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Ford–Fulkerson algorithm

The Ford–Fulkerson method or Ford–Fulkerson algorithm is a greedy algorithm that computes the maximum flow in a flow network. It is sometimes called a "method" instead of an "algorithm" as the approach to finding augmenting paths in a residual graph is not specified or it is specified in several implementations with different running times, it was published in 1956 by D. R. Fulkerson; the name "Ford–Fulkerson" is also used for the Edmonds–Karp algorithm, a defined implementation of the Ford–Fulkerson method. The idea behind the algorithm is as follows: as long as there is a path from the source to the sink, with available capacity on all edges in the path, we send flow along one of the paths. We find another path, so on. A path with available capacity is called an augmenting path. Let G be a graph, for each edge from u to v, let c be the capacity and f be the flow. We want to find the maximum flow from the source. After every step in the algorithm the following is maintained: This means that the flow through the network is a legal flow after each round in the algorithm.

We define the residual network G f to be no flow. Notice that it can happen that a flow from v to u is allowed in the residual network, though disallowed in the original network: if f > 0 and c = 0 c f = c − f = f > 0. The path in step 2 can be found with for example a breadth-first search or a depth-first search in G f. If you use the former, the algorithm is called Edmonds–Karp; when no more paths in step 2 can be found, s will not be able to reach t in the residual network. If S is the set of nodes reachable by s in the residual network the total capacity in the original network of edges from S to the remainder of V is on the one hand equal to the total flow we found from s to t, on the other hand serves as an upper bound for all such flows; this proves. See Max-flow Min-cut theorem. If the graph G has multiple sources and sinks, we act as follows: Suppose that T = and S =. Add a new source s ∗ with an edge from s ∗ to every node s ∈ S, with capacity c = d s, and add a new sink t ∗ with an edge from every node t ∈ T to t ∗, with capacity c = d t.

Apply the Ford–Fulkerson algorithm. If a node u has capacity constraint d u, we replace this node with two nodes u i n, u o u t, an edge, with capacity c (

Basse Oeuvre

The Basse Œuvre, in full the Parish Church of Our Lady of the Basse Œuvre of Beauvais, is a church at the west end of Beauvais Cathedral, dated to the 10th century. It was classed as a historic monument in the list of 1840, it is the west end remnant of a much longer church, Beauvais' cathedral. It was built in the form of a style which still characterized the Carolingian era; the 21 archaeological digs of Émile Chami highlighted this monument. The Basse Oeuvre was dedicated to St. Peter, the Virgin and St. John the Baptist when it was built in the second half of the tenth century. Few sources allow an exact dating of the building. A text taken from an obituary in the cathedral dating from about 1635, indicate as master of works its bishop, who died in 998 AD. However, Emile Shami based his opinion on another anonymous manuscript source of the 17th century and offered as dating the time of Bishop Hugh, the predecessor of Hervé. Excavations and stratigraphic record support this second hypothesis.

Several fires over the centuries have ravaged the church, including two at the end of the eleventh century, one in the late twelfth century, another in the early twelfth century. These fires caused premature aging of the monument. After the 1225 fire, the Basse Oeuvre's east end was cut off for construction of the new cathedral's chancel, completed in 1272. In 1510, more of its east end was cut off, during building of the Gothic transept of the new cathedral, destroying the remains of the old Carolingian transept, its nave's three eastern bays. In the 16th century and early 17th century, three more bays were sacrificed to make room for two buttresses that support the west side of the transept of the architect Martin Chambiges; the building was restored in 1864 to 1867, but this restoration is deemed too severe on the south side by art historians. The north side was free from restoration, overlooking the cloister of the bishopric, whose west wing is dated to the eleventh century; the small device in re-used stone came from the ancient Gallic ramparts of the city.

The wall window keystones are alternately tiles. Excavations showed a rebuilding of the facade of the Basse Oeuvre and additions resulting from fires in the eleventh century; the present facade is not the original facade of the building. Carol Heitz, France pré-romane, éd. Errance, 1987. Eugène Viollet-le-Duc, Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle, 1856. E-J. Woillez, Archéologie des Monuments religieux de l'ancien Beauvoisis pendant la métamorphose romane, 1839. L'Art du Haut Moyen-Age dans le éd. Reineke-Verlag Greifswald, 1993. Histoire générale de l'art. L'art Médiéval, t. 2, A. V. éd. Librairie Aristide Quillet, 1938. Jean Hubert, Jean Porcher et W. F. Wolbach, L'Univers des formes. L'Empire carolingien, éd. Gallimard, 1968. Picardie gothique, réédition commentée d'extraits de La Bible de Pierre, de John Ruskin, traduction de Marcel Proust, éd. Casterman / Les Provinciales, A. V. 1995. San Bellet et Michel Marcq, Floraison gothique en Picardie, éd. du Quesne, 1992. La Cathédrale Saint Pierre de Beauvais.

Itinéraire du Patrimoine, Numéro 139, éd. par l'Association pour la Généralisation de l'Inventaire Régional en Picardie, 1997. Dictionnaire des églises de France, Luxembourg, Suisse, éd. Robert Laffont. Gérard Denizeau, Histoire visuelle des Monuments de France, éd. Larousse, 2003. Anne Prache, Île-de-France romane, éd. Zodiaque, 1983. Philippe Araguas, Architecture religieuse gothique. Diversités régionales, éd. Rempart. Jean Favier, Dictionnaire de la France Médiévale, éd. Fayard, 1993. Martine Plouvier, La Cathédrale Saint-Pierre de Beauvais: architecture, mobilier et trésor Marie-Claude Vernat Chami, L'Art roman dans l'Oise et ses environs Google Earth view of Basse Oeuvre and Beauvais Cathedral

Ronnie Khalil

Shaher "Ronnie" Khalil is an American stand-up comedian and actor of Egyptian descent. He has headlined across four continents, toured the United States as a guest performer with the “Axis of Evil”, performed with “Arabs Gone Wild” and taped two “Friday Night LiveShowtime Comedy specials in Dubai, including “Minorities Rule” and “New World Order”, both were shown across 14 countries in the Middle East. Ronnie has performed in sold-out shows across the Middle East and was part of the first-ever Amman Stand-up Comedy Festival in Jordan, as well as numerous other comedy festivals including the New York Underground, NY Arab-American, South Beach, Los Angeles and Boston Comedy Festivals, he was twice invited to the Montreal Comedy Festival's "Just for Pitching." Ronnie has been featured on sketches for “Conan O'Brien”, ABC News, NPR, Air America, CNN and Al Jazeera, as well as in Comedy Central's online show "The Watch List", picked up for a pilot, A&E's "15 Films About Madonna." Khalil is Executive Producer of the first Middle Eastern Comedy Festival in Los Angeles, which premiered September 2009, with the goal of changing stereotypes in the Hollywood entertainment industry.

Khalil grew up in Miami, FL, where he was a founding member of "The Miami Comics", an ethnically diverse group of stand-up comedians. In addition to stand-up, Khalil earned his M. B. A. from the University of Miami, lectures in colleges throughout the United States regarding success and motivation. His most popular lectures are “Success through C. O. M. E. D. Y.” and “Networking: How to Avoid Really Hard Work.” Both Khalil’s parents were university professors, his father is President of Nile University in Cairo, Egypt. Official website Ronnie Khalil on IMDb "Ronnie Khalil - Ronnie Khalil's parents may throw him a surprise wedding.". The Watch List. Comedy Central. Ronnie Khalil's The Comedy Course. ArabComedy.org. New York Arab-American Comedy Festival

Martin Bundi

Martin Bundi was a Swiss historian and politician. He was a member of the Swiss National Council from 1975 to 1995 and was the chamber’s President in 1985 and 1986, he was a native of a longtime member of the Social Democratic Party. Prior to his political career, he was a teacher who conducted research of the history of Grisons and the Rhaetian Alps, he was active in the preservation of the Rhaeto-Romance language. Bundi was born in Sagogn in the Canton of Grisons on 19 October 1932, he earned a doctorate at the University of Zürich in 1963 and became a teacher at the Graubünden Teacher Training Collegein Chur. He became the deputy director of the college in 1967. In 1972, Bundi was elected to the municipal council of Chur where he served until 1975. In the 1975 Swiss federal election, Bundi was elected to the National Council. While on the council, he was on the committee for science and research, the military committee and the foreign policy committee, he was a supporter of the Romansh language and worked to upgrade its status in the Swiss Federal Constitution.

In 1991, Bundi became the President of the Federal National Park Commission and was the chairman of Renania, a society dedicated to Rhaeto-Romance. Bundi was married with five children, he died on 1 January 2020 at the age of 87. Profile at Official Federal Assembly website

Zorro Rides Again

Zorro Rides Again is a 12-chapter Republic Pictures film serial. It was the eighth of the sixty-six Republic serials, the third with a western theme and the last produced in 1937; the serial was directed by William John English in their first collaboration. The serial starred John Carroll who sang the title song as a modern descendant of the original Zorro with Carroll stunt doubled by Yakima Canutt; the plot is a standard western storyline about a villain attempting to illicitly take valuable land. The setting is a hybrid of modern and western elements, used in B-Westerns, it was the first in a series of five Zorro serials: Zorro's Fighting Legion, Zorro's Black Whip, Son of Zorro and Ghost of Zorro. In contemporary California, villain J. A. Marsden aims to take over the California-Yucatan Railroad with the aid of his henchman El Lobo; the rightful owners and Phillip Andrews object. Their partner, Don Manuel Vega summons his nephew, James Vega, to help them as he is the great grandson of the original Zorro, Don Diego de la Vega.

He is disappointed, however. James Vega installs himself in the original Zorro's hideout and adopts the Zorro identity to defeat Marsden and El Lobo; this Zorro uses twin pistols and a whip as his main weapons of choice, rather than a more traditional sword. John Carroll as James Vega and his masked alter ego Zorro. Despite being the same character and actor, the secret identity of the title character is extended to the opening credits wherein "Zorro" and "James Vega" are credited as separate characters. Helen Christian as Joyce Andrews Reed Howes as Phillip Andrews Duncan Renaldo as Renaldo Noah Beery, Sr. as J. A. Marsden Richard Alexander as Brad "El Lobo" Dace Nigel De Brulier as Don Manuel Vega Robert Kortman as Trelliger Jack Ingram as Carter Roger Williams as Manning Edmund Cobb as Larkin Mona Rico as Carmelita Tom London as O'Shea Harry Strang as O'Brien Jerry Frank as Duncan Zorro Rides Again was budgeted at $98,110 although the final negative cost was $110,753, it was filmed between 8 September and 5 October 1937.

The serial's production number was 423. Zorro Rides Again was influenced by the Singing Cowboy trend of the time. Carroll's "best moments" in costume were singing It was shot in Cochilla and featured other locales such as Bronson Canyon, Iverson Movie Ranch, Red Rock Canyon State Park, Angeles National Forest, Chatsworth, Los Angeles. In the opinion of Cline, one of the most memorable stunt scenes in the history of film serials is shown in Zorro Rides Again. Stuntman Yakima Canutt plays Zorro as he gallops up to the cab of a moving truck and swings from the saddle to its running board. A small mistake during this sequence would have been lethal for Canutt. Zorro Rides Again's official release date is 20 November 1937, although this is the date the sixth chapter was made available to film exchanges. A 68-minute feature film version, created by editing the serial footage together, was released on 22 September 1938 and re-released on 16 January 1959; the feature film had a working title of Mysterious Don Miguel before returning to the original name Zorro Rides Again.

This was one of fourteen feature films. In the early 1950s, Zorro Rides Again was one of fourteen Republic serials edited into a television series, it was broadcast in six 26½-minute episodes. Death from the Sky The Fatal Minute Juggernaut Unmasked Sky Pirates The Fatal Shot Burning Embers Plunge of Peril Tunnel of Terror Trapped Right of Way Retribution Source: Death from the Sky: Zorro and Philip, aboard a train, are bombed from the air by El Lobo; the Fatal Minute: Knocked unconscious in a warehouse, Zorro is caught in the detonation of a hidden bomb. Juggernaut: Zorro's foot is caught in the tracks of a railroad, helpless before an oncoming Express Train. Unmasked: Under cover of his heavies' guns, El Lobo reaches to remove Zorro's mask. Sky Pirates: Zorro's plane comes under fire as it taxies for takeoff; the Fatal Shot: Fighting Trelliger, Zorro falls to the courtyard. El Lobo pulls a gun on the prone vigilante. Burning Embers: Zorro is caught in a burning building when the floor gives way beneath him.

Plunge of Peril: Attempting to escape on a funicular railway, Zorro plummets down a cliff. Tunnel of Terror: Zorro is trapped atop the carriage of a train as it enters a tunnel - which explodes. Trapped: In a rooftop chase, Zorro loses his balance and falls from the skyscraper. Right of Way: Zorro, in a truck, is set for a collision in a train. Zorro Rides Again on IMDb Zorro Rides Again at AllMovie Zorro Rides Again is available for free download at the Internet Archive

Street Sects

Street Sects is an American experimental band from Austin, Texas formed in 2013, composed of vocalist Leo Ashline and multi-instrumentalist Shaun Ringsmuth. Their style is abrasive, characterised by industrial rhythms, use of screamed vocals, samples of both noise and synthesizers, nihilistic lyrics. Following two EPs released in 2014, the duo's debut album End Position came out on September 16, 2016, on The Flenser to positive reviews. In 2013, in the wake of struggling with addiction for thirteen years, vocalist Leo Ashline formed Street Sects with his friend, multi-instrumentalist Shaun Ringsmuth, in order to produce extreme, experimental music addressing the negative aspects of life. In 2014, they self-released the first two EPs for the planned Gentrification: A Serial Album pentalogy: The Morning After the Night We Raped Death and Broken Windows, Sunken Ceilings. On November 18 they released the song "Things Will Be Better in California", a composition built from Spill/Fill, a collection of samples by Wreck and Reference from their 2014 album Want.

All of these works were produced by the duo, mastered by James Plotkin, illustrated by A. J. Garces Bohmer based on concepts by Ashline. Street Sects' debut studio album End Position was released on September 16, 2016, through The Flenser to positive reviews, it was mastered by Machines with Magnets in Providence, Rhode Island. The album's title is based on a lyric from I See a Darkness by Will Oldham. On their Bandcamp, Street Sects place their work within the categories of electronic, punk, industrial, sample-based, power electronics and rock, their label, The Flenser, described their music as "a feverish marriage between industrial music and punk rock"... "utilizing frantic, uncompromising rhythms and a variety of nightmarish samples". Their style was addressed by various critics in reviews of End Position, which were positive. Adam Delvin of Tiny Mix Tapes described it as a harsh noise industrial hammer punk album", noting that "Shaun Ringsmuth is an aural sculptor of rare form, mixing industrial rhythms made of machine gun parts and bursting crash cymbals with psychedelic, transgressive melodies of alien origin".

Rolling Stone recommended the duo to fans of Big Black, Youth Code and Agoraphobic Nosebleed, describing their music as a "lean, murderous blend of synths, pained vocals and industrial rhythms" featuring "nightmarish noise and industrial punchouts". Tristan Jones of Sputnikmusic wrote: "Street Sects combine dirty synths with traces of noisecore and industrial piss, underscored with thoughts of suicide and misanthropy." Dæv Tremblay of Can This Even Be Called Music? called their music "hardcore plunderphonics". Stephen Proski of New Noise Magazine praised the interplay between Ringsmuth's sophisticated musical structures and Leo Ashline's vocals, which he called "intimate and vehement". Leo Ashline – vocals, production Shaun Ringsmuth – instruments, production Michael Lauden – guitar, production Studio albumsEPsGentrification I: The Morning After the Night We Raped Death Gentrification II: Broken Windows, Sunken Ceilings Rat Jacket Gentrification III: Death and Displacement Gentrification IV: Suspended from Gallery Rails Christmas Bonus 2019 Gentrification V: Whitewashed SplitsStreet Sects / Portrayal of Guilt Street Sects / Curse Singles"Things Will Be Better in California" "And I Grew Into Ribbons" "Featherweight Hate" "Blacken the Other Eye" "Things Will Be Better In Hell" "In For a World of Hurt" "Still Between Lovers" "The Drifter" "Fourteen Frames" Street Sects on Bandcamp Street Sects on Facebook