Very nice! Was it locally made?
...nothing like starting the fire for a juicy 2kg steak with my knife and ferro rod....!
A 4.4 pound steak? Dude, I'm jealous!
Feeding the whole family with that one steak ...!
Whether you watch something worth while like Ray Mears going walkabout, or some idiot pretending to survive somewhere in the Kalahari with sheep appearing in the background of his survival movie, sooner or later somebody is bound to make a fire. And rightly so. When you are out alone a fire provides so much more than a means to cook a meal. From the snow-covered wastes of the arctic to the sweltering desserts, fire, and the ability to make fire is crucial for survival.
Survival not only of the body, but also of the soul. Just thinking about it brings back the haunting words of Tudor Howard Davies who wrote about the small gleaming campfires that punctuated his journey through this life.
I must say that I doubt very much that the average citizen is likely to find himself in a survival situation in the wilds, even those of us who venture into the bush, driven by whatever primal urge. At the same time I am totally convinced that the average citizen will most certainly find himself in a very real and even life threatening survival situation in the concrete jungle where he exists. And logic dictates that in urban survival, as in the wild, there has to be something that will help him keep it all together. Something that will instill in him the ability to discipline his emotions, to focus his mind, to stave off the creeping fear.
I have for quite some time studied the plethora of publications and articles and electronic media in search of that Holy Grail. In search of that which is quintessential to urban survival? Something that articulates with the essence of Amundsen and Scott, Shakelton and Trichardt and so many others- expressed in the idiom of the concrete jungle.
From countless guidelines for urban survival, manuals for street law, self defense, Life Skills and even from the Ottawa Charter of the World Health Organization, I could deduce only that the grail is yet to be found. We simply have not discovered an urban equivalent for the fire-stick. Or so I thought.
Willem returned later than usual this year. Due to some constraints that I do not even pretend to understand he could only come out for four weeks. Thankfully he managed to secure one week of his precious time for our annual hunting trip. It was in camp on the third night that I noticed something about him. At first I could not place it. In essence he was his old self, calm and relaxed, confident with the rifle, adept at everything that made him a bush-man. But it was while he was making our cooking fire that I noticed an intense expression in his eyes. Something akin to the expression of someone going through the dynamics of catharsis. You don't hunt with someone for as long as we have without noticing little things about him. And then you also learn not to compulsively probe. Although I didn't say anything, I could not help but notice, and wonder.
But I need not have concerned myself. On Christmas Eve Willem, having returned to the Arabian dessert some twelve thousand miles from our bush, phoned me like he always does. I found him in good spirit. He was at that minute on the roof of the high-rise where he lives, having a braai, of all things. He was getting ready to tuck into chicken. Chicken portions procured at a local supermarket. Now Willem has never been one to praise the culinary merits of the bird. Hearing that he was on a building somewhere on an island in the Arabian Gulf, having a fire and frying chicken really got to me.
Apparently he had a week or so before, been walkabout when all others were sleeping or were otherwise occupied. Passing a building site he noticed an abandoned piece of three by nine, lying discarded. Fully realizing what the penalty for theft in an Arab state is, he risked a hand and snatched up the piece of plank and squirreled it home. He set about at once, fashioning a short kierrie and carefully saving all the shavings and off-cuts.
On subsequent days he foraged further and gathered a good sized stash of discard timber. And on Christmas Eve he made a fire. Twelve thousand miles from home, on a desert island where there are no naturally occurring trees, on the barren roof of a sky-scraper, this bushman made a fire! He lit that fire with a flint which he had brought from home. He and his wife. Not because they had a particular yearning for chicken flown in from who knows where and cooked on an improvised grill and reeking of pine resin. After all, they could afford to have the finest of meals, in the finest restaurant Bahrain has to offer.
Having bid each other Peace Profound, we hung up, he no doubt continuing with his braai, and I was left to ponder, as usual. Later, when the household had retired, I wandered around, eventually ending up with the dogs outside. Being a rainy festive season there was a chill in the air, so I made a small fire.
Just a teeny flame licking at the hardekool. Barely a sigh of the oxygen burning. Just a whiff of Africa coming to the nostrils, connecting to the umbilical cord of common humanity. No stars visible, on account of the clouds. Just the bullterrier and I.
And presently a sense of understanding came over me. Not a revelation, but a shimmering awareness. A vague understanding that through the ritual of making a fire I had somehow asserted my infinitesimal presence in the vastness around me. Yes I thought, I made that fire in order to discipline my emotions, to focus my mind, to stave off the creeping fear. And to mark myself visible.
Just like the little Bushman- girl did in Edna Quayle's story of the Wood-ash stars. And like the urbanites do in their strange rituals in the concrete jungle. And like Willem did on that skyscraper. I sensed a strange synergy between us, woods people and urbanites. Knowing that we are somewhere, even in the vast expanse of the universe, instills a glimmer of hope.
Somewhere is not nowhere, and as long as you are somewhere you are not lost. Being somewhere implies the possibility of being found, or of being able to find. And it eventually leads to the realization and appreciation of the efforts at survival of those around you, however slimy and slithering they may have seemed before.
Of course I immediately realized that Willem would not in a thousand years accept the notion of ritualistic equality in the antics of a punk-rocker with green hair doing his thing, and us simple folk going hunting.
For a fleeting moment I imagined that I was beginning to comprehend something of the grail of urban survival, when my daughter materialized and sat down opposite me.
"Oh, there you are", she said.
"Yes, here I am," I thought.
Last edited by Observe; 09-14-2018 at 10:53 AM.
On a hike through the bush, he came across a young bull elephant standing with one leg raised in the air. The elephant seemed distressed, so Dan approached it very carefully.
He got down on one knee and inspected the elephant's foot and found a large piece of wood deeply embedded in it.
As carefully and as gently as he could, Dan worked the wood out with his hunting knife, after r which the elephant gingerly put down its foot.
The elephant turned to face the man, and with a rather curious look on its face, stared at him for several tense moments.
Dan stood frozen, thinking of nothing else but being trampled. Eventually the elephant trumpeted loudly, turned, and walked away.
Dan never forgot that elephant or the events of that day.
Twenty years later, Dan was walking through the Chicago Zoo with his teenage son.
As they approached the elephant enclosure, one of the creatures turned and walked over to near where Dan and his son Dan Jr. were standing.
The large bull elephant stared at Dan, lifted its front foot off the ground, and then put it down.
The elephant did that several times then trumpeted loudly, all the while staring at the man.
Remembering the encounter in 1986, Dan couldn't help wondering if this was the same elephant.
Dan summoned up his courage, climbed over the railing and made h is way into the enclosure. He walked right up to the elephant and stared back in wonder.
The elephant trumpeted again, wrapped its trunk around one of Dan's legs and slammed him against the railing, killing him instantly.
Probably wasn't the same elephant.
And it workS as a practical hunting tool in real life as well !!
Well, that Elephant story certainly took an unexpected turn.
Yeah, I read it to my wife and she was just about to tear up and then Dan got smashed into the railing.


The Brother Group (hereafter referred to as the Company) has published the Brother Group Global Charter as its foundation for all Brother Group activities in the global marketplace. It proactively discloses information in a fair and highly transparent manner to build a long lasting relationship of trust with all of its stakeholders, including customers, employees, business partners, shareholders, and local communities, and to stay environmentally responsible. The Company also strives to enhance its corporate value continuously through various communications with its stakeholders.
The Company discloses information swiftly in an accurate and fair manner in compliance with laws and the regulations of the financial instrument exchanges, in which it is listed. The Company also discloses information that is not subject to disclosure requirement under the current laws and regulations actively when it concludes that disclosure of such information is beneficial to deepen its stakeholders' understanding of the Company's management policies and business activities.
Information pertinent to the Timely Disclosure Rules will be disclosed via the timely disclosure information transmission system (TDnet) provided by the Tokyo Stock Exchange in compliance with those rules.
The Company also makes effort to communicate information not pertinent to the Timely Disclosure Rules to its investors as accurately and impartially as possible through an appropriate method corresponding to the purpose of the timely information disclosure.
In order to prevent divulging of financial results and to secure fairness of information disclosure, the Company stipulates the period starting on the following day of the quarterly accounting period until the date of the release of financial results to be the Silence Period in general. During the Silence Period, the Company declines to comment, answer a question, or respond to an interview concerning financial results. However, it will disclose information in a timely and appropriately manner even during the Silence Period in the case in which a significant difference between the forecast and actual results is expected occur.
The Company may disclose information or make a comment on its future business strategy or financial forecast in its press release, on its website, at a financial results briefing or during a Q&A session at a meeting with an analyst or investor. Of this information, information/comments that are not historical facts are based on the Company's view made in light of the information available at the time of the release of such information/comments. Thus, it is subject to risk or uncertainty.
Actual financial results may differ significantly from a forecast due to factors surrounding the Company, including economic trends, market trends, exchange rates, interest rates, or a change in a taxation system or other regulations.


Jira + Gtmhub Integration For KPI and OKR Automation.
Gtmhub's Jira integration can automatically update the progress of your KPIs and OKRs feeding from Jira, which means you can view progress in real-time, every time.
The count of epics, stories and bugs that are done in the selected date period.
Average age of stories that are not done. Value is in days.
Average age of epics that are not done in days.
The number of stories in progress.
The sum of story points in progress.
The sum of story points of all completed stories in a given time period.
The total count of open (not started or in progress) bugs.
The total count of open (not started or in progress) critical bugs.
The total number of closed bugs in a given time period.
The total number of new bugs opened during a given time period.
The total number of new critical bugs opened during a given time period.
Average amount of time it takes a bug to be closed since it is opened, in days.
Average amount of time it takes a critical bug to be closed since it is opened, in days.
The total count of open (not started or in progress) epics.
The total number of closed epics in a given time period.
The number of items assigned to the person with most items in a given time period. Show also the name of the person.
The number of items assigned to the person with least items in a given time period. Show also the name of the person.
The sum of story points assigned to the person with most story points in a given time period. Show also the name of the person.
The sum of story points assigned to the person with least story points in a given time period. Show also the name of the person.
The average number of items per person in a given time period.
Average number of story points assigned per person for the selected time period.
The count of stories and bugs that have been in progress more than 7 days.
The count of epics, stories and bugs that are in the backlog.
The count of epics, stories and bugs that are in the backlog created in the selected time period.
The count of epics, stories and bugs that are in the backlog, which do not have estimate.
Calculates weekly velocity of stories and bugs in terms of number of delivered items per week for the selected date range.
Calculates weekly velocity of issues and bugs based on story points assigned to them. Filters the results based on selected date range.


These instructional videos provide guidelines for field sample collection for DNA analysis. The information contained in these videos is only a guideline. Pilot studies on storage and extraction of DNA are recommended before anyone initiates the collection of samples for genetic based projects.
Full Version: It indicates how dry and fresh samples should be collected. It also gives details on collection of scats and swabs from carcasses.
Solid samples: Guidelines for the collection of hairs, feathers, eggshells, processed products and fresh tissue.
Carcasses: Guidelines for collection of swabs from carcasses in predator identification cases.
Scats: This segment concentrates on the different methods of preserving and collecting DNA from scats.


So then why even have big heavy guitars if there are no benefits to them?
Brightest guitar I have is a 74 hagstrom Swede. It's sold. And HEAVY. it's the second one I've had both were heavy and bright.
I had a 70's tele deluxe that weighed a ton and was also super bright.
That video is interesting. The added weight adds volume, transients and brightness. None of those things are necessarily what I want.
some folks feel heavy guitars have qualities they are looking for which is fine if its been their experience, its just not mine.
hard to know how it all came about, were Les Pauls deliberately made heavy or was it a by-product of design, choice of wood and cost saving involved by not chambering a otherwise solid piece of wood. who knows ?
going by my own admittedly limited experience with heavyweights they always feel acoustically dead I know that should'nt matter pluged in but it does somehow alter the feel of a guitar.
It's a hard thing to prove because there are so many things that come into play, that and some people simply aren't very good at noticing differences in tone ...ask someone with a very untrained ear like your wife and they think all guitars sound exactly alike.
and this one here is just me jamming with my Epiphone LP, regardless of the pickup, cheap or expensive it still sounded fat and awesome.
Things aren't made just for benefit. But you cannot make a simplistic judgement about benefit, as that implies some rather poorly formed view of what constitutes a global 'benefit' to any one or all players.
Plus - all guitars have a range of weight due to the variability of wood. The heavier ones exist simply because there are not all light blanks of wood. The lightest Les Pauls weigh the same as some heavier strats, so its not like the LP was made only to be heavy. And despite a lot of thought behind the construction and choices of wood for tone, it certainly wasn't a weight related situation.
I agree older, heavier Les Paul without weight relief sound much thicker and better.
I agree with OP. I've owned around a dozen LP's over the last 41 years. My No.1 was used for approx. 20 years and it was a 25/50 Anniversary Custom that was nearly 11 pounds and it sounded amazing. I finally couldn't take the weight any more and bought a 2001 R8 that was barely over 8 pounds thinking it would be the perfect guitar. Wrong. It totally lacked that "compression/thickness" for want of a better word. Since then I've bought and sold about 10 Historic les Pauls from 8 pounds to 10 and I've concluded (for my taste) around 9 pounds is the sweet spot. That's as heavy as I want to do two sets with and they still have balls at that weight. My current 2016 R8 weighs 9 pounds on the nose and I'm satisfied all the way around with it. I know many guys will argue that their sub 8 pounder sounds like Thor's hammer and good for them but that has not been my experience with LP's. YMMV.
As a nearly exclusively LP guy for decades I believed the same thing...until I picked up an SG. By far the smallest and most delicate guitar I've ever played, yet the damn thing sounds huge and sustains for days. I still prefer the feel of my LPs, but I'll never doubt the tone of an SG ever again.
How much does your SG weigh?
6-7 pounds. It feels like a boat paddle compared to a full-bodied LP.
Good question, I've never weighed them (I have two, a 2007 '67 reissue and a 1986 '62 reissue). Probably around 7 pounds would be my guess, as @northernguitarguy said.
Boat paddle pretty much sums it up. After playing LPs for years, the SG definitely took some getting used to. Good fun though.
Semi hollows typically don't sound as thick as a Les Paul. But a Tele is a solid body and sounds really twangy.
So I guess I have no idea.
My SG is lighter than a hollowbody- I swear the wood resonates differently on a featherweight.
But I still stand by my point that heavier guitars have certain characteristics that light guitars don't and vice versa.
Thats ok.....I have guitars that completely contradict your findings.....as do many others. But you have to see the world the way you want to otherwise maybe the chaos of variability in all things might lead to a spiral into madness.
I find the slab body guitars do sound a bit different to the maple on top ones.


Seeing as I couldn't find any instructables on this, I decided to start an instructable on how to make your own podcast and get it discovered by the world!
Step 1: Come Up With an Idea!
The first step in creating a podcast is... coming up with an idea for the podcast! You should probably talk about something that you're interested in. Whatever you choose, make sure you have a lot to say about whatever topic you choose.
So, you're going to need a microphone to record your podcast. It doesn't matter how good it is! You can use a really expensive microphone, or a really cheap one. I use a cheap headset mic that I got for $15. You're also going to need some sort of audio editing software. The one I use is Audacity, but if you have a Mac, you can use GarageBand. If you're willing to shell out the cash, you can get Adobe Audition. Now, all of these programs can record audio into your computer box thingy, so you don't need anything else to record. Also, to be a little less of a douchbag, you may want a pair of headphones.
Now, you want to edit your podcast! You can use the same software that you used to record to edit your podcast, but you'll want to edit music into your podcast as bumper music or intro music, etc. A good place for license-free music that you can use is Freeplay Music, who also have some sound effects to use as well. You could also search for sound effects to use and Broadcast Production Music to use in your podcast.
Step 4: Publish Your Podcast!
This is a very important step. You're going to want to publish your podcast so that people can listen to it! To publish a podcast, you'll need to create a blog on a site such as Blogger or WordPress. Publish your podcasts onto your blog in an mp3 format, and spread the RSS feed around for people to pick it up!
Using the RSS feed, go to FeedBurner and enter the RSS feed into the podcast section and use the SmartCast function to optimize your feed for podcast aggregators like iTunes. Go into iTunes and in the podcast sections, you can submit your own podcast. use the FeedBurner RSS URL and use that as the URL, and wait for the podcast to show up (This should take about 3-7 days) and voila! You've got a podcast!!!
I doubt you would know this but I have a question. Me and my computer teacher are working on a website and using strictly HTML. The only thing we are having trouble with is RSS. Since we aren't using a premade template like Blogger, we have no idea how to do RSS with HTML. Any help?
Just fill in the relevant fields with your information.
P.S. Nickelodeon, please don't sue me!
Good instructable, but I would go more in-depth with publishing to iTunes, because you need special tags in your feed for iTunes to pick up on. I would also include this link on how to make a compatible podcast to publish to iTunes.


None of the key elements that business wanted removed have been amended, nor changed in any significant manner in the Bill, reported back to Parliament.
At least 2500 businesses submitted, presented to the select committee or contacted Government during the consultative process, to voice their concerns and give tangible examples of how the changes would negatively impact their operations.
Our Fix The Bill campaign run jointly with our three, sister regional organisations, resulted in at least 2254 emails being sent to Government MPs seeking clarification on how the changes will help their business succeed.
The EMA and fellow regional associations actively lobbied and campaigned for four key areas to be modified, as it believed these aspects of the Bil will not deliver to the Government's stated aims of a high wage and high performing economy, nor help businesses to be more productive.
Yet, these have not been listened to in any substantial manner and it would appear ideology has over-ridden the practical realities of operating a business.
Employers with 20 employees or more will lose the right to include 90-day-trial periods in employment agreements.
However, findings from a nationwide survey of employers found that the 90-day trial periods were useful for businesses of all sizes, to give prospective employees a chance.
Businesses will be forced to settle collective agreements, even if they don't or can't agree.
Union representatives will be allowed access to workplaces without permission.
With more than 50 per cent of New Zealand businesses employing fewer than 100 staff, the EMA is deeply worried that the changes in the Bill, combined with the raft of other legislation in the pipeline, will unduly burden smaller operators.
Throughout this process the EMA has been puzzled by how any of the proposed changes to the industrial relations framework will take the country forward in terms of the Government's goal of developing a modern, nimble and high performing economy.
Thanks to those members who participated in EMA's Fix the Bill campaign. Please let us know the critical issues for your business and we will work with partners to keep in front of the politicians. Email janine@businessnh.org.nz with your comments.


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The song was titled "I Just Wanna Dance ," released on their first album. Commercial success and side projects[ edit ] The band released their second album, Strawberries and Cream , in April III, and were aiming for a mid release. In September , the band composed "Dick Figures: On the week of February 15, , Starbomb , the group's eponymous album, would hold the 1 spot in Comedy Albums for 4 consecutive weeks.
On March 4, , Under the Covers was released to the public. Under the Covers albums and Cool Patrol[ edit ] On February 23, , a music video was released for their cover of " Take On Me "; the video for their cover of " Everybody Wants to Rule the World " was released one week later, on March 1, On the week of May 4, , the album debuted at 9 on Billboard 's Comedy Albums charts. On the week of February 15, , Starbomb , the group's eponymous album, would hold the 1 spot in Comedy Albums for 4 consecutive weeks. They also released the music video for "Why I Cry" during the concert. Later that day, they confirmed that most of Cool Patrol's post-production was completed, with the band aiming at a "probable July release" which would be preceded with two new original song releases in the meantime. The song featured an appearance by animator and Internet personality Arin Hanson. III, and were aiming for a mid release. II , and its release date of October 27, Commercial success and side projects[ edit ] The band released their second album, Strawberries and Cream , in April It includes many of their songs released via YouTube. On October 11, , they announced that fans can pre-order a deluxe signed version or a deluxe unsigned version, both including posters. The next day, they released a music video for their cover of " Pour Some Sugar on Me ". On October 2, , the band announced that their Rock Hard Tour was complete, and thanked everyone who participated in the tour. In September , the band composed "Dick Figures: The following day, they released the official track listing for the album. It was one of the top 20 best-selling albums on Amazon. The video featured actor Finn Wolfhard , a friend of Avidan since he had appeared on Game Grumps in January and a fan of the band, as a younger Danny Sexbang. Formation and early career[ edit ] Avidan performing in his previous band, Skyhill Avidan, who previously sang in bands such as The Northern Hues and Skyhill, initially conceptualized the band. The song was titled "I Just Wanna Dance ," released on their first album.
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Mirisar says:
They also released the music video for "Why I Cry" during the concert.
Samur says:
Under the Covers albums and Cool Patrol[ edit ] On February 23, , a music video was released for their cover of " Take On Me "; the video for their cover of " Everybody Wants to Rule the World " was released one week later, on March 1,
Mazuzshura says:
The video featured actor Finn Wolfhard , a friend of Avidan since he had appeared on Game Grumps in January and a fan of the band, as a younger Danny Sexbang. On the week of May 4, , the album debuted at 9 on Billboard 's Comedy Albums charts.
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Watch The Head Online
Ten scientists trapped in a mobile science laboratory at the South Pole realize that one among them is a killer.
Director: Àlex Pastor, David Pastor
Actors: Alexandre Willaume, Álvaro Morte, Andreas Rothlin-Svensson, Chris Reilley, Hannes Fohlin, John Lynch, Katharine O'Donnelly, Laura Sofia Bach, Richard Sammel, Sandra Andreis, Tom Lawrence, Tomohisa Yamashita
Studio: The Mediapro Studio
Networks: HBO Asia, Hulu Japan
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text:
Q: How do I change App catalog for a web application? In Central Administration, I created an app catalog for my Web application at an URL: https://mysharepointsite/sites/appcatalog
When I click the link and try to access the App catalog, I get errors that the App catalog site is not working (our custom master page is missing etc.).
Can I simply delete the created site collection in CA and then assign a new App catalog url in app catalog settings? Or is there some other preferred way to change App catalog for a Web application?

A: Yes, if you delete the existing app catalog site collection then when you revisit the management page you will be presented with the option to choose a new one.

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Known as one of the famous places to view Shibazakura (moss phlox), the 4.1 hectare Misato Shibazakura Park entertains many vi..
Not too far from Tokyo in the northern Kanto area, Gunma can be described as an adventure playground of sorts – skiing, snowboarding, hiking and canyoning (in the Minakami area) provides adrenaline seekers things to do year-round.
Its mountains, ski slopes in the winter, become excellent hiking trails in the summer. Gunma is also the site of some of the nation's best hot springs, the most notable being Kusatsu Onsen; its Yubatake (hot water field) is a must-see. The Old Tomioka Silk Mill was added to the list of World Heritage Sites in 2014.
Gunma is also famous for its daruma dolls, the traditional Japanese good luck charm.
By far the best time to really enjoy bathing in hot springs is during the winter, and so, desperate to check out why Japan is so famous for its onsens, I headed to Kusatsu in Gunma prefectur..
Minakami in Gunma Prefecture is known as the outdoor adventure capital of Japan. With every season offering challenging and rewarding thrills like skiing, rafting and paragliding, it's no..
Maebashi is a city located in Gunma Prefecture in the northern Kanto region of Japan. As the capital of Gunma Prefecture, the Maebashi area is an urban region with over a million people. Due to..
A Journey through Maebashi, Gunma and fermentation processes in meats, cheeses, sake and more.
Dining at Minakami Kogen Hotel 200 is tasty and reasonable. Enjoy an impressive Japanese/Western buffet, simple Japanese classics,..
In the hot spring resort of Kusatsu in Japan's Gunma Prefecture, Souan Cafe is a small, charming place for lunch or a snack.
Here are 10 tips to make your stay at the Minakami Kogen Hotel 200 the best it can possibly be.
Located only two hours from Tokyo, the Minakami Kogen Hotel 200 offers an impressive variety of activities in every season and is..
Kusatsu is one of the most famous onsen places in Gunma. Each year, international and Japanese tourists flow to the town to try..
Fukiware Falls are about 20 minutes from Numata center. This place, if you are in Gunma prefecture, is a must. Japanese people call..


text:
The Real Story Of Michael Oher, The Man Behind 'The Blind Side'
When the film The Blind Side made its debut in 2009, it was an instant success and even scored an Oscar nomination for Best Film. However, it didn't satisfy the person that the film was based on. The real Michael Oher felt the movie didn't truly represent his life. Why?
1. A Different Personality
The movie portrays Michael Oher as a reserved, overly serious, and even uptight person. But in fact, Michael Oher is quite the opposite - he never takes himself too seriously. When he has to do something to excel at his sport, he does it with a smile and a roaring laugh.
2. Oher's Life Before the Tuohy Family
In the film, Oher had been homeless and lacked any real family. But he actually comes from a large family with parents and 12 children. However, his mother neglected them in support of alcohol and drugs. Meanwhile, his father was in jail and was eventually murdered there.
3. When Oher Met the Tuohy Family
In the film, when the Tuohy family first encounters Oher left out in the rain, their relationship begins. In fact, the family did not pick him up at that moment. Some time passed, Leigh Anne visited Oher at his new school and bought him new clothes. The transition came gradually.
4. Leigh Anne Tuohy's Day Job
In real life, Leigh Anne Tuohy worked as an interior designer for the Washington Redskins quarterback, Patrick Ramsey. In the film, the fact is not mentioned outright, but Leigh Anne did mention Patrick Ramsey. It was just a well-hidden Easter egg.
5. Racial Tension
In the film, race is mentioned several times, though, the matter receives only cursory attention. In real life, there was a lot more at stake. The Tuohy family were not so pleased to adopt Oher as they tended to be racist at times. Still, Oher managed to fit in with the family well.
6. The True Story Behind His Mentor
In the film, the nurturing Leigh Anne Tuohy ultimately instills in Michael Oher an instant love for football. While Leigh Anne did play a major role in shaping the young football star, Oher did not gain all his training and all he needed to learn about the sport from her.
7. When Michael Met Sean
In the film, Sean Tuohy first meets Oher at one of Collins' volleyball games where Oher is cleaning up the rubbish left behind by hungry spectators. In real life, Sean first met Oher at his school. He then dropped in to make sure that Oher wouldn't go hungry there.
8. Michael's Time at Briarcrest Christian School
In the film, the reluctant teachers instantly change their mind about allowing Oher in when they witness how he manages to open up to them. In reality, he had to complete some rigorous academic assignments before he could be officially admitted.
9. More Concerns from Oher Himself
To this day, Michael Oher is not a huge fan of the film because too many view him as the player the movie portrayed. To his dismay, few people see him as he wants to be seen: a serious athlete who came a long way to achieve what he once thought was an unreachable dream.
10. The Truth Comes Out
In 2011, Michael Oher penned an autobiography, "I Beat the Odds: From Homelessness, to The Blind Side, and Beyond". In it, he gives a more thorough look into his childhood, corrects the misconception the film portrayed, and expands upon some stories that the film left unresolved.
11. A Legacy for a Champion
The Blind Side not only made a name for itself at prestigious award events like the Oscars, but it broke a significant record at the box office. Produced on a budget of less than $30 million, the film ended up grossing $309.2 million at the box office - the highest grossing sports film of all time.
12. Sandra Bullock Almost Was Not Leigh Anne Tuohy
Sandra Bullock won an Oscar and Golden Globe for her exemplary performance as Leigh Anne Tuohy. But she declined the role several times for religious reasons, until she met the real-life woman. Other choices for the part included Julia Roberts, but she too felt it was not right for her.
13. Sandra Bullock's Biggest Break Yet
Sandra Bullock was a nobody when she starred in The Blind Side, though she already had plenty of credits to her name. The movie pushed her into stardom, coming along with some major awards and a percentage of the staggering $300 million profits.
14. Sandra Bullock Cares for Michael Oher
Sandra Bullock actually still plays quite the role in Michael Oher's life. She is incredibly enthusiastic about Oher's progress as a football star and cheers him on. Sandra checks in on Oher from time to time, and can be found at many of Oher's games.
15. Quinton Aaron as Michael Oher
The film's lovers and devout football fans can see how Quinton Aaron might pass as the football legend Michael Oher. They have the same build, are pretty close in height, and even close in age with Quinton Aaron being born in 1984 and Michael Oher in 1986.
16. From Security Guard to Hollywood Actor
Believe it or not, Quinton Aaron was actually a security guard when he was cast as Michael Oher, his first lead role. He didn't expect to land the role. When he auditioned, he gave his business card to director John Lee Hancock, offering to provide security services on the set during filming.
17. Mighty Preparation for a Mighty Role
To ready himself to play a convincing Michael Oher on the big screen, Quinton Aaron did plenty of work. He trained with a real, top-notch college football team and lost 100 pounds in just three months to get in shape for the role. Aaron had "done everything" to prove he was fit for the part.
18. Firsts for Quinton Aaron
Playing Michael Oher brought Quinton Aaron some firsts in his life. For the first time, he played a leading role in an Oscar-nominated film; for the first time, he flew on an airplane when second auditioned for the part; for the first time, he visited the sparkling city of Los Angeles.
19. Close to Reality
The movie is filled with plenty of special cameos. Many of the coaches portrayed in the film are actual coaches, including Michael Oher's real-life high school football coach. Other cameos played by actual people involved in the story of Michael Oher include the real S.J. Tuohy.
20. Doubts from Briarcrest
Briarcrest Christian School authorities were not enthused about the school's name being used in the film. They worried that it would sour the school's reputation as the teachers were shown to dismiss Michael Oher's academic abilities in the film. But in the end, the film did not dishonor the school's name in any way.
21. The Book that Inspired It All
The movie was inspired by a book written by Michael Lewis, entitled "The Blind Side: Evolution of a Game". It actually told the story of the lives and careers of someone other than Michael Oher. Michael was only one part of the book's storyline.
22. Wunderbar Blind Side
Before a film is released, it's often only known by its working title in order to disguise its identity. In the case of The Blind Side, movie theaters gave it a very vague German title, Wunderbar, which means "wonderful" in English. Were they already anticipating the film's success?
23. Picture Perfect
On Thanksgiving Day, the Tuohy family gather at a crowded table in a warm house and share a big family meal. When Leigh Anne went to set down the turkey, the scene suddenly resembles the famous painting, Freedom from Want. Intentional or not, it definitely captured a nice moment of family togetherness.
24. Memphis in Georgia?
The film as well as the real life story of Michael Oher took place in Memphis, Tennessee. But sharp-eyed viewers might have noticed that in one scene, while at the Big and Tall store, Leigh Anne and Michael walk past a sign that says "Georgia Lottery PLAY HERE." Strange...
25. Timeline Troubles
During the scene at the recruiting office, Tom Lemming is given a DVD of Michael Oher that is resting atop a magazine with football player Bryce Brown on the cover, showing him playing in the Army All-American game of 2009. However, the film takes place in 2003 and 2004 and back then, Bryce Brown was only 12 and 13.
26. Date Discrepancies
A few more time discrepancies are to be found in the movie. For example, in the film, Sean Tuohy is shown using the Safari browser on a Windows operating system, which only became available in 2007. Another example is with the car Leigh Anne drives, a BMW 750LI, which only came out in 2006.
27. No Privacy
In real life, only legal guardians or those with power of attorney are provided access to a student's files. But in the film, Leigh Anne, who had not legally adopted Michael Oher yet, was given access to his files at his school in order to monitor his progress.
28. Waterloo Whoops!
In the scene where Michael is shown taking a history test, the camera shows a question about the Battle of Waterloo and where it happened. Michael answered that it took place in Germany and the teacher marked this answer as the correct one. In reality, it took place in what was then The Netherlands and now Belgium.
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Volunteer at The Frank Bette Center for the Arts.
Volunteer shifts are usually three hours (11am-2pm) and (2pm-5pm) from Thursday-Saturday. We try to have more than one volunteer at the center for every shift.
Orientation and training will be provided. If you have any questions feel free to email me.
Existing Volunteers please use SignUp.
Note: SignUp.com does not share your email address with anyone. If you prefer not to use your email address, please contact Ros Harper at 510-299-4023 and she can sign you up manually.
Looking to make a difference right here in Alameda? Join other people just like you who love the arts and want to support creativity and nurture arts in our community. As Frank Bette Center continues to grow, we rely on our volunteers to help us keep things running smoothly. Volunteers play an essential role in inspiring and engaging the patrons who visit the Center each year. Whatever your skills, interest or time availability, we invite you to explore our volunteer opportunities and discover the right program for you.
The Center depends on a committed group of dedicated member volunteers to fill a variety of positions and to participate in a wide range of activities and events vital to the successful operation of the Center. Training is available. To get involved, review the many volunteer opportunities.
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Facilities Director: Oversees all interior and exterior building maintenance activities related to the Frank Bette Center. Coordinates with other Directors to ensure that the building meets federal, state, and city regulatory codes for commercial buildings. Participates as an active member of the Board of Directors in strategic planning and governance of the center. Download complete description. Application. Directions for Application.


Ramada by Wyndham Brisbane Windsor is conveniently located very close to the Royal Brisbane Hospital, Exhibition Grounds and only 3k's to Brisbanes CBD. The beautifully appointed rooms, with five styles to choose from, have all the mod/cons you would expect as have the two function rooms(seating fifty) and the boardroom (seats ten). There is no need to leave the property as the award winning Va Bene Italian restaurant can cater for all of your needs.


text:
Q: on setState render a new component I have an analog clock
using
https://github.com/zackargyle/react-analog-clock
I have a textbox that fetches city name and timezone on autocomplete,

*

*Default clock2 loaded with offset +8

*On select of city in textbox

*Fetch City Name

*Fetch Timezone

*Re-render the clock2

How can I code that?
 public render(): React.ReactElement<Props> {
    return (

            <AnalogClock theme={Themes.light} width={120} gmtOffset=${this.state.gmtoffset} />

            {this.state.wxLoc}

);

I attempted

this.showClock2(this.state.gmtoffset);
////////////////////////

private showClock2(offset="+8"){
  let show=`<AnalogClock theme={Themes.light} width={120} gmtOffset=${offset} />

  {this.state.wxLoc}`;
  return show;

}
//other codes

public render(): React.ReactElement<Props> {
    return (

            {this.showClock2()}

);

it shows Literal Code, Is it possible to Render the <AnalogClock/> ?

A: private showClock2(offset="+8") {

 ReactDOM.render(<AnalogClock theme={Themes.light} width={120} gmtOffset={offset} />, document.getElementById('root'))

}

Add  in the public render and it works


These rosemary walnut biscotti are one of my favorite recipes for a savory biscotti!
There is also a gluten free option for those who want to avoid wheat and wheat flour.
These rosemary walnut biscotti are also a great side dish for holiday dinners like Thanksgiving or as something to bring to a holiday gathering. Of course, you have to like rosemary like I do. I assume you could change the spice from rosemary to basil, thyme, marjoram or oregano? But I have never tried those options, so if you do, please let me know how they work by leaving a comment below!
You can also substitute pine nuts instead of the walnuts, maybe even cashews as both are fairly mild. Pumpkin seeds or pistachios may also be an option to add some festive color.
In a bowl of electric mixer, use the paddle attachment to blend the flour, ground cornmeal, baking powder and salt.
Add the egg, then the yogurt and beat on low speed until the mixture resembles a dough.
Add the butter, beating until it is just incorporated, then stir in walnuts and rosemary.
Turn the dough onto a lightly floured surface (like a wooden board), knead the dough several times and let it stand, covered with a kitchen towel for 5 minutes.
Halve the dough. Working on a buttered and floured baking sheet with floured hands (to keep dough from sticking to hands), form a log – it will be about 10-12 inches long, then press it down so it is a flat and 3-4 inch wide log. Arrange the logs at least 3 inches apart – try not to place too close to edge of baking sheet either!
Bake them in the middle of the oven (325*F – 25* less if making a gluten free version) and bake for 20-25 minutes (5 minutes less for gluten free version) or until they are golden brown.
Remove the baking sheet from oven, and let the logs cool for about 10 minutes. They should still be warm, but not too hot so you burn your fingers!
Transfer one log at a time, onto a cutting board. Use a serrated knife to cut the logs on a diagonal into 1/2 inch slices. Arrange the slices onto the baking sheet on their side – cut side down. Note – you may need another baking sheet for a few extras that won't fit.
Allow to cool for at least 30-45 minutes before placing into airtight containers. They also lay well into a big baggie, side-by-side, so you can transport them easier. Or place into a decorative tin to give as a homemade gift.
Enjoy these rosemary walnut biscotti instead of bread at your next holiday gathering!
Original recipe form Gourmet, December 1992 issue.


The design considerations for setting the value of the impedance for the conductor is typically the output impedance of the transmitter and the input impedance of the receiver. The impedance of other conductors (i.e. coaxial cables) in the circuit path will also need to be considered. The acceptable range (tolerance) for the impedance will need to be determined and taken into account during the design phase as well as when specifying the PCB parameters. In many cases merely by using software models to determine the anticipated impedance with particular dielectric materials . This is what we call "controlled dielectric". For more critical applications you will need to specify "controlled impedance" and supply the actual impedance requirements for the conductors . The impedance requirements will have to be specified based on the layer and the conductor widths.


text:
Considerations for Evaluating and Recommending Worker Productivity Outcome Measures: An Update from the OMERACT Worker Productivity Group
Suzanne M.M. Verstappen, Diane Lacaille, Annelies Boonen, Reuben Escorpizo, Catherine Hofstetter, Ailsa Bosworth, Amye Leong, Sarah Leggett, Monique A.M. Gignac, Johan K. Wallman, Marieke M. Terwee, Florian Berghea, Maria Agaliotis, Peter Tugwell and Dorcas Beaton
The Journal of Rheumatology April 2019, jrheum.181201; DOI: https://doi.org/10.3899/jrheum.181201
Suzanne M.M. Verstappen
From the Arthritis Research UK Centre for Epidemiology, Centre for Musculoskeletal Research, Faculty of Biology, Medicine and Health, University of Manchester, Manchester Academic Health Science Centre; UK National Institute for Health Research (NIHR) Manchester Biomedical Research Centre, Manchester University Hospitals National Health Service (NHS) Foundation Trust, Manchester Academic Health Science Centre, Manchester; Arthritis Research UK/Medical Research Council (MRC) Centre for Musculoskeletal Health and Work, University of Southampton, Southampton; National Rheumatoid Arthritis Society (NRAS), Maidenhead, UK; Department of Medicine, and the Division of Rheumatology, University of British Columbia, Vancouver; Arthritis Research Canada, Richmond, British Columbia; Institute for Work & Health; University of Toronto, Toronto; Division of Rheumatology, Department of Medicine, and School of Epidemiology and Public Health, Faculty of Medicine, University of Ottawa; Clinical Epidemiology Program, Ottawa Hospital Research Institute, Ottawa, Ontario, Canada; Division of Rheumatology, Maastricht University Medical Center, Care and Public Health Research Institute (CAPHRI), Maastricht; Department of Epidemiology and Biostatistics, VU University Medical Center, Amsterdam, the Netherlands; Department of Rehabilitation and Movement Science, University of Vermont, Burlington, Vermont, USA; Swiss Paraplegic Research, Nottwil, Switzerland; Lund University, Skåne University Hospital, Department of Clinical Sciences Lund, Rheumatology, Lund, Sweden; Carol Davila University of Medicine, Bucharest, Romania; School of Public Health and Community Medicine, University of New South Wales, Kensington, Australia. S.M. Verstappen, PhD, MSc, Arthritis Research UK Centre for Epidemiology, Centre for Musculoskeletal Research, Faculty of Biology, Medicine and Health, University of Manchester, Manchester Academic Health Science Centre, and NIHR Manchester Biomedical Research Centre, Manchester University Hospitals NHS Foundation Trust, Manchester Academic Health Science Centre, and Arthritis Research UK/MRC Centre for Musculoskeletal Health and Work, University of Southampton; D. Lacaille, MDCM, FRCPC, MHSc, Department of Medicine, and the Division of Rheumatology, Department of Medicine, University of British Columbia, and Arthritis Research Canada; A. Boonen, MD, PhD, Division of Rheumatology, Maastricht University Medical Center, CAPHRI; R. Escorpizo, BSc, MSc, DPT, Department of Rehabilitation and Movement Science, University of Vermont, and Swiss Paraplegic Research; C. Hofstetter, OMERACT Patient Research Partner; A. Bosworth, MBE, OMERACT Patient Research Partner, NRAS; A. Leong, OMERACT Patient Research Partner; S. Leggett, MSc, Arthritis Research UK Centre for Epidemiology, Centre for Musculoskeletal Research, Faculty of Biology, Medicine and Health, University of Manchester, Manchester Academic Health Science Centre; M.A. Gignac, PhD, Institute for Work & Health, and University of Toronto; J.K. Wallman, MD, PhD, Lund University, Skåne University Hospital, Department of Clinical Sciences Lund, Rheumatology; M.M. Ter Wee, PhD, MSc, Amsterdam UMC, Vrije Universiteit Amsterdam, Department of Epidemiology and Biostatistics, and Department of Rheumatology, Amsterdam Infection and Immunity Institute, Amsterdam Public Health; F. Berghea, MD, PhD, Carol Davila University of Medicine; M. Agaliotis, PhD, MSc, Australian Institute of Health Management Services, University of Tasmania; P. Tugwell, MD, MSc, Division of Rheumatology, Department of Medicine, and School of Epidemiology and Public Health, Faculty of Medicine, University of Ottawa, and Clinical Epidemiology Program, Ottawa Hospital Research Institute; D. Beaton, PhD, Institute for Work & Health, and University of Toronto. Address correspondence to Dr. S.M.M. Verstappen, Arthritis Research UK Centre for Epidemiology, Centre for Musculoskeletal Research, Faculty of Biology, Medicine and Health, University of Manchester, Manchester Academic Health Science Centre, Manchester, UK. E-mail: Suzanne.Verstappen@manchester.ac.uk. Accepted for publication March 22, 2019.
ORCID record for Suzanne M.M. Verstappen
Diane Lacaille
Annelies Boonen
Reuben Escorpizo
Catherine Hofstetter
Ailsa Bosworth
Amye Leong
Sarah Leggett
ORCID record for Sarah Leggett
Monique A.M. Gignac
Johan K. Wallman
ORCID record for Johan K. Wallman
Marieke M. Terwee
ORCID record for Marieke M. Terwee
Florian Berghea
ORCID record for Florian Berghea
Maria Agaliotis
Peter Tugwell
Dorcas Beaton
You are going to email the following Considerations for Evaluating and Recommending Worker Productivity Outcome Measures: An Update from the OMERACT Worker Productivity Group
Suzanne M.M. Verstappen, Diane Lacaille, Annelies Boonen, Reuben Escorpizo, Catherine Hofstetter, Ailsa Bosworth, Amye Leong, Sarah Leggett, Monique A.M. Gignac, Johan K. Wallman, Marieke M. Terwee, Florian Berghea, Maria Agaliotis, Peter Tugwell, Dorcas Beaton
The Journal of Rheumatology Apr 2019, jrheum.181201; DOI: 10.3899/jrheum.181201


Kate Phillips, who played mostly supporting roles on Broadway and in more than 50 films in the 1930s and '40s and who later was a co-writer of the 1958 horror film "The Blob," died on April 18 in Keene, N.H. She was 94.
The death was confirmed by Lawrence Benaquist, chairman of film studies at Keene State College. Ms. Phillips, known during her acting career as Kay Linaker, taught at the college from 1980 until two years ago.
In 1956, while working with Theodore Simonson on the script for a movie that was supposed to be called "The Molten Meteor," Ms. Phillips referred to the giant jellylike creature from another planet that had plopped into a field outside of a small town as "the blob." Overhearing her, the producers changed the name of what became something of a cult classic.
"The Blob" gave a fresh-faced Steve McQueen his first starring role, as one of two teenagers whose warnings about the voracious appetite of the enlarging monster are ignored until many people are engulfed.
"Both Steve McQueen and I were to receive $150 plus 10 percent of the gross," Ms. Phillips, an Arkansas native, said in an interview for the Encyclopedia of Arkansas History & Culture. "Neither one of us got the percentage -- and the film and its remake have earned millions -- but I got an important writing credit and Steve became a star."
In July 2003, Ms. Phillips traveled to Phoenixville, Pa., to celebrate the town's annual Blob Fest. As always, hundreds of B-movie fans raced out of the Colonial Theater, re-enacting the panic caused by a gelatinous creature in a scene filmed there almost five decades ago.
Although Ms. Phillips usually played small parts during her stage and film career, in 1936 she was cast in a leading role opposite Conrad Nagel in "The Girl From Mandalay," about a man who marries a resort entertainer after his sweetheart in England tires of waiting for him.
Another of her more notable roles was that of a society matron who marries the former husband of Ginger Rogers in the 1940 film "Kitty Foyle." In the movie she visits an upscale department store and is waited on by her working-class counterpart, unaware of what the two have in common. She had smaller parts in "Drums Along the Mohawk" (1939); "Blood and Sand" (1941); and five "Charlie Chan" movies.
Ms. Phillips graduated from New York University and got a film contract with Warner Bros. based on her work on Broadway.
During World War II, Ms. Phillips joined the Red Cross, serving as a hostess at USO clubs.
She also began writing for the Voice of America. About that time she met, and soon married, Howard Phillips, a singer and writer who later became an NBC television executive.


text:
Jeremias Epperlein 1,, and Vladimír Švígler 2,
Center for Dynamics & Institute for Analysis, Dept. of Mathematics, Technische Universität Dresden, 01062, Dresden, Germany
Department of Mathematics and NTIS, Faculty of Applied Sciences, University of West Bohemia, Univerzitní 8, 30614, Pilsen, Czech Republic
* Corresponding author
Figure(15)
A periodic behavior is a well observed phenomena in biological and economical systems. We show that evolutionary games on graphs with imitation dynamics can display periodic behavior for an arbitrary choice of game theoretical parameters describing social-dilemma games. We construct graphs and corresponding initial conditions whose trajectories are periodic with an arbitrary minimal period length. We also examine a periodic behavior of evolutionary games on graphs with the underlying graph being an acyclic (tree) graph. Astonishingly, even this acyclic structure allows for arbitrary long periodic behavior.
Keywords: Evolutionary games on graphs, game theory, periodic orbit, deterministic imitation dynamics, discrete dynamical systems.
Mathematics Subject Classification: Primary: 91A22, 05C57, 91A43; Secondary: 37N40.
Citation: Jeremias Epperlein, Vladimír Švígler. On arbitrarily long periodic orbits of evolutionary games on graphs. Discrete & Continuous Dynamical Systems - B, 2018, 23 (5) : 1895-1915. doi: 10.3934/dcdsb.2018187
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Figure 1. Regions of admissible parameters $\mathcal{P}$ with normalization $a = 1, d = 0$
Figure 2. Example of the graph $\mathcal{G}$ with parameters $p = 5$, $q = 3$, $r = 2$ and $s = 4$. Cooperators are depicted by full circles
Figure 3. Example of the graph $\mathcal{G}$ with parameters $p = 5, o = 4, s = 6, r = 1, q = 2$ with strategy vector $X(4)$. Cooperators are depicted by full circles. Note, that this graph exhibits periodic behavior as described in Section 3.2 for $(a, b, c, d) = (1, 0.45, 1.24, 0)$
Figure 4. Regions of parameters $o, q$ satisfying the inequalities (15)and (16). The regions are depicted for $(a, b, c, d) = (1, -0.45, 1.35, 0)$ and $p = 10$
Figure 5. Example of the graph constructed in the proof of Theorem 4.1 with an initial condition. The cooperators are depicted by filled black circles, defectors by white ones. The parameters are $r = 3, q = 6$
Figure 10. The example from Section 4.2
Figure 6. Illustration of the local situation in Lemma 4.2. Generally, nothing can be stated about the behavior of the cooperating neighbor on the left
Figure 7. Illustration of the local situation in Lemma 4.3
Figure 8. The function $f$ governing the shrinking and expansion of cooperation among the special vertices for $q = 8$
Figure 9. Development of the number of cooperators for the evolutionary game on the tree $\mathcal{G}$ in Section 4 with $r = 3$ and game theoretic parameters $(a, b, c, d) = (1, 0.7, 2, 0)$. On the left the tree has depth $q = 6$, on the right $q = 9$
Jeremias Epperlein, Stefan Siegmund, Petr Stehlík, Vladimír  Švígler. Coexistence equilibria of evolutionary games on graphs under deterministic imitation dynamics. Discrete & Continuous Dynamical Systems - B, 2016, 21 (3) : 803-813. doi: 10.3934/dcdsb.2016.21.803
Astridh Boccabella, Roberto Natalini, Lorenzo Pareschi. On a continuous mixed strategies model for evolutionary game theory. Kinetic & Related Models, 2011, 4 (1) : 187-213. doi: 10.3934/krm.2011.4.187
Anna Lisa Amadori, Astridh Boccabella, Roberto Natalini. A hyperbolic model of spatial evolutionary game theory. Communications on Pure & Applied Analysis, 2012, 11 (3) : 981-1002. doi: 10.3934/cpaa.2012.11.981
Eduardo Espinosa-Avila, Pablo Padilla Longoria, Francisco Hernández-Quiroz. Game theory and dynamic programming in alternate games. Journal of Dynamics & Games, 2017, 4 (3) : 205-216. doi: 10.3934/jdg.2017013
William H. Sandholm. Local stability of strict equilibria under evolutionary game dynamics. Journal of Dynamics & Games, 2014, 1 (3) : 485-495. doi: 10.3934/jdg.2014.1.485
Mohammadreza Molaei. Hyperbolic dynamics of discrete dynamical systems on pseudo-riemannian manifolds. Electronic Research Announcements, 2018, 25: 8-15. doi: 10.3934/era.2018.25.002
King-Yeung Lam. Dirac-concentrations in an integro-pde model from evolutionary game theory. Discrete & Continuous Dynamical Systems - B, 2019, 24 (2) : 737-754. doi: 10.3934/dcdsb.2018205
Mădălina Roxana Buneci. Morphisms of discrete dynamical systems. Discrete & Continuous Dynamical Systems - A, 2011, 29 (1) : 91-107. doi: 10.3934/dcds.2011.29.91
Hassan Najafi Alishah, Pedro Duarte. Hamiltonian evolutionary games. Journal of Dynamics & Games, 2015, 2 (1) : 33-49. doi: 10.3934/jdg.2015.2.33
Jeremias Epperlein, Stefan Siegmund. Phase-locked trajectories for dynamical systems on graphs. Discrete & Continuous Dynamical Systems - B, 2013, 18 (7) : 1827-1844. doi: 10.3934/dcdsb.2013.18.1827
Stefan Siegmund, Petr Stehlík. Preface: Special issue on dynamical systems on graphs. Discrete & Continuous Dynamical Systems - B, 2018, 23 (5) : ⅰ-ⅲ. doi: 10.3934/dcdsb.201805i
W.-J. Beyn, Y.-K Zou. Discretizations of dynamical systems with a saddle-node homoclinic orbit. Discrete & Continuous Dynamical Systems - A, 1996, 2 (3) : 351-365. doi: 10.3934/dcds.1996.2.351
Andrzej Swierniak, Michal Krzeslak. Application of evolutionary games to modeling carcinogenesis. Mathematical Biosciences & Engineering, 2013, 10 (3) : 873-911. doi: 10.3934/mbe.2013.10.873
Xueting Tian, Shirou Wang, Xiaodong Wang. Intermediate Lyapunov exponents for systems with periodic orbit gluing property. Discrete & Continuous Dynamical Systems - A, 2019, 39 (2) : 1019-1032. doi: 10.3934/dcds.2019042
P.E. Kloeden, Desheng Li, Chengkui Zhong. Uniform attractors of periodic and asymptotically periodic dynamical systems. Discrete & Continuous Dynamical Systems - A, 2005, 12 (2) : 213-232. doi: 10.3934/dcds.2005.12.213
Yves Achdou, Victor Perez. Iterative strategies for solving linearized discrete mean field games systems. Networks & Heterogeneous Media, 2012, 7 (2) : 197-217. doi: 10.3934/nhm.2012.7.197
Aleksandar Zatezalo, Dušan M. Stipanović. Control of dynamical systems with discrete and uncertain observations. Discrete & Continuous Dynamical Systems - A, 2015, 35 (9) : 4665-4681. doi: 10.3934/dcds.2015.35.4665
Karl P. Hadeler. Quiescent phases and stability in discrete time dynamical systems. Discrete & Continuous Dynamical Systems - B, 2015, 20 (1) : 129-152. doi: 10.3934/dcdsb.2015.20.129
B. Coll, A. Gasull, R. Prohens. On a criterium of global attraction for discrete dynamical systems. Communications on Pure & Applied Analysis, 2006, 5 (3) : 537-550. doi: 10.3934/cpaa.2006.5.537
Jean-Luc Chabert, Ai-Hua Fan, Youssef Fares. Minimal dynamical systems on a discrete valuation domain. Discrete & Continuous Dynamical Systems - A, 2009, 25 (3) : 777-795. doi: 10.3934/dcds.2009.25.777
Jeremias Epperlein Vladimír Švígler


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Silent Journey
Investment Update
UBCO's public offer ticks over $2 million.
UBCO are excited to announce that their current capital raise with , has recently ticked over the $2 million mark, thanks to over 140 investors.
Since their last capital raise in early 2017, UBCO has established a US-based office in Oregon, launched their road legal 2x2, and grown revenue to $3m (last 12 months).
UBCO will use the fresh equity capital being raised to fund new market expansion, launching into Europe in 2019, as well as supporting sales growth and product development.
"This is an incredibly exciting time for UBCO," says UBCO CEO and Managing Director, Timothy Allan.
"We've been seeing growth in all our markets, and are looking forward to launching into the EU. The 2x2 has previously been displayed at the National Ploughing Championships in Ireland and there is now a fleet of off-road 2x2's available to hire in the EU thanks to Electric Wheels Hire. So we are already gaining traction, and can't wait for our official launch into the market later this year."As for the success UBCO are seeing with their capital round, Timothy says, "We are very thankful for the support we are receiving through our Snowball listing, and are excited to see where it takes us."
Simeon Burnett, Snowball Effect's CEO & Co-founder, has been coordinating the public listing alongside UBCO and is pleased with the results.
"UBCO has received excellent interest and investment from experienced investors - they've been impressed with the progress that UBCO has been able to make to date, particularly in the US market, and clearly see the potential of the product globally as the EV market evolves."
UBCO's public offer is open until the 20th of April, with a max target of $2.5 million, so there is still time to invest if you want to get behind this kiwi innovation.


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The inside of Radford Road Church
Radford Road Church is a Local Ecumenical Partnership between the Methodist Church and the United Reformed Church. It was formed in 1992 by the joining together of Trinity Methodist Church and Spencer Street United Reformed Church.
This stained glass window over the entrance to the church shows, from left to right, the logo of the United Reformed Church, the open Bible, the empty cross, the dove of peace and the logo of the Methodist Church.
Shortly after the union of the two congregations extensive work was carried out to the building which had been used by the Methodists for 120 years. This resulted in creating an immediate pleasing impression of light, warmth, welcome and care all of which are conducive to worship. Further structural alterations, a few years later, involved the linking of the Hall and the Church and the modernisation of the premises which are now used extensively by various Church and other groups throughout the week.
Our congregation is drawn from all parts of Leamington Spa, Warwick and the surrounding villages. Some in our congregation have their origins in other parts of the UK and a small group are from the Caribbean.
As a Methodist Church, we are part of the Mid-Warwickshire Circuit and the Birmingham District. As a United Reformed Church, we are part of the West Midlands Synod. Some Church members retain their individual denominational membership whilst those who join by profession of faith receive joint membership of the two denominations.
.Click on the following headings for links to these websites .
Birmingham Methodist District
United Reformed Church West Midlands Synod
Church History Methodist Radford Road Church CV31 1NF


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Eternals VFX Supervisor Discusses the Movie's Focus on Beauty in a New Breakdown
Marvel's Eternals VFX supervisor Stephane Ceretti opens up about the MCU film's stunning visuals.
Scenes from Chloé Zhao's Eternals.
Gif: Marvel Studios
While Eternals is one of Marvel's most cosmically-oriented features to date, director Choé Zhao crafted the film with a distinct focus on emphasizing the Earth's natural beauty that first made the Eternals themselves fall in love with the planet. Finding a balance between the brand's big-screen spectacles and moments that feel "human" was one of the bigger challenges Zhao and the rest of Eternals' creative team faced, and in a new featurette, VFX supervisor Stephane Ceretti opens up about how they did that.
In the new video, Ceretti breaks down some of Eternals' flashier scenes—when Sersi, Sprite, and Ikaris all clash with the Deviant Kro one evening in Camden—and explains just how much digital artistry went into making the characters' powers and presences feel real. Believability in this scene, Ceretti described, was the biggest hurdle because of how technically complicated Sprite's illusion powers and Sersi's ability to transmute inorganic matter are, from a VFX perspective. "So, the premise was really mostly about trying to find the right dynamic—the right animation for the bus, and for Ikaris and Kro hitting it," Ceretti recalled. "So that was pretty important for us to know, you know, all the distance and speed for the bus, and where everybody had to be at that moment to make sure that everything was in its place."
Exciting as the Eternals' hand-to-hand fight with Kro was to nail, it was the way Sersi ends up saving a bus driver from death by transmuting his bus into a mass of rose petals that ended up pleasing Ceretti the most. Though a real bus was used to create the shot, Ceretti and his team were able to work with a digital model after the real thing was scanned, giving them the flexibility to throw it around before turning it into something completely new. "We tend to do a lot of destruction in our films, and this wasn't a moment like that," Ceretti said. "It was a moment of danger that transforms into a moment of beauty, and it's kind of magical and whimsical. It kind of makes the movie a little bit unique in that sense."
Read more from io9:
Everything You Need to Know About the Stars of Eternals' Big Post-Credits Scenes
[Review] Shang-Chi Brings Compelling New Heroes and Awe-Inspiring Action to the MCU
Meet the Marvel Stunt Performer Who's Helped Shape Kickass Superhero Fights
io9's Favorite Memories of Experiencing the Marvel Cinematic Universe
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[Review] Black Widow Is a Good Film, but It Has Flaws That Need Addressing
I Cannot Believe There's Really Going to Be a Morbius Movie
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[Review] Venom: Let There Be Carnage Is Frivolous, Forgettable Fun
io9MoviesMarvel


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Contemporary Arts Center 2013-2014 Exhibition Season
Editor . July 25, 2013
The Contemporary Arts Center (CAC) in Cincinnati, Ohio-one of the nation's oldest and most celebrated contemporary art institutions-announces the 2013-2014 lineup of exhibitions, museum anniversaries, and highlights the type of groundbreaking performances visitors can look forward to in the season ahead.
JR. Women Are Heroes, Brazil, 2013
Director Raphaela Platow explains, "The 2013-14 Season is at the nexus of three CAC anniversaries. The fall brings Zaha Hadid back to town (date TBA) to celebrate the 10th anniversary of the Lois and Richard Rosenthal Center for Contemporary Art. In 2014, the CAC turns 75 and new curator Steven Matijcio is planning a memory-inspired exhibition for the Fall 2014 Season Opening exhibition. Finally, in 2015, the CAC commemorates the 25th anniversary of its 1990 presentation of the controversial Robert Mapplethorpe exhibition, The Perfect Moment. In honor of the anniversary, the CAC plans to create a lively discourse on First Amendment issues in the arts today."
The CAC opens its season on September 21st with the first solo U.S. museum show of French street artist and TED Prize-winner JR, and local artist Joey Versoza. Early in 2014, new curator Steven Matijcio presents Buildering: Misbehaving the City. Matijcio explains, "'Buildering' is a term coined for the unsanctioned use of architecture – fusing the words "building" and "bouldering" into a rapidly growing movement that reformulates how we live our cities. Buildering will explore this phenomenon from a global perspective, gathering both established and emerging artists from around the world."
"This season many of our exhibitions relate to urban space and architecture and how artists and urban dwellers are re-imagining, reshaping and revitalizing urban space," concludes Platow. "This seems the perfect way to celebrate our 10th year in our remarkable building on a corner of our city that is now incredibly vibrant."
Below is the exhibition lineup for the CAC galleries during the 2013-14 season.
September 21, 2013 – February 2, 2014
Curated by Pedro H. Alonzo and the Contemporary Arts Center
The CAC presents world-renowned French artist JR's first solo museum exhibition, featuring more than a decade of work seen in public spaces around the globe. Describing himself as both an "urban artivist" and "photograffeur," JR has won international acclaim (including the 2011 TED prize) for postering arresting black & white portraits of local community members upon a variety of city surfaces. From buildings, favela walls and city blocks to stairs, bridges, trains and water towers, he re-humanizes the urban environment with the faces of those that live its spaces. Outside the often cryptic codes of graffiti, his photographic "actions" and global campaign of collecting (and publishing) peoples' stories move those on the margins into the mainstream.
This exhibition celebrates the breadth and ambition of what JR dubs "Pervasive Art." It reflects his interventions by way of wheat pasted images, photography, video projections, a large sculpture as well as an interactive photobooth. This booth will be housed in a van that travels to multiple locations across greater Cincinnati – giving a facelift to our city with/through images of its inhabitants. JR will also create new video projections for the exhibition and install a new work in the CAC lobby during the Member's preview at the September 20th opening. This exhibition continues the relationship with this important and inspiring artist, fashioning a bridge for the CAC to poster its city with the faces of its people.
The CAC produced this video featuring JR's artist talk and Inside Out project in Cincinnati in 2011.
A complementary exhibition opens at the Dallas Contemporary in January 2014. Curator Pedro Alonzo explains "The CAC exhibition explores the entire practice while Dallas is a large-scale intervention inside the space and all around the city."
Joey Versoza: Is This It
Curated by Justine Ludwig
Joey Versoza: Is This It draws its title from Michael Jackson's unrealized 2009 tour, This Is It. The exhibition, like its title, explores the proportionally large impact of simple alteration and presents popular culture as both personal and emotional. It also draws upon the veneration of cultural icons and the failings of this occurrence. Versoza's practice manifests as video, photography, and sculpture. From this array of media he creates a new body of work for the CAC that will function as a single installation.
The exhibition features a series of video clips appropriated from films. Versoza loops the clips and rescores them with familiar music tracks that cross genres. The result is the unearthing of hidden meanings and newly established connections. Also included in the exhibition are a series of digital photographs of found objects that appear as abstract, amorphous landscapes. Tying these elements together will be an array of installation elements that will organically decay and change throughout the run of the exhibition.
Versoza is a graduate of the Cincinnati Art Academy and has exhibited his work at The Contemporary Museum in Baltimore and in Cincinnati at Aisle Gallery, U-turn Art Space, Art Damage Lodge, and Publico.
Diane Landry: by every wind that blows
November 9, 2013 – March 2, 2014
Curated by Raphaela Platow & Steven Matijcio
Celebrated Canadian artist Diane Landry translates everyday items and mechanical systems into mystical meditations on life, death and our relationship with technology. Turning the mundane into the wondrous, everything from water bottles and laundry hampers to bed frames and plastic cutlery are imbued with unexpected life. Like a scrapyard version of Disney's Fantasia, Landry's automated actors expand the basic functions of her respective materials – allowing their shadows to dance hypnotically across gallery walls. Whether these works speak to the sins of disposable culture or the untapped promise of the everyday, her mechanized entities inspire a magical re-evaluation of the material world.
Landry's CAC exhibition will feature the U.S. debut of her newest installation Exhaustion, a chandelier-like form (made of plastic forks & knives) that floats up and down like a colossal jellyfish. The show also highlights some of her most notable works from the past decade, including swelling mandalas made from plastic water bottles and laundry hampers, as well as chiming bedframes and videos that measure time through the lens of the artist. As a special feature, Landry will perform one of these works during the November 8th opening – paddling a suspended canoe through plastic sheet waves high above the CAC lobby.
Michael Sailstorfer: Every piece is a new problem
March 20 – June 29, 2014
Curated by Steven Matijcio
Rising German artist Michael Sailstorfer continually expands classical notions of sculpture: marrying the unexpected weight of light, sound and smell with the airy flight of muscular mechanics. Inspired by the friction of opposites and the contrast between a work and its surroundings, he explains: "I'm really interested in what sculpture can be and how a sculpture can spread out and use much more space than it physically has." Tires burn against gallery walls, trees flip end over end and concrete light tubes hum in the ensuing fray. In the process, Sailstorfer fuses contrary elements into uncanny curiosities – creating a slew of possible readings that rub against one another like flint of, and for the psyche. Under the spell of playful incongruity he creates experiences that echo through both mind and body.
For his first major solo exhibition in the United States, Sailstorfer will present a series of his most striking installations that quietly, but urgently interrogate the CAC building. Forest turns a quartet of upended trees into the spinning dancers of a melancholic ballet, while Clouds lead our eyes upward to knotted inner tubes floating high above. The floor beneath takes its turn in the sun with Test Reactor as Sailstorfer embeds microphones into a series of resin spheres that reverberate with the vibrations of visitor footsteps. Alongside other sculpture and film, this show gathers "hard" and "soft" architectures – building and bodies – into a collective reimagining of our surround.
Buildering: Misbehaving the City
February 28 – August 24, 2014
"Buildering" is a term coined for the unsanctioned use of architecture – fusing the words "building" and "bouldering" into a rapidly growing movement that reformulates how we live our cities. Beyond acrobatics, vandalism and occupation, this practice becomes a metaphor for the creative misuse of built structure – denying the assigned/intended function of urban structures to re-open the possibility of alternatives. If we believe the premise that ideologies are implanted through the public's navigation of the city plan, then actions associated with buildering break the hypnosis of ritual and cultivate new freedoms – both physical and psychological.
Buildering will explore this phenomenon from a global perspective, gathering both established and emerging artists from around the world. Confirmed participants include Ivan Argote (Colombia), Egle Budvytyte (Lithuania), Michel de Broin (Canada), Didier Faustino (France), Shaun Gladwell (Australia), Iman Issa (Egypt), Antal Lakner (Hungary), Monika Sosnowska (Poland), Sebastian Stumpf (Germany), Lee Walton (USA) and Hector Zamora (Mexico). Collectively they will generate a playful, mischievous and lively show with strong socio-cultural underpinning.
Ryan Mulligan: A Dinosaur Says Moo
Opens September 2013
UnMuseum
Curated by Jaime Thompson
Cincinnati artist Ryan Mulligan is best known for absurd performances, stage set installations, cartoon-like paintings and sculptures that help him make sense of daily family life. As disarmingly humorous and non-threatening as they are, Mulligan employs these private playgrounds to tiptoe around often difficult personal subjects. His newest work for the Contemporary Arts Center's UnMuseum will follow in this vein, relating to his new role as father to a son who has recently been diagnosed with autism.
The installation begins with Mulligan re-imagining the family experience of mini golf to better understand how to respond to his son's physical and sensory needs. The result is a game that does not have structured routes to play, just random holes that have to be navigated without rules. Instead of a golf ball and club, visitors will be invited to use their own feet and a tennis ball.
Mulligan was born and raised in rural Virginia, and is now Assistant Professor of Art for the University of Cincinnati. His previous exhibitions include the Baltimore Contemporary Museum of Art, Indianapolis Museum of Contemporary Art, the University of Central Arkansas, Bradley University, and the Delaware Center for Contemporary Art.
Performance Curator Drew Klein will announce his second full season in July, offering a new subscription series for guests who want to assure themselves access to each performance. In the program's first year of limited programming, performances by Oakland-based Tune-Yards and Zola Jesus saw sold out crowds, while this year's offerings included a sellout performance by local folk/hip-hop group WHY?, and a world premiere of Jace Clayton's Julius Eastman Memorial Dinner. Drew just returned from Festival TransAmériques in Montreal and is excited to continue diversifying the offerings of the CAC performance program.
The CAC will also present red, black & GREEN: a blues (rbGb) in May of 2014, a visceral and moving hybrid performance work that brings the stories and voices of Black America into the center of a timely conversation about race, class, culture and the environment.
With passion and energy, intelligence and sweat, Marc Bamuthi Joseph and his fellow cast members lead the audience through four seasons in four cities -summer in Chicago, fall in Houston, winter in Harlem, and spring in Oakland. Within these literal spaces, the narrative exists in more poetic and ephemeral space, toggling between the realities of shotgun houses, subway cars, park benches, and father-son conversations, to more figurative spaces of collective memory, hallucination, dream and lament. (Also part of Power2Give).
PROGRAMS & EDUCATION
In celebration of the 10th Anniversary of the building, the CAC will host a Future Cities architecture symposium with DAAP on Saturday November 9th 9:30-6 pm. It will be free and open to the public and a TED-style event.
The CAC plans to continue partnering with OFFF (state of the art digital solutions conferences) and we are in discussion about next year's programs. The exhibition ON! (created during OFFF by OFFF artists) remains on view through September and is a wonderful exhibit for families to see this summer.
ABOUT THE CONTEMPORARY ARTS CENTER
Founded in November 1939 as the Modern Art Society by three visionary women in Cincinnati, the Contemporary Arts Center was one of the first institutions in the U.S. dedicated to exhibiting the art of our time. In May 2003, the CAC relocated to its first free-standing home, the Lois & Richard Rosenthal Center for Contemporary Art, designed by Zaha Hadid. Throughout its distinguished history, the CAC has earned a reputation for stimulating thought by presenting the work of diverse artists from around the world, including hundreds of now-famous artists such as Laurie Anderson, Jasper Johns, Nam June Paik, Pablo Picasso, Robert Rauschenberg, Kara Walker and Andy Warhol. A non-collecting institution, the CAC focuses on new developments in the field, presenting six to 12 exhibitions and performances annually.The CAC receives ongoing support from: ArtsWave; Macy's; Ohio Arts Council; The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation; The National Endowment for the Arts; the generous contributions of individuals, corporations and foundations; CAC memberships, facility rentals, special events and sales from the CAC Store. UnMuseum programs and artists are sponsored in part by Duke Energy; the Charles H. Dater Foundation; Josephine Schell Russell Charitable Trust, PNC Bank, Trustee; Scripps Howard Foundation; and The Ladislas and Vilma Segoe Foundation.
The Contemporary Arts Center is located in the Lois & Richard Rosenthal Center for Contemporary Art
44 East 6th Street, Cincinnati, Ohio / 513.345.8400 / www.contemporaryartscenter.org
Category: Art Culture
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Home / News / Luxury Cars
Audi E-Tron GT to debut Feb. 9, first examples already in production
Audi's long-awaited E-Tron GT battery-electric super sedan is set to be revealed on February 9, but the first customer examples are already in production at a plant in Germany.
The stylish sedan was first previewed as a concept at the 2018 Los Angeles Auto Show and shown as a prototype last fall. A date for the sales launch hasn't been mentioned but we'll likely see it land at dealerships in the United States later in 2021, meaning we'll likely see it arrive as a 2022 model.
Audi E-Tron GT production at Böllinger Höfe plant in Neckarsulm, Germany
Production is taking place at Audi's specialist Böllinger Höfe plant in Neckarsulm, Germany, where the R8 supercar and various racing models are built. The plant is unique at the Volkswagen Group in that it is the first to build two technically different cars on the same line, one a battery-electric sedan and the other a V-10-powered, mid-engine supercar. Both models are moved through the plant using either self-driving sleds or a common monorail system.
Although the E-Tron GT is still a couple of weeks out from its debut, we already know a lot about it. That's because the car rides on the same J1 platform as the Porsche Taycan and is very similar underneath, though on the outside only the windshield is common to both cars. Like the Taycan, the E-Tron GT uses a three-chamber air suspension and adaptive dampers at each corner. Each car has been tuned to reflect the driving feel of the respective brand, however.
2022 Audi E-Tron GT prototype suspension and electric drive units
For the powertrain, the E-Tron GT at launch will feature a 235-horsepower front motor and a 449-hp rear motor that will combine to produce 590 hp and up to 640 hp in an overboost mode. The front motor will have its own single-speed transmission and the rear motor will have a 2-speed gearbox, just like the Taycan. It isn't clear if there will be multiple grades for the E-Tron GT, like Porsche does with the Taycan, but there's a good chance we'll see more than one.
The battery will be an 83.7-kilowatt-hour (net) unit that should deliver at least 200 miles of range with mixed driving.
2022 Audi E-Tron GT prototype liquid-cooled lithium-ion battery
Audi has also crafted unique sounds for the E-Tron GT, not only to add to the emotional experience but also to warn pedestrians. There will be a standard external speaker setup to meet safety regulations for EVs, but Audi will also offer a more emotional package as an option.
Interestingly, Chris Reinke, head of Audi Sport's customer racing program, has hinted that we might also see the E-Tron GT serve as the basis of a customer race car for the GTX World Tour, a race series with separate classes for battery-electric, hydrogen-electric, plug-in hybrids, and eventually self-driving cars that has been proposed by the Stephane Ratel Organization. An exhibition event for the proposed GTX World Tour is planned for Europe in 2021.
High-Res Gallery: Audi E-Tron GT prototype
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