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Q: 2010 crawl - "Item was not crawled because of a password change" Our Sharepoint servers were shut down safely as part of a backup, and when brought back online we noticed multiple errors in the crawl log, and no successes.
The error was "The account password was not specified. Specify the password."
As specified here: http://blog.sharepointsite.co.uk/2011/07/sp2010-enterprise-search-crawl-log.html, we re-entered the password for the Default Content Access Account (SP_Crawl), which was accepted.
After this password was entered, the error in the crawl log changed to "Item was not crawled because of a password change. Update password and retry crawling.", and the same number of errors persisted. We tried re-entering the correct password but it has made no difference. The crawl is now completely inoperative and not indexing any new content.
There seems to be very little information online about these errors, and we are at a loss as to why this would have happened after a simple server restart. (The servers are restarted fairly regularly for patch installations and upgrades.)
The password for the account is definitely correct, as we are able to log onto the servers using this domain account.
Any thoughts welcome, thanks.

A: Try following the steps here to reset the password within sharepoint.
Specifically:

(4) SharePoint Server Search Content Access Account(s)
4.1. Bring up the Search Service application in Central Admin.
4.2. Click the Default Content Access Account in the "System Status" section.
4.3. Change the password of the account in the popup.
4.4. Please note that you need to do these steps even if your content access account is the same as your search service account.
4.5. Change the passwords of content access accounts that you may have defined in the Crawl Rules.
(5) SharePoint Foundation Search Content Access Account
5.1. Bring up Central Admin.  Click "System Settings"
5.2. Click "Manage Services on Servers."
5.3. Find the server(s) where the SharePoint Foundation Search Service is running.
5.4. Click "SharePoint Foundation Search Service"
5.5. Change the password of the service account in the "Content Access Account" section.  Click "OK."
5.6. Repeat these steps if you have Foundation Search service running on more than one server.
Click Here

A: First, I would check to see if you can log on as the service account in Sharepoint as well as the Central Administration. I also recommend creating a new crawl rule to test and see if you receive the same authentication issues.
Use this link to troubleshoot and test: TECHNET ARTICLE
If you are able to create a new crawl rule with no issues, you will have to delete your old crawl rule and simply create a new one.
Hope this helps.


DiscoShips is a 2D top down, twin-stick, local multiplayer space shooter featuring original funky tunes. The main mechanic is that your ammo is your health, so precise shots and resource management is required to dominate your opponents! In the midst of battle a variety of space junk will fly in to create choke points, disrupt the battle, and release more health and power ups to fuel your fight!
The game is still in development!


text:
Posted in Festivals and ShowsTagged cxc 2016, whit taylor
The Rowhouse Report: May-June 2016
Sally IngrahamJune 18, 2016School UpdatesThe Comics Workbook Rowhouse Residency is a GO! The Rowhouse is a busy place these days! The end of May brought the first official residents to the doors of the school, with Matthew Conway and Mahmoud Hashemi's visit. They came on a mission to work on the back-story of a game they are designing. They enjoyed the adventure of being the school's first residents, and brought a unique energy that set a tone for the summer and the school. Mahmoud wrote an extensive report on Matt and his experience of the school, which I am quoting from below: "Compared to my expectations of independent comics artists, Frank is well-adjusted and well-equipped, with good taste in more than just comics. This expectation is likely skewed by my reading of so many "journal comics" artists. I feel like I learned about creating and collecting in general, not just about comics. Frank never stops relating things to comics, education, and community-building. Passion is fleeting compared to this. His motivation is closer to second nature. This nature was my original hopeful realization with Frank, before I met him. I feel a deep kinship with him, as I think about creating code the same way he thinks about creating comics. Independent, expressive, and individually valuable. Corporate partnerships are inevitable and, while they can be good, ultimately these looming entities don't care about the potential of comics/code, they just use creators opportunistically. I see Frank doing for independent print comics what E-40 does in hip hop. He seems to know everyone past and present. E-40 and Frank both act upon this knowledge, combining it with the deeply ingrained understanding that respect is the real currency of the business. Money is an inescapable reality, but it's possible and laudable to address the group as a community first and an industry second. Economies have a tendency to be treated as zero-sum. But respect is not zero-sum. Through his music, E-40 pulls everyone together, adding to their respect, and his own. And above all he respects himself, setting a good example. So it is with Frank. Suffice it to say, we need more creator-mentor-educators like Frank (as well as Sally, who I think recognizes all this and more, and actively assists Frank in the mission). In my ideal world I would be able to spend one week per year with a creator of his caliber, but I feel lucky to even have this one trip." – Mahmoud Hashemi You can read the whole report HERE. ————————————————————————————————— Lale Westvind came through Pittsburgh on her motorcycle in June and spent some time at the Rowhouse. Maybe there's something in the air here, or maybe it's just Lale's own incredible drive – either way she managed to knock out half a comic over the course of the evenings she spent at the Rowhouse. She simultaneously explored Frank's comics collection, and matched him story for story. Her visits coincided with an interview that Comics Workbook conducted with her, which you can read HERE. ————————————————————————————————— Sammy Harkham and Kevin Huizenga buzzed through Pittsburgh in June and Copacetic Comics hosted an evening of conversation with these comics geniuses. Afterwards they came back to the Rowhouse for the night and of course they couldn't just sit around chatting. Drawings were made, comics were discussed, and the Rowhouse got to soak up their combined creative energy. The place is already approaching Kryptonite levels…! ————————————————————————————————— In addition to hosting residents and other roaming cartoonists, the Rowhouse serves as the headquarters for the Comics Workbook team. Local team members like Juan Fernandez and Sally Ingraham pop round most days to work on planning things like The Pittsburgh Comics Salon and to help with packing up orders that come through Frank's ongoing auction. This "work" often morphs into drawing sessions or a visit to the basement to check out the incredible comics vault that Frank has been building for years. ————————————————————————————————— Yes indeed, the Rowhouse is humming and July promises to be just as exciting, with residents Audra Stang and Caleb Orecchio coming to visit. Stay tuned for more residency reports and other news soon! Share this page:Read More:Comics Workbook @ CXC 201612/5/2016Gloria Rivera -…07/04/2017...
Caleb OrecchioJanuary 15, 2018NewsCaleb Orecchio here with thoughts on Dash Shaw's Spider-Man story from Strange Tales II, and more news.————————————————————————————————— Last week I talked a bit about Dash Shaw's Doctor Strange comic from the first volume of the indie-cartoonist-superhero-anthology, Strange Tales. This week I was thinking about his Spider-Man comic for Strange Tales II. A meta, meditation on the Sam Rami movies, with a quote from Toby Maguire about his famous upside-down kissing scene with Kirsten Dunst at the end. This idea runs parallel with a Spider-Man v Mysterio fight with the latter using his "vapors of deception! Deceit!" I enjoy this comic as much as I enjoy all Dash Shaw comics. Shaw is usually not without something to say in his work: Spider-Man is on "some kind of elaborate film stage," trapped by Mysterios deceitful fog until he finds his way out and falls into "Garbage! […] That's where the spiders thrive!" Out of the theater and into the trash where he belongs. Where Spider-Man is best. I like this comic because Shaw is "selling out" (one could argue by working with Marvel) whilst simultaneously calling a childhood obsession (from Marvel) "garbage," yet, lovingly. There is an irony that resides in this story and its circumstances that I relish. It's an earnest love letter to trash. I always enjoy rereading this one. ————————————————————————————————— if you don't know now you know Alex Wong talks to Jason Shiga at TCJ.com. I somehow missed that Chris Ware was a guest on RiYL. Conan the Barbarian is returning to Marvel in 2019. The latest guest on Inkstuds is Zach Hazard Vaupen. Have you checked out our own Sally Ingraham's birding blog? Check out William Cardini's Skew on Study Group if you've been snoozing. ————————————————————————————————— Suzy and Cecil – 1-15-2018 – by Sally Ingraham Share this page:Read More:01/08/201810/18/201809/11/201809/12/2016...
Caleb OrecchioAugust 27, 2017NewsCaleb Orecchio here on Jack Kirby's 100th birthday ———————————————————————————————— What's out There? …and so I live with a lot of questions—and I find that entertaining. If my life would have went tomorrow, it would be fulfilled in that manner. I would say, "The questions have been terrific." -Jack Kirby from the Harlan Ellison hosted documentary, Masters of American Comic Book Art. All images herein are written and drawn by Jack Kirby ———————————————————————————————— Today is Jack Kirby's 100th birthday, and though he passed away in 1994, his spirit lives on as strong as it ever was. Undoubtedly, his influence has stretched across the four corners of the medium of comics–and culture in general. Over the past months in anticipation of this day, there has been an extra electricity in the air, surely not altogether separate from the social and political shifting of the last several years. Many feel the doomsday clock is winding down to midnight and the writing on the wall says the times are changing, and I couldn't help but think of the recent solar eclipse as a sort of omen. Whether the eclipse was an omen for good or bad, I have no idea; but as the Jacques Prévert poem says, The earth it turns/The earth doesn't stop turning. Another recent omen I encountered, just two days before the eclipse, was a screening of 2001: A Space Odyssey in a vintage 70mm print. As you know, it's a complete and utter visual experience–a feast for the eyes–but seeing it in 70mm left me changed by the time the credits were rolling. "What did we just watch?" was a popular question asked among friends while ruminating over shared cigarettes. I couldn't stop thinking about Kirby. More than a few readers will be well acquainted with Kirby's comic book adaption of 2001 and his subsequent spin-off series. I think these works unhinged something in Kirby. The series, up to the point until Mister Machine (or later, Machine Man) takes over as protagonist, leans heavily on the evolution of early humans into a higher being: The New Seed. It's a continuum: we're born, we live, we die, we're born again. During and after 2001, Kirby became unleashed. His "mature style" had fully formed. A New Seed emerged from his diminishing back and forth relationship between Marvel and DC. Back at Marvel once again for the last time, Kirby's images obliterated the comparatively civilian drawings of his contemporaries. Smashing and gnashing his way through, arguably, some of industries worst years creatively and financially–standing as a monolith among the poor, hungry apes incapable of grasping the knowledge he was revealing to them. He, The Monolith, still stands to this day and we apes are still trying to figure out where the signal is pointing to. xoxo CO ———————————————————————————————— select Kirby links This special edition of the Kirby Collector looks like a banger. The Comics Journal interview with Kirby conducted by Gary Groth, with Roz Kirby in attendance. Masters of American Comic Book Art clip A really great Art in America piece on Kirby by Alexi Worth. Radio interview conducted on Kirby's 70th birthday with surprise guest–brace yourselves True Believers–Stan Lee. A really excellent series by Robert Steibel on the collaboration between Kirby and Lee Kirby at War BANG! POW! Kirby on Entertainment Tonight A particularly good presentation by Arlen Schumer on Kirby's influence in culture. Jack Kirby Musuem and Research Center Kirb Your Enthusiasm BONUS SPREAD ———————————————————————————————— Suzy and Cecil – 8-28-2017 – by Gabriella Tito ———————————————————————————————— Joanie and Jordie – 8-28-2017 – by Caleb Orecchio Share this page:Read More:A Comics Id is…07/31/201708/21/201710/13/2017...
Aaron CockleJune 12, 2017NewsAaron Cockle here today with The ClairFree System; Pope Hats; Blind Spot and Black Paper; The Republic of Samsung; Printer Steganography ————————————————————————————————— 'Here, she explains the inspiration behind her images and what she hopes readers to take from her work.' Sally linked to this piece this past Friday, Claire Landsbaum asked Jillian Tamaki to dissect some of the panels from her story 'The ClairFree System', which is included in Tamaki's new book, Boundless. Tamaki talks about incorporating found objects into the art-making process: This is another sculpture from the Art Gallery of Ontario, but the original artwork was just the child — I created the rest. A lot of this story is about reframing context: taking a classical sculpture or a photograph, which is a specific instant in time, and stripping it of its information to make it universal, which is what I did here. The image itself is about someone's hopes and dreams for their child — about everyone's idea of a great parent, which is that they can give their kid everything they want. I've heard people say that a new child is a pure, unsullied human being who hasn't ever made a bad decision — that they're without sin. I find that extremely hopeful. I don't have children, but I would imagine the desire to prolong that state is an emotion every parent feels. ————————————————————————————————— 'I keep returning to this notion: that the best feeling in the world is working really hard at creating something with no guarantee of a positive outcome.' Ethan Rilly talks about his process for making Pope Hats #5, over at the AdHouse Books blog: Enough people have asked me whether I'm a lawyer that it might be useful to answer here: No, and I never was. Never stepped foot in a law firm. This story might be autobiographical in all the regular faintly embarrassing ways but the lawyer stuff is a good distance outside of me. I did research and interviews. ————————————————————————————————— 'I pray to Tarkovsky, Marker, and Hitchcock.' Teju Cole will be exhibiting work June 15-August 11 at Stephen Kasher Gallery in NYC, photos and text from his new book, Blind Spot, as well as an installation piece, Black Paper. The exhibition features over 30 color photographs from the series Blind Spot, each accompanied by Cole's lyrical and evocative prose. Viewed together, these works form a multimedia diary of years of near-constant travel. In these photographs, we see what Cole has seen, from a park in Berlin to a mountain range in Switzerland, a church exterior in Lagos to a parking lot in Brooklyn; and we are drawn into the texts—which function as voiceovers—with which Cole complicates his already enigmatic images. At stake here is the question of vision, an exploration Cole began following a temporary spell of blindness in 2011, and which he presents here in a photographic sequence of novelistic intensity. The exhibition also presents Black Paper, a visceral photographic response to Cole's experiences following the election of November 2016. This continuously evolving, large-scale work explores buried feelings, haunted space, and all that can be seen through darkness. ————————————————————————————————— "ABOUT MY WORK AND MYSELF AND ALL THE REST I USED TO SAY:/," "I HAVE NOTHING TO SAY AND I'M SAYING IT:." As a continuation of its online Net Art Anthology exhibition, Rhizome features and discusses Young-Hae Chang Heavy Industries's piece, Samsung. The piece Samsung addresses the complex nature of the corporation—its existence not only as an economic entity but also as an emotional phantom, reaching its incorporeal fingers into relationships, daydreams, and fantasies. The text of Samsung, demonstrating many of the formal qualities of poetry, is interspersed with conversational breaks that establish intimacy with the viewer. The tone becomes conspiratorial as the narrator asks, "CAN/I CONFIDE/IN YOU?" There is no option to decline. The viewer is rendered complicit in the narrator's confession of their adoration of Samsung. ————————————————————————————————— 'The printouts contained invisible dot patterns added by the printer to identify the worker who sent the print job' I posted about Video Steganography, the imbedding of hidden information within electronic files, a few weeks back. Recently, the Boingboing blog posted a piece about one of the ways the National Security Agency was able to determine the source of leaked information about potential hacking involving the Russians in the 2016 U.S. presidential election, by examining the hidden dot patterns that are used with color printers. There's been much speculation on exactly how NSA leaker Reality Winner was exposed after giving The Intercept documents that showed the extent to which the security agency suspects Russian meddling (previously) in last year's general election. On one hand, the filing against her talks of the "creases" seen in the scans The Intercept posted, tipping them off to it being a workplace printout from an insider–an insinuation of casual sloppiness on the reporters' part. On the other hand, it seemed clear Winner did everything at a work computer anyway and was surely doomed once the story came out and internal investigations began. ————————————————————————————————— A Cosmic Journey – 6-13-2017 – by Cameron Arthur ————————————————————————————————— Suzy and Cecil – 6-13-2017 – by Gabriella Tito ————————————————————————————————— Joanie and Jordie – 6-13-2017 – by Caleb Orecchio Share this page:Read More:08/08/201701/23/201702/17/2017A Comics Id is…...
Juan FernándezSeptember 5, 2016NewsJuan here. It's Labor Day in the United States, which means no insane barrage of news for today. Just the juicy bits. Celebrate Labor History & Mourn the end of summer. If you're still hankering for a massive dose of comics jump into this years submissions to the Comics Workbook Composition Contest. There were a record number entries this year and some real gems. Read them all HERE. ————————————————————————————————— If you haven't caught wind already, Comics Workbook will be firing on all cylinders at SPX this year. We are excited to announce that Comics Workbook will be hosting a series of special workshops at SPX this year! A Danger Room of our own. Learn more about this year's special Comics Workbook workshops HERE. We will be at table N8 this year – stop by and say "Hello" – check out new work by Frank and our students – buy some old comics from Frank's mind blowingly extensive collection. More to come! We'll be back full force tomoroow, coming at you like an SPX maelstrom. Hold on to your butts -JF Share this page:Read More:11/21/2016Caleb Orecchio @ CXC 20168/24/201612/12/2016...
CXC 2016: Report Card
Posted on October 24, 2016 October 27, 2016 by Whit Taylor
CXC 2016 Poster designed by Jim Rugg
Comics Crossroads Columbus (CXC), is a 4 day long comics festival in Columbus, Ohio, that is now in its second year. Organized by comics industry professionals with a track record of both artistic contributions and service to the independent comics community, the show has largely been touted as a soon-to-be American version of France's Angouleme; that is, a multi-day festival that explores the various facets of comics, and serves as more than just a marketplace for cartoonists, but a support of their careers and celebration of the medium.
CXC is situated in Columbus, a cozy Midwestern college town (home to Ohio State University) that is quickly building up its reputation as a "cartoonists" town due to its arts friendly institutions, reasonable cost of living, and the number of artists who have either grown up or elected to move there. Tom Spurgeon, CXC's Festival Director, credits Columbus-native Jeff Smith, Vijaya Iyer and Lucy Caswell with the initial idea for the show, as well as Jenny Robb, Caitlin McGurk and Jared Gardner.
Moments from CXC – L-R: the author Whit Taylor tabling, Charles Burns picking up some comics at the Marketplace, Sergio Aragones and Carol Tyler receiving awards from Jeff Smith and Tom Spurgeon, and John Kelly hosting Carol Tyler's spotlight panel
Caitlin McGurk, CXC committee member and Associate Curator at the Billy Ireland Cartoon Library & Museum, explained to me that planning for the first festival began in 2012. "The idea for CXC was born out of the realization that there were a significant number of institutions in Columbus paying attention to/promoting/working with comics," she explains. "From the obvious like The Billy Ireland Cartoon Library & Museum (BICLM) and the Thurber House (James Thurber's childhood home turned museum), to Columbus College of Art and Design (CCAD) kicking off a new comics major, to the Columbus Museum of Art hosting regular comic art exhibits (including the first US show of R. Crumb's Book of Genesis), and a dozen other examples, it occurred to us that few other cities have that kind of institutional power behind comics."
The events of the first two days, held on Ohio State University's campus, included professional development for cartoonists, tours of the BICLM, programming for young students of color through Sol-Con (a convention celebrating black and brown creators), and a scholarly symposium organized by OSU professor and CXC organizer, Jared Gardner. The weekend "marketplace" at the newly renovated Columbus Metropolitan Library, served as a small convention with exhibitors and programming, including the Comics Workbook workshop sessions. I missed checking out Ron Wimberly's CMA Thurber House Graphic Residency as well as seeing Raina Telgemeier speak (more on this later), but I do believe that I was able to get a nice snapshot of the show.
Moments from CXC – Alyssa Berg leading a Comics Workbook workshop, Sacha Mardou talking to Shena Wolf and Caitlin McGurk, a workshop attendee, festival goers exploring the BICLM, and Whit Taylor documenting the end of a Col-Con panel
It was one that reflected the goals of the organizers, according to McGurk – "We want it to include everyone from comic strip artists to punk mini-comics makers to political cartoonists, web cartoonists, mainstream cartoonists and the "indie" folks. Animators, too! A place where someone who has just made their first mini-comic can stand beside a MAD Magazine legend in the BICLM galleries and chat about Winsor McCay. A place to learn about developing professional skills for artists, be it from inking to legacy planning, from foreign rights to how to fill out your taxes, etc. We want to create a support system for comics, in a place that already serves as a home and shrine to comics."
I decided to approach my write up as a "report card" absent of a final grade, but with some notes on the strengths of the show, some areas for improvement, as well as some notes concerning the future of the show.
I would like to thank the show's Executive Committee: Tom Spurgeon, Jeff Smith, Vijaya Iyer, Kathleen Glosan, Lucy Caswell as well as Caitlin McGurk (Billy Ireland Cartoon Library & Museum), Laurenn McCubbin (CCAD), Jared Gardner, Neil Cameron, Frederick L. Aldama (Sol-Con), Comics Workbook, and countless volunteers.
Strengths & Highlights
Versatility: Overall all, CXC's greatest asset was its understanding that comics culture is multidimensional. The show welcomed cartoonists, comics scholars, publishers, fans, and those with specific interests within the community. It strove to be inclusive, even if it was not fully realized.
Talk and Teach: There were two days of professional development workshops and talks before the weekend convention commenced. For those who were able to make it out, it was a wonderful way for cartoonists, who are usually stuck behind their tables at shows, to take time for themselves to learn and grow. Two highlights for me included Sacha Mardou's long form fiction planning talk and Kriota Willberg's Drawing with No Pain! Injury Prevention for Cartoonists workshop. Dustin Harbin, T. Edward Bak, and Ann Telnaes also led Talk and Teach workshops.
Sacha Mardou presenting
Scholarly Symposium: In its first year, the theme chosen for this 2-day symposium was "Canon Fodder", as the goal of the gathering was to "seek to test and remix the still-damp concrete of comics histories and canons before they set." Chaired by OSU Professor of English (and comics scholar), Jared Gardner, the symposium was intended to bring together academics to present, learn, and open a dialogue about everything from representation in comics to who is responsible for dominant narratives. I spoke with some attendees later at the marketplace. Comics scholarship seems to be a relatively small field at this point and one that is not always directly tied into the comics industry itself. That's why I think it was smart to include the symposium in this show. Plus, it provided academics a chance to observe small-press culture and acquire comics and graphic novels from indie artists whose work they may not have encountered otherwise.
Billy Ireland Cartoon Library & Museum Tours: On Friday, tours were given on the hour of the archives. This provided us with a fascinating look at their vast collection, which included everything from original art, graphic novels, and manga, to fan letters written to cartoonists. Additionally, librarians selected a diverse display of original art to look at in the reading room. Upstairs was the Little Nemo:Dream Another Dream exhibit featuring contemporary artists who contributed to the Eisner-winning book from Locust Moon Press, as well as Good Grief! Children and Comics, an exhibition featuring original art from everyone from Charles Schultz and Bill Watterson, to that of the late Richard Thompson.
Garry Trudeau Talk: Trudeau spoke with writer Glen David Gold at the Wexner Center for the Arts on Friday night. The event provided a snapshot of his cartooning career and a reflection on his work. I was most interested in their discussion about covering war in comics strips and Trudeau's admitted struggle to fully capture the experience of those serving in the military. I was also surprised by Trudeau's relative outsider status as a cartoonist, as he shared that he was not very involved in the comics world as an industry person or as a reader. Other notable talks at CXC included "Animator and Author John Canemaker on Windsor McCay's Little Nemo", "25 Years: Seth in Conversation with Ben Katchor", Charles Burns at CCAD, and Raina Telgemeier in Conversation with Jeff Smith.
Festival event posters made by Noah Van Sciver and Katie Skelly
Social Opportunities: The organizers also understood the necessity of socializing. Again, perhaps this is because many are cartoonists themselves and have an understanding of the rather solitary nature of the craft. The show provided ample opportunities to socialize beyond the marketplace, including after parties each night hosted by different cartoonists (Katie Skelly, Stan Sakai, Julia Gfrorer, and Sean T. Collins) at local bars.
Awards: On Friday, the CXC 2016 Master Cartoonist Awards went to Carol Tyler and Sergio Aragones, honoring their bodies of work, while Garry Trudeau received the CXC 2016 Masterwork Award for Doonesbury. At the weekend's marketplace, cartoonist and publisher, Kevin Czap was honored with the Emerging Talent Award. Discussing his award with CW presenter Alyssa Berg, Czap said "I didn't expect it at all. It felt nice in that regard—plugging away at this thing and trying to be a part of the larger conversation of comics, which I feel a part of is being represented at CXC. So the award felt like acknowledgement, that you are being noticed and heard, which feels nice. I'm doing all of this stuff without expectation of reward, it's just what I want to do, but it's nice to see some traction." In the same way that it is important to celebrate seasoned artists with "lifetime achievement awards", supporting artists in their formative years (and even more so with funds) shows respect and appreciation for cartoonists in a unique part of their career.
L-R: Carol Tyler and Sergio Aragones receive awards – Jeff Smith and Tom Spurgeon celebrate
Location: Columbus was a nice choice for a comics festival given its small size, affordability, and comics foundation (including the local talent and facilities). The facilities, including those at OSU as well as the newly renovated Columbus Metropolitan Public Library, were a major asset to this show given their accessibility and presenter-friendliness.
Hospitality and Support: Many exhibitors told me that CXC organizers and volunteers made them feel very welcome. Whether it was arrangements being made to pick up individuals from the airport or snacks made available to exhibitors, the little touches conveyed a sense of pride about the show as well as for the show's city.
Raina Telgemeier: As evidenced by the massive line of young girls and their families waiting in line to see her for her spotlight panel and signing of her new bestseller, Ghosts, one can assume it was a success! Seeing young, particularly female readers, develop a passion for comics is inspiring and hopeful for the medium.
Marketplace floor
Weaknesses and Room for Improvement
Tom Spurgeon was in agreement with my perception that there were some logistical flaws to this year's show. "The big change will probably be adding a showrunner for just that day," he elaborated. "I'd also like to add an element of shining a spotlight on 2018 in comics. I think we need to do a better job hitting our diversity goals across the board."
Sol-Con Omission: Let me say first that I stopped by Sol-Con's expo and programming on Friday and was heartened by all of the black and brown school children who had been invited to learn about comics and meet cartoonists. It was clear that participants had a passion for engaging youth as well as discussing topics relevant to the black and Latino creators, publishers, and other comics professionals. The problem was that CXC's program did not have enough specifics on Sol-Con, including locations for the weekend programming (they were available on OSU's site for the convention). I spoke with Sol-Con's Project Director Frederick Luis Aldama, and he told me that detailed info on the workshops had been submitted in time but were not included. He expressed that he did not believe this to be malicious, but an oversight that nonetheless upset many Sol-Con exhibitors and participants.
State of the Industry Panel – L-R: Keith Knight, Brendan Burford, Chip Mosher, Shena Wolf, Rich Tommaso, and Tom Spurgeon
Unevenness of Panels: I attended as many panels as I could, despite exhibiting. There were many highlights for me, including the Political Cartoons panel which featured Lalo Alcatraz, Nate Beeler, Keith Knight, and Ann Telneas discussing their coverage of the 2016 presidential election. There were also some less consistent panels, including the State of the Industry panel. Image's Eric Stephenson dropped out, leaving Rich Tommaso (cartoonist), Keith Knight (cartoonist) Chip Mosher (ComiXology), Shena Wolf (GoComics.com), and Brendan Burford (King Features Syndicates) to do a syndicate-heavy panel without a print publisher present. Tom Spurgeon moderated, asking insightful and well-rounded questions, but I sensed a hesitancy to answer questions around creator incomes or anything wage-related. The panel avoided being overly negative, but tense exchanges on diversity and what being a "good artist" means in some ways reflected greater industry hot topics.
The details: While some of CXC's greatest successes were in its attention to detail, it's also clear that some remain to be worked out. Issues such as not having assigned tables on an exhibitor map or the scheduling of multiple sought-after events at the same time, are worth re-visiting. I chalk this up to it being a new show more than anything else.
I'm curious to see what the future holds for this festival. I look forward to seeing what happens as comics scholarship grows and CCAD's Comic & Narrative Major moves beyond its launch year. Given the great experiences I've been hearing, it seems likely that applications will go up in coming years. CXC will have to figure out what type of show its going to be, similar in some ways to what SPX is now facing. Given that its festival setup is unlike any other in this country at this point, it may not be able to rely on shows that have aged gracefully, as role models. If demand for the marketplace grows, logistics concerning lodging, transportation, and show curation will be unavoidable, as will its connections with the scholarly symposium and Sol-Con.
When I asked Spurgeon what he wanted for this festival in coming years he said he hoped that CXC would "not just [be] having a strong show but driving attention to the entire world of comics in a kind of Cannes Film Festival way." He talked of developing a housing program as well. "I'd love for the show to become successful enough we can aim it at some of comics intractable problems!"
I truly hope the best for this show, as it left me with a homey feeling that was a testament to it's passionate featured talent and its hardworking organizers.
Whit Taylor is a New Jersey-born cartoonist, editor, and comics writer. Her most recent books are Ghost and Wallpaper. She has previously reported on CAB 2014, SPX 2014, and the 2014 Comics & Medicine Conference. She lives in New York City.
(For more Comics Workbook CXC 2016 coverage check out our special "round up" report HERE.)
A Comics Id is…
Cartoon Crossroads…
Caleb Orecchio @ CXC 2016
Niall Breen on LICAF 2016
Sally IngrahamNovember 15, 2017NewsSam Ombiri on Anders Nilsen's Tongues – plus news from Ronald Wimberly, and Ramón Esono Ebalé. ————————————————————————————————— Sam Ombiri here: Anders Nilsen's most recent book – Tongues – was fantastic. (For a quick overview read Bill Boichel's description HERE.) I hesitate to refer to it as a "culmination". It feels like Anders is coming back to the same ideas, but approaching them as different person – and on a more significant level than "Oh, he just moved from one moment to another moment with only subtle, undetectable change occurring." The change is very visible. I also hesitate to call Tongues a "culmination" because it might portray the work that he did leading up to Tongues as inferior, or as something that's less worth reading, which isn't true. While Tongues doesn't feel like different subject matter, there's nothing wrong with that and it isn't a rare occurrence in comics. In fact it's more exciting to read as a result of the book having that nature. Now, despite my reservations for referring to the book as a "culmination", I will refer to it as such (and again, it's not at the disservice of the work that came before it, far from it.) The same things are approached in new ways. I have a strong belief that this stems from Anders being a different person now, and supposedly wanting to deal with different things. This may be an obvious thing for me to state, but it feels especially present, and all the more important to emphasize. While it's exciting to see how the book is a culmination, it wouldn't do it any good if the content lacked among many other things the sincerity, or rather the genuine way he portrays this sincere spirit that readers have come to expect from Anders. Thankfully it isn't lacking. The methods he used to convey his story were really exciting to watch unfold. Because he has released all kinds of work in the past, we have a good vision of his mode of working. So even when he's doing a less raw work – though it feels more perfectly rendered – it isn't bothersome or boring. I can imagine a reader being enthralled and possibly having as much enthusiasm as I am having, or even more. I can tell just from the way to book is made to seem like a really foreign and unfamiliar object (French-flapped, and over-sized). That's not to say that the content is unfamiliar – it's in a way all too familiar – but when see the cover, the back cover, when you open up the book, it conveys a sense of fluidity, of formlessness. (Like the same substance CF sometimes draws, or what you see in Jesse Moynihan's Forming, that strange goop conveying what seems to be pure formlessness attempting to form.) In Tongues when Prometheus is recounting a dream or memory that he had, Anders took that formlessness and used that formless goop, and neatly collaged previous practices as well as new ones, to describe the cryptic, or rather the ambiguity, of what our consciousness, for lack of a better descriptor, was like, as we were forming into human beings. In this way he marvelously uses what we perceived as what happened, and what may have been Prometheus' dream or memory. It's experimental and yet more structured than his previous works that have been experimental. Again, it's a culmination of both, and the purpose of this isn't forthright. I can't discern Ander's intentions for it, but that's what I got out of it. I'll sometimes unreasonably and randomly just get upset that comics need to have so many panels and when you flip pages you first have to read all these panels, and it's the form of the panels that I'm engaging with first – why can't it be one whole thing I'm looking at? It's even like that for something like If n OOf, by Brian Chippendale – I get frustrated that I'll have to register two separate images to get the story. Obviously I get over it and just get back to reading and enjoying the comics. Comics don't always give the most immediate answers, and what's impressive with Anders – and this may come out of his practice as a painter – is how he made the comic give an immediate answer. He did this without forfeiting all the benefits that come with the structure of comics. He made the panels comment on the story in every necessary way. It's not just the section with Prometheus that has fantastic panels that convey moments impressively and are really pleasing to look at. I mean I think that random frustration I get with comics sometimes is for my part, very goofy, and completely unreasonable. It's nonetheless impressive, and exciting to me how Anders scratched that itch. Though not just at the level of someone who isn't interested with engaging with comics. As reader of comics I got a huge thrill out of reading that sequence and continue to. There was also a moment in Hercules where the character from Dogs and Water (I think it's the same character/personification) says about the road he's on, "It has to go somewhere, someone must've built it for something." It takes me to the same heights that Yokoyama can reach, though with Anders what he's conveying is more sentimental and humanistic, and it makes the work better for it. Though they are going in different directions, they're going about the same height, at least in this department of representing the human spirit of inquiry. – Sam Ombiri Read more about Tongues from Anders Nilsen himself HERE. Get a copy of the comic HERE. ————————————————————————————————— Sally here – Ronald Wimberly is launching a new project. It's called LAAB Magazine, and it will be "An annual newspaper-format review full of comics, criticism, interviews, artwork, and writing on identity and popular culture," among other things, including a "rogue publication from an alternate Afrofuturist dimension where Black Panthers run the New York Times." I remember Ron sitting in the kitchen at the Rowhouse in February of this year, talking with Frank about some of the concerns he plans to address right away in this first issue: "LAAB #0: DARK MATTER will concern itself with mythological blackness, and black bodies in science fiction. Ron has recruited a cadre of bold thinkers, writers, artists, musicians, and genre-defiers to mine this rich territory. LAAB is their long-overdue soapbox, their stage, their megaphone, their clubhouse, and their launching pad – all in a mass-produced, widely accessible newspaper format that everyone can enjoy." Ron, along with Beehive Books, has put together an outrageous campaign which is generating a lot of buzz. Check out the Kickstarter HERE. ————————————————————————————————— Ramón Esono Ebalé, a West African cartoonist, won the Courage in Editorial Cartooning honor recently – his wife accepted the award in Washington D. C. on his behalf, as he is currently imprisoned in Equatorial Guinea. According to the Washington Post: "Ebalé was arrested Sept. 16 in Malabo, Equatorial Guinea. According to a Change.org petition seeking his release, the cartoonist was interrogated about "Obi's Nightmare," his graphic novel that satirizes the government of Teodoro Obiang Nguema, Equatorial Guinea's president and Africa's longest-ruling leader." Read the rest of the article HERE. Going by his middle name, Esono, he started using comics to criticize the dictatorship in his homeland in the early 2000s. He went into exile in Paraguay in 2011. "In 2014, Ramón Esono Ebalé published a graphic novel, "La Pesadilla de Obi," or "Obi's Nightmare." The premise of "Obi's Nightmare" began with a question: What would be the worst possible fate to befall Equatorial Guinea's leader, Teodoro Obiang? Moore Gerety says the answer was obvious. "It imagines Teodoro Obiang the president waking up one morning and discovering that he is just another lowly resident … living in a shack that leaks without any running water with an angry wife who sends him out to sort of face the indignities of the market. He goes on this sort of awful day-long adventure where he ends up in jail and goes through all of these terrible things that a normal citizen might have to go through in the course of daily life there."" You can read more about him and his work, and the circumstances of his arrest and imprisonment HERE at PRI. ————————————————————————————————— Suzy and Cecil – 11-16-2017 – by Gabriella Tito ————————————————————————————————— Caleb Orecchio – 11-16-2017 – by Caleb Orecchio ————————————————————————————————— Share this page:Read More:Angoulême…02/02/201703/30/2017On Philippe Druillet -…...
Ch 3: Inking the Head and Figure (FACC)
Juan FernándezJanuary 1, 2016ResourcesShare this page:Read More:Lyn Hejinian and Open Comics07/17/2017A Comics Id is…06/26/2017...
Juan FernándezJuly 11, 2016NewsJuan Fernandez here with: Alyssa Berg's ALPENGLOW; the passing of Geneviève Elverum; Katie Skelly on "women in comics"; Spurgeon and Boichel on the state of the industry; An Afternoon with Steven Gilbert; Jim Rugg on digesting How to Draw the Marvel; a new auction to benefit the Rowhouse Residency. ————————————————————————————————— Alpenglow – Alyssa Berg I'm happy to announce that we are featuring Alyssa Berg's Alpenglow on the site this week. Alpenglow was made in 2015 for the 2015 Comics Workbook Composition Competition. It came in 1st place in that year's composition competition. ————————————————————————————————— Geneviève Elverum, RIP After being diagnosed with stage 4 pancreatic cancer last spring, Geneviève Elverum has passed away. She was 35 years old. (via exclaim.ca) On his GoFundMe page, Phil Elverum shared the following heartbreaking message: Geneviève died today at 1pm. She was truly driven to work and stay living right up to the last minute, insisting on getting up and going to work in her studio way beyond when many would have surrendered to rest. Last night and this morning she declined quickly and receded into her own eyes as her body vetoed her wishes, her lungs filling with fluid. She died at home with me and her parents holding her, hopefully having reached some last minute peace. It's all very sad and surreal. So much is left unfinished for her. She was a firehose of brilliant ideas that never turned off. We loved her and everything is weird now. Thank you for all the money, all the support and love. Phil Remembering Geneviève: Geneviève Elverum interview by Tom Spurgeon (2012) Geneviève Elverum interview by Naomi Fry on TCJ (2013) A memory with Elverum via Gabrielle Bell's diary last night The gofundme for the late Geneviéve Elverum to help her surviving family defray medical expenses. ————————————————————————————————— Katie Skelly talks Craft, the medium and Erotic Comics Kristen Korvette interviews Katie Skelly over on Slutist. How tired are you of talking about "women in comics?" Can the conversation move on to something more nuanced/complex or in your opinion is it still a necessity to highlight the gender disparity in your field? I'm so tired that I could be medically dead. It's historically and culturally ignorant; like, if you don't know who Marie Severin is and why she's important, you don't fucking know comics. Period. To act like women in comics are new and haven't existed this entire time is bizarre. But I don't know if comics is ready for a larger conversation because it's been stalled in the same gear since the '60s. I want to see a woman be heralded as a "master of the medium" with the ease Daniel Clowes or Frank Miller are, which is a way that isn't questioned. Men are masters; women are gifted, or agile in the medium, or whatever… like it's always coded as a surprise. I think that takes giving more room to non-white guy comics critics, which I do see happening, but it's very slow. ————————————————————————————————— More comic books than ever. However… Really interesting comments by Tom Spurgeon on the nature of what kinds of comics are being promoted and consumed most heavily over on Comics Reporter. Tom Spurgeon: One of the reasons I think no one trusts critical discourse in comics right now is because that specific point of view on things is so decidedly inarticulate. It was easy in the 1980s to point out how RAW was better than Marvel Two-In-One (yes, even the Project Pegasus run); it's harder to make the distinctions we're asked to make now. A solution you often see, where the critic dons the skin of Greg Cwiklik Buffalo Bill-style, sets an even higher bar and destroys the better-crafted work as just another piece of meretricious disposable fluff like it's 1992 again, that may thrill the hardcore art crowd but wins few minds. In many hands that kind of rhetoric feels just as convenient as those end-of-the-year lists that have a book from every important publisher. It's not that people need to adjust their standards, but discuss intelligently the ones they have. I get the sense that a lot of people with their end of year lists could swap out another dozen comics for the ones they selected and be perfectly happy writing either article. Don't get me wrong: I'm public enemy number one here. I barely even write about comics anymore. I was curious as to what this all meant coming from Spurgeon, so I asked Bill Boichel over at Copacetic Comics what his thoughts on Spurgeon's comments were. Bill Boichel: The books chosen in the lists that Tom references are simply indicative of the broadening and shifting of the variety, options and tastes now on offer in entertainment comics. These books are simply the Archie, Richie Rich, Dennis the Menace, Spider-Man, Fantastic Four, Superman, Batman, Tarzan, Donald Duck, Uncle Scrooge, Bugs Bunny, etc. of today: a variety of entertainment for different tastes and interests whose primary motive is being successful: generating sales and profits, revenue for the publishers and income for their creators but which nevertheless occasionally, through some particular confluence of personal and historical factors, produce works of lasting genius. They are in an entirely different category from comics produced under the aegis of personal motivation, that are consciously created with of artistic and literary ambition, and the goal of which is personal expression, education and illumination of readers, preserving historic and cultural perspectives that are under-represented and/or at risk of being lost, et al, and in which revenue and income are secondary concerns. This distinction of course cuts across all forms, and is certainly not limited to comics, which in fact has only relatively recently reached the point in its development as a form to avail itself of this distinction. ————————————————————————————————— An Afternoon with Steven Gilbert Gabriele Fazio provides an extensive career spanning interview with Steven Gilbert over on Just Indie Comics. Between Gardenback and The Cult of Gardenback you published the first issue of Colville, right? It should be from 1997… Yes, in the beginning it should have been much smaller, like 25 pages, and it had to be only about the confrontation in the schoolyard. It was loosely based on a true crime story, I clipped the newspaper article when it was happening because I remember reading it and thinking "It could be an interesting comic". But those were just the bare bones, the story began to grow around the episode of the shooting in the schoolyard. I thought to do a 64-pages comic and I had the bones of the story and a lot of the imagery was in my head. I went up to Keswick, a small town 20 minutes up the highway from Newmarket where the facts actually occurred. My friend Jason Williams lived there, so he knew all the neighborhoods. We drove there one day and took photo references I used for the comic. Do you use a lot of photo references, right? Yes, these researches are part of my methodology, because I don't write scripts… Never? I tried but I never successfully wrote one, when I finish and read a traditional script with panel descriptions, dialogues and so on, usually the ideas just seem stupid and I can't use them. The only way I can make comics is to sit down and draw. My process of writing is the creation of the comic. ————————————————————————————————— Jim Rugg on digesting How to Draw the Marvel Way Recently, I found a copy of How To Draw Comics the Marvel Way at a local garage sale for a quarter. I had a copy of this book when I was a kid. I found it within a week of declaring my intent to be a comic book artist. In middle school, I lent it to someone who never returned it. My tastes and influences had changed so I never replaced it. Since then, I've referenced it in a ballpoint, notebook drawing (mashing it up with Rob Liefeld's 90s Xtreme Studio style)… ————————————————————————————————— New Private Rowhouse Auction – 7.10-7.14 Last but not least, we have a new private auction up at auction.comicsworkbook.com! Lots of old and new comics for you to take home. email Frank Santoro at santoroschoolATgmail for a password, if you don't already have one. If you already have a password, it is the same from last week. All funds go to helping keep the lights on and further developing the school. Connor Willumsen is offering commission sketches that you don't want to miss out on, all at different tiers. Don't sleep on your chance to get work by this contemporary heavy hitter. ————————————————————————————————— take care of yourselves <3 Juan Share this page:Read More:Cartoon Crossroads…11/28/201711/06/1710/24/16...
Juan FernándezMay 17, 2017los Cómics / NewsEmpezamos el día con Álvaro Pons; DisTinta; 11 autoras latinx; #HUL2017; Mujer y Comic; Bas; #gutterfest; Peter Jojaio; y los tebeos de Comics Workbook. ————————————————————————————————— La Cárcel de Papel nació como "el diario de un lector de tebeos" y en poco tiempo se convirtió en la referencia en la red para los amantes del cómic. Ahora, Álvaro Pons recupera en un volumen las mejores entradas que han ido apareciendo desde 2002. Se dice pronto en alicanteplaza.es: – El ritmo de La cárcel era frenético, una entrada al día durante mucho tiempo. Y era una dosis intensa, no cuatro líneas. – Confluyeron varias cosas. Al abrir La cárcel, pensaba más en un recopilatorio de artículos que iba escribiendo por ahí, siguiendo el ejemplo de los primeros blogs americanos. Pero luego mi verborrea natural me lleva a generar nuevos contenidos. Cuando me doy cuenta estoy escribiendo todos los días y, cuando se introducen los comentarios, eso tenía repercusión, la gente participaba y eso me animaba a hacer más contenidos. Al final se convirtió en una auténtica cárcel. – ¿Acabarías un poco hasta los güevos ¿no? – Sí, como te digo, acababa casi convertido en una auténtica cárcel, aunque igual no me daba cuenta porque lo hacía a muy a gusto, todo sea dicho. ————————————————————————————————— Andrea Guzmán le da un vistazo a la nueva antología argentina, DisTinta compilada por Martín Pérez y el dibujante Liniers: La historieta argentina debería estar muerta. Así de rotunda es la primera frase que abre el prólogo de DisTinta, la nueva antología compilada por Martín Pérez y el dibujante Liniers. Aunque esta contundente afirmación, aseguran los autores, no se trata de un deseo personal ni de una premonición pesimista, sino apenas de una constatación realista acerca de nuestra actualidad y nuestra forma de consumo cultural. Cada vez más digital, más efímera, menos narrativa, más pirotécnica. Lo bueno, es que aunque quizás debería estar muerta –o como afirman ellos, con suerte relegada a la nostalgia– la historieta argentina no solo continúa con vida, sino que respira con una energía renovada y sorprendente. Tanto así, que incluso esta selección –con sus imponentes 400 páginas a todo color, sus treinta y tres dibujantes y sus seis guionistas– llegaría a parecer pequeña para abarcar todas las aristas de su actualidad. Por este motivo, Pérez y Liniers se propusieron pensar en un libro bien específico. El recorte que eligieron no busca reunir a la nueva historieta con sus representantes más actuales o más vanguardistas, sino ser retrato de la generación de los años 2000, que ellos consideran la generación huérfana y una bisagra entre la gloria editorial que gozó la Argentina de antaño, y el universo de la historieta actual, que ya encontró su vía para renovarse y seguir existiendo de forma independiente. ————————————————————————————————— Cómics y noticias que me han llamado la atención esta semana: Sol Díaz Castillo y Marcela Trujillo tienen una nueva edicion de La Polola Podcast! En este capítulo las chicas conversan con Ana Tijoux acerca de sus inicios en el rap, su forma de hacer canciones, su vida como inmigrante, la diversidad y mucho más. Alex Serrano, les ofrece una lista de 11 autoras latinx que representan el presente y el futuro del cómic en español. ¡ Tienes una editorial o un fanzine? Ya está abierta la convocatoria para el #HUL2017 en Madrid! Mujer y Comic – Sobre la visibilidad de las autoras de cómic. Bas: la representante de las autoras en el TBO, entrevistada por Elisa McCausland. El fin de semana que viene llega el @gutterfest en Barcelona con un montón de sellos internacionales y actividades. Quieres saber quien viene? Kike Infame entrevisto a Peter Jojaio, autor de Febrero para galgos en @bilbao24horas. ————————————————————————————————— Blinkers – 5-17-2017 – by Jack Brougham ————————————————————————————————— Suzy and Cecil – 5-17-2017 – by Sally Ingraham Share this page:Read More:Angoulême…06/26/201806/21/201706/28/2017...
Aaron CockleJanuary 3, 2017NewsAaron here today with some NYC shows of note; Leanne Shapton looks back at 2016; New Sikoryak; Connor Willumsen; Joanie and Jordie & Suzie and Cecil ————————————————————————————————— Agnes Martin at the Guggenheim Museum through January 11 Hilton Als wrote about Martin in the New York Review last July: Martin contradicted all that nihilism. She used the grid as a forum for belief—a space where the viewer as well as the artist could contemplate the hand making the thing being observed. In her well-considered 1971 appreciation of the artist, Kasha Linville wrote: Once you are caught in one of her paintings, it is an almost painful effort to pull back from the private experience she triggers to examine the way the picture is made. The desire to simply let yourself flow through it, or let it flow through you, is much stronger…. Her paintings exert themselves differently, depending on their line, their pattern, and the quality of the ground color on the canvas. Some are less lyrical, evincing aggression or tension…. Others suggest spaciousness or vast space, again without using illusionistic devices or the egotistical implication of infinitely extendible surface. One pauses at the extraordinary line "the egotistical implication of infinitely extendible surface." Unlike her male predecessors, not to mention contemporaries, Martin didn't use the grid as a means of describing the infinite—the infinite "I" of being an artist. Instead, her work ends at the canvases' edge.One begins and then one finishes; the grace is in the doing. Her touch was her personality; looking at canvases such as Friendship, of 1963 (made of incised gold leaf), or the ghostly Grass of 1967, one sees various lines that begin with verve, grow faint and then run out, slowly and calmly, like a swimmer beginning strong and then using wide, unhurried strokes once they see the shore. "Line is where she speaks most personally," Linville said. "It is her vocabulary as the grids are her syntax." Kerry James Marshall: Mastry at the Met Breuer through January 29 Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction at the Museum of Modern Art through March 19 ————————————————————————————————— The Top Pinks and Purples of 2016 Via Leanne Shapton at the New Yorker. 9. Willy Wonka's frock coat, as worn by Gene Wilder in the 1971 movie; 10. Sky at dusk over Greenport, Long Island; 11. Cotton candy at the Four Seasons Restaurant; 12. Supermoon; 13. Hillary Clinton's lapels; 14. Walls of Cecily Brown's show at the Drawing Center ————————————————————————————————— The Unquotable Trump R.Sikoryak with a new mash-up for 2017. ————————————————————————————————— Connor Willumsen's Portraits continues to enthrall. This magazine sized 16-page beautifully printed booklet (by WestCan – who also printed thee Santoro School Handbook) is available HERE. ————————————————————————————————— Joanie and Jordie – 1-3-2017 – by Caleb Orecchio ————————————————————————————————— Suzy and Cecil – 1-3-2017 – by Gabriella Tito Share this page:Read More:02/17/201703/14/2017On Philippe Druillet -…Angoulême…...

redpajama_set_name: RedPajamaCommonCrawl


Beyond the Unknown: A Matter of Time game download. Free download Beyond the Unknown: A Matter of Time for Mac.
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As allergists, we have advanced training and experience in diagnosing, treating and managing immunodeficiency disorders.
If you have an immunodeficiency disorder, your body's immune system is compromised and has difficulty fighting infections.
The immune system is composed of white blood cells. These cells are made in the bone marrow and travel through the bloodstream and lymph nodes. They protect and defend against attacks by "foreign" invaders such as germs, bacteria and fungi. In the most common PIDDs, different forms of these cells are missing. This creates a pattern of repeated infections, severe infections and/or infections that are unusually hard to cure. These infections may attack the skin, respiratory system, the ears, the brain or spinal cord, or in the urinary or gastrointestinal tracts.


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Q: Issue with date_parser: TypeError: parse() takes 1 positional argument but 2 were given I have got the following error:
TypeError: parse() takes 1 positional argument but 2 were given

I was trying to do a basic data preparation where I wanted to parse the date-time information as a Panda DataFrame index (combine the 'date' and 'time' columns together in a single column). This is a snippet of the code:
from pandas import read_csv
from datetime import datetime
def parse(x):
    return datetime.strptime(x,'%d-%b-%y %H:%M:%S' )

dataset = read_csv("dataset.csv", header=0, parse_dates = [['date', 'time']],
                   index_col=0, date_parser= parse)

This is how the original date and time look like:
date          time
25-Apr-17   19:19:40
25-Apr-17   19:19:40
25-Apr-17   19:19:45
25-Apr-17   19:19:45

I came across an alternative way to use:
dataset = read_csv("dataset.csv", header=0, parse_dates = {'datetime':[1,2]},
                   index_col=0, date_parser=lambda x: datetime.strptime(x,'%d-%b-%y %H:%M:%S' )

But still the same issue. TypeError: <lambda>() takes 1 positional argument but 2 were given
I was wondering if you guys could help me with this issue?

A: You get this error because you have selected two columns and the date parser is waiting for a single value.
If you want to parse timestamp manually you have to use the following example:
def parse(x, y):
    return datetime.strptime(f"{x} {y}", "%d-%b-%y %H:%M:%S")

dataset = read_csv("dataset.csv", header=0, parse_dates = [["date", "time"]],
                   index_col=0, date_parser=parse)

dataset

                     Unnamed: 0
date_time
2017-04-25 19:19:40           0
2017-04-25 19:19:40           1
2017-04-25 19:19:40           2

A: After a couple of a trail and error, I eventually managed to resolve the issue. I used pd.to_datetime instead of a datetime.strptime.
from pandas import read_csv
from datetime import datetime
import pandas as pd
def parse(d, t):
    dt = d+ " " +t
    return pd.to_datetime(dt)

dataset = read_csv("dataset.csv", header=0, parse_dates={'datetime': ['date', 'time']},
                   index_col=0, date_parser= parse)

The output:
datetime
2017-04-25 19:19:40
2017-04-25 19:19:40
2017-04-25 19:19:45
2017-04-25 19:19:45

I double checked the datatype of the 'date' and 'time', they were of datatype 'object'. I am not sure if this method would work with other datatypes such as a string but it solves my problem.
Thank you everyone for your participation.

redpajama_set_name: RedPajamaStackExchange


text:
How to Engage Communities, Tell Diverse Stories, and Find Your Creative Circle with Sundance Ignite Filmmaker Crystal Kayiza
Photo by Lynda Shenkman Curtis for JBFC images.
by Adobe Corporate Communications
Whether in theaters or a movie night at home, film has always been a vehicle to connect people and bring communities together. In the digital era, our messages can be amplified further than we could have ever imagined. Given our ease of communication, isn't it our responsibility to engage communities in new ways?
Crystal Kayiza is a documentary filmmaker and Sundance Ignite Fellow who is using her lens to tell important stories and make sure they're seen by the communities most affected. Project 1324 had the opportunity to talk to Crystal about her time as a Sundance Ignite Fellow, her current and upcoming projects, and her advice for emerging creatives.
A Brooklyn resident originally from Oklahoma, Crystal recently made the jump to working exclusively as a filmmaker — leaving behind her full-time job at the ACLU where she worked to support racial justice causes and the decriminalization of poverty. She now uses film to share "nuanced and diverse stories from the black community." As a Sundance Ignite Fellow, Crystal has had opportunities that many emerging filmmakers can only dream of, including seeing her short documentary film "Why We Stay" screen at a private Ignite screening at the Sundance Film Festival, and, as a Sundance Ignite fellow, Crystal's found the support and freedom to create new films and grow as an artist.
Documentary film has the power to let people and communities define themselves, in their own voice.
Crystal's focus on telling stories of the African Diaspora has made one component essential — community. A first-generation Ugandan-American woman passionate about shining a light on social justice and inequalities, Crystal gravitated toward documentary film because "it has the power to let people and communities define themselves, in their own voice," she said.
Edgecombe at BAM CinemaFest.
The most important audience is always going to be the folks that shared their time and stories.
Earlier this summer, Crystal's latest project "Edgecombe" premiered at BAMCinemaFest. "Watching 'Edgecombe' [at BAMCinemaFest] was a very moving and affirming experience," said Crystal. A documentary short about a community with the same name, "Edgecombe" is an intergenerational story that explores trauma, but also tries to articulate the oral history of survival. Like many of Crystal's projects, it focuses on revealing untold stories from black communities. Not only is she excited for more people to see the film and the opportunity to create more conversation, she's especially looking forward to bringing the film back to the community it's based on. Engaging the communities she profiles is something Crystal tries to bring to all of her projects, saying that "the most important audience is always going to be the folks that shared their time and stories."
Behind the scenes of Edgecombe.
Currently, Crystal is partnering with a friend on a new project, "See You Next Time," a film about the relationship between the East Asian and black communities of New York centering around a single place: a nail salon. Stemming from a conversation, Crystal realized that nail salons are one of the only places for "Asian-American and black women to engage in interracial conversations about their places in the world." And while many people would have difficulty creating a vulnerable and intimate film around a nail salon, Crystal is passionate about understanding the nuance of an experience regardless of where this experience takes place.
Finding a diverse community of collaborators, people that will affirm and be critical of your work, is so important. As emerging filmmakers it's easy to begin engaging in your creative vision as hypothetical scenarios but having the support of a creative community or a mentor can make those ideas actionable.
2016 Sundance Ignite Fellow Britt Fryer and 2018 Fellow Crystal Kayiza. Photo by Lynda Shenkman Curtis for JBFC images.
As a Sundance Ignite Fellow, Crystal has had the opportunity not only to broaden her reach as a filmmaker and continue to develop her skills, but to find an artistic community. Despite the massive value in creating films and art, according to Crystal, filmmaking, especially in the moments when the cameras are off, can be an isolating process. "One of the most important parts of Sundance Ignite is the creative community," said Crystal. "Finding a diverse community of collaborators, people that will affirm and be critical of your work, is so important. As emerging filmmakers it's easy to begin engaging in your creative vision as hypothetical scenarios, but having the support of a creative community or a mentor can make those ideas actionable."
By following her passions and telling stories that deserve a platform, Crystal is serving a greater purpose: furthering not just the film industry, but also expanding the conversations that we should all be having.
It's incredibly important to tell underrepresented stories but as filmmakers I think we should also be intentional…creating more space for a diverse community of storytellers while also challenging our crafts approach to telling stories about marginalized communities.
Do you have a story that needs to be told? Enter the 2019 Sundance Ignite Challenge. Find out more about Crystal's upcoming work here.
Topics: Creativity, Sustainability, Video & Audio


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Home › The Wire
NeuroMedia Software launches NeuroMedia Analytics, an innovative audience measurement platform
By Page Melia PR
With media consumption patterns changing in increasingly rapid and unpredictable ways, the new solution will allow broadcasters and streaming services to optimise their audience insight while keeping full control over their data
Liège, Belgium, 6 December 2021: NeuroMedia Software, a company specialising in audience measurement solutions for the Media & Entertainment (M&E) sector, has today launched NeuroMedia Analytics, a powerful new platform aimed at content providers to understand the behaviour of their audiences.
A cross-media solution for audience measurement, NeuroMedia Analytics recognises that the pace of change in media consumption and related technology is faster than ever in the era of streaming. This means that the requirement of M&E organisations to enhance their understanding of audience behaviour via comprehensive, accurate and consistent analytics is increasingly acute. By making some parts of its new platform open-source and supportable by SDK extensions, NeuroMedia Software has addressed this demand with a flexible solution that can keep pace with media consumption patterns.
Available in three versions (Startup, Professional and Enterprise), it can be deployed on users' and partners' on-premise infrastructure allowing full control over data processing and storage, or in cloud/Software as a Service (SaaS) mode.
Underlining its suitability for a myriad of existing and emerging workflows, NeuroMedia Analytics is compatible with all major content delivery networks and all modern streaming technologies. Providing a host of possibilities for integration with existing business intelligence systems, the platform also delivers unified reporting from different sources via a single tool, with data illustrated efficiently via graphics, grids, location maps and more.
Pierre Mengal, Managing Director of NeuroMedia Software, comments: "From the largest media organisations to the latest streaming services, the appetite for flexible and comprehensive data analysis and management is more intense than ever. By leveraging the advantages of technologies that utilise census and panellised data, our major new platform delivers a level of accuracy and behavioural understanding that is unparalleled in the market."
NeuroMedia Analytics is available now and has already been deployed via local partners in a number of international markets. In support of the platform, NeuroMedia Software is working to develop its partnership network and welcomes enquiries from integrators and 'building block' technology developers.
About NeuroMedia Software
Founded in 2014, NeuroMedia Software (www.neuromedia.io) is a company specialised in data analysis in the media and entertainment sector, for more than 500 customers worldwide. NeuroMedia Software is working to deliver initiatives developed by the Joint Institute Committee, as well as advocating a number of independent broadcast projects.
Page Melia PR
Tags ⋅ AudienceMeasurement ⋅ DataProcessing ⋅ IntelligentSoftware ⋅ M&E ⋅ NeuroMedia ⋅ NeuroMediaAnalytics ⋅ Radio ⋅ streaming ⋅ StreamingStats
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Since its arrival, KANPE and its partners have played an important role in the revitalization of Baille Tourible and its surroundings on many fronts: health and the fight against cholera, nutrition, housing, agriculture, education and leadership.
The establishment of and free access to a medical clinic directly serving over 11,000 residents (and around 30 000 in a wider radius). As of December 31, 2018, we recorded more than 54,900 visits since opening in 2011.
The support of 550 families toward financial independence through the Integrated Program (support for the creation of micro-enterprises), including 200 by the summer*.
The provision of nearly 3,300 farm animals across all families (1252 goats, 1260 hens, 329 pigs, 210 turkeys, 149 ducks and 88 guinea hens).
The training on livestock farming and subsistence agriculture.
The help with construction or renovation of lodging for each family.
The purchase and set up of a corn and millet mill for the village population.
The support of 13 schools and the construction of two academic institutions.
The rebuilding of a road between the village of Baille Tourible and the town center of Thomonde.
One year after graduation, over 97% of the Baille Tourible families had maintained two sustainable sources of income, enabling them to provide for their family and send their children to school.
* In January 2016, KANPE and its field partner, Fonkoze Foundation, with the financial support of a Canadian private Foundation, held an opening ceremony for its new group of 200 families residing in Savanette Cabral.
** These results were collected and analyzed one year following the graduation of the first cohort of the Integrated Programme. This program supports families to reach financial independence at the end of an 18-month period.
In the communal section of Baille Tourible, agriculture is the predominant economic activity, employing nearly 98% of the total population.
In April 2016, KANPE signed an agreement with the Papaye Peasant Movement (MPP) to support the farming community in Baille Tourible (Baille Tourible Organization, ODB), undermined after three years of drought due to the El Niño phenomenon.
This new partnership was launched at the beginning of the 2016 rainy season with the distribution of black bean seeds to 250 farmers. At the end of the season, they were able to recover the equivalent of their initial planting plus a portion for the formation of a "seed bank" that will support farmers in need. It is also a way to increase the financial resources of ODB.
capacity-building in planning and management of food safety promotion strategies and the fight against poverty.
The medical clinic serves over 11,000 residents. As of December 31, 2018, the Baille Tourible Clinic received more than 54,900 visits since its opening in 2011.
The clinic provides free basic healthcare as part of its various services.
More than 1,700 cases of cholera treated since 2011. In 2018, for the first time since 2011, no new cases of cholera were reported.
More than 1,000 Malaria tests are performed each year.
An average of 150 consultations/month have been provided to pregnant women.
In 2018, 196 children affected by severe or moderate malnutrition have been cured by Nutrition Services. A weekly visit to the clinic is provided for each malnourished child during the treatment process, sometimes lasting several months.
Distribution of a basic water purification system to 550 families.
Educational health training is also offered, such as reproductive health, personal hygiene, environmental hygiene, child care and STD∕STI∕HIV education.
The transportation of medicine from the Port-au-Prince to the clinic in Baille Tourible.
The transportation of severe hill patients from Baille Tourible to the Hospital in Hinche.
The transportation of medical staff.
Support for 13 schools and the construction of 2 new schools.
Education of children participating in the Integrated Program.
In 2014, Régine Chassagne set a personal goal to give the youth of the community the necessary instruments to start their own fully equipped Marching Band. It has now a music teacher (Jean-Germain Duvelsaint) and an assistant (Paulnet Paul, who is a teacher in one of the Primary Schools of Baille Tourible) to train 72 young people in playing music. The Marching Band is the pride of the whole community.
The band is a transformative project for young people in the municipality of Baille Tourible. Despite modest means, the results to date are impressive. The band is a source of regional pride its effects are felt at many levels: leadership, pride, life plans, incentive to stay, decreasing the rural exodus and more.
In 2015, the KANPE implemented training activities for better civic engagement targeted toward the youth community in Baille Tourible. The objective of the program is to educate the members of this community about human rights through issues that directly affect them and across various fields such as the environment, agriculture, health and education.
85 young people have participated in the program. They were encouraged to unite to carry out small projects that promote and cultivate civic engagement, making a difference in their community.
During the summer of 2016, KANPE set up a 10-day summer camp for young people of the region. Now, the camp enabled 70 young people from the communal section of Baille Tourible and Thomonde to leave their remote villages and take advantage of resources to which they had no prior access at home.
This ten day retreat offered to young people of both genders and from different religions present in the community of Baille Tourible enabled participants to interact with people of different backgrounds. It allowed them to put common life values such as respect, collaboration, inclusion, equality, solidarity and responsibility into practice.
This camp also gave these young people the chance to acquire expertise in areas such as craftmaking, cooking, farming techniques, music, dance, first aid, water purification, prevention of infectious diseases, etc. Finally, through mini lectures and discussions, participants were made aware of the larger issues facing their town and country, including deforestation, declining agricultural production, population growth, illiteracy, the exodus of young people, early pregnancy, etc.


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2 July 2020 / JCN Newswire
Singapore's Leading B2B Tech Event Stack Rescheduled to 2021
SINGAPORE, Jul 2, 2020 - (JCN Newswire) - To ensure a safe exhibition experience for all visitors, speakers, exhibitors, partners, and staff amid the latest developments of the coronavirus (COVID-19) situation, the organizer of Cloud Expo Asia and its collocating events - CloserStill Media Asia, today announced the rescheduling of its Singapore tech events to 20th - 21st October 2021.
Originally planned to be held this October at Marina Bay Sands, the event stack was expected to see over 21,000 professionals in attendance, 400+ leading technology providers showcase their latest solutions, and 600+ expert speakers congregate to share the latest technological advancements and ideas.
The organiser's final decision of postponement was made after extensive consultation with government authorities and stakeholders, with the primary objective to safeguard the health and wellbeing of exhibitors and attendees.
With regards to the postponement, Managing Director, Andy Kiwanuka said, "Our stakeholders have come to expect an excellent experience at the business event each year, and we are committed to delivering on that expectation while ensuring everyone's safety. Thus, rescheduling the events is the only responsible course of action at this point. We appreciate everyone's support and understanding throughout this challenging time, and remain excited to bring to you Cloud Expo Asia and the co-located events in 2021."
Separately, as part of CloserStill Media's continued community engagement in Singapore, the organiser will host various "Thought Leadership Series" events incorporating virtual executive fireside chats, high-level digital round tables, targeted content-led marketing, as well as sector-specific mini tech events (physical and virtual) in early 2021.
CloserStill Media's next Technology event in Asia will be the return of Cloud Expo Asia, Hong Kong on the 23rd - 24th September 2020. Celebrating its 5th anniversary as the leading Tech industry event in the region, this edition will be the first hybrid version of the event (physical and virtual).
The organiser will closely monitor the coronavirus situation in collaboration with the government, health authorities and venues, to ensure a high level of hygiene and safety at the world-class events in September 2020 and October 2021. The team will be in touch with all confirmed exhibitors, speakers and partners to discuss their participation at the rescheduled events.
For urgent assistance, please email ceamarketing@closerstillmedia.com.
For more information on Cloud Expo Asia, Singapore and the co-located events, visit www.cloudexpoasia.com
Updates about the events will be shared on the following social media pages:
LinkedIn: www.linkedin.com/company/cloudexpoasia/
Facebook: www.facebook.com/CloudExpoAsia
Instagram: www.instagram.com/singaporetechshows/
For media enquiries, kindly contact Nic-cole Chia at n.chia@closerstillmedia.com.
About CloserStill Media
CloserStill Media specializes in international professional events chiefly in the technology markets, across five global territories. Its portfolio includes some of the UK's fastest-growing and award-winning events including Cloud Expo Europe and Data Centre World. Having delivered unparalleled quality and relevant audiences for all its exhibitions, CloserStill Media has been repeatedly recognized as a leading innovator with its teams and international events winning multiple awards in Europe and Asia including Best Marketing Manager - four times in succession - Best Trade Exhibition, Best Launch Exhibition, and Rising Star - two years in succession - among others.
For more information, visit www.closerstillmedia.com.
JCN Newswire supports Japanese companies and organizations with press release distribution to stakeholders in Asia and worldwide.
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Throwing back to New Years Eve of 2013/14. Grabbing a drink at Shanghai's sky high bars is a must with views like this. This was taken from the Shanghai World Financial Centre.
In a city like Shanghai where newer and taller buildings are constantly being built, there is no shortage of places to catch a birds eye view of this magnificent city.


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The Suburban Times
A community bulletin board for Western Pierce County.
See Email Archives
The Park That Volunteers Built
October 7, 2019 By The Suburban Times
Submitted by Mike Darrah, Kiwanis Club of Clover Park.
This isn't a fairy tale! This is a true life story.
Once upon a time, over a year ago, the Kiwanis Club of Clover Park decided to build a playground park. What to do to accomplish this? Create a Signature Project.
To start, we needed to obtain permission and help from The City of Lakewood's Parks and Recreation Director, Mary Dodsworth. Together we put together a plan and obtained much needed support from the city to update the playground equipment at Kiwanis Park.
Setting the first posts
Fundraising came next, and our goal of $60,000 was exceeded, allowing us to purchase almost $70,000 worth of new and safe playground structures for the neighborhood park. In addition to the existing skateboard facility, Kiwanis Park would soon have a place for children of all ages to play and have fun.
Our major donors included Kiwanis International Children's Fund, Kiwanis Club of Clover Park Foundation, Kiwanis Club of Greater Tacoma Foundation, City of Lakewood, Partners for Parks, Lakewood Community Foundation Fund, Rotary Club of Lakewood, and Kiwanis Club of Steilacoom Foundation. Additional funds were received from many individual donors throughout the community. THANK YOU to all for making this such a huge success.
A mass of parts
Fast forward to September 28, 2019, on a damp, dreary, and cold morning, when 159 Lakewood volunteers descended upon Kiwanis Park to help make this dream come true. Adults and young alike were on site by 8 a.m. to off-load, unbox, unwrap, and sort a large trailer full of play equipment and hardware, delivered to us by Northwest Playground Equipment. I can safely state that 99% of the volunteers present had never assembled playground equipment before, but they all rose to the occasion. "What is a torque wrench?", "What is a star bit?", and "What are these funny-looking bolts?" was heard all morning, as groups split up and started assembling the pieces.
As the morning progressed, the parts of the puzzle began coming together in the form of a complete play structure, and by 2:30 p.m., we not only had assembled all the parts, but volunteers had moved and distributed 40 yards of engineered wood fiber for ground cover.
The most moving comments I heard were from a couple of our young volunteers, such as: "This is the first time I have used a wheelbarrow" and "Would you show me how to use a shovel?". WOW!!! But we now had what resembled a playground for the kids.
Many hands working together
To complete the project, during the past week, Kiwanis volunteers, along with Parks and Recreation maintenance crew, finished spreading an additional 200 yards of wood fiber. Sore backs and smiles indicated that we had finally done it. We could be proud of the park the community of Lakewood had built.
So, many THANK YOUs to our community volunteers from Pierce College Women's Basketball team; Tacoma Area Rainbow Girls; Hudtloff Middle School; Lakes High School Air Force ROTC; Caring for Kids; West Pierce Fire Department; Lions Club; Lakewood Rotary; and Kiwanis members from Fircrest, Steilacoom, and Clover Park. We couldn't have done it without you.
Come and see what we did. Our dedication ceremony is scheduled for October 26, Lakewood's Make A Difference Day, from 11:30 a.m. to 1:00 p.m. Join us at Kiwanis Park, 6002 Fairlawn Drive SW, for a hot dog off the grill, as we dedicate the new playground equipment to you and the City of Lakewood.
Remember, It's All About the Kids!
janne hutchins says
It is beautiful. Kudos for all your hard work!
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Home › DNA Sequencing › Basic methods › Chain-termination methods
Be a way of DNA sequencing based on the selective uptake of the chain to end the dideoxynucleotide by a DNA polymerase in the DNA replication.Developed of the in vitro by his colleagues and Frederick Sanger in 1977 Sanger sequencing It is the method most widely used of about '25 bedding. More recently, the Sanger sequence, displaced by the order, "next generation" sequencing method of large-scale in particular, automated analyzes the genome. However, it remains for the small, widely used, especially the method of Sanger reads for the preparation of long DNA sequences of these specific.
Chain termination method developed by colleagues Frederick Sanger in 1977 soon became the method of choice for reliability and its relative ease. I have invented using a smaller amount of radioactivity and toxic less than Gilbert method and Maxam chemicals when chain terminator method. Is a method not its relative ease, be used in the first generation of DNA sequencer for the Sanger method, which is automated. It is a method by Sanger sequencing, won the mid-2000s from the 1980s. During this period, the great strides, for example, automating a common fluorescent labels and capillary electrophoresis, etc., has been made in the art. This leads to cost savings, these developments have allowed the sequence more effective. Ushered in the era of genome, Sanger method is a technology to produce the first human genome in 2001 in the form of mass production. However, after 10 years, one hundred million U.S. dollars down approach fundamentally different on the market, $ 20.01 million price tag of the genome, in 2011.
The chain termination method classic, it requires and, (dNTP of) deoxynucleosidetriphosphates single-stranded DNA template, primer DNA, DNA polymerase, normal modified nucleotides (dideoxyNTPs), he quit the DNA chain elongation it. Chain end these lacks 3′-OH group required for the formation of phosphodiester bonds between nucleotides of the two samples obtained by DNA polymerase to stop the extension of DNA incorporating the ddNTP nucleotides . You can assign a label to detect the fluorescence automated sequencing machine or out radioactive ddNTP. DNA sample is divided into sequencing reactions four separate containing DNA polymerase (a dCTP and dTTP, dATP in the dGTP) deoxynucleotides four all standard. To each reaction, it was added to only one of (the ddTTP ddGTP, or ddCTP,, the ddATP) 4 dideoxynucleotide between nucleotide of the other three were normal. Put it in the order more reasonable, to test the ddNTP all four separate reactions of four, is required for this process. Heat-denatured, DNA fragments after a round of extension of a primer template DNA binding, obtained are separated by size using gel electrophoresis. In many cases, this is polyacrylamide to each of the four reaction run in one (Lane, T, G, C) of lane four separate – is done with the help of urea denaturing gel. DNA bands can be can be visualized by UV light or autoradiography Thereafter, DNA sequence into a gel or images account X-ray film directly.
The right image, X-ray film was exposed to the gel corresponding to DNA fragments of different lengths, a dark band. Dark band of the band shows, the DNA fragment is the result of chain termination after (the ddTTP ddGTP, or ddCTP,, the ddATP) incorporation of dideoxynucleotide. Of the four lanes, the relative position of the different bands were used to read the DNA sequence from the bottom to the top.
DNA fragments are labeled on the label or ddNTP has a fluorescent marker of primer of new DNA chain of the dNTP or radioactive label. Technical variations of chain termination sequence comprises the use of a primer labeled at the 5 'end with a fluorescent dye marking or nucleotides containing radioactive phosphorus radiolabeled. The dye primer sequencing, faster, reading will be easier in the optical system for the automated analysis and more economical. Development after a colleague and Leroy Hood of the primers, please set the automated, the stage for high-throughput DNA sequencing with fluorescent-labeled ddNTP. Chain termination method will simplify DNA sequencing considerably. For example, chain termination based kits are commercially available, previously dispensed for use, contains the reagents necessary for sequencing ready. Limits affect the accuracy of the sequence affects the secondary structure of DNA and accurate readings of the DNA sequences, non-specific binding of the primer and the like in the DNA.
Dye-terminator sequencing using four reaction that does not like the tag and label primer method, the permission ddNTP chain terminator sequencing reaction. Dye – The terminator sequence, each of the deoxynucleotide chain terminators 4, each emitting light of different wavelengths is labeled with a fluorescent dye. Current, speed paint terminator sequence and the big speed is the core of the sequence of automated the cause. Hair dye due to the difference in the formation of the dye-labeled chain terminators into DNA fragments obtained in (see figure) DNA sequencing tracks electronic chromatogram of the capillary after electrophoresis and the height unevenness of peak contains its limits are. Encapsulation of variability, and to minimize the "hairs", the method for removing stains, this problem is addressed by the modified DNA polymerase enzyme system, and using a dye. Dye has a DNA sequence highly automated analyzers – terminator sequence method is used in most of the sequencing project now.


The hotel consists of two wings which are combined with a huge glass entrance in atrium style.
The appearance is very modern with a clear technical touch.
The rooms are medium in size and very modern decorated. The style is 'minimalism' with a touch of Feng shui.
The bright coloursheme give a warm welcoming feeling.
The bathrooms are spacious and exclusive in their design.
There are several restaurants located on the ground floors of the two wings of the hotel. The Seagull which offers international and regional cuisine, the Ticino with international/italian cuisine, the Viehhauser Bistro with reional/rustique cuisine and international snacks.
Furthermore, beside the lobby is the stylish Seven Heads Bar and on the other side you can find the international Smokers Club with a wide selection of cuban cigars.
The hotel is located right in the city centre within the famous 'Fleet'(canals) area, close by the town hall.
This is a phantastic hotel with beautyful spa facilities and an excellent stylish design - everything is very clear and modern.
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