglas Hedley, reader in metaphysics, Clare College, Cambridge
Do values such as truth, beauty and goodness emerge out of a contingent and meaningless substrate? Or do these values reflect a transcendent domain from which this world has emerged? I incline to the latter, and this is a major reason for my belief in God.
Paul Davies, quantum physicist
I am not comfortable answering the question "Why do you believe in God?" because you haven't defined "God". In any case, as a scientist,
I prefer not to deal in "belief" but rather in the usefulness of concepts. I am sure I don't believe in any sort of god with which most readers of your article would identify.
I do, however, assume (along with all scientists) that there is a rational and intelligible scheme of things that we uncover through scientific investigation. I am uncomfortable even being linked with "a god" because of the vast baggage that this term implies (a being with a mind, able to act on matter within time, making decisions, etc).
Professor Derek Burke, biochemist and former president of Christians in Science
There are several reasons why I believe in God. First of all, as a scientist who has been privileged to live in a time of amazing scientific discoveries (I received my PhD in 1953, the year Watson and Crick discovered the structure of DNA), I have been overwhelmed by wonder at the order and intricacy of the world around us. It is like peeling skins off an onion: every time you peel off a layer, there is another one underneath, equally marvellously intricate. Surely this could not have arisen by chance? Then my belief is strengthened by reading the New Testament especially, with the accounts of that amazing person, Jesus, His teaching, His compassion, His analysis of the human condition, but above all by His resurrection. Third, I'm deeply impressed by the many Christians whom I have met who have lived often difficult lives with compassion and love. They are an inspiration to me.
Peter J Bussey, particle physicist
God is the ultimate explanation, and this includes the explanation for the existence of physical reality, for laws of nature and everything. Let me at this point deal with a commonly encountered "problem" with the existence of God, one that Richard Dawkins and others have employed.
It goes that if God is the ultimate cause or the ultimate explanation, what then is the cause of God, or the explanation for God? My reply
is that, even in our own world, it is improper to repeat the same investigatory question an indefinite number of times. For example, we ask, "Who designed St Paul's Cathedral?" and receive the reply: "Sir Christopher Wren." But, "No help whatever," objects the sceptic, "because, in that case, who then designed Sir Christopher Wren?" To this, our response will now be that it is an inappropriate question and anyone except a Martian would know that. Different questions will be relevant now.
So, likewise, it is very unlikely that we know the appropriate questions, if any, to ask about God, who is presumably outside time, and is the source of the selfsame rationality that we presume to employ to understand the universe and to frame questions about God.
What should perhaps be underlined is that, in the absence of total proof, belief in God will be to some extent a matter of choice.
Reverend Professor Michael Reiss, bioethicist and Anglican priest
At the age of 18 or 19, a religious way of understanding the world began increasingly to make sense. It did not involve in any way abandoning the scientific way. If you like, it's a larger way of understanding our relationship with the rest of the world, our position in nature and all those standard questions to do with why we are here, if there is life after death, and so on. That was reinforced by good teaching, prayer and regular reading of scripture.
Peter Richmond, theoretical physicist
Today most people reject the supernatural but there can be no doubt that the teachings of Jesus are still relevant. And here I would differentiate these from some of the preaching of authoritarian churches, which has no doubt been the source of much that could be considered to be evil over the years. Even today, we see conflict in places such as Africa or the Middle East – killings made in the name of religion, for example. As Christians, we recognise these for what they are – evil acts perpetrated by the misguided. At a more domestic level, the marginalisation of women in the Church is another example that should be exposed for what it is: sheer prejudice by the present incumbents of the Church hierarchy. But as Christians, we can choose to make our case to change things as we try to follow the social teachings of Jesus. Compared to pagan idols, Jesus offered hope, comfort and inspiration, values that are as relevant today as they were 2,000 years ago.
David Myers, professor of psychology, Hope College, Michigan
[Our] spirituality, rooted in the developing biblical wisdom and in a faith tradition that crosses the centuries, helps make sense of the universe, gives meaning to life, opens us to the transcendent, connects us in supportive communities, provides a mandate for morality and selflessness and offers hope in the face of adversity and death.
Kenneth Miller, professor of biology, Brown University
I regard scientific rationality as the key to understanding the material basis of our existence as well as our history as a species. That's the reason why I have fought so hard against the "creationists" and those who advocate "intelligent design". They deny science and oppose scientific rationality, and I regard their ideas as a threat to a society such as ours that has been so hospitable to the scientific enterprise.
There are, however, certain questions that science cannot answer – not because we haven't figured them out yet (there are lots of those), but because they are not scientific questions at all. As the Greek philosophers used to ask, what is the good life? What is the nature of good and evil? What is the purpose to existence? My friend Richard Dawkins would ask, in response, why we should think that such questions are even important. But to most of us, I would respond, these are the most important questions of all.
What I can tell you is that the world I see, including the world I know about from science, makes more sense to me in the light of a spiritual understanding of existence and the hypothesis of God. Specifically, I see a moral polarity to life, a sense that "good" and "evil" are actual qualities, not social constructions, and that choosing the good life (as the Greeks meant it) is the central question of existence. Given that, the hypothesis of God conforms to what I know about the material world from science and gives that world a depth of meaning that I would find impossible without it.
Now, I certainly do not "know" that the spirit is real in the sense that you and I can agree on the evidence that DNA is real and that it is the chemical basis of genetic information. There is, after all, a reason religious belief is called "faith", and not "certainty". But it is a faith that fits, a faith that is congruent with science, and even provides a reason why science works and is of such value – because science explores that rationality of existence, a rationality that itself derives from the source of that existence.
In any case, I am happy to confess that I am a believer, and that for me, the Christian faith is the one that resonates. What I do not claim is that my religious belief, or anyone's, can meet a scientific test.
Nick Brewin, molecular biologist
A crucial component of the question depends on the definition of "God". As a scientist, the "God" that I believe in is not the same God(s) that I used to believe in. It is not the same God that my wife believes in; nor is it the same God that my six-year-old granddaughter believes in; nor is it the God that my brain-damaged and physically disabled brother believes in. Each person has their own concept of what gives value and purpose to their life. This concept of "God" is based on a combination of direct and indirect experience.
Humankind has become Godlike, in the sense that it has acquired the power to store and manipulate information. Language, books, computers and DNA genomics provide just a few illustrations of the amazing range of technologies at our fingertips. Was this all merely chance? Or should we try to make sense of the signs and wonders that are embedded in a "revealed religion"?
Perhaps by returning to the "faith" position of children or disabled adults, scientists can extend their own appreciation of the value and purpose of individual human existence. Science and religion are mutually complementary.
Hugh Ross, astrophysicist and astronomer
Astronomy fascinates me. I started serious study of the universe when I was seven. By the age of 16, I could see that Big Bang cosmology offered the best explanation for the history of the universe, and because the Big Bang implies a cosmic beginning, it would require a cosmic beginner. It seemed reasonable that a creator of such awesome capacities would speak clearly and consistently if He spoke at all. So I spent two years perusing the holy books of the world's religions to test for these characteristics. I found only one such book. The Bible stood apart: not only did it provide hundreds of "fact" statements that could be tested for accuracy, it also anticipated – thousands of years in advance – what scientists would later discover, such as the fundamental features of Big Bang cosmology.
My observation that the Bible's multiple creation narratives accurately describe hundreds of details discovered much later, and that it consistently places them in the scientifically correct sequence, convinced me all the more that the Bible must be the supernaturally inspired word of God. Discoveries in astronomy first alerted me to the existence of God, and to this day the Bible's power to anticipate scientific discoveries and predict sociopolitical events ranks as a major reason for my belief in the God of the Bible. Despite my secular upbringing, I cannot ignore the compelling evidence emerging from research into the origin of the universe, the anthropic principle, the origin of life and the origin of humanity. Theaccumulating evidence continues to point compellingly towards the God of the Bible.
Steve Fuller, philosopher/professor of sociology, University of Warwick
I am a product of a Jesuit education (before university), and my formal academic training is in history and philosophy of science, which is the field credited with showing the tight links between science and religion. While I have never been an avid churchgoer, I am strongly moved by the liberatory vision of Jesus promoted by left-wing Christians.
I take seriously the idea that we are created in the image and likeness of God, and that we may come to exercise the sorts of powers that are associated with divinity. In this regard, I am sympathetic to the dissenting, anticlerical schools of Christianity – especially Unitarianism, deism and transcendentalism, idealism and humanism. I believe that it is this general position that has informed the progressive scientific spirit.
People such as Dawkins and Christopher Hitchens like to think of themselves as promoting a progressive view of humanity, but I really do not see how Darwinism allows that at all, given its species-egalitarian view of nature (that is, humans are just one more species – no more privileged than the rest of them). As I see it, the New Atheists live a schizoid existence, where they clearly want to privilege humanity but have no metaphysical basis for doing so.
Michael J Behe, scientific advocate of intelligent design
Two primary reasons: 1) that anything exists; and 2) that we human beings can comprehend and reason. I think both of those point to God.
Denis Alexander, director, Faraday Institute for Science and Religion, Cambridge
I believe in the existence of a personal God. Viewing the universe as a creation renders it more coherent than viewing its existence as without cause. It is the intelligibility of the world that requires explanation.
Second, I am intellectually persuaded by the historical life, teaching, death and resurrection of Jesus of Nazareth, that He is indeed the
Son of God. Jesus is most readily explicable by understanding Him as the Son of God. Third, having been a Christian for more than five decades, I have experienced God through Christ over this period in worship, answered prayer and through His love. These experiences are more coherent based on the assumption that God does exist.
Mike Hulme, professor of climate change, University of East Anglia
There are many reasons – lines of evidence, if you will – all of which weave together to point me in a certain direction (much as a scientist or a jury might do before reaching a considered judgement), which we call a belief.
[ I believe] because there is non-trivial historical evidence that a person called Jesus of Nazareth rose from the dead 2,000 years ago, and
it just so happens that He predicted that He would . . . I believe because of the testimony of billions of believers, just a few of whom are known to me and in whom I trust (and hence trust their testimony).
I believe because of my ineradicable sense that certain things I see and hear about in the world warrant the non-arbitrary categories of "good" or "evil". I believe because I have not discovered a better explanation of beauty, truth and love than that they emerge in a world created – willed into being – by a God who personifies beauty, truth and love.
Andrew Zak Williams
Andrew Zak Williams has written for the Humanist and Skeptic. His email address is: email@example.com


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If you ask the Coen brothers about how they write their films, you might not get a straight answer. "It's mostly napping," Ethan tells Fresh Air's Terry Gross.
"We go to the office, we're there, we're in a room together," Joel adds. "We take naps, but, you know, the important thing is that we're at the office, should we be inspired to actually write something."
The brothers don't split up writing responsibilities — they "talk through" the dialogue and "work it out together," Joel explains.
The process seems to be working for the brothers who wrote and directed Fargo, The Big Lebowski, O Brother Where Art Thou?, No Country for Old Men, A Serious Man and True Grit. Their latest film, Inside Llewyn Davis, just won the Grand Prix at this year's Cannes film festival, and it's nominated for a Golden Globe for Best Motion Picture, musical or comedy, and an Independent Spirit award for Best Feature.
Set in 1961, Inside Llewyn Davis stars Oscar Isaac in the title role, as a folksinger in Greenwich Village, just before Bob Dylan comes on the scene. He's known in the clubs but isn't particularly successful.
Interview Highlights
On basing the Llewyn Davis character on folksinger Dave Van Ronk
Ethan Coen: Dave Van Ronk, for those who don't know him — probably most don't know — is a folk singer, probably the biggest person on the scene in 1961 in the folk revival in Greenwich Village, biggest person on the scene until Bob Dylan showed up. But in our minds he was the folk singer, "the generic folk singer," until we kind of figured out who the main character of the movie actually was.
Joel Coen: We were never interested in doing a biopic. That was never the ambition, so the question was, "We want to make a movie about a folk singer — who was he?" And we did draw on certain aspects of both [Dave] Van Ronk and other people, like Jack Elliott, from the period.
On the roots of their interest in folk
Joel: It's a direct descendant from the music that's in O Brother Where Art Thou? It's the kid in 1961 discovering that music that's in that movie. So we've always been interested in those musical forms, and we've always been interested and grew up on the music that grew out of those forms — which is rock 'n' roll and Bob Dylan. When we were kids, Bob Dylan was a top 40 radio artist, we were listening to him on the radio like everyone else was.
On casting and filming the cat in Inside Llewyn Davis
Ethan: We used the advice of the cat trainer ... [to get] a kind of orange, marmalade tabby cat, just because they're common, so easy to double, triple, quadruple — there were many cats playing the one cat. It comes across pretty well in the movie, but the whole exercise of shooting a cat is pretty nightmarish because they don't care about anything. They don't want to do what you want them to do. As the animal trainer said to us, "A dog wants to please you. A cat only wants to please itself." It was just long, painstaking, frustrating days shooting the cat.
Joel: What you have to do is basically find the cat that's predisposed to doing whatever particular piece of action it is that you have to film. So you find the cat that isn't afraid to run down a fire escape or the cat that's very docile and will let the actor just hold them for extended periods of time without being fidgety. Then you want the fidgety cat, the squirrely cat, for when you want the cat to run away. And you keep just swapping them out depending on what the task at hand is.
Ethan: In True Grit we had a vulture, a trained vulture ... that was a pain and that was even — by vulture standards — probably a stupid vulture, and that was frustrating. But I would take a vulture over a cat. The cat was just horrible.
On The Big Lebowski's cult following
Joel: It developed the afterlife on home video. [When] it came out in movie theaters, it didn't do particularly outstanding business in the theatrical market, but it did in the home video market — and then it became some sort of cult thing. How do you explain that? I have no idea. It's one of the more bizarre afterlives, too, of any of the things we've done.
We were at a movie theater together with our families a year or two ago in San Francisco, coming down from a movie, and we saw there was a little booth set up with Big Lebowski posters on it and a young woman sitting on the other side of this table, maybe 17 or 18 years old, and Ethan stopped and said, "What is this?" And she said [without knowing who they were], "Well, we show The Big Lebowski every night and people come dressed up in costumes. You should come, you'll like it. It's fun."
On their editing pseudonym "Roderick Jaynes"
Ethan: We use the pseudonym cutting because our names are in the credits so many times already that adding one more just seemed like bad taste.
Joel: We sort of invented a whole persona for this guy.
Ethan: He's British, as it turns out. He's written introductions to a few of our screenplays. ... We actually had to come up with a bio for him — you need bios for the personnel of your movies, I don't even know why, for PR purposes. I can't remember what we had him doing. He started out minding the tea cart and shepherding the studios. He's very old, in his 80s, actually, when we first started working with him, which would make him probably over 100 now.
Joel: He lives in Haywards Heath, Sussex.
Copyright 2021 Fresh Air. To see more, visit Fresh Air.


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« Prev | Chapter 24 | Next » |
Ge 24:1-9. A Marriage Commission.
1. And Abraham was old … take a wife—His anxiety to see his son married was natural to his position as a pastoral chief interested in preserving the honor of his tribe, and still more as a patriarch who had regard to the divine promise of a numerous posterity.
2. said unto his eldest servant—Abraham being too old, and as the heir of the promise not being at liberty to make even a temporary visit to his native land, was obliged to intrust this delicate mission to Eliezer, whom, although putting entire confidence in him, he on this occasion bound by a solemn oath. A pastoral chief in the present day would follow the same course if he could not go himself.
3. thou shalt not take a wife, &c.—Among pastoral tribes the matrimonial arrangements are made by the parents, and a youth must marry, not among strangers, but in his own tribe—custom giving him a claim, which is seldom or never resisted, to the hand of his first cousin. But Abraham had a far higher motive—a fear lest, if his son married into a Canaanitish family, he might be gradually led away from the true God.
Ge 24:10-67. The Journey.
10. the servant took ten camels, &c.—So great an equipage was to give the embassy an appearance worthy of the rank and wealth of Abraham; to carry provisions; to bear the marriage presents, which as usual would be distributed over several beasts; besides one or two spare camels in case of emergency.
went to Mesopotamia, &c.—A stranger in those regions, who wishes to obtain information, stations himself at one of the wells in the neighborhood of a town, and he is sure to learn all the news of the place from the women who frequent them every morning and evening. Eliezer followed this course, and letting his camels rest, he waited till the evening time of water drawing.
12. And he said, O Lord God of my master—The servant appears worthy of the master he served. He resolves to follow the leading of Providence; and while he shows good sense in the tokens he fixes upon of ascertaining the temper and character of the future bride, he never doubts but that in such a case God will direct him.
15-21. before he had done speaking … behold, Rebekah came out—As he anticipated, a young woman unveiled, as in pastoral regions, appeared with her pitcher on her shoulder. Her comely appearance, her affable manners, her obliging courtesy in going down the steps to fetch water not only to him but to pour it into the trough for his camels, afforded him the most agreeable surprise. She was the very person his imagination had pictured, and he proceeded to reward her civility.
22. the man took a golden earring, &c.—The ring was not for the ear, but the nose; the armlets, such as young women in Syria and Arabia still appear daily at wells decked in. They are worn from the elbow to the wrist, commonly made of silver, copper, brass, or horn.
23-27. And said, Whose daughter art thou?—After telling her name and family, the kind-hearted damsel hastened home to give notice of a stranger's arrival.
28. and told them of her mother's house these things—the female apartments. This family was in an advanced stage of pastoral life, dwelling in a settled place and a fixed habitation.
29-31. Rebekah had a brother … Laban ran out—From what we know of his character, there is reason to believe that the sight of the dazzling presents increased both his haste and his invitation.
32-49. the man came into the house, &c.—What a beautiful picture of piety, fidelity, and disinterestedness in a servant! He declined all attention to his own comforts till he had told his name and his errand.
50. Then Laban and Bethuel answered—The brothers conduct all the marriage negotiations, their father being probably dead, and without consulting their sister. Their language seems to indicate they were worshippers of the true God.
53. And the servant brought forth jewels of silver, and … gold—These are the usual articles, with money, that form a woman's dowry among the pastoral tribes. Rebekah was betrothed and accompanied the servant to Canaan.
64. she lighted off the camel—If Isaac were walking, it would have been most unmannerly for her to have continued seated; an inferior, if riding, always alights in presence of a person of rank, no exception being made for women.
65. she took a veil, and covered herself—The veil is an essential part of female dress. In country places it is often thrown aside, but on the appearance of a stranger, it is drawn over the face, as to conceal all but the eyes. In a bride it was a token of her reverence and subjection to her husband.
67. And Isaac brought her into his mother's … tent—thus establishing her at once in the rights and honors of a wife before he had seen her features. Disappointments often take place, but when Isaac saw his wife, "he loved her."
« Prev | Chapter 24 | Next » |


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Cardboard Recycling
Recycling is a vital part of helping ensure that our world stays clean and free of excess trash and debris. Everyone can do their part to help recycle, and it doesn't just have to consist of aluminum soda cans or glass bottles. In fact, cardboard can also be recycled, and Americans go through several tons of this thick, brown board-like paper every year without even realizing it. As a good steward for the environment, you can do your part by recycling cardboard, which is an easy way to help out.
Home Sorting
There are two basic types of cardboard: flat and corrugated. Flat cardboard can be anything from cereal to macaroni and cheese boxes. Corrugated cardboard is usually much thicker, with a layer of folded cardboard in between, and is often used for packages. First, you'll want to sort out your cardboard and separated by flat and corrugated. You will also want to be sure the type of cardboard you're choosing is actually able to be recycled. Sometimes, waxed cardboard is not accepted, as well as some forms of the heavier, corrugated type. Check with your local recycling center and find out which forms of cardboard are able to be brought in for recycling.
- How to recycle cardboard - Simple, step-by-step directions for recycling cardboard.
- Corrugated cardboard - More in-depth information about recycling corrugated cardboard.
Locating a Recycling Center
Most localities have their own recycling facilities, however this is not always the case. Sometimes, you may have to enlist the help of local businesses, and partner up with them in your cardboard recycling efforts. Since most large and small companies have an influx of cardboard coming in and out, they'd probably be glad to assist you with your own recycling. If not, you'll want to find out where you can drop off the cardboard, or schedule someone to come by and pick it up. Some cities offer cardboard recycling as part of their overall programs, so call your city and find out more information.
- Find a center- Enter your zip code to find a recycling center near your home.
- Paper / cardboard - Select cardboard to the right of the screen, and then enter your zip code to find a local center.
Process in Which Cardboard is Recycled
You may wonder what happens once you drop your cardboard off to the recycling center. First, the center will make sure it has been sorted properly. If not, it gets sorted before going on to the next step, which is heading to the mill, where it begins a pulping process. This turns the cardboard into a mushy substance. Wood chips are sometimes added to give it more structure. This new mixture is used for linerboard, which is the interior structure of cardboard. The linerboards are glued together, forming layer after layer of paper until a new piece of cardboard is formed. Then, the cardboard is shaped and printed for use with other things. These newly recycled cardboard things can vary from packing boxes to frozen entrees.
- Facts - This article contains facts, uses, and the significance of recycling cardboard boxes.
How Cardboard is Re-used
The cardboard that is taken to the recycling center can have a myriad of different uses once it's been recycled. Packing boxes are very common, as well as food containers that you see in the grocery store. Other uses now include art and furniture, as more people are finding new ways to use this material. Some people keep cardboard boxes to serve as organizers in their homes, or even a reusable trashcan. Artists enjoy cardboard as well, since it is very easy to work with and is durable.
- Artwork and funriture - Some photos and examples of people re-using cardboard for artwork and to make furniture.
- 10 ways to reuse cardboard - Here are ten ways people can reuse cardboard.
- Ways to recycle & reuse - Some more creative ways people can recycle cardboard.
Cynthia Braun is a certified professional organizer for Suffolk County, New York


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BOX One BMX Disc Brake Adaptor 10mm Dropout
The Box One Disc Brake Adapter is designed to improve braking control on frames where disc brakes were not standard. Compatible with 2 types of dropouts and 3-10mm hubs, the Box Disc Brake Adapter goes over your hub's axle and mates with the frame's dropout in the right configurations allowing mounting of a standard post mount disc brake caliper.
Please note this product is NOT universally compatible. We strongly recommend reading the Compatibility and Installation instructions for details before purchasing
- Box Three Pro Disc Hub
- Box Three Brake Caliper
- Box Three 140mm Disc Brake Rotor
- ALL Box Brake Levers
- Box Linear Brake Cables
- Post Mount Caliper Compatibility
- 140mm Brake Rotor Only
- 6061-T6 Aluminum
- Standard 10mm Dropout - 60g
- Fits 3 - 10mm hubs (See Compatibility Below)
- 150lb Rider Weight Limit
Part Numbers
Option | UPC | MPN |
Black | 616043831350 | BX-BA1-DAA10-BK |


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Remix 3 0753 Fabric
Remix 3 is an elegant upholstery textile distinguished by exceptional depth of colour, designed by Giulio Ridolfo. It comes in 23 new hues, adding to an already expansive palette which now offers a total of 72 sophisticated colourways.
Remix 3 looks unicoloured from a distance but reveals subtle details and colour contrasts when viewed close-up. The textile features a tight, minimalistic weave, and derives its lively colour play from a combination of two different mélange yarns, which each combine up to three hues.
The new colours – carefully selected from 2600 samples– are inspired by an extensive study of traditional Indigo dyeing undertaken by Giulio Ridolfo on his travels. Centred around deep combinations of blues and rich natural reds, they also include subtly coloured neutrals.


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The following Terms and Conditions of use govern your participation in the text message service / SMS provided by Hershey Exteriors.
These Terms and Conditions incorporate the terms and conditions of use for / and contain an arbitration clause, a class action waiver, and other important information about your rights and obligations, as well as limitations and exclusions that may apply to you.
All new and existing subscribers will receive text messages (SMS/MMS) to their mobile number These messages may include questions about your request or service, offers, coupons, or other information. After signing up / enrolling, you will be asked to reply to confirm your mobile phone number. Text messages are sent using automated technology to the mobile / wireless / cellular number that you use to subscribe. You do not have to sign up for this program in order to buy goods or services. Message and data rates may apply.
Hershey Exteriors provides its text message service on an "as-is" basis and the service may not be available in all areas at all times, and it may not continue to work in the event of product, software, coverage or other changes made by your wireless (cellular) carrier.
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By signing up to receive text messages from Hershey Exteriors, you acknowledge and agree that you are: (1) 18 years of age or older, (2) authorized to enroll the mobile phone number in the Hershey Exteriors text messages program, and (3) authorized to incur any mobile message or data charges incurred as a result of your participation. Clicking to submit enrollment, or otherwise signing up for Hershey Exteriors text messages, affirms that you satisfy the criteria outlined above.
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By participating in Hershey Exteriors's text message service, you agree to release and hold harmless Hershey Exteriors's SMS vendor, Hershey Exteriors, and participating wireless (cellular) carriers and their respective representatives, agents, successors, assigns, employees, officers and directors (together, the "Released Parties"), from any and all liability, loss, harm, damage, injury, cost and expense whatsoever, including without limitation, property damage, personal injury and death, which may occur in connection with the service, and from any claims based on violation of law or infringement or violation of any rights of any person or entity, including, without limitation, violation of publicity rights, defamation and invasion of privacy. Released Parties are not responsible for any printing, typographical, mechanical or other errors in associated promotional materials in connection with this service. Participating wireless (cellular) carriers and each of their respective subsidiaries, affiliates, shareholders, officers, directors, agents, representatives and employees are not responsible for this service, and none of them will have any liability or responsibility for any claim arising in connection with participation in this service.
The Released Parties make no warranties, and hereby disclaim any and all warranties, express or implied, concerning any offer furnished by third parties in connection with this service. Without limiting the generality of the foregoing, all services are provided "as is" without warranty of any kind, either express or implied, and the Released Parties hereby disclaim all such warranties, including but not limited to, the implied warranties of merchantability, fitness for a particular purpose and non-infringement.
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Union City, CA, December 20, 2017 –(PR.com)– N2L Records, a subsidiary of Baysco Entertainment Diversified Company L.L.C., is pleased to announce that the award winning Bay Area quartet Mighty Men of Faith will release "River of Life" on January 8, 2018. It will be available on iTunes, CD Baby, Amazon, and other popular music sites.
The group has chosen to record and release this single now, rather than waiting for the release of a new album, because they believe it offers a message of hope and healing that needs to be heard today.
"There are struggles that lead us to the hands of love, and love can help us maneuver through the good times and the bad times while keeping us on the right track," said group spokesman Wendell Basey.
"The song implores us to help our children navigate through life, and hold onto each other as we find the path that 'the hand of love' has set before us," Basey went on to say. "The song, written by our friend David Sample, brings hope, joy, and encouragement."
For more about Mighty Men of Faith, visit their web site at www.mightymenoffaith.com. Contact Wendell Based at email@example.com.
Contact Information:
Baysco Entertainment Diversified Company L.L.C.
Wendell Basey
Contact via Email
Read the full story here: https://www.pr.com/press-release/739457
Press Release Distributed by PR.com


text: What are the goals of a WATCH D.O.G.S. program? 1) To provide positive male role models for the students, demonstrating by their presence that education is important. 2) To provide extra sets of eyes and ears to enhance school security and reduce bullying. Who are WatchDOGS and how does WATCH D.O.G.S. work? WatchDOGS are fathers, grandfathers, uncles, and other father-figures who volunteer for at least one day each year at an official WATCH D.O.G.S. school. WATCH D.O.G.S., a K-12 program, invites fathers, grandfathers, uncles, or other father figures to volunteer at least one day all day at their child's/student's school during the school year. Fathers and father figures sign up to volunteer through a 'Launch Event' such as a "Dads and Kids Pizza Night" or "Donuts with Dad" or by calling their child's school any time throughout the school year. The program is overseen by a "Top Dog" volunteer who partners with the school administrator to coordinate scheduling and identify opportunities for WatchDOGS to provide assistance at the school. WatchDOG dads and volunteers perform a variety of tasks during their volunteer day including monitoring the school entrance, assisting with unloading and loading of buses and cars, monitoring the lunch room, or helping in the classroom with a teacher's guidance by working with small groups of students on homework, flashcards, or spelling. What do WatchDOGS do (while they are at school)? During the day, WatchDOGS may read and work on flash cards with students, play at recess, eat lunch with students, patrol the school entrances and hallways, assist with traffic flow and any other assigned activities where they actively engage with not only their own students, but other students as well. Many school principals have reported that the mere presence of a WatchDOG dad dramatically reduces reports of bullying. On the day of their participation, WatchDOG dads are given a brief review of their involvement and they wear an official WATCH D.O.G.S. t-shirt with a disposable 'Dog Tag' identifying them as a WatchDOG. Will men really spend a full day at school? Yes! WATCH D.O.G.S. has a great track record of bringing fathers and father figures to school for the whole day. If you run your program as we outline for you, men will show up. While volunteering a day is a sacrifice for these fathers and father figures, once they serve their day they will be glad that they did. In fact, in many cases these fathers and father figures will sign up for more days, both because they had an incredible experience and because it gives them a greater appreciation for what the teachers are doing to educate their child. |


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251e Quad Sequential Voltage Source
Out of stock
The 251e features four 50-stage sequencers, each with programmable pulse and control voltage outputs. A separate editing section is used for setting parameters in the selected sequence; sequences can be edited while running and follow the edit stage when stopped.
Intervals may be entered for each stage, with variable note values from a 1/32-note to whole notes. Triplets and dotted notes are readily accommodated. Pulse durations may be set to fractions of the intervals.
Output voltages range from 0.0 to 9.9 volts, conveniently accommodating oscillators with a sensitivity of .1 volts per semi-tone.
Tempo range from 10bpm to 250bpm is supported.
Additional features include:
Inter-sequencer triggering
Variable start delay
Retrograde capability
Multiple nested loops
Master voltage-controlled clock
With the 206e or 225e Preset Manager, the parameters of the 251e can be stored and retrieved as part of a preset. A 200e USB card is necessary to download new firmware for this module.


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At Puratos, we know that consumers are very specific about what they eat, and that their preferences are constantly evolving, even at a local level.
But keeping up with these changes in taste can be a difficult task, let alone translating them into business opportunities. To provide our customers with insights on how consumers evaluate their products, we set up our unique sensory analysis service. Then we went one step further and launched the Sensobus.
The Sensobus is a unique and fully-equipped sensory analysis lab on wheels that can travel to where consumers shop for food and welcome up to 250 people a day. Targeting customers – and finding out their preferences – has never been easier.
The Sensobus also allows to test pricing, marketing and communication concepts. What type of packaging do consumers prefer, what increases their brand perception, what information do they need and consider to make a choice? In just a few days of fieldwork, a representative sample can be collected right at the heart of a relevant target audience.
Once on board the Sensobus, volunteers are seated at one of the eight sensory booths and presented with a selection of bakery, patisserie or chocolate products (depending on the survey performed). There, researchers then ask them a variety of questions about their preferences, generating feedback that can immediately – and precisely – help our customers with their product development.
Whether in North America or Europe, this makes for a fast and easy way to get right to the heart of your customers' preferences.
In addition, 10 years of expertise in consumer research allow to benchmark results against an industry average within the survey category and region.
A full range of mobile consumer sensory analysis solutions are available across the globe. Sensobuses are active in Europe and the United States and the Sensovan drives across Iberica. In Asia-Pacific there are 3 Sensoboxes, which are mobile labs in the form of fair booths that can be installed in shopping malls or at any other location. At this moment one Sensobox is located in China, one in Malaysia to support South-East Asia and one is shared between New-Zealand and Australia.
It is traditional research done in a contemporary way.
To find out more about your nearest Sensobus or Sensobox, please contact your Puratos representative.


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By Alison@Creekside
Oversight – noun
1) the action of overseeing something
2) an omission, the failure to do something
Dorian Barton was taking a picture of police horses in the park at the G20 summit in downtown Toronto last summer when he was suddenly knocked to the ground from behind with a riot shield, beaten with a baton, breaking his shoulder, and stomped in the face. He was then dragged off by his broken right arm and detained without medical treatment for the first five of a total of 30 hours in detention, after which he was charged with "obstructing a police officer." The Crown dropped the charges against him at the same time it dropped all the bullshit charges against everyone else.
Ontario's Special Investigations Unit, the civilian agency charged with investigating "police actions resulting in serious injury, sexual assault or death," is reopening for the third time an investigation into allegations the Toronto police officer pictured here was one of seven who took part in the vicious assault on Barton. The photographer who took this pic is willing to testify he saw the officer blindside Barton with his shield and strike him as he lay on the ground before other officers joined in. He has provided seven photos of the assault.
SIU dropped its two previous investigations into the case in January because eleven police witnesses, one of whom was the officer's G20 roommate and two of whom were his supervisors, declined to identify him. SIU director Ian Scott reopened it on Friday after Toronto Police Chief Blair promised to provide the name of the employee who was able to identify the subject officer.
I'm pretty sure if me and six of my friends were caught on film beating the crap out of you, the cops would not drop the case because my boss and my roommate declined to cough up my name to go along with my photo.
According to the Ontario Attorney General to whom the SIU reports, the SIU exonerates the officer in 97% of the cases it does pursue:
"The fact that the SIU overwhelmingly clears officers should be seen by the [public] as an endorsement of good policing."
However, in Oversight Unseen, a 2008 report on the SIU, Ontario Ombudsmen André Marin saw it differently :
"[T]he Ministry of the Attorney General has relied on the SIU to soothe police and community sensibilities and to ward off controversy. But in doing so, it has also overstepped the bounds of independent governance. The Director's performance is subjectively evaluated and rewarded, compromising the SIU's structural integrity and independence.
Its credibility as an independent investigative agency is further undermined by the predominant presence and continuing police links of former police officials within the SIU. It is so steeped in police culture that it has, at times, even tolerated the blatant display of police insignia and police affiliation."
[T]he SIU often . . . adopts an impotent stance in the face of police challenge. Delays in police providing notice of incidents, in disclosing notes, and in submitting to interviews are endemic. Rather than vigorously inquiring into and documenting delays and other evidence of police resistance, the SIU deals with issues of police non-co-operation as isolated incidents.
Police interviews are rarely held within the regulatory time frames, and are all too often postponed – for weeks, sometimes even months. The SIU will not inconvenience officers or police forces by interviewing officers off duty. When it encounters overt resistance from police officials, the SIU pursues a low-key diplomatic approach that flies under the public radar. If disagreement cannot be resolved, the SIU more often than not simply accepts defeat."
"The SIU more often than not simply admits defeat." Good lord.
The current SIU director Ian Scott was appointed just before that report came out.
In February the Toronto Star ran a series based on 300 letters Scott sent to police forces over a 14-month period beginning in January 2009. They detail "his mounting frustration at not being able to hold officers accountable," including the burning of evidence before he got to see it, and being generally ignored by the Ontario police forces.
Presumably this is why he is giving interviews about this case to the press, despite the fact SIU Regulation 13 forbids it.
Meanwhile, out here in BC, the local media was pleased to bits last week to report that, in response to Justice Braidwood recommendations following from the police killing of Robert Dziekanski in 2007, we will be getting our own civilian police-oversight agency modelled on the SIU. And just like the SIU, the Independent Investigations Office will also report to BC's Attorney General, not the Ombudsman as Braidwood had wisely suggested.
[I]t was the AG's Crown attorneys who exonerated the four Mounties involved in Dziekanski's death. That was what led to Braidwood's inquiry in the first place.
It gets worse. The government added that incidents or complaints involving IIO staff will be investigated by B.C.'s Office of the Police Complaint Commissioner. Almost all senior positions at the OPCC are staffed by former police officers.
An exception is police complaint commissioner Stan Lowe. But Lowe is a former Crown attorney and member of the criminal justice branch executive management that unanimously decided to exonerate the four RCMP officers involved in Robert Dziekanski's Taser-related death. It was Lowe who made the infamous December 2008 announcement that the five Taser shocks inflicted on Dziekanski were "reasonable and necessary."


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HEY! Where Is Superman's Birth Certificate? T-shirt available now!
If you are waiting on your copy of HE Book 2, PLEASE READ THIS!!!
EWOK STARE T-Shirt and MORE in the HijiNKS ENSUE STORE!
Alternate Title: OMFZ!
"Hey Supes! You and Lois should come check out my high end steak house, Grill Before Zod. Or my combination massage school/bake your own bread joint, Knead Before Zod. Then there's my Antarctic wildlife preservation society, Seals Before Zod. That one sort of conflicts with my Alaskan oil lobby, Drill Baby Drill Before Zod. I gots my Zod-Fingers in All Sorts of Zod Pots. I'm trying to build a global freaking brand here."
- Superman Will Kneel Before Michael Shannon
- Who's playing the big bad in Zack Snyder's Superman flick?
- Man of Steel's new Zod: How getting cast was like an acid trip
COMMENTERS: I think you know what to do. Show me what you got.
CHECK IT OUT: I put a desktop version of the "You're The Last Of The Time Lords, Charlie Brown" comic in The Vault. A shirt is in the works, so stay tuned.
You can donate or become a subscriber to get access.


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Study Adds to Evidence That Odor-Sensing Cells in the Nose Are the Key Entry Point for SARS CoV-2
Complete the form below to unlock access to ALL audio articles.
Scientists at Johns Hopkins Medicine, experimenting with a small number of human cell samples, report that the "hook" of cells used by SARS-CoV-2 to latch onto and infect cells is up to 700 times more prevalent in the olfactory supporting cells lining the inside of the upper part of the nose than in the lining cells of the rest of the nose and windpipe that leads to the lungs. These supporting cells are necessary for the function/development of odor-sensing cells.
The findings, from a preliminary study of cells lining both the nose and trachea, could advance the search for the best target for topical or local antiviral drugs to treat COVID-19, and offers further clues into why people with the virus sometimes lose their sense of smell.
"Loss of the sense of smell is associated with COVID-19, generally in the absence of other nasal symptoms, and our research may advance the search for a definitive reason for how and why that happens, and where we might best direct some treatments," says Andrew Lane, M.D., professor of otolaryngology-head and neck surgery, and director of the Division of Rhinology and Skull Base Surgery at the Johns Hopkins University School of Medicine.
Lane's medical practice focuses on people with nasal and sinus problems, who oftentimes, he says, lose their sense of smell -- a condition called anosmia.
Scientists have known that SARS-CoV-2 latches on to a biological hook on the surface of many types of human cells, called an angiotensin-converting enzyme 2 receptor (ACE2). The receptor reels in essential molecules.
In a bid to explore the ACE2 link to COVID-19 in more detail, Lane, Mengfei Chen, Ph.D., a research associate in Lane's lab at the Johns Hopkins University School of Medicine, and others on his team took a close look at ACE2 levels in nasal tissue specimens from 19 adult men and women with chronic rhinosinusitis (inflammation of nasal tissue) and in tissues from a control group of four people who had nasal surgeries for issues other than sinusitis.
The researchers also studied tissue samples of the trachea from seven people who underwent surgery for abnormal narrowing of the trachea.
Cells from children were not examined for this study, in part because they tend to have low ACE2 levels in the cells lining the nose, which may contribute to generally less severe illness among children infected with the SARS-CoV-2 virus. None of the study participants had been diagnosed with COVID-19.
The scientists used a high-resolution imaging technique called confocal microscopy to produce very sharp images of cells lining the nasal and tracheal airways. They used fluorescent stains to identify ACE2 receptors.
They found high levels of ACE2 among nasal cells that give structural support called sustentacular cells. These cells are located in an area called the olfactory neuroepithelium, where odor-sensing neurons are found. The researchers say this area of the nose may be particularly vulnerable to infection and might be the only infected site even when there are no symptoms. Because of this, they urge people to wear masks and wear them correctly.
For the study, depending on the biopsy sample, cells in the olfactory neuroepithelium had a 200-fold to 700-fold increase in ACE 2 proteins compared with other samples from the nose and trachea. Because the cells with high levels of ACE2 are associated with odor sensing, the researchers suggest that infection of these cells may be the reason some people with COVID-19 experience loss of smell.
Two of seven trachea specimens had low levels of ACE2 receptors, and the amount of those receptors was similar between study participants with and without chronic rhinosinusitus.
Because the cells lining the nose may prove to be a key entry point for SARS-CoV-2, Lane says there may be ways to target those particular cells with topical antiviral drugs or other therapies directly to that area.
The researchers plan to advance this research by investigating COVID-19-infected tissue from the noses of humans to confirm if the SARS-CoV-2 virus does indeed target support cells in the nose.
Reference: Chen, M., Shen, W., Rowan, N. R., Kulaga, H., Hillel, A., Ramanathan, M., & Lane, A. P. (2020). Elevated ACE2 expression in the olfactory neuroepithelium: Implications for anosmia and upper respiratory SARS-CoV-2 entry and replication. European Respiratory Journal, 2001948. doi:10.1183/13993003.01948-2020
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Welcome to Glenrossal
Situated by Rosehall in tranquil Glencassley, Glenrossal Estate is an idyllic setting for the sporting fisherman and visitors who wish to explore the Highlands and all the area has to offer.
The three holiday properties on the estate are available from April until September. Accommodation is at the riverside and and for those who enjoy fishing our friendly ghillie is on hand for assistance or advice.
It is our aim to ensure your stay at Glenrossal is enjoyable and stress free!


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A New Adult Dark Contemporary Romance, not suitable for people sensitive to grief, slavery, and nonconsensual sex. A story about finding love in the strangest of places, a will of iron that grows from necessity, and forgiveness that may not be enough.
"My life was complete. Happy, content, everything neat and perfect.
Then it all changed.
I was sold."
Tess Snow has everything she ever wanted: one more semester before a career in property development, a loving boyfriend, and a future dazzling bright with possibility.
For their two year anniversary, Brax surprises Tess with a romantic trip to Mexico. Sandy beaches, delicious cocktails, and soul-connecting sex set the mood for a wonderful holiday. With a full heart, and looking forward to a passion filled week, Tess is on top of the world.
But lusty paradise is shattered.
Kidnapped. Drugged. Stolen. Tess is forced into a world full of darkness and terror.
Captive and alone with no savior, no lover, no faith, no future, Tess evolves from terrified girl to fierce fighter. But no matter her strength, it can't save her from the horror of being sold.
Can Brax find Tess before she's broken and ruined, or will Tess's new owner change her life forever?


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Appliance Parts & Repair
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I have given everything I see in this room [on this street, from this window, in this place] all the meaning that it has for me.
1 The exercises with this idea are the same as those for the first one. Begin with the things that are near you, and apply the idea to whatever your glance rests on. Then increase the range outward. Turn your head so that you include whatever is to either side. If possible, turn around and apply the idea to what was behind you. Remain as indiscriminate as possible in selecting subjects for its application, do not concentrate on anything in particular, and do not attempt to include everything in an area or you will introduce strain. Merely glance easily and fairly quickly around you, trying to avoid selection by size, brightness, color, material, or relative importance to you.
2 Take the subjects simply as you see them. Try to apply the exercise with equal ease to a body or a button, a fly or a floor, an arm or an apple. The sole criterion for applying the idea to anything is merely that your eyes have lighted on it. Make no attempt to include anything particular, but be sure that nothing is specifically excluded.
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ESLTower.com is a free ESL, EFL site that offers top quality printable and interactive English grammar, vocabulary & pronunciation exercises for teachers and students.
ESL Tower features Several ESL Exercises for Teachers and Students. There are English grammar & vocabulary quizzes, crosswords, word search and several fun puzzles that make the learning and teaching of English easy and fun. Pronunciation is one area we have recently added more content to. We have added phonetic vowel and consonant exercises in the form of videos, worksheets, self-tests and mp3 downloads & More.
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The mobile app market is saturated with competition. Trends turn over quickly, but no niche can last very long without several competitors jumping onto the bandwagon. These conditions result in a high failure rate across the board for the mobile app market. Only 20% of downloaded apps see users return after the first use, whereas 3% of apps remain in use after a month.
If any part of an app is undesirable, or slow to get the hang of, users are more likely to install a new one, rather than stick it out with the imperfect product. Nothing is wasted for the consumer when disposing of an app - except for the efforts of the designers and developers, that is. So, why is it that so many apps fail? Is this a predictable phenomenon that app designers and developers should accept? For clients, is this success rate acceptable? What does it take to bring your designs into the top 3% of prosperous apps?
The common mistakes span from failing to maintain consistency throughout the lifespan of an app, to attracting users in the first place. How can apps be designed with intuitive simplicity, without becoming repetitive and boring? How can an app offer pleasing details, without losing sight of a greater purpose? Most apps live and die in the first few days, so here are the top ten most common mistakes that designers can avoid.
Only 3% of mobile apps are in use after being downloaded.
Common Mistake #1: A Poor First Impression
Often the first use, or first day with an app, is the most critical period to hook a potential user. The first impression is so critical that it could be an umbrella point for the rest of this top ten. If anything goes wrong, or appears confusing or boring, potential users are quickly disinterested. Although, the proper balance for first impressions is tricky to handle. In some cases, a lengthy onboarding, or process to discover necessary features can bores users. Yet, an instantly stimulating app may disregard the need for a proper tutorial, and promote confusion. Find the balance between an app that is immediately intuitive, but also introduces the users to the most exciting, engaging features quickly. Keep in mind that when users are coming to your app, they're seeing it for the first time. Go through a proper beta testing process to learn how others perceive your app from the beginning. What seems obvious to the design team, may not be for newcomers.
Improper Onboarding
Onboarding is the step by step process of introducing a user to your app. Although it can be a good way to get someone quickly oriented, onboarding can also be a drawn out process that stands in the way of your users and their content. Often these tutorials are too long, and are likely swiped through blindly.
Sometimes, users have seen your app used in public or elsewhere, such that they get the point and just want to jump in. So, allow for a sort of quick exit strategy to avoid entirely blocking out the app upon its first use. To ensure that the onboarding process is in fact effective, consider which values this can communicate and how. The onboarding process should demonstrate the value of the app in order to hook a user, rather than just an explanation.
Go easy on the intro animation
Some designers address the issue of a good first impression with gripping intro animations to dazzle new users. But, keep in mind that every time someone wants to run the app, they're going to have to sit through the same thing over and over. If the app serves a daily function, then this will tire your users quickly. Ten seconds of someone's day for a logo to swipe across the screen and maybe spin a couple times don't really seem worth it after a while.
Common Mistake #2: Designing an App Without Purpose
Avoid entering the design process without succinct intentions. Apps are often designed and developed in order to follow trends, rather than to solve a problem, fill a niche, or offer a distinct service. What is the ambition for the app? For the designer and their team, the sense of purpose will affect every step of a project. This sensibility will guide each decision from the branding or marketing of an app, to the wireframe format, and button aesthetic. If the purpose is clear, each piece of the app will communicate and function as a coherent whole. Therefore, have the design and development team continually consider their decisions within a greater goal. As the project progresses, the initial ambition may change. This is okay, as long as the vision remains coherent.
Conveying this vision to your potential users means that they will understand what value the app brings to their life. Thus, this vision is an important thing to communicate in a first impression. The question becomes how quickly can you convince users of your vision for the app? How it will improve a person's life, or provide some sort of enjoyment or comfort. If this ambition is conveyed quickly, then as long as your app is in fact useful, it will make it into the 3%.
Often joining a pre-existing market, or app niche, means that there are apps to study while designing your own. Thus, be careful how you choose to 're-purpose' what is already out there. Study the existing app market, rather than skimming over it. Then, improve upon existing products with intent, rather than thoughtlessly imitating.
Common Mistake #3: Missing Out On UX Design Mapping
Be careful not to skip over a thoughtful planning of an app's UX architecture before jumping into design work. Even before getting to a wireframing stage, the flow and structure of an app should be mapped out. Designers are often too excited to produce aesthetics and details. This results in a culture of designers who generally under appreciate UX, and the necessary logic or navigation within an app. Slow down. Sketch out the flow of the app first before worrying too much about the finer brush strokes. Often apps fail from an overarching lack of flow and organization, rather than imperfect details. However, once the design process takes off always keep the big picture in mind. The details and aesthetic should then clearly evoke the greater concept.
Common Mistake #4: Disregarding App Development Budget
As soon as the basis of the app is sketched, this is a good time to get a budget from the development team. This way you don't reach the end of the project and suddenly need to start cutting critical features. As your design career develops, always take note of the average costs of constructing your concepts so that your design thinking responds to economic restraints. Budgets should be useful design constraints to work within.
Many failed apps try to cram too many features in from launch.
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Common Mistake #5: Cramming in Design Features
Hopefully, rigorous wireframing will make the distinction between necessary and excessive functions clear. The platform is already the ultimate swiss army knife, so your app doesn't need to be. Not only will cramming an app with features lead to a likely disorienting User Experience, but an overloaded app will also be difficult to market. If the use of the app is difficult to explain in a concise way, it's likely trying to do too much. Paring down features is always hard, but it's necessary. Often, the best strategy might be to gain trust in the beginning with a single or few features, then later in the life of the app can new ones be 'tested'. This way, the additional features are less likely to interfere with the crucial first few days of an apps' life.
Common Mistake #6: Dismissing App Context
Although the conditions of most design offices practically operate within a vacuum, app designers must be aware of wider contexts. Although purpose and ambition are important, they become irrelevant if not directed within the proper context. Remember that although you and your design team may know your app very well, and find its interfacing obvious, this may not be the case for first time users, or different demographics.
Consider the immediate context or situation in which the app is intended to be used. Given the social situation, how long might the person expect to be on the app for? What else might be helpful for them to stumble upon given the circumstance? For example, UBER's interface excels at being used very quickly. This means that for the most part, there isn't much room for other content. This is perfect because when a user is out with friends and needing to book a ride, your conversation is hardly interrupted in the process. UBER hides a lot of support content deep within the app, but it only appears once the scenario calls for it.
Who is the target audience for the app? How might the type of user affect how the design of the app? Perhaps, consider that an app targeted for a younger user may be able to take more liberties in assuming a certain level of intuition from the user. Whereas, many functions may need to be pointed out for a less tech savvy user. Is your app meant to be accessed quickly and for a short period of time? Or, is this an app with lots of content that allows users to stay a while? How will the design convey this form of use?
A good app design should consider the context in which it is used.
Common Mistake #7: Underestimating Crossing Platforms
Often apps are developed quickly as a response to changing markets or advancing competitors. This often results in web content being dragged into the mobile platform. A constant issue, which you'd think would be widely understood by now, is that often apps and other mobile content make poor transitions between the desktop, or mobile platforms. No longer can mobile design get away with scaling down web content in the hope of getting a business quickly into the mobile market. The web to mobile transition doesn't just mean scaling everything down, but also being able to work with less. Functions, navigation and content must all be conveyed with a more minimal strategy. Another common issue appears when an app developing team aspires to release a product simultaneously on all platforms, and through different app stores. This often results in poor compatibility, or a generally buggy, unpolished app.The gymnastics of balancing multiple platforms may be too much to add onto the launch of an app. However, it doesn't hurt to sometimes take it slowly with one OS at a time, and iron out the major issues, before worrying about compatibility between platforms.
Common Mistake #8: Overcomplicating App Design
The famous architect Mies Van der Rohe once said, "It's better to be good than to be unique". Ensure that your design is meeting the brief before you start breaking the box or adding flourishes. When a designer finds themselves adding things in order to make a composition more appealing or exciting, these choices will likely lack much value. Continue to ask throughout the design process, how much can I remove? Instead of designing additively, design reductively. What isn't needed? This method is directed as much towards content, concept and function as it is aesthetics. Over complexity is often a result of a design unnecessarily breaking conventions. Several symbols and interfaces are standard within our visual and tactile language. Will your product really benefit from reworking these standards? Standard icons have proven themselves to be universally intuitive. Thus, they are often the quickest way to provide visual cues without cluttering a screen. Don't let your design flourishes get in the way of the actual content, or function of the app. Often, apps are not given enough white space. The need for white space is a graphic concept that has transcended both digital and print, thus it shouldn't be underrated. Give elements on the screen room to breath so that all of the work you put into navigation and UX can be felt.
The app design process can be reductive, rather than additive.
Common Mistake #9: Design Inconsistencies
To the point on simplicity, if a design is going to introduce new standards, they have to at least be consistent across the app. Each new function or piece of content doesn't necessarily have to be an opportunity to introduce a new design concept. Are texts uniformly formatted? Do UI elements behave in predictable, yet pleasing ways throughout the app? Design consistency must find the balance between existing within common visual language, as well as avoiding being aesthetically stagnant. The balance between intuitive consistency and boredom is a fine line.
Common Mistake #10: Under Utilizing App Beta Testing
All designers should analyze the use of their apps with some sort of feedback loop in order to learn what is and isn't working. A common mistake in testing is for a team to do their beta testing in-house. You need to bring in fresh eyes in order to really dig into the drafts of the app. Send out an ad for beta testers and work with a select audience before going public. This can be a great way to iron out details, edit down features, and find what's missing. Although, beta testing can be time consuming, it may be a better alternative to developing an app that flops. Anticipate that testing often takes 8 weeks for some developers to do it properly. Avoid using friends or colleagues as testers as they may not criticize the app with the honesty that you need. Using app blogs or website to review your app is another way to test the app in a public setting without a full launch. If you're having a hard time paring down features for your app, this is a good opportunity to see what elements matter or not.
The app design market is a battleground, so designing products which are only adequate just isn't enough. Find a way to hook users from the beginning - communicate, and demonstrate the critical values and features as soon as you can. To be able to do this, your design team must have a coherent vision of what the app is hoping to achieve. In order to establish this ambition, a rigorous story-boarding process can iron out what is and isn't imperative. Consider which types of users your app may best fit with. Then refine and refine until absolutely nothing else can be taken away from the project without it falling apart.
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