--- title: Astrid y Gaston city: Lima, Peru date: 2019-04-13 mapleft: -253 maptop: -370 listdata: Astrid y Gaston was the 15th restaurant on the quest. It was 33rd on the list in 2017 and 39th in 2018. idx: 15 ogimage: https://res.cloudinary.com/snookca/image/upload/v1559331158/15-astrid/L1000603.jpg tags: - post layout: layouts/post.njk ---
After Maido and Kjolle, expectations were high. Like the other places, we arrived just before it opened. A&G’s venue was really upscale, though. Private grounds, with valet service, and a palatial staircase leading up and into the restaurant proper.
We were sat at a table right in front of the kitchen. Oh, perfect! À la carte menus were presented and we were momentarily confused. “Can we do the tasting menu?” There was some confusion and hesitation on the waiter’s part. It would seem that we may not be able to do the tasting menu. He leaves and returns to let us know that we were in luck and could do it! Whew!
The meal kicks off with a trio of canapés: uni ceviche crouton, a seafood empanada, and a crispy potato bite. This was followed by an uni panna cotta and after that, a small bowl of ceviche. (Peru is known for its ceviche and we made sure to enjoy it throughout the week. I’d like to say that this was the last of the ceviche, considering we flew out the next day, but no, we had it once more for lunch at a nearby restaurant before heading to the airport!)
Next up was a bread basket filled with a tasty variety of breads. We have to be careful as it would be really easy to fill up on bread alone.
After the bread, we had a crab and albacore taco that was delicious. (Memories of Pujol come flooding back!)
The fifth dish, a fried pork croquette on a bed of lentils, was a bit larger in size. The cherry tomatoes were fresh and tasty. Contrast that with the sixth dish, a single scallop-stuffed ravioli in a citrus butter. Mmmm. The seventh dish was lobster and fava beans in a tangier sauce.
The eighth and ninth dishes were the meaty mains. The former, a crispy pork belly. The latter, a stewed beef on rice. Heavier, richer dishes that definitely needed a light chaser. Thankfully, dessert was to follow!
First, an apple sorbet to cleanse the palate. After that, ice cream with what I believe was shaved black fig.
What’s good after a wonderful meal? A Cuban cigar, of course. Made of chocolate. And pop rocks. That’s right, the chocolate ganache that filled the chocolate shell crackled in our mouths and filled me with child-like delight!
Last but not least, we were presented with a magical box that unfolded in six different ways to present an increasingly larger selection of candy treats. I was completely stuffed by this point and was very modest in my selection, despite the prodding by the waiter to grab more.
I felt a bit sorry for the sommelier. It looked like he was having a rough night, running from table to table. I wondered if they were short staffed. He was friendly, though his explanations a bit rushed and timing with the meals a bit off. I appreciated being told that a drink was for multiple dishes.
The wine pairings were lovely and well-paired. I was hoping we’d get a copy of the menu, which usually includes the wines paired. But with the confusion at the beginning of the meal, we left without it. So while I can’t remember what I had, I know it was good. They didn’t do anything out of the ordinary. A sparkling to start, some whites, some reds. A mild sweet wine at the end. I think it was a muscat.
I went into this with my expectations higher and, unfortunately, I didn’t feel like it met those expectations. The meal was tasty and there weren’t any disappointing dishes. The bread basket and the cigars were the highlights—likely because they stood out from the usual fare. I had been to the location in Bogota a couple years prior and this experience definitely surpassed that one—in inventiveness and flavour.
If you’re in Lima and trying to take down all of the restaurants, by all means, head to A&G. However, Central, Kjolle, or Maido would be higher on my list.


I’ve been thinking about how our experiences can influence our values and identity, and vice versa. I would consider adventure, creativity, and growth to be a few of my core values.
Adventure is a value of mine because taking leaps into the unknown has provided me with great experiences. My greatest example would be when I moved to NYC to work as a bike messenger, after becoming obsessed with cycling earlier that year. I’m diving into code now and I look forward to whatever this brings.
I value creativity because I see it as something we can develop and grow through many outlets. From art, cooking, to problem solving. To me this also ties in with being a lifelong learner. I have found opportunities and communities through creative pursuits such as music.
And growth, I reckon I am at EDA now because of aligning with the aforementioned values. My last job in the music industry (record shop) could not accommodate for future growth so I was in a fortunate position to resign.
My brief time as a bike messenger provided me with a lot of growth. I gained a lot of strength physically and mentally as it is a demanding job. Even before that experience I had to push myself through challenging times, and I feel that I have a lot of tenacity to push through tough moments that may not last forever. I apply this persistence and drive to my daily activities, and especially when it comes to learning new skills.
The education I am pursuing now with the help of EDA I feel is crucial. At my previous job I often had ideas that I simply could no execute because I lacked the technical ability. I would often share these ideas but not being able to bridge the gap from idea to reality was frustrating. I am looking forward to minimizing my limitations by pursuing this education.


Congying (Ysabel) Li
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{% extends "base.html" %} {% block content %}
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Your Certificate was successfully added to the blockchain
No.of carbon credits= {{item['amount']}}
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--- class: slide title: Waste Free Execution permalink: / section: '#waste-free-execution' description: No names, phone numbers or emails ever. ---
Leads generated for digital and direct marketing execution with our customers PII compliant partners.


TROPIC OF CANCER A film review by David N. Butterworth Copyright 2000 David N. Butterworth
*** (out of ****)
Director Joseph Strick is not one to shy away from tough literary adaptations.
In 1967 his camera wandered the streets of Dublin, following Milo O'Shea as Leopold Bloom, the central figure of James Joyce's masterful "Ulysses." A dozen years later Strick took another stab at adapting an immortal Joycean tome for the screen, the author's first novel, "Portrait of the Artist as a Young Man."
Like those two unassailable works, Henry Miller's once-banned, now-legendary "Tropic of Cancer" was considered "unfilmable" by many but in 1970 Strick took a shot at translating it too, and the film is now seeing a re-release paired with Bernardo Bertolucci's once-banned, now-legendary "Last Tango in Paris." Both films are rated NC-17 today and while the nudity is prevalent yet tame by modern standards, the sexual explicitness of the situations (and, especially in Miller's case, the language) sets both "Tropic" and "Tango" apart.
Miller's 1934 semi-autobiographical novel about a bawdy expatriate in Paris during the Great Depression was referred to by Ezra Pound as "a dirty book worth reading," and Strick's film version, updated and told mostly in unrelated vignettes, supports that observation by keeping most of the author's brilliantly shocking passages--and imagery--intact.
It stars a startlingly handsome Rip Torn as Miller and a flagrantly nude Ellen Burstyn as his estranged, revolted wife.
The film opens abruptly, a roman candle of golden sparks pouring forth from a bidet under the stark, matter-of-fact titles: "Tropic of Cancer by Henry Miller." Cut to Miller on a Paris sidewalk, bumming change. French francs to feed his habit--prostitutes. Miller wanders city streets, past huge abandoned oil refineries, and over the Seine, talking to himself, in his head, that inner Miller voice, that voiceover narration that quotes huge chunks of Miller's unprintable dialogue, dialogue that alternately worships and condemns the exposed female form. He hooks up with friends, associates, and lots and lots of women. He boozes, he bleeds a little (metaphorically speaking), he beds the women all.
While the tone and temperament of Miller's tale is retained, "Tropic of Cancer" is really a book to be savored at the turn of each page, not viewed as a cinematic treatment or interpretation.  Burstyn's contributions are brief but memorable. Credited as Ellen McRae, "Tropic of Cancer" was an early film role for her (hence, presumably, her rare display of nakedness), one which came right before her big break as the female lead in Peter Bogdanovich's "The Last Picture Show."
Whereas Burstyn's hair and makeup date the then 38-year-old actress, the film itself doesn't seem dated at all simply because the colors of Miller's worlds coupled with his colorful expressions of desire make the experience a timeless one.
-- David N. Butterworth<EMAIL_ADDRESS>Got beef? Visit "La Movie Boeuf" online at http://members.dca.net/dnb
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AFIDS Protocol¶
Preparation¶
- Download and use Slicer 4.10.2 (for the time being **DO NOT** use version 4.11 or above)
Naming Scheme for Fiducial Files¶
- [VolumeID]_[Contrast]_[Rater]_[N] (e.g. MNI2009b_T1_JL_1_20170511.fcsv)
- [VolumeID] = the identifier for the volume on which you are performing the fiducial placements; for the tutorial it will be one of the well known MRI templates: * Colin27: average of 27 Colin brains * MNI2009b: average of 152 healthy controls * Agile12v1.0: average of 12 healthy controls at 7T
- [Contrast] = T1, T2, PD, other (typically will be T1)
- [Rater] = the unique identifier for the rater performing the fiducial placement; convention will be first initial and last name to prevent overlap
- [N] = reference for fiducial placement session (helpful if performing placements more than once; starting with 1)
- [YYYYMMDD] = year month and date
General Fiducial Placement Strategies¶
Use the “Jump to Slice” feature to center your view on the fiducial of interest and ensure that the placed landmark appears accurate on all three standard views (axial, sagittal, coronal). Once a fiducial is placed, dragging the fiducial can allow for more refined placement. Holding down shift centers the view in all views on the cursor (use along with crosshair function). If a given fiducial is classified as [midline], jump to an existing midline fiducial (e.g. AC or PC) and start by placing the fiducial on the sagittal view and refine placement using the other views. Try to place fiducials at the boundary/edge of the feature of interest. For some of the fiducials, the instructions for placement will explicitly say to place the landmark using information mostly from one view (e.g. axial view for olfactory sulcus). Be aware that changing the windowing of your images (and lighting in the room) may affect your perception of where landmarks should be placed. When you’re satisfied with the location of a fiducial, lock it in place to prevent yourself from displacing it later. NOTE: there is no UNDO feature for fiducial placements.
Placement of Fiducial Series¶
Create a new Markup list entitled Fid32_[VolumeID]_[Rater]_[N]. Click on ACPC Line and copy over AC and PC to your new list by right clicking each fiducial, choosing “Copy fiducial to another list”, and selecting Fid32_[VolumeID]_[Rater]_[N]. Place the following 30 fiducials, enter the number corresponding to the fiducial in the Name textbox and enter the underlined anatomical structure in the corresponding Description textbox:
1. AC [midline]¶
- Place at the center of the commissure
2. PC [midline]¶
- Place at the center of the commissure
3. infracollicular sulcus [midline]¶
- Inferior part of sulcus of inferior colliculi at the midline junction of inferior colliculi
- Inferior most boundary of longitudinal intercollicular sulcus
4. PMJ = pontomesencephalic junction [midline]¶
- At the junction but because the junction tapers off gradually, choose the ventral/inferior/pontine side of the junction using the sagittal and coronal views
5. superior interpeduncular fossa [midline]¶
- Most superior axial slice showing the interpeduncular fossa
- Use coronal slice to help optimize location at boundary of 3rd ventricle and surrounding brain
- Commentary: useful fiducial location for DBS since subthalamic nucleus close by
6. R superior LMS = right superior lateral mesencephalic sulcus¶
- Localize using axial slices; at boundary of CSF and brain
- Use the coronal and sagittal views to optimize the location so that this point is in the angle created in all views
7. L superior LMS = left superior lateral mesencephalic sulcus¶
- As in 6
8. R inferior LMS = right inferior lateral mesencephalic sulcus¶
- Localize at junction between midbrain and pons first using axial slices
- Refine positioning using sagittal view (at the change in angle of brainstem at the PMJ)
9. L inferior LMS = left inferior lateral mesencephalic sulcus¶
- As in 8
10. Culmen [midline]¶
- Jump to AC or another midline AFID to get to the mid-sagittal slice, then place using the sagittal view
- Most superior point of cerebellar vermis; one of the vermian lobules
11. Intermammillary sulcus [midline]¶
- Click to jump to AC landmark and place using the sagittal view
- Midpoint between the mamillary bodies; remember to place at the border of the grey matter
12. R MB = right mammillary body¶
- Place at the center of the mammillary body
13. L MB = left mamillary body¶
- As in 12
14. pineal gland [midline]¶
- Click to jump to the AC landmark on the sagittal view and place AFID in the middle of gland (use all views to correctly place this point)
- Occasionally the pineal gland is calcified, which makes it more difficult to find the center of the gland. Be sure to scroll back and forth in all views to find the true center point regardless of asymmetry of calcifications
15. R LV at AC = right lateral aspect of frontal horn on coronal section of AC¶
- Defined at same coronal slice as AC (jump to it)
16. L LV at AC = left lateral aspect of frontal horn on coronal section of AC¶
- As in 15
17. R LV at PC = right lateral aspect of frontal horn on coronal section of PC¶
- Defined at same coronal slice as PC (jump to it)
18. L LV at PC = left lateral aspect of frontal horn on coronal section of PC¶
- As in 17
19. Genu of CC = genu of corpus callosum [midline]¶
- Jump to AC and place using sagittal view
- Optimize using coronal view as most anterior point of the corpus callosum on coronal slice
20. Splenium of CC = splenium of the corpus callosum [midline]¶
- Jump to AC and place using sagittal view.
- Optimize using axial view as the inferior-most point on axial section
21. R AL temporal horn = right anterolateral temporal horn¶
- Place using coronal view as the anterior-most (and lateral) point of temporal horn
- Choose a more ventral/inferior point on the coronal view
- Place at the boundary of CSF and brain
22. L AL temporal horn = left anterolateral temporal horn¶
- As in 21
23. R superior AM temporal horn = Rhoton’s R uncal recess¶
- At the superior hippocampal-amygdalar transition area (HATA)
- NOTE: there is also an inferior anteromedial temporal horn
- Rhoton’s uncal recess:
- “narrow medially projecting space between hippocampal head & ventricular surface of amygdala located lateral to uncal apex”)
- Place at the boundary of CSF and brain
24. L superior AM temporal horn = Rhoton’s L uncal recess¶
- As in 23
25. R inferior AM temporal horn¶
- Initially place using coronal view
- Jump to 21 (right AL temporal horn) and scroll to find the most medial (and anterior) showing of the CSF
- Optimize using the axial view again to find the most anteromedial showing of the CSF
26. L inferior AM temporal horn¶
- Like in 25
- Jump to 22 (left AL temporal horn) and scroll the find the most medial showing of the CSF
27. R indusium griseum origin¶
- Defined on sagittal slice at takeoff from posterior hippocampus below splenium
- Begin on the sagittal view (make sure the view is on the right side), scroll back and forrth to find the point where the tail of the hippocampus begins to become pointed and “takeoff”
28. L indusium griseum origin¶
- As in 27
29. R ventral occipital horn¶
- Defined on ventral/inferior portion of last visible coronal slice with occipital horn
- If it is hard to see on the coronal view then you can make the first placement using the axial view (make sure the view is on the right side of the brain).
- Optimize using other views
30. L ventral occipital horn¶
- As in 29
31. R olfactory sulcal fundus¶
- Sulcal fundus = at depth of sulcus and boundary of gray matter-white matter
- Posterior and most superior portion visible on axial slice
32. L olfactory sulcal fundus¶
- As in 31


TABLE OF INTERACTIONS WITH
LEVOFLOXACIN
See also: fluoroquinolones
See also: medications that lower the epileptic threshold
See also: substances with absorption reduced by gastro-intestinal targeted medications, antacids, and absorbants
From the French ANSM drug interactions document of September 2016, p. 142
LEVOFLOXACINE RxNorm: 82122 ATC: J01MA12 S01AE05 |
SUBSTANCES THAT TEND TO INDUCE TORSADES DE POINTES CLASS CODE: C01-N05 |
Increased risk of ventricular arrhythmias, especially of torsades de pointes |
Precaution for use Clinical monitoring and EKG during the administrations of these substances together. |


About Me
I am a web developer with a specialization in Full-Stack. My design process allows the user to have a memorable experience. My strengths are making responsive web applications. I also have the dedication and motivation to accomplish the clients goals within the requested time period.
I have strong skills in JavaScript, React, jQuery, HTML, CSS. I also have Backend experience with MySQL, Node.js, and Express.js. Feel free to message me today or email me at<EMAIL_ADDRESS>if you are interested in working with me.


At some point, we all find ourselves wanting to use a third-party Go package in our code. This talk discusses strategies for discovering, evaluating and maintaining Go packages and modules. It also shares new tools that the Go team is building to make this process better.
Julie Qiu is a software engineer on the Go team at Google, where she is leading the project to build the Go discovery site for modules. Before Google she was already working in Go as an engineering lead at Spring to improve search performance, personalize the user shopping experience, and ingest real-time product updates at scale. She graduated from Yale University with a degree in Cognitive Science.


Kiwi the CAT
Hi, I'm a cat. Meow!
Some of my favorite places:
The sofa
The dinner table
The bed
Make sure to follow me on
Instagram


lenstronomy.Data package¶
Submodules¶
lenstronomy.Data.coord_transforms module¶
-
class
lenstronomy.Data.coord_transforms.
Coordinates
(transform_pix2angle, ra_at_xy_0, dec_at_xy_0)[source]¶ Bases:
object
class to handle linear coordinate transformations of a square pixel image
-
coordinate_grid
(nx, ny)[source]¶ Parameters: - nx – number of pixels in x-direction
- ny – number of pixels in y-direction
Returns: 2d arrays with coordinates in RA/DEC with ra_coord[y-axis, x-axis]
-
map_coord2pix
(ra, dec)[source]¶ maps the (ra,dec) coordinates of the system into the pixel coordinate of the image
Parameters: - ra – relative RA coordinate as defined by the coordinate frame
- dec – relative DEC coordinate as defined by the coordinate frame
Returns: (x, y) pixel coordinates
-
map_pix2coord
(x, y)[source]¶ maps the (x,y) pixel coordinates of the image into the system coordinates
Parameters: - x – pixel coordinate (can be 1d numpy array), defined in the center of the pixel
- y – pixel coordinate (can be 1d numpy array), defined in the center of the pixel
Returns: relative (RA, DEC) coordinates of the system
-
pixel_area
¶ angular area of a pixel in the image :return: area [arcsec^2]
-
pixel_width
¶ size of pixel :return: sqrt(pixel_area)
-
radec_at_xy_0
¶ Returns: RA, DEC coordinate at (0,0) pixel coordinate
-
shift_coordinate_system
(x_shift, y_shift, pixel_unit=False)[source]¶ shifts the coordinate system :param x_shift: shift in x (or RA) :param y_shift: shift in y (or DEC) :param pixel_unit: bool, if True, units of pixels in input, otherwise RA/DEC :return: updated data class with change in coordinate system
-
transform_angle2pix
¶ Returns: transformation matrix from angular to pixel coordinates
-
transform_pix2angle
¶ Returns: transformation matrix from pixel to angular coordinates
-
xy_at_radec_0
¶ Returns: pixel coordinate at angular (0,0) point
-
-
class
lenstronomy.Data.coord_transforms.
Coordinates1D
(transform_pix2angle, ra_at_xy_0, dec_at_xy_0)[source]¶ Bases:
lenstronomy.Data.coord_transforms.Coordinates
coordinate grid described in 1-d arrays
lenstronomy.Data.imaging_data module¶
-
class
lenstronomy.Data.imaging_data.
ImageData
(image_data, exposure_time=None, background_rms=None, noise_map=None, gradient_boost_factor=None, ra_at_xy_0=0, dec_at_xy_0=0, transform_pix2angle=None, ra_shift=0, dec_shift=0)[source]¶ Bases:
lenstronomy.Data.pixel_grid.PixelGrid
,lenstronomy.Data.image_noise.ImageNoise
class to handle the data, coordinate system and masking, including convolution with various numerical precisions
The Data() class is initialized with keyword arguments:
- ‘image_data’: 2d numpy array of the image data
- ‘transform_pix2angle’ 2x2 transformation matrix (linear) to transform a pixel shift into a coordinate shift (x, y) -> (ra, dec)
- ‘ra_at_xy_0’ RA coordinate of pixel (0,0)
- ‘dec_at_xy_0’ DEC coordinate of pixel (0,0)
optional keywords for shifts in the coordinate system: - ‘ra_shift’: shifts the coordinate system with respect to ‘ra_at_xy_0’ - ‘dec_shift’: shifts the coordinate system with respect to ‘dec_at_xy_0’
optional keywords for noise properties: - ‘background_rms’: rms value of the background noise - ‘exp_time’: float, exposure time to compute the Poisson noise contribution - ‘exposure_map’: 2d numpy array, effective exposure time for each pixel. If set, will replace ‘exp_time’ - ‘noise_map’: Gaussian noise (1-sigma) for each individual pixel. If this keyword is set, the other noise properties will be ignored.
the likelihood for the data given model P(data|model) is defined in the function below. Please make sure that your definitions and units of ‘exposure_map’, ‘background_rms’ and ‘image_data’ are in accordance with the likelihood function. In particular, make sure that the Poisson noise contribution is defined in the count rate.
-
data
¶ Returns: 2d numpy array of data
-
log_likelihood
(model, mask, additional_error_map=0)[source]¶ computes the likelihood of the data given the model p(data|model) The Gaussian errors are estimated with the covariance matrix, based on the model image. The errors include the background rms value and the exposure time to compute the Poisson noise level (in Gaussian approximation).
Parameters: - model – the model (same dimensions and units as data)
- mask – bool (1, 0) values per pixel. If =0, the pixel is ignored in the likelihood
- additional_error_map – additional error term (in same units as covariance matrix). This can e.g. come from model errors in the PSF estimation.
Returns: the natural logarithm of the likelihood p(data|model)
lenstronomy.Data.psf module¶
-
class
lenstronomy.Data.psf.
PSF
(psf_type='NONE', fwhm=None, truncation=5, pixel_size=None, kernel_point_source=None, psf_error_map=None, point_source_supersampling_factor=1, kernel_point_source_init=None)[source]¶ Bases:
object
Point Spread Function class. This class describes and manages products used to perform the PSF modeling (convolution for extended surface brightness and painting of PSF’s for point sources).
-
fwhm
¶ Returns: full width at half maximum of kernel (in units of pixel)
-
kernel_pixel
¶ returns the convolution kernel for a uniform surface brightness on a pixel size
Returns: 2d numpy array
-
kernel_point_source
¶
-
kernel_point_source_supersampled
(supersampling_factor, updata_cache=True)[source]¶ generates (if not already available) a supersampled PSF with ood numbers of pixels centered
Parameters: - supersampling_factor – int >=1, supersampling factor relative to pixel resolution
- updata_cache – boolean, if True, updates the cached supersampling PSF if generated. Attention, this will overwrite a previously used supersampled PSF if the resolution is changing.
Returns: super-sampled PSF as 2d numpy array
-
psf_error_map
¶
-


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Role: Ruby Developer
Stack: Ruby, SMTP
Clea (Command Line Email Application) is a simple application for sending emails from the console using your Gmail account and Ruby's SMTP library.
Clea is perfect for getting a quick message out without fumbling with clunky mail clients or web apps.


Hierarchical ACORN analysis
Models
Home 1
Home 2
Home 3
Toggle Sidebar
PSNR: --
,
L1: --
GT image
Low-res image
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Block zoom


flask.globals
~~~~~~~~~~~~~
Defines all the global objects that are proxies to the current
active context.
:copyright: (c) 2011 by Armin Ronacher.
:license: BSD, see LICENSE for more details.
http://docs.python.jp/2.5/lib/module-functools.html
from functools import partial
http://werkzeug.pocoo.org/docs/local/ Acts as a proxy for a werkzeug local werkzeugを理解しないとわからん
from werkzeug.local import LocalStack, LocalProxy
def _lookup_req_object(name):
top = _request_ctx_stack.top
if top is None:
raise RuntimeError('working outside of request context')
return getattr(top, name)
def _lookup_app_object(name):
top = _app_ctx_stack.top
if top is None:
raise RuntimeError('working outside of application context')
return getattr(top, name)
def _find_app():
top = _app_ctx_stack.top
if top is None:
raise RuntimeError('working outside of application context')
return top.app
context locals
_request_ctx_stack = LocalStack()
_app_ctx_stack = LocalStack()
current_app = LocalProxy(_find_app)
request = LocalProxy(partial(_lookup_req_object, 'request'))
session = LocalProxy(partial(_lookup_req_object, 'session'))
g = LocalProxy(partial(_lookup_app_object, 'g'))


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ontact
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Henley hit with bizarre eight-stroke penalty in Mexico
(Reuters) - Russell Henley incurred a bizarre eight-stroke penalty in the second round at the Mayakoba Classic on Saturday after realizing that one of the balls he had played was different from the rest.
The three-times PGA Tour winner was signing balls for fans when he noticed the discrepancy and received a two-stroke penalty for each of the holes he played the different ball.
“(Henley) suffered a 2-stroke penalty on holes 9-12, 8 strokes in total, for breach of Rule 20-3,” the PGA Tour announced in a tweet.
“As Henley signed balls for fans he noticed one ball had a slight difference from the ball he uses. He didn’t know how it got in his bag.”
Under the “One Ball Rule” used on most professional tours, golfers must use the same brand and make of ball throughout a round.
With the eight strokes added, Henley shot a six-over-par 77 and missed the cut.
He carded 66 in the opening round and without the penalty would have been within striking distance of the lead.


Originally developed as a form of self-defense, Tai Chi is much more than a martial art. Tai Chi is a complete system of physical, mental, and spiritual development. The Tai Chi form is a series of postures that are performed at a very slow pace. What appears to be just a series of exercises is actually a profound method for cultivation the body's life force, or Chi.
Learn MoreYou may reach Starfire at<PHONE_NUMBER>, or send message by clicking below:


This map shows people sharing their location with their family, friends and colleagues through the Familonet App right now.
Keeping personal information secure is an important part of our company mission. Therefore, all data is protected with industry standard encryption. All location data displayed on this page is anonymous, and is approximated.


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--- layout: single title: 'From the Archive: Yosemite Day 2/3: Down Yosemite Falls' date: 2019-04-17 05:35:30.000000000 -07:00 type: post classes: wide parent_id: '0' published: true password: '' status: publish categories: - backpacking - camping - hiking - wanderings tags: - backcountry - backpacker - findyourpark - Good Times - Half Dome - High Sierra - North Dome - optoutside - outdoors - photography - road trip - Sierra club - summer - travel - trip - vacation - wander - wandering - wanderlust - wilderness - yosemite - Yosemite falls - YosemiteNPS meta: _thumbnail_id: '510' geo_latitude: '37.8651011' geo_longitude: "-119.5383294" geo_address: Yosemite National Park, California, USA geo_public: '1' _wpas_skip_17082932: '1' _rest_api_published: '1' _rest_api_client_id: '11' _publicize_done_external: a:1:{s:7:"twitter";a:1:{i:17117585;s:62:"https://twitter.com/jMacTheWanderer/status/1118495147791142912";}} _publicize_job_id: '29860151983' timeline_notification: '1555504995' _publicize_done_17351908: '1' _wpas_done_17117585: '1' publicize_twitter_user: jMacTheWanderer author: login: jmacthewanderer email<EMAIL_ADDRESS>display_name: jMacTheWanderer first_name: '' last_name: '' permalink: "/2019/04/17/yosemite-day-2-3-down-yosemite-falls/" excerpt: The Journey Comes to the Epic Ending ---
We woke up in the next morning refreshed and ready for a day of great hiking, filled with breath-taking views and new experiences. Our destination for the day was the top of Upper Yosemite Falls where we were to setup camp then head off on a day hike to explore the area and practice some off-trail navigation. We essentially skirted the rim of the valley the entire way taking in some awesome views all around us, crossing a few creeks before heading down to our camp site.
[gallery ids="470,471,472,473,474,475,476,477,479,480,481,482,483,484,485,486,487,488,489,490" type="rectangular"]The hike was relatively easy going. We stopped a lot to take in the views especially once we got to Yosemite Point where we took some extra time for a pack break and take a lot pictures. As we started down toward Yosemite Creek I started to notice the impact of the high altitude and from my relatively light dinner the dinner the night before. I needed to eat and drink more water and get some extra rest, I was starting to doubt going on the day-hike that afternoon.
The water in the creek was high from all the snow melt and the falls were a flowing at peak which was awesome. We had to be extra careful when we went down to filter water. I decided to stay at camp along with other other hikers and take it easy that afternoon. I ended up cooking the dehydrated dinner I was suppose to cook the night before for lunch to get some calories in me and take a nap. After some good food and rest it was time to explore the area a bit more and go check out the top of the falls. It was truly epic and a bit frightening as the only thing protecting us from 2000 foot drop was a little hand railing.
[gallery ids="493,494,495,496,497,498,499,500,501,502,503,504,505" type="rectangular"]
We had another great happy hour that evening and stayed up late to check out the majestic night sky, I busted out my astronomy skills to show some of my fellow hikers some of the great stargazing there was to offer. It was sad that our adventure was slowly coming to and end the next day but I don't think many of us knew what was in store for the hike down the Yosemite Falls trail.
The next morning after a quick dinner and packing up all our stuff it was time to head down and by down I mean 2000 feet down! We all extended our trekking poles to allow us better stability on the climb down and took it easy. My knees hurt the most, the constant stepping down on hard rocks with a ~40lb pack on your back will take it's tole on you after awhile. We stopped a lot to take in the great views of the falls and valley below. There was a lot of hikers heading up the trail too which we let pass by. I don't think I would ever really want to hike up this trail, it was STEEP!
[gallery ids="506,508,509,510,511,512,513,514,515" type="rectangular"]
Once we started to get near the bottom we surprisingly had to hike up a few times as the trail follows along the ridge before dropping down near infamous Camp 4. That was brutal after all that hiking downwards. But as we saw on our hike down, our destination was the Yosemite Falls Lodge pool and showers. Nothing under estimates a shower after a few days out in the wilderness and also a quick swim in the freezing cold pool, which felt great! We were renewed and fresh, ready to get on the bus and head back to civilization.
This was an awesome trip and I gotta hand it to the Angeles Chapter of the Sierra Club for putting it together so flawlessly. It was very well organized and everyone had a great time. I met some great people on the trip that I have managed to keep in contact with then, hopefully we will get to go on some more great backpacking trips in the near future.
Looking back on the trip as a whole I packed way too much, too much food and extra clothes. I treated all my clothes with permethrin since we were expecting an infestation of mosquitos that really didn't come. But it's better to have everything you need since when you go into the wilderness you never know what to expect. I hope to go on more trips with the Angeles Chapter of the Sierra Club soon and I keep an eye on their activities calendar quite regularly for upcoming backpacking trips.
Be on the lookout for more post of past trips I have taken, there are many more to come!


{% extends "base.html" %} {% block head_title %}About the App Engine People website{% endblock %} {% block main_content %}
App Engine People lists Google App Engine developers from around the world, and aims to help developers find like-minded people near them and possibly start up some local meet-ups and user groups. The App Engine People website is not affiliated with Google Inc. and was built as a clone of DjangoPeople.net by the people that run devsar & livemade:.
For feedback, suggestions or to contact us, please email us at info@livemade.com


PHP - Advanced knowledge
PHP is the first programming language I learned, and is therefore the one I know best. I fiddled a lot with its functionalities and completed several pet projects using it.
Laravel - Very good knowledge
I have completed several small-scale projects with Laravel. I can use its advanced features, including: queuing tasks, creating custom service providers, using 3rd-party authentication providers,...
Symfony - Intermediate knowledge
I mostly used Symfony to create lightweight and extensible APIs. I am familiar with the framework's MVC structure and routing system, the Doctrine ORM and the Twig template engine.
NodeJS - Intermediate knowledge
Express - Intermediate knowledge
Database Systems
MySQL - Very good knowledge
All my PHP projects use MySQL for data storage. I am able to plan a relational database ahead to fit the requirements of a project and to set up the structure of tables to increase performance.


Reports from the course Software Develoopment for Web
S01
Q1:Did you before know about the techniques Git, GitHub, Markdown and/or GitHub Pages?
A1:I known Git, GitHub and GitHub Pages. But I didn't know Markdown.
Q2: Have you ever created websites before?
A2: Yes. But only create a simple website using CSS and HTML. I didn't learn Javascript until this course.
Q3: Briefly explain your experience.
A3: I used HTML and CSS creating a simple website when I was a freshman.
Q4: Briefly explain knowledge of web application development.
Web application development creats application programs that use remote servers. And those applications are delivered to the user's computer, mobiles or else devices through the Internet.
Q5:What is your TIL for this course section?
A5 : I used a Git GUI tool which called SourceTree to commit codes or something else before the course. But now I can use cmd.exe to take those actions. It is much more convenience. In addition, I know what Markdown is. It is a lightweight markup language with text formatting syntax.
S02
Q1:Have you any previous experience of HTML, CSS and/or JavaScript?
A1:Yes. I created a simple website using HTML and CSS when I was freshman. But I didn't learn Js untill this course.
Q2: Explain the role of HTML, CSS and JavaScript in web development.
A2: HTML works with the Structure and Framework. CSS works with Look and Format. JavaScript works with the Infrastructure.
Q3: Give a brief explanation of how the browser, the HTTP protocol and the web server interacts.
A3: At the beginning, the browser make connection to the web server using TCP protocol. Once connected, the browser will send a HTTP request, in form of a URL. The requests sends independently from each other(header and an empty line indicating the end of the header). The request is proccessesd by the server and a HTTPresponse is sent back to the browser.
Q4: What is your TIL for this course section?
A4: I review relative knowledge about CSS, HTML and network(HTTP). In addition, I learn the syntax about the Javascript. Now I can use Javascript, CSS and HTML to create webs.
S03
Q1:Do you have any previous experience of client side JavaScript?
A1:No. I didn't learn JavaScript until this course.
Q2: Can you compare and relate the JavaScript language to any other language you know?
A2: JavaScript ia a script language and Java is a Object-Oriented language. In java, we should identify int
, string
or something else. But in JavaScript, we only use var
, and the compiler will check the data type while runtime. The file extension of two languages are also differnt. JavaScript uses *.js, and Java uses *.class. What is more, JavaScript is much more flexible than Java. The length of array can't be changed after defining in Java, but it can be changed in JavaScript.
Q3: Describe how you worked with the coding exercise, what grade do you aim for and how did your code turn out to be?
A3: Firstly, I followed the teacher to finish the basic tasks. Then, I look through some pages about JavaScript to find some useful information about other tasks and try my best to finish them. In the first stage, I only want to get the grade 3. I meet some problems on it which take me a lot time to finish the tasks of grade 3. After I finished grade 3, I try my best to get grade 4. But I failed in grade 5.
Q4: What is your TIL for this course section?
A4: After this class, I know how to use fetch(), and how to use JavaScript to make picture dynamic.
S04
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S05
Here is the text for this section.
S06
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S07
Here is the text for this section.
S08
Here is the text for this section.
S09
Here is the text for this section.
S10
Here is the text for this section.


This is minslides, the minimalistic HTML slide presentation "framework".
Press the J key on your keyboard to go the next slide.
(Try K to go back, then J to return.)

Your content here...

Like I said, it's just a web page.
(Now try scrolling up and down like you would on any normal web page.)


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Finally, we witness a film about priests and miracles that does not condescend to the audience by featuring superfluous special-effects or a demonic Patricia Arquette. "The Third Miracle" is a bloody miracle, an extremely well-acted and thematically rich film by notable director Agnieszka Holland ("Europa, Europa").
Ed Harris stars as Father Frank Shore, a postulator, known by many as the "miracle killer," who is seen at the start of the film working at a soup kitchen. He is called back into duty to investigate a woman who may or may not be a saint but is loved by the people of a Chicago community all the same. Every November, the people gather to see a statue that weeps blood - this is coincidentally the month in which Helen O'Regan (Barbara Sukowa) - the supposed saint - died. There is talk that she cured a young girl of lupus by simply touching the girl.
Father Shore has his doubts but the blood is discovered to be real, and the girl, now a drug-addicted runaway, was cured of lupus. But can there be some doubt that this is all highly coincidental? Is Father Shore the right priest to investigate since years earlier he had debunked the myth of another saint and thus destroyed the faith of an entire community? There is also the question that a saint would never leave his or her children behind to pursue faith. Such is the case with the late Helen, who abandoned her daughter, Roxanne (Anne Heche). Roxanne is angry at her mother and feels she could never be deemed a saint.
"The Third Miracle" asks lots of questions and justifiably answers very few of them. Father Shore may have doubts about his own faith (as most priests do in the movies nowadays) but this is a job, and it is one he where he must be nonjudgmental. He has his own emotional flaws, such as the possibility of falling in love with Roxanne. He also has to fight against the devil's advocate, Archbishop Werner (Armin Mueller-Stahl), a ferociously stubborn man who feels the world has no need for more saints or miracles. But sainthood is a tricky judgment, it has to be proved and tested and Father Shore goes against all odds in pursuing the truth and, thus, waiting for another miracle.
Ed Harris does solid work (as always) as the dubious Father Shore, one of the few actors on the silver screen whom you can tell when his mind is at work. He has a very touching, effective scene with Heche, as she visits her mother's grave and they talk about the good Father's flirtations and loss of virginity in high school. Some of this was also featured in the horrible "Stigmata," but here Harris makes it all credible and believable. Anne Heche is sprightly and alive as always...and she shares lots of emotionally implicit scenes with Harris.
"The Third Miracle" is not a great film (I am tired of seeing statues weeping blood, for one, and the ending is abrupt) but it is richly rewarding and tastefully done. It leaves you thinking about what the church constitutes as miracles nowadays, and what a saint's credentials should be. Ultimately, it is a fascinating look at the nature and question of faith in the church. And thanks to Ed Harris, we almost come close to believing that any miracle may be possible.
For more reviews, check out JERRY AT THE MOVIES at http://buffs.moviething.com/buffs/faust/
E-mail me with any questions, comments or general complaints at<EMAIL_ADDRESS>or at<EMAIL_ADDRESS>The review above was posted to the
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