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Camerimage
Camerimage 2017: Wednesday
December 2, 2017 neilosemanArri, blog, camera, Camerimage, cinematography, eye, festival, grading, HDR, lighting, Netflix, pipeline, Red, vision
This is the third and final part of my report from my time at Camerimage, the Polish film festival focused on cinematography. Read part one here and part two here.
Up.Grade: Human Vision & Colour Pipelines
I thought I would be one of the few people who would be bothered to get up and into town for this technical 10:15am seminar. But to the surprise of both myself and the organisers, the auditorium of the MCK Orzeł was once again packed – though I'd learnt to arrive in plenty of time to grab a ticket.
Up.grade is an international colour grading training programme. Their seminar was divided into two distinct halves: the first was a fascinating explanation of how human beings perceive colour, by Professor Andrew Stockman; the second was a basic overview of colour pipelines.
Prof. Stockman's presentation – similar to his TED video above – had a lot of interesting nuggets about the way we see. Here are a few:
Our eyes record very little colour information compared with luminance info. You can blur the chrominance channel of an image considerably without seeing much difference; not so with the luminance channel.
Light hitting a rod or cone (sensor cells in our retinae) straightens the twist in the carbon double bond of a molecule. It's a binary (on/off) response and it's the same response for any frequency of light. It's just that red, green and blue cones have different probabilities of absorbing different frequencies.
There are no blue cones in the centre of the fovea (the part of the retina responsible for detailed vision) because blue wavelengths would be out of focus due to the terrible chromatic aberration of our eyes' lenses.
Data from the rods and cones is compressed in the retina to fit the bandwidth which the optical nerve can handle.
Metamers are colours that look the same but are created differently. For example, light with a wavelength of 575nm is perceived as yellow, but a mixture of 670nm (red) and 540nm (green) is also perceived as yellow, because the red and green cones are triggered in the same way in both scenarios. (Isn't that weird? It's like being unable to hear the difference between the note D and a combination of the notes C and E. It just goes to show how unreliable our senses really are.)
Our perception of colour changes according to its surroundings and the apparent colour of the lighting – a phenomenon perfectly demonstrated by the infamous white-gold/blue-black dress.
All in all, very interesting and well worth getting out of bed for!
At the end of the seminar I caught up with fellow DP Laura Howie, and her friend Ben, over coffee and cake. Then I sauntered leisurely to the Opera Nova and navigated the labyrinthine route to the first-floor lecture theatre, where I registered for the imminent Arri seminar.
Arri Seminar: International Support Programme
After picking up my complementary Arri torch, which was inexplicably disguised as a pen, I bumped into Chris Bouchard. Neither of us held high hopes that the Support Programme would be relevant to us, but we thought it was worth getting the lowdown just in case.
Shooting "Kolkata"
The Arri International Support Programme (ISP) is a worldwide scheme to provide emerging filmmakers with sponsored camera/lighting/grip equipment, postproduction services, and in some cases co-production or sales deals as well. Mandy Rahn, the programme's leader, explained that it supports young people (though there is no strict age limit) making their first, second or third feature in the $500,000-$5,000,000 budget range. They support both drama and documentary, but not short-form projects, which ruled out any hopes I might have had that it could be useful for Ren: The Girl with the Mark.
Having noted these keys details, Chris and I decided to duck out and head elsewhere. While Chris checked out some cameras on the Canon stand, I had a little chat with the reps from American Cinematographer about some possible coverage of The Little Mermaid. We then popped over to the MCK and caught part of a Canon seminar, including a screening of the short documentary Kolkata. Shortly we were treading the familiar path back to the Opera Nova and the first-floor lecture theatre for a Kodak-sponsored session with Ed Lachman, ASC, only to find it had been cancelled for reasons unknown.
Red Seminar: High resolution Image Processing Pipeline
Next on our radar was a Red panel. I wasn't entirely sure if I could handle another high resolution seminar, but I suggested we return once more to the MCK anyway and relax in the bar with one eye on the live video feed. Unfortunately we got there to find that the monitors had disappeared, so we had to go into the auditorium, where it was standing room only.
"GLOW" – DP: Christian Sprenger
Light Iron colourist Ian Vertovec was talking about his experience grading the Netflix series GLOW, a highly enjoyable comedy-drama set behind the scenes of an eighties female wrestling show. Netflix wanted the series delivered in high dynamic range (HDR) and wide colour gamut (WCG), of a spec so high that no screens are yet capable of displaying it. In fact Vertovec graded in P3 (the colour space used for cinema projection) which was then mapped to Netflix's higher specs for delivery. The Rec.709 (standard gamut) version was automatically created from the P3 grade by Dolby Vision software which analysed the episodes frame by frame. Netflix streams a 4,000 NIT signal to all viewers, which is then down-converted live (using XML data also generated by the Dolby Vision software) to 100, 650 or 1,000 NITs depending on their display. In theory this should provide a consistent image across all screens.
Vertovec demonstrated his image pipeline for GLOW: multi-layer base grade, halation pass, custom film LUT, blur/sharp pass, grain pass. The aim was to get the look of telecined film. The halation pass involved making a copy of the image, keying out all but the highlights, blurring those highlights and layering them back on top of the original footage. I used to do a similar thing to soften Mini-DV footage back in the day!
An interesting point was made about practicals in HDR. If you have an actor in front of or close to a practical lamp in frame, it's a delicate balancing act to get them bright enough to look real, yet not so bright that it hurts your eyes to look at the actor with a dazzling lamp next to them. When practicals are further away from your cast they can be brighter because your eye will naturally track around them as in real life.
Next up was Dan Duran from Red, who explained a new LUT that is being rolled out across their cameras. Most of this went in one ear and out the other!
Afterwards, Chris and I returned to Kung Fusion for another delicious dinner. The final event of the day which I wanted to catch was Breaking Bad's pilot episode, screening at Bydgoszcz's Vue multiplex as part of the festival's John Toll retrospective. Having binged the entire series relatively recently, I loved seeing the very first episode again – especially on the big screen – with the fore-knowledge of where the characters would end up.
Later Chris introduced me to DP Sebastian Cort, and the three of us decided to try our luck at getting into the Panavision party. We snuck around the back of the venue and into one of the peripheral buildings, only to be immediately collared by a bouncer and sent packing!
This ignoble failure marked the end of my Camerimage experience, more or less. After another drink or two at Cheat we called it a night, and I was on an early flight back to Stansted the next morning. I met some interesting people and learnt a lot from the seminars. There were some complaints that the festival was over-subscribed, and indeed – as I have described – you had to be quick off the mark to get into certain events, but that was pretty much what I had been expecting. I certainly won't put be off attending again in the future.
To learn more about two of the key issues raised at this year's Camerimage, check out my Red Shark articles:
Why Large-format 14K is the Perfect Future
Defining the Look: How Can Cinematographers Keep Control of the Look of their Films?
Camerimage 2017: Tuesday
November 25, 2017 neilosemanblog, camera, Camerimage, cinematography, festival, ISO, large format, lenses, lighting, Netflix, Panasonic, Panavision, resolution, Varicam
This is the second part of my report from my time at Camerimage, the Polish film festival focused on cinematography. Read part one here.
Panavision: The BEauty of 8K Large Format
Bydgoszcz's town square
It was a chilly but bright morning as I strolled into Bydgoszcz and made straight for the MCK Orzeł, where I planned to spend most of the day. With only a few minutes to go until the scheduled start time, the queue for Panavision's large format seminar had spilt out onto the street. The tickets ran out before I reached the desk, but there was a live video feed in the cinema's bar. In many ways this was better than going into the auditorium – sitting in a comfy chair with the bar close at hand, and a table to make notes on.
My article for Red Shark News about the future of large format cinematography has been surprisingly popular, and it contains plenty of detail about this Panavision seminar, so I won't repeated myself here. I will say that it converted me from a high resolution sceptic to a believer, because the speakers demonstrated that footage acquired in high rez – even when downscaled – retain much of its smoothness, high bit depth and dynamic range. "More resolution evokes the imagination of the brain," was how colourist Ian Vertovec summed it up.
At the end of the session, Red Shark's David Shapton and Matt Gregory emerged from the auditorium and joined me for lunch at the bar. We had all found the seminar very interesting, and Matt was quick to get us all tickets to the Panasonic 4K seminar coming up later in the day. The pair then went off to other things, while I headed to the kiosk to get a ticket for the imminent John Toll seminar. But of course I'd left it too late, they were all gone, and so I returned to my comfy chair in the bar to watch via video feed again.
Panavision workshops: A conversation with John Toll, ASC
John Toll, ASC
John Toll, ASC was the recipient of this year's Lifetime Achievement Award at Camerimage, and this seminar was an epic journey through this career. He explained how he learnt his craft as a camera operator for the late great Conrad Hall, ASC and Jordan Cronenweth, ASC.
The talk then focused on some of Toll's biggest movies, beginning with the period drama Legends of the Fall starring Brad Pitt and Anthony Hopkins. The movie was largely daylight exterior (something that was to become a theme across Toll's work) so the cinematographer insisted on twelve weeks of prep, the same as the production designer. This allowed him to be part of selecting locations and choosing orientations for the buildings to get the optimal sun path. Toll said he was lucky that the 1st AD was willing to be flexible with the schedule, observing the mood of the weather each day and shooting scenes that matched that mood.
Gaffer Jim Plannette joined Toll on the stage to discuss the huge night exterior battle sequence. This employed three Musco lights (a Musco being fifteen 6K pars on a 100ft boom arm) which three-quarter-backlit every angle. To get crisp, grain-free blacks, Toll overexposed and printed down.
Braveheart was covered next, with 1st AC Graham Hall joining the panel. Hall had a difficult time with the film's battle scenes, featuring as they did so much movement, improv and slo-mo. Toll revealed how the immersive style of the action was based on a sixties TV documentary about Culloden that coincidentally both he and director Mel Gibson had seen. A lot of colour timing was required to give consistency to the battles, which were shot over weeks, at all times of day.
The discussion then turned to Terrence Malick's The Thin Red Line. The Australian locations featured very difficult, uneven terrain, so Toll used an Akela Crane. The crane's arm was so long (75ft) that the arc of its movement couldn't be detected on camera. Its use had to be carefully planned though, because each time it needed to be moved it had to be disassembled and reassembled on a special platform. 80% of the film was actually handheld, and Toll operated himself so as to respond to the spontaneity and improv which Malick encourage from his cast.
The Akela Crane in use on "The Thin Red Line"
Toll told a funny story about a shot of shadows moving across long grass which was praised by critics. It was inserted to cover a continuity error, the build-up to the battle having been shot in heavy cloud, while the battle itself was shot in full sun. A happy accident!
Time was running short, so the moderator powered through Almost Famous (where parallels were drawn between the explosive battle scenes of Toll's earlier movies and the crowd scenes at the rock concerts, punctuated by flashing cameras), Vanilla Sky and Billy Lynn's Long Halftime Walk. This latter film, directed by Ang Lee, is notable for its acquisition in 120fps 4K stereo. You can read more about it on the British Cinematographer website.
Panasonic Seminar: Varicam Experience
A Panasonic Varicam LT with Fujinon zoom rigged for action on "Arrested Development"
I remained at the MCK and, meeting up with Dave and Matt again, finally got into the auditorium, for the Panasonic seminar. Moderated by British Cinematographer's Ronnie Prince, the panel brought together a trio of DPs who shoot Netflix shows on the Varicam: Bobby Shore, CSC (Anne with an E), Pepe Avila del Pino (Ozark) and Patrick Alexander Stewart (Arrested Development).
Both Shore and del Pino admitted that they were most comfortable with the Arri Alexa, but due to Netflix's strict rules on 4K acquisition (the Alexa tops out at 3.2K) they had to find another camera. They plumped for the Panasonic Varicam, a 4K camera best known for having dual native ISOs: 800, in common with the Alexa, Red and many others, and 5000, two and two-thirds stops faster. Being native, both ISOs have the same dynamic range, the same log curve and in theory are equally clean.
Panasonic, I think, were keen to push ISO 5000 in this seminar, but unfortunately Shore and del Pino shot almost exclusively at 800. Stewart did shoot Arrested Development at 5000, interiors and night scenes at least, but down-rated it to 2500. Otherwise, he said, the sets would have been too dark for the actors to feel like they were in a believable daytime environment. I think that's a fascinating, unexpected side effect of low light sensitivity! Stewart lit the stages with large Quasar softboxes and paired the Varicam with Fujinon zooms and occasional Xeen primes.
Del Pino chose Zeiss Super Speeds for night scenes and Hawk V anamorphics for day scenes on Ozark. He liked the claustrophobia of cropping the anamorphic images to 2:1, the show's delivery ratio, while the Super Speeds produced a creaminess he found appealing. He also mentioned that the Varicam's sensor handled greens very well, which was important for him, given how much of Ozark takes places in woods.
Anne with an E was lensed on vintage Panavision Standard and Super Speeds – "the oldest, craziest lenses we could find," says Bobby Shore. He liked their low resolving power, their weird flares and how they fell apart when wide open. Part of the show's signature look are ECUs of the freckled title character, which were captured on a 27mm Primo for a more detailed, tactile image.
Inspired by the work of Robbie Ryan, BSC (Wuthering Heights), Shore kept the lighting naturalistic, mixing tungsten and HMI sources on a set that was treated like a location. He also shot through a Panaflasher, a special lens filter with built-in lighting which reduces contrast and adds a colour tint of your choice, but this effect was dialled out in post. Indeed, Shore raised the issue of DPs' images being altered after the fact, an issue I explore fully in another Red Shark article.
By the way, I've been watching Anne with an E since the festival and I can thoroughly recommend it.
When the seminar was over, I went for dinner with Dave, Matt and Chris Bouchard, at a very nice (but once again cheap) Asian fusion restaurant. Then we met up for drinks with some of the reps from Red, and I got talking to a DP who had shot squid from a submarine for an episode of Blue Planet. After another drink or two with Chris at the Cheat bar, I called it a night.
Tune in next week for the final part of my Camerimage blog.
Camerimage 2017: Monday
November 18, 2017 November 18, 2017 neilosemananamorphic, blog, camera, Camerimage, cinematography, festival, ISO, large format, lenses, lighting, resolution, spherical, testing
This week I attended Camerimage for the first time. Centred around the Opera Nova theatre beside the river Brda in Bydgoszcz, Poland, Camerimage is an international film festival celebrating the art of cinematography. It's a bit like Cannes for DPs, but colder. This is the first part of my account of my three days at the annual hub of motion picture imaging.
The Ryanair flight was dirt cheap but trouble free, and at 9:50am I found myself on the tarmac of Bydgoszcz airport. There I met David Shapton and Matt Gregory, founders of Red Shark News, for the first time. I've been contributing articles to Red Shark for a few months so it was nice to finally meet these gentlemen in person.
A taxi (also dirt cheap) dropped me at the Opera Nova – only about three miles from the airport – where I picked up my pass and goodie bag. Bizarrely, said goodies included an Ikea catalogue. How did they know that us DPs love flat-pack furniture so much?
Canon Workshop: Stephen Goldblatt
From the Opera Nova I hurried to a college across the river, where the sports hall formed the venue for a Canon workshop run by Stephen Goldblatt, ASC, BSC, the man behind the lens for the likes of Lethal Weapon 2 and Batman Forever. The blurb for this workshop described Goldblatt as "a master of low light shooting", and it was certainly pitch black when I walked in a few minutes late, and gingerly picked my way around to the far side of the hall to find a seat.
Lighting through lace
On a purpose-built bedroom set, Goldblatt was recreating lighting from the Robert Redford / Jane Fonda romantic drama Our Souls at Night, shot on the Sony F55 and Canon C300 Mark II. To practical lamps on either side of the bed he added egg-crated tungsten soft-boxes to beef up each one. He simulated moonlight through an imagined off-camera window by placing a lace curtain in front of a blue-gelled lamp and blowing it gently with a fan. An additional egg-crated soft-box provided a low level of blue toplight.
As he worked, Goldblatt revealed how he doesn't miss ceulloid, loving how relatively easy it is now to light night exteriors or moving car scenes. "But just because you don't need much light," he cautioned, "it doesn't mean you don't want to control it." Other developments coming down the pipe do not inspire him so much; he feels that high resolutions and HDR are unnecessary, pushed by marketing people rather than creatives.
He placed great emphasis on the importance of the eyes. "A common failing of newer DPs is that they worry more about the set than the eyes," he said, before explaining how he will often walk beside the handheld camera with a torch, providing eye-light. He also stressed the importance of eye-lines. Although in any one shot it's not that important how wide or tight the eye-line is, or how high or low, across the two hours of a feature film the decisions have a cumulative effect.
Trying out a Xeen lens in the exhibition hall
Goldblatt no longer uses a light meter. "Trust your eye, develop your eye," he advised, adding that you must have a strong voice to remain in control of the images through postproduction.
After grabbing lunch, I returned to the Opera Nova to browse the exhibition hall. This closely resembled a mini BSC Expo or Media Production Show, with all the major camera and lens manufacturers displaying their wares, along with several lighting companies. I had a play with some of the cameras, including the actual Alexa 65 used on Rogue One.
Then I met up with Chris Bouchard, one of The Little Mermaid's two directors, who had arrived in Poland the previous day. We sauntered over to another venue, the MCK Orzeł, an independent cinema with a nice, chilled, film-buff-friendly atmosphere. The auditorium itself was packed though as we settled in for a seminar on "The Future of Digital Formats".
Red Seminar: The Future of Digital Formats
Promoting Red's Monstro sensor, the session was mostly about the benefits of shooting in high resolutions, and giving yourself the maximum flexibility in post. You can read my thoughts on both of those topics in upcoming Red Shark articles.
One of the speakers, Christopher Probst, ASC (DP of Mindhunter and technical editor of American Cinematographer magazine) made some interesting points about ISO. "Traditionally, low ISOs were used for bright scenes like day exteriors, and high ISOs were used for darker scenes like night exteriors," he explained. "That was based on reducing the grain, getting the cleanest possible image on film." He advised the opposite for digital capture. "Use a low ISO for nights to get more shadow detail, and a high ISO for days to get more highlight detail [in the sky, for example]."
"Independence Day: Resurgence" – DP: Markus Forderer, BVK
Another interesting nugget came from Markus Förderer, BVK. On Independence Day: Resurgence he switched between spherical, 1.3x anamorphic and 2x anamorphic lenses depending on the situation. For example, flatter lenses were better for wide shots – where anamorphics would distort straight lines – and for VFX work.
Hawk Vantage Seminar: Top cinematographers tell their Hawk stories
I ducked out of the Red session early so that I could pop back to the Opera Nova for the Hawk Vantage seminar, bumping into my Perplexed Music gaffer Sam Meyer on the way. Hawk were launching three new sets of lenses: MiniHawk (T1.7 hybrid anamorphics), Hawk Class-X (T2.2 2x anamorphics) and Hawk65 (T2.2).
A Hawk T1 in the exhibition hall
The MiniHawks in particular seem very exciting. Daniel Pearl, ASC showed us some stunning frame grabs from the upcoming Dennis Quaid vehicle Motivated Seller, shot using these lenses on Alexa Mini. Whilst having key advantages of spherical lenses (speed, small size, low weight, extremely close focus) the MiniHawks have a unique and beautiful cigar-shaped bokeh.
While Pearl had used the latest Hawks, Magdalena Górka, PSC had shot with some old ones, the C series, for Brad Silberling's drama An Ordinary Man. "I had to frame everything centrally because that's the only place that was sharp!" she laughed. Also addressing focus fall-off, Andrzej Bartkowiak, ASC (Speed, The Devil's Advocate) stated, "I like anamorphic because the shallow depth of field allows you to direct the viewer's eye more."
Stuart Dryburgh, ASC (The Secret Life of Walter Mitty, Bridget Jones's Diary) talked about shooting 1.3x anamorphic. He has done this on three-perf 35mm (to achieve a Scope aspect ratio), on an Alexa in 16:9 mode (again for 2.39:1) and on an Alexa in 4:3 mode (to get 1.85:1). He also recommended shooting on Super-16 with 1.3x glass, citing the example of Ed Sheeran's "Thinking Out Loud" video, which Pearl shot.
Peter Flinckenberg, FCK (Upswing, Concrete Night) noted that, with the shift to digital acquisition, the DP is no longer a magician, "but you can bring back that magic with lighting and glass that has character."
CW Sonderoptic: Exploring Large format cinematography & Leica lenses
I took my leave, dashing back to the MCK Orzeł for another lens-themed seminar, this time by CWSonderoptic, the makers of Leica. The first half of this panel revolved around a short film shot by Darius Khondji, ASC, AFC (Seven, Delicatessen) on an Alexa 65 with the new Leica Thalias.
The second half was all about Tod Campbell, DP of Stranger Things and Mr. Robot, focusing on the latter show. The second season of Mr. Robot was shot on Leica Summicrons after Campbell found that the Cookes used on season one distorted the many straight lines which became such a key part of the show's unique look. "I look at season two as kind of the birth of the photography for the show," he said. With a laugh he added: "Sorry that the lighting looks like shit in season one. I was learning!" (See my spherical lens tests for my own thoughts on Cookes and Leicas.)
One of my favourite shots from "Mr. Robot"
Campbell revealed that season three of Mr. Robot has a different look again, using much more camera movement and "twice as much atmos". For this season he paired Canon K35 glass with an 8K camera, but due to the Canons' low resolution he employed Leica Summiluxes for the wide shots.
He also shared some interesting information about his testing process, admitting that he doesn't really know how other DPs test. He doesn't use charts, he just makes it up. He always includes a candle, a practical lamp, some kind of highlight in the background, and random foreground objects (as background bokeh can differ from foreground bokeh).
Christopher Doyle Seminar
When the Leica seminar ended I went back to the Opera Nova, where Chris and I had dinner at the nice (and once again cheap – are you detecting a theme?) restaurant. Despite having got up at 4am (3am local time) I wasn't feeling too tired, so we headed upstairs to the 10pm seminar by Christopher Doyle, HKSC (Hero, Lady in the Water). Many people were nursing beers, including Doyle himself, and the lecture theatre was dimly illuminated by mood lighting. Clearly this session was not going to be like the daytime ones.
"We're going to fuck things up," Doyle began, dispelling all doubts. He proceeded to talk disjointedly but entertainingly about his work on The White Girl and what I think was a separate film about a camera obscura. His oratory was liberally sprinkled with great one-liners, a few of which I reproduce here for your edification:
There are only three people in filmmaking: the actor, the audience and the cinematographer in between them.
If actors don't feel loved, the performance will not come across on camera.
Give the idea the image it deserves.
[Vittorio] Storaro [legendary DP of Apocalypse Now amongst others] can't tell you how to do it. You have to find it for yourself.
People in space – that's what cinematography's about.
The location is very important. It gives the energy, it imposes the style.
The lens doesn't matter; it's what it shows that's important.
You never sleep because you care too much – that's what filmmaking is.
With Chris Bouchard in front of the Opera Nova
Doyle also picked up on a piece of dialogue from a clip he screened: "What is it?" / "I don't know yet." It was a great summation of finding the essence of a shot, he said.
Having had our fill of aphorisms, Chris Bouchard and I slipped out to get a drink. The Cheat, the pop-up bar across the road, was absolutely packed, and my early morning was finally catching up with me, so I called it a night. The highstreet of Bydgoszcz was quiet and chilly as I walked briskly to my hotel, curiously located down a service road behind the city's football stadium, reflecting on all that I had learnt that day.
Tune in next week for tales from my second day at Camerimage.


The Dawson County swim team traveled to Savannah on Jan. 11 to participate in the Savannah Country Day Invitational swim meet hosted by the Savannah Country Day School.
The invitational featured over 300 swimmers from 20 schools hailing from all four corners of Georgia and was far and away the largest event the Tigers have participated in this season.
State qualifier Matthew Wood led the way for the Tigers with a fifth-place finish (out of 22 swimmers) in the 100-yard butterfly while freshman swimmer Isabelle Kinsey shaved 13 seconds off of her 100-yard backstroke to finish eighth in a field of 31 swimmers.
The team's most improved swimmer of the day was senior Frankie Muldoon, who cut her time in the 500-yard freestyle by a whopping 16 seconds.
Despite the incredible personal performances turned in by every member of the team, the competition was fierce and the Tigers placed ninth overall in the men's' bracket and fourteenth overall in the women's' bracket.
After their day in the pool the Tigers visited Tybee Island where six members of the team, led by Wiley Dennis, took part in a Polar Plunge by immersing themselves in the frigid waters of the Atlantic Ocean.
The Tigers were back in competition with a tri-meet hosted by Cass High School on Jan. 15.
Results were unavailable as of press time.


This interpretive sign about the historic mile markers was unveiled along with reconstructed mile marker #247 in front of the Reynoldsburg City Building. Speakers from the Ohio National Road Association included Mike Peppe, Interpretive Signage Chairman, and Dean Ringle, Mile Marker Chairman (Franklin Co. Engineer). Also speaking and unveiling the sign and marker was Reynoldsburg Mayor Brad McCloud.


Add this one of this set of two baskets unit into any of the cube to give you some valuable storage and make a feature of the unit.
The Quadra Cube collection is made with oak and is given a simple oiled finish to create a piece of furniture that is functional and practical. The range has a choice of 4 cubes sizes and a range of ingenious options from wine racks to baskets. Add this one of this set of two baskets unit into any of the cube to give you some valuable storage and make a feature of the unit.
Good quality look great and very sturdy.


text:
Environmental changes such as global warming and habitat degradation are altering the composition of animal and plant communities around the world. Understanding these changes, and how to mitigate them requires understanding how species interact as their populations vary in time and space. The emerging research field of metacommunity biology attempts to integrate regional factors such as landscape structure, with habitat heterogeneity and interaction between species, to predict community composition and dynamics. Our research is aimed at increasing the understanding of metacommunities by studying one particular set of plants and animals in some detail. We study the species that interact with the with Glanville fritillary butterfly in the Åland islands, Finland. Over the 10 years that we have worked in this research system it has become perhaps the best studied natural metacommunity worldwide.
The Glanville fritillary butterfly metapopulation in Åland, Finland is made up of local populations that are dynamic and differ in size, connectivity and age. This is the context experienced by the parasitoids and hyperparasitoids of the butterfly, and natural variation within this system can be used to test predictions of (meta)community structure.
The trophic food web of plants, butterflies, parasitoids, and hyperparasitoids
van Nouhuys, S., Hanski, I. 2005 Metacommunities of butterflies and their parasitoids. In Metacommunities: Spatial Dynamics and Ecological Communities (M. Leibold, R. Holt and M. Holyoak eds.). University of Chicago Press. pp. 99-121
Tscharntke, T., R. Bommarco, Y. Clough, T. Crist, D. Kleijn, T. Rand, J. Tylianakis, S. van Nouhuys, S.Vidal 2007. Conservation biological control and enemy diversity on a landscape scale.(authors alphabetical after Tscharntke). Biological Control, 43: 294-309 PDF
Food chain length and contrasting spatial scales of parasitoid populations
One important prediction of metacommunity structure is that food chain length decreases with habitat fragmentation. That is, the negative affect of habitat fragmentation increase with trophic level. We approach this idea several ways using the plant-butterfly-parasitoid-hyperparasitoid food chains in Åland.
van Nouhuys, S. 2005. Effects of habitat fragmentation at different trophic levels in insect communities. Annales Zoologici Fennici, 42: 433–447
van Nouhuys, S. & Hanski, I. 2002. Multitrophic interactions in space: metacommunity dynamics in fragmented landscapes. In Multitrophic level interactions (T. Tscharntke & B. A. Hawkins eds.) Cambridge University Press. pp. 124-147
Indirect interactions in the metacommunity
Species interact indirectly through shared enemies (apparent competition), or through intermediate species, such as an herbivore that is experienced by both its food plants and its parasitoids (Multitrophic interactions). These indirect interactions vary spatially, and can influence the large scale population dynamics of species and community structure.
Nieminen, M. and van Nouhuys, S. 2017. The roles of trophic interactions, competition and landscape in determining metacommunity structure of a seed-feeding weevil and its parasitoids. Ann. Zool. Fennici, 54: 83-96
van Nouhuys, S. and Kraft, T. S. 2012. Indirect interaction between butterflies meditated by a shared pupal parasitoid. Population Ecology, 54: 251-260
van Nouhuys, S. & I. Hanski 2000. Apparent competition between parasitoids mediated by a shared hyperparasitoid. Ecology Letters, 3: 82-84 PDF
van Nouhuys, S. & I. Hanski 2002. Multitrophic interactions in space: metacommunity dynamics in fragmented landscapes. In Multitrophic level interactions (T. Tscharntke & B. A. Hawkins eds.) Cambridge University Press. pp. 124-147 PDF

redpajama_set_name: RedPajamaCommonCrawl


Manitoba Institute of Agrologists regulates the profession of Agrology in Manitoba to ensure safe, competent and ethical practice.
My immigration office assessed my education. Does this mean that I am registered to practise Agrology in Manitoba?
No. You MUST complete the registration process outlined on this website. Your immigration office assessed your education to determine if it is likely that you can find work in Canada. However, only Agrologists Manitoba has the authority to register you to practise Agrology in Manitoba.
Can I apply for registration from my home country?
Yes, you can start the application process from your home country. However, some requirements must be completed after you arrive in Manitoba.
How can I accelerate the registration process from my home country?
Gather your required documents. Complete a World Education Services (WES) Canada credential evaluation from your home country as soon as possible.
Can I work as an Agrologist if I am registered as an Agrologist-in-Training (AIT)?
Yes, but you may practise only within your area of competency. You must use Agrologist-in-Training in full in all forms of communication. You may not use AIT or any other short form or variation. You must be registered as a P.Ag. or Tech.Ag. to use the professional designation.
Once I am registered as a P.Ag or Tech.Ag., are there any additional requirements?
Yes. You require continuing professional development to remain a registered Agrologist. This means that you must improve your skills and knowledge as an Agrologist throughout your career to maintain a high standard of professional competency in your area of practice. You will be informed of the annual continuing professional development opportunities. The requirements are based on your employer's needs as well as your own career path, and may involve activities such as attending courses, workshops and seminars.
Are there any additional costs once I am registered as a P.Ag. or Tech.Ag.?
Yes. You must pay a registration fee every year. The fee is $375 (2019). Agrologists Manitoba will invoice you for this fee. You may also incur costs related to your continuing professional development.
What if I have completed an education assessment from another agency other than WES?
You MUST have written approval from Agrologists Manitoba to use an equivalent to WES. If you have already applied for or have acquired a course-by-course credential evaluation from another education and evaluation service such as International Qualifications Assessment Service (IQAS) or International Credential Assessment Service (ICAS), email registration@agrologistsmanitoba.ca.
Can I request access to my application records including review process and decision?
At any point during the application process, you may request about a status update of your application; you may also request access to policies and processes of the Institute. Please request it in writing by email registration@agrologistsmanitoba.ca or fax 1.888.315.6661 or by mail to 201-38 Dafoe Road, Winnipeg, MB R3T 2N2.
All contents © copyright 2017 — Agrologists Manitoba. All rights reserved.


Detached bungalow in the Pembrokeshire Coast National Park. One bedroom has on suite shower room. Nice split level garden. One mile from the sea and close to the boating marina at Dale. Surrounded by fields and woodland. Secluded but not isolated.


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Photo Credit: Photo by Cameron Stewart
Hero Jamaican Driver Takes Dangerous Measures To Save Suicidal Passenger
kingston , Jamaica , mental health , news
Spencer Jones • Nov 11, 2022
It can sometimes be difficult to remember that there are decent people among us. According to Loop News, a Jamaican taxi driver put himself in danger in order to save a suicidal woman in his car. Thanks to his fast thinking, and that of the police, the woman survived.
According to Loop News, "it was a normal end of work day for Dane Turner, a taxi driver who operates in the Corporate Area, while taking passengers to Half-Way-Tree from Chancery Street."
After he dropped off other passengers, there was one woman left in his car. He happened to look back and noticed that she was bleeding from a self-inflicted razor blade cut.
How Did Turner Respond?
Turner knew he had to be careful how he responded.
He gently questioned her, and the woman was frank about wanting to end things.
"I decided that I couldn't let her leave the car and hurt herself, so I started driving her around," Turner said. "She said she wanted to go downtown, but I think that once she got to her destination she would hurt herself."
Turner Drove All Over Kingston
He offered the woman something to eat or drink, but she wasn't interested. Turner knew he had to get the authorities involved, but he had to make sure she didn't catch on to the plan.
As he drove through the capital, he did all he could to get police attention.
"I broke stoplights, drive through stop signs and no police stopped me," he explained. "When that didn't work, I disconnected one of my front lights and drove on Mandela Highway."
Eventually The Police Did Intervene
A group of police stopped the car on the highway and questioned Turner. At first, they didn't believe his story.
Loop News reported, "Turner managed to convince two of the senior police officers on the team, and they came up with a plan to get the passenger out of the car and get her help."
They convinced the woman in the car that Turner's vehicle needed to be checked for weapons. They asked her to exit the car.
When she did, the police noticed the blades and blood.
The woman was distraught about losing her job and being homeless. She saw no way forward.
Turner Regretted Nothing
He told Loop News, "my conscience couldn't allow me to walk away. I know I couldn't bear it if I was to put her out of my vehicle and then I see her on the news dead."
Turner still had to pay a fine in Traffic Court, but for him, it was worth it.
As fate would have it, he saw the same woman again later. She thanked him for caring, and said that she's been working on self-improvement.
From Corporate America, to Finding Freedom Abroad Through Entrepreneurship


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Our View: Reasons for optimism in transition
There were calls for good will toward each other and bipartisanship Wednesday as members of the the 101st General Assembly were sworn in. There undoubtedly will be more of the same uttered Monday when Democrat J.B. Pritzker and the five other statewide constitutional officers are sworn in and begin their terms.
There is evidence the state's new governor is sincere: On Wednesday, Pritzker and Lieutenant Gov.-elect Juliana Stratton stopped by a Republican inauguration celebration. Reports say the pair and GOP leaders Sen. Bill Brady and Rep. Jim Durkin talked with attendees about the need to work together to create a better Illinois — refreshing news, considering the state of partisan politics in the country.
There were other promising signs last week about what type of government Pritzker wants to lead: On Saturday, the Pritzker-Stratton Inaugural Committee had scheduled a day of service, providing more than a dozen opportunities throughout the state where Illinoisans could lend their time and talent to help a social service agency. Days of service are excellent ways to put words into practice: Let's work together to fix what we can.
It's the type of mindset Illinois needs in its leaders if we are ever to truly find solutions to the many problems plaguing our state. Most of the state's woes are financial: Unfunded pension liability of more than $133 billion; more than $7 billion in unpaid bills; a budget that is unbalanced by at least $1 billion; terrible credit ratings; and an economy that could use a boost. The outmigration of Illinoisans is likely going to cost the state one seat in the U.S. House of Representatives, and possibly two. It's already costing the state lost tax revenue.
Illinois Democrats don't necessarily need bipartisanship to address these problems. They control all six statewide constitutional offices, and the House and Senate both have more-than-comfortable Democratic majorities to push through any legislation they want.
Yet that isn't what this politically fractured country needs. Too many people identify themselves by their political party. Compromise seems to be a lost skill. In Illinois, it has often taken dire circumstances — like the two-year budget impasse — for elected officials to cross party lines. The real-world consequences of that budget stalemate were devastating: The social service agencies that survived — many didn't — could help fewer people. Funding for higher education was drastically slashed. Vendors and health care providers waited months to be reimbursed. The list goes on and on, and the aftershocks from it are still being felt.
Pritzker, and other leaders of both parties, have the chance to build a coalition this state badly needs. After four years of bitter divisiveness in our state's politics, a respite where our elected officials work toward common goals that benefit the people would be welcome — and could serve as the kick-off to creating an environment where Illinois can grow.
This newspaper editorial board did not endorse Pritzker, largely because of unease over his unwillingness to share specifics about major initiatives, like his plan for a progressive income tax and how he would pay for the many initiatives he wanted to pursue. We're still wanting to hear those details, hopefully soon after he takes office, perhaps in his budget address.
But we have been more than impressed with his actions since being elected. He formed a bipartisan transition team that included former GOP Gov. Jim Edgar and former Senate Republican leader Christine Radogno. It's a sign that Pritzker, who has never held political office, is willing to learn from not just members of his own party but from Republicans who were known for their willingness to work across the aisle.
He is assembling a solid cabinet to run state agencies, even keeping on a few directors from Gov. Bruce Rauner's tenure. Hiring Dan Hynes — who was talking as early as 2002 about the financial problems looming over Illinois — as a deputy governor was another smart choice.
These are the actions of a person whose first priority is doing what's best for the state's constituents. They are the moves of a leader who realizes it takes a team to tackle the problems facing Illinois, and of someone who wants the best and brightest on that team. We are encouraged by these steps, but know the proof will come in what actions Pritzker takes after inauguration day. But if he continues along the path he has, Pritzker may well be just what Illinois needed. Let's hope so, for the sake of our state.


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Providence Hospital System defies America's slow vaccine rollout trend
The U.S. Covid vaccination effort is far behind original estimates. More than 15.4 million doses have been delivered to states, but only 4.5 million Americans have received their first shot according to the Centers for Disease Control and Prevention.Providence Hospital System, however, has defied the country's slow rollout trend and has given the first dose of the vaccine to more than half of its 120,000 employees in 51 hospitals across seven states. Dr. Amy Compton-Phillips, chief clinical officer for Providence, told "The News with Shepard Smith" that "planning is the antidote to panic." She said that Providence began strategizing in September to identify caregivers with the highest risk and how to integrate technology like emails and texts to streamline the rollout process. She explained to host Shepard Smith that one of the solutions was to build a "validate and verify" tool to manage vaccine rollout across the provider's hospitals. The tool contained the "roles" which consisted of specific jobs and it also contained work locations of those within the Providence system. People would then, in turn, reach out and validate the data. "Because we did that, we really circumvented a lot of the consternation you've heard about from other organizations that have inadvertently, despite their best intentions, left out key groups of people that should be getting immunized," Compton-Phillips said. "So I think the biggest lesson that we'd have is don't hesitate to start doing something, some immunizations are better than none. Also, ask your people, make sure you hear from them, not just trust in the data."Health and Human Services Secretary Alex Azar estimated that 20 million Americans "could be" vaccinated by the end of December and another 50 million "could be" vaccinated by the end of January. He added that "we expect" 100 million vaccinations total by the end of February.CDC officials have attributed the slow rollout to complex vaccination storage, strained public health departments and health providers, and the timing of the vaccination rollout amid the holidays. Federal officials have placed the onus on the states to implement vaccination campaigns. On Monday, New York Governor Andrew Cuomo acknowledged that hospitals in his state need to administer the vaccines faster and threatened fines. "Any provider who does not use the vaccine could be fined up to $100,000 going forward, they have to use the allocation within seven days. Otherwise, they can be removed from future distribution," Cuomo said. Florida Gov. Ron DeSantis delivered a similar warning to hospitals and said the state may look to convert testing sites into vaccination centers. California Gov. Gavin Newsom pledged $300 million in funding for vaccination efforts in his current budget proposal. Providence's successful rollout still identified areas that needed to be improved. One in five frontline nurses at Providence Holy Cross Medical Center in Mission Hills, California have declined the shot, according to the Los Angeles Times. Compton-Phillips noted that the hospital is located in an area that is more underserved and deals with a large immigrant community. She said that Providence is trying to understand what the barriers to vaccination are to better serve the community. "We know that there is vaccine hesitancy, in particular in certain underserved communities, communities of color that have less trust in the health care system, so we're partnering very deeply with them to understand those concerns and make sure that we're addressing them so that we can really convince people to do what is in their best interests, which is protect themselves from this virus," Compton-Phillips said.
21 years of airline passenger traffic growth erased in 2020: travel report
India coronavirus vaccine candidate from Cadila Healthcare


why am i not able to play the games? i use to play all the time.
On the Tablet or Compter, it redirects you to another Space Hut, a smaller version and very cartoon like planets with big icons (planets).
Having the same problems, keeps sending me to the mobile site…very slow for me there. Blank screen etc.
I can't play either. After I click on a game the screen remains white. Usually there will be the spinning wheel spinning letting me know it is loading. That isn't even happening. Are they working on the website right now? Thank you – enjoy playing the games.
I'm sorry you are having trouble playing in the Arcade. What is the issue you are having?


The PLUS New England Chapter Charity held its 2017 volunteer activity last week in downtown Boston. Chapter members Emmeline Kuo, Colin Quirk, Tina Housman, David Curtin, Laura Bange Stephens, Christopher Lynch, and Jeff Carney spent the afternoon tending to a section of the Rose Kennedy Greenway.
This entry was posted in @PLUS, Chapters, PLUS Foundation and tagged Chapter Charity, New England Chapter by plushq. Bookmark the permalink.


The Indianapolis Colts Father-Son Camp is presented by Abuelo's and LittleEYES.
This fall, the Indianapolis Colts will host their Father-Son Training Camp at the Indiana Farm Bureau Football Center. This camp gives Colts fans the opportunity to get an "inside" look at Colts football. Participants are able learn football knowledge from current and alumni Colts players while testing their skills through a variety of football drills. Activities include on-field drills, a Q & A session with special guests, dinner catered by Abuelo's and more. Registration for the camp is now open at www.colts.com/events. Attendees must pre-register online in order to attend the clinic. Fathers and sons, mothers and sons/daughters are all welcome to attend.


"Airing Faculty Attitudes about Assessment... Safely and Usefully"
June 18, 2010 at 2pm EDT - free to all.
In this meeting of the IrReguLArs, Steve Gilbert will be joined by Mark Schlesinger, former director of U MASS Online, in an open discussion about assessment. The goal is to get a better understanding of the different faculty attitudes about assessment.
The discussion promises to be safe, respectful, and include representation of the attitudes of faculty who cringe whenever they hear the word "assessment" as well as faculty who have found some kinds of assessment quite helpful, especially kinds that accrediting organizations would recognize as at least partially fulfillling their recommendations or requirements for institutional assessment.


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MoonPie MoonPie!!
Tuesday, December 29, 2015 9:42 AM by Visit Mobile
In Mobile, we love a MoonPie. We love to eat it, throw it and drop it.
And, we especially love to drop it.
Every New Year's Eve, a giant MoonPie drops from the RSA Trustmark Building to ring in the upcoming year!
But, that's not the only thing that happens in Mobile on NYE.
Alongside the MoonPie drop is a street party that you don't want to miss! We'll be starting the party off by having Round 1 of the College Football Playoffs playing on a big screen on the main stage at 7PM.
We take football very seriously.
At 9:45PM, we're cutting into something you probably haven't seen before - the world's largest MoonPie Cake.
Once we have all gotten a little sugar rush, it's time to walk it off. We're all joining in on a Second Line Parade at 10:15PM, led by the Excelsior Band, down Royal Street. We'll end at the main stage off of Bienville Square where a concert awaits!
At 11PM -- EN VOGUE TAKES THE STAGE to make all of our 90's dreams come true! The R&B group has won seven MTV Video Music Awards, three Soul Train Awards, two American Music Awards, and received seven Grammy nominations. And, they are ready to put on a show for us!
Then, the big show. The MoonPie Drop at midnight followed by a laser and light show over Downtown Mobile!
2015 has been a wonderful year -- but we have a good feeling about 2016. We hope you can be there to help us ring it in!
-Visit Mobile
For all the details ---www.mobilenewyear.com
Author: Visit Mobile
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In South America, there is a country nestled between the Andes and the Pacific Ocean known as the Republic of Chile. There are many legends as to why this country was named Chile including a derivation from the Mapuche word that means "where the land ends". Others might think it has to do with Chilean food or the red chili. However, regardless of how Chile's name came to be, one thing is for sure, Chilean food is delicious!
And I should know, as my husband is half Chilean and has a Chilean mother that can cook! I love it when we visit there or she visits us, as she inevitably makes her traditional Chilean foods that he loves. Things like Empanadas, Pastel de Choclo, and Machas de la Parmesana with Pisco Sours or Chilean Wine. These things are always on the menu and a staple food in our house when she comes for a visit!
In South America countries, food is known to increase the culture of a country and bring people closer together. Chile is no exception! Before and throughout most of the 18th century, Chile was heavily influenced by the Spanish, including their food, culture, and architecture. During the 19th century, more European countries such as Germany and France began to introduce their cuisine and culture to the southern part of Chile. Split into 3 different sections, Chileans are known to have a different culture, music, and cuisine style depending on if they are from the north, central, or the southern part of the country. One thing is for sure though, no matter where in Chile you visit, traditional Chilean food is always delicious!
✦ Chilean Cuisine From the North of Chile!
One thing I always get the pleasure of eating when my mother-in-law comes for a visit is the traditional handmade Chilean Empanada. It is a pastry dish that has meat or cheese or even jam inside of it. The one she typically makes has beef inside the baked pastry. Her Chilean empanada consists of ground beef mixed with onions, raisins, olives (typically seedless black and sliced), and hard-boiled eggs (cut or sliced into pieces). They are delicious, as the raisin makes the savory beef sweet! You can also stuff the Chilean empanada with cheese or even jam. The top she typically brushes with butter or lard to make the top crispy when it is being baked. Each empanada maker has their own way to wrap it up, as I have seen several different styles on how to make the seal.
In the Northern part of Chile, there are typical dishes that can be found such as Machas a la parmesana, which is a seafood dish made with machas (or clams) topped with parmesan and gouda cheese, white wine, cream, and butter). This is one of my favorites that my mother-in-law makes as well. She even brings the machas in a can with her when she comes to the "States" (USA) to make them for us! One time she came to "the States" with natural seashells from Chile so that she could serve them in the shells!
Another northern Chilean dish served often is risotto, made with quinoa and yellow peppers.
✦ Central Chilean Cuisine You Won't Soon Forget!
One of the most typical and satisfying foods from Chile is the Completo (served like an American hot dog is served). Completo's are a typical Chilean-style "hot dog" that can be found in shops and stands throughout Chile. When we think of a "Chili dog", we are NOT referring to the hot dogs from Chile. One of the more beloved "hot dog" sandwiches is called the completo Italiano (or at least this one is my favorite). This sandwich includes bread, tomatoes, mashed avocado, mayonnaise. The red, green, and white of the main ingredients resemble the colors of the Italian flag, hence the name of the sandwich.
I've eaten my share of completo's, especially in downtown Santiago near Ricardo Lyon Street, as my mother-in-law has an apartment in that area. I also used to eat them when on a break from taking Spanish lessons at the University of Santiago in downtown Santiago. They are absolutely delightful and remind me of a German sausage hot dog with tomato and avocado.
Two of the most popular sandwiches in Chile are the Barros Luco and Churrascos, which resemble a cheesesteak disguised as a grilled cheese sandwich.
The central part of Chile also has its own dishes such as the Pastel de Choclo, which is a type of casserole using corn and beef (another dish to die for). As well as another version of this dish called Pastel de Papas, which incorporates beef and potatoes instead of corn. All these dishes are amazing and made each time my mother-in-law visits as well! I guess I am lucky in that I have a mother-in-law that loves to cook for her son and always makes these traditional Chilean foods that he can't get anywhere else while in "the states"!
She even gave me a recipe book from 1961 called The American Cook Book or El Libro de Cocina Americano... recipes that were collected, edited and revised by the Association of American Women of Chile! I am not quite sure why she has this book, as she is not an American, but born and raised in Chile, although she was married to an American for many years. Maybe she was mingling with the American ladies who were visiting Chile in the 1960's and they learned to cook from it back then.
✦ Southern Chilean Food You Won't Soon Forget!
In the southern part of Chile, some traditional dishes that you may find tasty are the Arrollado de huaso, which is a pork roll with bacon slices, chilis, and spices, rolled in pork skin, boiled and served with an avocado salsa. Another typical Chilean food is Sopa Patagonia, which is a pork soup mixed with potatoes, shrimp, and mussels. Since Chile borders the Pacific Ocean, seafood dishes such as Ceviche are typically made from raw fish or shrimp.
To get through the cooler nights of southern Chile, there is also a traditional Chilean stew called Cazuela that is made with peppers, quinoa, chili, corn, potatoes, and meat (usually chicken).
Plateada is a very popular home-cooked dish in chile and also appears on the menu of traditional Chilean restaurants. It literally means "silver-plated" and is the rib cap of a cut of beef (specifically the spinalis dorsi that is above the ribeye). The word silver refers to the skin on the rib side of the meat, as the other side is a thick layer of fat.
Another traditional Chilean food is Chorrillana. This dish is a French fry lovers dream because it includes a huge plate of fries covered with meat, sausages, eggs, chorizo, tomatoes or any other ingredient you might want!
Another traditional Chilean meal is called the Pernil, which is a slowly cooked or roasted marinated pork leg or shoulder. This dish is made like a pot roast and includes flavors such as pepper, oregano, salt, and lime. This is a popular dish for Christmas.
While North Americans love their ketchup, mustard, and mayonnaise, Chileans love to eat Pebre or Aji Pebre sauce as their condiment. This condiment can be put on almost anything and it is made to be put on vegetables, meat, and seafood. The photo below is one that you typically can buy in the grocery stores in Chile (like Jumbo), but my mother-in-law makes her own fresh and man oh man, it is good!
A non-alcoholic drink that is typically consumed in the summer is the Mote con Huesillo, which is made from wheat and peaches. And let's not forget about the smoothness of a great Chilean wine. Local wineries grow the best grapes in the country to make delicious red or white Chilean wine. The reason that Chilean wine is so delicious is that during the 16th century, the Spanish brought to Chile the Vitis vinifera vines (the common grape vine native to the Mediterranean and central Europe). This has helped perfect the Chilean wine you see today that gets such raves reviews!
The Pisco Sour is also a well known Chilean drink that is made from lime juice, syrup and egg whites, and of course, Pisco liquor.
Who can forget about dessert? Desserts can be the best part of a country's cuisine, especially the delicious desserts from Chile. Some of the best desserts include the Sopaipillas (a deep-fried flatbread topped with sugar or honey), Manjar (milk and sugar icing), Cuchuflis (hollow roll stuffed with Manjar), and Tres Leches cake (made from three different kinds of milk mixed into a sponge cake).
Another delicious traditional Chilean dessert is the Alfajores, which is like a Manjar cookie sandwich. While visiting the south of Chile, don't forget to try the Kuchen. The name may not sound Spanish by the ingredients include fresh chunks of locally grown fruit, topped with a crust or crumble. These Chilean desserts are super tasty!
Throughout the country of Chile, there are many farms that are growing to help promote traditional Chilean food. Some of the best olives are grown in the dry northern part of Chile. The Andes mountains are best known for producing a fruit called Cherimoya. Maize, aka corn or choclo, is also a large ingredient used in typical Chilean dishes. Chilean Humitas are a ravioli-like dish that is filled with corn, basil, onion, and butter. Two of the most traditional and delicious bread of Chile are the Pan Amasado and Marraquetas. The Pan Amasado is a kneaded bread that is typically found throughout the country. Marraquetas are a Chilean take on the French bread rolls. They are made to be crisper than the traditional Pan Amasado.
No matter where in Chile you visit, keep in mind that even though the locations may differ, the food is scrumptious! If you cannot visit the country of Chile, then bring Chile to you. Often, supermarkets or local shops will carry ingredients that can help you make a batch of kuchen or a Completo Italiano. Why not by a Chilean cookbook and learn to cook traditional Chilean foods? Your taste buds will thank you!


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Q: How to use nested for() to get results intermittently and decreased? I want this output:
1   1   1   1   1   1
2   2   2   3   3   3
4   4   5   5   6   6
7   8   9   10  11  12

I think I need to three nested For(), But I don't know how should I print the above result. Here is my code, How to complete it? (though I don't know, maybe my code is completely wrong)
for ($i=1; $i<=4; $i++)          // row
{
    for ($j=1; $j<=6; $j++)      // column
    {
        for($z=1; $z<=12; $z++)  // number
        {
            // what should be in here?
        }
    }
}

Edit: I want something like these examples: (Although these examples are very simple, what I want is a little more harder)
for ($i=1; $i<=4; $i++)
{
    for ($j=1; $j<=6; $j++)
    {
        echo $i.' ';
    }
    echo '
';
}

1   1   1   1   1   1
2   2   2   2   2   2
3   3   3   3   3   3
4   4   4   4   4   4

Or this: echo $j;
1   2   3   4   5   6
1   2   3   4   5   6
1   2   3   4   5   6
1   2   3   4   5   6

Edit2:
Note: I need to a code that be able to print this either: (its logic is the same with first output)
4   4   4   4   4   4
5   5   5   6   6   6
7   7   8   8   9   9
10  11  12  13  14  15

A: You can try something like this.
var $c = 1;
for ($i=1; $i<=4; $i++)
{
    var $noOfChanges = 6/$i;
    for ($j=1; $j<=6; $j++)
    {
        echo $c.' ';
        if($j%$noOfChanges==0){
            $c = $c + 1;
        }
    }
    echo '
';
}

Not tested.
You can intialize the var $c = 4; to get the next pattern.

A: Tested and working:
$length = 6;
$row = 0;
$number = 1;
$total = 0;
$n = $length;

while(true) {
 $n = floor($length/($row+1));
 for($i = 0; $i<$n; $i++) {
   echo $number;
   echo "\t";
 }
 $total+=$n;
 if($total >= $length) {
   $row++;
   $total = 0;
   echo "\n";
   if($n == 1 ) break;
 }

 $number++;

}

redpajama_set_name: RedPajamaStackExchange


This section is reserved as a resource to keep track of any changes, corrections, expansions, or updates which are made to S4E post-launch, as well as links to any unofficial or supplemental resources we support. Although the Roleplaying is Magic project has officially shut down, and no further full editions of the game are planned, as more media comes out over time, it may compel future updates to S4E in the form of revisions, variant rules, or additional content. We also want to encourage fans and aspiring creative individuals to make supplemental resources and mods, and this site can be used as a central reference point for what we believe are the supplemental resources which further enrich S4E as a whole.
If you would like your supplemental content considered for inclusion, contact us at TallTailTellsTales@gmail.com and send it over to us! Whenever this compilation is updated, its date will be updated as well.
There are no post-launch updates at this time.
There are no supplemental resources at this time.


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text:
5 Reasons why Electric Cars are the future
Home / all news / 5 Reasons why Electric Cars are the future
By Marketing
Posted October, 2014
In all news, World Automotive Conference in Turkey
5 Reasons why Electric Cars are the future2014-10-252014-10-25https://worldwidepartnerships.co.uk/wp-content/uploads/2018/02/logowhite-01-02.pngWorldwide Partnerships Londonhttps://worldwidepartnerships.co.uk/wp-content/uploads/2018/02/logowhite-01-02.png200px200px
Electric cars are one of the most-talked about topics in the world of tech and motoring at the moment, and that's no surprise: they're the future of driving. Businesses in Portsmouth will be able to get a taster of electric cars and how they can benefit from the electric vehicles revolution courtesy of My Journey Portsmouth on October 28th.
One of three seminars centred around more efficient driving on the day, the electric car seminar will take place from 11:00am to 1:00ppm at Action Stations in Portsmouth Historic Dockyard.
All three seminars are free to attend with prior registration, and the electric car workshop will cover what kinds of electric vehicles are available and how the Energy Saving Trust's Plugged-in Fleets Initiative can help businesses develop a case for electric car adoption.
In commemoration of the seminar, we've put together a list of five reasons for why electric vehicles are a brilliant replacement for traditional fuel-powered ones.
Book your space at the seminar and find out more about the day on the My Journey website.
1) Silent and Smooth
Anyone who rides in an electric car is instantly surprised by its quietness and smoothness. After years of driving petrol-powered vehicles, getting behind the wheel of an electric motor is refreshingly relaxing, largely thanks to how the accelerator instantly delivers a kick to the wheels without the slight delay of the combustion engine middleman. You feel like you're drifting along roads and through streets. The experience of driving an electric car makes traditional vehicles feel outdated and clunky.
It almost feels like you're just flying above the road.
2) Say goodbye to petrol stations
Combustion engines aren't the only middlemen being cut out of the vehicle equation — petrol stations could be the next to go. With home recharging tech constantly being developed further, it won't be long before charging our cars overnight at home will be just as commonplace as charging our smartphones while we sleep. Petrol stations will lose the pumps and become more attractive roadside stop-offs.
And you'll never have to worry about your petrol cap being on the wrong side ever again.
3) Cutting the costs
Electric cars are far more efficient than petrol-powered vehicles — on a mile-per-mile basis you'll be paying about a third for running an electric car compared to what you're currently paying for a car that runs on petrol. On top of that, electric cars don't have as many systems to break down, so maintenance cost will be much lower. The main concern for electric car owners is making sure their tyres are pumped! And warranties will generally be cheaper because there's less to go wrong.
You'll feel like your car itself is making you money.
4) High-fiving the environment
The majority of researchers have said that electric cars have smaller environmental impacts compared to conventional vehicles, especially as renewable energy continues to strengthen its prevalence. While some analysts will argue otherwise, it's an undeniable fact that the lack of tailpipe means the air quality will be much better as electric cars gradually become more commonplace.
Cars and trees can be friends, instead of always fighting…
5) The Future
Electric cars certainly look to be the future of motoring. It's quite a new industry, so there's still a lot of untapped potential and innovation to be discovered. Every year, batteries get stronger and last longer, constantly fighting against the 'Range Anxiety' worry which most electric car owners have to deal with at the moment — the idea that electric cars are often only good for shorter journeys under 100 miles. Electric vehicle charging tech will become more commonplace, the range of electric cars on the market will become more diverse and cheaper, and we'll probably see a few groundbreaking surprises along the way.
Time-travelling DeLoreans are probably still quite a way off, though.
Source: http://www.teamlocals.co.uk/5-reasons-why-electric-cars-are-the-future-28979 written by Steve Williams
Otomotiv Rusya'da vites büyüttü
Dev Çin metrobüsü testi geçti!
Otomotiv sektörü geleceğe umutla bakıyor
Porsche will hire over 1,400 employees to build its electric cars
Global EPDM (Ethylene Propylene Diene Monomer) Market 2019all news, World Automotive Conference in Turkey
Bakan Işık yerli otomobil için tarih verdiall news, World Automotive Conference in Turkey


Where are the JTC Industrial Locations / Sites Approved to be Used as JTC Food Factory?
What is the current Land Rent and Land Price for JTC Food Factory?
Sites fronting certain main roads, expressways and/or within the vicinity of MRT stations are Prime Sites and the rates are 5% -20% higher than equivalent normal sites.
Alternatively, lessees can opt to pay the lump sum land price upon acceptance of an offer. Please consult our Marketing Officers for more information.
All rates quoted are subject to the prevailing GST.


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Q: Один результат на букву DLE? Скажите пожалуйста как сделать один результат на букву в /catalog/L/. Сейчас выводятся все новости на букву и идет дубликат
Я допустим добавил 4 трека.
Linkin Park - 1
Linkin Park - 2
Linkin Park - 3
Leone - 4
Но при переходе на страницу site.ru/catalog/L/. Выходят все 4 новости, а как сделать что было. Т.е шло объединение?
Linkin Park
Leone
А если взять ссылку http://topmuzon.com/singer/la-kamila/
То в каталоге он один. Вот другой пример http://kztune.com/singers/

A: Возможно в вашем случае будет полезен алгоритм Левенштейна, на php есть встроенная функция.
Если будут вопросы по использованию, задайте. Обратите внимание, работает это не быстро, поэтому разумно кешировать результат.
Так же полезно посмотреть на встроенные функции php: similar_text, soundex, metaphone.


Popular games made for the seasoned traveler are now available in augmented reality (AR), bringing AR users to different places all over the world. One of the issues with this is that AR game players might be led to areas that are either private or would be deemed undesirable for the general public. This is the reason why International Business Machines (IBM), commonly referred to as the Big Blue, just applied for another blockchain patent, where their main focus is to deter these AR game players from these types of locations. This latest patent document was just released by the United States Patent and Trademark Office a few days ago.
IBM's new patent describes a specific blockchain-based method and system of interactions between an AR-running mobile device and the specific locational database around it. This would set up boundaries around the player in case they go to areas that are deemed too dangerous, or too private for the general public. This patent exhibits the potential to make AR game players feel safer when playing games like Pokemon Go or others like it. This new type of 'exemplary method' AR game would allow all the mobile devices that play it to receive a signal when reaching a particular area that the system has deemed undesirable. The aforementioned system is also said to have the ability to modify the AR game to represent the issue with the undesirable area. The Big Blue says that, by applying this new type of blockchain technology to these types of AR games, their company can provide a level of 'trust' between real world locations and AR games that make use of users' locations.
By August 31 of this year, IBM had filed 89 blockchain patents, coming in only second to the Chinese conglomerate Alibaba, which filed 90.


The wood studs are joined together by screws or nails to form the structural frame. Its voids are filled with a thick BioF Trio isolation material. Then Isobio rigid panels with predefined dimensions are fixed to the wood studs using screws or nails.
The hemp lime render, which is mainly composed of lime, hemp, and a lime based plaster, will be placed on top of the Isobio panels. The entire panel will be attached to an existing wall using a metallic solution which will depend of the type of façade.
BioFib: it is an insulating material with an excellent mechanical strength. Because of its natural fibers, it is safe to use, soft to touch and easy to install in houses.
Isobio panel: it is a bio-composite made of commercial hemp shiv grade and a thermosetting bio-based binder. This material is highly water repellent and acts as a fire retardant.
Hemp lime render: it is a lightweight and stable bio-composite material. It can also be personalized by colouring it and acts as a fire retardant with optimal hygrothermal properties.
They will aid in reducing the energy consumption needed for air conditioning housing. They will also protect the building from moisture-based damages and possible outbreaks due to temperature changes. All these make the buildings highly energy efficient while providing an optimal level of comfort for residents at any time of the year.


Diane Richey-Ward is a mixed media visual artist based in northern California who combines large scale charcoal and pastel drawings with photo imagery and video in a unique blend of abstraction and realism. This allows her to "investigate notions of movement and space within a particular nomadic narration." She has exhibited her work near and far in such places as Costa Rica, Canada, France, Spain, Portugal and Holland. She was awarded a 3 month fellowship with the Swatch Art Residency in Shanghai - the same one attended by my previously interviewed artist Alec Von Bargen, whom Diane met while they were both in residence.
Great to connect again! We have been to a few of the same residencies - in Portugal and Mexico - though not at the same time, unfortunately! Tell us more about how you have combined art and travel in your life and work!
Thanks, Amy. It gives me an opportunity to think about these important issues and try to grasp how I feel about them.
Why are you called to make art and how does travel connect the dots for you?
I've been taking photographs furiously since about 10 years old- and dreamed of being a photojournalist someday when I was a teenager so that I could see the world! But after completing my degree in art at Cal State East Bay, I decided fine art was my true passion. It wasn't until years later, after my two daughters were in elementary school, that was I able to finish my MA at Sac State and work full-time as an artist. I really just have an insatiable need for new stimulation, and traveling as much as I can seems to work well with the evolution of my artwork and my general well-being!
Diane at work on a charcoal drawing in Lisbon.
Can you tell us more about the work you do and what techniques you use to create?
For the past 3 years, I have been integrating drawing into an expanded practice: combining photographic elements with the naked mark of charcoal and pastel. By layering elements of mechanical and natural forms, in both transparent photographic layers and drawn images, I search for dynamic formal configurations. This process seems to allow me to tap into a level of investigation where entirely new form presents itself. As the photographer Diane Arbus once said, "It's what I've never seen before that I recognize". The process itself is a bit unusual: I take a photo of a projected image overlaying a large-scale drawing. The resulting layered image is exhibited as an archival digital print.
As a professional artist - how do you juggle family, money and travel and other considerations?
It's quite a challenge to be able to afford art residencies and travel. I realized early on that I should use only one credit card and accumulate as many miles as possible to be able to fly for free. Second- it takes more research to find the free or cheap residencies, and they're of course much more competitive. But if I save and budget my money most of the year- I can find a way to make travel my priority. It was much more difficult to juggle the family with art residencies, but I actually didn't start traveling and working until they were teenagers and about ready to head to college.
How do you travel with your medium - do you always work large scale - do you make the art on the road or when you get home? And what supplies do you bring with you?
Over the years the drawing paper I bring in a big tube keeps getting larger, which makes it a bit more difficult to travel with. But I find that checking the tube as an oversize piece of luggage is the easiest way to go. If it turns out that I'm traveling after the art-making portion of trip, I'll ship the tube home so I won't have to carry it around. I bring a container of pastels, charcoal, lots of erasers, razor blade and tape to put up the paper if the wall won't take the push pins I usually use. You have to buy the fixative spray at your destination because you can't have it in your luggage, and it's usually my first task to find an art supply store.
How did you first hear about artist residencies?
My friend, Sandy Parris, attended an art residency 25 years ago at the Montalvo Center near San Jose and she loved the experience. It seemed like a perfect way to work, undistracted by family pressures, and yet be able to meet other artists and patrons.
Tell us about some of the residencies you've been to and why you chose those particular places.
I usually choose residencies according to a few important criteria: 1) desirable location, 2)support for the production/exhibition of my work, 3)privacy and comfort of accommodations. I'm used to sharing kitchens and sometimes a bathroom, but I prefer to have a private, and hopefully spacious studio. Over 23 years, I've had many varied experiences…but my favorite was the Shanghai Swatch Art Peace Hotel. The friends I met there, in addition to the high level of support and accommodations were incredible.
Diane with fellow artists at the closing reception at the Swatch Art Peace Hotel Residency, Shanghai, 2015.
Is your work directly related to the environments you go to and how? Or do you continue to work on projects already in motion?
About 3 years ago I became quite interested in the geometric structure of architectural form, where I developed a new body of work in Shanghai, China in 2015 and Valencia, Spain in 2016, both locations selected for the strong contemporary architecture present. In Valencia, for example- the "Ciudad des Artes y Siencias" by Santiago Calatrava, were quite inspirational for the evolution of my work in terms of form and imagination. About 6 months before leaving for Shanghai, I began researching and drawing the contemporary architecture I found online, which really helped my progress after arriving at the residency. Other times I've started a brand new series at the beginning of a residency, especially if it's at least 2 months long, which is a good period of time to begin to develop a project.
What kind of projects have you applied to residencies with?
Often my projects involve photographing the local architecture or farming machinery- to be used as a springboard for seeking new form.I've also applied a few times proposing a video and drawing installation. In 2016 the Valencia architecture project involved projecting slow-motion videos of an amusement park over drawings of abstractions of architectural form.
Do you keep a travel journal when you are on the road?
My travel journals are basically photographic rather than verbal. I take pictures of anything and everything that interests me that I feel I could use:either as an inspiration, a documentation or as an actual accompaniment to a drawing as part of a work of art.
What do you think are the best and worst things about residencies and do you have any highs and lows you want to share with us?
The best thing about residencies are easy to identify: being able to work without distractions, and being stimulated by living in a different environment and meeting other artists. So many things can go wrong with residencies, that the list can be long: I guess the worst scenario is an overbearing host or hostess, who is micromanaging everything you do while a guest at their residency. (This happened about 4 years ago and almost stopped me from ever going to another one, but it was more complicated than that: this same host was somewhat of a mean tyrant!) The other, more frequent pitfalls are the accommodations themselves that can be an issue: too small of space to work, loud neighbors, unruly co-artists with issues, and my favorite: machines that don't work! So many times the oven or toilet is broken or the bathtub doesn't drain after your roommate left it. Yikes!
What advice would you give to others wanting to explore the life of the artist/traveler?
Take the time to research residency websites carefully. There are 3 or 4 comprehensive residency websites, www.transartists.nl is probably the largest site. Before taking the time to apply for the residency, make sure you've read all the requirements/restrictions, qualifications. This can be exhausting- but some websites like www.resartis.org have a screening tool which does cut down on the sheer number of places to apply for.
It's important to Plan Ahead! Often the best residencies need to be applied for at least a year in advance. That year goes by quickly and will give you time to plan what it is you're going to be working on, and to then begin work on the series you applied with ahead of your arrival. Then you kind of hit the ground running when you get to your destination. Since there is alway an adjustment period in any new locale- to get a feel for the neighborhood, the house itself, possible new roommates, etc. For me it takes about 4-5 days to feel at home, become acquainted with the surroundings and to relax enough to get down to work.
If attending a formal art residency isn't a good fit, an artist can always rent a place that has a room or studio to do artwork, but I've found that this is much harder to find than it would seem! People renting homes and apartments internationally are not crazy about renting to a working artist. But if you search art websites online for "artist's studios to rent" in whatever city you'd like to visit, you may be able to find something. The advantage is that there will be no expectations by anyone to "perform" artistically (as with some residencies), but the disadvantage is that you won't have the guidance, community and artistic support by an organized residency.
I wanted to say that probably the most difficult task in traveling and working on artwork in different locales is finding a balance between SEEING NEW THINGS and MAKING NEW THINGS. It's quite tempting to spend most of your time enjoying all the new stimulation around you, but then you realize you also selected this particular place to make new work, too. The way this works best for me is to utilize my natural work rhythms: I work better in the mornings to mid-late afternoon, and my reward for working hard is to take off and explore the city afterwards. It just takes a bit of practice to travel and work on the same trip, but once you get the hang of it you don't want to do anything else!


The music video was produced by Fathom media and Sharoney developed the concept herself.
The track offers the same rhythmic pop that the singer is known for, and invites you to spontaneously sing along or take a turn on the dance floor. "I would love it if listeners could experience that same feeling the songwriters and I did; that they would take a moment to reminisce while enjoying the song," she says.
CRUSH is the second release off her latest album, Skyn, which was nominated for a 2018 Ghoema Award for Best pop album by a female artist. The titular track was well received and reached the number one spot on Lekker FM's hit chart. It also spent several weeks in the top ten on Bosveldstereo's Afrikaans Top 20, the kykNET Top 20 and VCR's Baanbrekers. The music video is still shown quite often on television.


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Politics|Health Bill Does Not 'Cut' Medicaid Spending, Republicans Argue
Health Bill Does Not 'Cut' Medicaid Spending, Republicans Argue
A demonstrator joined doctors and other health care workers at a rally on Capitol Hill on Thursday. The Republicans' health care proposal has reignited an old debate over what spending changes qualify as cuts.CreditCreditAndrew Harnik/Associated Press
By Alan Rappeport
WASHINGTON — Republicans, under fire for proposing health care legislation that would reduce Medicaid funding by hundreds of billions of dollars, have embraced an old argument that taking money from a program is not a "cut."
At first glance, the new pitch to make their strategy more palatable seems at odds with the numbers. The Congressional Budget Office said on Monday that the "Better Care Reconciliation Act" would reduce Medicaid spending by $772 billion over a decade. By 2026, Medicaid enrollment would drop by 16 percent among people under the age of 65.
So, are there cuts or not?
Asked over the weekend about the prospect of Medicaid cuts, Kellyanne Conway, counselor to President Trump, said on ABC that Republicans were not in fact cutting funding for the government-run insurance program for the poor. "We don't see them as cuts," she said. Rather, Republicans want to slow the growth of Medicaid spending to preserve it.
Senator Pat Toomey, Republican of Pennsylvania, also resisted the notion that the Senate bill would cripple Medicaid. He argued on CBS that it would "codify and make permanent the Medicaid expansion" that was put in place by the Affordable Care Act.
The explanation, echoed by many Republicans who see the bill as their best chance to repeal the Affordable Care Act, has reignited a debate over what counts as a cut, in budget parlance. The distinction has become a central talking point for Republicans to rebut claims that they are promoting a bill that could send older people packing from nursing homes and cause children from low-income families to go without medical care.
The nuance is also an important one for Mr. Trump, who campaigned on a promise that "there will be no cuts" to Medicaid, Medicare and Social Security.
At issue is whether the funding changes should be compared to the increases that would occur under current law, the Affordable Care Act, or whether the focus should be on the modest annual increases that would happen under the Republican bill.
The White House says that Republicans are being victimized by a broken budgeting system that unfairly casts their fiscal restraint as callous cutting.
"Generally speaking, we spend more every single year on Medicaid," Mick Mulvaney, the White House budget director, said in an interview this month. "We are not gutting or filleting or kicking people off those programs. We are trying to slow the rate of growth of government."
Debates over how to characterize such funding changes frequently occur when Republicans embark on policies that would shift money away from entitlement programs. President Ronald Reagan faced similar arguments when he wanted to reduce government spending in 1984, as did President George W. Bush when he tried to overhaul Social Security in 2005.
"This has not been just semantics, but a political war for 40 years now," said Douglas Holtz-Eakin, a conservative economist who led the Congressional Budget Office from 2003 to 2005.
Democrats have also not been immune. The Affordable Care Act slowed growth rates in the federal Medicare program, and Republicans made estimated $716 billion reductions a theme of 2012 election ads.
Mr. Holtz-Eakin said that he survived as the budget office's director by avoiding using the word "cut" as much as possible because of its political connotation.
"In a political ad, the first thing you say is 'cut,'" he said. "Then you go to the synonyms like 'slash.' Pretty soon it gets to be a real powerful attack."
Democrats say that Republicans are twisting the numbers for their political purposes. Nominal dollar increases, Democrats argue, are meaningless if prices are rising.
In addition to the growth-rate changes that Republicans have defended and said are not cuts, the Senate health care bill would also reduce federal funding to states that have expanded their Medicaid programs to include poor adults as part of the Affordable Care Act.
"The question of whether it's an increase or a cut is really about how people experience health care and whether people will be covered," said David Kamin, a law professor at New York University and a former economic adviser to President Barack Obama. "From my perspective, it would best be described as a cut."
Margot Sanger-Katz contributed reporting.
A version of this article appears in print on , Section A, Page 17 of the New York edition with the headline: Inside a Bill: Is It a Cut, Or Isn't It?. Order Reprints | Today's Paper | Subscribe