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Peterborough TMD is a traction maintenance depot located in Peterborough, Cambridgeshire, England. The depot is situated on the East Coast Main Line, to the north of Peterborough station.

The depot code is PB.

History
The depot was opened by British Rail in March 1969.

Present
From 2015, the depot has no allocation. It is, instead, a stabling point for DRS Class 37 locomotives.

References

Sources

 Railway depots in England
Rail transport in Cambridgeshire


Last year's event was attended by 350 people and raised more than $30,000.
A silent auction, accompanied by hors d'oeuvres and music, will begin at 6:30 p.m., followed by an 8 p.m. dinner and acknowledgements.
Tickets at $75 may be purchased from any MVP~SOS board member or at Hometown Liquors on Route 7 or Midway Liquors on Route 202 in New Milford.
All proceeds will benefit the MVP~SOS general fund.
Schaghticoke Middle School's 7th grade "Boston Adventure."
MVP-SOS will host a celebrity dunking booth during the Village Fair Days today (Friday) and tomorrow (Saturday).
For information about MVP~SOS, to volunteer or to make a donation, log on to www.mvpsos.com.


text:
И́во Бо́бул (настоящее имя — Ива́н Васи́льевич Бо́бул), (; 17 июня 1953, Тереблече, Черновицкая область, УССР, СССР) — советский и украинский певец. Народный артист Украины (1998).

Биография
На профессиональную эстраду Иво Бобул вышел в 1980 году в составе ВИА Черновицкой филармонии «Черемош» (до этого он был ресторанным артистом), через год перешёл в «Живу воду» (где заменил свою будущую жену и соратницу на эстраде Лилию Сандулесу). В 1983 году новый директор филармонии Левко Дуткивський заинтересовался певцом и написал для него цикл песен («Зоряна ніч», «Якщо любиш, кохай», «Я побачив гори», «Мій край»), которые довольно оперативно были выпущены «Мелодией».

Долгое время после этого Иво Бобула не было слышно — он работал в Тернопольской филармонии и пользовался только региональной популярностью. К всеукраинскому слушателю он вернулся только в 1990 году с наиболее популярной из своих песен «На Україну повернусь» Остапа Гавриша. На Бобула обратил внимание композитор Александр Морозов и пригласил в свой музыкальный центр в Черкассах. Песни «Старе джерело», «Рідна хата», «Голуба вода», «Місячне колесо» вывели Иво Бобула в лидеры среди исполнителей традиционной эстрады. В Черкассах же и был снят первый видео альбом Иво Бобула «Душi криниця».
В 1991 году Иво вернулся в Черновцы и начал петь в паре с Лилией Сандулесу: «Берег любові», «А липи цвітуть», «Промінь мого серця». В начале 1998 года Иво Бобулу присвоено звание Народного артиста Украины.

Иво Бобул стал очень известным среди молодежи, когда группа «Танок на майдані Конґо» создала саркастическую песню «Иво Бобул», где певец представлен в виде супергероя, а в 2015 году они исполнили её вместе на концерте в честь дня рождения группы. С 2010-го года интернет-сообщество Учан выбрало Бобула своим талисманом.

По состоянию на 2016 год, является помощником (на общественных началах) народного депутата Украины Федорука Николая Трофимовича (фракция «Народный фронт»).

Весной 2016 года присоединился к патриотическому флешмобу #яЛюблюСвоюКраїну, рассказывая в видеообращении за что он любит Украину.

Кандидат в народные депутаты от политической партии «Патриот» на парламентских выборах 2019 года, № 5 в списке. На выборах городского городского головы Киева 2020 года поддержал кандидатуру Александра Попова.

Звания и награды
 Заслуженный артист Украины (1995)
 Народный артист Украины (1998)
 Орден князя Ярослава Мудрого V степени (2003)
 Орден «За заслуги» III степени (2013)

Дискография
 2002 — «Тополина любов»
 2002 — «Небеса очей твоїх»
 2002 — «Емігрантка»
 2004 — «Песни для тебя»
 2004 — «Ріка життя»
 2006 — «Ты мой сон»

Примечания

Ссылки
 Иво Бобул на сайте «Золотий Фонд української естради»

Певцы и певицы, известные под псевдонимами
Помощники народных депутатов Украины VII созыва
Помощники народных депутатов Украины VIII созыва
Лауреаты премии Украинская песня года

redpajama_set_name: RedPajamaWikipedia


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Spring Shows: 32 New Exhibitions Feature Innovative Works by Black Artists
by Victoria L. Valentine on Apr 16, 2016 • 12:42 am 3 Comments
ONE OF THE MOST ANTICIPATED museum exhibitions of the season, a major survey of Kerry James Marshall's work, primarily focused on his painting over the past 35 years, is opening at the Museum of Contemporary Art Chicago, on April 23. In September, the exhibition will travel to the Metropolitan Museum of Art in New York before heading to the Museum of Contemporary Art, Los Angeles in March 2017.
This spring 2016, many other African American and African Diasporic artists are presenting innovative exhibitions in a wide span of mediums across the United States and beyond. They are interacting with their counterparts (Mark Bradford/CLyfford Still in Buffalo, N.Y.) and (Julie Mehretu/Jessica Rankin in Belgium); returning to their home states (Bethany Collins in Alabama); and creating a library bound in Dutch wax fabric to raise issues around migration (Yinka Shonibare MBE in Essex, England).
Interestingly, Theaster Gates is mounting an exhibition of black memorabilia in Austria. Gordon Parks's Harlem collaboration with author Ralph Ellison is being presented at the Art Institute of Chicago and images from the project are also on view in Minneapolis.
Finally, in New York, must see presentations include Steve McQueen at the Whitney Museum of Art where he is revisiting Paul Robeson's FBI files; pianist and composer Jason Moran at Luhring Augustine; and a pair of exhibitions featuring the work of Los Angeles-based Rodney McMillan at the Studio Museum in Harlem and MoMA PS1. A selection of exhibitions follows:
JONATHAN LYNDON CHASE, "Man in Tub," 2015 (acrylic on canvas). | Photo via Lord Ludd
1. "JONATHAN LYNDON CHASE: Rosebud" @ Lord Ludd Gallery, Philadelphia | March 19-April 17, 2016
For his first gallery exhibition, Philadelphia artist Jonathan Lyndon Chase is presenting drawings and paintings that "frame and reframe the black male subject" through an exploration of black beauty and masculinity and macho, queer love.
"The End of Eating Everything," WANGECHI MUTU with Santigold. | Video co-released on Youtube by the Nasher Museum of Art at Duke University and MOCAtv
2. WANGECHI MUTU, "SITE 20 Years/20 Shows" @ Site Santa Fe, Santa Fe, N.M. | March 19-May 22, 2016
SITE Santa Fe is celebrating 20 years by re-presenting the work of artists who have engaged with the biennial-turned-nonprofit over the past two decades. Wangechi Mutu is collaborating with Edgar Arceneaux on a site-specific drawing installation and screening, "The End of Eating Everything," her first animated video (created in collaboration with recording artist Santigold).
YINKA SHONIBARE MBE, "The British Library," | Courtesy the artist and Stephen Friedman Gallery, London, Co-commissioned by HOUSE 2014 and Brighton Festival, Photographer: Jonathan Bassett via Turner Contemporary
3. YINKA SHONIBARE MBE @ Turner Contemporary, Kent, England | March 22-Oct. 30, 2016
Coinciding with its fifth anniversary, Turner Contemporary is presenting two major works by Yinka Shonibare MBE, including a library of books covered in Dutch wax fabric, each spine bearing the name of an immigrant who has enriched British society.
RODNEY MCMILLIAN's show at the Studio Museum coincides with two other exhibitions of his work currently on view at MoMA PS1 in New York and ICA Philadelphia. Above, "Couch," 2012 (couch, cement). | Courtesy the artist and Maccarone, New York/Los Angeles
4. "RODNEY MCMILLIAN: Views of Main Street" @ Studio Museum in Harlem, New York, N.Y. | March 24-June 26, 2016
Los Angeles-based Rodney McMillian's explores race, class and gender through painting, sculpture, video and performance. This exhibition presents for the first time a comprehensive look at a major aspect of his practice that relies on domestic symbols "to scrutinize the political and economic biases within the myth of a universal, middle-class 'Main Street.'" The Studio Museum's spring exhibitions also include presentations by Rashaad Newsome, Ebony G. Patterson, and about food and contemporary art.
GORDON PARKS, "Mr. And Mrs. Albert Thornton, Mobile, Alabama," 1956. | Courtesy of and copyright The Gordon Parks Foundation
5. "GORDON PARKS: Invisible Man and Segregation Story" @ Weinstein Gallery, Minneapolis, Minn. | March 25-May 14, 2016
This exhibition presents two important bodies of work by Gordon Parks—with his friend Ralph Ellison, author of seminal novel "Invisible Man," a collaboration for the Aug. 25, 1952 edition of Life magazine; and the photographer's groundbreaking 1956 series of color images documenting an extended African American family living in Jim Crow-era Alabama.
HOWARDENA PINDELL, "Flight/Fields," 1988–89 (Lithograph, etching, and collage). | Cantor Arts Center collection, Committee for Art Acquisitions Fund, 1993.4. © Howardena Pindell, courtesy Garth Greenan Gallery, New York
6. "Who We Be" @ Cantor Arts Center at Stanford University, Stanford, Calif. | March 30–June 27, 2016
Inspired by Jeff Chang's much-lauded book "Who We Be: A Cultural History of Race in Post-Civil Rights America," this exhibition explores visual culture since 1965 through the lens of cultural, political and demographic change and considers how Americans see race today.
Installation view of new works by CHARLES GAINES at Paula Cooper Gallery, New York via Paula Cooper Gallery
7. CHARLES GAINES @ Paula Cooper Gallery, New York, N.Y. | March 31-April 30, 2016
The gallery exhibition features "Numbers and Trees: Central Park Series I," a collection of eight new large-scale triptychs by Charles Gaines, that build on his acclaimed series, "Numbers and Trees," which began in 1987.
STAN DOUGLAS, Detail of video still, "The Secret Agent," 2015 (six-channel video installation, eight audio channels, 53:35 min (loop) with six musical variations, color, sound). | via David Zwirner Gallery
8. "STAN DOUGLAS: The Secret Agent" @ David Zwirner Gallery, New York, N.Y. | March 31-April 30, 2016
Filmed on location in Lisbon with local actors, this exhibition marks the U.S. debut of "The Secret Agent" (2015), Canadian artist Stan Douglas's new multi-screen film installation along with a series of large-scale photographs.
JAYSON MUSSON, "Black Bisector," 2016 (mercerized cotton stretched over cotton). | Courtesy the artist and Fleisher/Ollman, Philadelphia
9. "JAYSON MUSSON: The Truth in the Song" @ Fleisher Ollman Gallery, Philadelphia | April 1-May 28, 2016
Jayson Musson is presenting a new "series of Coogi sweater paintings, exploring the in-between spaces of high-art versus craft, intentional versus found abstraction, and, most significantly, the notion of ownership of African-American popular culture."
ADAM PENDLETON, "Black Lives Matter #2" 2015 (wall work)| | via Pace Gallery
10. "ADAM PENDLETON: Becoming Imperceptible" @ Contemporary Arts Center, New Orleans | April 1, 2016- June 16, 2016
Featuring film, wall paintings, ceramics, and silkscreens, this exhibition is Adam Pendleton's largest solo museum presentation to date.
RODNEY MCMILLAN, "Blue sun," 2014‑2015 (latex and ink on bed sheet). | Collection of Danielle and David Ganek.
11. "RODNEY MCMILLAN: Landscape Paintings" @ MoMA PS1, Long Island City, N.Y. | April 3 – Aug. 29, 2016
The exhibition features 12 paintings on bedsheets sourced from thrift stores by Los Angeles-based artist Rodney McMillan.
Installation view of "Julie Mehretu and Jessica Rankin: Earthbound" at Museum Dhondt-Dhaenens. | Courtesy Museum Dhondt-Dhaenens
12. "JULIE MEHRETU and Jessica Rankin: Earthfold" @ Museum Dhondt-Dhaenens, Deurle, Belgium | April 10-June 12, 2016
This exhibition brings together the work of New York-based artists Julie Mehretu and Jessica Rankin. Both "play with the boundaries of abstract art and the momentum that occurs when lines, colours and surfaces come to depict, once again, a reality or an experience."
READ "Earthfold" exhibition guide
DONALD LOCKE, "Village Square," 1974 (wood, vinyl, ceramic, stainless steel). | Courtesy Skoto Gallery
13. "DONALD LOCKE: The Plantation Series: Paintings and Sculptures from the 1970s" @ Skoto Gallery, New York, N.Y. | April 14-May 28, 2016
A selection of paintings and sculptures from the Plantations Series by Donald Locke (1930-2010) is being presented in New York for the first time. Born in Guyana, Locke was living and working in London when he created the series which "confronts tradition while absorbing the formal tenets of modernism."
NOLAN OSWALD DENNIS, Detail of "No Conciliation is Possible I," 2016 (ink and collage on paper). | via Goodman Gallery
14. "NOLAN OSWALD DENNIS: Furthermore" @ Goodman Gallery, Cape Town, South Africa | April 14-May 18, 2016
Nolan Oswald Dennis was born in Zambia and is based in Johannesburg. For his first solo show at the gallery "the idea of becoming" and "the ever-fluctuating conditions of time and place" are explored in drawings, inscribed wax sculptures and printed textiles.
BETHANY COLLANS is the first artist to participate in Lobby Projects at the Birmingham Museum of Art.
15. "Lobby Projects: BETHANY COLLINS" @ Birmingham Museum of Art, Birmingham, Ala. | April 16-Aug. 7, 2016
The Birmingham Museum of Art is initiating Lobby Projects, its new program of site-specific installations with artist Bethany Collins, a native of Montgomery, Ala., who explores interactions between race and language.
ENDALE DESALEGN, "Milk and Darkness 5," 2014 (oil on canvas). | Courtesy David Krut via Artsy
16. ENDALE DESALEGN @ David Krut Projects, New York, N.Y. | April 21-June 11, 2016
For his first solo exhibition at David Krut, Ethiopian painter Endale Desalegn is presenting a group of recent oil paintings that "interrogates ways in which capitalist structures mediate human dependencies on material objects – a relationship which he experiences to be fast spreading from the West into Ethiopian society."
MARTINE SYMS, Detail of "Misdirected Kiss, 2016." | Courtesy the artist via ICA.
17. "MARTINE SYMS: Fact & Trouble" @ Institute of Contemporary Arts, London | April 20-June 19, 2016
This exhibition features new and recent photography, video and sculpture by Los Angeles-based "conceptual entrepreneur" Martine Syms. A solo exhibition of Syms's work is also being presented at Karma International in Los Angeles (March 9-April 23, 2016).
ISAAC JULIEN, "Pas de Deux," 1989/2016 | via Jessica Silverman Gallery
18. "ISAAC JULIEN: Vintage" @ Jessica Silverman Gallery, San Francisco, Calif. | April 22- June 11, 2016
British artist Isaac Julien works in photography and film. This photography exhibition features three bodies of work: "Looking for Langston" (1989), "Trussed" (1996), and "The Long Road to Mazátlan" (1999-2000).
KERRY JAMES MARSHALL, "Better Homes, Better Gardens," 1994 (acrylic and collage on unstretched canvas). | Denver Art Museum Collection © Kerry James Marshall. Photo courtesy of the Denver Art Museum.
19. "KERRY JAMES MARSHALL: Mastry" @ Museum of Contemporary Art, Chicago | April 23-Sept. 25, 2016
"An inspired and imaginative chronicler of the African American experience," Kerry James Marshall emphasizes the importance of diversifying the art historical canon. This major survey of the Chicago-based artist's work focuses primarily on his paintings from 1980 to present.
Above, THEASTER GATES "Tar baby, Ed William's Collection," 2014. | Photo by Sara Pooley. Courtesy the artist. © Theaster Gates
20. "THEASTER GATES: Black Archive" @ Kunsthaus Bregenz, Bergenz, Austria | April 23-June 26, 2016
For the first time, Theaster Gates is presenting "Negrobilia," a collection of historical objects depicting stereotypical imagery of Black Americans. Stony Island Arts Bank in Chicago, which is operated by Gates's Rebuild foundation, holds a collection of black memorabilia first assembled 30 years ago by Edward J. Williams. Gates is presenting original works inspired by the Williams collection. The artist says, "This show for me, and this moment in my career, is about teasing out these moments that allow black things their rightful place in the world."
READ Black Archive exhibition guide
WATCH Video preview of Black Archive exhibition
KIA CHENELLE, "The Waiting Man I," 2013 (archival inkjet print). | Courtesy of the artist via MoAD
21. "Dandy Lions: (Re)Articulating Black Masculine Identity" @ Museum of the African Diaspora, San Francisco, Calif. | April 27-Sept. 18, 2016
This traveling exhibition features photography and film from throughout the African Diaspora that explores the style, ideology and ethnic and gender identity of men "who defy stereotypical and monolithic understandings of masculinity within the Black community."
RADCLIFFE BAILEY, "To Be Titled," 2016 (mixed media including iron rods, a top hat and a sculpted head). | © Radcliffe Bailey. Courtesy of the artist and Jack Shainman Gallery, New York
22. "RADCLIFFE BAILEY: Quest" @ Jack Shainman Gallery, New York, N.Y. | April 28-June 4, 2016
Working across painting, sculpture and found photography, Radcliffe Bailey probes the complexities of identity through an exploration of ancestry and memory and better understanding history and migration. The Atlanta-based artist's latest exhibition features new works, some of which are borne of his study of communities of escaped slaves.
JASON MORAN, "Staged: Three Deuces," 2015 (mixed media, sound). | Photo by Roberto Marassi, Courtesy Luhring Augustine
23. JASON MORAN @ Luhring Augustine, Bushwick, Brooklyn, N.Y. | April 28-July 29, 2016
Jason Moran is showing a selection of new sculptures including two "Staged" works that were on view at the Venice Biennale last summer. The exhibition will also feature performances and Moran is launching a limited frequency jazz magazine in conjunction with the show.
"Disguise: Masks & Global African Art" preview. | Video by Brooklyn Museum
24. "Disguise: Masks & Global African Art" @ Brooklyn Museum, Brooklyn, N.Y. | April 29-Sept. 18, 2016
This traveling exhibition features new works by 12 contemporary artists exploring "the impulse of disguise (whether in the form of mask, costume or camouflage) with optical illusions, street actions, computer magic, and virtual reality."
STEVE MCQUEEN, "End Credits," 2012 (sequence of digitally scanned files, sound, continuous projection). | Courtesy of the artist, Thomas Dane Gallery, London and Marian Goodman Gallery.
25. "Open Plan: STEVE MCQUEEN" @ Whitney Museum of American Art, New York, N.Y. | April 29-May 14, 2016
Steve McQueen is one of five artists selected to transform the Whitney Museum's fifth-floor, a dramatic open gallery space, unobstructed by interior walls. The artist/filmmaker is presenting an expanded version of his 2012 project, "End Papers," which explores the declassified FBI files on Paul Robeson, who was surveilled by the agency for more than two decades.
THORNTON DIAL SR., "We All Live Under the Same Old Flag," 2008 (cloth, wood, metal, enamel, and spray paint on canvas on wood). | © Thornton Dial via Marianne Boesky Gallery
26. "THORNTON DIAL: We All Live Under the Same Old Flag" @ Marianne Boesky Gallery, 509 West 24th Street, New York, N.Y. | April 30-June 18, 2016
Featuring paintings created over the past 20 years, this is the first New York exhibition of work by Thornton Dial Sr. (1928-2016) since the artist died in January.
MARK BRADFORD, Detail of "Receive Calls On Your Cell Phone From Jail," 2013 (mixed media on canvas, 38 panels). | Courtesy the artist and Hauser & Wirth, New York
27. "MARK BRADFORD: Receive Calls on Your Cell Phone From Jail" @ Contemporary Art Museum St. Louis, St. Louis, Mo. | May 6-Aug. 14, 2016
This special installation is the museum debut of Mark Bradford's "Receive Calls on Your Cell Phone From Jail," a suite of 38 mixed-media paintings that raises issues surrounding the ability of prisoners to communicate with the outside world since many cell phone providers do not allow subscribers to receive collect calls.
GORDON PARKS, "Harlem Neighborhood, Harlem, New York," 1952. | The Gordon Parks Foundation.
28. "Invisible Man: GORDON PARKS and Ralph Ellison in Harlem" @ Art Institute of Chicago | May 21-Aug. 28, 2016
Photographer Gordon Parks and author Ralph Ellison both used their crafts to further racial justice. The friends collaborated on Harlem-based projects in 1948 and 1952. The latter illustrated scenes from Ellison's novel "Invisible Man" and was published in Life Magazine. This special exhibition "reunites for the first time the surviving photographs and texts intended for the two projects, including never-before-seen photographs by Parks from the collections of the Art Institute and the Gordon Parks Foundation and unpublished manuscripts by Ellison."
MARK BRADFORD, who discussed Clyfford Still's work for The Artist Project at the Metropolitan Museum of Art, continues the conversation with an exhibition at Albright-Knox that pairs Still's paintings with his own. | Screen grab from The Artist Project video by The Metropolitan Museum of Art
29. "Shade: Clyfford Still / MARK BRADFORD" @ Albright-Knox Art Gallery, Buffalo, N.Y. | May 26-Oct. 2, 2016
Advancing the conversation around Abstract Expressionism, Mark Bradford selects more than 20 paintings by Clyfford Still (1904-1980) from the Albright-Knox Gallery's collection and presents them along with a new suite of his own paintings.
MARTIN PURYEAR, "Drawing for Maroon," 1986/88 (black Conté crayon, with smudging, over graphite, on ivory wove paper). | Courtesy of the artist. © Martin Puryear, Courtesy Matthew Marks Gallery.
30. "MARTIN PURYEAR: Multiple Dimensions" @ Smithsonian American Art Museum, Washington, D.C. | May 27-Sept. 5, 2016
This first-ever exhibition of works on paper by sculptor Martin Puryear whose unique, handmade modern works experimenting with scale, form and materials, often begin with sketches and drawings, spans half a century and presents about 70 works on paper from the artist's own collection and 14 works from the Smithsonian American Art Museum collection.
MOE BROOKER, "Present Futures IV," 2012 (mixed media on wood panel). | Courtesy June Kelly Gallery
31. "MOE BROOKER: Unspeakable Joy" @ June Kelly Gallery, New York, N.Y. | May 27-June 26, 2016
June Kelly is presenting recent paintings by Moe Brooker—abstract canvases with rhythmic patterns and colorful, layered surfaces. The Philadelphia artist says his work "is about the joy of the human spirit… a deep abiding knowledge, a 'knowing' that is way down deep inside each person."
DMITRI WRIGHT, "Black Couple in Bed Watching TV," 1971 (acrylic on canvas). | Gift of the Prudential Insurance Company, 1971 © Dmitri Wright. Photo via Newark Museum
32. "Modern Heroics: 75 Years of African-American Expressionism at the Newark Museum," Newark, N.J. | June 18, 2016-Jan. 8, 2017
Exploring heroic themes in modern and contemporary art, this exhibition features 37 works by African American artists from the Newark Museum's collection including paintings by Emma Amos, Norman Lewis, Mickalene Thomas, Bob Thompson, and sculptures by Chakaia Booker and Thornton Dial Sr.
TOP IMAGE: KERRY JAMES MARSHALL, "School of Beauty, School of Culture," 2012 (acrylic on canvas). | Collection of the Birmingham Museum of Art; Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds. Photo by Sean Pathasema
Tags: Adam Pendleton, Bethany Collins, Donald Locke, Endale Desalegn, Gordon Parks, Issac Julien, Jason Moran, Julie Mehretu, Kerry James Marshall, Kia Chenelle, Mark Bradford, Martine Syms, Moe Brooker, Nolan Oswald Dennis, Norman Puryear, Radcliffe Bailey, Rodney McMillan, Stan Douglas, Steve McQueen, Theaster Gates, Thornton Dial
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Gadra Byenkya says:
Awesome… "art is really a science"! i've liked that, wish i could be an artist too.
Jerome C. Gray says:
Well I know that Artists like Aaron Douglas, Henry O. Tanner, Lois M. Jones, Alma Thomas, Romare Bearden, Artis Lane, just to name a few would be PROUD of these Artists which are carrying on the History of the African American Artists and Struggle. I am Proud of these Artists of Today! May God Bless you All!
Cedric Baker says:
Amazing display of the creative work and the future of Art, as told by the African American Artist as well as the artist of the African Diaspora …..In other words the future never looked so bright, thanks for the info Bro Che!

redpajama_set_name: RedPajamaCommonCrawl


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Osmania Oriental Publication Bureau, embezzlement case
HYDERABAD: Dairatul Ma'arifil Osmania (Osmania Oriental Publications Bureau) was established in 1888, is a treasure trove of rare manuscripts and books and is globally acclaimed.
Nowadays, it is in midst of controversies, because of the termination of service of four sub-editors and allegations of embezzlement of crores of rupees released under the scheme of the ministry of minority affairs called "Hamari Dharohar".
According to a media report, the terminated employees approached the HC and asked to consider their request of regularizing their services. Last year on December 13 while disposing of the writ (WP No. 3,290 of 2010), the court directed the respondents to consider the case of the petitioner in accordance within a period of 4 weeks.
Dr Mehjabeen Akhter, director of the institution, rejected the plea and issued termination notice on January 10, 2019. In the termination letter, she cited financial crisis and no substantial work to allocate as a reason for their termination. On the very next day, she issued a notification, inviting application for 8 posts of sub-editors.
The Centre had launched Hamari Dharohar scheme and sanctioned Rs 37.71 crore for modernization, digitization, translation and re-printing of classic books available at Da'iratu'l Ma'arif-il-Osmania, over a period of five years.
It was alleged that the director had claimed bills on already printed books; she had included her name and changed the title pages, prologues and epilogues of the books to show that the work was done freshly under "Hamari Dharohar".
Dr Mohammed Iqbal Mukarram, a scholar, has demanded a high-level inquiry into the affairs of the institution and the autocratic attitude of its director.


A healthy twist on a Christmas favourite.
This is my favourite recipe featured in my new cookbook Purely Delicious. There is nothing more satisfying than baking your own cakes, puddings and biscuits for Christmas. Around this time of year I'm in my kitchen a little bit more than usual baking cakes and cookies and packaging them up as presents for friends and family. This is an extremely delicious and simple Christmas cake to make. It's a part of my great Aunty's recipe file along with other yummy healthy treats.
This is a dense and moist fruit cake with a high ratio of fruit, which means I don't need to use any extra sugar in the recipe. I'm also using almond meal which replaces traditional white refined flours that make up most store bought cakes. The almond meal is also gluten free and adds moisture so I just need to add a small amount of macadamia nut or olive oil to make it complete. I love the combination of vanilla, orange and cinnamon in recipes and my Christmas cake is the perfect recipe to marry the flavours together. Serve in small portions after Christmas lunch or dinner or warm it up and serve as a pudding with vanilla bean custard or thick natural yoghurt and orange blossom honey.
Preheat your oven to 150 C / 300 F, fan forced.
Prepare a 20 cm round cake tin with baking paper lining the sides and the base.
Combine dried fruit, spice, vanilla, orange zest + juice, olive oil and eggs.
Add the almonds and walnuts and mix through.
Spoon Christmas Cake batter into your baking tin.
Bake for 1 hour and 30 minutes. Check with a skewer to see if it comes out clean, if not bake for another 30 minutes.
Cover the top if necessary to prevent over-browning.
Cool, then remove from the tin and store in an airtight container in the fridge for up to 1 month.
Note: If you wish to soak your Christmas cake in orange liqueur, as soon as you remove the cake from the oven, skewer holes through the cake and drizzle over ¼ cup orange liqueur so it can penetrate through the holes and infuse into the cake.
+This cake can also be served as a pudding served with vanilla bean custard or thick natural yoghurt.
This recipe is from Teresa Cutter's Purely Delicious Cookbook. Check it out for more recipes for your festive season.


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S.I. No. 170/2013 - European Communities (Official Controls on the Import of Food of Non-Animal Origin for Pesticide Residues)(Amendment)(No.2) Regulations 2013.
Notice of the making of this Statutory Instrument was published in
"Iris Oifigiúil" of 28th May, 2013.
I, SIMON COVENEY, Minister for Agriculture, Food and the Marine, in exercise of the powers conferred on me by section 3 of the European Communities Act 1972 (No. 27 of 1972), for the purpose of giving effect to Commission Implementing Regulation (EU) No 91/2013 of 31 January 20131 , and Commission Implementing Regulation (EU) No 270/2013 of 21 March 20132 , hereby make the following regulations:
1. These Regulations may be cited as the European Communities (Official Controls on the Import of Food of Non-Animal Origin for Pesticide Residues)(Amendment)(No.2) Regulations 2013.
2. The European Communities (Official Controls on the Import of Food of Non-Animal Origin for Pesticide Residues) Regulations 2011 ( S.I. No. 426 of 2011 ) are amended by substituting in Regulation 2(1) for the definition of "Commission Regulation 669/2009" the following—
" 'Commission Regulation 669/2009' means Commission Regulation (EC) No. 669/2009 of 24 July 20093 as amended by Commission Regulation (EU) No. 212/2010 of 12 March 20104 , Commission Implementing Regulation (EU) No 1235/2012 of 19 December 20125 , Commission Implementing Regulation (EU) No 91/2013 of 31 January 2013, and Commission Implementing Regulation (EU) No 270/2013 of 21 March 2013;".
3. The European Communities (Official Controls on the Import of Food of Non-Animal Origin for Pesticide Residues) (Amendment) Regulations 2013 ( S.I. No.40 of 2013 ) are revoked.
GIVEN under my Official Seal,
SIMON COVENEY,
Minister for Agriculture, Food and the Marine.
(This note is not part of the Instrument and does not purport to be a legal interpretation.)
These Regulations revise controls on the import of certain food and feed of non-animal origin from specific third countries with regard to pesticide residues.
1 OJ L 33, 2.2.2013, p. 2
2 OJ L 82, 22.3.2013, p.47
3 OJ L 194, 25.7.2009, p. 11
4 OJ L 65, 13.3.2010, p. 16
5 OJ L 350, 20.12.2012, p.44


What happens in a client's music therapy session? This question is a great way to educate the world about the music therapy profession. This question is one that is answered by music therapist multiple times a day. Whether the answer is addressed to a supervisor in a hospital or healthcare setting, teacher or principal in a school setting, or to a parent who sees a therapist privately, this question is very important when it comes to advocating for the profession.
How is communicating important for the music therapist? I have found that parents who sign up for music therapy often are excited to start but are not sure what they are signing up for. I have had many families who are very excited when I tell them that their child worked on improving their social skills, fine motor skills, receptive language skills, and speech skills all in one session. The parents are often excited about that news but what does it really mean? I like to share some of the activities that we did to address all these different goal domains (and more) so that the parents can get a picture of what happens in a session. The more the parents are aware of what it is the therapist is doing, the more likely they will continue to be involved in the therapy itself.
What about the parent's role in communicating with the therapist? The parent's role is very important in the process. Parents should always feel free to ask questions and contact the therapist with any concerns they may have. As a parent receiving music therapy services, you should feel comfortable asking questions and making sure you are aware of what your child is working on in his music therapy session. Parents are also a wonderful resource to other parents who have not heard of music therapy. By learning more about your child's music therapy sessions, you will be able to answer other parent's questions about what music therapy really is.


The DRDO developed Akash surface-to-air missile was successfully tested in ripple mode and against multiple targets at the extreme edge of the missile's engagement envelope.
Three Akash missiles were launched from the Integrated Test Range (ITR), Balasore on two targets being towed by Lakshya PTA at "low altitude far boundary".
Two of the missiles were launched on the same target in ripple mode. The missiles successfully intercepted the fast moving and maneuvering small RCS targets.
Akash Project Director G. Chandramouli told The Hindu that the first missile climbed to an altitude of 700-m and then slammed down on its target 20-km from the test range.
IAF personnel then launched two missiles in ripple mode with 5 sec interval on a second target.
"The first missile destroyed the target. The second homed in on the destroyed parts, falling down," said Mr. Chandramouli.
The DRDO released video above of the ripple test shows the first missile warhead detonating at 19-sec and a large chunk of debris falling to the ground. The second missile warhead detonates at 23-sec well above the altitude of the first detonation.
IDP Sentinel members can read about the Akash missile at the link below.


The art of India can only be understood in relation to the essential characteristics of the country that produced it. Indians have a taste for codifying rules and regulations, a characteristic to be found in the eternal system of castes, and permeating every sphere of activity. The artist, in particular, must conform to a fairly strict system of aesthetic principles; his aim is to create not a work of art as such, but a religious work which, if it is to have value, must scrupulously respect the established rules.
To the Indian sculptor the purpose of a statue is to serve as an aid to meditation and its position, its expression, its gestures and even its costume have a very precise meaning. The principal gestures, which are also those of dancers and actors, are known as mudra in Buddhist and as hasta in Brahmanic works.
When Indian artists made religious sculptures, they frequently chose sturdy materials such as metal or stone, though sometimes wood-carving was also preferred. Often called "bronzes," most Indian metal sculpture – everything from portable household images to large temple icons – were actually cast by the cire perdue (lost wax) process from a wide variety of copper alloys. Indian stone sculptors preferred soft, fine-grained stones that were well suited to intricate detailing and elaborate undercutting.
Indian artists use the wide range of materials at hand to create almost every conceivable type of sculpture, but certain varieties were especially favored. By far the most popular format in Indian was the iconic representation of a divinity, either isolated or accompanied by a symmetrically arranged retinue.
The sculptors of India's many periods, regions, and localities developed their own distinctive artistic styles, many of which are presented here.
In Indian sculpture the human form is composed of various compact, curved, and almost geometric shapes assembled according to an ideal canon of proportions.
In Indian statues, men have square shoulders, broad chests, slim waists, and slightly overhanging stomachs; women, being the sustainers of life, have full, rounded breasts and large hips. Certain features of the body are frequently exaggerated to make poetic references to the animal or vegetal world—that is, lotus-like eyes, leonine body, elephantine arms and shoulders, and so forth.
The idealized anatomy that blossomed throughout the Indian subcontinent is perfectly suited to depicting the superhuman forms of India's gods. Lacking any impurities of material existence, these transcendental forms have many limbs, multiple heads, and unusual physiognomic features to suggest possibilities and states of existence beyond the mortal. The results are sculptures that reveal the gods of India for what they truly are— blissful divine beings.


Applications of the theory of enlargements of filtrations and random times to mathematical finance.
Random operators associated to random matrices.
Applications to combinatorics, random graphs, random permutations, statistical mechanics, sums of weakly dependent random variables, random matrix theory, mathematical finance.
Since 2016 I have been a member of the Scientific Advisory Board of swissQuant and a member of the Advisory Board of EVMTech.
The characteristic polynomial of a random unitary matrix: a probabilistic approach.
How badly are the Burholder-Davis-Gundy inequalities affected by arbitrary random times?
The characteristic polynomial on compact groups with Haar measure: some equalities in law.
"Temps aleatoires, filtrations, sous-martingales: quelques developpements recents."
Ph.D in mathematics supervised by Marc Yor: Universite Pierre et Marie Curie, Paris 6 (2005).


Apple officially launched its long awaited tablet device today, the iPad. As with most Apple product launches in recent memory, the media coverage and hype has reached a deafening level.
The notoriously secretive Apple PR department managed the launch with no major leaks — except for one to The Wall Street Journal — which was rumored to be intentional.
We'll wait and see as the official product reviews come in, but as of now, Apple is stealing attention from President Barack Obama himself, as he prepares for tonight's State of the Union address.
Our sibling blog eBookNewser has been chronicling the launch event, which notably did not include a live video stream. "Doesn't Apple's vaunted PR team recognize the immeasurable value of feeding video of the launch of its new iPad directly to the rest of us?" asked Flatiron Communications Founder Peter Himler.
Whatever the company's reasons for not streaming the launch event live, the decision reinforces one of the great paradoxes in terms of beloved brands and transparency.
For all the talk how important it is for companies to be more open and transparent in this new media world we live in, Apple is one of the most secretive companies, especially when it comes to PR and marketing, yet it is also one of the most loved brands.


text:
Q: Web worker cannot acces the static files I'm doing the application using React 18 with TS + webpack5. In this project, I'm using the web-ifc to open IFC files and get some information from them. This library requires to setWasmPath, which is crucial for the application's working. Because of some heavy calculations, I wanted to use web workers.
Using such web worker:
self.addEventListener("message", async (event) => {
    const { data } = event;
    const model = data.model as IfcModel;
    const ifcAPI = new IfcAPI();
    ifcAPI.SetWasmPath("./assets/");
    fetch("/assets/").then((e) => {
        console.log(e.body);
    });
    console.log("in worker");
    ifcAPI.Init();
    let parsedFile = await getFileBuffer(model.file).then((e) => e);
    console.log(parsedFile);
    console.log(ifcAPI);
    const modelID = ifcAPI.OpenModel(parsedFile);
});

Which I call in the following way:
private async parseFile(modelID: number): Promise<void> {
    const worker = new Worker(new URL("../workers/lbd_convert.ts", import.meta.url), {
        type: "module",
        name: "lbd-converter-worker",
    });
    worker.postMessage({ model: this.getModel(0) });
    worker.onmessage = (e) => {
         console.log(e);
         //some actions
     };
}

I'm getting an error inside the web-ifc library:

What I understood from the message is that the library is getting an HTML document instead of access to wasm files. What is even more strange is that using the fetch method, I have access to these files and can get their content.
I'm using exactly the same approach in the main thread and not getting this error, so I assume I'm doing something wrong with the configuration.
I read this GitHub issue: https://github.com/WebAssembly/spec/issues/1031.
But it doesn't solve my case because an error is thrown from the library.
Libraries:
"react": "^18.2.0",
"web-ifc": "^0.0.36"
"webpack": "^5.75.0",
"typescript": "^4.9.4",
The webpack.config.js:
module.exports = {
    plugins: [
        new HTMLWebpackPlugin({
            template: "./public/index.html",
        }),
        new CopyWebpackPlugin({
            patterns: [
                {
                    from: "public/assets",
                    to: "assets",
                },
            ],
        }),
    ],
    module: {
        rules: [
            {
                test: /.(js|jsx)$/,
                exclude: /node_modules/,
                use: {
                    loader: "babel-loader",
                },
            },
            {
                test: /.(ts|tsx)$/,
                exclude: /node_modules/,
                use: {
                    loader: "ts-loader",
                },
            },
            {
                test: /\.css$/i,
                use: ["style-loader", "css-loader"],
            },
        ],
    },
}

I'll be glad for any suggestions and advice.

redpajama_set_name: RedPajamaStackExchange


AIM OF THE CONFERENCE is to attract attention of the society to the Russian history and role of Russia to the world historic process.
Papers are accepted in Ms Word or RTF format via email in an enclosed file: volume is maximum 7 pages; all margins are 2 cm; print type - Times New Roman; size - 16, line spacing - 1; full justification; automatic hyphenation; paragraph indention - 0,7 cm; , tabulation and spaces of paragraphs should not be used.
File should be named after the author's last name. For example: Kutuzov.doc.
Footnotes are voluntary. Format of footnotes is by page, numbering of pages starting on each separate page; size is 13; line spacing - 1; full justification; paragraph indention - 0,7 cm.
Application for participation in the conference is sent in a separate file: Last name, first name, academic degree and title, position, place of work, address, phone, email. In the application please note whether you plan to attend the conference, whether you will have a presentation of illustrated material, which technical means are necessary. The file should be named after the last name of the author with the word "application" being added (for example: Kutuzov-application.doc).
Applications and papers are accepted till October 1, 2012.
Participants are strongly requested to present applications for technical equipment, presentations, video support of their reports as applications to theses.
By the beginning of the conference a collection of scientific works is planned to have been published.


We are locatied in the historic River Market area of downtown Kansas City. Just 1 block north of the City Market.
• Keep right at the fork, merge onto Front St • Take exit 2D toward Main St.
• Contiunie on to Grand Blvd. • Merge onto W 6th St.
• Turn Left at E. 2nd St. • Turn Left at Grand Blvd.
• RMEP will be on the North side of 2nd street • Turn Left at E. 2nd St.
This modern transit option will serve Union Station, the Crossroads Arts District, the Power and Light District, the city's central business district, and the historic River Market along with numerous other businesses, restaurants, art galleries, educational facilities, and neighborhoods.
Take the River Market North(3rd & Grand)stop. We are located just 1 block north on Walnut Street.


Our white Rahfish Big R tee is a slim fit design and 100% ring-spun soft cotton. Ribbed crew taped neck and shoulders with double-needle sleeves and bottom hem.
Can't find your size? Please contact us about additional sizes.


Publication News: That All May Flourish — Jennifer L. Phillips, Ph.D.
I am pleased to announced that I have published two chapters in That All May Flourish, a comparative ethics text that considers the diverse ways religions are responding to climate change, new technologies, and the imperative of ecological stewardship.
My first chapter, "Flourishing in Crisis," builds on my doctoral dissertation and examines these issues through the lens of Catholic social thought, including the most recent writings of Pope Francis. The second is a dialogue chapter, co-authored with Jewish ethicist Rebecca Epstein Levi, in which we consider the shared values, tensions between, and feminist aspects of our ideas.
That All May Flourish: Comparative Religious Environmental Ethics, Oxford University Press, 2018.
Can humans flourish without destroying the earth? In this book, experts on many of the world's major and minor religious traditions address the question of human and earth flourishing. Each chapter considers specific religious ideas and specific environmental harms. Chapters are paired and the authors work in dialogue with one another. Taken together, the chapters reveal that the question of flourishing is deceptively simple. Most would agree that humans should flourish without destroying the earth. But not all humans have equal opportunities to flourish. Additionally, on a basic physical level any human flourishing must, of necessity, cause some harm. These considerations of the price and distribution of flourishing raise unique questions about the status of humans and nature. This book represents a step toward reconciliation: that people and their ecosystems may live in peace, that people from different religious worldviews may engage in productive dialogue; in short, that all may flourish.


text:
from __future__ import unicode_literals

from django.db import migrations, models

class Migration(migrations.Migration):

    initial = True

    dependencies = [
    ]

    operations = [
        migrations.CreateModel(
            name='Travel',
            fields=[
                ('id', models.AutoField(auto_created=True, primary_key=True, serialize=False, verbose_name='ID')),
                ('title', models.CharField(max_length=127, verbose_name='Title')),
            ],
            options={
                'verbose_name': 'Travel',
                'verbose_name_plural': 'Travels',
            },
        ),
    ]

redpajama_set_name: RedPajamaGithub


Traditionally, press releases were the standard for announcing company news. Corporate PR firms (or the company's in house public relations experts) would review news to be announced and diligently summarize the information in a well written press release. If the news was compelling, the timing right and the announcement correctly formatted and presented, the story might run in a print publication or even via the broadcast media, and the company's information would be seen by massive audiences. Today, press releases are still a powerful way to get exposure for companies but there is an additional customer to consider when drafting a release - the search engines. Ensuring a press release is search engine friendly can gain additional discovery by consumers using services such as Google while also increasing the search engine optimization of the company's main website. Below is part one in our three part series covering how to ensure your press release is search engine friendly.
1. Research your target keywords. Take time to research your optimal keywords before just including what words you THINK are the best. There are many free (and paid) tools for keyword researching, but I recommend keeping it simple by using Google's Keyword Tool. Google will provide you information on the amount of monthly search traffic for specific keyword sets including the amount of competition targeting those keywords. Keywords having a high amount of competition are more difficult to target due to multiple sites competing for high rankings for those terms in the search results. The numbers Google provides are not exact but will give you a good idea on what the top words are for your market. You'll want to choose the keywords that potential customers search the most while also considering which words have the lowest search competition. You should be able to narrow down your list to three to five target keyword sets, choosing the best one as your priority target.
2. Headlines are still important. Headlines have always been the most valuable part of a press release to help grab your reader's attention. The search engines know how important the title is in describing the overall message of the release, so they will give more "value" to keywords used in the headline which will help your press release achieve top rankings in the search engines for any keywords used there. So always try to use your primary keyword target in your headline.
3. Write for people. For the past couple of years I've advised clients to ensure their content targets PEOPLE and not search engines. A well written press release that is reader friendly is going to go much further than a keyword-stuffed release that can potentially confuse readers. This is especially true due to Google's recent algorithm changes. (BTW - Google changes its algorithm an average of 500 times a year.) That said, you should still attempt to include the top three to five target keyword sets you selected from your research in the body of your release; just don't compromise on the quality of your writing.
Read part two of our series on how to optimize your press release for the best search engine results here: Making the Most of Your Press Release - Part Two. Please let us know in the comments any questions you have or additional items you would like covered. Click here to sign up and receive our new blog posts via email.


Acupuncture has been an important part of medicine for thousands of years in China. The key principle that defines and connects all of Chinese medicine is the idea Chi, or vital energy that runs through the body. Acupuncture is used to re-balance the Chi. It involves inserting very thin, disposable needles into specific meridian points to help direct the body to a path of healing.
Acupuncture is one of the oldest practices of traditional Chinese medicine and has been used to treat a wide variety of conditions. Acupuncture points were developed over centuries and are mainly located in the meridian system of the body. Different acupuncture points in the body are stimulated to treat different symptoms and promote the body's natural healing abilities.
While traditional acupunture is used to treat body conditions, cosmetic acupuncture is used as an anti-aging treatment. Cosmetic acupunture is a safe alternative to invasive anti-aging treatments.
Contact Oakville Naturopathic Wellness Centre for any questions you may have regarding acupunture treatments.


text:
Home Business Phenomenal Women Club to organise entrepreneurship seminar to mark IWD
Phenomenal Women Club to organise entrepreneurship seminar to mark IWD
The Phenomenal Women Club (PWC), a social club for entrepreneurs and professional women, will be organising an entrepreneurship seminar to mark the International Women's Day on March 8th in Accra.
In line with the theme for this year's International Women's Day which is 'Press for Progress', the seminar, which comes off at the Airport West Hotel, Accra, is themed: "Women in Entrepreneurship: Press for Progress".
The one-day event is expected to provide women entrepreneurs and budding entrepreneurs with tailor-made training and coaching programs aimed at capacity building.
Emelia Osei-Yeboah, Founder and CEO of the club explained that the event is in three parts and hoping to train 150 women in entrepreneurship.
"We will have a facilitator to take them through the basics of starting and managing a business in the first session. Then we would have a second, which is the masterclass session, where two accomplished entrepreneurs would share their experiences and challenges as well as some advice.
With the third session, we will have a financial company coming to tell us the packages that they have for SMEs and how easy it is to get some financial help from them. Also the CEO of National Entrepreneurship and Innovation Plan (NEIP) will be present to discuss the roles of government for building the capacity of women entrepreneurs," she said.
Founded in May 2008, the Phenomenal Women Club has a core mandate to support and promote the general wellbeing of its members in all spheres of life.
Currently, the club has over 500 online members and 200 active members living and working in Ghana. Their membership is made up of women who are 35 years and above, from all walks of life with varied perspectives, diverse backgrounds and different experiences.
The club maintains a very active and interactive social media platform of daily discussions and members of the club deem it very important to have a physical representation at all events.
"Last year, we teamed up with Women's World Banking Ghana, C & J Hospital and a few other institutions to organise breast cancer awareness to mark the Breast Cancer Awareness Month in October, 2017. This year, we have various activities lined up for our members including training programmes on entrepreneurship," Ms. Osei-Yeboah noted.
Currently, the major challenge facing the group is funding. Most events and other corporate social engagement they have engaged in are self-funded. Ms. Osei-Yeboah said if the group could get sponsorship, their impact on society could triple.
Members of the club are very much involved in each other's lives by lending a helping hand when a member is organising an event or going through tough times in her business life.
The group, according to its founder, supports each other and hope to have women all over the world come on board to champion causes such as giving back to society, visiting orphanage and less privileged homes with some donations as well as mentoring young women in entrepreneurship.
VIAthebftonline.com
SOURCELilipearl Baaba Otooo
Phenomenal Women Club
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But then I arrived to our booth, searching for it. And the moment I held the PXW-FS7 in my shoulder and grabbed the grip, I understood everything. I simply was willing to shoot.
One year later, FS5 arrived. Again, a little revolution: modular yet stand-alone, also extermely powerful, with the chance to use any lens, as we could do with FS series and E-Mount Alpha series. Tiny, with a similar grip to FS7, but without that arm… and with one nice brainchild: that electronic variable ND filter. Originally, it allowed us to assign different shutter values to its 3 position, and play with its value with the body dial or, even better, the grip's one.
And now, 2 years later than FS7 was announced, we are glad to see how an improved FS7 will be living in parallel with the original model.
As said, it was applied to the Super35 mm sensor in FS5, but, actually, it had been already used in PXW-X180 and X160. From my humble point of view, it's fine to have it in a "news/ENG" handy model, but it is even better when used in a Large Format Sensor.
A LFS means, as you all know, basically a muche shallower depth of field.
A typical situation when shooting "reality" (documentaries, news…), as opposite to "fiction", is that we don't use to have the environment under our control, and that applies to light, too. So, imagine that you're shooting in an indoor-to-outdoor situation: since light will probably be higher outdoors, we need to reduce it. A newbie like me would probably close iris. Or you can also adust exposure. But in both cases we are modifying the original picture aesthetics, as we're increasing the DoF or changing the movie cadence, it's "fluence".
It's very typical to use optical ND filters to avoid that aesthetics shift. But they use to be external (not controlled from camera body), and, obviously, one more parameter –and equipment- to bear in mind.
1. Instead of the classical Clear / 1/4 / 1/16 / 1/64 filter wheel, now it is Clear / 1 / 2 / 3, meaning we can assign values as we want, from various shutter values. So, for instance, if you've been testing before the shoot and you realize that indoor it should be 1/8 but outdoors it matches with 1/32, you can assign those values to positions 1 and 2, making your shift much faster.
2. From any of those three positions (1, 2 or 3), if we switch the filter position to "Variable" instead of preset, we can adjust its shuttering value by a dial (from 1/4 to 1/128). Such dial can be the one in the camera body (also shared with Iris), or the grip's one –which I prefer, personally-. Our creative chances are unique, thanks to that (imagine you can control surrounding light; you can modify DoF without light visible change.
3. The third mode is Auto mode: camcorder analyzes light approaching the sensor, and automacially adjusts ND filter so that we can have the same light level –in a certain limit, between 1/4 and 1/128. So, that indoor-to-outdoor travelling shouldn't be a worrying factor any longer; you can keep the same DoF and the same shutter speed.
That invention is fine in concept, but how does it work?
Basically, it's an LCD layer before the sensor. Light will have chaotic polarization when leaving the lens. Then, it'll pass through a polarizer and a transparent electrode, an LCD layer, another electrode and another polarizing filter. The first polarizer "aligns" light so that it has a certain fixed polarization when leaving it –let's say, horizontal polarization.
Depending on the voltage applied to the electrodes, liquid crystal mollecules will turn their position and will "twist light" (varying polarizing angle). Finally, a vertical –this is just an example- polarizing filter appears, and depending on such angle, light will be more or less capable to trespass that polarizer. Obviously, what camera (or we) actually controls is voltage applied to LC.
As you know, one of the main advantages we have been showing since years ago (actually, FS100 was the first professional camcorder to incorporate it) is the capability to use virtually ANY lens over the E-mount. This is mainly due to the short flange back distance, between sensor and top of the mount. Since such distance is really short (18mm), users can "build" their own lens, via adapter. Or you can convert your Sony camcorder into any mount; you can see it also from this perspective.
In the professional market belonging to broadcast and cinema, however, we received a lot of feedback about E-mount: swinging the lens is necessary to attach it to the camcorder, and that is sometimes a bit difficult, especially when big broadcast lenses are being used, or the lens is surrounded by rod bars, mattebox, follow-focus… In that case, a straight installation is preferred.
And that's what we got with the new Lever Lock-type E-mount: a white dot in the lens needs to be put in front of another white dot in the camera mount. Then, a lock switch can be released, and a collar will embrace lens bottom. Basically, such mechanism is pretty similar to PL mount (in fact, it is actually a Positive Lock attachment).
To be honest, the first time I used it I felt it a bit more complicated than regular E-mount. But after getting used to it, I simply LOVE it.
There are several improvements from FS7 in FS7 II, but instead of having a different section for each one, let me share the same space for them all. A lot of feedback has been taken in mind for PXW-FS7M2 (the official reference).
Firstly, the grip arm: if you have worked with your own FS7, this was not a real issue, but when the same camcorder was used by different cameramen, it was very likely to need different arm lenghts. And for such adjustment, a couple of screws needed to be loosen and tightened; thus, a screwdriver needed to be on set –nothing really nice if you use to fly-. Now, a knob is replacing those screws, so it's much easier to get a proper arm length, and it can be done without the need to leave the camcorder holding in your arms.
As you can see, there is also a second knob; the one used for the Arri rossette. Now, that knob can be totally detached and inserted in another whole (hidden when the arm is totally folded), allowing you to use FS7 II in a lower position, laying in your belly as you could do with FS5, which is much more typical in fictional footages than an eye-heighted shot (normally for news/ENG).
Oh, and by folding the arm towards the rear side, we can lay the camcorder in a table, not in "diagonal" layout  .
Also, a small but significant change can be found in the left side of the camcorder, close to the screen: instead of a circular rod bar for the LCD, now that bar is square-shaped. Some users, depending on the air humidity, tightening force, etc, could see in FS7 that LCD screen could "fold down" unintentionally, losing the horizontal position. Thanks to this square rod bar, and to the knobs for each adjustment, we can place the LCD screen in any position, strongly tightened in place. Also, if we are still willing to use 15mm rod bars, we can use it, because there are supplied rubber adaptors that convert 15mm circular holes into square ones.
There's still another physical change in that part of the camera: in FS7, a couple of clamps needed to be attached to the rear part of the screen, to keep the eyepiece in place. Now, just the lower one is needed, as the upper one is simply a "clip" that we don't need to tighten, but just to put in place. So, we can attach or detach the eyepiece with just one hand.
And that same way to attach/detach is applied to the new screen foldable hood that is supplied by default. FS7 II is a camcorder very likely to be found in outdoors shootings; that hood will allow us to correctly see the picture in the screen with lower reflections. Also, the small size when folded prevents us to carry the eyepiece just to put it open over the LCD.
In the card slots area a little improvement has been added: now, when the card is ejected, the part of it you can grab is 8 mm. Oh, by the way, talking about cards, what I strongly recommend is to use G or S series in order to get the best from the camcorder. That way, every codec, including 4K 10-bit 422 at 500/600Mbps can be registered.
Keeping in the left side of the FS7 II, and just a bit before the card slots, we can find the audio controls. In FS7, the audio cover would deploy horizontally, and some users, when not closing it perfectly, experienced the awful experience of breaking it when hitting from above. Now, even if anything drops and hits that cap, it opens twisting around a horizontal axis, so it will only –and presumably- open, but won't break.
And, as a last improvement regarding physical aspects on FS7 II, there was a situation in FS7: if you simply connected wrongly the LCD bus and switched on the camera, you couldn't know whether it was not working due to battery or any reason. Now, a green LED has been placed just above the power switch, allowing to easily observe if the camera is actually powered. Don't worry about it: such LED is not very intense, so it won't ruin your low-light footages.
First of all, let me confess that I don't usually like or use tactile screens. Simply, I don't get the idea of putting your fingers on your monitoring system. Especially after eating a hamburguer or applying sunscreen. In other words: I prefer by far BUTTONS. And especially those buttons that I don't need to look at to locate or push.
As we had on most of Sony camcorders, there are assignable buttons. And, like in FS7 or FS5, in the camera body they are ring-shaped and with a little "extrusion" across the ring. This allows cameraman to easily find them just but slightly touching with his/her fingertips.
But in FS7 we had 3 assignable buttons in the grip (yes, button #6 is that one that took a while to find) and other 3 in the camera body, in its left panel.
Now, in FS7 II, we have 4 MORE, making a total of 10 assignable buttons.
In my case, I prefer to use S&Q for direct access to Super Slow Motion (without passing through the "normal" S&Q), but in button #2 I use to assign Auto ND function; yes, obviously, we can assign the same functions as in FS7 + the ones related to ND filter.
FS7 II's sensor is exactly the same as F5, FS7 or FS5: a Super35 mm sensor with CMOS technology, very fast readout, and 4K resolution.
Color space, thus, keeps the same, but now the chance to record over BT.2020 has been added, additionally to the original S-Gamut3 and S-Gamut3.Cine.
As you perfectly know, this HDR sensor can maximize its huge dynamic range via S-Log2 and S-Log3 gamma curves.
Just for reference, the cause to use a S-Log curve is because we want to "adapt" all that big dynamic range into a limited output (voltaje or digital values). If a linear curve is applied, saturation can be reached in a short input range (for instance, in 709 gamma curve, despite it is not purely linear). In a S-Log transfer, up to 1300% dynamic range can be acquired, and while low lights keep linear-ish, high lights are compressed. The aesthetics we could see are like "flat" or even "overexposed", but we could apply an "anti-Slog" curve to linearize signal and recover the whole dynamic range that was captured. In case we need a "natural" look in our monitors (either because we are not totally use to visualize S-Log materials, or because we want to evaluate the final result), we can apply a 1D or 3D LUT, even designed by us (e.g. via RAW Viewer).
Nice, but… what is that wide dynamic range useful for? Imagine a scene in which we have two "stories": one of them happening in a room, with low lights. Another one is happening outside, and could be seen through the window. With a SDR camera (about 6 stops), we would need to "choose" between both stories: the one happening in low lights- with the window overexposed-, or the one outside –and the inside one would be with stick blacks-. Through a HDR camera, we can record BOTH stories; in postproduction, we can simply apply that mentioned LUT to recover both materials. Or, even, if you're shooting outdoors, clouds won't be just flat white, but all their grey tones can be recovered.
There's also a very useful function in FS7 II and FS7: HiKey y LoKey allow us to use a SDR range (for instance, because we might be using SDR monitors, not HDR) in either high or low lights. Thanks to that, we can evaluate both ranges of the images even if the rest of the equipment is not totally HDR-ready.
And now let me give a personal tip: once we have used S-Log curves, we feel "relaxed" because we can recover all the info, even if it seems overexposed. Then, we get used to work with them, and suddenly we get into a low-light environment, and experience the surprise to see that our image is a bit noisy. OK, very "organic" or "filmic" noise… but noise. That's because S-Log curve is defined by standard to work with a minimum ISO3200 which means that for lowest levels, a minimum gain is applied. It's not a problem in your camera; it's a matter of how S-Log is defined. So, that is my tip: use S-Log if you need it, which doesn't necessarily mean "always".
Slow-motion features keep the same as in FS7: up to 180fps in Full HD resolution in NTSC mode, and up to 240fps with RAW output.
In fact, that's a good indicator when we want to know how a camera behaves with rolling-shutter derivated effects: having a super slow-motion module means that sensor can be read fast enough to include much more frames in the same time period. So, if that readout is fast, the time that exists between the first and the last line in a frame is also very short, and, thus, jelly and banding effects are minimum.
FS7 II and FS7 can record internally up to 422 colour sampling, 10-bit, 4K-resolution over a XAVC Intra codec. As you can imagine, such big quality requires an according bandwidth, which is 500Mbps at 50p and 600 at 60p.
In a broadcast/news environment, it is very likely to find MPEG-2 ("XDCAM", despite that's not the codec, but the product family) capable systems. Despite XAVC offers better quality at the same 50Mbps, it's a reality that MPEG-2 is, as of today, the de-facto codec in broadcast stations. So, for those needs, in Full HD resolution there is also the chance to record MPEG-2 422 10-bit, and not only XAVC.
All those codecs can be registered over XQD cards in the internal recording. But in case we use XDCA-FS7 adapter, there's also the capability to record over ProRes. And, of course, XDCA-FS7 allows us to output RAW data stream from FS7 II.
Some of you may wonder: if FS7 II/FS7's BNC connector is 3G-SDI, which allows a maximum of 2K/60p quality, how could a 4K/60p/50p signal be outputted? Well, actually, 4K signal is not actually outputted but "transmitted" after a conversion into data. So, baseband video is not routed throught the SDI connector; that cable is just used as a transmission system for data.
That is why we need a device at the end of the cable that is capable to DECODE such signal, not only to record it. And for that, there are actually 3 ways: HXR-IFR5 + AXS-R5 from Sony, Atomos devices or Convergent Design Odyssey7Q+. After that conversion from data to RAW signal (done in HXR-IFR5, for instance), signal can be directly recorded in RAW (in AXS-R5), or transcoded into another format (in Convergent Design's or Atomos' equipment).
It's exactly the same configuration as we had on FS7: a couple of SDI outputs, RAW output via XDCA-FS7 (together with genlock, reference, timecode in/out, V-mount batteries support, DC input and output), two XLR inputs and MI shoe.
That MI shoe (Multi-Interface) allows to connect, for example, a receiver from the UWP-D series. But, since September 2016, we have dual receivers available: an unique receiver to which we can connect two transmitters. That receiver would be connected to FS7 II via SMAD-P3D adapter. This solution is great for interviews, ENG or documentaries. There's, obviously, an internal mic, which means a total of 5 inputs (2x via XLR, 2x via SMAD-P3D and 1x internal) that can be addressed to the 4 audio channels that FS7 II and FS7 can record.
Related to Wi-Fi, a dongle called IFU-WLM3 is supplied by default, allowing us to control the camera through Content Browser Mobile app. But, in order to make things easier, it's not even necessary to log into camera's SSID and to input its password; we can simply "touch" the FS7 II left part with our smartphone/tablet, and, if NFC is switched on, both devices will "start the conversation" via Wi-Fi (or the app dowload site for CBM will launch).
Also, there's the chance to connect CBK-WA100, an external device that allows proxy recording and upload even through 4G/3G dongle.
When in a news environment, it's not a strange situation being in front of a gate through which some VIP may come. Or, in a documentary, it's a typical situation to be waiting for some animal to leave some hole or jump from a branch. With FS7 II, as with many other Sony XDCAM camcorders, a buffer is available, to allow us to recover up to the past 15 seconds, and continue the footage from the momento that REC button is pressed. This can be done, as said, with up to 15 seconds in MPEG-2 codec. So, you can simply "let things happen", and the contents will be ready then.
Simultaneous REC: both cards will have the same contents, whatever the REC button we use. Nice for backups, or for addressing one card for edition and another for colour grading, for example.
Continuous REC: since XQD cards are not as affordable as, let's say, SD cards, it's worth maximizing its capacity. This recording mode allows us to keep recording in a second card when the first one has run out of space, without any frame loss.
(The most interesting one, IMHO) Independent REC trigger: imagine you're shooting a live concert, and you wish to have the whole act in one card, and each of the songs on a separate clip. You can command one card with one of those 3 buttons, and the other one from another button. That's useful not only for avoiding losing some relevant highlights, but also in case you're shooting in a multi-camera environment, and you need to synchronize all footages.
In case you've shot with the lens bundled in PXW-FS7K, called SELP28135G, you'll have noticed that there's some "tele" or "zoom" effect when recording: that lens is designed for a Full Frame sensor (as that of A7S/A7S II), and, thus, when a Super35 mm sensor is placed behind that lens, the capturing surface is smaller than light's circle diameter, and we keep only the central part of the image.
Now, SELP18110G has been designed for Super35 and APS-C (Sony) sensor size, meaning that there will be no need to "convert", and the lens will provide a proper light diameter to the imager.
SELP18110G is also faster in response: when using the lens rings, they directly act over the optical mechanism, with immediate response. As we've seen in many Sony camcorders, we can easily switch from manual to auto focus by simply moving forward/backwards the focus ring, which, btw, now includes a "knurled" ring proper for mattebox directly, without belt.
Its aperture is constant F4; despite it might seem a bit dark when in wide angle, having a constant aperture simplifies operation regarding focus. In a classic lens, when shifting from tele to wide angle position means more light coming into the sensor, and, thus, a correction needs to be done -normally, over the iris adjustment-, so DoF or shutter needs to be modified, which involves an aesthetic payload (as we explained for the ND filter). But with a constant F4, no correction is needed, and DoF and fluence will remain the same along the whole zoom ratio.
Despite Lever Lock-type E-mount involves a new way to attach lenses, all E-mount lenses (as of today, around 74) can be inserted before FS7 II. And, obviously, also lens adapters.
As distance between sensor and mount is small (remember: 18mm), each user can "build" his/her own lens via adapter. So, virtually ANY LENS CAN BE ATTACHED. And I say "any" because, even if FS7 II's sensor would theoretically vignette when a narrower lens is used (e.g. a Super16 lens), a center scan mode can be applied to "crop" the signal and only read the central part. That could also be seen in A7S II, by the "APS-C mode", reducing its FF size into an APS-C/S35.
So, not only high-grade PL lenses can be used, as well as "vintage" FD or newer EF lenses, but also S16 or even broadcast 2/3″. In case you want to "recover" that light that would be lost by using full frame lenses, there are some adapters that can "correct" that effect by closing lens circle via another lens inside the adapter ring. So, no correction factor needs to be applied, and up to 1-1.5 stops can be earned – that's the Metabones Speedbooster, and I won't start a discussion about having an additional lens between a high-quality lens and your sensor.
In both cases, accessories are supplied: battery charger, AC/DC converter, BP-U30 battery pack, foldable hood, eyepiece, IFU-WLM3 Wi-Fi dongle…. You'll only need to buy a XQD card to start shooting (remember to buy G or S series to be able to record in every codec).
Sorry for writing such a long article this time, but as you can see, there are both significant and subtle differences between FS7 II and FS7, and didn't want to miss a lot of them when the camcorder finally reaches the market.
I really hope this was useful for you; a review video can also be found in my YouTube channel, and you can keep updated via my Twitter account, so see you there!
Esta entrada se publicó en Cámaras y está etiquetada con 2, 4k, alexa, amira, ARRI, blackmagic, Broadcast, c100, c300, c500, c700, camcorder, camera, Canon, cine, cinema, cmos, ENG, f3, FS5, FS7, fs7 ii, fs700, handy, mark, mini, news, nex, pmw, pxw, PXW-FS7M2, pxw-fs7m2k, semi, shoulder, Super35, ursa en 8 noviembre, 2016 por Alvaro Ortiz.


text:
Airliner, News
More destinations in winter timetable 2013/14
Date: October 11, 2013Author: Aero 0 Comments
Source / Author: http://www.btmagazine.nl
Lufthansa and Germanwings increase capacity together
Lufthansa and Germanwings are marginally expanding their services in the forthcoming winter flight schedules. Their joint capacity in terms of available seat-kilometers will increase overall by 1.1 per cent. This growth is attributable to the deployment of larger aircraft. In combination with Germanwings, Lufthansa is offering customers an even wider choice of destinations totaling 211 in 81 countries. Of the total, Lufthansa is serving 199 destinations on its own, while Germanwings is counting services to 64 destinations in Europe, the Middle East and North Africa. In the coming winter, Lufthansa and Germanwings flight attendants will be welcoming passengers aboard on a weekly total of 12,162 flights. Worldwide, statistically, a flight by Lufthansa and Germanwings will be taking off on average every 50 seconds. In total, the group of airlines (Lufthansa, Austrian Airlines, Brussels Airlines, Germanwings and Swiss) will be serving a total of 274 destinations in 106 countries on four continents besides offering numerous codeshare flights along with their own services. Week-in, week-out, the Group airlines will be carrying passengers on 19,798 flights comfortably and reliably to their destination. The new winter timetable runs from Sunday, 27 October 2013 to Saturday, 29 March 2014.
To Shanghai, Chicago and Mexico City with bigger aircraft
The two highly modern flagships in the Lufthansa long-haul fleet, the Airbus A380 and the Boeing 747-8, will be deployed on further connections in the winter flight schedules. The A380 has already been flying five times a week from Frankfurt to Shanghai since the end of September. Also since September, the B747-8 has been operating on the Frankfurt–Mexico City route. The Queen of the Skies will also commence flights from Frankfurt to Chicago when the winter timetable comes into force.
In addition, services will be increased to daily flights on connections from Frankfurt to Philadelphia on the US East Coast and to Dammam in Saudi Arabia in order to accommodate growing demand. Lufthansa will again be flying as usual nonstop in winter from Munich to Cape Town. This seasonal destination is highly popular especially among holidaymakers exploring the delights of the South African city and the nearby coastline.
With Lufthansa to Sochi
When the Olympic flame is lit in Sochi in Russia heralding the opening of the 2014 Winter Olympics and Paralympics, Lufthansa will be flying fans and competitors nonstop to the Black Sea on a special connection set up for the winter games. This dedicated connection will be operated from 24 January to 17 March by an Airbus A321. Winter sports enthusiasts will be able to fly comfortably and nonstop to the Olympic arenas and skiing events up to five times weekly in just three-and-a-half hours.
Transfer to Germanwings in Hamburg and Berlin
More of the Lufthansa point-to-point flights in Europe will be transferred to Germanwings in the forthcoming timetable as the switch is continued in the winter flight schedules. Germanwings with its newly and attractively priced services is taking over all Lufthansa connections in Europe, which are not operated through the Frankfurt and Munich hubs. According to present plans, flights to 23 of the previous destinations previously served by Lufthansa out of Hamburg and Berlin will be flown in winter by Germanwings. Each of the connections will be transferred successively. In the coming months, the following routes from Hamburg will be taken over by Germanwings: Amsterdam, Birmingham, Budapest, Geneva, London, Madrid, Milan, Manchester, Oslo, Paris, Stockholm and Zurich. The transfer of flights from Hamburg will be completed by the end of the winter flight schedules at the end of March 2014. Passengers on flights from Berlin will be able to fly with Germanwings in winter to Birmingham, Bologna, Bucharest, Geneva, Helsinki, London, Málaga, Nuremberg, Rome, Milan and Vienna. The transfer of all direct services will be completed in the course of summer 2014. Lufthansa's direct flights from Dusseldorf will be taken over by Germanwings, as planned, in the summer timetable 2014. Once the transfer has taken place, Lufthansa passengers, who have already booked flights, will automatically be rebooked on Germanwings.
Flights discontinued to two destinations in West Africa
Lufthansa offers customers a wide choice of flights in a global network, while subjecting its services to regular checks to assess them on a cost-effective basis. Top priority is given to the stability of flight schedules. All the same, adjustments are not always unavoidable. In the present instance, Lufthansa is therefore discontinuing on economic grounds the connections to Libreville/Gabon and Pointe Noire/Republic of Congo at the turn of the year 2013/14.
Door-to-door itinerary with the Lufthansa Journey Planner
Lufthansa is making travel planning even easier for its customers. As a first in the industry, the airline is offering passengers a new online planning tool – the "Journey Planner" – for them to detail their route easily from door to door, including the use of diverse transport options. Alongside the Lufthansa flight schedules at www.lufthansa.com/door-to-door, users of the tool can view all other transport options to and from the airport, be it by train, by car, ferry, on the underground or on foot. For people traveling from Cologne Cathedral to New York's Central, the Journey Planner has all the details on how to get from A to Z. Aside from flights operated by airlines in the Lufthansa Group, the new online journey planning tool offers information on the timetables of more than 600 urban or public transport systems as well as those published by rail and shipping companies. Intermodal travel, utilizing diverse modes of transport, ranks high at Lufthansa.
Lufthansa May Expand Reorganization If Savings Miss Goals – Bloomberg (bloomberg.com)
Lufthansa Sees Low-Cost Success as Cabin Upgrade Costs Rise – Bloomberg (bloomberg.com)
Troika wants to close down 22 Greek airports – after Lufthansa's recommendation (keeptalkinggreece.com)
Boeing says it has reasons to be optimistic about 747-8 (king5.com)
2014 Winter OlympicsAirbus A380Austrian AirlinesBoeing 747-8FrankfurtGermanwingsHamburgLufthansa
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text:
EyeDetect is Helping Make the Caribbean's Security Forces One of the World's Most Trustworthy
Home Press Releases EyeDetect is Helping Make the Caribbean's Security Forces One of the World's Most Trustworthy
Converus Service Partner Roger Branche, a native of Trinidad and Tobago, has security agencies on four Eastern Caribbean countries using EyeDetect to screen personnel. One drug unit officer, after seeing the accuracy of EyeDetect in detecting deception, called the lie detection technology "magical."
Converus Service Partner Roger Branche (right) gave police officers/polygraph examiners of the Royal St. Christopher and Nevis Police Force (left to right: Consie Rogers, Valentine Hodge, Eldrin Dickenson, Commissioner of Police Ian Queeley), located on the smallest country in the Caribbean, the region's most-advanced lie detection technology in EyeDetect.
LEHI, Utah – July 21, 2017 – Caribbean native and Converus Service Partner Roger Branche plans to make the Caribbean, already one of the world's most popular vacation destinations, also known for having security forces of the utmost integrity.
Due to Branche's efforts, security agencies on four islands are now using EyeDetect to screen governmental personnel. EyeDetect is the world's first nonintrusive lie detection technology that accurately detects deception in 30 minutes by analyzing eye and other behaviors.
Branche, a native of Trinidad and Tobago, started conducting polygraph screening for eastern Caribbean countries in 2000. He and his wife, Christine, are forensic psychologists and own Atlanta-based Forensic Psychological Services. They've designed most of the security screening policies now used by Eastern Caribbean countries.
In April, the Royal St. Christopher and Nevis Police Force, over the islands of St. Kitts and Nevis, began using EyeDetect. The Office of National Drug and Money Laundering Control Policy (ONDCP), over the islands of Antigua and Barbuda, followed suit in May. Branche says additional Caribbean nations will be adopting this new technology soon.
Branche (left) finalizes an agreement with ONDCP Director Lieutenant Colonel Edward Croft to use EyeDetect for screen security forces on the islands of Antigua and Barbuda.
Branche has personally known the Royal St. Christopher and Nevis Police Force commissioner for years.
"I told him I have a new technology available that, when used along with polygraph and a psychological assessment, will really help to ensure personnel are being screened at the highest level in the Caribbean," said Branch.
The commissioner of police trusted Branche, but first wanted to see for himself how it works, so Branche gave him an EyeDetect test.
"He passed, for which I am very grateful," said Branche. "It would have been a real problem had he not passed."
The commissioner, Ian Queeley, says his officers are expected to display and live by the highest standards of integrity. He also hopes EyeDetect can help put a stop to the leaking of operational and personnel information, a problem the agency has encountered at times.
"As we continue to look at criminal activity both within and outside of our borders, for us to be most effective we must operate in an environment of continued trust," said Queeley. "Our country expects the highest standards of integrity in those we entrust with the security of our nation and so, as commissioner, I have decided… our officers will be screened using the most advanced system, called EyeDetect."
ONDCP Director Lieutenant Colonel Edward Croft (left) says using EyeDetect for vetting of operatives on Antigua and Barbuda makes ONDCP one of the region's leading law enforcement agencies. Commissioner of Police Ian Queeley (right) — responsible for the security of St. Kitts and Nevis — expects EyeDetect will help his officers to live by higher standards of integrity.
When Branche demonstrated the EyeDetect technology via the "Number's Test" to 10 staff members, EyeDetect correctly identified all their numbers. In this test, participants select a number between 2 and 9, write it down, hide it, and then intentionally lie about the number chosen when the computer presents their number on the screen.
"They were in awe. They could not believe something existed that could so quickly figure out the number they chose," said Branch.
Branche says they also couldn't believe that such a small nation (St. Kitts is just 67 square miles and Nevis just 35) would be the first to have such an advanced technology available to them. Usually countries in the Caribbean must wait several years for such technology.
"Our community must be able to have confidence and trust in its police service, and this is a first step of many to ensure that our community can be confident in our police officers," said Queeley.
ONDCP Director Lieutenant Colonel Edward Croft says rigorous vetting of operatives inspires greater public confidence.
The islands of St. Kitts, Nevis, Antigua and Barbuda (highlighted in yellow) are the first Caribbean nations to use EyeDetect. (Click image to enlarge.)
"We feel that ONDCP is one of the leading law enforcement agencies regionally, so we have to be at the cutting edge," he said.
"They are a covert operation," added Branche of the ONDCP. "They have a lot of international links to the U.S. and other organizations, so they share information. They believe having EyeDetect, along with polygraph, urinalysis and psychological assessment, will increase their trustworthiness and respect with the international community."
Dr. John Swift, manager in charge of ONDCP's anti-drug strategy unit, said, "With technology like this available, the world is literally in for a new form of credibility assessment. This thing is almost magical the way it works."
Converus began offering the technology in Spanish Latin-America in 2014. It's now used by governments, organizations and credibility assessment experts worldwide.
For more information, visit www.converus.com.
Converus ("with truth") provides scientifically validated, innovative credibility assessment technologies. EyeDetect® is the first nonintrusive, ocular-motor technology that detects deception with 86% accuracy in 30 minutes by analyzing eye and other behaviors. IdentityDetect™ is the first nonintrusive, browser-based identity verification technology that accurately detects falsified identities with 90% accuracy within 3 minutes by analyzing subtle variations in the motor nervous system responses. Converus' technologies help protect countries, corporations and communities from corruption, fraud and threats. Converus is headquartered in Lehi, Utah. Visit www.converus.com.
July 21, 2017 / Press Releases


See how we support the UK's only Centre for Face Processing Disorders.
Learn how the ORI works with hospitals and industry on patient-focused projects.
Discover how we are currently excavating and conserving artefacts recovered from the wreck of the first HMS Invincible.
The Bournemouth Gateway Building will provide over 10,000m2 of teaching and learning space, enabling us to deliver state-of-the-art facilities for the nurses, midwives and paramedics of tomorrow.


Low dose THC from cannabis reverses the aging process in the brain.
12-and 18-month old mice that were given a low dose of THC daily for 4 weeks performed as well as 2-month old control mice on learning and memory tests. The THC treatment completely reversed the loss of performance in the old animals. The mechanism is still unclear. Other studies have found that THC helps clear away amyloid beta plaques from the brain. Additionally, cannabinoids bind to specific receptors called cannabinoid receptors in neurons as well as on immune cells. It is possible that there are multiple mechanisms at play.
Look out! First it's the mice…next it will be the humans. What will we do…what will we do….


What's worse: a pit of snakes or a pit of spiders?
What kind of each? I'm scared of neither, but I can tell you I'd rather have snakes crawl on me than spiders. If it's cobras vs tiny spiders, I'd rather have spiders (tiny spiders are scared of me!). If it's black widows vs garter snakes, I'll take garter snakes.


text:
Beijing to develop 500 MW of solar in Uganda
State-owned China Energy Engineering said the PV capacity will be developed in two phases in a deal worth $500 million.
February 19, 2020 Max Hall
Image: AgeScripts/Pixabay
From the pv magazine global site
State-owned energy conglomerate China Energy Engineering Corp has announced plans to develop 500 MW of solar generation capacity in Uganda.
In an announcement to the Hong Kong Stock Exchange today, China Energy said it had signed a $500 million framework agreement to provide engineering, procurement and construction services for the projected capacity.
China Energy did not reveal the counterparty to the contract or any further details about where the solar capacity would be based or when it was expected to be operational.
The company stated the project capacity would be developed in two phases by its China Gezhouba Group International Engineering subsidiary.
pv magazine reported in October 2018 the government of Uganda intended to expand its total power generation capacity from 947 MW of mostly hydro and thermal facilities to 1.5 GW by this year. At that point, it was estimated only 22% of Ugandans had access to electricity.
Small, off-grid residential systems provide the backbone of Ugandan solar capacity and domestic installer SolarNow in January 2019 announced it had raised $9 million to fund the roll-out of a further 2.5 MW of such solar home systems
Max Hall
Max worked for pv magazine between 2012 and 2015 on a part-time basis and returned to the fold full-time in July 2018. An old-school print journalist, he has also worked in environmental consultancy, education, local government, infrastructure, aerospace, forensic science and sport.
More articles from Max Hall


June 10, 2015 | By thelinuxevangelist | Filed in: Tutorial.
The Linux Tutorial Shows You Step-by-Step How to Install the Canon MP190 Scanner and Printer Drivers on Ubuntu 15.04 Vivid Vervet i386/amd64 GNU+Linux Desktop.
Included in the Canon MP190 Installation Tutorial for Ubuntu You find also detailed instructions to Getting-Started with Canon Printing on Ubuntu.
Select the MP190 Series Scanner .deb Driver.


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Although the country is in severe recession, there is evidence that some industries will be able to overcome the recent financial crisis – including cosmetic surgery. Statistics revealed by the British Association of Aesthetic Plastic Surgeons revealed that there are a number of growth areas within this industry.
Perhaps more than any other group of surgeries, abdominoplasty – operations on the stomach including liposuction – has risen by 15 percent. There are a record number of men requesting tummy tucks, and in fact it has now risen above women's demands for breast augmentation for the first time. Male plastic surgery has risen overall by around 6%.
If you want to have any kind of cosmetic surgery, then Beauty in Prague can offer you procedures in a safe and professional environment. Speak to one of our experts about having cosmetic surgery today.