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One of PC gaming's finest co-op experiences is coming to a rectangular productivity-enhancing device near you. How many times will you "accidentally" kill your friends in Magicka: Wizards of the Square Tablet?
Developed by Ludosity, the folks behind the lovely Bob Came in Pieces, Wizards of the Square Tablet is a whole new adventure in the Magicka universe, capturing all the hallmark features of the series and trapping them in a flat rectangle of power. It's got four-player online co-op. It's got the elemental-combination spell system. It's got plenty of accidental murder. Throw in exclusive items for the iPad and Android versions, cross-platform play and the ability to touch yourself for hours (well, a digital representation of yourself... or whatever, just don't tell me), and you've got a game that most certainly is this one.
I mean, I can't say it'll be amazing, I've not played it yet. I can be excited though, so imagine meet hooting and hopping in my chair.
Magicka: Wizards of the Square Tablet is coming. They didn't specify, so I can't say soon. Before you die, surely. Hopefully.


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I've finally got the manuscript written for the book on aging athletes I've mentioned here several times. The working title is "Fast After 50," and it will probably be ready by the end of the year – in both English and German. The weight of the world is off of my shoulders and I'm getting back to a normal life which includes posting to this blog. Another big project is looming and so I've been reading a lot of training-related research recently. That's how the following post came about.
One of the best workouts for building fitness is intervals. That's a session with alternating hard and easy segments. I previously wrote a series of five posts describing the details of interval training (part 1, part 2, part 3, part 4, part 5). Early in that series I explained that the word "interval" actually refers to the easy segments, but most of us use the term to mean the hard parts. So to hold down the confusion in this update on the topic I'll refer to the hard segments as "Work Intervals" (WI) and the easy portions as "Rest Intervals" (RI).
When doing intervals, or any workout, the key question must always be: What is the purpose of this session? If you can't answer that question with something other than a vague to improve my fitness, then the workout may not be appropriate. You could be doing something that has little merit in terms of the race or event for which you are training. For example, a marathon runner gets little or no race-specific benefit from doing sprint power intervals. A win is unlikely to come down to an eight-second, all-out sprint at the line. But for a road cyclist such a workout may be perfect.
The second most basic question has to do with timing: Is this the best time in my season to do this workout? Something I often mention in this blog is that the purpose of periodization is to improve performance for a given event on a given date. I also frequently point out the way to periodize training is to have the workouts become progressively more like the event in the last few weeks prior to that date. Doing the opposite – making the workouts less like the event as you approach race day – only results in poor to mediocre performance. Increasing race specificity in training is one of the keys to good planning.
In this post I want to look only at interval duration, primarily for the length of the Work Interval (WI) in an anaerobic endurance interval workout. The physiological reason for doing this type of high-intensity session is to improve aerobic capacity (VO2max). Athletes in a wide range of endurance sports do anaerobic endurance intervals at some points in their seasons. For endurance events that are raced at high intensity (for example, bicycle road races and criteriums, 3- to 5-km running races, short mountain bike races, 100- to 1500-m swim races, sprint triathlons) anaerobic endurance intervals are commonly done in the Build period (the last 8 weeks or so prior to tapering/peaking). For events done at a low to moderate intensity (for example, running marathons, mountain bike marathons, half Iron and Ironman triathlons, very long bike time trials) such high-intensity intervals are perhaps best done in the latter portion of the Base period some 12 to 18 weeks prior to the A-priority race. For those events between the two categories – such as those raced at near the lactate threshold – the timing of anaerobic endurance intervals is much more open to debate. (I'm being a bit vague on this because when it comes to periodization there are a lot of "it depends," such as age, ability, experience in the sport, capacity for work, susceptibility to injury and many others).
With all of these details out of the way, let's get back to the purpose of this article: How long should you make the WI in a high-intensity, anaerobic endurance interval session with the purpose of improving aerobic capacity and, therefore, race performance? It just so happens that a recent research study out of Lillehammer University in Norway took a look at that question. (This team of sport scientists has recently produced some excellent studies that can be directly applied to training in the real world. I intend to feature more of their research in future posts.)
The Norwegian researchers compared short and long intervals to see if there is any benefit one way or the other when it comes to aerobic capacity and performance benefits. They divided a group of 16 competitive cyclists into two groups with both doing anaerobic endurance intervals at the same intensity – about 90 to 100% of VO2max – with WI being the main difference. For 10 weeks they did either short or long WI workouts twice weekly.
The short intervals (SI) group did 3 sets of 13 x 30 seconds with 15-second rest intervals after each WI and 3 minutes of extended recovery between each of the 3 sets. The long intervals (LI) group did 4 x 5-minute WI with 2.5-minute RI. The recoveries for both groups were active, meaning they continued to pedal at a low intensity. The combined high-intensity time of the interval sessions were similar between the two groups. The SI workout resulted in 19.5 minutes of total hard effort while the LI group did about the same with 20 minutes of high intensity per session.
These are extremely hard workouts. A cyclist can typically sustain 100% of VO2max for about 5 minutes. Doing it 4 times in a session with only 2.5 minutes to recover after each as LI did is a lot of suffering, especially when you consider that this was done 20 times in 10 weeks. But 13 x 30 seconds with a paltry 15 seconds to recover in each of the 3 sets was no walk in the park for SI either. These were both certainly sufferfests. Perhaps the only saving grace from the riders' perspective was that the WI were done at 88 to 100% of max heart rate. Since heart rate tends to drift upwards during such a session and come down more slowly with each succeeding RI, it would become somewhat easier to achieve the goal intensity on each subsequent WI. Easier but by no means easy. Cycling power is a better way of gauging the intensity of interval workouts as it stays constant throughout. There is no power drift meaning each WI from beginning to end would be of the same quality. And, in fact, power was measured during each interval for both groups. The LI group produced a slightly lower average power due to the length and sustainability of their longer WI. (The closest equivalent to power for runners is pace.)
The results of the groups' training were interesting. The LI group improved their VO2max by 2.6% on average over the course of the 10 weeks, but the SI riders had a huge average improvement of 8.7%. SI also made greater performance gains in 30-second, 5-minute and 40-minute time trials.
Other studies of long versus short WI in well-trained athletes have found little difference in the physiological benefits. This study is unique, however, in that the total intervention period—10 weeks—was much greater than in previous such studies. The relatively short RI were also unique. At a duration of 50% of the WI they were shorter than is commonly done. This meant that the athletes' stress throughout each interval session was at or near VO2max for a longer total time than is common with a longer RI. With long RI the density of the stress is reduced thus somewhat lessening the benefit.
This last point probably also explains why the SI athletes improved to a much greater amount than the LI. With only 15 seconds to recover after each WI they never even came close to full recovery for 6 minutes in a set. The LI group, however, would have experienced slightly less total continuous stress per session due to the longer RI.
The researchers point out that such high-intensity interval sessions are better for performance the more highly trained the athlete is. This, again, may explain why the very brief WI of the SI group produced results that were so much better than was found in other studies with relatively long RI. The subjects in this study were highly fit with average VO2max values in the high 60s. Subjects in previous studies of interval duration were much less well-conditioned. What this means is that if you are not at or near a very high absolute level of performance (not merely at an elite level in your age group) as indicated by a high VO2max, then using very short RI after also short WI may not be the best way for you to do intervals. In this case, a 1:1 ratio of WI to RI may be better for you. That would be something like a 30-second WI followed by a 30-second RI.
If you have not previously done high-intensity interval sessions in training or if there has a been a break of several weeks since you last did them, it's probably best to start at a much lower level of total interval time in a session than was used in this study. That could be something such as one set of 10 x 30 seconds with 30-second recoveries or 5 x 1 minute with 1-minute recoveries. But if you are an elite athlete (meaning you're a contender for the overall podium positions in races) and have been doing high-intensity training recently, then the SI type of workout described above may be a good training option when the time is right to build aerobic capacity.

subset: commoncrawl


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But if there is no sprite manager, how do you tell it about these exceptions? I think I am missing something in this plan.
Also, do you mean that file format itself stores frame count? If not, what did you mean by "read the frame count of the file"?
Could you write all this in a form of a task, with all points elaborated?
Well it would need something, but this something will not import, create or delete sprites. So if there is just a sprite viewer, it could just hand tasks off to a metadata manager, or you could be specifying any changes settings outside of the editor.
If the user doesn't tell AGS that some file is "imported", then at compile time, the AGS compiler will have to peruse thousands of tiny little files in order to find out whether new ones have shown up or old ones have changed their content. So that might mean, hash file contents and store that somewhere, e.g., in a database.
This is like a complete overhaul to how you work with sprites in AGS. Are you sure the people will accept this?
This may be a regular workflow for professional artists, but, for example, I got used to import sprites from clipboard, that's very fast and you don't have to manage files.
And the tiled import... I was just drawing all animation sequence in 1 document, and then tile-importing them, again not thinking about cutting into files.
Perhaps there may be a way to keep these import commands? They may be simply creating new files and metadata according to the settings, work like alternate entry point into this system (main is copying file into folder).
There may be slightly different approach: run a file change listener on a Sprites directory, and note files as they are added, removed or changed. Cache may be updated immediately, or at compile time using a prepared list of changes.EDIT: oh right, the files could have been modified in between editor sessions too.
One of the preliminary steps could be reimplementing the way editor draws stuff, perhaps making it rely on its own sprite map.
It wouldn't prevent you from using a spritesheet, you could either flag the folder for tiled import, or just flag a particular image for tiled import.
Unless I'm missing something, keeping the spritesheet as a single image means you never have to re-import the whole thing if anything on the spritesheet is changed
perhaps people might be preferring spritesheets at the moment to get around workflow issues in the sprite manager.
Presumably a tiled import will always give you sequential sprite IDs?
If you're going to have the capability to flag a sprite for tiled import (with x and y dimensions), and set the transparent color (because that's required functionality), and view the sprites, and set the sprite number (implies reordering the sprites?), and probably the option to then delete them from within the editor, because why not... isn't that more or less everything the sprite manager does?
Umm... isn't it the opposite?
It doesn't look like the source file is tracked at all for a tiled import.
To track the source you will have to store the path though, as potentially the source image has changed the editor last saw it (so timestamp and hash may have changed). I think fundamentally we are both suggesting the same thing, and the mechanisms needed to reference the files would be similar. Given that an absolute path may not match on two different computers, ideally the source should be relative to the game folder, so really I think the the only difference is an implied import vs manual import, and then where the mapping is stored.
I like your idea CW
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Woman's dying wish can't be fulfilled after dog's remains stolen
Thieves burglarize woman's apartment while she's hospitalized
An area woman hoping to carry out the wishes of her dying sister found out someone stole the prized possession she'd hoped to take to the grave.
Betsy Greathouse wanted to be buried with the ashes of her beloved dog, Gizmo, who'd died a few years earlier.
The Middletown woman was admitted to a hospital the day after Christmas and just recently passed away.
Family members said Greathouse kept the dog's cremated remains in a wooden heart-shaped box on a table at her North Verity Parkway apartment.
But when relatives came to the residence, they found that crooks had stolen the woman's stereo, DVD player, some CDs and the wooden box.
"She loved animals all the time," said neighbor Teri Reed. "Her favorite one was her Shih Tzu, her dog, and her ashes for her dog were sitting on table, and when I heard they were gone, I was really upset about it."
Greathouse's sister said she didn't care about any of the stolen items except for the dog's remains, and she's asking the thieves to return the box and the ashes.


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Lylia Rose is a lifestyle blog and online shop (two of our favourite things!) based in the UK. The blog is a great mix of fashion tips, health ideas and beauty reviews and the online shop is full of gorgeous jewellery and printed scarves - you can check it out here.
Rose's Rooftop have kindly been sent a 20% off code for our readers, simply enter


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Why Support the College of Arts and Sciences?
Toreros Together Emergency Fund for Students
Many of you have reached out to ask how you can best support our students impacted by the COVID-19 pandemic. We are humbled by your generosity. If you would like to join your fellow Torero family by providing a donation to cover food, housing and technology resources for our students, please go to our Toreros Together Emergency Fund for Students website.
With almost 70% of students receiving financial aid, the College of Art and Sciences relies heavily on generous gifts from its alumni, parents and friends to support our renowned academic programs, talented students and world class faculty. There are many reasons you can't give; here are a few reasons you should.
Your gift supports our top priority: Students.
The cost of earning a college degree is rising faster than family income. Almost 70% of students receive some financial aid which typically covers only a portion of tuition and fees. As a result, many students rely heavily upon loans to pay for their education.
If you are an alum, you very likely received a scholarship from a generous individual who not only believed in you but made a conscious decision to support your education. Wouldn't it be wonderful to pass that gift along to someone else?
Your gift to support student scholarships ensures that we can continue to recruit and retain the best and most promising students.
Your gift supports our ranked and renowned academic programs.
Whether it is the SURE Program that provides summer research opportunities to talented science students; or the Washington Center which gives civic minded students a first-hand look at the inner workings of the federal government; or the MFA Program that ranks among the top five dramatic arts programs in the country, a gift to the College of Arts and Sciences enables us to maintain the highest quality of academic programs and research opportunities for all students.
Your gift supports our world class faculty.
If you run through the list of our more than 200 faculty members, you would see among them a Fulbright Scholar, Clare Booth Luce Distinguished Professor, Louis Comfort Tiffany Foundation Award winner, recipient of a Bunting Fellowship at the Radcliffe Institute for Advanced Study at Harvard University and National Science Foundation CAREER recipients.
You would also find professors with doctorate degrees from Yale, Princeton, Harvard, University of Michigan, Columbia, New York University and the Scripps Institute of Oceanography. The College's ongoing commitment to recruiting and retaining the best faculty in all fields – the teacher/scholar – ensures that we can continue our legacy of life-changing teaching and scholarly activity.
Your gift supports facilities and technology that foster learning and discovery.
What you learn can change your life. But where you learn it (and on what instrument) can make all the difference in how far you can take those lessons.
At the College of Arts and Sciences, we are constantly changing and evolving our facilities to give our faculty and students the very best resources for pursuing knowledge and putting it to work in our world. In fact, we partner with local organizations and companies to utilize equipment, space and resources.
Your gift is vital.
Your gift is vital to our success because a strong, vibrant and thriving College of Arts and Sciences means a strong, vibrant and thriving University of San Diego. Your gift ensures our success for the long-term.
For more information, please contact:
Ericka Swensson, PhD
Director of Development, College of Arts and Sciences
(619) 260-6890
College of Arts and Sciences
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People from Strathcona County who are in need of a car, but are facing credit challenges, we offer them bad credit car loans. Bad credit shows the less credit score. People can have poor or bad credit but considering your credit history,Edmonton auto loans gives you a proper program with which you can have a car of your own choice.we can provide better finance approval according to your budget by accepting credit application. We own certified vehicles with maximum chances to be approved and you can have your own vehicle. Edmonton auto loans will help you to get bad credit car loans. We coordinate with banks to get your loans approved. Apply or call to Edmonton Auto Loans to be approved.
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Reply 20 of 85, by robertmo
- Rank
- l33t++
It's as if you said:
Thanks, but i dont want extract something by myself, that is not limit which i want to cross, i dont even have WinZip installed. 😉
Everything is ready there. It's just like extracting a file. You just choose "build" instead of "extract" 😀
And adding a small patch is not even like editing a save game. You don't even need hex editor for that. It's editing a text document. Just copy\paste in the right place.


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As I was previously writing a post about Great Chalfield Manor and its canine mistress, it struck me how much this house and its garden embody the Japanese concept of wabi.
Wabi stands for a humble beauty, the look of objects showing the signs of wear and patina.
Wabi can express a sense of melancholy, of sobriety and spareness.
But by stripping away the more obvious trappings of beauty, wabi also exposes the fundamental vitality hidden in natural materials.
Major Robert Fuller and his architect Sir Harold Brakspear seem to have had a very similar ideal in mind when they restored Great Chalfield in the late nineteenth century.
And today Patsy Floyd maintains the garden in the same spirit, with flowers emerging from between flagstones and lush greenery contrasting with lichen-covered stonework.
It would be interesting to find out if Japanese visitors experience Great Chalfield in this way, or whether they see it as exotically 'English'.


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Writing & Publishing For Yourself: The Indie Author Handbook, Self-Publishing Toolkit, and Staying Sane Survival Guide – or 'The Adventures of an I.T. Helpdesk' by Lisa Scullard (non-fiction/humour)
FREE on Kindle for a limited time (regular price $2.99 or equivalent) – Write a decent book, Tweet a few times, accept any spontaneous reviews graciously, and keep all of your friends…
Hi folks! Seeing as I didn't know what I'd really done to earn recognition as a top blogger on here, a while ago I went through all of my posts on Writing and Publishing and compiled a list (see my Tutorials pages). Following that, and reading them through, I realised I had a whole lot more to add – to update – and articles elsewhere that were relevant. As well as journal entries of everything I've learned on the indie author rollercoaster.
I've now`organised them, fully-revised and updated, into this eBook above – containing my earliest advice on writing (reviewing the 27th Brussels International Film Festival, in 2000) to the latest. The eBook was was published yesterday, and I've just finished the final tweaks after uploading.
Here's the blurb:
This isn't a 'How to sell a million copies' or 'How to be a New York Times bestseller' guru session. This is not for seasoned 'Authorpreneurs' looking for new promotion and sales tactics. It is NOT a tried-and-tested formula for writing a blockbuster novel. And it will not tell you how to become a billionaire through exploiting your hidden USP (Unique Selling Point).
Neither is it a Zen lifestyle guide, telling you that it is simply a case of convincing the world (and yourself) that you are the world's top author, and you will be showered with money, Nobel prizes, Oscars, Specsavers Daggers, retail sponsorship, street-value turnips, or whatever else takes your fancy.
None of the above. It's a journal of the everyday life of a modern, under-the-radar indie author since the global self-publishing trend started, and a few confessions of advising others while being a Useful Technical Person to Have Around…
It is also a book for beginners, giving tutorials and case studies – on the subjects of inspiration, motivation, genre, legal hurdles, research, editing, and identifying your ideal market audience – along with the rocket science of formatting your documents, embedding illustrations, creating and linking to external content (such as audio and video), uploading them, and some gentle cautionary advice on publishing issues and promotions.
There will be laughs. There will be tears. There will be revealing examples made (and for readers with browser-enabled tablets or PC/phone reading apps, links to working samples of multimedia content).
Above all, it's designed to save you time, hassle (and ultimately, save you money) when joining the indie author phenomenon.
Lisa Scullard went online one day in 2014 to find she was suddenly (and without warning) a WordPress-promoted top blogger in Reader on the subject of 'Writing & Blogging' – and promptly understood the full meaning of the phrase: "With great power comes great responsibility." This subsequent book is an organised compilation of relevant blog posts, tutorials, articles, experimental book trailers and journal entries made over the years, covering the topics of writing, researching, editing, publishing and promotion. It has been an undertaking of mass rewrites, edits, revisions, expositions and updates, and some keyboard-crunching efforts at formatting, in order to justify such an unprecedented amount of recognition.
…And it's FREE until midnight PST, Wednesday 28th October 2015, on Kindle worldwide. Grab it while you can.
Amazon.com – Amazon.co.uk – Amazon.de – Amazon.fr – Amazon.es – Amazon.it – Amazon.nl – Amazon.co.jp – Amazon.in – Amazon.ca – Amazon.com.br – Amazon.com.mx – Amazon.com.au
It's already available in print on Lulu directly (postage £2.99 basic shipping) and should appear on Amazon in paperback form over the next few days.
Last updated: 14 November, 01.30 GMT – The latest updated version is now live. If you've downloaded your copy already, make sure it's automatically synched to the newest version. You can use the Kindle Customer Services 'Contact Us' by chat/email method to request it to be re-delivered free to your app/tablet if it doesn't update automatically from your reader settings. You're always entitled to request the newest revision of an ebook for free, even after a paid purchase.
One of my supporting examples of fiction is also available FREE on Kindle for the same time period, for reference – Death & The City: Cut to the Chase Edition. (Also worldwide).
I hope you all have a great weekend, and for those of you off school and college, enjoy half-term break (and happy forthcoming Halloween) 🙂


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- deploy.log-directory
- deploy.log-timing-data
- deploy.block-file
- deploy.can-make-tags
- deploy.config-file
- deploy.deploy-file
- deploy.hook-dir
- deploy.tag-prefix
- deploy.support-email
- deploy.mail-tool
- deploy.restrict-umask
- deploy.announce-mail
- deploy.send-mail-on-ACTION
- deploy.repo-name-detection
- deploy.lock-dir-root
- deploy.message-on-sync-hook-fail-whale
- Environment variables available to hooks
- Available phase hooks
- Return values
- Sync Hooks
git-deploy - automate the git steps required for a deploying code from a git repository
git deploy [deploy-options] [action [prefix]] [action-options]
git deploy --man
status # show rollout status of current repository
start|abort|sync|finish # normal multi-server rollout sequence (finish is automatic if sync succeeds)
start|abort|release # normal single-server rollout sequence (when you don't need a sync hook)
hotfix # Roll out the site with a hotfix (a.k.a. start without an automatic "git pull")
revert # revert site to previous rollout (interactive - replaces start)
manual-sync # manual sync process (replaces sync - can be used for a gradual sync)
show # show list of tags
show-tag # show the currently deployed tag (if it exists)
tag # create a tag for this commit (restricted to certain environments)
log # during a rollout show log of changes since the last rollout
diff # during a rollout show differences between previous rollout
See "DESCRIPTION" for an overview of what git-deploy is all about, and how it operates from a big picture perspective.
See "ACTIONS" for the git-deploy sub-commands. These are the commands you'll be using on a daily (or hopefully less than hourly) basis to do rollouts.
See "OPTIONS" and "OTHER OPTIONS" for common options you might want to use, and increasingly obscure options you'll probably never need, respectively.
See "CONFIGURATION" for configuring git-deploy. Unless you're the sysadmin setting up the tool you don't need to worry about this.
See "WRITING DEPLOY HOOKS" for how deploy hooks work. This is relevant to you if you're the poor sob tasked with implementing said hooks.
git-deploy is a tool written to make deployments so easy that you'll let new hires do them on their first day. Conceived and introduced at Booking.com in 2008, it has changed deployments from being something that took hours, to being so easy that deploying 20 times a day is what happens (on a slow day).
It's highly configurable and pluggable. We use it for deploying everything from single-server environments to deploying our main web server cluster.
It creates an annotated git tag for every rollout, and pushes those tags upstream, so anyone with a copy of the repository can see what's deployed where. This is invaluable for debugging and tracking the history of deployments.
It adheres to the Unix philosophy, being a tool that does one thing and, does it well. It's fully pluggable (the hook API is just a bunch of executable files with exit() values, you don't have to learn to use a complicated API), it's easily scriptable, and it runs anywhere you have a standard installation of Perl 5.8 or later.
But enough with the sales pitch, what does it actually do?
git-deploy implements exclusive locking, i.e. it allows only one person to deploy to an environment at the same time. This is how a deployment starts, and you do this with:
git-deploy start
...which will create a lock file and do "git pull" for you, to update your local tree to include the latest upstream code.
This means that you have a repository somewhere that you do deployments from. This is your staging server, or the only server you have, it doesn't matter. It just has to be one standard location.
Under the hood locking is simply implemented with a .git/deploy/lock file - if users have configured their umask correctly (and git-deploy can enforce this) you can forcibly take over another user's deployments with
Once you're in the locked state you can do any git operation you'd like. git-deploy doesn't care, you can "git pull", you can make new commits (as long as you push them upstream before the sync step).
If you chicken out at this point you can always:
git-deploy abort
Which'll get you back to the state you were in before you ran "start".
When you're happy with the state of things you want to deploy, git-deploy will create a tag to record in the commit history that the current state is what was released, and then call your sync hooks (if any are configured):
git-deploy sync
...which will create a tag, and roll it out to your network. The details of the rollout itself are completely up to you (see "Sync Hooks"). You can use everything from git itself to carrier pigeons, git-deploy doesn't care.
If the sync hook fails (e.g. because a cat ate your pigeon) git-deploy exits with an error and expects to you fix the situation.
Usually fixing it is a combination of running the sync hook manually again, and making a mental note to beat your sysadmins with a rake.
If you prefer to perform the rollout yourself, you can instead use git-deploy to simply tag a release and push that back to your main repository.
git-deploy release
This is not a recommended way to use the tool since one of git-deploy's functions is to manage the process of pushing code out to multiple production boxes. Your life will be much easier if you choose to implement sync hooks instead.
You'll have to set "deploy.can-make-tags" to
trueto use this.
Once you've done the former successfully:
git-deploy finish
(...which "git-deploy release" and "git-deploy sync" do for you if you haven't encountered an error.)
That'll perform any final actions (like sending an e-mail about your shiny new deployment), and then unlock the deployment server so the next poor sob who has to do a deployment can use it.
Does that sound simple? Well that's because it is. It's a very simple tool, it's so simple that we even allow designers to use it.
So why do you need it? Well partly because we've been lying to you up until this point. The main feature of this tool is not actually doing rollouts, it's doing reverts.
When you inevitably bork a rollout and you want to undo as fast as possible, git-deploy makes this really easy. You can run git-deploy show to see a history of recent rollouts, and you can use git-deploy revert to interactively revert to a previous revision.
This means that you get presented with a list of things that were recently rolled out, and then have the chance to choose which should be rolled out as a replacement. Once you select the synchronization process is started and the bad code is replaced by whatever you have selected.
When you manage to get even this wrong, and revert to the wrong commit git-deploy makes it easy to see exactly what happened and what you did, and git-deploy show will show you which of the several tags you've been jumping back and forth between correspond to a given revision. Once have figured out which commit you should go to, use git-deploy revert to roll it out.
The tool also performs very exhaustive error checking added over years of trial and error, as its inexperienced users have tried to screw up rollouts in every way possible.
If there is a problem in general the tool will detect it, and advise you of what it is and how to deal with it.
It'll ensure that tags are created which you can roll back to, and ensure that they are pushed afterwards.
git-deploy will fetch all tags from the remote repository configured in the current repository before processing. You can disable this behaviour by using --no-remote which overrides all remote actions.
In the case of an unclean working directory an error message will be produced and the output of `git status` will be displayed. Note: This includes untracked files, which must be either deleted or added to the repository's .gitignore (which itself must then be committed), before you can proceed with using git-deploy. You can disable this with --no-check if you're feeling adventurous.
One thing it definitely doesn't do is worry about how your code gets copied around to your production servers, that's completely up to you.
If you have some way of copying around code to be deployed (git archive, rsync, building .deb or .rpm packages) that you use now you can and should continue using it.
git-deploy solves the problem of making your deployment history available in a distributed way to everyone with a Git checkout, as well as making sure that there's an exclusive lock on deployments while they're in progress (although you could skip that part if you were feeling adventurous enough).
Deploy Files
A deploy file consists of a set of keys and values, followed by a newline, followed by the deployment message used to create the deployment tag. For instance:
commit: 7e25a770901c9b1eb75ad1511580a98acff4ad60
tag: sheep-20080827-1419
deploy-date: 2008-08-27 14:19:58
deployed-from: bountiful.farm.com
deployed-by: rafael
rollout of sheep
If new key/values are added, they will always be added before the blank line.
Deploy Hooks
At various points in the deployment process git-deploy can execute user-supplied hooks.
This is to provide a mechanism by which actions and tests will be automatically executed, and if necessary can prevent the final sync step from occurring.
Hooks can be specific at the generic level (i.e. for all environments), and on an environment-specific basis.
Use git-deploy --man to see complete set of options and details of use.
- --force
Force the action, and bypass most sanity checks. Do not use unless you know what you are doing.
- --verbose
Emits progress information to STDERR during processing.
- --help
Print a brief help message and exits. (You are probably reading this output right now.)
- --man
Uses perldoc/man to output far far more than you ever realized there was to know about using this tool.
- --message=STRING
Message to use when creating a tag. Required when creating a new tag. Since you can't know the name of the newly created tag when writing the message you can use the special sequence
%TAGas a replacement.
- --show-prefix
Print to STDOUT whatever prefix would be used given the current arguments and then exit. Throw an error if there would be no prefix.
- --to-mail=STRING
Address to use to send announcement mails to. Defaults to 'none'. See "deploy.announce-mail" for a config option to set this.
- --show-deploy-file
Prints the name of the current deploy file to STDOUT, if and only if the commit it contains corresponds to HEAD. Otherwise prints nothing. Exits immediately afterwards.
- --deploy-file-name
Set the deploy file name. If this option is not provided the deploy file defaults to
./lib/.deployif a directory named
./libexists, and otherwise to
- --list
- --list-all
Instead of printing out a single tagname for the current commit's tag, print out a verbose list of tags, sorted by the date that they contain in order of most recent to oldest. The output is structured like so:
7e25a770901c.. *tag: sheep-20080827-1419 2806eb24c3c2.. tag: cows-20080827-1240 d6af6e1ad6f1.. tag: goats_20080826-1458 889f65216880.. tag: goats_20080826-1034 90318602f8d2.. tag: cows_20080826-1005 6bd340c67bdb.. tag: sheep-20080825-2245 19587c195a8b.. tag: sheep-20080825-2116 -> sheep-20080825-2105 19587c195a8b.. tag: sheep-20080825-2105
The first column is the abbreviated commit SHA1 (abbreviation can be disabled with the
--long-digestoption), Followed by either
<space><space>or by
<space><star>. The starred items correspond to HEAD. The arrow indicates that there are two different tags to the same commit, and points to the oldest equivalent tag. This is then followed by either 'tag:' or 'branch:' (depending on whether
--include-branchesis invoked) and then the item name. This may then be followed by space and an arrow, and then a second name, which indicates that the tag is a duplicate and shows the oldest displayed item. Undated items like branches go last in alphabetic order, with some special exceptions for i.e. trunk or master.
When used with just
--listmode, only starred items corresponding to HEAD are displayed, --list-all shows unstarred items that do not correspond to HEAD as well.
- --include-branches
Show information about branches as well when in
- --long-digest
Show full SHA1's when in
- --ignore-older-than=YYYYMMDD
Totally ignore tags which are from before this date. Defaults to
Checking *every* tag to see if it corresponds to HEAD can be expensive. This options makes it possible to filter old tags by date to avoid checking them when you know they wont match.
- --make-tag
Make a tag. This is the same as the "tag" action except the tag will not be automatically pushed.
- --no-check-clean
Do not check that the working directory is clean before doing things.
- --no-remote
Skip any actions that involve talking to a remote repository.
- --remote-site=STRING
Name of remote site to access when pushing, pulling or fetching. Defaults to 'origin'.
Using an remote site name of 'none' is the same as using --no-remote
- --remote-branch=STRING
Name of remote branch to access when pushing, pulling or fetching. Defaults to the current branch, just like git pull or git push would.
- --date-fmt=FORMAT
Perl strfime() format to use in datestamped tags. Defaults to '%Y%m%d-%H%M'. Changing this value is probably unwise, as various features of the deploy process expect to be able to parse date stamps in this format.
Used to start a multi step rollout procedure. Remembers (and if necessary, tags) start position as well as create locks to prevent two people from doing a procedure at the same time. See
hotfix below for rollout out a hotfix on top of a previous rollout tag.
Used to declare that the current commit is ready for sync. This will automatically call the appropriate sync command for this app, as defined in deploy/sync/$app.sync.
A command which can be used any time prior to the manual synchronization step which will automatically end the rollout, restore the git working directory from the current state to the start position. Note this is NOT the way to "rollback a rollout", it is the way to abort a rollout prior to its completion.
I.e. if someone else has started a rollout and gone away you can do:
git-deploy --force abort
And the state of the rollout machine will be reset back to what it was before they ran
git-deploy start.
Used to declare that the rollout session is finished, and that git-deploy should push any new commits or tags, create the final emails of any changes and perform related functions.
Used in the "two step" rollout process for boxes where there is no manual synchronization step.
Used in the "one step" rollout process to tag a commit and push it to the remote.
This is used to do an interactive "revert" of the site to a previous rollout. It combines the steps "git-deploy start/git reset .../git-deploy sync/git-deploy finish" into one, with interactive selection of the commit to revert to. If sync hooks and deploy hooks are provided then they will be automatically run as normal. If they aren't, a manual sync/finish is required.
Show the tag for the current commit, if there is one.
Show the status of the deploy procedure. Can be used to check what step you are on.
Here's how you can do a hotfix rollout, i.e. when you have an existing rollout tag that you wish to apply a single commit (or several) onto.
First, instead of
git-deploy start, do:
git-deploy hotfix
...which will start
git-deploy without performing a
git pull beforehand. Then you cherry-pick some commit/s:
git cherry-pick SHA1_OF_HOTFIX
...and make a note of the resulting <NEW_SHA1>:
git --no-pager log -1 --pretty=%H
Then do a:
git pull --no-rebase
Followed by:
git push
to push your hotfix to the Git server. But now you're not at what you want to roll out, so do:
git reset --hard NEW_SHA1
git checkout -f
This will ensure that you are on your hotfix commit, and that any git hooks are executed. You should then TEST the code. On a webserver this normally involves
httpd restart
followed by some manual testing of the relevant web site.
When you are satisfied that things are OK, you can execute the sync:
git-deploy sync
TODO: The last 3 pull/push/reset steps are busywork that should be, and eventually will be merged into
git-deploy sync.
Declares the current commit is ready for sync, but will drop the user back into the shell to execute the sync manually. It is then up to the user to execute the finish action when they have deemed the rollout to be complete.
git-deploy uses git(1) to drive its configuration. This means that if you're rolling out a given repository situated at /some/path you can configure everything in /some/path/.git/config with git-config(1).
We use the namespace
deploy for our configuration. See this section for an overview of our configuration options, but you can also jump to "EXAMPLE CONFIGURATION" for an example of how to configure the tool.
These are git(1) config options that need to be set, see git-config(1) for details:
And these are git-deploy(1)-specific options:
This is a directory where we emit a git-deploy.log file and if
deploy.log-timing-data is true we'll also emit timing data there.
A boolean option that configures whether or not we log timing data, off by default.
A path to a file which if existent will block rollouts, e.g. /etc/ROLLOUTS_BLOCKED
Can this environment make tags manually with
git-deploy tag? Used for special purposes, you probably don't need this.
git-deploy config file, set this to e.g.
/etc/git-deploy.ini in
/etc/gitconfig on the deployment box to have
git-deploy read that config file.
We'll read the config file with
git config --file so you can also put stuff in
.git/config or any other file Git normally reads.
This is a file we write out to the directory being deployed before the
sync step to indicate what tag we've deployed, who deployed it etc. See "Deploy Files" for details.
This is .deploy by default, but you can also set it to e.g. lib/.deploy in environments where only the lib/ directory is synced out.
What directory do we look for our hooks in? See "Deploy Hooks" for details.
A prefix we'll add to your tags, set to e.g.
cron for your cron deploys,
app for your main web application.
debug is something you can use to test the tool.
An e-mail address we'll tell the user to contact if the sync hook fails. This'll be in the big "DON'T PANIC" message that we emit if the sync hook fails.
The tool we use to send mail.
/usr/sbin/sendmail -f by default.
Force the user to have a given umask before they can invoke us.
An e-mail address that the below
send-mail-on-* mails will be sent to.
A boolean option that configures when we send mail. E.g.
deploy.send-mail-on-start = true will have mail sent when we do "git-deploy start".
The strategy we'll use to detect the current repository name. Currently only
dot-git-parent-dir is supported. See the "EXAMPLE CONFIGURATION" for how this is used.
Normally git-deploy tucks its lock file and reference data away in the .git directory of the repo being deployed. It can be useful to specify a common place for multiple repositories to share for this purpose, providing an "interlock" behaviour that prevents more than one of the repositories being rolled out at once.
A message you can specify which'll be output when we fail to run the sync hook instead of the default message. You can put any site-specific instructions here to replace the defaults.
The strings
{SYNC_HOOK} and
{SUPPORT_EMAIL} in that message will be replaced with the sync hook that was run and the support E-Mail specified in "deploy.support-email".
Here's an example git-deploy configuration that can deal with rolling out more than one repository on a given box with a globally maintained config file. First we set up
deploy.config-file in /etc/gitconfig:
$ cat /etc/gitconfig
config-file = /etc/git-deploy.conf
Then we configure git-deploy in the /etc/git-deploy.conf to roll out two repositories, /repo/code and /repo/static_assets:
$ cat /etc/git-deploy.conf
;; Global options
;; Force users to have this umask
restrict-umask = 0002
;; If this file exists all rollouts are blocked
block-file = /etc/ROLLOUTS_BLOCKED
;; E-Mail addresses to complain to when stuff goes wrong
support-email = email@example.com, firstname.lastname@example.com
;; What strategy should we use to detect the repo name?
repo-name-detection = dot-git-parent-dir
;; Where should the mail configured below go?
announce-mail = email@example.com
;; When should we send an E-Mail?
send-mail-on-sync = true
send-mail-on-revert = true
;; Where to store the timing information
log-directory = /var/log/deploy
;; We want timing information
log-timing-data = true
;; Per-repo options, keys here override equivalent keys in the
;; global options
[deploy "repository code"]
;; Prefix to give to tags created here. A prefix of 'debug'
;; will result in debug-YYYYMMDD-HHMMSS tags
tag-prefix = app
;; In code.git we put the .deploy file in lib/.deploy. this is
;; because traditionally we only sync out the lib
;; folder.
deploy-file = lib/.deploy
;; Where the git-deploy hooks live
hook-dir = /repos/hooks/git-deploy-data/deploy-code
[deploy "repository static_assets"]
;; Prefix to give to tags created here. A prefix of 'debug'
;; will result in debug-YYYYMMDD-HHMMSS tags
tag-prefix = app_tmpl
;; We sync out this whole repository
deploy-file = .deploy
;; Where the git-deploy hooks live
hook-dir = /repos/hooks/git-deploy-data/deploy-static_assets
Notice how they have sections of their own later in the config file, these sections only apply to them using the
deploy.repo-name-detection logic, any values in the per-repo sections override the corresponding deploy.* values.
Since we're using the
dot-git-parent-dir strategy for
deploy.repo-name-detection running git-deploy inside /repo/code will cause us to pick up the "repository code" section of the configuration. I.e. we're using the name of the parent folder of our .git directory.
The pre-deploy framework is expected to reside in the $GIT_WORK_DIR/deploy directory (i.e. the deploy directory of the repository that's being rolled out). This directory has the following tree:
$GIT_WORK_DIR/deploy/ # deploy directory
/apps/ # Directory per application + 'common'
/common/ # deploy scripts that apply to all apps
/$app/ # deploy scripts for a specific $app
/sync/ # sync
$app in deploy/{apps,sync}/$app is the server prefix that you'd see in the rollout tag. E.g. A company might have multiple environments which they roll out, for instance "sheep", "cows" and "goats". Here is a practical example of the deployment hooks that might be used in the
sheep environment:
$ tree deploy/apps/{sheep,common}/ deploy/sync/
|-- post-pull.010_httpd_configtest.sh
|-- post-pull.020_restart_httpd.sh
|-- pre-pull.010_nobranch_rollout.sh
|-- pre-pull.020_check_that_we_are_in_the_load_balancer.pl
|-- pre-pull.021_take_us_out_of_the_load_balancer.pl
`-- pre-pull.022_check_that_we_are_not_in_the_load_balancer.pl -> pre-pull.020_check_that_we_are_in_the_load_balancer.pl
|-- pre-sync.001_setup_affiliate_symlink.pl
`-- pre-sync.002_check_permissions.pl
|-- sheep.sync
All the hooks in deploy/apps are prefixed by a
phase in which
git-deploy will execute them (e.g.
pre-pull just before a pull).
During these phases
git-deploy will
glob in all the deploy/apps/{common,$app}/$phase.* hooks and execute them in
sort order, first the
common hooks and then the
$app specific hooks. Note that the hooks MUST have their executable bit set.
Environment variables available to hooks
The following environment variables are available to the phase hooks:
The current action we're running, e.g. "start", "hotfix", "abort" etc.
The current hook phase, e.g. "post-pull", "pre-sync" etc.
The prefix of the current environment, e.g. "sheep", "cron" etc.
The prefix of the currently executing hook, like "GIT_DEPLOY_PREFIX" except this will be "common" when the "common" hooks are being executed.
Set to the tag we started with, currently only set (and can only ever be set) for a subset of the hooks.
The tag we're rolling out, like "GIT_DEPLOY_START_TAG" this isn't set for all hooks.
Available phase hooks
Currently, these are the hooks that will be executed. All the hooks, except the "post-tree-update" hook, correspond to specific git-deploy actions:
The first hook to be executed. Will be run before the deployment tag is created (but obviously, after we do
git fetch).
Executed after the start phase (also executed on hotfix), useful to e.g. print out any custom messages you'd like to print out at the end of the start/hotfix phase.
Executed before we update the working tree with
git pull. This is where hooks that e.g. take the deployment machine out of the load balancer should be executed.
Just after the pull in the "start" phase.
Just before we create the tag we're about to sync out and execute the deploy/sync/$app.sync hook.
After we've synced. Here you could e.g. send custom e-mails indicating that the deployment was a success.
Hooks executed after an
Hooks executed after a reset, either via
abort or
revert. Most of the time you want to use
post-tree-update hooks instead, but this is useful e.g. for putting a staging server back into a load balancer.
Executed after we update the working tree to a new revision, whether that's after the
pull in the
start phase, after
git reset --hard in the
abort phase, or after a
Here's where hooks that e.g. restart the webserver and run any critical tests (e.g. config tests) should be run.
The exit code from these hooks is ignored in actions like
abort and
revert. We don't want the abort or revert to fail just because a web server didn't restart.
Called at various points with log messages, these are just like normal phase hooks except they'll have a few extra environment variables set for them. By default we ignore the exit code of log hooks, because we don't want failure in logging to stop the deployment.
The log level, the lowercase equivalent of the levels documented in syslog(3) without the
LOG_*prefix, e.g. "info" or "warning".
A free-form log message that we're passing to the log hook
Whether this message should be announced. These are messages that are more important than others that you'd e.g. like to output to your IRC or Jabber deployment channel.
Return values
Each script is expected to return a nonzero exit code on failure, and a zero exit code on success (in other words, standard Unix shell return semantics). Any script that "fails" will cause
git-deploy to abort at that point.
More granular failure codes are planned in the future. E.g. "failed but should try again", "failed but should ask the user before trying again" etc. But this hasn't yet been implemented.
Sync Hooks
A special case for a hook that really should be just a regular phase hook. But isn't yet because it would have required more major surgery on
git-deploy at the time phase hooks were written, as well as access by the author to all deployment environments (which wasn't the case).
The only notable difference is that there is only one phase hook for each
$app, and it's located in deploy-$repo/sync/$app.sync.
Note: the sync hook can be skipped (and the associated finish) with the manual-sync action. This will however execute the pre-sync and post-sync hooks, possibly with errors.
Source Code Repository
git-deploy master development repository is hosted by GitHub at:
The authors would like to thank GitHub for their support of the open source community.
This software is licensed under the same terms as the Perl language. See http://dev.perl.org/licenses/ for details.


text:
Welcome. Happy. Safe.
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Looking for a hotel in Anderson, IN that you can bring your pet to? We made sure that each one of the hotels below are pet friendly, so you can enjoy your trip with your pet by your side! Once you have found a pet friendly hotel, you can book your stay instantly from our website or call 866-212-1803 to speak with a pet travel agent.
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Pet guests are welcome at pet friendly Best Western Plus Anderson. Each room can have no more than 2 pets which can be up to 80 pounds. The pet fee is $20.00 per pet, per night (maximum $100.00 per stay).
Rates from
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Days Inn by Wyndham Anderson IN allows pets to accompany their people at their pet friendly accommodation. The pet fee is $15 per pet, per night.
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All pets stay FREE at Motel 6. There is a limit of 2 pets per room. No breed or weight restrictions. Pets are permitted unless they pose a health or safety risk or are prohibited by law. Pets should not be left alone in your room. All pets and service animals must be declared at check-in.
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Pets stay FREE of charge. One well-behaved family pet per room. Pet weight limit is 80 lbs.


text:
When the HD 7870 first showed up in March we weren't terribly excited about it. Sure, it delivered decent numbers in the benchmarks, but at about $400 it was way overpriced and left us feeling rather cool towards this mid-range Radeon card.
Thanks to Nvidia finally getting its act together with its own mid-range cards, AMD has started aggressively pricing and now the HD 7870s, and even this overclocked edition, are sitting below the $300 mark.
At this price there really isn't anything Nvidia can do to compete. Now the GTX 660 Ti's prices have come down, though, it does represent a little more competition for AMD's mid-range master.
Still, the Pitcairn XT is pretty much all the GPU you need for your 1080p screen - it will throw polygons around at impressive speeds in any game you care to throw at it. There's simply little point spending more than $300 on a graphics card unless you're seriously ramping up your native resolution with a 2,560 x 1,440 screen.
And in that case we'd recommend looking harder at the HD 7950 or GTX 670 for that sort of panel - the GTX 660 Ti isn't going to quite deliver across the board at that res.
The only issue here is whether you really need to look at the likes of the overclocked HD 7870. This Gigabyte OC version is only slightly faster than the vanilla HD 7870 and is about $30 more expensive.
If you shop around you can find the stock-clocked card for around $250 and that is a real bargain right now.


text:
Pinterest Users: What's the World's Most Beautiful Country? [INFOGRAPHIC]
The world has fallen in love with Pinterest, the social network with beautiful images at its core. Now Pinterest users get to decide where they most love in the world.
A crowdsourced project created by travel site First Choice — living in an interactive HTML5 infographic — is asking globally-minded Pinterest users which country is the world's most beautiful. First Choice hopes the competition will awaken a desire for travel among users.
You can vote on Twitter or Pinterest for your favorite country, and share the reason behind your choice.
When you explore the graphic, you can see the pins submitted for other countries and learn why others voted for them as most beautiful.
As we published this, the UK was winning the infographic contest, with the U.S. in 6th place. That could change many times over, however.
An added perk to participation: a chance to win a DSLR camera.
Do you have a travel board on Pinterest? Does using the site encourage you to travel?


text:
BISC209/F13: Lab7
- 1 LAB 7: Structural Diversity in Cultured Isolates Con't & Testing Isolates for Positive/ Negative Interactions
- 3 McFarland Turbidity Standards
- 4 Test for Antibiotic Production
- 5 Antagonistic and Mutualistic Interactions Analysis
- 6 Pictionary® Tournament
- 8 Assignment
- 9 Links to Labs
LAB 7: Structural Diversity in Cultured Isolates Con't & Testing Isolates for Positive/ Negative Interactions
Confirmation of Gram stain results by Selective/Differential Media:
Did each of your isolates grow on PEA or EMB? What does that result mean about the isolate's cell wall composition? Do your Gram stain findings and PEA and EMB growth patterns agree? If not, how might you explain unexpected findings? If you have time today, repeat Gram stains on any isolates whose PEA or EMB growth did not match your Gram stain finding
Every isolate should be inoculated into a soft agar deep of nutrient agar with a low agar content. "Soft" agar contains much less solidifying agent (agar) than most solid media (0.35% rather than the usual 1.5%). The growth pattern in this semi-solid NA medium gives information about motility.
A full description of these tests can be found in the protocols section: Motility Tests.
If either of your motility test are positive when we analyze the results, you could try to confirm motility with a hanging drop technique or by trying a flagella stain.
Inoculating a soft agar deep involves a technique you have not yet practiced. You will use an inoculating needle: the wire extending from the handle of the needle will not have a loop on the end.
1) You will need a tube of soft nutrient agar medium for each of your isolates. Each class needs to add 2 extra tubes of soft agar medium to inoculate one with E. coli, an organism that is motile, which will serve as a positive motility control and the other with Staphylococcus epidermidis, an organism that is non-motile, to serve as our negative motility control.
2). Flame sterilize an inoculating needle, cool it for a few seconds, and pick up a barely visible amount of colony growth on the tip of the needle.
3) Stab the needle with the inoculum deeply into the center of the soft agar tube, stopping just before the bottom of the tube or, if you are running out of needle, stab it until the you are almost to the end of the needle.
4) Withdraw the needle through the same inoculation channel. (This procedure is also known as "making a soft agar deep".)
5) Inoculate each of your other isolates using the same technique.
6) Make sure the class has inoculated a positive control tube of E. coliand a negative control tube of S. epidermidis.
7) Incubate all tubes for 24-72 hours. The tubes should be incubated at RT.
8) After sufficient growth is observed in the tube, look for a color change from red to yellow. Use of mannitol as a carbon source results in a pH change that we can see using phenol red indicator (change from red to yellow).
9) Check for motility by looking for diffuse growth radiating from the stab line of inoculation. Compare the motility of each of your isolates to that of the E. coli positive control and the Staph negative control. E. coli are a motile bacteria and all Staphyloccus species are non-motile.
Control Organisms:
|Escherichia coli
|Klebsiella pneumoniae
|Proteus mirabilis
|Acinobacter anitrartum
McFarland Turbidity Standards
1) Although cell density can be measured more accurately using a spectrophotometer to measure optical density (OD) at 600nm, we will use a quicker method that will work well enough for our purposes. We will use a McFarland 0.5 standard; the 0.5 refers to the approximate concentration of organisms in solutions which is 1.5X108 cfu/mL for the 0.5 standard. Other common standards are shown in the table below.
2) You will use the fresh cultures of each of your isolates that you prepared prior to lab for both the antibiotic and interactions protocols. We want to apply relatively the same number of organisms in each procedure so we will use McFarland Standard to "correct" turbidity.
3. Label with your isolate code a 13 X 100 ml capped tube pre-aliquoted with 2 mL of sterile water for each isolate.
4. Use your flamed and cooled loop to pick up a visible amount of growth from your freshly grown cultures.
5. Using your best aseptic technique transfer the bacteria to the water and dislodge the bacteria by gently mixing your loop in the water.
6. Vortex gently.
7.Compare the turbidity in your tube of diluted isolate to the 0.5 McFarland Standard provided.
8. If they are unequal in turbidity, aseptically add more culture or more sterile water until the cloudiness (turbidity) of the two tubes appears visually similar in cloudiness. Do not obsess over the match, just be close.
9. Repeat for each of your isolates.
10. If you have filamentous bacteria, those hard powdery white topped colonies you may have a difficult time getting the turbidity to match, in this case, remove 1 ml of the water + backeria mix to an empty sterile 13 X 100 capped tube and add more bacteria to this smaller volume. Vortex and use this heavier inoculum for setting up your tests today. Place the original tube in a rack on the discard bench so that you will not mix it up with the heavier inoculum.
11. The ending volume is irrelevant. Vortex to mix.
12. You will use these tubes as a source of organism for both the antibiotics and interactions assays today.
Test for Antibiotic Production
Many microbes secrete antimicrobial compounds to help them compete with other microorganisms for habitat. Some of the bacteria that are common antibiotic producers are the Actinomycetes (including Streptomycetes species), many of the Bacillus species, and the fruiting myxobacteria, to name just a few among many, many antibiotic producing bacteria. You can also test for the opposite: the sensitivity of your soil organisms (or known stock bacteria) to manufactured or secreted antibiotics.
(This testing will take 3 weeks.)
Week 1:
Identify how many potential antibiotic producers you might have. Definitely test any isolates that are likely to be Actinomycetes, Myxobacteria, or Bacillus. It is wise to test all of your isolates since the soil is the main source of microbes that supply the world's antibiotics. It's possible that you might discover the next great antimicrobial drug and get very rich by selling the patent for your discovery to a drug company. Remember that the discovery of penicillin was completely accidental.
1. Using aseptic technique dip a sterile swab into the concentration adjusted culture tube you made to match the turbidity of the McFarland 0.5 standard and make an inoculation (as shown below) down the middle of a plate of nutrient agar.
2. Make additional plates exactly like the first for each isolate to be tested. Label them carefully and incubate the plates for ~1 week at RT.
Antagonistic and Mutualistic Interactions Analysis
The microbial community living in soil is a complex one with many different microorganisms. As is true of any environment, these microbes interact with each other - both functionally and physically. Do selected bacteria from your community help each other or harm each other while trying to find a niche in your soil community? Today, you will try to answer that question by testing your cultured isolates for examples of mutualism or antagonism (co-operation or competition) by culturing them in controlled communities. Some of these bacteria may prevent the growth of others through the production of chemical inhibitors; others might promote the growth of their neighbors by producing metabolites that are needed. We are going to look for both positive and negative interactions.
Interaction Assay Set Up
You will use 64 of the wells on a 96 well plate for this assay. to do this each team member will contribute two unique organisms. Each assay will use 8 isolates to test for interactions. Use the Excel template provided Media:template.xls to record the identifying codes of the organisms that will be inoculated into each well as described and illustrated below.
FOLLOW THE TEMPLATE CAREFULLY!!!!!! It is easy to get this inoculation messed up, but don't!
1. You will inoculate 50 µl of each of the 8 unique isolates to be tested into the illustrated row of wells. Use the concentration adjusted culture tube you made to match the turbidity of the McFarland 0.5 standard since you are trying to control for similar numbers of organisms in your inoculum. (A1 is Isolate #1(use your code id), A2 is Isolate #2 etc through A8)
2. Beginning with Isolate #2 (do not add a second 50 µL to well A1), inoculate a second 50 μl of each of your isolates into the column wells B1, C1, etc. (indicated by the green color).
3. Add 100 μL of nutrient broth to each of the wells containing your isolates (row wells A1-A8 and column wells B1-H1)
4. Gently move the 96 well plate in a circular motion to mix.
5. Use an 8 channel multichannel pipet with the first tip removed (you are not yet transferring from well A1) to transfer 10 μl of the contents of the 7 wells in the top row: A2 (containing isolate #2 etc) through A8 to the corresponding empty wells in each row as indicated by the yellow arrows. Change tips between each transfer from row 1 to row 2, then row 1 to row 3, etc. until each row indicated by the yellow arrows has been inoculated with 10 µL from the corresponding well in row 1.
If you are using the multichannel pipette, be sure that you work slowly and check that each pipette tip is evenly filled. You may need to tighten the tips by hand, if so be sure to only touch the part of the tip that sits on the multichannel pipette, you wouldn't want to contaminate your wells with human organsisms!
6. Using all 8 channels of a multichannel pipet, transfer 10 μl of the contents of column 1 (all 8 wells) to each of the corresponding wells in the other columns. Again, change tips between each transfer: A1 through H1, to A2 to H2 then A1 through H1 to A3 to H3 etc. until each of the columns indicated by the red arrows has been inoculated with 10 µL from the corresponding well in column 1.
7. Mix the contents of the well by moving the plate in gentle circles.
8. NEXT, we will inoculate a labeled square (NUNC) tray containing nutrient agar medium with about 5 μl of the contents of the wells we just prepared. For this step we will use either a tool called a "frogger" or a multichannel micropipette. If using the frogger, dip the frogger tips into 96 well plate to attract a drop of inoculum onto the end of each steel tip. Be sure the frogger is actually sitting in the liquid of all 64 wells, you should make sure that the tips rest on the bottom of the plate. Transfer the Frogger to the surface of the sterile NA in the square NUNC plate. Place the Frogger gently on the agar and release the handle. As long as you don't push down when the frogger is touching the medium, you will not break the surface but you will get a transfer to the NUCN plate of the cultures in each of the 64 wells. Just to be sure that all were transferred, look carefully at the NUNC plate after you have cleaned the frogger (see below). If there is a "spot" missing (you should be able to see residue from each culture on the surface of the NUNC plate), use your P20 set to 5 microliters and put 5 microliters of the missing culture in the appropriate spot.
Be sure to disinfect the frogger by dipping it into a series of disinfectant and rinse solutions that you will find at the cleaning station prepared for you .
9. If the frogger is not available, use an 8 channel multichannel pipet set to 5µl and remove 5μL of culture from each well of your culture dish and deposit all of it onto an area of the NA square agar NUNC plate that is in the same location as in the 96 well culture dish. Again, be sure the tips are on tightly before loading the pipet. Repeat this procedure, with new tips, for each ROW of 8 wells until you have completed depositing the full array in the same orientation as the 48 wells.
10. Wait for your inoculated spots to dry, seal or cover the NUNC square tray, and incubate at Room Temp. The 96 well plate was used only to mix the cultures so you can discard this in your autoclave bag.
Pictionary® Tournament
Your instructor will explain the rules of the Pictionary® game we will play using the knowledge you now have about tools and techniques of microbiologists.
1. All culture plates that you are finished with should be discarded in the big orange autoclave bag near the sink next to the instructor table. Ask your instructor whether or not to save stock cultures and plates with organisms that are provided.
2. Culture plates, stocks, etc. that you are not finished with should be labeled on a piece of your your team color tape. Place the labeled cultures in your lab section's designated area in the incubator, the walk-in cold room, or at room temp. in a labeled rack. If you have a stack of plates, wrap a piece of your team color tape around the whole stack.
3. Remove tape from all liquid cultures in glass tubes. Then place the glass tubes with caps in racks by the sink near the instructor's table. Do not discard the contents of the tubes.
4. Glass slides or disposable glass tubes can be discarded in the glass disposal box.
5. Make sure all contaminated, plastic, disposable, serologic pipets and used contaminated micropipet tips are in the small orange autoclave bag sitting in the plastic container on your bench.
6. If you used the microscope, clean the lenses of the microscope with lens paper, being very careful NOT to get oil residue on any of the objectives other than the oil immersion 100x objective. Move the lowest power objective into the locked viewing position, turn off the light source, wind the power cord, and cover the microscope with its dust cover before replacing the microscope in the cabinet.
7. If you used it, rinse your staining tray and leave it upside down on paper towels next to your sink.
8. Turn off the gas and remove the tube from the nozzle. Place your bunsen burner and tube in your large drawer.
9. Place all your equipment (loop, striker, sharpie, etc) including your microfuge rack, your micropipets and your micropipet tips in your small or large drawer.
10. Move your notebook and lab manual so that you can disinfect your bench thoroughly.
11. Take off your lab coat and store it in the blue cabinet with your microscope.
12. Wash your hands.
Graded Assignment:
There is no graded assignment for next lab:)
You will need a VERY fresh culture of your bacterial isolates in the next lab for our attempt to identify them using our MALDI-TOF BioTyper. Come into the lab 18-24 hours before lab to set up a fresh sub-culture on a new NA plate for each of your isolates.


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Lagging for Modular Plastic Belts
Based on the specifications of the specific belt manufacturer, up to 38 teeth mesh with the profile of the most common modular plastic belts. The lagging made of hot-vulcanized NBR is suitable for applications in food processing with high hygienic requirements: Easy to clean and extremely resistant to oil, grease and chemicals. Furthermore, it ensures smooth running and provides a long lifespan of the belt due to its low abrasion.
Note: It is important to incorporate a calculation of belt pull and speed that is adjusted to the greater outer diameter of the drum motor.


text:
Why Boring Was the Way to Go for Investors in 2013
Paul Vigna and Tomi Kilgore discuss why being a "boring" investor in 2013 was the way to go. Photo: Getty Images
This transcript has been automatically generated and may not be 100% accurate.
... ay ay mm mm ... the more ... last year twenty thirteen ... Dow Jones industrial average of thirty six points sixteen thousand five hundred words ... long as it finishes in positive territory ... will be a record ... Nasdaq and forty one sixty six of nine million in the percentage numbers though ... not the musuem an insane ... boring ... might even say boring but in twenty thirteen ... boring was good and Tomi Kilgore is here talk about it ... on tummy you ... are putting Tom Lauricella page one story ... overhearing Cato Institute ... but you know it's twenty shows up for it to make ... its mark to market ... it was that he was good because there wasn't any big down declines ending that was the the number one most important thing we had to down months from their warning the pullback not use Jonnelle to in the biggest decline was fined twenty percent in Sydney ... I'm that was in in in just eighty growth nothing huge just a very steady year yet ... he was an easy year though as it was really only stocks that went up if you bought bonds and commodities you're hurting ... the cold obviously right ... now you ... tell when the crux of the story was that this is a good year to the ... boring investor and ... why wouldn't you be born ... that's a diploma I think it was just ... I think the idea was you know some not all equity markets when it was and that's why wasn't an easy here was that it was actually a very difficult year for global investors in Europe when opulent but ... you know bought less than us ... emerging markets went down which is a new so if you tried to diversify into China finally stiffer wasted ... to increase your gains the you've probably got hurt that was that that was the thing if you were just ... us stocks emerges stayed with U S stocks ... he did great he didn't even even ... even have to know anything about why ... it's very end of the Senate's a climbing wall of worry but ... it wasn't an easy year that's going to do that for now for investors and advisers ... becomes ... how do you how you ... lead a team just keep it going ... you know you talk to advisers who say that they're in trouble and up You'll saw how easy it was great ... and don't want that ... is that that that they're looking a lot of people crowding into the Seine seaborne trained ... to do that rates will become harder to ... get what what people are trying to do now is trying to get them to the two ... so-called take profit and their sons and that's what's been the difficulties that ... you know you see it kind of big moves like this and the fear in stocks and ... bonds ... he wanted treaded yet mean diversification is worked over time ... you can argue with that ... and the sheer did ... but the UK lose the sight of the fact that diversification is good so what did they do is try to get people to ... take a little money of the stars of them back into bonds because it you know it's going to be rare to have ... back to back years of losses for Boston I and the stock market tumbled thirty percent every single year exam ... it's an ...


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As Lainey said last week, Miley surged in 2013. The music stands. It stands up alongside Katy Perry, Lady Gaga, Taylor Swift and Lorde, and any pop album put out this year. Although Miley's been famous for a long time, this is the year she actually arrived.
But like many child stars from large families, Miley has pretty long coattails with a few people willing to jump on it. Simply Cyrus, a new webseries starring the Cyrus clan, has just been announced. It's not quite a reality show, but more of a variety show: dad Billy Ray will be doing music, little sister Noah (wearing a Twerk t-shirt in the promo video) will be sharing videos she made with friends, mom Trish is hosting some kind of mini advice/talk show, while sister Brandi will be handling the social media rundown and style portion. Brother Trace was also part of the intro, and Miley and Braison were mentioned and had their photos flashed, but didn't appear in the video.
Family acts are not a phenomenon of modern fame – just look at the Jacksons and the Osmonds. But for every Michael there is a Tito and for every Janet there's a LaToya. When one person in the family has that "extra," it's hardest for the people closest to them to recognize that they aren't the same, even though they're from the same gene pool. Success in show business is an imperfect science; there's no real rhyme or reason sometimes (like why is Ben Affleck more famous than his brother Casey Affleck?) and sometimes, like in the case of Michael Jackson, it is very obvious that one child's talent rises above the rest.
So is Miley more talented than Brandi or Trace? Who knows, but it doesn't really matter. Miley's career has far surpassed her father's. Noah will always be five steps behind, just like Jamie Lynn will never be as famous or beloved as Britney. I don't know if a stage parent can recognize which one is "the star" and have the frank ,"You probably won't be as famous as your sister," discussion, but as a manger, aren't you obligated to set some realistic goals for your client? Or does your duty as a supportive parent trump that?
And if you are the famous sibling, how much of a responsibility do you have to help your brothers and sisters get a little bit of your spotlight? Because let's be honest, that's exactly where the spotlight would be coming from.
Right now, Miley's commitment to Simply Cyrus isn't clear. At the time of this writing, she didn't tweet the video or make any mention of it. She didn't film a segment for it (yes, she is busy, but the video is very informal and could have been done anywhere). If she doesn't participate, people may interpret that as ungrateful to her Cyrus roots, which definitely helped her launch her Hannah Montana career. But if she does participate, how does she separate Miley the artist from Miley, the supportive daughter/sister? She certainly doesn't need to be part of a YouTube series, but does she feel like she should be? How does that conversation go? Is there a flat out request, or just some roundabout hints? When attempting to build the career of four other children off the talent of one, is there any hope all the kids will walk away feeling satisfied, valued and not taken advantage of?
I wonder if it's weird to compete with your parents and siblings for screen time, or if in families like this it is normal, like fighting your sister for more time in the bathroom.


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Rainbow Bridge, Tokyo, Japan
Hakusan doumon, Tosashimizu, Kouchi, Japan
A sea cave near Cape Ashizuri (白山洞門). #2011ST
Dougo Onsen, Matsuyama, Ehime, Japan
Historical public bath at Dougo Onsen established at 1894 (道後温泉本館). It had been registered as an Important Cultural Property of Japan at 1994....
Shimanto River, Kouchi, Japan
The source of Shimanto River (四万十川) which is 196 Km in length. #2011ST
Nagahama Bridge, Ozu, Ehime, Japan #1
A bascule bridge across Hijikawa (長浜大橋). #2011ST
Miyuki-no-hashi, Kawabe, Ehime, Japan
A small wooden bridge with roof (御幸の橋). #2011ST
Ebisu-dou, Hiwasa, Tokushima, Japan
A sea cave at Hiwasa beach (えびす洞). Max diameter of the cave is 30m. #2011ST
Cape Gamouda, Anan, Tokushima, Japan
East end of Shikoku island (蒲生田岬). #2011ST
Shiden-Kai, Ainan, Ehime, Japan
Shiden-Kai (紫電改) is an air defense fighter of Japan Navy deployed in the late stage of WWII. On 24 July 1945, 20 Shiden-Kai of 343 Air Wing...
Nagahama Bridge, Ozu, Ehime, Japan #2
Shikoku Karst, Yusuhara, Kouchi, Japan #2
Daiichi-Mishima Bridge, Shimanto, Kouchi, Japan
A low water crossing (第一三島橋) and a railway bridge (第四四万十川橋梁). #2011ST
Ten Shrine, Kawabe, Ehime, Japan
Ten Shrine (天神社) at the other end of Miyuki-no-hashi. #2011ST
Shikoku Karst, Yusuhara, Kouchi, Japan #1
Kanzaiko, Yusuhara, Kouchi, Japan
Rice Terrace of Kanzaiko (神在居の千枚田). #2011ST
Kamioka Bridge, Shimanto, Kouchi, Japan
A low water crossing across Shimanto River (上岡沈下橋). #2011ST
Urado Bridge, Kochi, Japan
Urado Bridge (浦戸大橋) across Urado bay had been established in 1972 . Total length of the bridge is 1480m. The longest span is 230m. #2011ST
Todoroki Fall, Kaiyo, Tokushima, Japan
Todoroki Fall (轟の滝) is the object of worship of Hontaki Shrine. I had to shoot quickly to protect camera from splash of the fall... #2011ST
Mt. Fuji
Tatsumi Daimyoujin,Higashiyama,Kyoto,Japan
This little Shinto Shrine is located in the Shinbashi-Gion area of Kyoto. It isn't uncommon to see maiko (apprentice) geisha praying here.


text:
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Blade Runner 2049
Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what's left of society into chaos. K's discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
CAST: Harrison Ford, Ryan Gosling, Robin Wright, Dave Bautista, Ana de Armas, Sylvia Hoeks
DIRECTOR: Denis Villeneuve
RUN TIME: 163 min


text: A military parade was held in Kyiv on August 24th on occasion of the 18th anniversary of Ukraine's independence. Around 20 samples of armament and military equipment including tank "Oplot", S-300 anti-aircraft system, armoured troop-carriers "Cossack", "Ladya" and "Dozor-B" have been displayed along the Khreschatyk Street from Independence Square to European Square. Around 3,400 of military men and law-enforcers have marched along Khreschatyk Street. Eighteen military bands were playing during the parade. Besides, a total of 35 aircraft, including fighters, bombers, attack planes, eight helicopters and three civil aircraft, flew over the city. At 10p.m. festive fireworks were fired in Kyiv, Sevastopol, Odesa, Kerch, Vinnytsia, Lviv, Zhytomyr, Rivne and Dnipropetrovsk. This has been the fifth Independence Day parade involving military hardware in Ukraine over the years of independence. Similar events took place in 1998, 1999, 2001 and 2008. Other parades to mark the Independence Day were held without military weaponry, except for 2005, when there was no military parade at all. 45 pictures taken during the parade in 2008 and 2009 by gifted photographers of news agencies KyivPost and Associated Press now are available at


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A tenth of a cent might not sound like a lot of money. But Pandora Media Inc.'s 18 percent stock drop Wednesday is a sobering reminder that those fractions add up — especially when advertising sales don't keep pace.
Pandora's music royalty costs, typically paid in tenths of a cent, are skyrocketing. At the same time, the more people who listen to Pandora via mobile devices, such as on smartphones, tablets or through car dashboards, the less advertisers pay to reach those listeners, compared to the ones listening on desktop or laptop computers.