The Immigration, Asylum and Nationality Act 2006 provides that it is a criminal offence to employ a person knowing that they are not legally entitled to work in the UK. Imprisonment and/or financial penalties apply to directors who employ staff working illegally. An employer should retain evidence to show that an employee has a right to work in the UK. Depending on the evidential documents provided by the employee, re-checks may be necessary over time.
There are a variety of visas available for individuals to attain in order to be eligible to work in the UK if they are not EU citizens. Further details can be found on the following government website https://www.gov.uk/browse/visas-immigration.
In conducting any recruitment exercise that attracts foreign national applicants, businesses should be careful not to discriminate on the grounds of nationality. For example, employers should not automatically rule out applications from non-EEA foreign nationals requiring permits to work in the UK. Whilst it is unlawful to treat a job applicant less favourably on the grounds of race/nationality, an Employer must establish whether the Employee has the appropriate immigration visa to work for their business - once the appropriate candidate has been selected.
The Employer must make any offer of employment conditional on the foreign national employee obtaining and maintaining appropriate immigration status. There must also be a term written into the contract of employment that obliges the Employee to ensure that the appropriate immigration status for the purposes of employment is maintained whilst the Employee remains employed by the company.
List A documents show that the holder is not subject to immigration control, or has no restrictions on their stay, so they have an ongoing right to work in the UK. These documents could be a person's passport, residence permit or birth certificate. A full list of documents can be found here http://www.legislation.gov.uk/uksi/2007/3290/schedule/made.
For staff from outside the UK and EEA countries, evidence in the form of List B is necessary. List B documents show that the holder has been granted leave to enter or remain in the UK for a limited period of time and, or, has restrictions on their right to work.
List B specifies documents that need to be checked at least once every 12 months for employees with limited leave to enter or remain in the UK (both set out in a schedule to SI 2007/3290).
people who have no right to work.
Furthermore, a director can receive a jail sentence for up to two years and receive an unlimited fine if they are found to have knowingly employed an illegal worker.
Checking and copying one of the original documents, or a specified combination of original documents (listed in List A or B), before employing a person can provide an employer with a statutory excuse against liability for a civil penalty.


95% fat free. America's favorite. Gluten free. US Inspected and passed by Department of Agriculture. Made in USA.
Since 1891. Visit www.hormel.com. Please recycle. US inspected and passed by Department of Agriculture. America's No. 1 selling hash.


My husband recently had business in Virginia for a couple days and I decided to go along with him. I was a bit nervous to take this trip because I had two big projects looming over my head. However, the chance to ride my bike up and down the mountains held great appeal. If I was going to take the time to ride, I had no choice but to be extremely productive all day Friday. I planned on spending the day making progress on my massive to-do list.
I exercised early in the morning, changed my clothes and went downstairs in the lobby of the hotel to find a place to work. I spied the perfect desk away from the activity of the lobby. I unpacked my bag and got organized. And there I sat, for the next 4 hours. Slowly, but surely, I worked my way through two big projects with incredible focus and speed check this. By the time I stopped for lunch, I marveled at what I had accomplished.
I took a 10-minute walk, found a place to eat and continued to work. Two more hours flew by and I couldn't believe how much progress I had made.
When I got back home, I gave thought as to why I was able to accomplish so much. It truly was amazing. After doing some thinking, I surmised that my unbelievable productivity was due to habits.
Being in a new environment enabled me to break the habits that had become so routine at work.
Let me explain further. According to author Charles Duhigg, the habit loop is a three-part process— a cue, a behavior and a reward. The cue signals your brain to go into the automatic behavior. It triggers the whole process. The routine is the behavior that takes place and the reward is pleasure for your brain, helping it remember the loop. Habits make up 40% of our function during the day. They enable us to take part in these behaviors without much energy and while not being mentally aware. Therefore, many of my usual distractions during the day that drastically decrease my productivity are really just my habits— bad habits.
For example, when I'm working at my desk at home, I get up numerous times to go to the kitchen and get a drink or something to eat. I'm sure you can imagine my reward for this behavior. At home, I also interrupt what I'm doing numerous times to check my email. I get a great rush every time I hear the ding of another message. My reward is the endorphin rush. When I'm working at my desk at home, I interrupt what I'm doing numerous times to go on social media or to check on the dog.
However, I didn't do any of those things in this new setting. I just worked. In this new environment, my usual routine, which unfolds without much thought, was interrupted and I changed my habits. Actually, I should say that I changed my bad habits.
If you're struggling with being productive in the workplace, give some thought to some of your daily habits. When we work in the same place every day, we acquire routines. Some of them are positive, but I'm pretty sure that some are also negative and get in the way of you being productive. Of course, being honest with YOU is the first step to making some much-needed changes.


text:
The LEGO Batman Movie Mr. Freeze Ice Attack (70901) Review
Continuing with my reviews of The LEGO Batman Movie sets, the next set up for review is Mr. Freeze Ice Attack (70901). It has 201 pieces and retails for $19.99 which is one of three The LEGO Batman Movie sets at this price point. The contents of the box include two numbered bags, a small sticker sheet, and the instructions.
Batman again appears in another set. We're used to seeing him in a unique suit when going up against Mr. Freeze but here, he has his normal black outfit. The double-sided head has a smirk on one side and an angry expression on the other. This head isn't unique as it is also in a couple of other sets. His accessories include a Batarang as well as flamethrower.
Mr. Freeze has a very detailed dark blue torso with some emtallic silver for his breathing apparatus. The legs are also detailed with some kneepad and boot printing. The large armor piece is medium blue color that looks good over the dark blue. The head piece is also medium blue with some red for the googles. There's also the clear domed piece fits over the armor piece perfectly. His accessory is a brick-built freeze gun that has a stud shooter. It's rather large for Mr. Freeze himself as it is actually designed for his mech.
Finally, we have a Security Guard. The torso is pretty generic but it does have some good detailing on it like the tie, belt, and badge. It also appears in the Scarecrow Special Delivery (70910) which I'll go more into later. He has a double-sided head with a frown on one side and a scared one on the other. He wears a breathing apparatus that is covered up with the hat. His accessory is a double-barreled gun.
There are three parts to this set build. The first one is a block of ice that is used to capture the Security Guard. It uses some trans-light blue rock elements that opens up using hinges.
The next part of the built is another part of the Gotham Energy Facility. This section looks like the control room of the facility. The wall has some printed pieces to give it some detail like the computer and pressure gauge. There's also a lever with red and green lights. On one side, there's a valve along with some red piping as well as a hinge to connect to the other sections. The other side of the wall has a little silo with more piping.
The rest of the pieces for this set is for Mr. Freeze's mech which is only a few more than the section for the Gotham Energy Facility. The core of the mech is based around the new element that has hinges and ball joints. It also allows Mr. Freeze to stand in it while also having a control panel. This new element will also be available in some upcoming < a href="http://www.thebrickfan.com/lego-nexo-knights-winter-2017-official-images/" target="_blank">LEGO Nexo Knights Battle Suits.
The front of the core has some parts to create the armor. On the top, there are a couple of blue hoses that wrap around the torso. On the back, there are some trans-blue round bricks to possibly represent some cooling liquid that is used for the hoses. This whole back section is on hinges so you can open it up to put Mr. Freeze in. There's a handlebar piece to keep him secure.
There is a pretty decent amount of articulation since all the joints are on ball joints including the arms, wrists, legs, and knees. The waist is able to rotate a full 360 degrees. The hand piece is connected with a Technic ball joint and it can hold Mr. Freeze's gun with ease. I think the gun looks much better with the mech than with Mr. Freeze himself.
The mech's feet are perfectly proportioned as it provides stability when it is posed. I do like the SNOT look of it minus on the shins.
Overall, The LEGO Batman Movie Mr. Freeze Ice Attack (70901) isn't actually that bad of a set. The main feature here is Mr. Freeze's mech which, in my opinion, is the perfect minifigure-sized mech. I'm sure we'll soon be seeing more minifigure-scale mechs using the new element. The addition to the Gotham Energy Facility adds more to the playability if you have the other sets to connect to.
The thing I didn't like and you'll know if you have a few of The LEGO Batman Movie sets, you'll be getting a lot of the same Batman minifigure. Although some of them have slightly different faces, the outfit is the usual black one which gets kind of boring. A variant of him, especially when fighting some specialized villians like Mr. Freeze, would have been nice.
[easyreview title="The Brick Fan Scoring Summary" cat1title="Design" cat1detail=" " cat1rating="4″ cat2title="Playability" cat2detail=" " cat2rating="5″ cat3title="Value" cat3detail=" " cat3rating="4.5″ summary=" "]
70901LEGOMr. Freeze Ice AttackReviewThe LEGO Batman Movie
LEGO DC Super Hero Girls Krypto Saves the Day (30546) Polybag
LEGO Ideas 1950's Diner Achieves 10,000 Supporters

redpajama_set_name: RedPajamaCommonCrawl


text:
rlibc
=====

A bare minimum "libc" for Rust crates that do not want to rely on libc itself.
This crate provides functions which LLVM often lowers intrinsic calls to and
will be required to link correctly.

## Usage

Add this to your `Cargo.toml`:

```toml
[dependencies]

rlibc = "1.0"
```

And add this to your crate root:

```rust
extern crate rlibc;
```

redpajama_set_name: RedPajamaGithub


text:
El disco Blu-ray, conocido como Blu-ray o simplemente BD (en inglés: Blu-ray Disc), es un formato de disco óptico desarrollado por la Blu-ray Disc Association (BDA), empleado para vídeo de alta definición (HD), 3D y UltraHD y con mayor capacidad de almacenamiento de datos de alta densidad que la del DVD. Para la reproducción de contenido 4K, Blu-ray ha sido reemplazado por Blu-ray Ultra HD.

Sus principales aplicaciones son la distribución de materiales audiovisuales como películas y datos informáticos. Así como el formato físico empleado para las consolas de videojuegos de la serie PlayStation 3 hasta la PlayStation 5; así como para las consolas Xbox One y la Xbox Series X. El nombre del formato deriva del uso de un láser azul-violeta para la lectura y escritura de los datos, permitiendo un almacenamiento de mayor densidad comparado con el láser rojo usado por el DVD y el láser infrarrojo usado por el disco compacto.

El disco de policarbonato mide 120 milímetros de diámetro y 1.2 milímetros de grosor, compartiendo el mismo tamaño que los DVD y los discos compactos. Los discos Blu-ray de una sola capa cuentan con una capacidad máxima de 25 GB de datos, mientras que las versiones de doble capa contienen 50 GB de datos, siendo los formatos comunes para la distribución de video. Los discos de tres capas (100 GB) y cuatro capas (128 GB) se encuentran disponibles para los grabadores BD-XL.

El formato soporta una resolución máxima de video de 1920×1080 a 24, 50 y 60 cuadros en escaneo progresivo o un escaneo entrelazado de 50 y 60 cuadros por segundo. Además de estas especificaciones, el formato está ligado a un conjunto de códecs de audio y video.

El formato ha sido desarrollado por la Blu-ray Disc Association, un grupo que representa a diversas compañías de electrónicos, hardware informático y estudios de cine. Sony reveló los primeros prototipos de los discos Blu-ray en octubre del año 2000 y el primer prototipo de un reproductor fue lanzado en abril del año 2003. El desarrollo continuó hasta el lanzamiento final en el 20 de Junio del año 2006, comenzando la guerra de formatos de disco ópticos de alta definición, donde Blu-ray compitió contra el formato HD-DVD de Toshiba. La competencia terminó cuando Toshiba cedió en Febrero del año 2008 para lanzar en el año 2009 su primer reproductor Blu-ray..

Las ventas de los formatos en alta definición en los Estados Unidos fueron más bajas en los primeros dos años de existencia que lo que ocurrió con el DVD en su mismo periodo. El formato enfrenta la competencia del video bajo demanda, y la continuidad del DVD. En enero del año 2016, 44% de los hogares estadounidenses con Internet de banda ancha contaba con al menos un reproductor Blu-ray. Para la reproducción de contenido en 4K, la BDA introdujo una variante llamada Blu-ray Ultra HD.

Etimología
El nombre del formato "Blu-ray Disc" y su versión abreviada que en español significan "Disco de rayo Azul" y "Rayo Azul" respectivamente hacen referencia al láser azul-violeta usado para grabar y leer información en este formato. La razón por la que se omitió la letra "e" final de la palabra "blue" ("azul en inglés) viene de la decisión de la Blu-ray Disc Association debido a que una palabra común como "Blue" no puede ser registrada como una marca. El nombre del formato se escribe con solo mayúsculas al inicio y en la palabra "Disc", y las palabras "Blu-ray" van unidas con un guion. Asimismo es invariable sin importar las condiciones, como en singular y plural.

Visión general

El disco Blu-ray tiene 12 cm de diámetro, igual que el CD y el DVD. Guardaba 25 GB por capa, por lo que Sony y Panasonic han desarrollado un nuevo índice de evaluación (i-MLSE) que permitiría ampliar un 33 % la cantidad de datos almacenados, desde 25 a 33,4 GB por capa.

Funcionamiento
El disco Blu-ray hace uso de un rayo láser de color azul con una longitud de onda de 405 nanómetros, a diferencia del láser rojo utilizado en lectores de DVD, que tiene una longitud de onda de 650 nanómetros. Esto, junto con otros avances tecnológicos, permite almacenar sustancialmente más información que el DVD en un disco de las mismas dimensiones y aspecto externo.

Historia

El DVD ofreció en su momento una alta calidad, ya que era capaz de dar una resolución de 720×480 (NTSC) ó 720×576 (PAL), lo que es ampliamente superado por la capacidad de alta definición ofrecida por el Blu-ray, que es de 1920×1080 (1080p). Este último es el formato utilizado por los estudios, para archivar sus producciones, que anteriormente se convertía al formato que se quisiese exportar. Esto ya no es necesario, con lo que la industria del cine digital no tiene que invertir esfuerzo y tiempo en el cambio de resolución de películas, lo que abarata en menor medida y reducción de costos.

La densidad de la información del formato DVD se encuentra limitada por la longitud de onda de los diodos láser usados. Tras un desarrollo prolongado los diodos de láser azul que operaban a 405 nanómetros comenzaron a ser producidos, permitiendo el desarrollo de formatos de almacenamiento más densos para permitir el manejo de video de mayor definición, con discos de prototipos con diodos de una longitud de onda ligeramente superior de 407 nanómetros en octubre del año 1998. Sony inició dos proyectos en colaboración con Panasonic, Philips y TDK, aplicando los diodos nuevos: UDO ("Ultra Density Optical" u "Optica de Ultra Densidad") y DVR Blue (en conjunto con Pioneer Corporation), un formato de discos regrabables que eventualmente se convirtió en BD-RE. Las bases tecnológicas de ambos proyectos eran similares. Los primeros prototipos del DVR Blue fueron revelados por Sony en la exhibición CEATEC en octubre del año 2000. El logotipo fue registrado el 9 de febrero de 2001. El 2 de Febrero del año 2002 el proyecto fue anunciado oficialmente como "Blu-ray Disc" (Disco Blu-ray) y su fundación constó de nueve miembros iniciales.

El primer dispositivo comercial en emplear el formato Blu-ray fue lanzado el 10 de abril del año 2003: El Sony BDZ-S77, un grabador BD-RE costoso que solo estaba disponible en Japón. Sin embargo aún no existía ningún estándar establecido para la fabricación de discos pre-grabados y no se lanzó ningún título para el dispositivo. Los estudios de Hollywood insistieron en la inclusión de la gestión de derechos digitales para admitir el lanzamiento de sus títulos y exigieron que las protecciones contra copia fueran superiores al CSS usado en los DVD. En octubre del año 2004 se estableció el nombre definitivo de la asociación como Blu-ray Disc Association (BDA) (Asociación del Disco Blu-ray). y 20th Century Fox se unió a la junta de directores de la asociación. Las especificaciones del formato Blu-ray fueron completadas en el año 2004. En este mismo año, Sony anunció el uso del nuevo formato en su consola PlayStation 3, una decisión criticada en su tiempo por el alto coste de entonces pero a la larga influiría en el futuro del formato.

En enero del año 2005, TDK anunció que desarrolló una capa de polímero altamente resistente llamada Durabis para los discos Blu-ray. Esto fue un avance importante porque al ser un medio con una densidad de datos tan alta en una capa tan delgada era necesario contar con una protección adecuada contra el maltrato y las huellas. Así que los cartuchos de las primeras versiones de la tecnología fueron descartados. Las especificaciones del BD-ROM fueron terminadas en el año 2006.

Advanced Access Content System Licensing Administrator (AACS LA), un consorcio fundado en 2004 desarrolló la tecnología de gestión de derechos de autor para distribuir las películas, sin embargo estos estándares sufrieron varios retrasos, especialmente cuando un miembro del grupo Blu-ray Disc expresó objeciones hacia esta. A petición de varios fabricantes como Toshiba, Pioneer Corporation y Samsung Electronics, se aprobó un estándar provisional que no incluía algunas características como la copia gestionada.

Lanzamiento y ventas
Los primeros reproductores BD-ROM fueron lanzados en el año 2006 en el mismo año que los de su competidor HD-DVD. Los primeros títulos utilizaron la compresión de video MPEG-2 heredada del DVD, siendo rápidamente reemplazada por los formatos posteriores VC-1 y H.264/MPEG-4 AVC y en varios casos usando Blu-ray de doble capa. En este mismo periodo también se introdujeron los Blu-ray de audio.

La cantidad de títulos aumentó a más de 2,500 en el año 2008 en Australia y el Reino Unido, con una cantidad de 3,500 títulos en Estados Unidos y Canadá. En Japón se alcanzó una cantidad de 3,300 títulos.

Competencia con el HD-DVD

En el DVD Forum, comandado por Toshiba no existía un consenso sobre si era conveniente adoptar la nueva tecnología de láser azul al ser más costosa. En marzo de 2002 el foro aprobó una propuesta respaldada por Warner Bros. y otros estudios. La propuesta implicaba comprimir el video de alta definición para grabarlo en discos DVD de capa doble. A pesar de esta decisión, otra parte del foro anunció en abril de ese año que adoptaría su propia tecnología de láser azul. En Agosto, Toshiba y NEC anunciaron su estándar competidor, el Advanced Optical Disc. Finalmente fue adoptado por el DVD Forum para ser renombrado como HD-DVD al año siguiente tras ser rechazado por dos miembros del DVD Forum quienes fueron también miembros de la Blu-ray Disc Association, una situación que derivó en investigaciones por el Departamento de Justicia de los Estados Unidos.

HD-DVD tuvo un buen inicio en el mercado de la alta definición, ya que las ventas de Blu-ray eran bajas. El primer reproductor de Blu-ray fue percibido como costoso y propenso a errores y contaba con pocos títulos.

La consola de videojuegos PlayStation 3 que usaba el formato Blu-ray para sus títulos ayudó a ganar apoyo para este formato. La publicidad realizada por Sony también fue mejor ejecutada. Las videocámaras AVCHD también fueron introducidas en el año 2006. Sus grabaciones son compatibles con la mayoría de los reproductores Blu-ray pero no con los de HD-DVD. En enero del año 2007 los discos Blu-ray superaron en ventas a los HD-DVD. En enero de 2008 Toshiba anunció la suspensión del formato HD-DVD, signando el triunfo del Blu-ray como estándar dominante para la distribución de video en alta definición.

Ascenso posterior y presente
En el periodo inicial las ventas de títulos en alta definición fueron inferiores a los dos primeros años del DVD. 16.2 millones de copias en DVD fueron vendidas en su introducción ((1997-1998) mientras que los formatos de alta definición alcanzaron 8.3 millones (2006-2007). Una de las causas de este inicio difícil era el menor mercado (26.5 millones de televisores de alta definición en 2007 comparados con los 100 millones de televisores SDTV en 1998). El antiguo proponente del HD-DVD, Microsoft, no fabricó ninguna unidad de Blu-ray para su consola Xbox 360, dejándolo para el sucesor Xbox One.

Tras convertirse en el formato dominante para la alta definición, las ventas de discos Blu-ray comenzaron a aumentar. En el año 2008 las ventas de los grabadores Blu-ray comenzaron a superar a sus contrapartes de DVD en Japón. El número de dispositivos Blu-ray tanto reproductores como consolas de videojuegos alcanzó el número de 20.5 millones en Estados Unidos.

El Blu-ray enfrenta la competencia del video bajo demanda. Algunos analistas comentan que las rentas de títulos en Blu-ray podrían ser una alternativa de bajo costo para manejar la alta definición. En un esfuerzo por aumentar las ventas, los estudios lanzan títulos en paquetes "combo" que incluyen un disco Blu-ray, un disco DVD y una copia digital. Otra estrategia es reservar las características especiales para los títulos en Blu-ray.

El costo de producción de discos Blu-ray es el mismo que el de los DVD. Sin embargo los mecanismos de lectura y escritura de datos son más complejos, haciendo que los grabadores, reproductor y unidades sean más costosos que sus equivalentes en DVD. La adopción también está limitada debido a la adopción del video bajo demanda, aunque la crisis por la que atraviesan estos servicios ayudan a mantener la vigencia del formato. Otro campo donde se usa el formato es el de los videojuegos con consolas como PlayStation 3, PlayStation 4, PlayStation 5, Xbox One y Xbox Series X.

Los discos y reproductores Blu-ray Ultra HD fueron lanzados en 2016, contando con una capacidad de 100GB.

BDA

Fue desarrollado en conjunto por un grupo de compañías tecnológicas llamado Blu-Ray Disc Association (BDA), liderado por Sony, TDK, Microsoft y Philips, y formado por:

Estudios en exclusiva
 Sony Pictures Entertainment (Columbia Pictures y TriStar Pictures, entre otros).
 Buena Vista (Walt Disney Pictures, Marvel Entertainment, Touchstone Pictures, Yasser Entertainment, Hollywood Pictures, Miramax y 20th Century Studios, entre otros).
 20th Century Fox (incluye el catálogo de Metro-Goldwyn-Mayer y United Artists).
 Lionsgate Films.
 Warner Bros. Pictures.
 New Line Cinema.
En 2008 se unieron
 Universal Studios(incluyendo Manga Films, Notro Films, algunos filmes de Vídeo Mercury Films(otros fueron exclusivos de DVD por Tribanda Pictures, ect...)
 DeAPlaneta(incluyendo Planeta Junior, Jonu Media, Vértigo Films, Zeta Cinema(algunos títulos), Baditri SL, ect...)
 Cameo Media
 The Weinstein Company
 Aurum Producciones

Estudios colaboradores
 StudioCanal.
 Paramount Pictures
 Filmax.
 Mar Studio.

Visión detallada

Capacidad de almacenaje y velocidad
Una capa de disco Blu-ray puede contener alrededor de 25 GB o cerca de 6 horas de vídeo de alta definición más audio; también está en el mercado el disco de doble capa, que puede contener aproximadamente 50 GB. La velocidad de transferencia de datos es de 36 Mbit/s (54 Mbit/s para BD-ROM), pero aparecieron unidades con velocidad de transferencia 2x (el doble, 72 Mbit/s). Está disponible el BD-RE estándar (regrabable), así como los formatos BD-R (grabable) y el BD-ROM, como parte de la versión 2.0.

El 19 de mayo de 2005, TDK anunció un prototipo de disco Blu-ray de cuatro capas de 100 GB. El 3 de octubre de 2007 Hitachi anunció que había desarrollado un prototipo de BD-ROM de 100 GB que, a diferencia de la versión de TDK y Panasonic, era compatible con los lectores disponibles en el mercado y solo requería una actualización de firmware. Hitachi también comentó que está desarrollando una versión de 200 GB de capacidad. El reciente avance de Pioneer le permitió desarrollar un disco Blu-ray de 20 capas con una capacidad total de 500 GB, aunque no sería compatible con las unidades lectoras ya disponibles en el mercado, como haría Hitachi.

Tecnología

El tamaño mínimo del punto en el que un láser puede ser enfocado está limitado por la difracción, y depende de la longitud de onda del haz de luz y de la apertura numérica de la lente utilizada para enfocarlo. En el caso del láser azul-violeta utilizado en los discos Blu-ray, la longitud de onda es menor con respecto a tecnologías anteriores, aumentando por lo tanto la apertura numérica (0,85, comparado con 0,6 para DVD). Con ello, y gracias a un sistema de lentes duales y a una cubierta protectora más delgada, el rayo láser puede enfocar de forma mucho más precisa en la superficie del disco. Dicho de otra forma, los puntos de información legibles en el disco son mucho más pequeños y, por tanto, el mismo espacio puede contener mucha más información. Por último, además de las mejoras en la tecnología óptica, estos discos incorporan un sistema mejorado de codificación de datos que permite empaquetar aún más información.

El DVD tiene dos problemas que se intentaron resolver con la tecnología Blu-Ray, por lo cual la estructura es distinta. En primer lugar, para la lectura en el DVD el láser debe atravesar la capa de policarbonato de 0,6 mm en la que el láser se puede difractar en dos haces de luz. Si esta difracción es alta, por ejemplo si estuviera rayado, ocasiona problemas de lectura. Pero el Blu-ray, al tener una capa de solo 0,1 mm evita este problema, ya que tiene menos recorrido hasta la capa de datos; además, esta capa es resistente a la suciedad y el maltrato. En segundo lugar, si el disco estuviera inclinado, en el caso del DVD, por igual motivo que el anterior problema, la distorsión del rayo láser haría que leyese en una posición equivocada, dando lugar a errores. Gracias a la cercanía de la lente y la rápida convergencia del láser la distorsión es inferior, pudiéndose evitar posibles errores de lectura.

Otra característica importante de los discos Blu-ray es su resistencia a las rayaduras y la suciedad. La delgada separación entre la capa de lectura y la superficie del disco hacía estos discos más propensos a las rayaduras y suciedad que un DVD normal. Es por ello que se pensó primero en comercializarlos en carcasas. La idea fue desechada gracias a la elaboración por parte de TDK de un sustrato protector llamado Durabis, que no solo compensa la fragilidad, sino que le otorga una protección extra contra las rayaduras a dicho disco. Otros fabricantes como Sony y Verbatim Corporation desarrollaron sus propios materiales para el sustrato protector. Generalmente se usan resinas creadas a partir de gel de sílice endurecidas con rayos ultravioleta para la capa protectora. Existen también discos DVD con esta protección, pero no es tan necesaria debido al mayor espesor de la capa que separa los datos de la superficie del disco, 0,6 mm.

Blu-ray 3D

La Blu-ray Disc Association (BDA) juntó un equipo de ejecutivos de la industria cinematográfica, de la industria de productos electrónicos de consumo y del sector de la TI para ayudar a definir estándares para tener las películas en 3D y la televisión en 3D en el formato Blu-ray. El 17 de diciembre de 2009, la BDA anunció oficialmente la creación del estándar 3D para discos Blu-ray, permitiendo la compatibilidad retroactiva con los reproductores de discos 2D anteriores. La BDA dijo, "The Blu-ray 3D specification calls for encoding 3D video using the "Stereo High as is in Multiview Video Coding (MVC)" (las especificaciones de Bluray 3D requieren codificar el video 3D usando 'Stereo High como está definido en Multiview Video Coding (MVC) ), una extensión del estándar ITU-T H.264 Advanced Video Coding (AVC) codec que estaba implementado solo en los reproductores de vídeo bluray 2D más avanzados. El estándar de vídeo MPEG4-MVC comprime ambos canales de imagen con apenas un 50% de aumento de tamaño de la grabación comparado contra el canal de 2D, y puede proporcionar una resolución completa de 1080p." Lo anterior significa que el flujo MVC (3D) es compatible con el flujo H.264/AVC (de 2D), permitiendo a ciertos dispositivos de reproducción de 2D decodificar imágenes de 3D ignorando la información adicional del segundo canal.

Sony agregó compatibilidad con Blu-ray 3D a su consola de juegos PlayStation 3 con una actualización de software el 21 de septiembre de 2010. La consola era con anterioridad compatible con juegos en 3D gracias a una actualización del 21 de abril de 2010. Desde la versión 3.70 del 9 de agosto de 2011, la PlayStation 3 puede reproducir DTS-HD Master Audio y audio de alta resolución DTS-HD al mismo tiempo que una película de 3D Blu-ray. El :en:Dolby TrueHD se usa solo en una minoría de los títulos de Blu-ray 3D, y en el flujo bitstreaming implementado solamente en la PlayStation 3 Slim (las PS3 originales decodifican internamente y envían audio LPCM).

Blu-ray Ultra HD

Blu-ray Ultra HD es un nuevo formato de disco, incompatible con los reproductores de Blu-ray Disc existentes, que admite video 4K UHD de 60 fps codificado en HEVC con HDR de 10 bits y una gama de colores más amplia. Existen en varias capacidades: Capa doble con capacidades de 50 GB y 66 GB y capa triple con una capacidad máxima de 100 GB.

Códigos de región

Cada disco de Blu-ray contiene uno o más códigos de región, los cuales denotan el lugar o las áreas del mundo a la que cada distribución está dirigida. En ocasiones, los códigos de región son llamados zonas. Las especificaciones de cada equipo reproductor indican qué zona pueden reproducir. En las unidades de los equipos se maneja de forma distinta, mediante el software de reproducción y configurable por el usuario hasta cinco veces.

En teoría, esto permite que los estudios cinematográficos controlen varios aspectos del lanzamiento, los cuales incluyen el contenido, la fecha y el precio, basados en la adquisición por regiones. En la práctica, varios reproductores permiten reproducir cualquier disco, o pueden ser modificados para dicho propósito. Distinto del cifrado de datos, los códigos de región permiten el bloqueo regional, que fue originado en la industria de los videojuegos.

Hoy en día, muchos reproductores multirregión logran desbloquear el bloqueo regional y el RCE por medio de la identificación y selección de la región compatible por el Blu-Ray, o permitiendo al usuario seleccionar una región en particular. Otros simplemente se saltan la revisión de la región por completo. Asimismo existen títulos multirregión compatibles con dos o más regiones. Algunos fabricantes de reproductores actuales proveen información libremente sobre cómo deshabilitar el bloqueo regional y, en algunos modelos recientes, aparece que ha sido deshabilitado o se publicitan como multirregión. Asimismo los formatos BD-R, BD-R LTH, BD-R DL, BD-R XL, BD-RE, BD-RE DL y BD-RE XL no incluyen códigos de región. Los DVD que sean reproducidos en los reproductores y unidades Blu-ray se rigen por las normas de los Códigos regionales DVD.

Esta práctica, para muchas personas, es una violación a los acuerdos comerciales de la Organización Mundial del Comercio, aunque no hay leyes que hayan sido definidas en esta área.

Códecs y BD-J
El Blu-ray funciona con los mismos sistemas de archivo que sus predecesores, como el UDF y el ISO 9660. Gracias a su capacidad de almacenamiento, el vídeo es de alta definición y el audio es de hasta 8 canales con compresión sin pérdidas o sin comprimir. Utiliza los formatos de compresión MPEG-2, MPEG-4 y VC-1. Los formatos MPEG-4 AVC y SMPTE VC-1 implementan algoritmos de compresión más avanzados que permiten ofrecer gran calidad (a un nivel similar).

El formato MPEG-2 se mantiene por retrocompatibilidad; es casi obsoleto (comparado con los otros), pero aun así se ha utilizado para codificar la mayor parte de las primeras películas que han salido en formato Blu-Ray. Esto es debido a que el MPEG-4 AVC tiene altos requerimientos, consumo de recursos y alto tiempo de codificación. El SMPTE VC-1 pertenece a un consorcio de compañías dominado por Microsoft. Esto hace que el grado de implantación del códec sea desigual. A pesar de esto, Microsoft ha hecho un esfuerzo notable realizando seminarios para las compañías del sector, lo que ha aumentado la aceptación del VC-1.

Como una actualización de los relativamente primitivos sistemas de menú de DVD que consistían en secuencias pre-renderizadas y una interactividad bastante limitada, se realizó la inclusión de la plataforma Java en el estándar de las películas grabadas en Blu-ray. Esta plataforma, que ha recibido el nombre de BD-J (Blu-ray Disc Java) (Java de Disco Blu-ray), permite más libertad a los desarrolladores para incluir contenidos en la película. No es solo la capacidad de desplegar un menú en cualquier momento de la reproducción, la creación de menús mucho más estéticos y pulidos que los disponibles en DVD y la posibilidad de incrustar aplicaciones en el disco como minijuegos. También existe la posibilidad de descargar contenidos adicionales desde Internet al disco, por ejemplo, subtítulos en determinados idiomas, contenidos especiales, escenas eliminadas, entre otros. Por otro lado, hay detractores que dicen que es innecesariamente complejo y las regalías por su uso son excesivas.

Los códecs de compresión de audio utilizados en Blu-ray son LPCM (sin compresión), DTS, Dolby Digital, Dolby TrueHD y DTS-HD Máster Audio (hay más, pero estos son los principales). Los tres primeros se mantienen por retrocompatibilidad respecto al DVD al igual que los de vídeo. Los dos últimos representan una gran mejora, ya que permiten la compresión sin pérdidas (en la siguiente tabla pueden ver cómo mantienen la misma frecuencia de muestreo con una alta tasa de transferencia).

Protecciones contra copias
Los sistemas Blu-ray incorporan cinco sistemas anticopia: AACS, BD+ Rom-Mark, SPDG, e ICT. Sin embargo en los últimos años estos han sido vulnerados. Además, solo aplican a discos Blu-ray de video prensados y vendidos en las tiendas, por lo que los materiales grabados en los formatos BD-R, BD-R LTH, BD-R DL, BD-R XL, BD-RE, BD-RE DL y BD-RE XL no se encuentran protegidos. Los discos Blu-ray usados en las consolas de videojuegos emplean los sistemas de protección de sus respectivas plataformas.

AACS

El AACS es una mejora respecto al CSS del DVD, producto de la iniciativa de Disney, Sony, Microsoft, IBM, Intel, Panasonic, Toshiba y Warner Brothers. Su principal función es el control de la distribución de contenidos. Una de sus consecuencias es que este método anticopia crea una lista negra de grabadores. Este sistema permite dar una clave para cada modelo de grabador. Esto facilita el seguimiento de qué claves son descifradas y qué grabadores permiten las copias; la consecuencia sería revocar la clave y no incluirla en siguientes reproductores, garantizando la incompatibilidad con el grabador. Esta posibilidad ha despertado gran controversia, ya que si se lleva a cabo, usuarios que nunca le dieron un uso ilegal verían cómo su grabador queda inutilizado. Por ahora han anunciado que solo se centrarán en reproductores industriales que sean usados para la copia masiva. El sistema, en teoría, podría permitir incluso suministrar a cada reproductor individual un conjunto de claves con lo que se podría revocar las claves para dicho sistema impidiendo la reproducción solo en él. Sin embargo en el año 2007 este sistema fue vulnerado en unas pocas semanas, allanando el camino para la ruptura de los demás sistemas de protección del formato.

En un principio, la Asociación de Discos Blu-Ray decidió incorporar la restrictiva copia gestionada (MC). Inmediatamente, las compañías informáticas involucradas protestaron debido a su alta restricción. Al final decidieron que el control de distribución de contenidos sería copia gestionada obligatoria (MMC), usada en el HD DVD, y que permite al menos una copia de un disco para enviarla a otros dispositivos. En esta decisión influyó el hecho de que HD DVD lo hubiese adoptado ya que el usuario podría decantarse por un sistema menos restrictivo en este aspecto.

BD+ y Rom-Mark
Los discos Blu-ray tienen en su estándar un sistema anticopia exclusivo denominado BD+. Este sistema permite cambiar dinámicamente las claves para la protección criptográfica de los BD originales. Si una de estas claves es descubierta, los fabricantes no tienen más que cambiar la clave, de forma que las nuevas unidades del producto no puedan ser pirateadas con dicha clave descubierta. A petición de HP, se añadió la posibilidad de que un usuario pueda comprar dichas claves para realizar un número limitado de copias del disco que ha comprado, quitando derechos de copia a los usuarios que utilizan este formato. El BD+ puede comprobar también si el hardware ha sido modificado e impedir la reproducción. Este sistema se basa en el empleo de una máquina virtual que ejecuta la aplicación designada en el disco para verificar la seguridad del reproductor o unidad Blu-ray.

También se ha acordado que los BD lleven una marca de agua digital llamada Rom-Mark. Bajo el nombre de Rom-Mark, esta tecnología estará presente en todos los discos originales y requiere un componente especial de hardware licenciado en grabadores específicos para poder insertar la marca de agua durante la copia. Todos los lectores de Blu-ray deben buscar esa marca. De esta manera, la BDA pretende frenar la copia masiva de este disco.

SPDG
SPDG son las siglas de Self-Protecting Digital Content siendo parte de BD+. Es un programa que incluye en el lector del reproductor de Blu-Ray un sistema operativo cuya función es evitar que los grabadores puedan duplicar las películas que estén siendo reproducidas. Según sus responsables, el SPDG ofrece seguridad añadida en caso de que el sistema de protección AACS sea superado por los grabadores.

La implementación de SPDG tiene su polémica, no solo por el extremismo de la política anticopia, sino porque puede suponer una grave vulnerabilidad, ya que los sistemas operativos son sensibles a los virus informáticos.

Desde el año 2007 han aparecido aplicaciones capaces de vulnerar estas protecciones.

ICT
ICT, siglas del término inglés Image Constraint Token, es una señal que evita que los contenidos de alta definición viajen en soportes no cifrados y, por consiguiente, susceptibles de ser copiados. En la práctica, lo que hace es limitar la salida de vídeo a la resolución de 960x540 si el cable que va del reproductor a la televisión es analógico, aunque la televisión soporte alta definición. El ICT no es obligatorio, cada compañía decide libremente si añadirlo o no a sus títulos. Por ejemplo, Warner está a favor de su uso, mientras que Fox está en contra.

HDCP
High-Bandwidth Digital Content Protection, Protección de Contenido Digital de Elevado Ancho de Banda o HDCP es requerido según el estándar Blu-ray. Esto es un sistema que cifra los datos enviados desde los reproductores hacia los televisores o monitores a través del cable HDMI. A través de una bandera de protocolo en el flujo de medios descrita anteriormente como ICT, el reproductor puede degradar artificialmente la salida de video al detectar un televisor o monitor que no incluya esta protección. Para facilitar la transición hacia la alta definición, la adopción de este método fue pospuesta hasta 2011.

Retrocompatibilidad
La BDA aconseja que los reproductores de BD también reproduzcan DVD, para que sean compatibles con la anterior definición. A pesar de que varios reproductores antiguos podían reproducir DVD pero no CD, hoy se pueden encontrar reproductores híbridos de CD, MP3, DVD y Blu-ray. Varios reproductores también pueden reproducir Video CD, Super Audio CD, y DVD-Audio. Todos los reproductores Blu-ray Ultra HD pueden reproducir discos Blu-ray comunes y la mayoría puede reproducir también discos DVD, CD y CD MP3. Las consolas PlayStation 4 y PlayStation 5 no pueden reproducir CD.

JVC (Victor Company of Japan) desarrolló un combo DVD/BD de tres capas que permitía tener en el mismo disco el estándar DVD y el BD. De esta forma se podría comprar una película que se puede ver en los reproductores de DVD actuales y, además, tener alta definición si se introduce en un reproductor Blu-ray. Dos de las capas corresponderían a un DVD de doble capa (8,6 GB) y la tercera capa correspondería al Blu-ray.

A pesar de lo anterior, sí que hay cierta incompatibilidad insalvable de momento. Dicho problema proviene de las cadenas de montaje. Los fabricantes se han visto obligados a realizar una gran inversión en sus máquinas para poder comenzar a crear discos Blu-ray. Esto es debido a la gran diferencia de tecnología entre este disco y el DVD, sobre todo a la capa especial de protección de los primeros. Se emplean 5 segundos en producir un Blu-ray.

Existe la posibilidad de crear Blu-ray híbridos: aquellos que tengan dos capas, dedicando una a ser de tipo DVD. Al principio, los estudios asociados decidieron que no sacarían títulos en esta modalidad. Pero el competidor HD DVD sí sacó títulos con esta posibilidad, lo que permite ir comprando películas a los usuarios para ver en su reproductor de DVD, y más tarde en su reproductor de HD DVD. Los estudios Blu-Ray se retractaron, y desde finales de 2006 ya existen lanzamientos en esta modalidad.

HD Ready, Full-HD y HDMI
Este apartado trata de remarcar la diferencia entre compatibilidad y adaptación y cómo sacar el máximo partido a la alta definición del Blu-ray. Se dice por compatibilidad cualquier televisor que permita reproducir el contenido de dicho disco. Esta se logra con dispositivos que lleven el logotipo HD Ready o 1080i, lo cual no quiere decir que se le saque el máximo partido a la alta definición puesto que solo garantiza que la resolución mínima sea de 720 líneas en panorámico (1280x720) con escaneo progresivo (si es en modo escalado garantiza 1920x1080). Si lo que queremos es alta definición con una resolución de 1920x1080 en modo progresivo deberán encontrarse aquellos dispositivos marcados bajo el logotipo de Full-HD o 1080p.

La adaptación significa una conversión que implica una pérdida en la señal de audio y/o vídeo. En esta última entra el HDMI, un conector que permite el envío de la señal nativa de alta definición (1920x1080, 24 fps y escaneo progresivo) para garantizar la máxima fluidez y calidad de las escenas. Cualquier otra conexión, ya sea analógica o digital tendrá que adaptarse con las lógicas consecuencias. Aún disponiendo de conector HDMI, es aconsejable buscar aquellos dispositivos que lleven mínimo la versión 1.3, ya que es la primera que admite todos los formatos de audio y vídeo y duplica la tasa de transferencia respecto a su versión 1.2. Cualquier conector y medio que se utilice para conectar el reproductor con el dispositivo de visionado deberá ser compatible con HDCP (HDMI lo es) so pena de que convierta la señal antes de su salida a calidad DVD. Como se puede observar aquellos que se decidan por la alta definición deben buscar reproductores con conectores de un mínimo HDMI 1.3 y dispositivos con Full-HD o superior.

La tecnología del Blu-ray permite una mayor tasa de transferencia para el vídeo. Esta diferencia no ha sido aprovechada en muchos casos debido a varios factores. En primer lugar la tasa es variable y depende de la compañía elegir cuál va usar, no necesariamente la máxima. Segundo, la tasa puede tener otras utilidades aparte de la transmisión del vídeo. Último, influye el códec utilizado: las compañías utilizaron en sus primeros lanzamientos el MPEG-2 lo que hizo que no solo la calidad sea inferior a lo esperado en una reproducción de alta definición, sino que estaba por debajo de su competidor el HD DVD que desde el principio codificó principalmente en VC-1. La tasa de transferencia para audio también es más alta en Blu-ray que en HD DVD.

Blu-ray híbridos
Sony desarrolló un disco híbrido Blu-ray que incluye contenidos reproducibles al mismo tiempo que películas en alta definición. Transformers, Watchmen o Tomb Raider fueron algunos híbridos planeados.

Formatos de disco Blu-ray

BD-RE

A diferencia de lo que ha ocurrido con los formatos anteriores DVD y Disco compacto, en el caso del Blu-ray los medios grabables aparecieron antes de los pregrabados y fabricados con prensa siendo este el primer formato creado. Este formato al igual que sus predecesores DVD-RW, DVD+RW y CD-RW usa una capa de aleación de metales que permite intercambiar entre el estado cristalino transparente al amorfo opaco, permitiendo grabar y borrar los datos varias veces.

BD-R
Este formato fue creado como una variante de una sola escritura del anterior. Igual que sus predecesores DVD-R, DVD+R y CD-R, reemplaza los pits por una capa que permite grabar los datos oscureciendo ciertas áreas con el láser para que representen los pits al absorber la luz. Los discos BD-R convencionales usan una capa de Nitrido de Bismuto, Nitrido de Germanio y Sub-óxido de Telurio dopado con Paladio. También pueden usarse un par de capas con una aleación de Cobre y Silicio. En todos los casos el oscurecimiento se realiza cambiando ciertas áreas al estado laminar para oscurecerlas y hacer que representen los pits. En todos los casos el oscurecimiento es permanente, impidiendo el borrado o el cambio en los datos.

BD-R LTH
Es una variante del BD-R que en lugar de emplear un compuesto inorgánico como en caso anterior, usa una capa orgánica fotosensible bastante similar a sus antecesores DVD-R, DVD+R y CD-R. Se llama "Low to High" o "De Bajo hacia Alto" para referir a su método de grabación. A diferencia del caso anterior, el grabador usa el láser para aclarar ciertas áreas para que las áreas oscuras restantes representen los pits. A simple vista estos discos resaltan por ser de color dorado o amarillo en lugar de azul oscuro. Se desarrolló para que los fabricantes en lugar de comprar equipo completamente nuevo para fabricar los discos Blu-ray solo necesiten actualizar el existente, ahorrando costos. Aunque los reproductores y unidades antiguos no puedan reproducir estos discos, algunos de ellos pueden adquirir tal capacidad mediante actualizaciones de Firmware. La desventaja es que los discos BD-R LTH tienen una calidad inferior a los BD-R convencionales, afectado su vida útil.

BD-R DL y BD-RE DL
Al igual que los sus antecesores DVD-R DL y DVD+R DL, estos formatos agregan una segunda capa de datos sobre la primera, llegando casi a duplicar la capacidad del disco de 25GB a 50GB siendo BD-R DL la variante de una sola escritura y BD-RE DL la regrabable. La primera capa de datos es semitransparente para permitir al láser del lector enfocar a través de la primera capa de datos para acceder a la segunda. Igual que en el caso anterior algunos reproductores y unidades antiguas no pueden manejarlo mientras que algunos otros pueden requerir una actualización. Estos formatos son el mínimo requerido para grabar video 4K para el formato Blu-ray Ultra HD y los juegos "Triple A" demandantes para las consolas de última generación.

BD-R XL y BD-RE XL

Estos formatos comprenden a los discos de capas múltiples, siendo los más comunes los de tres capas que tienen un máximo de 100GB de capacidad y los de cuatro capas, que aumentan la capacidad a 128GB. A pesar de que el último ejemplo muestre un aumento discreto de capacidad, tiene la ventaja de ser más rápido para grabar. Todas las capas, salvo la última son semitransparentes para permitir al láser enfocar a través de ellas y así acceder a toda la información grabada en el disco. Estos formatos son usados para grabar contenidos 4K para la creación de discos Blu-ray Ultra HD. Al ser los formatos más nuevos, muchos reproductores y unidades antiguas no son capaces de manejarlos requiriendo la compra de dispositivos nuevos. Existen planes para extender estos formatos hasta las 6 capas llegando a una capacidad de 200GB.

Diferencias entre varios soportes ópticos

Formatos relacionados
 Blu-ray Audio
 BD-R

Referencias

Generales

Al pie

Enlaces externos

 Asociación del disco Blu-ray.
 Artículo sobre el añadido de marca de agua a los discos Blu-ray.
 Artículo sobre Blu-ray en Ars Technica, informe sobre las características de seguridad de Blu-ray como ventajas potenciales sobre HD DVD.
 The high definition DVD FAQ.

Discos de 120 mm
Blu-ray
Introducciones audiovisuales de 2002

Almacenamiento de video
Almacenamiento de audio
Medios de almacenamiento de computadora de disco giratorio
Introducciones relacionadas a la ciencia de la computación de 2002
Inventos del siglo XXI

redpajama_set_name: RedPajamaWikipedia


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MS in Engineering- Mechanical Engineering
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Positium extracts and processes anonymous location data of mobile subscribers from mobile network operators, using the specific tools and algorithms created over 10 years of experience. They produce statistical data on residents and visitors, and their mobility.
Mobile phones reveal peoples location to the mobile operator as they communicate with the cell tower to transmit calls, text messages or data. Mobile phones are ubiquitous sensors of the society. Individually, these anonymous signals do not mean much but taken together they can be used to paint a picture of the streets. Carefully processed, this information can provide continuous data on various areas -tourism, urban planning, transportation management.


Deftones Music News - Impending Release!!!
Destroy All Humans. PS2/Xbox Review - Keep watching the sky!
Donnie Darko Director's Cut (2 Disc) - Madame Hoopla says this is a "must own" dvd.
Doom 3 Xbox Review - The console port from hell (in a good way)!
ECW One Night Stand 2005 - The Gimmick comes out for the PPV Report swinging a chair!
ECW One Night Stand 2006. PPV Report - E. C Dub! E.C Dub!
Emo: Why It Should Kill Itself Now And Die With Some Glory - An inquisition by DBL into a popular, yet doomed genre.
Ex Machina – The First Hundred Days. Comic Review - Is it worthy of all the attention?


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text:
Do blondes have better karma? Dalai Lama reimagines himself as 'mischievous blonde.' Really.
June 5, 2015 · 3:00 PM EDT
By I-fan Lin
'The new student is the Dalai Lama!' by Nana (koadenium).
Nana (koadenium)
The Dalai Lama has inspired comic artists in Taiwan and Hong Kong with his recent comments that he may be reincarnated as an attractive, "mischievous blonde woman."
More seriously, the Buddhist figure reaffirmed his stance since 2004 to the UK newspaper The Sunday Times that he may not even be reincarnated at all, given the Beijing government's plan to meddle with the reincarnation of the 15th Dalai Lama.
Tibetan Buddhism believes that the soul, after biological death, can begin a new life in a new body. The current Dalai Lama, who turns 80 this year, is considered the political and spiritual leader of Tibet, as have all other previous Dalai Lamas stretching back 369 years to 1642. The reincarnation of religious leaders in Tibet, which has been under China's repressive rule for 60 years, is a sensitive process, one that Beijing has manipulated in order to exercise its control over Tibetans.
To address the controversy and express support for him, comic artists in Taiwan and Hong Kong started a Facebook page, the Blonde Dalai Lama. They drew a number of images and wrote stories of the future 15th Dalai Lama as a blonde woman. The premise of their stories is usually that "one day, it was revealed to me that my sister/my neighbor/the new student was the 15th Dalai Lama."
'My neighbor is a Lama' by Usagihime.
Usagihime
'My little sister was a Lama' by Dollydraw.
Dollydraw
'I am a Lama…anything strange?' by LISianthus.
Mincelot
The current Dalai Lama, Tenzin Gyatso, who has lived in exile in India since 1959, has repeatedly hinted that he might not be reincarnated. Beijing claims that "the Dalai Lama had, essentially, no say over whether he was reincarnated" and that the ultimate decision lies in the hand of the Chinese government, while the Karmapa Lama, Tibetan Buddhism's third highest religious leader in exile, said that "it is up to the Dalai Lama to decide whether he will be reborn."
China is officially atheist, but that hasn't stopped Beijing from intervening in Tibet's religious matters before. The reincarnation of the 11th Panchen Lama, the second most important leader in Tibetan Buddhism, is one such example. In 1995, the Dalai Lama recognized the reincarnation of the Panchen Lama, and then Beijing detained him and replaced him with a boy of their choosing.
Judging from Beijing government's track record in manipulating the reincarnation process, comic lovers at least just might prefer the "mischievous blonde woman" to any other candidate.
This story was cross-posted at Global Voices, a community of 1,200 bloggers and reporters worldwide.
The cheating scandal rocking the chess world
These Indigenous female skateboarders are breaking stereotypes in Bolivia
After years of conflict and rebuilding, Mosul University's Central Library marks new beginning
CultureArts, Culture & Media
dalai lamaReligionHong KongAsiaTibetChinaTaiwan


Welcome To/Bienvenidos A......: Catch Up!
Ruthie, w/ her WONDERFUL kindergarten teacher-she had her "birthday treat time" at school last week, since she has a summer b-day.
Ana's dance class met at the park for a pizza party yesterday.
Nat w/ his soccer coach....after his last game.
My most favorite yard project from the last few days.
& this one had a hole just begging for some ground-cover!
So Kim why is the ribbon spool in the middle of the "rope" for the "swing"?


Candidates can walk in directly for the interview mentioning "MEGHA" as HR Reference on the top of their resumes.
In this role, you will be responsible for all the activities related to month end closing activities.
Understand customer requirements and then collect on amount due.
Any graduate /Undergraduate/ Dropout/ Fresher can apply .
International voice experience will be an added advantage.


text:
Whites Sox Vs. Rockies: Chicago Picks Up 3-2 Win On 9th Inning Sac Fly
By Russ Oates Jun 29, 2011, 9:27pm MDT
Share All sharing options for: Whites Sox Vs. Rockies: Chicago Picks Up 3-2 Win On 9th Inning Sac Fly
It didn't take 13 innings and the same team didn't win on Wednesday night, but the final score between the Colorado Rockies and the Chicago White Sox was 3-2 again. The White Sox picked up that victory in the ninth inning. Huston Street came in for the ninth inning and allowed back-to-back singles to Carlos Quentin and Paul Konerko. With runners on first and third, Alexei Ramirez struck out. A.J. Pierzynski hit a sac fly to right field, giving Quentin a chance to score. Seth Smith made a throw to the plate, but Chris Iannetta was unable to come up with the ball. Instead, it bounced off his glove, allowing Quentin to score.
Jason Giambi (9) and Ty Wigginton (13) hit home runs in the sixth and seventh innings, respectively. Both of those runs were charged to starter Mark Buehrle (3.65 ERA), who went seven innings. Ubaldo Jimenez (3-7, 4.35 ERA) took a no-decision after allowing two runs in seven innings. Konerko and Pierzynski drove in the first two runs.
The Rockies (39-41, 20-20 home) finish this series on Thursday afternoon at 1:10 p.m. MT. Aaron Cook and Jake Peavy take the mound.
For more on the Rockies, check out Purple Row. Visit South Side Sox and SB Nation Chicago for more on the White Sox.
White Sox Vs. Rockies: Colorado Falls In Extra Innings
White Sox Vs. Rockies: Juan Pierre Defeats Colorado With Two-Run Single In 10th Inning
White Sox Vs. Rockies: Ubaldo Jimenez Seeks 3rd Straight Victory


text:
QB Matt Corral flips commitment to Ole Miss
After weeks of seemingly endless speculation, 2018 QB prospect Matt Corral has completed the flip from Florida to Mississippi.
Corral, who committed to Florida in July under former head coach Jim McElwain, visited the Oxford, MS campus last weekend on an official visit and committed after an in-home visit by Rebels head coach Matt Luke.
December 20…🔏
C O M M I T T E D.https://t.co/y1zz8K93Ll pic.twitter.com/5O7UaXGIL3
— M A T T Y I C E (@corral_matt) December 15, 2017
Corral threw for 2,495 yards and 29 touchdowns. He is a US Army All-American and plans to enroll early. 247sports.com has Corral ranked as the #60 overall player in the 2018 recruiting cycle.
Florida must now focus on the quarterback position with a sense of urgency as none of the current quarterbacks on the roster seem to fit new coach Dan Mullen's system.
(Photo via Sports Illustrated)
Florida's Mary Wise named AVCA National Coach of the Year
Gators top Stanford, advance to National Championship match


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How The Credit Junction Uses Data-Driven Intimacy to Change Commercial Lending
Dan Woods Subscriber
The Credit Junction is a NYC-based company that is attempting to change commercial lending by creating an up-to-the minute flow of data about a business from the borrower to the lender. In my first article on The Credit Junction ("How Big Data Flows Will Change Business Lending") I asked a key question: How is this flow of data going to benefit the borrower?
It is easy to see how having much more detailed information flowing to the lender will help. For example, the lender with a bunch of financial vital statistics updated in real time, can see risks such as slowing sales or delays in receivables collections, as they are developing. But what does the borrower get out of providing more data? A lower rate? A loan where none would be otherwise possible? There has to be more to it.
And so there is. When I checked back in with The Credit Junction's CEO, Michael Finkelstein, he was happy to report newly discovered ways that The Credit Junction model has become a two-way street.
Michael Finkelstein, CEO, The Credit Junction
So far, in its first year, The Credit Junction has issued more than $40 million in lines of credit, ranging from $500,000 to $5 million. Here's what they have learned about the borrower's benefit of the flow of data:
Faster Path to New Money: When a customer wants to re-new or increase a loan, the close can happen in hours because the borrower's current financial performance is essentially always up to date. Once you get set up, in effect, you always have an up to date loan application in place. Finkelstein says that because The Credit Junction gets weekly and sometimes daily reporting, the underwriting team can better understand the health of the business, as well as the daily ebbs and flows of that particular company. As more signs of health are revealed, such as increases in orders, increase in cash, inventory turns, receivables increasing, collections days outstanding decreasing, current ratio improving, it is possible to make a quick decision -- within hours -- if more money is requested. Finkelstein said in the next version of The Credit Junction, it will be possible to provide customers with a constantly updated report about how much more capital could be available. "The Credit Junction is transforming the way SMBs finance their growth and working capital needs and a large part of that is shortening the time to incremental additional capital,'' Finkelstein said. "We continue to move to a real-time access to goods and services society and capital should be no different."
Individualized Risk Assessment: In a typical lender-borrower relationship, rates are only reset at predetermined times. Usually, the borrower must shop around to other lenders in order to force a lender into lowering the rate. In The Credit Junction's model, this sort of adversarial relationship can be moderated. Real-time monitoring, tailored for each company's unique business, allows for a more robust risk and analytical model. Since each borrower is evaluated on its own merits, instead of a standardized "in the box" approach, when a business becomes a lower risk, The Credit Junction can recognize it and potentially offer performance pricing incentives or rate adjustments. Finkelstein acknowledges that The Credit Junction may lose a bit of revenue by lowering rates in certain circumstances, but he believes that such an arrangement, when driven by this risk/return assessment, builds trust that will make more borrowers long term customers of The Credit Junction.
Increased Awareness of Financial Condition: The constant stream of data and continuous dialog between The Credit Junction and the borrower results in a higher awareness of the financial condition of the business. Finkelstein says that entrepreneurs and small business owners often are immersed in the day to day operations, and seldom have time to step back and look at the bigger picture. This perspective is crucial and by having ready access to a view of the financial condition, a new awareness of the business often results. In addition, borrowers find that discussions with The Credit Junction staff about the financial condition often yield good ideas. "We believe human customer service is a lost art in financial services," said Finkelstein. "Each borrower has a dedicated account executive who understands that company's unique business and financial model." The Credit Junction staff bring up questions to ask and points to consider that a growing small business may have missed. The business analysis skills of underwriters can be shared with the borrowers.
The real time flow of data doesn't change the fact that a lender wants to make money from the borrower or the fact that the borrower wants to pay as little as possible in interest. And when things go sour, the lender, no matter who they are, will call in the loan and seek protection from pledged collateral. And when a borrower becomes larger, the borrower may seek a new banking relationship from a larger institution. Those are basic facts of lending the way it is done now and always has been done.
But these benefits to the borrower provide the needed balance that makes real-time data flows mutually beneficial. The increased amount of data creates a more collaborative relationship. I suspect that The Credit Junction will be able to say yes to loans that would have otherwise been denied. Such loans may start in small amounts and grow as they are merited. The Credit Junction's underwriting staff should be able to gain a far deeper understanding of the borrowers businesses because of the data they have access to. Businesses may come to value access to this wisdom in conversations they have with The Credit Junction.
While Finkelstein says that such services are not on The Credit Junction's roadmap, I suspect that The Credit Junction could also offer enhanced reporting, dashboards, and business intelligence products based on the data it collects. I also see a valuable form of benchmarking emerging from The Credit Junction's data. A company should be able to see how well it is doing compared to other comparable firms and also see what it must do to rise to the next level.
In essence, The Credit Junction's model changes a loan from a one time event into a process that evolves. It will be interesting to see what kind of businesses, and which particular industries prefer this model.
Follow Dan Woods on Twitter:
Follow @danwoodsearly
Dan Woods is on a mission to help people find the technology they need to succeed. Users of technology should visit CITO Research, a publication where early adopters find technology that matters. Vendors should visit Evolved Media for advice about how to find the right buyers. See list of Dan's clients on this page.
Dan Woods
My mission: Find technology for Early Adopters. Follow me: on Twitter @danwoodsearly on LinkedIn @ www.linkedin.com/in/danwoodsearly/ on myBlog @ https://earlyadopter.co...


Product Guarantee is: overcoming mistakes and technical problems occurred due to the faults of the manufacturer.
– Products are provided a free guarantee if the product guarantees are valid from the date of delivery, and within the guarantee period stated in the guarantee booklet and guarantee stamp.
– The guarantee card and guarantee stamps are present on the company's products. If the products have no warranty card, it is required to present the guarantee stamp of Karalux.
– Guarantees are offered in cases the product surfaces are peeled off, inflated or desquamated after gold-plating (products are still within the guarantee period).
– Product guarantee period is expired or guarantee cards are lost.
– Surface products are abraded by the mechanical impacts.
– Surface products are affected by high temperatures and chemicals.
– The Guarantees are not applied for promotional products attached.
– No guarantee stamps, guarantee cards and guarantee stamps are torn, guarantee stamps are overlapped, or guarantee stamps are revised (including original guarantee stamp).
– In the case of wrong guarantee stamps or wrong information on the guarantee stamps: the warranty department will collate and contrast the guarantee stamps and guarantee cards with the original Delivery Note in the company, invoices, company's software, distributors' information and other customers buying the same products at the same time. If there is any discrepancy, the products guarantees are not covered (company's guarantee stamp can be lost and then taken advantage of sticking on equipments or small mistake when receiving or printing out).
– Guarantees do exclude shipping and delivery.


The Burro Project: Andale BernardoJim Demetro created a burro sculpture with assistance from daughter Christina called Andale Bernardo. He donated it to the city of Puerto Vallarta and it was installed in the Lazaro Cardenas Park, three blocks south of the River Cuale. This new sculpture's central figure is a life-size burro, an important part of the history of Mexico and Puerto Vallarta. And in typical fashion, the burro is resisting the efforts of two small boys to move along. One boy pushes while another offers a carrot to encourage it. A dog gets into the act, tugging on the pant leg of one of the boys.
Smaller versions of Andale Bernado (pictured below) are available for purchase.
Kids enjoying Andale Bernado in Lazaro Cardenas Park The smaller version is approximately 17.5″ by 7″ and 8″ tall.


Stephen Gaghan [Edit Page] Biography With Birthday, Age, Height, Weight, Family, Profession, Real Name, Zodiac Sign, Nationality, Birthplace, Father, Mother, Spouse, Siblings, Children, Eye Color, Hair Color, Wiki etc.
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1-13 of 13 Results for:
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Education and scholarship x
Ain, Gregory (1908-1988), architect and educator
Anthony Denzer
Ain, Gregory (28 March 1908–10 January 1988), architect and educator, was born Gregory Samuel Ain in Pittsburgh, Pennsylvania, the son of Baer Ain, who ran a small business, and Chiah Ain (maiden name unknown); the couple had recently fled Russian Tsarist rule together. In 1911 the family settled in Los Angeles. Ain was raised in Boyle Heights, a dense mixed neighborhood of Eastern European immigrants. His father, a shopkeeper, openly despised capitalism and participated in socialist political groups. In fact, his father's socialist convictions ran so deep that in 1916 he moved the family to Llano del Rio, an experimental collective farming colony in the Antelope Valley of California. The Ains were among the colony's earliest members. Although the family returned to East Los Angeles a year and a half later, the experience contributed decisively to Ain's developing political beliefs and his social conscience. Cooperative housing projects became a consistent area of exploration later, in his architectural practice....
Cret, Paul Philippe (1876-1945), architect and educator
Sandra Tatman
Cret, Paul Philippe (23 October 1876–08 September 1945), architect and educator, was born in Lyons, France, the son of Paul Adolphe Cret and Ann Caroline Durand, both possibly employed in the silk industry, although after his father's death, his mother became a dressmaker. His education began in the office of his uncle, an architect, and was continued at the École des Beaux-Arts in Lyons. In 1896 he was awarded the Paris Prize, enabling him to move to Paris to attend the École there and to enroll in the Atelier Pascal. Even in a larger and more competitive venue Cret gained attention, winning the Rougevin Prize in 1901. Cret's life, however, changed in 1903, when Paul Armon Davis III, himself a former student in the Atelier Pascal, put out a call to University of Pennsylvania alumni pursuing their architectural studies abroad to nominate a candidate for professor of architectural design at the university. The alumni chose Cret, who was at first hired as an assistant professor. Then twenty-seven years of age, Cret could little know the effect that his arrival in the United States would have on the architectural community, both in Philadelphia and in the nation. Soon he was acting as patron, not only for the atelier at the University of Pennsylvania, but also for one held in the evenings under the auspices of the T-Square Club of Philadelphia. Under his direction students from the Philadelphia Atelier excelled in national competitions; beginning in 1911 Cret's students took the Paris Prize, administered by the Society of Beaux-Arts Architects, for four consecutive years. Theo B. White, one of Cret's architectural design students, described Cret's working method: "Cret's criticism was made largely on rolls of tracing paper spread over the student's problem, drawing with a soft pencil and with a minimum of talk (quite different from the modern critic)" (White, p. 29)....
Fuller, R. Buckminster (1895-1983)
Fuller, R. Buckminster (1895-1983), inventor, designer, and environmentalist
R. Buckminster Fuller. Oil on canvas, c. 1981, by Ruth Munson. National Portrait Gallery, Smithsonian Institution.
Olive Hoogenboom
Fuller, R. Buckminster (12 July 1895–01 July 1983), inventor, designer, and environmentalist, often referred to as "Bucky," was born Richard Buckminster Fuller, Jr., in Milton, Massachusetts, the son of Richard Buckminster Fuller, an importer of leather and tea, who died in 1910, and Caroline Wolcott Andrews. He was the grandnephew of author and literary critic ...
Graves, Michael S. (9 July 1934–12 Mar. 2015), architect, product designer, and professor
Denise R. Costanzo
Graves, Michael S. (9 July 1934–12 Mar. 2015), architect, product designer, and professor, was born in Indianapolis, Indiana, the second child of Thomas Graves, a livestock agent, and Erma (Lowe Sanderson) Graves. Graves graduated from Broad Ripple High School in Indianapolis in 1952...
Gropius, Walter (1883-1969)
Maker: Arnold Genthe
Gropius, Walter (1883-1969), architect and educator
Walter Gropius Photograph by Arnold Genthe. Courtesy of the Library of Congress (LC-G412-T-5409-004).
John Zukowsky
Gropius, Walter (18 May 1883–05 July 1969), architect and educator, was born Walter Adolf Georg Gropius in Berlin, Germany, the son of Walter Gropius, an architect, and Manon Scharnweber. His family was long involved in architecture and government service. His father was an adviser for the construction of Berlin's police headquarters and his great uncle was Martin Gropius, a successful Berlin architect and student of the architectural giant Karl Friedrich Schinkel. Young Gropius apprenticed with Berlin architects Hermann Solf and Franz Wichards in 1903 while they were beginning the Imperial Patent Office Building; he then attended architectural classes in the Technical Universities of Munich and Berlin-Charlottenburg in 1903 and 1905–1907, respectively, with a stint between as a cadet in the Fifteenth Regiment of Hussars....
Hamlin, Talbot Faulkner (1889-1956), architect, professor, and librarian
Angela Giral
Hamlin, Talbot Faulkner (16 June 1889–07 October 1956), architect, professor, and librarian, was born in New York City, the son of Alfred Dwight Foster Hamlin, a professor of architecture at Columbia University, and Minnie Florence Marston. He began his writing career at the age of twelve with a translation from the Latin of Pliny's letter describing his Laurentine villa. He received a B.A. in classics and English at Amherst College (1910), where he was elected to Phi Beta Kappa. From there he proceeded to Columbia School of Architecture, where he received a B.Arch. in 1914. That same year he began to work as a draughtsman in the New York architectural firm of Murphy and Dana. In 1916 he married Hilda B. Edwards; they had three sons. That year he published his first book, ...
Moore, Charles Willard (1925-1993), architect and educator
Edward A. Goedeken
Moore, Charles Willard (31 October 1925–16 December 1993), architect and educator, was born in Benton Harbor, Michigan, the son of Charles Ephraim, a businessman, and his wife Kathryn, a teacher. During his years growing up the family would leave Benton Harbor for annual trips to either Florida or California that would last up to four months. These excursions were invaluable influences as Charles honed an active interest in urban environments and their structures. After graduating from high school in 1942 Moore enrolled in the architecture program at the University of Michigan and earned a bachelor's degree in 1947. By the 1940s the Michigan school had begun to move away from the historicism of the Beaux-Arts, and Moore received instruction in a more technical approach to design focusing on construction technology and specification....
Proskouriakoff, Tatiana (1909-1985), artist, architect, and archaeologist
Catherine Dyer Klein and Karen Bachman Barnett
Proskouriakoff, Tatiana (23 January 1909–30 August 1985), artist, architect, and archaeologist, was born in Tomsk, Siberia, the daughter of Avenir Proskouriakoff, an engineer and chemist, and Alla Nekrassova, a physician who graduated with the first class of women from a Russian medical school. The parents were aristocrats. The family traveled to the United States in late 1915, when Avenir Proskouriakoff was sent to supervise the manufacture and sale of weapons to Russia. When Tatiana and her older sister Ksenia contracted diphtheria and scarlet fever, they and their mother returned to Russia. The following spring they joined their father in Philadelphia, Pennsylvania. When the Russian Revolution broke out, the family elected to remain in their adoptive country. Tatiana Proskouriakoff attended Pennsylvania State University and graduated in 1930 with a bachelor of science degree in architecture. Though she never pursued architecture as a profession, her training and artist talents came into play later....
Stokes, Isaac Newton Phelps (1867-1944), architect and historian
F. J. Sypher
Stokes, Isaac Newton Phelps (11 April 1867–18 December 1944), architect and historian, was born in New York City, the son of Anson Phelps Stokes, a banker, and Helen Louisa Phelps. His education was interrupted by episodes of ill health, but he entered Harvard University in 1887 and graduated in 1891. Stokes worked briefly in banking before he began to study at the School of Architecture of Columbia University from 1893 to 1894. He left without taking a degree and went to Paris to study housing design at the École des Beaux Arts. Improved tenement housing was to be a lifelong interest of his. In 1895 he married Edith Minturn. They had an adopted daughter....
Willard, Solomon (1783-1861), sculptor, architect, inventor, and educator
Sylvia Leistyna Lahvis
Willard, Solomon (26 June 1783–27 February 1861), sculptor, architect, inventor, and educator, was born in Petersham, Massachusetts, the son of William Willard, a carpenter and joiner, and Katherine Wilder. After completing an apprenticeship with his father, Willard left for Boston in 1804 to find work as a carpenter. There he may have studied architectural drawing with ...
Wurster, William Wilson (1895-1973), architect and educator
Wurster, William Wilson (20 October 1895–19 September 1973), architect and educator, was born in Stockton, California, the only child of Frederick Wurster, a banker, and Maude Wilson, a homemaker. Wurster's paternal grandparents had come to California over the Isthmus of Panama, and his maternal grandmother arrived after sailing around Cape Horn. Wurster attended the Stockton schools, graduating from high school in 1913. During the summer vacations, he worked in the office of E. B. Brown, a local architect, producing basic drawings and learning the basics of what would become his avocation....


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It is hard to say what would be a forbidden Olympic sport. What if chickens were to participate in the Olympics? Would that be forbidden?
What would be their sport? I think their sport should be how many eggs a chicken could lay in a matter of 5 minutes. Naturally the chicken with the most eggs would win.
Or, we could have a chicken fighting contest, but then the animal "rightists" would have a problem with that. However, it seems that in Mexico, this is a regular sport – like street fighting for humans, chicken fighting is very much embedded in the sports culture of Mexico. On any given day, you could walk down the street and see two chickens fighting with a bunch of loud Mexicans cheering on their favorite chicken – or the one on which they placed their bets.
SO, should chicken fighting be forbidden in the Olympics? I guess it depends on where the Olympics are held.


text:
require 'spec_helper'

describe Zoomus::Actions::User do

  before :all do
    @zc = zoomus_client
    @args = {:email => "foo@bar.com",
             :password => "somepassword123",
             :first_name => "Foo",
             :last_name => "Bar",
             :type => 1}
  end

  describe "#user_autocreate action" do
    before :each do
      stub_request(
        :post,
        zoomus_url("/user/autocreate")
      ).to_return(:body => json_response("user_autocreate"))
    end

    it "requires email param" do
      expect{@zc.user_autocreate(filter_key(@args, :email))}.to raise_error(ArgumentError)
    end

    it "requires type param" do
      expect{@zc.user_autocreate(filter_key(@args, :type))}.to raise_error(ArgumentError)
    end

    it "requires password param" do
      expect{@zc.user_autocreate(filter_key(@args, :password))}.to raise_error(ArgumentError)
    end

    it "returns a hash" do
      expect(@zc.user_autocreate(@args)).to be_kind_of(Hash)
    end

    it "returns same params" do
      res = @zc.user_autocreate(@args)

      expect(res["email"]).to eq(@args[:email])
      expect(res["first_name"]).to eq(@args[:first_name])
      expect(res["last_name"]).to eq(@args[:last_name])
      expect(res["type"]).to eq(@args[:type])
    end
  end

  describe "#user_autocreate! action" do
    before :each do
      stub_request(
        :post,
        zoomus_url("/user/autocreate")
      ).to_return(:body => json_response("error"))
    end

    it "raises Zoomus::Error exception" do
      expect {
        @zc.user_autocreate!(@args)
      }.to raise_error(Zoomus::Error)
    end
  end
end


In the past two years, English Language teachers in ISD 742 have been given the opportunity to work with iPods. See how we have extended learning with these devices for kindergarten, first- and second-graders. Participants will get a list of resources, lessons to use and ideas for apps.