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Exhibitions for Drive Engineering in Russian Federation – Appointments from September 2016
Exhibition calender with current Exhibitions for Drive Engineering from 20.09.2016. In Russian Federation 286 fairs take place in 14 cities. Of the 286 fairs are 3 Exhibitions for Drive Engineering. The mayority of the fairs in Russian Federation are Industry Trade Shows, Trade Fairs for Machine Construction and Food Fairs.Exhibitions for Drive Engineering worldwide by country
CeMAT Russia
International exhibition for materials handling, warehousing equipment and logistics
professional visitors only
International Fair for pumps, compressors and valves
professional visitors only


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text:
I found a strange issue and I'm not sure how to solve it.
I pulled a solution from TFS on both my Desktop and Laptop.
On both, when I debug the solution in VS 2013, I get the following error:
HTTP Error 401.0 - Unauthorized You do not have permission to view this directory or page.
The same code runs properly in VS 2012.
On the Desktop, if I debug it in VS 2012 first, then stop debugging I can debug successfully in VS 2013 until I close VS 2012.
On the laptop, if I try the same trick, I get an error that VS is unable to launch the IIS Express Web server because the port is already in use.
So it seems that when I debug in VS 2012 some credentials are being passed that are not being passed in VS 2013 (I'm guessing because of some change in the way this is handled?).
So what changed, and how can I update the solution so that VS 2013 can debug without first debugging in VS 2012?


text:
OSLO Southern Norway is in the midst of a diaper shortage after a supermarket price war lured enterprising bulk shoppers from eastern Europe who have cleaned out the shelves, customs officials and retailers said.
Norway is one of the world's most expensive countries. However, supermarkets in the south trying to lure local customers by undercutting rivals on the price of "nappies" inadvertently made it profitable enough for residents of nearby countries to start trading in them.
"They buy every last diaper, I mean everything we have on the shelves, throw it in the back of their car and take them home, where they sell it for a nice profit," says Terje Ragnar Hansen, a regional director for retail chain Rema 1000.
"It's not stealing and it's not even criminal but it's a big problem, ... they leave nothing for our regular customers.
Customers come into Norway from Sweden, drive along the coast to fill their cars, then take a ferry back to the continent, said Helge Breilid, the chief of customs in Kristiansand on Norway's southern coast.
Some have been stopped with diapers worth up to 50,000 crowns ($9,100), roughly 80,000 diapers, a legal shipment even though Norway is not part of the European Union.
"They told us that the only reason they came to Norway was to drive around and buy diapers to bring back home and resell," Breilid said.
"These people mainly come from Poland and Lithuania, and we have no reason to believe that they are part of any criminal gangs."
Norwegian diapers cost as little as 30 crowns ($5.47) for 50, less than half of the prevailing price in Lithuania. Coincidentally, the Internet is heaving with Lithuanian sellers advertising Norwegian diapers.
($1 = 5.4831 Norwegian krones)
(Reporting by Joachim Dagenborg, editing by Paul Casciato)
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Actresses Mila Kunis, Kathryn Hahn and Kristen Bell were in Los Angeles to premiere "Bad Moms," a film that brings a string of female stars together to take digs at the modern day perils of parenting. Full Article
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Welcome to Smogon Forums! Please take a minute to read the rules.
Welcome to Wi-Fi! Please remember to read the rules and do NOT create a new thread for simple trades or Friend Safari codes.Ever find yourself missing out on the latest Smogon articles? We've now got a subscription service, so the newest articles (of your choice) are delivered right to your inbox! Check it out here.
The Hoenn Colosseum!| A Joint trade thread! Now with more Loukas!
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Work HERE on giving some of our robots emotions....
May 14, 2012
I am not sure why I decided to start this topic on thia area of the forum (other than the fact I REALLY enjoy my FEZZ Mini Robot!!!).
Do you want a robot that runs around the floor and its only job is to not collide with things (some robots do more)??? I want MORE than that! A rather simple simulation of emotion would be really cool and freak out your friends and neighbors!!! Its time for some AI !!!
Others, please join us and help this website do almost as much as some small AI laboratories have done.
Here is one thing I am working on. I use distance is divided up as a number for some base emotional "reflexes". Long range - happy and maybe want to explore. Mid range - content with being but might consider going for long range. Short range - FEAR! I will do what I need to do to get back to Mid range. (Escape mode.)
With this broken up in ranges (I give each a number) I use these to control speed as well as other things. When I say maybe I am meaning the result will be partially based on random numbers. Maybe if it is Long - range I use random results to control if I speed up and get going. (Hopefully, the result will remain in Mid - range.) You can select any other variable that controls something your robot does that would help the robot look like its in the current mood. (Technical: How do you make a robot shake?)
Your turn! Maybe your ideas include sounds or speach recognition or many other things you can think up.
I have some more ideas on how to add the "look and sound" of emotions but I want your ideas are.. (Please comtribute!) One idea I had was to keep two copies of your robot software, one emotional and one plain.
emotions = personality.
or real emotions?
I am trying to create an AI architecture for robots, which is based on remembering past happenings. Maybe one of the side effects is, that situations are judged based on earlier experiences in similar situations, what probably can be seen as emotions.
Please have a look at my project: www.roboshock.de
Feedback very appreciated!
Now you've got me thinking about this . . .
My thoughts are that for a machine to have the slightest chance of being considered to have 'emotions', the observer has to identify with it in some way. A machine can never to be said to have its own emotions; they are a superimposition by the observer. The best way to get the 'involvement' is to give the robot some physical characteristics of something we normally would identify with, such as Oddbot has done with his brilliant puppy. Once that initial connection is made then the observer will interpret the robot's actions as they would a living creature.
A simple example : I showed 'Blinky' my toothbrush bristlebot to my (non-technical) colleagues at work They loved it and there were comments like 'Isn't he cute' and 'Ahhhh, he's fallen over'. A couple had seen it before I added the googly eyes and there was nowhere near the same interest in it. A daft example maybe, but it was interesting how people's reactions changed once it looked a bit more animal like.
As others have suggested, 'personality' is a much better goal, although a few anthropomorphic traits are going to help tremendously. I'd try and reduce periods of constant speed movement. Much more creature-like if a robot hesitates and changes course a bit. Also pauses every now an again to look around.
Noises would be a good bet too; So much can be conveyed just with a few tones, which are effectively 'triggers' to call up certain learned neural responses from the observer's mind. Imagine a series of rising tones - 'whoops' for elation, a falling pair of tones; 'eh ohhhh' for that 'oh dear' feeling, a querying mid-low-high sequence for confusion, and the first couple of bars of 'the dambusters march' for boldly going forth!
Perhaps this is the key to
Perhaps this is the key to getting my kids to use the electric toothbrush - i'll stick some funny eyes on it!
I know this may not be
I know this may not be relevant but it's worth a chuckle. My ultimate conception of a robot with emotions would be Wheatley from Portal 2. Here, have a look: http://www.youtube.com/watch?v=afHt_1sVQ14.
I heard about it too. It`s a
I heard about it too. It`s a school/group challenge. Students get to program and simulate these cubes.


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Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde Paperback – Sep 14 2007
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From Publishers Weekly
Starred Review. In his afterword to this jaw-dropping collection of early, little-known wordless graphic novels, cartoonist Seth asserts that rather than being seen only as a link between early comic strips and today's graphic novels, these stories stand powerfully on their own. The proof is in the stark appearance produced by wood cuts and lino-engraving and the themes in these once-controversial works: social unrest, the plight of the downtrodden worker and the oppression of the weak by the strong. Masereel's The Passion of a Man (1918) tells a modernist Christ story in 25 dark pictures, while Hyde's Southern Cross (1951) is a pastoral tragedy about Pacific islanders caught up in the U.S. Navy's A-bomb testing. Ward's Wild Pilgrimage (1932) is a passionate aria to the human spirit, threatened with crushing death by the specter of soulless factory work and cruel bosses. Patri's White Collar (1939) is the real standout; on the surface it's a simple story about a commercial artist fighting to keep his family going, but ending as a stunning validation of the dignity of man. Handsomely printed and bound and smartly edited, this book sets the standard for how to present anew the important but lesser-known classics of graphic fiction's past. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Whoever said that a picture is worth a thousand words must have had Graphic Witness: Four Wordless Novels, edited by George A. Walker in mind. These wordless novels by four of the world's greatest woodcut artists are powerfully compelling -- both in their sheer visual impact and in the universal resonance of the stories they tell. They tell of injustice, oppression, and despair, but also of defiant endurance and the dream of a better world. Their striking black and white images are full of meaning and emotion, making this one of the most elegantly engrossing books of recent months. Rush out and buy it, for it is not to be missed! (John Arkelian Artsforum 2008-09-30)
There you have your classic wordless graphic novel -- a high-minded, serious art form that transcends the barriers of language while still telling a story, a visual treat that doesn't get too arty, a political message that packs a punch. No wonder interest in the form is on the rise. (Philip Marchand The Toronto Star 2007-08-19)
Walker makes the point that these artists were figures of suspicion to J. Edgar Hoover's FBI and other arms of the US government in the first half of the twentieth century. Nothing could speak better of them. (George Fetherling Seven Oaks 2007-12-19)
For the person who loves books and novelty and contemplation. (Lois Cooper Muskoka Today)
This book is a treasure trove for the knowledgeable artist and the historian. (Carol Ohlin Quebec Home and School News)
Provides a rare glimpse into the beginnings of the art form. (Goethe-Institut 2007-09-18)
[starred review] [A] jaw-dropping collection ... Handsomely printed and bound and smartly edited, this book sets the standard for how to present anew the important but lesser-known classics of graphic fiction's past. (Publishers Weekly)
Beautiful and large-format collection ... Themes of social justice predominate, but it is the passion and craft of the artwork that makes the greatest impact. Anyone who is interested in today's graphic novels will find it particularly worth a look, though the appeal of such work is universal. (Alex Good The Record 2007-10-13)
Themes of social justice predominate, but it is the passion and craft of the artwork that makes the greatest impact. Anyone who is interested in today's graphic novels will find it particularly worth a look, though the appeal of such work is universal. (Alex Good The Guelph Mercury 2007-10-13)
[A] treasure trove ... In collecting these rare and seminal works, Walker and Firefly Press [sic] have done an invaluable service exposing newer readers to the form in its infancy. In a market glutted with pituitary cases in spandex, the reintroduction of real life concerns is a necessary tonic. (www.latereviews.blogspot.com)
While the stories are all tragic, the art is spectacular. (Annie Boulanger The Recofd (New Westminster BC) 2007-12-15)
[This] collection will have many awestruck and amazed at works few people even know about... The majesty of this book lies in the four stories themselves.... the magnificence of these stories is in their medium. The amount of information communicated in each panel is amazing. (Lance Eaton Curled Up With a Good Book (www.curledup.com) 2007-11-19)
Graphic Witness is a collection of novels ... that say eloquently in pictures what words often struggle to convey. (Ken Simmons The Telegram (St. Johns, NF) 2007-09-30)
Regardless of place or time, these artists speak in a silent way through pure imagery against the oppression of the weak by the strong, and offer some hope for a brighter future ... ambiguities and gaps that beg the reader to fill in the details comprise just one of the great pleasures of these graphic novels, which paradoxically carry a greater power for not using words.... Himself a woodcut artist, Walker clearly and illuminatingly explains many of the intricacies of the art... Walker's insider knowledge of the craft as well as his clear affinity for the spirit of these works makes him the perfect presenter of their art. (Bob artblogbybob.blogspot.com 2008-01-08)
Deeply political, these beautiful, quasi-expressionist woodcut narratives remind us how stark and chilling suffering seemed. (Georgia Straight 2007-10-18)
If you're at all interested in the craft of relief carving, then you really owe it to yourself to get this book. The engravings are simply beautiful, and thankfully the plates are shown large enough that you can see a lot of finer detail. You'll also find that the stories the four artists tell us are timeless. (Canadian Woodworking 2007-12-31)
Walker's introduction gives intriguing technical and sociopolitical insights... All fascinating stuff and, overall, a feast for the eyes. (Anne Desmet Printmaker vol 27 no 1)
A dazzling compendium... In addition to the novels themselves, editor George A. Walker provides a terrific Preface and Introduction....Perhaps the only way this book could be better is if it were the first of a series, for these four works surely just scratch the surface (so to speak) of th e vast number of wordless novels worthy of reprint. (Eric Lorberer Rain Taxi Review)
These four texts represent some of the most important wordless novels of the first half of the twentieth century and their reprinting makes them readily available for the first time in an affordable edition. Those interested in sequential art, printmaking, book art, and the convergence of these forms with social-justice issues should take note of this collection. [It is] indispensable for anyone engaged in the study of comics and graphic novels.... Each of these texts is an excellent example of the wordless novel and its potential to provoke critical thought in its audiences.... In bringing these texts together in a beautifully presented and affordable volume, Graphic Witness has not only done a great service to anyone interested in sequential art, print-making, and book art, but to anyone interested in ways to approach social-justice issues and cultural critique. (Dale Jacobs, University of Windsor Papers of the Bibliographical Society of Canada, V)
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Graphic Witness: Four Wordless Graphic Novels by Frans Masereel, Lynd Ward, Giacomo Patri and Laurence Hyde PaperbackFrans MasereelCDN$ 27.01
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Masereel's story is the most ambiguous. His imagery has least in the way of explicit continuity and the most in dramatic contrasts. Masereel makes it clear, however, that the urban world has dozens of ways to chew people up and spit them out. Ward's "Wild Pilgrimage" tries to escape an urban hell, but finds rural America is no better. It includes a lynching early on, an ugly blot from the country's not-so-distant past. Patri's "White Collar" conveys the hopeless of The Depression, a world where no amount of hard work can be enough to make ends meet. Finally, Hyde's "Souther Cross" brings us up to the atomic age, examining one of the human costs of 50s-era nuclear testing in the Pacific.
Walker's collection reminds us that the graphic novel, as we know it today, drew from many sources. On one hand, comic strip culture evolved upwards through generations of comics towards today's graphic novels, and now presents very mature works by contemporary writers. In the other direction, fine art printing found itself too constrained by the single image. It needed plots, not just snapshots. As a result, it's easy for today's reader to appreciate these moving graphic series - and maybe easier, when that reader learns about the persecutions and McCarthy-eras black-balling of some of these artists and their works.
-- wiredweird
Each of these books (four books for the price of one!) takes a slice of the artist's contemporary life and then explores the timeless conditions of humankind. Masereel was profounding affected by World War I and the European chaos between the wars, so his art addresses social conditions, including the urbanization of society, during those years. Ward and Patri were also affected by their times -- so the hardship and civil unrest brought on by the Great Depression and the trade union movement is the background for their stories here. Ward also presciently treats the rise of nazism in his other woodcut novels.
Patri's "White Collar" in particular is a real find, because this story is not readily available in any other form, as far as I know. Finally, Hyde's story was printed in 1951, and he addresses the first man-made weapon of mass destruction, the A-bomb, and its effect on the environment of the South Seas.
This book also gives a good sampling of the art of the woodcut novel, over time. The earliest is Masereel's work of 1918, and his figures have the least detail, and thus lack an ability to communicate nuance in the characters. Ward's work, is highly detailed, in a distinctive art deco style (akin to the work of Rockwell Kent) and I find more enjoyable.
To fully appreciate all these works, you need to spend some time with them on a second and third "read." It takes only a few minutes to go through each story, which is all it takes to get a general understanding of the story. However, upon rereading, and studying the figures, you will probably come to a different understanding of the story. Without words, there is a lack of precision, so your life experience and imagination will fill in the blanks.
Congratulations to the publisher (Firefly Books) for preserving this important art form, and making it accessible at a very reasonable price. Kudos!
Frans Masereel is the European pioneer of the genre. His art exhibits the jagged simplicity of German Expressionism, and his storytelling is correspondingly disjointed and ambiguous. Lynd Ward is the American master, embodying the true apex of the art form. (The Library of America recently published an edition of his complete works.) His prints are beautifully detailed with intricate line work, and his narrative likewise displays complexity and depth. Canadian artist Laurence Hyde provides the most beautiful art in the book, combining the stark gravity of Masereel with the nuance of line and tone found in Ward's work. Italian-American artist Giacomo Patri supplies the weakest piece in the collection. His art, in both its conception and execution, is really not in the same league as the other three, but his story provides a valuable glimpse into life during the Great Depression. If there's a common thread among the four works, it is a stand against social injustice. No less than three of the works feature workers rising up against their oppressors, with mixed results.
The only reason I'm not giving this book five stars is because I was disappointed by the thirty-odd pages of text that accompany the art. The preface and introduction by Walker, and the afterword by Seth provide only a couple paragraphs of biographical information on each artist, with some very general comments on how these novels expressed the political realities of their time and how woodcut novels were the precursors to today's graphic novels. To this I say, "Duh." I would have preferred more detailed biographies and more on the history of woodcut novels in general.
I thought the storyline of Laurence Hyde's Southern Cross was simplistic and uninteresting, but the individual engravings were fascinating. My favorite wordless graphic novel author is Lynd Ward, and his Wild Pilgrimage is included. I have this as part of the Library of America Lynd set, but I was happy to have it included in this much larger format with considerably better paper. The other two novels included are Frans Masereel's The Passion of a Man and Giacomo Patri's White Collar. Patri was the only artist whose work I was unfamiliar with, and the storyline of his book is by far the strongest of the four. A haunting reminder that the gap between middle class and homelessness is often only as wide as one bout of bad luck.
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Spanish Fly Pool Party and The Crystal Method Over the Weekend (PHOTOS)
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The Israeli Solution: A One-State Plan for Peace in the Middle East Hardcover – March 4, 2014
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"Even those who blanch at the thought of Israel annexing the West Bank can learn from the points Glick makes...Glick has brought out her book at an amazing moment, sketching what many will see as a better route toward peace and in the nick of time." -New York Post
"Devotees of the two-state solution will surely dismiss Caroline Glick's The Israeli Solution out of hand. They shouldn't. Whether or not one agrees with Glick's conclusions, it's hard to dispute her premise: The two-state solution has failed repeatedly for more than 80 years, starting with serial British partition plans in the 1930s. Each time, it has foundered on the same obstacle: Arab rejection of the Jewish state's right to exist within any borders. And there's no reason to think this will change anytime soon. So anyone who truly considers the status quo unsustainable needs to explore alternative solutions." -Commentary
"If you read only one book about the Middle East this year, it should be Caroline Glick's. Whether or not you agree with her conclusions, she illuminates the contorted landscape by pointing to an audacious solution. It is only by considering alternative actions that we understand our present circumstances, and Ms Glick concentrates the mind wonderfully." -Asia Times
"A radical proposal advanced in time's nick for those who doubt the framework Secretary of State Kerry is seeking for talks about a two-state solution. [Glick] lays the arguments out beautifully, and her plan deserves attention on Capitol Hill." -New York Sun
"The most comprehensive and articulate defense of what the Israeli position is that I have ever seen." -Pat Robertson, The 700 Club
"A radical break with current thinking that has a chance to completely change the conversation for the betterment of Israel and America…Glick proposes that given an enemy that has been dedicated to nothing less than the annihilation of Israel, in order to defend its borders and continue to flourish, Israel must claim its sovereignty over Judea and Samaria and grant all Palestinians, subject to Israeli law, with permanent residency and the ability to apply for full citizenship…Every person who cares about the fate of the West, regardless of political orientation, will gain something from reading Glick's lucid, thoroughly researched and thought-provoking book." -The Blaze
"The Israeli Solution will bring the one-state alternative out of the margins and into the mainstream policy debate." -Breitbart
"A bold, dramatic proposal, cleanly crafted and effectively argued...Given Caroline Glick's background, she is expertly placed to provide insight into why the two-state concept may have been flawed from its birth." -The Jerusalem Post
"Cuts through all the relativistic baloney regarding the Palestinian controversy and provides a comprehensive explanation for why it is vital for supporters of Israel not go wobbly now. If there is a single new book that can help the public make sense of the Mideast crisis, this is it...Caroline Glick makes a convincing case that the only way to move toward peace in the Middle East is through the one-state plan" -The American Spectator
"The Israeli Solution is a realistic solution because it does not promise to create a new Middle East, assure us that terrorists will become statesmen or breezily offer an end to a hatred that has existed for over a thousand years...Instead she offers the real solution of managing the conflict by taking responsibility for the territory and people instead of abandoning it and them to Arafat or Abbas and hoping that the magic doves of peace will do the rest...Advocates something that has never been tried before throughout this conflict; integration instead of segregation and unity instead of partition." -Frontpage
"If you want to understand the Middle East, read this book. If you want to know how our corrupt elites in Washington bungled American policy in the most incendiary region in the world, read this book. The Israeli Solution exposes all the lies we've been spoon fed for a generation and presents an alternative policy for the United States to follow in the Middle East that is clear headed, rational, legal, and moral. The Israeli Solution is simple and just. This is a must read." -Mark Levin, bestselling author of Liberty and Tyranny and The Liberty Amendments
"With skill and boldness, Caroline Glick cuts through the fog of diplomacy surrounding what Israel should do with the West Bank. Her analysis and strategy will cause headaches and palpitations in foreign ministries around the world wedded to the failed 'two-state solution.' It will be a character-building experience for them." –John Bolton, former U.S. Ambassador to the United Nations
"A must-read for anyone interested in understanding the century-old violent conflict between the Jews and Arabs in the Middle East. Filled with facts, many of them little known and less remembered, it rejects the standard "two-state" paradigm; instead, it proposes a radically new idea based on Jewish rights to the land, combined with full citizenship for the Arab minority. Whether or not one agrees with her conclusions, one can only admire the carefully crafted and compelling logic, based on a thorough knowledge of the facts and a deep understanding of history." –Professor Robert Aumann, Nobel Memorial Prize in Economic Sciences, 2005
"Before committing the United States and Israel to yet another generation of futile Middle East peacemaking, everyone interested in bringing genuine and lasting peace to that troubled region owes it to themselves to read and consider Caroline Glick's passionate, well written and well researched case for The Israeli Solution." -Mike Pence, Governor of Indiana
"Written by one of the premier thought leaders and policy visionaries on the Middle East , The Israeli Solution is a timely, pragmatic and forthright analysis of the failures of the two-state strategy since World War I. But Glick doesn't stop with analyzing the problem. She provides a solution that is bold, just, and strategically sound, and she says what needs to be said: Israel is the solution, not the problem. Essential reading for us all." – Allen B. West, former U.S. Representative, Lieutenant Colonel (Ret)
"The 'two-state solution,' one which American foreign and counterterrorism policy has been based for over two decades, is a tragic farce. As the intrepid Caroline Glick powerfully shows, it has weakened the United States while rendering Israel ever more vulnerable. In place of its continuing and inevitable failure, Glick offers real democracy promotion: a one-state solution that empowers Palestinians with what their corrupt leadership will forever deny: true civil rights." -Andrew C. McCarthy, bestselling author of Spring Fever, The Grand Jihad, and Willful Blindness
"Glick undercuts deeply flawed demographics and easy clichés with facts, reason, and a vision for the future of Arab-Israeli relations. With this provocative and necessary book, Glick has put the foreign policy consensus on alert, for the writing is on the wall—the answer is The Israeli Solution." –Lee Smith, senior editor, The Weekly Standard
"The Israeli Solution is all about facing reality squarely. It is written seriously and deserves to be taken seriously." –Angelo Codevilla, professor of international relations, Boston University
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After 9/11, I began studying Middle East history, following Sun-Tzu's mandate to know one's enemy. I have read several thousand pages (a whole shelf of books) about specifically the history of Israel, yet I still learned a lot from her analysis. In particular, I think I understand for the first time the rationale and justification for the "settlements", although I have repeatedly sought answers about them from numerous sources, without achieving comprehension of how they are created (not being familiar with the nature of real estate over there, I had not understood that the land on which the settlements are created was "state land", formerly owned by the Ottoman caliphs -- I had pre-conceived that the land was in some way taken from its prior owners (i.e., Arab individuals) (Why doesn't anyone make that clear from the start?!).
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As a well-traveled American of partly Jewish ancestry, the subject of anti-Semitism and the legitimacy of Israel as a nation is a matter that sometimes is a subject of considerable interest and occasional writing and reflection. When I saw this book available for reading and review for one of the publishers whose books I read often, I chose it rapidly, with an eager desire to read it as quickly as possible. Strikingly, I received this book within a couple of days requesting it, getting an uncorrected proof that I had the chance to devour and reflect upon, and although there are a few minor errors that copyediting will fix before this book reaches the general public, this book is well worth the hurry I had in wanting to read it and that the book's publishers had in wanting to send it. It will richly reward those who read it with an open-mind, and give encouragement as well as instruction to those who are friends of Israel.
This book is organized in a very straightforward way, and it is entirely clear about its goals and its aims and is largely successful in its ambitions at presenting a manifesto for a one-state solution in Israel (with an independent Gaza or one that is incorporated into Egypt). The first part of the book demonstrates that the two-state solution favored by many in the West and by the political leadership of Israel, is a failed idea because it does not take into account the reality of Arab intransigence when it comes to either seeking the best interests of the local population or of any kind of legitimate desire for peace.Read more ›
What, however, is truly remarkable is that many, if not all, of those holding these views are oblivious to their anti-Semitism and hatred of Jews and would vehemently deny their prejudice. Even more remarkable is they should know better, especially most of the apparently self-hating members of the American Jewish community.
There has not been written a stronger case for what Israel must do and what the Palestinians are. Israel must exercise complete sovereignty over Judea and Samaria and state, clearly and demonstrably, that on this issue one either stands with Israel or anti-Semitic terrorists and murderers. Make it a black/white issue. As the book clearly states, the response will, at first, be fiercely anti-Israel, but will be short-lived. Using a pejorative term in the history of the Mid-East, this book is the true "roadmap" to peace in the region.
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This book is truly masterfully written. The arguments are laid out in pain view, with lots of endnotes for those who want to pursue the sources. Read morePublished 1 day ago by G. Weinstein
Seldom have I read a book that was written by such a realistic author. Ms. Glick has an immense amount of knowledge and common sense about the Middle East and Islam. Read morePublished 29 days ago by High Hat
First a disclaimer: I gave it 5 stars because it is an important book. It presents a cogent argument why the so called "Two state solution" is in the author's own words... Read morePublished 1 month ago by Andrew Katz
Spot on.The Israeli Solution: A One-State Plan for Peace in the Middle EastPublished 1 month ago by Ethan Katz
read the book in Jerusalem, Mamilla area.
What I noticed right away the terminology is anti-Israel. Read more
This may indeed be the most important book on Israeli policy published this decade. Well-researched with innumerable citations, Glick explains why the two-state solution proposed... Read morePublished 3 months ago by Dave Wilde
I have spent a great deal of time in Israel over the past 14 years and have read many a book on the subject of Israel, its history, and its relationship with the nations of the... Read morePublished 3 months ago by Chris Davis
If you want to understand how peace could happen for Israel and the Middle East you need to read this book!!Published 4 months ago by Mark O'Connor
Outstanding and realistic presentation and solution of a mishandled and misinterpreted problem by the world, of the future of an Arab population living between Israel and Jordan.Published 5 months ago by Amazon Customer


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Hug Your People
Hug Your People
The Proven Way to Hire, Inspire, and Recognize Your Employees and Achieve Remarkable Results
Hyperion Books, Hardcover, 9781401322373, 255pp.
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In Hug Your Customers, Jack Mitchell showed business readers how to keep their customers happy--and their profits booming. In Hug Your People, he elaborates on his big secret: hiring, motivating, and keeping your biggest asset--great employees.
About the Author
Jack Mitchell is the CEO of Mitchells/Richards, two of the most successful independent clothing stores in the business. He lives in Westport, Connecticut, with his family.


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A Game of Thrones: A Song of Ice and Fire: Book One Audio CD – Audiobook, CD, Unabridged
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"For as Ned Stark's kingdom is assailed from the south by the poisonous plots of the rival house of the Lannisters, an even greater danger threatens his northern border: the un-earthly demons of legend, the Neverborn. And across the sea, the barbarian hordes are amassing. Dark times undoubtedly lie ahead. . . ."
So unfolds an unforgettable novel that will mark the launch of one of the greatest fantasy trilogies to appear in years. With all the adventure of Terry Brooks, all the magic of David Eddings, and the epic scope of Robert Jordan--and the literary aspirations of the granddaddy of them all, J. R. R. Tolkien--George R. R. Martin is about to enter the ranks of the elite handful of bestselling fantasy writers. A Game Of Thrones is a tale of unrivaled passion, heroism, action and romance, sure to win legions of fans. --This text refers to an out of print or unavailable edition of this title.
Excerpt. © Reprinted by permission. All rights reserved.
The man had been taken outside a small holdfast in the hills. Robb thought he was a wildling, his sword sworn to Mance Rayder, the King-beyond-the-Wall. It made Bran's skin prickle to think of it. He remembered the hearth tales Old Nan told them. The wildlings were cruel men, she said, slavers and slayers and thieves. They consorted with giants and ghouls, stole girl children in the dead of night, and drank blood from polished horns. And their women lay with the Others in the Long Night to sire terrible half-human children.
But the man they found bound hand and foot to the holdfast wall awaiting the king's justice was old and scrawny, not much taller than Robb. He had lost both ears and a finger to frostbite, and he dressed all in black, the same as a brother of the Night's Watch, except that his furs were ragged and greasy.
The breath of man and horse mingled, steaming, in the cold morning air as his lord father had the man cut down from the wall and dragged before them. Robb and Jon sat tall and still on their horses, with Bran between them on his pony, trying to seem older than seven, trying to pretend that he'd seen all this before. A faint wind blew through the holdfast gate. Over their heads flapped the banner of the Starks of Winterfell: a grey direwolf racing across an ice-white field.
Bran's father sat solemnly on his horse, long brown hair stirring in the wind. His closely trimmed beard was shot with white, making him look older than his thirty-five years. He had a grim cast to his grey eyes this day, and he seemed not at all the man who would sit before the fire in the evening and talk softly of the age of heroes and the children of the forest. He had taken off Father's face, Bran thought, and donned the face of Lord Stark of Winterfell.
There were questions asked and answers given there in the chill of morning, but afterward Bran could not recall much of what had been said. Finally his lord father gave a command, and two of his guardsmen dragged the ragged man to the ironwood stump in the center of the square. They forced his head down onto the hard black wood. Lord Eddard Stark dismounted and his ward Theon Greyjoy brought forth the sword. "Ice," that sword was called. It was as wide across as a man's hand, and taller even than Robb. The blade was Valyrian steel, spell-forged and dark as smoke. Nothing held an edge like Valyrian steel.
His father peeled off his gloves and handed them to Jory Cassel, the captain of his household guard. He took hold of Ice with both hands and said, "In the name of Robert of the House Baratheon, the First of his Name, King of the Andals and the Rhoynar and the First Men, Lord of the Seven Kingdoms and Protector of the Realm, by the word of Eddard of the House Stark, Lord of Winterfell and Warden of the North, I do sentence you to die." He lifted the great sword high above his head.
Bran's bastard brother Jon Snow moved closer. "Keep the pony well in hand," he whispered. "And don't look away. Father will know if you do."
Bran kept his pony well in hand, and did not look away.
His father took off the man's head with a single sure stroke. Blood sprayed out across the snow, as red as summerwine. One of the horses reared and had to be restrained to keep from bolting. Bran could not take his eyes off the blood. The snows around the stump drank it eagerly, reddening as he watched.
The head bounced off a thick root and rolled. It came up near Greyjoy's feet. Theon was a lean, dark youth of nineteen who found everything amusing. He laughed, put his boot on the head,and kicked it away.
"Ass," Jon muttered, low enough so Greyjoy did not hear. He put a hand on Bran's shoulder, and Bran looked over at his bastard brother.
"You did well," Jon told him solemnly. Jon was fourteen, an old hand at justice.
It seemed colder on the long ride back to Winterfell, though the wind had died by then and the sun was higher in the sky. Bran rode with his brothers, well ahead of the main party, his pony struggling hard to keep up with their horses.
"The deserter died bravely," Robb said. He was big and broad and growing every day, with his mother's coloring, the fair skin, red-brown hair, and blue eyes of the Tullys of Riverrun. "He had courage, at the least."
"No," Jon Snow said quietly. "It was not courage. This one was dead of fear. You could see it in his eyes, Stark." Jon's eyes were a grey so dark they seemed almost black, but there was little they did not see. He was of an age with Robb, but they did not look alike. Jon was slender where Robb was muscular, dark where Robb was fair, graceful and quick where his half brother was strong and fast.
Robb was not impressed. "The Others take his eyes," he swore. "He died well. Race you to the bridge?"
"Done," Jon said, kicking his horse forward. Robb cursed and followed, and they galloped off down the trail, Robb laughing and hooting, Jon silent and intent. The hooves of their horses kicked up showers of snow as they went.
Bran did not try to follow. His pony could not keep up. He had seen the ragged man's eyes, and he was thinking of them now. After a while, the sound of Robb's laughter receded, and the woods grew silent again.
That was when Jon reappeared on the crest of the hill before them. He waved and shouted down at them. "Father, Bran, come quickly, see what Robb has found!" Then he was gone again.
Jory rode up beside them. "Trouble, my lord?"
"Beyond a doubt," his lord father said. "Come, let us see what mischief my sons have rooted out now." He sent his horse into a trot. Jory and Bran and the rest came after.
They found Robb on the riverbank north of the bridge, with Jon still mounted beside him. The late summer snows had been heavy this moonturn. Robb stood knee-deep in white, his hood pulled back so the sun shone in his hair. He was cradling something in his arm, while the boys talked in hushed, excited voices.
The riders picked their way carefully through the drifts, groping for solid footing on the hidden, uneven ground. Jory Cassel and Theon Greyjoy were the first to reach the boys. Greyjoy was laughing and joking as he rode. Bran heard the breath go out of him. "Gods!" he exclaimed, struggling to keep control of his horse as he reached for his sword.
Jory's sword was already out. "Robb, get away from it!" he called as his horse reared under him.
Robb grinned and looked up from the bundle in his arms. "She can't hurt you," he said. "She's dead, Jory."
Bran was afire with curiosity by then. He would have spurred the pony faster, but his father made them dismount beside the bridge and approach on foot. Bran jumped off and ran.
By then Jon, Jory, and Theon Greyjoy had all dismounted as well. "What in the seven hells is it?" Greyjoy was saying.
"A wolf," Robb told him.
"A freak," Greyjoy said. "Look at the size of it."
Bran's heart was thumping in his chest as he pushed through a waist-high drift to his brothers' side.
Half-buried in blood stained snow, a huge dark shape slumped in death. Ice had formed in its shaggy grey fur, and the faint smell of corruption clung to it like a woman's perfume. Bran glimpsed blind eyes crawling with maggots, a wide mouth full of yellowed teeth. But it was the size of it that made him gasp. It was bigger than his pony, twice the size of the largest hound in his father's kennel.
"It's no freak," Jon said calmly. "That's a direwolf. They grow larger than the other kind."
Theon Greyjoy said, "There's not been a direwolf sighted south of the Wall in two hundred years."
"I see one now," Jon replied.
Bran tore his eyes away from the monster. That was when he noticed the bundle in Robb's arms. He gave a cry of delight and moved closer. The pup was a tiny ball of grey-black fur, its eyes still closed. It nuzzled blindly against Robb's chest as he cradled it, searching for milk among his leathers, making a sad little whimpery sound. Bran reached out hesitantly. "Go on,"Robb told him. "You can touch him."
Bran gave the pup a quick nervous stroke, then turned as Jon said, "Here you go." His half brother put a second pup into his arms. "There are five of them." Bran sat down in the snow and hugged the wolf pup to his face. Its fur was soft and warm against his cheek.
"Direwolves loose in the realm, after so many years," muttered Hullen, the master of horse. "I like it not."
"It is a sign," Jory said.
Father frowned. "This is only a dead animal, Jory," he said. Yet he seemed troubled. Snow crunched under his boots as he moved around the body. "Do we know what killed her?"
"There's something in the throat," Robb told him, proud to have found the answer before his father even asked. "There, just under the jaw."
His father knelt and groped under the beast's head with his hand. He gave a yank and held it up for all to see. A foot of shattered antler, tines snapped off, all wet with blood.
A sudden silence descended over the party. The men looked at the antler uneasily, and no one dared to speak. Even Bran could sense their fear, though he did not understand.
His father tossed the antler to the side and cleansed his hands in the snow. "I'm surprised she lived long enough to whelp," he said. His voice broke the spell.
"Maybe she didn't," Jory said. "I've heard tales . . . maybe the bitch was already dead when the pups came."
"Born with the dead," another man put in. "Worse luck."
"No matter," said Hullen. "They be dead soon enough too."
Bran gave a wordless cry of dismay.
"The sooner the better," Theon Greyjoy agreed. He drew his sword.
"Give the beast here, Bran."
The little thing squirmed against him, as if it heard and understood.
"No!" Bran cried out fiercely. "It's mine."
"It be a mercy to kill them," Hullen said.
Bran looked to his lord father for rescue, but got only a frown, a furrowed brow. "Hullen speaks truly, son. Better a swift death than a hard one from cold and starvation."
"No!" He could feel tears welling in his eyes, and he looked away. He did not want to cry in front of his father.
"Lord Stark," Jon said. It was strange to hear him call Father that, so formal. Bran looked at him with desperate hope. "There are five pups," he told Father. "Three male, two female."
"What of it, Jon?"
"You have five true born children," Jon said. "Three sons, two daughters. The direwolf is the sigil of your House. Your children were meant to have these pups, my lord."
Bran saw his father's face change, saw the other men exchange glances. He loved Jon with all his heart at that moment. Even at seven, Bran understood what his brother had done. The count had come right only because Jon had omitted himself. He had included the girls, included even Rickon, the baby, but not the bastard who bore the surname Snow, the name that custom decreed be given to all those in the north unlucky enough to be born with no name of their own.
Their father understood as well. "You want no pup for yourself, Jon?" he asked softly.
"The direwolf graces the banners of House Stark," Jon pointed out. "I am no Stark, Father."
Their lord father regarded Jon thoughtfully. Robb rushed into the silence he left. "I will nurse him myself, Father," he promised. "I will soak a towel with warm milk, and give him suck from that."
"Me too!" Bran echoed.
The lord weighed his sons long and carefully with his eyes. "Easy to say, and harder to do. I will not have you wasting the servants' time with this. If you want these pups, you will feed them yourselves. Is that understood?"
Bran nodded eagerly. The pup squirmed in his grasp, lickedat his face with a warm tongue.
It was not until they were mounted and on their way that Bran allowed himself to taste the sweet air of victory. By then, his pup was snuggled inside his leathers, warm against him, safe for the long ride home. Bran was wondering what to name him.
Halfway across the bridge, Jon pulled up suddenly.
"What is it, Jon?" their lord father asked.
"Can't you hear it?"
Bran could hear the wind in the trees, the clatter of their hooves on the ironwood planks, the whimpering of his hungry pup, but Jon was listening to something else.
"There," Jon said. He swung his horse around and galloped back across the bridge. They watched him dismount where the direwolf lay dead in the snow, watched him kneel. A moment later he was riding back to them, smiling.
"He must have crawled away from the others," Jon said.
"Or been driven away," their father said, looking at the sixth pup. His fur was white, where the rest of the litter was grey. His eyes were as red as the blood of the ragged man who had died that morning. Bran thought it curious that this pup alone would have opened his eyes while the others were still blind.
"An albino," Theon Greyjoy said with wry amusement. "This one will die even faster than the others."
Jon Snow gave his father's ward a long, chilling look. "I think not, Greyjoy," he said. "This one belongs to me."
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So, when I came back to fantasy at the end of 1999, I read the usual: Goodkind, Jordan, etc. and then someone told me about GRRM and man, that was the kicker!
Here are the reasons to choose GRRM. I've also listed the reasons not to choose him to make it fair b/c I know their are certain personalities who won't like this series:
(1) YOU ARE TIRED OF FORMULAIC FANTASY: good lad beats the dark lord against impossible odds; boy is the epitome of good; he and all his friends never die even though they go through great dangers . . . the good and noble king; the beautiful princess who falls in love with the commoner boy even though their stations are drastically different . . . you get the idea. After reading this over and over, it gets old.
(2) YOU ARE TIRED OF ALL THE HEROES STAYING ALIVE EVEN THOUGH THEY ARE UNDER CONSTANT DANGER: this gets even worse where the author kills a main hero off but that person comes back later in the story. Or, a hero does die but magic brings him back.
This sometimes carries to minor characters where even they may not die, but most fantasy authors like to kill them off to show that some risked the adventure and perished.
(3) YOU ARE A MEDIEVAL HISTORY BUFF: this story was influenced by the WARS OF THE ROSES and THE HUNDRED YEARS WAR.
(4) YOU LOVE SERIOUS INTRIGUE WITHOUT STUPID OPPONENTS: lots of layering; lots of intrigue; lots of clever players in the game of thrones.Read more ›
Heh. Where I come from, that's a five-star recommendation.
Glibness aside, the person has a point. A GAME OF THRONES is indeed a graphic, viciously unsentimental novel. It features all the offenses listed above and more besides. It revels in them.
Can't you people see? That's the *point.*
The writers of heroic fantasy like to write about huge and epic struggles between capital-letter Good and Evil. Yet over and over again they demonstrate only the most puerile understanding of what good and evil actually are. In their blinkered, constrained little worlds, "evil" consists of sitting in a dank tower all day sending orcs or demons or what-have-you after the Crampon of Justice or some similarly-named hogwash artifact. Not even the darkest of their generic Dark Lords would be caught boffing his own sister or murdering a child (much less get away with it), and in that fundamentally nonsensical bit of characterization lies the crux of their problem: by sticking horns and a lightning staff onto a one-dimensional pulp villain and calling it Ultimate Evil, they cheapen and debase *real* good and evil.
I'm sure most of these writers realize this perfectly well; the problem is that they're writing to one of the most idiotically attenuated audiences on the face of the planet, people who really want to read the same book over and over ad infinitum with just enough variation from the template to create the illusion of difference.Read more ›
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I loved this book! I have watched the tv series but always got a little confused. The book has cleared up a lot of the questions I had.Published 4 hours ago by Jen
I re-read Game of Thrones book 1 and enjoyed it as much as I did the first time.Published 7 hours ago by Brooke Geer Person
Book is a great read. Arrived in poor condition - hardcover creased, bent and dented.Published 14 hours ago by Amazon Customer
Well done, love the book as much as the show. Hooked on both. I need 5 more words to publish...Published 1 day ago by Chalie
I am a great fan of The Game of Thrones on HBO and was in withdrawal without the show. Therefore, I decided to read the books. As always, the books are even better ! Read morePublished 1 day ago by KATHLEEN MOORE


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The Calhoun Recreation Department 7-8 year-old girls All-Star team won the GRPA (Georgia Recreation and Parks Association) Class A-B State Championship recently in College Park.
Over 150 runners came out for Gordon Hospital's annual Run for Your Life 5K on Tuesday, raising over $10,000 for new and future building projects for the hospital.
Co-Captains Nancy Hunt, of Calhoun, and Ann Miller and their women's 55-over 8.5 team won the USTA Southern Sectionals Combo recently in Dothan, Ala., which features state champions from all over the Southeast.
Captain Brian Proffitt and his over 40, 8.5 men's team had quite a weekend in Dothan, Ala. Proffitt's team won the USTA Southern Sectionals Combo, which features state champions from all over the Southeast.
Recently the Calhoun Recreation Department 13-14 Boys All-Star Basketball team won the GRPA 5th District B/C Basketball Tournament.
The Calhoun Elks Lodge #1883 hosted the Elks National Hoop Shoot Free-Throw Contest last Sunday at the Calhoun Recreation Department.
The Center for Disease Control reports that young children and teens are more likely to get a concussion and take longer to recover than adults.
The Sonoraville Recreation Complex has been pretty busy over the last few weeks.
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Arian Foster trolls cat lovers on Twitter
By Dwight Silverman on May 23, 2014 at 8:10 AM
Houston Texans star running back Arian Foster decided to have some fun with cat owners Thursday night on Twitter, telling them their favorite felines don't really love them.
Hilarity – and a bazillion awkward photos of cats with their owners – ensued.…
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Samsung paid big for Oscar placement, but Ellen used an iPhone backstage
By Dwight Silverman on March 3, 2014 at 7:31 AM
Samsung was a big sponsor of Sunday night's Academy Awards ceremony on ABC, with ads for its TVs, smartphones and Galaxy Gear smartwatches running throughout the show. However, while Degeneres was snapping selfies onstage and in the star-studded audience with a Samsung device, backstage she was using an iPhone to tweet photos. …
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Facebook is paying a whopping $16 billion in cash and stock to buy mobile messaging company WhatsApp. …
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Twitter redesign uses big photos, looks like Facebook, Google+
By firstname.lastname@example.com (Benny Evangelista) on February 12, 2014 at 6:35 AM
Twitter has started testing a big redesign of its Web page, with larger photos reminiscent of Facebook and Google+. And apparently, I'm one of the lab rats. …
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Facebook's new Paper is pretty, but complex
By Dwight Silverman on February 4, 2014 at 8:07 AM
Facebook on Monday launched a new, free app for reading stories on the service called Paper. It's more visual and aims to bring organization to the chaos of the service's News Feed.
Paper clearly gets much of its inspiration from Flipboard, a popular mobile app that turns social media feeds into an online magazine. Photos and videos get more prominent display, and swiping – rather than tapping – is the primary navigation method.…
My top tweets of 2013
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Twitter recently enabled a feature that lets you create a custom timeline using tweets you've hand-selected. It's similar to the popular Storifyservice, but built into Tweetdeck, Twitter's app for …
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Nielsen charts show a big difference between social chatter & mainstream TV
By Dwight Silverman on December 17, 2013 at 7:57 AM
The "second screen" phenomenon – in which people watch television while also using a laptop, smartphone or tablet – has become a key trend in the media business. But despite the buzz around the second screen, the reality is that it's not something practiced by much of mainstream America. A new year-end report by Nielsen highlights the stark difference between what's popular on Twitter and what's popular for the masses. …
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By firstname.lastname@example.com (Benny Evangelista) on November 7, 2013 at 10:47 AM
Twitter hits Wall Street today for the first time as a publicly traded company and we'll be following the news and update this blog during the trading day. Twitter priced the IPO at $26 per share. …
Heaven or hell? Accept Twitter Direct Messages from anyone
By Dwight Silverman on October 15, 2013 at 8:00 AM
Twitter has made a small change in the way Direct Messaging works, but it has the potential to have a big impact for some kinds users. You can now choose to receive DMs from people you're not following. …
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Social media marriage proposal – a match made on Reddit
By Jessica Floum on August 7, 2013 at 6:56 PM
Reddit users who troll the site looking to down vote posts and write negative comments have found a new target in the 26-year-old Stanford graduate student who proposed to his girlfriend on the social networking site Monday. …
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