Individual contacts are what makes a house a home, and nothing does that very and in addition family photographs and works of art. Be that as it may, discovering approaches to join a photograph show into an inside outline can some of the time demonstrate testing. Shading plans, other workmanship pieces, and general environment must be considered, also the pictures themselves. Here, we investigate the AD files to see a portion of the best choices for showing family recollections, from a display divider in Michael J. Fox's home, to a shrewdly showed bookshelf in Tory Burch's Manhattan office. From the mats to the edges, or scarcity in that department, and the conceivable outcomes for imaginative plan, there is interminable chance to display the genuinely inestimable fine arts in your accumulation.
In extras fashioner Fiona Kotur's Hong Kong home, James, left, and Rex do homework at the kitchen's Saarinen table, under the look of intense and splendid Simon Birch oil representations of their more youthful siblings.
Cherry-red picture outlines, adjusted by more great dark ones, convey a feeling of requested disorder to a generally save stairwell in this Brooklyn home. The splendid edges both uplift the energetic tints in the brighter photographs and supplement the gentler, more blurred tones of others. Intelligently, architect Nick Olsen left the dividers white to give this visual powerful play a chance to out.
Family photographs aren't restricted to parlors. For what reason not put indications of your friends and family in the kitchen? Family photographs beautify the divider over a bar truck just alongside the kitchen in Spencer Gervasoni and Austin Mill's Hell's Kitchen studio condo.
A display style mass of family pictures is the point of convergence of this moderate corridor in the Manhattan home of Michael J. Fox and Tracy Pollan. Utilizing warm wood casings and clean white tangles—a compelling method to outwardly bind together a mass of photographs—grandstands their accumulation of full-shading and high contrast pictures with tastefulness.
The breakfast niche of magazine editorial manager Darcy Miller Nussbaum's Manhattan duplex wakes up with family recollections set in tones of sepia and grayscale. The blend of edges in dark, white, and gold incorporates consistently with the room's stylistic theme as well as includes a feeling that the photos have been gathered after some time.
Ruby-red edges right away fly against the blue-green dividers of the best floor office in music specialist Andrea Anson's Manhattan townhouse. Family photographs, set in monochromatic sepia tones, are spared from being unimportant introverts by the transaction of the two lively hues, and in addition the nonattendance of mats, which brings each photo's subject that considerably closer to the strong chromatic the exchange of the two dynamic hues.
No outsiders to representations, models Cindy Crawford and Rande Gerber hung four pictures—one of every relative—in a straightforward, symmetrical network on the mass of the sitting zone of the main room in their Baja, Mexico, home. Taken by Brian Bowen Smith, the highly contrasting representations are outwardly set off by solid dark casings, a great decision for grayscale pictures.
Full-shading pictures quickly become the dominant focal point in this generally white stairwell in the Miami home of mold fashioner Naeem Khan. Styling this exhibition setup with bigger scale pictures, outlines that vanish into the dividers, and a story to-roof game plan gives watchers bounty to take a gander at as they climb the winding staircase.
With regards to the feel of this passage in the Manhattan home of performing artist Julianna Margulies, the highly contrasting family pictures are first given breathing room with clean white mats, at that point warmed up with dim wood outlines. The exhibition style course of action, generally inclined to visual irregularity, is brought together by a solitary edge retire underneath, emphasized with delicate pink blooms.
The sporadic course of action of family photographs in this living space mirrors the lines of the rough stonework to one side. This home, a farmhouse on Martha's Vineyard, was intended to cultivate a light and vaporous inclination, a tasteful reflected by the wide, white tangles on the photographs.
Form mogul Tory Burch shows family pictures on bookshelves in her Manhattan office utilizing her mark feeling of style, a blend of perky capriciousness and classy limitation. Pictures of relatives blend effectively with books, sly objets, and characteristic materials, all making a dynamic that says a lot about her adores and interests.
In the family room of her Manhattan home, performer and model Brooke Shields shows photographs of herself and her kids, taken by picture takers Annie Leibovitz and Robert Mapplethorpe, by compelling artwork photos by any semblance of Richard Avedon. The cupboards underneath the game plan give a wide edge impeccable to making visual profundity by covering edges of various sizes.
A work area in the library of George Stephanopoulos and Ali Wentworth's New York condo shows family photographs beside an Emmy granted to Stephanopoulos for his 2009 race scope. This cautious blend of things, including books, pens, and a zebra-print box, sits before a window with a perspective of Central Park.
Brooke Shields charged representations of her little girls by the craftsman Will Cotton. The works of art hold tight either side of the chimney in the lounge room of her Manhattan home.
Gain your experiences emerge with a divider estimate show. In a Tiburon, California, home planned by Ann Lowengart, a high contrast photograph of the customer's kids was exploded and utilized as backdrop in the media room.
A Joan Miró drawing, a Francesco Clemente painting, and a lot of family photos are shown on the windowsill of Diane Von Furstenberg's New York penthouse. The unframed gathering feels fun and adds an easygoing vibe to the show of blue-chip craftsmanship.


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SPECIAL: Buy mixed cases (16 cans) - select any four 4-packs and receive 25% off the total at checkout
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A pommy immigrant with limited brewing or business experience. An inner-city dilapidated metal workshop premises that had been vacant for years. A collection of brewing vessels bought on an online auction site. And a dogged determination to bring it all together. In 2015, when Steve Drissell opened his fledgling operation in the inner-western Sydney suburb of Glebe, the odds were stacked against him.
Fortunately, he surrounded himself with passionate, knowledgeable people, and from the start committed themselves to bringing a sophisticated, diverse selection of craft beers to the area. Five years, multiple awards, and a whole lot of stories later, the Staves team celebrate brewing dozens of exceptional beers for their adventurous and discerning customers.
Founder Steve Drissell incorporates in 2011. It takes him four years of lease negotiations, red tape, and building fit out to finally open the bar in October 2015, curated with beer from several local craft breweries!
It wasn't until mid-2016 that brewer Liam Jackson, recently returned from brewing in Canada, comes on board with a wealth of experience from larger breweries. Together, with brand new fermenting vessels, they bring the brewery online and serve the first (eight!) Staves beers on tap. It's not long after, Staves bags it's first medals including Gold for the Oatmeal Stout, and launches the inaugural Winter Solstice Dark Beer Tap Takeover with all beers brewed on site.
Brewer Liam decides to take a tree change to regional New South Wales, and in comes new brewer Zac Pauling with bags of enthusiasm and ideas. New larger fermentation vessels are squeezed into the tiny space effectively doubling brewing capacity and taps are increased to ten, all pouring beer brewed on site. Zac reveals a hidden creative talent and our beers finally get decals!
Our Pale Ale takes the 2019 Royal Sydney Beer and Cider 'Best in Show' title and 2020 Indies 'Gold' medal, but the tap room is forced to temporarily close the tap room due to COVID-19 restrictions. A very difficult time for Staves, a change in business model sees the launch of packaged products which are well received and soon available in bottle shops both NSW and interstate.
An advantage of the location picked for the brewery is that it is near the city AND has no nearby residential neighbours. Which means Staves can and does make some noise. Founder Steve who also play drums, was keen to provide a platform for performing artists which has happened from near the beginning. The upstairs 'Malt Room' has hosted hundreds of arttists from Stand Up Comedy, Burlesque, Blues Jams, Magicians, Open Mics, Bands, Theatre Sports, and Art Classes. Some of the highlights have been 'Birds of Tokyo' recording their single 'Greatest Mistakes' in the bar (check out https://www.youtube.com/watch?v=J9hEh8PME6E ) and Rhys Nicholson headlining the inaugural Powerbomb Comedy show.
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Your opportunity to own an exceptional home - this stunning, 2 bedroom, 2 bath condominium is a complete, end-to-end, top-to-bottom renovation! Very strong rental with approximately $32,000 last year in bookings. Completed in February 2019, almost every single item in every room has been replaced including new quartz counter tops, new kitchen and bath cabinets, new penny tile in both bathrooms, top of the line new stainless appliances, new Smart TVs throughout and new sleeper sofa with upgraded gel memory foam mattress. All lighting fixtures have been replaced, smooth ceiling, and fresh light grey painted walls with new matching crown molding. New deck, new deck furniture, new designer ceiling fans, West Elm curtains and rods and all interior and exterior doors have been replaced.All windows have been replaced and the entire unit has new insulation to cut down on noise along with new duct work and has been professionally certified as mold-free. Sandpiper offers amenities that all will enjoy with its 5 pools (2 heated), 3 hot tubs, 6 tennis courts, 1100 feet deeded beach along the beautiful Gulf of Mexico, 9 hole executive golf course, marina, canal dockage and shuffle board.
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Home/Uncategorized/NEW REPORT 2023:Research Report on Global and China's Electric Vehicle Industries, 2019-2023
NEW REPORT 2023:Research Report on Global and China's Electric Vehicle Industries, 2019-2023
Global Global and China's Electric Vehicle Market Report Size, Trends and Forecast provides an in-depth analysis of the Global and China's Electric Vehicle Market including detailed description of market sizing and growth, value, the key opportunities in the Global and China's Electric Vehicle Market and outlines the factors that are and will be driving the growth of the industry taking into consideration the previous growth patterns with Forecast Period from 2021.
According to , most of the world's traditional automobile brands have launched electric vehicles. In China, in addition to traditional automobile brands, some Internet companies have also begun to develop, produce and sell electric vehicles. The Chinese government has set lower barriers to entry in electric vehicle manufacturing than in fuel vehicle manufacturing, which allows more capital to the electric vehicle industry. As the structure of an electric vehicle is quite different from that of a fuel vehicle, the industry chain of electric vehicles also differs greatly from that of fuel vehicles. Li-ion power battery manufacturing and the manufacturing of other electric vehicle parts have become independent industries. Besides, the operating model of the electric vehicle charging pile industry is also different from that of traditional gas station industry.
Since 2014, the Chinese central government has been promoting the hybrid plug-in electric vehicle as a key product. Its subsidies concerning hybrid plug-in electric vehicles and battery electric vehicles are both based on the capacity of power battery. In addition, some local governments give a free license plate that is worth at most USD 10,000 or grant subsidies to each electric vehicle buyer. Thanks to these supportive policies, China's electric vehicle industry has been developing rapidly in recent years.
According to , in 2018, the global sales volume of electric vehicles (new energy vehicles) was about 2.02 million units, accounting for about 2.30% of the global automobile sales. In China, the sales volume of electric vehicles reached about 1,256,000 units, accounting for 4.50% of automobile sales. China has become the world's largest electric vehicle market. By the sales volume of new energy vehicles, in 2018, Tesla ranked the first on the global market, followed by Chinese automakers BYD Auto Co., Ltd. that sold 227,364 new energy vehicles and Beijing Electric Vehicle Co., Ltd. The global rankings of electric vehicle manufacturers also included five Chinese automakers with self-developed brands, which took up a market share of 49%.
Considering the prices of electricity and refined oil products in China, it costs much less to drive a battery electric vehicle than to drive a fuel vehicle. However, the development of battery electric vehicles is restricted by short driving range, expensive batteries and insufficient charging stations. The plug-in hybrid electric vehicle popular in recent years is a new-type hybrid electric vehicle. It can be powered by a rechargeable battery. When the battery runs out, it can be powered by internal combustion engine. The plug-in hybrid electric vehicle is superior to the battery electric vehicle in both endurance and practicability. However, Chinese consumers do not care much about endurance because they mostly drive electric vehicles in cities. Moreover, the Chinese government gives higher subsidies to the buyers of battery electric vehicles. Therefore, battery electric vehicles dominate China's electric vehicle market .
To reduce air pollution and enhance the competitiveness of domestic automakers, the Chinese government set the target of bringing the sales volume of electric vehicles to 7 million units, or at least one fifth of the automobile sales in China by 2025. It is expected that the Chinese government will continue to directly subsidize the electric vehicle industry from 2019 to 2023, but the average subsidy amount will decrease and the subsides will cover less vehicle models. In 2018, the central government cancelled the subsidies for electric vehicles with a driving range below 150 kilometers. But as many Chinese cities restrict the purchase and passage of fuel vehicles and the use of electric vehicles costs less, from 2019 to 2023, the CAGRs of electric vehicle production and sales in China are expected to stay above 30%, far exceeding those of automobile production and sales.
– Development environment for electric vehicles
– Industry chain of electric vehicles
– The Chinese government's supportive policies on the electric vehicle industry
– Annual and monthly production and sales volumes of electric vehicles in China
– Status of China's charging pile industry
– Status of China's li-ion power battery industry
– Major electric vehicle manufacturers in China
– Competition on China's electric vehicle market
– Driving forces and market opportunities for the development of the electric vehicle industry
– Threats and challenges to the development of the electric vehicle industry
– Forecast on the supply of and demand for electric vehicles on global and Chinese markets from 2019 to 2023
Phone: US : +(1) 424 253 0946
UK : +(44) 203 239 8187
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We go hideaway in daylight.
We go undercover when under sun.
Got a secret side in plain sight.
Where the streets are empty.
Can't be one of them.
I know you hear me now.
We are a different kind.
Spin around and round for hours.
All we're looking for is love and a little light.
Love and a little light.


text:
Q: Python3 How to convert date into monthly periods where the first period is September Working with a group that has a Fiscal Year that starts in September.  I have a dataframe with a bunch of dates that I want to calculate a monthly period that = 1 in September.
What works:
# Convert date column to datetime format
df['Hours_Date'] = pd.to_datetime(df['Hours_Date'])

# First quarter starts in September - Yes!
df['Quarter'] = pd.PeriodIndex(df['Hours_Date'], freq='Q-Aug').strftime('Q%q')

What doesn't work:
# Gives me monthly periods starting in January.  Don't want.
df['Period'] = pd.PeriodIndex(df['Hours_Date'], freq='M').strftime('%m')

# Gives me an error
df['Period'] = pd.PeriodIndex(df['Hours_Date'], freq='M-Aug').strftime('%m')

Is there a way to adjust the monthly frequency?

A: I think it is not implemented, check anchored offsets.
Possible solution is subtract or Index.shift 8 for shift by 8 months:
rng = pd.date_range('2017-04-03', periods=10, freq='m')
df = pd.DataFrame({'Hours_Date': rng})

df['Period'] = (pd.PeriodIndex(df['Hours_Date'], freq='M') - 8).strftime('%m')

Or:
df['Period'] = pd.PeriodIndex(df['Hours_Date'], freq='M').shift(-8).strftime('%m')

print (df)
  Hours_Date Period
0 2017-04-30     08
1 2017-05-31     09
2 2017-06-30     10
3 2017-07-31     11
4 2017-08-31     12
5 2017-09-30     01
6 2017-10-31     02
7 2017-11-30     03
8 2017-12-31     04
9 2018-01-31     05

A: I think 'M-Aug' is not applicable for month , so you can do little bit adjust by using np.where, Data From Jez
np.where(df['Hours_Date'].dt.month-8<=0,df['Hours_Date'].dt.month+4,df['Hours_Date'].dt.month-8)
Out[271]: array([ 8,  9, 10, 11, 12,  1,  2,  3,  4,  5], dtype=int64)

redpajama_set_name: RedPajamaStackExchange


IBM announced its new N7950T high-end storage system. Following the N-Series line, it is a Unified Storage system (SAN, NAS, IP-SAN) based on NetApp's Data Ontap O/S. The N7950T model will be available in September 2011 and will replace the older N7700 and N7900 models. It is IBM's most robust Unified Storage to date and is suitable for data centers with numerous demanding SAN, NAS and IP-SAN needs. The system natively supports advanced technologies such as snapshots, deduplication, thin provisioning and has a cache memory of 200GB expandable to 16TB. Disk types supported are SAS, FC, SATA and SSD up to a total capacity of 4320 ΤΒ.
A large Greek pharmaceuticals company develops its DR implementation with IVIS. The company had already heterogeneous IBM, EMC and HP storage systems installed in two sites about 800 kilometers apart, and it was crucial to replicate data automatically between sites and systems.
IVIS proposed and installed IBM gateways and appropriate software for SAP, MS Exchange, MS SQL and other critical applications. As a result data are synchronized over an IP network and are always application-valid.
IVIS successfully completes the project of protecting sensitive data for a Large Greek organization that manages patents and intellectual property in cooperation with sister European organizations.
During the project implementation it was important for the data to be continuously available and protected, and at the same time following the critical and legally sensitive nature of the data.
Large shipping company implements its DR plan with IVIS using NetApp and IBM systems. The company manages many TB's of data of critical applications such as MS Exchange, MS SQL, Danaos, user files and other information which must be available at all times to users in the company's headquarters, its branches worldwide and its fleet of over 100 ships. The solution includes deduplication for saving bandwidth to the DR site.


DB desc tag ... West Side was started in 1962 by Rich and Mary Benck of Naperville, IL and it continues to be a family operation currently being run by the 2nd generation.
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As the author of a document, you automatically own the copyright unless you have transferred the copyright or you have released the information for use under an alternative approach, such as a creative commons license. If you created a document as part of your regular employment, your employer will own the copyright, and that happens without any sort of contract agreement.
When you submit a manuscript for publication, most scholarly journals will request that you transfer some or all of the copyright for the article to the journal.
Why is transferring copyright an issue?
Transferring the copyright of your document means that you won't be able to use the information again in any form without permission from the publisher. This restriction includes distributing information to colleagues, posting information on a website, using the material in future research or sharing the information in a class. It doesn't matter if you post the material to a password-protected website; if you've transferred copyright, you no longer have the legal right to share the information without the expressed permission of the publisher.
How can you maintain partial copyright?
As the author of the manuscript, you have a choice as to which journal you approach to publish your work. If you approach what is known as a "predatory publisher", it is unlikely that you will be able to retain any part of the copyright. For more information on predatory publishers, please see the previous tab (2.a) in this guide.
To find out a specific journal's expectations regarding transferring copyright, you can look up the journal in the SHERPA/RoMEO database to access "a summary of the publisher's policy, including what version of an article can be deposited, where it can be deposited, and any conditions that are attached to that deposit " (RoMEO FAQs: About RoMEO). The RoMEO database has more than 18,000 peer-reviewed journals and serials in it that represent publishers world-wide (RoMEO FAQs: Coverage).
Publishing agreements are negotiable, so rather than signing away all your rights, open a conversation with the publisher by including an author addendum in the publication agreement. For more information, please refer to the CAUT Intellectual Property Advisory: Maintaining copyright in journal articles. For an overview of the issues involved around giving up your copyright, as well as a sample author addendum, please see "Using the SPARC Canadian Author Addendum to secure your rights as the author of a journal article". Finally, access the SPARC Canadian author addendum for your own use.


text:
Gaming monitor buying guide
Get the most out of your gaming PC by choosing the right gaming monitor.
David Milner
Compare Learn more
Navigate Gaming
PlayStation 4 Pro review
List of PS Plus games
Xbox One X review
Xbox One S review
List of Games With Gold games
Nintendo Switch Price
Quick facts about gaming monitors
Choosing the right gaming monitor is all about balancing trade-offs. For example, faster monitors tend to have less impressive colours.
Gaming monitors can cost between $150 and $7,000, but you can pick up a solid mid-range model for under $1,000.
If you're willing to sacrifice size or resolution, you can get otherwise great monitors for a few hundred dollars.
Compare Gaming Monitors
What is a gaming monitor?
Panel technology: IPS vs TN vs VA
How to compare gaming monitors
Four things to consider
Data indicated here is updated regularly
We update our data regularly, but information can change between updates. Confirm details with the provider you're interested in before making a decision.
Learn how we maintain accuracy on our site.
Response time (ms)
Refresh rate (Hz)
Call to action with provider
BenQ EW3270U
Predator XB272
Samsung UH850
UltraSharp UP2718Q
Predator XB321HK
Dell AW3418DW
Curved Freesync XR382CQK
DesignVue PD3200U
Samsung CHG70
LCD VP28UQG
ROG SWIFT PG27AQ
Asus ROG Swift PG27A
Acer	XR342CK
UHD 27UD68
BenQ GL2580H
LG 25UM57-P
AOC AGON AG241QG
ViewSonic XG2401
QLED UHD UH750
Gaming monitors are the filter through which everything else, from the pretty new game you're playing to the GPU powering it, reaches you.
Unlike standard PC monitors, gaming monitors place a large emphasis on fast response times and refresh rates – crucial factors that determine just how well a game plays. Some even come loaded with visual enhancement measures that sync directly with your PC's graphics card in order to display the smoothest possible image.
It's easy to view monitors as passively displaying an image created elsewhere inside your PC, but the truth is that your monitor is an integral part of creating that image. A quality monitor can help generate a high resolution, high frame rate, stutter-free gaming experience.
While looking for a gaming monitor, you'll encounter three different LCD panel technologies: in-plane switching (IPS), twisted nematic (TN) and vertical alignment (VA).
It's not important to know the mechanical particulars, but essentially each utilises the liquid crystals inside the display differently, resulting in different visual characteristics. This is where trade-offs come into play, and where knowing whether you value performance or picture quality most is helpful.
Whichever option you choose, as a general rule, the more you spend, the more you'll be able to mitigate the weaknesses of each category.
TN monitors are the speedy performance option. If you're competing in esports, this is your best bet. They have the fastest refresh rates and response times, resulting in gameplay that is more fluid. But they also have less impressive contrast ratios and limited viewing angles, meaning they appear washed out from anywhere other than directly in front. TN monitors are the cheapest.
IPS monitors are suited to graphics aficionados. They can present a sharp, colourful image with good contrast ratios, colour reproduction and viewing angles, but they have the slowest refresh rates and slower response times than TN. They're generally the most expensive monitor type.
VA monitors are considered the jack of all trades option. Viewing angles and colour reproduction sit at the midpoint between TN and IPS panels. They generally have the longest response times, but they can have decent refresh rates at the premium end of the line. VA displays also have the best contrast ratio and can show the blackest blacks and whitest whites.
When choosing between gaming monitors, consider the following factors:
The most important part of buying a gaming monitor has nothing to do with the monitor itself. There's little point spending a small fortune on an ultra-fast, ultra-wide, high-resolution monitor if your graphics card can't output at these settings. More pixels, faster frame rates and deeper colours all require more grunt from your GPU. Check to see what your card is capable of and then find a monitor that suits. Or, alternatively, purchase your dream monitor and then upgrade your graphics card to match. Monitors and graphics cards are the core of your PC set-up and work best when they're in harmony.
Curved vs flat screens
The first PC monitors used cathode-ray tubes and were convex shaped. When LCDs replaced them, flat screens became the dominant design. Now, the latest trend in monitor bulge is concave displays. The idea behind these new curved screens is that they envelope more of your field of vision, creating a heightened sense of immersion. They're not necessarily better, it's just a different approach.
We recommend going into a store and trying one out before purchasing because they're definitely not for everyone. It's also worth keeping in mind that, in order to get the full effect, they need to be large and have an ultra-wide aspect ratio, otherwise you've just got a normal screen that happens to warp around the edges.
Larger monitors provide a more immersive, atmospheric gaming experience – but remember, in order to display a clear, sharp image, they need to render more pixels. This, in turn, requires more grunt from your graphics card.
Gaming monitors don't need to be as large as your TV because you sit closer to them. Anything 27 inches or larger will feel impressive.
Resolution and DPI
There are three common resolution options to choose from: full HD (1080p), QHD (2560x1440) or 4K (3840 × 2160). Resolution should be considered alongside screen size because the density of pixels per inch determines how sharp a picture is.
Although 4K is the standard for TVs, it's slightly less important in PC gaming because monitors tend to be smaller. 4K monitors also require an inordinately powerful PC to utilise them at their maximum resolution, so if you want to save some money, we'd recommend checking out QHD screens. Full HD should only be considered if speed and performance are the only things that matter to you and you're opting for a smaller screen.
Response time measures how quickly pixels in a monitor can change colour. Faster response times result in less ghosting and motion blur, particularly when games are moving quickly during action sequences. TN panels, the fastest variety, can have response times as low as 1ms. We'd advise trying to get something no slower than 4ms.
Measured in hertz (Hz), refresh rate is the number of times a monitor can update and display a new image each second. A monitor running at 60Hz is displaying 60 frames per second. Higher refresh rates result in smoother gameplay experiences, but above a certain rate, many people cannot perceive the difference. 240Hz monitors have hit the market, but they're expensive and you'll struggle to run games at 240 frames per second on anything but the latest PC. In terms of price/performance balance, 144Hz is the current sweet spot – this is what you should aim for.
Contrast ratio is the difference between the whitest white and the blackest black. Most gaming monitors tend to hover between 1000:1 and 3000:1. When it comes to contrast ratio, higher is better because colours will be more differentiated; you'll see more shades rather than large uniform colour blocks.
G-Sync vs FreeSync
Screen tearing occurs when your monitor's refresh rate doesn't match the frame rate your PC is outputting; as an example, if your monitor is set to 144Hz but your PC is only running at 60fps, you'll notice stuttering and ghostly vestiges of old frames. G-Sync and FreeSync are competing technologies that solve this problem for you, automatically syncing your monitor with your graphics card. Which one you opt for should depend entirely on which graphics card you own. G-Sync is compatible with Nvidia cards, while FreeSync works with AMD cards. Match them.
Measure your desk. It's easy to get carried away with the excitement of a flash new widescreen monitor, but always remember it needs to work in the space you have available. (And don't forget to account for the footprint of the display stand.)
HDR isn't quite there yet. Although current-gen consoles and most new TVs support high dynamic range (HDR), getting it to work properly on a PC isn't easy. You need a lot of grunt, and many PC monitors that claim to support HDR aren't bright enough to get the most out of it anyway. What's more, many new PC games don't even support HDR. It will ultimately become ubiquitous, but at this point, this might be a good area to consider skimping on and saving money.
Some monitors have in-built speakers. They're rarely amazing, but it's nice to have the option of playing without your headset or setting up external speakers if you're just having a quick session.
Consider what you're playing. A limited budget could force you to choose between performance and picture quality, so consider the types of games you play most. If fast-paced shooters or competitive multiplayer games take up most of your time, opt for speed. If you're drawn to cinematic narrative-driven games, go for picture quality.
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David Milner is an award-winning games journalist, former editor of Game Informer magazine, and regular contributor to The Sydney Morning Herald and The Age. Embarrassingly, he only completed The Legend of Zelda: A Link to the Past for the first time in 2019. Bloodborne is his favourite game ever.
These are the best gaming monitors you can buy right now in Australia.
Best budget gaming monitors In Australia
We've done the research to find the best five budget gaming monitors available in Australia to suit different budgets and types of user.
Acer Predator X34 review: An electric Eye of Sauron that'll suck you in
Acer Predator X34 occupies a price tier where nothing short of excellence is expected. Though this unit is wanting for input options, it delivers exactly that.
The best 4K UHD gaming monitors money can buy in 2018
Looking to go full 4K/HDR but have no idea what to drop the money on? Here are 10 particularly exceptional 4K gaming monitors squarely aimed at gamers.
Samsung 49″ CHG90 QLED gaming monitor review: (Almost) never get flanked in PUBG again
Samsung's curved 49" CHG90 QLED display is absurdly immersive once you sit down with your favourite shooter, configure the FOV and watch the blinkers come off.


Having announced the winners of our Causley Trust Children's Poetry Competition several weeks ago, we are now thrilled to begin sharing the winning poems with you. Inundated with talent from these young budding poets, the words they have created are inspiring and a tribute to the enduring legacy of Launceston's beloved Charles Causley. Having already shared the brilliant winning entries from St Stephen's Primary School (Year 4), we are now happy to share the equally brilliant winners of South Petherwin Primary School (Year 5).
Who is that child who drives alone?
That looks like the ying yang?
That you see at night?
The last one you'll see.
My nose is black and round.
And I will definitely look pretty cool.
Until I reach a house, so.
He writes a poem about me.
He's very nice but who is he?
The water was cold but why?
How I love my new home where I get fed.
All there was left was a tiny pot.
For once again we have a happy life.
At the statue of the golden book.
Around the big, bare deserted mall.
We can't wait for the day we shall be boxed away.
Away, away I wish it were today!
Why do we have to read and write and walk and talk?
Why oh why I wonder I wonder.
Why do we have to fly?
And why do we have to grow wings?
Who do we have to ride unicorns?
And why do we have to breathe fire and turn things to ice?
Why do we have to see ghosts and turn into bats?
Why do we have to live on clouds?
And play on the moon and light up the stars?
Why do we go to school not on land but up on mars?
And why do we have dragons as pets and fly around in jets.
Why do we have to learn to control the weather?
Why do we have to walk through doors?
And climb up walls and jump from roof to roof?


text:
Michael Kiwanuka – Love & Hate
I've got a dear and longtime friend who, on occasion, doesn't just recommend me music, but actually gifts me records, confident that they'll go appreciated. He's almost always right, too, which either means we have overlapping tastes or I'm painfully predictable.
A couple of years back, he gave me a brand new copy of Michael Kiwanuka's Home Again. I had no expectations—I didn't know Kiwanuka or his music—but Dave had heard the first song on the album, the 70s soul- and fusion- inspired "Tell Me A Tale", and was confident. Later he emailed to apologize to me, because the rest of the album wasn't at all like the lead track. I told him there was no reason; Home Again was already on regular rotation, a beautiful and otherwise consistent record with a meditative quality. Its production values leaned on classic recordings, but many of Kiwanuka's songwriting sensibilities were contemporary. His voice and guitar work were contained but in that great way that suggests a rich emotional landscape. It was perfect music for making dinner, or having your third cup of coffee on a weekend morning.
Now it's a few years later, and I have a few more expectations. Love and Hate is his follow-up, and instead of trying to recapture what he did so well on the first record, Kiwanuka smartly pushes himself into new territory. On a song-by-song basis, this record has some real stand-out tracks, but it struggles to cohere into an album.
Love and Hate moves away from the quiet, acoustic-heavy production of his first album and toward some real over-the-top arrangements: loads of strings, a choir, reverb coming out the wazoo, and even some phaser for good measure. Something about the phaser and the half-time drums in the opening track, combined with the long instrumental introduction, makes me think of Pink Floyd, not exactly my first thought when it comes to soulful music but there you have it.
Side A leans on the epics, with two long, theme-defining tracks ("Cold Little Heart" and the title track). In between there are some great, catchy songs, in particular "Black Man in a White World", which tricks listeners into thinking it's a simple, rhythmic, purely contemporary track, but then becomes more distinctly 70s as it goes.
If Side A is showy and obvious, then Side B is the half that rewards repeated listenings. It starts with (in my opinion) the best candidate for a single on the record, "One More Night", and then descends into some fantastically subdued, thoughtful tracks. Kiwanuka could have rested on the songwriting chops from the first album, leaned into his simple major- and minor- key structures, but instead moves away, adds some odd but powerful chord choices, that highlight the unease and conflict that's present in his lyrics. "Rule the World" and "Father's Child" both go all sorts of places and each movement feels earned. But it's really "I'll Never Love", the most introspective, mellow, and intense song that wins my heart. It's rare that I listen to a song on repeat, but I keep coming back to this one.
Just listen to that vocal performance. Listen to how the arrangement perfectly complements the mood and movements of the song structure. If he had been able to capture this feel for an entire album, I might have died (in the good way).
Instead, it feels like he tries to capture too many production styles. Those two great tracks I mentioned, "Rule the World" and "Father's Child", are so vastly different in terms of production that they might as well have been on different records. On the first, the drums are degraded and have that 60s feel, and on the second they're clean and robotic. Instrumentation moves around on the album, Kiwanuka's voice gets a different treatment on each song, and it ends up feeling like a best-of album instead of a single record with a unified message.
I recognize that we live in an era where people don't listen to records as much as songs, and where production can change vastly across an album. But it's not my thing. I think of the best unit of music as the album, not the song, and thus I want albums to feel cohesive and complementary, to contain a single story or message that requires many songs to tell.
Many of the songs of Love and Hate are wonderful when taken on their own, but I'm a little disappointed in it as a record. Still, there's lots to love here, and almost nothing to hate.
Posted in MusicTagged home again, love and hate, michael kiwanuka, Music, new music
Prev Reading Round-Up: 22nd July, 2016
Next New Music Monday: August 15, 2016


text:
IWU Magazine
A Shared Experience
Today, R. Kent Cook feels like practicing some Bach — a composer whose ability to craft puzzles of logic into works of beauty has appealed to him from a young age.
"Sometimes I'll study a piece because I feel an affinity at the time for that composer," he says.
"I think within all of us we have so many layers to our personalities, and that's one of the wonderful things about music. There are so many different kinds of music that you can find the kind of music that's going to fit the mood you're in or will express an emotion you're feeling. I find that's a great gift of music for me; it's an emotional outlet."
This is something he can share with both students and audiences in his dual roles as teacher and performer, he says.
An international performer who studied as a Fulbright Scholar at the Hochschule für Musik in Frankfurt, Germany, Cook credits much of his interest in taking up the piano to a recording of the nocturnes of Chopin that he listened to as a child. This inspiration – and a lifelong enjoyment of staying awake late into the night – were behind his 2001 CD, Nachtstücke. In the liner notes, he invites listeners to enjoy the collected nocturnes' "evocations of the beautiful images and colors of the night."
Cook speaks readily of emotional connections forged with composers, students, and listeners. Yet when he first entered college at Baylor University, his intention was to become a dentist. Music seemed more appropriately a pastime than a profession.
R. Kent Cook introduces students and audiences to contemporary music. (Photo by Jamie Stukenberg)
It soon became his major. Sagely advised by teachers to equip himself for a university-based career, he went on to earn his master's and doctoral degrees in piano performance from Indiana University. He came to Illinois Wesleyan after teaching for four years at DePauw University in Greencastle, Ind.
"I knew from the beginning I'd be performing and teaching, but I don't think you realize until you're out of school the reality of juggling those two ... careers, really."
It can be tough to find the emotional and physical energy to practice after a full day invested in students, he admits. When he has a major performance approaching, Cook tries to fit in three to four hours of personal practice daily — which can amount to 14-hour days in Presser Hall.
"So if it's going to be that much time, it's a really great thing that I love it," he says. "I love the teaching and I love the practicing. It's all about music so I love it, but it's not for everybody."
Neither does everybody love contemporary music, but it's Cook's goal to offer some to both students and audiences. Even if an unconventional modern piece is a stretch for a student, Cook believes the experience of playing new music is how they'll gain an appreciation and understanding for what they may at first deem "a bunch of banging." He believes it's important to foster a transition from the music of Beethoven, Bach, and Mozart — great works of humanity which may nevertheless, with passing time, become more like museum pieces — to music representing living composers.
As he strives to ease this transition by including a contemporary selection in most of his recitals, Cook has found people usually enjoy the chance to sample contemporary music, despite its unfamiliarity.
Aware of their faculty sponsor's appreciation for modern sounds, Illinois Wesleyan's chapter of the music fraternity Phi Mu Alpha Sinfonia has commissioned for Cook a piece by Temple University's Jan Krzywicki, as a show of its gratitude.
Cook's interest in helping his students and audiences discover merit in contemporary music reflects his commitment to both teaching and performing.
"What I love about teaching is sharing my ideas with a student, sharing what I've learned. In a performance, you're sharing your ideas with the audience, or you're sharing what you've learned about this composer with the audience."
The shared experience of music can be a wonderful feeling, he says. "It's always fulfilling after you play and someone will come up to you and say, 'This piece really touched me.'"
Yet helping students open themselves to the possible impact of their performances isn't always easy.
R. Kent Cook's CD, Nachtstücke, a collection of piano nocturnes recorded in Westbrook Auditorium, was released on IWU's NOViTAS label in 2001.
"Forming an emotional connection with the piece is part of the learning process, and that's hard to teach sometimes. Some students — especially students who are 18, 19, 20 — aren't necessarily in touch with their emotions anyway, and to ask them to get connected with their emotions and express their emotions on stage in front of other people, that's asking a lot.
"That's part of the learning process for someone who's learning to perform on stage — being vulnerable, expressing emotions through the piano or through whatever instrument they play."
In guiding students to that level of vulnerability, Cook may be ushering them into the same creative worlds that he has spent his own musical life exploring.
"(Music is) something I love," Cook says. "It's my passion, it's my life.
Ann Aubry works in the IWU University Communications office as an administrative assistant. Previously, she was an award-winning newspaper journalist. She lives in Bloomington and describes herself as an amateur but enthusiastic pianist and flutist.
To read more about the School of Music's faculty and their latest performing and scholarly activities, click here. The School of Music site includes links to purchase CDs of performances by individual faculty and University ensembles recorded and produced by Illinois Wesleyan University.


text:
Q: How to get keys and values from Appsettings of Config file in Linq I am trying to get all the keys and values of config file's app settings in a page constructor so I can use them in the page. I tried Linq but I am not sure how to get values along with keys in a simple manner. right now I got all keys and then using foreach to get all values and I am sure that is not a smart way. Please advice..
 string[] repositoryUrls = ConfigurationManager.AppSettings.AllKeys
                         .Select(key => ConfigurationManager.AppSettings[key])
                         .ToArray();

Thanks

A: It sounds like you actually want a dictionary of Key names and Value values instead of a string array.
var dict =
    ConfigurationManager.AppSettings.AllKeys
        .ToDictionary(k => k, v => ConfigurationManager.AppSettings[v]);


text:
People and the Sea Annual Report 2021
PepSea December 29, 2021 December 30, 2021
As the 2020 Annual Report was published, we never thought that a year later we would be writing again about a year having to deal with the COVID pandemic. But here we are. Needless to say, it has continued to prove a challenging time. The PepSea team have continued to work with dedication and energy to bring support to the coastal communities of Malapascua that have seen their lives turned upside down.
As 2021 draws to a close, we can reflect on our work with an enormous sense of pride as well as a sense of excitement for what is to come. Along with updates on the continued success of all our community programmes, the 2021 Annual Report introduces the new partnerships that we have developed over the past year that will provide the opportunity to widen the scope of our work with Filipino coastal communities.
We are particularly pleased to announce the development of a second People and the Sea site on the neighbouring island province of Biliran. With the intial work having already begun, you can expect to see regular updates on this exciting new venture throughout the coming year.
Download the full report HERE (4mb)


text:
Columns from Either End of the Webcomics Career Spectrum
There's that great speech at the end of Ratatouille where the restaurant critic Anton Ego -- who's had his icy heart thawed by a well-executed mesh of eggplants, peppers, and herbes de Provence -- notes that while not everyone can cook, a great chef can be anyone and come from anywhere. That's more or less true about webcomics. The Internet allows unprecedented access to webcomic creators, meaning webcomickers can come from anywhere and webcomics can be about anything. But not just anyone is going to become a successful webcomic creator. Even accounting for different definitions of success, successful webcomicking takes resolve, hard work, luck, and maybe even a smidgen of talent.
Plenty of comickers have have offered blanket advice to aspiring comic creators that can't be dismissed: draw everyday, don't fear failure, connect with other creators. But that's very different from creators actually reflecting on their experiences.
Fortunately, the world wide web has gifted us with two multi-part columns on webcomics: Brad Guigar's "Ten Years of Webcomics" and Sam Costello's "On My Own in Independent Comics." It's worth checking out both as Guiger and Costello are in such different places in their webcomics lives. Guigar, who created Greystone Inn, Evil Inc., Phables, and Courting Disaster, is one of the more venerable forces in webcomics. He's seen the rise and fall of Keenspot, founded Blank Label Comics, written a book on making webcomics , and had his strips published in newspapers.
Costello, by contrast, is a relative newbie to the webcomics scene. Where Greystone Inn and Evil Inc. are both long-form, syndication-style strips, Costello's comic Split Lip is an anthology that's more comic book than comic strip. And, while Split Lip does have two print volumes to its name, Costello is still an amateur in the literal sense of the world. Split Lip doesn't make him any significant amount of money -- in fact, it costs him quite a bit to operate. Perhaps most significantly, unlike most webcomickers, Costello isn't a cartoonist. He scripts the individual stories and hires artists to illustrate them (incidentally, someone will have to explain to me why Argentina has more cartoonists-for-hire per capita than anyplace else).
Guigar's column is, appropriately, more of a reflection on his career in webcomics -- and by extension, the history of webcomics. He talks about working with different webcomics collectives, his decision to try different kinds of comics projects, podcasting, charitable work, and setting up Webcomics.com. Costello's column is geared more directly at his fellow neophyte cartoonists, outlining his personal victories and stumbles, discussing his writing regime, and revealing his bottom line (As I'm learning from personal experience, paying artists per page adds up. Oof.).
I also woke up this morning to see DJ Coffman (Hero By Night, Yirmumah) plugging his ebook Cash for Cartoonists, which promises to teach cartoonists the $ecret$ of making the big bucks. I suppose the fact that I'm familiar with Coffman largely because an acquaintance hired him to draw the pitch pages for her comic says something about his money making powers, but the book costs forty-seven freaking dollars (for an ebook no less!), and his pitch reminds me of all those "make money from home" listings I keep flagging on Craigslist. It's going to take more than a few testimonials to shovel off the pound of salt that comes with those claims.
Posted by Lauren Davis at Wednesday, August 25, 2010 51 comments
Labels: advice, brad guigar, columns, dj coffman, monetization, sam costello, webcomics
Morning Reading: Tuesday Moon
A little bit of cuteness for a Tuesday morning: Todd Webb brings us "Tuesday Moon," a short story about a girl named Tuesday who, after a no-good day, has a brief nighttime adventure with the Man in the Moon.
It's a simple, sweet little story -- the perfect antidote to a rough day.
Posted by Lauren Davis at Tuesday, August 24, 2010 96 comments
Labels: cute, todd webb, tuesday moon, webcomics
"The Hunger Games" Fan Comic
I probably read more YA fiction than any person in her late twenties should, and I'm a total sucker for Suzanne Collins' The Hunger Games trilogy. While my fingers are twitching in anticipation of the third and final volume, now I at least have something to tide me over.
Faith Erin Hicks (artist and author of Zombie Calling and artist for Brain Camp ) drew a five-page fan comic of the opening of The Hunger Games. It's presented without text, although it looks like Hicks was working with a script that includes text. And, in just a few pages, she manages to capture the grim depression of the coal town where Katniss Everdeen lives. Folks on Twitter are already calling for Scholastic to hire Hicks for a full-length adaptation. As much as I'd love to see a Hunger Games graphic novel, I wonder if Scholastic would actually go for it. After all, the Hunger Games series centers around an annual Battle Royale-style murder game (minus the panty shots). It's one thing for kiddies to read about teenagers slaughtering one another, and quite another thing to actually watch it unfold. Then again, Lionsgate has already acquired the movie rights, so maybe all bets are off.
The Hunger Games [Faith Erin Hicks via Raina Telgemeier]
Posted by Lauren Davis at Monday, August 23, 2010 61 comments
Labels: adaptation, dystopia, faith erin hicks, fan comic, the hunger games
Xander Harris Makes a Webcomic
If minor celebrities are jumping on the webcomics bandwagon, does that make webcomics trendy?
I only ask because of yesterday's news from Robot 6 that Nicholas Brendan -- best known for his role as Xander Harris on Buffy the Vampire Slayer -- plans to launch a webcomic called Very Bad Koalas this September. To the best of my knowledge, this makes Brendan the second Buffy alum to write a webcomic; Emma Caulfield, Brendan's on-screen girlfriend, is the wordsmith behind the thinly amusing Contropussy.
What's behind this, I wonder. Two people could hardly be considered a trend (even if they were on the same TV show), but so many celebs (including Tyrese and Rashida Jones) have attached their names to print comics with visions of producer credits dancing in their head. Contropussy and Very Bad Koalas don't seem destined for the big screen, but could these be test drives for animated cable series?
Buffy co-star Nicholas Brendan is launching a webcomic [Robot 6]
Posted by Lauren Davis at Friday, August 20, 2010 69 comments
Labels: celebrities, contropussy, emma caulfield, nicholas brendan, very bad koalas, webcomics
Drinking at the Movies: The Fart Party (Almost) Grows Up
When I moved to San Francisco, several people informed me that I had to start reading The Fart Party. Like a lot of people, I was a bit put off by the title (and it didn't help matters that one of the first pages I read involved Julia Wertz decapitating a guy and then shitting down his neck hole), but I quickly fell in love with Wertz's no-nonsense art style and her foul-mouthed forthrightness. And it wasn't just me; amidst all the flashier comics on my shelves, The Fart Party is most frequently picked up and read by house guests.
There has always been a teasing quality to The Fart Party, however. The books have been, in many ways, a character study of Wertz herself (or at least a study of the person Wertz thinks she is). Although there are snatches of the narrative of her life -- her relationship with her boyfriend Oliver and their subsequent breakup, her drug-addicted her brother, the food service jobs she picks up and quits -- they never quite rose to the level of memoir.
All that changes with Drinking at the Movies, Wertz's full-length, fully reflective graphic memoir. As soon as it opens, we know this is going to be a more dramatic and more thoughtful book than the first two Fart Party volumes. Wertz comes to at 3am the morning after her birthday in a laundromat, wearing her pajamas, eating Cracker Jacks, and wondering if she doesn't have a wee drinking problem. From there, we flash back to several months earlier, when Wertz decides to leave familiar San Francisco for the wilds of Brooklyn.
The book chronicles Wertz's first year in Brooklyn, including coping with her brother's occasional overdoses, changing apartments as often as she changes jobs (which is to say, frequently), downing far too much whiskey, visiting family (and judging them), and being her usual charming self. With all that, Drinking at the Movies could have been a drearily serious work, but it's all done very much in the style of the previous Fart Party books, with the humor knife always pointed squarely at Wertz's own eye. She mocks her tendency to grumble about her brother's latest fall from the wagon while downing six-packs of beer. When she gets herself fired from one of her better jobs, you don't have to slap your palm against your face because she's already done it for you. She still jokes about her misanthropic tendencies and her favorite low-brow forms of entertainment.
But she also captures something magical about being a 20-something urbanite responsible for no one but herself. The title comes from one of Wertz's favorite Brooklyn pastimes; when her apartment gets a bit too crowded, she indulges in boozy late-night trips to the movies, where she revels in being young, foolish, and alone. It's not a lifestyle Wertz can (or should) keep up forever, but it's one that has it's own simple delights.
I've seen Drinking at the Movies described as a coming-of-age story, but Julia isn't quite an adult by the end. It ends at that moment before adulthood, when you start to sense that you need to make changes in your life, when you think you might someday soon become comfortable with yourself, when you find a place that's beginning to feel like home. It's still clear, though, that when Julia finally becomes a grown-up, her adulthood will still have plenty of poop jokes.
Drinking at the Movies will be available August 31st, and you can pre-order it on Amazon .
Posted by Lauren Davis at Thursday, August 19, 2010 56 comments
Labels: autobiographical, drinking at the movies, julia wertz, print comics, the fart party
Art Shows for Sad Children
"We are Sex Bob-Omb and we are here to make you think about death and make you sad and stuff!"
Oh wait, wrong comic.
John Campbell, creator of the consistently depressing (though strangely compelling) Pictures for Sad Children, had an art show. It's not entirely clear where the show was, but you can see the photos on his tumblr.
It'll make you think about art and make you sad and stuff.
low self-esteem makes you worthless [Boo Hoo Hoo via MeFi]
Labels: art show, john campbell, pictures for sad children
Dinosaur Guest Comics: Wedding Edition
Okay, so I tend to think that guest webcomics are pretty much the best thing since sliced webcomics. But there's something extra special about last week's crop of Dinosaur Comics guest comics. Creator Ryan North got himself married over the weekend, and there were plenty of love-themed guest comics throughout the week.
Some of the guest comickers use their own characters and styles, but other reinterpret North's own brand of clip art haiku. If you don't already read Dinosaur Comics, check out the fabulous guest strips from John Allison (Bad Machinery), David Malki! (Wondermark), Anthony Clark (Nedroid), Joel Watson (HijiNKS Ensue), Jeph Jacques (Questionable Content), Wes & Tony (Amazing Superpowers), Sam Logan (Sam and Fuzzy), Zach Weiner (Saturday Morning Breakfast Cereal), Jeff Rowland (Overcompensating), and Michael Firman (Moe).
Posted by Lauren Davis at Monday, August 16, 2010 384 comments
Labels: dinosaur comics, guest strips, ryan north, webcomics
Webcomics to Print: Shi Long Pang, The Wandering Shaolin Monk
I have a lot of respect for people who write historical fiction.
I have even more respect for people who so thoroughly internalize their research that they're able to make their books funny. And let's face it, a history lesson goes down better with a scoop of honeyed humor.
Shi Long Pang, The Wandering Shaolin Monk (shortened in print form to Pang, The Wandering Shaolin Monk) is set in 1675 China, a time when the newly established Qing Dynasty was battling revolts in its provinces and the famed Shaolin Monastery may have been destroyed. It's an era of political and social upheaval, one that Western audiences aren't intimately familiar with, and yet Ben Costa manages to make his book fun.
Shi Long Pang is, as the title says, a Shaolin monk who has escaped the violent destruction of his temple. He has wandered into a walled city -- with little understanding of current events -- in hopes of finding his fellow Shaolin brothers. After being taken in by a kindly innkeeper, Pang befriends the man's lovely daughter and, like Aeneas in Carthage, relates the tragedy that brought him to this point.
I've always heard that Shi Long Pang was supposed to be a great comic, but the handful of times I've attempted to read it online, I've never gotten very far. Reading the print volume, I finally understood why. The first 50 pages are dense, packed with information on the Three Feudatories War and Wu Sangui, the former Qing general who will later try to crown himself emperor of China. It certainly reads well on the page, but it just isn't suited to my often ADD webcomic reading.
But it's that attention to historical detail that makes Pang such a rich read. The early infodump is a bit overwhelming, but it's clear those bits of historical knowledge will be important down the line. And Pang, who's spent his life cloistered in the monastery, needs to understand the war that's going on just as he needs to feel that first stirring in his loins at the sight of the innkeeper's niece. And once we've gotten a handle on the larger political situation in China, Costa settles into a much more balanced blend of the historical and the fictional, tempered by his witty use of comic captions and some bona fide jokes, which manage to be funny even when they require footnotes.
Of course, if it's action you're after, Pang has that payoff in spades:
The bumbling protagonist is a very difficult character to pull off. Is he selectively competent? Lucky? Does his heart of gold trump any adversity he faces? Costa has solved this by making Pang a devout and competent monk, but a not-entirely-on-the-ball human being. Yes, Pang is sometimes guided more firmly by his stomach than his brain; he's naive and inexperienced in the ways of the world; he fails to understand how standing up for truth, justice, and the Shaolin Way can result in harm to innocent people. But he's steadfast and trustworthy (if not always reliable), and his wushu is a pretty powerful life skill. Pang isn't a bumbler so much as he is an incomplete person, a relative child waiting to be formed by his experiences in the world. Perhaps that's why Costa renders him so simply; unlike the rest of the characters, Pang has no nose, no ears, and no chin to speak of. He has just enough facial features to register his emotions.
Costa has just printed the first volume of Pang with the aid of a Xeric Grant, and it's a wonderfully complete opening volume. In addition to the historical state of the union and Pang's backstory, our hero manages to have a complete story of his own in what is clearly just the beginning of a larger epic.
[Shi Long Pang]
Order Pang, The Wandering Shaolin Monk, Volume 1
Disclosure: I've asked Ben Costa if he would contribute to a project I'm working on, and he has agreed to consider it. I have tried not to allow that to influence my review.
Posted by Lauren Davis at Friday, August 13, 2010 120 comments
Labels: action, adventure, ben costa, china, historical, kung fu, print comics, shaolin, shi long pang, webcomics
Jess Fink is a Five-Year-Old
Jess Fink, she of the fabulously NSFW Chester 5000 XYV (Robots and corsets and foursomes, oh my!) and the Picard-loving Star Trek: TNG review comics, has launched a brand spanking new webcomic. There's only one entry up over at Kid With Experience, but it looks like an autobiographical comic, probably with an emphasis on Fink's little kid nature.
There's not much to say about it so far, but this one gets an automatic add into the RSS reader. I heart Jess Fink, and I'm always a sucker for a good autobio comic.
Kid With Experience [Jess Fink]
Labels: autobiographical, jess fink, kid with experience, webcomics
Ctrl+Alt+Del: The Liveblog Review
So I have a confession to make: I've never read Ctrl+Alt+Del. It probably makes me a bad webcomic fan, but there are a good chunk of venerable old webcomics I've never dived into, and I don't read a lot of gamer comics. I'm aware that the comic doesn't have a great reputation and that it's particularly loathed for its miscarriage plotline, but I never know if that's genuine criticism or just compulsory Internet hate.
Fortunately, El Santo at The Webcomic Overlook isn't one for bashing on comics without cause. This week, he decided to take on Ctrl+Alt+Del and find out if it's as bad as so many people claim. He liveblogged his impressions of his CAD archive binge with pretty hilarious results -- although he's fair enough to examine why the comic remains so popular. Part one reviews CAD before its Big Dramatic Moment, and part two reviews the strips that come later.
Labels: ctrl alt del, el santo, the webcomic overlook, webcomics
Lucy Knisley and Erika Moen's In-Comic Conversation
Once upon a time, a pair of queer, female autobiographical cartoonists decided to have a conversation -- not a chat on the phone, not passing messages over email, but a conversation tucked neatly into the four walls of a comic panel. Erika Moen and Lucy Knisley decided to attempt a collaborative comic with a simple premise: the two take turns drawing and writing an intimate conversation about comics, sex, and identity politics. One artist would draw half a panel, then pass it on to the other, who would finish the panel and then start the next. The result is Drawn to You, a rambling, unscripted dialogue that sets Moen's thick, energetic lines against Knisley's careful, fine ones.
If you're like me, and you already love Moen and Knisley and you enjoy getting a little inside baseball on the comic-making process, Drawn to You is a delightful way to spend an hour. The pair talk about their anxieties around making comics (Is cartooning an innately selfish career? Why does representing one member of a particular group always seem to infuriate other members of the same group?), their sexual identities (both were, at the time, in long-term relationships with men but have dated women in the past), and the artistic perils of being a girl cartoonist (Moen worries that her fart humor, stripper-ogling comics garner so much acclaim because she's female; Knisley flinches at the stigma of being called "cute"). For those not already familiar with their work, Drawn to You might not be the best place to start, although it would be an interesting teaser (although it might send people running for Erika's mini comics or Lucy's art school anthology ).
My one complaint about Drawn to You: I'd like it to be about ten times longer and organized by topic. As it stands, Drawn to You feels like the graphic version of a podcast, with two creators interviewing each other and shooting the shit. If Moen and Knisley were to continue it as a series (either with each other cartoonists), this book would stand as a stronger single entry.
Drawn to You [Erika Moen's Totally Awesome Goods]
Labels: autobiographical, erika moen, lucy knisley, print comics
Webcomics to Print: Split Lip, Vol. 2
So there's that old yarn about the babysitter. You know the one. She's just put the kids to bed when she starts receiving unnerving phone calls -- heavy breathing, maybe a scratchy voice on the other end, maybe he tells her to check the children. The babysitter hangs up and tries to ignore the calls, but the caller becomes more and more persistent until fed up, she calls the operator to find out who keeps calling.
After a minute, the operator tells her to get out of the house as fast as she can. The calls are coming from inside the house.
Now, sure, there are versions of the story that extend beyond that. There are versions where the babysitter successfully fends off the stranger in the house. There are versions where it's just the children or their father playing a prank. There are versions where the stranger slaughters everyone in the house. But in my memory, the story ends right there, when the babysitter learns the disturbing truth about her evening.
Those are the sorts of stories that dominate the second volume of Sam Costello's horror anthology Split Lip -- stories that end at the moment of the terrible revelation. A knife flashes, a monster is pulled from the shadows, and the story ends. These are atmospheric tales rather than narrative ones, stories made to unsettle and chill.
For those unfamiliar with Split Lip, Costello writes all of the stories, then has a different cartoonist illustrate each one. This allows him to match different scripts with radically different art styles. The Lovecraft-inspired "On the Plateau" looks like a pulp, while tenement terror "The Harvestmen" is appropriately sketchy and grim. Costello has a real knack for matching artists with his tales, and in Volume Two, they're especially up to the task.
Although the art here is strong, the stories don't quite hold up to Split Lip, Volume One. Volume One had the brilliant look left, throw right "Straw Men," the chillingly lovely "Mujer," the simple but effective "Headin' South." There are a couple of gems in Volume Two, notably "Face Blind" -- perhaps Costello's most visually striking piece -- and "Bad Radio," whose scary-because-it-could-be-true plot finds its perfect mate in Nelson Evergreen's realistic watercolors. But the longer, more narrative pieces, like Paris-based mystical mystery "Se Perdre" and Rapture-themed "Ashes to Ashes," are short on texture, and ultimately forgettable against the shorter stories. But overall, it's pure Split Lip spirit: a neat mix of horror subgenres that borrows from the classics while coming up with plenty of ideas of its own.
In the interest of full disclosure, I should say that there's a blurb written by me on the back cover. It's from a piece on horror webcomics I wrote a while back, and it's a mostly descriptive line. For the record, Costello never asked me to endorse Split Lip (I'm told courtesy is to ask permission to include use a blurb, but I can't say I minded), he only requested my (impartial) review.
Labels: anthology, horror, print comics, sam costello, split lip, webcomics
How to End a Webcomic
So, webcomics are just dropping like flies lately. DAR bowed out back in December. The Everyday and Ellerbisms are jointly closing up shop. And now Box Brown has announced that he will be ending Bellen! in favor of his latest comic project Everything Dies.
I say good riddance.
Don't get me wrong. These are all comics I very much enjoy. But I think the fact that creators of relatively successful webcomics are comfortable with the idea of completing their comics and moving on to the next project is a very positive thing in the evolution of webcomics. As great as it is when soapy comfort food like Questionable Content can celebrate its seventh anniversary, it's even more exciting to see what my favorite artists will come up with next. Plus, if creators find they have more stories to tell from their shuttered comics, they can always pick up the thread again (as T Campbell did a while back with Fans!). It's webcomics emulating print comics in a happy way.
Of course, once a creator has decided to sign off, there's the business of actually ending their comic. A comic with distinct plot arcs and character developments can tie up some loose ends or Six Feet Under its way into the future. With DAR, Erika Moen gave a sort of recap of her life while making DAR and touched on her sexual and occupational identity. But what about a comic like Bellen!, which isn't precisely a diary comic, and is much closer to a gag-a-day than a narrative comic?
Box Brown has decided to do something very interesting. He has turned the last few pages of into something of an autobiographical comic, but one that specifically explains Bellen!'s origin story. Delight as insomniac Brown conceives of his webcomic! Thrill as he posts the first panels on his LiveJournal!
No, seriously, go read it. The line between reality and fiction has always been a bit fuzzy in Bellen! and it's a treat to see Brown pull back the curtain before taking his final Bellen! bow.
Bringing It All Back Home [BoxBrown.com]
Posted by Lauren Davis at Tuesday, August 03, 2010 111 comments
Labels: bellen, box brown, dar, ellerbisms, erika moen, the everyday, webcomics
Columns from Either End of the Webcomics Career Sp...
Drinking at the Movies: The Fart Party (Almost) Gr...
Webcomics to Print: Shi Long Pang, The Wandering S...
Lucy Knisley and Erika Moen's In-Comic Conversatio...


Archives|THE MEDIA BUSINESS: ADVERTISING; Public TV's 'Arthur' again cavorts with the commercial realm.
THE MEDIA BUSINESS: ADVERTISING; Public TV's 'Arthur' again cavorts with the commercial realm.
IT almost sounds like a riddle a child would ask: What do you get when you cross an aardvark with a beverage brand, a television network and a magazine?
The answer is, however, far from child's play: an ambitious promotion that combines elements of commercial and noncommercial culture to achieve goals as disparate as selling juice, encouraging youngsters to write and promoting public TV.
The aardvark is Arthur, the cartoon character whose popularity in a series of children's books has been broadened significantly through a hit program on the Public Broadcasting Service. The beverage is the Libby's Juicy Juice brand sold by Nestle USA Inc., which was the initial corporate underwriter of ''Arthur'' when PBS introduced the show in 1996. And the magazine is TV Guide, which chose the bespectacled aardvark for the cover of its coming issue offering a parents' guide to children's television.
The round-robin promotion, sponsored by Juicy Juice and TV Guide, appears with the parents' guide in the March 14-20 issue of the magazine. It is centered on a contest, open to children ages 5 to 8, to suggest ideas for an episode of ''Arthur.'' The winner's idea is to be developed into an episode of the show for the 1999 season. The winner and three runners-up will receive ''Arthur'' books and videotapes.
All who enter the contest will be sent certificates of appreciation and an ''Arthur'' bookmark -- both decorated with the Juicy Juice logo. They will also receive cents-off coupons for Juicy Juice beverages.
It is those aspects of the contest that concern critics, who are worried about the blurring of the lines between commercial and noncommercial enterprises -- particularly those aimed at children.
Yet public broadcasting itself has been embracing elements of commercialization because it must match the increasingly sophisticated thrusts of its commercial competitors, PBS executives assert.
For instance, in addition to the elaborate efforts that have produced the ''Arthur'' merchandise as well as toys like Tickle Me Elmo and Sing and Snore Ernie, the Children's Television Workshop last week introduced a branding initiative carrying the theme ''Play it smart,'' which includes a slick new logo.
And as Entertainment Marketing Letter, an industry newsletter, recently reported, PBS is going into the music business, forming PBS Records, which would include music from children's programming among its products.
''Obviously, the landscape is a very complicated one,'' said Carol Greenwald, executive producer of ''Arthur'' and development director for children's programming at WGBH, the Boston PBS station where the show originates.
There are two other ''Arthur'' sponsors besides Nestle USA: the Baby Gap unit of Gap Inc. and the Polaroid Corporation. Each of the three contributes several hundred thousand dollars annually to defray the costs of the show.
For instance, ''Arthur never says, 'Drink Juicy Juice,' '' she said.
And Ms. Stumbaugh of Nestle USA said her company would ''not have access to the names and addresses'' of the children who enter the contest.
TV Guide was the catalyst for the promotion, having worked with WGBH on parents' guides and with Juicy Juice, an advertiser.
''But we're all very sensitive'' to concerns about exploiting children, he said.
If 10,000 children enter the contest, as TV Guide estimates, it will cost $15,000 to $20,000 to produce the materials and distribute them to the entrants. TV Guide and Nestle USA will share those costs, meaning that WGBH and PBS will benefit from the promotion without having to contribute to it.
Would it be preferable, Ms. Greenwald was asked, if a commercial sponsor of a children's program like ''Arthur'' were persuaded to donate money anonymously?
''If you happen to know that corporation, I would love that name,'' she replied, chuckling.


There's folk metal, and there's folk metal. The last decade has seen a meteoric rise in bands, mostly from Scandinavia, whose music falls into this category. When it comes to 'authentic' folk metal I think the criteria we can all generally agree on are: the use of traditional folk instruments (violin, Celtic pipes, etc), plus any that are native to the band's home country, such as the Finnish kantele; lyrical themes that are inspired by the band's native folk culture; some epic heavy metal; a healthy dose of paganism, and, increasingly often, the use of facepaint, chainmail, and various weapons as part of the band's aesthetic.
So what's the other kind? Well, it's like the diet version – bog-standard heavy metal with maybe a violin and a vague sense that you and a friend could do a little jig in a circle to their music (no one's saying you have to. But you could if you really wanted. Hey, I don't make the rules).
Harpyie seem to fall into this second category. If German isn't your native tongue, now might be the time to whip out your old schoolbooks, otherwise you might have trouble singing along – as is customary with folk metal – to their debut album 'Blindflug'. Although the chances are if you're a fan of folk metal that won't matter; as long as you can thrust your pint in the air and wave a sword (plastic, of course) around to their music, why should language be a barrier to enjoyment? Harpyie are ultimately a bit of fun. You won't find stunning musical technicality on the songs of 'Blindflug', nor any profound lyrical content – that is, if Google Translate is not mistaken – but I picture them as a band who would go down well at summer festivals. You would have to be pretty drunk though.
'Blindflug' starts off with an instrumental intro track, 'Gen Siebenbyrgen'. Quelle surprise. Dear young bands: please, please, please stop doing this. Like, your debut album is not so amazing that it needs its own entrance music, guys. Probably. After a minute of this tedium, some really rather good riffage kicks in on second track 'Hundertdreyssig', and things look promising. Sadly, however, the album fails to change at all in pace, and plods along somewhat uninspiringly until track 8, an acoustic ditty 'Legenden'. Album closer 'Irrlichter' features a pretty female vocal and some nice harmonies, which get a bit lost in the mix.
Unfortuantely there's really not much more to say about it. When compared to the debut albums of some of the other folk metal bands out there, such as Turisas, Ensiferum and Amorphis, it's ultimately a weak offering, but if you're really into your folk metal you'll probably like it anyway. With infinitely superior bands like those mentioned above, though, you'd be forgiven for overlooking Harpyie.


You're not likely to locate anything crazy with this particular tool, but that is the glory of it. The pricing is straightforward. The features are simple, and the overall interface makes it rather easy to communicate with customers who want answers fast.
So let us take a deeper look into the live chat platform to know who it is ideal for and which of the features are impressive.
Pure Chat is a live chat software that allows users to communicate with their customers directly on their website. Its features include unlimited agents, unlimited chats, complete chat history, widget personalization, and much more. We compiled Pure Chat user reviews from around the net and decided that it has normally favorable ratings. We also shared its own available pricing options.
Users that gave Pure Chat a positive review said that the app is easy to set up and navigate because of its user friendly interface. They also like how the tab switches to a email form when all the operators are all offline.
Users who gave Pure Chat a negative inspection said that the program can be slow occasionally, causing delays in customer communications. They also complained about frequent disconnections, especially on mobile.
A user who left a favorable review of Chat on G2 Crowd said they were in a position to persuade customers to commit to a buy within moments of communicating via the program. He also likes how the tool supplies them with a means to answer customers' questions quickly and market their goods without the use of mobile calls.
An individual who left a negative overview of Pure Chat on Capterra whined about getting timed out without notifications. He explained that this makes it hard to maintain agents who have retail duties on discussion during high traffic hours causing them to lose potential business. He also suggested adding an onscreen prompt which reminds them when they have been logged off.
Notifications are delivered to you when a chat comes from, and you can schedule when you're offered for chatting so that clients know when you're online.
Implementing a conversation box on your site only takes a quick copy and paste of some code or the use of the Shopify, Weebly and WordPress plugins. After that you have the ability to personalize what the conversation box looks like prior to, during and after the dialog. Don't hesitate to modify about colours, set triggers for when the chat box pops open and configure the types that you want individuals to fill out before talking to you.
You've got the chance to decide on the default stylings (which is fine,) however, the layout tools are easy enough for beginners and powerful enough for more advanced users.
The two iOS and Android programs are offered for those who would love to handle live chats while on the go. For instance, if you have to leave the office but still wish to give the best support out there, you won't have to fret about it with a mobile program.
Pretty much all the features that you would find on the regular dashboard are all carried over to the cellular apps. You've got settings for actually carrying out the chats, along with setting your availability, managing transcripts and more. This gives you a small boost of confidence since it isn't important where you are when viewing who's on your website in real-time. Your customer service is continually managed, since it works like texting from your phone.
The coverage is just one of the strongest parts of Pure Chat, since it not only provides you the functionality for exporting reports, but it provides amazing graphs and vision for viewing chat metrics over time. You can track your client satisfaction to make decisions about your employees or to figure out which unruly customers you may be spending too much time on.
The Pure Chat support outlets are far more impressive than a number of the other options you will discover for live chat. By way of example, a blog is supplied for studying about updates and tips, while the Guides page is filled with information about the best way best to sell online, how to handle rude clients, the way to get more live chats and more.
The FAQ page gives you an notion about what other men and women are talking about with PureChat, while the principal Support page is a knowledge base with documentation for installations, integrations, chat boxes and much more. I didn't find any service modules for calling in or emailing, so it looks like you'll need to finish the majority of the research yourself.
Pure Chat doesn't have a free trial. But you do not need one at all, because the provider offers a strong free plan that you could continue to use for as long as you want. The paid plans are reasonably priced as well, along with the monthly payments bring along a wide set of characteristics you don't get with the free package.
Free — For $0 you receive support for a single user, one site, boundless chats each month, per 1 day chat history and native cellular apps.
Starter — For $20 per month you get support for 2 users, two sites, unlimited chats per month, a 30 day chat background, native cellular apps, reports, visitor monitoring, SMS notifications and integrations.
Growing — For $100 per month you receive everything from the former plan and service for ten users, five websites, an infinite chat history and the ability to remove the Chat branding.
We like the Free program for people simply testing out the system, but the true operation comes into play when you opt for the Starter Plan. The only gripe I have is that you need to get all of the way up into the $100 per month strategy to remove branding.
7 Ways Live Chat will be able to help you Attain First Contact Resolution — Addressing a client's concern at the very first point of contact is a key performance indicator. Check out this guide to learn more about how using a live chat software can improve your customer support and grow your customer base.
Free Small Business Software: 37 Tools For Simplifying Your Business — There are a great deal of free tools that can help you keep down expenses. In this report, we discuss with you some answers from small business owners who use these tools to make their business processes easier for free.
Yes. Pure Chat includes a 30-day money back guarantee for customers who aren't pleased with their services. Read the following directions to learn the cancelation terms and other specifics.
Yes. Pure Chat provides programs for both iOS and Android allowing agents to respond to customers' queries from anyplace.