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Tempting peach saree is created on net with having woven resham jaal work. Border is decorated with brocade lace. Matching blouse is available with it.
Travel Photography by khafid mukriyanto. For Rent Stock Images & Footage contact me: khafidmukriyanto@gmail.com / phone/WA 089675696581
QiD provides a powerful editor with many features to improve the process of creating, viewing and modifying the SQL and Script code that will be executed. The most obvious facility is the colour syntax highlighting that improves the readability of code and helps to catch syntax errors.
The highlighting styles can be modified to suit your preferences. Each item type (comments, commands, keywords, identifiers, strings etc) can have its own font, font size, bold, italics, foreground colour, background colour, border, underline and strikeout settings.
The editor includes all of the expected tools to select, cut, copy and paste text. Further it provides the following:
* Multi-level Undo / Redo. A separate undo/redo stack is kept for each document that you are working on.
* Line modification marking to show lines that have been modified and saved (green) or modified but not yet saved (yellow)
Kandi Coded
Live In-Studio at KEXP
February 13, 2010
Photo Credits: Jill Rachel Photography www.flickr.com/photos/jillrachel
A Code Signing Certificate allows IT developers to digitally sign their software before distribution over the Web. Get your code signing certificate from here www.instantssl.com/code-signing-certificate.html
George Dyson: The Canoe and the Code
George Dyson is lanky and quiet in that way that suggests a life lived both in thought and on the water. On a damp April morning in Bellingham, Washington, he met me dressed in a blue fisherman’s sweater, the color of tide-washed denim, a garment that seemed to belong to both the sea and the sky. There’s something unmistakably familial in his bearing, the long, thoughtful face, the gentle smile. As he grows older, he resembles his father, Freeman Dyson, more and more. But George is, unmistakably, his own man: a writer, historian of technology, boatbuilder, and builder of worlds.
His home sits on the edge of things, close to the sea, surrounded by trees, filled with books and sketches and the soft presence of a cat named Nikita, who lives up to her name. She’s named after Nikita Shumagin, the first of Bering’s crew to die of scurvy in 1741, a nod to George’s deep engagement with exploration, history, and the often-overlooked figures that shaped it. The house feels like a mind made physical: ideas roosting on shelves, a telescope pointed toward the harbor where his boat Ranger rests on blocks. Nearby, a shelf holds a full run of translations of The Starship and the Canoe, Kenneth Brower’s 1978 book about the parallel lives of Freeman and George Dyson. Neal Stephenson, one of many who admire George’s work, wrote the foreword to the 2020 reprint.
George showed me photos of the treehouse he built and lived in from 1972 to 1975, thirty meters up a Douglas fir on the shores of Burrard Inlet. He salvaged every piece of it. There was no electricity, no running water. It was, in every sense, a complete space: a livable idea suspended between the earth and the sky.
That idea of the “complete space” returned again and again throughout our day together. After his home, we walked to his workshop, located in the former Dick’s Tavern, a dive bar with a history of its own. It still has the feel of a gathering place, but now for wood, aluminum, tools, and dreams. This is Dyson, Baidarka & Company, his boatbuilding space. Aleutian kayaks, long and sinewy, sit on platforms in various stages of becoming. Plans are rolled and stacked neatly. Tools hang on the wall like instruments in a sound studio. In the back, a modest bed waits, a reminder that this has been a home.
“I could live here,” he said, almost offhandedly. “And I have.”
There’s no romantic affectation to it, just a fact, as true as a boat’s draft or the pitch of a sail. In this space, George is both naval architect and philosopher, a man building vessels not only to move through water, but to carry meaning.
A few minutes’ walk brought us to the harbor, where Ranger, a Fisher 30 motorsailer built in 1976 in Southampton, sat, lifted from the sea for repair. He visits her nearly every day. This is his favorite place. We climbed the ladder to the cockpit, stepping over the railing, ducking belowdecks where the floorboards were lifted to expose the engine. He was mid-project, sleeves pushed up, parts spread like puzzle pieces. You could see the joy in his eyes. The boat, like the baidarka, like the treehouse, is a world he has made for himself. It doesn’t just move through space, it moves through thought.
Watching him there, crouched over the engine, it all came into view: the treehouse, the baidarka, the workshop, the boat. These are more than places, they are systems. Each one a self-contained cosmos, a structure for living, thinking, observing. They are his way of being in the world, immersed, but also just outside of it. Not disconnected, but differently connected.
Many have called George Dyson “Thoreau-esque,” and it’s true in a sense. But he’s no hermit, and certainly no Luddite. He’s deeply engaged in the discourse around technology. What sets him apart is his vantage point. He’s not caught up in the rush of the tech world’s constant reinvention, but he’s not nostalgic for some pre-digital past either. His critiques come from the waterline, from a mind trained to think structurally, to understand what keeps something afloat.
He’s written several books that trace the evolution of our tools and ideas, from Darwin Among the Machines, which reawakens Samuel Butler’s 19th-century speculation about machine evolution, to Project Orion, about the audacious attempt to launch a nuclear-propelled spaceship, to Turing’s Cathedral, a remarkable deep dive into the origins of digital computing at the Institute for Advanced Study in Princeton. His writing connects kayaks and code, wilderness and algorithms, with a sense of pattern and implication often missing from more narrowly focused accounts of technology.
We talked about artificial intelligence. He’s less concerned about the usual apocalyptic fears and more interested in a quieter erosion: that “Good AI,” the kind that works too well, might slowly displace our capacity to reason. That we’ll gradually delegate too much, our judgment, our critical thinking, even our curiosity, to systems we’ve designed to serve us. It’s not the monster at the gate that troubles him. It’s the soft, helpful voice we welcome in.
His thinking exists within a far-reaching constellation of big thinkers, friends and fellow travelers like Stewart Brand, Kevin Kelly, and Neal Stephenson, people whose work, like his, moves fluidly between history, technology, and imagination. Others, like J. Robert Oppenheimer and Stephen Hawking, were part of his father’s world and, by extension, his own: mentors, correspondents, and passing dinner guests who became part of the background fabric of George’s intellectual life. Some he’s known through decades of conversation, others through the thick web of letters and stories that surrounded Freeman Dyson. Ideas were always in the air, shared across pages, passed around tables, or carried by the tide.
Later in the afternoon, as the light faded over Bellingham Bay, we sat near the harbor, drinking cold beer at a pub that, George noted, used to be a tool rental shop. The conversation drifted, as it tends to with him, from engines to ancestors, from shipbuilding to the shape of the internet. History here doesn’t feel like something behind us, it feels tidal, patient, always flowing underneath.
George Dyson builds boats, yes, but more than that, he builds frameworks. He builds stories. He builds spaces that let us ask, and sometimes even live inside, the essential questions: What are we building? Why? And what will we carry with us when the tide turns?
Trivium + Code Orange + Power Trip + Venom Prison at The Academy, Manchester - 20th April 2018
Photography by Jason Broadhurst
Projection du film CODE BLEU, realise par Urszula Antoniak. Bien de Moor-actrice, Marneza Mozkal, du comité de selection de la Quinzaine des Realisateurs, Frederic Boyer - Delegue General de la Quinzaine
Since I've been doing some HTML stuff lately, this one tickled my funny bone.
(From icanhascheezburger)
The Learning Resource Center hosted a workshop called "Color Coding Concepts" to teach students the main uses of color as a tool of learning. The workshop was given by Cheryl Howell at the LRC of the American River College campus on March 29, 2016 (photo by Itzin Alpizar)
Já viram a revista CODE#4? O projeto gráfico da revista ficou por nossa conta juntamente com SillasMaciel.
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