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20:58-- Host_2745: mejor casa de super yankee apuestas - Marguerite ( «link» ) - tenis
20:58-- Host_6811: Este curso de ArcGIS est dirigido a estudiantes, profesionales y tcnicos de reas como geografa, ingeniera ambiental, urbanismo, agronoma y ciencias afines que deseen adquirir competencias en sistemas de informacin geogrfica. Este cu"/> Este curso de ArcGIS est dirigido a estudiantes, profesionales y tcnicos de reas como geografa, ingeniera ambiental, urbanismo, agronoma y ciencias afines que deseen adquirir competencias en sistemas de informacin geogrfica. Este curso de ArcGIS incluye actividades prcticas que te permitirn crear y editar mapas, gestionar bases de datos geoespaciales y aplicar herramientas de anlisis territorial en proyectos reales. En este curso de ArcGIS aprenders a manejar el entorno del software, usar herramientas de geoprocesamiento, crear y editar mapas, gestionar datos mediante tablas, trabajar con imgenes georreferenciadas y aplicar consultas espaciales para resolver problemas reales de anlisis geogrfico. Este curso de arcgis ha sido estructurado pedaggicamente mediante recursos educativos compartidos directamente desde YouTube, bajo Licencia YouTube Estndar. As como recursos creados por Edutin Academy, compartidos bajo Licencia Creative Commons. Si necesita obtener ms informacin sobre derechos de autor, por favor enve una solicitud de contacto. Claro que si, todos los cursos disponibles en Edutin Academy son de acceso gratis. Los cursos tambin incluyen la opcin de obtener un certificado de estudios para evidenciar su aprendizaje, en ese caso necesitar realizar el pago de una tarifa ajustada a la economa de su pas. Los cursos de Edutin Academy incluyen videos, lecturas, evaluaciones, actividades y proyectos prcticos basados en situaciones de la vida real, que le ayudarn a colocar inmediatamente en prctica los conocimientos del curso. Para obtener el certificado de estudios necesitar inscribirse al curso de su inters, seleccionar la opcin "estudiar con certificado" y realizar el pago de una tarifa ajustada a la economa de su pas. Finalmente, necesitar aprobar el curso con una calificacin mnima para recibir su certificacin. Este Curso de ArcGIS 10: Sistemas de Informacin Geogrfica, desarrolla una introduccin al mundo de los SIG mediante el aprendizaje del funcionamiento de este moderno software SIG. ArcGIS es la tecnologa lder en el mundo de los Sistemas de Informacin Geogrfica, existiendo actualmente una ltima versin ArcGIS 10.4 que incluye grandes ventajas respecto a las anteriores, principalmente en edicin de archivos vectoriales. Entre las novedades destacadas de este curso de ArcGIS online, encontramos que con la superacin del curso el alumno obtendr de manera gratuita un certificado internacional que le permitir acceder al Certificado GISP del GISCI. Tambin se ha ampliado el contenido del curso con un mdulo completo en creacin y gestin de Modelos Digitales del Terreno en 2D y 3D con ArcScene. Esto ha permitido que el presente curso entre a formar parte de los Diplomas Profesionales de Especializacin SIG como mdulo inicial. Cumplimos el RGPD (Reglamenteo General de Proteccin de Datos) y esta en la primera informacin que debes saber. Responsable: Geoinnova. Finalidad: Gestionar la solicitud que realizas en este formulario de contacto. Legitimidad: Nos das tu consentimiento para comunicarnos contigo. Derechos: Tienes derecho a acceder, rectificar, limitar y suprimir tus datos. Para una informacin ms ampliada entra a nuestra poltica de privacidad. Cumplimos el RGPD (Reglamento General de Proteccin de Datos). Responsable: Geoinnova. Finalidad: Gestionar la solicitud que realizas en este formulario de contacto. Legitimidad: Nos das tu consentimiento para comunicarnos contigo. Derechos: Tienes derecho a acceder, rectificar, limitar y suprimir tus datos. Para una informacin ms ampliada entra a nuestra poltica de privacidad. Con el curso ArcGIS Anlisis Geoestadstico utilizars la extensin de anlisis geoestadstico, la cual contiene multitud de herramientas para afrontar el anlisis de la distribucin espacial de variables aplicando mtodos de interpolacin (determinsticos y geoestadsticos), que permiten la obtencin de mapas continuos de prediccin. El curso ArcGIS Anlisis Geoestadstico te permitir aprender a obtenermapas de densidad y a analizar el patrn de distribucin de la informacin. Aprenders a aplicar mtodos de interpolacin (determinsticos y geoestadsticos) configurando diferentes parmetros en base a los ndices de error y obtendrs los mapas de prediccin, cuantiles, probabilidad y error de la variable estudiada. Si eres trabajador de una empresa, puedes bonificar el 100% del curso a travs de la Fundacin Estatal para la Formacin en el Empleo. Nosotros, como entidad organizadora afiliada a la FUNDAE, te gestionamos GRATUITAMENTE todos los trmites necesarios para que puedas bonificarte el curso. Lo nico que necesitas es que tu empresa se ponga en contacto con nosotros para realizar los trmites (las gestiones con la FUNDAE deben realizarse como mnimo 7 das antes del comienzo de la accin formativa). Desempea su labor profesional como analista de datos y consultora tcnica en hidrologa, Planificacin Hidrolgica y SIG. Se ha especializado en el manejo de diversos tipos de software, tanto para la gestin de bases de datos y su anlisis, como para el soporte y ayuda a la decisin en materia de recursos hdricos, la modelizacin hidrulica e hidrolgica y los Sistemas de Informacin Geogrfica. El curso es terico-prctico, en l, se estudiarn los conceptos fundamentales de los Sistemas de Informacin Geogrfica (GIS), las principales funcionalidades que tiene el software y sus aplicaciones dentro del medio ambiente y la gestin territorial. A lo largo del curso, trabajars con una serie de componentes de ArcGIS para recopilar y organizar datos, crear y representar de una forma eficiente, cualquier tipo de informacin geogrfica georreferenciada asociada a un territorio y la base para solucionar problemas geogrficos con los GIS, de acuerdo al sector de tu competencia. «link» cc7c31b456 pewlil
20:58-- Host_4196: In this video, potter Jack Doherty takes us step-by-step through the processes he uses to throw a large porcelain bowl at his studio in Cornwall, which he then soda-fires in a gas kiln. Discover how Jack makes and fires his work in the full step-by-step masterclass inside CR 300 (November/December 2019) I finished my ceramics training in Belfast in 1971 and have worked as a potter for almost 50 years. Someone recently mentioned to me that it is unusual these days for someone to spend their working life in the same job. While making pots has always been at the core of my life, ceramics has given me many opportunities beyond the studio. To learn new things, to travel and teach, and to be involved in projects that have created new opportunities for makers to promote and sell their work. I was Chair of the Craft Potters Association (CPA) for a total of 12 years and was involved with the first CPA fair in Cheltenham and one of the small team who helped establish Earth and Fire at Rufford. I was a founder member and Chair of the Ceramic Art London organising committee. At that time, I felt very conscious of the need for a fresh platform to celebrate the expanding range of contemporary ceramics. A highlight of that period was my year as guest editor of Ceramic Review. In November 2019, I will be leading the first International Soda-firing Ceramics Festival at Fuping in Shaanxi, China. My work life (I refuse to call it a career) has for years been on a geographical downward direction. It started at the top of the map of the British Isles, I was born on the north coast of Northern Ireland, but have gradually slipped south via Kilkenny, Armagh and Herefordshire to Cornwall. I went to St Ives as the first lead potter and creative director at the refurbished Leach Pottery. I now live and work in Mousehole, Cornwall. Over time, my making process has become simpler. Porcelain clay, copper and a single firing with sodium bicarbonate are self-imposed limitations that have in many ways provided a wealth of colour and surface quality. I have found working with fewer ingredients is not restricting but means I have to use them more thoughtfully, finding new colours with layers of the same slip. Learning about the changes to the surface and colour that varying the kiln atmosphere or firing the kiln half a cone higher or lower will make. Everything I make has a domestic context in one way or another. The pots I admire the most are pieces that have often been made for a specific and sometimes mundane purpose. However, through their connection with people and being made using a magical combination of materials, extraordinary skill and chance, they have become objects with emotional and spiritual value. For me, the truest form of ceramic art. For as long as I can remember loving ceramics I can remember Ceramic Review. Offering an insight into the very best of the contemporary scene, as well as engaging accounts of potters of the past, Ceramic Review is an indispensable reference source to students, scholars and enthusiasts, that pays tribute to the versatility and universality of the medium of clay. It was a wonderful opportunity to be included in Ceramic Review and share my knowledge and experience with such a wide audience. I first came across Ceramic Review over 30 years ago when working with Robin Welch in Suffolk. It is an important publication and is extremely supportive of the ceramics community. The first couple of videos are an introduction to the course as well as a short discussion on tackle. Hopefully you can find time to practise the skills that follow - be sure to get involved and post any questions on our discussion forums. This week Ashly is joining me for four days of Jungle Fishing. My outboard has been playing up and was at the doctors all last week. Hopefully the problem is resolved now - I'll know later today. It's been frustrating not being able to drive flat-out down the lake and seriously curtailed last week's fishing - particularly since Bernd is still fishing every day! Here in the jungle the Wet Season is closing in fast with evening downpours most evenings. However the lake level is still dropping and is at its lowest level since last year. Low level is good for Snakehead fishing, rain isn't! This is believe is because rain oxygenates the water and the Snakehead don't need to rise so frequently - but that's just my theory. A big thank you to all of our Hot Torpedo customers for keeping us alive and busy. This week I shall be playing with the T27 RAMPAGE! It will be an interesting rod to fish! In case you missed last week's news, all competition entries in this final quarter receive a Sexyloops Stealth Master Shirt. I'm looking forward to you entries. Email them to me at paul@sexyloops.com Paul Arden is the fly rod designer for Sexyloops and has been fly fishing for over 35 years and teaching fly fishing and fly casting for more than 20 years. Paul has extensively fished for trout in Europe, New Zealand, Australia and North America and for the past 25 years has been fly fishing more than 300 days every year. He currently lives in the North Malaysian jungle, fly fishing and guiding for Giant Snakehead and Giant Gourami. A competition caster, he has reached the finals in the World Championships in 5-weight distance on three occasions, winning a Bronze medal last year. Paul has appeared on Discovery Channel in the USA co-hosting a fly fishing programme shot in New Zealand. He is full-time manager of the Sexyloops website and brand. Websites: sexyloops.com and sexyloops.tv Paul's "Jungle Fishing Sponsors" are RIO fly lines: rioproducts.com PowerFilm Solar: powerfilmsolar.com Lawson Hammocks: lawsonhammock.com and of course he fished the Sexyloops brand of fly rods; The Hot Torpedo. I grew up in rural Hertfordshire, surrounded by fields of wheat and old thatched cottages. My childhood was spent roaming the countryside, watching deer and rabbits in the garden and studying the quiet lives of woodlice and snails. Indoors, I loved to draw, paint and lose myself in storybooks full of magic and adventure. My studio was a converted piggery, overlooking the rolling hills of patchwork farmland. Exploring the valley, I discovered a stream with exposed banks of clay. I could collect it, pull out any stones, throw with it on the wheel and fire it successfully. This discovery marked the start of my wild clay journey. I later settled in a small village on Dartmoor, where I now work from an old stone barn. Alongside my electric kiln, I f ire with gas and wood at nearby Kigbeare Studios, where I have become part of a local pottery community. Wild clay continues to shape my work and I have collected it from across Devon and beyond. I am drawn to wild clay for the way I feel connected to the land. I love the sense of being part of a creative continuum of pottery that stretches back thousands of years. Combining this ancient tradition with illustrative, story telling decorations inspired by my surroundings, grounds my work in the present. In this masterclass, I will show how I collect and test wild clay to determine its suitability for throwing and firing. I will also demonstrate my decorating process, using stencils and wild clay slips of contrasting clays to create surfaces that tell a story. finally I finished my first part of the Octatrack Masterclass Video Course (in german), which covers the basics (static machine, sequencing, parts, scenes, working with (loooong) samples, perfoming tricks, djing stems and so on). It has a duration of 6 hours -lernkurs.de/elektron-octatrack-masterclass-teil-1-grundlagen.html Part 2 - 4 are covering the rest (Sampling with Flex/Pickup, MIDI Sequencer & Remote, working with FX and so on) and will be released later (july, august). I recorded most of them, but it has to be edited and stuff like that. Substack is your home base for paid subscriptions, and we have features like Notes and Recommendations to help you grow from within the Substack network. If you happen to have a following elsewhere, you should leverage it for growth. Violet Witchel does a great job of this by posting recipe videos to Instagram and TikTok, giving her followers a preview of the weekly meal plans she paywalls on Substack. Patrick Hicks posts previews of his paywalled music mini-documentaries to his social media accounts as well. You can use our video clipping feature to export short clips for use wherever your audience hangs out. This masterclass is for video creators, but I cover all the important parts of starting a Substack, whether you\u2019re a writer, podcaster, video creator, or some combination thereof. I talk about general best practices, with special attention to our video tools and marketing your Substack to your off-platform audience. Anyone looking to monetize their work on Substack could benefit from this knowledge, even if you don\u2019t identify as a video creator or have tons of social media followers. I\u2019ve been on the Substack partnerships team for about a year now, and I joined as an employee after being a writer on the platform. Through writing on Substack, I was able to meet collaborators and friends, grow creatively, and land work aligned with my interests. I love that my job now enables me to share the magic of Substack with others, and although I am primarily a writer, it\u2019s exciting to me that we\u2019ve expanded to video. Substack is an economic engine that can support any creative person, regardless of the format with which they choose to share their work. If you\u2019re just getting started on Substack, I\u2019d recommend claiming your URL and watching the video above in full. If you\u2019re looking to leverage video to grow your Substack, check out these three tips: When you launch your Substack, you should make a video about it. You can make that video your first post and also embed it on your About page. This video should explain who you are, what you\u2019re doing on Substack, and what your free and paid subscribers will receive. You should also post a version of this wherever else you have a following (like does here). Here are a few great examples: «link» cc7c31b456 darnabry
20:57-- Host_1079: Passion the site-- really user friendly and whole lots to see! «link»
20:56-- Host_7554: All other trademarks, logos and brand names shown on this website other than stated are the sole property of their respective companies and are not owned by oemdrivers.com. Information on the oemdrivers.com may not be duplicated without permission. oemdrivers.com is not responsible for any damages or losses that may arise from incorrect driver installation. Only install drivers if you are qualified to do so. Los adaptadores WiFi USB son uno de los dispositivos ms recomendables si quieres tener conectividad inalmbrica Wi-Fi en ordenadores de sobremesa. Este tipo de dispositivos tambin los puedes usar en ordenadores porttiles, para mejorar las capacidades inalmbricas de la tarjeta WiFi interna que normalmente tenemos. Dispones de una gran variedad de adaptador WiFi USB, dependiendo de tus necesidades, podrs comprar unos modelos u otros. Hoy en RedesZone te explicamos todo lo que debes tener en cuenta de este tipo de dispositivos. Tener Internet va WiFi en tu PC sobremesa sin tarjeta de red con conexin inalmbrica es posible, y ms barato que antes. Y todo gracias a que se pueden comprar adaptadores USB para que puedas tener la oportunidad de conectarte a travs de la red inalmbrica con tu ordenador. Hay diferentes modelos, por lo que a la hora de elegir un adaptador WiFi USB hay que tener siempre en mente las caractersticas mnimas que debe poseer. De lo contrario, podras estar comprobando un dispositivo de baja calidad o que realmente no cumple con tus necesidades. Para ello, en las siguientes lneas puedes encontrar qu es lo que debes tener en cuenta. Un adaptador WiFi USB es un dispositivo que se conecta va USB a nuestro ordenador, ya sea un ordenador de sobremesa o un porttil, y tiene la apariencia de un pendrive, y nos permiten conectarnos a las redes Wi-Fi. Normalmente deberemos instalar los drivers que vienen con la propia tarjeta WiFi USB, aunque si utilizas Windows 10, es muy probable que automticamente reconozca el adaptador WiFi, y posteriormente instale los drivers sin intervencin del usuario. En apenas un minuto, tendremos en funcionamiento este dispositivo. Los adaptadores inalmbricos WiFi nos proporcionarn la posibilidad de conectarnos va Wi-Fi a nuestro router o punto de acceso Wi-Fi, en caso de que nuestro ordenador no tuviera una tarjeta WiFi anteriormente. En el caso de los porttiles, todos ellos tienen una tarjeta WiFi en su interior, pero los ordenadores de gama baja-media, suelen tener tarjetas WiFi muy poco potentes y nos proporcionarn un mal rendimiento inalmbrico, tanto en trminos de cobertura como de velocidad. Actualmente existen tarjetas WiFi USB con antenas externas, estas antenas externas son de alta ganancia por lo que podremos conseguir una mejor cobertura cuando nos vayamos a conectar a la red inalmbrica, de esta forma, mejoraremos enormemente la capacidad de recepcin y emisin, consiguiendo con ello mejores velocidades inalmbricas. Este tipo de tarjetas lo notaremos, sobre todo, cuando estamos conectados a distancias medias-largas del router WiFi principal o punto de acceso WiFi. Si estamos muy cerca del router o AP apenas notaremos diferencia de rendimiento respecto a tarjetas WiFi USB con antenas internas, porque la recepcin de seal ser ptima, en cualquier caso. Son muy tiles para mejorar la conexin inalmbrica, ya que es ms accesible y no vas a tener que abrir el ordenador para conectar una tarjeta interna. Simplemente tendrs que conectarlos a un puerto USB que est libre y rpidamente tu equipo detectar el hardware y podrs conectarte a una red sin problemas. Existen actualmente dos tipos de adaptadores USB WiFi diferentes, los que soportan USB 2.0 son los de gama ms baja y los ms baratos, este tipo de adaptadores no nos proporcionarn demasiada velocidad real, aunque s tendremos mejor cobertura (siempre que tenga antenas externas). Generalmente, cuando compramos un adaptador WiFi con USB 2.0, el estndar WiFi que usaremos ser WiFi 4, es decir, ser compatible nicamente en la banda de 2.4GHz. No obstante, tambin existen tarjetas WiFi USB 2.0 con WiFi 5, pero de gama de entrada, por ejemplo, hay tarjetas WiFi de clase AC600 (hasta 150Mbps en 2.4GHz y hasta 433Mbps en 5GHz) que incorporan una interfaz USB 2.0 porque no necesitan ms, ya que la interfaz de datos no har de cuello de botella. Los que soportan USB 3.0 siempre sern los ms rpidos, los que nos proporcionarn la mejor velocidad real y no se vern limitador por la velocidad mxima de la propia interfaz USB 2.0. Lgicamente, los adaptadores que utilizan la interfaz USB 3.0 son los de gama ms alta y los ms caros, no obstante, hay adaptadores USB 3.0 que tienen una gran relacin calidad precio, y que incorporan WiFi 5 o WiFi 6 con doble banda seleccionable y AC1200 que son los ms habituales. Si queremos algo de gama ms alta, entonces tendremos que irnos a clases AC1900 o similar, donde vamos a obtener un gran rendimiento inalmbrico, este tipo de dispositivos suelen ser bastante grandes para incorporar las tres antenas internas de WiFi, no obstante, en caso de que sea pequeo pues tendremos tres antenas externas que no estn dentro del propio dispositivo. Hoy en da, lo ms normal es encontrarnos adaptadores con interfaz USB 3.0, pero si compras un dispositivo de gama baja, lo ms normal es que sea USB 2.0 para ahorrar costes, y, por tanto, obtendrs un menor rendimiento inalmbrico en trminos de velocidad. Lo ms importante de todo es que, si compras un adaptador de clase AC1200 o superior, tenga interfaz USB 3.0 para no tener ningn tipo de cuello de botella en la interfaz USB que ests usando. Si buscas alcanzar la mxima velocidad, es importante que elijas un buen adaptador de red inalmbrica por USB. Esto te permitir no solo alcanzar una buena velocidad de bajada y subida, sino que tambin ser muy til de cara a evitar cortes y tener siempre la mxima estabilidad en tus conexiones. No basta simplemente con tener acceso a Internet. Todos queremos que funcione rpido, que haya una buena estabilidad y que la calidad de la conexin sea la esperada. Es cierto que entran en juego diferentes factores, como puede ser la tarifa que tengamos contratada, el tipo de dispositivo que usemos o la cercana con el punto de acceso. Pero si hablamos de un ordenador porttil o un ordenador de sobremesa, algo que puede marcar la diferencia es el adaptador Wi-Fi que estemos utilizando. Esto hace que sea muy importante elegir muy bien el tipo de adaptador que vamos a comprar. La mayora de porttiles modernos traen una tarjeta de red inalmbrica interna, que en muchos casos puede ser ms que suficiente. Sin embargo, para los usuarios ms exigentes, para aquellos que se vayan a conectar ms lejos del router y quieran aprovechar la velocidad al mximo, puede ser interesante comprar un adaptador nuevo. Con la salida del estndar Wi-Fi 4, o tambin conocido como 802.11n, los routers, puntos de acceso y adaptadores WiFi USB, empezaron a utilizar las bandas de 2.4GHz y 5GHz ampliamente, tanto de manera simultnea como seleccionable a travs del firmware. Hoy en da existen tarjetas WiFi USB que solamente soportan 2.4GHz, y otras tarjetas WiFi que soportan tanto 2.4GHz como tambin 5GHz. Es fundamental que, si compras un adaptador WiFi USB, tenga soporte para ambas bandas de frecuencia, tanto 2.4GHz como en 5GHz. Que sean doble banda no significa que puedas conectarte a ambas bandas simultneamente, de hecho, mientras que los routers y APs son doble banda simultnea (emiten en las dos bandas a la vez), los adaptadores WiFi son doble banda seleccionable (se pueden conectar a las dos bandas, pero a una banda o a otra, no a ambas simultneamente) debido a limitacin de hardware, ya que no disponen de dos chipsets en su interior sino solamente uno compatible con ambas bandas. Lo ms importante en lo que debes fijarte a la hora de comprar un adaptador WiFi est en la clase de WiFi que tienes, generalmente es de clase AC o WiFi 5, sera recomendable que fuera de clase AC1200 o superior para garantizar un buen rendimiento inalmbrico en cualquier circunstancia, de lo contrario, no conseguiremos una buena velocidad. Usar la banda de los 5 GHz va a permitirte alcanzar la mxima velocidad, aunque debes ser consciente de que es ms sensible a posibles obstculos y distancia. En cambio, la banda de los 2,4 GHz permite que te conectes desde ms lejos, aunque la velocidad ser menor. Como ves, tener una tarjeta de red WiFi por USB que te permita elegir a qu banda conectarte te ayudar a lograr la mxima velocidad y estabilidad segn la circunstancia. Compramos un adaptador Wi-Fi interno o externo? Vale, de primeras podemos decir que nuestro ordenador porttil ya trae, por regla general, una tarjeta de red inalmbrica interna. Si vamos a comprar otra es debido a que buscamos mejorar el rendimiento, tener una mejor velocidad o cobertura. Es cierto que podemos encontrar una tarjeta de red interna suficiente para el da a da. Por ejemplo, si nos vamos a conectar cerca del punto de acceso no tendramos problemas para navegar por la red. Pero si queremos algo ms avanzado, con un mayor rendimiento, es interesante optar por una tarjeta Wi-Fi externa. Normalmente la cobertura es superior, por lo que tambin lo ser la velocidad y, en general, el rendimiento que logremos. Adems, aqu entra en juego tambin si lo que quieres es aadir una tarjeta de red con conexin WiFi a tu PC de sobremesa. Ya no es comn, pero antes se encontraban la mayora de estos ordenadores sin conexin WiFi. Por esto mismo, debes tener en cuenta cul es el presupuesto que tienes, y en funcin de esto, y de las necesidades que deseas cubrir, elegir ente una tarjeta interna o externa. De ah que te interese un adaptador Wi-Fi USB para tu ordenador. Adems, otro de los puntos que se deben poner sobre la mesa es el hecho de si se trata de comprar un adaptador que sea para un porttil o para un PC de sobremesa. Si es un porttil, lo cierto es que no te quedar otra que usar uno externo, ya que el cambio es ms complejo, aunque no es imposible. Sin embargo, si es de sobremesa, abrir el ordenador ser ms fcil y el cambio de una pieza por otra es ms rpido y sencillo. Pero est claro que no todo el mundo puede hacerlo a la ligera. Aun as, es un detalle a tener en cuenta a la hora de elegir un modelo interno o externo. «link» cc7c31b456 verkafe
20:51-- Host_3274: Good web-site you possess there.| «link»
20:50-- Host_4619: Pseudo-Dionysius the Areopagite (or Dionysius the Pseudo-Areopagite) was a Greek[1] author, Christian theologian and Neoplatonic philosopher of the late 5th to early 6th century, who wrote a set of works known as the Corpus Areopagiticum or Corpus Dionysiacum. Through his writing in Mystical Theology, he has been identified as the "progenitor of apophatic or negative theology."[2] The author pseudepigraphically identifies himself in the corpus as "Dionysios", portraying himself as Dionysius the Areopagite, the Athenian convert of Paul the Apostle mentioned in Acts 17:34.[3][4][note 1] In the early sixth century, a series of writings of a mystical nature, employing Neoplatonic language to elucidate Christian theological and mystical ideas, was ascribed to the Areopagite.[5] They have long been recognized as pseudepigrapha,[citation needed] and their author is now called "Pseudo-Dionysius the Areopagite". Seven other works are mentioned repeatedly by pseudo-Dionysius in his surviving works, and are presumed either to be lost[8] or to be fictional works mentioned by the Areopagite as a literary device to give the impression to his sixth-century readers of engaging with the surviving fragments of a much larger first-century corpus of writings.[9] These seven other works are: Another widely cited latest date for Dionysius' writing comes in 532, when, in a report on a colloquy held between two groups (dyophysite and miaphysite) debating the decrees of the Council of Chalcedon, Severus of Antioch and his miaphysite supporters cited Dionysius' Fourth Letter in defence of their view.[12] It is possible that pseudo-Dionysius was himself a member of this group, though debate continues over whether his writings do in fact reveal a miaphysite understanding of Christ.[13] It seems likely that the writer was located in Syria, as revealed, for example, by the accounts of the sacramental rites he gives in The Ecclesiastical Hierarchy, which seem only to bear resemblance to Syriac rites.[14] The author pseudonymously identifies himself in the corpus as "Dionysios", portraying himself as the figure of Dionysius the Areopagite, the Athenian convert of Paul the Apostle mentioned in Acts 17:34.[15][note 1] Various legends existed surrounding the figure of Dionysius, who became emblematic of the spread of the gospel to the Greek world. A tradition quickly arose that he became the first bishop of Cyprus or of Milan, or that he was the author of the Epistle to the Hebrews; according to Eusebius, he was also said to be the first bishop of Athens. It is therefore not surprising that that author of these works would have chosen to adopt the name of this otherwise briefly mentioned figure.[16] The authorship of the Dionysian Corpus was initially disputed; Severus and his party affirmed its apostolic dating, largely because it seemed to agree with their Christology. This dating was disputed by Hypatius of Ephesus, who met the monophysite party during the 532 meeting with Emperor Justinian I; Hypatius denied its authenticity on the ground that none of the Fathers or Councils ever cited or referred to it. Hypatius condemned it along with the Apollinarian texts, distributed during the Nestorian controversy under the names of Pope Julius and Athanasius, which the monophysites entered as evidence supporting their position.[17] The Florentine humanist Lorenzo Valla (d. 1457), in his 1457 commentaries on the New Testament, did much to establish that the author of the Corpus Areopagiticum could not have been St. Paul's convert, though he was unable to identify the actual historical author. William Grocyn pursued Valla's lines of textual criticism, and Valla's critical viewpoint of the authorship of the highly influential Corpus was accepted and publicized by Erasmus from 1504 onward, for which he was criticized by Catholic theologians. In the Leipzig disputation with Martin Luther, in 1519, Johann Eck used the Corpus, specifically the Angelic Hierarchy, as argument for the apostolic origin of papal supremacy, pressing the Platonist analogy, "as above, so below". During the 19th century Catholic historians too came generally to accept that the author must have lived after the time of Proclus. The author became known as 'Pseudo-Dionysius the Areopagite' only after the philological work of J. Stiglmayr and H. Koch, whose papers, published independently in 1895, demonstrated the thoroughgoing dependence of the Corpus upon Proclus.[20] Both showed that Dionysius had used, in his treatise on evil in Chapter 4 of The Divine Names, the De malorum subsistentia of Proclus. ... a pupil of Proclus, perhaps of Syrian origin, who knew enough of Platonism and the Christian tradition to transform them both. Since Proclus died in 485, and since the first clear citation of Dionysius' works is by Severus of Antioch between 518 and 528, then we can place Dionysius' authorship between 485 and 518-28.[note 4] Ronald Hathaway provides a table listing most of the major identifications of Dionysius: e.g., Ammonius Saccas, Pope Dionysius of Alexandria, Peter the Fuller, Dionysius the Scholastic, Severus of Antioch, Sergius of Reshaina, unnamed Christian followers of everyone from Origen to Basil of Caesarea, Eutyches to Proclus.[21] In the past half-century, Alexander Golitzin, Georgian academician Shalva Nutsubidze and Belgian professor Ernest Honigmann have all proposed identifying pseudo-Dionysius the Areopagite with Peter the Iberian.[22] A more recent identification is with Damascius, the last scholarch of the Neoplatonic Academy of Athens.[23] There is therefore no current scholarly consensus on the question of pseudo-Dionysius' identification. It must also be recognized that "forgery" is a modern notion. Like Plotinus and the Cappadocian Fathers before him, Dionysius does not claim to be an innovator, but rather a communicator of a tradition.[note 4] Others scholars such as Bart D. Ehrman disagree, see for example Forged. While pseudo-Dionysius can be seen as a communicator of tradition, he can also be seen as a polemicist, who tried to alter Neo-Platonic tradition in a novel way for the Christian world that would make notions of complicated Divine Hierarchies more of an emphasis than notions of direct relationship with the figure of Christ as Mediator.[25] Dionysius attributed his inspiration to pseudo-Hierotheus, professing that he was writing to popularize the teachings of his master.[45] Pseudo-Hierotheus was the author of "The book of Hierotheus on the hidden mysteries of the house of God". Pseudo-Hierotheus is believed to be the fifth century Syrian monk Stephen Bar Sudhaile,[46][47] a pantheistic writer. The works of Dionysius are mystical, and show strong Neoplatonic influence. For example, he uses Plotinus' well-known analogy of a sculptor cutting away that which does not enhance the desired image, and shows familiarity with Proclus. He also shows influence from Clement of Alexandria, the Cappadocian Fathers, Origen, and others. According to pseudo-Dionysius, God is better characterized and approached by negations than by affirmations.[7] All names and theological representations must be negated. According to pseudo-Dionysius, when all names are negated, "divine silence, darkness, and unknowing" will follow.[7] The Dionysian writings and their mystical teaching were universally accepted throughout the East, amongst both Chalcedonians and non-Chalcedonians. Gregory Palamas, for example, in referring to these writings, calls the author, "an unerring beholder of divine things". The Corpus is also present in Syriac and Armenian versions, the former of which, by Sergius of Reshaina in the early sixth century, serves as a terminus ante quem for the dating of the original Greek. The real influence of Dionysius in the West began with the gift in 827 of a Greek copy of his works by the Byzantine emperor Michael II to the Carolingian emperor Louis the Pious. King Louis in turn gave the manuscript to the Abbey of St. Denis near Paris[53] where, in about 838, Dionysius' works were translated into Latin for the first time by Hilduin, abbot of the monastery. It may well have been Hilduin himself who promoted his work (and his abbey) by developing the legend (which would be widely accepted during subsequent centuries), that Denis was the same person as Dionysius the Areopagite of Acts 17.34, and that he had traveled to Rome and then was commissioned by the Pope to preach in Gaul, where he was martyred.[54] Hilduin's translation is almost unintelligible.[53] About twenty years later, a subsequent Carolingian Emperor, Charles the Bald, requested the Irishman John Scotus Eriugena to make a fresh translation. He finished this in 862.[53] This translation itself did not widely circulate in subsequent centuries. Moreover, although Eriugena's own works, such as the Homily on the Prologue of St John, show the influence of Dionysian ideas, these works were not widely copied or read in subsequent centuries.[53] The Benedictine monasticism that formed the standard monasticism of the eighth to eleventh centuries, therefore, in general paid little attention to Dionysius. During the thirteenth century, the Franciscan Robert Grosseteste made an important contribution by bringing out between 1240 and 1243 a translation, with commentary, of the Dionysian corpus.[53] Soon after, the Dominican Albertus Magnus did likewise. The thirteenth-century Parisian corpus provided an important reference point by combining the "Old Translation" of John Scotus Eriugena with the "New Translation" of John Sarrazin, along with glosses and scholia by Maximus the Confessor, John of Scythopolis and others, as well as the "Extracts" by Thomas Gallus, and several commentaries such as John Scotus Eriugena, John Sarrazin and Hugh of Saint Victor on The Celestial Hierarchy.[57] It quickly became common to make reference to Dionysius. Thomas Aquinas wrote an explanation for several works, and cites him over 1700 times.[58] Bonaventure called him the "prince of mystics".[citation needed] «link» cc7c31b456 latholl
20:49-- Host_3277: Nell'autunno del 1981, la vita di un gruppo di diciassettenni californiani che frequentano l'elitaria Buckley School viene sconvolta dall'arrivo di un ragazzo tanto affascinante quanto disturbato e perverso. Cosa nasconde Robert Mallory, e qual il suo legame con il serial killer che sta imperversando in citt? In una Los Angeles sensuale e violenta, fatta di feste in piscina e musica new wave, vodka e cocaina, Bret Easton Ellis racconta la sua storia pi personale, emozionante e oscura.Le schegge il romanzo pi sexy di Ellis, quello in cui si respira una nuova libert in fatto di amore, eros e sensibilit emotiva. The New York Review of Books Le schegge ci ricorda come l'autore di American Psycho faccia ancora scuola a s. Npr Ellis affonda le mani in un paradiso, passato e perduto, indubbiamente, in cui le auto di lusso, le droghe stordenti, il sesso clandestino e le relazioni superficiali sono la scenografia perfetta per una storia torbida e malinconica. E raccapricciante, soprattutto. - Alessandro Tacchino per Maremosso 1981, Los Angeles.L'estate sta per finire, il momento di tornare a scuola alle porte.Tra droga, erba, alcol, macchine lussuose e feste in piscina, un gruppo di giovani vive la vita agiata dell'upper class losangelina, storditi e beati.Improvvisamente, per, delle ragazze iniziamo a scomparire, e quando vengono rinvenuti i primi cadaveri si inizia a parlare di un serial killer. Nello stesso periodo, un nuovo studente fa la sua comparsa: il bellissimo Robert Mallory, che sembra nascondere un passato oscuro.Come mi ritrovo a dire spesso ultimamente: 300 pagine in meno non avrebbero fatto del male a nessuno.Per devo ammettere, un po' a malincuore, che questo libro mi piaciuto.Quali aspetti di questo romanzo non sono riusciti a convincermi?Le prime settanta pagine sono servite soltanto a ricordarmi una cosa: a me, di un gruppo di ragazzini bianchi (mostly) etero one percenter della California non potrebbe davvero importarmene di meno.Anche i ricchi soffrono, ma mai abbastanza.Le descrizioni: non solo mi devo sorbire tutti i nomi di tutti i vestiti che indossano i protagonisti e delle marche delle automobili, ma anche l'elenco continuo di tutte le strade che Bret percorrere.Le ripetizioni: ottime per sottolineare l'ossessione che si sviluppa nella mente di Bret, pessime per la noia che si sviluppa nella mia.Il sesso: non ho davvero bisogno di sapere che tutte le mattine Bret pensa "mi sono docciato e s*gato" o che ogni volta che vede il c*lo di qualcuno (vivo o MORTO) ha una reazione fisica.I dialoghi: dio ce ne scampi e liberi.I dialoghi non sono semplicemente superficiali e ripetitivi, ma inconcludenti in una maniera esagerata, da far digrignare i denti.Nonostante i difetti che hanno reso alcuni passaggi davvero tediosi, nel complesso funziona bene, ci permette di ragionare sulla societ in cui viviamo e sul vuoto che si espande dentro di noi, e intorno.Recensione completa sul blog "Lego, Legimus" E sa che quello verso Robert Mallory un sentire paranoico, infondato, eppure cos forte e coerente: impossibile non cedergli. Perch le buone storie fanno cos, danno senso alle cose che ci circondano, e questo ci rassicura. Ma hanno anche una viscosit che, per quanti sforzi facciamo, ci trattiene nelle loro maglie, rendendoci mosche appiccicate alla carta insetticida. Storie splendide e letali, esattamente come Le schegge di Ellis, insomma. Appena Ellis concluse la sua lettura di Le schegge sul suo podcast, The Quietus mi commission un pezzo su quello che avevo ascoltato. Ero smarrito e avevo un limite di parole draconico. Riassunsi tutto quello che avevo da dire cos: Alla fine di Le schegge (traduzione di Giuseppe Culicchia, Einaudi 2023) Bret Easton Ellis cita alcuni titoli di brani degli anni '80, la musica emblematica di quel periodo, inni "alla speranza nel futuro, a nuove metamorfosi, a lasciarsi l'infanzia alle spalle". E scrive: "Se quelle canzoni parlavano, come un tempo avevo pensato, di un bambino che diventava uomo, ora parlavano anche, per il cinquantaseienne che ero, di un uomo che era rimasto bambino". Le schegge il commovente romanzo di uno scrittore prigioniero: del successo guadagnato a vent'anni con Meno di zero (1985); dell'ossessione di un libro "che aveva smesso di cercarmi" ma che, a un certo punto, "era risaltato fuori, pulsando di vita propria, cercando di infiltrarsi dentro di me, di espandersi nel mio immaginario in un modo talmente pervasivo" tanto che "cercare di ignorarlo, era diventata una distrazione"; prigioniero "di un film di serie b sui liceali", a New York o a Los Angeles non importa, tra feste, auto costose ricevute in comodato da genitori facoltosi ("quel cazzo di nuovo arrivato, Robert, con la sua cazzo di Porsche 911. Chi gliela compra a un ragazzino una Porsche 911?"), case enormi con vasti giardini e piscine o attici con vetrate sulla vista spettacolare di West Hollywood "e le colline sopra il Sunset punteggiate di luci", e i ristoranti di lusso di New York, che ci sono sempre, in tutti i suoi romanzi, da American Psycho (1991) a Glamorama (1999) a Imperial Bedrooms (2010). Ellis dice che aveva cominciato a pensare di scrivere la storia raccontata in Le schegge, circa vent'anni prima ma aveva pubblicato altri due libri, prima del 2020, quando finalmente "sentii che potevo iniziare Le schegge, o che Le schegge fosse pronto, perch fu il libro a manifestarsi a me, non il contrario". La storia del gruppo di amici della Buckley, la scuola privata per rampolli losangelini, tutti belli, fisico da pin up le ragazze, tutti biondi e muscolosi i ragazzi, una specie di fiction alla Beverly Hills Teens, disturbata dagli atroci delitti di un serial killer chiamato nelle cronache del Los Angeles Times "il Pescatore a strascico" per il rito cui ricorre, quello di utilizzare in modo abominevole i pesci sottratti agli acquari delle magioni in cui vivono le giovani vittime prima di ucciderle, in un caso facendoli ingurgitare vivi a un ragazzo, in un altro inserendoli nella vagina di una ragazza e chiudendola con del mastice. L'America che emerge da questo libro un paese di adolescenti adultizzati troppo presto e di adulti immaturi anche a cinquant'anni, alle prese con crisi coniugali, divorzi, identit sessuali pericolanti. Adulti disperati che si confidano inverosimilmente con gli amici dei loro figli e adolescenti scafati che non esitano a concedere loro favori sessuali se intravedono un vantaggio. Un conto raccontare questi ragazzi essendo uno di loro, come Bret Easton Ellis fece quando scrisse Meno di zero. Altra cosa immergersi di nuovo in quel mondo da quasi sessantenne. Lui sembra accorgersene e il libro appare molto controllato, infarcito fin troppo di titoli di film e di brani musicali dell'epoca e di scuse non richieste, ma rivelatrici, tipo "nonostante avessi diciassette anni sapevo chi era David Hockney e lo riconobbi immediatamente"; "la Polo Lounge era stata reinventata nel film American Gigolo, immaginata dallo scenografo Ferdinando Scarfiotti. Ero a conoscenza di cose come questa, a diciassette anni"; "una volta arrivato a cinquantasei anni essere un diciassettenne mi era diventato sempre pi chiaro dal punto di vista emotivo, pi a fuoco e urgente di quanto fosse mai stato, e mi sono reso conto di aver avuto bisogno di quarant'anni di distanza per scrivere infine questo libro". Recentemente, su Facebook, c' stata una discussione, provocata da un post pubblico di Jacopo Masini, che ho trascritto e che riproduco: "Quando usc Meno di zero, cos come quando uscirono i primi libri di McInerney o Foster Wallace o Zadie Smith, si avvertiva nell'aria che qualcosa di nuovo stava iniziando a palpitare. Una scossa che dava l'impressione di leggere e assistere a un fenomeno culturale e narrativo vivo, straniante, potente. L'uscita del nuovo libro di Bret Easton Ellis mi ha fatto pensare che, se siamo qui, apparentemente elettrizzati dopo quarant'anni dal suo esordio, perch non sta accadendo niente di cos potente oggi. Nessun sommovimento letterario, nessun ventenne o trentenne che fa palpitare l'aria, non in letteratura. Solo piccolo e medio cabotaggio. Magari sbaglio di grosso". Potrei aggiungere, in quegli anni, lo shock che provoc a chi era nei suoi vent'anni uno spettacolo teatrale come Crollo nervoso (1980) dei Magazzini criminali, e il conseguente vinile, sorprendemente bianco invece che nero, le alte palme californiane sulla cover, con le musiche di Brian Eno; era la prima volta che il nobile teatro si contaminava con la musica pop e la cultura di massa; o, nel 1976, la partitura iterativa ipnotica di Philip Glass per Einstein on the beach di Bob Wilson. Oppure, pi vicino nel tempo, la modernit del linguaggio cinematografico mai vista prima, che mischiava fiction e documentario, in un film come Gomorra (2008) di Matteo Garrone e il diverso uso della sceneggiatura, a incastri acronicamente sfasati, di Pulp Fiction (1994) di Quentin Tarantino. L'abilit di Ellis mischia realt e invenzione, passato e presente: invece di accontentarsi di immergerci in una storia vintage 1980, sono continui i richiami alla contemporaneit di noi che leggiamo, con citazioni di un tempo pi prossimo all'oggi, dal crollo della Lehman Brothers (2008) a un invito, lo stesso anno, che Ellis riceve da Jay McInerney e sua moglie Anne Hearst a passare un week end nel castello di lei, Bret gi famoso e acclamato scrittore; assecondati dal traduttore che non esita a tenere nel testo parole attuali come "boomer" o espressioni come "la nostra bolla", e frasi: "mentre scrivo non riesco a credere che fui lasciato l per venti minuti, da solo, senza un telefono da guardare", per svegliarci e dirci che, mentre seguiamo ipnotizzati la trama, siamo nel 2023. «link» cc7c31b456 gengayt
20:49-- Host_4351: sportwetten bonus mit einzahlung «link»
20:46-- Host_1333: Wіth heuristic techniques instructed аt OMT, students discover tо belіeve ⅼike mathematicians, igniting enthusiasm аnd drive for superior examination performance. Expand уour horizons wіth OMT'ѕ upcoming brand-neԝ physical space ⲟpening in Sｅptember 2025, offering а lot more opportunities fߋr hands-on mathematics exploration. Ꮤith math integrated seamlessly іnto Singapore's classroom settings tօ benefit both instructors and students, dedicated math tuition amplifies tһese gains by providing tailored support fօr sustained achievement. Tuition programs f᧐r primary math focus оn error analysis fгom ρast PSLE papers, teaching students t᧐ avοid recurring mistakes іn calculations. Recognizing ɑnd fixing specific weak pοints, ⅼike in likelihood օr coordinate geometry, mɑkes secondary tuition imрortant for O Level excellence. Tuition instructs mistake analysis techniques, helping junior college trainees stay ϲlear ⲟf usual challenges іn A Level estimations аnd evidence. OMT sets іtself ɑpart witһ an educational program that improves MOE syllabus Ƅy means of collective ⲟn the internet discussion forums fߋr ցoing oѵer exclusive math difficulties. OMT'ѕ online system promotes self-discipline lor, trick tօ constant researcһ study and greater exam outcomes. Math tuition іn lіttle groups ensսres tailored focus, typically ⅾoing not have іn ⅼarge Singapore school classes fօr examination preparation. «link»
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20:44-- Host_6852: "Satisfaction" is a song by Italian DJ Benny Benassi. It was released in Italy in June 2002 as the lead single from his album Hypnotica. Using MacinTalk, the song's vocals consist of two speech synthesizers, one male and one female, repeatedly saying "Push me and then just touch me till I can get my satisfaction". The track was Benassi's debut single and most successful song, peaking at number two in the United Kingdom and earning a gold certification in Australia, Belgium, France, and the United States. As of August 2014, it was the 54th best-selling single of the 21st century in France, with 382,000 units sold.[2] The first version of the music video features the three men and the woman on the cover of Hypnotica. It consists of one three-second take of the four people turning to face the camera and smile, played in slow-motion to match the length of the song. Overlaid are various animations including close-up pictures of the lips of a man and a woman singing along to the song. This music video was barely played on music channels, although in some countries, it replaced the "construction" version. The second version of the music video features women in skimpy construction outfits. The video plays almost as a musical advertisement for a variety of power tools. All are used in a sexual manner. This version was mainly relegated to nighttime hours. It stars British lad mag models Jerri Byrne, Thekla Roth, Lena Stokes and Natasha Mealey, and American Playboy Playmate Suzanne Stokes.[6] In late 2017, cadets at Russia's Ulyanovsk Institute of Civil Aviation marked the end of their term by making a parody of the video that drew on a similar parody four years earlier by British soldiers.[10] Wearing just their uniform caps and ties, belts worn around their shoulders, underwear (with the crotches stuffed) and black boots, the cadets twerked, gyrated suggestively, performed maintenance tasks and cleanup in a fashion similar to the video as the cameraman moved from one to the other in their dormitory. The video, which soon went viral, had strong homoerotic elements and suggestions of BDSM culture.[10] Officials at the institute, described as the oldest and most prestigious pilot training school in Russia, were furious, particularly since the cadets had used school property and worn their uniform caps. Sergey Krasov, the institute's director, said: "If they had joked like that at home, nobody would have batted an eyelid."[11] Shortly after the video became a subject of national discussion,[12] the Federal Air Transport Agency convened a commission to investigate the video and identify the cadets, believed to be in their first year at the institute, who had made it. "Frivolous dances in underwear with the uniform cap of the Institute covering the face on the grounds of the aviation university are unacceptable" the agency said. Any cadets it found to be involved could face expulsion.[13] "Satisfaction" is credited for playing a pivotal role in shaping the electronic music scene and solidifying Benny Benassi's status as a leading figure in the genre. The song's success opened doors for both Benassi and the genre as a whole, bringing electronic music further into the mainstream and gaining recognition from a broader audience.[14] "Satisfaction" is also considered to be the forerunner of electro house that brought the genre into the mainstream.[3] If there is a dispute about the amount owed for a judgment, records proving who has paid for what and how much will be very important. The history of a judgment is impossible to recreate from memory. That's why it is important to keep contemporaneous records of transactions. The court will have a copy of the judgment, and the parties should keep their copies too. The parties should also keep records of all other transactions related to the judgment. The parties should keep the receipt and/or a copy of the check when the creditor pays a cost that can be recovered from the debtor-such as attorney fees, if authorized, or the fee to apply for a writ of garnishment or a writ of execution, or the fee to serve the writ, or the fee paid to a garnishee. The parties should also keep the receipt and/or a copy of the check when the debtor or the debtor's insurance provider pays an amount toward the judgment. Similarly, the parties should keep the receipt and/or a copy of the check when a garnishee withholds wages or other money from the debtor, or when the creditor receives the proceeds of a sheriff's sale, or when the debtor forfeits bail to the creditor. When moving to renew a judgment, the creditor will have to prove the amount due, including the amount of the judgment, the amount of post-judgment interest, the collection costs, attorney fees, if they are authorized, and the amount that the debtor has paid. When moving to satisfy a judgment, the debtor will have to prove these things. And each party with have a chance to dispute the other party's accounting. Testimony or an affidavit from the creditor or debtor is evidence of the amount due, but contemporaneous written records are more reliable. If the parties have a contract that establishes a post-judgment interest rate, that rate will be applied to the original judgment and any renewal of it. Under Utah Code Section 15-1-4, other civil judgments bear interest at two percent more than the federal interest rate for the year in which the judgment was entered, and they keep that rate for the life of the judgment, even if the federal rate changes in the meantime. An order renewing the judgment is a new judgment, and the post-judgment interest on the new judgment will be determined by the year in which the new judgment is effective, unless there is a contract establishing a different amount. For more information on the post-judgment interest rate for a year since 1993, see our webpage on Post Judgment Interest Rates. "Satisfaction of a judgment," which is governed by URCP 58B, means that the debtor has paid the entire amount of the judgment and all accumulated fees, costs and interest, or that the creditor has decided not to pursue further collection efforts. Filing a partial satisfaction with the court is permitted, but it is seldom done. Partial satisfaction means that part, but not all, of the judgment has been paid. Satisfaction of a judgment means that the judgment is no longer a lien on the debtor's real property. The courts cannot control the actions of third parties, but usually, the fact of satisfaction is recorded by the major credit reporting agencies and included in the debtor's credit history. If the debtor has paid the judgment and all accumulated fees, costs and interest, the creditor is required to file an acknowledgment of satisfaction in the court that entered the original judgment and serve a copy on the debtor. This tells the court that the case is finished. If the creditor files an acknowledgment, the court will record it without further proceedings. If the original judgment creditor has sold or assigned the judgment to a third party, that third party steps into the shoes of the original judgment creditor for collection purposes. It is that third party who is required to file the acknowledgement. If the creditor does not file an acknowledgement of satisfaction, the debtor can file a motion for an order declaring that the judgment is satisfied. The debtor must file the motion in the court that entered the original judgment and serve a copy on the creditor. As part of the motion, the debtor must provide proof, such as receipts, statements or canceled checks, that the judgment has been paid. Because the motion is filed by the debtor, the court must give the creditor an opportunity to respond. If the motion is granted, the court will record the satisfaction. The procedures for motions are governed by URCP 7. The forms for filing a motion are in the Forms section below, but for more information about motion procedures, see our webpage on Motions. Many times the judgment creditor will have filed a judgment entered by one court in another court or in another governmental agency, such as the county recorder. Each of those filings is an independent record of the judgment, and the judgment debtor must present proof of the satisfaction to the other courts or agencies. The debtor may need to provide to those other courts and agencies a certificate from the original court that the judgment has been satisfied. A certificate can be issued only after the satisfaction, whether by acknowledgement or motion, has been recorded in the original court. You are continuing to another website that Utah Courts may not own or operate. Its owner is solely responsible for the website's content, offerings and level of security, so please refer to the website's posted privacy policy and terms of use. The site is secure. The «link» ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely. Methods: Between October 2012 and March 2013, the American Society of Clinical Oncology conducted a survey of US oncologists evaluating burnout and career satisfaction. The survey sample included equal numbers of men and women and represented all career stages. Conclusion: Overall career satisfaction is high among US oncologists, albeit lower for those in PP relative to AP. Burnout rates among oncologists seem similar to those described in recent studies of US physicians in general. Those oncologists who devote the greatest amount of their professional time to patient care seem to be at greatest risk for burnout. Background: Family satisfaction with end-of-life care in the ICU has not previously been systematically reviewed. Our objective was to perform a review, synthesizing published data identifying factors associated with family satisfaction with end-of-life care in critically ill adult populations. «link» cc7c31b456 goupans
20:40-- Host_5893: Human is the fifth studio album by American singer Brandy. It was released by Epic Records, Knockout Entertainment and Koch Records on December 5, 2008. The album marked her debut Epic Records release, following her split with Atlantic Records in 2005, and her reunion with longtime collaborator and mentor Rodney "Darkchild" Jerkins, who executively produced and wrote most of the album with his songwriting collective. In June 2004, Brandy released her fourth studio album Afrodisiac, amidst the well-publicized termination of her short-lived business relationship with record executive and entertainment manager Benny Medina.[3] Brandy ended her contract with his Los Angeles-based Handprint Entertainment after less than a year of representation following controversies surrounding Medina's handling of the lead single "Talk About Our Love", and failed negotiations of a purported co-headlining tour with fellow R&B singer Usher.[3] Despite the negative publicity, Afrodisiac emerged as Brandy's most critically acclaimed album by then, but became a moderate seller on most music markets.[4] The album debuted at number three on the Billboard 200 albums chart but while it went on to sell more than 416,000 copies in the United States,[5] it generally failed to chart or sell noticeably elsewhere.[6] Kanye West-produced "Talk About Our Love" reached number six on the UK Singles Chart but later singles such as "Afrodisiac" and "Who Is She 2 U" failed to score successfully on the popular music charts and promotion for the album soon ended.[7] At the end of 2004, after eleven years with the company, Brandy asked for and received an unconditional release from her original label Atlantic Records.[8] By the time her contract expired, several of her longtime patrons such as music producer Darryl Williams and industry executive Sylvia Rhone had left the company and Brandy felt mismanaged by her new team of which she found was "looking more towards the hip-hop artists" on the label and "didn't know what to do with [her]."[7] Completing her contract with Atlantic Records, a compilation album compiling her first four studio albums with the company, entitled The Best of Brandy, was released in March 2005.[6] Thereupon, Brandy reportedly started shopping for a new record deal under Knockout Entertainment, her brother's Ray J's vanity label, which would co-venture her subsequent releases, including her fifth album, which she started recording independently.[9] Brandy originally began recording her fifth studio album in 2005.[10] Breaking away from her usual formula which saw her setting up projects with former main producers such as Keith Crouch, Rodney "Darkchild" Jerkins and Timbaland, she entered the studio with several songwriters and producers to record new music, including Louis Winding and Frederik Tao from Danish production team Maximum Risk.[10] The duo produced several songs for Brandy, including both "Honey" and "Sweet Nothings," all of which were penned by frequent collaborator Kenisha Pratt.[10] Over the following months, Brandy continued recording contract-free with a vast of producers such as Rockwilder and production duo Tim & Bob who finished several demos with her.[11][12] Her new management also arranged further recording sessions with fellow client Bryan Michael Cox and his production partners Adonis Shropshire, Eric Hudson and WyldCard at the Track Record Studios in North Hollywood.[13] Supposed to produce her whole album at the time,[13] tentatively titled "Sweet Nothings", they worked on a number of ballads and midtempo songs reminiscent of their other productions, including a song called "Make Me Cry."[14] In June 2006, Cox announced that he would serve as the album's executive producer,[1] but direction changes resulting from additional sessions left his songs unused.[14] In December 2006, Brandy was involved in a fatal automobile accident on Los Angeles' San Diego (405) Freeway.[15] The accident claimed the life of the 38-year-old driver of a Toyota that was struck by Brandy's Range Rover.[15] Brandy was neither arrested nor charged with vehicular manslaughter due to insufficient evidence.[15] Nevertheless, multiple lawsuits were filed against her, all of which were ultimately settled out of court by her civil attorney.[16] Posing an extraordinary hardship for Brandy and her family, she stepped down from her role as a judge on the second season of the amateur talent contest America's Got Talent and went into hiatus.[17] Expanding on dealing with the aftermath of the tragedy, Brandy explained, "I just wanted people to know that this wasn't news. It's not something that should be talked about like it's gossip. You don't like me? Fine. But don't use this situation to try to hurt me, because the guilt of being involved is enough. It's something that I'll never truly, truly get over."[18] While the accident put a halt on the album's production, Brandy soon resumed recording which she found to be therapeutic: "I had to face it and find the strength to move forward. Connecting back with music has definitely helped me through everything. Once I got back in the studio, the butterflies went away."[19] With the album being revamped completely,[14] other musicians joined the project, including Midi Mafia, RedOne, Toby Gad, Frank Ocean, Blac Elvis,[20] and Brian Kennedy,[21] the latter of which was consulted to replace Cox as the album's executive producer.[22] Together, they crafted a bunch of new songs, including "Freedom", "One Thing" and "Today" which Brandy later described as sounding "more true to the sound" of the original, now-abandoned "Sweet Nothings" project which she had initially envisioned for her fifth album.[10] However, in early 2008, her A&R manager, Brandon Creed, presented Brandy several demo tracks that were produced by Rodney Jerkins, including "Right Here (Departed)".[23] Her former main producer on previous albums such as Never Say Never (1998) and Full Moon (2002), Jerkins hadn't worked with Brandy since 2002, due to conflicting schedules and a disagreement on her decision to work with Timbaland on Afrodisiac in 2003.[24] Again, the album was reconstructed, with Jerkins taking over executive duties.[1] On her decision to collaborate with Jerkins, Brandy commented: "With Rodney being the person who produced [the first single], I, of course, wanted to go from there because of our history and all the music we have made in the past. It felt like the right thing to do [...] I wanted to see where that chemistry would take us creatively this time round."[25] With Jerkins on board, providing the bulk of Human, the sound of the album shifted drastically, with Brandy and her team abandoning most R&B records in favor of his international pop sounds.[1] Brandy signed a new record deal with Epic Records in April 2008 and intended to finish the album by September of the same year.[26] Additionally, she worked with producers Timbaland,[27] Rico Love,[21] Rob Knox,[28] The Clutch,[29] and songwriters Chasity Nwagbara,[21] Kara DioGuardi,[30] and Greg Curtis on Human,[31] although their songs were ultimately left off the final project.[21] Further studio collaborations with Kerry "Krucial" Brothers, Missy Elliott, Yung Berg, and Tonex, by contrast, failed to materialize due to scheduling conflicts.[32][33][34] Introduced by the words of Brandy's description of a human being on "Human Intro", the album opens with Jerkins-crafted "The Definition", one of the few uptempo recordings on the album.[35] Written by Atlanta-based songwriter Crystal Johnson, the song depicts Brandy rhapsodizing about love.[35] It received generally mixed reviews, with The Boston Globe emphasizing it the most essential track on Human.[35] "Warm It Up (With Love)", another Darkchild production, was created around a piano sample and released to strong positive reactions.[36] Highlighted by AllMusic and Slant Magazine,[36] Newsday writer Glenn Gamboa noted it as "guiding principle" on the album.[37] Lead single "Right Here (Departed)" was not recorded until late into the production of Human and the first song Brandy recorded with Jerkins following their musical reunification in early June 2008.[23] Written by The Writing Camp and recorded with therapeutical background, the track chronicles a woman's talks about mutual support with loved ones.[38][27] Fifth track "Piano Man" was recorded as an ode to the kind of creative relationship cultivated by a vocalist and their producer or DJ.[38][39] "Long Distance", a ballad about the difficulties of a long-distance relationship, was released to positive reactions by critics, with The New York Times calling it an "hymnlike single that distantly echoes Janet Jackson's "Again."[40] Eighth track "Camouflage", one out of two songs on the album that were written by songwriter Claude Kelly, garnered strong reviews in general, with Newsday declaring it a "worthy cousin to Beyonc's "Irreplaceable" that [is] more about esteem-raising and self-improvement than a search for a sassy put-down."[37] "Torn Down", a joint production by Midi Mafia and Dapo Torimiro, was one of the few prominent Human features on the set list of Brandy's Human World Tour (2009). Incorporating elements of country music, critics noted it a "resolute, crisp mix of static synths, acoustic guitar, and hand claps."[35] Brandy wrote the album's title track with help from producer Toby Gad and Canadian singer Esthero. A "silky R&B anthem" as described by Newsday,[37] the ballad deals with forgiveness.[38] "Shattered Heart" is a downbeat track, that incorporates elements of Middle Eastern music and changes its tempo after three minutes. It has been described as the only "Timbo-esque" record on Human.[39] The album's twelfth track, a piano-driven ballad entitled "True", was contributed by RedOne and Claude Kelly and initially written for Michael Jackson.[41] The song was rearranged and partially rewritten to fit Brandy's persona.[41] It was released to positive reviews by critics, who noted it one of the stronger tracks on Human.[35] "A Capella (Something's Missing)", produced by Soundz, is a near-a cappella song on which Brandy provides "a polyphonic cyberchorus" with multiple tracks of her own voice.[42] Humming the bassline and providing the rhythm, the instrumentation on the track consists of a sole electric guitar.[40] Hand-clap-laden uptempo recording "1st & Love", the album's fourteenth track, depicts a woman's euphoria with a new-found love at first sight and was discussed as the third single at times.[25] Final track "Fall," another piano ballad, was co-written by labelmate Natasha Bedingfield. As reported, Brandy and Bedingfield were forced to move their first joint recording session from Atlanta to Los Angeles as singer Chris Brown and his entourage crashed into the studio, where they "blasted Brown's songs and horsed around."[43] «link» cc7c31b456 keygess
20:40-- Host_9561: An APK teardown helps predict features that may arrive on a service in the future based on work-in-progress code. However, it is possible that such predicted features may not make it to a public release. Based on the strings above, it appears Pointer Mode will use gesture controls like wrist and finger movements. It sounds somewhat reminiscent of the gesture controls used for the Vision Pro and Apple Watch. For example, you would shake your hand to activate pointer mode. Pinching would be how you select a channel, making a fist would send you back to the previous channel you were on, and making a fist twice would take you to Home. Pointer Mode would be a little different than the Wiimote-like feature coming to the SmartThings phone app later this year. That feature provides a touchpad in the phone app, allowing you to control a cursor on the TV. It will also allow you to point your smartphone at the TV for cursor control. There would be no touchpad interface for Pointer Mode. BrainWave offers an innovative way to control your music experience using hand gestures, enhancing convenience and usability. By simply waving your hand over your device, you can play, pause, and select tracks without touching the screen or unlocking the device. This app is powered by Ari technology, which allows intuitive gesture controls by utilizing the front-facing camera on your smartphone or tablet. It supports operation from as far as 3 feet away, making it versatile for various environments. Once installed, BrainWave seamlessly integrates with popular music players like Spotify, Pandora, and iHeartRadio, ensuring that you can enjoy your favorite music hassle-free. With BrainWave, listening to music becomes a hands-free experience, particularly beneficial when multitasking or when your device is out of reach. The app works effortlessly in both portrait and landscape orientations and remains functional even when your screen is off, thanks to its intelligent gesture detection. Moreover, BrainWave's background operation enables you to adjust volume and control tracks with simple gestures, providing an enriching audio experience without other physical interactions with your device. Uptodown is a multi-platform app store specialized in Android. Our goal is to provide free and open access to a large catalog of apps without restrictions, while providing a legal distribution platform accessible from any browser, and also through its official native app. Teen Patti Gold by Live Dealers stands as one of the most captivating online casino games available to players in the United Arab Emirates. Combining the traditional Indian card game Teen Patti with immersive live dealer sessions, this online casino game offers dynamic gameplay enriched by intuitive gesture controls. This guide explores how gestures enhance interaction within the Teen Patti Gold APK and boosts player experience in real-time dealer games. Gesture operations in Teen Patti Gold APK are designed to provide players with fast, fluid, and natural access to game functionalities without relying on cumbersome menu navigation. Players in the UAE find these controls especially useful given the fast-paced betting environment. Below are commonly used gestures: It looks like you're using an ad blocker, so you'll have to wait 15 more sec. Hide ads with Premium to skip the wait and help us pay for bandwidth, hosting, and other bills. Or please add this site to your allowlist (AdBlock Plus, uBlock Origin) Jealous of the cool new gesture navigation features on newer phones?With Navigation Gestures, you don't have to buy a new phone or wait for the next Android update to get swipe gesture controls. Navigation Gestures brings swipe gestures to any Android device! Replace the navigation bar buttons and get gesture controls with Navigation Gestures! Gesture Tools - Phone Controller is an innovative application designed to streamline and enhance your smartphone experience through the use of customizable gesture controls. With this app, you can swiftly perform a variety of tasks by simply drawing predefined gestures on your screen. The main feature is a convenient floating button that seamlessly integrates with your device's home screen. By tapping this button, you can access a gesture drawing interface to execute various actions quickly. The app caters to a wide range of functionalities. One of the primary uses includes opening any application installed on the device. Users can assign a unique gesture to each app, allowing for instantaneous access without the need to navigate through menus. This is particularly useful for frequently used apps, optimizing efficiency and saving valuable time. Additional features include communication enhancements such as Quick Call and Quick SMS. With a simple gesture, initiating a phone call or sending a message to any contact in the address book becomes more convenient than ever. Moreover, it extends its utility to managing system tools. Users have the ability to toggle settings like WiFi, Bluetooth, GPS, and mobile data with just a gesture, enhancing control over the device's connectivity and power settings. For functionality, it requires specific permissions to access and manage the list of installed apps, ensuring seamless integration and functionality across different devices, particularly those operating on Android 11 and later. Gesture Tools - Phone Controller stands out by providing a personalized, efficient way to manage your device with just a swipe of your finger. Gesture Suite enhances your mobile experience by allowing you to create custom gestures that individually suit your needs. This Android app offers a comprehensive approach to automation, enabling you to execute tasks and manage device settings effortlessly. Whether it's custom touch gestures that recognize up to 10 fingers or air gestures activated through proximity, Gesture Suite accommodates numerous interaction methods. Enjoy seamless control with voice commands, shake gestures, and a robust task scheduler designed for various triggers, including app changes and device events, saving you time and energy by consolidating multiple actions into a single gesture. Gesture Suite boasts over 70 actions designed to simplify your daily routine, from launching applications and taking photos to managing Wi-Fi settings and system functionalities. The app stands out with its wide range of features, including a screen recorder, file manager, image gallery, and app launcher. It further aids in organizing and securing your digital environment with tools like a launchpad for frequently used apps, screen and app password protectors, a task scheduler, and much more. Unlock the full potential of your Xiaomi earphones with the Xiaomi Earbuds app. Experience seamless updates, ensuring you always have access to the most advanced features. Tailor your listening experience with customizable noise cancellation and intuitive gesture controls. Enhance usability with In-ear detection and easily locate misplaced earbuds. The platform allows users to enhance their audio experience through a suite of customization options compatible with select Xiaomi earphone models. The interface provides direct control over various settings to suit personal preferences and adapt to different environments. FullPre is an advanced Android app designed to enhance your photography experience by leveraging intuitive gesture-based controls. It allows you to seamlessly operate your device's camera with simple hand gestures, offering enhanced functionality and user control. Whether you are switching between front and rear cameras, adjusting zoom levels, or fine-tuning brightness settings, this app provides a smooth, efficient, and customizable interface to meet your photography needs. Its compatibility with devices supporting camera2 API ensures improved access to professional-grade features. FullPre incorporates an array of gesture controls that make capturing photos highly convenient. Actions such as swiping, pinching, or tapping the screen let you adjust settings, pause or restart the camera preview, and apply effects based on real-time requirements. Advanced users can also take advantage of its white balance adjustment, optical zoom functionality, and effect-switching options, making it a versatile tool for both casual and professional photography. This app facilitates efficient organization by saving images automatically in a designated folder within the DCIM directory, ensuring easy access and compatibility. These file management updates streamline photo storage and enhance integration with other tools or devices. Its interface remains user-friendly and clears unnecessary complexity, prioritizing usability and quick functionality. With FullPre, elevate your photography by utilizing gesture-based capabilities and a straightforward, innovative design. This app redefines how you interact with your camera, ensuring greater efficiency and precision in every shot. Navigation Gestures is an app that, without needing a root, lets you hide the navigation bar on your Android and activate navigation gestures. The best thing about it is that you can personalize each and every one of the gestures. When you install Navigation Gestures, you will automatically get a series of simple controls. By tapping the bottom part of the screen you will return to the home screen while tapping and holding will open the assistant. You can also create gesture shortcuts for swiping to the sides, swiping up, rapid double tapping, etc. One important thing to keep in mind about Navigation Gestures is that if at any point you want to uninstall the app, you need to turn it off first. If you don't, then it's possible that some of the app's functions might continue to work. So, remember: turn off first, then uninstall. YouTube has a couple of basic gestures: you can double tap each half of the video to skip forward or back ten seconds, and you can swipe down to minimize the video. But wouldn't it be more useful if there were gestures to control brightness and volume? Well, as with all things Android, where there's a will, there's a way. «link» cc7c31b456 wainkyle
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