1. Field of the Invention
The present invention relates generally to a latch mechanism for securing sliding doors or windows, and more particularly to a latch mechanism which applies forces along two orthogonal axes simultaneously so as to secure the window or door within its associated jamb and improve its relative seal therewith.
2. Cross-Reference to Related Patents
To the extent that disclosures of U.S. Pat. No. 4,976,066 issued on Dec. 11, 1990, to Plummer et al. are necessary for understanding this invention, they are herein incorporated by reference.
3. Description of Related Technology
Numerous mechanisms have been devised to facilitate securing a window, door, or other movable closure panel while permitting the closure member to be readily reopened as needed. A number of such devices have recognized the advantages of dual motion that can be achieved by latching mechanisms which include both rotational and translational components.
For example, U.S. Pat. No. 261,998, issued to Carson, discloses a sash holder in which a cylinder having a spiral groove is rotated adjacent to a plate having an outwardly projecting stud which engages the spiral groove. The plate is mounted on the window frame, while the rotating cylinder is mounted on the sash. As the cylinder is rotated, the stud engages and imparts forces to the cylinder, causing the cylinder to translate along its longitudinal axis, thereby locking the window sash in place.
U.S. Pat. No. 1,286,857, issued to Fischer et al., discloses a door latch having a conventional appearing doorknob mounted on the door. However, rather than rotating the doorknob to release the latch, a small finger plate is placed in the center of the doorknob which is connected to a shaft passing through the door which engages the latch. A spiral rib on the longitudinal shaft causes the shaft to rotate, and thereby release the latch, as the finger plate is pressed.
U.S. Pat. No. 2,128,405, issued to Eastman, discloses a window sealing arrangement utilizing two members which pivot about orthogonal axes. One of the members is a handle having a cam-shaped slot which engages a projection which forms a part of the other pivoted member. When the handle with the cam-shaped slot is rotated, the cam-shaped slot deflects the projection so as to cause the second rotating member to pivot about its axis, thereby engaging or releasing a specially designed trough in a window sash.
U.S. Pat. No. 3,179,454, issued to Mummendey, discloses a sash locking arrangement which permits a sash to be locked at intermediate positions along the window frame. A pair of inclined surfaces define a spiral groove in which a finger travels, the finger being attached to a rotatable shaft. The inclined surfaces are rigidly attached to a handle which may be moved parallel to the longitudinal axis of the rotating shaft.
U.S. Pat. No. 3,560,037, issued to Crain, discloses a latching element which is translated by an actuator having a guide member which slides within an aperture in the surface of the latching element and along first and second camming members located on either side of the guide members. The first and second extensions on the latching element flange slidably engage sloping surfaces of the first and second camming members, resulting in translation of latching element in the direction normal to the displacement of the actuator.
U.S. Pat. No. 4,679,835, issued to Weinerman et al., discloses a cabinet latch having a passage formed through the body along a center axis, and opens through forward and rearward end regions of the body. A primary operating element is journaled for rotation within the forward end region of the body passage, and a shank that has a portion which projects from the rearward end region of the body passage carries a pawl. A half turn rotation of the primary operating element in one direction of rotation causes the pawl to move in sequence by rotating a quarter turn about the center axis from an unlatched position to a latched position and by translating axially along the center axis from the latched position to a latched clamp position. A cylindrical element having a spiral groove is responsible for the translational movement.
None of such prior art structures adequately address the dual security and weathertightness seal problems encountered with actual sliding window or door installations having one or a plurality of moving members. When a sliding window or door is in its closed position, a latching device ideally should press the window or door toward its associated frame jambs in two directions. First, the window or door panel should be forced along the horizontal sliding line of movement for the panel, away from its associated window or door panels so that the window or door panel members seat properly along the extreme ends or side jambs of the frame. In addition, the window or door members must be drawn together in a second, horizontal direction orthogonal to the direction of sliding movement of the window or door, so that weather stripping or other sealing material is uniformly engaged by the window or door panel surfaces when the panels are secured in a closed, locked position. Ideally, operation of such a latch should be by a simple one-stroke movement which is easily accomplished by hand. Such operator motion would generally comprise either a simple linear or arcuate stroke of a handle or a rotational twist of an operator knob. Since the desired forces on the window or door panels ultimately require primarily translational movements, what is required is a latching device which will convert the initial operator initiated movement into translational movement along two orthogonal horizontal directions. The present invention provides such an operator mechanism that is simple to operate, requires little operator effort yet results in superior sealing engagement of the sliding window or door panels within their associated frames.


Boda bodas will not use Uganda's new expressway, govt says

Part of the Kampala-Entebbe Expressway. Uganda National Roads Authority says they will not allow motorcyclists and riders to use the road. PHOTO | MICHAEL KAKUMIRIZI | NMG

Kampala

Boda- boda riders will not be allowed to use the newly constructed Kampala-Entebbe Expressway when it is officially opened mid this year, officials have revealed.

Mr Allan Ssempebwa, the Uganda National Roads Authority (Unra) media relations manager, said since the road is a high-speed expressway, it would be dangerous to allow boda boda riders and other motorcyclists to access it.

“That road was designed for high speed traffic, with restricted entry and exit points, so we cannot make a mistake of allowing motorcyclists,” Mr Ssempebwa said during an interview on Wednesday.

The 51.4 km highway connects Kampala city to Entebbe International Airport.

The main section measuring 25km running from Busega along the Kampala–Masaka highway through Kajjansi to Abayita Ababiri (Mpala) is a toll-section which will require users to pay a yet to be fixed levy.

Heavy trafficThe road was constructed purposely to support the current Kampala-Entebbe highway which is laden with heavy traffic.

Upon completion, motorists from Kampala connecting to Entebbe using the high-speed expressway will only take between 30 to 40 minutes.

Currently, motorists spend two to three while using the existing Kampala-Entebbe road due to traffic jam.

Mr Ssempebwa revealed that the main section of Kampala-Entebbe expressway (Busega –Abayita Ababiri) is expected to be ready for public use by the end of March.

“Although the scheduled completion date of this road has been changing from time to time due to a number of challenges, the main section is ready,” he said.

He added that once construction is complete, the contractor (China Communications Construction Company Ltd) will provide a schedule for hand over to Unra which will then initiate the process of opening it for public use.

Currently, Unra is in the process of procuring a toll operator as they work on a mechanism for tolling and billing considering affordability and users' willingness to determine the actual cost to be charged from each vehicle.

Make decisions

When asked whether Very Important Persons (VIPs) and government vehicles will also be charged for using the Kampala-Entebbe Expressway, Mr Ssempebwa said Unra is yet to take a decision on the matter.

He further noted that if the road is opened to users before they (Unra) identify a toll operator, Unra will have to play the role in the interim.

Although the expressway stands at over 90 per cent physical completion level, the project still has unsolved compensation issues more so at Abayita Ababiri.

“The project is challenged by unsolved compensation on more than 2.5km. All this is a result of land conflicts in the area and some of them [complainants] are before court but our legal team is working hard to resolve these issues,” he said.

Apparently, Mr Ssempebwa said the tolling policy is already in place and a bill with proposed amendments in the Road Act is before Parliament seeking to include clauses on tolling.

How tolling will work

Unra and a toll operator for purposes of carrying out the project will agree on a maximum number of vehicles per class expected on the expressway annually.

Prior to the commercial operations start date, Unra and the toll operator will set up a payments account which will be prefunded by an amount agreed to by the government.

Collected toll revenues will be banked onto this payments account, according to Mr Ssempebwa .

During the year, the toll operator will maintain the expressway, collects toll revenue and bank it directly to the payments account.


/// Copyright (c) 2012 Ecma International.  All rights reserved.
/// Ecma International makes this code available under the terms and conditions set
/// forth on http://hg.ecmascript.org/tests/test262/raw-file/tip/LICENSE (the
/// "Use Terms").   Any redistribution of this code must retain the above
/// copyright and this notice and otherwise comply with the Use Terms.
/**
 * @path ch15/15.2/15.2.3/15.2.3.6/15.2.3.6-4-150.js
 * @description Object.defineProperty - 'O' is an Array, 'name' is the length property of 'O', test TypeError is thrown when the [[Value]] field of 'desc' is an Object that both toString and valueOf wouldn't return primitive value (15.4.5.1 step 3.c)
 */

function testcase() {

        var arrObj = [];
        var toStringAccessed = false;
        var valueOfAccessed = false;

        try {
            Object.defineProperty(arrObj, "length", {
                value: {
                    toString: function () {
                        toStringAccessed = true;
                        return {};
                    },

                    valueOf: function () {
                        valueOfAccessed = true;
                        return {};
                    }
                }
            });
            return false;

        } catch (e) {
            return e instanceof TypeError && toStringAccessed && valueOfAccessed;
        }
    }
runTestCase(testcase);


Q:

MS Dynamics CRM 4.0 - onChange event error

I have an onChange event that keeps bringing up the error below whenever I preview it.
'Object doesnt support this property or method'
I have the onChange event associated with a picklist and when a specific option is selected another field is unhidden.
The code is below:
onLoad:
//If How did you hear about us is set to event show the Source Event lookup
crmForm.SourceEvent = function SourceEvent()
{
if (crmForm.all.gcs_howdidyouhearaboutus.DataValue == 5)
{
crmForm.all.gcs_sourceeventid_c.style.display = '' ;
crmForm.all.gcs_sourceeventid_d.style.display = '' ;
}
else
{
crmForm.all.gcs_sourceeventid_c.style.display = 'none' ;
crmForm.all.gcs_sourceeventid_d.style.display = 'none' ;
}
}
crmForm.SourceEvent() ;

onChange
crmForm.SourceEvent() ;

Would be great if someone could let me know why this error is showing up?
Also, this has happened on a few onChange events on the form preview but once published onto the live system it does not error. Any ideas?
Thank you
Brett

A:

Overriding SourceEvent is not the supported way of doing that...
You should probably use the fire the OnChange event in the form load using (if (crmForm.all.yourLookup) { crmForm.all.yourLookup.FireOnChange();} and in the field's javascript onChange event write something like
var displayStyle = (crmForm.all.cf_picklist.DataValue == "3") ? "none" : "";
crmForm.all.cf_lookupid_d.style.display = displayStyle;
crmForm.all.cf_lookupid_c.style.display = displayStyle;

note that changing the Display CSS element is not supported, but it's the only way of doing that, without writing your own ASPX page.
ref: http://www.eggheadcafe.com/software/aspnet/31267662/hide-lookup-based-on-pick.aspx


Q:

Change the baud rate for BeagleBone UART0 running Angstrom Linux

I am trying to enable Arduino-like serial output for my BeagleBone Rev5.
From what I understand the UART mapping is like this:
UART0 <=> /dev/ttyO0
I am running the latest Angstrom distro:
http://downloads.angstrom-distribution.org/demo/beaglebone/Angstrom-Cloud9-IDE-GNOME-eglibc-ipk-v2012.12-beaglebone-2013.04.13.img.xz
I have disabled the Angstrom default getty on /dev/ttyO0 by modifying this file:
/etc/systemd/system/getty.target.wants/serial-gett@ttyO0.service

(gleaned from this question: Automatic login on Angstrom Linux)
I commented everything out which I believe should stop getty from starting on that port.  Once done I rebooted the board and am no longer able to connect via serial console so that seemed to work.
But I now cannot find any reliable information on how to configure that UART so I can transmit data.  I have looked extensively but all the documentation refers to older versions of Angstrom that don't seem to reflect the most recent release.
For example they all say to exec a command like this:
root@beaglebone:~# cat /sys/kernel/debug/omap_mux/uart1_rxd

(http://www.gigamegablog.com/2012/01/22/beaglebone-coding-101-using-the-serial-and-analog-pins/)
But when I try that, there's nothing there:
root@beaglebone:/sys/kernel/debug# ls
asoc          gpio      musb-hdrc.0.auto  regulator       usb
atmel_mxt_ts  hid       musb-hdrc.1.auto  sched_features  wakeup_sources
bdi           iio       pinctrl           suspend_stats
bluetooth     kprobes   pm_debug          tracing
dri           memblock  pwm               ubi
f2fs          mmc0      regmap            ubifs
root@beaglebone:/sys/kernel/debug#

The latest release of Angstrom seems to be from April 2013 which is much newer than most of the blog posts I've seen regarding this.  It seems that the new version of Angstrom does things differently than the old versions.  Does anyone have any idea how to actually USE the various hardware on the new versions of Angstrom/BeagleBone?
root@beaglebone:/sys/kernel/debug# uname -a
Linux beaglebone 3.8.6 #1 SMP Sat Apr 13 09:10:52 CEST 2013 armv7l GNU/Linux
root@beaglebone:/sys/kernel/debug#

I'd love a specific answer but would be quite satisfied with any information I can get regarding how things work in the newer versions of Angstrom.
EDIT:
Turns out I just didn't try hard enough.  I plugged the BeagleBone into the network and did
opkg update
opkg install python-pyserial

Once that was done I was able to write a small program that would dump out over the built-in serial/USB port (/dev/ttyO0) at whatever data rate I want.
With getty for serial disabled I can write as much as I'd like without issue.  If the getty is turned back on it'll interrupt my connection whenever it detects something is happening at a slower speed, at that slower speed.
Thanks for all the help.  I especially appreciate the information about how nothing is figured out re:device tree since that's a problem I'm going to face myself as I try and use a BeagleBone for other projects.

A:

The command you showed has nothing to do with baud rate, it controls pin muxing.  Many microcontrollers have many more peripheral functions than I/O pins, so the I/O pins need to be mapped to peripherals, and not all connections are possible.  For your case, you need to designate particular pins as UART transmit and receive.
I haven't done it myself, but I found a considerable amount of documentation describing that control of pin muxing via sysctl and the proc filesystem was recently replaced with a new system based on Device-Tree.  And that as a result virtually all existing examples are broken.  Worse, there may not even be a working device-tree-based equivalent for some commands.
As far as setting the baudrate, you would normally use cfsetispeed() and cfsetospeed() from termios.h, as described in the Unix specification.


Q:

Set PSModulePath Environment Variable with PowerShell in Windows 10

I don't understand this.  So currently my system environment variable named "PSModulePath" looks like this:
%ProgramFiles%\WindowsPowerShell\Modules;%SystemRoot%\system32\WindowsPowerShell\v1.0\Modules

Now observe the following PowerShell script:
$envarname = "PSModulePath"
$envar = (get-item env:$envarname).Value
[Environment]::SetEnvironmentVariable($envarname, $envar + ";C:\Expedited", "Machine")

All it should be doing is adding the path "C:\Expedited" to the PSModulesPath environment variable, right?  Well, after running this script as administrator, the PSModulePath environment variable changes into this:
C:\Users\Username\Documents\WindowsPowerShell\Modules;C:\Program Files\WindowsPowerShell\Modules;C:\Windows\system32\WindowsPowerShell\v1.0\Modules;C:\Expedited

Notice how:

There were originally two paths, each of which contained percentage signs (variables) in the original, but afterward they all changed directly into hard-coded paths.
The "C:\Users\Username\Documents\WindowsPowerShell\Modules" path sprung out of nowhere (it wasn't in the original!)

I don't have any idea why either of these two things happened.  When adding a path to this variable, I would like to keep it as close to the original as possible, not make all these other changes.  Is there any way to preserve the percentage signs that were lost?  How do I edit this environment variable correctly from within PowerShell?

A:

PowerShell - Get OS Environmental Variables without Expanding
You can use the Get-Item cmdlet with the -path parameter and then pass that the path of the registry key containing the PSModulePath environmental variable.
You can then use the RegistryKey.GetValue Method along with  DoNotExpandEnvironmentNames to get the string value of the PSModulePath environmental variable without expanding it.

PowerShell
$envarname = "PSModulePath"
$regkey    = Get-Item -Path "HKLM:\SYSTEM\CurrentControlSet\Control\Session Manager\Environment"
$envar     = $regkey.GetValue($envarname, "", "DoNotExpandEnvironmentNames")
ECHO $envar

Note: You will want to be sure you run this from administrator elevated PowerShell command prompt or ISE screen for it to work
  correctly.

Further Resources

HowTo: Set an Environment Variable in Windows - Command Line and Registry

The location of the user variables in the registry is:
  HKEY_CURRENT_USER\Environment. The location of the system variables
  in the registry is:
HKEY_LOCAL_MACHINE\SYSTEM\CurrentControlSet\Control\Session Manager\Environment

When setting environment variables through the registry, they will not
  recognized immediately. One option is to log out and back in again.
  However, we can avoid logging out if we send a
  WM_SETTINGCHANGE
  message, which is just another line when doing this programatically,
  however if doing this on the command line it is not as
  straightforward.

Get-Item
RegistryKey.GetValue Method

Retrieves the value associated with the specified name and retrieval
  options. If the name is not found, returns the default value that you
  provide.

RegistryKey.GetValue Method (String, Object, RegistryValueOptions)

Use this overload to specify special processing of the retrieved
  value. For example, you can specify
  RegistryValueOptions.DoNotExpandEnvironmentNames
  when retrieving a registry value of type
  RegistryValueKind.ExpandString to retrieve the string without
  expanding embedded environment variables.


News

04 Sep 2006

Science Says Kandinsky Was Right - Paintings Can Be Heard

We all link music and art, but only a tiny minority of us is aware of the crossover of senses in our brains, according to a UCL (University College London) neuroscientist, speaking today at the BA Festival of Science. New research has found that vision and hearing are inextricably interlinked in everyone's brain, but only synaesthetes, who have a rare condition in which the senses mingle, are conscious of it.


Endothelin B receptors on vascular smooth muscle cells of the human umbilical vein mediate vasoconstriction.
To test the hypothesis that smooth muscle cells of the human umbilical vein have vasoconstricting endothelin B (ETB) receptors. In strip preparations of human umbilical veins isometric tension after exposure to the selective ETB receptor agonist sarafotoxin S6c (S6c) was compared to the tension before S6c exposure (set as 100%). In intact preparations S6c induced vasoconstriction only at the highest concentration applied (10(-8)M; 149.5 +/- 12.5 vs. 100%, p < 0.05). In contrast, in endothelium-denuded preparations S6c induced vasoconstriction already at the lowest S6c concentration investigated (10(-11)M; 111.7 +/- 4.3 vs. 100%, p < 0.05). The vasoconstricting effect of S6c in endothelium-denuded human umbilical vein preparations points to smooth muscle cell ETB receptor activation.


# console.time方法与console.timeEnd方法

在Node.js中，当需要统计一段代码的执行时间时，

可以使用console.time方法与console.timeEnd方法，

其中console.time方法用于标记开始时间，
console.timeEnd方法用于标记结束时间，并且将结束时间与开始时间之间经过的毫秒数在控制台中输出。

这两个方法的使用方法如下所示。
```
console.time(label)
console.timeEnd(label)

```
这两个方法均使用一个参数，参数值可以为任何字符串，但是这两个方法所使用的参数字符串必须相同，

才能正确地统计出开始时间与结束时间之间所经过的毫秒数。

```
const fetch = require('node-fetch');

const sleep = (timeout = 2000) => new Promise(resolve => {
  setTimeout(resolve, timeout);
});

async function getZhihuColumn(id) {
  await sleep(2000);
  const url = `https://zhuanlan.zhihu.com/api/columns/${id}`;
  const response = await fetch(url);
  return await response.json();
}

const showColumnInfo = async () => {
  console.time('showColumnInfo');
  const feweekly = await getZhihuColumn('feweekly');
  const toolingtips = await getZhihuColumn('toolingtips');

  console.log(`NAME: ${feweekly.name}`);
  console.log(`INTRO: ${feweekly.intro}`);

  console.log(`NAME: ${toolingtips.name}`);
  console.log(`INTRO: ${toolingtips.intro}`);
  console.timeEnd('showColumnInfo');
};

showColumnInfo();
```

## 参考
- [console.time方法与console.timeEnd方法]()


35 Engineer Regiment (United Kingdom)

35 Engineer Regiment is a unit of the British Army’s Royal Engineers under operational command (OPCOM) 8th Engineer Brigade, Force Troops Command. The Unit provided close support engineering under operational control (OPCON) to 20th Armoured Infantry Brigade. It is now an Explosive Ordnance Disposal and Search unit. It is located in Wimbish.

Organization
Today the regiment consists of:

 35 Engineer Regiment, in Wimbish
 15 Field Squadron
 17 Field Squadron
 21 Field Squadron

Army 2020 Refine

As part of Army 2020 Refine, a written statement in December 2016 stated that the Unit will be rationalised, with all manpower being redeployed to other areas of the British  Army. The Unit will return from Germany and re-role as an EOD and Search Regiment; 29 and 37 AES will move to 21 and 32 Engineer Regiment respectively as part of this re-role. 35 Engineer Regiment will be an Explosive Ordnance and Search Regiment at Carver Barracks, Wimbish.

References

Category:Regiments of the Royal Engineers
Category:Explosive ordnance disposal units and formations


411 F.Supp. 105 (1976)
In re Ronald James RADTKE, Bankrupt.
No. 75-B-1443.
United States District Court, E. D. Wisconsin.
April 27, 1976.
*106 S. A. Schapiro, Milwaukee, Wis., for bankrupt.
John A. Wittig, Milwaukee, Wis., Trustee.

MEMORANDUM AND ORDER
WARREN, District Judge.
This is an appeal whereby the bankrupt named above challenges an order entered in the bankruptcy court for this judicial district on October 22, 1975. Said order permitted an extension of time for an unsecured creditor to file an objection to the execution of the bankrupt's discharge.
While the "Notice of Review and Petition for Review" filed November 3, 1976 recites no basis of jurisdiction, it appears that the appellant proceeds under the provisions of § 39(c) of the Bankruptcy Act, 11 U.S.C. § 67(c). This statute reads as follows:
"(c) A person aggrieved by an order of a referee may, within ten days after the entry thereof or within such extended time as the court upon petition filed within such ten-day period may for cause shown allow, file with the referee a petition for review of such order by a judge and serve a copy of such petition upon the adverse parties who were represented at the hearing. Such petition shall set forth the order complained of and the alleged errors in respect thereto. Unless the person aggrieved shall petition for review of such order within such ten-day period, or any extension thereof, the order of the referee shall become final. Upon application of any party in interest, the execution or enforcement of the order complained of may be suspended by the court upon such terms as will protect the rights of all parties in interest."
Ten days subsequent to October 22, 1975 was November 1, 1975. Because the latter date fell on a Saturday, the Court deems the petition for review to be timely although it was not filed until the following Monday. See: Rule 6(a), Federal Rules of Civil Procedure. For the reasons set out in this opinion, however, no action on the merits of the appeal is to be undertaken at this point in the proceedings.
It is apparent from the record in this matter that no order finally determining the rights of any party is at issue here. While the terms of section 39(c) place no express restrictions upon orders reviewable by this Court, it is thought that such orders should reach ultimate issues of recovery or liability as among the contending parties. When an order of the bankruptcy court is essentially interlocutory in nature, as in the case at bar, the reviewability thereof is a question directed to the sound discretion of the district judge. Such review is generally discouraged. See, e. g., Sulmeyer v. Pfohlman, 329 F.2d 915 (9th Cir. 1964).
In various cases, courts have declined to review orders appealed pursuant to section 39(c) when interlocutory orders are at issue. This declination is generally premised upon the fact that substantial delay and disruption often accompanies piecemeal review of interlocutory and procedural rulings. See, e. g., In re H. S. Dorf & Co., Inc., 309 F.2d 151 (2d Cir. 1962); In re Prindible, 115 F.2d 21 (3d Cir. 1940); and In re Copeland, 350 F.Supp. 943 (D.Del.1972).
*107 In view of the foregoing findings, and because the order at issue here is clearly of an interlocutory character, the Court is of the opinion that this appeal must be and is hereby DISMISSED.
This case is remanded to the bankruptcy court for this judicial district without taxation of costs or attorneys' fees to any party.


Q:

Autohide Unity Launcher in Gnome Classic

I am using the Unity launcher in the Gnome Classic desktop. How can I enable the autohide feature for the launcher?

Background information:
I reverted to Gnome Classic Desktop as described here: How to revert to GNOME Classic Desktop?
Next, I start unity-2d-shell as described here: Ubuntu 12.04 Gnome Classic and Unity Launcher

A:

You need dconf-editor (sudo apt-get install dconf-tools).
There, go to com => canonical => unity-2d => launcher:
Set hide-mode to 1. Instantly, the launcher will hide!
More detailed information can be found here: How do I configure Unity 2D?, especially this answer for 12.04: https://askubuntu.com/a/105682/55343


Detained by the Camera

In 1996 I made an excursion with Don Gill to D’Arcy Island. I was there to (inexpertly) assist with the videotaping of our approach to the island and to shoot footage of whatever we might find there. We had made the necessary arrangements, in writing and in advance, to meet a Parks ranger at the Sidney wharf. Our papers in order, we cast off in a skiff, which partially mounted the beach a short time later through the use of an automated ramp. We walked off to a pebble beach: our retrieval was scheduled to take place in several hours. We were given a walky-talky with which to contact the Park Ranger, and instructed to listen for her alert to rendezvous on the beach. Put ashore so efficiently, with flasks of coffee, bottles of water and bags of gear, the sound of our clumsy footsteps dragging through the stones seemed overly loud and conspicuous in the stillness. My memory of this banished-for-a-day trip is infused with anxiety. As someone whose formative years were spent on the stark expanse of the prairie, where there are always at least two roads out of town, small islands have always made me nervous. Even a weekend on one of the larger Gulf Islands finds me compulsively checking ferry schedules and scanning the horizon. Distracted by a nagging uncertainty of the boat’s return, my edginess was no doubt prefigured by the research we had done in the BC Provincial archives that revealed the conditions in which Chinese immigrants ill with leprosy were abandoned here. Reliant on the walky-talky for our rescue, I checked and re-checked its batteries and fiddled with its volume levels. After sorting out all the gear, I followed with a video camera the progress of Don’s methodical coverage of the ruins with 16mm film — the cast concrete staircase forlornly detached from anywhere to go; pits and hollows in the clearings, the incisions of initials on crumbling walls. Moving through space with the camcorder was a reminder of my long-standing inability to properly accept the prosthesis of the camera. Oscillating between an experience of a place and efforts to represent it, my habit is to dither with the settings, to find myself looking with a naked eye, and forgetting to make images, or focusing in fascination at some blinkered viewpoint, forgetting that a moving image is the objective. I repeat all over again the moment of bringing it to my eye, a hesitation that encumbers the resulting image with being too close to the body of the videographer and too far removed for a viewer to properly enter. That day, I wandered off to the shoreline, set the camera to auto-focus and pointed it at the meniscus of the ocean pushing up against the pebbles of the beach, redrawing again and again the threshold of inclusion and exclusion that marked the island’s edge. The overlapping narratives of the castaway, the desert isle, the many stories of internment, forced exile and utopian self-exclusion that haunt the shorelines of the world reinforce the idea of nature as implacable and indifferent. But it, like this little island, is subject to the ministrations of a network of bureaucracies, from municipal authorities, to provincial, to federal, in a relay of expropriation, altered jurisdiction and denied indemnity. Park rangers have inherited the regulation of this place from the quarantine services, police departments, immigration officials and public health officers over the turnstile of the 20th century. Abruptly narrating the transformation of prison to park, the BC Parks website“1”:#note1 provides this compressed history:

D’Arcy Island is a tiny 83-hectare island park in Haro Strait, east of the Saanich Peninsula, off Vancouver Island. From 1894 until 1924, the island was used as a leper colony. Many tried to escape, but few survived. Although the buildings were demolished, ruins of the facilities are still visible. In 1961, D’Arcy Island was established as a marine park. Fishing, snorkelling and kayaking around the island provide hours of entertainment.

D’Arcy Island’s infamous legacy began when Victoria’s police and health officers conducted one of their routine sweeps through Chinatown in 1891. Hidden in a small shack behind a store on Fisgard Street, officials found five huddled men bearing obvious signs of leprosy. Victoria’s municipal government responded by quickly gaining provincial support to expropriate D’Arcy Island and turn it into a leper colony. For the next 33 years the tiny islet was used as an isolated, segregated dumping ground for people with leprosy. Forty-nine people in total, all men, and all but one Chinese, were shipped to the leper colony. The city spent the money to build a six-unit rowhouse for them to live in, and later, some of the leper residents erected separate shacks of their own. Their only contact with the outside world was a visit from a supply ship. Every three months it dropped off food, clothing and other supplies – including coffins. People were literally stockpiled to die there, in conditions that must have been horrible. The disease strips feeling from the extremities and skin as it eats away the extremities. People with leprosy often suffer injuries and sores because they can’t feel when something is wrong. Nevertheless, the lepers of D’Arcy Island would fetch water for their homes from about 70 metres away. They cleared and planted a garden about one acre in size. The Chinese had a cultural organization and a structure that allowed them to live in a co-operative way and care for each other right up to the time they died and were buried. D’Arcy Island finally ended as a leper colony in 1924, when the federal government shut it down and moved the remaining residents to Bentinck Island near Race Rocks, and closer to medical quarantine facilities, which operated until 1957. In the 1960’s the federal government sent workers to D’Arcy Island to burn the leper’s houses. In October 2000, the island’s sad history was recalled when Victoria Mayor Alan Lowe unveiled a small plaque near the spot where the lepers lived. The plaque bears the name of 13 men, all Chinese, “and four others – names unknown” who died on the isolated island..

This economical narrative too easily resolves the tangle of bureaucracies that governed the use of this piece of land and how it was featured in the successive policies of immigration and public health to parks and recreation. The shunting of responsibility between municipal, provincial and federal governments and agencies is a familiar pattern in the containment of populations that are afflicted, or considered to be afflictions in themselves. D’Arcy is a case study in the circular techniques of history making in which a site of past atrocity achieves ‘closure’ through commemoration and designation as a site of leisure pursuits. The policies of abandonment have been abandoned: the place is now a romance.

Two previous revisionist reports from D’Arcy Island are interesting to consider here. Erik Paulsson’s Island of Shadows: D’Arcy Island Leper Colony, 1891-1924“2”:#note2 is a documentary video work produced in 2000, that situates the establishment of the leper colony within Chinese migration to Canada for the gold rush and the completion of the national railway. It uses interviews with medical missionaries to inform the viewer about the symptoms of the disease, that it is mostly not contagious, and that the lack of medical threat to the general population was well known at the time. Writer Chris Yorath is filmed at the current campsite as he identifies the location of the housing structures and draws attention to burned bed frames and burial mounds that rest adjacent to the picnic tables. Sook-Yin Lee’s voiceover narration guides the story through archival stills and dramatic re-enactment of the arrival, suffering and death of the immigrants. Paulsson uses all the representational devices available to him – composite characters, dramatic technique and actors, stills of racist newspaper caricatures, testimony of experts, archival photographs — to create a compelling redress of D’Arcy’s scandalous history. In one re-enactment, an actor plays the role of a photographer who makes portraits of the actors playing the lepers. Video stills stand in for these very photographs. Paulsson’s purpose is to uncover, inform and educate the viewer about the social conditions that permitted the Chinese lepers to be so badly mistreated. His commemoration harnesses a century of photographic, theatrical and filmic conventions to engage his viewers’ emotions and empathy for the individuals incarcerated on the island.

An earlier document of a day trip to D’Arcy can be found in an illustrated article produced for The Dominion Medical Monthly in December 1989. Also employing compelling text and image, Ernest Hall, M.D. and John Nelson published The Lepers of D’Arcy Island“3”:#note3 for the education of ‘students of this strange disease’. Its full-blown rhetoric aims, with flowery recitative voice, to stir a different emotional response through the use of superlative descriptions of the island’s natural beauty and morbid details of disfigurement. In contrast to the mellifluous script, seven photographs portray the lepers sitting for the camera or arranged in front of their row house dwellings. Their disfigurations are documented in a style that combines the techniques of medical photography of the era, with the conventions of exotic travelogues. This multi-media project sets out to convince the reader of the essential and immutable differences between the two races discussed at length — ‘those who speak the language of Shakespeare’ and those who ‘herding as they do in shacks, sheds and even boxes’ are a ‘difficult (race) with which to deal.’ To the authors, the lepers are merely evidence of the downside of Empire, and the article a cautionary tale for nations who thirst for open access to the resources of the east.

Echoing through the intimate upstairs gallery of the Southern Alberta Art Gallery, the introductory paragraph of The Lepers of D’Arcy Island is heard, as a song. An improvisation between vocalist Patrice Jegou and pianist Deanna Oye, this libretto interprets such lines as “…where at high tide the waters of the Pacific kiss and caress the feet of the forest monarchs…” in robust operatic articulation and somber keyboard. This oration scores a projected compilation of images from off and on shore, a compilation of repeated pans replayed again and again. With an ambient blur that indicates 16mm film, the projection is inter-cut with black and white footage of an approach to the island from the air, and from a speeding boat, embedding an anachronism within it. This central projection area, with its arrangement of chairs for viewing, provides a museum-like tableau. Around it, the installation bears further references to museum display – a projected video montage, a stationary monitor with stills and listening station, and hung on the walls a series of tarp-like photo enlargements that suggest exhibition signage. The authority of museum codes are disrupted by the incongruent images — archival footage is shown to be ‘inauthentic’, the voiceovers subjective and interpretive, the tarp-like banners evocative rather than expository. Repeating images of dripping tree branches, of abstracted landmasses – play across all the diverse modes of picturing. The captured moment through which photography lays claim to the real is displaced between a ‘then’ and a ‘now’, providing no comfortable frame of temporal reference for a viewer to inhabit. These mock documents – the ruin, the primal forest – are too processed and digitized to convince. Through this circular, overlapping technique, the island is systematically dis-enchanted, and the means of picturing it becomes the subject of our rumination.

Gill’s island is multiple and, except for the artist and I, un-peopled. The diverse modes of representation he uses are not employed to engage and convince, as in the case of Island of Shadows, for his intent is not to educate, but to reflect upon the complicated interplay of photomechanical representation, the set of meanings we transpose on the landscape and the layer upon layer of contested histories harnessed by a range of interests. Gill uses technologies that span the history of photomechanical reproduction itself: 16mm film, Hi – 8, VHS, Digital video, and digital output on matteflex. From out in space, Global Positioning Satellites traced Gill’s circum-perambulation of the island and his bushwhack across its width. The resulting maps – connected dots superimposed on a map – record his self-surveillance, adding another viewpoint to the aerial perspective, the hand-held lens that lurches through the underbrush, the stationary viewfinder deep within the damp bracken. One projection features a grid of images in a montage reminiscent of a bank of security monitors. Footage presented elsewhere in the installation is compressed in this format, along with a speeded-up and repeating sequence of Gill performing a 16mm pan. It echoes a scene from the 1929 experiment of Dziga Vertov, Man With a Movie Camera, which is “famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme closeups, tracking shots, footage played backwards, and a self-reflexive storyline”.4
In Gill’s montage, a discontinuous chronology of the history of the moving image is compressed, from the animatograph to the kinetoscope; superimposition to the vitascope. While the frame within a frame format is a recognizable style for contemporary audiences, each of these technologies is de-familiarized by their placement in uneasy proximity to one another, and the undisclosed logic of their arrangement. Layering the images and motifs, perspectives and points of view, one atop the other, each representational device is shown as partial, simultaneously asserting and undermining the authority it had in its heyday. With each form complicating and contradicting the other, the whole refuses a comprehensive sense of mastery over his subject. The photomechanical forms, and Gill’s use of them, become the object of his diagnosis. These technologies of control, that so successfully jump the fence between the disciplines of anthropology, medicine, the law, are shown to reach their full potential in the bureaucracies of immigration and quarantine, of corrections, and eventually, the museum.

One resting spot within the installation is hidden behind the entry wall, and behind the rows of chairs. This work requires that a viewer stand close to the wall, which houses a screen display. A moody and monochromatic image of light glimpsed through wintry undergrowth is frozen on the screen and a headset allows us to further detach ourselves from the rest of the installation. Within this intimate enclosure Gill reads from The Burrow, Kafka’s unfinished short story published after his death. It is written from the point of view of an animal/human character seeing to the maintenance of the underground dwelling he has improvised. His hideout is hidden, yet insecure, for to make it completely impervious to outsiders would require that the character eliminate his own means of escape. Speaking softly, the storyteller cites the ‘sheer pleasure of the mind’ that motivates his construction of false entrances and other strategic tunnels. Ironically aware of the paradox of his isolation, and the restless vigilance of his own entrapment, he comments, ‘some ruses are so subtle that they defeat themselves’. In the obsessive anticipation that ‘the enemy is burrowing as well’, the narrator seeks to outsmart an invisible companion, embodying the paradox that “isolation is chaos“5”:#note5 As the burrower repeatedly tidies away all traces of his movements one wonders what kind of drawing would result from tracking his rounds by satellite.

The Burrow, an inverted architecture, a reverse elevation shack, holds the promise of solitude and the false sense of control that that implies. But its structure also contains the multiple viewpoints of its own history:

The landscape includes the material detritus of previous inhabitations and economies. Typically the shack reuses or regroups things with humour and frugality. The boughs of a tree might become a roof. A shack almost always reuses windows, so that looking into or out of the shack is already part of a series, or an ecology, of looking. In this sense a shack is itself a theory: it sees through other eyes. This aspect of the shack’s politics prevents shack nostalgia from becoming mere inert propaganda. The layering or abutment of historically contingent economies frames a diction or pressure that is political, political in the sense that the shack dweller is never a pure product of the independent present. He sees himself through other eyes.6

To sentence the artist/subject to peer from the burrow indefinitely would overlook the pattern of advance and retreat that replays throughout D’Arcy Island. The mobility that is so crucial to Gill’s practice is clearly evident in the moving and static images that repeat around the gallery. His modes of transportation are seen – the airplane wing, the boat hull, the movement of his feet covering the terrain — as another recurrent register attesting to his travels. The time code of the walk differs to that of the flight or the water journey. These accelerations and decelerations have covered ground from the Northwest Territories to Alabama and Texas, Mexico to Halifax as Gill has made pilgrimages to prisons, immigration quarantines, and other Carceral Landscapes. In moving across geographic and conceptual borders, Gill expands the terms of his project beyond a redress of a specific localized history, and sites it in a broader social analysis. The landscapes he visits are detained by the camera, subjected to routine surveillance, and compared to each other in the lineup.

As a series, the title Carceral Landscapes points to recent projects in urban studies such as the work of Mike Davis. In City of Quartz“7”#note7, Davis framed Los Angeles as a militarized zone, in which geo-synchronous police satellites, the panic rooms at the core of mansions, and street numbers painted on rooftops have created an aerial grid index of a prison-city. More recently, Davis has written of Calipatria“8”:#note8 prison in rural California as an example of the rural landscape’s annexation by the prison industry. His study of the relationship of urban to rural and the strategies to contain and regulate populations according to race and class evoke the precedence of the D’Arcy Island exiles and other regulated social groups. Davis notes that while the inmates at Calipatria are hidden from public view, their visiting relations are not, and the town’s residents, although grateful for employment at the prison, wish that more could be done to control these visitors. But tourism and incarceration have been a cooperative venture since the days of Bedlam. Victoria’s Bastion Square, London’s Tower and the Nikkei Memorial Internment Centre at New Denver encourage us to revisit the site of trauma for our own improvement, and in the process of familiarization, salve historical wounds. To acknowledge and commemorate past injustices serves as a reassurance that history has indeed progressed into a more palatable present. The museum, the broadcast, the interpretive centre, the gallery and the performance hall are increasingly called upon to resolve or soften historical conflicts through the use of their more delicate instruments.D’Arcy Island is one stop on an itinerary of Carceral Landscapes and as Gill carries on to his next destination, he takes with him the burden of knowledge that the technologies he uses are implicated in both the historical and current practices of surveillance and regulation. Revealing the techniques that romanticize both the landscape and its history, his practice deflates the idea of nature as ‘healing’, as majestic or emblematic of a nation state. He presents instead the problem of picturing the landscape as natural, revealing it as a rudimentary architecture under the management of competing social and political forces.


Q:

Can I keep Nuget on the jQuery 1.9.x/1.x path (instead of upgrading to 2.x)?

Like most people, I'm using the jQuery Nuget package to keep up to date.
However, with the release of jQuery 2.0 I'm now prompted to upgrade jQuery 1.9.1 to 2.0. At this time I have enough visitors across my sites using 'ancient' versions of browsers that I'd rather stick with 1.9.x and jQuery Migrate.
Is there anyway to tell Nuget to stick with a particular version (1.9.x) when checking for updates of a package (jQuery or otherwise)?
I'm using the Visual Studio 2010/2012 extensions, but if I need to use the command line interface within VS to work around this issue, I certainly will.
Note: One thing in the back of my mind is that they messed up the update. Since jQuery 1.9.x and 2.0.x/2.x are fairly different, it seems they should have created a jQuery 2(.0.x|.x) package instead.
Of course then people who actually want to update to 2.x will have to know about it and switch which package they want installed. But given that it contains breaking changes, maybe that's better?

A:

In my opinion, this is a mistake on the package author's part. An update which removes support for several browsers should have been made into a separate version 2 nuget package and advertised accordingly, i.e. with significant disclaimers. The 1.9 library is not legacy and will receive further updates in the future. I've been in touch with the package author and will write more if I receive a reply.
In the interim, you can constrain the version of your package by using the following syntax in your packages.config:
<package id="jQuery" version="1.9.1" allowedVersions="[1.9.1]" />

There's more information on version constraints here:
http://docs.nuget.org/docs/reference/Versioning
After making the config change, an update should not upgrade your jQuery package to the 2.0 release. There have been issues in the past with the UI package manager not respecting the allowedVersions attribute (https://nuget.codeplex.com/workitem/1891), so you may have to use the command line if you encounter this problem.
However, none of this solves the problem of what happens when the 1.9 branch gets updated because the package feed will now be on the 2.0+ track. I assume you'll have to switch to a new nuget package specifically written to support the 'legacy' 1.x version, or copy the script in manually each time.
In any case, I'll update this when I learn more.
Edit:
The package author has stated that both the 1.x and 2.x paths will be supported in the future, i.e. the package feed will contain parallel versions instead of them being split. As far as I can see, the solution is to use a version constraint at the package config level to prevent an update to the 2.x version, e.g.:
<package id="jQuery" version="1.9.1" allowedVersions="[1.9.1,2)" />

(Specifying both min and max versions in allowedVersions should allow updating without risking a switch to the 2.x version. By the way, the right parenthesis looks strange, but is correct - it means 'less than version 2'.)

A:

how about to specify the version?
PM> Install-Package jQuery -Version 1.9.1
References: http://nuget.org/packages/jQuery/1.9.1

A:

Nuget now has a jquery1 package that only tracks the 1.x branch, so you should be able to swap out the core jQuery package for this one.


White privilege is saying a white actor is just the best at the role they play, when it isn’t written for a white actor, and it doesn’t matter if there are PoC who match the role–that white actor was way better.


Classic, Provocative and/or Influential: A Twin Study Sampler/Twin Research Reviews: Twin Pregnancies With and Without Polycystic Ovary Syndrome; Ectopic Twin Pregnancy; Sex Differences in Cognition; Maternal Cardiac Hemodynamics/Newsworthy: President Obama's Portrait Artist; Winkelvoss Twins Update; Triplet Models; 'Meet Your Twin'.
Selected twin research papers that are classic, provocative, and/or influential are surveyed. Many papers meet these criteria, so those chosen reflect the opinion of the author. Reviews of recent research on twin pregnancies with and without polycystic ovary syndrome, ectopic pregnancy, sex differences in cognition and maternal cardiac hemodynamics follow. Newsworthy twin-based items, including President Obama's portrait artist, the financial activities of the Winkelvoss twins, a set of triplet fashion models and the experience of seeing oneself in a painting, are summarized.


Visit Kappad Beach on your trip to Kozhikode or India ...

The historic spot where Vasco da Gama landed in Kerala, Kappad Beach remains a clean rock-studded stretch of red sand where you can dip your feet in the blue water or watch fishermen draw their long nets.

Kappad beach Calicut (Kozhikode), Calicut | Things to do ...

Kappad beach, Calicut (Kozhikode) Around 16 km away from the main Kozhikode town, Kappad beach is a serene beach, which was discovered during the 15 th century by Vasco Da Gama, the Portuguese explorer.

Kerala Buildingmaterials

Welcome to Kerala Buildingmaterials.com. It's our pleasure to introduce "keralabuildingmaterials.com" for your service. It's the first time in history of kerala, a dedicated website and professionals behind screen, come together for the supply of all the essential building materials at your door step.

rock sand crusher in angamaly

rock crushers in ernakulam . crusher&quarry in ernakulam. details of crushers in ernakulam district as on the date of (see map for location quarries are, operated. manufactured sand equipment and rock crusher …

Sea, Rocks, Sand - Review of Kappad Beach, Kozhikode ...

· Sea, Rocks, Sand A great beach to visit in the evening, but all history buffs be warned: you mustn't go there expecting to see anything at all related to Vasco Da Gama, the Portuguese explorer who discovered the sea route to India from Europe by landing at this very beach in 1498.

rock sand crusher in angamaly

rock crushers in ernakulam . crusher&quarry in ernakulam. details of crushers in ernakulam district as on the date of (see map for location quarries are, operated. manufactured sand equipment and rock crusher …

Sea, Rocks, Sand - Review of Kappad Beach, Kozhikode ...

· Sea, Rocks, Sand A great beach to visit in the evening, but all history buffs be warned: you mustn't go there expecting to see anything at all related to Vasco Da Gama, the Portuguese explorer who discovered the sea route to India from Europe by landing at this very beach in 1498.


Assessing the in vivo data on low/no-calorie sweeteners and the gut microbiota.
Low/no-calorie sweeteners (LNCS) are continually under the spotlight in terms of their safety and benefits; in 2014 a study was published linking LNCS to an enhanced risk of glucose intolerance through modulation of the gut microbiota. In response, an in-depth review of the literature was undertaken to evaluate the major contributors to potential changes in the gut microbiota and their corresponding sequelae, and to determine if consuming LNCS (e.g., acesulfame K, aspartame, cyclamate, neotame, saccharin, sucralose, steviol glycosides) contributes to changes in the microbiome based on the data reported in human and animal studies. A few rodent studies with saccharin have reported changes in the gut microbiome, but primarily at high doses that bear no relevance to human consumption. This and other studies suggesting an effect of LNCS on the gut microbiota were found to show no evidence of an actual adverse effect on human health. The sum of the data provides clear evidence that changes in the diet unrelated to LNCS consumption are likely the major determinants of change in gut microbiota numbers and phyla, confirming the viewpoint supported by all the major international food safety and health regulatory authorities that LNCS are safe at currently approved levels.


Q:

cx_freeze not seeing sqlalchemy under windows?

I'm using Python 3.2 32bit with sqlalchemy installed. I have written quite simple script in Python using sqlalchemy. I'm importing it like that:
from sqlalchemy import *
from sqlalchemy.orm import scoped_session, sessionmaker
from sqlalchemy.ext.declarative import declarative_base

The script is working correctly. I want to make .exe with cx_freeze. So i wrote following setup.py file:
import sys
from cx_Freeze import setup, Executable

build_exe_options = {"packages": ["os"], "excludes": ["tkinter"]}

base = None
if sys.platform == "win32":
    base = "Win32GUI"

setup(  name = "dev_db",
        version = "1.0",
        description = "Device Database System",
        options = {"build_exe": build_exe_options},
        executables = [Executable("./dev_db/db_main/db_init.py", base=base)])

(The application is part of bigger package containing other applications)
After launching setup.py build everything goes fine except:
? sqlalchemy imported from db_init__main__, dev_db.common.alchemy_base, dev_db.common.devinfo_io, dev_db.common.event_io
? sqlalchemy.engine.reflection imported from db_init__main__
? sqlalchemy.ext.declarative imported from dev_db.common.alchemy_base, dev_db.common.event_io
? sqlalchemy.ext.hybrid imported from dev_db.common.devinfo_io, dev_db.common.event_io
? sqlalchemy.orm imported from db_init__main__, dev_db.common.alchemy_base, dev_db.common.devinfo_io

The .exe is created but it won't work-it seems that cx_freeze cannot see the sqlalchemy which is obviously installed!
Any help would be very appreciated.

A:

cx_Freeze appears to have some problems with packages installed as eggs (possibly where the egg is a zip file). Open the folder or zip file ending in .egg, and copy the package - the sqlalchemy folder in this case - up one level into the site-packages directory. Then re-freeze it, and cx_Freeze should find the package.


Q:

Simple custom delegate not getting called

Let's see if you guys can find the error here... because I'm really stuck right now.
DBManager.h
@protocol DBManagerDelegate <NSObject>
@optional
- (void)    managerDidFinishUpdating:(id)controller;
@end
@interface DBManager : NSObject
@property (strong, nonatomic) id <DBManagerDelegate> delegate;
- (id)  init;
@end

DBManager.m
#import "DBManager.h"
@implementation DBManager
- (id)init {
     self = [super init];
     if (self) {
        [[self delegate] managerDidFinishUpdating:self];
     }
     return self;
}

UIViewController.h
#import <UIKit/UIKit.h>
#import "DBManager.h"
@interface DBViewController : UIViewController <DBManagerDelegate>
@property (nonatomic, retain) DBManager *manager;
@end

UIViewController.m
#import "DBViewController.h"
@implementation DBViewController
- (void)viewDidLoad
{
    [super viewDidLoad];
_manager = [[DBMataroManager alloc] init];
    [_manager setDelegate:self];
}
- (void)managerDidFinishUpdating:(id)controller {
    NSLog(@"Manager did finish");
}
@end

A:

You should write like this,

- (id)initWithDelegate:(id)delegate {
    self = [super init];
    if (self) {
        _delegate = delegate;
        [_delegate managerDidFinishUpdating:self];
    }
    return self;
}

//Call it as follow
_manager = [[DBManager alloc] initWithDelegate:self];
[_manager setDelegate:self];


FRANKFURT • Police yesterday raided sites across Germany linked to a far-right group banned by the Interior Ministry, weeks after a suspected extremist gunman shot dead nine people of migrant backgrounds.

"Since the early hours, police measures are going on in 10 states" out of Germany's 16, Interior Ministry spokesman Steve Alter wrote on Twitter.

"For the first time, the Interior Minister has banned a 'Reichsburger' (Citizens of the Reich) group," Mr Alter added.

"Even in these times of crisis, we will fight far-right extremism, racism and anti-Semitism."

The United German Peoples and Tribes organisation banned yesterday belongs to a wider Citizens of the Reich movement fed by conspiracy theories.

Its adherents question the legitimacy of the modern Federal Republic of Germany and have in the past entered into armed confrontations with police.

In a 2016 shootout, a Reichsburger-linked man killed an officer and wounded two more.

He was later sentenced to life in prison.

After a racist gunman shot dead nine people of migrant backgrounds in the city of Hanau last month, Interior Minister Horst Seehofer declared far-right extremism "the biggest security threat facing Germany" and announced increased police measures. Mr Seehofer said the far right had left "a trail of blood" in recent months - two people died in an attack on a synagogue in the city of Halle last October and a pro-migrant politician was murdered at his home last June.

The government has announced hundreds of new posts for federal police and security services to strengthen surveillance of the far-right scene, and is also considering tighter laws on gun ownership.

AGENCE FRANCE-PRESSE