text
stringlengths 13
4.18M
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…or at least make it look like it. The secret is up your sleeves. Those lights are bright enough to be of practical use in dark situations too.
Once again I started a weekend with a crazy idea and once again I had it working by Sunday evening. (Needless to say I'm not going to win any parenting award until this particular obsession runs its course).
Google updated the OneBox that shows the local time in different parts of the world. Now instead of simple showing the time it shows a dynamic clock ,time zone and other matches.The dynamic clock is of yellowish color in day time and greyish color in night or evening time.
Straight from the pages of hack-a-day, The Dark Blade started back in 2004. Now, it's finally finished. Everything on the case was custom machined just for this project.
This Russian owned car is not just nice because of its exterior. It glows in the dark. Really.
This SNES Wii modder didn't ruin a new Wii in order to shove the guts of an SNES inside. He created an entirely new replica case and shoved the guts inside.
We especially enjoy the front-loading cartridges and the blue LEDs, but the mod as a whole is pretty good.
Sooo, I made my first tutorial. I sorta made it outta the blue, I am on holidays and I made this top and was very very excited (although I didn't really get that much feedback from Craftster on it…Grin) so decided that everyone should be able to make one!
the car with blue painter's tape! |
The "Secondhand Sureshots" Deluxe Super Set with a DVD, picture disc 12 inch including bonus beats, golden ticket, stickers and slipmats all packaged in a reclaimed thrift store LP cover screenprinted by HIT+RUN will be released through Stones Throw in late November 2009. Wide release of the DVD coming February 2010. Thanks for your enthusiasm and patience!!!! |
Home of Kate H. Coffey & James W. Coffey
This handsome bungalow is one of the few brick bungalows constructed in Dean Park. It also has many of the classic Craftsman features including the expansive front porch, exposed rafters, wide roof eaves.
As often happened during the Florida real estate boom, the parcel changed owners several times before a house was built on the lot. In 1922, Dean Development Company sold the parcel to James F. Garner for $1,300, subject to a building restriction that a house costing at least $4,000 must be built there. In January 1924, Mr. Garner sold the parcel to Walter S. Turner, Jr.; in January 1925, Mr. Turner sold the parcel to E.P. Dobbs of Cobbs County, Georgia; and in March 1925, Mr. Dobbs sold the parcel to Kate H. Coffey.
James W. Coffey a varied career. Born in Kentucky in 1858, Mr. Coffey and his wife, Kate, were both residents of Denver by 1910, when the census shows him to be a "household auctioneer." By 1920, he was "manager of bakeries" in Jacksonville, Florida. Mr. Coffey first appears in the Fort Myers city directory in 1923, when he was owner of the Up-to-Date Bakery Company and the Up-to-Date Investment Company with offices on Cleveland Avenue. By 1925, Mr. Coffey was Secretary-Treasurer of Seminole Realty Company, Inc. and Mrs. Coffey was Vice President of the same firm. He was also a very active member of the Rotary Club in Fort Myers, and newspaper articles recount that he did everything from umpiring Rotary baseball games to singing "My Old Kentucky Home" at a Rotary meeting.
Other address: 1133 Providence Street; Dean's Subdivision, Block H, Lot 11. |
<div class="row-col" nv-file-drop="" uploader="uploader" filters="queueLimit, customFilter">
<div class="col-sm w-lg w-auto-xs light lt bg-auto">
<div class="p-a-md pos-rlt">
<div ng-show="uploader.isHTML5" class="m-b-md">
<!-- 3. nv-file-over uploader="link" over-class="className" -->
<div class="b-a b-info b-2x b-dashed p-a-md text-center m-b" nv-file-over="" over-class="b-info" uploader="uploader">
Base drop zone
</div>
<!-- Example: nv-file-drop="" uploader="{Object}" options="{Object}" filters="{String}" -->
<div nv-file-drop="" uploader="uploader" options="{ url: '/foo' }">
<div nv-file-over="" uploader="uploader" over-class="b-danger" class="b-a b-info b-2x b-dashed p-a-md text-center">
Another drop zone with its own settings
</div>
</div>
</div>
<!-- Example: nv-file-select="" uploader="{Object}" options="{Object}" filters="{String}" -->
<p>Multiple</p>
<input type="file" nv-file-select="" uploader="uploader" multiple />
<p class="m-t-md">Single</p>
<input type="file" nv-file-select="" uploader="uploader" />
</div>
</div>
<div class="col-sm">
<div class="p-a-md pos-rlt">
<div class="m-b"><b class="label info pos-rlt m-r-xs"><i class="arrow right b-info pull-in"></i>{{ uploader.queue.length }}</b> file(s)</div>
<table class="table white b-a">
<thead>
<tr>
<th width="50%">Name</th>
<th ng-show="uploader.isHTML5">Size</th>
<th ng-show="uploader.isHTML5">Progress</th>
<th>Status</th>
<th>Actions</th>
</tr>
</thead>
<tbody>
<tr ng-repeat="item in uploader.queue">
<td><strong>{{ item.file.name }}</strong></td>
<td ng-show="uploader.isHTML5" nowrap>{{ item.file.size/1024/1024|number:2 }} MB</td>
<td ng-show="uploader.isHTML5">
<div class="progress progress-sm m-a-0 m-t-xs">
<div class="progress-bar info" role="progressbar" ng-style="{ 'width': item.progress + '%' }"></div>
</div>
</td>
<td class="text-center">
<span ng-show="item.isSuccess" class="text-success"><i class="glyphicon glyphicon-ok"></i></span>
<span ng-show="item.isCancel" class="text-warning"><i class="glyphicon glyphicon-ban-circle"></i></span>
<span ng-show="item.isError" class="text-danger"><i class="glyphicon glyphicon-remove"></i></span>
</td>
<td nowrap>
<button type="button" class="btn white btn-sm" ng-click="item.upload()" ng-disabled="item.isReady || item.isUploading || item.isSuccess">
Upload
</button>
<button type="button" class="btn white btn-sm" ng-click="item.cancel()" ng-disabled="!item.isUploading">
Cancel
</button>
<button type="button" class="btn white btn-sm" ng-click="item.remove()">
Remove
</button>
</td>
</tr>
</tbody>
</table>
<div>
<div>
<p>Queue progress:</p>
<progress class="progress progress-striped progress-success" value="{{uploader.progress}}" max="100">
</progress>
</div>
<button type="button" class="btn btn-addon btn-info" ng-click="uploader.uploadAll()" ng-disabled="!uploader.getNotUploadedItems().length">
<i class="fa fa-cloud-upload"></i> Upload all
</button>
<button type="button" class="btn btn-addon white" ng-click="uploader.cancelAll()" ng-disabled="!uploader.isUploading">
<i class="fa fa-ban"></i> Cancel all
</button>
<button type="button" class="btn btn-addon white" ng-click="uploader.clearQueue()" ng-disabled="!uploader.queue.length">
<i class="fa fa-times"></i> Remove all
</button>
<p class="text-muted m-t">Note: upload.php file included.</p>
</div>
</div>
</div>
</div>
|
cshdj-soundcloud
================
SoundCloud plugin for CSH DJ.
Configuration
=============
* Register for a client ID and secret [here](http://soundcloud.com/you/apps).
* Put it in the plugin config:
```
configuration: {
//...
'cshdj-soundcloud': {
auth: {
client_id: 'YOUR_CLIENT_ID',
client_secret: 'YOUR_CLIENT_SECRET'
}
}
}
```
|
welcomes you to our public web page.
Situated just east of San Francisco, California, San Lorenzo Village is an appealing, family focused community consisting of over 5600 single-family homes.
This web site has been established for the convenience of the property owners and their guests. Within, you will find many useful links as well as important updates and information about our community. |
Nokia 6300 Sim Free telephone is quite a substantial deal. Both in phrases of features and usability, the telephones (and the sim free link) provide you the type of freedom and worth for cash that you always needed. The Nokia 6300 Sim Totally free phone comes in a sweet bar form. It is a trim gadget, with the external body wrapped in a stainless steel casing. This makes the telephone not only a lustrous beauty, but also tends to make it durable and robust. The display display Menu neatly and 1 can navigate utilizing with sensibly-spaced 4-way rocker change and Enter important. The keypad is sufficiently large for heavy-duty texting.
When travel plans consider you to energetic outdoor adventures, keep in mind to pack simple things like hair ties. These items are not usually available in distant locations, particularly in international nations. If an enterprising nearby does make them accessible to you at the action site, it is most likely that you will pay dearly for them. Hair ties can be effortlessly worn about your wrist for easy access throughout your entire journey.
Outer Pitching Tents – Unlike the ones mentioned over, an outer pitching tent is assembled by threading the poles via the flysheet or the primary external material. Since the tents are not totally covered, they provide much more breathable room for the campers. These tents are essentially pitched as 1, therefore creating them easier to put up. Even though they are fantastic shelters from heavy rain, they can also be fragile, as they have a tendency to capture more wind.
Get all those cash that collect dust in your piggy bank, below the sofa cushions or in stray pots by the front door, toss them into the useful Battery Operated Coin Sorter and – presto – you have all the dough you require to buy the aforementioned devices!
Since then the 2 way radios has been giving children the capability to speak to every other for a great deal of fun. They can be used in the house or backyard or even about the corner if strong sufficient. Friends can speak late into the night for hours prior to the battery runs out with out tying up a phone line. They are great for children too young for a mobile phone however nonetheless want to talk to their buddies that live in the community.
Bedding – Pack some sleeping bags, pillows and blankets for a comfortable relaxation within the short-term shelter. If your tent doesn't come with a sewn-in groundsheet, a roll mat or tarp is a great substitute.
Keep to your regular medication and eating schedule. A schedule can be particularly tough to keep if you are driving through numerous time zones. Coolers not only provide cost-conserving worth but they allow us to stay on our normal routine.
If you're tired of climbing the woods and the rough backcountry, just take a 360-degree flip and head on to the beach. Being an island, Britain has a lot of coastal places that are ideal for environment camp. There is some thing nearly sacred about the union of sand, sea and sky. It relaxes the soul and tends to make you feel more alive. Apart from the thrills of drinking water sports activities, the calming impact of the postcard-deserving seascape is sufficient to give you that much-required break from lifestyle's daily grind. You can camp at Cae Du near Wales, or if you favor, you may think about Clachtoll Beach situated in Scotland's West Coastline. |
Sierra Sands Unified presents a wide range of strong academic programs and highly successful co-curricular programs. Listed below are a few recent accomplishments of our schools, students, and staff. The level of student achievement recognized at the secondary level, is a reflection of the cumulative efforts of the entire educational program K-12.
• Over 80% of Tenth grade students pass the CAHSEE on their first attempt.
school year and in the summer. |
RU2511122C2 - Integrated user interface for exchange of messages with registration of every message - Google Patents
Integrated user interface for exchange of messages with registration of every message Download PDF
RU2511122C2
RU2511122C2 RU2009131611/07A RU2009131611A RU2511122C2 RU 2511122 C2 RU2511122 C2 RU 2511122C2 RU 2009131611/07 A RU2009131611/07 A RU 2009131611/07A RU 2009131611 A RU2009131611 A RU 2009131611A RU 2511122 C2 RU2511122 C2 RU 2511122C2
RU2009131611/07A
RU2009131611A (en
Брайан Т СТАРБАК
Дина Р ФУЛЛЕР
ТИЛБУРГ Мартейн Э ВАН
Марк Энтони МАККЕЙБ
Майкрософт Корпорейшн
2009-08-20 Application filed by Майкрософт Корпорейшн filed Critical Майкрософт Корпорейшн
2011-02-27 Publication of RU2009131611A publication Critical patent/RU2009131611A/en
2014-04-10 Publication of RU2511122C2 publication Critical patent/RU2511122C2/en
238000004891 communication Methods 0 abstract 2
230000000694 effects Effects 0 abstract 1
238000005516 engineering processes Methods 0 abstract 1
H04M—TELEPHONIC COMMUNICATION
H04M1/00—Substation equipment, e.g. for use by subscribers; Analogous equipment at exchanges
H04M1/57—Arrangements for indicating or recording the number of the calling subscriber at the called subscriber's set
H04M1/575—Means for retrieving and displaying personal data about calling party
H04M1/576—Means for retrieving and displaying personal data about calling party associated with a pictorial or graphical representation
H04M1/247—Telephone sets including user guidance or features selection means facilitating their use; Fixed telephone terminals for accessing a variety of communication services via the PSTN network
H04M1/2473—Telephone terminals interfacing a personal computer, e.g. using an API (Application Programming Interface)
H04M1/253—Telephone sets using digital voice transmission
H04M1/2535—Telephone sets using digital voice transmission adapted for voice communication over an Internet Protocol [IP] network
H04M1/26—Devices for signalling identity of wanted subscriber
H04M1/27—Devices whereby a plurality of signals may be stored simultaneously
H04M1/274—Devices whereby a plurality of signals may be stored simultaneously with provision for storing more than one subscriber number at a time, e.g. using toothed disc
H04M1/2745—Devices whereby a plurality of signals may be stored simultaneously with provision for storing more than one subscriber number at a time, e.g. using toothed disc using static electronic memories, i.e. memories whose operation does not require relative movement between storage means and a transducer, e.g. chips
H04M1/27455—Retrieving by interactive graphical means or pictorial representation
H04M1/72—Substation extension arrangements; Cordless telephones, i.e. devices for establishing wireless links to base stations without route selecting
H04M1/725—Cordless telephones
H04M1/72519—Portable communication terminals with improved user interface to control a main telephone operation mode or to indicate the communication status
H04M1/72522—With means for supporting locally a plurality of applications to increase the functionality
H04M1/72547—With means for supporting locally a plurality of applications to increase the functionality with interactive input/output means for internally managing multimedia messages
H04M1/72552—With means for supporting locally a plurality of applications to increase the functionality with interactive input/output means for internally managing multimedia messages for text messaging, e.g. sms, e-mail
H04M1/72583—Portable communication terminals with improved user interface to control a main telephone operation mode or to indicate the communication status for operating the terminal by selecting telephonic functions from a plurality of displayed items, e.g. menus, icons
H04M3/00—Automatic or semi-automatic exchanges
H04M3/42—Systems providing special services or facilities to subscribers
H04M3/50—Centralised arrangements for answering calls; Centralised arrangements for recording messages for absent or busy subscribers ; Centralised arrangements for recording messages
H04M3/53—Centralised arrangements for recording incoming messages, i.e. mailbox systems
H04M3/533—Voice mail systems
H04M3/53333—Message receiving aspects
H04M2203/00—Aspects of automatic or semi-automatic exchanges
H04M2203/30—Aspects of automatic or semi-automatic exchanges related to audio recordings in general
H04M2203/301—Management of recordings
H04M2203/45—Aspects of automatic or semi-automatic exchanges related to voicemail messaging
H04M2203/4509—Unified messaging with single point of access to voicemail and other mail or messaging systems
H04M2207/00—Type of exchange or network, i.e. telephonic medium, in which the telephonic communication takes place
H04M2207/20—Type of exchange or network, i.e. telephonic medium, in which the telephonic communication takes place hybrid systems
H04M2207/203—Type of exchange or network, i.e. telephonic medium, in which the telephonic communication takes place hybrid systems composed of PSTN and data network, e.g. the Internet
H04M2207/206—Type of exchange or network, i.e. telephonic medium, in which the telephonic communication takes place hybrid systems composed of PSTN and wireless network
H04M2250/00—Details of telephonic subscriber devices
H04M2250/60—Details of telephonic subscriber devices logging of communication history, e.g. outgoing or incoming calls, missed calls, messages or URLs
H04M2250/64—Details of telephonic subscriber devices file transfer between terminals
H04M2250/68—Details of telephonic subscriber devices with means for recording information, e.g. telephone number during a conversation
H04M7/00—Interconnection arrangements between switching centres
H04M7/12—Interconnection arrangements between switching centres for working between exchanges having different types of switching equipment, e.g. power-driven and step by step, decimal and non-decimal, circuit-switched and packet-switched, i.e. gateway arrangements
FIELD: physics, computation hardware.
SUBSTANCE: invention relates to network technologies, particularly to integrated user message exchange interface wherein user experience is standardised irrespective of message type and registration logs are kept for every message. one common user interface (201) is used wherein messages of several different types (211, 212, 213) are presented in common manner. For example, user experience of placing telephone call is standardised irrespective of actual telephone technology (network communication (212), VoIP (213) or TTC (211)) used for communication. Besides, apart from common registration log, every message also has its separate registration log to allow higher-flexibility procedure of request and organisation irrespective of their type.
EFFECT: easier organisation of various messages by intuitive method.
12 cl, 18 dwg
The invention relates, in general, to network technologies and more specifically to a single user interface for messaging, in which user experience is standardized regardless of the type of message and in which logs are kept for each message, which facilitates the organization of messages.
Communication is an essential need for people. The appearance of the phone was one of the most important advances in communication technology, as it allowed people to carry out voice communication in real time even at a great distance. As information technology develops, the number of different methods that can be used for electronic communication of people increases. For example, there are currently widely used forms of communication such as e-mail, instant messaging, shared windows and electronic whiteboard.
Even the telephone technology itself has become very diverse, based on its definition as any network technology that provides real-time voice communication. For example, to participate in a telephone conversation, you can use the most ordinary landline landline phone using a traditional telephone service (TTS). In addition, new telephone technologies have emerged that have enabled the creation of mobile phones. Even standard Internet Protocol (IP) can now be used for real-time voice communication using Voice-over-IP (VoIP) technology.
Although all this wide range of communication technologies significantly expanded the freedom of communication of people, he also posed a number of organizational problems. In particular, usually one application is used to participate in an instant messaging, another to participate in an email exchange, another one to participate in a phone call, etc. Therefore, it is very difficult to organize all communications for various types of messages. This is especially true for synchronous communications such as phone calls, instant messaging, shared windows, etc. Since different types of messages are very difficult to organize among themselves, the problem often arises of correlating related messages in such a way that all valuable information in the messages can be used. Therefore, information overload often occurs.
Therefore, there is a need for mechanisms for the general organization of many different types of messages in an intuitive way.
Disclosure of invention
The problems of the prior art described above can be solved using the principles of the present invention, which are directed to mechanisms for the general organization of various types of messages. According to the principles of the present invention, this problem can be solved using one common user interface, in which messages of many different types are presented in a single way. For example, messages are recorded in the general message log regardless of whether they are e-mails, instant messages or a phone call, or whether or not a phone call came over a cellular telephone network, over the Internet using Voice-over technology IP (VoIP) or traditional telephone service (TTS) lines.
According to one embodiment of the invention, the user experience of placing a telephone call is standardized regardless of the actual telephone technology (cellular telephone, Voice-over IP (VoIP) or TTS) used to make the telephone call. The user can simply select a contact from the contact list, and then select the desired technology to use when making a phone call. In addition, a common logbook provides information in a standardized manner, regardless of the type of message or call.
In addition to the general registration log, which contains a general list of messages, each message also has its own separate journal, which contains information relevant to the contact corresponding to this message, any relevant information regarding the message itself and information about other connections open as part of the session connected with this message. These separate logs for each message provide a more flexible process for querying and organizing messages, regardless of type.
Other essential features and advantages of the invention will be disclosed in the following description, and in part will become apparent from the description or upon realization of the invention. The essential features and advantages of the invention can be realized and obtained using means and combinations specifically described in the attached claims. These and other features of the present invention will become more apparent from the following description and the appended claims, or from the practical implementation of the invention, as described below.
In order to describe a method for achieving the above and other advantages and essential features of the invention, a more specific description of the invention, briefly described above, will be presented below in the form of specific embodiments thereof, illustrated in the accompanying drawings. Given the fact that these drawings depict only typical embodiments of the invention and therefore should not be construed as limiting its scope, the invention will be described and explained specifically and in more detail with reference to the accompanying drawings, in which
figure 1 illustrates a computing system suitable for implementing the essential features of the present invention,
FIG. 2 illustrates an exemplary software architecture that can be used to provide a unified user experience for placing or receiving a telephone call regardless of telephone technology, and which is used to facilitate the call,
figure 3 illustrates the data structure of the message, having several extensions, including a log for each message, which provides a more flexible procedure for requesting and organizing messages,
4 illustrates a user interface that can be presented to a user to allow him to select the called party to start a telephone call from,
5 depicts a user interface that allows a user to select telephone technology to use when placing a call to a selected called party,
6 illustrates a user interface that allows a user to compose notes related to a telephone call,
Fig.7 illustrates a user interface showing the flexible nature of the procedures for organizing and requesting messages even for messages of various types,
Fig. 8 illustrates a flowchart of a method for providing a user with a common user interface regardless of the telephone technology used to place a telephone call,
FIG. 9 illustrates a user interface notifying the called party of the name of the calling party and the telephone technology used to place the call,
10 illustrates a user interface that can be presented to a user to allow him to select the adjustment of various call settings,
11A illustrates a user interface that can be presented to a user to allow him to initiate application sharing,
11B illustrates a user interface that can be presented to a user to indicate a document selected for application sharing,
figa illustrates a user interface that can be presented to the user to indicate that the application is shared,
12B illustrates a user interface that can be presented to a user to report available tools that can be shared by callers and called parties to work with a shared application,
13 illustrates a user interface that can be presented to a user to show a reminder of a received call,
figa illustrates reduced versions of the user interface that can be presented to the user,
figv illustrates a reduced version of the user interface that can be presented to the user, and
15 illustrates a user interface showing the flexible nature of message organization and request procedures even for messages of various types, as well as a drop-down list of communication operations.
The implementation of the invention
The principles of the present invention relate to mechanisms for the unified organization of messages of various types. They can be implemented using one common user interface, in which messages of various types are presented in a single way. For example, the user experience of placing a telephone call is standardized regardless of the actual telephone technology (cellular telephone, VoIP or TTS) used to make the telephone call. Also, in addition to the general registration log, which includes a common list of messages, each message also has its own separate message log, which provides a more flexible procedure for requesting messages regardless of their type.
In the drawings, where like elements are denoted by the same reference numbers, the invention is illustrated as being implemented in a suitable computing environment. The further description will be based on the illustrated embodiments of the invention, but should not be construed as limiting in relation to alternatives that are not explicitly disclosed.
In the following description, the invention will be described with reference to actions and symbolic representations of operations that are performed by one or more computers, unless otherwise indicated. It is understood that such actions and operations, which are sometimes referred to as executable by a machine, include processing by a computer processor of electrical signals representing data in a structured form. This processing converts the data or stores it in the cells of the computer's memory system, which reconfigures or otherwise changes the computer's operation in a way that is understandable to specialists. The data structures in which data is stored are physical memory cells having specific properties defined by the data format. However, despite the fact that the invention will be described in the above context, this does not mean that it is limited to them, as will be appreciated by those skilled in the art.
1 schematically depicts an exemplary computer architecture suitable for these devices.
For purposes of description, the illustrated architecture is just one example of a suitable environment, and it is not intended to impose any limitation on the scope of use or functionality of the invention. It should also not be assumed that computing systems have any dependency or requirements related to one or more of the components depicted in FIG. 1.
The invention can be used with many other universal or specialized computing or communication tools, or configurations. Examples of well-known systems, environments, and configurations suitable for use with the invention include, but are not limited to, mobile phones, PDAs, personal computers, servers, multiprocessor systems, microprocessor systems, mini-computers, general purpose computers, and distributed computing means that comprise any of the systems or devices described above.
In most basic configurations, computing system 100 typically includes at least one processor 102 and memory 104. Memory 104 may be volatile (such as RAM), non-volatile (such as ROM, flash memory, etc.) or or a combination thereof. This most common configuration is shown in FIG. 1 by a dashed line 106.
Storage media may have additional features and functionality. For example, they may include additional storage (removable and non-removable) including, but not limited to, PCMCIA cards, magnetic and optical disks, and magnetic tape. Such additional storage device is shown in figure 1 in the form of a removable storage device 108 and a non-removable storage device 110. Computer storage media includes volatile and non-volatile, removable and non-removable media implemented using any method or technology for storing information such as machine-readable instructions, data structures, program modules or other data. Memory 104, removable storage device 108, and non-removable storage device 110 are examples of computer storage media. Computer storage media includes, but is not limited to, RAM, ROM, EEPROM, flash memory, other memory technologies, CD-ROMs, digital versatile disks, other optical storage devices, magnetic tapes, magnetic tape, magnetic disks, and other magnetic storage devices, or any other means that can be used to store the required information and which can be accessed by a computing system.
In this context, the term "module" or "component" may refer to software objects or programs that are executed by a computing system. The various components, modules, mechanisms and services described can be implemented as objects or processes executed by a computing system (for example, as separate streams). Although the described systems and methods are preferably implemented in software, it is also possible to implement them in software and hardware, or only hardware.
Computing system 100 may also include communication channels 112 that allow the host computer to communicate with other systems and devices. Communication channels 112 are examples of communication media. Communication media typically includes computer-readable instructions, data structures, program modules or other data on a modulated data signal, such as a carrier wave or other transport mechanism, and includes means for transmitting information. For example, without limitation, communication means include wired means such as wired networks and direct wired connections, and wireless means such as acoustic, radio frequency, infrared, and other wireless means. The term "machine-readable medium" in this context refers to both storage and communication media.
Computing system 100 may also include input components 114, such as a keyboard, mouse, electronic pen, voice input component, touch input device, and the like. Output components 116 include screen displays, speakers, a printer, and the like, as well as executive modules (often referred to as "adapters") for driving them. Computing system 100 has a power supply 118. All of these components are well known and do not require a detailed discussion.
2 illustrates an exemplary software architecture 200 that can be used to provide a unified user experience for placing, or receiving a phone call, or participating in another form of communication. The software architecture 200 comprises a single user interface 201, as well as communication modules 210. A single user interface 201 and each communication module 210 can be implemented in the context of FIG. 1 in a processor 102 executing machine-executable instructions. Instructions executed by the machine may be included in the system memory 104, in its volatile or non-volatile part. When executing machine-executable instructions in system memory 104, it is possible to create instances of a single user interface 201 and various communication modules 210. However, as noted above, the principles of the present invention can be implemented in any computer system that has a processor and system memory and is not limited to a specific environment, illustrated in figure 1.
Communication modules 210 comprise various components, each of which is capable of communicating through specific communication technologies. Some of these communication technologies use telephone technology in which the caller and the called party can participate in a real-time telephone conversation.
For example, communication modules 210 include a TTC module 221 capable of placing telephone calls over traditional telephone service (TTS) networks in response to a direct or indirect command from a single user interface 201. In addition, a cellular telephone communication module 212 places telephone calls through a cellular a network such as a GSM network. Alternatively or additionally, the cellular telephone module 212 may connect to a separate cellular telephone to cause this telephone call to be placed by the cellular telephone, for example via a BLUETOOTH connection. In addition, the VoIP 213 module places a telephone call using Voice-over IP technology.
You can also enter additional modules, shown by horizontal dots 214, using other telephone technology that is currently developing or which will appear in the future. Additional communication modules 214 may also be modules that provide non-telephone forms of communication, such as email, instant messaging, shared windows, shared applications, electronic whiteboard, or the like.
The operation of the software architecture 200 shown in FIG. 2 will be described with reference to the specific user interface described in connection with FIGS. 4 and 5 and the method illustrated in FIG. FIG. 8 is a flow chart of a method 800 for providing a user with a common user interface, regardless of the telephone technology used to place the telephone call.
According to method 800, the computing system identifies the called party (block 801). In particular, the user can identify the called party using the user interface. An example of such a user interface is illustrated in FIG. 4 as a user interface 400. The user interface 400 comprises a scrollable contact window 410 containing a list of possible callers. You can select the 411 icon to display all the contacts that previously called the user. You can select the 412 icon to display all contacts that were previously called by the user. You can select the 413 icon to display all the contacts of this user. Alternatively, instead of directly identifying the call, the user may simply enter the telephone number in the telephone number field 415 or may select the dial keypad icon 414 to visually present the telephone keypad.
In FIG. 8, regardless of the called party identification method, method 800 proceeds to a functional step aimed at providing the user with the experience of initiating a telephone conversation with the called party regardless of the telephone technology used (step 810). Although this step can be implemented in any way, in Fig.8 it is shown as containing the corresponding operations 811-813.
In particular, the computing system presents a user interface showing several telephone technologies that can be used to participate in a phone call with the called party (operation 811). The user interface also includes a mechanism for the user to select one of several telephone technologies for use when participating in a telephone call. 5, an example 500 of such a user interface is illustrated. For example, in this case, the user selected as the called subscriber a person named "Frank Pellow", who is at home. The called party is identified in field 511. The user interface also has a theme field 512 into which the user can enter the subject of this telephone call. When calling the called party, you can inform the called party about the topic of the call, which will allow him based on this additional information to decide whether to accept the call or reject it.
The user interface 500 has a call button 513, which prompts the corresponding communication module to initiate a telephone call. If there is still more than one possible telephone technology to use when calling this called party, a drop-down element 514 may be provided. This drop-down element 514 can be used to list all possible telephone technologies that can be used to call the specified called party. For example, the listed telephone technologies may include TTS, cellular telephone, VoIP, or others.
If it is possible to place a call using several telephone technologies, the caller can select the telephone technology using the drop-down element 514. Alternatively, the user can simply select the call icon 513 to allow the computing system to determine the default call mechanism from the various telephone technologies available.
10, a user interface 1000 is shown that can be presented to a user to allow him to adjust various call settings. User interface 1000 comprises a number selection field 1011 from a plurality of different numbers (e.g., home, work, cellular, VoIP) corresponding to the called subscriber. You can use the telephone technology selection field 1012 (e.g., TTS, cellular, VoIP) to initiate a call. Field 103 can be used to select the audio device to use during a call. Filling out each of the fields 1011, 1012, and 1013 may include selecting items from the drop-down list. For example, an element for field 1013 can be selected from the elements of the drop-down list 1014. Control elements 1016 and 1017 can be selected, respectively, to pause or end the call.
In any case, after the user has selected telephone technology, the computing system determines that the user interacted with the user interface by selecting one of several telephone technologies for use in a telephone call (operation 812). The computing system then uses the selected telephone technology to make the telephone call (operation 813). For example, if the user selects VoIP, then the appropriate VoIP module 1213 is used to place this telephone call.
In the process of participating in a phone call, the user can use the user interface for other communications related to this phone call. This mechanism is represented in FIG. 5 by an icon 515 designated "Add Communication Operation". The user can select from the drop-down list to add other communications, for example, such as instant messaging, shared windows, shared applications, electronic whiteboard, email, related documents and notes. 6 shows a user interface 600 that can be displayed after selecting to add notes to a phone call, regardless of whether this is done simultaneously with or after the phone call. Alternatively or additionally, the user can select the icon 516 "All recent communications" to view all the latest communications received from the called party in various types of messages or received in relation to the specified topic. Using the logs described below for each message further enhances the efficiency of the request procedure and the presentation of these related communications.
11 shows a user interface 1100 that can be presented to allow a user to initiate application sharing. To initiate application sharing, the caller can drag a document into window 1101 or can select a document from the File menu (for example, option 1103 "Select New File"). 11B shows a user interface 1100 that can be presented to indicate a document that has been selected for application sharing. As shown in FIG. 11B, document 1102 was selected for application sharing. Control data associated with document 1102, including the date, time, and sharing properties, is also shown.
Choosing a document available for sharing can encourage the execution and sharing of the corresponding application by the calling and called subscribers. For example, selecting a document 1102 may cause the execution and sharing of the application. 12 shows a user interface 1200 that can be presented to indicate that the application is being shared. The sharing line 1203 and the personal icon 1202 show that the application 1201 is used in conjunction with the contact represented by the personal icon 1202. Tools 1204 can provide access to a drop-down list of tools that can be used to work with document 1102.
12B illustrates a user interface 1200 that can be presented to indicate available tools that can be shared between callers and called parties to work with a shared application. As shown in FIG. 12B, tools 1204 were selected to bring up a drop-down list 1206. Items from the drop-down list 1206 can be used to work with document 1102. The drop-down list 1206 provides access to a zoom tool to reduce the visible part of the application, a laser pointer that can share the calling and called subscribers to show places in the document 1102, and the option to turn off application sharing.
After the caller initiates a call using a single user interface 201, the call is placed using the selected telephone technology. After receiving the call, a single user interface can be displayed on the called party's computing system, showing the name of the calling party, the phone number and technology used to place the call, as well as, potentially, the subject, importance, or nature of the phone call. An example of such a user interface is shown in FIG. 9. After that, the called party can accept or reject the phone call using this user interface. The user interface used to receive or reject a phone call may look the same regardless of the technology used, possibly with the only difference in indicating the telephone technology on the user interface.
In some embodiments of the invention, when a call notification is received, a reminder of the call is created by selecting the appropriate control element. FIG. 13 shows a user interface 1300 that can be presented to display a reminder of a received call. Window 1301 displays a single user interface similar to that shown in FIG. 9, showing the name of the caller. In box 1301, you can select checkbox 1303 to bring up a reminder 1302. A reminder 1302 can be used to store call-related information corresponding to the received call (represented by window 1301). For example, a reminder 1302 may include a user icon, username, call time, call subject, and phone number.
You can also submit smaller versions of the user interface. These smaller versions of the user interface may include some of the functionality described with reference to FIGS. 4, 5, and 10. The user interface may include a side field that provides access to various parts of the functionality of the user interface. Appropriate selection of the control on the side field may cause the presentation of a reduced version of the user interface.
On figa shows a reduced version of the user interface 1400 and 1450, which can be presented to the user. A smaller version 1400 depicts a personal icon 1401 and a name 1402 indicating the caller. A smaller version of the user interface may also include a subset of controls available from other user interfaces. Using the input device, the user can select the control elements corresponding to this subgroup of functional elements. For example, a smaller version 1450 additionally displays controls 1451 and 1452 that can be selected accordingly to end and pause a call.
On figv shows a reduced version of the user interface 1425 and 1435 that can be presented to the user. On figv shows that one or more smaller versions of the user interface can be superimposed or placed close to each other to provide management of multiple calls. Each reduced version 1425 and 1435 may include controls similar to the reduced version 1450 (not shown).
FIG. 3 shows a data structure 300 that provides a more flexible organization and query procedure for messages. This data structure contains several messages, including messages 301, 302, 303, of as many as possible, as shown by vertical dots 304. Each message has associated extension data structures including a journal 301A-304A for each message, possible voice structure 301B-304B and the possible corresponding structure of SMS 301C-304C. Voice and SMS structures may include corresponding voice recordings or SMS messages.
Each individual message log 301A-304A includes information relevant to the corresponding message. For example, the log of each message may include information related to another participant in this communication, for example, display name, email address, phone number, user icon, contact reference number, or the like. The log of each message may also include specific information for a given message. In the case of a telephone call, it may include, for example, the time when the call was initiated, the duration of the call, the subject of the call, whether the call was accepted or rejected, and whether additional communications associated with the call were initiated.
By keeping a log for each message, the procedures for querying, searching, and organizing messages are much easier. For example, you can make a request for all calls within one week two months ago, the subject of which contained the word "tax". You can also make a request when the last time any contact with a specific person took place. Moreover, you can make a request to determine the top five people with whom this person participated in telephone conversations, ranked in order of the total call duration. Also, as noted above, you can make a request for related messages of the caller or topic in response to the user selecting the icon 516 "Show all recent communications". The number of possibilities is endless. In the work, the log for each message can be used as input for the reverse query mechanism, which outputs only those logs that satisfy this request. 7 shows an example user interface 700 that shows the results of a request for recent communications with a particular person. It should be noted that messages cover a wide range of message types, including phone calls, email messages, and instant messages.
On Fig shows a user interface 1500, showing the flexible nature of the procedure for organizing and requesting messages even for various types of messages and showing a drop-down list 1501 communication operations. Items in the 1501 drop-down list can be selected to add additional communications, for example, instant messages, shared windows, shared applications, whiteboard, email, related documents, and notes. These additional communications can be implemented as described above. Despite the fact that they are shown in relation to the user interface for organizing and requesting messages (as in FIG. 7), the drop-down list 1501 can be accessed from another user interface, for example, shown in FIGS. 4, 5, 6, 10, 11A , 11B, and be a control element of a reduced version of the user interface (i.e., reduced versions of 1400, 1450, 1425, and 1435) as necessary.
Thus, the principles of the present invention provide a powerful mechanism for organizing, searching and querying messages of various types and provide a single user experience for various types of messages, which significantly improves the state of the art.
The present invention can be implemented in other specific forms, without going beyond its ideas or essential features. The above described embodiments of the invention should be considered in all respects only as illustrative and not restrictive. Therefore, the scope of the invention is characterized not by the foregoing description, but by the appended claims. The claims apply to all changes that fall within the meaning and scope of equivalence of claims.
1. A method for correlating communications with a person, regardless of the type of communication, so that all communications during a selected period of time can be conveniently viewed for the person in a computer system designed to facilitate electronic communication using many different telephone technologies, including traditional landline, cell phone and voice over Internet Protocol (VoIP), as well as other communication technologies including email, instant BMENA messaging, digital or video images or application with the shared data, the method comprising the steps of:
present a user interface that includes a contact list, and select a specific person from the list;
represent, on the user interface, for the selected person, the option of the latest communications, which, when selected, represents for the said person the set of all communications, regardless of the type of communication that occurred during the selected time period, and the set of all communications is presented in the list on the user interface and includes any or all of the following types of communications:
Incoming or outgoing e-mail messages with their date and time;
Incoming or outgoing phone calls with their date and time;
instant messages with their date and time;
Shared applications, such as electronic documents, with their date and time;
Incoming or outgoing digital images or videos with their date and time;
electronic notes with their date and time; and
present, in the presented list on the user interface, for the options of the latest communications, an option to select or deselect any of the types of communications presented in the list on the user interface.
2. The method of claim 1, further comprising the step of:
create a message log specially designed for this telephone conversation.
3. The method according to claim 1, further comprising stages in which:
accessing a query regarding a plurality of messages recorded by a computing system, each of which has a message log associated with it, and
use message logs to respond to a request.
4. A computer-readable medium containing a computer program stored thereon for implementation in a computer system designed to facilitate electronic communication using a variety of different telephone technologies, including traditional landline, cell phone, and voice over Internet (VoIP) technologies, as well as other communication technologies, including email, instant messaging, digital video or images or applications with shared yes methods of correlating communications with a person, regardless of the type of communication, so that all communications during a selected period of time can be conveniently viewed for said person, the computer-readable medium containing computer-executable instructions for executing the method in a computing system, and the method comprising the steps of :
5. The machine-readable medium of claim 4, further comprising computer-executable instructions for performing a step in which:
6. The machine-readable medium of claim 4, further comprising computer-executable instructions for performing steps in which:
7. A method for correlating communications with a person, regardless of the type of communication, so that all communications during a selected period of time can be conveniently viewed for said person, in a computer system designed to facilitate electronic communication using many different telephone technologies, including traditional landline, cell phone and voice over Internet Protocol (VoIP), as well as other communication technologies including email, instant BMENA messaging, digital or video images or application with the shared data, the method comprising the steps of:
represent, on the user interface, for a selected person, a lot of call options, any of which can be selected to place a phone call of the selected person, including:
call using a traditional landline;
call using a cellular network;
call using Voice-over-IP technology;
additionally present, on the user interface, for the selected person, the option of the latest communications, which, when selected, represents for the said person the set of all communications, regardless of the type of communication that occurred during the selected time period, and the set of all communications is presented in the list on the user interface and includes any or all of the following types of communications:
10. A computer-readable medium containing a computer program stored thereon for implementation in a computing system designed to facilitate electronic communication using a variety of different telephone technologies, including traditional landline, cell phone, and voice over Internet (VoIP) technologies, as well as other communication technologies, including email, instant messaging, digital video or images or applications with shared yes data of a method for correlating communications with a person, regardless of the type of communication, so that all communications during a selected period of time can be conveniently viewed for said person, the computer-readable medium containing computer-executable instructions for executing the method in a computing system, and the method comprising the steps of :
11. The machine-readable medium of claim 10, further comprising computer-executable instructions for performing a step in which:
12. The computer-readable medium of claim 10, further comprising computer-executable instructions for performing steps in which:
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RU2009131611/07A RU2511122C2 (en) 2004-04-30 2009-08-20 Integrated user interface for exchange of messages with registration of every message
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EP2508036B1 (en) 2019-03-06 Universal call management platform
ES2602253T3 (en) 2017-02-20 Procedure and device to allow response messages to incoming phone calls
US8069143B2 (en) 2011-11-29 Systems and methods for remote deletion of contact information
EP2528312B1 (en) 2013-10-23 Unified contact list
US6791583B2 (en) 2004-09-14 System and method for providing spatially distributed device interaction
KR101143057B1 (en) 2012-05-08 Unified messaging architecture
US9986045B2 (en) 2018-05-29 Shareable applications on telecommunications devices
US9392043B2 (en) 2016-07-12 Enhanced telephony computer user interface allowing user interaction and control of a telephone using a personal computer
KR101156323B1 (en) 2012-06-13 System and method for graphically managing a communication session with a context based contact set
US9215735B2 (en) 2015-12-15 Systems and methods for initiating communications with contacts based on a communication specification
US9118981B2 (en) 2015-08-25 Call management service
US7233786B1 (en) 2007-06-19 Providing access to information of multiple types via coordination of distinct information services
EP1705886A1 (en) 2006-09-27 Selectable state machine user interface system
US8856663B2 (en) 2014-10-07 User interface for integrating applications on a mobile communication device
US9762404B2 (en) 2017-09-12 Providing contextual information associated with a communication participant
US7325032B2 (en) 2008-01-29 System and method for passing context-sensitive information from a first application to a second application on a mobile device
AU2004279177B2 (en) 2009-11-12 Integrated messaging user interface with message-based logging
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ES2336460T3 (en) 2010-04-13 Procedure and system to provide a notice of when a user is available to communicate.
US7233229B2 (en) 2007-06-19 Actionable communication reminders
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US8340631B2 (en) 2012-12-25 Deferred communication and relationship management
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Facebook's cloud isn't for the birds | Opinion
The social network's little noticed entry into cloud streaming is the most sensible and likely to succeed proposition of any entrant thus far
Feature by Rob Fahey Contributing Editor
Facebook isn't exactly the toast of the town right now. In the world at large, the mammoth company's slapstick "oops clumsy me, I was trying to ogle some college girls at Harvard and I seem to have accidentally knocked over global democracy" schtick is wearing thin for many people.
Far more specifically in the games space, the firm's recent handling of Oculus has left plenty of people deeply nonplussed. The decision that deleting your Facebook account would also delete all your Oculus games, in particular, went down like a bowl of cold vomit -- which, in concert with the fact that many consumers and industry types alike view Oculus as the only thing of any relevance to games that Facebook actually does, makes it pretty unsurprising that the company's recent cloud gaming announcement flew pretty much under the radar.
I'm not sure it'll remain under the radar for long. What Facebook is doing -- rolling out a cloud streaming service for games on its Facebook Gaming portal on the web and mobile devices (though not iOS, for now at least) -- shouldn't be dismissed as just another tech giant hopping on the cloud streaming bandwagon. Yes, every Tom, Dick and Harry with a globe-spanning network of data centres and a few billion to burn seems to reckon they're going to be Netflix But For Games (and they're probably all completely wrong), but what makes Facebook's proposition interesting is that it isn't even remotely suggesting being Netflix But For Games.
What makes Facebook's proposition interesting is that it isn't even remotely suggesting being Netflix But For Games
Rather, it's targeting a completely different market segment -- one that seems certain to be much more receptive to cloud streaming games, not least because it's one that doesn't know or care what cloud streaming actually is.
Let me back up a second. Facebook Gaming is a thing a lot of people in the industry don't think about very much, and probably haven't thought about very much since the heyday of Farmville and Mafia Wars -- but it's still popular, just primarily with the kind of customers who don't generally venture beyond the solidly "casual" end of the market. That's "casual" in the weird sense of "casual" as a style of game, as distinct from "casual" in the sense of "not spending a ton of time or money." People do spend plenty of time and money in these games; it's just that being free-to-play games primarily aimed at non-core audiences makes them "casual" in a somewhat ill-defined and uncomfortably pejorative sort of way. Still, we don't have a better word for it, so "casual" it is.
For the past ten years, Facebook's gaming offerings have mostly been HTML5 games -- browser-based products not dissimilar to what you could achieve with the late, unlamented Adobe Flash plugin, making them very portable and available across almost any device you could imagine. HTML5 is capable of a surprising degree of complexity in terms of game development, but there are some pretty major limitations to what the technology can do nonetheless... which is where streaming comes in. Facebook's proposition is that, by setting up a cloud streaming platform, it can allow people to play significantly more complex, high-fidelity games in exactly the way they play Facebook games right now -- on their phones, on their janky old laptops, or whatever it may be.
This is a huge conceptual difference compared to something like Google's Stadia, or any of the other existing cloud streaming efforts -- and in the short- to medium-term I suspect that it's far more likely to succeed, finding an audience and generating actual revenues for itself. The crux of it is that Facebook is treating cloud gaming as a way to upgrade a currently low-fidelity experience -- its existing Facebook Gaming titles -- whereas Stadia and every other cloud service are essentially offering downgrades to an experience that's currently high-fidelity.
Moreover, Facebook is suggesting that it'll do this transparently, simply making cloud streaming one additional option for developers working on its platform. End users won't need any additional hardware or pay any additional fees, and will likely neither know nor particularly care that their game is being streamed from a data centre somewhere. One day they'll click on a game in Facebook's portal which will quietly start streaming in rather than rendering everything in their browser. In theory, the only thing they'll notice is that it looks better than other things they've been playing.
This is the first time a company in this space has proposed a use case for cloud gaming that's actually something consumers and developers want
That's a profoundly different offering than telling people who play games on PC or console that they can pay an additional fee to play the same games that are already available to them, but trading off a major drop in fidelity and reliability for the capacity to play in different places or on different devices. Actually, I'd argue that this is the first time that a company in this space has proposed a use case for cloud gaming that's actually something consumers and developers want -- better quality casual-style games in their browsers or on their phones -- as distinct from being a service whose existence was clearly reasoned backwards from a desire within the company itself -- namely getting people to pay money to do stuff with all these GPU compute units they've been shoving into cloud data centres at exorbitant cost.
The reason I'm so positive about Facebook's cloud gaming approach -- despite being a pretty consistent cloud streaming naysayer and no great fan of Facebook itself -- is partially because it shows rational thought about how to fulfill a consumer need, but also because it pretty much demands the creation of actually new, "cloud-first" games to take advantage of this format. The reason I've rarely been positive about cloud streaming isn't because the technology doesn't hold promise -- it absolutely does, though the infrastructure to realise some of that promise still isn't there -- but using that promise to run lower-quality versions of games you could be playing on your console, PC or even smartphone is simply squandering the potential of cloud streaming.
Facebook's innovative take on cloud gaming could be the most significant move it has made in gaming since the heyday of FarmVille and Mafia Wars
Personal computing power has never been cheaper. We all walk around with extraordinarily powerful CPU and GPU equipped devices in our pockets, let alone on our desks or under our TVs, so "hey, why don't you just use that as a dumb terminal for something running in a data centre" isn't a terribly meaningful proposition. "Hey, here's something genuinely new and different that's only possible because it's running on a centralised system and streaming to your device," though? Sign me up.
Like much of the free-to-play world, it'll likely be decried by a lot of the core audience
Existing PC and console games don't leverage cloud services' unique advantages and potential, and there's a huge chicken-and-egg problem here. The audience for cloud gaming is limited because it's all just existing titles playing in low quality, so there's little incentive for developers to explore the possibilities of cloud gaming because there's a limited audience... and so on. Unless a cloud company is willing to make an absolutely gigantic investment in getting game studios to develop cloud-exclusive titles which explore those possibilities, that's a hard loop to break out of.
What Facebook is proposing is quite outside that vicious circle; some developers may attempt to make existing console or PC type games run on the Facebook service, but the appeal will, I suspect, be very limited simply because it's the wrong context for that kind of title. Rather, developers are going to have to look at what actually works in the Facebook Gaming context -- a huge audience, but one that's quite distinct from the usual PC and console crowd -- and then think about how they can use the cloud gaming technology to build new types of game experience for those consumers.
Like much of the free-to-play world -- and Facebook is blunt about this being a free-to-play space -- it'll likely be decried and disliked by a lot of the core audience, but as a space for innovation it's a fascinating experiment in the making. The notion of paying $50 for an ephemeral right to stream a specific game from someone else's servers is a horrible Frankenstein's monster of a business model, to be honest; free-to-play, for all its well-explored problems, is a far more comfortable fit for what streaming actually is and does. Subscription tiers could potentially work too, but as a lot of media companies are discovering, trying to get consumers to pay a subscription for content is bloody hard if you're not Netflix or Disney, or their equivalent within a given medium. Facebook Gaming is certainly not that, and likely never will be.
I don't honestly know how much attention the broader industry will pay to what's happening here, given how many people will be turned off by the free-to-play nature of the whole thing -- but their lack of interest won't last long if this does turn out to be the one area where cloud streaming genuinely works and makes money in the coming years. Facebook's initiative sidesteps the biggest problem in the sector -- the fact that infrastructure isn't remotely ready for console-quality experiences streaming from the cloud, and that many of the biggest innovations speeding up other kinds of cloud services, like edge computing, aren't actually all that relevant to that kind of game -- and instead looks at the infrastructure and technology that actually exists today and figures out a way to apply it to improve an existing, popular platform.
In the process, it will push developers to think about the cloud not just as a "long tail" revenue option for games they'd really rather be selling for $60, but as a whole new platform whose advantages, disadvantages and unique possibilities demand to be explored. While we're all talking about the some-day, some-how potential of other cloud services, Facebook's cloud streaming games will likely be the most popular and profitable use of the cloud by the games industry for the foreseeable future.
Rob Fahey
Rob Fahey is a former editor of GamesIndustry.biz who spent several years living in Japan and probably still has a mint condition Dreamcast Samba de Amigo set. |
Leptoner er en type af fundamentale elementarpartikler inden for fysikken. Sammen med kvarkerne udgør de naturens grundlæggende byggesten ifølge standardmodellen.
Leptoner påvirkes ikke af den stærke vekselvirkning men altid af den svage og gravitation. De elektrisk ladede leptoner vekselvirker også med elektromagnetisme.
Der findes i alt seks forskellige leptoner fordelt på tre generationer (også kaldet familier). I hver generation er der én ladet lepton med ladningen -e hvor e er elementarladningen, samt én uladet lepton kaldet en neutrino.
Tabel over leptoner:
Hver lepton har en antipartikel. Af historiske grunde kaldes antielektronen ofte positronen.
Se også
elementarpartikel
subatomar partikel
Kilder
Elementarpartikler |
An Analogous Metaphor
Medium: Oil (Shiva Paintstiks), Paper
Style: Expressionism, Figurative, Street
Subject: People, Politics
An Analogous Metaphor quantity
https://kyogallery.com/wp-content/uploads/2022/10/An-Analogous-Metaphor-scaled.jpg
Oil, Paper, Framed
Resurgence, Original, Newest Arrivals
Expressionism, Figurative, Street
"Greig Leach's work has been widely collected through the United States, including the Virginia Museum of Fine Arts, Ethyl Corporation, Phillip Morris, Chubb Insurance and the Progressive Companies. He has been a Visiting Artist to the American Academy in Rome, Italy and an Artist-in-Residence to Columbus State University Corn Center for the Visual Arts. He has served as an Artist-in-Residence for the Virginia Museum of Fine Arts, the Virginia Commission for the Arts and the Webb School in Knoxville, TN and is a current artist on the Artist-in-Education roster for the Virginia Commission for the Arts. He is a past Fellow of the Virginia Museum of Fine Arts. His work graces many private homes, corporate offices and restaurants bringing joy, color and beauty to all who see his creations. His cycling art grows out of a passion for the sport that includes racing as an amateur and the on going joy of a long day out on the bike. You will find two different books offer here of his cycling art. Leach's art education has been continually developed in the studio with formal studies at the Corcoran Museum's School of Art in Washington, DC, Montgomery College in Rockville, MD and Virginia Commonwealth University in Richmond, VA.He and his wife, actor/writer Bridget Gethins share their turn of the century home in Richmond with two dogs and one deaf cat, all mutts and all rescued from the streets.. Their two sons, Austin and Kerrigan, have moved on, both having lived in New York City but now make their homes in Richmond, VA and Boulder, CO."
Tapestry of Life |
Gravity Falls: Legend Of The Gnome Gemulets Review
I bought my Nintendo 3DS two years ago, and my lazy self hasn't beaten a single game on the console (until yesterday!). What can I say? I'm not great at completing things AND Animal Crossing: New Leaf kept me obsessed FOR MONTHS.
But guess what? On December, 4, 2017, I finished my first 3DS game - Gravity Falls: Legend Of The Gnome Gemulets. When Gravity Falls was on the air, I was in love with it. I love a mystery show DONE WELL. I respect Alex Hirsch decision to only make 2 seasons of the show (we all know how good shows get ruined by extending the story). Gravity Falls will go down in history as one of the BEST shows of this decade.
So naturally, I had to play the video game. It was fun, the graphics were amazing. You really did feel like you were a part of Dipper and Mabel's world. You could explore the town, Mystery Shack, and the Town. You could also talk to some of our favorite characters like Wendy, Pacifica, Grenda, Candy, and Robbie. There was some witty lines from all the characters - especially Grunkle Stan. You learned more about about the Pines family - with Grunkle Stan even talking about Shermie (Dipper and Mabel's father) and how they were born. Mabel's the oldest! I loved that easter egg. Another interesting conversation was with Pacifica where they alluded to Dipper/Pacifica. I was like "ooooo" when that happened.
The game play was easy. This was good for me as my video game skills have deteriorated and this game gave me confidence to pursue other video games. Also, the story was VERY short. That's why I was so surprised when I got to the ending.
The after-game was to find all the lost items of our favorite characters. This took me some time, and I did have to look online to find some of the stuff. For anyone struggling, make sure when you start a level to go to the left and check if there are any items. In the beginning of the Lake level, you actually had to push a crate all the way to the left where there was a cliff to get the item. I also had trouble with the Deep Forest level (I found the missing item near the multiple bouncing mushrooms - it was to the left of the last bouncing mushroom). I don't remember which items I had the most trouble with but I think it was one of Wendy's cassettes, Grenda's dumbbells and Robbie's song lyrics. There is no reward for giving everyone their items but I wanted to truly beat the game and so I did.
Another weird thing that happened to me as I was playing is that in the final boss, I accidently lost all my health the EXACT moment I defeated the beast. This caused a weird thing where I saw the "success" dialogue and then got a message that I had lost. When I tried to "Restart Sequence," I just got a screen with Mabel and Dipper falling endlessly in the bottomless pit. I was so confused. I didn't want to start the level over. But alas, I had to (which made me fight Dark Jeff over again).
Anyway, I would rate this game 4/5. It is a must-have for any hard-core Gravity Falls fan. Maybe it was an easy game because it was a game for kids? IDK lol xD.
There should be a link to buy the video game from amazon below if you are interested.
Every Song Off Harry Styles, the album RANKED
Riverdale Review: Excellent but worried it will go the Pretty Little Liars route
By memyselfandthemoon at December 05, 2017
My kid loves to read Gravity Falls! He will be ecstatic to learn that there's Gravity Falls game.
The Number #1 Song of 2016
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From the Dining Table, a lyrical analysis from Har...
Woman, a lyrical analysis from Harry Styles the album
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Proclaiming Freedom in a Time of Fear
"The Church has left the building. If we have to go to the fields, we'll go to the fields." Continue Reading Proclaiming Freedom in a Time of Fear
Oct 30, 2020 | Events, Feature Story, General News
Written by: Kedrick Nettleton, Staff Writer
Imagine that you feel God speaking to you, calling you to something that you don't entirely understand. You've no idea how it's going to get done, or even why it's needed in the first place, but you obey anyway.
Donnie Bostwick, head coach of the OKWU men's basketball team, felt like this when he discerned a call from God to host a worship event to set people free from anxiety, depression, and fear. It was January, and he was taking part in a yearly fast with his basketball team, seeking the Lord's will for the new year. One night, as he was listening to sermons on his computer, Bostwick fell asleep. Autoplay kept the videos going, and he awoke in the early morning hours to a very specific message.
"I felt like, in my heart, that whatever was being said that time, I was woken up specifically to listen to it," he said.
The speaker on the computer predicted an "attack" on the country when people would fall prey to fear, anxiety, depression, and anger. At the time Bostwick heard this, in January, he didn't understand. Things at the time felt mostly positive.
"I'm thinking, 'What do you want me to do, God? Why are you telling me this?'" he said.
"I'll just say this: God was in it, at a level that I've only seen a couple of times in my life. I didn't do much aside from just watch Him do amazing things."
Pre-COVID, it was hard to imagine any sort of spiritual attack coming, but Bostwick began laying the foundation for obedience anyway. He immediately thought to host an event—a night of worship and testimony proclaiming the Lord's power—and started considering his options. Location was the first hurdle. After initially considering Pryor, Oklahoma, Bostwick found an opportunity in downtown Bartlesville. Then came the event itself—what artists could he find to play?
His most important concern was that the event be more than merely a Christian concert or music festival. It had to be a significant night of worship. "I don't just want a concert," he said. "I want an opportunity for people to be set free."
And in March, the event's need became apparent, with the COVID-19 pandemic and the shutdowns that accompanied it. People were fearful, they were anxious, and they were experiencing worry like never before. Bostwick saw this as an explicit confirmation of his calling. "God was saying: here's the field," he said.
When he wrote down his goals for the concert, Bostwick felt God calling him to put down the word messengers. At the time, he had no idea what it meant. "I didn't think anything of it."
It was only after he began asking around about what worship acts to get that he understood the significance of that word, because every person he talked to recommended the same group: We Are Messengers. At first, he shot it down for monetary reasons. But what could it hurt to ask?
"Financially, he's God," Bostwick said. "He doesn't have to worry about it."
After finally getting in touch with the band directly, they agreed to play the event. Bostwick rounded out the night's lineup with Leanna Crawford, Kailey Abel, and Bobby Wade—a rapper who has strong connections to the OKWU program and who has ministered at FCA before. Since the men's basketball mission trip had been canceled, Bostwick used this event—dubbed Freedom Fire 2020—as the team's ministry opportunity, allowing him to run it under the OKWU umbrella. "That really opened a neat door," he said.
In the days and weeks leading up to Freedom Fire, Donnie would often spend evenings downtown, praying circles around the area. Numerous things happened during these nights, some of them confirming and some unsettling, but the Lord was there in all of them. "God would show up down there in the coolest ways," he said
Twenty-five people came forward towards the end of the event to be baptized in a fountain near the stage, and many who attended have since proclaimed freedom from sin struggles or addictions that had plagued them for years.
Setting the Captives Free
When Freedom Fire 2020 was finally held on September 19, over 1,000 people attended, adhering to social distancing guidelines. Churches and ministries from all over the community came together to worship, pray, and proclaim freedom. It ended up being exactly what Bostwick had imagined: not just a music fest, but something much more significant. "The experience was not a concert," he said. "The experience was that we encountered God in a cool way in a time when most people across the world aren't getting to worship."
Bobby Wade ministered at the event on Sept. 19.
Twenty-five people came forward towards the end of the event to be baptized in a fountain near the stage, and many who attended have since proclaimed freedom from sin struggles or addictions that had plagued them for years. "I'm just up on stage watching everything I'd dreamed come true," Bostwick said.
Kaz Ammons, a player on the OKWU basketball team, echoes how powerful it was. "From the beginning of the dream to its completion, God moved," he said. "He used Freedom Fire to draw the OKWU basketball team and hundreds of others to himself. And the coolest part was seeing young and old alike getting baptized at the end, saying, 'Yes, I want to follow Jesus.'"
Bostwick is humble about the experience, giving all the credit to the Lord. "I'll just say this: God was in it, at a level that I've only seen a couple of times in my life. I didn't do much aside from just watch Him do amazing things," he said.
What happens next? While the timing of any future events is unclear, Bostwick knows that he wants to continue to be a part of the harvest that God is preparing. "Right now, I'm just open," he said. "If God is moving right now, I want to be a part of that… the church has left the building. If we have to go to the fields, we'll go to the fields."
A follow-up Freedom Fire concert and revival will be held Sunday, November 15 at 3 PM, at Unity Square in downtown Bartlesville. The event will feature two-time Dove Award winner Beckah Shae, along with up and coming artists Lily Piekos and Bobby Wade. All are encouraged to attend. |
This evocative Battle of Britain combat scene has been created by Czech aviation artist Vladimir Urbanek. Entitled "First and Fastest Victory", the painting captures a victory of Hawker Hurricane Mk.I belonging to No. 312 (Czech) Fighter Squadron, over a Junkers Ju 88 on 8 October 1940. This was the unit's first combat since its formation on 29 August 1940. The Ju 88 made a forced landing in a field on the opposite side of the Mersey, with both of its engines on fire. |
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Make your manual payment by the due date. |
On May 31, 2013, the Nebraska Defense Counsel Association (NDCA) will hold its annual meeting and seminar. Ten speakers will cover topics from legislative update to current developments in Nebraska case law.
Fraser Stryker attorney, Jordan Adam, will present on neurological examinations and evaluations and their impact upon the defense practice. Mr. Adam is a member of the NDCA Board of Directors. He practices Insurance Defense and Self-Insured Litigation, and Commercial Litigation, among other practice areas.
In addition, Tim Thalken, partner at Fraser Stryker, will speak about the taxable costs in Nebraska civil cases. Mr. Thalken's practice is focused on representing clients in all areas of litigation.
The Nebraska Defense Counsel Association consists of members of the Nebraska State Bar Association who devote a major portion of their professional time to the defense of civil claims and litigation. The Association is dedicated to the defense of civil actions and the promotion of fairness, professionalism, and integrity in the civil justice system. Fraser Stryker partner, Dave Mullin, is the current NDCA President. |
Volume 7, Issue 2, pp. 32 - 61, February 2020
Cover: Image extracted from "Pathogenic micro-organisms. A text-book of microbiology for physicians and students of medicine. (Based upon Williams' Bacteriology)" by Ward J. MacNeal and Herbert U. Williams (1920) illustrating "Trypanosoma rotatorium, the various forms which occur in artificial culture" (original publisher: Philadelphia, P. Blakiston's Son & Co.; contributing library: Cornell University Library; digitalizing sponsor: MSN; retrieved via Flickr); image modified by MIC. The cover is published under the Creative Commons Attribution (CC BY) license. Enlarge issue cover
News and Thoughts
Viral attenuation by Endonuclease G during yeast gametogenesis: insights into ancestral roles of programmed cell death?
Jie Gao, Sabrina Chau and Marc D. Meneghini
page 32-35 | 10.15698/mic2020.02.705 | Full text | PDF | Abstract
Viruses and other genetic parasites are present in virtually all forms of life. This chronic condition has led to diverse host cell adaptations such as CRISPR and RNAi, whose functions attenuate these parasites. It is hypothesized that programmed cell death (PCD) is an additional adaptation whose origins reside in viral defense. A core event of apoptotic PCD is the regulated release of mitochondrial inter-membrane space proteins into the cytosol, following which these apoptogenic proteins bring about the demise of the cell. The most well studied example of this is found in animals, where the release of mitochondrial cytochrome C nucleates the formation of the apoptosome, which then activates caspase mediated cell death. The release of mitochondrial proteins contributes to PCD in diverse organisms lacking the apoptosome, indicating that regulated mitochondrial release predates the evolution of canonical apoptosis. Using the budding yeast Saccharomyces cerevisiae, we recently confirmed an early study showing that Nuc1, a homolog of the mitochondrial apoptotic driver protein Endonuclease G, attenuates cytosolic double stranded RNA (dsRNA) viruses, which are endemic to yeast and many other organisms. Viral attenuation by Nuc1 occurs most prominently during meiosis and in association with its developmentally programmed relocation from the mitochondria to the cytosol. Intriguingly, meiotic viral attenuation by Nuc1 occurs within the context of meiotic PCD of the superfluous mother cell that we have also discovered. These findings are discussed here.
Influence of delivery and feeding mode in oral fungi colonization – a systematic review
Maria Joao Azevedo, Maria de Lurdes Pereira, Ricardo Araujo, Carla Ramalho, Egija Zaura and Benedita Sampaio-Maia
Postnatal acquisition of microorganisms from maternal and environmental sources contributes to the child microbiome development. Several studies showed that the mode of delivery and breastfeeding may have impact on the oral bacterial colonization, however, the influence on oral fungal colonization is still unknown. We performed a systematic literature review on mother to child oral fungi transmission, namely regarding the association between the mode of delivery and breastfeeding in oral yeast colonization. Our analysis revealed no significant differences between the oral mycobiome of breastfed and bottle-fed children. As for the delivery mode, the majority of studies found a relation between fungal colonization and vaginal delivery. Candida albicans was the most commonly isolated fungi species. Our analysis suggests that maternal breastfeeding does not seem to influence oral mycology, but vaginal delivery appears to promote oral yeast colonization in early life.
Depletion of SNAP-23 and Syntaxin 4 alters lipid droplet homeostasis during Chlamydia infection
Tiago Monteiro-Brás, Jordan Wesolowski and Fabienne Paumet
Chlamydia trachomatis is an obligate intracellular pathogen that replicates inside a parasitic vacuole called the inclusion. The nascent inclusion is derived from the host plasma membrane and serves as a platform from which Chlamydia controls interactions with the host microenvironment. To survive inside the host cell, Chlamydia scavenges for nutrients and lipids by recruiting and/or fusing with various cellular compartments. The mechanisms by which these events occur are poorly understood but require host proteins such as the SNARE proteins (SNAP (Soluble N-ethylmaleimide-sensitive factor attachment protein) Receptor). Here, we show that SNAP-23 and Syntaxin 4, two plasma membrane SNAREs, are recruited to the inclusion and play an important role in Chlamydia development. Knocking down SNAP-23 and Syntaxin 4 by CRISPR-Cas9 reduces the amount of infectious progeny. We then demonstrate that the loss of both of these SNARE proteins results in the dysregulation of Chlamydia-induced lipid droplets, indicating that both SNAP-23 and Syntaxin 4 play a critical role in lipid droplet homeostasis during Chlamydia infection. Ultimately, our data highlights the importance of lipid droplets and their regulation in Chlamydia development.
Microreviews
New insights in the mode of action of anti-leishmanial drugs by using chemical mutagenesis screens coupled to next-generation sequencing
Arijit Bhattacharya, Sophia Bigot, Prasad Kottayil Padmanabhan, Angana Mukherjee, Adriano Coelho, Philippe Leprohon, Barbara Papadopoulou and Marc Ouellette
Leishmania parasites are responsible for a range of clinical manifestations ranging from self-resolving cutaneous sores to life-threatening diseases. The management of leishmaniasis is complicated in part by the scarcity of treatment options but also by the emerging or established resistance to available drugs. A major driver of resistance in Leishmania is the amplification of resistance genes taking advantage of the highly repetitive genomic landscape of the parasite. The recent advent of whole genome gain of function screens gave new momentum to the study of such resistance mechanisms, leading to the identification of novel resistance factors and drug targets against approved drugs, which include antimony (SbIII), miltefosine (MIL), paromomycin (PMM), and amphotericin B. However, these screens do not pinpoint single nucleotide variations (SNVs), an important contributor of drug resistance. To fill the gap, our recent study describes the optimization of chemical mutagenesis coupled to next generation sequencing, an approach called Mut-seq, as a way to explore networks of drug resistance genes in organisms with a diploid to mosaic aneuploid genome like Leishmania. Our Mut-seq screen revealed associations between genes linked with lipid metabolism and resistance to MIL, and highlighted the role of a protein kinase in translation leading to resistance to PMM. |
Swiss miss —
Apple Watch sales in Switzerland to be delayed over 30-year-old trademark
A Swiss watchmaker registered a trademark for a drawing of an apple 30 years ago.
Cyrus Farivar - Apr 5, 2015 7:00 pm UTC
This is the watch-related trademark filed by Leonard Timepieces in 1985.
Apple Watch starts at $349, launching April 24
A Swiss trade journal (Google Translate) covering the watch industry reports that Apple can't immediately sell its upcoming Apple Watch in the alpine nation due to an existing trademark.
The public broadcaster RTS published the 1985 French-language filing on Thursday, clearly showing that a company called Leonard Timepieces has the trademark for an image of an apple with the English word "APPLE." That trademark, which only applies to watches and watch parts, lasts for only 30 years. It's set to expire on December 5, 2015.
The Apple Watch is set to go on sale in nine countries worldwide on April 24. This developing situation could mean that Swiss customers will have to wait several more months to buy it, or interested buyers must simply pop over the border to France or Germany to get one.
As Ars previously reported, the least expensive Apple Watch—the Apple Watch Sport—starts at $349 for the 38 mm model. The extreme luxury $10,000 model with solid-gold cases and custom-designed bands will also be made available in some stores. |
My daughter had a doctor's appointment today, so we headed out of town to Broken Bow. The temperature at that time of the morning was negative three. (We were hit by a heat wave on the way home when the temperature rose to a balmy 15.) We had a rocky start even though we had time to hit our local coffee shop for a caffeine fix. Bela's cup had a leak, so we had to rush home for a replacement before topping off the gas tank. I'll admit I was a little annoyed, but I got over it.
We made it to the office only two minutes late. Dr. Pruden checked Ysabela over and decided that her complaints were easy to remedy. 🙂 The exam rooms are nicely decorated and feel almost cozy. Each room has a saying on the door. I liked that Bela was in the "count your blessings" room. It reminded me that life (and our health) could be so much worse! When we focus on the little daily annoyances, it's easy to miss the big picture.
We all need a reminder sometimes. |
Developing a spigot plugin is easy, if you have used the Java programming language before. So, do you love playing Minecraft as I do? Are you a developer? There is a good chance that you are already running spigot as your server, which supports plugins using their own API. If you would like to develop your own plugin, you might get lost — there is not much in the way of good tutorials. In this article, I will try to explain the basic components of spigot, how to set up your development environment and how to get started.
5.5 Handle the config to all your methods, listeners etc.
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Before we get started, we need to clarify what we are dealing with. There are some terms you will need to know. This is due to the fact that Spigot actually consists of multiple modules and patch sets, which are combined to create the spigot.jar you are running your server with.
This is the main server component. It consists of a set of minecraft patches, the Bukkit API we are developing against and a Bukkit API implementation. You can get the Spigot server by downloading and running the build tools. The result will be a spigot.jar file, which can be executed instead of the standard server.jar.
For best performance, you might want to run the latest spigot with the latest Oracle Java on Linux with at least 4 GiB of RAM. I have seen people using other JVMs (like IBM J9), but this is completely optional. If you never used another vendor's JVM, just don't bother.
There is also a Spigot API. As it is nearly the same as the Bukkit API with just a few extras, I'm not going to cover this API in the tutorial. If you need special methods like modifying arrows, check out the spigot API. Otherwise, go for Bukkit, as this will also run on other servers. When I refer to Spigot plugin in this article, I usually mean Bukkit plugin instead, because I use the Bukkit API.
This is the actual API we need. Now is a good time to open and bookmark the API javadocs. You might also want to configure your IDE to download these javadocs, as you are going to implement against this API.
Maven-Eclipse-Plugin (m2e): Setting to download sources and javadoc along with the actual jar file.
As you can see in the screenshot above, those two checkboxes are checked in my settings. It really helps a lot, because on hovering over a method or a class you get some very useful advice via javadoc popup.
This is the actual implementation Spigot uses for the Bukkit API. We don't need to care much about this jar file, which is also being created by the spigot build tools. It is included in the spigot.jar (a so called »fat jar«).
It will not take long, until you will see some shortcomings with the Bukkit API. For example, while you can easily change the contents of a sign on certain events, you cannot easily make the sign show specific contents to specific users at the same time. This is where ProtocolLib comes in. It provides multiple Bukkit-Events which are dealing with packages sent over the network. If you manipulate these packets, you can modify data for a specific player.
The Nexus is a product by Sonatype. It is the most used maven artifact repository for self-hosting. With this software, you can host your own maven artifacts so you can add them in projects as a dependency. Spigot has it's own nexus, so you don't need a repository yourself. The current spigot artifacts are uploaded to the nexus, so you can use them easily in your projects.
Both Spigot and Bukkit are created using maven. So maven is a good choice to start your project with. If you don't know maven, you should read some tutorials right now, because the following sections will require basic knowledge of maven. I skip the process of setting the source and target JRE version, as well as source file encoding — see this commit on how to set those properties up correctly.
Now, of course you will need all the other standard tags as well, like artifactId , groupId and <version> . But I will leave this to you, as you should have some basic knowledge anyway. If you came here to convert your existing project to maven, this should suffice.
As you can see, we pulled a snapshot jar. This is because at the time of writing these lines, there was no final 1.9 Bukkit API available. If you need to update the spigot API, be sure to check out the latest on spigots nexus as seen in the screenshot.
Now, if you run mvn clean test , you should see maven collecting the mentioned dependency. Now we are ready to go for development!
As we know from maven, resources will go into the folder <projectroot>/src/main/resources . You need to create a file named plugin.yml which will contain the information spigot will parse to be actually able to load your plugin.
# If you would like to change the commands to something else, this can be done in the commands.yml file.
description: A description for your plugin will go here. No quotes needed.
In the above example file, which can be found on github, we specify some necessary and some optional (but highly recommended) variables.
name — the name of the plugin. This is also displayed in loggers. Also used for dependencies.
main — the package and class name of your main plugin java class.
version — the plugin version.
description — although stated as optional, highly recommended, as an absent key (not value) will cause a NullPointerException.
author — obiously, your (nick) name.
website — put in where we can find more information.
depend — this is a little bit special. If your plugin depends on others, this list makes sure your plugin is loaded AFTER the mentioned plugins — or not at all, if one is missing.
softdepend — not listed above, but you can also have soft dependencies and cut your features if a listed plugin is not available.
After we defined the name of our main class, we can start coding! For brevity, I will leave out any imports and package names where they are redundant or just not needed for clarity. Adjust for your own spigot plugin.
Now, when anything happens in minecraft, you will want to modify something with your spigot plugin. So, for example, if the player teleports, you might want to log or to undo his action. But when does a player actually teleport? Don't ask bukkit, it will tell your spigot plugin when something happend using events. The only thing you need to do in your spigot plugin is to create a listener. A Listener is the counterpart of an event: It gets called, as soon as something (the event) happens.
There are a few of events predefined in spigot/bukkit. Common events you might want to listen to are the BlockBreakEvent (a block is destroyed) or the EnchantItemEvent (an item is being enchanted). For more events, just check out the event packages (there are a few). But we are interested in the PlayerTeleportEvent. To implement a listener, we need to implement the Interface org.bukkit.event.Listener . Be sure to implement the correct interface, there are more then one Listener classes!
The listener class has no methods you must implement. Spigot works by using annotations (those @-prepended keywords). So, if we want to specify an event we are listening to, we need to create a public void method (usually called on plus the event name) annotated with @EventHandler .
* React on player teleport events.
This is a working example of a fully functional listener. It doesn't do anything, but we will discuss that later.
We created a listener. Now what? Spigot will not know about your listener yet. You need to explicitly tell spigot that you like to be informed about those events. This is usually done in the main spigot plugin class. If you have a lot of events, be sure to create a separate method, so your onEnable() method won't clutter!
// 1.) init your config.
As you can see, registering events (commit on GitHub) is straight-forward. The only downside is that spigot uses a static main class. I don't like this coding style, but since this is an API, we have no choice here.
Now we can fill our Listener with live!
Now it is time to implement the actual functionality. Let's go back to PlayerTeleportListener.java class file. For this to happen, we have two options: Cancel (i.e. stop) the PlayerTeleportEvent, or just teleport him back.
If a move or teleport event is cancelled, the player will be moved or teleported back to the Location as defined by getFrom(). This will not fire an event.
The player is teleported to the destination in the first place. You cannot prevent this.
The player is teleported back to the old location. You can get the Location object by calling event.getFrom() .
The back-teleport will not fire an additional event. The emphasis is very important here. Imaging the cancellation fired an additional event — you wouldn't know it is a back-teleport from a cancellation and thus teleport him back again. And again. And again. See?
This does not prevent you from fireing an additional, user-defined event (like TeleportCancelledEvent).
Sadly, we are done. Let's try that manually.
Now, as we know from above, there is a event.getFrom() event. This way we can figure out how to teleport the player back. The event has also a method which gets the Player for us. The player object, in return, has a teleport method. This is actually all we need.
// if this event was cancelled, why bother?
// Undo all teleports manually.
We also check if the event was cancelled. Otherwise the player might get teleported twice to the same location. It would probably not hurt (I didn't try it, I confess), but why bother? Also note that you can log the success or fire other events if the backteleport failed.
// If this is not an ender teleport, don't bother.
Also note, that we added a new TeleportCause (the teleport method is overloaded). Since the teleport method will fire a new teleport event, other plugins might want to cancel that teleport as well on certain conditions (e.g. if they have some special permissions).
Speaking of other plugins interacting with ours: You might want to notify them in a more proper way. So let's not fire a new PlayerTeleportEvent, but instead just cancel the event (which does not fire a new PlayerTeleportEvent by itself). But how will other plugins know that a teleport was cancelled? It might just want to listen to cancelled PlayerTeleportEvents, but there is more to it. Perhaps you will want to add more, or more specific causes. This is where custom (i.e. user defined) events come in handy.
* A Teleport Cancelled Event.
* Probably not actually useful, but works as an example.
Extending the existing PlayerTeleportEvent in our spigot plugin makes it easy to add just a single field. Also note that I used an optional to supply a reason. If no reason is given, we have null-safe operations. For this to work you need either Guava (which is a dependency of Spigot) or Java 8. I decided to use Guava's Optional, because this way the code will run on Java 1.6 and Java 1.7 servers, too.
Now, this event is never being called. So even if another spigot plugin was listening to it, there were no way the EventHandler would actually ever get called. So, let's just call the new event.
// Call the event cancelled event to notify others.
You might notice that we are just injecting one new field into the event, which is the reason field. Afterwards, we call the callEvent(event) method, which will notify all listeners registered to this event. If you want to see the modifications on github, click here.
No plugin is complete without at least a little bit of configuration. Whether this is a database configuration, language or just switching some functions on or off — if will be needed very soon. Luckily, spigot ships with the terrific snakeyaml library and some useful methods in the JavaPlugin class we already extended earlier.
Creating a default config.yml file is very easy. Just create it in your src/main/resources folder of your project. If you are not familiar with yaml (which I doubt if you read up to this section), I can recommend this reading.
Include the logger in your configuration.
Lets get started then. All we need to do is to create a method which will read the default config.yml and parse its values. Other than that, it's a simple POJO, github commit here.
# - ENDER_PEARL (throwing an ender pearl).
# - PLUGIN (caused by a plugin).
# - COMMAND (like /tp or others).
# - SPECTATE (disables spectator functionality).
# - UNKNOWN (disables teleports with unknown causes).
# Note: Any other value will disable the functionality.
Now, this config shouldn't be suprising in any way. We are defining a cancel object, which has an attribute cause. the attribute's value is one of the teleport causes we saw earlier in the TeleportCause() -enum.
* Creates a Plugin config for this plugin.
* enter <i>this</i> from your main class.
* Force reload the config.
Please note how we can reload the config at any time using the public reloadConfig() method. But more important, watch the getTeleportCauseToCancel() -method. It is returning an Optional , not a String. This way, we can intercept invalid settings! The Enums import is also very important, because it will create an optional just out of a string for us. So in any case, be sure to return the correct target type, not just a string you need to convert every time! I see this coding style often ( config.getString("cancel.cause")… in a listener), but this is plain ugly, repetitive, and harder to read and to understand. So, please, convert as early as possible into the target type object.
A few lines more have changed — but still, it is not a lot., see the whole commit.
Thats it for this tutorial. But wait! There is still one thing to learn — unit testing!
Now, does it work? Do you know? I do, because I wrote unit tests in the background and just didn't commit them yet. And there is a reason for this: Unit tests are complicated with Bukkit, because Bukkit uses a lot of final classes and static methods. That is just a pain in the neck. Especially if you want to see which lines you actually covered — EclEmma (for Eclipse users) and Sonar would fail finding these lines resulting in 0% coverage. But there is a way to fix this.
We need the junit4-rules so JUnit can tell the difference between a mocked (faked) object and the true object. If it couldn't, JUnit would not recognize the mock object as the same type as the original one. That is the reason why we had 0% coverage without these rules.
Please note that we can use a default logger or even log4j if you like. But as the plugin logs, staying with JUL is a sane choice. PowerMockito is not needed yet. If you like, take a look at the whole commit and try yourself.
We need our mocked ExamplePlugin to return something other than null if we call getConfig(). Besides, the configuration can only be instantiated if the plugin returns a valid config file. Thus, we use the class loader to access the config.yml, which is in the resource root path, build a configuration using snakeyml, and make it the return value on exPl.getConfig().
The actual test is just trying to read the config file, which actually tests our getTeleportCauseToCancel() method from the config. As said, the configuration should always return Objects, not Strings (i.e. not "ENDER_PEARL").
* Pluginmanager, which saves events to a map.
Can you imagine what happens, if you called a event now? Right, is is added to a list we can recieve using getEventsCalled() . The test now needs to be constructed and set up.
This done, let's test our listener.
I omited the other part for brevity. But what is going on here?
First of all, we need to see if we cought the correct implementation — this is optional. The pluginmanager's class is compared to our ListingPluginManager.class , which should be the same as it was mocked in the set up method. Afterwards, we can cast it safely.
The next comparison will check if there are currently no events in the List. There should not be any, as we didn't fire any events yet.
In the third paragraph, we are firing an event. As we don't access any of the player or location fields, we can safely use nulls here.
In the last paragraph, we are checking if there is an event now in the List, which should be. Then we get the event and check if it is a PlayerTeleportCancelledEvent — something, that only we could have created at this point.
Run this test, and we get no errors! We are done! I guess you can figure out how to test your Events yourself. Please be aware that such a list may now work in additional unit tests, as the static Bukkit class may overwrite other »instances«, unless you fork your tests in their own JVMs.
As we didn't cover everything in this tutorial, here are some general tips for your spigot plugins. Some of them apply only to spigot plugins, but others are general java tips which will help you in various ways.
The example spigot plugin has predefined packages for events and listeners. Also create one for threads and so on. It is a good habit to put the corresponding classes into these packages, as they will be easier to find. Just think of your plugin growing, and contributors cannot find the relevant part in your code.
It is very tempting to define a super event which can have various states and mean a lot. But instead of having a super event, create a few small events, if the differences can not be done with fields easily.
If you are creating listeners, be sure to only have one @EventHandler in your class, unless you have a very good reason to do otherwise! Sometimes you might even have to listeners for the same event twice or multiple times, because independent actions may need to be executed for the very same event. That is just fine. In my ExperienceBank3-Plugin, I got five Listeners on PlayerInteract — just to see which item was clicked in which manner.
If your config contains lists, numbers and enumerations, don't just return strings. When loading your config, be sure to create objects and cast the contents and return proper types. Thus, your getDatabasePort() method should return an int . Your DatabaseType configuration item might return an ENUM instance. And so on. Have one place where you do convert strings into objects: The config.
Handle the config to all your methods, listeners etc.
Your config should know the logger, the plugin etc. This said, your config can use the logger from your plugin class, if you use the plugin config as a parameter. If you need a logger in other classes, just pass your ExamplePluginConfig in the constructor and use its getLogger() method.
Probably you forgot to close a database session, there is a possible NullPointerException waiting, or you just didn't use some objects how they were designed to. Findbugs is a great eclipse and/or maven plugin, which will help you find a lot of those bugs, even before you submit your code to sonar.
After checking your code with findbugs, you might want to upload it to your private sonar instance. It will give you a very nice graphic of your code and what's wrong with it (or not). So if your wrote new code, it will tell how much of it is covered by unit tests. There are also checks for complexity and other things which are part of findbugs, but some of them are not (like coverage). To see your code evolve and even more tips, I'd definitely recommend to use sonar!
As you can see in the screenshots, my plugin is not perfect either at the time of writing. But I did fix every issue which is not related to unit testing, and there are some unit tests which cover the most important classes (calculating experience). I'd recommend to do the same in your project as well. After all, we all love those graphs, don't we?
When you can use a guide given by Google you just take it with both hands and say "thank you".
A consistent programming style does not only help you to understand your own code months or years later, it also encurages other developers to contribute to your spigot plugin. Of course, they should use the same style checks. For easiness, start with Google Checks, as they are the most modern checks delivered with checkstyle and thus are available everywhere.
Dependencies are hard to manage by oneself. Did you know you can use Google Guava for your spigot plugin? Maven will tell you so. You wouldn't know if you copied the .jar file to your lib folder yourself. Also, if the Bukkit devs decide to remove that dependency and you are not using maven, your spigot plugin will be broken without letting you know. If you use maven on the other hand, you will notice at compile time.
Your plugin has a getLogger() method. This means, you should use it. If you use Logger.getLogger() anywhere, you will not have that prefix, which might change in later spigot versions. It is easy to handle the logger to your config, so be sure to do so.
Don't just return string objects from your config.yml file. Instead, convert them into something useful or fail fast: If the databaseport is not a number, fail in the onEnable() method when your config is instantiated, Not any later!
[…] if you need more than 3 levels of indentation, you're screwed anyway, and should fix your program.
Instead of testing if a requirement is fulfilled, test if its not. If so, use continue or return to jump out.
Avoid else . Eithter use return/continue in your if, or extract the test to a method.
Avoid duplications. If you see yourself doing the same tests twice, refactor. Extract the test to its own method.
That said, you will be able to avoid a lot of indentation. This might actually lead to a lot of if-not-then-returns in the beginning of your methods, but that does not hurt. It is still easier to read! Also, Linus Torvalds said you can't code if you use more than three levels of indentation.
If you want to protect yourself from bad ratings and lots of bad comments, be sure that every single line of your most important classes were tested! You will still have bugs which you weren't able to test (some server specific side effects, unwanted behaviour, etc.), but you will also save yourself a lot of painful hours searching for bugs.
Did you like this article? Leave a comment!
Thanks for reading! I hope you enjoyed this article and might want to leave a comment! I'd be happy!
Ich versuche, Komponententests in mein Plugin zu schreiben. Ich wollte meine Plugin-Klasse verspotten, aber ich musste eine PluginDescriptionFile zurückgeben. Dies ist (aus irgendeinem Grund) eine letzte Klasse. Und so konnte Mockito es nicht verspotten. |
There are many fine hotels in the Fort Collins and Loveland areas. Check back soon for information on a host hotel, or check out the Visit Fort Collins and Visit Loveland websites.
Denver International Airport (DIA) is the closest major airport, 1 hour from downtown Fort Collins.
Green Ride offers frequent, affordable door-to-door airport shuttles.
Northern Colorado Regional Airport sits directly between Fort Collins and Loveland, and offers limited service to a select number of destinations, as well as facilities for private craft. |
What would you do if you saw smoke billowing out of a neighbor's window? Would you know what to do if you heard someone trying to get into your house in the middle of the night? Allow me to introduce myself. I am 911 and I have helped millions of people for over 20 years, in some places even longer. I want you to know that I am here to help you if you ever need to call on me, 24 hours a day, 7 days a week. Sounds like a work too much, I know, but I love my job! I will always be here for you. There are a few things that you should know that will help make my job easier if you ever need to call.
The first thing I always want to know when you call, is what emergency you are reporting. Is there a fire? Does someone need an ambulance? Maybe you are lost and need help finding home. I need to know the kind of emergency first, so I can start getting the right kind of help to you. You wouldn't want me to send you an ambulance if what you really needed was a fire truck. That wouldn't do at all. I will answer the phone by asking, "What is your emergency?" or "911, what are you reporting?"
The next thing of great importance to me is where the emergency is happening. When you call 911 I may know where you are by my computer screen, but I will always ask you to make sure the address is right. Sometimes you're not at the same place as the emergency that you're reporting. Maybe there is a car accident at the end of your street, or you see a neighbor fall off of a ladder. In those cases, you'll need to give me directions so I can send the help where it's needed. This speeds up the time for help to arrive, and in 911 emergencies, every second counts.
Some emergencies involve people, possibly a fight, or a suspicious person hanging around a school. If you call in something that has a person or a car involved, try and tell me as much as you can about what the person, or car, looks like. Maybe the person has a big beard, or is wearing glasses. Try and notice the color of the clothes, or if the person is wearing a hat or carrying a weapon. A weapon could be a stick. a gun, or almost anything. Please tell me what ever you see, so I can tell my officers and they can be prepared.
Here is something I want you to always remember. 911 is only for emergencies that are in progress, which means they are happening right now. If someone is stealing your bicycle right now, it is an emergency and please call me right away for help. if someone stole your bicycle yesterday, this is not a 911 emergency and you can report it to the police on a non emergency number. It is a good idea to have the non-emergency number for police, fire and ambulance in a handy place.
One more thing. If you ever dial 911 by accident, make sure you stay on the phone and tell me it was only an accident. I worry something is wrong when someone calls 911, and then hangs up. I will send a police officer out to check on you, unless I know it was a mistake. I want all of you to know that if you ever do have to call 911, you don't need to be afraid. I am very friendly, and always here to help you. I really hope you never need to call on me, but if you do, we will both be ready. |
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When I was approached to write a piece on open and distance learning education, I came up with this piece. After reading it through, I have come to the conclusion that my life has changed completel. . .
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Home » AIRLINE NEWS » Page 710
The chief executives of America's largest airlines warned of a "catastrophic disruption".
Sudden fall in pressure leads to emergency landing, 33 hospitalised
Published on : Tuesday, July 17, 2018
On July 13, a Ryanair flight en route to Croatia from Ireland had to make an emergency landing after losing pressure, plummeting 27,000 feet and causing some passengers to bleed from their ears, Irish state broadcaster reported. The flight, …
Ryanair Welcomes EU Approval Of Its Laudamotion Proposal
Ryanair today (12 July) welcomed the EU Commission's decision to approve Ryanair's proposed acquisition of a 75% interest in Austrian airline, Laudamotion (Ryanair currently owns 24.9%). Ryanair has entered into partnership with Niki Lauda to offer competition, lower fares, and more …
Cathay Pacific Group Releases Combined Traffic Figures For June 2018
Cathay Pacific Group today released combined Cathay Pacific and Cathay Dragon traffic figures for June 2018 that show an increase in both the number of passengers carried and cargo and mail uplifted compared to the same month in 2017. …
Boeing, Air Lease Corporation Announce Orders and Commitments for 78 Boeing Jets
Boeing and Air Lease Corporation today announced orders and commitments for up to 78 Boeing airplanes, including 75 737 MAX 8s and three 787-9 Dreamliners, at the 2018 Farnborough International Airshow. The order, valued at $9.6 billion at current list …
Employees Clinch European Championship for Austrian Airlines!
Once again Austrian Airlines achieved top rankings this year in the renowned SKYTRAX World Airline Awards 2018 which were presented in London on July 17, 2018. Austria's national carrier is the European champion for service for the fifth straight year. The …
Once again Austrian Airlines achieved top rankings this year in the renowned SKYTRAX World Airline Awards 2018 which were presented in London on July 17, 2018. Austria's national carrier is the European champion for service for the fifth straight year. …
Norwegian once again recognized as 'World's Best Low-Cost Long-Haul Airline'
Norwegian was today named 'World's Best Low-Cost Long-Haul Airline' for the fourth consecutive year and 'Best Low-Cost Airline in Europe' for the sixth year in a row at the prestigious Skytrax World Airline Awards held in London. The Skytrax …
Alaska Airlines introduces West-Coast inspired seasonal platter for main cabin
Today Alaska Airlines has announced the launch of a fresh seasonal platter as Main Cabin culinary delight and beverage menu, exclusively based on guest feedback. The tempting platter's menu includes ingredients blended holistically with West Coast staples like asparagus, …
airBaltic Exhibits A220-300 at 2018 Farnborough Airshow
Published on : Monday, July 16, 2018
The Latvian airline airBaltic from July 16 to July 17, 2018 participates in the 2018 Farnborough Airshow that is the second largest aerospace event in the world. During the Farnborough AirshowairBaltic together with the aircraft manufacturer Airbus presents the most advanced commercial jet aircraft Airbus A220-300. Martin Gauss, …
Kuwait's Wataniya Airways to add 25 A320neo aircraft
Golden Falcon Aviation, the exclusive aircraft provider of Wataniya Airways, has confirmed an order for 25 Airbus A320neo family aircraft. The order follows an earlier MoU announced at last year's Dubai Airshow. The firm order was signed during the Farnborough International …
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The recording is the multi-platinum singer's sixth solo collection, and her first of entirely original songs in 13 years.
Combining three decades of experience in song writing and album making, Merchant's production style is nuanced and pure. Her voice is framed by a balanced blend of electric and acoustic sound throughout with musicianship of exceptional quality. String, brass, and woodwind arrangements mingle with Hammond organ and electric guitar improvisations. Players include John Medeski, Shawn Pelton, Clark Gayton, Uri Sharlin, Jesse Murphy, Erik Della Penna, Gabriel Gordon, and guest vocalists Simi Stone, Elizabeth Mitchell, and gospel singer Corliss Stafford.
Merchant's career began when, as a college student, she joined the seminal alternative rock band 10,000 Maniacs. Serving as lead vocalist, lyricist, and sometime pianist, Merchant released five critically acclaimed studio albums with the band, including the platinum-selling In My Tribe (1987), Blind Man's Zoo (1989), Our Time in Eden (1992), and MTV Unplugged (1993). Merchant left the group in 1993, after 12 years, to record her first solo album. Tigerlily (1995) was certified five-times platinum, and was followed by the platinum Ophelia (1998), Natalie Merchant Live (1999), and Motherland (2001).
Born October 26, 1963, in Jamestown, NY, Merchant joined 10,000 Maniacs at the age of 17 and became the band's driving artistic force. After a pair of successful independent releases, they signed to Elektra in 1985 and briefly became one of the most popular acts in alternative rock, shooting into the Top 40 with 1987's In My Tribe and charting even higher with their follow-up effort, Blind Man's Zoo. Merchant's desire to launch a solo career increased alongside the band's growing reputation, however, and by the time the group sat down to record 1992's Our Time in Eden, she gave her bandmates two years' notice. Following the release of MTV Unplugged in 1994, she publicly announced she was leaving the group's ranks.
Merchant made her solo debut with 1995's Tigerlily, a self-produced album that debuted at number 13 and scored a Top Ten single with "Carnival." Two additional singles, "Wonder" and "Jealousy," also cracked the Top 40, prompting Tigerlily to sell over five million copies in the U.S. alone. It was followed in 1998 by Ophelia, another platinum-selling effort that was supported by Merchant's inclusion in the second Lilith Fair tour. Live in Concert, recorded at New York's Neil Simon Theatre, appeared a year later. A prominent social activist, Merchant also drew notice by campaigning in the name of such hot-button issues as animal rights, domestic violence, and homelessness. |
1* How severe is poverty in the United States today?
2* Are you currently living in poverty?
3* The U.S. government establishes an official poverty line. People who live below that level are considered to be in poverty. For a family of four, is the official poverty line today $9,000, $17,000, $23,000, $31,000 or $35,000?
4* Regardless of government policy, should the official poverty line be $9,000 or less, $17,000, $23,000, $31,000 or $35,000 or more?
5* If a family is adequately fed and is living in a house or apartment that is in good repair, is that family living in poverty?
6* How effective are government programs designed to help people get out of poverty?
7* Are there too many Americans dependent on the government for financial aid or not enough? Or is the level of dependency about right?
8* Think for a moment about immigrants who follow the law and enter the United States legally. How long should legal immigrants have to wait before collecting welfare benefits in the United States?
9* If immigration laws were enforced, would there be less poverty in America? |
I sometimes struggle with what to have for breakfasts every morning as I like to have something quite filling and usually fairly sweet too. This fruity breakfast 'stew' is so yummy and takes minutes to make and could even be made in advance and heated up again or eaten cold.
Chop the apple up into small chunks, removing the core and remove the skin if you prefer but I kept it on for extra texture. Place in a non-stick saucepan along with the blueberries, agave nectar/syrup and water. Allow to simmer for about 6 minutes or until the fruit has softened. Whilst the fruit simmers, place a small baking tray of oats mixed with a little honey into the oven for a couple of minutes.
Once everything has cooked and is ready, place the fruit into a bowl, topped with some raspberries and the cooked oats. Optional - add a dollop of soya yoghurt or coconut yoghurt.
I used to absolutely LOVE cous cous and when I found out I couldn't have it anymore I was slightly gutted. But, then I found maize cous cous which tastes virtually the same and has the same texture as normal cous cous but of course contains no gluten.
The combination of all the different textures and flavours in this dish is just right.
Pre-heat your oven to 190 fan.
For the butternut squash (I roasted it but steaming it is just as good) - cut up the butternut squash into cubes (not too thick otherwise they will take even longer to cook) place onto a baking tray with a drizzle of olive oil. It takes around 45-1hour for the squash to soften completely - cook for longer if required until softened.
For the maize cous cous - place about 75ml of water into a saucepan and boil, once the water has come to the boil, add in the cous cous and stir. Allow the cous cous to soak up all the water for about 5-6mins; it will turn fluffy and soft when it is ready. Take it off the heat and allow to cool a little before adding some olive oil and salt and pepper for seasoning. Then quite simply chop up your avocado and tomatoes, grab a handful of rocket and add the squash all to the cous cous.
Lovely dish for summer - can be served either hot or cold and would also be great with a hint of spice if you fancy it! |
Luxembourg remains a strong innovator
Luxembourg remains the 7th best-performing EU country in the 2022 edition of the European Innovation Scoreboard and continues to stand out for its highly attractive research system.
The Product Circularity Data Sheet decoded – video launch with mandarin subtitle!
Driven by the Luxembourg Ministry of the Economy, the "Circularity Dataset Standardization Initiative" aims at establishing an official standard for communicating data on the circular economy properties of products, in consultation with other standards organizations.
Previsionz expands to Luxembourg
German-born Previsionz is one of the recent additions to Luxembourg's data ecosystem. Supported by Luxinnovation, the data analytics company has chosen Luxembourg as its springboard for international growth.
Luxembourg 13th most competitive country in the world
Luxembourg is ranked as the world's 13th most competitive country in the 2022 edition of the IMD World Competitiveness Ranking. The country ranks 1st in the world for its economic performance.
Luxembourg among top 10 countries for post-COVID FDI recovery
Foreign direct investment in Luxembourg increased by 85% during the first half of 2022, compared to the first 6 months of 2019.
Luxembourg economy 3rd most resilient in the world
Luxembourg remains the world's 3rd most resilient economy in the 2022 FM Global Resilience Index. The country even strengthens its global score compared to last year.
Channel G new Podcast release - Ep9《Why Luxembourg?》
Listen to the Ep9 of Channel G Podcast and learn why Luxembourg is an ideal starting point for Taiwanese companies looking to expand to the EU market.
Fit 4 Start: Keys to success for international applicants
The 13th call for applications for Fit 4 Start is open until 19 September 2022. We spoke to programme manager Sven Baltes at Luxinnovation about what the start-up accelerator can offer international start-ups and the keys to preparing successful applications and pitches.
Luxembourg among best cities to pursue a tech career
Luxembourg is the second most attractive city in the EU to pursue a tech career, according to a study by CodeClan.
CONTEC develops space business from Luxembourg
Korean space ground station specialist CONTEC benefits from its European HQ in Luxembourg to expand business and partnerships in the EU. Having secured a fundraising round of $50 million, the company recently contributed to the successful launch of South Korea's first home-grown space rocket.
Luxembourg has 2nd highest high-speed internet coverage in the EU
The EU is steadily progressing towards its ambition to achieve gigabit connectivity in all EU households and 5G coverage for all populated areas in 2030. Luxembourg currently has the second highest high-speed internet coverage among the EU member states.
Launch of the 13th edition of Fit 4 Start start-up acceleration programme to address innovative, tech- and data-driven ventures
The 13th edition of Fit 4 Start has officially been launched. The flagship start-up acceleration programme, initiated by the Ministry of the Economy and managed by Luxinnovation targets innovative, tech- and data-driven ventures. |
Air India move to shift office upsets travel agents
S. Ganesan
TIRUCHI:, December 09, 2014 09:31 IST
Air India's move to shift its Tiruchi city office to the airport has attractedcriticism with travel agents saying the clients will be put to hardship. Photo: B. Velankanni Raj
A move to shift the city office of Air India to the airport has raised the hackles of the travel trade here.
The city office of the Air India functioning from a rented building near Karumandapam on Dindigul Highway, less than 2 km away from the Central Bus Stand, will be shifted within a couple of months to the airport, according to airline sources. The office has been functioning for several years here now. The move is said to be part of the cost-cutting measures of the airline. The sources indicated that the airline was set to move to the airport where additional space had been sought for the office from the Airports Authority of India.
As Air India does not operate flights from here, the office primarily serves customers of the national carrier's low cost arm, Air India Express. Air India Express operates 21 flights a week from the city with daily flights to Singapore, Dubai, and Chennai. The flights are well patronised and are predominantly used by blue-collared migrant workers from the central and southern Tamil Nadu.
Taking strong exception to the move, G. Ravichandran, past president, Tiruchi Travel Federation, an umbrella organisation of travel, tourism and hospitality industries, said the move would affect regular customers of the airline and travel agents, who now have to travel up to the airport to avail services such as re-issue of tickets and change of travel dates.
"A majority of the customers of the Air India Express hail from the lower middle income group and they would be put to hardship due to the move. The airline's city office generates a business of over Rs. 20 lakh a month and there is no justification for closing down the office in a profitable station," Mr. Ravichandran said. Mr. Ravichandran alleged that the "ill advised" decision was taken during the previous Congress-led government at the Centre and the present government should review the same. Apart from having to travel a long distance to the airport, security regulations could pose a problem to the customers.
"Security is always tight at the airport and the move will only cause problems," he said. He claimed that the airline would only paying equally high, if not higher, rent at the airport.
Expressing regret over the move, M.S. Paramasivam, chairman, Travel Agents Association of India -South Tamil Nadu Chapter, said passengers would definitely be inconvenienced by the shifting of the office.
"They would have to stand in queues in the counters at the airport and cannot expect the same convenience as in the city office," he said.
Both Mr. Paramasivam and Mr. Ravichandran said they have planned to discuss the issue and take up the matter with the government. Mr. Ravichandran said a meeting of trade associations would be held soon to discuss the matter and decide the future course of action against the decision.
Printable version | Jan 20, 2020 8:24:32 AM | https://www.thehindu.com/news/cities/Tiruchirapalli/air-india-move-to-shift-office-upsets-travel-agents/article6675218.ece |
AGRow House
AgRow House is a vertical community with spaces to grow, eat, and sell crops; to raise livestock; and, to live sustainably. The design stems from a commitment to creating a culturally relevant building by identifying the traditional New York Row House as a typological reference. By hybridizing the Row House with a vertical farm program, AgRow House can become a prototype – not only for the given site, but also as a prototype for modifications to existing vernacular structures. Vertical farming is envisioned to become an integral part of the urban living experience. Each "unit" within the vertical community combines a customizable vertical farming system with an efficient apartment layout.
LocationChelsea, Manhattan, New YorkProgramHousing, Agriculture, CommercialClientCompetition |
Our counselors draw upon their professional training, formal education and experiences to address the unique mental, emotional, spiritual and relational needs of each person. In addition to the specialties highlighted in their profiles, our counselors are well-equipped to serve people with an array of presenting issues. While we are committed to a Christian perspective in approaching mental health issues, we are also sensitive to perspectives of other belief systems, regularly counseling people of other faiths and those who do not identify with a faith tradition. |
Util which can be used to evaluate labeled pair ratios on MRM features.
Precursor mass tolerance which is used for the pair finding and the matching of the given pair m/z values to the features.
Maximal deviation in RT dimension in seconds a feature can have when comparing to the RT values given in the pair file.
Maximal deviation in RT dimension in seconds the two partners of a pair is allowed to have.
The text sent to standard out during the execution of MRMPairFinder. |
Vision and Imaging Sensors / Detectors
Sensors measure visibility and environmental data.
Lufft USA, Inc. Apr 26, 2016
Supplied in alloy housing that is resistant to seawater, VS2k-UMB Visibility Sensor accurately measures visibility values up to 2,000 m. Motor vibrates within housing at irregular intervals, preventing arachnids from nesting, which could cause interference. Directly attached to vehicle, MARWIS 2.0 Mobile Road Sensor measures road surface temperature, water film thickness, dew point, air temperature, and RH. Unit transmits data 100 times/sec via Bluetooth in real-time to mobile device in cab.
Lufft Introduces New Visibility Sensor VS2k and Launches MARWIS 2.0
Two innovations are to supplement the product portfolio of G. Lufft, the sensor manufacturer based at Fellbach. The new VS2k-UMB visibility sensor will replace the VS20-UMB optical sensor from the middle of May. The Lufft-UMB VS2k is the first product of an entire series in this segment. The award-winning technology among the Lufft sensors, the MARWIS mobile road sensor, is getting a useful update. The second generation of the sensor replaces its predecessor from now on.
Best tuned to its environment: the new VS2k-UMB visibility sensor
Lufft's visibility sensor VS2k-UMB is another optical sensor now marketed. In the traffic sector, it serves as equipment for road weather stations and traffic control systems. The sensor measures accurate visibility values in a range of up to 2,000 meters. The VS2k-UMB model replaces the VS20-UMB, which has been used around the world for 10 years. Thanks to intensive development work, the VS2k-UMB visibility sensor features enhanced product characteristics such as a highly optimized housing alloy that is seawater resistant and therefore suitable for offshore use. During numerous saltwater tests, the sensor showed stable longevity even under the most extreme conditions.
The new housing design reduces maintenance frequency significantly, not least by active spider defense. A motor that vibrates within the housing at irregular intervals prevents the arachnids from nestling, which would be a source of interference. In addition, the VS2k visibility sensor has been equipped with further sensors that detect contamination on the optics. Also, the calibration concept has been largely improved. An optionally available calibration disk can be easily attached with magnets and an anchoring to the sensor with little effort.
The new VS2k-UMB visibility sensor is the first product of an entire series that is currently being launched by the sensor company. Another device version with a maximum range of 25 kilometers will be available by mid-year.
MARWIS 2.0 measures air temperature and relative humidity
The mobile road sensor MARWIS, which was among those that were awarded the Industry Prize 2015, measures additional environmental data. The new MARWIS 2.0 version has been equipped with an external temperature sensor which detects the air temperature. With the aid of the other measured variables, this allows the relative humidity to be determined. Until now, the road sensor could measure variables such as the road surface temperature, water film thickness, dew point or road conditions.
Directly attached to the vehicle, the smart sensor transmits the data 100 times per second via Bluetooth in real time to a tablet, smart phone, or an alternative output device in the cab. By using a data cloud, MARWIS can forward the app measurements to the control center, where operations managers can track the test runs using the View Mondo management software.
This version update was launched after requests by many customers. In addition to the road conditions, weather-related data such as the temperature and relative humidity also play a role in evaluating critical conditions such as ice, snow, and hydroplaning. The addition of these two fair values to the road sensor was thus a logical and above all, a practically oriented extension. MARWIS 2.0 will now replace the current model.
About G. Lufft Mess - und Regeltechnik GmbH:
Since its founding by Gotthilf Lufft in 1881, G. Lufft GmbH has been the leader in the production of climatological measuring equipment – always with the motto "tradition meets innovation." Lufft's capacity for innovation and precision has helped its products establish the solid reputation they enjoy around the world. The company's products can be found in use wherever variables such as air pressure, temperature, relative humidity and other environmental factors need to be measured. Together with its subsidiaries in the U.S. and in China, the company has 100 employees. In November 2012, G. Lufft GmbH was awarded the German Standards Brand Prize and was named a "Brand of the Century." More information at: www.lufft.com.
G. Lufft Mess- und Regeltechnik GmbH
70736 Fellbach, Germany
Contact person: Tobias Weil
E-Mail: [email protected]
Tel: 0049 711 51822 0
Fax: 0049 711 51822 41
OmniVision's OS05A20 Image Sensor features 2x2-micron pixel format.
New RGB-IR Solution for Capturing and Processing Images, Day and Night with a Single Camera
SMD 940 nm Reflective Optical Sensor has 0.2-5 mm range.
Si-Ware Systems Launches NeoSpectra-Micro Sensor with 1,100 and 2,500 nm Operating Range
Optical Sensor/Solenoid Valve aids in conveyor automation. |
Pearl Izumi Race MTB mountain bike shoes review
Cross-country race/trail riding footwear
GBP £109.99 RRP | USD $140.00 Skip to view deals
By Robin Weaver
All the staple features you'd expect from a cross-country race/trail riding shoe, bundled together in a reasonably priced package
Cleat placement was easy to get right on Pearl Izumi's Race MTB shoes, thanks to the lengthy slots and clearance around the treads, which in turn then helped shed mud quickly when we were out on the trails.
The wide cut will suit anyone with feet of larger proportions and there are no awkward tight spots that would make them feel uncomfortable. The sole is stiff enough when you're looking to put the power down but still offers a bit of give off the bike when walking. Tread carefully over rocks and roots though, because grip isn't great.
The heel cup offers a fairly decent clasp and helps avoid any unnecessary movement on and off the bike. The meshed front panels over the toes help to keep the temperature down but aren't ideal for winter wetness – they tend to let moisture in.
This article was originally published in Mountain Biking UK magazine.
Name Race Shoes (12)
Brand Pearl Izumi
Shoe Sizes Available 37 38 39 40 41 42 43 44 45
Robin Weaver
Technical editor-in-chief
Technical editor-in-chief, Rob Weaver, manages all of the testing here at BikeRadar and across our magazines, Mountain Biking UK and Cycling Plus. Rob first graced the pages of MBUK back in 2001 when working as a freelancer and went on to start testing bikes for the title in 2007. In 2010 he joined the team full-time and has been keeping a close eye on all things test-related ever since. Rob's expansive knowledge of bikes comes courtesy of his passion for racing. He cut his teeth racing cross-country mountain bikes in the early 90s before finding his feet in the discipline of downhill. After many years competing on the UK national circuit (including a year attempting to race UCI DH World Cups), Rob realised his know-how and passion for bike setup, tech and writing clearly outweighed his racing ability. A degree in Sports Technology and decades of riding experience all help to give Rob a thorough understanding of what's needed to create a great bike or product. It helps that he's more passionate about riding than ever and will spend much of his free time consuming just about every bike-related publication he can get his hands on. While Rob's a mountain biker at heart and never happier than when he's sliding down a Welsh hillside, he's more than happy to put the miles in on the road or gravel bike, too. |
Taylor Swift Reveals Star-Studded Cameos in Her Easter Egg-Filled 'Bejeweled' Music Video
Taylor Swift talks about casting Mike Birbiglia for her Anti-Hero video, how she came up with a Cinderella twist for her Bejeweled video and reveals special cameos from the HAIM sisters, Laura Dern, Dita Von Teese and more.
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Near Haploid Acute Lymphoblastic Leukaemia affects just 0.5% of children in the world, and young Zachariah Oliver is the only child who has it in the UK.
Diagnosed in May 2018, Zac underwent four months of treatment, but with little success. The chemotherapy hasn't worked as hoped, and the alternative treatments available in the UK have a very limited chance of success.
In the US, however, there is the opportunity for potentially life-saving treatment. But it comes with a cost, $625,000 (£500,000) to be exact.
Pulling together to give little Zac a chance at life, his local community has managed to raise an incredible £300,000 in just eight weeks. This is a remarkable feat for the small community, but time is running out. With only weeks left to raise the remaining £200,000, his family are reaching out to the rest of the world.
"Some clinical trials have come to fruition in America, (CAR-T) although it is still classed as experimental it has been used for five years now and have saved many lives. The same treatment has been licensed in the UK but is not yet available.
So far, hundreds of fundraising events have taken place, including barge pulls, sponsored walks and runs, cake sales, auctions, world-record breaking attempts, and a ball. A festival has also been organised in his name, which takes place this weekend.
This took much longer than I thought it would, and I'm so sorry if I missed anyone, there were A LOT of photos (which is amazing of course!). Music was chosen by Reuben, who reliably informed me that they've been singing it at school all week which means it 'must be Zac's song' 😊❤️ Absolutely amazing effort by everyone today, more than I can put into words, it's been incredible. And it's just the beginning... ❤️ #WearRedForZac #WeGotThisZac #TogetherWeCanDoThis Www.justgiving.com/crowdfunding/zac-oliver Text ZACH75 £1 (or £2/£5/£10) to 70070 to donate.
More than 90 schools and 160 businesses joined a 'Wear Red for Zac' day last week, which received backing from footballer Jermain Defoe, Rachel Riley and Premier League club Wolverhampton Wanderers, to name a few.
If you would like to support the campaign and donate, visit Zac's JustGiving page.
You can also keep up to date with the latest events and fundraising opportunities on Zac's Facebook page, Zachariah's fight against Acute Lymphoblastic Leukaemia.
You can also donate by mobile, by texting ZACH75 £1 to 70070.
For mental health support and information, visit Counselling Directory. |
Team Performance in Addressing the Expansion Challenges
Expansion of a business to a new market entails making an evaluation of the social and economic environment in the market and developing appropriate entry strategies. In this regard, Condoliza Cosmetics Company needed to expand into the UK market. Preliminary assessment revealed significant factors that posed a challenge to the expansion. The specific areas of concern in developing the expansion strategies were the basic, social, and economic environments. However, the team was able to address these issues and develop an entry strategy. The leadership of a team is important in enabling it succeed in its activities, especially due to its ability to mobilize all members to focus their energies in the overall success of the set goals and objectives. This report evaluates the strategies made by the team and identifies specific achievements and drawbacks of each of them. Although major challenges involve the investments needed to repatriate employees and establish a market, innovativeness, taking advantage of the political and economic advantages, and developing liaises with local industry players will ensure success in the expansion.
Addressing the Basic Environment Issues
Significant factors that were related to the basic environment arose in the evaluations. Specifically, three were identified namely: development, the spread of knowledge and innovation, and seeking and cultivating talents. It was necessary to obtain the right skills for the company and considering the intercultural differences, major challenges emerged in relation to adapting to the host country's cultural values, practices, and obligations. Primarily, it was necessary to establish how the company's workers will be hired. The major challenges were to find ways of evaluating workers in the host country of which the intercultural, arranging on translocation some of the local workforce to the new market, and identifying the specific positions that could be relinquished to the new workforce.
The Implications of the Expansion
The team had to evaluate the benefits of repatriating the local employees with their families to the foreign land determine if it is worth it. It was important to evaluate the skills of those who would go into the new market, and determine their value in the new market. Additionally, the remuneration that the group would require in the new market were evaluated. Specifically, the economic conditions of the new market were a determining factor and the cost of living in the UK was compared with the local to determine the differential factors that need to be factored in the costing. The cost of repatriating employees to new markets exceeds their original salary by more than three times. Also, the changes in costs that may arise from taxation, currency exchange, and cash transfer systems were evaluated to help in developing the most appropriate strategies for transfer. Other costs that may be incurred are those associated with assisting the workers to move, obtaining and maintaining places of residence, healthcare, maintaining of cars, emergency supplies, counseling, language training, family transport, and cultural guidance. These factors are likely to be influenced by cultural issues, therefore, the specific culture and practices that relate to each issue were studied.
The Cultural Implications
Cultural factors such as societal values, practices, and traditions were significant issues of consideration. Usually, every society has particular values and unwritten societal laws that dictate how they conduct their business. Particular culture associated with the UK market include adherence to formality and bureaucracy. Therefore, the organization is expected to adhere to the high level of formality in the UK including ensuring that procedures are well adhered to and the correct protocol followed at all times to deal with issues. In addition, places of work are expected to observe the particular mode of operation, code of dressing, and employee behavior. Understanding the cultural values in the UK would be helpful in interacting with the local people, developing marketing and operational strategies, and developing appropriate products that would suit the local market.
Economic factors were also considered and they included identifying the economic system in the UK as well as economic factors that may impact the business. Primarily, the UK is a capitalist economy and wealth is vested in individuals. The economy encourages fair competition and the right to own wealth. Importantly, the economic system dictates how the business will be conducted, as well as how the human resource will be managed. In a capitalist economic system, policies tend to protect efficiency rather than job stability. Therefore, the performance of the worker is valued more than job stability.
Addressing the Economic Environment factors
The economic environment has a significant impact on international expansion. Precisely, income levels, ethical policy, the foreign market, the exchange rates and economic policy are all affected by it. Actually, the expansion program, in this case, involves entering the new market in the UK. A high demand in the market indicates that the market is willing to spend to acquire our products. Considering that the UK is a developed country, the demand for our products is expected to be high. However, the specific taste and preference of the UK market are the major matter of concern. What specific products does the UK market want? Are there specific modifications needed in the products to make them suitable for the UK market? The major questions will be addressed through a survey to reveal the specific preferences of the market.
The Competition Factor
Competitors are significant in any market and they could determine the success of a new business. Specifically, the UK market has established personal care companies. According to a 2014 report, the UK personal care revenue increased to 10.645 billion pounds; an improvement of 2.5 percent compared to 3.5 percentage in 2013, which represents a 1 percent link ratio reduction. Therefore, the present producers in the UK have a significant hold on the market. The United Kingdom has numerous cosmetics companies, but the most popular are Lush, The Body Shop, Procter and Gamble, and Gillette. Penetrating the market would involve developing products that are similar to those in the market and offering them at discounted prices. Notably, we offer products that are new to the market and that provide an additional choice to the consumers. Therefore, the market is likely to respond positively to our products and try them out.
Addressing the Social Environment Factors
Research reveals that the UK market is likely not to accept new products that have local competition. Fortunately, the UK social culture is not possessive, and they conduct business based on merit rather than on patriotism. Therefore, they are likely to respond to products that have to provide new levels of utility that is not available in the local market. As a new entrant in the market, we will introduce new products such as the foundation cosmetics for the Asian community, which is likely to found a local following. Precisely, the UK market has a high percentage of the Asian community that is not adequately supplied by the local businesses. This segment of the market presents a good opportunity for our company.
The use of science and technology is our main competitive strategy as we enter the UK market. Precisely, our products present a theme that is in tandem with the current trend. Today the world is concerned about the high rate of environmental degradation and products that are 'green' are likely to be consumed by the public. Fortunately, we have embraced the 'going green' theme and our products have been made from natural products that have a lesser effect on the environment.
Environmental conservation is a growing need all over the world. The most challenging matter to the developing nations is to control their carbon emissions. Therefore, our products that have a positive impact on the environment are likely to penetrate the UK market. Precisely, the use of our products will help the government to meet its greenhouse emissions target. In this regard, we are likely to gain support from the UK authorities in matters concerning expansion and establishment in the market. Because of the benefit that we are bringing to the UK market, we are in a position to negotiate for better business terms such as low taxes, and financial assistance to fund our expansion program.
Political/legal Factor
The conservative party rule that is presently in power provides a favorable political environment for the new business establishment. Actually, the political administration provides a free market and an opportunity for foreign investors in the country. The introduction of our innovative and environmentally friendly products would have a positive response from the political class. We plan to diversify and open a male cosmetics production, which is gaining popularity in the UK. Notably, the developed fashion industry in London would be a boost to our marketing efforts because we have an opportunity to liaise with fashion companies to create a brand and an impact in the local market (Wunker 7).
Conclusion and Evaluation of Strategy
Condoliza Company is an international cosmetic retailer and manufacturer. The company's strategy to enter the UK market is based on taking advantage of the free market in the UK and introducing products that are innovative and that add value to life. Specifically, the products are made from natural raw materials and are environmentally friendly. In addition, we plan to introduce a new line of production for men that includes male cosmetic products. Considering the advancement of the fashion industry in London, the company has an opportunity to liaise with the fashion industry players to create a brand and cause an impact in the London market. Importantly, the team has been able to evaluate the various factors that are significant in the expansion including the social, and economical environmental factors. Positively, the social and cultural factors in the UK market are supportive because the UK is a free market and its current political administration encourages foreign investors.
Expanding into the UK market has significant financial implications as a result of repatriating employees into the UK together with their families. While there are heavy financial expenses in the exercise, it still is the most appropriate to ensure that the company's values and standards are adhered to. Precisely the employees would occupy the key positions of the company that are necessary for continuity. Recruitment of the local UK employees would be conducted where cultural and ethical factors will be addressed to accommodate the differences in culture. Therefore, all the foreseeable problems in relation to the expansion are adequately addressed in the expansion plan. While success is expected, the company is prepared to identify and address new challenges that may arise in the process of expansion.
Wunker, Stephen. How to Capture a New Market. Change This, 2011. Web. 10 Mar. 2017. No. |
Co-author of 'Race Beat' to speak at Troy
Hank Klibanoff, who co-wrote a Pulitzer Prize-winning book on press coverage in the civil rights era, will speak at Troy
Co-author of 'Race Beat' to speak at Troy Hank Klibanoff, who co-wrote a Pulitzer Prize-winning book on press coverage in the civil rights era, will speak at Troy Check out this story on montgomeryadvertiser.com: http://on.mgmadv.com/1X0guEB
Special to the Advertiser Published 9:36 a.m. CT Feb. 2, 2016
Journalist Hank Klibanoff(Photo: Ann Borden/Contributed)
TROY – Journalist Hank Klibanoff, a Florence native who co-wrote a Pulitzer Prize-winning book about press coverage of the civil rights movement, will speak Thursday at Troy University during the annual M. Stanton Evans Symposium on Money, Politics and the Media.
Journalists and the public are invited to the event at 10 a.m. in the ballroom of the Trojan Center on the Troy Campus. Admission is free.
Klibanoff and Gene Roberts wrote "The Race Beat: The Press, the Civil Rights Struggle, and the Awakening of a Nation," which won the 2007 Pulitzer Prize in history.
Klibanoff's topic for the symposium will be "The Race Beat: Then and Now." He is a professor of journalism and director of the Georgia Civil Rights Cold Cases Project at Emory University, for which undergraduates are examining unsolved or unpunished racially motivated murders.
"The Race Beat," published in 2006 by Knopf, describes the roles of the black press, the Northern press, the Southern liberal and segregationist press, television and photojournalism in awakening the American conscience through coverage of the civil rights struggle in the South from the 1930s through the late 1960s.
"The book is rich with stories of reporters overcoming obstacles to obtain and report the news," said Steve Stewart, a Troy assistant professor of journalism. "It describes the influence of emerging technology, especially TV news. And it shows the cruelty that segregation imposed on black Southerners, as well as black reporters. It shows us how good journalists do their work and what a difference they can make."
For more information, email [email protected] or call 334-672-3192.
Read or Share this story: http://on.mgmadv.com/1X0guEB
When encouragement turns sour: Living through our kids
Art of drag: Empowering alternative entertainment growing again in Montgomery
Former MPS teacher celebrates 100th birthday
Make your garden a good host for pollinators
Ol' gramps: The little ones will pick up what you do
12 River Region artists in spotlight at Montgomery Art Guild Museum Exhibition |
Krivosheinsky (masculine), Krivosheinskaya (feminine), or Krivosheinskoye (neuter) may refer to:
Krivosheinsky District, a district of Tomsk Oblast, Russia
Krivosheinskaya, a rural locality (a village) in Vologda Oblast, Russia
See also
Krivosheino |
It's been a rough couple of days.
Monday I had to take Ava to the doctor. She has a double ear infection and conjunctivitis. Since Monday, she's been fussy and miserable. I stayed up with her til 2 in the morning. Poor baby couldn't breathe. Oh the joys of a child in daycare. I wish I could be a stay-at-home mommy and shield her from all the nasty germs.
And today has been a doozie. It really scared me. I was at work and my sister called me. She was hysterical on the phone and said an ambulance was taking mom to the hospital; that she had thrown up a lot of blood. I was instantly panicked and I rushed to the house to meet them.
It's such a strange feeling being worried about your parents. I guess I have taken for granted having them always worrying about us kids. I still depend on my parents emotionally and the dynamic is finally starting to change and it scares me to death. I guess I didn't have to think about things like these serious situations happening so soon.
I haven't even had the chance to see my mom yet. That is what I am waiting for now. |
Q: React Router v4 not loading component For some reason, my web app is not directing to the component whenever I go to the parameters. Specifically, it is not going to the Battle component.
Here is what the navigation looks:
import React from 'react';
import Header from './components/Header/Header';
import SelectPlayers from './pages/SelectPlayers/SelectPlayers';
import Popular from './pages/Popular/Popular'
import Battle from './pages/Battle/Battle'
import { BrowserRouter as Router, Route, Link, Switch } from "react-router-dom";
function App() {
return (
<Router>
<div className={'flex flex-column'}>
<Header />
<Switch>
<Route exact path={'/'} component={Popular}/>
<Route exact path={'/battle/select-player'} component={SelectPlayers} />
<Route exact path={'/results?playerOne=:playerOne&playerTwo=:playerTwo'} component={Battle} />
</Switch>
</div>
</Router>
);
}
export default App;
In the SelectPlayers component, whenever the user presses a button it runs:
import React, {useState} from 'react';
function SelectPlayers(props) {
const [playerOne, setPlayerOne] = useState('');
const [playerTwo, setPlayerTwo] = useState('');
function setPlayerName(event, player){
if (player === 1){
setPlayerOne(event.target.value)
} else if (player === 2) {
setPlayerTwo(event.target.value)
}
}
function goToBattle(event){
event.preventDefault();
props.history.push(`/results?playerOne=${playerOne}&playerTwo=${playerTwo}`)
}
return (
<div className={'pa3 mh7-l mh7-m'}>
<div className="flex flex-column">
<div className={'mb1'}>
<h1 className={'mb0'}>Player One</h1>
<input onChange={(e) => setPlayerName(e, 1)} type="text" placeholder={'github username'} className={'input-reset pa1 w-100 h2 ba b--black br2'}/>
</div>
<div className="tc dark-red">
<h1>Versus</h1>
</div>
<div className={'mb3'}>
<h1 className={'mb0 mt0 tr'}>Player Two</h1>
<input onChange={(e) => setPlayerName(e, 2)} type="text" placeholder={'github username'} className={'input-reset pa1 w-100 h2 ba b--black br2'}/>
</div>
<div>
<button onClick={(e) => goToBattle(e)} className={'input-reset pa1 h2 fw1 bg-black white ba w-100 b--black br2'}>Battle</button>
</div>
</div>
</div>
);
}
export default SelectPlayers;
On the Battle component, I write some console.log stuff just to check if the Component loaded. However, whenever I go to that parameter, none of the code in my componentDidMount is running. I don't see any of the console.logs I wrote in componentDidMount in my developer console. Here is the component:
import React, {Component} from 'react';
class Battle extends Component {
constructor(props){
super(props)
}
componentDidMount() {
console.log('runngins');
console.log(this.props);
}
render() {
return (
<div className={'pa3 mh7-l mh7-m'}>
<div className="flex flex-column">
</div>
</div>
);
}
}
export default Battle;
You can see the code at this repo: https://github.com/tarekgabarin/github_compete
It would be greatly appreciated if anyone helped me.
A: As per your new comment that code is working without queryset, looks like there is some problem with your queryset parameters.
As suggested in comment box, don't define Router with queryset.
<Switch>
<Route exact path={'/'} component={Popular}/>
<Route exact path={'/battle/select-player'} component={SelectPlayers} />
<Route exact path={'/results'} component={Battle} />
</Switch>
In your SelectPlayers component, navigate to next page with queryset.
props.history.push("/results?playerOne=" +playerOne+ "&playerTwo=" +playerTwo)
On Battle component, use (query-string) to read the parameter. For example:
const values = queryString.parse(this.props.location.search);
const player_one = values.playerOne
const player_two = values.playerTwo
Please note that my above code is not tested.
Thanks
|
Metro receives top honors at SCAG's Compass Blueprint Recognition Awards
by Anna Chen , May 6, 2013
Art Leahy (center), Metro CEO, receives the Public Sector Leader of the Year award from SCAG President Glen Becerra (left) and Executive Director Hasan Ikhrata (right).
Mayor of Santa Monica and Metro Board Member Pam O'Connor holds up the SCAG President's Award of Excellence.
Metro took home the top prize at Southern California Association of Governments' Seventh Annual Compass Blueprint Recognition Awards and received the President's Award of Excellence for its Countywide Sustainability Planning Policy, which promotes regional collaboration to increase mobility, foster walkable and livable communities, and minimize greenhouse gas emissions and environmental impact.
"It has been a pleasure to serve both Metro and SCAG boards in developing greener, sustainable and livable community policies that our 88 cities can consider implementing on a voluntary basis," said Pam O'Connor, Mayor of Santa Monica, Past President of SCAG and Metro Board Chair of the Sustainable Ad Hoc Committee. "I am proud of Metro's leadership that can be an example statewide and nationwide."
In addition, Metro CEO Art Leahy received the Public Sector Leader of the Year award for Metro's accomplishments during the past year with projects that will alleviate congestion and improve air quality.
Read the full press release from SCAG after the jump.
Four Southern California leaders were honored this week by the nation's largest metropolitan planning organization for their "material and significant impact" in addressing the major issues facing the region.
The Southern California Association of Governments presented the two men and two women with its President's Leadership Awards during its 2013 Regional Conference & General Assembly.
"Southern California is very fortunate to have the support, energy and enthusiasm of these four leaders who improve the lives of our 18 million residents," said Simi Valley City Council member and SCAG President Glen Becerra. "Their partnership with SCAG has been invaluable in finding solutions to improve our 191 cities' mobility, economic viability and livability."
Jesse Knight, chief executive officer of San Diego Gas & Electric and co-chair of the Southern California Leadership Council, was honored as Regional Partnership Leader of the Year. Under Knight's leadership, SCLC adopted a number of initiatives to support job recovery, modernization of the California Environmental Quality Act, international trade and minimizing the economic impact of sequestration on Southern California military bases. He also co-chaired SCAG's December Economic Summit focusing on job recovery and attracting more businesses to the region.
Art Leahy, chief executive officer of the Los Angeles County Metropolitan Transportation Authority, received the Public Sector Leader of the Year award. Metro's accomplishments during the past year include launching the largest public transit construction program in the nation, opening – on schedule – a $214 million high-occupancy toll program on the Harbor and I-10 freeways, and securing federal funding commitments to help clear the way for 10 additional transportation projects that will alleviate congestion and improve air quality.
Fran Inman, senior vice president of Industry-based Majestic Realty, was honored as Private Sector Leader of the Year. Inman represents several Southern California, including SCAG, on the California Transportation Commission and is a leading voice in Sacramento and Washington, D.C., on freight and transportation matters. She also is actively involved in business and economic issues through the Global Land Use and Economic (GLUE) Council.
Amanda Eaken, deputy director of sustainable communities for the Natural Resources Defense Council's Energy & Transportation Program, was honored as Southern California Sustainability Leader of the Year. Eaken worked with local and state leaders to spread the word about SCAG's 2012-2035 Regional Transportation Plan / Sustainable Communities Strategy, and has helped SCAG and local transportation agencies find additional funding tools to implement provisions of the RTP/SCS.
Categories: Best Practices
Tagged as: Metro Countywide Planning, SCAG, sustainable transportation
Transportation headlines, Monday, May 6
Mayors across the United States show their support for America Fast Forward bond program to accelerate transportation projects |
Banqueting rolls and paper table clothes are ideal for large events from weddings to children's parties. Our rolls come in one continuous length of 100 meters.
Can't find the banqueting roll your looking for? Please call us on 0191 461 1105 as not all our products are listed on our website. Did you know that we PriceMatch? Our sales team are happy to help you. |
The latest meeting of the Birmingham 2022 Commonwealth Games Organising Committee board took place earlier today (21 January 2019) and four new members were welcomed by Chair of the Board, John Crabtree.
Ellie, who is originally from Walsall in the West Midlands, is a five-time Paralympic and fourteen-time world champion, said: "It's a genuine privilege to have been asked to join the board for the 2022 Commonwealth Games in Birmingham. Having been fortunate enough to have taken part in three Paralympic Games to date, and numerous other multi and single sport events, I intend to utilise all the experience and knowledge I've picked up over the course of the last decade and hopefully contribute to making Birmingham the best Commonwealth Games to date.
Eleanor 'Ellie' Simmonds OBE is a five-time Paralympic Champion and she shot to fame in 2008 when she won her first Paralympic medal at the age of 13 at the Beijing Paralympic Games. Later that year she became the youngest winner of the BBC Young Sports Personality of the Year. She was awarded an MBE at the age of 14.
Ellie has continued to dominate her sport, winning 14 World titles, ten European titles and breaking numerous world records along the way.
Since leaving full-time education, Ellie has worked with charities such as the Dwarf Sports Association, WaterAid and I AM WATER.
Lyndsey Jackson is a senior arts administrator and live event producer, and the Deputy Chief Executive of the Edinburgh Festival Fringe Society.
programmes that support the place of the festival in its host city.
Lyndsey has a background in producing new writing and site-specific theatre and working with young people to develop their creative potential through drama and film.
Nick Timothy is a columnist for the Daily Telegraph and the Sun. He is a Visiting Fellow at Wadham College, Oxford, and a Fellow of the Royal Society of Arts in London. Previously he was Theresa May's joint chief of staff in Downing Street and her special adviser in the Home Office. He is also a former Director of the New Schools Network, a charity that helps people to set up free schools, and a former Deputy Director of the Conservative Research Department.
Derrick has more than twenty-five years' senior management experience in local government and more than thirty years' in the public sector.
He is currently a member of the University of Birmingham Council and holds non-executive directorships of UK Municipal Bond Agency Plc, Social Finance Ltd and Social Value Portal Ltd and is a trustee of the Wave Trust charity.
He was previously Chief Executive of City of Wolverhampton Council and Lambeth Council and was voted Public Leader of the Year in the Guardian Public Services Awards 2012. Derrick was awarded a CBE for services to local government in January 2003. |
Q: Creating a string from a map I'm currently working on a project where by using context free grammar rules, I will generate random sentences. Right now, I'm working on creating a function that will take in a hash, and traverse through it picking the correct productions to create a sentence and return it as a string.
For example, given a hash of the following format:
{
"<start>"=>[["The", "<object>", "<verb>", "tonight."]],
"<object>"=>[["waves"], ["big", "yellow", "flowers"], ["slugs"]],
"<verb>"=>[["sigh", "<adverb>"], ["portend", "like", "<object>"], ["die", "<adverb>"]],
"<adverb>"=>[["warily"], ["grumpily"]]
}
I should be able to generate a random sentence, such as: "The waves die grumpily tonight".
Here is the overall process to generate this sentence:
*
*It will always begin generating at the <start> tag and continue filling in the required productions.
*It goes through <start> and adds "The" then comes across "<object>" so it goes into the <object> key and grabs a random value from there, such as ["waves"].
*Then it goes back and continues traversing and comes across "<verb>" so it goes into the <verb> key and grabs a random value from there, such as ["die", "<adverb>"].
*Since it encountered "<adverb>" it has to go into the <adverb> key and pick a random value, such as ["grumpily"].
*Then it goes back to traversing, and comes across and adds "tonight". It has reached the end of <start> so it can output the sentence now.
How can I write a method to randomly generate the sentences?
A: Fun exercise!
After defining String#has_placeholder? to check for words between < and >
the algorithm picks a start sentence and iterates through it as long as there are placeholders. If a placeholder is found, it is replaced by a randomly picked subsentence.
Nothing is done to check for errors. Some placeholder could be undefined or there could be an infinite loop.
It returns a string, it could also return a tree with arrays of different depths.
class String
def has_placeholder?
self=~/<\w+>/
end
end
grammar = {
"<start>"=>[["The", "<object>", "<verb>", "tonight."]],
"<object>"=>[["waves"], ["big", "yellow", "flowers"], ["slugs"]],
"<verb>"=>[["sigh", "<adverb>"], ["portend", "like", "<object>"], ["die", "<adverb>"]],
"<adverb>"=>[["warily"], ["grumpily"]]
}
sentence = grammar["<start>"].sample.join(' ')
while sentence.has_placeholder? do
puts sentence
sentence.sub!(/(<\w+>)/){grammar[$1].sample.join(' ')}
end
puts sentence
It outputs :
The <object> <verb> tonight.
The slugs <verb> tonight.
The slugs portend like <object> tonight.
The slugs portend like slugs tonight.
or
The <object> <verb> tonight.
The big yellow flowers <verb> tonight.
The big yellow flowers portend like <object> tonight.
The big yellow flowers portend like slugs tonight.
EDIT:
The method you want could look like this :
def expand(grammar, nonterm = "<start>")
sentence = grammar[nonterm].sample.join(' ')
while sentence.has_placeholder? do
sentence.sub!(/(<\w+>)/){grammar[$1].sample.join(' ')}
end
sentence
end
A: This is a quick implementation where I use symbols instead of <> strings but you can change it to handle that if you want easily.
$grammar = {
:start => [["The", :object, :verb, "tonight."]],
:object => [["waves"], ["big", "yellow", "flowers"], ["slugs"]],
:verb => [["sigh", :adverb], ["portend", "like", :object],
["die", :adverb]],
:adverb => [["warily"], ["grumpily"]]
}
def generate_sentence key
return key if key.class == String
$grammar[key].sample.map {|word| generate_sentence word}.flatten
end
3.times do
puts generate_sentence(:start).join(" ")
end
It outputs:
The big yellow flowers sigh warily tonight.
The slugs die warily tonight.
The big yellow flowers portend like slugs tonight.
A: My understanding is that all hash values are arrays and an element of those arrays is chosen randomly. If the randomly-selected element is an array, all words contained in that array are used in the sentence and any hash keys in that array are replaced by a randomly-selected element of the value of that hash key, and so on.
Code
def random_words(h, key)
h[key].map { |obj| recurse(h,obj) }.join(' ')
end
def recurse(h, obj)
case obj
when Array
obj.map { |o| recurse(h, o) }
when /\<.+?\>/
recurse(h, h[obj].sample)
else
[obj]
end
end
Examples
Example 1
h = { "<start>" =>[["The", "<object>", "<verb>", "tonight."]],
"<object>"=>[["waves"], ["big", "yellow", "flowers"], ["slugs"]],
"<verb>" =>[["sigh", "<adverb>"], ["portend", "like", "<object>"],
["die", "<adverb>"]],
"<adverb>"=>[["warily"], ["grumpily"]]
}
random_words(h, "<start>")
#=> "The waves portend like slugs tonight."
random_words(h, "<start>")
#=> "The big yellow flowers sigh warily tonight."
random_words(h, "<start>")
#=> "The slugs die warily tonight."
random_words(h, "<object>")
#=> "waves big yellow flowers slugs"
random_words(h, "<verb>")
#=> "sigh warily portend like waves die warily"
random_words(h, "<adverb>")
#=> "warily grumpily"
Example 2
h = { "<start>" =>[["The", "<object>", "<verb>", "tonight."]],
"<object>"=>[["waves"], ["big", "<verb>", "yellow", "flowers"], ["slugs"]],
"<verb>" =>[["sigh", "<adverb>"], ["portend", "like", "<object>"],
["die", "<start>", "<adverb>"]],
"<adverb>"=>[["warily", "<object>"], ["grumpily"]]
}
random_words(h, "<start>")
#=> "The big sigh grumpily yellow flowers die The waves sigh grumpily \
# tonight. grumpily tonight."
random_words(h, "<start>")
#=> "The big die The big die The slugs sigh grumpily tonight. grumpily \
# yellow flowers die The big sigh warily slugs yellow flowers die The \
# slugs die The slugs portend like big portend like big sigh grumpily \
# yellow flowers yellow flowers tonight. grumpily tonight. grumpily \
# tonight. warily waves tonight. warily big die The slugs sigh warily \
# big sigh grumpily yellow flowers tonight. warily big portend like big \
# portend like waves yellow flowers yellow flowers yellow flowers yellow \
# flowers sigh warily waves tonight."
Example 3
h = { "<g1>"=>[["It", "<g2>", "<g3>", "..."]],
"<g2>"=>[["of"], ["waves"], ["was the", "<g3>", "<g4>", "<g3>"],
["wisdom,"], ["foolishness,"]],
"<g3>"=>[["<g4>", "of", "<g2>"], ["it", "<g2>"]],
"<g4>"=>[["best"], ["worst"], ["age"], ["times,"]]
}
random_words(h, "<g1>")
#=> "It of it was the it was the it was the times, of foolishness, times, \
# it wisdom, best best of was the it of times, it was the times, of of \
# best it waves worst age of waves ..."
random_words(h, "<g1>")
#=> "It was the best of times, it was the worst of times, it was the age of \
# wisdom, it was the age of foolishness...
A: def sentence_generator(hash)
verby = hash["<verb>"].sample.map do |string|
string = hash[string].nil? ? string : hash[string].sample.sample
end.join(" ")
hash["<start>"][0][0] + " " + hash["<object>"].sample.sample + " " + verby + " " + hash["<start>"][0][3]
end
This method should do the job for you. It could use some little refactoring, so you can look into that. I hope it helps
|
Recap: Week 2
This week, some good things happened.
This week, Cowgirl Run Fund came to Cheyenne. The Wyoming Women's Foundation released their updated Self-Sufficiency Standard. Leap into Leadership held a training and got 60 women ready to run. The Women's Legislative Caucus hosted dinner. And the Wall Street Journal came to town to find out why there aren't more elected women in Wyoming after all of our trailblazing firsts.
Admittedly, most of those good things were informational and ceremonial, but they all moved the Overton Window in their own way. And we can be thankful for that as a place to start.
But this week is also about the numbers.
And, even though we don't know how everything will turn out because there are still two days left and some bills still (may or may not) die a procedural death, this is where things stand at the close of week 2:
Total number of bills and joint resolutions: 398
Total number of bills and joint resolutions sponsored by individuals: 230
Total number of bills and joint resolutions sponsored by women: 28
Total number of bills and joint resolutions sponsored by women on general file: 6
Total number of days Jen has worn heels: 2
This paints, in stark terms, exactly what happens when there are too few women in the Legislature. Too few women on committees. (For example, as we *frequently* point out on Twitter, there are *zero* women on the all-powerful Joint Appropriations Committee that lines out the budget.) Too few women as chairs of committees. (There are two: Rep. Sue Wilson--who prefers the honorific Chairman--who chairs House Labor and Sen. Tara Nethercott who chairs Senate Judiciary.)
And, while we're talking about committees, it is worth noting that *none* of the interim committees took up interim topics that discussed or addressed issues impacting women. None of the committee bills (which are more likely to get introduced and more likely to pass) addressed women's economic security, access to health care, or equal representation.
There were interim topics--like Wyoming's aging population--that would have benefited from a gender lens. Here are just a few reasons why that would have improved the discussion for all of Wyoming's citizens:
Because the majority of Wyoming's population over 70 is female.
Because the majority of paid and unpaid caregivers are female.
Because the fastest growing job sector in the nation is paid care work and that sector is dominated by women and those are among Wyoming's lowest wage jobs.
But there was an express unwillingness to discuss any of those points--even if those discussions would have improved service delivery, saved money, and enhanced care. We, as a state, do ourselves a disservice when we discount or overlook 50% of our state's population or when we say that expressly taking women into account is "identity politics." As though making straight, white, men normative isn't setting identity politics as the baseline.
And, as we've said before and will say again: equal representation matters if we want equitable policymaking.
So what can you do to help?
Big picture:
Elect women.
Run for office.
Work on campaigns.
Knock doors.
Show up.
Tell the truth.
Don't be attached the results.
That's our best advice for how to tackle this week. Put on your flats, and we'll see you tomorrow morning at the Capitol! |
Author Archives: Melanie
Interview: Cendrine Rovini
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Cendrine Rovini is a French artist making beautiful drawings, paintings, and mixed media work incorporating themes of delicacy and lightness, and they're all kinds of beautiful! Melanie Maddison spoke with her about what she's currently up to and how she came to make the work she does.
Website | Blog | Flickr | Etsy
Hi Cendrine, how are you? Could you tell Pikaland readers a little about yourself and what you are working on at the moment?
Hello Pikaland people, I am fine, thank you! I am a french artist and I live in the mountains of the centre of France, in a little city named Aurillac. I use to work on paper mostly, sometimes wood and fabric, I draw and make mixed medias. I am currently working on collaborations with Irish artist Jane O' Sullivan and swedish artist Nicole Natri, and also focusing on the next big work I want to do: a mixed media on a beautiful big format tintoretto (a very fine panel of blond wood).
How did you first get started in art, is it something that you've always been interested in and excelled at? How long have you been creating art, embracing your creativity, and working towards developing your current style and output?
When I was a child, as every child, I spent many time drawing but I also used to secretly include this activity during the class at school, I was often immersed into my inner world, my imagination, and I used to be in love with art museums and books of images. As an adult I first taught Spanish language in a college, and I hated being a teacher. So I realized around the 30 years old that I only wanted to create, and I decided to make everything possible for it. It took almost five years for the identity of my work to appear; many years of self-education, of careful gaze on the things and people surrounding me and the memory of the hours spent in company of my father working (he is a sculptor). Finally a few years ago, the actual flow of images, or what someone could name my "current style" appeared by itself in a few weeks. I realized it when I saw that at a certain point, some formal cohesion was present drawing after drawing.
Why do you create? What is it about being creative that makes it something important for you to do?
I create because I have no other choice, and I am very bad at any other occupation. Creating is part of my personality and if you remove it from me, I may become a ghost. When I see an image first before doing it on paper, it may be a torture for me to be unable to transfer it on the visible area.
You have said that you like 'to create drawings slowly disappearing from the spectator's eyes'. Where did your interest in such soft, delicate, light imagery come from, and how has your art developed over the years to incorporate it?
I think this special taste came from my love for vintage photographs. You know, these fleeting sepia portraits, this little pigmentation on the old paper, the strange sweet light which seems to erase the shapes. And, as the things I see with my inner eyes come from the realm of the indistinct or hardly seen, when I want to render them on the paper, I try to make them light, so in many of my drawings there are pale colors or elements becoming transparent between the rest of the image.
You work a lot with graphite and coloured pencils, and also with mixed media on paper or fabric. What is it about these mediums that you enjoy? How do you create your images?
I love working on paper because its texture often inspires me by itself, this white and free space makes me able to almost literally "see" the contours of the image to be done. I first begin with graphite pencil, the oval of the face or the main shape of my figure and when this is placed on my paper, I merely distinguish the rest of the lines appearing, then the colors and details slowly emerge before my eyes and my hand only have to follow it.
Your work very often depicts women, and female life, bodies, and souls. What is it about femininity that draws you to capture its many guises within your work?
Women are the part of human beings I better know, as I am myself a woman! I know how it is in my body, the effect it has on my soul, the mystery and wonder about it. I love the way some women I meet in my imagination can be far from the modern stereotypes, I too love when they are undoubtedly feminine, with all the female traits, and also when they are rougher or threatening and I try to depict them as I saw them in my mind. For me there is not only one image of the woman, I love the multiplicity of the possible beauties or strangeness, and I enjoy trying to explore this. For me women are the multiple, the diverse, the possibility for the human world to be better connected to the Earth and its life, to respect it better and to feel the sacred materiality of the planet in a daily life. Our soul within our body carries so much complexity, that I could be inspired by it all my life, I think.
You work spontaneously without sketching or taking notes. Are the ideas already formed in your head before you sit down to draw?
Most of the time yes, the drawing is already in my mind; this is not an idea, this is an image existing in its totality. I often see them when I am near to fall into sleep, or the morning, when I am at the frontier between sleep and waking. I don't think the images are born in my head, this place is just the place for me to collect them awaiting the moment to make them visible. I imagine they come from far, they were perhaps already in the head of someone else before I was able to catch them and draw?
You have recently been exhibiting work in the UK at the Duckett & Jeffrey's gallery. I understand that this work is collaborative, with each piece being passed between you in France and another artist in the UK. Could you tell us a little about this, and the !process of working jointly on art pieces with another artist? Did you enjoy the process, and the outcomes?
This show ended last 31st of March at the Duckett & Jeffreys Gallery in Malton (UK), it was named The Spirit of Two and it presented a body of collaborative pieces with the English artist Chris Czainski. We worked about the inner initiatic path, when we are in front of a personal ordeal and the way we can know ourselves better and find new resources during such moments. We began the common works and sent them to each other so we can complete them; it was big format mixed medias on fabric, with dark felt, threads, beads, and graphite… I enjoyed working on this project because, even if our styles are different, we were like in the same undercurrent of imagination, everything was easy and natural between Chris' work and mine.
What sort of aesthetic things do you like; for example where do you work from, and what images/artefacts keep you company in your studio / place(s) of work?
I love being surrounded by beautiful things, art or objects of the usual life, and I pay attention to the quality of the light, by day or by night, it may inspire me or place me in a peculiar mood for beginning my work. During the day, I enjoy my studio because my table of work is just in front of the window and I can see the garden, the river flowing and the streets of the city, at night I love the intimacy of the lonely light focusing on my paper and contrasting with the darkness of the rest of the room, I feel like I am in a bubble of warmth, isolated in there from the rest of the world with my nascent image. I need the near presence of the letters and gifts of my friends, artists, and of my art books.
How do you manage your time in order to devote as much time as you'd like to your art?
When my children are not at home with me, I can spend my time creating without any interruption, but even like that I need to go away from my work table several times a day, I take a break, I make myself some tea, I spend some time on the computer, I read or cook for the next meal. In a certain way it is part of my work too, all the little daily acts are important for me, they don't separate me from the inner world. I feel lucky to have the possibility to only work like that.
What's your relationship to confidence, with regards to making and sharing your art?
It is something related with one of the preview questions about why I make art. I just make it with my whole heart and sincerity so when I show and share it I hope that people can feel it and if the drawings touch them with heart and simplicity, I feel like the happiest artist in the world.
Which contemporary artists and illustrators do you currently like?
I have a devotion for Kiki Smith and Anne Siems, I also admire Fay Ku, Sofia Arnold, my friend Jane O' Sullivan, I love the work by Jana Brike, Balint Zsako, Aron Wiesenfeld, Fuco Ueda, Valérie Belmokhtar, Susan Jamison…
What is the art scene like in your native France? Are there any French artists, events, galleries, or projects that particularly excite you right now?
A while ago the French art scene was mostly focused on conceptual work, and it was difficult to find interesting figurative art too… In the past couple of years, I see emerging a new movement with artists like Julien Salaud, Anaïs Albar, Valérie Belmokhtar, Bertrand Secret, the musician and visual artist Kinrisu, and the presence of young art galleries like Arsenic Gallery or Da-End Gallery in Paris (and I am happy to have had my first solo show in this beautiful and inspiring place). I love to see how imagination is at the centre of this creative scenery, how intuition and sensitivity within an intriguing sense of animality are respected and celebrated.
What is your favourite thing about making art?
I find it absolutely delightful when I feel the intensity of my desire for an image, for drawing it on the medium, when for example some mornings I am in a hurry for getting up in order to begin soon my work.
Melanie Maddison is a zine writer and former postgraduate Women's Studies student from Leeds, UK. Her main zine, Colouring Outside The Lines has been going since 2004 and interviews contemporary female artists. She's our resident chief interview lady, and you can read all the interviews she has conducted for Pikaland here!
Artists interview: The Strumpet
Cover of The Strumpet by Ellen Lindner
The Strumpet is a new comic anthology from the ladies behind the Whores Of Mensa comics (which were published in the UK between 2004-2010). The Strumpet brings together a brilliant team of female comics artists from the UK and USA, to produce a transatlantic collaborative publication containing eclectic illustrative and comics styles and techniques, and unique stories around the theme of 'Dress-Up'.
With Ellen Lindner (UK) and Jeremy Day (UK) at the helm as co-editors, The Strumpet is due to have contributions (amongst others) from Mardou (USA), Megan Kelso (USA), Lisa Rosalie Eisenberg (USA), Kripa Joshi (UK), Patrice Aggs (UK), and Tanya Meditzky (UK).
I spoke to these eight women about The Strumpet, their involvement in this first issue, women in comics, and about the Kickstarter campaign that is running to fund the publication of the first issue through a process of pre-ordering.
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Ellen, What prompted the move to relaunch Whore Of Mensa as 'The Strumpet', and how do the two projects differ?
Ellen: There are two main motivations behind the relaunch of the Strumpet. One is that our mission had changed – instead of publishing three artists on a regular basis, we'd decided to move towards a rotating cast, around the three original stalwarts. We thought this new approach warranted a new identity. Second, we'd had some trouble because part of our old name, Whores of Mensa, is a trademarked term. We wanted to be able to grow without worrying about that.
Where does the title 'The Strumpet' come from, and is it just a title, or does it dictate the theme of contributions to the comic?
Ellen: The Strumpet came from discussions we had as a group. The acting Whores of Mensa – that would be Mardou, Jeremy Day and I – wanted a name that connoted the same kind of free spirit and sass as Whores of Mensa (WoM), but that had less of a hard edge to it. We also liked the idea of having an avatar of sorts, a figure that embodied the lady-friendly ideals of our comic.
The Strumpet is a cross-Atlantic project, where do you currently call home?
Ellen: At the moment I live in London but I'm moving to New York. The Strumpet will be a wholly transatlantic entity – I'm hoping I can bring some cool Americans to the Strumpet's banquet, while gaining a new audience for the UK cartoonists I've come to know and love. Hopefully it means we can promote the comic simultaneously in both places.
Patrice: England, though I continue to call myself an American
Mardou: St Louis, Missouri though I'm originally from Manchester, England. I married the American cartoonist Ted May, so hot love and comics bought me here.
Megan: Seattle, Washington.
Jeremy: Home is Oxford, in the UK, where I live with my husband, cats and haphazard garden. It's a lovely city, especially at this time of year, when it's filling up with new incomers, students and hopefuls. It reminds me of the first time I came here.
Tanya: London, England
Lisa: I currently live in Portland, Oregon, US.
Kripa: I was born and raised in Nepal, pursued my BFA in India (where I met my husband), then lived in New York for three years while I completed my MFA and now I have been in the UK for three years… so home has been always changing. I guess I have to call UK home right now… it is where I reside… but Nepal will always be home as long as my family is there.
Patrice Aggs
How did you become involved in The Strumpet?
Patrice: Through the indefatigable Ellen Lindner. I'm in awe of her.
Tanya: Ellen Lindner invited me to contribute.
Megan: Ellen, who is an old friend and comrade of mine from New York invited me to participate.
Kripa: Through the great Ellen Lindner! I met her a couple of times during various events and when I saw the Whores of Mensa anthology, I mentioned that I would like to be a part of it. She is a very welcoming and generous person.
Lisa: I was tabling at the 2011 Stumptown Comics Fest here in Portland, which is where I met our Fearless Leader of Strumpets Ellen Lindner and her husband Stephen. The three of us got to talking outside the awards ceremony on the first night of the Fest, and the next day we visited one another's tables. I got her book "Undertow" and she and Stephen picked up the third issue of my comic "I Cut My Hair." In August Ellen wrote and asked me if I'd be interested in contributing to The Strumpet, and I quickly took her up on the offer.
Mardou and Jeremy, you were original members of the group that created Whores Of Mensa (alongside Lucy Sweet). What are your thoughts on the direction that the idea has now taken with the publication of The Strumpet?
Mardou: My original idea was to base WoM on the comic 'Triple Dare', who was in that? Tom Hart, James Kochalka, Jon Lewis. I like that they each had 10 pages, so many anthologies around that time contained so many artists with just one or two page strips, they were a little dizzying. Having just myself, Lucy Sweet and Jeremy Day (nee Dennis) gave us a bit more room and we sort of juxtaposed our different styles around a common theme and created something a bit different. I'm still very proud and fond of it. Ellen joining us for the second issue was a dream and as I've stepped back from it, to focus on having a kid and working on a graphic novel, Ellen's surged ahead. I think she's created something more expansive but it still has that quality which sets it apart. Chic and slightly dirty-minded. Just like Ellen.
Jeremy: If Whores of Mensa was Mardou's brainchild, The Strumpet is Ellen's; it's a fantastic idea and I support it fully, but I'm not the best person to talk direction. Ellen's in the driving seat for this one; I'm in the engine room, spinning dials.
What is your own personal history in making comics? How did you get started, and what sort of things have you created over the years?
Patrice: My first 'comic' was illustrating the hybrid graphic novel by Philip Pullman, Count Karlstein. Although I've contributed short pieces to anthologies and periodicals, my work in comics has mainly been by stealth; whenever I'm asked to do a children's book, I manage to slip in at least one illustration that includes a speech balloon!
Mardou: I started drawing a Tank Girl rip-off when I was 17 but didn't get too far. A few years later, in my last year of college I discovered Dan Clowes and Peter Bagge's comics. Dan Clowes had this line in an Eightball comic something like 'there are beautiful, 22 year old women who would rather read than watch television', and I loved that and I was 22 at the time, so I sent him my very first comic and he wrote back saying 'do more comics'. So I did, just kept putting out little books. I did a series called 'Stiro' with my friend Fortenski, he wrote it, I drew it, then I did a solo book called 'Manhole' which got some Arts Council funding. And with those books I started going to comics shows where I met Lucy and Jeremy and we started 'Whores of Mensa'. I'm now working on a graphic novel called the 'Sky in Stereo', which I'm serializing as a mini-comic.
Tanya: In 2002 I was laid up in bed for weeks, I had at the time been trying to work with various people on creative projects, which led nowhere, never came to fruition, etc, so I just started drawing 'milkkitten', to entertain myself. The comic world was completely unknown to me, so when Mark from Page 45 [British comic book store] ordered a batch from me at a festival, it encouraged me to think of it as a real 'comic' and to continue.
Kripa: I started making comics while I was doing my MFA in Illustration at the School of Visual Arts (in New York) as a Fulbright scholar…. so I started quite late! As a part of the course we had to study the History of Comics. I had never thought about making comics before that. I was always interested in story telling, even as a child, but had never ventured into comics. In New York I came to understand the scope of comics and graphic novels… and that it was not just about superheroes. For my thesis I created a character called Miss Moti and made two comics about her called 'Miss Moti and Cotton Candy' and 'Miss Moti and the Big Apple'. I drew inspiration from Little Nemo (by Windsor McCay) and the style of Chris Ware. Since then I have done several Miss Moti comics for anthologies like Rabid Rabbit and Secret Identities (Asian American Superhero Anthology). I have also created illustrations and comics for magazines and NGOs based in South Asia.
Jeremy: Like many comics types, I started at school, passing around sarcastic one-panel cartoons drawn in my ancient history workbook during class. When I went up to Oxford in 1989, I found the Comic Book club there (founded by Jenni Scott) and spent the next few years in a dizzy whirl of study by day and comics by night. These were exciting years for the small press; desk top publishing, scanners and printers becoming consumer items and then the internet, like a finally-delivered promise. During all this time I was self-publishing, usually solo comics, but occasionally in the women's anthologies of the time like Erica Smith's 'Girlfrenzy' or Carol Bennett's 'Fanny and Dykes Delight'. My comics were typically short-run mini-comics. Later I moved onto the internet, publishing my first comics online in 1999.
Ellen: I got interested in making comics while in secondary school, and after a few false starts actually succeeded in making some at university. I was also lucky enough to go to school in a town with its own comics museum, which was very inspiring (if worrying – Jaime Hernandez's original art really mystified me, the man never made any mistakes!) My comics ambitions developed further when I went to France as a student – all of a sudden I was in a place where public libraries, bookshops, any place where printed media was sold pushed comics. Cartoonists were like rock stars there, cool guys and girls making wonderful stories on paper. I won a travel grant to extend my stay, a huge privilege – I spent the time it afforded me starting to do an adaptation of Christine de Pizan's proto-feminist classic, 'The Book of The City of Ladies'. In terms of making comics, I didn't 'get' all of the processes right away – and I certainly had no idea about how long comics take, or how to develop my skills in an efficient manner. But I stuck with it. After Uni I met a lot of really great cartoonists – I'd moved to New York by then. At every stage I got little crumbs of encouragement that I took to heart, and they gave me the courage to continue. It's taken a while but I'm now starting to make comics I'm happy with. I've done everything from educational comics on the Mayan ballgame to strips for ad agencies and video game companies – not to mention my own personal projects and contributions to great collectives like The Comix Reader.
Lisa: The earliest comic I remember making was at age 9. I drew a comic about a superhero named Super Chicken who fights the evil Colonel Sanders and wins. Throughout high school I made a number of bad attempts at Robert Crumb-style autobiographical comics pieces, but I didn't start to seriously and consistently make and publish comics until I moved out to Portland five years ago. I have loved to draw as long as I can remember, in high school I got into writing, and though I had read comics my whole life I started to read a whole lot more in college. Although I was enjoying the art classes I was taking in college, comics inspired me much more. It seemed like the ideal way for me to draw in the style I wanted, and to tell the stories I wanted to tell. Indirectly, animated cartoons and children's books led me to comics as well—the character design and energy of the cartoons; the text/drawing combination of children's books. I moved to Portland knowing that there were a lot of cartoonists who lived here and thinking it would be a good place to get started, but I couldn't begin to imagine how supportive the community would be. Part of that is the self-publishing/zine culture here: there are zine sections in all the libraries and plenty of book and comics shops that carry self-published material. That gave me a clear path to getting my work out there. I started drawing comics and self-publishing them through the Independent Publishing Resource Center, a non-profit workspace that has photocopiers, supplies, a letterpress, computers…plenty of tools to help you make something. I brought them to stores like Reading Frenzy and Powells, and sold them at shows like Stumptown Comics Fest and the Portland Zine Symposium, eventually travelling to farther-away comics shows in other cities. I met a lot more cartoonists at these shows, at gallery openings, and at drawing nights, and we exchanged work with each other. Through the cartoonists and small-press folks I met I got some of my first opportunities to be published by others, and to do some readings and presentations of my work. As for my work, I got started with autobio. "I Cut My Hair" began as a daily journal comic series, but the most recent issue is one longer story about cross-continental travel. Lately I've been working more on some fiction stories (aka thinly veiled autobio!), many of which star this little monster character who lives in a world of little monsters, which are really just stand-ins for people. He is the central character in my story for The Strumpet. This story is also one of a few pieces I've done with cats as characters, despite my distaste for them in real life.
Tanya Meditzky
What techniques and materials do you typically work with when creating your comics?
Lisa: I'm pretty old school when it comes to my comics tools. I usually start with character studies, thumbnailing, and sketching in my hard-bound sketchbook with any old pencil. I draw my final pages on Vellum Bristol board with an HB or 2B pencil, and most recently have been inking with Rapidograph pens. Sometimes I use a wash with watered-down black Higgins Eternal Ink. I do a bit of clean-up in Photoshop to erase smudges and sharpen the blacks, but I've been known to use Pro-White to correct mistakes as well.
Patrice: The same ones I use when creating anything, a mixture. I once made a one-page comic entirely by etching on copper, doing all the lettering in reverse.
Megan: I have tried almost everything over the years, but my favourite inking tool which I've been using for the past 5 years or so is a G-nib dip pen. G nibs are Japanese nibs – kind of big and stiff – that a lot of manga artists use.
Mardou: Notebooks and pencils for writing, Bristol board, pencils and micron pens to draw with. I usually draw a rough version of my comic and then light-box it onto paper. This story was pretty loose and fast though. I used some old fashioned Zip-a-tone on this story. Old, vintage Zip-a-Tone that had lost its gumminess. Never again….
Jeremy: While I love my computer and my graphics tablet, especially for the screaming brights I favour for colour work, my first love is drawing – in dip pen, rollerball, technical pencil or crayon on lovely paper. I'm still working through a pile of fancy paper I scored from a paper chemist friend. It's a joy to draw on.
Tanya: Pencils, tracing paper, pens, ink, now a lightbox, which has changed everything…! I spend most time on the story and then doodle possible characters…
Ellen: I use pencils to start (H-3H), and I make a lot of rough drawings inspired by my script. From there I start drawing on big sheets of Bristol board with hard pencils, tightening and refining and lettering. I use a mechanical pencil to finalise the pencil drawings, and then start inking with a combination of small brushes, technical pens and Deleter dip-pens. Then I scan it all into Photoshop and use a Wacom pen tablet to make changes. I add colour and texture, and the comic is ready to go! I'd love to start working digitally but I confess to being a bit flummoxed!
Kripa: Initially I used to hand draw the outlines and then scan them into the computer to colour… however, these days I work from start to finish on the computer using Photoshop and my Wacom Tablet.
You have a great back (and current) history in your own published and/or self-published comics. What drew you to being involved in a collective project like this rather than solely focussing on your own solo work?
Mardou: Drunken bonding, initially! I do enjoy collaborating but it's hard now. I have a two-year-old daughter, not much time to draw and a large solo project that's eclipsing every thing else. But it was awesome to make it into the maiden voyage of 'the Strumpet'!
Lisa: I really like Ellen's work and I enjoyed the most recent issue of Whores of Mensa, so I considered it an honour to be asked if I'd like to be a part of The Strumpet. It also seemed like a great opportunity to get my work seen by others who had maybe not read my comics before.
Megan: Ellen is an old friend, and she has supported me and contributed to my projects in the past, so it felt natural to contribute to hers. When I was working on Artichoke Tales [Megan's graphic novel, published 2010], especially in the final stages, I said no to a lot of invitations to be in anthologies because I needed to focus on finishing that book. But right now, I'm in a period of transition with my work – I have not yet begun on my next big thing, so I'm trying to say yes to as many small projects as I can.
Lisa Eisenberg
Is working and collaborating on others projects something that you enjoy?
Tanya: I love it, it's great to be given a title / theme and have to make something to fit. Having an 'alien' prompt takes you out of your comfort zone / rota of ideas a bit. I've written a bunch of stories and given them to other people to illustrate, for a similar reason, with really surprising and great results. As the illustrators are more detached from the words I feel the work they produce can sometimes give a fresher perspective on ideas which may have been stewing… It makes the whole process more unpredictable and fun, I find.
Patrice: When one gets indecisive or stuck while doing solo work there's nothing more rejuvenating than collaborating on a fresh project with other people. It's like a shot in the arm.
Jeremy: Working with others, working to a theme, working within a certain character or constraint is something I've always enjoyed, however I must confess to having been a poor contributor in the past, often promising much and delivering little, or collapsing in the face of a theme which roughly translates to "the editor must like it". The difference, I think, with Whores of Mensa (and now The Strumpet) is that it never felt wholly owned (or influenced) by just one individual, more like a collaborative effort, different voices, styles and attitudes working together to create something that was more than just one note, one narrative.
Lisa: I do love collaborating—in fact, I would love to be the illustrator for someone's comic script one day. I also loved that the artists were given lots of freedom to do whatever we wanted as long as it had to do with the theme of "dressing up." Open-ended parameters like that are really inspiring to me when coming up with story ideas.
Kripa: I have always being a part of anthologies and collective projects. I think it is nice when a lot of people are working on a single theme or idea. Making comics can be a lonely pursuit… so it is good to be able to connect with other people. Plus, collective projects are also a challenge… the theme or topic might not have been something I would have thought of myself… so it forces me to think outside the box.
Ellen: When I first got to the UK I found Whores of Mensa, the precursor to The Strumpet, at Gosh! [a London-based comics store] It was funny, sexy, and charmingly doolally. I sent Mardou a fan letter and she was kind enough to reply with an invitation to get involved. This was one of the things that saved my sanity during a very lonely time – becoming a part of the WoM crew gave me a very real sense of community. Doing stories with them has always been a lot of fun, and often a needed relief from longer projects like my graphic novel, Undertow. Recently I've taken more of a leadership role, as Mardou has taken time off from editorship to have a baby and focus on a graphic memoir. As one of the Head Strumpets, I'm very pleased that I'm able to play a greater role in making this happen. I love doing comics but I also love seeing what other people are doing – seeing a comic grow from an idea to a final piece of art is a very cool process.
Kripa Joshi
Without giving away too much, what sort of work are you contributing to The Strumpet?
Patrice: A short gag piece that nevertheless is trying to explore the subtleties of storytelling.
Mardou: It's an 8-page love letter to the Comics Conventions of the British Isles. And to the boys that frequent them.
Jeremy: I have been much involved in writing comics about sisters this year, and Project Paper Doll (my strip for The Strumpet) co-stars my younger sister Ellē, with cameos from sisters Vic and George, my two more youngest sisters. It's a story of when we were teenagers, growing up and much enamoured of dressing up; I suppose you could say it's a tale of high 80s fashion and disrespectful paganism.
Megan: It is a one-page comic that's kind of about how young people view old people.
Lisa: A story that is super-goofy and over-the-top cartoon-y. It features a little (human-like) monster who goes on an adventure with his three cats. At first I was going to do a semi-autobiographical story of teen angst and self-discovery, but then I decided to go the opposite route into silliness territory. I used to draw lots of animals wearing costumes dressed up as other animals, usually to make one of my good friends laugh. This was my main inspiration.
Tanya: It's a story about nostalgia, and the future. A daft idea which considers what people 'in the future' might look back on as being important. Also how our ideas of the future are so constrained by our lives at the moment – we plan 'for the future' and generally imagine things will carry on much the same; but with an exponentially-increasing population, and finite supply of resources, some things might change drastically… It's also about dressing up as food.
Ellen: I hope that my story is a funny anecdote (about a wardrobe malfunction at my wedding!) that turns out to be a bit deeper. It's a story about getting to know my husband's family, which has been a very enriching journey. This story is a celebration of that.
Kripa: My comic is called 'Miss Moti and a Modern Fairytale' and features my protagonist, Miss Moti. It is a bit different from other Miss Moti comics because it contains a written narrative, unlike the others, which are mostly wordless. I have tried to create a parody between the images and the words.
In self-publishing your comics, how do you find the balance between pursuing your artistic goals and coping with actual cash-flow?
Where does Kickstarter come in to this, in the instance of The Strumpet?
Ellen: Cash flow in independent comics is a hard-won thing. Most of the infrastructure set up for selling them is expensive – whether it's the pricey convention table or the hefty commission taken by the shop where you sell on consignment. The internet helps but it's hard to get visibility outside your core fanbase. Kickstarter helps raise money 'up front' but can also help for visibility. It's a system for taking pre-orders that has nothing to do with how often we publish or what format we publish in – factors that have kept us from using the main comics distribution networks.
Megan Kelso
The Strumpet has been billed as a 'cultural exchange' between artists from the USA and the UK; 'uniting two comics scenes long overdue for a love-in.'
What is your experience of small press/self-publishing scenes/cultures, and those who support them? What links does your individual illustration and comics work hold to such independent/DIY culture and alternative press communities?
Lisa: Well, I think my answer about how I got started in comics speaks to this quite a bit. As a cartoonist I owe so much to the minicomic/zine/alternative and small press scene, specifically as it exists in Portland. These communities have given me direction, they have provided me a place to have my work seen, and have been a great way for me to meet other cartoonists. Not to mention the fact that when I'm at a zine show or a small press-focused comics show, I get so inspired by the work on display and the output of other artists.
Mardou: Starting 'Whores of Mensa' back in 2004, was largely about creating a community, as far as I was concerned. I was living in Devon (UK), didn't know any other cartoonists, period. Through my mini-comics and doing a tiny zine-fest in Exeter, I met the founders of Ladyfest Bristol. It was an amazing, cultural experience for me and I found my friends and collaborators through that event. Ellen found us through doing the WoM comic, she wrote us a fan letter and we invited her in. I've since moved to America but mini-comics were the cipher! Mini-comics have changed my world, really! It blows my mind when I think about it! Just doing these scrappy little books for the past ten years. Who knew?!
Patrice: I confess I've not much experience of small press and have never self-published. I'm very interested in pushing the boundaries within established publishers, and haranguing them to become more experimental. But the only way to get them to wake up is to get more and more independent projects out there.
Kripa: I have self-published my two Miss Moti books and have been selling them in various comic conventions in the USA and UK. Having studied in New York, it was much easier for me to get into the comic scene there. When I had to move to the UK, I was quite isolated since I didn't know anyone. I used to believe that London was not as vibrant as New York. However, having got to know more comic creators and enthusiasts, I have realised that that is not the case. The self-publishing community is pretty supportive and welcoming of newcomers. Besides my own self-publications, I have also been a part of small-press anthologies. I have contributed to several issues of Rabid Rabbit, an anthology started by the alumni of School of Visual Arts. I am also very happy to be a part of Strumpet, especially since it is transatlantic, kind of like my life since the past six years!
Megan: When I started doing comics, it was in the context of a zine community I was part of in the early nineties – people I knew in college, and then a whole network of people I met through self publishing my own work. In that community there was an ethic of contributing work to other people's publications. I have been pretty self-focussed in the last 10 years and have grown to miss the participatory aspect of doing comics and self-publishing. It's good to see people like Ellen carrying on the work of small press and self-publishing, and it feels nice to be a small part of it.
Ellen: I've been lucky enough to have spent three years in the New York comics scene back when just being enthusiastic about comics was enough to enable you to meet masters in the field, and to be welcomed by them as a friend. I was always a cartoonist first and an illustrator second, and those people showed me how they made that work. I also feel fortunate that, over time, I've made so many amazing friends on the UK comics scene. For me, the fact that I'm involved in a comic project like The Strumpet that could potentially draw these people together (no pun intended!) is a dream come true.
Jeremy: I think that one of the best things about the small press and self-publishing scene is that by its very nature there is not one dominant culture, but rather a rich and vibrant environment of smaller circles and friend-groups, each independently evolving and changing, sometimes co-operating, sometimes competing, but always brilliantly varied. One of the things I'm looking forward to about The Strumpet is the opportunity to investigate new groups, circles and individuals, as it has been my experience that the more you look, the more you find; and I am quite convinced that I will never run out of new brilliant women comics creators to discover.
Tanya: There's an amazingly supportive and friendly comics community in London. A bunch of hugely talented and lovely people, many of whom are very open to collaboration. There are a lot of anthologies around, a lot of meetings, so people are very keen to group together, share ideas, and collectively make things happen. I guess we're all sort of in it, but also on the edge, dipping in and getting involved with bigger things and then buckling down and making your own work.
Ellen was recently quoted, responding to an interview question about the supposed "male comics industry". She replied: 'In my experience comics is as 'male-dominated' as you want it to be. Unlike in film, where female directors are genuinely held back by the film industry's lack of willingness to fund their projects, alternative comics – which is the 'comics industry' I'm in – is largely a DIY affair. If you can't find a publisher, you self-publish. The Man can't keep you from drawing – only you can. I worry that because the general notion about comics is that it's a 'male-dominated' industry it blinkers people to the good work actual women are doing in the actual comics industry all the time.' To what degree is what Ellen says true to your experience?
Lisa: I do agree with Ellen. I've never felt a barrier to publishing because of my gender. Of course mainstream comics is a different story, and I've seen situations where female cartoonists maybe don't get as much credit as male ones, but so far in the alternative comics community I've felt pretty well supported as a female.
Jeremy: In my experience, your own projects are as male-dominated as you want them to be (and several of my main collaborators, and indeed comic book characters have been men, over the years), but if you go totting up names and contributors there was — probably still is — a male bias, even in the most alternative areas of the comics world. In the late 90s there was also a big fashion for publishing offensive sexist drivel under the banner of "airing opinions" or "raising debate" which lead to a lot of talented women leaving the comics scene partially or wholly. I'm glad to say that there have been some improvements since then, however the unedited world of the small/alternative press is prone to this style of idiocy, and it may yet resurge.
Kripa: I think the notion that the comic industry is male dominated is probably due to a few genres… like the superhero comics. In graphic novels, I think it is a much more open playing field. In the past few years, there have been more and more comics published that have been created by women, like Kari by Amruta Patil, India's first female writer-graphic novelist.
Do you think that there is a freedom, a power, and potentially fewer barriers to our creativity and opportunity due to the Do-It-Yourself and Do-It-Together nature of the self-publishing industry?
Tanya: Yes I agree. It's easy to come up with excuses for one's own self-censorship, or lack of output, but there are so many outlets and possibilities with comics, it's just a matter of doing it; you can write and draw whatever interests you, and someone, somewhere will be into it.
Megan: Well, there is definitely freedom in self-publishing. I think doing it yourself is a perfect way to start out with an artistic career, and its important to keep it as an ongoing component of how you work, because that absolute freedom is how you find and hold on to your artistic voice. Commercial jobs, where you are trying to fulfill someone else's vision can make it harder to recognize your own voice when you turn back to your own work. That said, we all need to eat and want to make some money from our work, so like all things in life, it's a balancing act between art and commerce.
Kripa: I do think that self-publishing gives people the opportunity to publish and showcase their work which otherwise might have lived only in the creators minds. If you can't find a publisher, or are not confident enough to do so, then DIY comics gives you the possibility to share your work with the world and get feedback. One of the best experience of self-publishing has been getting in touch with the people who buy my comic. I think in self-publishing there are fewer barriers, not just to our creativity, but also with our customers.
Patrice: Do-it-yourself is far duller than do-it-together. We need to champion each other. Drag the male-dominated blinkered attitude into the dustbin.
Mardou: Yeah, there's a freedom but I also find self-publishing a massive pain in the arse and would rather someone else do all the printer/distro stuff for me. It's a lot of work, I don't enjoy it.
At a recent panel discussion entitled 'Women In Comics' that I was at, the female creators and academics presenting mentioned that they would be pleased if, in the future, there was no longer a need for an exclusive 'women in comics' panel to exist, due to it becoming more and more commonplace and less of an anomaly to find successful female creators, audiences, and writers within the comics field – thus providing less requirement for a separate gendered discussion of comics. I guess such a comment could also be levelled at the "need" for an anthology such as The Strumpet to be created; an anthology which only collects together the work of women. Whilst this liberal attitude is understandable to a degree, I believe it is still important for women's comics work to be celebrated, critically explored, and highlighted for what it is, as I think it's important to emphasize the unique and often challenging work that women are making (and often making together) and to actually see how women are acting as cultural producers in the present and actualising their autonomy in ways that are meaningful to them. Plus, it highlights a belief in women, and the fact that women's stories are worth telling, and worth hearing. Also, as we know, there are ever increasing numbers of amazing women comics makers out there who are further challenging and diversifying the historical framework of comics not only by what they are creating, but also through how their creations are introducing and encouraging an excited and exciting band of female creators across the world to produce comics and art themselves, perhaps by helping to demystifying the process of comics production to other women and girls. For myself I know that it's often different when you can see a woman, or a group of women doing something amazing, it helps to shape and situate my own sense of what I too could achieve.
What is your personal motivation for being part of The Strumpet, a comics anthology containing only the work of women? And what are your thoughts on the "need" for such collections of women's work to continue to be produced in 2011?
Jeremy: Having suffered through many a Women in Comics panel myself, I understand the reservations. It is definitely the case that women creators, writers, artists, critics and fans are now more prominent in the world of comics than ever. I want a world where the presence of a woman in a comic shop, convention market hall or prominent mainstream comic is such a commonplace that it doesn't even merit a mention, but I feel we have a way to go. Women are still a minority in many parts of the industry and wholly excluded from others; there is still prejudice, overt and covert. But perhaps we are now at a point in time where we can move from "Women in Comics", which always diverts the argument into well-trodden arguments about the sexist representation of women in comics, to the more inclusive and active "Women and Comics". When I was new to the comics scene, most anthologies were de facto almost all/all-male anthologies. Many still are. Anthologies are crucial in nurturing and building the talents of comics artists, in building comics community and in raising the profile of new creators. While there are now more seats open for women, they are still underrepresented, particularly among comics writers. A women's anthology, particularly one with a remit to seek out new creators and mix up different comics scenes, has a valuable role to play. Or, to put it another way: it's not time to give up now, not when we're finally getting somewhere. Different groups of people have different stories to tell, and different stories that they need to tell. The times over the years when I have been in women's anthologies (and this is also true of gay anthologies) have allowed me the freedom to let out the stories that I have often felt pressured to repress as inappropriate for the public sphere, as too small, too trivial, and not of public interest; as well as the freedom to subvert or divert those ideas of appropriate female narrative and proper feminine behaviour which still have a strong effect in a mixed environment.
Ellen: Believe me, I've asked myself this question a million times. I grew up identifying very strongly as a feminist, so that's a big part of it. I believe that women need to be acknowledged for their gifts and given a voice in society, and I think it's worth asking – is this happening in comics? To answer this question for myself, I did a tally of books published by three major indie publishers in the UK. The results were pretty rubbish, in terms of women's representation in their catalogues. Such a poor percentage of the work they were publishing is by women. Obviously, this is a complicated issue. But just to be on the safe side, printing work by women will always be a priority for me. Plus, knowing that your editor is a woman (or a team of women) changes the dynamic, regardless of what gender the contributors are. If the Strumpet can offer a sympathetic place for women to publish their stories, I think that's a contribution.
Megan: When I was younger, I had kind of a chip on my shoulder about the whole "Women in Comics" thing – as a panel topic at conventions, or a question in interviews, or an organizing principle for comics anthologies. I wanted to be evaluated as an artist, not as a woman artist. But as I've gotten older, I've kind of relaxed my vigilance about this. I have always considered myself a feminist and always will, and as such, I am genuinely interested in questions of gender and power, and so to not participate in the panels or questions that come up about those issues just seems obtuse to me. Also, while the numbers of female cartoonists are growing, comics itself, or rather the art/alternative comics world that we are speaking of, is still quite small and marginalized from a cultural standpoint. So we are still talking about a small group of women doing this work – and there are clear commonalities to a lot of their work. It seems perfectly natural to me that they would want to work together, or that their work would be considered somewhat collectively. And while I'm on the topic of collectivity, it just seems like a lot of women derive a sense of strength and satisfaction and inspiration from working together, so why not celebrate that?
Patrice: To be rather pragmatic about it all, yes, it's a pity one has to shove women into a separate box, but hey, if it gets the work noticed, that's fine. And if we have to play the 'gender card' in 2011, it's worth it if it helps a new generation of women to ease their way into a world where the separate boxes won't be needed anymore.
Kripa: The Strumpet is the first women's only anthology that I have been a part of. I don't think it was important for me that it was an only female comic… and I would have been okay had it been mixed gender as well. However, I do think it is great to have such an anthology. I think it has created a really nice, supportive community… somehow being in The Strumpet has felt different from being in other anthologies. An all women anthology may also be less daunting and encourage more women to create comics. Plus, such an anthology might make it possible to tackle themes that are more relevant for women. So I hope it will continue for a long time yet!
Mardou: As much as I balk from being pigeon-holed as a 'woman artist' I think there still is a place for women's-only anthologies such as ours. The majority of women, and we're talking Western women here, have enjoyed freedom of artistic expression for such a short time historically, not to mention, sexual reproductive rights and suffrage. Less than a century. My work itself is not political but I'm most definitely a feminist and working with other women artists is something I greatly value. And let's face it, the general reading population is largely unaware of comics, let alone some of the brilliant women making them. So yeah, I think making an all-women comics anthology is totally valid.
Tanya: To me, my motivation isn't in the women's only aspect of the Strumpet, it's more about the people involved, and Ellen is the motivating factor for me. I understand the need to promote women in comics but I'm not sure that women-only projects are the way to do it… Not sure. It's a tricky one, I'll mull this over… I think that women might be constraining themselves, and it could be that their own emphasis on 'being a woman' might restrict them, or put people off, who would otherwise be perfectly willing to accept them. If that makes sense? It depends how they identify themselves – as a person, as a woman, as someone with a story to tell. If all that's special about you is – you're a woman – well, there are lots of other women around… Give me more! In terms of inspiring other women, I do feel that women producing interesting work, challenging themselves, having autonomy and following their own ideas is really important, and it does really help me to see strong women doing things that they want to do, seemingly fearlessly.
Jeremy: My personal motivation is also my need; my need to explore and discover new creators, to create an open space where quiet voices can be heard, and to work with other women to create something new and beautiful.
Megan: I don't think it is a "need" –I think it is a desire. I think a group of women working together to produce something like the Strumpet is a feminist stance, especially with a theme that resonates for the female creators themselves. I have been asked to contribute to anthologies with stereotypical "boy" themes where I have really struggled with what to draw or say. With dress-up, it came pouring out of me. I don't know, I think its OK that boys and girls are different, as long as we understand that it's a spectrum, and that it must include trans and queer understandings of boy/girl too. And as for the larger comics reading audience, that includes men and women, straight and gay, they are just looking for good comics I think, and whether it is an all female production or not is probably less relevant to them than is it good work?
Lisa: I don't think it's as much a question about striving to get to a point where we don't "need" women's comics panels/collections/spaces etc. but about the "need" changing. I don't want there to be a need for these things because female cartoonists aren't getting the credit and opportunities that they deserve and thus the work of female cartoonists is less commonplace. I do, however, think that even as female cartoonists are less of an "anomaly" there will always be a need for a collection like The Strumpet as a celebration of female voices. As a female cartoonist that's something I'm interested in seeing. I'm proud to be a woman in comics and I like seeing what my female colleagues are producing. Also, I think that, like racism, sexism is something that will never be totally eradicated—the way we fight it is through constant re-examination and challenging ourselves as a society or, in this case, as a global comics community. Even if things are better for women in comics than they were, say, 30 years ago, we need to keep checking in with each other— i.e. things may be "better" in certain ways but what's the situation now for female cartoonists? What needs to be worked on? What needs to be addressed?
Ellen, How important to you, as the editor of The Strumpet is the idea of collaborative/collective projects; the idea of a (womens?) comics 'community'; and, being able to work with and meet such peers through projects like this?
Ellen: Very important. Art is a social endeavour – anyone who thinks they can get ahead only by slaving away in their garret is, except in very rare cases, kidding themselves. Comics projects by and for women will keep more women engaged in comics. I'm so happy that the Strumpet can be a place where women can get together and swap stories.
Mardou
I am very interested in how and where women gain access to their own confidence, and self-belief — especially in terms of how they are able to produce and create what they do. Confidence is such a slippery fish. A lot of people struggle with knowing that they're 'good enough' to create or make their own comics, and are left unable to access their creative and artistic talents. What is your personal relationship with confidence and its effects to your ability to create?
Kripa: Funnily enough, the creation of Miss Moti was due to my struggles with self-confidence, especially when it came to the issue of being over-weight. I wanted to create a character that would do extraordinary things in spite of being ordinary. I still suffer from lack of confidence, much to the frustration of my family, who strongly believe in me and Miss Moti. I think it is essential to have a good supportive network, made up of family, friend and fellow professionals. The irony is, sometimes the very fact that people like your work can be intimidating, because you are afraid of not living up to the expectation! I have generally found that inhibitions restrict me from taking initiatives, but if a project or a challenge is offered to me, then I rise to meet it.
Mardou: I still struggle with it. I'm married to an artist I hugely admire, who's way better at drawing than me and has 10 more years or so of comics-making experience than I do. And he still suffers from confidence crises! So I don't think you ever get there. Maybe that's a good thing, maybe that stops an arrogant or formulaic note from creeping into your work? I dunno. Ultimately, comparing yourself to others is not helpful and you just have to keep doing what you're doing and hopefully you're on the right track.
Lisa: Oh boy, this is one I'm always struggling with! I am constantly working to boost my own confidence as a cartoonist (and I must say that I know there are ways this is tied to being a female in this society, modesty being valued, etc.). After I've finished a comic it's very hard for me to look at it for a long time…all I can see are the flaws. I often worry that my work looks amateurish, that I'll never meet my goals as a cartoonist, that I'm just not "good enough." But when I struggle with thoughts like these I battle them with good old rational thinking! (Which is, actually, quite helpful). For example, my friend and studio-mate Sarah Oleksyk once told me that no matter what, no one can make the kind of comics I make the way I can, the way you can, the way any one cartoonist can. I remind myself that if I want to improve the only way to do that is just to keep working so I have to not allow myself to get discouraged. Also lately I've been reminding myself that the more I learn, the more I will recognize how much I need to learn. Increased scrutiny is just a part of getting better at my craft.
Ellen: I have a vexed relationship with the issue of confidence. As an adult I've never lacked the confidence to do my work, but there's something about getting it out in the world that can be really unnerving – I get mini-flashbacks to being bullied at school, and I worry that I'm still a scared teenager inside. I think this will always be a failing of mine, but oddly, when it comes to the Strumpet, I'm willing to take risks in terms of promotion that I won't take with my own work. Knowing that I have a bunch of artists depending on me and my co-editor, Jeremy, gives me power to do things I wouldn't normally do – things which I then realise aren't so scary. Again, no one's perfect, and everyone has their own approach – but I've learned lessons with The Strumpet that have given me the confidence to push myself harder in my own work.
Jeremy: My misery, insecurity, crippling self-doubt is a crucial driver of my art. The difficult stories to tell are the valuable ones to explore. Telling them lets the anxiety express and create something powerful and beautiful out of the darkness and pain. That said, I have been through long periods of being unable to work, or of working only at the most minimal levels.
Patrice: Confidence (by this I mean of course the lack of it) is a problem for young people. I'm 59 years old. If I don't know what I'm up to by now it's too late.
Tanya: Confidence is difficult for a lot of people. And it affects so much. Working with others really helps, as encouragement can be like a lifeline. But really, you have to just get on and do the things you want to do and not worry too much what anyone else thinks. Everyone has a unique voice, and only you can express this. Or it won't be expressed. It's just pragmatic.
Creativity is boundless, there are probably infinite ways of expressing ideas, some are valued more highly than others, some are more commercial. They may not all have the same impact but it is perfectly reasonable for each to exist, surely?
Megan: I struggle, as everybody does with my inner critic. But I think my desire to create and show off what I've created eventually trumps the inner critic. I am very grateful that I came of age during a time when the first battles for women to find and express their voices had already been fought. It is up to us to carry on that struggle and refine our voices and fight for a broadening of that freedom for other women who don't have it yet.
Jeremy, Ellen, as founding member of the original Whores Of Mensa anthologies, would you recommend to others taking on projects, or creating an anthology that unites so many creative friends and folk together like this? And, what would your advice be to those wanting to take on a similar project, or any comics project for that matter?
Jeremy: Plan, set deadlines, keep in touch and never lose sight of your own stories.
Ellen: Give your artists time. Foster a relationship with them. Answer some basic questions before you begin – why should anyone work for you? And what can you do for your artists? Be honest with yourself about how long a process is involved – comics stories need time to develop. And don't be afraid to DIY – I've made some horrible mistakes as an artist and as an editor, and I've learned a lot from them. My mom says, 'Progress not perfection'. This maxim goes double when you're talking about a group project. You can't be perfect, but do your best.
You can visit their Kickstarter page to pre-order a copy of the comic!
Strumpet Issue 1 will début at this year's Thought Bubble Festival, 19-20 November in Leeds, UK. There will also be a launch night for the comic on 24th of November at the Miller pub in London Bridge.
To keep up with the team, visit The Strumpet blog for updates!
Ellen Lindner – www.littlewhitebird.com
Jeremy Day – jeremyday.org.uk
Kripa Joshi – www.missmoti.com
Lisa Rosalie Eisenberg – www.lisarosalieeisenberg.com
Mardou – www.mardouville.com
Megan Kelso – www.girlhero.com
Patrice Aggs – www.patriceaggs.com
Tanya Meditzky – www.milkkitten.com
Other artists involved with The Strumpet include Lucy Sweet, and Emily Ryan Lerner.
Lisa works at Tranquility Base (a studio of 7 cartoonists, writers, and illustrators) who blog at tranquilitybase.tumblr.com.
Ellen is involved with Comica Festival, a London-wide comics festival stretching over the month of November, curated by Paul Gravett.
Artist interview: Caroline Paquita
Melanie 5 Comments
Brooklyn, New York–based artist, Caroline Paquita, is the DIY-spirited artist behind the zine, 'Womanimalistic' and the yearly Paquita Calendar (which Pikaland featured in our rundown of the best 2011 calendars).
Her accessible lo-fi visual work is regularly produced with her own Risograph printer, lending it a distinctive and characteristic appearance and impression.
Caroline's work takes much inspiration from nature and our environment, and her daily life and lifestyle feature heavily in her artistic practice. Her work helps create visual reminders for keeping motivation and everyday actions afloat. It aims to foster an environment and a positive space where the imagination and one's intuition are actively encouraged, and where people can feel empowered via real objects, such as zines, prints and other tangible art.
Caroline is currently raising funds for her latest venture, Pegacorn Press, via an Indie GoGo funding drive. More details of this art publishing house (alongside a really great video showing Caroline's art and printing processes [plus her chickens!]), can be found here.
Website: www.carolinepaquita.com
Blog: carolinepaquita.blogspot.com
Etsy shop | Pegacorn Press
Hi Caroline, how are you? Could you tell Pikaland readers a little bit about yourself and your art work?
Hello Melanie! Hello Pikaland! I'm doing great because I love summer a ton and this one in particular has been pretty amazing!
In regards to myself and what I do? First and foremost, I'm an interdisciplinary artist, who has dabbles in music here and there when the spirit takes me. The two meld together when I'm in bands and do artwork for fliers, records and whatnot, but predominantly, I'm more inclined to say that visual art is where my heart and soul really reside. Though I've done everything from drawing, painting, printmaking, photo, video and sewing- my mainstays this past year have been working on drawings for my zine, sketching up new paintings to work on this winter and learning animation.
What are you currently working on?
A couple projects that are on the table right now are: working on the yearly calendar that I have drawn and printed myself for the past two years, developing new comics and also putting together Pegacorn Press. The Press has been a project long in the making and something that I'm extremely excited about and like a mother, feel very proud of. It's a small, queer, feminist, total-art-freaker publishing house that will specialize in small-run art books, comics and zines. The calendar, as well as a comic compilation (that will feature roughly ten different artists), is scheduled to be released this fall. All that being said, there is a ton of work to do in the meantime!
What is your artistic history, have you always drawn from a young age, did you go to art school? How did you first become interested in art, get started in making and creating art/embracing your creativity, and realise that it was something you would like to pursue?
As long as I can remember, I've always created objects, drawn, and been engaged in some sort of artistic practice/process. It's something that keeps me alive and refreshed as a person. My childhood in Miami was spent in special public school programs for "artistic" children and I feel fortunate that I was encouraged to develop my skills at such an early age. My mom, grandma, and great-grandma all were/are crafters/artists to some degree and to have a lot of supplies around the house, wear clothes that someone in your family actually made, and in general, have evidence of handmade things all around our house definitely instilled the DIY attitude in me by an early age.
I have a BFA in Creative Photography, with a minor in Art History. While I was in college, besides the photography, I worked on a lot of printmaking, comics, zines and played in a band that toured here and there. I travelled around the country fairly often and began to meet more and more folks who were artists/makers. It became more obvious to me that it was okay to live a more "unconventional" lifestyle (AKA, I could live however I wanted- I could create my own destiny!) and I've been working on setting that up for myself ever since.
I've always known that I'd be an artist (in my mind, I've always identified as one), but it's most definitely, a difficult thing to try to make an income from. While the money from art comes in periodically, at some point soon, I'd like to attend a graduate program so that I'm qualified to teach on a college level. I've had so many truly amazing teachers in my life, that I honestly grew up thinking that all artists were teachers. Obviously, that isn't the case, but hopefully it will be for me. I thrive off working with others, creating together and love to help problem solve. Without a doubt, I'd still work on my own practice!
How did you personally learn to access your creative and artistic talents, and gain the confidence to make, sell, and exhibit your art?
I've always felt a certain confidence in showing/sharing my work, so that hasn't necessarily been something that I've had to learn as an adult. I do believe, however, that I could still "tighten up the ship" a little bit, and still strive to learn the best, and most proper, ways to create and exhibit my work. It's an ongoing process, you know? It would seem stagnant if I supposedly just had everything figured out, with no room for growth in any way.
In regards to selling, that's definitely still something that I'm working on. I have an Etsy store, sell to independently owned stores around the US, and also have the necessary tax identification number to legally sell art on the street in New York. I have gone through phases of trying to street sell, but usually my stuff is so specific that most people are either shocked or weirded out, that I've rarely made much in these adventures. It still can be fun to head out there though and I'm working on a new set-up, complete with a new bike cart that I'm welding myself!!!
I've gotten a lot better with getting my zines (and yearly calendar) in stores around the US, but find it difficult (and annoying) to keep track of my accounts with them and usually end up having to seemingly beg to get paid. I wish that there was an easier way to do this (particularly one where you don't have to compromise your work too much), but I still feel better about managing all this myself, rather than working with some of the somewhat too-dominant distros here in the States.
What prompted your move from making and working predominantly within music, to your focus on your zine, illustration, printing and design work as well?
The reverse is more true in this case, as I would say that first and foremost, I'm a visual artist and always have been. As an adult, I've learned to play music and it's one of my main focuses, but visual art always ends up being the core of what I do. Playing music often requires other people and is obviously a collaborative endeavour- which is a truly an amazing and unique process. It can be very cathartic experience not easily re-created alone, but it can also be a terribly public, which at times can be unnerving and distracting for me.
For myself, making my own work is a means for me to sit alone, process my emotions, think about the state of the world, time travel and meditate! I can do it whenever I want, and am not dependent on anyone else's schedule. Trying to juggle the two, however, is a job in itself, but there are times when I've found a good balance and a way to bridge the two together, in the forms of fliers, posters and album art.
I'd like to ask about the sorts of stuff you like; what images/artefacts keep you company in your studio / place(s) of work, for inspiration?
My room is full of objects and I'm continually in a state of moving things around to keep things fresh. Specifically around my desk, currently there is a framed antique embroidery, a print from my deceased Granny, another print by an old friend, photocopies of old beekeeping etchings, and a shelf full of pens, markers and other most commonly used tools. While I'm working, I keep picture files and collect books of images and patterns as reference close by. The rest of my room is full of antique bottles I continually find at this old dump from the early 1900's, bones, herbs I've collected and tinctured, plants, trinkets and friend's art.
I'm about to move my studio into my partner's bike frame-building shop and the plan is to construct a little shack within the shop. It will be the clubhouse that I've always wanted! It's exciting to think about not working in my bedroom as much and to create an environment that is all about art, where I can't get so easily distracted.
Your art has regularly featured powerful work around themes of nature, herbalism, bee keeping and DIY health care, amongst other things.
What are your thoughts on the politics of sharing such information within art?
For example, do you see your art work as an opportunity for the creation of an insightful space for dialogue and communicating ideas: promoting accessibility of ideas and participation/engagement with them; or perhaps as a way of engaging viewers with inspirational politics; or simply creating a visual reminder of the power of human energy/creativity and what we are possible of doing and responding to within our everyday lives?
In every way possible, in my daily life and in my artistic practice, I'm all about trying to create a space where all of the above is possible. How else do we learn, create/develop relationships, change our lives and environment- unless dialog and information sharing is possible? I definitely believe in visual reminders to keep the positivity afloat, the message alive- to keep the "magic" circulating.
In regards to the recurring themes of herbalism and DIY health care? They both have basically saved my life. I was ill for a long time and have fought for years to get my health back. Repeatedly, doctors told me that the repetitive stress injuries in my arms were untreatable and that reoccurring battles with MRSA staph (that would land me in the hospital on an IV for a three-day cycle of antibiotics) was just something that I just had to deal with. That there was nothing to do! I just refused to buy that idea! My health was in a terrible place and honestly, when everything else doesn't work, that's when folks get into herbalism. That's exactly what happened to me and it's not like I wasn't living a relatively healthy lifestyle before all these complications started occurring.
Since I don't have health insurance (like most Americans), I've learned to depend more so on self-diagnosing and from self treatment for non-life threatening conditions. I've also heard a lot of really bad advice about self-treatment, which is what inspired the comic, "Punk Medical Myths." Multiple people have told me that the comic helped push either themselves, or a friend to go seek professional medical health. Whew! This is where art can be helpful to the public and save lives, even in the humorous format of comics.
Your most recent zine, Womanimalistic is terrific. Are you planning a second issue?
What does the title 'Womanimalistic' mean to you?
Womanimalistic #2, tenatively called The Coochie-Party Issue, is in the works already- I'm super excited to enter that creative space again. It may be easier to explain the concept of the WOMANIMAL, which is a larger body of work that I have been working on for the past four years now. The zine is an extension of this project and is an easy format for me to easily share with others.
"WOMANIMAL" is a platform for me to engage in critical thinking from a "queer, woman-centric point of view," that investigates the current state of modern culture and that also helps foster an environment where the imagination and one's intuition are actively encouraged. Through this process, my work seeks to inject more constructive criticism, absurdity, sassiness and fierce energy back into all things queer, feminine and deemed feral!"
I'm tired of the negativity that has surrounded my generation and the hopelessness that war, consumerism, and modern culture has helped promote. I'm not a luddite that lives in a cave (though I jokingly call myself an "urban primitivist,"), but I feel that so many people right now feel really distant from THEMSELVES. I often find myself wondering WHY? Is the cell phone, the Internet (or the combination of the two, the I-Phone) to blame? I don't have the answers, but I do know that people are so distracted these days that it's hard to know exactly what's going on. Making art is one of the ways that I feel like I can contribute to creating a more positive space where people (particularly women, queers, and their allies) can feel empowered via real objects, such as zines, prints and other tangible art. This is the core of what WOMANIMALISTIC means to me!
*_
Do you think comics/zines are a good way to share art, to display art, and to reach (new?) audiences or artistic communities?_*
Zines and comics are one of many ways to reach out to a larger audience, though it seems that people mainly under forty seem to be the one's paying close attention. I've noticed a renewed interest in all things printed- particularly if it borders the line with artists books- that has extended into a whole different realm of makers and other folks that have tapped into that world through sites like Etsy. I think that some of what I've been working on does fall into all these different audiences/communities, particularly gauging on the response that I've gotten since putting Womanimalistic out. So long story short, yes!
What techniques of illustration do you most prefer to use; what are your tools and materials of choice?
What stages, from start-to-finish does a typical piece of your work go through, and over what time frame?
For my illustrations/comics, I'm pretty lo-fi in many ways, though I've recently started incorporating the computer in the final production stages. Pencil, a couple Rapidiographs/Microns, and some Bristol board are my main stays- though I sometimes delve into brushes and quill-pens. If the work is being sent to a printer, I might use some Chartpack grayscale pens to get some gradation, otherwise half-tone pattern is something that I often use.
A lot of my personal work these days has been one color, mainly due to the fact that until recently, I only had one working color drum for my Risograph duplicator. Like most people, I tend to work larger than the expected dimension, scan for resizing/layout and to also possibly add patterned backgrounds/halftones. It's a pretty straight-forward in many ways, but always seemingly time consuming!
The majority of your work that I have seen has been printed/reproduced using your own Risograph duplicator. I love the printed effect that this creates. How useful is it to have your own means of printing and duplication available at your disposal? Has owning the Risograph affected your productivity and prolificacy, or perhaps affected the type of work that you now most regularly create?
Getting my own duplicator has definitely changed things: I've never been in a position where I could afford to send things to the printer and now I can print things in my house whenever I need it. After the initial cost of the machine, I've basically just had to buy the ink and paper to keep it going. My Risograph is from the 1980's and has made over 2.5 million prints before I got it, but it's still working- I say this with fingers crossed!
There are some definite limitations though with the quality that you can achieve, but that's the trade-off. If I know that a piece is Riso-bound, I may simplify some of the line work in my drawings and avoid having large filled in areas, since it will eat up ink and make printing harder. That challenge has made me work differently, but I've appreciated the fact that it's made me have to think a lot more about my drawings, way before I even start them.
What are your thoughts on your ability to personally turn out your own prints, zines, exhibition materials yourself by hand, and the effects this has your sense of actual human participation within, and attachment to, every aspect of your work's creation?
My involvement with every part of the artistic creation of an object definitely makes things seem really "real" to me. For every page that I print, I've probably touched that single page about ten times (or more) before it's made it's way into someone else's hands. I print in large stacks, use a hair drier to set the ink faster (and to prevent "ghosting" on the backsides), reload the stack to print the other side, blow-dry again, then collate and staple- all by hand.
Maybe people can feel that? I know that I can tell when I pick something up whether it's just been pulled out of the box from the printer and sold, or made by the artist/printer itself. I know that it's not an option for everyone (due to time, money, resources), but it's been a conscious effort in the past couple of years to set myself up with my own printing equipment. It's been worth every penny spent and has made it so much easier to distribute my work than ever before.
Your work has featured in independent publications such as 'Maximum Rocknroll'. To what extent does the punk and do-it-yourself spirit drive your artistic creation, production and expression?
It's the backbone of my work, but definitely not the whole, as my life is more varied than just being a punk who is very much DIY spirited. I'm still very much involved in that community and will do art for MRR at the drop of a hat, but as I've gotten older, my ideas of punk and the DIY have definitely changed and developed over time. Most of the world isn't too fond of anything queer and/or feminist and unfortunately, the world of punk is no different in many ways. So while punk is an old-mainstay, I don't feel limited to that identification.
These days I'm more inspired by people who are just straight-up DIY; the weirdos who just want to figure out how to make things themselves, who avidly learn how to live without all this technological nonsense. Folks who are retaining the spirit of creativity and want to dork out with other people about what they've learned. As a beekeeper, the doors to a netherworld have been opened to a lot of insanely great, but extremely weird folks, who also keep bees. For some reason, only true weirdos get into keeping these tiny insects and I've pulled a lot of inspiration from them, as well as from my other "special-interest friends," the wild-crafters who gather herbs and wild-edibles. To eat wild rice, maple syrup, seaweed, or to drink herbs that you or your friend's harvested, is inspiration in itself!
Community (artistic and otherwise) and support appears to be something that drives a lot of your work, its themes crop up a lot in both the subject and overall 'feel' of your work, as well as often in the medium of your work (fliers for local events, band art and posters, local signage)
How important to you is working within and for a community of (creative) people?
What does 'community' mean to you, as an artist?
On a micro level, community is all we have. I don't want to live in this world alone: not be close to anyone, not learning, loving or sharing with others. I'm definitely not scared to spend time alone (my work does keep me locked up at times), but what I mean to say that I want to engage with others and help work to have a larger, supportive community that people can depend on. I'm into sharing my skills and art to people who want or need it. I'm a part of a larger artistic community (that spans across the whole world!) and it means a lot to me to be able to share that with not only other artists, but with everyone who appreciates art.
I'm fortunate to live in a more collective-like home, owned by two of my roommates. We do a lot of urban homesteading (keep chickens, bees, we garden), run a CSA (Community Supported Agriculture- a farmshare) out of the house and several of my roommates are in Bread and Puppet, so there's always theatre props around the house. Someone is always making something around here and there's usually a group of people who've come over to help make it happen. That's community! That's our "chosen family," being supportive and enabling each other to keep making great work. So, so, very important!
What are your top tips for others who wish to be creative but feel stuck, don't know where to start, or feel like they aren't 'good enough' to do so?
*_What are your thoughts on the nature and exclusivity/inclusiveness of 'art' — Do you believe everyone can be creative in their own life?
I do believe that everyone has the potential to be creative- it's just a matter of harnessing that energy and going for it. Most people are naturally curious and if you practice anything enough, you have the potential to become a master at it. I'm a true believer in this, but it's sometimes hard to help people understand that this process can take A VERY LONG TIME. It's often not an over night endeavour at all, unless you are naturally inclined and can just automatically pick up new talents. Most people do not fall into this category (including myself), so don't be discouraged and just keep plugging away!
A large, and often overlooked, part of making art is learning the craft. That process can take a long time and you just need to try, and to forge ahead with an open mind. The challenge is to push yourself and your boundaries- try new things! Check out every book in the library and read everything you can about whatever it is that you want to create. Practice using the tools, ask other people about their process and put aside a regular time every day, week, whenever, that you're going to work on it. Just like they say, "Practice makes perfect!"
I once read you claim that it is important to you to make your art financially accessible to everyone. What is your personal motivation for this?
It's less of a claim and is an actual statement on my website: if people desire my work, but don't have the financial means to pay for it, I'm totally open to trade/barter. My life is very much based in this world and when I've been super broke and needed things, I've often traded art/art services for everything from a computer, haircuts, medical services to help building a bike.
While it would be nice to live a life where, "I can be leisurely and just create art, la, la, la…" I'm a total realist and still work "real-life" jobs to pay the bills. I don't want to compromise my art/vision by depending on big ticket spenders to be the only ones with the means to buy my art. I also don't want to cater to that community. I work as an art handler and see on a daily basis how insane the "art world" is. It's often been an alienating and disenchanting environment for me- and I'm someone who is very appreciative of other artist's and their work. Over and over again, I've witnessed how an artist's work can easily change when money becomes too entangled in their process and I can't say that that is something that I'm necessarily attracted to. I do believe that people should be able to live off of their talent and skills, but sometimes things get a little too decadent/bourgeois for my personal tastes.
All that being said, when I'm selling in person, often my prices are sliding scale and everything is negotiable. This can be confusing for some, but it does open up a dialog and challenges why art often has quite a large price tag. Since most of my items are paper, I've printed them myself and I've often already covered my basic costs, I do have the option to be more flexible in this regard. With items where there aren't multiples, yes, prices go up- but it's still usually "affordable" for a one of a kind piece. I truly believe that everyone should be able to have art that they love around them, so if someone is really wanting something that I've made, there's usually some way that they can have it!
I was looking on your website at the photographs from some of your past exhibitions. They look like the most fun exhibitions I've ever seen; so very far removed from the idea of a 'stuffy art gallery exhibition' and completely up my street! Totally jam packed with colour and texture, and often over-spilling from the walls. How much fun have you had exhibiting your work, and how important to you is showing and creating work in a way that is true to you?
All the shows that I've done have taken a lot of energy from me, but have been totally fun to set up. It's really important for me to be able to show the work in a less "formal" environment- meaning that the walls don't have to be flat white, everything hung straight in a line and framed with mat board. I'm scrappy, the work can be spilling everywhere and also, it's just not in my nature to hang only a few items. My shows often are comprised of a whole era of work and have a lot of things going on within them. They're very much representative of my life and personally, so it's really important for me to show in places that I care about in some way or another.
Looking back, it seems that I've shown more in non-profit art spaces, and very rarely in privately owned galleries. I feel like that says a lot about me, my work and the audience that I'm seeking to connect with. I'm a fairly "no-frills" kind of personality and it means more to me to show to people who really appreciate what I'm doing, rather than just to show at the best gallery to "be seen" at an opening, etc. There's a lot of apathy that surrounds the art world and that turns many people off from wanting to learn more about art/artists. My main mission as an artist is to create environments that are inviting and that make people feel inspired, whether that be artistically, politically, etc.
Time management had been hard for the past couple years because I was in a very time-consuming band that toured quite a bit, which made it difficult for me to do my own art as regularly as I wanted/or needed to. Since I recently quit the band, I've been able to immerse myself back into my personal art world and it's a really positive and rewarding feeling. I work part-time during the week and try to come home after work and put in some hours, if I'm not too tired. Days off are usually spent drawing and flushing projects out. It kind of seems like I'm always working? It's a form of entertainment, I guess, since I don't watch TV, go to movies or hangout in bars that often.
What is your favourite part of artistic creativity? Why do you keep on going and doing what you do, and what gives you the incentive/confidence/push to continue making your art?
I'm a maniac, like most people who make art. You get the FEVER sometimes and just can't stop working. You'll stay awake for hours on end, drawing, making- YOU HAVE TO DO IT! Says who? Why? I have no real idea where it comes from, but I can't stop it (and don't want to anyway), so why fight it? I can't turn it off and it's what comes naturally to me, so voila: Here I am! Here is my art! I have a feeling that this is what I'll be doing my whole life and I wouldn't change that for anything in the world. |
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The Real-Life Peaky Blinders Village
Apr 27, 2019 Nikola Budanovic
Since its television premiere in 2013, Peaky Blinders have been hailed as a cult phenomenon. Garnering acclaim both from the critics and the audience, the TV show went on to break records in popularity, giving way to four seasons, with the fifth set to release in 2019.
Rumors of the sixth season already in the making have also been circulating the internet, so fans shouldn't worry about the show running out of material soon.
While we're all eager to see what's next in line for the Birmingham underground, let us take you behind the scenes and introduce the Black Country Living Museum, where some of the most iconic episodes were filmed.
Actors dressed up attend the Peaky Blinders Series Four premiere at Cineworld in Birmingham. (Photo by Aaron Chown/PA Images via Getty Images)
Located in Dudley, West Midlands, England, this open-air living museum consists of reconstructed historic buildings, including over 50 different shops, industrial compounds and residential houses. c
The city of Birmingham suffered greatly during the Blitz and was largely rebuilt after the war, losing many of its authentic locations.
Therefore it is no wonder that the BBC production team behind Peaky Blinders chose this institution for their depiction of Birmingham just after the Great War.
For the purpose of filming, the Museum's Canal Arm section was adapted to serve as scenery for some of the most important locations in the series.
Some of the cast on the set of Peaky Blinders as it shoots its fourth series in Liverpool (Photo by Peter Byrne/PA Images via Getty Images)
For example, the Small Heath Scrap Metal Yard, which includes the Museum's boat collection was re-decorated for three days straight before the filming took place.
Also, the furnaces among which Tommy Shelby takes his iconic stroll were filmed in the Museum's Blacksmith Forge.
The Canal Street Bridge serves as the secret meeting spot for Ada and Freddie Thorne, while the recognizable windows of the blacksmith shop can be seen on several occasions during season one as a gathering point of the Shelby clan.
Black Country Living Museum – The Village Centre – Gregory's General Store Photo by Elliott Brown CC By 2.0
Furthermore, season two of Peaky Blinders gave way to new locations, all situated in the Black Country Living Museum, like the Anchor Forge, integrated into the already existing set of the Scrap Metal Yard owned by the Shelby siblings' uncle, Charlie Strong.
Then there are the cottages and alleyways of the "residential area", and the Dudley Canal Trust, where the scene of Uncle Charlie rescuing wounded Tommy Shelby was filmed.
Chainmakers Yard – Black Country Museum Photo by Ian Hughes CC By 2.0
By 2015, the museum had become a regular contributor to the elaborate Peaky Blinders universe. More and more buildings were included as the storyline progressed into its third season.
Settings like the stables, the Workers Institute (which served as the armored vehicle plant offices), and St. James School, where the suspense-fueled season finale takes place, were also added to the list.
Black Country Living Museum – canal arm – Canal Street Bridge – Old Birmingham Road – St. James's School and Hobbs & Son Restaurant – BHP No. 2 Photo by Elliott Brown CC By 2.0
With the set fully established, season four went to the full extent of adding the most-authentic props, by using the museum's very own tables, chairs, wooden whiskey crates and traveling caravan carts, as well as horses that occupy their stables.
Apart from the horses, the museum provided the boats which play an important part in season four, as well as sets like their lime quarry which acts as an exact replica of the 1926 Dudley limekiln, and the alleyways around their Gregory General Shop.
According to Andrew Lovett, Chief Executive of the Black Country Museum, the staff are always excited when the Peaky Blinders crew announces filming, as there is a real buzz to seeing Hollywood top tier stars like Cillian Murphy, Adrien Brody and Tom Hardy walking onto the set.
Black Country Living Museum – Old Birmingham Road – Humphrey Bros. and A. Harthill Motorcycles Photo by Elliott Brown CC By 2.0
Since they have become regulars, the show's writer, Steven Knight, is no stranger to answering questions for the museum's website. In 2017, he gave an interview in which he stated:
"I love it because the museum is wherever you point the camera, you're still in the historic world, you're not going to suddenly see a motorway or a tower block at all so I love it and it just makes it a very contained environment and if you speak to the actors, they love being here too. Where possible, we try to start [the filming] here at BCLM as it gets everyone in the mood, it gets everyone in the spirit of the time, do you know what I mean?"
Read another story from us: The Real Peaky Blinders Were Just as Savage
Since it was first incorporated into the BBC-produced hit series, it has become a pilgrimage site for tourists who are looking for that specific Peaky Blinders atmosphere. |
وایکینگ ها
6. وایکینگ ها
About a thousand years ago, people known as the Vikings were known and feared throughout Europe. The Vikings were the people of the northern part of Europe, called Scandinavia, which includes the modern countries of Denmark, Norway, and Sweden. The Vikings made their living by farming and fishing. However, by about the year 700, they began making attacks, or raids, upon towns along the coasts of Europe in order to steal the wealth of those towns.
The Vikings made their attacks very quickly and without any warning. They were very cruel to the people of the towns they attacked, and they sometimes destroyed the towns by burning down the buildings. In some parts of Europe, the local kings would often fight against the Vikings. Sometimes, however, the kings would pay the Vikings in order to persuade them not to attack.
Although the Vikings were known as fierce warriors, they also built excellent ships. The wooden Viking ships, called longboats, were able to sail even in very bad weather. Many Viking longboats were about 20 meters long, but some were nearly 90 meters long. The Viking sailors used both sails and oars to move their ships.
The Vikings traveled across a large area. They made many of their attacks in Britain, France, and Germany, but sometimes sailed south, into the Mediterranean Sea. Other Vikings moved to the east, and then south along the rivers of Russia. Some even went as far as the area that is now the country of Turkey. In some places, the Vikings decided to stay. Many Vikings settled in England and in France, and eventually they mixed with the local people. Other Vikings settled in Russia and also mixed with the people there.
The most famous travels of the Vikings were in the Atlantic Ocean. Vikings sailed westward to the island of Iceland where many of them stayed. Today, the people of Iceland are descended from the Vikings. Some Vikings sailed farther west to the cold island of Greenland. Vikings lived in Greenland for several generations, but eventually they died out. Some Vikings had gone even further west and reached the Canadian island of Newfoundland. The Vikings only stayed for a few years, but they had reached North America about 500 years before Christopher Columbus!
Gradually, the Vikings became converted to the Christian religion. They also stopped raiding the towns of Europe, and instead of fighting, they began trading with their neighbors. Today, the Scandinavian countries are known as very peace-loving nations.
7 – ویلیام شکسپیر
raid:
a short attack on a place by soldiers, planes, or ships, intended to cause damage but not take control
-a bombing raid
-an air raid warning siren
raid on/against
The colonel led a successful raid against a rebel base.
launch/carry out/stage a raid
*The army launched several cross-border raids last night.
persuade:
to make someone decide to do something, especially by giving them reasons why they should do it, or asking them many times to do it
persuade somebody to do something
*I finally managed to persuade her to go out for a drink with me.
persuade somebody into doing something
*Don't let yourself be persuaded into buying things you don't want.
try/manage/fail to persuade somebody
*I'm trying to persuade your dad to buy some shares.
attempt/effort to persuade somebody
*Leo wouldn't agree, despite our efforts to persuade him.
little/a lot of/no persuading
*He took a lot of persuading to come out of retirement (=it was hard to persuade him) .
*He was fairly easily persuaded .
fierce:
a fierce person or animal is angry or ready to attack, and looks very frightening
-fierce guard dogs
-She turned round, looking fierce.
warrior:
a soldier or fighter who is brave and experienced – used about people in the past
*a noble warrior
sail:
a large piece of strong cloth fixed onto a boat, so that the wind will push the boat along
a yacht with white sails
hoist/lower the sails (=put the sails up or down)
westward:
towards the west
*The ship turned westward, away from the coast.
ᅳwestward adjective
westward flights
be descend from somebody/something
be descended from somebody
to be related to a person or group who lived a long time ago
*She claims to be descended from Abraham Lincoln.
*The people here are descended from the Vikings.
to disappear or stop existing completely
*The wild population of koalas is in danger of dying out.
*some animals are in danger of dying out.
.این متن در تاریخ 22 آبان 1401 توسط مشاور سلام زبان ویرایش شد.
چرا فروش را دوست دارید؟
مکالمه انگلیسی با موضوع برنامه ریختن برای در تماس بودن با کسی
مکالمه انگلیسی در مورد خرید کادو یا هدیه |
New apprentice Ewan is really turning the heat up in Bolton
Published: Tuesday, 14th Jan 2020
G Taylor Plumbing & Heating's newest recruit, Ewan McKendrey, joins them as one of the hottest new prospects benefiting from Bolton's apprentice grant for small and medium size businesses.
Ewan joins a scheme that gives employers in Bolton the chance to develop their workforce by taking on a new apprentice or upskilling existing staff thanks to the #SeeDifferent Apprenticeship Support offer which includes tailored business support for local SME's as well as a grant.
Up to £3,000 of funding is available to any SME that creates a new job opportunity by taking on an apprentice. This could be a young person or adult recruit and businesses are recommended to apply early before the end of February as places are limited.
The grant funding, provided by the Greater Manchester Combined Authority (GMCA), is designed to encourage even more local businesses to benefit from taking on an apprentice and make a real positive addition to their workforce.
Bolton Council's Deputy Leader Martyn Cox said: "We have an excellent record in Bolton when it comes to taking on and developing apprentices, and the SME support grant is a great opportunity to build on that success. An experienced and well-trained workforce is vital for the future of the local economy and we are particularly keen to engage with sectors where we know there is a skills gap. GMCA has awarded Business Bolton the second highest amount for the SME support grant and we are aiming to see up to 50 new quality apprenticeships created in Bolton."
Ewan, 17 years old from Blackrod, said: "I was delighted to be offered an apprenticeship at G Taylor Plumbing & Heating. I'm really enjoying the course at Bolton College and my manager spends quality time sharing his knowledge and skills with me on the job. My aim is to become a fully qualified Plumbing and Heating Engineer, eventually becoming as good as my manager."
Graham Taylor, Owner of G Taylor Plumbing & Heating said: "I was keen to offer an apprenticeship opportunity to a young person within the area, giving them a chance to train in their chosen profession. The apprenticeship grant was a real incentive which helped cover additional costs associated with employing an apprentice such as tools, uniform, PPE and insurance. Applying for the grant was simple and straightforward as Bolton Council and Bolton College helped throughout the whole process."
Lory Povah, Bolton Business Project Officer at Bolton Council said: "The apprenticeship grant supports businesses with the cost of recruiting individuals into employment through the apprenticeship programme. For many businesses, the additional support provided is a big incentive when deciding whether to employ an apprentice."
Full criteria and grant applications are available online.
Additional GM support includes the levy matching service which allows Levy donors to support local SMEs to cover the cost of training an apprentice from level 2 to degree and masters. Wider business support, information and advice is also available.
Also, look out for details of the 'Bolton means Business #2020' event, 25th February at Bolton Town Hall, an opportunity to access front line business support services under one roof.
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« There is Forgiveness After Abortion. Do Not Lose Hope!
Putting God first is the most important thing a person can do. Making Christ ones focus is the only way to live. However, we should do it because we love God and not for any other reason.
Now, there are some who claim that those who have financial wealth and who are surrounded by successes are so because they put God first, and then God blessed them.
Others believe that God blesses whom he chooses for His own purpose and reason. What do you think? The podcast above will share some insights with you about this important topic. |
HOME > Exhibitions > Exhibitions Schedule
The Self-Portraits of YASUMASA MORIMURA: My Art, My Story, My Art History
April 5 - June 19, 2016
This marks the first large-scale solo exhibition that the preeminent Japanese contemporary artist Yasumasa Morimura (b. 1951) has ever held at a museum in his hometown of Osaka. Since showing Portrait (Van Gogh) in 1985, Morimura has focused on making photographic works in which he dresses up as protagonists from masterpieces and other notable figures. The exhibition will consist of 132 items, including 50 new works (a full-length video piece with a running time of approximately 70 minutes among them), never-before-shown works, and important works from the past.
The Posters of Ikko Tanaka
The Nara-born graphic designer Ikko Tanaka (1930-2002) left a huge mark on postwar visual culture in Japan. This exhibition introduces the unique appeal of Tanaka's designs through a select group of his posters.
In this exhibition, we introduce a group of works from our collection.
The Great Terracotta Army of China's First Emperor
July 5 - October 2, 2016
Emperor Qin Shi Huang, who established the first unified dynasty in China in 221 BC, created his own mausoleum and filled it with a Terracotta Army consisting of some 8,000 ceramic figures. By assembling the gems of these historical relics, which were discovered in 1974, this exhibition sets out to capture the "eternal world" envisioned by China's first emperor.
Venetian Renaissance Paintings from the Gallerie dell'Accademia, Venice
This exhibition presents a group of outstanding works from the Gallerie dell'Accademia, a museum that was founded in 1817 to showcase the collection of a Venetian art academy. Viewers are sure to enjoy this special opportunity to encounter a wide range of works by renowned masters such as Giovanni Bellini, Carpaccio, Tiziano, Tintoretto, and Veronese.
THE PLAY since 1967: beyond unknown currents
This will be the first museum exhibition devoted solely to the work of THE PLAY, a group that has been active in the Kansai area since 1967. This one-of-a-kind band of artists has continued to perform actions without any lasting form for close to 50 years. These include floating down a river on a polystyrene raft, traveling around with a sheep, and waiting for lightning to strike. The exhibition will present the entire range of the group's activities using printed matter, video documents, and life-size materials.
LUCAS CRANACH THE ELDER: 500 Years of the Power of Temptation
This is the first exhibition devoted to the entire career of Lucas Cranach the Elder (1472-1553), a preeminent German Renaissance painter, to ever be held in Japan. While depicting Venus, Salome and other female figures from classical narratives with an unusual eroticism, Cranach's countless "seductive images" exerted a notable influence on later generations of artists, as seen here in approximately 100 works.
January 28 – April 9, 2017
Born in Brussels in 1927, Pierre Alechinsky remains at the forefront of the art world. After helping form Cobra, a group of artists who explored new frontiers in art, in 1948, Alechinsky combined figurative and abstract elements to create attractive paintings that were strongly inspired by Japanese calligraphy. This retrospective, the artist's first in Japan, presents a spectacular view of this alluring body of work. |
TelevisionAnimation
The Future Is Adorable in Cleopatra in Space, DreamWorksTV's New Sci-Fi Show for Kids
Cheryl Eddy
That cat did NOT come here to play.
Image: DreamWorks TV
There's a lot we don't know about ancient Egyptians, but a new animated series dares to wonder: What would Cleopatra have been like if she'd been able to time travel? Cleopatra in Space, based on Mike Maihack's graphic novels, imagines the historic figure as a sassy teen who happens to be "the savior of the galaxy."
DreamWorks TV just dropped the first trailer, featuring a haughty cat guardian, at least one toilet joke, sinister robots, elaborate handshakes, friendly and not-so-friendly aliens, space battles, and more—all aimed at kids, but the show looks like a fun ride for geeky grown-ups too.
The Egyptian pulp adventures of "Cleopatra in Space"
The title says it all. A teenaged Cleopatra VII has been zapped to a distant future, one filled…
Cleopatra in Space hits Peacock on April 15.
Friends, The Office, and Ads: Details on NBC's Peacock Streaming Service
NBCUniversal has been teasing out details about its forthcoming streaming services for months, but…
io9 News Editor
lightninglouie
Sure I'm not the only one disappointed that this isn't an animated version of this timeless classic: |
What Is The Recipe For Sponge Cake
August 2, 2022 by Saara
What are the 4 types of sponge cakes?
4 Main Types of Sponge Cakes in Baking Biscuit (Pronounced 'bees – kee' = French) This type of sponge cake contains both the egg white and yolks in the recipe. Genoise. Angel Food Cake. Chiffon Cake.
What are the main ingredients used for variety of sponge and cakes?
A basic sponge cake is composed of only four essential ingredients: Cake flour. Eggs (whole or yolks) Granulated sugar. Salt.
What is the secret to sponge cake?
The recipe relies on warming the whole eggs (the fresher the better) while they are being whipped, so they are fluffed up with as much air as possible. "The air you beat into the eggs is the raising agent," Belinda says. "You rely on the air you beat into the egg and sugar mixture to give it the rise.".
How do you make cake soft and spongy?
I promise you SOFT & MOIST cakes! Use Cake Flour. Reach for cake flour instead of all-purpose flour. Add Sour Cream. Room Temperature Butter / Don't Over-Cream. Add a Touch of Baking Powder or Baking Soda. Add Oil. Don't Over-Mix. Don't Over-Bake. Brush With Simple Syrup/Other Liquid.
Is a sponge the same as cake?
Basically, a sponge is a cake made very light by whipping the egg and carefully folding in the flour mixture.
What is sponge flour?
Supreme Sponge Flour is the only flour that is specially made for sponge making. This means it can absorb more moisture than regular self-raising flours. The end result is sponges that are very soft, light and even-textured – perfect for when you want to bake something that's a slice above the rest.
What are the 5 main ingredients in cake?
Besides chocolate, almonds, canned and glazed fruit used in numerous recipes, the main ingredients for baking almost every type of cake are flour, sugar, eggs, fat, and leavening. These are must-have baking ingredients, and the baking cake itself is impossible without them.
What is the most important ingredient in a cake?
Cake Flour Flour is perhaps the most important ingredient in a cake mix, as it creates the basic structure of the entire cake. A major component of flour is gluten, which is a protein that provides a way for the cake to bind to itself. The gluten creates a web that traps and seals air bubbles into the cake mix.
What makes a good sponge?
The magic of a light, fluffy sponge with tender crumb is to incorporate as much air in as possible. After all, it is the entrapped air that expands in the oven, creating the magic of the cake rising. That can happen after it's out of the oven!.
Why is my sponge cake hard?
If the butter or spread is too soft, it becomes oily and the resulting cake heavy and dense. If the butter is too cold, it takes too long to incorporate into the sugar and eggs and can cause over-mixing, which in turn means a heavy cake.
Why is my sponge cake not fluffy?
This could be due to the ingredients or the oven. Check you put the right amount of wet ingredients in, e.g. using large eggs (if asked for) rather than small and measuring liquids out properly. Similarly, you don't want to put too much of any dry ingredients in, as these absorb moisture.
What makes a cake rise?
Most cakes will call for a leavening agent like baking powder or baking soda. These create the bubbles you need for the cake to rise. If the flour you use is self-raising, it already has a leavening agent in it. Make sure your butter is room temperature, and beat the butter and sugar together until properly creamed.
What does milk do in a cake?
Milk is a nutrient-rich white fluid secreted from the mammary glands of female mammals. In baking, it moistens batter or dough, and adds protein, color and flavor to baked goods. The most common form of milk in baking is non-fat dry milk (NFDM), which is dehydrated skim milk.
What happens if I put too many eggs in a cake?
Although eggs are an essential ingredient in cake baking, adding too many of them can make for a baking disaster. However, if you add too many eggs to your cake batter, then your end result could be spongy, rubbery, or dense. Like flour, eggs build structure in a cake, so they make a cake batter more bonded and dense.
What are the 3 types of cake?
Yellow Cake. Also called yellow butter cake, yellow cake is the quintessential vanilla-flavored cake that's beloved for layered birthday cakes and casual snacking cakes alike. White Cake. Pound Cake. Sponge Cake. Chiffon Cake. Angel Food Cake. Devil's Food Cake. Red Velvet Cake.
Why is cake called sponge?
The cake is leavened by air only. Chemical agents like baking soda or powder are not used. It's not terribly flavorful but it's foam-like texture can absorb a great deal of sugar syrup flavored in anyway you desire. Hence the term "sponge".
What is the best type of cake?
Top 50 cakes Banana cake with cream cheese. Use up over-ripe bananas to create a crowd-pleasing afternoon-tea cake. New York baked cheesecake. Chocolate coconut cake. Carrot and walnut cake. Lemon yoghurt cake with syrup. Chocolate mud cupcakes. Flourless orange cake. Vanilla cupcakes.
What type of cake is sponge cake?
Sponge cake is a light cake made with egg whites, flour and sugar, sometimes leavened with baking powder. Sponge cakes, leavened with beaten eggs, originated during the Renaissance, possibly in Spain.
Is butter cake and sponge cake the same?
Butter cakes on the other hand contain fat from butter, margarine or shortening and they rely on leavening agents such as baking powder or baking soda. The Sponge Cake is a foam cake. The Pound Cake is a butter cake. Sponge Cakes are made with basically three main ingredients – eggs, sugar and flour.
What does sponge cake taste like?
Sponge Cake tends to have a tasteless and not dominant taste, but has a light texture and is not fragile like butter cake. Therefore, sponge cake is often used in making cakes with layered layouts or roll spoons.
What Is The Lightest Sponge Cake Recipe
Does Sponge Cake Need Baking Powder
Does Sponge Cake Require Baking Powder
How To Make Sponge Cake Recipe
How To Bake Sponge Cake Recipe
Why Does Sponge Cake Shrink After Baking
What Is Genoise Sponge Cake
What Is Victoria Sponge Cake
What Is A Sponge Cake
Can I Double A Sponge Cake Recipe
Can You Double A Sponge Cake Recipe
How To Make Caribbean Sponge Cake Recipe |
Identify correct and incorrect statements or examples about application exceptions and system exceptions in entity beans, session beans, and message-driven beans.
Bean method runs in the context of the caller's transaction. This case may happen with Required, Mandatory, and Supports attributes. APPLICATION exception re-throw APPLICATION exception Receives APPLICATION exception. Can attempt to continue computation in the transaction, and eventually commit the transaction (the commit would fail if the instance called setRollbackOnly()).
LOG the exception or error (to notify SYSTEM Administrator).
MARK the transaction for rollback.
Throw javax.transaction. TransactionRolledbackException to REMOTE client; throw javax.ejb. TransactionRolledbackLocalException to LOCAL client.
Receives javax.transaction. TransactionRolledbackException or javax.ejb. TransactionRolledbackLocalException Continuing transaction is fruitless.
Bean method runs in the context of a transaction that the Container started immediately before dispatching the business method. This case may happen with Required and RequiresNew attributes. APPLICATION exception If the instance called setRollbackOnly(), then rollback the transaction, and re-throw APPLICATION exception. Otherwise, attempt to COMMIT the transaction, and then re-throw APPLICATION exception. Receives APPLICATION exception. If the client executes in a transaction, the client's transaction is NOT marked for rollback, and client can continue its work.
Throw RemoteException to REMOTE client; throw EJBException to LOCAL client.
Receives RemoteException or EJBException. If the client executes in a transaction, the client's transaction MAY or MAY NOT be marked for rollback.
Bean method runs with an UNSPECIFIED transaction context. This case may happen with the NotSupported, Never, and Supports attributes. APPLICATION exception re-throw APPLICATION exception Receives APPLICATION exception. If the client executes in a transaction, the client's transaction is NOT marked for rollback, and client can continue its work.
Bean is STATEFUL or STATLESS Session. APPLICATION exception re-throw APPLICATION exception Receives APPLICATION exception.
MARK for rollback a transaction that has been started, but not yet completed, by the instance.
Table 12.3. Handling of exceptions thrown by a method of a message-driven bean (MDB) with container-managed transaction demarcation (CMT).
Rollback the container-started a transaction.
Table 12.4. Handling of exceptions thrown by a method of a message-driven bean (MDB) with bean-managed transaction demarcation (BMT).
LOG the exception or error to bring the problem to the attention of the System Administrator.
If the instance is in a transaction, mark the transaction for ROLLBACK.
, or the javax.ejb.NoSuchObjectLocalException to a local client. |
Contextualization and Syncretism: Navigating Cultural Currents
by Gailyn Van Rheenen, ed.
Discussions of contextualization among evangelicals inevitably provoke a niggling question: How far can we go in making the gospel relevant within human cultures and contexts without giving away too much of the gospel in the process?
William Carey Library, 1605 E. Elizabeth Street, Pasadena, CA 91104, 2006, 343 pages, $14.99.
—Reviewed by Dean Flemming, lecturer in New Testament and Intercultural Communication, European Nazarene College, Büsingen, Germany.
Discussions of contextualization among evangelicals inevitably provoke a niggling question: How far can we go in making the gospel relevant within human cultures and contexts without giving away too much of the gospel in the process? In practice, one person's contextualization is often another person's syncretism.
The contributors to number thirteen in the Evangelical Missiological Society series have done us a valuable service in tackling such issues head-on. Although the title of the study is Contextualization and Syncretism, most of the chapters spotlight the latter. If the book's editor is right that the study of syncretism has been a major gap within missiological literature—and I believe he is—then this emphasis is surely appropriate.
Fifteen essays by evangelical missiologists offer the reader a rich variety of perspectives on syncretism and its relationship to contextualization. The book has three parts: two foundational sections—Defining the Issues and Theological Reflections on Syncretism—followed by nine case studies that explore the subject from different angles.
Syncretism is a hard term to pin down, and it is not surprising that no single understanding of it operates throughout the book. Some of the essays focus on accommodation with non-Christian religious worldviews and practices. Others stress the blending of Christian faith with the beliefs and behaviors of the dominant culture. Van Rheenen, for example, calls for Western churches to overcome the syncretisms of modernity, often embraced by evangelicals, if they hope to authentically contextualize the gospel for a postmodern world. One of the more stimulating case studies argues that syncretism arises not only from outside influences, but also from within the Christian faith itself. Specifically, it describes how legalism within the Romanian evangelical Church has morphed into syncretism by substituting the gospel of grace with measuring up to church rules and traditions.
The authors are not afraid to wrestle with prickly issues, such as whether followers of Jesus who remain within the Muslim community and continue Islamic practices are contextualizing or syncretizing the faith. Likewise, Scott Moreau raises important questions about the extent to which certain forms of spiritual warfare might be syncretistic.
As is usually the case in a collection of essays, there is some unevenness in the quality of the contributions. In addition, the biblical and theological basis for our understanding of syncretism could have used more attention. Nevertheless, this book makes a significant and needed contribution to the Church's reflection on contextualization and syncretism. It will prove a useful resource, not only to cross-cultural workers, but to anyone concerned with recognizing tendencies toward syncretism, wherever they may be found.
Check these titles:
Arnold, Clinton E. 1996. The Colossian Syncretism: The Interface between Christianity and Folk Belief at Colossae. Grand Rapids, Mich.: Baker.
Flemming, Dean. 2005. Contextualization in the New Testament: Patterns for Theology and Mission. Downers Grove, Ill: InterVarsity Press.
Gilliland, Dean S. ed. 1989. The Word Among Us: Contextualizing Theology for Mission Today. Dallas, Tex.: Word.
Copyright © 2007 Evangelism and Missions Information Service (EMIS). All rights reserved. Not to be reproduced or copied in any form without written permission from EMIS.
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An interesting stretch awaits the Flyers
By Jason BroughJan 2, 2017, 11:53 AM EDT
In the wake of a 10-game winning streak, the Philadelphia Flyers have hit a rough patch, with just one victory in their last seven.
Granted, this would be more of a concern if they hadn't played so well Sunday night in Anaheim, where they lost 4-3 in a shootout.
But the Flyers have lost ground all the same. They're now just three points up on Tampa Bay for the second wild-card spot, and Toronto, Florida and Carolina are lurking back there too.
Last night, the Flyers put 54 shots on Ducks goalie John Gibson, plus one more for good measure on Jonathan Bernier.
"We deserved better, we played a helluva hockey game," head coach Dave Hakstol said, per CSN Philly. "For the most part, our execution was pretty good and we had a lot of quality chances. Couldn't get an extra one to go in."
That's hockey. During their 10-game run, the Flyers won a couple of games they easily could've lost. In the end, these things have a way of evening out.
"Put up 55 shots, you're going to win most games," said d-man Michael Del Zotto. "It's unfortunate we didn't get the two points. We've been in a little bit of a lull, but we keep playing like that, we'll be successful."
The Flyers return home to face the Rangers Wednesday (on NBCSN). Their next game after that is a big one, with the Lightning paying a visit Saturday afternoon. And after that, they play seven of their next 10 on the road, where they're a modest 8-9-2 so far this season.
If there's one area where Hakstol's group could improve, it's defensively. At 2.97, the Flyers' goals-against average ranks 25th in the NHL. Last season, when they made the playoffs, it finished 12th at 2.26.
Obviously, some (or maybe much) of that falls on the goaltending. It was great last season; it's been disappointing this season, save for the odd solid stretch from Steve Mason (14-12-5, .904).
In fact, Hakstol's decision to go with Mason against the Ducks was called into question by reporters.
From CSN Philly:
Flyers coach Dave Hakstol opted to play Steve Mason, who had a bruised left forearm from the Sharks loss, rather than go with rookie Anthony Stolarz, who was completely healthy and deserved the shot after 40 impressive minutes in relief during the 2-0 defeat in San Jose.
It's almost seemed a panic move to salvage two points from the three-game road trip. This was Mason's 21st start in 23 games.
When pressed as to why not allow Stolarz to play, Add Contact FormHakstol said, he "gave it consideration."
"He played very well coming in the other night," Hakstol said. "He did an outstanding job. That being said, Mase has been the guy who has done a great job for us. I didn't give it a whole lot of second thought."
With Michal Neuvirth getting close to returning from his knee injury, it will be interesting to see how Hakstol deploys his netminders. Neuvirth was not playing well before he got hurt. His record was good, at 4-2-0, but his save percentage was a ghastly .859.
If Neuvirth continues to struggle when he's healthy, it's either going to be a very busy stretch drive for Mason, or Stolarz could be called back to make a few starts.
Stolarz, 22, is 2-0-0 with a .938 save percentage for the Flyers. He also had great numbers in the AHL (6-2-0, .927) before he was recalled.
Related: Stolarz making case to be with Flyers full-time next season
Tags: Anthony Stolarz, John Gibson, Jonathan Bernier, Michael Del Zotto, Michal Neuvirth, Steve Mason |
Rosie O'Donnell and her daughter are in a better place.
Months after the 56-year-old actress' rep told ET that that the two had reconnected following their public spat, O'Donnell is ready to share more about their relationship.
While co-hosting Friday's episode of The Talk, O'Donnell revealed that her and Chelsea's tough times have brought them closer together.
The former View co-host and her daughter's feud became public after Chelsea was reported missing by O'Donnell in 2015. She was later found at the house of another man. The two exchanged barbs throughout the years, and in a September 2017 interview with the Daily Mail, Chelsea said she was pregnant, expecting her first child with husband Nick Alliegro, and that she didn't want O'Donnell to be a part of her baby's life. Chelsea said she and O'Donnell didn't "have a relationship anymore" and she didn't think "it [could] be mended."
In June, however, O'Donnell's rep told ET that the mother and daughter had reconnected, and just days later, ET learned that Chelsea had filed for separation from Alliegro. The pair's split came following social media posts indicating that Chelsea is pregnant with her boyfriend, Jacob Bourassa.
During her appearance on The Talk, O'Donnell also opened up about another daughter, Dakota, and how her 2016 diagnosis with autism influenced the actress' battle with panic attacks.
"It's been worse since my daughter got diagnosed with autism. I have a 5 and half year old, and the first day that I was in the meeting and they said, 'No, she does have autism'… I got slop sweat like William Hurt in Broadcast News. I was like dripping and my heart was going," O'Donnell shared. "It all revolves around trying to protect her from being vulnerable and knowing that there's only so much that I can do as a mom."
See more on O'Donnell in the video below. |
Racerback Pullover Jersey with offset shoulder panels and collar designed to keep you feeling cool and fresh during the heat of the game. Available in solid colors or fully sublimated moisture wicking performance fabric. Made from the highest quality U.S. Made Materials for increased durability. |
SongsTube Reba McEntire
Reba McEntire "Angel In Your Arms"
About "Angel In Your Arms"
Reba McEntire is the debut studio album by American country music singer Reba McEntire. It was released on August 15, 1977, by Mercury Records. It featured her first single "I Don't Want to Be a One Night Stand", as well as a cover of the Jennifer Warnes hit "Right Time of the Night", and the Hot hit "Angel in Your Arms". Three of the album's singles cracked the Billboard Country charts, but the album was not a commercial success, failing to chart.McEntire signed with Mercury in November 1975 under producer Glenn Keener, who recorded one song with her in January 1976 in Nashville: "I Don't Want to Be a One Night Stand". Keener laid a sophisticated production style on the song, with lush strings and vocal chorus. "I Don't Want to Be a One Night Stand", was released as a single, climbing the country charts in May 1976 to peak at number 88. Coincidentally, McEntire married in June, 1976 and graduated from college in December, 1976. Mercury fired Keener during a period of downsizing, and McEntire was shifted to producer Jerry Kennedy. Kennedy supervised further recording sessions in September 1976 and April 1977. The second single, "(There's Nothing like the Love) Between a Woman and a Man", peaked at number 86 in March 1977, and the third single, "Glad I Waited Just For You" charted at number 88 in August at the same time as the album was released. None of these singles nor the album provided McEntire with royalty income—her advances and the label's production expenses were greater than sales receipts. McEntire saw her first royalty payment from the album in 1988, years after she left Mercury.In a retrospective review, MusicHound criticized the album, saying this was "the sad sound of a naive 22-year-old singer overwhelmed by clunky, reverb-heavy production that employs backing singers with the subtlety of the cavalry." AllMusic praised the album, writing that it "rewards" the listener, even though fans of McEntire's contemporary sound would likely consider it too old-fashioned. Against her wishes, McEntire's next five albums with Mercury continued this heavy style of production. She began to take control of her sound after signing with MCA in 1983, delivering her most personal statement, My Kind of Country, in 1984.Reba McEntire was re-issued on CD and cassette tape in 1993 and released digitally in 2012.
Top songs by Reba McEntire
Angel In Your Arms
Buying Her Roses
500 Miles Away From Home
Cathy's Clown
The Night The Lights Went Out In Georgia
All This Time
For My Broken Heart
Why Haven't I Heard From You
Baby's Gone Blues
The Greatest Man I Never Knew
The Heart Won't Lie (duet With Vince Gill)
How Was I To Know
A New Love
How Does It Feel To Be Free
Close To Crazy
Does He Love You
He Wants To Get Married
I Don't Want To Be A One Night Stand
I Heard Her Crying
How Blue
Everything I'll Ever Own
I Sacrificed More Than You'll Ever Lose
I Know I'll Have A Better Day Tomorrow
I Know How He Feels
What If It's You
I Don't Want To Mention Any Names
Have I Got A Deal For You
Glad I Waited Just For You
A-Z SONGS by Reba McEntire
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I am willing to work with any parent to help their child in there development. |
90 Day Count Down for I&M Canal Passport Contest
90 Day Count Down for…
Collect Stamps for Prizes by October 31
Dust off your passport! Search for an exciting new place, then get out and enjoy the I&M Canal National Heritage Area (IMCNHA)! But where could you explore? August 3rd marks 90 days left until the end of the IMCNHA's 35th Anniversary Passport contest. Visit 35 historic, natural, and cultural sites and get your passport stamped for prizes and a drawing. Gather friends and family to complete this challenge.
The90-day countdown will be marked on the Facebook page for the I&M Canal National Heritage Area, facebook.com/iandmcanal with suggested schedules to maximize your fun as well as summer and fall special events, activities, and festivals to combine with your exploration. As you travel, share your passport adventures on social media using the hashtag #IandMCanal.
Pick up a free passport at any of the participating locations (see below) or contact the Canal Corridor Association to have one mailed. There is no cost to participate in the program. Return your passports to the Canal Corridor Association at 754 First Street, LaSalle, IL 61301 to claim your prizes. Prizes will be processed after the close of the contest. Learn more about the passports, sites, and contest rules at iandmcanal.org/passport. Have fun and explore!
The I&M Canal Passports were made to celebrate the 35th Anniversary of the I&M Canal National Heritage Area's creation on August 23, 1984. The contest started on the anniversary in 2019 and was scheduled to end in 2020. With the interruptions of the past year, the contest has been extended to October 31, 2021 with the grand prize to be drawn November 12. The contest is administered by the Canal Corridor Association, the nonprofit local coordinating entity for the IMCNHA.
The Grand Prize Sweepstakes will have one winner receive a private party for up to 70 people on "The Volunteer," a gentle journey on the mule-pulled I&M Canal Boat in LaSalle. The contest and prizes are sponsored by Robin Malpass & Associates, Inc of Chicago. Collect 20 stamps to get Level I prizes, including the fabulously illustrated book "Passage to Chicago: A Journey on the Illinois & Michigan Canal in the Year 1860" by illustrator and historian Tom Willcockson, coupons for the I&M Canal Bike Share, and two entries into the Grand Prize Sweepstakes. Collect all 35 stamps to get Level II prizes, including One Limited Edition I & M Canal National Heritage Area 35th Anniversary Passport T-shirt, one $10 Dining Certificate for Lock 16 Café, and three Entries into the Grand Prize Sweepstakes.
The 35 participating sites are:
McCormick Bridgehouse & Chicago River Museum • 376 N Michigan Ave., Chicago, IL 60601
Canal Origins Park • 2701 S. Ashland Ave., Chicago, IL 60608
Chicago Maritime Museum • 1200 W. 35th St., Chicago, IL 60609
National Museum of Mexican Art • 1852 W. 19th St., Chicago, IL 60608
DuSable Museum of African American History • 740 E. 56th Pl., Chicago, IL 60637
Pullman National Monument • 11141 S. Cottage Grove Ave., Chicago, IL 60620
Little Red Schoolhouse Nature Center • 9800 Willow Springs Rd., Willow Springs, IL 60480
James at Sag Bridge • 10600 S. Archer Ave., Lemont, IL 60439
Old Stone Church & Lemont Area Historical Society • 306 Lemont St., Lemont, IL 60439
Historic Downtown Lemont • 112 Stephen St., Lemont, IL 60439
Isle la a Cache Museum • 501 E. Romeo Rd., Romeoville, IL 60446
Will County Historical Museum & Research Center • 803 S. State St., Lockport, IL 60441
The Gaylord Building • 200 W. 8th St., Lockport, IL 60441
Illinois State Museum, Lockport Gallery • 201 W. 10th St., Lockport, IL 62706
Historic Downtown Lockport • 201 West 10th St., Lockport, IL 62706
Joliet Area Historical Museum • 204 N. Ottawa St., Joliet, IL 60432
Joliet Architecture & Art Walking Tour Self-Guided Tour • Joliet, IL 60432
Intersection of Rt 66 & Lincoln Hwy • Cass Street & Chicago Street, Joliet, IL 60432
Old Joliet Prison • 1125 Collins St., Joliet, IL 60432
Four Rivers Environmental Education Center • 25055 W. Walnut Lane, Channahon, IL 60410
USDA Forest Service-Midewin National Tallgrass Prairie • 30239 S. State Route 53, Wilmington, IL 60481
Carbon Hill School Museum • 875 N. Second St., Carbon Hill, IL 60416
Goose Lake Prairie State Natural Area • 15010 N. Jugtown Rd., Morris, IL 60450
Historic Downtown Morris • Liberty St. & Illinois Ave., Morris, IL 60450
Grundy County Historical Museum • 510 W. Illinois Ave., Morris, IL 60450
Seneca Area Heritage Museum/Hogan Grain Elevator • 431 N. Main St., Seneca, IL 61360
Reddick Mansion • 100 W. Lafayette St., Ottawa, IL 61350
First Lincoln Douglas Debate Site • 1028 LaSalle St., Ottawa, IL 61350
LaSalle County Historical Society • 101 E. Canal St., North Utica, IL 61373
Illinois Waterway Visitor Center • 950 N. 27th Rd., Ottawa, IL 61350
I & M Canal Boat • Route 351 & I&M Canal, LaSalle, IL 61301
Hegeler Carus Mansion • 1307 7th St., LaSalle, IL 61301
Historic Downtown LaSalle • 754 1st St., LaSalle, IL 61301
I & M Canal Visitor Center • 754 1st St., LaSalle, IL 61301
Westclox Museum • 350 5th St., Peru, IL 61354
Author: imcnha
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Ottawa Canal Association
Caring For The I&M Canal
The Historic Pullman Foundation |
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A configuration interface writen in Go for general use case
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Kazakh Opponent Of Russian Rockets Charged With Inciting Hatred
March 10, 2015 10:01 GMT
By RFE/RL's Kazakh Service
ASTANA -- A Kazakh activist and blogger who has protested against launches of Russian Proton rockets from the Baikonur Cosmodrome has been detained and charged with a hate crime.
An Astana City Court spokeswoman told RFE/RL on March 10 that Saken Baikenov was sent to pretrial detention for two months late on March 9. He was charged with inciting social hatred.
Proton rockets have exploded several times in recent years during failed launches from the Russian-leased facility in central Kazakhstan, contaminating the area with toxic hepthyl fuel.
Baikenov is a prominent opponent of Proton launches and has taken part in several anti-Proton protests in Almaty and the capital, Astana, in recent months.
His wife, Qarlyghash Myrzadilova, told RFE/RL that police had taken Baikenov from their Almaty apartment on March 7.
Baikenov's lawyer, Tolegen Shaiqov, told RFE/RL that he was not at the court hearing on March 9 and had not yet been able to read the case documents.
RFE/RL's Kazakh Service
RFE/RL's Kazakh Service offers informed and accurate reporting in the Kazakh and Russian languages about issues that matter in Kazakhstan, while providing a dynamic platform for audience engagement and the free exchange of news and ideas.
[email protected] |
James Robinson continues his inaugural run with DC's biggest and brightest this month in Justice League, and if you haven't kept up with the first two issues I'll save the elaboration: skip it. Frankly, I can't imagine this issue entertaining anyone who does manage to make sense of it, but the vast majority of readers who haven't memorized the official DC Comics Encyclopedia (2010 edition) will find JLA #43 an impossible riddle to comprehend.
A disjointed, confusing fight scene right out of the gates doesn't exactly set a pleasant opening tone. Over the course of six splash pages, we're expected to keep up with four competing internal narrations, some of which don't even contain a single finished thought, terribly generic spoken dialog, a leap or two through time, a kaleidoscope of brightly colored special effects and a mashup of compositions and characters so busy they'd make George Perez throw away his toolbox and curse the industry. Robinson's idea is to show anarchy, a squad in the heat of the battle with no interest in fighting together as a single unit. It works too well, not just spoiling the team's chemistry but the narration too. Those six pages may as well have been blank.
From there, the story embarks on a streak of unprovoked, unexpected leaps through time and space without so much as a nod of the head or a complete sentence to prepare its readers. More than once, a central character is right in the middle of explaining a crucial plot point when the story, like a reckless drunken driver with a death wish, yanks the wheel in a different direction and we race off to another gaudy, overwritten dead end of a plot device. A telepath would have a tough time figuring out what Robinson was thinking here.
Mark Bagley's artwork doesn't do much to ease the pain. Perhaps feeling the pressure to deliver on such a large stage, Bagley overdoes it in every single panel. There's too much detail, too many moving pieces, too many panels to convey too large of an idea. Even in the aforementioned splash pages that launch the issue, there's just too much going on to get a clear idea of what's actually happening. Granted, a large part of that is due to Robinson's compulsion to include as many characters on a single page as possible, (and the wealth of narration boxes don't make things any easier) but it's not the writer's job to simplify and organize a layout. The best artists can abridge precisely this kind of a complicated scenario into easy-to-digest scenery, but Bagley somehow manages to make it even worse. He's just as much to blame for this issue being a mess as Robinson is… maybe more so.
Considering the experience and notoriety of the creators involved with this story, Bagley and Robinson's run with JLA can be considered nothing less than a monumental disaster. It's so concerned with playing by the rules, including every single character remotely involved and precisely defining its spot in present continuity that it completely forgets to tell a story that's moderately interesting. This is impossible to comprehend, frustrating to attempt and, overall, a terribly maddening experience from cover to cover. It's total crap. Skip it and set fire to anyone you see leaving the store with a copy under their arm. They'll thank you for it later. |
Q: In which case will the physical size of a file be smaller than the logical size? Usually, the physical size of a file is larger than the logical size. I was wondering whether there was any case for which the reverse is true. There could be certain files, for which physical size would be less than the logical size.
A: The most common case where this is true is in sparse files. These files are physically smaller than their logical size, because not all of their extents are allocated — there are "holes" in the file.
Note that not all filesystems support sparse files. (In particular, FAT does not.)
A: With a modern file system like ZFS, there are three ways that allow the physical size of a file to be smaller than its logical one:
*
*Sparse files, where data blocks containing only zeroes are not physically stored. This is supported by most current file systems but excluding FAT and HFS+.
*Compressed files, where the OS is using a compression algorithm to store the data in less than its original size. ZFS, btrfs and HFS+ are implementing data compression.
*Deduplicated files, where blocks pertaining to different files but having the very same content are stored only once. This is implemented at least by ZFS, btrfs, vxfs and NTFS VHDs (Windows Server 2012.)
Snapshots and clones are also techniques that allow multiple files having a common origin but a diverging content to have only their difference stored, leading to a gain in disk space.
One can add hardlinks which allow multiple "files" (more precisely paths) to share the same data.
Finally, symbolic links store no data but the file they point to, if any, usually has a non null data size.
A: Physical size of file is typically the sum of all of the blocks assigned to the file, while the logical size is the actual usage of those blocks. To have a file logically larger than its physical size would imply that some data can be generated on the fly (since it has more than the blocks can hold).
You can achieve that concept by compressing the file and hiding the compression in the details of the filesystem driver. In this fashion you might have two 512-byte blocks supporting 1024 physical bytes but decompressing the data might reveal more than 1024 logical bytes in the file.
There are other nontrivial ways to accomplish what you ask but I don't think you're going to encounter them in the wild (unless you're working in a very niche corner of the world).
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Mark Grimshaw, Rural Payments Agency gave evidence on 23 Oct.
Tamsyn Barton, European Investment Bank gave evidence on 2 Jul.
Mark Grimshaw, Rural Payments Agency gave evidence on 11 Jun.
Mark Grimshaw, Rural Payments Agency gave evidence on 14 Nov.
10. United Kingdom Parliament. Corrected Evidence - c229-ii - Complaints: do they make a difference? - corrected evidence - 11 Jun 2013 - HC 229-ii - Complaints: Do They Make a Difference?
11. United Kingdom Parliament. Uncorrected Evidence - HC 229-ii - Complaints: do they make a difference? - 11 Jun 2013 - Complaints: Do They Make a Difference? |
The Words Of The Lost Penguin
~ Feeling Vaguely Filmic
Art in 2020
Posted by thelostpenguin in art exhibits
art, art exhibits, but is it art
Normally, at this point in January I would be writing about the previous year's documentaries. However this year I find I have nothing to say about them. It's not that I didn't see any great documentaries this year – Free Solo, Three Identical Strangers, Honeyland, Scheme Birds and Ghost Fleet were all worthy of note – rather that no wider themes emerged this year, if they existed as part of a larger conversation within documentary making then I have no idea what it was saying. Perhaps I'm just looking for meaning where there is none, or perhaps I need to look in other directions for a while. To that end I'm going to focus my attention elsewhere on the blog this year.
A few years ago – nearly a decade ago now, and isn't that a scary thought – I set myself the challenge of writing about ten art exhibitions here on the blog. It was a really fun challenge and made me see a lot more art than I would have otherwise. Then, as now, the biggest challenge was that I can't write about every art exhibition I see, because it's only when I really love or really dislike art that I feel moved to write about it. (For example, I saw some art – 'Proximities' by Rod Purcell – yesterday at Upstairs that made me smile and that I really quite enjoyed – more than enjoyed, if I'd had enough disposal cash in my budget I'd have been tempted to buy a print – but it wasn't art that left me with lots to say for good or ill.) Perhaps that's actually the correct term for it, moved, did it move me or not, if I'm going to write about art it's less about personal preference or taste more that the work changed my perspective on something either positively or negatively. I can't force the response, as a dozen half-written abandoned reviews of perfectly decent art exhibitions ruefully remind me, the best I can hope for in those circumstances is that the mediocrity might annoy me into verbosity.
(The art I hang on my own walls is mostly canvas prints of photos I've taken on my travels, collages of art postcards that friends and relatives have sent me, and in an odd exception, a favourite web comic creator's take on an art deco classic. I've seen some amazing, inspiring art over the last decade that has moved and engaged me, changed my perspective and challenged my unconscious prejudices but most of it I wouldn't give house space to, even if I could afford it.)
I'm generally of the opinion of that very few 'artistic' experiences are ever wasted. Beyond my love of 'bad movies' and how much I've learned from things that provoked the reaction of 'that was brilliant and I never want to watch it again', there's something about the accretion of ideas over time that build up in your brain and provide context for the other art you consume. An exhibition that on it's own I had nothing to say about, may prove later to contribute ideas or stand in contrast to something else I see later. Sometimes art exists in conversation with another piece of art – whether as explicitly as the Monarch exhibition a couple of years ago or more subtly/abstractly – or as part of a wider movement. I suppose that's why I like to try to see art wherever I go, whether the grubby immediacy of street art and murals, the colloquial pleasures of an unexpected exhibition of watercolours or landscape photography in a rural library stairwell, or an attention grabbing installation by a big name artist.
All this is a long way round to say that I've set myself a target this month to do something 'arty' each month this year – whether seeing an art exhibition, some theatre, attending a concert or a dance performance – and writing about them, getting some perspective on, and hopefully finding some inspiration from, taking the long view on the arts here in the Highlands and beyond.
Performance & Participation: art @Tate Modern
Posted by thelostpenguin in art exhibits, straight up reviews, travel
I had plans for the blog this month. I was looking forward to writing some of my leftover prompts from Nablopomo. But life, as it does, intervened and among other things I found myself working in London for a week and didn't get near a computer – unless you count using an iPad to wrestle a portable autocue into submission – all week. However, I did find myself with a couple of mornings free and with my colleague's admonishment to 'do something fun' – I think he was more expecting me to hit Oxford Street – I headed out to see some art.
Last time I was in London I made my first trip to the Tate, so it seemed appropriate that this time I should head off to the Tate Modern. I can't really talk about the Tate Modern without talking about the building that houses it. Much as the structure and nature of the Victorian era buildings that house Tate Britain and museums like it inform the nature of the experience, the collection and reveal the times in which they were built, the repurposing of the old Bankside power station speaks volumes about the times and priorities that shaped it's creation and collection. The building itself seems to exist both as a work of art in it's own right – modernist almost to the point of brutalism in architectural style – and in dialogue with the wider art world, a physical embodiment of the question of what should a museum be and look like, along with wider questions about what is art?
After all the controversy about the new viewing balcony spoiling the view/privacy for the surrounding luxury flats, I had no choice but to take the lift right to the top and see what all the fuss is about. (You can in fact see right into people's living rooms, but the flats are equally overlooked but neighbouring blocks of flats, as quite frankly, are most high-rise flats in London.) The view in the other three directions, however, is quite stunning. The birds eye view gives you a sense of scale about the place that you don't really get from ground level, demonstrating how vast the place is while at the same time how unexpectedly close to each other significant buildings really are.
One of my favourite exhibitions was the Living Cities gallery, in particular Kada Attia's rendering of the ancient city of Ghardaïa in cooked couscous of all mediums and Naoya Hatakeyama's light-box depictions of Tokyo's night lights.
All the exhibits that I saw seemed to take on an element of foregrounding the relationship between viewer and artist. However, in Perfomer and Participant, this theme was made explicit. I particularly enjoyed the Krasinski room, less for the art itself – which is fairly simple – but because you could still interact with it, the each viewer's experience was entirely unique and I took great pleasure on my return wander through, in watching how other visitors interacted with it. Whereas Lala Rukh's Rupak was a strangely compelling, almost to the point of hypnotic experience a rare example of video art that completely captured me and held me hostage for the duration.
I feel that I would have got greater pleasure from the works of both Paul Neagu and Lygia Clark & Hélio Oiticica if I could have interacted with their works as originally intended. There was something decidedly odd about looking at art in glass boxes that was explicitly created to be interacted with, being at once told that the point of it was to interact with it, while at the same time being prevented from doing so. It makes sense, why you're not allowed to touch these objects anymore, as they're projects that the artist has finished and is no longer replacing/repairing or in some cases the artist has died and this is what remains of their work. Nonetheless it felt somewhat that the audience was being teased with the ghost of a time when this art had somehow more and less value at once.
I feel like I've been hearing about the Turbine Hall for the entirety of my adult life, and some quick research shows me that I'm entirely correct, as Tate Modern opened in 2000, the year I turned sixteen. When I was there, it was housing Kara Walker's Hyundai Commission work, which I must say the pictures do not begin to do justice to the sheer scale of it. It is definitely a piece of art that takes advantage of the space available to it. (The first time I saw Kara Walker's work was in the Museum of Contemporary Art, Chicago, the best part of a decade ago, her stark silhouettes sprang to mind the moment I saw this fountain, her style remains so distinctive.) There was something slightly surreal to see the fountain surrounded by parents with buggies and toddlers carefully balancing their way along the parapet of it, but as that appears to have been part of the point of the work of art, that it exists in conversation with public fountains such as the Victoria Memorial, and should be interacted with in the same way.
Soundscapes and Binaural Radio
Posted by thelostpenguin in music, nablopomo, podcasts, radio, sound design
binaural sound, immersive sound, music, nablopomo, soundscapes
Back in the late spring/early summer of this year, when I was gleefully falling down a rabbit hole of radio drama on BBC Sounds, I also took a detour into the non-fiction parts of its output. While the iPlayer algorithm has never really thrown me anything that I wouldn't otherwise have stumbled upon, Sounds regularly throws things into my feed that I wouldn't have thought to go looking for but nonetheless really enjoy. Perhaps it's simply a data volume issue, not only do I listen to more radio than television, perhaps more of the people who like similar content to me are using Sounds than are using the iPlayer? Alternatively perhaps the people making/programming Sounds are also radio geeks who listen to a similarly wide range of audio sources and genres so have taught their algorithm more realistic suggestions?
Soundscapes was one of those serendipitous discoveries – I seem to recall it being a 'suggested listen' after a slow radio episode recorded in a bog somewhere in Wales – as it's a late night specialist music show out of Radio Ulster/Foyle so realistically something I would never have come across of my own volition. It's mostly a modern classical music show, but it covers ambient and electronic music as well, and more importantly from my perspective, it contains a weekly soundscape. Usually the soundscape centres around an interview with someone – generally an artist or poet or historian, but also just people with interesting life experiences or specialist knowledge – layering their voice and the sounds of their environment/specialist subject, in with a piece of music. Sometimes they feel like very beautiful oral histories and other times like abstract art.
It somehow managed to feel both like very old-fashioned radio and also like something ground breaking and adventurous. Over a six-month period the show wormed it's way into my affections, becoming my favourite regular radio programme that I looked forward to listening to each week. So naturally of course it came to an end in the autumn. (Although the show has finished, the soundscapes are still up online, and I highly recommend giving them a listen while you can.) The presenter Stephen McCauley has been rewarded with a longer more prime-time slot, and while I'm pleased for him, I shall miss this strange little show; it was like nothing else on the radio.
In search of a new radio love affair, I've recently stumbled across the show Between the Ears, which despite having run since 1993 and having its own podcast has completely escaped my notice. One of the driving forces behind the series is to make innovative use of sound in telling stories. At the moment they seem to be focusing quite heavily on binaural sound, which works better in some cases than others. While some episodes just feel like they're in really good stereo, the episode Living in a Box felt as though you were in the protagonist's head with him and M1 Symphony left me feeling as though I might drown in sound.
It's also through this series that I made the surprising discover that Radio 3 are using binaural sound techniques to create a more immersive sound experience for the increasing number of listeners using headphones. I can't say I'd ever noticed radio via headphones sounding 'flat' but perhaps that's attenuation from years of listening to podcasts via either built-in laptop speakers or cheap ear buds. I certainly prefer to listen to audio drama with headphones, as it's always felt more immersive, like I've stepped into another world.
I normally listen to Radio 3 output on an actual radio – either the hi-fi in my living room or the radio alarm clock beside my bed – so unless I'm listening to a podcast on a bus or train, headphones don't really come into it. However, increasingly when travelling for work, I've taken to using the BBC Sounds app and the hotel Wi-Fi to enjoy whole radio programmes. Clearly next time I'm on the road I need to pack my good headphones and tune in with my phone to see the difference between stations!
I know that ASMR has become the go to trend/obsession for tech fixated Internet folks over the last few years, but for my money binaural sound is far more transformative. (Possibly because the actual 'response' part of ASMR doesn't actually work for me, I find good ASMR soothing in the way a white noise generator's rain sounds are soothing. The closest I've got to an actual ASMR experience is that binaural barbershop haircut you can find on YouTube.)
I was fascinated to discover the strides that have been made over the last few years to create immersive binaural sound for VR environments, combining the techniques of surround sound with binaural recordings to create a responsive sound environment. Personally I've always found the few VR environments I've tried out, to be quite disconcerting and alienating, but I can see how properly immersive sound could make it actually immersive. Also I appreciated Click presenter Spencer Kelly pointing out how sound could be used to draw the explorer's attention in particular directions, which does answer a floating question about narrative that I've been left with after previous discussions on the increasing crossover between films and video games. How do you draw the viewer's attention to the correct place to pick up narrative clues without breaking the fourth wall?
Also I clearly need to go back and watch that Doctor Who episode they did with binaural sound while wearing headphones, because based on a clip I just watched that's a whole other level of immersive and creepy.
Random Acts: Film Fear
Posted by thelostpenguin in nablopomo, straight up reviews, television
art films, channel 4, nablopomo, random acts, short films
The Random Acts strand on Channel 4 comes from the notion that in order to find a new/more vibrant approach to arts programming, you need not only television about artists, but also television by artists. The strand started in 2011 and has had six series so far. They incorporate visual art, music, dance, animation and spoken word performance. They feel exactly the kind of short film you'd stumble across by accident at some unearthly hour of the morning on Channel 4. (They are, as we say, 'on brand' in this sense.) I first came across this strand by accident while looking for horror movies to watch around Halloween, as it was the strange mini horror films that drew me in, it seems only fair to consider them first. All three films were showing as part of the Film Fear season on Film Four.
In which a young man is trapped in an oppressive dystopia where everyone must wear huge metal stilts.
This is a deeply surreal film where I presume the stilts are intended to be a metaphor for something, but I've not the faintest idea what that might be. (Class or caste presumably, because the summary may say that everyone must wear stilts, but evidentially not everyone does. There's clearly a class of people who don't and are able to pick and choose who gets to join them.) Nonetheless it's a beautifully realised dystopia, where everything is sized for people without stilts so all the stilted people are forced into the space between too high table and chairs and too low ceilings. It does a good job of creating an atmosphere of claustrophobia along with the arbitrary and restricted nature of life in a closed society. What does lie down that too short corridor to the outside world?
Satanic Panic '87
A short and gory comic horror that involves a satanic aerobics video that encourage two young heavy metal fans to open a portal into hell. I really liked that the hellish aerobic video was fronted by a demonically possessed perky blonde who despite the glowing white eyes really did look like she'd stepped out of an 80s aerobics video. Despite the lashings of blood in this film, it's not actually that gory, and the decision to shoot through the ajar kitchen door allows the 'sacrifice' scene to be played for dark humorous effect. Our grisly duo frantically flapping tea-towels under the beeping smoke alarm as their sacrifice immolates noisily gives the whole thing a delightfully surreal tone.
Sweep Away Hungry Ghosts
Is a ghost story about Chinese filial piety and cross-dressing.
A young Chinese man is clearing out his late father's house and keeping vigil at his alter through the longest watches of the night. He's clearly conflicted in his feelings around the task, and struggling to reconcile the outer image his father showed to the world and the other version he has discovered through clearing out all the accoutrements of his cross-dressing. Despite, or perhaps because of, his attempts to burn the evidence, in the night he is visited by the ghost of his father – in genderbent form – and although at first he attempts to banish the ghost, he eventually accepts that he must take care of the ghost and array it as his father would have wished to be, only then can both he and the ghost move on.
(I don't know a great deal about Chinese funeral traditions, so I'm not entirely sure, given the solidity of the ghost, if he's supposed to be the ghost of the young man's father or if he's some form of walking dead, who objected to being arrayed incorrectly in death?)
It's a haunting but lovely little film.
Take One Action! #TOAFF19
Posted by thelostpenguin in documentaries, eden court, film festivals and threads, nablopomo, straight up reviews
documentaries, nablopomo, take one action
The Take One Action Film Festival returned to Inverness, once again falling on a weekend that I'm working so I could only squeeze in two films again this year. Handily, I'm once again managing to add to my documentary feature film tally with these films even if I wasn't able to lean quite as much towards the environmental films as I would like. Though Ghost Fleet is secondarily about environmental issues because it is over-fishing of waters close to Thailand that caused the boats to have to go out further and further out for longer and longer periods in the first place.
Facing the Dragon
Facing the Dragon follows the parallel stories of politician Nilofar and broadcast journalist Shakila, in post-US-withdrawal Afghanistan as they struggle to balance the responsibility they feel to the people they represent against the need to keep their children safe from harm. Both threads of the film really underline the fragility of democracy and the position of women in Afghanistan, alongside the constant danger that all politicians and journalists in the country face but which is even more intense for women in public life.
Director Sedika Majadidi is an Afghani woman herself, so understands intimately the pressures both her subjects face as women in public life. (This creates a certain solidarity and trust between director and subject that makes for a much more intimate portrait of both women.) Having spent a substantial part of her childhood and youth in the US she also has enough of an outside view to allow her to step back from the details of these lives and show how they fit into the bigger picture of life in Afghanistan.
My only real criticism of this film was that the copy that was screened in Inverness had terrible audio quality. There was a coating of hiss and crackle over almost the entire film that hung over it like an aural cloud of dust.
Ghostfleet
Ghost Fleet follows the work of the Thai NGO Labour Defence Network whose work started in trying to protect children from being drawn into sweatshop labour, and has evolved through helping men who've escaped from slavery in the fishing industry – mostly getting compensation for horrible industrial injuries – into straight-up rescuing people. We mostly follow Patima Tungpuchayakul one of the organisation's co-founders, as she travels to various islands in Indonesia to try and bring home formerly enslaved fishermen home. Patima has this really calm presence – perhaps born of her certainty that this is the work she's meant to do – that makes her a very reassuring presence, both to the former fishermen and to us as viewers. One of the strengths of her work is the trust built with the communities of those islands, the people who live around the predatory companies bases, who know how dangerous they are, often disapprove of them but feel helpless to stop them.
There something utterly heart-breaking about those men who've escaped from enslavement only to be stranded in Indonesia for decades, who've built lives and made families, yet remain desperately home sick. Their longing for home is almost palpable, but having lost most of their native tongue, many of them feel that they cannot possibly go. The question that comes up time and again is 'do you want to go home?' The three men they bring back from one island demonstrate the range of reactions to that question, the first man seems resigned as though he has nothing to lose either way, the second man is conflicted – reluctant to abandon the family he has made there, desperately longing for the home he left behind – while the third man is eager and delighted – literally jumping at the chance to return home.
The director of the Take One Action film festival does little introductions before all the films and she was careful to warn us that this film would be distressing and that we might find it hard-going. As a film about modern slavery it was indeed a distressing topic, and a deeply moving film, but I also found it to be an intensely hopeful film. I've had quite an intense couple of months documentary wise and while I've seen a lot of very good films many of them left me feeling sad, angry or both at once. This film however, left me feeling inspired and empowered, which I guess is the whole point of this film festival in the first place.
New Creatives: Films
Posted by thelostpenguin in nablopomo, straight up reviews
nablopomo, short films
Last month, when I stumbled across the Two Minute Masterpiece thread on the iPlayer, I also came across the New Creatives scheme – with it's twin threads of film and audio drama – that proved to be the English equivalent. Some further poking around revealed the Now and Next scheme which is a collaboration with Lux Scotland to encourage budding art filmmakers. (For some reason there doesn't seem to be a Welsh equivalent scheme listed. I know there used to be a Welsh scheme, for the simple reason that a university friend of mine had a film screened as part of it.) I've been dipping into the films on offer at odd moments over the last few weeks so it's high time I gave them some more concentrated attention.
Unlike the other schemes, the five filmmakers are based within different media organisations around England – each one acting as a regional hub – giving institutional support to young artists who might not otherwise get that. It certainly makes for high production values.
Blackfish is a sweetly sad piece of magical realism about a recently bereaved mother who finds a collection of photos from an alternative future, the life her son might have had. Are the pills cutting her off from a window into an alternate world that brings her comfort, or are they protecting her from something dangerous and helping her to accept reality?
It's a gentle mediation on grief and it's reality warping nature. It also feels like it's passing comment on the dual roles that medication can play in the treatment of mental health on one hand to support people to live fuller, happier lives, but on the other to sedate into submission those society finds difficult.
(It's also got an excellent central performance from Tracy Ifeachor who conveys the weight and depth of her character Helena's grief without a single word of dialogue.)
Just what is swimming in her blood?
This is charming little lightweight short. Insomnia and insecurities feed of each other, from escapist fantasy into surrealist nightmare. It doesn't have anything particularly deep or innovative to say about modern life, but its strength was in its simplicity. It had some nice, stripped back set-pieces, and it made me smile.
And through it all the flashing light of a smoke detector. He should be grateful it wasn't beeping; now that really would be a nightmare.
Paper Skin
Paper Skin is the bleakest of all the films in this selection, but in a way that reflects the nature of our unnamed protagonist's job. This is prostitution without any cinematic glamour or violence, its mundane and awkward and slowly grinding her down.
The film makes really clever use of framing and camera angles that reflect the nature of the interactions, the nature of these 'sugar daddies' and their willingness or inability to engage with what they're actually doing with her. And perhaps also the amount of intimacy or detachment that she's willing or able to deploy on the job.
Top Wavers
I've officially reached the age where youth culture just baffles me. Potentially, this film was saying something interesting about the importance of hair to the social standing of young men of African and Caribbean origin, and about living life second hand through social media. Over the film festival I saw documentaries from both Scotland and Northern Ireland, with working class accents needlessly – to my ears – subtitled, but I could really have done with them here.
All the same I'm glad they weren't subtitled, because the people who really need to see this, the ones who don't see people like themselves or their communities on screen would doubtless have been just as I was about those subtitled teenagers from Motherwell and Belfast. It doesn't really matter that I couldn't parse what this film was saying, because fundamentally it wasn't talking to me.
We Got It Easy
Though on the other hand some parts of being a teenager really haven't changed in the slightest. We Got It Easy is a scene from a musical, dealing with eating disorders, intersex issues, street harassment, bullying, body shaming, toxic masculinity, sexual assault, teen pregnancy and a whole other range of teenage issues. All the standard teen experiences in some cases exacerbated by social media and in some cases assisted by social media – giving them the vocabulary to identify their issues. It's an odd little piece, and I don't think it's as clever as it thinks it is, but its heart is in the right place.
The Sound of Trees
Posted by thelostpenguin in nablopomo, radio, sound design
location recording, nablopomo, nature, sound recording
On Saturday I stumbled across a radio programme about trees, more properly a love letter to trees, or at least to the sounds that they make. It starts with Thomas Hardy's assertion that it was possible to learn to identify trees by their sound alone, and speaks to arboriculturalists, poets and composers along the way to testing this hypothesis.
The Susurrations of Trees is the kind of programme that I most strongly associate with Radio 4 – though it's particular use of music means it could have slotted easily into Radio 3's output. A gently fascinating programme well suited to being background listening while you work on something else – something perhaps repetitive but necessary, that can be easily paused when the presenter tells you something particularly interesting you need to focus on. I found myself searching for a task of that kind barely a few minutes into listening, and ended up listening with my head out the window as I pruned back my winter-bare herbs, while Bob Gilbert's reassuring tones drifted up to me. I needed to be able to concentrate on listening but also to be doing something with my hands.
It got me thinking about how different a process it is recording the sounds of the natural world as opposed to recording the human world. Despite having grown up in the countryside, I am primarily a recorder of urban soundscapes. Perhaps it was because when I first started to make my own location recordings, the sound of urban environments were more novel to my ears so more likely to pique my interest and therefore get recorded. I first started making my own recordings while at university in Bournemouth, where my locations for recordings were shaped and circumscribed by not having a car. If I wanted to record something or somewhere, I needed to be able to get there by public transport. The earliest recordings I have that were worth keeping were made inside Christchurch Priory and outside in it's graveyard, though I distinctly remember filling in a risk assessment for taking the recorder out to record the waves on Bournemouth beach. This seems a sensible reason for why it rarely occurs to me to take my recorder when I'm driving somewhere, but associate it more with trips that involve at least a couple of forms of public transport.
So perhaps it would be more apt to say that I'm a recorder of in between places, transitory places, seashores, graveyards, and public transport. There are so few places that are truly one thing or the other these days. Most location sound recordists have a story about having to call a pause in filming because despite standing in a field in the apparent middle of nowhere due to a plane or a distant quad bike. (Aircon units are my personal bugbear – as if they don't cause enough problems indoors, their outlets will often ruin the soundscape of an alley or wooded space behind a building with their omnipresence.) Equally though, for every time distant traffic has interfered with my nature recordings, I have been plagued by nature in urban environments – mostly seagulls, but pigeons, cats, dogs and once, memorably a heron, have all made my recordings seem rather more rural.
Last month I spent some time recording – or attempting to make recordings – in Merkinch nature reserve at the edge of Inverness. I probably picked the wrong time of year for it – I'd perhaps have had better luck in Spring rather than Autumn – but despite being a peaceful and pleasant place to walk and feeling like a respite from the surrounding city, the sounds of urban life were obvious and intrusive the moment I turned on the recorder. Recording nature requires much more stillness and patience than recording the human world. Man-made objects are far less likely to stop making a noise the moment you point a recorder at them. The audio cycles of clocks and traffic lights or automated announcements are much more predictable than those of birds or foxes or storms.
IFF19 @EdenCourt – Highlights
Posted by thelostpenguin in eden court, film festivals and threads, iff, nablopomo, straight up reviews
france, iff, nablopomo, usa
Last but not least, we come to the 'Highlights' thread at the Inverness Film Festival. I only saw two of the films in this section, for all the reasons I've talked about before, but they were in fact both definitely highlights of the festival. Films that I'm unequivocally glad that I went to see and that I'll definitely be disappointed to not see collecting some gongs come awards season.
Portrait of a Lady on Fire (Portrait de la Jeune Femme en Feu)
This one most definitely deserved to be categorised as a festival highlight. The festival programmer introduced it as his favourite film of the year, and while I wouldn't go that far, I'd certainly expect it to be a top five contender.
The film is lit beautifully, with at least half the film taking place at night and being lit by candlelight and firelight. There's something about that golden light that gives the film a particular intimacy. As though we're stepping into a hidden world, the world of eighteenth century women that only exists when men aren't around, when they don't have to perform. I'm not sure I've ever seen a film that was quite so much about the female gaze. Marianne is forever gazing at Héloïse, first as an artist, then as a lover, but Héloïse is always gazing back, learning the artist as the artist learns her.
There's also something decidedly gothic about the whole endeavour, the lies and misdirection, the mysterious death of Héloïse's sister, the resolution of Sophie's personal problem, the doomed romance and all those intimate moments in flickering light with dancing shadows. Thwarted love and old obsessions abound.
The acting is superb throughout, with the four central characters putting in very different but very nuanced performances, although Adèle Haenel is particularly compelling as the enigmatic Hèloïse.
It was also, oddly enough, one of the very few films I'd heard anything about before the festival programme was released, and the trailer only made it look more intriguing so it became a must see. I've never seen any of Céline Sciamma's other films, but on the strength of this one I clearly need to track them down.
This film could quite easily be seen as a companion piece to Official Secrets, although it didn't make me anywhere near as angry as that film did. I guess that over the years I've seen enough documentaries and fiction films that tell parts of this story that seeing it all laid out in one place was just depressing rather than enraging.
It must have been around late 2007, early 2008 when I first heard about 'enhanced interrogation', those weasel words that allowed both the US intelligence services and the US administration to tell themselves that what they were doing wasn't actually torture. It was an innocent enough email with a link to the advert for Amnesty International's new anti-torture campaign. It wasn't, as I expected aimed at somewhere in South America, or perhaps one of China's infamous minority crack-downs. Instead it was much closer to home. (If you feel up to it, look up 'Waiting for the Guards' or 'Stuff of Life' on Youtube, they burned themselves into my brain at the time.) So the hardest part of this film was not that the CIA did these things, it's the way that they cling stubbornly to the lie that these techniques work, despite the overwhelming evidence, even in the face their own reports to the contrary.
Over the intervening years more and more details have trickled out into the cultural zeitgeist, so that it feels like old news, that we already know that the CIA has done – and doubtless continues to do – unspeakable things. Guantanamo Bay has been abbreviated to Gitmo and become a byword for the sins and failings of an administration – a particularly paranoid and jingoistic period in US history – and extraordinary rendition a veil that allows the maintenance of the lie that the US doesn't use torture.
Over and over in the film we hear variations on that early legal justification the CIA gets: it's only legal if it works. It's both fascinating and horrifying just what can be justified if the stakes are high enough. The ends and the means indeed.
IFF19 @EdenCourt – New World Cinema
australia, nablopomo, south africa
I presume the 'New Australian Cinema' strand was originally intended to have more than two films in it, otherwise I'm not sure quite why it wasn't folded into the 'New World Cinema' strand. (Does Australian cinema not count as 'world cinema'? Apparently not, apparently it needs to be in a language other than English. In that case consider the emphasis changed here not 'New World Cinema' but 'New World Cinema'.) However, the only film I saw in the 'New World Cinema' strand shared a lot of thematic similarities with the two films from the 'New Australian Cinema' strand, so I'm reviewing them all together.
This film is a lot. It also needs pretty much every trigger warning imaginable. (Rape. Murder. Child Harm. Casual Homophobia. Pretty much every last white character is racist to a greater or lesser extent.) I was expecting it to be brutal but it was so much more brutal than I was expecting. Several people – maybe as many as half a dozen – walked out of the film and I was very nearly one of them. (I spent a good twenty minutes holding my coat in my arms, braced for the final thing that would cause me to lose faith in the film completely.) The first forty-five minutes or so of the film feel about twice as long as the rest of it, and if you can get through that then the rest of it is merely hard going as opposed to harrowing. When faced with the festival voting slip for this film I felt the need for a whole new category – how do you sum up a film that was clearly very good, and probably quite an important film, but which nonetheless you didn't enjoy? That perhaps the whole point of the film was to be un-enjoyable.
All that said. It's a beautifully shot movie. The forest feels like a character in it's own right, dangerous, fickle and indifferent. It's pretty rare to see an Australian film that's not set in either urban Australia or in the dust of the outback. I don't think I've ever seen an Australian film where the weather was so unrelentingly grey and wet, and I've definitely never seen a film set in Tasmania.
Clare and Billy are the emotional heart of the film, both complex and flawed characters, they hate each other on sight, but over time and through adversary come to form a somewhat co-dependent friendship. Which sounds pat and heart-warming, but is actually much messier and far harder won, given that both characters have been thoroughly traumatised by their uncomfortably similar life experiences. (They've both been forcibly taken from their homes, relocated in a new life they have little control over, and seen their families murdered in front of them.) We're reminded throughout that neither of them are speaking their first language – Irish and Palawa Kani respectively. The decision not to subtitle either of them when they're not speaking English is an interesting one, that emphasises the use of shared minority language both to include and exclude, along with acting as a reminder of just how wide a gap in experience and culture Clare and Billy are communicating across.
The film is a damning indictment of colonialism in Australia, both the convict transportation and the treatment of the various aboriginal peoples who were there first. The colony where we start in the film mostly contains soldiers (who are brutalised by their superiors, each other and the whole structure of the military), convicts and recently freed transportees (who are brutalised by the soldiers, the forced labour and the precarious nature of what few rights they have) and the aboriginals (who are brutalised by both the other groups, have almost all been taken from their families, forced to live by white rules but must live outside white society) and who almost all drink far too much in a vain attempt to cope with the grinding dehumanisation of the whole situation. When we get to Laurenceton it may look much more shiny and 'civilised' – with it's neat houses and cultivated fields – but scratch the surface and whatever colonisation has brought to the area it sure as heck isn't civilisation.
Judy and Punch
Judy and Punch (Foulkes, 2019) manages to both deal with some overlapping themes (revenge, child murder, violence against women, murderously toxic communities) while being a completely different film in tone and message. Set in some nebulous time frame – possibly Elizabethan – and equally nebulous location – probably England but no two people have the same accent so who knows – but fundamentally none of that really matters. (The soundtrack for this film owes something to A Knights Tale (Helgeland, 2001) in attitude if not quite in sheer gleeful anachronism.) This is a Punch and Judy show so the characters are mostly archetypes, fleshed out and made human and messy. This is a morality tale. It's twisted and strange and very funny. It is, in short: a delight.
It's a film that is both very old fashioned and very much of the present moment. An exploration of what the casual brutality of the traditional Punch and Judy show might be teaching the children watching it, and also a mirror held up to the dangers of mob rule and trial-by-social media. As a film with actual witch hunts, it forces its audience to consider whose voices are being amplified and whose are being silenced. And it does it all while making the audience laugh and cheer along with it.
(Oddly enough, both The Nightingale and Judy and Punch share a Sound Designer, Robert MacKenzie, who has done excellent work on both films.)
How to describe this film? It's a film about love and about loyalty, what it means to belong and what it means to be a family. It also deals with the open wound that remains around the 'Rainbow Nation' and how much that really exists and for who. It's a film about violence – both sexual and racial – and power. Who has it, who doesn't and what the changes in those dynamics mean in real terms rather than pretty idealised words.
It's a film about who we think we are and how close to or far away from that image we actually are. About what it really means to be free. It's a very good film, but it's not a film that offers easy answers for any of its characters or any of the questions it raises.
(All three films can be seen as having the same theme, but whether you read that as 'men are terribly poor stuff' or three different women declaring that that which does not kill them makes them stronger – or for that matter both at once – is very much left up to the viewer.)
IFF19 @EdenCourt – Documentaries
Posted by thelostpenguin in documentaries, eden court, film festivals and threads, iff, nablopomo
documentaries, iff, italy, scotland, syria, usa
This year's film festival was a rather more spread out affair than it usually is, which for me had one main impact: it meant that although there were more than double the number of documentaries showing than there were last year, I could see almost all of them! Despite being minorly thwarted by a screening copy not turning up in time, I still managed to see a pretty varied selection of documentaries this year. If this year's documentaries had a theme, it was telling stories that were more complex than they initially appeared. Documentaries that let you think you knew where they were going – that you knew these stories or recognised these archetypes – and then turned around and showed you that they were much messier and complex then they at first appeared.
I've come to the conclusion that I've seen too many documentaries about Syria in the last few years. This one is about an underground hospital in Ghouta – near Damascus – and the film follows hospital manager (and mostly trained paediatrician) Dr Amani and her mostly female staff as they fight against the odds to tend to their patients and avoid getting blown up. It's a fascinating concept – the full blown engineering works going on underground in the early parts of the film does more to demonstrate the organisation and extent of the rebellion than any claims or stats could – with likeable protagonists that you can really get behind and emphasise with, told in a compelling way.
I've seen dramatic, beautifully shot, drone footage of destroyed cities – of Raqqa, Homs, Aleppo and now Damascus – and the question that fills my head afterwards is no longer, how can the people possibly survive this? Nor even if the rebels still think the uprising was worth it. Instead I have to ask: what on earth Assad thinks he's going to win at the end of this? Sure, he may win the war but at what cost, what will be left for him to rule over at the end of all this?
Scheme Birds
Often in a film like this the synopsis would say that Gemma dreams of something more than her estate, but Gemma doesn't. Gemma is happy, Gemma belongs, Gemma loves and is loved, and she can't imagine leaving this place. Gemma is fundamentally really young, barely more than a kid when she has her own baby. Yet in a way it is that same baby that makes her grow up and look beyond the world she's always known. We learn early on that her own mother was a drug addict and hasn't been part of her life since she was about 18 months old. Oddly enough having the baby makes her less, rather than more, empathetic towards her mother because she can't imagine walking away from him. It's wanting more for that little boy – more than fighting and drinking and prison and teen parenthood – that motivates her to change things.
(As a side note, there's something about Amy that unnerves me. I recognise her, not her specifically – her mum's probably my age – but she looks like someone else, someone I knew years ago. Someone I was at school with, or worked a summer job with, or a friend of a friend. There's something about the structure of her face, the mannerisms, we never see her cry on screen but I can picture just how she'd look when she does.)
'Be Natural' was the instruction that pioneering film director Alice Guy-Blanche gave to her actors so often that she had it put on a sign on the wall of her studio in two foot high letters. Naturalism is in fact the thread that ties all her films together, despite being one of the first filmmakers to use film to tell stories rather than simply documenting activities, there is none of the stage-y overacting we now associate with early films. Her films exemplify the experimental and daring nature of early filmmaking along with the demonstrating the opportunities available to women in cinema before it was taken seriously as an art form.
The film is a systematic and detailed attempt to re-insert Guy-Blache back into the narrative that she has been systematically removed from. The film does an excellent job of illustrating a story that is by its very nature mostly about dusty archives and long-distance phone-calls in a compelling manner. The use of map graphics to fill in the gaps, really helps illustrate how often both the researchers (and Guy-Blache herself) criss-crossed the US and Europe trying to track down her films. The film has clearly been a labour of love for it's own director, but the finished object is a compelling and convincing argument in it's own right.
Shooting the Mafia
This was by far my favourite documentary of all those shown at this year's festival. Photographer Letizia Battaglia is such a compelling presence that the viewer is drawn further and further into the story of her life and work. Having come to photography later in life – she took it up at the age of 40 in the midst of getting a divorce – her life experience straddles considerable political and social change in Italy and in Sicily in particular. Despite being in her eighties, Battaglia remains an intensely charismatic person – with such passion and rage lurking just under the surface – that it is no surprise that she still draws people to her with a fierce devotion. Through both her words and her pictures, she paints a vivid picture of what it was like to live in Palermo under Mafia rule.
The photos themselves have a stark and compelling beauty to them. They confront the viewer with the impact of the Mafia's crimes. Not only in the photographs of crime scenes but also in the faces of the people around the bodies. The pictures of poverty, deprivation and grief tell their own story too. This is no Hollywood glamourized view of the Mafia, but a messy story of a messy world. One thing that Battaglia seems at pains to point out is that it is a mistake to think of her work as merely a historical artefact. Certainly things are much better in Palermo, but the fight against the Mafia goes on.
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Following a string of incidents that have led to the arrest of Boulder, Colorado's Kyle Hollingsworth, the famed keyboardist was detained on cat juggling charges. While details are still unfolding in what appears to be an extremely unusual circumstance, it remains clear that Hollingsworth will be behind bars for the foreseeable future, which may affect his summer tour plans.
At 2:15am on the morning of April 1st, Boulder Police responded to a disturbance call in a quiet South Boulder neighborhood. After a two-hour standoff and subsequent raid of the Boulder residence, a special Colorado Feline Tactical Team (CFTT) surrounded the compound and detained a number of suspects, most notably Mr. Hollingsworth. Although no other arrests have been made public, Boulder community rumors are swirling about possible accomplices with recent local sightings including Umphrey's McGee keyboardist Joel Cummins and Big Gigantic drummer Jeremy Salken.
Local Boulder brewpub proprietor Kevin Daly commented, "I know nothing about this. See ya at Red rocks"
Currently held on $10 million bond in Boulder County Jail, Hollingsworth is scheduled for arraignment in Boulder County Court on Monday, April 4. |
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Located in sought-after Botanic Ridge, with the Royal Botanic Gardens next door, you'll be able to escape to your own retreat, relax and indulge in the simple pleasures that Acacia has to offer. Beautiful parklands, wetlands and access to the nearby gardens, are just a few of the features you can expect at Acacia.
Lots in the Natura Release range from 400 sqm to 669 sqm and are situated in a quiet spot just moments away from Acacia's future Homestead Park.
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Only registered recipients will receive email updates on new land releases, special offers and events. Receive your copy of the Acacia Brochure upon registration.
Receive your copy of the Acacia Brochure upon registration. |
At around 6am my "alarm clocks", aka my six and seven-year old boys, gently wake me using the latest ninja move they've picked up from all their educational screen time, on my shins or stomach. Once recovered, I try and squeeze in 10 minutes of meditation before I face the hectic morning routine.
Most days work starts with a call with the US, and then, between meeting with the team and our agencies, I am either buried in data and dashboards looking at how to optimise the business, or working on creating and aligning brand vision with all of our channels to market.
Inspiring people. Your team won't go above and beyond if they don't understand why the company exists – neither will your customers. So right now I'm focused on defining that, and getting everyone aligned and engaged with that internally before we start planning on how we take that to market.
Two things keep me doing what I am doing. One: I love connecting with people through creativity and emotion. I do a lot of writing and design still and I love working out ways to make people feel more, enjoy life more deeply and think more. There's a richness to life that brands and products can bring if they understand what makes people happy, and I have made sure to work for brands that want to do that too.
Two: I love to change things, not for the sake of it, but because if the problem is always changing, then the solution is never going to be the same. I don't innovate or disrupt so I can make a name for myself, I do it because if you are focused on the best solution in business you won't be able to help but change things up.
What's the hardest brief you've ever received or the hardest job to execute?
Delivering a brand campaign for Pandora in an 8-week timeframe, with no creative agency on retainer. Luckily, our media agency was set up to mobilise creative talent, and we were able to deliver a beautiful fully-integrated campaign within the deadline. The outcome was a 670 per cent uplift in listener growth rate in the first six weeks. It was the hardest 8 weeks of my career, as well as the most rewarding.
What has been your favourite job in media, and why?
My current role is definitely my favourite; it is a perfect mix of science and emotion, which when combined opens up a world of possibility. My second fave was Dell because despite the stakes being so high, they were an intense meritocracy, entrepreneurial and way ahead of their time. It's where I learnt how to optimise a media mix in real-time, and added strong commercial acumen to my creative side.
One where I am working with people who are smart, curious, brave, warm (and preferably hilarious, too) and most importantly aligned towards a common goal that is on a higher level than self-interest. I've been lucky enough to have experienced that twice now in my career and the plan is to keep finding or creating those environments in the future.
I have a wicked sense of humour, and at times have been known to pause a meeting if something hilarious is too funny to not highlight, even if it's at my own expense. Basically, a less funny cross between Jerry and Kramer.
I quote Master Oogway from Kung Fu Panda occasionally, like now: "One often meets his destiny on the path he takes to avoid it".
What are advertising / marketing's biggest challenges?
Becoming obsessed with trackable media and forgetting that some of the most effective media, and indeed that which drives digital efficiency, is untrackable. Crossing three layers of data, with device ids and social profiles is great. That level of targeting and re-targeting has its place in the media mix but far too much focus is put in this area, and not enough on the fact that humans engage with a brand when it makes them feel good, and most importantly when it aligns with their values. Right time, right place does not replace "right message", if you haven't got that right, then there is no right time or place.
The same thing that has always been the most exciting – and elusive: how do you connect with your customers beyond the transaction? Channels and technology are just the vehicles; what's exciting to me is how VR or the internet of things is used to create a feeling inside another person, not the technology itself.
Ego and fear in leadership destroys morale and culture faster than any other force in a team.
Any movie with Melissa McCarthy in it, and reading Joe Hildebrand's and Rosie Waterland's columns.
Would I lie to you? A British comedy panel show with Rob Brydon, Lee Mack and David Mitchell.
My biggest turnoff is, ironically, people who lie. It fascinates me, actually, because it is such a useless pursuit given most people can see straight through it. The best policy is just to be yourself – quirks, vulnerabilities, strengths and all. This is even more important if you are lucky enough to be leading people.
Absolutely, many times! But I am SO glad I didn't because although I didn't see it at the time, the challenges you need are the ones you get! And I am enjoying my work now more than ever.
Face your shadow, accept the "bad" side of yourself and get to know it …well. What you find is there are positives from having that side to your nature and it actually isn't bad at all. So you don't have to run from it, by pretending you are perfect or blameless – that just leads to inertia. Embrace all of yourself and know that every element is there to make you your perfect imperfect self. Only you can create the life you want to live. |
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Using a dumpster helps you to save people a tremendous amount of time. Garbage might be thrown into the bin, as an alternative to piled up and brought to the remove. There is no speedy trip to this dump. Through the elimination of the need to get there, folks save time. This time around can be used to earn income, rather than stand.
For people who tend to be anticipating undertaking a major design or demolition undertaking, or even a undertaking that encompasses both of these processes, it is quite doable, highly probably in fact, that quite a few debris will probably be generated.
Doing away with bathroom fixtures and drywall can be a dirty and boring project. The do-it-yourself project can easily leave a large mess that will not have been regarded as. Regular rubbish pickup inside community will require the breaking down of the drywall and putting it directly into bags. It is going to require that this bathroom fixtures be got rid of off in respect to the township's rules. This can take some time and will need that your older, stained shower sit over and above your home even though it waits intended for trash pick up. This is needless when you require a Rent a 10 Yard Dumpster in Bell, CA. The size of this dumpster will be based on the size of this project as well as the cost is based on the amount of rubbish disposed of. The Rent a 10 Yard Dumpster in Bell, CA is affordable and supplies a quick indicates to remove extra waste after a bathroom renovation.
What on earth is a dumpster? A large metal field of varying sizes which you'll want to throw things into. The majority of project professionals hire a dumpster or perhaps two initially, then go forward to the rest of the strategy. Homeowners who wish to renovate just one room of these homes (especially the kitchen for example), or the whole house, need to organize the dumpster of the right size to complete the job as quickly and also as inexpensively as they are able. It is a requirement, just like drywall and appliances and flooring are. Minus something to position the trash as well as recycle components in, after that where have you been going to place it? Dumpster rentals may benefit you within the above mentioned ways only once you get associated with the ideal dealer who does not really give you wrong doing promise as well as run the just to fetch your money. The service provider will be very fast in their providers, fast pick up and fast delivery. The best Rent a 10 Yard Dumpster in Bell, CA service provider will probably be transparent throughout it's prices to give the buyer prior info on the cost which has to be bared ahead of the order is put.
Renting the dumpster makes it easy to eliminate the vast numbers of yard dirt left with a storm. Whereas most business oriented trash eradication companies have got strict principles about lawn debris, Rent a 10 Yard Dumpster in Bell, CA corporations do not have this sort of restrictions and definately will take no matter what large hands or legs or even sapling trunks your neighborhood requires removed. Together with several neighbours chipping throughout on the price tag, it is also less than paying the expenses that business oriented trash eradication companies can charge to remove excessive yard detritus.
People want to keep their residence and setting clean and clean. Huge amount connected with trash is actually generated in house renovation as well as construction jobs. These waste materials cause hassle at your employment location. To eliminate the clutter created at your employment location, you've to find the great Rent a 10 Yard Dumpster in Bell, CA service company.
The companies make garbage and reuse it helping to make you get rid of the trash in a green means. These companies give bins in respect to the garbage quantity. Such packing containers can be easily observed on construction sites. They come in different sizes and shapes to carry garbage keeping that in mind. So in respect to your social gathering trash, you can select the appropriate bin that may carry diverse quantities of garbage.
You will simply end up spending money on the free place if you employ a roll off dumpster when your junk disposal is incredibly less. Consult with the Rent a 10 Yard Dumpster in Bell firms if they rent junk dumpster that are little in size in contrast to roll off dumpsters. These junk dumpsters usually vary from 2 yard to 8 garden.
If you have been slicing grass, eliminating shrubs along with bushes, or even chopping lower trees, additionally, you will benefit from leasing a dumpster. You can get rid of each of the trash along with junk quickly and easily if you rent a large dumpster.
While you're cutting down, remember to sell and reuse. Metals including copper can be sold at salvage retailers if you've got refuse lying around. Old empty ales can be used to store nails or even screws. You might even consider selling old gym equipment you no longer use on the online world (or perform to a friend). Or even, if you've got much more than the periodic item that you no longer would like or need to have, take advantage of the newly discovered space to use a garage sale. If you're in a hurry to eliminate everything, however, feel free to put it in your rental dumpster. Many Rent a 10 Yard Dumpster in Bell firms will go the extra mile to reduce their own environmental affect by going through the dumpster's contents to discover reusable along with recyclable resources that they can either recycle or even donate to a good cause.
As the day time approaches, begin to set some misconception. Mark your property as a sale made participant. Commence marking the items with the selling price you think it will be possible to sell it regarding. Be realistic regarding these prices; if you think you could make more on a bidding site, market it there instead-but in case you really couldn't sell it on-line, don't expect the exorbitant selling price in person! Collect tables or even old comforters to display objects on. Start early the day of by setting anything out wherever people is able to see them, purchase a lounge chair and a brimmed cap, and get ready to advertise! On completing the challenge you will have a specific picture about the type of waste materials disposed into the dumpster so, consult with the vendor should they be going to recognize the type of junk disposed by you because many companies minimize themselves to recyclable trash.
Around the flipside, additionally watch out for firms who are huge. Sometimes those companies have so many shoppers that each buyer gets incredibly impersonal assistance. For them, dropping one buyer just isn't a big deal. This is especially true should the company is so big that it is across the country.
A premier Rent a 10 Yard Dumpster in Bell removal business will fill a large need while local communities swap to pay-per-throw community junk programs. These types of programs stress a tax payer with additional charges to have at this time there garbage picked up. An ideal storm for an established or even upstart organization. Why along with what else constitutes a premier removal business the result to Rent a 10 Yard Dumpster in Bell needs? This document will highlight several reasons why you should do some research before selecting a corporation to fulfill those needs.
You might be focused on the cost of such as this. You aren't without doubt you are going to want something like that. Take a seat and make a number of all of the things that are connecting to be trashed. Now take into consideration where you are heading to need to go on it and how you are going to get it at this time there. If you even now aren't believing that you need a dumpster intended for rent, calculate the span of time it is going to call for to remove all of the excess and debris from your own home or yard. It might you should be worth the cash to save you every time that it is heading to take to clean up and dump everything.
The particular project proprietor will have 15 other things readily available to complete producing his plan very hectic. Trash piled up at your employment location is much like eyesore and cause a good disturbance to hectic agenda of the venture owner. This particular trash requires to be satisfied immediately which otherwise will be source for several problems.
Dealing with excess garbage, be it from cleaning an estate or cleaning after construction demolition, can be an arduous task. Until recently, the way that folks have collected and gotten rid of dust like this seemed to be to rent a dumpster and find the trash acquired that way. These days, however, there exists a new solution out there: the important Bag. The Big Bag is actually, as the brand indicates, a considerable, sturdy handbag that can be full of all the same kinds of debris that will normally be put into a dumpster. The particular rubbish is collected with a junk removal service, departing your property clean of all that trash forever. The Big Carrier junk removal option is a fantastic choice for almost each and every trash trucking job and beats out dumpster-style pots in terms of cost and convenience almost every period.
Compulsive hoarding has recently also been pushed in the spotlight thanks to a number of reality television series that show off the ailment. While lots more people know about that illness than previously, its reputation in the media hasn't already had an entirely positive relation to sufferers and those that love them, as hoarding is often dealt with as a spectacle rather than because the serious problem it's. It is sometimes simple to forget that people who are afflicted with this disease experience emotional and practical troubles long after this cameras are already turned off.
Leasing a dumpster, seems pretty simple proper? Well, prior to placing your dumpster purchase there are a few what you require to know.
Dumpsters are simply big squander bins applied to contain, subsequently dispose of huge amounts of construction or restoration garbage. If you exchange your roof there's usually a great deal of shingles and rotting wooden and tarpaper to get rid of. A dumpster is actually classed like a roll off or a trash container, although there are a few variations. Trash receptacles or pots are only in relation to two to ten yards very long. Department stores, residences, factories, dining places, and medical centers often utilize this more compact measurement. |
North Webster principal Jeff Franklin dipped into the collegiate ranks to find a basketball coach to run the boys' program at his Springhill school.
Franklin announced Wednesday that Tad Davis, who has coached at Southern Arkansas University in Magnolia, Arkansas, will take over the Knights' program.
Davis played high school basketball at Lawton (Oklahoma) Christian School and played collegiately at Southwest Christian University in Oklahoma City. At Lawton he was a two-time All-State selection, the Southwest Senior Classic Slam Dunk Champion and a two-time state champion.
Davis was an assistant coach at SAU for two seasons before transitioning to an admission's counselor position. His wife, Britney, is the head volleyball coach at SAU and will continue in that position. She recently gave birth to the couple's first child, Eli.
Davis replaces Matthew Graham, who took over the North Webster basketball program on an interim basis last season after Ron Meikle accepted the position, then departed for a job in Texas shortly before school began.
Davis is undaunted about inheriting a program that has had four coaches in about two years. |
London 2012 Olympic gold medallist and Czech mountain biking star Jaroslav Kulhavy added the UCI MTB Marathon World Championships title to his list of international titles when he powered to an emphatic win at a sun soaked Cascades MTB Park today, Sunday 29 June.
The race was characterised by the constant jostling of positions as the riders attempted to close the gap on Kulhavy. The Specialized Racing rider showed good form to stave off the attacks.
After a slow start, second place finisher Alban Lakata patiently manoeuvred his way through the field and established himself at the front of the field towards the end of the race. The Austrian star appreciated the performance from Kulhavy and admitted that the winner was in a class of his own.
The race had its fair share of drama as defending World Champion Christoph Sauser suffered a substantial mechanical, which cost him valuable time and effectively ended his bid to defend his title. He proceeded to work his way back up the field to finish in third.
"First of all congratulations to Jaroslav, it was an awesome ride from him and he showed his form at Euros two weeks ago. It was all good today until the portage section of the course and I was on and off the bike the whole time and when I was carrying my bike and hit a rock with my chain ring and it took me forever to get it back working," Sauser explained.
The South African charge was led by two-time South African marathon champion James Reid who finished 17th overall when he crossed the line ahead of compatriot Rourke Croeser. Reid was quick to describe the challenge of racing against the best riders in the world.
"It was brutal out there; it was a straight out sufferfest from the gun. I didn't have a great grid position but I managed to get into the top 10 in the first three kilometres, which was about the highlight. The guys in the top 10 are in a different league and if you try and go with them you are going to be a firework, which I just avoided," a relieved Reid mentioned.
Taking part in a world-class event on home soil was something that Reid knew was going to work in his favour and having raced the national championships at the same venue a few weeks prior to Sunday he had a good idea of what to expect.
"It wasn't the most ideal build up but considering we raced this track two weeks ago it was solid. The best way to describe would be a cross-country race of 90 minutes with three hours bolted onto the end, that's how hard these guys go out at the start," the Trek SA rider added. |
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<div class="chat-title"> JC Brand </div>
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<p class="user-custom-message" title="10000ft in the air">10000ft in the air</p>
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<span class="chat-message-me">09:35 me: </span>
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Hello world
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<span class="chat-message-them">19:25 Benedict-John: </span>
<span class="chat-message-content">Dagsê</span>
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<span class="chat-message-me">19:39 me: </span>
<span class="chat-message-content">This is a relatively long message to check that wrapping works as expected.</span>
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<span class="chat-message-me">19:42 me: </span>
<span class="chat-message-content">Supercalifragilisticexpialidociousstillnotlongenough</span>
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<div class="chat-event">JC Brand is busy</div>
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<span class="chat-message-me">19:43 me: </span>
<span class="chat-message-content">Another message to check that scrolling works.</span>
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<time class="chat-date" datetime="2013-06-04T00:00:00.000Z">Tue Jun 04 2013</time>
<div class="chat-message ">
<span class="chat-message-room">18:50 luke: </span>
<span class="chat-message-content">leia: hi :)</span>
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<span class="chat-message-room">19:40 leia: </span>
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I'll be gone for a while, will be back in about an hour</span>
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<span class="chat-message-room">19:40 Obi-wan Kenobi, Jedi Master: </span>
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I'll be gone for a while, will be back in about an hour</span>
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<div class="chat-message">
<span class="chat-message-me">19:42 me: </span>
<span class="chat-message-content">Supercalifragilisticexpialidociousstillnotlongenough</span>
</div>
<div class="chat-message ">
<span class="chat-message-room">19:43 Obi-wan Kenobi, Jedi Master: </span>
<span class="chat-message-content">Another message to check that scrolling works.</span>
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<li class="participant" title="This user can send messages in this room">Obi-wan Kenobi, Jedi Master</li>
<li class="participant" title="This user can send messages in this room">jabber the hut</li>
<li class="participant" title="This user can send messages in this room">leia</li>
<li class="moderator" title="This user is a moderator">luke</li>
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<< September
November>>
Friday 1st October 2021 13:00 Mass
A service of Holy Communion with a short homily.
Saturday 2nd October 2021 10:00 Mini Market
Sunday 3rd October 2021 10:30 Harvest Festival
Monday 4th October 2021 13:30 Bereavement and Friendship Group
A support and social group for those who have been bereaved - both recently and in years gone by. Refreshments and fellowship. Meets most Mondays - check with Jackie for weekly information.
Tuesday 5th October 2021 17:00 Slimming World
Meeting in the Church Centre Under special Covid-safe arrangements. Contact your Slimming World adviser for details
Wednesday 6th October 2021 09:30 Morning Prayer
A short service of prayer, readings and psalms, following Common Worship.
Thursday 7th October 2021 09:30 The Jesse Tree Stay and Play
Our popular weekly Stay and Play is back! We are re-starting our sessions with the morning session, and limited numbers of around 16, so please do book a place by contacting Helen on 07907 779814 (text or WhatsApp) Please bring your own drinks/food. The entrance fee is just 50p. The registration form can be completed online by clicking below.
17:30 Youth Club
Friday 8th October 2021 13:00 Mass
Sunday 10th October 2021 10:30 Parish Mass
Monday 11th October 2021 13:30 Bereavement and Friendship Group
Tuesday 12th October 2021 17:00 Slimming World
Wednesday 13th October 2021 09:30 Morning Prayer
Thursday 14th October 2021 09:30 The Jesse Tree Stay and Play
Friday 15th October 2021 13:00 Mass
Thursday 21st October 2021 09:30 The Jesse Tree Stay and Play
Friday 22nd October 2021 13:00 Mass
Sunday 31st October 2021 10:30 Parish Mass - All Saints Sunday
16:30 All Souls Memorial Service
Remembering loved ones who have died. A service of hymns, readings and music, with a time of reflection and candle lighting as we read out the names of those who have died in the past year, and others whom we wish to remember from years gone by. |
NewAge rolls out reinforced hose for craft brewers
Rubber & Plastics News Staff
SOUTHAMPTON, Pa.—NewAge Industries Inc. added a new style of reinforced hose to its BrewSavor product line.
The butyl-lined, monofilament hose is designed to resist kinking and crushing, maintaining shape for optimal flow in brewery transfer applications, according to a NewAge news release.
"Brewery operations can be fast paced, and hoses can get run over by forklifts or caught between machinery," Joe Linquist, NewAge's craft brew specialist said in a news release. "This hose is built to return to and maintain its original shape.
"A hose that won't remain crushed means a longer hose service life for the brewery and a better return on their process equipment investment."
The new hose features a chlorobutyl rubber liner for purity and unrestricted flow, and minimizes bacterial entrapment and flavor contamination, NewAge said. It is multi-layered and reinforced with a monofilament polymer helix for suction and discharge applications, and is rated for full vacuum at 29 inches of mercury with a general temperature range between 40 and 240 degrees Fahrenheit. It meets Food and Drug Administration, U.S. Department of Agriculture and Canadian Food Inspection Agency standards, and its butyl compound conforms to 3-A Sanitary Standards for No.18-03. The hose is free of PVC, phthalates and animal-derived ingredients and handles clean-in-place processes.
The hose is available assembled and ready to ship in standard lengths of 10, 25 and 50 feet, with non-stock lengths are available on request.
The BrewSavor product line will be on display at the Craft Brewers Conference in Denver through April 11 and will be displayed at the American Homebrewers Association's National Homebrewers Conference in Providence, R.I. June 27-29. There, Linquist will present "Draft Beer Dispensing for Homebrewers," an educational session about designing, assembling and maintaining dispensing systems.
NewAge manufactures plastic and rubber tubing in reinforced and unreinforced styles. Its AdvantaPure division specializes in high purity tubing, hose, single-use process tubing manifolds, BioClosure container closure systems and other components for the pharmaceutical, food, beverage and chemical industries. |
Home / Roofing / What Should Prompt Homeowners to Seek Residential Roof Replacement Services in Bowling Green Ohio?
When roofing problems begin to arise and a roof is reaching the end of its lifespan, it is important for homeowners to seek Residential Roof Replacement Services in Bowling Green Ohio. Prompt repairs or replacement can prevent a home from experiencing major water damage that causes further expense. With a yearly roof inspection, a homeowner should be able to find the signs of problems so they will know when they need to have their roof repaired.
* If the roof is around twenty years old, it is important homeowners begin considering a replacement.
* When a roof needs to be replaced, dips may begin occurring in the roof's structure.
* Missing and damaged shingles can become a severe issue and lead to the need of roof replacement.
* Damage to the ceilings could mean the roof needs to be repaired or replaced.
* Rotting in the roof or excessive algae growth need to be addressed with a roof replacement.
Although roofing repairs and replacement can be expensive, it is important homeowners do not attempt to put off replacement. A roofing expert can come out and fully inspect the roof to find whether the roof can be repaired or needs to be replaced. The roofing contractor can discuss the available options with the homeowner to attempt to help them save money, while protecting their home with a solid roof.
A full roof replacement can take a few days, depending on the size of the home. A new roof can last up to twenty years, with some styles of roofing lasting up to thirty. The roofing contractor will work to help the homeowner choose the right roof application for the home. A new roof will help to protect a home from the damaging elements.
If you are in need of Residential Roof Replacement Services in Bowling Green Ohio, visit Toledoroofrepair.com. This site will give you all the information you need, so you can make a sound decision for your roofing needs. Call them right away and they will be happy to help you choose the perfect roof to meet your home needs. |
Q: How do I get and store an initial value of a property of a UIView? I have a UIView laid out and constrained in main.storyboard, and have an IBOutlet connecting it to its corresponding ViewController class in ViewController.swift.
I need to manipulate the position of the view in various different functions, and to do this I need to be able to access the value of the initial y-position of the view. I tried to do this using
public let inputRest = self.userInputView.frame.origin.y
in the body of the ViewController class. However, this gives me the error Cannot use instance member 'userInputView' within property initializer; property initializers run before 'self' is available.
How do I store properties of instance members in variables in order to call them in a function? Is there a way to declare this variable in viewDidLoad() and access it in other functions?
Thanks for the help.
A: You cannot declare it as a class level property because it won't be created until the ViewController is instantiated. I think what you want to do is as follows.
//instantiate with an initial value of 0.0
public var inputRest : CGFloat = 0.0
override func viewDidLoad() {
super.viewDidLoad()
//you can do this here, because the userInputView will have been created
self.inputRest = self.userInputView.frame.origin.y
}
This is an inherent limitation of ViewControllers which are instantiated from a storyboard not being able to have let properties which can only be defined once. There are ways around this by overwriting the constructor used to create the view controller from the coder, but it's a lot of work, not easy to read, and very much a lot of work for nothing.
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Oxnard College
Branding and Identity, Design, Ecommerce, Web Design, Web Development, Wordpress
See it live news.oxnardcollege.edu
Oxnard College is a two-year institution of higher education in Ventura County. Founded in 1975, it serves approximately 7,000+ students. Their website includes a news area and events calendar, though the information it includes is limited to that which is entered at the district level. Because of the restricted editing capabilities of their current site, Oxnard College asked us to develop and News and Events website to help them better broadcast relevant and current information to their students, faculty, staff, and community.
Brand and Identity
Oxnard College is looking to undergo a campus-wide rebranding in the near future. Thus we wanted to create a modern, refreshed brand for the News and Events site that was based off the college's current branding but could also stand alone as the campus went worked to develop a new identity.
Our goal for design was to create a site that balanced the prestige of news and higher education with the fun of events and campus life. We created a sleek, minimal design that paired written content with bold photos and videos, creating a compelling visual of all that is happening at Oxnard College, while also motivating users to stay and explore the site.
We developed a fully responsive site that followed strict 508 accessibility guidelines.
Using WordPress the content management system, we built the site using modular components that could be turned on or off to give Oxnard greater control and flexibility of content. |
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About Champion Charter Bus
Champion Charter Bus is your go-to source for group transportation solutions across the west coast. We charter buses of all sizes for groups of all types, ensuring that all group travel progresses as smoothly and comfortably as possible.
Do you need a bus on the west coast?
Call our 24-hour team at 1-844-693-9330 to receive a free quote for your trip!
Our Favorite Haunted Group Destinations Near Denver for 2022
Daniella Deloatch August 12, 2022
Whether it's Halloween time or you're interested in spooky spots year-round, the Denver area has plenty to offer by way of haunted locations. If you're a group of friends interested in the paranormal, a private tour of haunted Colorado locations can be a fun way to spend a weekend vacation, birthday celebration, or another special occasion.
As you plan your spooky group trip around Denver and surrounding towns, consider booking a ride with Champion Charter Bus. Having a group transportation option is one of the easiest ways to travel on a private tour of the area's best haunts. Rent a minibus or charter bus to easily hop between Denver's haunted locations or even shuttle out of town to spots around Colorado Springs and Estes Park. Leave the transportation up to Champion Charter Bus and travel with a professional driver behind the wheel! Craft your itinerary of haunted locations and give us a call at 303-482-2792 to learn more about our services and charter bus rental pricing. Our team will make sure you travel with ease to these spooky destinations:
The Stanley Hotel
Address: 333 E Wonderview Ave, Estes Park, CO 80517
Although the Stanley Hotel isn't located in Denver (it's in Estes Park about a 1.5-hour drive,) we can't discuss haunted locations without giving it a shout-out. The Stanley Hotel inspired Stephen King's famed book and blockbuster horror film, The Shining. After watching The Shining, you'd think this Colonial Revival-style hotel has a tragic history of death and darkness. Well, it doesn't. It just happens to have attracted paranormal activity. The hotel has seen thousands of guests and staff over more than a century, with a few returning to The Stanley after passing.
Room 217 is considered The Stanley's most haunted location and is where King stayed during his initial visit to the hotel. It's said Room 217 is haunted by Elizabeth Wilson, the hotel's former head housekeeper who nearly died in the room during a 1911 explosion. Guests in Room 217 have reported items moving on their own, lights flickering, feeling cold forces even during warm months, and having terrifying nightmares. Additional hauntings include hearing the ghost of founder Flora Stanley playing the piano in the concert Hall, hearing children's laughter in Room 401, and seeing an apparition of a cowboy in Room 428. (Don't worry, guests have said that he's friendly!)
Since The Stanley is a stone's throw from Rocky Mountain National Park, it's the perfect location if you're looking for your fill of the paranormal and the great outdoors. Book rooms for your group, hit park trails during the day, and take a spooky hotel tour during the evening.
Charter bus rental tip: A charter bus rental is a comfortable and convenient way to travel from Denver to Estes Park. You'll have a designated private ride once you're there and won't need to worry about catching a shuttle to and from Rocky Mountain National Park. If you're planning to lodge at The Stanley, Be sure to inquire about oversized parking options when you book your rooms.
The Oxford Hotel
Address: 1600 17th St, Denver, CO 80202
The Oxford Hotel is Denver's oldest boutique hotel and is located in the trendy LoDo neighborhood. Unlike The Stanley, The Oxford has a few skeletons in its luxury closets. Not literally, but there is a dark history haunting the hotel. In 1898, Florence Montague killed her lover before taking her own life in Room 320. Today, this room is considered one of the most paranormally active places in the storied hotel. Guests have reported having sheets ripped off of them in the night and seeing a ghostly figure of a woman standing at the foot of their beds.
The Cruise Room is currently The Oxford's award-winning cocktail bar but was once a Prohibition-Era speakeasy. Several guests and staff have reported seeing a man wearing a dated postal worker uniform at the bar. He's usually seen sitting and having a beer before disappearing. According to city records, a postal worker in the 1930s was found dead on his Christmastime route. It was said that he stopped to have a drink at The Cruise Room shortly before embarking on his route.
Unlike The Stanley, The Oxford doesn't offer spooky tours. However, The Cruise Room is open to the public. Stop by the former speakeasy for artfully crafted cocktails, bites to eat, and maybe a run-in with the hotel's famous ghosts.
Charter bus rental tip: If you plan to lodge at The Oxford, keep in mind there's a $47/night overnight parking fee for cars. Groups traveling by charter bus will likely need to find alternative parking options. Visitors just planning to have a drink or meal at the hotel will need to secure street parking for a charter bus.
Address: 1599 E 8th Ave, Denver, CO
Cheesman Park is one of Denver's most popular greenspaces but it's also one of the city's most haunted locations. Well, it's just a park, what could be spooky about that? According to records, there are an estimated 3,000 bodies buried beneath the park. You read that right, the park was built on top of a cemetery. Mount Prospect Cemetery was opened in 1859 and was a garden-style cemetery that was a popular place for locals to walk or picnic.
As years passed, Mount Prospect became run down and city officials thought it would be better off as a full-blown park. There was a problem though, the city would have to move more than 5,000 coffins. Over a few years, it's estimated only about 1,700 bodies were moved to other graveyards. Unfortunately, many of the people resting in Mount Prospect were forgotten and construction for Cheesman Park started in 1898. Today, evening park goers have reported seeing ghostly apparitions, hearing the sounds of women singing, and feeling unexplainable dread or sadness.
Charter bus rental tip: Parking around Cheesman can be tough and is primarily found on the street. Finding space for oversized parking may be exceptionally difficult, so you'll likely want to have your charter bus driver drop your group off directly at the park before finding street parking. If you're interested in killing some additional time around Cheesman, head over to the Denver Botanic Gardens. Your charter bus driver won't need to move to park your bus and they can just pick up your group near the gardens at the end of your visit.
The Molly Brown House Museum
Address: 1340 Pennsylvania St, Denver, CO 80203
Denver's Molly Brown House Museum is one example of hauntings not always stemming from a catastrophic tragedy. Margaret "Molly" Brown was one of the first class survivors of the RMS Titanic. Molly was a major player in helping during the ship's evacuation and organizing resources for other survivors. Brown also helped lead relief organizing efforts during World War I and even ran for a seat in the U.S. Senate before women were even allowed to vote. Needless to say, Molly Brown was an icon in Denver.
Molly and her husband JJ lived in the unique Pennsylvania Street home until their eventual separation and respective deaths. Today, the home is a museum and it's said that Molly and JJ never truly left. Visitors and staff have reported smelling cigar smoke in the home, which is strictly a non-smoking museum. JJ Brown was a heavy smoker and it's thought he still sits in the home enjoying a cigar from time to time. Sightings of shadowy figures and a woman wearing a Victorian dress while rearranging furniture have been reported.
Charter bus rental tip: Since the museum is in a residential home, parking options are limited to on the street. Your charter bus driver can drop your group off at the museum before parking in designated areas on the east or west side of the Colorado Capitol building.
Museum of Colorado Prisons
Address: 201 N 1st St, Cañon City, CO 81212
Hotels and homes are spooky but there's something exceptionally creepy about prisons and jails. Again, the Museum of Colorado Prisons isn't in Denver but it's one of the eeriest haunted locations in the state. The museum is located 2.5 hours south of Denver in Cañon City, just past Colorado Springs. If you're out-of-towners planning a group vacation or private tour of Colorado, you should already spend some time outside of Denver—so definitely head down south for hiking in Colorado Springs and spooky history in Cañon City!
The Museum of Colorado Prisons is housed in a former state women's prison and serves to preserve and exhibit the history of Colorado's Prison System. The prison was established in 1935 as a women's facility to nearby men's Colorado Territorial Penitentiary. The Colorado Territorial Penitentiary was established in 1871 and still operates today as the oldest prison in the state. Between the women's and men's facilities, the Museum of Colorado Prisons has a dark, storied history of dangerous inmates, equally as dangerous staff, executions, and riots. Museum exhibits are already eerie on their own with artifacts like a once-working gas chamber and the last noose used for executions by hanging.
After seeing thousands of prisoners between the two facilities, it's only likely a few people have lingered over the years. Visitors have reported hearing disembodied voices and unexplained screams, feeling cold spots in windowless areas, and smelling tobacco in rooms that haven't seen cigarettes in decades. If your group is exceptionally brave, the museum offers public and private overnight paranormal experiences for ghost hunters.
Charter bus rental tip: The museum has a private parking area for guests. Groups traveling in a charter bus should consider submitting a group reservation form ahead of time. Be sure to note that you're traveling by charter bus on your form.
Book a Spooky Group Trip Around Denver
Ready to get scared in or around Denver? It's okay to say no, we understand. But when you do get up the courage, a Champion Charter Bus representative is available 24/7 to help you book transportation for a group trip filled with scares! Call 303-482-2792 to get a free, no-obligation quote for a Denver charter bus rental.
Socially-Distanced Holiday Destinations in Phoenix for 2021
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New and Old: The Arc'teryx Alpha SV in Photos
By Kevin Glover on November 7, 2016 0 Comments
Eighteen years ago, Arc'teryx debuted their Alpha SV shell. It was a shell intended for the most extreme alpine pursuits where human limits are tested and gear failure can mean failing to meet the objective. There is a load of history and hype behind the Alpha SV. For example, Arc'teryx pushed their partners at Gore towards lighter but still bomber seam tape; the redesigned SV (for 'Severe' conditions) continues along that path, ruthlessly cutting out anything beyond the essentials. The result is that the 2016 Alpha SV's N100p-x fabric doubles up on durability while only increasing weight by 3g/m. A further addition is the novel self-sealing zippers which eliminate the need for a zipper garage. The jacket on the whole is perhaps the lightest, strongest alpine shell available.
A full review will come down the pipeline in a few months, after the ice firms up in Hyalite and Banff. This post is intended to give interested climbers a comparative visual look at the old Alpha SV (which I own) and the new 2016 redesign. In all of these images, the redesigned jacket comes first and is followed by the old version.
Comparison in pictures:
The redesigned Alpha SV (top) presents a cleaner face than the old model. The lack of zipper garages is evident, thanks to the new self-sealing RS Zipper Sliders technology. The embroidered Arc'teryx logo is certainly more durable than a screen printed option, but it seems a strange choice since it necessitates an additional taped backpacking to remain waterproof.
Note the (necessary) zipper garages on the old model. Otherwise, the profile is almost identical.
Seam tape is a substantial contributor to the weight of an otherwise minimalist jacket. This image demonstrates that point. The top image is the redesigned Alpha SV; contrast this with the bottom image, which has more pieces of tape overall. The new jacket has just one piece to shave off grams and simplify construction.
Note the myriad of oddly-shaped pieces of backpacking on the old version. This has been streamlined on the new. A further advantage to the slim seam tape is an increase to the garment's breathability.
The elastic toggles across the jacket are a substantial component of how climbers interface with the Alpha. The new model has an integrated one-piece pull tab that releases at the push of a button. Arc'teryx partnered with Cohaesive for these components.
The previous model (bottom) had a small link of foam in the hem, as well as the external grommet and sewn webbing as shown. Mine has a ripped section which was a common failure recognized and often repaired by Arc'teryx.
The hood adjustment has a similar push-button design. Note also the 'Made in Canada' printing: the Alpha SV is Arc'teryx's only remaining jacket to be made in their Vancouver facility, where their life-critical gear (think harnesses) are still produced. The foam link is gone, but the new design retains the foam's ability to disperse the force of the elastic. All that to say, the new design is equally comfortable.
The 2016 update brings just one single breach onto the surface of the jacket, which is this toggle for the Alpha's hood.
Those push-button elastic adjustments further streamline the jacket's face. The grommets are gone, and the entire mechanism is now internal. All that peaks out is the elastic cord itself.
Even the cuffs have been tweaked. The old model, on the left, had an elastic section. The new model, on the right, has no elastic but a sleek laser cut profile.
There are two changes that are harder to show. One is the lack of an elastic drawcord along the back of the jacket it to cinch it around your torso; there was a toggle for this in the pocket of the old version but it's absent in the new, presumably to save weight. Additionaly, the fit of the new version is really quite different. It's longer in the sleeves and torso, providing more coverage overall. That said, I'd say it runs on on the Large end of the true-to-size scale, but I'll have fuller comments soon.
For more information visit the Alpha SV's page on Arc'teryx.com. Stay tuned for a full review after our testing is complete.
arc'teryx jackets
Kevin Glover
Kevin Glover is an outdoorsman living, climbing and biking in Spokane, WA. Originally from the Nevada high desert, he moved to the PNW for its mild winters and allergen-free summers. He has guided throughout the Cascades and Enchantments for Peak 7 Adventures. |
Home World U.K. launches tough new COVID-19 lockdown as border backlogs ease
U.K. launches tough new COVID-19 lockdown as border backlogs ease
Millions of people in the U.K. faced tough new coronavirus restrictions on Saturday, with Scotland and Northern Ireland demanding tighter measures to try to halt a new variant of the virus that is believed to spread more quickly.
Northern Ireland went into a six-week lockdown, while in Wales, restrictions that were relaxed for Christmas Day were also reimposed.
The number of people under England's top level of restrictions — Tier 4 — increased by six million on Saturday to 24 million people overall, about 43 per cent of England's population. The region included London and many of its surrounding areas.
No indoor mixing of households is allowed, and only essential travel is permitted. Gyms, pools, hairdressers and stores selling non-essential goods have been ordered to close, and pubs and restaurants can only do takeout. Business groups say the restrictions will be economically devastating to their members.
Another 570 daily deaths from COVID-19 were reported, bringing Britain's total death toll to 70,195, the second-worst in Europe after Italy. Britain also reported more than 32,700 new cases of the disease on Christmas Day.
Customs officers stand at the checkpoint on the Eurotunnel site on Dec. 22. Many countries have shut their borders to travellers from the U.K. following the discovery of a new variant of the coronavirus. (Michel Spingler/The Associated Press)
Fears about the U.K.'s new variant have sparked a week of border chaos. About 1,000 British soldiers spent Christmas Day trying to clear a huge backlog of trucks stranded in southeast England after France briefly closed its border to the U.K. and demanded coronavirus tests from all drivers.
Transport backlogs clearing
But British Transport Secretary Grant Shapps said Saturday that more than 15,000 drivers had been tested and that the backlog at a testing site at Manston Airport was cleared by Sunday morning. Only 36 positive tests had been reported, he said on Twitter.
"A massive THANK YOU to everyone who's worked tirelessly over the past few days to reduce the huge disruption caused by the sudden French border closure," Shapps tweeted.
The first cases of the U.K.'s new variant have now been detected in France and Spain. A French man living in England arrived in France on Dec. 19 and tested positive for the new variant on Friday, the French public health agency said. He has no symptoms and is isolating at his home in the central city of Tours.
Meanwhile, health authorities in the Madrid region said they had confirmed the U.K. variant in four people, all of whom are in good health. Regional health chief Enrique Ruiz Escudero said the new strain had arrived when an infected person flew into Madrid's airport.
WATCH | Queen's Christmas message one of hope, gratitude:
The Queen's annual Christmas message was one of hope for a world torn apart by the pandemic, but also of gratitude for the sacrifices so many have made. 1:59
In her annual Christmas address, Queen Elizabeth, who has spent much of the year isolating at Windsor Castle with her husband, Prince Philip, delivered a heartfelt message of hope praising the "indomitable spirit" of those who have risen "magnificently" to the challenges of the pandemic.
The 94-year-old queen and Prince Philip, 99, were setting an example by not visiting relatives as usual over Christmas.
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Sujuan Ba, Ph.D. received Working 4 The Community Award from NBC4
Washington, DC's WRC-TV, NBC4, recognized Dr. Sujuan Ba for her achievements and accomplishments at leaders and role models in the STEM universe together with two other local scientists.
In addition to its position as one of the premier cancer research support organizations in the U.S., the National Foundation for Cancer Research has also long served as a trusted resource for all. Our organization is doing everything in our power to bolster efforts by many of the most brilliant scientists in the country in their quests to deeply understand cancer, reveal its vulnerabilities and mercilessly attack the disease.
Tremendous progress is being made. But more than one in every three Americans will face a personal battle with the disease. And until this rate declines dramatically, NFCR's role as a trusted and valued community resource will remain vital.
Our community-support efforts were recognized on May 21 by NBC4. Citing her leadership of NFCR, the NBC television station of the nation's capital honored President and CEO Sujuan Ba, Ph.D., for her contributions and accomplishments in STEM (science, technology, engineering and math) during Asian American and Pacific Islander Heritage Month.
Through multiple channels and now more than ever, NFCR avails services of various forms—to all Americans. Here is a quick sample:
In conjunction with HonorHealth, a large Arizona-based hospital system, NFCR offers the Cancer Patient Navigation Hotline, which connects cancer patients and their loved ones with certified oncology doctors and nurses. Knowing that a cancer diagnosis comes with panic, confusion, uncertainty and many questions, we offer this service so as to provide assistance during a difficult time. A patient or family member is linked to professionals that can help and educate them along their cancer journey. No fee of any kind is associated with the service, and results and feedback have been positive and strong.
Another NFCR platform, Faces & Voices of Cancer, serves as a place for those touched by cancer to share their stories and be inspired. Patients, caregivers, researchers, donors, survivors and those who have lost loved ones—all are among the many of this very special online community. It's a place to raise your voice, tell your story and remind others that no one is alone in confronting cancer.
Our vaunted public education pieces serve to concisely offer up-to-date best practices, guidelines and suggestions on topics varying from cancer prevention measures to cancer screening calendars. Diet, exercise and other disease-fighting lifestyle tips are among the most popular examples of the former, while our oft-updated one-pager, Cancer Detection Guidelines, has long served as a quick-and-easy reference chart for millions of households. Delivered through direct mail, digitally and at hundreds of annual events affiliated with NFCR, the information, by design, is highly accessible and immediately actionable.
In addition to funding Research for a Cure, we will continue to serve the community with these and other cancer awareness and support tools and other services.
Szent-Györgyi Prize to honor NCI's Steven A. Rosenberg
NFCR Fellow Susan Band Horwitz Named Giant of Cancer Care |
Posts From November, 2022
Census 2021 – ethnicity, identity, language and religion data
The fourth round of data from the 2021 census was published on 29 November by the Office for National Statistics (ONS).
Data is available at a local authority and local area level. It includes:
This data is available bilingually in InfoBaseCymru.
For more information on census data please contact Sam Sullivan.
Census 2021 – demography and migration data is now available…
On 2 November the Office for National Statistics (ONS) published the second round of data from the 2021 census.
Demography and migration data is available at a local authority and local area level. It includes:
All households
Year of arrival in UK
Length of residence in the UK
Passports held
Usual resident population
Age structure (five year age bands) by sex
Age structure.
To help you use and understand the data, we have:
updated our dashboard comparing 2011 and 2021 data; and
data (including Welsh metadata) on InfoBaseCymru.
Data Update(14)
NIE(4)
Publication(18) |
Q: What can I put in my microwave oven that won't get warm? I have a fuzzy understanding that microwaves heat food because the waves interact with polar molecules in the food, causing them to vibrate, and the vibrations are heat? Correct me if I'm wrong.
To this end, I placed an empty plate (ceramic presumably) for 2 minutes, and it was hot to the touch... so that was a fail.
Is there some common item/material that can be placed in the microwave oven that won't heat up proving this property of microwave oven heating?
A: As a rough approximation, the energy pumped out by a microwave will bounce around until it gets absorbed by something. If there is something in the oven cavity which readily absorbs energy, the energy won't bounce around very long before it gets absorbed. If some objects in the cavity absorb energy, but not as readily, the signals will bounce around longer but still end up getting absorbed. The trays that are included with many microwave ovens are often designed to absorb energy, but not too readily. If nothing in the cavity absorbs energy, it may eventually get absorbed by parts of the oven itself, in ways that may damage it.
If you want to operate a microwave oven without heating a particular object inside it, and without damaging the oven, you should place something in the oven which absorbs energy more readily than the other object. That won't shield the object from all of the effects of the microwaves, but it will be heated far less than if it were the only thing in the cavity.
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I had a pretty unusual upbringing as I lived in 14 places before I was 12 years old including a stop in Petersburg, Virginia. While I was too young to really notice I guess it was safe to say that my folks were "Adventurers", and during these moves, where we often stayed for less than a year, we took the time to explore some of the areas around us including a short trip to Jamestown which was the first English settlement in the Americas in 1607.
Two personalities are usually associated with Jamestown; John Smith, who is depicted above in a statue at Jamestown, and Pocahontas who supposedly saved Smith's life after he was captured by the Native Americans.
How much of that story is true is up for debate but it's safe to say that things were a bit different in 1607 than what was depicted in the popular '90's Disney movie.
Late in 1606, English colonizers set sail with a charter from the London Company to establish a colony in the New World. The expedition made landfall on April 26, 1607 at a place which they named Cape Henry.
Captain Edward Maria Wingfield was elected president of the governing council on April 25, 1607. On May 14, he selected a piece of land on a large peninsula some 40 miles inland from the Atlantic Ocean as a prime location for a fortified settlement. The river channel was a defensible strategic point due to a curve in the river, and it was close to the land, making it navigable and offering enough land for piers or wharves to be built in the future. Perhaps the most favorable fact about the location was that it was not inhabited by nearby Virginia Indian tribes, who regarded the site as too poor and remote for agriculture. The island was swampy and isolated, and it offered limited space, was plagued by mosquitoes, and afforded only brackish tidal river water unsuitable for drinking.
I have to confess that I have bragged about this story many times, but the first President of the first English settlement in America was a Wingfield (one that I share a pretty remarkable likeness too as well). Edward Maria was a soldier, member of Parliament, and I guess the ultimate adventurer. I mean, what type of person leaves the comfort of a good life in England to risk your life by captaining a small sail boat across uncharted waters to a place that no one is even sure exists?
Captain John Smith wrote that from 1602 to 1603 Wingfield was one of the early and prime movers and organizers in "showing great charge and industry" in getting the Virginia Venture moving: he was one of the four incorporators for the London Virginia Company in the Virginia Charter of 1606 and one of its biggest financial backers. He recruited (with his cousin, Captain Bartholomew Gosnold) about forty of the 104 would-be colonists, and was the only shareholder to sail. In the first election in the New World, he was elected by his peers as the President of the governing council for one year beginning 13 May 1607, of what became the first successful, English-speaking colony in the New World at Jamestown, Virginia.
So if you like History, make it to this area of the country as it is fascinating. From Washington DC to the Carolina's you will a treasure trove of things and places to explore.
found that it's really informative. I?m gonna watch out for brussels. |
Freezing rain (1)
Canadian Disaster Database (Opens in a new Window)
The Canadian Disaster Database contains information on Canadian and international disasters from 1900 to present. Disasters are separated into natural (biological, meteorological/hydrological, and geological), conflict (arson, civil incidents, hijacking, and terrorist), and technology (fire, hazardous chemical, transportation accident, infrastructure failure, explosion, and space event). Point and gridded historical data are available.
Government of Canada: Public Safety Canada
Data product Additional resources
Climate Data (Opens in a new Window)
Climate Data brings together a significant amount of climate data and tools that have been developed for Newfoundland and Labrador. This includes historical climate data, road weather information system data, Intensity-Duration-Frequency (IDF) curves, temperature and precipitation projections, and flood alert system updates. Additional tools include flood risk mapping and coastal erosion monitoring. Future data are available as gridded data.
Department of Municipal Affairs and Environment, Climate Change Branch |
Le Tigre are looking for a summer intern to help them with the release of an upcoming DVD.
The group's frontwomen made an appeal for someone to fill the role on her blog kathleenHanna.wordpress.com.
Taking place in New York between June and August, the successful candidate will be "doing internet research, web maintenance and odd jobs related to our upcoming DVD release".
To apply for the role or for more information, email [email protected].
Meanwhile, Le Tigre are set to appear on Christina Aguilera's new album 'Bionic', which is released on June 8. |
Then, a variety of lonesome stares. And around 23:00, in a moment so genuine we started blushing just watching it, Ben ruffles his hand behind the back of his neck, embarrassed by her attention, and Jen pulls her hair out of her ponytail and fluffs it up. It's all so... perfect.
Sometimes it's hard to imagine that celebrities are real people with schoolgirl crushes and insecurities, which is why watching Jen in this very genuine moment is so great. Jen and Ben, we love you. |
Anyone Still Need To Buy Tickets?
Who wins? 2013 or 2017?
Newest odds on winning the Title.
GUnit of the Game - BYU - 2.02.17 ?
Post game radio GU-You know who!
Not too sure what to think..
I guess I don't know what an NBA player looks like anymore?
"College basketball: Bakamus is No. 1 Gonzaga's 'glue guy' "
Where was that BYU all year?!
KREM 2: "Basketball wins draw new Zags"
ESPN Gameday for SMC ?
Spokesman-Review: "Gonzaga's No. 1 ranking pays off for local T-shirt business"
It's Game Day. . . Gonzaga vs Santa Clara !
Nigel Williams Goss Status ?
How Far Will a Team Fall With Just One More Loss?
Most Ever Top - 50 RPI Wins?
SI: Mark Few - COY?
KREM 2: "Comparing the Zags to perfect Shockers"
Seattle game watch on Saturday?
OT: Happy 10th Anniversary, GU Boards!
More for Nigel: "2016-17 Academic All-District ™ Men's Basketball Team District 8"
Better coaching or just better players?
Who's the coach who taught the Zags to play defense?
What will Karno remember about the Saint Mary's game? Few hooked him!
Is something going on with Tillie?
COME BACK, KARNO! YOU ARE OUR SHANE.
Please wake me up if I'm dreaming.
Next challenge....Will we get past senior night?
Fishing after the Game Ends Tonight?
GUnit of the Game - San Francisco - 2. 16. 2017 ?
Gonzaga : quit the hating. Solid article.
Zags Will Win It All. Character will be the Reason. |
ThinKing April 2018 – Wound up tight: FibR GmbH creates revolutionary buildings out of fiber composite parts and looking to nature for inspiration
Thanks to computer aided designs and robotic manufacturing technology, new construction and design techniques are making revolutionary ideas a reality.
Complex composite parts which are not only light and stable, but also visually appealing – that is the mission of FibR GmbH from Stuttgart. The company combines the classic areas of design, construction and manufacturing in a one stop shop, primarily in the service of architectural projects. One such project is a pavilion crafted out of fiber composite materials being built for next year's federal horticulture show ("Bundesgartenschau") in Heilbronn. The prototype of one of the company's another projects has the potential to clean up the air in busy cities.
The State Agency for Lightweighting Baden-Württemberg is presenting this innovation as its ThinKing for April 2018. Leichtbau BW GmbH awards this distinction each month to offer a platform to innovative products and services in the Baden-Württemberg lightweighting sector.
FibR GmbH is specialized in computer based design and the robotic manufacturing of fiber composite structures. One of the larger projects which the team of the Stuttgart based company is involved in is the futuristic pavilion to be built for the federal horticulture show in Heilbronn next year. The lightweight construction is crafted out of carbon fibers and consists of 60 individual modules that are each up to six meters long. "The fiber composite dome will span 30 meters. Each of the 60 modules is precisely designed according to its structural and architectural purpose," says Moritz Dörstelmann, managing director of FibR GmbH. The project team responsible for the experimental pavilion also includes the Institute for Computational Design and Construction (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart.
Improving urban climate
Not only appearance, but also functionality plays a leading role at FibR GmbH. Moritz Dörstelmann unveiled the experimental design project "URBAN CLIMATE CANOPY" at the Luminale light festival last March in Frankfurt which he had led during his residency as a visiting professor at the Technical University of Munich. The lightweight construction is an architectural prototype which intends to show how the microclimate in cities can be improved through green design. The structure is covered with moss and vines meant to filter fine particulates out of the air and provide shade. "The light design was also important. By integrating glass fibers, we can create artificial lighting schemes at night and use sunlight to create great lighting effects," explains Dörstelmann. The innovative lightweight structures of FibR are not only useful in architectural applications. For Covestro's exhibition display at this year's JEC, the team at FibR GmbH created a carbon fiber table. "The unique design and surface effects were created using the programed instructions that we gave to the robots as input. This allowed us to explore a completely new design model," notes to Dörstelmann.
Taking inspiration from nature
"Some in the construction industry may shake their heads and say that you can either be a designer, planner or component manufacturer," says Moritz Dörstelmann. FibR unites all of these areas of expertise under one roof. "We blur the boundaries between design, construction and manufacturing. We offer our customers services in all of these areas as well as in the interfaces between them and benefit from the large number of architects in our team," says Dörstelmann. Nature is often looked to for inspiration for the designs and constructions. "All load bearing structures in nature are based on complex assemblies of fiber composite materials such as collagen fibers. We transfer this biological construction principle to the technological production of our components in order to achieve the best material efficiency," explains Moritz Dörstelmann.
In order to deal with this level of complexity, the team at FibR GmbH looks to computational design for its parts. Starting with a steel frame, a few coiling points are identified and installed. Then a computer calculates how the material can be best attached in order to create the ideal load distributing structure and at the same time use as little material as possible. "We are constantly monitoring the cost structure as well as the load bearing capacity of the separate parts – you don't get very far in construction with extremely precise but very expensive aerospace parts," notes Dörstelmann.
Resource efficiency from two sides
The second step – the actual construction of the components – is made possible by FibR's state of the art KUKA industrial robots that wrap resin soaked fibers around the frame following prior simulations and calculations. The complementary tensile forces ensure greater stability in the final product. "In the end we have a composite material which has excellent stiffness and rigidity and at the same time is extremely light," says Dörstelmann. Not only the individual components are characterized by efficient use of materials. The steel frame can be removed after the resin hardens and used to create additional products. "We therefore have a nearly completely waste free manufacturing process since we can do without the usual mold required for composite fiber products," notes Dörstelmann. In his six years as a researcher and instructor at the Institute for Computational Design and Construction (ICD) at the University of Stuttgart, Dörstelmann helped to develop a long series of demonstrations which show the architectural potential of new fiber composite lightweight structures. His experiences from this period can be seen in the work he now does for FibR GmbH. "Thanks to our scalable production line, we can carry out the production of both individual components and large series as well. In order to stay up to date, we continually expand our abilities through our own development as well as through cooperation with universities which allows us to react to the requirements of specific projects," explains Moritz Dörstelmann. Read more at: www.fibr.tech
Press release as PDF Press-kit with images (zip-file)
Video zum Pavillon auf der BUGA |
Essay By Raymond Greiner: "Where is my Garden?"
Raymond Greiner's writings include short stories and essays published frequently in various literary journals and magazines: Branches magazine, La Joie Journal, Literary Yard Journal, Nib Magazine, Canary Literary Journal, Bellesprit Magazine, Freedom Journal, Grace Notes Literary Magazine. His latest book, "Queenie; a novella" is available on Amazon. Raymond lives in a remote area of southern Indiana in a cabin far off a lightly traveled road with his two dogs Orion and Venus.
Where is my Garden?
I think I know, but recent thoughts have raised question. I know where my spaded and tilled plot is, with its hoed and neatly spaced rows. I know the location of my compost pile, and garden tools. Why the question?
This question has slowly appeared to me over time during my daily walk on this property with my dogs Orion and Venus. This is a one-hour experience, and each day this walk is one of introspection. We do this walk in all seasons and it serves as a see-feel-learn time, a bonding event exposing aspirations and emotional connections that are distant or unknown to those without this opportunity. No flashing lights or fabricated sensationalism; simplistic, quiet, visual natural energy that can be difficult to discover without such presence. The crow's caw is mood music, or a croaking frog may break the silence, life living and free, as it has done for millenniums. The grace and beauty of the Great Blue Heron as it exits the pond in flight as we approach. There is flora in all seasons. The Christmas fern is green all winter, and also the fencerow has white pine adding color to the gray days of winter. This place is a microcosm of life, an inner connecting ecosystem, thriving, adjusting, growing and yielding to the pattern and dynamic of change. There is a voice here, clear and defining. This is a theatre where the curtain goes up four times a year with repetitive plays, as characters return to dance, singing songs rhythmically attached to their spiritual presence. I have a blossom addiction, can't get enough blossoms in my life. Springtime brings blossoms, many, many blossoms. My favorite is the blackberry blossom, it is so pure, white, clean and perfect, and in summer it yields luscious fruit. Hickory nuts fall to the ground, often hit the metal roof of the hay barn with a ping and roll. I could gather them, but leave them for the squirrels. The ground is covered with walnuts in fall and we have pawpaw (custard apple) trees in the woods. A big beech tree is near my cabin and causes me to remember harvesting those tiny seeds as a kid roaming the woods in West Virginia. Where is my garden?
The answer is I have two, one that I dream of in winter, anticipating the day when I start my tomato plants in the cabin's window, and sharpen my hoe long before it is time to use it. My second garden needs no hoe, needs no tilling or nurturing of any kind, it is nature's garden, displaying the perfection I strive for in my small tilled and hoed space. My small garden delivers joy to my soul in equal doses to nature's garden, but a higher spiritual plane appears in nature's garden. Its self-care with an ability to thrive and produce is awe-inspiring.
Spiritual leaders teach us that God's presence is ubiquitous, which is likely true, but as I walk with my two K9 friends, Orion and Venus, each day I am a witness to visual proof of His presence. I imagine a world of long ago as early cultures had only one garden, provided by nature, and think of how they must have felt each year as they harvested their bounty directly from the grace of God. They knew so much more than I know about their garden, they knew roots, berries and grasses. They knew when to harvest the May apple, before it turned poisonous. Their connection was intimate and fulfilling, they were children of the Earth, blessed with earthly connection. My question is: Are we venturing in a direction that is misdirecting us? I don't know the answer to this question but it appears in my mind and I do wonder. I feel we may have become spiritually weakened and lost direction.
It is my hope that my gardens last forever, but of course mine will pass with me. I feel certain nature's garden will prevail, as it has for thousands and thousands of years. Humankind may trip and fall, but nature has superb resilience, an ability to re-generate and flex with the prevailing storms of time. One spring we had very low temperature for April, lost all the blossoms on the fruit trees, but as I observed the tiny wildflowers, they closed up tight, endured the cold and one bright sunny day, there they were, open and brilliant, such beauty one seldom beholds. This particular event had great impact on me, it demonstrated resilience, and an ability to transcend near impossible odds, leaving me with strength that is not found in textbooks and classrooms, it simply is a display of life.
~Raymond Greiner
Issue #19 Special Edition~From the Heart of Cape T...
Introducing Visual Artist Shameeg van Schalkwyk
An Essay by Jacqueline Kruger: "Teaching on the Ca...
Poet David Allen Responds to "Deforestation"
Poet Elizabeth Brooks Responds to "Image Defined"
Poet Don Beukes Responds to "Entangled"
Poet Scott Thomas Outlar Responds To "Crown of Wa...
Poet Bruce Owens Responds To: "Talking To The Moon"
Poet Janine Pickett Responds To: "Distress"
February 2016 Issue #18
Six Poems By David Allen: "Tellin' Ruth Ellen", "A...
A Poem and CNF By Elizabeth Brooks: "Look at Me",...
Five Poems by Valentina Cano: "Milton", "Birthday,...
Three Poems By Isabel Chenot: "Lullabye", "To a Hi...
A Poem by Linda Lichte Cook: "Flat Land"
Five Poems And Artwork By Jennifer Criss: "At the ...
Three Poems By JD DeHart: "Den", "Famine", "A Gui...
Three Poems By David Domine: "Snowflakes", "Huntin...
Flash Fiction andThree Poems By Ken Allan Dronsfie...
Three Poems By Angel Edwards: "Pensive Mood", "Dec...
Three Poems By Edilson Afonso Ferreira: "Blessings...
Two Poems By Ananya S Guha: "Distress Buying,Selli...
Three Poems By Mark Luebbers: "Ars Poetica", "Apia...
A Poem By Alice Jane-Marie Massa: "Immigrant from ...
Three Poems By Valerie Muensterman: "Blood Moon", ...
Three Poems By Melissa Parietti: "Music Box", "Hol...
Five Poems And CNF Flash By Arthur Powers: "Front...
A Poem and Visual Art By Cecilia Soprano: "Thought...
Three Poems By Christopher Stolle: "Returning To S...
Three Poems By Ajise Vincent: "Story Story", "Meta...
A Poem By Jocelyn Zarco: "This Ground Beneath Me"
Fiction By Matthew Fort: "Hemispheres"
Flash Fiction By Belinda Hubert: "Edges"
Fiction By Adam Matson: "Gales of Inappropriate L...
Fiction By Jenny Sturgill: "The Torn Dress"
CNF/Essay By L.D. Zane: "Caught"
Visual Art By Eric Hill |
Broken bike (CC licensed image by garryknight, www.flickr.com)
Driver kills cyclist after running him over three times
Incident described by police spokesman as "an accident" happened in Utah last month
A cyclist in the United States was killed last month after being run over three times by a motorist as she tried to exit a car park – although police say there is no suggestion it was "anything other than an accident."
The fatal incident happened in the city of Roy, Utah on 20 September, with the cyclist, 62-year-old Warren Watanabe, sustaining 14 broken ribs and serious injuries to his liver and kidneys, reports the Standard Examiner. He died from his injuries five days later.
According to a warrant signed by a judge to enable police to access prescription records, the victim was riding along the sidewalk at around 0822 hours when the motorist, a 77-year-old woman, drove out of the car park and crashed into him.
She then reversed, then drove forward, and ran him over again. She reversed once more then got out of her vehicle, and seeing the cyclist, called the emergency services on 911.
The incident was captured on CCTV and the woman underwent a blood test and told officers that the only medication she had taken was to control cholesterol.
Police undertook a reconstruction of the incident, and a spokesman for Roy Police Department, Officer Stuart Hackworth, said that the investigation was now complete.
He added: "There is no indication or any belief that this was anything other than an accident. She was not aware of what she had hit."
The case is, however, being referred to the Weber County Attorney's Office to consider any potential criminal charges that may be brought.
Cycling campaigners in the US and elsewhere have called on public institutions such as the police, as well as the media, to stop using the word "accident" when describing road traffic collisions, since that implies that they are purely down to chance whereas in the vast majority of cases there is a human element, such as driver error, involved.
wtjs 1 sec ago
The only real solution is enforcement...
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For what reason?...
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Father and son named as cyclists killed in suspected hit-and-run
"Our intention was not to hide these changes": Strava apologises for price hike controversy
Driver assaulted cyclist for questioning mobile phone use |
TODAY P&O CRUISES AUSTRALIA BIDS FAREWELL TO PACIFIC PEARL !
Posted by brian on Monday, 27 March 2017 in Cruising News
Today P&O Cruises Australia Bids Farewell To Pacific Pearl!
Today we say farewell to the Pacific Pearl from the P&O Cruises Australia fleet, today she departs on her final 16-night Auckland to Singapore cruise.
Pacific Pearl joined the P&O Cruises Australia fleet in December 2010 and was launched in New Zealand. Her latest refurbishment happened in August 2015 and this brought her more into line with the two new refurbished ships Pacific Aria and Pacific Eden which have been refurbished to more contemporary upmarket look for the Australian cruise market.
Pacific Pearls godmother is the New Zealand triple Olympic medal winner, Barbara Kendall.
Pacific Pearl has completed 295 cruises while cruising for P&O Cruises Australia, she has also carried more than half a million passengers over a period of more than six years of service.
"In becoming a much loved passenger favorite, Pacific Pearl made a huge contribution to building the cruise category in the region particularly in New Zealand, introducing thousands of holidaymakers to the joys of cruising," said P&O Cruises Australia President Sture Myrmell.
"In addition to a contribution to the growth of cruise in Australia, Pacific Pearl played a big part in growing the New Zealand season by more than 20 per cent over the past four years."
Mr Myrmell said Pacific Pearl's departure was part of the ongoing evolution of the P&O Cruises' brand.
"Farewelling Pacific Pearl is a natural progression in which we are increasing the size of the fleet while redefining modern cruising in this part of the world. This is a very exciting time for P&O Cruises and our guests and is part of our long-term commitment to grow the cruise market."
Pacific Pearl has certainly served the P&O Cruises fleet with class and elegance giving Australian and New Zealanders a touch of classic cruising !
Having you cruised on Pacific Pearl?? If so what are your favorite memories while being on board??
Tell us your stories, leave your comments below.
Information supplied by: www.australiancruisingnews.com.au The HOME Of Australian Cruising!
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PACIFIC DAWNS FEATURES REALLY ARE #LikeNoPlaceOnEarth !
Posted by brian on Thursday, 16 March 2017 in Cruising News
Pacific Dawn one of Australia's much loved cruise ships returned back to Brisbane after a two week extensive refurbishment in Singapore, what was refurbished well Australian Cruising News .com.au can confirm that nearly all the public areas on board have been.
A guest on board has also told Australian Cruising News.com.au that none of the cabin areas had been touched.
This means that the two new slides, both around 80 metres long, form the centrepiece of the extensive refurbishment. Pacific Dawn now has the wildest and longest waterslides on any Australian cruise ship!
One slide is transparent so that spectators can watch guests shoot through its twists and turns, while the other slide is multi-coloured, with music pumping through it to give guests a high impact ride to the bottom.
Other additions include a waterpark and P&O's first virtual reality activity at sea from Sony Interactive Entertainment Australia.
As part of the refurbishment, the 2000-guest Pacific Dawn has also become the first in the fleet to wear the cruise line's striking new livery featuring the Southern Cross, a national symbol in both Australia and New Zealand.
A team of 700 contractors spent more than 100,000 hours transforming the ship during its refurbishment with work including the installation of more than 18,000 square metres of carpet – almost enough to carpet all four exhibition halls at the Brisbane Convention and Exhibition Centre.
Additions to the 70,000-tonne ship include more than 3000 pieces of new and reupholstered furniture, more than 1500 pieces of art and accessories and more than 500 new pieces of signage.
The two waterslides took almost 40 days to build offsite and on-board the ship, with final installation and testing occurring as Pacific Dawn returned to Australia.
In the teenage clubs, HQ and HQ+, the entertainment has gone to a whole new level with the cruise line's new virtual reality experience, featuring a range of popular Sony PS4 titles including Tearaway Unfolded, Gravity Rush 2 and Ratchet & Clank as part of the exclusive partnership with Sony.
Pacific Dawn's guests can now also enjoy a range of other new features on the ship including The Pantry, which was first introduced on board Pacific Jewel back in 2015. Pacific Dawn. The Pantry is an international market place of nine fresh food outlets which replaces the traditional ship buffet. Among its offerings are the Mediterranean-inspired Nic and Toni's and seafood restaurant, Shell & Bones.
Many of the ship's key public spaces – including the atrium, Charlie's cafe, The Orient and the Promenade Bar – have been redesigned, they also have the contemporary Australia look which is one of the key features of both Pacific Aria and Pacific Eden.
Its great see that P&O Cruises Australia have all of their ships in the fleet except one [Pacific Jewel} featuring the same look and features. Now they just need to bring Pacific Jewel into line with the rest of the P&O Cruises Australia fleet.
P&O President Sture Myrmell said the refurbished Pacific Dawn was the next step in the evolution of P&O's modern Australian holiday offering, designed to deliver good times in a stylish yet relaxed setting.
"Pacific Dawn not only features the new look and feel which has been so popular on our latest ships, Pacific Aria and Pacific Eden, she also provides a taste of what's to come on our next ship Pacific Explorer, which debuts in June. We think she'll be a real winner and we can't wait to welcome guests on-board," Mr Myrmell said.
The refit comes at the start of P&O's biggest year of Queensland cruising, with two ships sailing from Brisbane year round. Between them, Pacific Dawn and Pacific Aria will offer a record 108 cruises to holidaymakers this year, up from 98 cruises in 2016.
According to the latest statistics, Queensland is the second biggest source market for Australian cruisers with more than 280,000 Queenslanders cruising in 2015, up almost 30 per cent on the previous year.
During the 2015-16 financial year, cruising contributed an estimated $976 million to the State's economy.
Information supplied by: P&O Cruises Australia.
www.australiancruisingnews.com.au The HOME Of Australian Cruising!
Photos Credit: http://morgan-photo.com/ The James Morgan Photographic Consultancy – Australia and UK
AUSTRALIANS FINALLY GET ACCESS TO CARNIVALS FUN SHOP PROGRAM !
Posted by brian on Wednesday, 15 March 2017 in Cruising News
Australians Finally Get Access To Carnivals Fun Shops Program !
While there has been some excitement from Australian cruisers that Carnival Cruise Line, Australia has added the easy access tool of the ever so popular Fun Shop program, to its Australian website it's about time I say and it should have been done a long time ago!
Pretty much every cruise line that has ships cruising from Australia throughout the cruising season, Australians have access to their pre purchased gift program apart from P&O Cruises Australia who don't have one! Why not! You're meant to be Australia's home-grown cruise line.
It's now taken an American cruise line that has only be homeporting in Australia since October 2012 to now provide this service that should be standard!
Mind you Carnival Cruise Line, Australia its still a watered down version of what is avalible on your American webite, why is that ?
Fun Shops lets guests – or their friends and family – pre-purchase gifts before their cruise departs, allowing them to surprise loved ones who are booked on Carnival Spirit and Carnival Legend cruises from Australia.
Carnival Cruise Line Vice President Australia Jennifer Vandekreeke said with many guests booking a cruise to celebrate a milestone occasion, Fun Shops provided the perfect opportunity to make the experience even more memorable.
"We all enjoy a surprise every now and then, and there is no better way to start a holiday than arriving at your cabin to find an unexpected bottle of bubbles or a beautiful bouquet," Ms Vandekreeke said.
"Fun Shops is an ideal way to make sure a fun holiday becomes even more fabulous!"
Perfect for celebrating a birthday or anniversary, or just as a pick-me-up, the gifts include flowers, balloons and decorations, sparkling wine, cheese platters, fruit hampers, chocolate cake and chocolate-covered strawberries.
For more information about the full range of gifts on offer please visit http://www.carnival.com.au/fun-shops
Australians expect much more from cruise lines now we have been cruising long enough now to know what is acceptable and what is not! We want better ships with world class amenities, accommodation, entertainment and food.
The majority of Australians don't like having their gratuities included in their fares either, if we feel that its warranted to tip staff for great service, we are more likely to do it at the end of the cruise and give the appropriate person.
We also expect more in the way of social media connectivity at sea, with better internet coverage and speeds at competitive prices.
We want to be taken to amazing destinations for the cruising holiday of a lifetime, after all we have paid for it!
Information supplied by: www.australiancruisingnews.com.au
FLEETWIDE STATEROOM CATERGORISATION TO HAPPEN ON ALL ROYAL CARIBBEAN INTERNATIONAL SHIPS.
Fleetwide Stateroom Catergorisation To Happen On All Royal Caribbean Ships !
Royal Caribbean International have decided to make changes to the way they categorise their staterooms on board their ships, in a fleet wide first.
Whether you're a travel agent or just a future or returning guest of Royal Caribbean International reading the stateroom categories on a Royal Caribbean ship is set to get a whole lot easier!
The new stateroom categorisations are going to be effective for all future deployments for sailings from April 2018 onwards, on all Royal Caribbean ships.
So what's going to happen??
1. Royal Caribbean International are going to be changing the way they talk about staterooms, to simplify our naming conventions and make it easier for everyone, so that you can choose your stateroom with ease.
2. Their new system is going to be based on the four most important elements that Royal Caribbean guests look for when choosing a stateroom – Those are as follows :
Deck, size, occupancy and location - making it easier than ever for you to find your ideal Stateroom accommodation.
Below is a Pdf file from Royal Caribbean International setting out on how this all should work out.
17_3_8_RCI_StateroomRecategorisation.pdf
Information supplied by: Royal Caribbean International.
WELCOME TO P&O CRUISES UK AURORA, WHERE YOU GET A TASTE OF ALL THINGS BRITISH !
Posted by brian on Saturday, 04 March 2017 in Reviews
Welcome to P&O Cruises UK Aurora, Where You Get A Taste For All Things British!
P&O Cruises originates from 1822, with the formation of the Peninsular & Oriental Steam Navigation Company, which began life as a partnership between Brodie McGhie Willcox, a London ship broker, and Arthur Anderson, a sailor from the Shetland Isles. The company first operated a shipping line with routes between England and the Iberian Peninsula, adopting the name Peninsular Steam Navigation Company.
In 1837, the company won a contract to deliver mail to the Peninsula, with its first mail ship, RMS Don Juan, departing from London on 1 September 1837. The ship collected mail from Falmouth four days later, however it hit rocks on the homeward bound leg of the trip. The company's reputation survived only because all objects including mail were rescued.
P&O first introduced passenger services in 1844, advertising sea tours to destinations such as Gibraltar, Malta and Athens, sailing from Southampton. The forerunner of modern cruise holidays, these voyages were the first of their kind, and have led to P&O Cruises being recognised as the world's oldest cruise line.
Aurora is one of the oldest ships in the P&O Cruises UK fleet, Aurora was built in the year 2000 while sister ship Oriana was built in 1995. Aurora certainly has a lot to offer to anyone who decides to take a cruising vacation on her. P&O Cruises UK Aurora offers lots of cruising options including her world cruise which stopped in Sydney, Australia overnight on the 02nd and 03rd of March 2017.
P&O Cruises UK are steeped in tradition and that is why you may see so many British, Australians and International guests travelling with such a well know and established brand. For many it's like a home away from home. You get all the creature comforts and a whole lot more all for quite a reasonable price.
Ms Aurora certainly creates a striking figure at sea with her well designed four deck tiered stern, which can be first noticed on sister ship Oriana. Also her long bow and sleek funnel are a couple of other standout features all designed with World Cruises in mind. Aurora is best known for her world cruises and has everything a cruiser could want, including world class dining, spa, salon, cinema and theatre.
Aurora is impressive and so is her four-deck atrium with a stunning 35ft sculpture of two figures veiled in water.
Great for adults.
Once you step on board Aurora you'll find everything that you need for your much anticipated journey. This includes superb dining options from the many restaurants on board some of those which will include a small surcharge to the two main restaurants which are included in your cruise fare. There are also four pools on board Aurora for your use and relaxation there's nothing like a day at sea spent by the pool. There is also the luxurious and very well equipped spa and salon, this is where you and your loved one can spend many of your days of your voyage pampering each other.
Then there are the many cosy and stylish bars that are situated around the ship, you'll certainly never go thirsty on board Aurora. Oh and did I mention about the shopping on board, whether you need a new outfit for the formal night or just wanting to buy someone that special souvenir, there is something for everyone!
Shopping on board Aurora.
•Mayfair - offers elegant clothing for ladies and gentlemen, as well as jewellery, including our range of Pandora Jewellery, perfumes and cosmetics, souvenirs and accessories from many different designers.
Piccadilly - offers clothing, accessories, souvenirs, gifts, games and toys.
•Emporium - has everything you may need whilst on holiday from sweets and snacks to souvenirs and toiletries and other holiday essentials such as batteries and sun lotion.
Family friendly.
Aurora even offers something for the little kids and the big ones, it's bringing the opportunity to enjoy quality time together as a family as well as being able to spend some time alone separately. From being able to do what you want to being on a schedule it's your choice to do whatever you please. On board Aurora kids are well cited for their kids clubs on board cater from the age of 2 right up until the age of 17. P&O Cruises UK have qualified reef rangers on board to keep the kids entertained from morning to night, there is even a night nursery which age ranges from 6 months to four year olds, mind you this is also a free service.
Age groups are:
Splashers 2-4 year olds - Qualified youth staff provide a full programme of age-specific activities.
Surfers 5-8 year olds - Qualified Reef Rangers provide activities, adventure, games and sport coaching sessions.
Scubas 9-12 year olds - Children this age can either join in the organised games with the specialist Reef Rangers or simply hang out with friends in the chill out areas.
H20 13-17 year olds - Children have their own room to chill out, watch movies, play games or participate in coaching sessions, talent shows and parties.
Relaxation On Board Aurora.
Did I mention about the spa omg, luxurious spaces to relax in, salon treatments and the aroma of scented oils. You can enjoy a warming and cleansing visit to the sauna and steam rooms. Or opt for the very latest in facials, manicures, pedicures, aromatherapy or massages, in one of the luxurious treatment rooms, each with a fantastic ocean view.
Some of Aurora's spa features.
Oasis spa & salon - Get ready for the evening ahead and indulge in pedicures or a manicure. Also offering hair dressing - the Spa Salon is the place to come before a glamorous night out on board Aurora.
Spa treatment rooms - Book yourself into one of the Oasis Spa treatment rooms on Aqua deck for some well-earned relaxation. Some of the treatments on offer are:
Elemis Aroma Stone Therapy - On Aurora they use heated stones to melt away your tension. Therapeutic heat is slowly released into the belly of the muscle for a completely new body experience.
Elemis pro-collagen quartz lift facial - An exceptional anti-wrinkle facial which has been independently tested with phenomenal results.
Oasis Salon
Situated midships on Lido Deck, between the Crystal and Riviera Pools, is the Oasis Health and Beauty Salon. The theme of Oasis is botanical and the aim is refreshment, relaxation and rejuvenation.
Visit the hair salon to have your hair styled for the evening, to try a new colour or even a totally new look. The Oasis Salon is all about pampering and indulging yourself.
Treatments at the salon include:
Lash and brow tinting for the lady's or gentlemen if so desired.
A range of manicures and pedicures
Bliss waxing (brows, lip/chin, half arm, underarm, half or full leg, bikini, Brazilian, back/chest)
Hair styles and treatments including colouring and highlights
Gym and Fitness Where You Can Work Out To Your Hearts Content.
For those who may think a cruise might be boring or there might not be enough to do it's quite easy to keep active on a ship such as Aurora. You can work out in the gym, take a spinning class, or a nice walk around deck.
On board Aurora there is the offer of a range of different fitness classes such as indoor cycling, Pilates, yoga, body sculpt boot camp and push 'n' lift which are assisted by a fitness instructor.
The gym is typically open from 8am - 8pm every day and use of the on-board gym equipment is complimentary. Equipment on board includes:
Cross-trainers
Sports Activities On Board Aurora Head to Sun deck for some sporting action.
Whether you enjoy the friendly competition of an organized tournament or prefer to play casually with your own party, short tennis, football, cricket and basketball are just some of the options available in Aurora's Sports Court. Securely enclosed in netting, you can perfect your swing as you sail on to the next course with Golf nets. Clubs and balls are provided, or you can use your own.
Aurora's entertainment options means that there is always something to do and see.
There's never a dull moment on board Aurora, when it comes to entertainment and things to do there's something for everyone.
See below some examples of the kind of entertainment you'll find included in the price of your holiday.
Dazzling West End style performances in theatre
Live music, piano recitals and tribute bands
Pub quizzes
Sea day activities
With a range of activities taking place throughout the day, you'll struggle to fit everything in. Take a look below for some examples of activities you could enjoy on board.
Dance classes - take place on all cruises with 7 or more days at sea and are hosted by coupled dance instructors. A variety of complimentary dance lessons are available with the main type of dance offered being ballroom and Latin. It may be possible to arrange 1 to 1 tuition; any charges generated from this would be at the instructor's discretion. Everyone is welcome regardless of experience.
Guest speakers - will be on board cruises of 7 nights or more (if over 20 night duration - 2 speakers share the cruise).
Deck quoits
Watercolour art - classes take place on all cruises with 6 or more days at sea. Art materials can be purchased on board or you may bring your own art materials to participate in the classes.
Bridge - classes hosted by an instructor will take place on all cruises with 7 or more days at sea.
Language classes - a language instructor teaching Spanish will feature on Round the World Cruises only. However the language and times are subject to change. Full information, including any associated costs, times and locations will be available on-board.
Poolside snacks, Where You Can Snack to Your Hearts Content, its where swimming and lounging around on the pool deck can be hard work there's plenty of options to choose from.
Lido grill – Unlike P&O Cruises Australia everything available at the lido grill on Aurora is free and included in your cruise fare.
Sidewalk Café – Help yourself and enjoy light snacks from the 'Grab and Go' counter this is also included in your cruise fare.
Poolside Ice Cream – From Jude's ice cream bar on board Aurora where there is a multitude of flavours to choose from. There is a nominal fee involved.
Specialty Restaurants On Board Aurora, Where You Can Eat Some Of The Best Food Going Round For A Nominal Fee.
Atul's restaurant, Sindhu, will showcase an elegant fusion of Indian and British cuisine featuring sublime flavours.
Enjoy a menu inspired by Atul Kochhar. His Soft Shell Crab and Squid Salad in particular is sure to be a favorite. Guests will also be able to order from a lighter menu for a more informal bite to eat, or sample one of Atul's exotic cocktails from the equally chic bar.
The Beach House.
Fun and informal, The Beach House is a great option for families.
Located in the buffet restaurant during the evening, The Beach House offers great ocean views to go along with a casual menu of grills and seafood. When the sun is shining, there's also the opportunity to sit outside on the terrace.
If you enjoy a glass of wine with your meal you'll want to visit The Glass House.
On the venue's signature menu every course comes with the option of a different glass of wine, matched by our expert, Olly Smith. With a handsomely stocked wine cellar and mouth-watering daytime and evening menus, The Glass House is a relaxed, informal haven of good food and fine wine. What's more, selected bottles are available by the glass, so there's no need to order the whole bottle to sample a particular vintage.
Afternoon Tea The Tradition Continues!
On Board Aurora every single day you are able to sample traditional cruising at its best. With the Classic English Afternoon tea it's something never to be missed!
For a once in a life time experience you can spoil yourself to a classic English afternoon tea, served daily in the two main restaurants. You can enjoy a selection of finger sandwiches, delicious cakes and of course the all-important scone topped with clotted cream and jam, all served alongside a pot of tea or coffee.
This is certainly an experience of a life time, with many Australians who have decided to take a P&O Cruises UK cruise, just so that they can sample this and see what all the fuss is all about because know body does it better than the British !
Main dinning Where You Can Enjoy Some of the Finest Dinning At Sea.
Freedom Dining at the Medina Restaurant. Similar to [Anytime Dinning].
Like to escape the usual routine on holiday? Then you'll love the flexibility of Freedom Dining. Opt for an early dinner one night and a late supper the next; you can shape each day as you please.
With Freedom Dining you'll still enjoy the special ambience and sociable atmosphere of a main dining room, with a five-course menu (six-course on Gala Nights). The difference from Club Dining is that this option allows you the flexibility to turn up at selected restaurants anytime you choose between 6pm and 9.30pm, with whom you like, and every effort will be made to accommodate you. Freedom Dining is included in your fare when you book a Select Price. Just opt for it when making your Select Price booking.
Alexandria Restaurant.
Club Dining at the Alexandria Restaurant. Similar to [Traditional Dinning].
Choose a particular Club Dining seating and you'll dine at the same time and table each night and enjoy the same company. It's the way many a friendship has been made on board.
With Club Dining you'll enjoy the special ambience and sociable atmosphere of the main dining room, and a five-course menu (six-course on Gala Nights). This style of dining is a wonderful way to share your holiday experiences and meet new friends.
By choosing Club Dining you're opting for the cruising tradition of set sitting times. The same table will be reserved for you and your table companions every night for first or second sitting, at 6.30pm or 8.30pm. You can request your preferred sitting when you book a Select Price and P&O Cruises UK inform you of your table number and sitting with a card in your cabin when we welcome you on board.
Welcome To Your Home Away From Home With Stunning Accommodation Options On Board Aurora.
Aurora caters to everyone's likes and tastes, especially if you're from Brittan and looking for that slice of home that we all crave for when on a vacation or cruise. Aurora has inside cabins, balcony cabins and spacious and luxurious suites.
Whether you're on a world cruise or just doing a sector of a world cruise, Aurora has a cabin to cater to anyone's needs.
All the cabins on Aurora are air-conditioned and well thought-out and designed, it's to give you as much space as possible and to help you unwind and relax for the long journey ahead.
All of the balcony cabins have a sitting area so you and your loved one can enjoy the fresh sea air and take in the spectacular views offered while cruising.
All cabins on board Aurora feature Egyptian cotton sheets, free tea & coffee making facilities, refrigerator, hairdryer, safe, in-cabin television and good sized en-suite bathrooms with toiletries pack.
As standard practice with many other cruise lines you will also have a personalized room steward who will be able to help you with anything you may require once you're on board the ship.
There is no cost for this, as funny as it seems you will be surprised on how many people ask if there is a fee or not involved for their services.
This Review was written by: Brian Gaskin of www.australiancruisingnews.com.au The HOME Of Australian Cruising!
Photos credit: Brian Gaskin of www.australiancruisingnews.com.au The HOME Of Australian Cruising!
PACIFIC DAWNS DEPARTURE FROM SINGAPORE DELAYED DUE TO PROPULSION SYSTEM MAINTENANCE ISSUES.
Pacific Dawn Departure Delayed From Singapore Due To Propulsion Maintenance Issues.
According to a P&O Cruises Australia spokeperson, Pacific Dawn will be delayed from her Singapore departure a day later that expected due to a technical issue associated with Pacific Dawns referbishment that has taken longer than expected.
The delayed departure will mean that the call into Dili will no longer take place, while the rest of the itinerary remains in place.
P&O Cruises Australia have also said that they will be doing everything possible to make guests comfortable in Singapore to minimise any incoveniance.
While if this is the case, why did P&O Cruises Australia decide not to make Pacific Dawns dry dock longer so that any minor issues could be ironed out !
You would have thought P&O Cruises Australia would have learnt by the previous issues that they had with the the ex Holland America ships Ms Statendam know as [ Pacific Aria ] and Ms Ryndam known as [ Pacific Eden ].
These two ships have had many issues that were not ironed out, when they both came out of their extensive referbishments in November last year, causing many guests to complain.
Australian Cruising News .com.au have since learnt via the P&O Cruises Australia facebook site that the following statement has been issued.
Hi Everyone. Following our update yesterday, and as you look forward to your Indonesia Explorer cruise, we want to confirm that Pacific Dawn will depart from Singapore a day later than scheduled.
Pacific Dawn has been undergoing an exciting refurbishment during a scheduled dry dock in Singapore. In addition to the refurbishment, routine mechanical inspections have also been carried out, and some additional unexpected maintenance to the ship's propulsion system has been necessary. This additional technical work has taken longer than expected, and as a result Pacific Dawn will leave dry dock later than planned.
Your Pacific Dawn cruise will now depart on Friday 3rd March, but please be assured we are making arrangements for your overnight accommodation and comfort in Singapore.
What You Need to Do -
Please make your way to the Singapore Cruise Centre tomorrow (Thursday March 2) at your original check-in time.
Hotel & Transport Arrangements -
Once you arrive at the Singapore Cruise Centre, you will be directed to shuttle buses to take you to hotel accommodation that has been arranged for you by P&O. On Friday, you will then be transferred from your hotel to the Marina Bay Sands Cruise Terminal to embark Pacific Dawn. Full details on transfer and embarkation times will be provided at your hotel.
Itinerary Update -
Due to the later departure from Singapore, the itinerary will be revised slightly, and Pacific Dawn will call to Benoa & Komodo Island one day later than scheduled. In addition, we will no longer be calling to Dili. The rest of the itinerary remains as scheduled.
In recognition of the delay, we are in the process of arranging a refund of one day of you cruise fare. If you booked via a travel agent, this will processed back to your agent. If you booked directly with P&O, your refund will be processed back to your credit/debit card, or via cheque if you paid through BPAY. Please allow approximately 4 weeks to receive you refund.
In addition, we will also cover any reasonable out of pocket expenses incurred as a result of this delay, such as for main meals. Please keep a hold of any receipts and a form will be provided to you onboard to complete.
P&O Cruises sincerely apologises for the delay in the start of your much anticipated cruise on board Pacific Dawn.
If you need to get in contact with us regarding this delay, please call our dedicated team on +61 2 9432 8543.
PACIFIC DAWNS WATERSLIDES ARE GOING TO BE A WHOLE LOT OF FUN IN THE SUN!
Posted by brian on Tuesday, 28 February 2017 in Cruising News
Debuting on Pacific Dawn in March 2017 with some of the most exhilarating features, here is your first look at the new waterslides going on Pacific Dawn!
The two new waterslides will create a whole new level of family fun, for the young and for the adults. The waterslides will be down the back [ aft ] on Pacific Dawn and they will feature lots of twists and turns, that will be enough to even excite the most adventurist thrill seeker.
The two waterslides will snake their way off the ships funnel and they will also feature LED disco lights with a thumping sound system to boot !
The 1546-guest ship is turning 27 this year, having being built in 1990 and entered service as Regal Princess for Princess Cruises in 1991. Pacific Dawns last extensive refurbishment was in 2010 and had new activities such as The Edge added in 2014 along with the refurbishment of the Waterfront restaurant.
In a statement from P&O Cruises Australia, P&O Cruises President Sture Myrmell said the refurbishment would kick off a big year for the cruise line in Queensland.
"With the new waterpark, dining options and a refreshed interior design, we're creating a great new look for Pacific Dawn which will combine some fun innovations with the winning features of our existing ships," Mr Myrmell said.
"There's no question that Queenslanders love holidaying at sea, so we're very excited that our Brisbane guests will soon be able to enjoy a stylish new Pacific Dawn as part of their cruise holiday experience, alongside one of our latest ships, Pacific Aria."
Pacific Dawn is one of Australia's much loved cruise ships, and Queenslanders have certainly taken to her like a duck to water.
Pacific Dawn is going to look absolutely stunning when she returns from her refurbishment which is happening right now in Singapore as we speak, she reurns to her homeport of Brisbane on the 16th of March 2017.
A TRUE QUEEN OF THE SEAS TO HOME PORT IN AUSTRALIA IN 2019 !
Posted by brian on Monday, 27 February 2017 in Cruising News
A True Queen Of The Seas Set To Homeport In Australia In 2019 !
Cunard Line has just announced that Queen Elizabeth will homport in Australia in 2019, the stunning vessel will spend two months plying Australian waters in 2019, this will be by far the longest deployment in Australia by any of the current ships in the Cunard Line fleet.
Queen Elizabeth will offer seven different cruises from Sydney and Melbourne, including two trans-Tasman voyages, three to Tasmania and two stopping by South Australia.
Cunard Lines Australian itineraries will be part of Queen Elizabeths 2019 world voyage program, which will be advertised from the 14th of March 2017, they will go on sale from the 30th of March 2017.
Cunard's vice president of international development David Rousham said Queen Elizabeth's local 2019 season would offer a total of 27 combination itineraries.
"This will be the first time that Cunard has featured so many voyages to and from Melbourne in addition to Sydney, and will give Australians a much greater number of options to experience Cunard than ever before," Rousham said.
Information supplied by: Cunard Line.
Photo supplied by: Cunard Line.
P&O CRUISES SAVES THE DAY, WHEN WEDDED BLISS SHOULD HAVE GONE OFF WITH OUT A HITCH !
Posted by brian on Friday, 24 February 2017 in Cruising News
Wedded Bliss Goes Off With Out A Hitch !
What a happy ending for a Port Macquarie couple, Christine Drennan and her husband to be Matthew Moore, they are currently sailing on P&O Cruises Australia's Pacific Jewel and had planned a beautiful beach wedding at Mooloolaba which is on the Sunshine Coast Wednesday this week.
Unfortunately their wedding celebrant Gail Evans was at the beach in Moolooaba waiting for them, but due to strong winds and a rough swell this prevented the tender boats from taking passengers ashore including the bride and groom. The wedding was off, or so it thought!
But wait a minute, Pacific Jewel Hotel Director Melissa Yates who Australian Cruising News .com.au has got to know over many cruises on Pacific Jewel had other ideas.
She had arranged for a special commitment service to be held on-board Pacific Jewel and while Captain Otty Ghoshroy couldn't legally marry the couple, the rest of the day went ahead as planned with champagne, a wedding cake and a reception dinner in the ship's main dining room. The bride even wore her beautiful wedding dress.
To ensure the couple still officially became man and wife, P&O arranged for Ms Evans to fly to Gladstone to conduct the wedding yesterday. The ceremony was held in The Dome at the front of the ship, with stunning views of the Queensland coast.
Matthew Moore and Christine Drennan were officially married on Pacific Jewel in Gladstone on Thursday this week. .
Cupid's arrow might have hit a day later than planned but love and romance got there in the end.
Well done to P&O Cruises Australia and Melissa Yates and to all those involved.
We also wish the happy couple [husband and wife] a lifetime time of happiness together.
So do you have a similar story to tell??
Leave us your comments below and tell us your story.
THE DAWN OF A NEW ERA IN CRUISING STARTS NOW FOR PACIFIC DAWN!
Posted by brian on Thursday, 23 February 2017 in Cruising News
The Dawn Of A New Era In Cruising Starts Now Pacific Dawn!
As brought to you Exclusively by Australian Cruising News .com.au on the 18th of July 2016, please see original story and photos on our website under cruising news.
Pacific Dawn which is now the second oldest ship in the P&O Cruises Australia fleet is now in Singapore and having a total refurbishment both inside and out!
Pacific Dawn has just begun her multi-million dollar renewal, this will include the installation of two spectacular waterslides on her top decks.
Over the coming days, the ship will be fitted with a range of new features including a state-of-the-art waterpark [minus one pool] and the addition of The Pantry which is on all of the P&O Cruises Australia ships apart from Pacific Dawn, an international market place of fresh food outlets which will replace the traditional ship buffet. Among its features will be a new Mediterranean-inspired offering called Nic and Toni's and a new seafood restaurant, Shell & Bones.
Many of Pacific Dawn's public spaces – including the Atrium, Charlie's Cafe, The Orient and the Promenade Bar – will also be modernised to fall into line with the startling contemporary look which has become an underlining feature on both Pacific Aria and Pacific Eden.
The refit comes as P&O prepares for its biggest year of Queensland cruising, with two ships sailing from Brisbane year round. Between them, Pacific Dawn and Pacific Aria will offer a record 108 cruises to holidaymakers this year, up from 98 cruises in 2016.
Pacific Dawn will depart from Singapore on the 02nd of March and will arrive back into Brisbane her homeport with her additional new features on the 16th of March.
For more information contact your local travel agent or visit pocruises.com.au, call 13 24 94.
SYDNEY SET TO CELEBRATE WITH THE 10TH ANNIVERSARY OF THE WORLDS GREATEST OCEAN LINER, QUEEN MARY 2 VISIT !
Posted by brian on Wednesday, 22 February 2017 in Cruising News
Queen Mary 2 To Celebrate Its 10th Anniversary Visit To Sydney,Australia.
While All The Attention Recently Has Been On Ovation Of The Seas, Celebrity Solstice, And The South Pacific twins Explorer And Voyager Of The Seas plus the local contingent of Australian homeported cruise ships, don't you think it's now time to bring in the BIG guns !
On Saturday the 25th of February 2017 Sydney, Australia will all geared up for the 10th anniversary visit of Queen Mary 2, the worlds most famous ocean liner has already been making many exciting visits to many ports in Australia already.
The newly remastered Cunard flagship was anchored off Kangaroo Island on Monday, QM2 is 345-metres long making it become the largest ship ever to visit the South Australian Island.
During the inaugural call, the ship's 2700 guests enjoyed a day of sightseeing including tours to Seal Bay Conservation Park, Vivonne Bay, Cape Willoughby, Flinders Chase National Park and the 'Remarkable Rocks', as well as the opportunity to taste local produce.
The Kangaroo Island call was part of Queen Mary 2's first short roundtrip cruise from Melbourne and is one of four maiden Australian visits for the liner this year, with visits to Busselton in Western Australia, and Port Arthur and Hobart in Tasmania also on her itinerary.
Queen Mary 2 is set to mark ten years since her memorable first visit to Australia in 2007 with a spectacular rendezvous with sister ship Queen Elizabeth in Sydney Harbour on Saturday.
Australian Cruising News.com.au will be out and about on Sydney harbour to capture all the action for you.
Photos Credit: ship's chief photographer Mike Crompton.
OVATION OF THE SEAS LEAVES HER MARK ON SYDNEY BEFORE A FINAL DEPARTURE, AS A MOMENTOUS AUSTRALIAN SEASON COMES TO AN END !
You Want It, Ovation Of The Seas Has Got It!
Ovation of the Seas has made Australia her own while on debut on the 15th December 2016. While it was a very overcast day she arrived into Sydney, Australia with much fan-fare. Royal Caribbean International had always promised Australian's that it was going to introduce a new style of holiday, hence the hash tag #SuperCruising was born!
The magnitude of spectacular and exhilarating experiences found only on a Royal Caribbean International ship, including sky diving and surfing experiences, the North Star viewing capsule, bumper cars, the robotic Bionic Bar and 18 different dining options and spell-binding entertainment is unbelievable ! It has to be seen to be believed.
"What a spectacular few months! Ovation of the Seas has wowed more than 40,000 guests with her incredible features and service. We are thrilled with the success of her maiden season and cannot wait to welcome her back again in November," said Adam Armstrong, managing director, Royal Caribbean Australia & NZ.
"As well as offering guests a new way to holiday down under, the #SuperCruising vessel also had a huge impact on the Australian economy, injecting more than $35 million in passenger spend alone," he said.
Well dont worry Australian Royal Caribbean International fans, because The biggest, newest and most modern cruise ship to ever be based in Australia will return next summer, joining sister ships Explorer of the Seas, Voyager of the Seas and Radiance of the Seas sailing from the region's home of cruising, Sydney.
Ovation of the Seas departs Sydney at 6.30pm today for her 14-night repositioning voyage to Singapore.
Photos credit: Brian Gaskin of Australian cruising News.com.au
SHANNAN PONTON TO FEATURE ON CHANNEL TEN'S 'THE LIVING ROOM" TONIGHT AND NEXT WEEK.
Shannan Ponton To Feature On Channel Ten's "The Living Room"
Popular TV host and leading fitness trainer Shannan Ponton has jumped back on-board Carnival Cruise Line for a special appearance as a guest presenter on TEN's award-winning lifestyle program, The Living Room.
A regular on Carnival's Australian-based ships, Shannan has filmed two special pieces on-board Carnival Legend.
The first story, to air at 7.30pm this Friday, February 17, on TEN, features Shannan showing just what it takes to keep shipshape at sea, including easy on-board fitness tips like taking the stairs, joining the gym and jogging the top deck track. Shannan then surprises his fellow passengers by hosting a Biggest Bootcamp at Sea workout.
In the second story, to air on Friday February 24, Shannan spends an action-packed day on New Caledonia's island of Lifou enjoying Carnival's amazing shore excursions. Shannan starts his day off with a visit to the Devil's Cave to explore local legends and culture before making his way to the Secret Grotto, an enchanting cave with a natural swimming hole inside. Finally, Shannan heads to the famous Jinek Bay to see Lifou's incredible marine life in crystal clear waters.
Information supplied by: Carnival Cruise Line, Australia.
Australian Cruising News.com.au The HOME Of Australian Cruising!
CRUISING 2017 AND BEYOND, WHAT DOES THIS ALL MEAN FOR YOU.
Cruising 2017 And Beyond, What Does All This Mean For You.
Late December 2016 saw the release of the annual Cruise Industry Outlook Report from CLIA which analyses statistics and trends that are likely to emerge over the course of the next cruising year.
As in most years previously, the report was particularly optimistic. It showed a range of positive trends from more itineraries on offer to local industry growth and further investment worldwide into better infrastructure to meet the growing demand for diversity in cruise markets.
But what does this all mean for you?
To take the grunt work out of trying to understand the figures, we have broken down the trimmings of the report into 5 key benefits Aussie cruisers will see as..
1. More options, more buying power
2. Increase in uptake from Asia means more itineraries for Australians
3. Adventure cruising to become more accessible
4. Overnight stays and longer shore excursions
5. Smooth booking experience with more travel agents to work with
Australia has long been a destination for cruising, both domestically and for tourism. As this trend continues to grow (almost 1,000,000 Australians – approximately 4% of the population will take to the seas this year) so will the itineraries on offer along with better pricing and overall buying power of the everyday cruiser.
We have seen this already from the investment in new cruise terminals in Queensland, as well as dedicated regional vessels from Carnival and P&O Cruise Lines. Royal Caribbean have begun to operate more in the South Pacific as well with more sailings from Celebrity and Azamara brands and the first taste of super cruising with the world's premier mega-liner; The Ovation of the Seas.
Asia has been flagged as the fastest emerging market in the cruise industry with the demand for more itineraries seeing regularly scheduled European and Alaskan voyages being repositioned to meet growing demand.
The numbers are staggering (close to a 26% growth per year for the last 4 years) and with our close proximity to the region an inevitable range of amazing new ports and untouched itineraries in the orient will begin to emerge, offering Aussie cruisers the chance to experience cruising like never before.
As an added benefit to this, off season cruising and the presence of more specialized vessels in the region will mean more select and unique itineraries begin to emerge in Australian waters as well.
3. Adventure cruising to become more accessible.
The trend for adventure cruises has been on the rise steadily over the past 10 years with more people seeking unique experiences and itineraries outside of traditional holiday destinations.
The big ticket items in this category are destinations such as Antarctica, The Northern Territory and even private island experiences that are starting to be offered by some companies.
The growth in popularity (as well as proximity of Australians) to many of these destinations means once again greater affordability and means of access to these locations, backed by a combined industry total investment of $6.8 Billion in specialty ships to meet the growing need and requirements for voyages of this type.
4. Overnight stays and longer shore excursions.
Overnight stays on port calls are officially on the rise as cruise lines begin to integrate more excursions and experiential activities into itineraries abroad.
This change in tact has seen a rise in popularity reported from various leading liners and is sure to excite many cruisers and travel enthusiasts alike as more unique itineraries that could only be experienced from cruising begin to emerge.
Cruise passengers can now make the most of their stay in ports of call. This especially benefits Aussies who prefer traveling for a longer period.
5. Smooth booking experience with more travel agents to work with.
The CLIA membership community has 15,000 travel agencies and over 25,000 travel agent members worldwide.
Australians that are sailing away for the holidays will find it easier to book the perfect cruise with the matchmaking expertise of cruise travel specialists. Eight out of 10 CLIA-certified travel agents are also confident they'll see an increase in bookings from last year.
First-time Australian cruisers can enjoy a hassle-free vacation by working with travel agents. The rise in cruise travel agents can attract even travel enthusiasts that usually plan their trips on their own to let someone take care of their bookings.
Cruise Vacations, after all, should be a time for relaxation, reflection their just a great way to holiday.
Information supplied by: www.australiancruisingnews.com.au The HOME Of Australian Cruising! And www.dccruising.com.au
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BRISBANES PROPOSED CRUISE SHIP TERMINAL RECEIVES 80% OF THE REQUIRED APPROVAL FOR CONSTRUCTION !
Brisbanes Proposed Cruise Ship Terminal Receives 80% Of The Required Approval For Construction.
The market-led proposal to build Brisbane's new cruise terminal has reached its next crucial benchmark having now received 80 per cent of the required approvals for construction. The final hurdle for the much anticipated terminal will be the approval of State Cabinet, which if successful will see construction begin as early as October 2017, with a view for completion before the end of 2019.
Luggage Point is the proposed location for the new facility for its ability to cater to 'mega vessels'. The site is in close proximity to the Brisbane Airport and has access to deep water, making for reduced dredging requirements. Any main cargo-related activities are done in a separate area.
Brisbane to be able to accommodate mega cruise ships Currently, Brisbane's cruise terminal located in Hamilton can only accommodate ships of up to 270 metres in length. Once the cruise terminal project materializes, mega cruise ships with lengths exceeding 270 metres will be able to berth in Brisbane.
Today's largest cruise ships are over 300 metres in length. This includes marvels such as Royal Caribbean's Allure of the Seas that measures 362 metres, with a passenger capacity of 6296, and Anthem of the Seas, measuring 348 metres and can carry 4095 passengers.
According to the Port of Brisbane, 62% of cruise vessels are expected to be over 270 metres in length come 2020.
Government funding is not required
The proposed cruise ship terminal project is privately-funded.
Taxpayers will not have to shoulder the construction cost. Two of the world's largest cruise companies - Royal Caribbean International and Carnival Corporation - will spearhead the building of the terminal.
The cruise terminal project has the full support of the cruise industry, with Royal Caribbean and Carnival Cruises partnering with the Port of Brisbane to make this $100 million international mega ship cruise facility a reality.
Once operational, the facility will be able to accommodate more vessel calls.
The Cruise industry is a major player in Australia's economy According to Business Queensland, Queensland remains Australia's second-largest cruise holiday market. In 2014, 23.6% percent of the total number of cruise passengers were from Queensland.
Cruising also plays a significant role in Australia's tourism industry. Cruise markets in Australia saw 20% per annum average growth for the past decade. With the new cruise terminal project, this market share is expected to grow even more.
There will be a dedicated facility to support the influx of cruise passengers, both domestic and international.
Brisbane and Queensland will benefit from the cruise facility
PBPL estimates a $1 billion annual gross injection into the Queensland economy once the project becomes operational.
This tourism infrastructure is poised to potentially triple the size of Brisbane's cruise industry over the next 20 years.
Brisbane will be utilised as a base port. This means more passengers will be able to start and finish their cruise trips in Brisbane. The project will not only see Brisbane as a major cruise destination, it can also draw increased traffic to tourist destinations in the city and neighbouring regions.
The cruise industry is optimistic about the progress the new cruise terminal project will bring.
Are you looking forward to see the project come to life too?
OVATION OF THE SEAS OWN WONDERLAND RESTAURANT MIXES UP SOME IMAGINATIVE COCKTAILS !
Ovation Of The Seas' Own Wonderland Restaurant Mixes Up Some Imaginative Cocktails !
For the Royal Caribbeans master mixologists behind the bar at the Wonderland restaurant onboard Australia's very own Ovation of the Seas, sister ships Allure of the Seas and Anthem of the Seas as well as the largest ship in the world Harmony of the Seas.
Wonderland, cocktails are more than just drinks – they are masterpieces. These artists use innovative flavors and artisanal ingredients to create cocktails that are almost too stunning to drink!
Below are just some of the Imaginative cocktails that you could experiance at Wonderlands' restaurant bar on board our very own Ovation Of The Seas !
Bitter cocoa powder and mascarpone cheese are churned together with dark crème de cocoa and vanilla vodka made super indulgent with the addition of a Guinness float and a rim of Synsepalum dulcificum.
GIANT LEAP
Mango purée and fresh cilantro pair up nicely with Bombay Sapphire gin in a grown-up trip down memory lane, and a sweet finish is delivered via a fleur du sel garnish.
RUTH'S BABY
Peanut vodka has a field day with team mates such as nougat cream liquour, white crème de cocoa and caramel syrup.
SALT WATER TAFFY MANHATTAN
Maker's Mark bourbon, sweet vermouth and salt water taffy simple syrup deliver a different kind of grown-up trip down memory lane. A sweet finish arrives via a crown of fleur du sel.
CARNIVAL HUB APP FINALLY GETS INTRODUCED TO AUSTRALIANS !
Posted by brian on Monday, 30 January 2017 in Cruising News
Carnival Cruise Line, Australia Finally Introduces The Carnival Hub App To Australians!
Carnival Hub a free mobile app by Carnival Cruise Line, has finally been introduced on its Australia based ships, Carnival Spirit and Carnival Legend.
It's helping guests get instant access to all the fun on-board., and it's about time I say.
Those who are cruising on both Carnival Spirit and Carnival Legend will be able to use the Carnival Hub App once on board.
So what are some of the features of the Carnival Hub app??
The following features are available at the touch of your fingertips, for your entire cruise while on board your Carnival ship.
What's Happening: A day-by-day schedule of hundreds of on-board events, available for the full cruise as soon as you embark! Includes a "favourites" feature that also allows guests to see which events their sailing companions will attend.
Food & Drinks: A comprehensive list of delicious dining options and dining-related events, enticing refreshment venues and beverage-related events.
Deck Plans: Searchable deck plans with key areas highlighted, providing a comprehensive layout of the ship's various on-board offerings.
Account Balance: Real-time information on guests' current Sail & Sign shipboard account balance.
On-board Chat Access: The opportunity to chat with family & friends on board all cruise long from the comfort of your deck chair is for a one-off fee per cruise of AU$9, per person per voyage.
The Carnival Hub App is now available on Carnival Spirit and will become available on Carnival Legend as of the 23rd of February 2017. You can download the app for free from the ITunes store for apple iPhone users, and for android users it's available on the google play store.
For those guests who are cruising on-board Carnival Spirit and Carnival Legend you are able to download the Carnival Hub app before you start your cruise, you are able to set up a profile and enter the cruise that you are going on. You can also enter the next cruise departure date to start the countdown and share with family and friends.
Carnival Hub app can also be downloaded for free on-board by using a special internet package.
Carnival Cruise Line Vice President Jennifer Vandekreeke said the Carnival Hub app would change the way guests enjoyed their cruise holidays.
The Carnival Hub app really puts guests in control of their cruise holiday, so they never miss any of the fun on-board, and can easily plan their day from beside the pool, hop from a live show to a gym class, arrange to meet friends and family and even catch up with new friends," Ms Vandekreeke said.
New functions, like the ability to make spa and restaurant bookings were expected to come online throughout the year, she said.
It is also interesting to note that the 'Fun Ships' Fun Times daily newsletter will also be available in a reduced-size paper format, along with the Carnival Hub app.
This certainly shows on Carnivals behalf that they are committed to being environmentally friendly. This will see the paper used to print the newsletter on-board be reduced by 50 percent.
Information supplied by: Carnival Cruise Line , Australia.
JIMMY BARNES ROCKS AUSTRALIA DAY 2017 ON BOARD PACIFIC EDEN !
Posted by brian on Saturday, 28 January 2017 in Cruising News
Jimmy Barnes Rocks Australia Day 2017 On Board Pacific Eden.
Over 5000 cruislings have celebrated Australia Day on three P&O Cruises Australia cruise ships on Sydney Harbour. While guests onboard Pacific Eden enjoyed a surprise concert by Australian rock royalty Jimmy Barnes.
Jimmy – who was appointed an Officer of the Order of Australia in today's Australia Day Honours – kicked off his special morning acoustic performance with the popular Flame Trees, performing to hundreds of guests on Pacific Eden's Oasis pool deck, against the backdrop of Sydney.
P&O Cruises Australia ships have played an integral part on Australia Day on Sydney harbour for the past five years. This year sees P&O Cruises Australia up the Ante with Australia day celebrations on Pacific Eden, Pacific Pearl and Pacific Dawn all will be berthed in Sydney for the day's celebrations.
As part of the cruise line's Great Australian Deck Party, guests are enjoying front row seats to all the Harbour activity as well as a day of Australian movies and food including a BBQ, green and gold pancakes and lamingtons.
P&O Cruises President Sture Myrmell said Australia Day was a big day on the cruise line's calendar.
"As Australia's only homegrown cruise line, as well as the nation's largest cruise line, Australia Day is a big event for us and we've very proud to celebrate it with more than 9000 guests across our five ships today," Mr Myrmell said.
Popular Australian chef Luke Mangan – who has restaurants across P&O's fleet – was also onboard Pacific Eden during the day, creating a deconstructed "lamb-ington" treat for guests.
All three P&O Cruises Australia ships that are on Sydney Harbour departed the same evening, with Pacific Pearl returning on Friday the 27th of January this cruise will be her last return voyage to Sydney before making her way to New Zealand for her final cruises and ending her time in the P&O Cruises Australia fleet.
Pacific Eden will be sailing back into Sydney on Saturday the 28th of January while Pacific Dawn will be cruising back to its homeport of Brisbane. Both the Pacific Aria and Pacific Jewel are both spending the day at sea.
BERTHING ARRANGEMENTS AT OVERSEAS PASSENGER TERMINAL COME TO AHEAD!
Posted by brian on Wednesday, 18 January 2017 in Cruising News
Berthing Arrangements At Overseas Passenger Terminal Come To A Head!
In another embarrassment for Sydney ports Royal Caribbean International has had to decide which one of its ships will berth at the Overseas Passenger Terminal at Circular Quay.
This has happened because Radiance Of The Seas And Ovation Of The Seas are scheduled to berth at the same time, both ships are scheduled in Sydney on the 28th of January 2017 and the 09th of February 2017.
As we all know this cannot happen and is showing the lack of berthing facilities east of the harbour bridge.
In an embarrassing situation that Royal Caribbean International has been put into, the smaller of the two ships [Radiance of The Seas] has been forced to sit at anchor at Athol Buoy.
Passengers embarking Radiance Of The Seas on the 20 January 2017 please see the following information :
http://www.royalcaribbean.com.au/contentWithGallery.do?pagename=itinerary_update_2017
The check-in and embarkation for Radiance of the Seas, departing 20th of January 2017 will take place as normal at the Overseas Passenger Terminal, Circular Quay in Sydney, Australia.
For those who will be disembarking and embarking Radiance Of The Seas on the 28th of January 2017 please see the following information :
http://www.royalcaribbean.com.au/contentWithGallery.do?pagename=itinerary_update
For the 09th of February 2017 please see the following information :
http://www.royalcaribbean.com.au/contentWithGallery.do?pagename=itinerary you will be ferried to a dedicated Royal Caribbean International marquee that will be set up next to the White Bay cruise ship terminal.
The dates that are affected by these changes are as follows: 20th, 28th January 2017 and the 09th February 2017.
For further information please contact www.royalcaribbeaninternational.com.au on: 1800 754 500.
While it's not possible to see two big ships berthed at the Overseas Passenger Terminal at the same time, the situation at hand certainly presents some big issues that Sydney ports need to address!
Sydney ports you need to take some action now !
Information supplied by: Australian Cruising News.com.au
Photo credit : Brian Gaskin Of www.australiancruisingnews.com.au
EXTRAORDINARY PAINTING OF OVATION OF THE SEAS HANDED TO CAPTAIN HENRIK LOY IN 'GIVING BACK' CEREMONY !
Posted by brian on Tuesday, 10 January 2017 in Cruising News
While On Board Ovation Of The Seas on Tuesday the 09th of January 2017, www.australiancruisingnews.com.au was invited to a 'giving back'ceremony.
Stan Stefaniak who is a marine artist presented Ovation Of The Seas Captain Henrik Loy with an original painting of the ship.
The tradition for Royal Caribbean International and Stan first started back to 2011.
2011 was the first time that Radiance of the Seas have ever visited Sydney and yesterday marked the fifth occasion where such a commission of such a painting Stefaniak had received.
Born in Sydney, Stan's passion for painting maritime scenes stems from virtually a lifelong interest in shipping. The 1960's and early 1970's were years of fondly remembered countless ship visits after school in the port of Sydney, full of shipping activities with vessels belonging to numerous companies and countries of registry.
From a very early age Stan developed a love of drawing and painting, but it was his love of ships that inspired him to paint maritime subjects. Stan's enrolment in art classes at the Ross Davis painting studio in Sydney for a few years had developed his understanding of the use of colour which he expressively uses in his paintings.
Pictured : Stan Stefaniak, Marine Artist
Several of Stan's paintings have been used to illustrate covers for books about Australian and New Zealand shipping written by the well-known maritime historian Peter Plowman. His paintings are included in private collections in Australia and the United Kingdom, Royal Caribbean International Cruise Line, as well as on display in the Member's Lounge at the Australian National Maritime Museum.
Prints of his paintings have been sold through the shop at the Australian National Maritime Museum in Sydney and at the Maritime Centre, Newcastle. Feature articles about his paintings have been published in the Australian 'Go Boating' magazine and several issues of World Wide Cruising magazine.
Adam Armstrong managing director for Royal Caribbean International for Australia and New Zealand said yesterday that a lot of VIP'S, Media, and Travel Agents had been thrown at Ovation Of The Seas for her inaugral season in Australia.
Adam said that extraordinary gift that Stan has spent putting many man hours into, infact over two weeks painting honours the captain and crew aboard each of ships that have visited Australia, it's sign of gratitude from the local Royal Caribbean team for all the hard work that the captain and his crew have done.
Pictured are : Stan Stefaniak, Marine Artist and Captain Henrik Loy, Ovation of the Seas.
A spokesperson for Royal Caribbean International has informed www.australiancruisingnews.com.au that bookings for Ovation Of The Seas local sailings have been sailing at full capacity. A number of her up and coming sailings are completly sold out including both of Ovation Of The Seas five and eight night sailings to Tasmania.
Ovation Of The Seas carries over 4,900 guests on each departure from Sydney, Australia with 85- 90% coming from the ever so popular Australian cruising market which is set to grow even further in the coming years.
Photos Credit : Brian Gaskin Of www.australiancruisingnews.com.au The HOME Of Australian Cruising! |
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'Ahahui Ka'ahumanu
Hawaiian Royal Society
Chapter I, Honolulu
'Ahahui Ka'ahumanu, Chapter 1, Honolulu
The 'Ahahui was originally chartered on August 8, 1864 by Princess Victoria Kamāmalu, Chiefess Lydia Kamaka'eha Dominis, crowned Queen Lili'uokalani in 1891, and Chiefess Bernice Pauahi, who later became Princess Bernice Pauahi Bishop. The society was named "Ka'ahumanu Society" after Princess Victoria's aunt, Ka'ahumanu, Kūhina Nui of the Hawaiian Kingdom under Kamehameha the Great.
Very concerned about the ill health and grim social conditions facing their native Hawaiians, these three influential women believed an organization for Hawaiian women was needed to ease suffering and offer help. Unfortunately the group disbanded two years later in the fall of 1866 after the unexpected passing of the young Princess Kamāmalu.
Thirty nine years later, on June 14, 1905, a group of eleven women led by Lucy Kaheiheimālie Peabody resurrected and re-chartered the Ahahui at Kawaiaha'o Church.
Our benevolent society, whose members are of Hawaiian ancestry, continues to address concerns of its members. The 'Ahahui supports and cares for its ailing members; helps members with a dignified burial; provides official representation at royal "Ali'i" events and functions; promotes the language and culture of the Hawaiian people; supports the elderly through contributions to Lunalilo Home; provides involvement for educational programs; and encourages education that focuses on the health and well-being of its members.
Today, the 'Ahahui Ka'ahumanu thrives with nine chapters throughout the islands and enjoys a growing membership.
The Honolulu Chapter will celebrate its 111th Anniversary in 2016 and looks forward to another one hundred eleven years of perpetuating our mission and objectives.
Copyright 'Ahahui Ka'ahumanu 2016 / Photos copyright Blaine Fergerstrom 2016 |