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Q: ASP.NET Core MVC - invalid input from form to controller action I have a HomeController, which returns a View... In my View, I submit a form, which is handled by ServicesController and action SubmitDestination. (Error/problem is listed at bottom)
HomeController
public class HomeController : Controller
{
    [ActionName("Index")]
    public IActionResult Index()
    {
        return View();
    }
}

View
@model ScheduleService.Models.Departure

<form asp-controller="Services" asp-action="SubmitDestination" method="post">
    Departure time: <input asp-for="DepartureTime"/>
    Number: <input asp-for="Number"/>
    Destination<input asp-for="Destination"/>
    <button type="submit">Submit</button>
</form>

ServicesController
[Route("api/[controller]")]
[ApiController]
public class ServicesController : ControllerBase
{
    [HttpPost]
    public Departure SubmitDestination(Departure departure)
    {
        Departure _departure = new Departure
        {
            DepartureTime = departure.DepartureTime,
            Number = departure.Number,
            Destination = departure.Destination
        };

        _db.DepartureDB.Add(_departure);
        _db.SaveChanges();

        return _db.DepartureDB.LastOrDefault();
    }
}

PROBLEM: When I submit the form, this is the response that is returned in the browser:
{"":["The input was not valid."]}

Can anyone spot, why my input is invalid? Is there some special rules for API controllers? Thanks

A: Try using the [FromForm] attribute:
public Departure SubmitDestination([FromForm]Departure departure)

This instructs the model binder to read the data from x-www-urlencoded

A: As @Nkosi pointed out in the comments, the API Controller is expection Json, but I am trying to pass in data from the form (which is not Json). I didn't find a solution, but that was the problem


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← 5G CRISIS! May 15th – DAY OF ACTION ON 5G!
Verizon and AT&T have in their own insurance brochures defined wireless radiation by all of its terms as a POLLUTANT-see links. Congress is on recess and working in their districts now.
Ask to meet with the representatives themselves, their legislative director, or Washington DC office liaison. We need to hold our representatives responsible for protecting us from this high tech air pollution. Please go to your local offices. (https://www.govtrack.us/congress/members).


Beloved ones, we greet you. There has been a growing intensity on your planet since the repositioning of the sun on the 31st of July this year. The transitional phase of the sun's repositioning once again has impacted the energetic core of the Earth, and this has created an expansion in the magnetic frequency within your Earth plane. These series of openings has increased the flow of 5th dimensional energy, which is now actively anchoring across the vast dimensional spaces of Earth.
These openings are creating a significant impact within the Earth plane. These new energetic settings are lifting the veils of illusion and bringing further opportunity to move beyond the 3rd dimensional illusion so each individual can begin to glimpse a new way of being, a new way of living and a deeper sense of your own personal power.
For those of you who are living a conscious and awakened path, an illumination within your consciousness has reopened. This illumination is allowing you to reconnect to revelations of Truth and deeper understandings of your path. These are pre-destined openings that are being given to you at this time to support your self-resurrection process.
Blessings are being returned to you with these new frequency openings. This is taking place now simply because it is the time for this energy to be returned to you. Mother Mary and the Christ energy are actively working with you individually towards your self-resurrection. A part of this support that they bring is for you to move into a transition of self-empowerment, enabling you to fully integrate and receive all aspects of these blessings.
As you open your awareness within your heart center, which encompasses your full physical chest area, take a breath like a soft wind and place it where your palms are resting on your chest. Your awareness and breath combined begins the activation of receiving the energy.
Then bring the sound, SONTAH ESSS…ANNN. When you make this sound into your heart, there is an alignment that takes you to receive the blessings. This sound promotes you to be able to fully take ownership of all aspects of the blessings that are being returned. This pure sound, which has been gifted to you by Mother Mary, is designed especially for your use in realigning to your blessings during this time of transformation.
Through the lifting of veils, there is a building of momentum of an energetic light form that has never unfolded on your planet before. This light form is arising from within the central magnetic core within the Earth and is moving from the energetic core outwards across the planet. This flowing light is opening up and transforming energetic sites, bringing them back to their original pristine energy. This process is also designed to impact your heart, creating expanded openings within the heart cells to hold these multidimensional blessings.
We liken this light form to an energetic wave that is building in force as it permeates outwards. This momentum is creating new levels of dimensional light to be established on Earth. This birth opens up a shift in the consciousness of humanity, and it is simultaneously creating an enormous upheaval of drama on the 3rd dimensional level.
There is the pronounced action of a drama being played out within your world, and this is due to this latest expansion of light moving across your planet. It is through this wave that there has been the unearthing of so much density. Much of this has been hidden up to this point, and it is now being further revealed. Through this flow, revelations are being witnessed. So much is being exposed in all corners of your domain and even within your own life.
We will continue to remind you how essential it is that you not focus on the illusion of drama within your life but rather align to Truth that resides within your heart. Within your heart is where you will do your greatest work at this time, for this is where your light can shine and make a difference. You can hold a steady anchor for humanity as you focus on the vastness of yourself within your heart.
Fear is still one of the greatest illusions on your planet, and it has been playing out for lifetimes. Your human ego mind perpetuates this fear. Your ego mind sets this feeling in motion within you whenever you decide to move away from old cycles of living and start to move into a new direction.
This is the time to transcend your ego mind and allow your heart to be the major reference point. Over lifetimes you have developed an unhealthy relationship with your ego. Now is the time to move back into a balance within yourself by developing a more focused relationship with your heart.
You can achieve this by understanding the inner dynamic that plays out within your ego mind. Start by witnessing your fear being activated by the ego. Do not react to the fear that is being perpetuated by your mind. You achieve this by realizing that the actual "feeling of fear" that is arising within you cannot harm you in any way. This fear is simply a "feeling" being produced by the ego mind — not based on any reality, and not based on Truth.
You can actually choose to change your programmed reaction to fear. Instead of allowing this feeling to stop you, like a red light, you can choose to see fear as a signal to move ahead, like a green light. By choosing to change your response to fear, you will transform your life. You will break old cycles of illusion that will shift you entire perception of possibility. By having the direct experience of fear simply dissolve as you move forward, you begin to realize this feeling of fear has no actual power over you. Each time you change your response to the fear, you liberate yourself.
In the very moment you begin to feel fear, bring your energy, your awareness from your ego mind to your heart. This choice by you will move you naturally away from the feeling of the fear. The heart space takes you beyond the illusion of the fear. Here is a simple truth: Fear does not reside within the heart.
Each one of you is being asked to move more consciously within the vast framework of your heart and allow yourself to access the open doorway to Truth. You are being called forward to consciously choose reconnection with your Higher Self by opening to your heart space. As you align to your heart, within any given moment, you can move beyond the ego mind's misperception by choosing the sacred multidimensional tool of your heart.
This is your time to shine forth by choosing the way of your heart. As you choose a conscious reconnection to your heart, every cell in your physical body goes through an energetic change. You will discover an opening up of your multidimensional path that will allow you to create a pathway home to Self. This new pathway lights up each time you open into your heart. Through a series of individual moments within your heart, you can build a new way of living for your self. Each time you choose your heart, you automatically begin to birth a new cycle within your life.
Step by step, one moment at a time, you can choose to utilize the transformational element of your heart. Change is a constant in your life — and you get to choose what it is you want for yourself within your life each moment. Understand that struggle and suffering is a choice you make.
You choose to begin to move beyond the suffering by spending moments connecting into your heart space. This is possible because as you open consciously to connect to your heart, you begin to move into another reality, a higher, more open space of potential. You begin to feel a peace, a knowingness or maybe stillness within yourself as you choose to align into your heart.
This space of your heart holds unlimited options for you, moving you into a place where new ideas, new solutions reside and where there is new potential for you to thrive in your day-to-day life. The ego mind reaches for contrived solutions and keeps you in the same cycle of self-sabotage. The ego can never offer positive solutions to problems, because the ego's only reference is what is held within the illusion and where you have been in the past.
We cannot create this path for you. Only you, through a conscious choice action, can forge this pathway back to Self. We do support you through being the witness to your choice as you reconnect to a higher path.
Be aware that these experiences within your heart will not make sense to the ego mind's limited perception. It will not understand the deep experiences of knowing, which lies within your heart. This space of your heart navigates you towards a flow, which will move you and align you to many magical possibilities for your life.
A new guiding light has been illuminating the way for you since the repositioning of the sun. This light is being transmitted and holding a steady mirror for you. This energy is found within the sun's rays. The design of these expanded rays guides you deeper within the space of your multidimensional heart, bringing you into a new alignment within your sacred nature. These rays are interconnected and have a synergetic connection to your heart cells. This synergy was forged at the very moment the sun repositioned.
Remember, the sun has always held the reflections of your own brilliance, and now each individual ray carries an aspect of your brilliance to you through each cell of your heart. The cells are nourished by the sun and they resonate and open up dimensionally within this brilliance from the sun's rays.
The next repositioning of the sun is the last day of December at the time of New Year. This will be a monumental happening for those of you who are open to receive. This time the sun will hold its new positioning for 30 minutes. Through the repositioning, a new environment will be created on the planet. A profound webbing of light will birth, and that will revolutionize your consciousness like never before. This shift will open up an awakening effect for all of you who are on the path. This is your time now to prepare and develop yourself for this upcoming awakening event.
We celebrate you! Know that all is in hand. Blessings, The Pleiadians.


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text:
Penn Badgley on You season 2 and his hopes for a Gossip Girl reboot
par Radhika Seth 9 janvier 2020
As the second season of the thriller lands on Netflix, Vogue meets its star to talk about diving deeper into the character of Joe Goldberg.
Penn Badgley has cemented his place in pop culture. As Dan Humphrey in Gossip Girl, the actor was part of one of the biggest shows on TV from 2007 to 2012. But now, his latest role – as a psychotic stalker in the twisted thriller You – is garnering even more buzz. Originally made for the US network Lifetime, the series was broadcast in September 2018 but only became a global hit after it arrived on Netflix three months later. The response was rapturous: 40 million households watched the show in the first four weeks, Badgley received thousands of messages via social media and it ignited urgent conversations about abuse and toxic masculinity.
Based on the novel of the same name by Caroline Kepnes, the story revolves around Joe Goldberg, a New York bookstore clerk played by Badgley who becomes obsessed with a young writer, Beck (Elizabeth Lail). Initially framed as a romantic hero, Joe soon resorts to kidnapping and murder in pursuit of love, leaving the audience conflicted about sympathizing with him. His appeal as a character lies in his contradictions: he is a serial killer who believes he is an ally to women.
Season one ends with a shock twist that sees (SPOILER ALERT) Joe kills Beck and then run into his ex-girlfriend Candace (Ambyr Childers), who the audience presumed was dead. While details for season two are scarce, showrunners Sera Gamble and Greg Berlanti have revealed that it will relocate to Los Angeles and feature both Childers and a new female lead, an aspiring chef named Love Quinn (Victoria Pedretti).
Ahead of the next installment, which dropped on Netflix on December 26, 2019, Vogue met Badgley to discuss going viral, engaging with fans on Twitter and diving deeper into Joe's troubled mind.
Vogue met with Penn Badgley for the return of "You"
When You landed on Netflix it became a cult hit. Did that surprise you?
"It kind of makes sense that the show would become a viral hit. There's something about it that works like a social experiment because as viewers we have to examine why we like Joe and enjoy watching him so much. So, it made sense that so many people across different cultures would respond in this way. Of course, you never know what's going to happen and I think it was only going to get that kind of response on Netflix. This is a binge-able show and it took off overnight."
You responded to a lot of fans on Twitter. Did you expect people to engage with you in that way?
"What I didn't anticipate was this seemingly unanimous response that people appreciated the person portraying Joe and wanted to engage with me. You wouldn't ordinarily want an actor to do that and the role wouldn't ordinarily invite that, but that's why this show is interesting. People are enjoying it, but at the same time it invites a really unsettling level of questioning. It takes tropes from romantic comedies and subverts them. Suddenly, it has a different subtext because he's always lying about having killed somebody and people have to grapple with that."
© Beth Dubber/Netflix
What did you learn from those interactions?
"I think everyone's yearning to have deeper conversations about this stuff. We're used to saying that we watch TV to switch off our brains, but I'm not sure that's what we need right now. To me, the responses on Twitter were confirmation that people wanted to dive in and think deeply about the things they're watching."
After the success of season one, was there ever a risk in coming back for a second instalmentl?
"With this show, I don't think we can do the same thing twice. But, I know that even more than me, [the showrunners] Sera [Gamble], Greg [Berlanti] and the writers were all feeling that way too. They're perfectionists and I knew they'd do it right. When they told me about the arc for this season, I thought wow you guys have really expanded on this concept."
How does the narrative move forward?
"There are some fundamental differences between seasons one and two, and those come with Love, the character played by Victoria Pedretti. I think we get to see another dimension of Joe's character, too. He's in Los Angeles and in a sense his whole vision of the world is different because Candace is alive. Even as an actor, every time I had a scene with [Ambyr Childers] I was short-circuiting and trying to understand how this was possible. That's the experience Joe is having, and it plays into what he's doing in LA and what he feels he has to accomplish there."
Gamble describes season two as a deeper dive into Joe. What were you interested in exploring?
"What I've been struggling with this whole time is how much does Joe really see of himself? And that is the question you're asking throughout the second season. I want to see how people respond to that. I think we'll get a sense of it by about 28 December."
Will you be on social media ready to reply to fans this time around?
"Yes, I'll be watching from the shadows [laughs]. But seriously, we are participating in a discourse and I want to see how that develops. I'm hoping, at all times, that we can elevate that discourse."
Fans have compared Joe to Dan Humphrey, your character in Gossip Girl who was similarly bookish and quiet. Do you think You weaponized the impression people already had of you?
"I do think it is weaponizing a lot of these preconceptions people have about the characters I've played in the past. In a way, that's why I was the perfect person for it. Ordinarily, you'd want a piece to speak for itself and this of course does, but there is this other dimension to it where these two pop culture phenomena, Gossip Girl and You, are in conversation with one another through me. I don't have anything to do with that because it's down to the writers of the show, but I'm the touchpoint through which it happens because I was on both shows."
It's interesting to compare the two because with Gossip Girl, we as viewers rarely delved into the things that were complex or problematic about that show.
"And I don't think it was made for that. There were people who were able to think-piece their way in and out of that show, but it wasn't meant to be dissected in that way. That was in 2007, before the financial collapse and before the Obama years. It's a very different time now. Gossip Girl was representative of this dream of excess and privilege, whereas now we recognize that it's that very excess and privilege that leads to dire social unrest and inequality. Gossip Girl was fun and aspirational, but we now see that those aspirations don't lead to fun."
A Gossip Girl reboot is in development. How do you hope it will address those issues and would you ever be involved?"I don't know much about it but I'm interested to see how it will be different. It needs a change and I'm sure they're thinking about that more than I am. I'm sure they'll figure it out and make it great. But honestly, if I was on the show now people would just think, 'He's going to kill them all'."
You: Season 2 is on Netflix from 26 December, 2019
For all thing series, head to Vogue.fr
Vogue Paris in EnglishVogue DigitalNetflixSeriesInterview
"Mank" sur Netflix : Lily Collins nous confie ses anecdotes de tournage
par Radhika Seth 4 décembre 2020
Lost In Translation : 5 choses que vous ignoriez sur le film culte
par Ellen Burney, traduit par Lyse Leroy 9 décembre 2020

redpajama_set_name: RedPajamaCommonCrawl


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text:
Home Firm-Wide blog Clark County, NV – Injuries Reported in Crash on S Grand Canyon Dr
Clark County, NV – Injuries Reported in Crash on S Grand Canyon Dr
Clark County, NV (November 9, 2020) – A vehicle collision on Monday afternoon left one person injured in the Las Vegas area. At around 3:30 p.m., on November 9, police, firefighters, and paramedics were called to the site of a crash.
Reports show that a vehicle collision occurred on South Grand Canyon Drive near the intersection with Shadymill Avenue. At least one person was transported to an area hospital for the treatment of injuries. At this time, the crash remains under investigation.
Car Accidents in Nevada
Every year, car accidents throughout Nevada claim the lives of more than 290 people. Thousands more are left with debilitating injuries that require hospitalization and ongoing medical treatment. Even though there are numerous treatment options available, many victims are left with permanent disabilities that continue to impact their health and wellbeing indefinitely. Although there are numerous measures drivers can take to protect themselves out on roadways across Nevada, we continue to see innocent drivers and passengers left with debilitating injuries due to the reckless, negligent, and careless actions of other motorists sharing the road. Victims who sustain injuries in collisions caused by negligent and reckless drivers can benefit significantly by working with a team of knowledgeable and aggressive accident lawyers in Nevada after being harmed in collisions.
Nevada personal injury lawyers at Burg Simpson are dedicated to helping accident victims rebuild their lives and move forward in the best way possible. We strive to provide aggressive, comprehensive, and effective legal representation to ensure victims have the best chances of recovering after being injured in accidents caused by reckless and negligent drivers. Our attorneys at Burg Simpson have earned a nationwide reputation for providing aggressive and trusted legal representation to victims who are seriously injured in auto accidents. Our personal injury attorneys in Nevada have a proven track record of success that demonstrates our level of commitment to helping victims protect their legal rights and get the justice and compensation they deserve. If you were injured in an accident, due to the negligence of another driver, contact our personal injury attorneys in Nevada at 800-370-3970 or 702-553-1648 to see how we can help you.
Nevada, Personal Injury


Yes, it's official. He's in. Love him or hate him, he's our next president for the next 4 years. What are your thoughts on this? Do you think we're going down or up with him at the helm?
That was to be expected. But the answer to your question, in my opinion, would be down! All the way. I have never really been a supporter of the man, but I do think he was the lesser of the two idiots evils.
What draws you to this forum?
To me it feels probably like what the french citizens felt during the fall of France in WWII, watching the Nazis march down the Champs Elysee. I'm that guy in the classic photo, crying as they march by. Really can't say much of anything else right now. I don't even want to be around people. A big dark cloud has settled upon us.
Trump's likely to force Mexico pay $$$ for the US/Mexico Border Wall: deport ALL of the 11 million illegal immigrants, aggressively cut the budget including the out-of-control government spending, finally repeal that horrible Obamacare garbage.
I'll go even further: He wins reelection in 2020 by double digits & possibly carrying 35 to 42 states.
Or he'll lead us to economic ruin. Cutting taxes for corporations from 33% to 15% while the CEO's respond, "Why thank you very much., our stockholders will be very appreciative to you". And yes, Obamacare is horrible garbage, since it was designed by and written for the insurance companies, hoping for, yes just hoping that they would cover the uninsurable with affordable health care, but of course they couldn't. It was a failed business model, designed for the insurance companies to manage. It's unfortunate that they couldn't (or possibly wouldn't) manage it for their benefit. So let's go back to open markets with companies selling cheap hollow, and worthless coverage to unsuspecting families only to be cancelled after their first really big claim.
Oh and about that wall dog. Are you expecting the landowners in south Texas to just hand over their property for this wall easement? Will you be okay with eminent domain?(government confiscation) for this easement. And then some type of private corporation to build and manage this wall, because as your party has alluded to so many times, the government is not good at this kind of stuff.


I just returned form a trip with my 1999.5 F-550 pulling a Cedar Creek 36 RLTS. Total vehicle weight: around 24,000 lb. 7.3 4x4 ZF6 with 4.88 rear axle. 2500 rpm @ 70 mph in OD. I was running with a Diablo Predator before and was forced to return the truck to stock tune just to tow the trailer because the EGT would easily hit 1400 degrees on any hill, even using their mildest Tow/Safe tunes.
After installing the chip and pulling the trailer, I found that on the 25hp Heavy Tow, the engine would pull the trailer up any hill up to about 4-5% grade in OD without having to shift down.
The turbo would simply spool up and the EGT's would not go over 1100 degrees - cooler by 100 degrees over the stock tune. It was very surprising to me how much better the engine sounded and ran as well. Bill knows his stuff and if I ever have a need for a another chip on a different truck I will not consider any other vendor. VERY satisified customer.
I just returned Hey everyone, just wanted to post about my great experience with PHP. I know I was probably not the only one waiting a while for custom tunes but it was more than worth the wait. Not only does my F150 run better, it has better acceleration and when I want to save gas, I can average as much as my V6 Mustang which has a 8.8 rear with 3.73s with the economy tune.
On the performance tune in a 1 hour drive I averaged 15 in one direction with flooring it several times since I was still testing out the tune. Drove it back home cruising at like 23mpgs to a gallon and averaged about 17. Is this great or what?
It gets even better, Ice Storm last night in North Jersey so I had to use 4wd to drive home, drove an entire hour between 40 and 60mph with the 4wd on, and I was cruising most of the time around 19 to 23mpgs, unless I was accelerating and I averaged 15.5. When I first bought the truck, I was averaging from 12mpgs with 2wd and a semi-heavy foot to 8mpg with 4wd. I mean this is really great and Bill knows what he's doing, has anyone else seen improvements like this? I am shocked, I wish my v6 with 3.73s could get better mpgs.
Bill with your custom tunes, I think you should eventually tackle custom tunes for Mustangs and if you do, I'll be one of the first to try it and recommend it to my club of 570+ members.
Once again, I would like to thank PHP, especially the helpful people who helped keep me patient. Thanks and great work!
I would like to start out by saying thank you to Bill & Corey of Power Hungry Performance! Not only is Bill a master of his trade but he and Corey are some of the nicest people I have ever had the pleasure of dealing with! In this day and age it is not very often that what is being sold matches its advertisement, and God knows you can count on one hand the times that the product ends up being superior.
I am actually traveling right now to a little league baseball district tournament in Ocala, Florida so this is the first tank of gas in a variety of driving conditions (stop & go to Highway) using the Gryphon's custom 93 octane performance tune and I can tell a night and day difference above the previous performance canned tune throughout the entire powerband.
I bought the truck for its towing ability to pull our travel trailer. What I did not expect though was the throttle lag and sluggish downshifting when I wanted a sudden burst of power for passing. Bill's towing tune on the Gryphon has changed all that. Now I have quick throttle response and crisp, sure shifting that makes passing, even while pulling a trailer, a breeze. It's like I have a new truck at virtually no cost.
Additionally, since I can now monitor powertrain parameters like Transmission Fluid Temperature and Cylinder Head Temperature, I've gained peace of mind from knowing the level of stress I'm putting on the vehicle, especially when towing over high mountain passes.
Bill and Corey have been absolutely superb in the area of customer support. They are easy to reach and they clearly have the satisfaction of their customers as their first priority. Bottom line: A first class product from a business with integrity! Power Hungry Performance is a winner!


The popular Adobe PDF document format (PDF version 1.6) now supports inclusion of 3-D geometry. The latest versions of Adobe Acrobat Reader can now display, rotate, and animate 3-D models embedded within these PDF documents. This capabilities provide a tremendous new opportunity for creating tutorials, presentations, and electronic textbooks containing 3-D models of biomolecules that can be interactively manipulated by the reader.
This is an example of a full-length PDF document which has been enhanced by replacing individual 2-D renderings and figures with interactive 3-D molecular models exported directly from VMD. Two of the examples include demonstrations of "hyperlinks" which activate pre-defined viewing/orientations for the molecules which assist readers with understanding of the 3-D structure of water and ice. The enhanced PDF includes 3-D models on the cover page, page 7, and page 22.
These 3-D PDFs can be viewed on any platform supported by Adobe's free Acrobat Reader program. Other PDF reader programs may or may not be able to read and process the 3-D model information contained in the PDF file. Some programs will skip the 3-D model information and merely display an image of the 3-D model without the ability to interactively manipulate the model. You can test out your favorite PDF reader using the examples provided below.
In addition to using 3-D models in PDF files, the models can also be embedded within PowerPoint presentations. In order to view the sample below, select "enable macros" when opening the presentation. From there, press F5 to view the presentation, and you'll be able to interact with the 3-D model while the presentation is displaying.
Presently, the only program we're aware of for creating 3-D PDF documents is Adobe Acrobat3D.
The easiest way to import VMD scenes into Acrobat3D is to use the Acrobat3D OpenGL capture utility which is built into Acrobat3D. Before capture can be initiated, some settings must be adjusted in Acrobat3D, and it must detect that VMD is available for capturing.
The first step in enabling Acrobat3D for capture is to open Acrobat3D, and initiate a capture. This is easily done using the File -> Create PDF -> From 3D Capture menu item. This will open the 3D Capture window, with the option of adjusting the capture settings or cancelling the capture altogether. If this is the first time that you've attempted to capture from VMD, then you'll need to startup VMD, click in the VMD OpenGL Display window with the mouse, and press the Print Screen key, which. At this point Acrobat's capture utility should ask if you want to enable capture from VMD (since it doesn't enable from all applications by default). Say yes, and then close VMD and Acrobat3D, and restart them again. Once capture has been enabled for VMD, you can proceed with the full sequence of capturing a VMD scene into Acrobat3D, as described below.
This should show up automatically after the first time you enable capture from VMD.
Although the built-in Acrobat3D capture utility does well at grabbing the simplest forms of OpenGL 3-D geometry, VMD uses several advanced rendering features that confuse it. As of version 7.0.9 of Acrobat3D, it is necessary to tell VMD to use a very simple subset of OpenGL so that the Acrobat3D capture utility will work correctly. For VMD versions up to VMD 1.8.5, the only way to help Acrobat3D do it's job is to set a special VMDSIMPLEGRAPHICS envioronment variable, and limit your representations to the subset that Acrobat3D's capture utility can correctly interpret. For VMD 1.8.6 and presumably for later versions (until Adobe corrects the current limitations of the Acrobat3D capture utility), there is a new rendering mode designed to workaround the limitations of the Acrobat3D capture utility. This rendering mode is enabled with the Display -> Rendermode -> Acrobat3D menu item in the VMD main window.
Once the basic Acrobat3D capture settings have been adjusted for VMD, and VMD's rendering mode has been set for Acrobat3D capture, you may proceed with loading a molecular scene and capturing it from VMD.
We recommend using a small molecule such as 1UBQ for your first tests. Large models will take a long time for Acrobat3D to process, which is counter to the goal of making your first 3-D PDF quickly. Start with a simple molecule/system. Once you've become accustomed the conversion process you can proceed with more complex models. Capturing is performed by loading the molecular scene into VMD, and pressing the Print Screen key while Acrobat3D is awaiting a capture. Once the capture is initiated, you may see the VMD display blink briefly, followed by an Acrobat3D capture progress dialog window as it processes the VMD scene and prepares to convert the geometry to PDF.
The remaining General options can be left at their defaults.
Enabling this option will allow very exacting replication of the original VMD scene, but will create a larger PDF file, and older computers may have trouble viewing it.
Disablig this option will let you to use controls in the remaining tabs to request Acrobat3D to reduce the geometric detail of the molecular scene in an attempt to make the resulting PDF document more compact, and to make it less challenging to display on old or otherwise underpowered computers.
The various other import tabs contain options for simplifying the imported 3-D models, reducing detail, and changing the coordinate system of the data. These options are described in the Acrobat3D help and probably don't need to be adjusted at all until you've become accustomed to using Acrobat3D and are starting to import larger or more complex VMD molecular scenes into your PDF documents.
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:::: FILMS OF 2016 ::::
TOP FILMS OF 2016 IN NO PARTICULAR ORDER
Lucile Hadžihalilović "Evolution" (France)
László Nemes "Son of Saul" (Hungary)
Ciro Guerra "Embrace of the Serpent" (Colombia)
Aleksander Sokurov "Francophonia" (Russia)
Barry Jenkins "Moonlight" (United States)
Bi Gan "Kaili Blues" (China)
Maren Ade "Toni Erdmann" (Germany)
Alain Robbe-Grillet "L'Immortelle" Restored Rerelease (France)
Wim Wenders "The Goalie's Anxiety at the Penalty Kick" Restored Rerelease (Germany)
Sidney Bernstein "German Concentration Camps Factual Survey" (United Kingdom)
Krzysztof Kieślowski "Dekalog" Restored Rerelease (Poland)
Byron Haskin "Too Late For Tears" Restored Rerelease (United States)
Karel Zeman "A Deadly Invention" Restored Rerelease (Czech Republic)
Seijun Suzuki "Gate of Flesh" Restored Rerelease (Japan)
King Hu "Touch of Zen" Restored Rerelease (China)
Makoto Shinkai "Your Name" (Japan)
Denis Villeneuve "Arrival" (United States)
Paul Verhoeven "Elle" (France)
Matteo Garrone "Tale of Tales" (Italy)
Pablo Larraín "Neruda" (Chile)
Shunji Iwai "A Bride for Rip Van Winkle" (Japan)
Albert Serra "Story of My Death" (Spain)
Avishai Sivan "Tikkun" (Israel)
Mauro Herce "Dead Slow Ahead" (Spain)
This past year was marked by the inescapable reality of a election cycle in which both liberal and conservative media elevated a reality TV celebrity, media mogul and real estate magnate to one of the most influential positions of power in the world. All the while, the other aspect of the dominant two party system marginalized their more viable candidate. Less travel this year, both domestic and international translated as nothing in 2016 being comparable to attending the Okwui Enwezor curated "All the World's Futures" and the Venice Biennale, of the year before. Grounded here in the United States, with the noise and confusion of the theatrical pantomime that was this year's election cycle, it was a great relief to find memorable festivals and exhibitions domestically. Gallery-going and the cinema played an even more prominent role, with the 300 mark hit it was a year in which a new personal record was set in theater attendance. The most notable arts event witnessed this year was the second-annual Paul Allen funded Seattle Art Fair, which again proved itself to be decidedly more than a rich man's vanity project. Particularly so for the inclusion of Pivot Art + Culture hosting the return of the KaiKai KiKi collective and it's cultural figurehead, Takashi Murakami in collaboration with Juxtapoz magazine for, "Juxtapoz x SuperFlat". Taken with the collateral "Out of Sight" exhibition, returning to the King Street Station exhibition space for its second-annual survey of contemporary art in the Pacific Northwest, the two produced an international caliber event. Reflecting the changing economic and cultural landscape of Seattle two regional festivals which had previously brought an international scope to the city had closing and transitional years in 2015. That year saw the final installments of the region's two dominant, global festivals of electronic, neoclassical and experimental music. The final Northwest edition of Rafael Anton Irisarri's Substrata Festival came and went, and in an open letter Decibel Festival's 13th year closed with programming director Sean Horton's farewell to the city. In lieu of the more expansive international forums offered by these festival settings, Seattle's monthly showcases of electronic and experimental sounds, Elevator, Secondnature, MOTOR and Wayward Music Series produced a string of memorable one-off events in 2016. Elevator's maturation this past year into exhibition curation with their first annual Corridor Festival was hailed as a unmitigated success in local press. It's day-long meeting of audio-visual media, installation art, music and performance may be the city's best new hope in filling the festival void. Corridor's second edition this month promising an equally engaged festival of light, sound, and movement from the media and performance underground.
For the larger part of global cinema, the digital age is still proving to be at a narrow impasse rather than the promised plateau of abundance, which many are learning to navigate. Particularly evident in the world of film distribution, though footing has been found on some of the growing independent streaming platforms. Award winning films from festivals in New York, Berlin, Vienna, Venice, Hong Kong, Seoul, Cannes, Paris, London, Toronto and Cannes topping both Film Comment, Cinema-Scope and the British Film Institute's Sight & Sound annual overviews have yet to screen in the United States, or even show up streaming online. So count yourself fortunate that you live in a international city if you do, as more and more of the world's greatest film aren't to be found for purchase, rent, streaming or even download (legal or otherwise). This year's Seattle International Film Festival somewhat stronger showing than the less than memorable selection of the year before, which was disheartening after the exceptional year had in 2014 for their 40th Anniversary. Their year-round programming at SIFF Cinema compensating for the oversights of the festival, bringing advance screenings, rare prints and numerous exclusive screenings to their three cinemas including the Film Center and recently restored Egyptian Theatre. Their second-run Recent Raves series being the best thing SIFF had going until it's suspension at the end of last year. Here's hoping for it's return in 2017. With indie cinemas closing around the nation, it was that much more important to support the local theater opportunities such as the fast-shrinking and now halved Landmark Theatres, and occasionally rewarding Sundance Cinema in Seattle.
Our own Northwest Film Forum had a strong calendar year as did what's fast become the greatest programming seen on a screen in this town, The Grand Illusion Cinema. In the past year this micro-sized, yet longest continuously running theater in Seattle, stepped up to fill the growing theatre void after strengthening their nonprofit partnership with Scarecrow Video. Many of the best films seen this year, when they did come to the cinema, had runs that lasted no more than a week. Others were never to appear again outside of an initial festival screening. Again proving the wisdom of getting out there, seeing the city and prioritizing the remaining opportunities that we're fortunate to have in our urban crossroads. Even so, no mall percentage of these films even avid theater-goers living in urban centers didn't get to see. Making a resource like Scarecrow Video, last year's Stranger Genius Award-winner, that much more irreplaceable. One can't imagine in the age of digital piracy that this process has aided films in finding their audience. More worrying, the lack of genuine cinema available on the dominant streaming resources, particularly with Netflix phasing out the diversity offered in their physical media. Amazon not being a real alternative either, despite their claims. Resources like Fandor, Mubi and FilmStruck, the newly launched endeavor of Turner Classic Movies and the Criterion Collection, are fast becoming the almost singular streaming platforms through which online viewers have access to the true scope of the past twelve decades of moving pictures. Particularly with all three platforms being avidly involved in the festival dialog, with curation and criticism offered throughout the year in their respective digital magazines, Notebook, Streamline and Keyframe. In the end Mubi coming out on top, their "It's About Time: The Cinema of Lav Diaz" feature on the Filipino director's extended duration film was the cinephile streaming event of the year.
Rated by The Guardian as the number one film screened in the United States last year, László Nemes created in his award-winning, unlikely directorial debut, "'Son of Saul', an Expansion of the Language of Holocaust Films". Understandably even the century's most confident filmmakers have quailed before the terrifying responsibility of massacre, torture and sadism that is the Holocaust. Only documentaries have successfully addressed the immensity of the subject, namely Alain Resnais haunting "Night and Fog" the plumbing of the personal in Claude Lanzmann's monumental achievement "Shoah", and the recently reconstructed "German Concentration Camps Factual Survey". The latter detailed in HBO's "Night Will Fall", as a "Recalling of a Film From the Liberation of the Camps" that features some of the most unflinching footage dedicated to film in the whole of the 20th Century, and stands as a profoundly significant "lost" document on the subject. Few have ever gotten as close to the three works mentioned above to penetrating the mysteries of this most cataclysmic of human horrors. Neme's film approaches the untouchable by taking the viewer into the close-viewed final chapter of it's protagonist's life as a Sonderkommando in a unnamed concentration camp. This is a raw, pitiless cinema that pulls no punches, and does the "unrepresentable" in it's fictional representation of human dignity amid the torrent of the Holocaust. Documentarist Claude Lanzmann, famous for his disapproval of dramatic representations of the Holocaust on screen, and even well-meaning and educational entertainment's "threat to the Incarnation of the truth" surprised everyone by praising Neme's film, calling it the "anti–Schindler's List". Lanzmann himself resurfacing in 2013 with the release of his extended interviews with the last living Ältester of the Judenrat in his belated documentary, shot in the 1970s in Rome and not completed until present day about the divisive Holocaust survivor, Rabbi Benjamin Murmelstein. With his documentary "Last of the Unjust", Lanzmann gifted the world a "Fascinating, Subtle Study in Survivor Non-Guilt" and "A Remarkable Companion to the Document of 'Shoah'".
Atrocities of quite a different kind were addressed through fictional characters in the historic setting of Ciro Guerra's "Embrace of the Serpent". His award-winning film stands as a capaciously researched work of Colonial fiction richly drawing from the accounts of ethnologist and explorer Theodor Koch-Grünberg and the American botanist Richard Evans Schultes. The latter widely considered the father of modern ethnobotany for his global studies of indigenous peoples' ritualistic and medicinal uses of entheogenic plants and fungi. As described in Nicholas Casey's piece for the New York Times, Guerra arrived in the jungle with an anthropologist who aided the conveyance of his project to a local shaman, who in Guerra's words, carefully "explained the project to the forest." This project became, "Embrace of the Serpent: Ciro Guerra's Searching Tale about Invaded Cultures in the Amazon". Almost directly referencing the life's experiences and knowledge contained in the pages of Grünberg's "Two Years Among the Indians: Travels in Northwest Brazil", "The Lost Amazon: The Photographic Journey of Charles Evans Schultes", Schultes' own book co-authored with chemist Albert Hofmann, "The Plants of the Gods: Their Sacred, Healing, and Hallucinogenic Powers", and for it's larger context, "One River", Wade Davis' account of the explorations of Charles Evans Schultes. Guerra's tale is viewed largely through the aggrieved eyes of a shaman by the name of Karamakate, a Cohiuano spiritual leader living isolated in the jungle, his tribe on the verge of extinction. "Embrace of the Serpent"'s fantastical mixture of myth and historical reality "Where Majesty Meets Monstrosity" adopts Karamakate's non-Western concepts of time and storytelling into it's very structure. Guerra gives us a damning condemnation of Colonial encroachment, a "Dreamlike Exploration of Imperialist Pollution" seen sidelong through Western man's journey for knowledge in the spiritual landscape of the Amazon.
The strongest directorial debut in recent years appeared as an entry in what has become the European forum for the vanguard in contemporary narrative cinema. The Locarno Film Festival has emerged as one of the most important Western festivals to support Asian cinema, particularly works without commercial distribution prospects. For mainland Chinese filmmakers, the affirmation and support from the global independent film industry has become more crucial in recent years. Particularly as the government under President Xi Jinping continues to carry out the broadest crackdown on free expression in the "25 Years of Amnesia" since the events that culminated in the Tiannanmen Square protests of 1989. By way of example, China's most prominent arthouse director, "A Guy From Fenyang" by the name of Jia Zhang-ke, would not have had the global reach of a "Filmmaker Giving Voice to Acts of Rage in Today's China", without the support of the international festival circuit. Those filmmakers are also aware that as recently as 2010, Locarno awarded the Golden Leopard, it's top prize, to an unknown Chinese director for Li Hongqi's "Winter Vacation". Further bolstering it's role in supporting independent film from mainland China and broader Asian subcontinent, Locarno established "Bridging the Dragon", a traveling workshop aiming to foment co-production partnerships for both European and Chinese films. So it is that "Chinese Independent Filmmakers Look to Locarno Festival" in growing numbers and diversity. Ranked among Film Comment's Best Undistributed Films of 2015, Bi Gan's "remarkable arthouse debut" swept up Locarno's Best New Director prize, it's screening in the festival hailed as one of the most assured directorial debuts of the decade by both Film Comment and Cinema-Scope. In "Kaili Blues" Gan offers up an increasingly dreamlike elegy for bygone Miao traditions and sweeping changes seen in the landscape of China itself. Delivered through extended shots and images that are achingly melancholy, and teasingly cluttered, "Kaili Blues: A Dream without Limits" describes the subtropical province of Guizhou, a mountainous, lush region of sporadic human habitations. Intriguing associations of the narrative's emotional landscape can be found in the depicted real-world recurrences of transition and disrepair.
On a personal level there were three films in the year that spoke to aesthetic, philosophical, emotional and conceptual interests like no others. Curiously, this trio shares as little in common as anything viewed in the year, yet they are all bound up in a dedication to form in their exploration of meaning. With "Evolution", her first film in over a decade, Lucille Hadzihalilovic has again created a tantalizingly atmospheric cinematic "Miracle of Life" that's utterly sui generis. Yet it is one which also resonates with recognizable echoes of genre forms found in French Fantastique and Giallo, all the while remaining enigmatic from its opening to dystopic close. This "Eerie Body Horror with a Tender Undercurrent" watches as a transporting coming of age tale, similarly in the case of her "Innocence" of 2004 and again it is equally mesmerizing and troubling, a entrancing confluence of the beautiful and sinister. The two films also share in an effect of, "Going to a Magical Place You Wouldn't Want to Live In" yet as a viewer finding that its entrancement lingers beyond the closing credits, if only to further parse out it's mystery. It is a film who's function is in part about the construction of irreducible tension, and the satisfaction of finding that it remains unresolved at it's completion. Special mention goes to the sound design and score by Stephen Thrower and Ossian Brown as Cyclobe, who like the work of Jóhannsson for Villeneuve's "Arrival", play a significant role in reinforcing the sensory bedrock of the film's the fantastical setting. A setup equally out-of-time serves a diametrically different purpose in relation to Aleksander Sokurov's "Francophonia". This time around the Russian experimenter has put nothing less than his whole self into the film, quite literally. Sometimes acting as an unseen interlocutor, host and guide, the director speaks with the ghosts who haunt the Louvre over it's centuries of existence, his inquiry echoing across time. Through the vehicle of the museum's own life under varying governments, empires and states, some benevolent, others hostile, like in that in case of it's central passage, "About World War Foes Turned Allies, for the Sake of Art". But Sokurov's larger theme this time is the cruelty of greatness itself. It is in this age-old alliance of art and power, and the crushing distance of both from the lives of those who serve them, that is the film's central concern.These are detailed through Sokurov's own nocturnal ruminations about the connections between war and peace, art collections and conquest, Western and Eastern Europe. Like its theme, his "Meditations on the Louve" is in itself a work of art that troubles the conscience; putting forward the consideration that no art is innocent, and that both its preservation and destruction, depends on the very influence of that power which has shaped history.
Barry Jenkins' exploration of inchoate desire is as wise as it is generous, and as a portrait of masculinity it is both as unflinching, and deeply empathetic, as anything in all of contemporary cinema. That a film of such cultural specificity manages to be so overwhelmingly universal is another of it's many feats. Another is that Jenkins and screenwriter Tarell Alvin McCraney have crafted a film which originates from so deep in its own DNA that it often comes across as as impossible to separate any one aspect from the context which produced it. Through the tandem of urban sounds in concert with Nicholas Britell's expressive soundtrack, the poetry of James Laxton's cinematography, and a few beautifully executed acknowledgements to Jenkins' cinematic heroes, the moments that comprise "Moonlight" are deeply immersive. The result in concert is that there are extended passages of Jenkins "Song of Myself" that watch as though the viewer is experiencing them with all their senses. The product is a very real sense that the journey of Jenkins and McCraney "From Bittersweet Childhoods to 'Moonlight'", is the story of the film itself. "This Magical, Majestic Portrait of Young, Black Gay Life" as Matt Sandler puts it in "Miami Melancholia" for the Los Angeles Review of Books; "Makes a swerve on the broad and compulsively historical cliches that usually frame American filmmaking about Black people, by being more historical, by looking so closely that a new kind of filmic history emerges. Moonlight's sublimity depends on the specificity of its setting in the age of neoliberalism and particular as a site of transnational, African diasporic, utopian dreaming." Phil Coldiron's approach in Cinema-Scope is to consider how differently this film addresses America's ongoing history of structural racism and the preponderance of occasions in which black communities in popular cinema face poverty and oppression so that a singularly-able hero might transcend it. If not escaping the conditions of systemic poverty, then suffer them nobly or more productively "as the means for analyzing some relationship of power marked off by the distance of history". No such devices are at play in Jenkins' film, and it is much more superior for it.
While a strong year for contemporary cinema, some of the greater revelations came from decades past. The highest concentration of which was seen delivered by the work of institutions like Criterion Collection, Masters of Cinema and Kino Lorber, who continue to fund the restoration and rerelease of some of the past century's greatest film. Criterion Collection's vision continues to be enriched by masterpieces of decades past, this year seeing long overdue restoration of one of the most notable works of the whole of the Taiwanese New Wave in Edward Yang's "A Brighter Summer Day". This evocation of the "Heartache and Confusion of Adolescence from an Arthouse Master" is among the rarest and most significant films to emerge from world cinema in the 1990s. From quite another era of Asian cinema, King Hu's preeminence as a "Martial-arts Pioneer Who Brought Dynamic Grace to the Genre", was reestablished with Janus Films and Criterion producing new 4k restorations in a domestic theatrical run this past summer. This marked the first opportunity to see these films in the west for most filmgoers, particularly in the case of "A Touch of Zen". With "A Touch of Zen's Masterful Concoction of Cinematic Flavors" Hu emerged in 1971 as a "Martial-arts Filmmaking Master, Bending Light and Arrows to His Will". Befitting a body of work of this influence and stature, in a rare move for genre works Senses of Cinema have dedicated a Great Directors feature on Hu's warping and reformatting of the three tenets of 20th Century Wuxia cinema: the political world of the Jianghu, bewildering martial arts action, and thirdly, and most artfully in Hu's case, abstraction in representing Buddhist concepts. Polish cinema also featured prominently. SIFF again played host to the annual Seattle Polish Film Festival, with this year's programming coupe the exceedingly rare screening of "On the Silver Globe", a truly lost "Thwarted Sci-Fi Masterwork" by "Polish Cinema Rebel, Andrzej Zulawski Who Died this Year at Age 75". Coinciding with the Criterion Collection's release of the restored blu-ray box set of the apogee in all Krzysztof Kieslowski's filmography, "Dekalog" returned to cinemas for the first time in almost two decades. SPFF featuring not only Kieslowski's restored ten-part masterwork, but also his earliest collaborations with cinematographer Sławomir Idziak, "A Short Film About Killing" and the director's first film outside of Poland, "The Double Life of Veronique".
The year's two most notable retrospectives were brought to town by Northwest Film Forum in collaboration with The Grand Illusion and SIFF Cinema. Again decades since many of the German director's work was seen in cinemas domestically, "Wim Wenders: Portraits Along the Road" brought a rare and overdue opportunity for "Looking Back at the Road Ahead" at the life's work of one of Senses of Cinema's Great Directors. A quest spanning the five decades from his earliest 16mm experimental shorts of the late 1960s to his recent award-winning documentaries, his global cinematic journeying was celebrated with a honorary Golden Bear for Lifetime Achievement at this year's Berlin International Film Festival. This "Misfit, Outsider and the Man Who Helped America to See Itself" first came to wide attention in the 1970s for his string of existential road movies exploring modern-day alienation, spiritual confusion, loneliness and dislocation. This body of work featured in Criterion's new blu-ray restorations helped establish the New German Cinema alongside the work of his contemporaries, Rainer Werner Fassbinder, Werner Herzog, Alexander Kluge, Volker Schlöndorff and Margarethe von Trotta as arguably the most significant national cinema movement of the 1970s. The other side of the globe and a decade in advance, the course described by "Action, Anarchy and Audacity: A Seijun Suzuki Retrospective" was as much of the great outsider director, as the Japanese studio system itself. Particularly that of Nikkatsu and the decade of action films from the studio that flooded the Japanese market. These appeared in genres spanning yakuza movies, urban thrillers, jazz-inflected youth pictures, Nippon westerns and French New Wave-inspired emotional dramas and crime films. Amid this abundance of action potboilers, Mukokuseki Akushon (or "borderless action") crime films emerged, the best of these originated from the then-new, and stylistically daring directorial talent of, Toshio Masuda, Takashi Nomura, Seijun Suzuki and Buichi Saito. Arrow Films' Nikkatsu Diamond Guys and Criterion's Nikkatsu Noir represents a standout cross section from the best of what the genre had to offer. Nikkatsu in the throes of cranking out successful lower budget gangster and Noir-ish crime movies, initially had a ideal director in Suzuki. As time progressed, Suzuki increasingly bridled against these formulaic restraints, and from within the budgetary constraints that bound him, he began down his own divergent path. Choosing instead a personal denial of service to rote, prosaic plotlines, his response was instead to approach his works as exercises in technically bold, visceral visual expression. It was the fallout over his singular 1967 stylized shocker "Branded to Kill", that Suzuki was banished from the Nikkatsu clearing house that had once brought him great success. And though, "Branded To Kill 'Made No Money and No Sense' it's Still a Classic", it is an act of creative defiance many consider to be Suzuki's right of admission into the Japanese New Wave.
Labels: Albert Serra, Aleksander Sokurov, Barry Jenkins, Bi Gan, Ciro Guerra, Denis Villeneuve, King Hu, Laszló Nemes, Lucille Hadzihalilovic, Makoto Shinkai, Maren Ade, Pablo Larraín, Seijun Suzuki, Wim Wenders


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Avery Brewing Co.'s Boulder Strong Ale Fest features epic brews from craft breweries around the country, bringing the beers of brawn and this king of categories to one holding pen for your pleasure. To make it into this fest, a beer must be 8% ABV or higher and represent something very special from the heart and soul of its creator.
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Q: How should one spell the sound "eye" when creating a word? How can I invent a word (or name) containing the sound "ai" (sounds like "eye") so that an English-speaker is likely to guess the correct pronunciation based on spelling alone, with no outside prompting?
For instance, if I wanted to create a spelling for a word to be pronounced like "eye's eye", how should I do this?
I've found partial solutions, but I find the limitations unacceptable.
Words like "pie", "ice", and "life" use a mechanism which only functions correctly near the end of a word. Worse, it sometimes fails entirely in longer words ("malice", "solstice", "hospice", "granite"). Trying to construct a spelling for my example word, we might come up with "Iezie" or "Izeie". These spellings seem to convey ambiguous pronunciation.
Words like "highlight" and "flight" provide something consistent, but this leads to awkward spellings. Consider "Ighzigh". A reader has some chance of settling on the correct pronunciation, but only after a period of mouthing nonsense while staring confused at that distracting Lovecraftian thing.
Words like "psychology" and "rely" require their pronunciation to be memorized. Otherwise, we might have a lot more fun pronouncing "physics". "Yzy" may look nice, but I would initially pronounce it like "easy", and do so with confidence.
I've also considered using "ai" to convey this, but it appears to function as I desire only when it ends a word. "Aizai" has a decent appearance, but it seems to suggest an English pronunciation like "A's eye".
And finally, "island", "wild", "rival", "chiral", and "chitin" appear to provide no guidance at all, and probably need to be memorized by rote. Each of these words is fun to say and looks good on a page, but only after some research.
Is there a compact, aesthetically-appealing solution?

A: Looking at Wikipedia, we see that a variety of pronunciation respellings have been used in English, but this sound has no consistent representation.
Following English conventions, the sound is usually represented as -ye or -ie, or eye when it is a syllable on its own. However, these representations only really work when syllables are separated by something like a hyphen. So, "eye-zye". Although this is fairly effective at indicating the pronunciation of the term, it is probably not what you want.
However, another common representation that many English speakers are familiar with is "ai", as you note; it occurs in Spanish and the romanization of Japanese, two writing systems that English speakers are likely to be familiar with. This is ambiguous with the /eɪ/ pronunciation of ai in ordinary English words, but the English digraph ai does not occur at the end of words, while it does occur in Japanese loanwords like samurai. Therefore, I'd think most English speakers would associate this spelling with the pronunciation you desire when it's at the end of a word.
If people can tell that your writing system for words like this is consistent, they will then be able to infer that ai represents the sound of "eye" in other positions as well. The spelling "aizai" will then be relatively unambiguous.

A: The old 50s rules for US English pronunciation hold that an "open" (vs "closed") syllable yields a "long" vowel sound.  A long I is pronounced "eye", and a short I is pronounced (roughly) "ih".
An open syllable is one that ends with the vowel, or one that ends with a consonant and the letter "E".
Even though these rules are (apparently) no longer taught, they are somewhat intuitive, so there's a good chance that they will be followed.

A: To make models of lie, die, pie is a very bad idea, because those spellings are exceptional, part of padding short ordinary words to at least three letters, as also ebb, inn, lye, dye, lest they be as short as special words in, by, do, if, … (and go is exception to exception—isn't English spelling great?). The usual spelling for that sound at that point is as in spy, reply, … (which, sigh, is changed to ie when s or d is added).
It is better to consider field or sweetie models for ie.
In your case, in spite of ready, …, I would use y, although, as you said, only igh is consistent.
The actual long-short spelling rule applys (!) only to some words, generally not to foreign ones, although there are native exceptions, too (linen):
When one of the five vowel letters is followed by one consonant letter, and maybe l or r, and a vowel letter or y, then the first vowel letter stands for a long vowel (diphthong). If one of the five vowel letters is followed by a consonant cluster other than final nd or ld, or the vowel-letter-following consonant is final, the vowel letter stands for a short vowel (monophthong).
This leaves out many cases: liable, briar (the a probably because ie is a digraph), alkali, the three-letter exceptions, oboe, potatoes, …. In general, in longer words, when final e is silent, a is schwa, o and i are long (but nowadays, mostly in invented names, there are many cases where final i is like ie), and u is found only in newish words (there is a completely arbitrary spelling rule that neither v nor u is final) and usually pronounced not long-u, but oo.

A: I think it's a fairly hopeless cause. It's not a fault of English - it's a feature!  You might be trying for something too clever.  Perhaps it's worth asking whether your really need your word to be pronounced consistently? As long as it's not rude or something.

redpajama_set_name: RedPajamaStackExchange


These opportunities don't come along very often. This parcel is in the Flowery Mining District and formerly know as the Lady Bryan Mine and currently as the Golden Eagle Mine. The views are spectacular looking down 6 mile to the Dayton Valley and north to former mine. This is 3 miles outside of Virginia City and about 40 minutes to the Tahoe Reno Industrial Park where Tesla, Google, and many more industries are located. There are several level building sites which makes it possible to split into 2 40's.


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Tangerine Room Events loves to throw a party for just about any occasion, and they love to do it right. Jessie's fun loving spirit, keen design eye + amazing knack for detail are what makes her the Tangerine Room Events mastermind + she's lucky to have a full team of other creative + logistical geniuses on her side. The Tangerine Room team can take the ordinary and make it into a dream. From weddings to birthdays and any event in between, the Tangerine Room team builds extraordinarily, beautiful things.


Case Leads: Report on Emerging Cyber Threats, Updates to Forensics Applications, Malware Trends, and more.
This week's edition of CaseLeads features a report on emerging cyber threats, another report about malware and vulnerabilities,research about the head of a new anti-virus firm, updates to the Oxygen Forensics Suite and Memoryze for the Mac. There's also a story about how email led to several discoveries in the case of theCIA director that … Continue reading Case Leads: Report on Emerging Cyber Threats, Updates to Forensics Applications, Malware Trends, and more.
More news on Flame & Stuxnet. Researchers publish findings on Elderwood Gang & the Comment Crew. New & Updated tools for mobile device forensics.
This week's CaseLeads features several findings from security researchers who have been studying Flame, Stuxnet and numerous state sponsored hackers. A couple of vendors have released new tools or updates to existing tools for those into mobile device forensics and malware analysis. If you have an item you'd like to contribute to Digital Forensics Case … Continue reading More news on Flame & Stuxnet. Researchers publish findings on Elderwood Gang & the Comment Crew. New & Updated tools for mobile device forensics.


(CNN) — "In a first-of-its-kind study, researchers have developed a blood test for Alzheimer's disease that predicts with astonishing accuracy whether a healthy person will develop the disease.
Though much work still needs to be done, it is hoped the test will someday be available in doctors' offices, since the only methods for predicting Alzheimer's right now, such as PET scans and spinal taps, are expensive, impractical, often unreliable and sometimes risky.
This entry was posted in Alzheimer's, News & Events and tagged Lab test. Bookmark the permalink.


text:
Q: Why does method require a return value after statement which is always return true? Why does this method (test) need a return value (it is always true)?
public boolean test() { //This method must return a result of type boolean
    if (true) {
       return true; // always return true
    }
}

and when I added return value, it warns as "Dead code". So, why don't accept first test() method
public boolean test(int i) {
   if (true) {
      return true;
    } else { //Dead code
      return false;
    }
 }

A: It is a result of the depth of analysis the compiler does.

A: The method return analysis does not analyse the if condition to see if it is always true or false, as generally it wouldn't be a compile-time constant (else you wouldn't be writing an if in the first place). It simply sees that there is an if that could or could not be taken, and if it is not taken then the method does not return a value, hence the error.
The dead code analysis is done in a separate pass to the method return analysis, which does some more in-depth analysis that looks inside branch conditions.
My completely uninformed guess is this behaviour is an artefact of how the compiler was developed; method return analysis is a vital part of compilation, to ensure you get a valid program out at the end, and so was one of the core features implemented first. Dead code analysis is a 'nice to have' and so was implemented later on, using more sophisticated algorithms (as the core compiler bits were finished by that stage)

A: This method doesn't do anything, so yeah, it is dead code. If the method always return true, you don't need to call it, just use true instead.

A: In Java, if you specify a return type (boolean) you must explicitly specify the value, regardless of whether it's always the same. That does raise the question: if it's always the same, why return anything? You already know the answer in the calling code.
Why not just write:
public boolean test() {
  return true;
}

As for the second part of your question, the compiler sees that the second path is never taken in the if statement and gives you a warning about it.

A: If you test something, it may be a value or another value. So you can't guarantee that is going to get inside the if statement.
if (someBoolean){
  return true;
}

won't work cause someBoolean can be either true or false.
If your method must return something and someBoolean is false, it will not return anything.
So in this case, you can do:
if (someBoolean){
  return true;
}

return false;
or simply
return someBoolean;


Kids Krav with a twist! PROMOTION!
Every parent who wish to join in to have fun, or to learn the basics of Krav Maga, with their kid(s) can do so for the children`s rate. All you have to do is to sign up for our Kids` membership package with Naz and have fun. If you know anyone who`d like to participate, then don`t be shy to shout about this opportunity!


New Zealand is truly an amazing country. The people are friendly, the weather is superb and the lifestyle is unbeatable, with a perfect pace for you and your children. Set within a stunning landscape, New Zealand offers residence a perfectly balanced lifestyle. It is a safe and friendly environment for families, offers great career opportunities and the possibilities for exploration and travel.
The high quality of life New Zealand offers is what draws immigrants from all over the world to the country, and New Zealander's pride themselves on welcoming newcomers. As well as finding approachable locals, you'll also find many other new arrivals to share experiences with. The country is very multicultural and residents are used to mixing with people with different cultures and accents.


text:
Middle East (Arabic)
| Coca-Cola in India
Coca-Cola in India
Coca-Cola in India Overview
Coca-Cola Worldwide and in India
Our Manufacturing Footprint
ACES Board Members
India Advisory Board
Health & Wellness Advisory Council
Top Reasons to Work Here
Leader in the Spotlight
Limca Book of Records
Sustainability Update 2017/18
Codename: Baby
By: Sameer Pathak | 06/02/2018
Picture a special charter plane, presidential motorcade, layers of security, special traffic corridor, incognito rooms, armed commandos, protocol ...and then place a prestigious and most loved and wanted icon of the world in center of it!
If you are mistaking the arrangements for that of a head of state, don't fret. The FIFA World Cup Trophy Tour by Coca-Cola is not unlike any head of state visit. If fact, it almost was one. Squeezed between Singaporean Prime Minister and Indonesian President's visit to Sri Lanka, the Trophy Tour was a full on spectacular effort...mounted on Hollywood scale. In fact, the Trophy did eventually gain audience with H.E. the President of Sri Lanka and the Hon'ble Prime Minister of Sri Lanka.
The Sports Minister of Sri Lanka upon learning from the Football Federation of Sri Lanka that the country will be the first international stop on this prestigious tour, formed a special task force to welcome the gleaming trophy. Ministry of Tourism was invited to join the group and they joined in with a big heart.
From senior police officials to airport authorities and from the tourism ministry to venue teams, it was a top notch effort committed to making this 'visit' a rousing success. The Football Federation of Sri Lanka, which put together the whole program and mountainous effort, took it upon itself to use the opportunity for turning over a new leaf for Sri Lankan football. Here was a chance to re-ignite the love of football in the country.
The invitee list for events cut across the entire spectrum of football lovers. Ambassadors and consuls based in Sri Lanka, CEOS, football teams, young enthusiasts and more found their way snaking up to the trophy to get a glimpse, and if really lucky, get a picture. The atmosphere across all events sparkled with joy, pride and enthusiasm. Chants of 'football…football' ignited the whole arena. The Sri Lankan football fans made this 18-hour stop unforgettable.
There are only two kinds of countries in the world- those in love with football and those who are waiting to fall in love with football. For Sri Lankans at large, the FIFA World Cup Trophy was the sight that may have moved them from waiting to fall in love….to being completely smitten by it.
In one of the late, late night dinners for the Coca-Cola team that worked behind the scenes of this Hollywood-style production, came a brain spark. For the team, if efforts behind FIFA World Cup Trophy tour were like working for a head of state; if the trophy travelled like a head of state and was adored like a head of state, then in true spirit (and inspired by blockbusters), it had to be given a codename- like a head of state!
President Obama's Secret Service codename was Renegade, and President Trump's codename is Mogul, so…the FIFA Trophy affectionately (and reverently) became Codename: Baby
Now again, picture this… charter plane, presidential motorcade, layers of security, special traffic corridor, incognito rooms, armed commandos with codename 'Baby.' You get the FIFA World Cup Trophy Tour by Coca-Cola
Another Sip
Sameer Pathak
The Fans Who Make or Break a Sporting Event
The Women I've Met – Hindustan Coca Cola Beverages CEO on the Woman Employees She's Met in India
The Spectacular 2018 FIFA World Cup Trophy Tour: Sleepless in Maldives
COCA-COLA ON SOCIAL
Human and Workplace Rights
Minute Maid Apple
Kinley Water
Minute Maid Gritty Guava
Minute Maid Mango
Minute Maid Mixed Fruit
Minute Maid Mixed Nimbu Fresh
The Coca-Cola system in India is comprised of Coca-Cola India Pvt. Ltd. (CCIPL), the concentrate manufacturing entity and 15 authorised bottlers of The Coca-Cola Company (TCCC), which are responsible for the production of ready-to-drink, non-alcoholic beverages under the Trademarks of TCCC, their distribution and sale in the territory of India. The system also comprises the India branch office of Coca-Cola India Inc., which provides guidance in relation to development of business in India.
Follow us on twitter @CocaCola_Ind, or on facebook at www.facebook.com/cocacolaindia/


text:
Q: What is the PXE Client System Architecture Type "BC EFI (7)" from RFC 4578? RFC 4578 defines various machine architectures for PXE as follows:
Type   Architecture Name
----   -----------------
  0    Intel x86PC
  1    NEC/PC98
  2    EFI Itanium
  3    DEC Alpha
  4    Arc x86
  5    Intel Lean Client
  6    EFI IA32
  7    EFI BC
  8    EFI Xscale
  9    EFI x86-64

I've tested out two IBM machines (HS22 blade, x3550M3) and they both do EFI PXE boot using the 'EFI BC' architecture.
What does it stand for? When is it used? Why is IBM using it instead of 'EFI x86-64'?

A: EFI BC = EFI Byte Code. EFI Byte Code is a processor agnostic language for device drivers, PXE, and other EFI extensions so that the code can be written once and run on any supporting platform.

A: There's a conflict between the architecture types defined in RFC4578 DHCP PXE Options and the IANA registered Processor Architecture Types: the latter notes that x64 UEFI is type 00:07 which seems to be the value used in practice (ref. https://www.syslinux.org/archives/2014-October/022684.html).
There's an Errata ID 4624 filed on the RFC. It states that 7 should be EFI x86-64 and 9 should be EFI BC.
Therefore, the IANA registry (which is more extensive and should be the authoritative source for this information post RFC publication as it is maintained and updated where the RFC is not) is correct and the original RFC is wrong.


text:
Sign up to be a platform tester.
About EcoCommons
Our team of dedicated scientists, IT professionals and communicators are proud to be building a world-first collaborative commons and digital modelling platform to help solve the world's ecological and environmental challenges.
Scientists, IT professionals and communicators
We want to give our users access to trusted, world-leading tools so they can spend more time on the science that drives meaningful impact, and less time wrangling data and configuring models. We strive to build a culture of collaboration and interconnectedness to enable our users to find solutions to real-world problems – with nature at the heart of all our endeavours. We love what we do, because what we do is supported by science.
Our strengths lie in our team's unique skill sets and experience in conservation data science, cloud architecture, software engineering, stakeholder engagement and training. Our agile team combines software development and IT operations to continuously deliver high-quality, user-driven tools, faster, and in short software development lifecycles.
Meet the amazing people working to bring EcoCommons to life.
Elisa Bayraktarov
Diego Guillen
Jenna Wraith
Business & Scientific Analyst
Arve Sølland
Tech. Lead & Solutions Architect
Yong Liaw
Rob Clemens
Change & Communications Manager
Gary Burgmann
Jéssica Fenker
Emilia Decker
Support & Training Officer
James Li
Web Designer & Developer
Sean Haythorne
Research Software Engineer
Xena Warrior Princess (she/her)
Elisa is a conservation scientist and data diplomat. She did her PhD in Ecology in 2013, and led the development of Australia's Threatened Species Index from 2016 – 2020. As a Program Manager, Elisa oversees the work of a team of agile software engineers (DevOps), scientists, science communicators, trainers and analysts to make EcoCommons the platform of choice for environmental and ecological modelling.
Thor (he/him)
Technical Lead & Solutions Architect
Arve has more than a decade working across a range of national and international research projects within the eResearch sector as a senior software engineer and analyst. He joined EcoCommons in May 2020, as the Technical Lead & Solutions Architect to ensure the platform is built on the best available technology and is interoperable with other systems.
Raphael Ninja Turtle (he/him)
Gary is a software engineer who joined EcoCommons in May 2020. He is a full stack developer who relishes the challenge of bringing the jigsaw puzzle of components to life. As a Development Engineer in the EcoCommons team, Gary will be orchestrating deployments and writing software to power the platform.
SpongeBob (he/him)
James joins EcoCommons from its precursor projects, the Biodiversity and Climate Change Virtual Laboratory (BCCVL) and ecocloud, bringing with him experience in virtual laboratories and research platforms. As Web Designer & Developer, he takes the powerful tools of the EcoCommons platform and delivers them with easy-to-use user interfaces.
Zorro (he/him)
Diego joined EcoCommons in December 2019. He brought over 30 years of working experience with multi-national organisations. He has a Bachelor of Science and Master of Science degree in Electrical and Electronics Engineering. He works on datasets, interfaces, and back-end programming for EcoCommons, and has an interest in programming languages, and software frameworks.
Ultraman (he/him)
As a Software Engineer, Yong works on EcoCommons' back-end components to provide data and job management services to run ecological and spatial analytical functions on the Nectar cloud. He has extensive software development and modelling experience in both research and commercial industries. He previously worked on the BCCVL and ecocloud project.
Gamora (she/her)
Jess is an evolutionary scientist based at Atlas of Living Australia, with a postdoc on species delimitation methods and PhD on diversification at micro/macro scales. She brings her experience in R to improve the readability, data standardisation and performance of EcoCommons' ecological modelling algorithms. Jess is also an advocate for diversity in STEMM.
Hong Kong Phooey (he/him)
Sean is a multidisciplinary Researcher and Software Engineer with a Master's degree in Computer Science and a PhD in Ecological Modelling. One of his roles at our partner organisation CEBRA at The University of Melbourne, is to work closely with EcoCommons to translate and implement biosecurity features for the platform.
Captain Marvel (she/her)
Jenna is a conservation scientist with a PhD in Plant Ecology. Her role is to bring cutting-edge and best practice science and data to the platform by working with our Scientific Advisory Committee, stakeholders and users. Jenna is a strong advocate for diversity and inclusion in STEMM fields.
Spider-Man (he/him)
Rob is an ecologist with experience in ornithology and spatial modelling. He earned a PhD at UQ and has worked on shorebird, and raptor research projects. Rob is responsible for overseeing training initiatives and implementing communication and stakeholder engagement strategies for EcoCommons.
Wonder Woman (she/her)
Emilia is an environmental scientist who wrote her PhD thesis on using ecoacoustics as a monitoring tool for freshwater systems and presented it at TEDx Byron Bay. As the Support & Training Officer for EcoCommons, she runs workshops and supports users to resolve their problems.
EcoCommons Australia received investment (https://doi.org/10.47486/PL108) from the Australian Research Data Commons (ARDC). The ARDC is funded by the National Collaborative Research Infrastructure Strategy (NCRIS).
EcoCommons will become the platform of choice for analysing and modelling ecological and environmental challenges
Copyright © 2021 EcoCommons Australia. All Rights Reserved. Privacy Policy


text:
BREAKING: Mondello Park pulls out as venue for sky lantern event next month
Mondello Park has pulled out as the host venue for a controversial sky lantern event that was set to take place next month despite fire concerns amid ongoing drought conditions in Co Kildare.
The Lights Fest was set to take place on 11 August at Mondello Park in the heart of the countryside and involve live music and dancing as well as the release of sky lanterns – small hot air balloons made of paper.
According to the festival's website, attendees would ignite their sky lanterns with Tiki torches in the evening and let "them take flight".
Concerns have been raised, however, about the safety of the event by environmentalists, the general public, the Irish Aviation Authority, Kildare County Council and Kildare Fire Services.
This afternoon, Mondello Park issued a statement on its Twitter account in response to a question from 2FM's Keith Walsh that the event will no longer take place at Mondello.
"Following communication with the event organiser Mondello Park can confirm that the planned Lights Fest event on August 11th will not take place at the venue," the statement reads.
Kildare resident and environmental campaigner, Deirdre Lane, welcomed the decision, after raising her concerns with authorities in Kildare on numerous occasions in recent months.
"Fire hazard aside, these lanterns are a huge threat to the environment, with birds getting entangled in wires stuck in trees, or wildlife, cattle or pets getting injured when they step into the sharp frames or accidentally ingesting parts of them," she added.
The event organisers failed to reply to several requests from The Green News for comment about the planned event.
Following communication with the event organiser Mondello Park can confirm that the planned Lights Fest event on August 11th will not take place at the venue.
— Mondello Park (@Mondello_Park) July 27, 2018
Fire safety issues
The festival's website states that it has been held in several countries with a "perfect safety record" to date. They state that the lanterns are modified to land within the event property for easy retrieval.
The Irish Aviation Authority (IAA), however, said that the festival organisers have not applied to the IAA for such a release that would be "illegal unless appropriate permission were granted".
"We are aware of the advertising and promotional material surrounding this proposed event currently circulating online," an IAA spokesperson told The Green News.
The IAA does "not endorse or encourage" the use of sky lanterns, the spokesperson said, with safety guideline indicating that no individual or group may release more than 20 sky lanterns in a single launch.
"For the purposes of these Guidelines 'simultaneously released at a single site' shall mean the release of not more than 20 Sky Lanterns during a period not exceeding 15 minutes from within an area not exceeding one-kilometre square," the Authority's safety guide states.
https://www.youtube.com/watch?v=9-AibvuAaso
Kildare authorities concerned
Celina Barrett, Chief Fire Officer for the Kildare Fire Service, said that they had tried to "use our influence to stop it going ahead". She added, however, that, as the number of attendees would be fewer than 5,000, the organisers do not require an event license.
"Neither the Fire Service nor Kildare County Council has any powers to prevent or cancel the event as it does not require a licence under our current legislation," she said, with Kildare County Council confirming this in a statement.
Sky Lanterns are banned in several countries including Colombia, New Zealand, Spain, Germany, parts of Canada and number of states in the US.
There is a permanent ban on the supply of sky lanterns in Australia and they are also illegal in Brazil after causing a fire at the velodrome built for the Rio Olympics.
A sky lantern caused a home to burn down in England in 2011. A similar incident took place in Ireland in 2015.
A sky lantern also caused a fire at a plastic recycling plant in Birmingham in 2013 that involved more than 200 firefighters and cost £6 million in damages. Eleven firefighters were injured. In 2010, a boy's face was badly burned in Wrexham as hot wax from a lantern landed on his face.
Lights Fest's website says their lanterns are 100 per cent biodegradable, contain no metal wiring and are made from rice paper, string and bamboo. They also state that they treat the rice paper to ensure it is fire resistant.


Prior to undergoing plastic surgery, many of our patients express concern about how much pain they will have during recovery. To meet this concern, we have taken steps that work to minimize post-procedure pain. We call our system Rodeo Drive Plastic Surgery Rapid Recovery.
Many of our patients travel from out of town, so Rodeo Drive Plastic Surgery Rapid Recovery helps them remain comfortable in the unfamiliar environment of a hotel, in the car for a sometimes long drive, or on the plane flight home some days later.
The program involves our surgeons, anesthesiologists, nurses, and patients all working together to minimize pain. Each of these individuals has a key role in working to minimize post-procedure pain.
Rodeo Drive Plastic Surgery Rapid Recovery begins well before surgery day. This phase takes the form of educating patients about the program and the steps we will be taking to minimize pain. Once concerns are alleviated, patients continue the process toward surgery much more comfortably. The program continues during all aspects of surgery through recuperation at home.
Patient response to Rodeo Drive Plastic Surgery Rapid Recovery has been excellent. It is important to stress, however, that even though patients may have very little pain following surgery they must still limit their physical activities so their recovery can proceed without complication.


text:
WiN: Women In Network - Rosh Chodesh Shevat 5783
Monday, January 23, 2023 • 1 Shevat 5783
6:30 PM - 8:00 PMSocial Hall
Scroll Down to RSVP & Sponsor for this Event...
WIN: Women In Network
Rosh Chodesh Events for Single Ladies 35+
To Learn, Do Chesed, and Create Shidduchim
Hosts: Esther Rimokh & Heather Conn
About Rebbetzin Tzipora Heller-Gottlieb
Internationally renowned as an outstanding scholar of Jewish Studies as well as a gifted lecturer, Rebbetzin Heller (http://www.tziporahheller.com/) has been a full-time faculty member of Neve Yerushalayim College in Jerusalem since 1980. Her areas of expertise include textual analysis of Torah, Biblical literature, and Jewish philosophy with an emphasis on the teachings of Maimonides and Maharal. She is also particularly well known for her shiurim and classes devoted to the role of women in Judaism and analysis of the lives of women in the Torah, Bible. Rebbetzin Heller is distinguished by her unique teaching style in her classes and shiurim. Based on classical sources, her insights on virtually any topic within Jewish studies and Torah flow in a seemingly effortless stream. While leading her listeners along creative new lines of thoughts, she resorts to a disarmingly keen sense of humor to provide practical examples that illustrate and draw personal relevance from even the most abstract concepts.
0 1 2 3 4 5 6 7 8 9 10 RSVP Member $18.00 Each
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Each of these bands has Craig Aaronson's fingerprints on them. Enjoy this playlist.
If you aren't familiar with that zine, it covers everything in the subject of teen and young adult movies and is the BOMB for fans like me!
Please do yourself a favor and check out the Desperate Youth zine Tumblr. You will thank me later.


leverages its years of software development experience to build successful eBusiness applications. The combination of experienced and highly skilled people, a proven project management methodology, and industry-leading technologies allows us to consistently deliver successful business solutions.
Our goal is to help you solve your business challenges and achieve your goals through efficiency and improvements in operations and technology.
With over 25 years of combined experience in this area, we are ready to help you define your business needs, create a development plan, and execute the best solution for your problems.
Through excellence, dedication and innovation we develop the perfect solution for you. All projects, big or small, are given 100% dedication will meet your expectations. We support all of our solutions through the life-cycle.
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