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Top 5 E-sports Games In 2021 those are Likely to Rule 2022
LifestyleLuxury
Popular E-sports Games to Watch Out for in 2022
E-sports have no doubt become a culture among the younger generation since the early 2000s. Pretty much every young chap knows the story of how regular video games grew into becoming a source of income as gamers compete between themselves for nice pay. However, with e-sports, the fun is not just limited to individual gamers as top companies also play a huge role in organizing competitions and paying players.
Even punting is not left out as top esport betting sites churn out odds that e-sport lovers who seek to take things up a notch will love to explore. In competitive gaming, there is no one left out as everybody is a king of their world.
It is already a long year, with several domestic competitions already in the bag. In this time frame, some games received more attention than others. This article will focus on these games that have stayed on top since the start of the year and look likely to continue their reign in 2022. So grab your seatbelt as we go through a spiraling review of the five best games that ruled 2021 and are likely to maintain dominance in 2022.
Evelyn Balyton is a sports analyst, e-sport Stan and committed punter that loves the thrills that the sports world brings. With years of experience on her side, she has followed the e-sport game industry and knows just what the next big thing is. See her profile here.
The 5 Best 2021 e-sports Games Likely To Rule 2022
1. Counter-Strike: Global Offensive
Short name: (CS:GO)
Genre: First-person Shooter (FPS)
Platform: Windows, PlayStation 3, Mac, Linux, Xbox 360
Whether you dig FPS games or not, there is no denying that CS:GO is a name you must have come across as long as you are an active gamer. The tactical and action-packed game has been on the airwaves since 2012 and quickly became a favorite among gamers. The game looks the most likely to extend its reign in 2022 as fans and stans increase daily.
According to the game website, there are more than 20 million players all over the globe. The big international tournament Counter-Strike: Global Offensive Major Championships is the professionally recognized completion. Valve, an American game developing company, Sponsors the annual competition.
2. Ninety-Eighty Fortnite
Short name: Fortnite
Genre: Third-person Shooter (TPS)
Platform: Windows, iOS, Mac, Android, Switch Nintendo, PlayStation 4, PlayStation 5, Xbox Series X
Fortnite is another popular action-based game but is specifically a survival and battle royal e-sports game. It is a third-person shooter game and, despite being developed in 2017, quickly became a favorite, and the journey since then has been progressive and upward.
Fortnite features games such as Save the World, Battle Royale and Creative. While the first game type features the standard TPS gameplay, the Battle Royale is a player versus Player face-off. Up to 100 players can compete in the battle royal.
The game gives players the luxury of selecting a range of weapons and building fortifications with materials. Epic Games is the major sponsor of the Fortnite international competition; the major competition Fortnite World Cup. The firm spends up to $100 million to organize the competition, which started 2019.
Fortnite competition is the one to go for most fans as it is straightforward with the rules extremely simple and fair.
3. Splatoon 2
Short name: None
Platform: Nintendo Switch
When Nintendo developed the Splatoon 2 in 2017, the company may not have thought that it would go on to become a global hit, but it was what exactly happened. The game is one of the most popular TPS and has quickly become a favorite among gamers. It is the sequel of the first installment Splatoon released two years before, the part two hit.
In this game, gamers control the Human-squid character and fight off other players, cover the ground and swim on colorful ink. The game features five battle modes, and players get to form a four-team group to fight another group. The game offers a vast range of weapons that numbers past 100 and has more than 40 battlefields.
The Splatoon2 international championship is the Game international competition, and those of 2018 and 2019 had a large number of participants.
4. League of Legends
Short name: LoL
Genre: Multiplayer Online Battle Arena (MOBA)
League of Legends, to be fair, is arguably the most popular MOBA e-sports game and has been a delight for gamers worldwide. The game was developed by Riot Games, an American Game Developer firm, in 2009 and is one of the oldest and yet still relevant Video games in e-sport.
The game consists of two teams consisting of five members, each trying to win by attacking the enemy's base.
LoL is one of the e-sports games that organizes more than one annual competition, as tons of domestic competitions are held in different countries. The international competition is The Large International Tournament League Of Legends World Championship which features a gift prize of more than $2 million yearly.
While LOL is no longer the number one run-to-game like in the 2010s, it still drives a large following, and the trend is set to continue in 2022.
5. Dota 2
Platform: Mac, Windows, Linux
Another Valve-developed game, Dota 2 brings on the heat and is an extremely close rival to LoL. It is a Multiplayer Online Battle Arena e-sports game and has over 7.7 million dedicated gamers around the globe dedicated to it.
The game features ten players divided into two groups, with each group striving to destroy the other's ancient. The International Dota 2 international competition is the major annual game competition.
One thing that makes e-sport entertaining is the expectations, anticipation, and excitement that it comes with. And clearly, nothing brings the combination of these trios better than fans and gamers having an idea of the games to bring in the heat and rake in the money.
This article has carved out the top 5 2021 e-sports games that will likely retain their spots in 2022.
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Automation Authority was founded in 2006 by owners Johan Weideman and Juan van Staden. Johan and Juan gained experience in the Home Automation industry, whilst working in London.
After living in London for five years they decided to bring their knowledge and skills back to South Africa.
In 2012, the business moved into the Dunkeld Bakos Brothers building and since then the partnership with Bakos Brothers has grown stronger.
Automation Authority currently has showrooms in Bakos Brothers Menlyn, Fourways (Design Quarter), Cape Town and soon to be Nelspruit.
The company's mission for the future is to continue delivering world class service to clients both locally and internationally. Automation Authority's clients include some of the most prestigious properties and business in Southern Africa, with numerous awards for Cinema design and automation systems. Their goal of a happy end-user remains constant no matter the client.
1. What equipment will I need in my home?
You don't have to worry about specific equipment. Our trained technical/sales representative will visit your home or site to assess your needs and advise you on what system specifications will suit your home.
2. During which phase of the building project is the best time to contact us and get us involved?
Automation is a system installed into your home, either during the building stages, or retrofitted some time after the building has been completed. But it all depends on your situation as well as your needs.
In the case where you are building an new house or doing major renovations or upgrades, it will be best if we get involved as soon your building plans have been approved by the council. This is to ensure the planning and placement of points and conduit pipes are all correct for the system you require. The infrastructures layout and pipes are crucial for a smooth installation of phase 1.
A Phase 1 Infrastructure and planning: This happens at the beginning of your project. This phase includes the design of the infrastructure and the installation of structured wiring solution.
A Phase 2 Installation: This happens around the time when the ceilings are installed. This includes the wall and ceiling fittings. Examples are: Keypads, Wireless lighting switches, In-ceiling speakers, WAP's (Wireless access points) and brackets. We ensure that the speaker arrangement is correct in every room and that all connections are intact and functioning correctly.
A Phase 3 Final phase: This happens at the end of the project. We will install all the hardware and equipment at this stage. All the programming and setup will be completed and system will be tested and handed over.
The three phase program allows the project to be better managed and also ensures that you have a steady cash flow throughout. The program also make it possible for us supply you with the latest models and equipment in the 3rd phase. No building project goes exactly as planned and we know this. Therefore we are able to adapt according to your requirements and provide you with an end result you will be pleased with.
3. Can you provide us with a full solution for our cinema needs?
Indeed we can! Our Home Cinema installations offer a complete solution including cinema seating, home cinema designs and layout, acoustic panel design and consultation. We also do 3D design renderings, installation and programming as well as the calibration of the audio-visual equipment to ensure the highest levels of performance and cutting edge cinema technology.
4. Is it necessary for me to have a wi-fi network installed in my home?
Yes. Wifi in your home is necessary, because most of the home automation systems make use of Wifi. Smart TVs let you enjoy apps, surf the web and stream videos on the internet from the comfort of your couch, but you will need a stable home Wifi network to do so. Some devices have an app that you can download to your tablet or smartphone which enables you to stream music straight to the device from anywhere in the house where there is a Wifi signal. You can also control your multi-room audio system from your smart device and choose what, when and where you listen to your music. We specialize in professional Wifi technology, to ensure fast and reliable internet connections.
5) How much is a home automation system?
This is one of the most frequently asked questions. A home automation system consists of many elements that make up the final smart home solution.
Home automation systems can start at R39 000 to R6 million and more! It all depends on the size of your home, the scope of the project, the subsystems you wish to connect and control as well as the quality, type and level of system you require. The bigger the system, the more time and equipment will be required to complete the project, but there is a comprehensive solution available for every type of house and budget.
6) What can I control with a smart home automation system?
7) Can I save energy using a home automation system?
If a smart home system is designed, configured and programmed effectively you can definitely save energy. The system can be programmed to turn lights on and off when a room is not in use or when you are away from home. You can bring down your energy usage considerably, by dimming lights and using motion sensors for occupancy control of a rooms' lighting. By installing motorised curtains or blinds and light level sensors to control natural daylighting in a room, you can control the amount of natural light from the sun in a room which can further reduce energy usage.
8) Will my home technology become obsolete quickly? How do I ensure my system stays up-to-date?
We offer future-proofing of a home or building, which means integrating features that are locally sourced and designed in such a way to easily allow future upgrades and keeping replacements to a minimum with simplistic upgradeability. Our home technology professionals also stay current on emerging trends and products on the market. Their up-to-date knowledge, through continuous training, allows them to deliver technology that will not only merge seamlessly with your lifestyle but will also provide convenience, security, and entertainment for years to come.
9) What is home automation?
Automation is a system installed into your home, either during the building stages, or retrofitted some time after the building has been completed. A home automation system controls all your audio, video and lighting components from within your home or remotely. There is no limit to what home automation can do for you. It can be tailored to your specific needs. Home Automation makes living in your home more luxurious, convenient and efficient.
10) Does this work just when I'm in my house?
It will depend on your specific needs as well as the amount of control you want over your home automation. If you only want to control audio, video and lighting throughout the home while you are physically in it, a closed home automation system with a controller specific to that system will be sufficient.
But if you want to access your home automation system remotely from your office or holiday destination, you'll need a system that can be accessed using a Web browser and home control APP or even your smartphone, which can definitely be done.
11) What can be achieved with a home control system?
Lighting Control – Lights can be automated into specific moods and scenes or be set into a sequence that will switch on and off in a certain, pre-programmed sequence.
Multi-room audio and video distribution – Enjoy sound and vision from different sources to different zones in your home without compromising on quality.
High Definition (HDTV) distributed to all your TV's around the home – Enjoy your high definition content throughout the house either from your centralised media server, choose from a library of movies and videos or stream pictures, YouTube videos, movies, and more from your Apple or Android devices.
CCTV – This is very useful for safety conscious individuals. Feel secure in your home, and monitor it remotely when you are at the office, out on the town or on holiday.
Climate control – Keep cool in the summer and warm in the winter with a Wifi controlled air conditioning system.
Wifi coverage – Use smartphones, tablets, PC's and other Wifi enabled devices wirelessly around your home.
Blinds and curtains – Motorised curtains and blinds add convenience and style to any living space and are perfect for home theatres. Set them with a touch of a button, or smart programming which will allow automatic adjustments according to time of day, season and sun position. This is also an effective way to save electricity.
Touch screen controls – Total home control at your fingertips with fitted touch screen keypads or portable keypads and remotes.
Surge protection – With surge protection products, your electronics are fed pristine AC power. You will not only see and hear your theatre or audio system as it should be – uncompromised, but they will also be protecting against power surges, lighting strikes, over and under voltage and cable theft.
12) What is home lighting control system and what does it control?
With automated lighting, you can personalize a light control system to recall favourite settings and effortlessly transform the light that surrounds you in a single room or throughout the entire home using a hand-held remote, wall-mounted keypad, tabletop control, and now, your iPad or iPhone or Android devices.
Smart lighting adds elegance, ambiance, convenience, and energy efficiency to your home. Automate your lighting to respond to your schedule without any touch at all. Whether for daylight and energy savings, or to accentuate art and architecture with the lighting control system – you can dim your lights between 1 – 99% smoothly.
13) What are the security advantages of a home lighting control system?
14) Can home lighting control integrate with other devices?
Yes. Your home lighting control system can be seamlessly integrated with many other home automation devices such as home cinema, audio systems, blind and curtain control, alarm systems and air conditioning.
15) What is multi-room audio and video?
Fill your entire house with music or stream it to just one room or selected areas of the house. With multi-room audio an video you can enjoy high definition audio and video content, playing different tunes/radio stations or movies in different rooms throughout your home from one centralised system.
16) How is multi-room audio and video controlled?
By using a remote control or a keypad on the wall the source and volume can be altered and the system can be switched on or off. With the push of one or two buttons multiroom audio enables you to select your choice of music instantly from anywhere in your home. LCD touch screens and Apple iPads or Android tablets can also be used to provide graphical controls.
17) What do multi-room audio and video systems look like?
Multi-room audio and video systems can be discreetly concealed or tastefully presented in your central audio and video area. Your home control keypads located throughout your home serve as convenient control stations which forward requests for volume, radio station, music track, etc., to the central control system. Control is also possible using dedicated touchscreens on smartphone/tablet devices using Apps.
18) Can I control my house with an iPad?
Most certainly! Our home automation control systems allow you to use Apple or Android Smart devices to remotely control your home.
19) In wall and wireless control options?
In wall touch screens are not only elegant but have the added benefit that the system is hard wired and should there be an issue with Wi-Fi you still have control over the system.
Wireless options include very stylish iPad and Android device wall mounting options, a selection of in wall options are available as is an on wall option. Some on wall options are magnetic and will even charge the device via an induction charger, so you can still use the tablet on the go!
20) What is home automation integration?
Any or all of the features above can be installed in your home and integrated so that you have a single easy to use touch screen pad in each room or portable remotes.. This allows you to alter any aspect of the environment and entertainment throughout your entire home. Integration using a reliable wired and wireless infrastructure forms the "backbone" of your home; and allows all of these devices to connect and communicate with each other. The result is an intelligent and personalized experience that enhances your life or added comfort, savings, convenience and peace of mind.
Let us demonstrate how we can meet your requirements.


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Trump's Voting Commission to Get Limited State Data
Panel aims to investigate allegations of voter fraud in 2016 elections
Casino workers voter in Las Vegas on Oct. 26, 2016. Nevada's top election official said the state would provide some of the information requested by the voting commission.
Photo: John Locher/Associated Press
July 1, 2017 12:47 am ET
A request for detailed information about every voter in the U.S. from President Donald Trump's voting commission is getting a rocky reception in the states.
Some of the nation's most populous states, including California and New York, are refusing to comply. But even some conservative states that voted for Mr. Trump, such as Texas, say they can provide only partial responses based on what is legally allowed under state law.

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About Elevate Festival 2022
Founded in 2017 as a Canadian non-profit organization, Elevate produced its inaugural tech and innovation festival. In 2022, the reimagined festival united icons and innovators at the intersection of arts and technology. Hosting the festival in Toronto, once again, Elevate was able to shine a light on the tech icons who dream big, the innovative minds who take great risks, and the fearless creatives who envision a future that includes us all.
Experience Toronto
Fall in step with Toronto, ranked one of North America's most innovative tech hubs, as you tune in to events and programming you care about at Elevate Festival 2022. From the Design Exchange to Meridian Hall and over to St. Lawrence Centre for Arts, the Festival's small-scale footprint will keep guests connected and engaged in the heart of the city.
"We need to celebrate Toronto for what it is: The most diverse, the most talented, and the most disruptive city in the world."
John Tory, Mayor of Toronto
Q: What is Elevate Festival?
In 2022, Elevate Festival was the largest festival in Canada at the intersection of arts + tech. It featured world-class speakers, opportunities to pitch business, a lounge for women in tech, an NFT Art Gallery, the Block Party, featuring emerging musical acts, an open house zone for tech talent, and a space to find your people.
Q: Where did Elevate Festival take place?
Elevate Festival took place across multiple venues in Toronto, Ontario, Canada. This included Meridian Hall, St. Lawrence Centre for Arts, Design Exchange, and a space along Front Street, from Yonge to Church, for the first-ever Block Party.
Q: When did the 2022 festival take place?
The festival ran from September 20 – 22, 2022.
Q: Was Elevate Festival 2022 an all ages event?
Yes, Elevate was an all-ages event. However, all attendees under 18 years of age were required to be accompanied by an adult chaperone or have guardian permission to attend the festival and all related events.
Q: What was the volunteer information?
Elevate thanks all volunteers for supporting and being a part of the 2022 festival! We offered a variety of exciting opportunities for volunteers across our many operations during the festival.
Q: For accessibility requirements, who was the contact?
Elevate is always committed to making its events accessible and welcoming for everyone. Accessibility accommodation(s) will always be made to ensure that our attendees can fully enjoy the festival experience.
Q: Where do I follow Elevate on social media?
Follow us @elevatetechca on Instagram, Twitter, YouTube, LinkedIn, and Facebook. You can peruse the conversations at #ElevateFest2022.
Q: How do I reach someone from the Elevate team?
For general inquiries please contact festival@elevate.ca.
Q: Is there an event schedule available?
This was the full schedule of events for Elevate Festival 2022.
Q: Who were the 2022 speakers?
We were proud to welcome some of the world's most iconic, influential, and innovative movers and shakers to the stage. This year's lineup included Venus Williams, Chris Hadfield, Andre De Grasse, Krista Kim, and more! Our full list of speakers can be found here.
Q: What is the Block Party?
In 2022, the Block Party was the festival's most exciting social event! Thousands of guests took to Front St to experience this multi-night event that featured musical performances, entertainment, art, food & drinks, and more. Here was the lineup of award-winning and emerging headliners and performers that hit the stage on those nights.
Q: What is the NFT Art Gallery?
The NFT Art gallery was able to shine a spotlight on underrepresented creators and curators during Elevate Festival. It was free for Elevate Festival passholders for the duration of the festival. The space was then available for private bookings and open to the public till October 15. Visit the NFT Art Gallery page for more information.


Questions of crime and punishment are writ large across many of our social and political spaces. We see injustice navigated on social media and protested in the streets, spun on film and fought in music. The narratives of criminals and law makers, sometimes valorised and sometimes vilified, surround us.


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Singing with the Whistlebinkies
As I remember them
The Wistlebinkies and the Laggan were two Scottish folk political bands from Glasgow of the 70s. As far as I can remember they were always at the centre of the Chilean Solidarity Campaign in Glasgow. Both bands are the responsible for me to have fallen in love with the Folk music of Scotland. Unfortunately The Laggan disbanded but I know that Arthur Johnston, their Glasgow singer and founder of the successful Star Folk Club in Glasgow is still going strong with the singing. Mick Broderick, The Whistlebinkies storyteller and singer, was not only a lovely and funny character but a very supportive man with the Chilean Refugees. In several occasions, our Chilean Folk Group shared a platform with The Whistlebinkies and the Laggan and for me it was always a joy and although I could not understand the lyrics of their songs, I could feel deeply their music. Click here to see a small but interesting gallery of the Laggan and Arthur Johnston. The Whistlebinkies are still around either touring or recording and their leader, the composer Edward McGuire, has become today very well known in Britain and abroad for the beautiful music he produces. Eddy and another Whistlebinkies' member, the musicologist Stuart Eydmann, are friends of mine and together always encouraged me to carry on with my singing. Eddy wrote a guitar piece dedicated to the People of Chile.
All songs are mine except 5 and 6. Song number 6 is a poem written for my son and in Spanish by my Scottish friend and Poet John Gillies. I set the music to John's poem. All songs except 1 and 5 were recorded with my daughter. Number 5 is a free version of Sergio Ortega's famous song "The People United will never be defeated".
El Hallazgo
The Finding
I always said that this is an archaeological song as it speaks about the finding of an old civilization in the Atacama Desert. In this song we see: the landscape, people, objects, solitude and drama. At the end of the song I ask myself if in the future our own civilization will be found, underneath the earth, by people who will discover not only our remains, our drama but our fate as a race.
Señor Moyano
I imagined a very Latin American situation where Mr Moyano had to leave his country because of political turmoil. He left behind a sad personal story and a beautiful country. The desire for Mr Moyano to return to his "beautiful" place is a utopia. A blacksmith remind him that his country is the scenery where his wife and brother have been murdered: His wife," a beautiful girl by the name of Rosa", was his flower" "Era una linda moza de nombre Rosa era mi flor"
El coraje
The Courage
We must have the courage to expose the agents of despair and wars: these people dress well, has good education, have adorable families, goes to the church, some wear colourful uniforms and looks normal from any perspective. From my viewpoint, however, I know that many of them: politicians, scientists and military men are responsible for the death of so many innocent people and the brutal chaos found today in many part of our world.
Canción para Pablo Neruda
A song for Pablo Neruda
When the centenary of the birth of Neruda came in 2004 I wrote this commemorative song. Neruda deserves it. He is one of the 20th century's greatest poets in any language. Many will disagree with me but I know that Gabriel Garcia Marquez, will agree.
El pueblo Unido Jamas Será Vencido
The People United Will Never be Defeated
This song by Chilean composer Sergio Ortega is one of my all time favorite. It is magic music and it must be because: the pianist and composer Frederic Rzewski composed 36 variations of the same tune. Mine is a free version and I love it because I am playing with real musicians, who are also happened to be my friends among them the Scottish composer, Edward McGuire who played the flute in the song.
A camilo Jorge
This is a poem written by my friend John Gillies to commemorate the birth of my son. John wrote it in Spanish and I dared to set music to his poem. The poem provides beautiful imagines of South America and Italy via Scotland. The song finished with a good blend of Chilean and Scottish Rhythm.


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One More Worry
Mishpacha Magazine
https://www.jewishmediaresources.com/1341/one-more-worry
Life in Israel never lacks for things to worry about: Iranian nukes, tens of thousands of missiles in the hands of Hamas and Hizbullah, a critical water shortage, the religious-secular divide. But at least the Israeli economy is strong – or so I thought.
Titles like the recent Start-Up Nation: The Story of Israel's Economic Miracle celebrate Israeli entrepreneurship and portray little Israel as an economic titan. Israel attracts 2.5 times the venture capital per person of the United States; 30 times that of Europe. Israel leads the world in patents on medical devices and is a world leader in biotech and cleantech. More Israeli companies are found on the NASDAQ than those Europe, China, and India combined.
But such statistics, unfortunately, tell only part of the story, as I learned in two recent meetings with Professor Dan Ben-David, director of the Taub Center, Israel's leading independent think tank providing information and analysis to government officials. He paints a gloomy picture of Israel's economic future strangely at odds with the boyish enthusiasm of his presentations.
From 1948 to 1973, Israeli living standards and productivity grew at a rate that placed Israel on a trajectory to overtake the United States within a few decades, even encumbered by a socialist bureaucracy. Today, despite Israel's "economic miracle," the country is falling further and further behind Western living standards. The United States' GDP per capita was 39% greater than Israel's in 1973; it is 61% higher today.
One startling statistic captures the paradox of startling creativity coupled with economic stagnation. In 1990, the number of U.S.-approved Israeli patents per capita was 6% below that of the G7 countries, while Israeli productivity, measured by Gross Domestic Product (GDP) was 7% behind. By 2003, the number of Israeli patents was 69% greater. Yet Israel's productivity was now 23% less than that of the leading G7 economies.
Why has Israeli creativity not translated into standard of living gains vis-à-vis the West? Clearly the hi-tech sector has been insufficient to compensate for the lag in other sectors of the economy. That lag is reflected in ever worsening poverty. In 1979, roughly one-fourth of Israeli families would have been under the poverty line, but for welfare assistance. Over the last thirty years, that percentage has grown to one-third.
Israel has developed a vast social safety net of welfare assistance to compensate for growing family poverty and income inequalities. But the increases in welfare payments are unsustainable in the long-run. Since 1970, per capita GDP has doubled, while welfare payments have quintupled. That ratio cannot continue indefinitely. There are too many other urgent demands on the government's purse, including defense and the investment in the infrastructure and human capital needed to maintain Israel's ability to compete economically. At some point, Israel will simply run out of money to keep papering over the increase in impoverished families.
Accompanying the increase in poverty has been a dramatic increase in income inequality. Israel was once one of the most egalitarian countries in the world. Today it's has the steepest income inequality in the Western world. And, as Professor Ben-David explained, that inequality is not measured only in the gap between the richest docile and the poorest; the gaps are widening between each docile and the one immediately below. Those disparities will greatly strain the Israeli social fabric.
One of the major factors underlying Israel's declining productivity relative to other economically developed countries is its low rate of labor force participation. In 2008, the percentage of non-employed males between 25-54 was 20.4% in Israel. No other Western nation comes close to that. The comparable rates in the United States and Switzerland were 14% and 6.3%.
Lack of investment in infrastructure and human capital (i.e., education) serves as another major brake on the Israeli economy. Israelis own half the number of cars per capita as the Western average, but Israel's road congestion is three times as high as the Western average. The educational situation is even grimmer both in terms of quantity and quality. Seventeen per cent of Israelis in the prime-working age group (25-54 years old) dropped out before completing high school versus 11% of Americans.
Worse, they do not learn much while in school. In five international exams over the last ten years, Israeli schoolchildren ranked last among 25 Western nations in all but one. (Israeli students ranked near the very top in the first such exams in 1963.) Israeli youth are simply not being prepared for modern economies in which workers can expect to change jobs many times.
Professor Ben-David points to many factors behind the educational decline. First is the low quality of teachers. Most primary and secondary school teachers are produced by teachers colleges whose entrance requirements are considerably below those for university. Second, school principals have little authority to reward good teachers or fire incompetent ones. Most important, students spend dramatically less time on the basic core subjects – reading, writing, science, math, and English – than the average in other developed nations.
Higher education is also beset with problems. Since the mid-70s, Israel's population has more doubled, but the number of senior faculty positions at the Technion, the MIT of Israel, increased by one. At Hebrew University and Tel Aviv University, the number of senior faculty positions has dropped 14% and 21%, respectively. As a result Israel, whose survival depends primarily on brainpower, is experiencing a brain drain unparalleled by any Western country. From 2002-2004, the rate of emigration of academics doubled.
Holders of academic degrees are 2.5 times as likely to emigrate as those lacking them. The latter figure points to the long range threat to Israel. Those who can command much higher salaries abroad – academics, research scientists, those in hi-tech, doctors, in short, the leaders of Israel's "economic miracle" – are leaving in ever greater numbers.
No doubt Professor Ben-David hopes that he and his children will live in Israel. That is why he is so passionate about dealing with the long-range trends threatening Israel's economic viability. But, in the end, he knows that his children will have other options. If all those who can emigrate to countries with higher standards of living and no compulsory military service, do so, our children and grandchildren will be left to deal with the mess.
Related Topics: Israeli Society, Social Issues receive the latest by email: subscribe to the free jewish media resources mailing list


text:
// Copyright (c) 2012-2014 Barend Gehrels, Amsterdam, the Netherlands.

// Use, modification and distribution is subject to the Boost Software License,
// Version 1.0. (See accompanying file LICENSE_1_0.txt or copy at
// http://www.boost.org/LICENSE_1_0.txt)

#ifndef BOOST_GEOMETRY_ALGORITHMS_DETAIL_BUFFER_TURN_IN_PIECE_VISITOR
#define BOOST_GEOMETRY_ALGORITHMS_DETAIL_BUFFER_TURN_IN_PIECE_VISITOR

#include <boost/range.hpp>

#include <boost/geometry/arithmetic/dot_product.hpp>
#include <boost/geometry/algorithms/equals.hpp>
#include <boost/geometry/algorithms/expand.hpp>
#include <boost/geometry/algorithms/detail/disjoint/box_box.hpp>
#include <boost/geometry/algorithms/detail/overlay/segment_identifier.hpp>
#include <boost/geometry/algorithms/detail/overlay/get_turn_info.hpp>
#include <boost/geometry/strategies/buffer.hpp>

namespace boost { namespace geometry
{

#ifndef DOXYGEN_NO_DETAIL
namespace detail { namespace buffer
{

struct turn_get_box
{
    template <typename Box, typename Turn>
    static inline void apply(Box& total, Turn const& turn)
    {
        geometry::expand(total, turn.robust_point);
    }
};

struct turn_ovelaps_box
{
    template <typename Box, typename Turn>
    static inline bool apply(Box const& box, Turn const& turn)
    {
        return ! geometry::disjoint(box, turn.robust_point);
    }
};

template <typename Turns, typename Pieces>
class turn_in_piece_visitor
{
    Turns& m_turns; // because partition is currently operating on const input only
    Pieces const& m_pieces; // to check for piece-type

    template <typename Point>
    static inline bool projection_on_segment(Point const& subject, Point const& p, Point const& q)
    {
        typedef Point vector_type;
        typedef typename geometry::coordinate_type<Point>::type coordinate_type;

        vector_type v = q;
        vector_type w = subject;
        subtract_point(v, p);
        subtract_point(w, p);

        coordinate_type const zero = coordinate_type();
        coordinate_type const c1 = dot_product(w, v);

        if (c1 < zero)
        {
            return false;
        }
        coordinate_type const c2 = dot_product(v, v);
        if (c2 < c1)
        {
            return false;
        }

        return true;
    }

    template <typename Point, typename Piece>
    inline bool on_offsetted(Point const& point, Piece const& piece) const
    {
        typedef typename strategy::side::services::default_strategy
            <
                typename cs_tag<Point>::type
            >::type side_strategy;

        for (int i = 1; i < piece.offsetted_count; i++)
        {
            Point const& previous = piece.robust_ring[i - 1];
            Point const& current = piece.robust_ring[i];
            int const side = side_strategy::apply(point, previous, current);
            if (side == 0)
            {
                // Collinear, check if projection falls on it
                if (projection_on_segment(point, previous, current))
                {
                    return true;
                }
            }

        }
        return false;
    }

public:

    inline turn_in_piece_visitor(Turns& turns, Pieces const& pieces)
        : m_turns(turns)
        , m_pieces(pieces)
    {}

    template <typename Turn, typename Piece>
    inline void apply(Turn const& turn, Piece const& piece, bool first = true)
    {
        boost::ignore_unused_variable_warning(first);

        if (turn.count_within > 0)
        {
            // Already inside - no need to check again
            return;
        }

        if (piece.type == strategy::buffer::buffered_flat_end
            || piece.type == strategy::buffer::buffered_concave)
        {
            // Turns cannot be inside a flat end (though they can be on border)
            // Neither we need to check if they are inside concave helper pieces
            return;
        }

        bool neighbour = false;
        for (int i = 0; i < 2; i++)
        {
            // Don't compare against one of the two source-pieces
            if (turn.operations[i].piece_index == piece.index)
            {
                return;
            }

            typename boost::range_value<Pieces>::type const& pc
                                = m_pieces[turn.operations[i].piece_index];
            if (pc.left_index == piece.index
                || pc.right_index == piece.index)
            {
                if (pc.type == strategy::buffer::buffered_flat_end)
                {
                    // If it is a flat end, don't compare against its neighbor:
                    // it will always be located on one of the helper segments
                    return;
                }
                neighbour = true;
            }
        }

        int geometry_code = detail::within::point_in_geometry(turn.robust_point, piece.robust_ring);

        if (geometry_code == -1)
        {
            return;
        }

        Turn& mutable_turn = m_turns[turn.turn_index];
        if (geometry_code == 0 && ! neighbour)
        {
            // If it is on the border and they are neighbours, it should be
            // on the offsetted ring

            if (! on_offsetted(turn.robust_point, piece))
            {
                // It is on the border but not on the offsetted ring.
                // Then it is somewhere on the helper-segments
                // Classify it as inside
                geometry_code = 1;
                mutable_turn.count_on_helper++;
            }
        }

        switch (geometry_code)
        {
            case 1 : mutable_turn.count_within++; break;
            case 0 : mutable_turn.count_on_offsetted++; break;
        }
    }
};

}} // namespace detail::buffer
#endif // DOXYGEN_NO_DETAIL

}} // namespace boost::geometry

#endif // BOOST_GEOMETRY_ALGORITHMS_DETAIL_BUFFER_TURN_IN_PIECE_VISITOR

redpajama_set_name: RedPajamaGithub


text:
e - flux Journal
Issue #49 Too Much World: Is the Internet Dead?
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Too Much World: Is the Internet Dead?
Is the internet dead?1 This is not a metaphorical question. It does not suggest that the internet is dysfunctional, useless or out of fashion. It asks what happened to the internet after it stopped being a possibility. The question is very literally whether it is dead, how it died and whether anyone killed it.
But how could anyone think it could be over? The internet is now more potent than ever. It has not only sparked but fully captured the imagination, attention and productivity of more people than at any other point before. Never before have more people been dependent on, embedded into, surveilled by, and exploited by the web. It seems overwhelming, bedazzling and without immediate alternative. The internet is probably not dead. It has rather gone all-out. Or more precisely: it is all over!
This implies a spatial dimension, but not as one might think. The internet is not everywhere. Even nowadays when networks seem to multiply exponentially, many people have no access to the internet or don't use it at all. And yet, it is expanding in another direction. It has started moving offline. But how does this work?
Remember the Romanian uprising in 1989, when protesters invaded TV studios to make history? At that moment, images changed their function.2 Broadcasts from occupied TV studios became active catalysts of events—not records or documents. 3 Since then it has become clear that images are not objective or subjective renditions of a preexisting condition, or merely treacherous appearances. They are rather nodes of energy and matter that migrate across different supports,4 shaping and affecting people, landscapes, politics, and social systems. They acquired an uncanny ability to proliferate, transform, and activate. Around 1989, television images started walking through screens, right into reality.5
CAVEman is a 3-D virtual patient projected onto a holodeck which allows doctors to visualize and diagnose ailments in high-definition. Here scientist Christoph Sensen is pictured looking at his creation.
This development accelerated when web infrastructure started supplementing TV networks as circuits for image circulation.6 Suddenly, the points of transfer multiplied. Screens were now ubiquitous, not to speak of images themselves, which could be copied and dispersed at the flick of a finger.
Data, sounds, and images are now routinely transitioning beyond screens into a different state of matter.7 They surpass the boundaries of data channels and manifest materially. They incarnate as riots or products, as lens flares, high-rises, or pixelated tanks. Images become unplugged and unhinged and start crowding off-screen space. They invade cities, transforming spaces into sites, and reality into realty. They materialize as junkspace, military invasion, and botched plastic surgery. They spread through and beyond networks, they contract and expand, they stall and stumble, they vie, they vile, they wow and woo.
Just look around you: artificial islands mimic genetically manipulated plants. Dental offices parade as car commercial film sets. Cheekbones are airbrushed just as whole cities pretend to be YouTube CAD tutorials. Artworks are e-mailed to pop up in bank lobbies designed on fighter jet software. Huge cloud storage drives rain down as skylines in desert locations. But by becoming real, most images are substantially altered. They get translated, twisted, bruised, and reconfigured. They change their outlook, entourage, and spin. A nail paint clip turns into an Instagram riot. An upload comes down as shitstorm. An animated GIF materializes as a pop-up airport transit gate. In some places, it seems as if entire NSA system architectures were built—but only after Google-translating them, creating car lofts where one-way mirror windows face inwards. By walking off-screen, images are twisted, dilapidated, incorporated, and reshuffled. They miss their targets, misunderstand their purpose, get shapes and colors wrong. They walk through, fall off, and fade back into screens.
Grace Jones's 2008 black-and-white video clip "Corporate Cannibal," described by Steven Shaviro as a pivotal example of post-cinematic affect, is a case in point.8 By now, the nonchalant fluidity and modulation of Jones's posthuman figure has been implemented as a blueprint for austerity infrastructure. I could swear that Berlin bus schedules are consistently run on this model—endlessly stretching and straining space, time, and human patience. Cinema's debris rematerializes as investment ruins or secret "Information Dominance Centers."9 But if cinema has exploded into the world to become partly real, one also has to accept that it actually did explode. And it probably didn't make it through this explosion either.
The market briefly lost $136 billion on April 23rd, 2013, when the Associated Press' Twitter feed was hacked and tweeted that the White House had been attacked and that President Obama had been injured.
Post-Cinema
For a long time, many people have felt that cinema is rather lifeless. Cinema today is above all a stimulus package to buy new televisions, home projector systems, and retina display iPads. It long ago became a platform to sell franchising products—screening feature-length versions of future PlayStation games in sanitized multiplexes. It became a training tool for what Thomas Elsaesser calls the military-industrial-entertainment complex.
Everybody has his or her own version of when and how cinema died, but I personally believe it was hit by shrapnel when, in the course of the Bosnian War, a small cinema in Jajce was destroyed around 1993. This was where the Federal Republic of Yugoslavia was founded during WWII by the Anti-Fascist Council for the National Liberation of Yugoslavia (AVNOJ). I am sure that cinema was hit in many other places and times as well. It was shot, executed, starved, and kidnapped in Lebanon and Algeria, in Chechnya and the DRC, as well as in many other post-Cold War conflicts. It didn't just withdraw and become unavailable, as Jalal Toufic wrote of artworks after what he calls a surpassing disaster.10 It was killed, or at least it fell into a permanent coma.
But let's come back to the question we began with. In the past few years many people—basically everybody—have noticed that the internet feels awkward, too. It is obviously completely surveilled, monopolized, and sanitized by common sense, copyright, control, and conformism. It feels as vibrant as a newly multiplexed cinema in the nineties showing endless reruns of Star Wars Episode 1. Was the internet shot by a sniper in Syria, a drone in Pakistan, or a tear gas grenade in Turkey? Is it in a hospital in Port Said with a bullet in its head? Did it commit suicide by jumping out the window of an Information Dominance Center? But there are no windows in this kind of structure. And there are no walls. The internet is not dead. It is undead and it's everywhere.
The Game of Life is a cellular automaton devised by the British mathematician John Horton Conway in 1970. The "game" is a zero-player game, meaning that its evolution is determined by its initial state, requiring no further input. One interacts with the Game of Life by creating an initial configuration and observing how it evolves.
I Am a Minecraft Redstone Computer
So what does it mean if the internet has moved offline? It crossed the screen, multiplied displays, transcended networks and cables to be at once inert and inevitable. One could imagine shutting down all online access or user activity. We might be unplugged, but this doesn't mean we're off the hook. The internet persists offline as a mode of life, surveillance, production, and organization—a form of intense voyeurism coupled with maximum nontransparency. Imagine an internet of things all senselessly "liking" each other, reinforcing the rule of a few quasi-monopolies. A world of privatized knowledge patrolled and defended by rating agencies. Of maximum control coupled with intense conformism, where intelligent cars do grocery shopping until a Hellfire missile comes crashing down. Police come knocking on your door for a download—to arrest you after "identifying" you on YouTube or CCTV. They threaten to jail you for spreading publicly funded knowledge? Or maybe beg you to knock down Twitter to stop an insurgency? Shake their hands and invite them in. They are today's internet in 4D.
The all-out internet condition is not an interface but an environment. Older media as well as imaged people, imaged structures, and image objects are embedded into networked matter. Networked space is itself a medium, or whatever one might call a medium's promiscuous, posthumous state today. It is a form of life (and death) that contains, sublates, and archives all previous forms of media. In this fluid media space, images and sounds morph across different bodies and carriers, acquiring more and more glitches and bruises along the way. Moreover, it is not only form that migrates across screens, but also function.11 Computation and connectivity permeate matter and render it as raw material for algorithmic prediction, or potentially also as building blocks for alternate networks. As Minecraft Redstone computers12 are able to use virtual minerals for calculating operations, so is living and dead material increasingly integrated with cloud performance, slowly turning the world into a multilayered motherboard.13
But this space is also a sphere of liquidity, of looming rainstorms and unstable climates. It is the realm of complexity gone haywire, spinning strange feedback loops. A condition partly created by humans but also only partly controlled by them, indifferent to anything but movement, energy, rhythm, and complication. It is the space of the rōnin of old, the masterless samurai freelancers fittingly called wave men and women: floaters in a fleeting world of images, interns in dark net soap lands. We thought it was a plumbing system, so how did this tsunami creep up in my sink? How is this algorithm drying up this rice paddy? And how many workers are desperately clambering on the menacing cloud that hovers in the distance right now, trying to squeeze out a living, groping through a fog which may at any second transform both into an immersive art installation and a demonstration doused in cutting-edge tear gas?
This protest banner in Rio de Janeiro from June 17 reads, "We are the social network!" See →.
But if images start pouring across screens and invading subject and object matter, the major and quite overlooked consequence is that reality now widely consists of images; or rather, of things, constellations, and processes formerly evident as images. This means one cannot understand reality without understanding cinema, photography, 3D modeling, animation, or other forms of moving or still image. The world is imbued with the shrapnel of former images, as well as images edited, photoshopped, cobbled together from spam and scrap. Reality itself is postproduced and scripted, affect rendered as after-effect. Far from being opposites across an unbridgeable chasm, image and world are in many cases just versions of each other.14 They are not equivalents however, but deficient, excessive, and uneven in relation to each other. And the gap between them gives way to speculation and intense anxiety.
Under these conditions, production morphs into postproduction, meaning the world can be understood but also altered by its tools. The tools of postproduction: editing, color correction, filtering, cutting, and so on are not aimed at achieving representation. They have become means of creation, not only of images but also of the world in their wake. One possible reason: with digital proliferation of all sorts of imagery, suddenly too much world became available. The map, to use the well-known fable by Borges, has not only become equal to the world, but exceeds it by far.15 A vast quantity of images covers the surface of the world—very in the case of aerial imaging—in a confusing stack of layers. The map explodes on a material territory, which is increasingly fragmented and also gets entangled with it: in one instance, Google Maps cartography led to near military conflict.16
While Borges wagered that the map might wither away, Baudrillard speculated that on the contrary, reality was disintegrating.17 In fact, both proliferate and confuse one another: on handheld devices, at checkpoints, and in between edits. Map and territory reach into one another to realize strokes on trackpads as theme parks or apartheid architecture. Image layers get stuck as geological strata while SWAT teams patrol Amazon shopping carts. The point is that no one can deal with this. This extensive and exhausting mess needs to be edited down in real time: filtered, scanned, sorted, and selected—into so many Wikipedia versions, into layered, libidinal, logistical, lopsided geographies.
This assigns a new role to image production, and in consequence also to people who deal with it. Image workers now deal directly in a world made of images, and can do so much faster than previously possible. But production has also become mixed up with circulation to the point of being indistinguishable. The factory/studio/tumblr blur with online shopping, oligarch collections, realty branding, and surveillance architecture. Today's workplace could turn out to be a rogue algorithm commandeering your hard drive, eyeballs, and dreams. And tomorrow you might have to disco all the way to insanity.
As the web spills over into a different dimension, image production moves way beyond the confines of specialized fields. It becomes mass postproduction in an age of crowd creativity. Today, almost everyone is an artist. We are pitching, phishing, spamming, chain-liking or mansplaining. We are twitching, tweeting, and toasting as some form of solo relational art, high on dual processing and a smartphone flat rate. Image circulation today works by pimping pixels in orbit via strategic sharing of wacky, neo-tribal, and mostly US-American content. Improbable objects, celebrity cat GIFs, and a jumble of unseen anonymous images proliferate and waft through human bodies via Wi-Fi. One could perhaps think of the results as a new and vital form of folk art, that is if one is prepared to completely overhaul one's definition of folk as well as art. A new form of storytelling using emojis and tweeted rape threats is both creating and tearing apart communities loosely linked by shared attention deficit.
A 2008 Smithsonian Museum of Natural History advertisement targets teenage audiences. Design by Holly Harter graphic design.
Circulationism
But these things are not as new as they seem. What the Soviet avant-garde of the twentieth century called productivism—the claim that art should enter production and the factory—could now be replaced by circulationism. Circulationism is not about the art of making an image, but of postproducing, launching, and accelerating it. It is about the public relations of images across social networks, about advertisement and alienation, and about being as suavely vacuous as possible.
But remember how productivists Mayakovsky and Rodchenko created billboards for NEP sweets? Communists eagerly engaging with commodity fetishism?18 Crucially, circulationism, if reinvented, could also be about short-circuiting existing networks, circumventing and bypassing corporate friendship and hardware monopolies. It could become the art of recoding or rewiring the system by exposing state scopophilia, capital compliance, and wholesale surveillance. Of course, it might also just go as wrong as its predecessor, by aligning itself with a Stalinist cult of productivity, acceleration, and heroic exhaustion. Historic productivism was—let's face it—totally ineffective and defeated by an overwhelming bureaucratic apparatus of surveillance/workfare early on. And it is quite likely that circulationism—instead of restructuring circulation—will just end up as ornament to an internet that looks increasingly like a mall filled with nothing but Starbucks franchises personally managed by Joseph Stalin.
Will circulationism alter reality's hard- and software; its affects, drives, and processes? While productivism left few traces in a dictatorship sustained by the cult of labor, could circulationism change a condition in which eyeballs, sleeplessness, and exposure are an algorithmic factory? Are circulationism's Stakhanovites working in Bangladeshi like-farms,19or mining virtual gold in Chinese prison camps,20 churning out corporate consent on digital conveyor belts?
But here is the ultimate consequence of the internet moving offline.21 If images can be shared and circulated, why can't everything else be too? If data moves across screens, so can its material incarnations move across shop windows and other enclosures. If copyright can be dodged and called into question, why can't private property? If one can share a restaurant dish JPEG on Facebook, why not the real meal? Why not apply fair use to space, parks, and swimming pools?22 Why only claim open access to JSTOR and not MIT—or any school, hospital, or university for that matter? Why shouldn't data clouds discharge as storming supermarkets?23 Why not open-source water, energy, and Dom Pérignon champagne?
If circulationism is to mean anything, it has to move into the world of offline distribution, of 3D dissemination of resources, of music, land, and inspiration. Why not slowly withdraw from an undead internet to build a few others next to it?
This is what the term "post-internet," coined a few years ago by Marisa Olson and subsequently Gene McHugh, seemed to suggest while it had undeniable use value as opposed to being left with the increasingly privatised exchange value it has at this moment.
Cf. Peter Weibel, "Medien als Maske: Videokratie," in Von der Bürokratie zur Telekratie. Rumänien im Fernsehen, ed. Keiko Sei (Berlin: Merve, 1990), 124–149, 134f.
Cătălin Gheorghe, "The Juridical Rewriting of History," in Trial/Proces, ed. Cătălin Gheorghe (Iaşi: Universitatea de Arte "George Enescu" Iaşi, 2012), 2–4. See →.
Ceci Moss and Tim Steer in a stunning exhibition announcement: "The object that exists in motion spans different points, relations and existences but always remains the same thing. Like the digital file, the bootlegged copy, the icon, or Capital, it reproduces, travels and accelerates, constantly negotiating the different supports that enable its movement. As it occupies these different spaces and forms it is always reconstituting itself. It doesn't have an autonomous singular existence; it is only ever activated within the network of nodes and channels of transportation. Both a distributed process and an independent occurrence, it is like an expanded object ceaselessly circulating, assembling and dispersing. To stop it would mean to break the whole process, infrastructure or chain that propagates and reproduces it." See →.
One instance of a wider political phenomena called transition. Coined for political situations in Latin America and then applied to Eastern European contexts after 1989, this notion described a teleological process consisting of an impossible catch-up of countries "belatedly" trying to achieve democracy and free-market economies. Transition implies a continuous morphing process, which in theory would make any place ultimately look like the ego ideal of any default Western nation. As a result, whole regions were subjected to radical makeovers. In practice, transition usually meant rampant expropriation coupled with a radical decrease in life expectancy. In transition, a bright neoliberal future marched off the screen to be realized as a lack of health care coupled with personal bankruptcy, while Western banks and insurance companies not only privatized pensions, but also reinvested them in contemporary art collections. See →.
Images migrating across different supports are of course nothing new. This process has been apparent in art-making since the Stone Age. But the ease with which many images morph into the third dimension is a far cry from ages when a sketch had to be carved into marble manually. In the age of postproduction, almost everything made has been created by means of one or more images, and any IKEA table is copied and pasted rather than mounted or built.
As the New Aesthetic tumblr has brilliantly demonstrated for things and landscapes (see →), and as the Women as Objects tumblr has done to illustrate the incarnation of image as female body (see →). Equally relevant on this point is work by Jesse Darling and Jennifer Chan.
See Steven Shaviro's wonderful analysis in "Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales,"Film-Philosophy 14.1 (2010): 1–102. See also his book Post-Cinematic Affect (London: Zero Books, 2010).
Greg Allen, "The Enterprise School," Greg.org, Sept. 13, 2013. See →.
Jalal Toufic, The Withdrawal of Tradition Past a Surpassing Catastrophe (2009). See →.
"The Cloud, the State, and the Stack: Metahaven in Conversation with Benjamin Bratton." See →.
Thanks to Josh Crowe for drawing my attention to this.
"The Cloud, the State, and the Stack."
Oliver Laric, "Versions," 2012. See →.
Jorge Luis Borges, "On Exactitude in Science," in Collected Fictions, trans. Andrew Hurley (New York: Penguin, 1999): 75–82. "'In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography.' Suárez Miranda, Viajes de varones prudentes, Libro IV, Cap. XLV, Lérida, 1658."
L. Arlas, "Verbal spat between Costa Rica, Nicaragua continues," Tico Times, Sept. 20, 2013. See →. Thanks to Kevan Jenson for mentioning this to me.
Jean Baudrillard, "Simulacra and Simulations," in Jean Baudrillard: Selected Writings, ed. Mark Poster (Stanford: Stanford University Press, 1988): 166–184.
Christina Kiaer, "'Into Production!': The Socialist Objects of Russian Constructivism," Transversal (Sept. 2010). See →. "Mayakovsky's advertising jingles address working-class Soviet consumers directly and without irony; for example, an ad for one of the products of Mossel'prom, the state agricultural trust, reads: 'Cooking oil. Attention working masses. Three times cheaper than butter! More nutritious than other oils! Nowhere else but Mossel'prom.' It is not surprising that Constructivist advertisements would speak in a pro-Bolshevik, anti-NEP-business language, yet the picture of the Reklam-Konstruktoradvertising business is more complicated. Many of their commercial graphics move beyond this straightforward language of class difference and utilitarian need to offer a theory of the socialist object. In contrast to Brik's claim that in this kind of work they are merely 'biding their time,' I propose that their advertisements attempt to work out the relation between the material cultures of the prerevolutionary past, the NEP present and the socialist novyi byt of the future with theoretical rigor. They confront the question that arises out of the theory of Boris Arvatov: What happens to the individual fantasies and desires organized under capitalism by the commodity fetish and the market, after the revolution?"
Charles Arthur, "How low-paid workers at 'click farms' create appearance of online popularity," The Guardian, Aug. 2, 2013. See →.
Harry Sanderson, "Human Resolution," Mute, April 4, 2013. See →.
And it is absolutely not getting stuck with data-derived sculptures exhibited in white cube galleries.
"Spanish workers occupy a Duke's estate and turn it into a farm," Libcom.org, Aug. 24, 2012. See →. "Earlier this week in Andalusia, hundreds of unemployed farmworkers broke through a fence that surrounded an estate owned by the Duke of Segorbe, and claimed it as their own. This is the latest in a series of farm occupations across the region within the last month. Their aim is to create a communal agricultural project, similar to other occupied farms, in order to breathe new life into a region that has an unemployment rate of over 40 percent. Addressing the occupiers, Diego Canamero, a member of the Andalusian Union of Workers, said that: 'We're here to denounce a social class who leave such a place to waste.' The lavish well-kept gardens, house, and pool are left empty, as the Duke lives in Seville, more than 60 miles away."
Thomas J. Michalak, "Mayor in Spain leads food raids for the people," Workers.org, Aug. 25, 2012. See →. "In the small Spanish town of Marinaleda, located in the southern region of Andalusía, Mayor Juan Manuel Sánchez Gordillo has an answer for the country's economic crisis and the hunger that comes with it: He organized and led the town's residents to raid supermarkets to get the food necessary to survive." See also →.
Internet, War & Conflict, Film, Image
This text comes from nearly two years of testing versions of it in front of hundreds of people. So thanks to all of you, but mostly to my students, who had to endure most of its live writing. Some parts of this argument were formed in a seminar organized by Janus Hom and Martin Reynolds, but also in events run by Andrea Phillips and Daniel Rourke, Michael Connor, Shumon Basar, Christopher Kulendran Thomas, Brad Troemel, and exchanges with Jesse Darling, Linda Stupart, Karen Archey, and many others. I am taking cues from texts by Redhack, James Bridle, Boris Groys, Jörg Heiser, David Joselit, Christina Kiaer, Metahaven, Trevor Paglen, Brian Kuan Wood, and many works by Laura Poitras. But the most important theoretical contribution to shape this text was my collaborator Leon Kahane's attempt to shoplift a bottle of wine for a brainstorming session.
Hito Steyerl is a filmmaker and writer. She teaches New Media Art at University of Arts Berlin and has recently participated in Documenta 12, Shanghai Biennial, and Rotterdam Film Festival.
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Andy Headington, CEO of ADIDO our new Ecommerce Club partner will talk about the latest search marketing trends and recent updates that you might have missed (and have to know about). We will also give some actionable tips about to ecommerce managers can increase ROI using search marketing and analytics insight. During the talk we will share some of our clients best successes and failures as well as give some takeaways that can help make your search marketing fly in 2017!
Special guest speaker, action sports and lifestyle brand ANIMAL, will present a case study of how the Animal story as well as how they used search marketing effectively over the years to help inspire other retail marketers as well as sharing some insider tips!
We only have 30 seats at the table available so please book in early if you would like to attend.
The event is free for retailers and ecommerce brands to attend, no agencies please.


Teeth-in-a-Day™ is offered for patients who need restorative work within one appointment.
If you are considering dental implants, we offer all of our patients a complimentary consultation to first discuss if this treatment option is right for you.
Dr. Amato will create a personalized treatment plan based on your unique needs.
We can review the entire process from start to finish including, healing times, and whether you are the ideal candidate for the procedure.
This is a great opportunity for you to ask any questions regarding cost or any other concerns you might have.
Before your procedure, we will ensure that you are fully aware of everything you need to know before undergoing anesthesia.
Our team will walk you through the entire procedure and review your medical history with you. They will also be able to answer any questions you might have.
Congratulations on making the commitment to your brand new smile. When you walk out of your procedure, your dental implants will be in place and you'll go home with a temporary set of teeth that function just like natural teeth.
As with every complex dental treatment, it is important to keep in mind that there is a recovery period following your procedure. Your dental team will instruct you on the best foods to eat after your procedure to allow your implants to heal.
During this healing time, you will be asked to return for a few follow-up appointments to ensure that your implants are healing correctly.
This is the most exciting step of your implant procedure. When your mouth has finished healing and your implants have fused to the bone in your jaw, we will replace your temporary teeth with your new permanent teeth.
You can now enjoy all of the foods that you once could prior to your implant procedure.


On the Second Sunday of every month we are excited to offer a self-directed tour of the Museum. This allows you to wander and linger at will throughout Wharton's Studio. Docents will be in every room to answer any of your questions and demonstrate the furniture.
This experience allows you to spend as much time as you like and doesn't require reservations- however, don't come too late because the Museum closes at 4:00 pm.


BBC The Money Programme - "Bank Robbery!"
chief ombudsman, Walter Merricks, on the positive results of a recent consumer survey about general awareness of the ombudsman service.
ombudsman service's quality director, Estelle Clark, named "UK Quality Leader of the Year"
chief ombudsman, Walter Merricks, praises "the enormous contribution made by Estelle in helping the ombudsman service put quality and continuous improvement at the heart of the organisation"
includes: update on cheque clearing; focus on insurance bought over the phone or internet; and possible options for future funding of the ombudsman service.
"what do building society non-execs need to know about the ombudsman?"
includes: assessing the amount of benefit paid out under income protection policies; focus on our pensions work; and powers of attorney on bank accounts.
"I am an ombudsman, not an adviser, nor a policy maker, nor a lobbyist" - Tony King, lead ombudsman for pensions and securities, explains what ombudsmen are "for"


On Tuesday, March 20, the University of Toronto Students' Union (UTSU) hosted the first of two spring election debates. Moderated by Jaren Kerr, Varsity alum and current Staff Reporter at the Toronto Star, the main topic of the debate was advocacy. Running unopposed, candidates for Vice-President External, VP Equity, and VP University Affairs were given the opportunity to elaborate on their platforms. The two candidates running for President followed with a debate that conformed to a more traditional structure, with candidates responding to and rebutting one another's points in real time.
It is unfortunate that so many candidates this year are running unopposed. As pointed out by Grondin — himself unopposed — such lack of competition is indicative of the UTSU's failure to reach its constituency. It is also unfortunate, consequently, that VP candidates at the debate did not have an opportunity to discuss their ideas in contrast with opponents'.
Kerr did ask insightful follow-up questions aimed at clarifying holes in candidates' statements. When unopposed VP Equity candidate Ammara Wasim stated it was not her place to judge the validity of students' claims of the UTSU being anti-Black or transphobic, Kerr followed up with a reminder that judging the strength of such claims would in fact be a part of her role.
The VP candidates at the debate, all part of the Compass slate, remained relatively open-ended when presenting their platforms. Wasim and Grondin both seemed reluctant to pinpoint any concrete, single issues they would focus on if elected. While it is important to stay mindful of constituents' fluctuating needs, both candidates wasted an opportunity to present clearly defined intentions. As uncontested candidates, Wasim and Grondin had no direct challengers — elaborating on their platforms would not have harmed their campaigns, and in fact might have served to motivate other candidates in clarifying their positions on controversial or overlooked issues.
Yuli Liu, candidate for VP External, expressed her support for student consensus multiple times, for instance when asked about membership in the U-Pass and other transit discounts the UTSU could pursue. While consensus is important, it is also helpful for students to see how their incoming VP External evaluates and anticipates their different needs, especially on issues that have long been discussed in the community.
All in all, the VP debates would have been a better vehicle for fleshing out the strengths and weaknesses of candidates' ideas if all candidates had opponents to debate with in the first place. Without the watchful eye of oppositional candidates, it is regrettable that VP candidates at this debate were not able to sufficiently address potential shortcomings in their platforms.
Fortunately, Compass presidential candidate Anne Boucher was very clear about her positions on Canadian Federation of Students membership and Student Commons space allocation. In addition, Boucher expressed how her past experiences with the UTSU and running as an independent helped shape the Compass slate's hope for a more "human" UTSU. Articulate and composed, Boucher presented herself as an experienced and knowledgeable candidate leading the biggest slate of this election season.
Independent presidential candidate Michelle Mabira also stood out as an invested activist candidate. Mabira was the sole candidate who used her experiences navigating the UTSU's bureaucracy to explain how she personally understood the reality of the UTSU's difficult relationship with student groups. This perspective was important in a night themed around advocacy, where so many candidates expressed their dissatisfaction with the UTSU's longstanding inability to connect with students. Mabira successfully established herself as a candidate fully invested in student advocacy, at the receiving end of some of the UTSU's alleged neglect in the past, and who is hoping to rectify these actions.
Four out of five candidates at the UTSU's first debate represented the Compass slate. While all these candidates spoke of their hope for a more human UTSU, Mabira stood out as a true figure for advocacy, using personal anecdotes to humanize not only her ideas, but herself as an emotionally invested candidate. The fact that the VP positions were uncontested worked to the detriment of Compass candidates — and more importantly, it is harmful to students who remain relatively ill-informed of the intentions of their future executives.


In our department there is a relaxed atmosphere because of the great colleagues, with whom morning coffee tastes better.
We are taking the next step forward.
Here in Žilina, we are a group of clever people who make fuel retail automation possible. We are creating the future of petrol stations. We develop new cloud-based systems that enable our customers to operate their petrol stations in the most flexible way. We like to accept the challenge to make the next step by working in agile teams using scrum processes while using latest programming technologies.
In our projects, we work closely together with our German colleagues. We have regular video conferences to discuss the projects and often cross borders to learn from each other. We spend some time in Germany, in our headquarters, to work directly together with our colleagues.
You feel like you want to be part of a great team?
Join us making the next step. Fuel your future at Scheidt & Bachmann!
Imagine a petrol station without automated system solutions. You would be standing in line waiting to be served and had to pay cash. Is that convenient?
We believe the stay at a petrol station has to be as comfortable and convenient as possible. Thus, we have accompanied the market development, from the simple station through to the "mobility supermarket", and have often been at the heart of pioneering work. Today we seek to make the petrol station business successful through centrally managed cloud-based technologies and pioneering services.
We enable petrol stations to do their daily business. Our customers rely on our systems 24/7 365 days a year. Our team of developers continuously works on new features that make working with our systems more flexible and easy day to day. As part of our current range of products, we maintain a system built on JavaSE and C ++. Custom extensions are also built on this platform.
The new system we have been preparing for the past two years now works using JavaEE technologies, Angular2, JSF, MQTT, and more.


text:
The Jason-1 mission was designed by the CNES and NASA to measure the level of the oceans very accurately (to a few centimetres). It continued on from the Topex-Poseidon mission and should make it possible to monitor and forecast climate change.
The Jason-1 satellite was launched on 07 December 2001 from the Vandeberg (USA) base by a Boeing Delta II rocket. This has now been followed by OSTM/Jason-2 (Ocean Surface Topography mission), launched on 20 June, 2008.
Jason-2 monitors 95 percent of Earth's ice-free ocean every 10 days. It is working in tandem with Jason-1, which has been moved to the opposite side of the Earth.
On-board systems
To measure ocean topography, JASON-2 is equipped with radar altimeters. Microwave pulses are sent to the ocean and their return is timed. Water vapour in the atmosphere may cause errors, which are corrected by a microwave radiometer. Real time location and accurate orbital positioning are provided by the DORIS tracking system (Doppler Orbitography and Radiopositioning Integrated by Satellite). An instrument called T2L2 (Time Transfer by Laser Link) is used to synchronize atomic clocks at ground stations, and to calibrate the Jason-2 DORIS instrument on-board clock.
General appearance of Jason-1
Crawlway
Spectral line
Globular cluster
Thymine
Late Heavy Bombardment
Mesostase
Hydroelectric pumping station
Nitrosamine
CET Time
Natural CO2 sequestering
Platelet


Search here for First nations clip art clipart collection out of 50 ready to use vector and photo images. You can use them for free.
Already 464 visitors found here solutions for their art work. 2 users visited first nations clip art clipart this week.
Here some moast popular keywords people search on out site: first, clipart, nation, nations, native, american, free, clip, images, indian, drum, pinterest, about, marathon, victoria, canadian, baby, fish, stock, leaf.


text:
Soltani Olya (, also Romanized as Solţānī 'Olyā; also known as Solţānī and Sutuni) is a village in Arabkhaneh Rural District, Shusef District, Nehbandan County, South Khorasan Province, Iran. At the 2006 census, its population was 137, in 44 families.

References

Populated places in Nehbandan County

redpajama_set_name: RedPajamaWikipedia


text:
Boladeres és una masia del municipi d'Olvan (Berguedà) inclosa en l'Inventari del Patrimoni Arquitectònic de Catalunya.

Descripció
És una masia de planta basilical amb el carener perpendicular a la façana principal, orientada a migdia. Com moltes masies del  es caracteritza per l'asimetria de la façana, la qual cosa implica que la coberta, a doble vessant, i l'eix de l'eixida, de tres finestrals d'arcs de mig punt rebaixats, no coincideixen. El cos principal de la masia correspon el . No obstant, encara es conserven restes de l'antiga masia que s'aixeca perpendicular a aquella. L'antiga masia segueix un dels esquemes més primitius i més difícils d'ampliar: carener paral·lel a la façana principal, orientada a ponent.

Història
La masia de Boladeres es troba documentada des de principis del s. XVIII. Conserven a casa un interessant arxiu familiar amb documentació des del 1630. A nivell de curiositat, encara avui l'actual propietari conserva el cognom del seu predecessor Jaume Boladeres de l'any 1585

Referències

Patrimoni monumental d'Olvan
Masies d'Olvan


notes : One of the few surviving early works, this is a self-portrait in the manner of later Jones self-portraits, which take the subject as theme, expressed in oblique form.
comment : "James Joyce, Dylan Thomas, and me. Self-portraits with a twist; I took the book title literally, and was there … a red dog".
Courtesy of Brown / Sangster collection.


The track is the collaborative work of singer Brother Su and Yesung for its music and lyric composition. Singer Eco Bridge arranged the track.
"Here I Am" highlights the emotive voice of Yesung, telling the story of longing for an ex-lover.


text:
#pragma once

#include "ocilibcpp/types.hpp"

namespace ocilib
{

inline void QueueTable::Create(const Connection &connection, const ostring& table, const ostring& payloadType, bool multipleConsumers, const ostring& storageClause, const ostring& sortList,
                   GroupingMode groupingMode, const ostring& comment, unsigned int primaryInstance, unsigned int secondaryInstance, const ostring& compatible)

{
    core::Check(OCI_QueueTableCreate(connection, table.c_str(), payloadType.c_str(), storageClause.c_str(), sortList.c_str(), multipleConsumers,
                               groupingMode, comment.c_str(), primaryInstance, secondaryInstance, compatible.c_str()));
}

inline void QueueTable::Alter(const Connection &connection, const ostring& table, const ostring& comment, unsigned int primaryInstance, unsigned int secondaryInstance)
{
    core::Check(OCI_QueueTableAlter(connection, table.c_str(), comment.c_str(), primaryInstance, secondaryInstance));
}

inline void QueueTable::Drop(const Connection &connection, const ostring& table, bool force)
{
    core::Check(OCI_QueueTableDrop(connection, table.c_str(), force));
}

inline void QueueTable::Purge(const Connection &connection, const ostring& table, PurgeMode mode, const ostring& condition, bool block)
{
    core::Check(OCI_QueueTablePurge(connection, table.c_str(), condition.c_str(), block, static_cast<unsigned int>(mode)));
}

inline void QueueTable::Migrate(const Connection &connection, const ostring& table, const ostring& compatible)
{
    core::Check(OCI_QueueTableMigrate(connection, table.c_str(), compatible.c_str()));
}

}


text:
Mthatha es un pueblo de la Provincia Oriental del Cabo en Sudáfrica.

Mthatha fue la capital del bantustán de Transkei mientras existieron estos territorios durante la aplicación de las políticas de desarrollo separado del apartheid. El pueblo fue fundado en 1869 por Richard Calverley.

Mthatha está a 32 km al norte de Qunu, donde vivía retirado Nelson Mandela, quien fue presidente de Sudáfrica.

Clima

Mthatha tiene un clima oceánico cálido (Köppen Cfb) limitando estrechamente con un clima subtropical húmedo (Cfa) y un clima semiárido (BSh/BSk).

Véase también

 Hospital académico Nelson Mandela

Referencias

Enlaces externos

Localidades de la Provincia Oriental del Cabo


Oscar® nominee Nick Nolte and Academy Award® winner Susan Sarandon star in this powerful and unforgettable drama based on a true story. For Augusto and Michaela Odone (Nolte and Sarandon), the news that their five-year-old son, Lorenzo, has a rare terminal disease is sobering, to learn there is no known cure is devastating. Despite the prognosis, the Odones embark on an extraordinary mission of love, consulting and sometimes colliding with the world's top doctors and scientists in the quest to save their son. Their relentless struggle tests their marriage, their beliefs and the boundaries of conventional medicine in this critically acclaimed hit from director George Miller (The Witches of Eastwick).
© 1992 Focus Features. All Rights Reserved.
Definitely a remarkable story, but as told by Miller it isn't really an uplifting one.
Parents need to know that Lorenzo's Oil, a 1992 drama, is based on the real quest two parents embarked on in the 1980s to find a treatment for their young son's devastating, untreatable fatal nerve disease, ALD. The story highlights how catastrophic illness affects all family members. Scenes of the boy's failing health, including falls, bloody bruises, seizures, and other manifestations of painful suffering, may be too emotional and disturbing for young children, not to mention parents of young children. An adult smokes cigarettes. Prescribed medicines are seen at a boy's bedside table. Parents administer therapeutic oil through a child's feeding tube.


This flowered box purse is by jr Florida, signed inside. The vinyl has a shiny, almost patent-leather look and the pretty flowers have been expertly painted on. The handle is clear Lucite.
This bag measures 8" wide x 5" tall (without handle) x 4" deep. It is nicely line and has four protective feet.
Excellent Condition with one scuff on the bottom edge underneath. There is light scratching wear on the metal bands. No wear on the flowers; no discoloration or scrapes on the vinyl; absolutely no cracking or crazing lines in the vinyl; the inside is immaculately clean; and the clasp holds perfectly.


To help promote maritime security in 2007 off the Horn of Africa, the USS Whidbey Island (LSD-41) assisted the merchant vessel Al Marjan (opposite) which had just been released by Somali pirates. Military members from Senegal, Ghana, and Nigeria (inset) participate in a U.S. Coast Guard-led training exercise on board the USS Fort McHenry (LSD-43).
Bolstering our foreign partners' maritime security capabilities may not only achieve positive global effects but serve U.S. policy goals.


When is Surgery for Hyperthyroidism Recommended by Endocrinologists?
Hyperthyroidism is a condition in which the thyroid gland becomes overactive and produces excessive amounts of thyroid hormones. As a result, the body's normal metabolic functions are affected. Symptoms may include palpitations, irregular heart rates, rapid breathing, anxiety, sleeplessness, and weight loss.
In most cases, hyperthyroidism can be effectively treated using antithyroid drugs, beta-blockers or radioiodine. However, endocrinologists may decide in a small percentage of all hyperthyroidism cases that surgery is the best course of action.
Thyroidectomy is the surgical procedure where part or all of the thyroid gland is removed. This is done when a patient shows no response to medication or is unable to tolerate medications for one reason or another. Allergies to iodine or the patient's preference not to take radioiodine are some of the common reasons why doctors may recommend thyroidectomy.
While thyroidectomy may be a common surgical procedure, doctors generally do not recommend it as the first option when treating hyperthyroidism due to the small risk of complications. This type of surgery is more commonly used when treating thyroid cancer, toxic thyroid nodules, or multinodular goiter. It is only applied to cases of hyperthyroidism when there are no reliable non-surgical alternatives.
In general, the risks of thyroidectomy complications are remote. These risks can further be minimized by choosing an experienced surgeon along with a trusted medical institution where the surgery will take place.
Changes in a patient's voice, bleeding, infections and the need for lifelong thyroid hormone replacement are some of the documented risks that patients must agree to take when opting for thyroid surgery.
It's also important to note that thyroidectomy does not always involve a complex procedure where all of the thyroid gland is removed. Depending on the patient's condition, milder variants of the procedure may be used. These include hemithyroidectomy where only half of the gland is removed, and isthmectomy where only the band of tissue between the two lobes of the thyroid is taken away.


In the past few years, many new sports have been added to the list of Olympic sports. Skateboarding is one of the few that I personally disagree with. Although skateboarding is more popular now than it ever has been, it does and doesn't belong in the olympic sports category.
As a skateboarder myself, I love the position that the industry is in at the moment. Skateboarding is a creative outlet, and there are no limits to it. There's not a line drawn at what can and can't be done. There's not many other things out there like that, which I love. In my opinion, putting skateboarding in the olympics might take away the creative mindset from some people. Skateboarding isn't and never really will be a sport, there's no team, no rules, and no limits, only creativity. Although competitions are big in skateboarding, none of them can compare to the olympics. For example, Street League, it's the biggest competition host in the industry. SLS is strictly skating, and doesn't make it seem like a sport while still offering big money prizes.
When skateboarding started in the 1950's, nobody thought it would ever become what it has today. Skateboarding has gone from child's play to a way of life. It's unlike any other sport or action sport. In my opinion, it doesn't compare in any way to anything in the Olympics. Although athletic ability and other factors are important in skating, you don't have to train yourself for years to do it. The idea of it being in the Olympic games seems like it could also cause a bandwagon. Nobody in the community likes what's trending, a lot of us were driven to it because we consider ourselves as outsiders.
Maybe next year my opinion will change, after all, there's still a year until the 2020 Olympics. I just hope that it stays the same as it always has been, a fun and creative way to express yourself. Everyone has their own opinion, but I don't see skateboarding as a sport, and I never will.


text:
Xiaomi Submitted A Patent For Two Triple-Screen Smartphones
By Nica Osorio
Xiaomi recently filed a couple of patents of uniquely-designed smartphones
Patents reveal smartphones that have three screens
Xiaomi is also anticipated to release Xiaomi Mi 10 5G and Xiaomi Mi 10 Pro
Chinese smartphone maker Xiaomi recently submitted new patents of a couple of new but remarkably unique smartphone concepts in China. ITHome first spotted the patents that give us our first look at two smartphones with unique form factors that we might see soon in the portfolio of Xiaomi. While these patents do not disclose too many details, but they reveal what looks like a couple of triple-screen or perhaps foldable devices.
The Chinese smartphone maker filed the patents in the latter part of Dec. 2019 with the Chinese State Intellectual Property Office announcing the patents' approval on Jan. 10, 2020. The first device sports a near bezel-less design that folds on the side three times. The display seems to wrap around the back, front, and on the left-hand side.
It is hard to tell based on the patent illustration if the design dropped the front-facing camera or if it is concealed under the screen or on the slim bezels. Meanwhile, the second patent shows a device with displays both in front and at the back. However, instead of the display covering the side, the screen seems to go over the top, but since the patent does not show the top of the device, at this point, we could not be certain.
A customer walks out of a Xiaomi store in Beijing, China, June 21, 2018. Photo: REUTERS/Jason Lee/File Photo
The second Xiaomi device also sports dual-camera, but unlike the first patent, it does not feature a visible selfie camera. It is worth noting that the latest patents submitted by Xiaomi are in no way indicative that these foldable smartphone concepts will be released soon. Like all other tech companies, Xiaomi has a habit of filing patents that may or may not enter production or reach the consumers. Most of the time, patents remain patents and do not see the next stage.
#Xiaomi has patented two new vastly different #foldable smartphone concepts in China. These two patents feature designs that familiar to what we've seen from other companies before,but they're also slightly different in their own way. The first device folds horizontally display pic.twitter.com/pcpxBMq1PI
— Gadgets Rumours (@GadgetsRumours) January 11, 2020
It is interesting, however, to know that the Chinese smartphone maker Xiaomi is looking into these kinds of concepts and possibilities for its future products. Meanwhile, Xiaomi is anticipated to release its next flagship phone this year. Earlier leaks suggested that the Chinese company will release the Xiaomi MI 10 5G and Xiaomi Mi 10 Pro. Both flagship smartphones are expected to feature impressive camera configurations and 5G support.
Xiaomi Silently Launches Mi Watch Color--New Smartwatch With Round Display


text:
Q: How to send requests to MongoDB using JavaScript (front-end app) with Authentication? Is there a tutorial or a procedure that explains how should I connect to a MongoDB database using JavaScript, AJAX and jQuery with authentication?
Using PyMongo in Python, I am able to give the following values and connect with a remote MongoDB that has authentication.
from pymongo import MongoClient
uri = "mongodb://username:password@host:port/?authSource=database"
client = MongoClient(uri)

However, I need to connect to a remote MongoDB using JavaScript (front-end app).
I tried the following, but unable to connect successfully.
var mongo_uri = "http://host:port/database/collections";
$.ajax({
    url: mongo_uri,
    data: JSON.stringify({
        <some-data-here>
    }),
    type: "POST",
    contentType: "application/json",
    crossDomain: true,
    success: function(data) {
        console.log("success");
    },
    error: function(xhr, status, err) {
        console.log(err);
    }
})

How should I authenticate and do post/get via JavaScript?
Kindly help me as I'm new to this.

redpajama_set_name: RedPajamaStackExchange