text:
Q: How to read a request's body in an actix-web 1.0 middleware? I want to read out the body in a middleware in actix-web 1.0. I'm using the closure-style middleware using wrap_fn.
My basic setup is this:
let mut server = HttpServer::new(move || {
    ActixApp::new()
        .wrap_fn(|req, srv| {
            srv.call(req).map(|res| {
                let req_ = res.request();
                let body = req_.magical_body_read_function();
                dbg!(body);
                res
            })
        })
});

I need that magical_body_read_function() which sadly doesn't exist.
I hacked together something that looks like it could work by reading the examples and using take_payload() but it didn't work, sadly:
let mut server = HttpServer::new(move || {
    ActixApp::new()
        .wrap_fn(|req, srv| {
            srv.call(req).map(|res| {
                let req_ = res.request();
                req_.take_payload()
                    .fold(BytesMut::new(), move |mut body, chunk| {
                        body.extend_from_slice(&chunk);
                        Ok::<_, PayloadError>(body)
                    })
                    .and_then(|bytes| {
                        info!("request body: {:?}", bytes);
                    });
                res
            })
        })
});

Gives me
error[E0599]: no method named `fold` found for type `actix_http::payload::Payload<()>` in the current scope    --> src/main.rs:209:26
    | 209 |                         .fold(BytesMut::new(), move |mut body, chunk| {
    |                          ^^^^
    |
    = note: the method `fold` exists but the following trait bounds were not satisfied:
            `&mut actix_http::payload::Payload<()> : std::iter::Iterator`

I then tried an approach using the full middleware:
pub struct Logging;

impl<S, B> Transform<S> for Logging
where
    S: Service<Request = ServiceRequest, Response = ServiceResponse<B>, Error = Error>,
    S::Future: 'static,
    B: 'static,
{
    type Request = ServiceRequest;
    type Response = ServiceResponse<B>;
    type Error = Error;
    type InitError = ();
    type Transform = LoggingMiddleware<S>;
    type Future = FutureResult<Self::Transform, Self::InitError>;

    fn new_transform(&self, service: S) -> Self::Future {
        ok(LoggingMiddleware { service })
    }
}

pub struct LoggingMiddleware<S> {
    service: S,
}

impl<S, B> Service for LoggingMiddleware<S>
where
    S: Service<Request = ServiceRequest, Response = ServiceResponse<B>, Error = Error>,
    S::Future: 'static,
    B: 'static,
{
    type Request = ServiceRequest;
    type Response = ServiceResponse<B>;
    type Error = Error;
    type Future = Box<dyn Future<Item = Self::Response, Error = Self::Error>>;

    fn poll_ready(&mut self) -> Poll<(), Self::Error> {
        self.service.poll_ready()
    }

    fn call(&mut self, req: ServiceRequest) -> Self::Future {
        Box::new(self.service.call(req).and_then(|res| {
            let req_ = res.request();
            req_.take_payload()
                .fold(BytesMut::new(), move |mut body, chunk| {
                    body.extend_from_slice(&chunk);
                    Ok::<_, PayloadError>(body)
                })
                .and_then(|bytes| {
                    info!("request body: {:?}", bytes);
                });
            Ok(res)
        }))
    }
}

which sadly also resulted in the very similar looking error:
error[E0599]: no method named `fold` found for type `actix_http::payload::Payload<()>` in the current scope
   --> src/main.rs:204:18
    |
204 |                 .fold(BytesMut::new(), move |mut body, chunk| {
    |                  ^^^^
    |
    = note: the method `fold` exists but the following trait bounds were not satisfied:
            `&mut actix_http::payload::Payload<()> : futures::stream::Stream`
            `&mut actix_http::payload::Payload<()> : std::iter::Iterator`
            `actix_http::payload::Payload<()> : futures::stream::Stream`

A: With the help of the fine people in the actix-web Gitter channel, I came to this solution which I also made a PR for.
Full solution is:
pub struct Logging;

impl<S: 'static, B> Transform<S> for Logging
where
    S: Service<Request = ServiceRequest, Response = ServiceResponse<B>, Error = Error>,
    S::Future: 'static,
    B: 'static,
{
    type Request = ServiceRequest;
    type Response = ServiceResponse<B>;
    type Error = Error;
    type InitError = ();
    type Transform = LoggingMiddleware<S>;
    type Future = FutureResult<Self::Transform, Self::InitError>;

    fn new_transform(&self, service: S) -> Self::Future {
        ok(LoggingMiddleware {
            service: Rc::new(RefCell::new(service)),
        })
    }
}

pub struct LoggingMiddleware<S> {
    // This is special: We need this to avoid lifetime issues.
    service: Rc<RefCell<S>>,
}

impl<S, B> Service for LoggingMiddleware<S>
where
    S: Service<Request = ServiceRequest, Response = ServiceResponse<B>, Error = Error>
        + 'static,
    S::Future: 'static,
    B: 'static,
{
    type Request = ServiceRequest;
    type Response = ServiceResponse<B>;
    type Error = Error;
    type Future = Box<dyn Future<Item = Self::Response, Error = Self::Error>>;

    fn poll_ready(&mut self) -> Poll<(), Self::Error> {
        self.service.poll_ready()
    }

    fn call(&mut self, mut req: ServiceRequest) -> Self::Future {
        let mut svc = self.service.clone();

        Box::new(
            req.take_payload()
                .fold(BytesMut::new(), move |mut body, chunk| {
                    body.extend_from_slice(&chunk);
                    Ok::<_, PayloadError>(body)
                })
                .map_err(|e| e.into())
                .and_then(move |bytes| {
                    println!("request body: {:?}", bytes);
                    svc.call(req).and_then(|res| Ok(res))
                }),
        )
    }
}

A: Building on svenstaro's solution you can do something like the following  to rebuild the request after cloning the stripped bytes.
    fn call(&mut self, mut req: ServiceRequest) -> Self::Future {
        let mut svc = self.service.clone();

        Box::new(
            req.take_payload()
                .fold(BytesMut::new(), move |mut body, chunk| {
                    body.extend_from_slice(&chunk);
                    Ok::<_, PayloadError>(body)
                })
                .map_err(|e| e.into())
                .and_then(move |bytes| {
                    println!("request body: {:?}", bytes);

                    let mut payload = actix_http::h1::Payload::empty();
                    payload.unread_data(bytes.into());
                    req.set_payload(payload.into());

                    svc.call(req).and_then(|res| Ok(res))
                }),
        )
    }

A: Payload implements Stream<Item = Bytes, Error = _>, so there is no reason you cannot use the same trick as for other frameworks:
req_
    .take_payload().concat2()
    .and_then(|bytes| {
         info!("request body: {:?}", bytes);
    });

That is, if you had a proper Payload from a POST/PUT request. Since you've used wrap_fn(), you've effectively set up a middleware. Those run across all requests, and do not allow you access to the Payload (partly because you can only take it once).
As such, you're out of luck, I think.


It's hard to believe that it has been a year since we last saw Frank Underwood shoving his way to the top of the United States government in the breakout hit House of Cards. Well, remember to hold on to the subway platform handrail folks because Netflix has finally revealed when we can expect House of Cards Season 3.
House of Cards Season 3 will launch on Netflix's streaming service on February 27th, according to a short video posted to Twitter this morning. If the company keeps the tactic it normally employs, the entire season of the show will be posted that day. That's in contrast to most network television that forces viewers to come back weekly for new episodes.
House of Cards was the first Netflix original show to take off with audiences at home. There are Netflix apps for the Xbox One, Xbox 360, Windows 8 devices and Windows Phone. A subscription to Netflix costs $9.99 a month.
It's almost time to go back to Washington.


text:
Did a Russian Parliamentarian Just Commit Treason?
PowerPoint given by Russian opposition leader blueprints US-backed violent overthrow of Russian government.
By Eric Draitser
Region: Russia and FSU
An interesting thing happened in Washington recently, and it had nothing to do with Beltway politics, Democrats vs. Republicans, or any of the other standard fare for the middle of the week in mid-January. Rather, a relatively small, little publicized event took place at the Center for Strategic and International Studies (CSIS), a prominent liberal-leaning think tank in Washington.
The event, "Russia's Opposition in a Time of War and Crisis," featured prominent Russian liberal opposition parliamentarian (member of the Russian Duma) Ilya Ponomarev, a noted critic of Russian President Putin, providing a detailed presentation regarding the current political climate in Russia, and the potential for the ousting or overthrow of the Russian government. Yes, you heard that right. A Russian elected official came to the United States to give a talk about how best to effect regime change in his own country.
At this point, the question is not so much whether what Ponomarev did was improper. The much more pressing issue is whether or not, by making this presentation in Washington precisely at the moment of heightened tensions between the US and Russia, Ponomarev has committed treason. While this may seem a rather extreme characterization, it is in fact quite appropriate.
Image: Ilya Ponomarev prepared an entire PowerPoint detailing his contempt for Russia and his best advice for its ruination. The entire presentation can be viewed hereWhat Is Treason and Does It Apply?
If we define treason as "the offense of acting to overthrow one's government or to kill or harm its sovereign," then Ponomarev's actions seem to tread very close to the threshold for treason. Moreover, the fact that such a presentation was delivered at CSIS – a think tank rife with "strategic planners" and proponents of the use of "soft power" to expand US hegemony – is instructive as it provides a window into both Ponomarev's thinking and, perhaps more importantly, that of the political establishment in the US.
During his presentation, Ponomarev touched on a number of critical issues related to Russia's domestic political situation, trying to illustrate for the attendees that the political reality in Russia, despite the simplicity of the western corporate media narrative, is rather complex. Though he described the Putin-led government as "Bonapartist," he noted that "Putin is Russia's only reliably working institution." While the veracity of that statement is debatable, it does seem interesting that an elected Russian lawmaker would go to a foreign country under the auspices of wanting to help his country move forward, and then proceed to advocate the overthrow of the "only reliable institution." Would this not be a thinly veiled attempt to advocate for destabilization, putsch, or something similar?
The most significant portion of Ponomarev's presentation centered on a slide titled "Conditions for the Change of Power in Russia," which laid out essentially a roadmap or blueprint for regime change in Russia. Ponomarev's slide outlined what he believes to be the essential elements for successful overthrow of the democratically elected government. These include:
Organized street protest (versus spontaneous one)
Appealing vision of the future presented to the majority of Russians
Leader, acceptable for all protesters and the elites
Access to some financial resources
Part of the elites should support the revolution
Examining these points, it is clear that Ponomarev is not merely "informing" the assembled policymakers, journalists, and guests about what should happen, but rather is making a case for what must bemade to happen. This is no educational exercise, but a thoughtfully crafted appeal to the political establishment of the US to support Ponomarev and his faction both financially and politically.
Of course the prescription above is nothing new to keen political observers who have followed the development of the crisis in Ukraine, and who have knowledge of how "soft power" works, and the concept of the "color revolution." What Ponomarev is describing has happened more than a few times before. What is particularly troubling this time is that a sitting parliamentarian, himself a beneficiary of the democratic electoral process, is openly advocating an anti-democratic, unconstitutional overthrow of his own government.
And Ponomarev is perfectly aware of this fact. Indeed, he included in the slide entitled "Conditions for the change of power in Russia" the following points:
Unlikely – elections
Likely – revolution (non-violent or violent)
Compromise with the current elites increases probability of non-violent changes, but decreases the probability of successful reforms in the future
Here, Ponomarev is openly acknowledging a number of critical points. First, that regime change is unlikely to come through elections. This is a blatant admission that not only is Putin democratically elected and wildly popular, but that the opposition will never have anything close to enough popular support to defeat him. In other words, Ponomarev is tacitly saying that Putin must be overthrown precisely because the Russian people support him, and will likely continue to do so. Imagine: a democratically elected politician from a country supposedly run by an "authoritarian dictator" comes to the US – allegedly the world's great champion of democracy – to advocate an anti-democratic regime change scenario. The hypocrisy is beyond words.
Imagine: a democratically elected politician from a country supposedly run by an "authoritarian dictator" comes to the US – allegedly the world's great champion of democracy – to advocate an anti-democratic regime change scenario. The hypocrisy is beyond words.
Second, and this is crucial to the question of treason, is the fact that Ponomarev is advocating "non-violent or violent revolution" in collaboration with a foreign power. Here the propagandists and assorted mouthpieces for the Empire might argue that CSIS is a private institution that is not affiliated with the US Government. One would have to painfully naïve about the nature of power in the US and how it functions to believe such a line of argument.
CSIS, with its long association with individuals such as Zbigniew Brzezinski who come from the uppermost echelons of power, is one of a small number of hugely influential think tanks that directly impact US foreign policy. CSIS, along with the Rand Corporation, Council on Foreign Relations, and a handful of other groups, are a useful barometer for measuring the pulse of the US establishment, and for individuals such as Ponomarev to get close to the levers of US power.
Therefore, it could be argued that Ponomarev is openly collaborating with a foreign government – in this case through the nominal intermediary of CSIS – to bring about the overthrow of his own government. I would refer readers back to the above-referenced definition of treason.
Third, and perhaps most telling about Ponomarev, is the fact that he openly warns against any form of compromise with the government, or the elites with influence in the government. Such a preemptively hostile, and inherently adversarial, relationship with the government precludes any possibility for dialogue or even negotiation. Considering the fact that, at best, Ponomarev and the liberal opposition represent a relatively small proportion of the Russian people (primarily the western-oriented business, finance, and media community, and the young liberals they can mobilize on the streets), the net effect of what he is advocating is that a small, foreign-backed minority with deep pockets seize control of the government in a quite possibly violent putsch. Ukraine anyone? Treason anyone?
While such open treason might come as a shock to many outside Russia, those who follow the country closely are all too aware of the insidious role of the United States in fomenting unrest and bankrolling the liberal opposition. It is an open secret in Russia that many, if not most, of the opposition liberals are either directly or indirectly collaborating with the US against their own country.
Liberal Opposition or Agents of a Foreign Power?
It would be an extreme oversimplification, and not entirely honest, to characterize all Russian liberals as foreign agents. Some are simply socially liberal people who see in the West a political, economic, social and cultural template for their own society. Needless to say, such a view is a small minority in Russia where traditional values and social/cultural conservatism have been on the rise since the end of the Soviet Union, and especially since Putin came to power.
However, when one examines key figures and institutions of the liberal establishment in Russia – both in politics and civil society – it becomes clear that some of the most influential are in fact collaborating with foreign powers (especially the US) to undermine the Russian government.
Boris Nemtsov is not only one of the leading liberal opposition figures in Russia, he is also a notoriously corrupt and oligarch-friendly politician who, in recent years, has fashioned for himself the public persona of an anti-corruption, anti-oligarch crusader. Of course, he doesn't care to mention his notorious, and politically and financially lucrative, relationship with disgraced Russian oligarch Khodorkovsky. Nor does he advertise his deep commitment to aiding the US further its own agenda, as evidenced by his appearance at the now infamous 2012 gathering at the US Embassy of liberal leaders with then newly appointed Ambassador, and self-described "expert" in regime change, Michael McFaul.
Similarly, Nemtsov's ally Vladimir Ryzhkov, according to various accounts, "formed a Committee…in 2003 to 'draw' funds of the imprisoned Khodorkovsky along with soliciting funds from fugitive oligarchs such as Boris Berezovsky and western foundations such as the Soros Foundation. The stated aim of the effort was to rally 'democratic' forces against Putin." The anti-corruption campaigner seemed to have little qualms with being financed by the most corrupt forces in the country.
Gary Kasparov, the outspoken opposition figure, former chess champion and darling of the US neocon establishment, has his own questions to answer. As F. William Engdahl has written:
In April 2007, Kasparov admitted he was a board member of the National Security Advisory Council of [the] Center for Security Policy, a "non-profit, non-partisan national security organization that specializes in identifying policies, actions, and resource needs that are vital to American security." Inside Russia Kasparov is more infamous for his earlier financial ties to Leonid Nevzlin, former Yukos vice-president and partner of Michael Khodorokvsky. Nevzlin fled to Israel on being charged in Russia on charges of murder and hiring contract killers to eliminate "objectionable people" while Yukos vice-president.
Can one really doubt the true intentions of a Russian "activist" and "leader" who happily sits on the board of a US think tank that focuses on "American security" (coded language for US foreign policy objectives)? Rather than being interested in progress in Russia, Kasparov is motivated only by his desire to gain power and prestige.
Beyond just the individuals, a number of influential "civil society" organizations deeply tied to the US establishment figure prominently in the liberal opposition. These organizations (Strategy 31, the Moscow-Helsinki Group, Levada Center, GOLOS, and many others) are either directly or indirectly funded by the United States through its myriad soft power organs, the most infamous among them being the National Endowment for Democracy. That these organizations knowingly take money from the US Government, and then present themselves as objective, disinterested civil society organizations is the height of cynicism and hypocrisy. What does one call such an organization if not an "agent of a foreign power"? I would again refer readers to the above-cited definition of "treason."
Whether or not Ponomarev's presentation fits the legal definition of treason would be for lawyers and legal scholars to decide. What is clear however is that Ponomarev, and indeed the vast bulk of the Russian liberal establishment, is a de facto appendage of US soft power in Russia. They act not in the interests of the Russian people, but of themselves and their patrons in the West. As such, it is up to the people of Russia to address this sort of treacherous behavior in their elected (and unelected) officials. And it is up to those of us around the world – those who refuse to go along with western imperialism in its many forms – to expose these individuals and organizations wherever they rear their ugly heads.
Eric Draitser is an independent geopolitical analyst based in New York City, he is the founder of StopImperialism.org and OP-ed columnist for RT and frequent contributor to "New Eastern Outlook."
The original source of this article is Land Destroyer
Copyright © Eric Draitser, Land Destroyer, 2015
Articles by: Eric Draitser

redpajama_set_name: RedPajamaCommonCrawl


text:
It's Official - Alex Barros To Pramac d'Antin For 2007
Submitted by Kropotkin on Mon, 2006-10-23 15:10
After earlier speculation, Pramac d'Antin have now officially announced that Alex Barros will be riding for the Pramac d'Antin Ducati team for 2007. The d'Antin team will be running Ducatis again next season, but the GP7 bike for the d'Antin satellite team is widely expected to be much more competitive than this year's bike, mostly because only the newest 800 cc bikes will be available, making it a much more level playing field for both satellite and works teams.
The official press release also has an interesting quote. Paolo Campinoti, the CEO of the PRAMAC Group, which sponsors the d'Antin team, says: The PRAMAC Group believes a lot in the racing project and will keep on following it with the biggest commitment. For the 2007 season we will soon announce important news. The d'Antin team is widely expected to be running Bridgestone tires next season, which, combined with the more competitive GP7 bikes, will put the team on a much more even footing. This footnote by the Pramac CEO suggests that this expectation could be reality.
2013 Aragon Moto2 And Moto3 Saturday Post-Qualifying Press Releases
MotoGP.com To Show Full Race Videos On Page Without Spoilers


There have been 0 recalls on Fh617 vehicles in recent years. The latest was issued on 2004-10-18 due to a problem with the hub.	Approximately 2537 vehicles were involved. Since 2000, Fh617's have experienced approximately 2 recall(s) due to hazards with various components, including the wheel bearing . See a list of recalls for your model year below.


text:
Titiscania est un genre de mollusques gastéropodes de la famille des Neritopsidae.

Taxonomie
Ce genre est parfois rattaché à la famille des Titiscaniidae par certaines sources. Pour le World Register of Marine Species cette famille est non-valide.

Liste des espèces
Selon  :
 Titiscania limacina Bergh, 1890
 Titiscania shinkishihataii Is. Taki, 1955

Notes et références

Liens externes

Archaeogastropoda

redpajama_set_name: RedPajamaWikipedia


text:
Not the Camilla We Knew
One Woman's Path from Small-town America to the Symbionese Liberation Army
Rachael Hanel
The mystery of how an ordinary Minnesota girl came to be, briefly, one of the most wanted domestic terrorists in the United States
During this time of mounting unrest and violence, Camilla Hall's story is of urgent interest for what it reveals about the forces of radicalization. But as Rachael Hanel ventures further into Camilla's past, searching out the critical points where character and cause intersect, her book becomes an intriguing, disturbing, and deeply moving journey into the dark side of America's promise.
Who are the shadows in the background of shocking events? Rachael Hanel's compelling exploration of Camilla Hall, a likable Minnesota social worker turned Berkeley lesbian artist turned player in the most notorious political kidnapping of its time, grippingly illuminates the barely perceptible line between an unrelenting passion for justice and devastating choices from which one can't return.
Barrie Jean Borich, author of Apocalypse, Darling and Body Geographic
Literature, Cultural Criticism, History, Minnesota and the Upper Midwest, Sociology, Creative Nonfiction, Social Movements, Women's Studies
Behind every act of domestic terrorism there is someone's child, an average American whose life took a radical turn for reasons that often remain mysterious. Camilla Hall is a case in point: a pastor's daughter from small-town Minnesota who eventually joined the ranks of radicals like Sara Jane Olson (aka Kathleen Soliah) in the notorious Symbionese Liberation Army before dying in a shootout with Los Angeles Police in May 1974. How could a "good girl" like Camilla become one of the most wanted domestic terrorists in the United States? Rachael Hanel tells her story here, revealing both the deep humanity and the extraordinary circumstances of Camilla Hall's life.
Camilla's childhood in a tight-knit religious family was marred by loss and grief as, one after another, her three siblings died. Her path from her Minnesota home to her final, radical SLA family featured years as an artist and activist—in welfare offices, political campaigns, union organizing, culminating in a love affair that would be her introduction to the SLA. Through in-depth research and extensive interviews, Hanel pieces together Camilla's bewildering transformation from a "gentle, zaftig, arty, otherworldy" young woman (as one observer remarked), working for social change within the system, into a gun-wielding criminal involved in the kidnapping of Patty Hearst.
During this time of mounting unrest and violence, Camilla Hall's story is of urgent interest for what it reveals about the forces of radicalization. But as Hanel ventures ever further into Camilla's past, searching out the critical points where character and cause might intersect, her book becomes an intriguing, disturbing, and ultimately deeply moving journey into the dark side of America's promise.
Cover alt text: Group photo, with Camilla in black and white divided by slashes from colorized parents on left and Patricia Soltysik on right.
$17.95 ISBN 978-1-4529-6832-2
240 pages, 18 b&w plates, 5 3/8 x 8 1/4, December 2022
Rachael Hanel is associate professor of creative nonfiction and journalism at Minnesota State University, Mankato. Her book We'll Be the Last Ones to Let You Down: Memoir of a Gravedigger's Daughter, also from the University of Minnesota Press, was a finalist for a Minnesota Book Award. Her essays have been published in print and online in the anthology Love and Profanity: A Collection of True, Tortured, Wild, Hilarious, Concise, and Intense Tales of Teenage Life; Slag Glass City; Midwestern Gothic; WLA: War, Literature, and the Arts; The Bellingham Review; and New Delta Review.
In this captivating work of narrative journalism, Rachael Hanel explores how people can become radicalized in the face of governmental failure, charting the path from idealism to violence to tragedy. At its heart, this is a book about womanhood and belonging—and one woman's quest to understand another, to find the empathy and humanity that live beyond the headlines if we only try hard enough to see.
Melissa Faliveno, author of Tomboyland: Essays
Prologue. Camilla Is Killed: May 17, 1974
Introduction: The Woman in the Picture
Part I. Camilla Established
1. "We Begin When We First Met"
2. "Their First Concern"
3. "It Was a Troubled Spring, Heavy with Grief"
4. Camilla Goes to College
5. Camilla Gets a Job
6. A Turning Point
Part II. Camilla Transformed
7. Camilla Moves to California
8. Camilla and Mizmoon
9. The SLA Forms
10. Camilla Moves to Francisco Street
11. Camilla Joins the SLA
12. The SLA Kidnaps Patty: February 4, 1974
13. Camilla Slips Away
14. Camilla inside the SLA
Part III. Camilla Revealed
15. Crumbs on the Trail
16. The Missing Letters
17. "A Perfect, Loving Daughter"
18. The Last Christmas
19. The Sole Survivor
20. "She Was a Pacifist"
21. "I'm Not Surprised"
22. Camilla Reveals Herself
23. A Parallel Story
24. A Visit to Chowchilla
25. Nan
26. Good Girls Gone Bad
Epilogue: "It Has Been a Wonderful Life"
We'll Be the Last Ones to Let You Down Memoir of a Gravedigger's Daughter
Thirty Rooms to Hide In Insanity, Addiction, and Rock 'n' Roll in the Shadow of the Mayo Clinic
Strike! Twenty Days in 1970 When Minneapolis Teachers Broke the Law
Greed, Rage, and Love Gone Wrong Murder in Minnesota
This Is Where I Am A Memoir
NOT THE CAMILLA WE KNEW event at Watonwan County Library with Rachael Hanel
NOT THE CAMILLA WE KNEW event at Zenith bookstore with Rachael Hanel
NOT THE CAMILLA WE KNEW event at the Henderson Library with Rachael Hanel
Rachael Hanel will join the Watonwan County Library for a reading and discussion of her new book, NOT THE CAMILLA WE KNEW, on Friday, January 27.
Rachael Hanel will join The St. Peter Public Library on Tuesday, January 17 to celebrate the launch of her new book, NOT THE CAMILLA WE KNEW.
Rachael Hanel will join the Henderson Library on Tuesday, January 17 to celebrate the launch of her new book, NOT THE CAMILLA WE KNEW.
NOT THE CAMILLA WE KNEW event at Content Books with Rachael Hanel
Rachael Hanel will join Content Books for a reading and discussion of her new book, NOT THE CAMILLA WE KNEW, on Thursday, February 16.
NOT THE CAMILLA WE KNEW event at the Fairmont Library with Rachael Hanel
Rachael Hanel will join the Fairmont Library for a reading and discussion of her new book, NOT THE CAMILLA WE KNEW, on Thursday, March 23.
Rachael Hanel on the Editing Writing Podcast
Rachael Hanel joins Editing Writing for a podcast interview discussing her new book, Not the Camilla We Knew.


text:
The Astounding Analog Companion
The official Analog Science Fiction and Fact blog.
Q&A with Bond Elam
April 9, 2019 theastoundinganalogcompanion Uncategorized One comment
Bond Elam celebrates over a decade of appearing in Analog with the short story "Fine Tuning" in our March/April issue [on sale now]. Here, he explains why he had to unlearn the lessons he learned as a programmer to become a better writer.
Analog Editor: How did this story germinate? Was there a spark of inspiration, or did it come to you slowly?
BE: I spent the last twenty years of my working life as a software developer—a heads-down programmer who was addicted to writing code. Anyone who's told themselves that they'll write just one more subroutine, only to find themselves still at the keyboard at 2:30 a.m. will know what I'm talking about. When I retired, my interest in programming only increased. I found AI so fascinating that I learned Python and began working through online tutorials covering various kinds of neural networks. My current story, "Fine Tuning," is one of many that arose out of this fascination.
AE: Is this piece part of a greater universe of stories?
BE: Absolutely. It's clear that artificial intelligence is going to play an increasingly important role in the evolution of society. The media tends to focus on the most dramatic possibilities, like killer bots running amok, but I think humankind is far more likely to self-destruct than find itself overrun by killer robots. One of the huge issues that the media doesn't seem to consider is motivation. Human beings are driven by instincts programmed into our genes—the need to survive, to reproduce, to get our genes into the next generation. These instincts are mediated by the hormones and neurotransmitters our DNA evolved to push us in the direction it wants us to go. AIs and bots will surpass us when it comes to intelligence, but we're the ones who will program in their motivations—at least initially. That, I think is the crux of the real problem, and that is one of the things that I want to write about. The possibilities are both important to our survival and nearly limitless. And they are a lot of fun.
AE: What made you think of Analog for this story?
BE: I think Analog readers are genuinely interested in science and technology, and in the impact they will have on our future. They want a good story, a story that's entertaining and pulls them along. But they also want it to be about something important to individuals or to humankind as a whole. This is also what I'm interested in, so Analog seemed the logical place to send it.
AE: How much or little do current events impact your writing?
BE: Politics used to impact my writing a lot, which was one of the reasons I couldn't sell anything. When people pay good money for a science fiction magazine, they want to be entertained and, if they're readers of Analog, they want to explore the implications of science and technology. They don't want to read my take on the latest political events, even if I try to disguise them as science fiction.
AE: Are there any themes that you find yourself returning to throughout your writing? If yes, what and why?
BE: I am fascinated by AI and the nature of human consciousness. What is it? Is it real? Is it an emergent property of some deeper process? Research has shown that we make decisions and initiate actions before we become aware of them. That is, our non-conscious mind is doing the decision making and our conscious mind frequently only justifies our actions after the fact. Which suggests that we are not entirely what we think we are. I am equally fascinated by the underlying nature of reality. Over and over I read that time and space are not fundamental properties of reality, that they are emergent properties of whatever is really going on. I find that impossible to get my mind around but really fun to explore.
AE: What is your process?
BE: I start with a single idea, usually a single sentence, and keep expanding and expanding until it becomes an outline, then I add snippets of description and dialogue, and finally it turns into a first draft. That's the hardest part—creating the first draft. As I rewrite draft after draft, it actually becomes fun. Unless, of course, I discover that I'm headed down the wrong path. Then I have to start over. Ironically, the final story frequently has nothing to do with the single sentence with which I started.
AE: How do you deal with writers' block?
BE: For me, writers' block is almost always a problem with character motivation. I want a character to do something, or I want something to happen in a story, and the action that has occurred up to that point simply doesn't justify it. The problem is compounded by the fact that I frequently don't realize what's going wrong. The story just doesn't seem to be coming together, and I can't figure out why. I've learned to fall back on the advice of Elmore Leonard—if it doesn't feel right, do it again.
AE: How did you break into writing?
BE: I didn't break in. I struggled and struggled and struggled. A number of "how to" books say that you have to write a million words before you can get published. I only wish it were that simple. As a computer programmer my mind was—and is—geared to getting to a solution as quickly and efficiently as possible. That's what makes an elegant solution in the world of application development. It doesn't make for stories people want to read. It took me a long time to understand that people want to lose themselves in a story, intellectually and emotionally. I keep working on the skills that are necessary to provide that kind of experience.
AE: What are you reading right now?
BE: I subscribe to Analog, Asimov's and The Magazine of Fantasy and Science Fiction. I also regularly download publications like Clarkesworld, Escape Pod, and Flash Fiction Online (I love short-shorts like Probability Zero). Mostly I focus on short stories, since that's what I'm trying to get better at. I also read a lot of mysteries, especially those of crossover writers, like Bill Pronzini and Kristine Kathryn Rusch. And I like mainstream writers like Annie Proulx, though I have to be careful reading her, since I get so intimidated that I can't write.
AE: Do you have any advice for up-and-coming writers?
BE: As I understand it, a science fiction magazine typically receives nearly a thousand stories a month. Of these, the editor has to pick five—ten every two months. I suspect more than five or ten out of the thousand are actually publishable, which means you have to hit the right editor, on the right day, with what he thinks his magazine needs. (Remember, his or her career depends on making the best choices.) So in a way, you're really playing a numbers game. But if you stick at it—and write absolutely killer first paragraphs—you will get there. Probably about a million words from now.
Following his graduation from the University of Cincinnati with a BA in English, Bond worked as a Public Health Investigator in New York City, where he tried to convince himself that it was only a matter of time until he wrote the Great American Novel. From there, he moved to Iowa City, where he worked as a substance abuse counselor, and actually wrote a first novel. When it became clear at the age of 30 that he had no absolutely talent, he got a job in the trucking industry, which led indirectly to a career in software development. Unfortunately, he couldn't get writing out of his system. He again tried his hand at novel writing, but switched to science-fiction short stories, which had always been his first love He published his first in Analog in 2008. He has subsequently published a number of stories in Analog, as well as in two recent anthologies—18 Wheels of Science Fiction edited by Eric Miller and The Year's Top Hard Science Fiction Stories 2 edited by Allan Kaster.
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Tom Kraemer says:
"Fine Tuning" is a terrific story, if a bit too short. I'm curious how Bond came to his conclusions about self-motivation being a necessary condition for consciousness. I completely agree, and highly recommend Terrence Deacon's "Incomplete Nature – How Mind Emerged From Matter."
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Terror at the Crossroads


Jayhawk GPS is a communication management system used to help students connect to their advisors. You can schedule appointments online with your academic advisor(s) by clicking on the Jayhawk GPS Login button on the right side of the screen.
To learn how to schedule appointments, go to the Student Appointment Scheduling page.
A record of general notes and advising appointment notes are also available. See the Quick Start for Students guide.


Susie Suh is a Korean American adult alternative/folk-rock singer-songwriter.
Her music is often compared to Fiona Apple, Sarah McLachlan, and Aimee Mann. Suh cites Joni Mitchell and Beth Gibbons among her influences.
She is closely affiliated with the Hiphop group, Zion-I.
Suh attended Brown University, where she graduated with a Bachelor's degree in English in 2002.
Her debut album, Susie Suh, was produced by Glen Ballard and released on Epic Records in 2005. Off that album 2 songs have been used on One Tree Hill, Recognition and Light On Your Shoulder. Also, another song that is currently not available has been heard on One Tree Hill called Give Me Heart.
"Shell," from her self-titled release, was featured on the soundtrack of the 2005 film Must Love Dogs. A one minute crop of it was bundled with Sony Ericsson W800 mobile phones.


text:
Dual Enrollment Admission
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Trine Broadcasting
Recruit Students and Alumni
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innovation one
TrineOnline
Breadcrumb LinksHomeTrine University News2019Trine creates new Illinois-based admission position
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Trine creates new Illinois-based admission position
CHICAGO — In an effort to enhance services for potential students in Illinois and Chicagoland, Trine University has named Alex Goplin its new regional director of admission for the state of Illinois.
Goplin will be based in Chicago's Logan Square.
"I'm in between downtown and the suburbs, making it ideal to connect with students in both areas and beyond," Goplin said.
Located less than three hours from Chicago, with a 450-acre main campus in Angola, Indiana, and a Health Sciences Education Center in Fort Wayne, Trine University has provided quality, career-focused private higher education for 135 years. The university offers associate's, bachelor's, master's and doctoral degrees in areas including engineering, health sciences, business, education and arts and sciences.
The school currently has 86 students from Illinois. Its prominent alumni in the region include Vipul Shah, a 1996 alumnus who serves as a senior vice president, international client advisor, portfolio manager and dedicated equity plan specialist with Morgan Stanley in Chicago.
"I look forward to creating new connections and strengthening the existing links that Trine University has in Chicago and across the state of Illinois," Goplin said. "The Chicagoland area has a lot of really great students, and I look forward to telling them all that Trine University has to offer!"
Goplin served Trine as assistant director of admission before taking the reins of the university's growing esports program, which now serves more than 100 students.
For more information, email Goplin at goplina@trine.edu, or visit trine.edu.
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text:
#include "distance_condition.h"
#include "core/i_position_component.h"
#include "engine/engine.h"
#include "engine/path_system.h"
namespace scriptedcontroller
{

void DistanceCondition::Update( Actor& actor, double Seconds )
{
}

bool DistanceCondition::IsSatisfied() const
{
    return mGreaterThan<=mDistance && mDistance<=mLessThan;
}

void DistanceCondition::Reset( Actor& actor )
{
    mDistance = std::numeric_limits<double>::max();
}

void DistanceCondition::Load( Json::Value const& setters )
{
    ICondition::Load( setters );
    Json::GetDouble( setters["less"], mLessThan );
    Json::GetDouble( setters["greater"], mGreaterThan );
    Json::GetBool( setters["seek_path"], mSeekPath );
}

} // namespace scriptedcontroller

double core::GetDistance( Actor& actor, Actor& target, bool seekPath/*=true */ )
{
    if (seekPath)
    {
        static auto mPathSystem = engine::Engine::Get().GetSystem<engine::path::PathSystem>();
        return mPathSystem->GetDistance( actor, target );
    }
    else
    {
        auto positionC( actor.Get<IPositionComponent>() );
        auto targetPositionC( target.Get<IPositionComponent>() );
        BOOST_ASSERT( targetPositionC.IsValid() );
        auto const distanceV = glm::vec2( positionC->GetX(), positionC->GetY() )
            - glm::vec2( targetPositionC->GetX(), targetPositionC->GetY() );
        return std::sqrt( glm::dot( distanceV, distanceV ) );
    }
}

redpajama_set_name: RedPajamaGithub


Hong Kong Saizeriya, as a famous Italian restaurant, strives to provide quality food in everyday meal at affordable prices. Our comfortable sitting area and unique drink bar bring you a new experience of Italian restaurant. Customers can enjoy the high quality Italian cuisine without burning a hole in their wallets.


text:
Q: Zend Framework 2 Navigation Submenu (Top menu) I'm building a menu using ZF2 and bootstrap and I already have this kind of menu:
Home | Users | Options

But now I need submenus, but I couldn't find a way to do so. I need something like hover the menu item (Ex: User) and then show 'List', 'Add', 'Edit'
I would really appreciate any help.
Thanks

A: You can achieve this with a partial view.
In you configuration file e.g. config/autoload/global.php :
return array(

    // Your others config arrays

    'navigation' => array(
        'default' => array(
            array(
                'label' => 'Home',
                'route' => 'home',
            ),
            array(
                'label' => 'User',
                'route' => 'user',
                'pages' => array(
                    array(
                        'label' => 'List',
                        'route' => 'list',
                    ),
                    array(
                        'label' => 'Add',
                        'route' => 'add',
                    ),
                    array(
                        'label' => 'Edit',
                        'route' => 'edit',
                    ),
                ),
            ),
            array(
                'label' => 'Options',
                'route' => 'options',
            ),
        )
    )
);

In your layout file, e.g. view/layout/layout.phtml :

    <?php
    echo $this->navigation('navigation')
              ->menu()
              ->setPartial('partial/menu')
              ->render();
    ?>

The partial view, here view/partial/menu.phtml :

<?php
foreach ($this->container as $page)
{
    $hasChildren = $page->hasPages();
    if( ! $hasChildren)
    {
        ?>

<a href="<?php echo $page->getHref(); ?>"><?php echo $page->getLabel(); ?>

        <?php
    }
    else
    {
        ?>

            <a href="<?php echo $page->getHref(); ?>"><?php echo $page->getLabel(); ?>

            <?php
            foreach($page->getPages() as $child)
            {
                ?>

<a href="<?php echo $child->getHref(); ?>"><?php echo $child->getLabel(); ?>

                <?php
            }
            ?>

        <?php
    }
}
?>

If you need CSS samples you can find some in this answer :
https://stackoverflow.com/a/13328340/3294723

redpajama_set_name: RedPajamaStackExchange


text:
Home : Editorial
Pages: 1 2 3 [>] [>>]
Moores, Jeff
Humorous, comic animation, conceptual, cartoon, whimsical illustration, storyboards, sports, childrens book, motion graphics, wacky digital illustration-- Need a quick idea? Call Jeff for a Free coffee critter mug, while supplies last.
Cocotos, Tom
digital collage for editorial, corporate, advertising, animation, book cover, packaging, children's books
Prades, Simon
Simon Prades, born in 1985 into a german/spanish family is living in Saarbrücken, Germany with his wife and son.Since finishing University with a diploma in Graphic Design, he has been working as a freelance illustrator for clients in Editorial, Publishing, Sports, Advertising and Film.
Simon works in analog techniques, such as ink, pencils or watercolor but also digitally, depending on the subject. His work is often a combination of detailed and complex drawings and narrative ideas. Depending on the subject his illustrations can also be rough, spontaneous and moody. He also creates slightly animated versions of his illustrations, which can be used in digital publishing and media.
Simon has worked for clients such as:The New York Times, The New Yorker, HarperCollins, Bloomberg, The Atlantic, Scientific American, Rolling Stone Magazine, Medium.com, The Guardian, New Statesman, VICE, The New Republic, Der Spiegel, Cicero Magazin, Esquire, Empire Magazine, Entertainment weekly, Nike, Ubisoft, BBDO, Ogilvy & Mather, Serviceplan and Y&R.
Spurll, Barbara
Born in the UK and raised in Winnipeg, Barbara started life drawing classes at age 16. Several years later she moved to Toronto to pursue her career in art. After studying fine art at The New School of Art and The Artists' Workshop and illustration at George Brown College, Barbara launched her own free lance business. Her client list has included The Toronto Star, The Financial Post, Outdoor Canada Magazine, Dogs in Canada Magazine, Macleans, Chatelaine, The National Wildlife Federation, Owl and Chickadee Magazines, KidsCan Press, Scholastic Inc., McDonalds, Purina, Time Inc., Oxford University Press, Sears Canada, Storck, Nabisco and many others. Barbara has a number of award winning children's picture books to her credit including Rhinos for Lunch and Elephants for Supper!, The Flying Tortoise and Emma's Eggs. Her continuing pursuit of new horizons has led Barbara to establish a new alla prima style for her portrait work.
Yang, James
Illustration for corporate, advertising, licensing, publishing and editorial use. James Yang is represented by the David Goldman Agency.
Hanson, Sarah
Sarah's work is combination of traditional handmade and digital collage. Inspired by her travels and an avid collector of random ephemera, she finds and stores interesting bits of old paper, maps, photographs and various objects, which have all become strong elements in her work. For every new project she has a unique sift through the random piles, sketchbooks and pads that have accumulated around her studio selecting suitable elements as she goes. Previous clients include GQ, The Times, British Airways, Penguin, BBC Worldwide Ltd, Publicis, More Magazine, Waitrose, Caspian Publishing, Radio Times, Age Concern, Harper Collins, Renault, Delicious Magazine and The AOI.
Bendell, Norm
Norm Bendell's witty style has been featured in some of the most successful campaigns in the history of advertising. He's won numerous awards for clients in both print and animation as well as for best selling books. Whether it's a large ad campaign, a book or a small spot illustration, Bendell's background in art direction and design helps give him great insight for helping client's to successfully reach their goals. And he takes pride in making it a pleasant experience.
Richard Elmer is from New Jersey. He studied graphic design briefly in South Florida. He returned north to study design and illustration, receiving his BFA from School of Visual Arts in NYC where he currently lives and works. Continued studies include Parsons School of Design and the New School in New York. Early professional years were spent in publishing, quickly moving on as a freelance artist creating illustrations for many advertising, publishing and design companies such as New York Times and Strathmore with work reproduced in Germany and Spain. Working professionally first in pastels, medium went on to include oils and traditional acrylic as well as digital. A strong visual vocabulary helped define his conceptual style across publishing, advertising, design and editorial markets. Richard Elmer teaches illustration at FIT, School of Art & Design in NYC.
Ward, Mark
Mark Ward is an artist based in London. His work is derived from his obsession with Americana. Raised on a diet of Saturday morning cartoons, BMX, skateboarding, and drawing, Mark has kept true to his roots soaking up every last candy wrapper and morphing them into his surreal and comical visions. Growing up in the South London suburbs in the late 80's, Mark was reading every possible American skateboard magazine he could get his hands on. He realized his grey London environment didn't reflect the sunny California he was being sold in the magazines. Rolling through puddles in South London just doesn't match up to cruising along Long Beach. Mark's work mixes the everyday mundane with surreal elements of the 80's American bubble, encouraging the viewer to see things differently, and peel back the gloss on the pop imagery that he worshipped in his childhood. A graduate of Central St Martins, Mark has been recognized by the Art Directors Club and received a Young Gun Award for his outstanding illustration work. He has exhibited internationally throughout Europe and America, in both solo and group shows. His work was also included in the Pop Art Design show at the Barbican. Alongside his personal work, Mark creates bold imagery for a wide range of commercial opportunities including fashion, magazine covers, editorial and large scale installations. Projects include signature work for Stussy, Burton Snowboards, Nike and Columbia Records. Clients include: Adidas, Anomaly, Atlantic Records, Burton Snowboards, Cadburys, Columbia Records, Converse, Etnies, The Guardian, HarperCollins, Jordan Air, Medicom Toys, Microsoft, MTV, Nike, Puma, Pepsi, Red Bull, The Shortlist, Sony, Stussy, Studio Output, UsTwo
Goudappel, Aad
He translates complex ideas and abstract themes into clear and powerful images. Aad creates illustrations that at first glance seem very simple. His distinctive style is characterized by the use of flat areas of color and the complete absence of lines. On closer look the mildly alienating images often contain multiple intellectual or emotional layers. This approach leads to works that are both timeless and contemporary.
Glenwood, Michael
Award winning illustrator Michael Glenwood brings a fresh graphic vision to illustration, merging drawing skills and conceptual ingenuity with an interest in classic printmaking techniques to create a bold visual style.
Chivers, Sam
For several years I lead a double life. During the day I worked for a Design/Illustration studio producing work in a wide variety of styles for many different clients. Whilst in my spare time I was exploring more creative preoccupations though self-directed projects, often just enjoying a bit of creative freedom away from the pressures of the commercial world and being told what to do all the time.
Bringing together my love of drawing and geeking out on the computer, these quite often ended up as screen prints. Screen print is a process I've grown to love because of the restraints it imposes, I loved trying to create a sense of depth with just three or four layers. Often mistakes would be surprisingly pleasing.
After a while of incubation this work began attracting commercial clients (as I hoped it would) and eventually I made the leap to doing it full time.
My work naturally veers towards that blurry border point between science and nature. Recently I've become aware of how much I'm influenced by the countryside in which I live, and my tendency to fictionalise it through drawing.
My ambitions with my work are to keep making it better and continue to evolve as an artist. Presently my output mutated into a two pronged beast; I make these airbrushed sci-fi landscapes and then more hand drawn limited palette pieces – my aim is to carry on joining the dots in between these two styles somehow unifying them more.
Mallart, Bruno
Humorous, surealistic, Wacky, financial, computer, digital, conceptual, portrait, collage, absurd, music, machinery, mechanical , contraption, medical, fun, architecture, Imaginative illustration for corporate, advertising, licensing, publishing and editorial use. Bruno Mallart is represented by the David Goldman Agency.
Cutler, Dave
Simple eloquent illustrations that engage, inspire and entertain. Please email me at dave@davecutlerstudio.com Award-winning conceptual illustration
Borge, Richard
My evolution in fast forward: Madagascar, Fargo, Tucson, Asheville, Manhattan... ultimately landed in Brooklyn. I work primarily on editorial and corporate / advertising illustration and animation / motion design. I am well versed in visual consulting and creative direction. One of my favorite aspects of visual communication is the conceptual process, be it selling a product or conveying the intricacies of a complex article.
A selected CLIENT LIST includes: WhiteOps, McKinsey, Siegel+Gale, Olympus, AVID, Sony Music, Vampire Weekend videos, MTV, IFC, Meat Beat Manifesto, Fast Company, Time, Newsweek, Wall St Journal, NY Times, Washington Post, Forbes, Bloomberg, Inc, Epson, AT&T, HP, AMEX, Deutcshe Bank, Verizon, Reebok, IBM, and Coca-Cola.
This Holiday season, I worked with The School of Visual Arts to design a poster for the "ART IS!" subway series. It's been so fun to see these all around the city.
In late 2018, I had a great time animating Steve Brodner's drawings for The Alec Baldwin Show. Tight deadlines and a great team of people!
Awards (partial): Communication Arts, Print, The Society of Illustrators (NY + LA), American Illustration, 3×3 annual, and numerous Telly Awards.
Bollinger, Peter
Renowned in the field of commercial art, Peter Bollinger is an award winning illustrator whose clients include Grey Advertising, Sony Entertainment, DreamWorks, Sega, Wizards of the Coast, Nintendo, Mars, Harper Collins, Scholastic and many other publishing, advertising, and entertainment organizations. Holding degrees in industrial and environmental design, Peter's expertise covers diverse fields, from the design of computer terminals and street furniture, to monorails and automobiles. He has won major design and illustration awards in the United States, Australia, Italy and Japan. He undertakes architectural and concept design for numerous clients locally and abroad such as Disney Imagineering, Discovery Communications, and numerous Japanese theme parks. Peter works in two separate styles, traditional airbrush and digital illustration, although the two have become more and more similar with each passing technical innovation. Once a die-hard New Yorker, Peter now lives in the relative tranquility of Silverado, CA with his wife, Cybele their son, Zak, and daughter Galatea.
Manley, Matt
Currently based in Marshall, Michigan, Matt Manley has been working as a freelance illustrator for over twenty years. His illustration is primarily figurative and symbolic with surrealist leanings, and past client work includes editorial, corporate, medical, book, and higher education. Though in the end his work is technically digital collage, the process integrates both traditional and digital media. Collage elements are original oil paintings and drawings, with occasional scanned found objects and photos added to the mix, all united in Photoshop.
Among the numerous prestigious awards Anastasia has been honored with are : The Society of Illustrators, Communication Arts and The Society of Publication Designers.
She has also been honored as a guest lecturer at The International Center of Photography, The New School and School of Visual Arts in New York, as well as The International School of Paris.
Her credentials don't end with the world of print however. She's also active as a graphic designer for Film and Television and has worked with such well known production designers as Laurence Bennett and Linda Burton.
A few of her clients inlude: The NY Times, The Wall Street Journal, LA Times, Time Magazine, Computerworld, CIO Magazine, Rolling Stone, Money Magazine, Showtime, HBO, ESPN, Sundance, SONY Records, Atlantic Records, Levi Strauss and Merck.
Anastasia's fine art paintings are collected internationally. Large scale commissions have been created for venues in Berlin, and City Winery's in Chicago, Nashville and New York City.
Falconer, Sam
Sam Falconer's illustrations combining vibrant characters and intricate environments have been commissioned by clients ranging from leading national newspapers to renowned science magazines and universities.
Initially working purely by hand, Sam discovered a passion for digital collage in 2010 which later developed into his own unique brand of rich and detailed imagery. This method allows him to develop and turnover complex pieces with diverse character sets in timeframes that suit each client's needs.
As a big science and technology fan, Sam has developed a strong presence in the field with clients including Nature, Nautilus, New Scientist, The Royal Society of Chemistry, Scientific American and Wired magazine. in 2015 Sam was commissioned by the acclaimed MIT Museum to rework their map designs for the general public.
Other clients include: British Airways, British GQ, Capital, Computer Arts, Deustch Inc, Emirates, The Guardian, The Independent, Intelligent Life, John Hopkins University, M & C Saatchi, Nokia, Reader's Digest, Scholastic, The Spectator, The Telegraph, The Times, The Washington Post.
In 2014 Sam was featured in IdN magazine's New Faces of Inspiration issue as one of ten leading illustrators in the editorial field. His work was also exhibited in Taoyan city, Taiwan as part of Dpi magazine's Space Odyssey exhibition.
Sam has a BA in Illustration and Animation from Kingston University and graduated in 2011.
Marden, Phil
Phil Marden's humorous, conceptual illustrations have been published in dozens of publications including The New York Times, Newsweek and Fortune over the last 30 years. His work has also been animated for TV, commercials, educational films and the feature film, "The Stepford Wives."
Posti, Pietari
Based in Barcelona, Spain, Pietari Posti creates contemporary scenes with unique personalities for magazines, advertising, product, publishing, posters and newspapers. Pietari's work has been featured in the 3x3 Professional Illustration Annual, PRINT Magazine European Design Annual and American Illustration 27. - Previous clients include: The New York Times, New York Magazine, National Geographic Adventure, The Washington Post, The Los Angeles Times, The Guardian, Time Out, Nokia, American Airlines, British Airways, Runner´s World, Best Life, Wired, Dwell, Portobello Books, Business Week, Bloomberg Market and Paste Magazine.
Born in a provincial British seaside town Josh McKenna is now based in London. Josh's work is minimally designed but full of voluptuously, curved characters, his work focuses less on the details and more on asymmetric shapes in pleasing compositions using a soft west coast inspired palette. Tan lines and bodacious booties are rife in his portfolio but this fun, cheeky approach gives Josh's stylised worlds personality.
McKenna's creative process involves sketching ideas on iPad and Pencil, chopping and changing compositions and then moving to a computer to create vector artwork, adding textures and applying a carefully considered colour palette.
Josh McKenna graduated Falmouth University in 2014 and now works in editorial, advertising, shop windows and emojis on phones.
Brickley, Corey
Corey has been announced Merit Winner of the 3x3 Professional Show, reproduced in the 3x3 Illustration Annual No.13.
Corey Brickley was born in the U.S. In 1987 and now lives and works as an illustrator and designer in Philadelphia.
Corey Brickley is a graduate of the University of the Arts' Illustration program in Philadelphia, PA. Corey creates concept-driven illustrations for editorial, publishing, music and advertising. He is a digital artist who uses a healthy mix of 3D, texture, and Wacom-based painting. His work is concerned with surreal and graphic juxtapositions.
Corey primarily works in editorial and specializes in motion graphics and animation. Corey is a winner of the American Illustration 35th annual competition for his motion illustration work with The Huffington Post.
Previous clients include: The New Yorker, The New York Times, The Huffington Post, Pacific Standard Magazine, Vice Magazine, Penn Gazette, Texas Monthly, Magnet Magazine, Grid Magazine.
Dream clients: Mother Jones, Popular Mechanics, GQ, Rolling Stone, Penguin, Little Brown, Tor, Converse, Vans, MTV, SmuttyNose Brewing Co
Horvath, Peter
Peter Horvath, born of Hungarian descent into a lineage of photographers, began taking pictures at age 6. After spending his formative years inhaling darkroom fumes, he worked as a stills photographer until he discovered computers in 1995 when a friend gave him a Macintosh Plus. Shortly thereafter, he happened across the work of Dadaists John Heartfield and Hannah Hoch, whose work exposed him to the world of photo-montage. He has since produced digital collage works exploring narrative, abstraction, and the hypnagogic, and continues to push the boundaries of convention, displacing the familiar and nostalgic with unique, surreal touches. Peter's ability to master bold compositions that convey complex concepts is what makes his work stand out. His impactful images make him a natural choice for the nuances of editorial work, and the call-to-action needs of advertising. His work is featured in the newly published book from Die Gestalten, "Illusive - Contemporary Illustration", as well as an upcoming book on collage.
Previous commercial clients include The Economist's Intelligent Life Magazine, AMEX, The Washington Post, The Smithsonian Magazine, Billboard Magazine, The Atlantic Monthly, Wired Magazine, Entertainment Weekly, The Wall Street Journal, Forbes Magazine, The Village Voice, Variety, Scientific American Mind Magazine, New York Times, The L.A. Times and L.A Weekly among others.
Peter has been awarded numerous grants from The Canada Council for the Arts for his new media work, and is the recipient of commissions from Rhizome.org at The New Museum, NYC (2005) and Turbulence.org New Radio and Performing Arts, Boston (2004). He has exhibited in museums and galleries across the globe including the Whitney Museum Of American Art's Artport (NYC), Museo Tamayo Arte Contemporaneo (Mexico City), the Musee national des beaux-arts du Quebec (Quebec City, Canada) and FILE Electronic Language International Festival (Sao Paulo, Brazil).
Max was born in rural Germany in 1989 and started out illustrating extensive album artworks for punk and metal bands after doing his homework. After graduating from the Graphic Design department at Hochschule Darmstadt in 2017, he began working as a freelancer with renowned clients like The New Yorker, The New York Times, Adidas and Google. He still enjoys creating artwork for bands.
Influenced by the classic surrealists as well as retro science-fiction book covers, he likes to look below the surface of one-to-one visual translations, adding meaning and room for inference by wrapping his illustrations in the dense atmosphere of a surreal and melancholic parallel universe. His urge is to translate and decipher what can only be felt, not directly seen, and to amplify this visually, particularly in his personal work.
Max has worked with clients such as: The New Yorker , The New York Times , Google, GLOBE Brand, Future Islands, Bloomberg Businessweek, Folio Society, Atreyu, GQ Magazine, WirtschaftsWoche, DIE ZEIT, Adidas, Bandcamp, Medium, Cicero, The Economist, Variety, Wall Street Journal, The Hollywood Reporter, and The Shrine.
Awards: 2019: 3x3 AWARD SHOW Merit 2019: WORLD ILLUSTRATION AWARDS 2x Shortlist 2019: AMERICAN ILLUSTRATION 38 Winner 2019: SOCIETY OF ILLUSTRATORS "Illustrators 61" Exhibit & book 2018: JOSEPH BINDER AWARD Distinction 2018: GERMAN DESIGN AWARD Newcomer Nominee 2018: FOLIO SOCIETY BOOK COMPETITION Winner 2017: 3x3 STUDENT SHOW Gold 2016: JOSEPH BINDER AWARD Distinction 2016: ADC GERMANY Silver
Books: Lürzer's 200 Best Illustrators 2018/2019 Freistil
Wolski, Marcin
Marcin Wolski is an illustrator and graphic designer with several years of experience in advertising, and editorial illustration. He began his artistic journey with traditional media, slowly moving to digital art. He lives and works in Sopot, Poland.
In his illustrations, Marcin tries to capture specific mood using simple shapes, colour and light to distill the essence of the story that he tries to tell in each illustration. His inspirations come from retro games and Polish socialist-era posters as well as modern illustration.
BloodBros.
BloodBros. is the studio of New Zealand-born illustrator and graphic artist Emile Holmewood, who currently lives in Tokyo.
Originally a graphic designer, he was once told by a studio creative director to remember he is a "graphic designer who illustrates, and not the other way around", Emile has since worked tirelessly to prove otherwise, bringing his artistic flair to everything he does.
Nevertheless, Emile's unique style is underpinned by graphic design principles, and contradiction is central to his work: he constructs his illustrations in cold-hearted vectors, then warms them up with playful colours, a heavy dose of humour and sometimes; animation.
Emile's inspiration comes from a vast array of eclectic sources including LEGO, life in Japan, fish, baroque paintings, bubblegum and The Simpsons – to name but a few.
Some previous clients include:
The Sunday Times, Bank of America, Apple, IBM, The Verge, 99 percent invisible (podcast), La Quinta Hotels, IEEE, Radio New Zealand, Seamless, Exxon Mobil, Toshiba, Marketing Week and Bank West
2015 Best Awards Finalist 2013 Best Awards Silver, Bronze, Finalist, Finalist 2012 Best Awards Finalist 2011 Graphis Platinum 2009 Best Awards Finalist 2008 Best Awards Silver
Koelsch, Michael
Michael Koelsch is an illustrator, designer and digital artist who acknowledges the beliefs of some of the great illustrators of retro era 50's and 60's - the giants like Coby Whitmore and Austin Briggs, who thought that keeping up with the times and evolving your style is as important as your sense of design and color... along with the fundamentals of drawing and painting.
He has worked with every major publishing house, countless advertising agencies, and a large number of design agencies and magazines. Best known for his retro style and horror film posters, Michael Koelsch continues to evolve and adjust his styles for each client.
Wells, Leigh
Kondo, Yuko
Yuko Kondo is an illustrator, art director and animator based in London, UK. Yuko Kondo graduated from the Royal College of Art with an MA(hons) in Communication Art and Design. For his vibrant and intelligent work, Yuko Kondo is in demand with major brands and creatives world wide. Yuko has built up an impressive client base as listed below. Yuko Kondo's aim is to entertain the viewer through his work, making bold use of colour, pattern and a distinct repertoire of surreal and often darkly humorous characters. His first book 'Too Fat Can't Fly' was published though Pocko/Gingko. Yuko Kondo participated in many exhibitions across Europe, USA and Japan, with his first solo show taking place in London in 2009. Yuko Kondo's latest project is 'Y to R', an art direction / design / branding unit he set up with experienced art director Ryuhei Nakadai who learned his trade at Hakuhodo (Japan's biggest advertising agency). Previous clients include: Microsoft Windows 7, Playstation Portable, Playstation, PS3 (Little Big Planet), Nike, Coca Cola, LEE Jeans, Converse, Levis, Virgin Mobile USA, Orange, Doritos, Covent Garden, European Union, NYC GO, Don't Panic, Eurostar, TGV, Rail Europe, International Feel Recordings, Glasgow Underground Recording, Virgin Records, Merrydown, Uniqlo, Vans, Puma, Paul Smith, Random House, John Brown Publishing, Red Bulletin, Dazed and Confused, Time Out, Observer, Wallpaper*, Art Review, Complex Magazine & Milk Magazine.
Fountain, Linda
Harrison, Nancy
Nancy began her career like many illustrators do - crayoning on walls. Back then it was considered a bad habit, now she gets paid for it. In fact, she's doodled her way into a great career. While she now live in the U.S., she spent a big chunk of her life in Montreal (that's Mo-ray-al, if you wanna sound French). She went to Art school (big "A" like painting, printmaking, sculpture, and makin' a mess), and studied Graphic Design & Illustration, graduating with a B.F.A., and an M.A. from Syracuse, a much bigger box of crayons, and a big black portfolio to drag around. She has worked as an Art Director & V.P. for an ad agency where she learned "work week" means 80 hours, budgets are ALWAYS less than your quote, and art directors supply free psychotherapy to clients. All this helped her start her own business and she's never looked back: She loves commuting in her slippers (but sometimes hates her boss). So here she is, still doodling, though she now does it digitally. She's done more than 30 kids books, magazines galore, and teaches the occasional digital art class to torture future creatives.
Smith, Kelly
Kelly Smith is an Australian Illustrator, working predominantly in fashion and beauty.
With a Bachelor of Fine Art from the Tasmanian School of Art, Kelly majored in photography and graphic design, but reverted back to her love of drawing after graduating. She ran a blog and launched her career after being interviewed in Vogue about an exhibition she was mounting.
Kelly's approach is mainly traditional, with 90 per cent of the work completed using a graphite pencil. She then scans the drawing in, adding colour and tweaking the image using Photoshop. Her compositions vary – usually it's a case of highlighting one focal area that's full of beauty, but in other cases she builds up a scene to surround it.
Her images are intricate, finely detailed pencil illustrations, incorporating pops of digital colour. They are soft and feminine in tone and content.
Howalt, Paul
A multi disciplined illustrator & designer specializing in graphic, humorous illustration for editorial, publishing, design or advertising projects. My main specialities include: editorial illustration, icons, pictograms, info-graphic, logo, character design and children's illustration. Feel free to contact me with any questions or to discuss your project. For USA, Canada and Europe you can contact my representative: Three In A Box in Toronto at: 416-367-2446 or info@threeinabox.com
O'Brien, Tim
Realistic painting on a tight deadline. Art is delivered as a final painting and a high resolution file. Award winning realistic illustration and portraits. Tim O'Brien has worked for most major publications and publishers since 1987. Many advertising clients and private portrait commissions fill out his busy schedule. . . Tim O'Brien has 9 paintings in the National Gallery in Washington, DC . . . Final art is delivered as well as being shot in-house and uploaded or burned to disc for immediate publication.
Morrow, JT
JT Morrow is known for his parodies and ability to mimic virtually any style from any era. From Stone Age art to Picasso and Norman Rockwell, JT also does caricatures and works in a graphic novel style.
Baviera, Rocco
Graphic Illustration for Corporate, Editorial, Advertising and Children's Books. Clients include: The Grammy Awards, Playboy Jazz Festival, Wall Street Journal Asia, The Washington Post, Expenience Life Magazine, M.A.D.D., Manpower Inc., OmniPod, Syngenta, Ketchum Canada Inc., World Wildlife Fund, Ontario Parks, Clarks Shoes UK, Up with Paper, Scholastic Books, Penguin Putnam, Skinner House Books, Cambridge University Press UK, Chirp Magazine, Two Peas in a Bucket,, and Kids' CBC. Digital files can be supplied as vector. KEYWORDS: Animals Green Eco Nature Wildlife Fun Whimsical Retro Digital Computer Illustrator Photoshop Fashion Design T Shirt Poster Retail Merchandise Environment Vintage Scrapbooking, food, beverage, drink, posters, packaging, travel, coffee, wine, business, financial, conceptual, suit, briefcase, retro, madmen, cool, Children Cute Kids
Lee Matt
Matt's work has exhibited across North America, Europe, Asia and Australia, including the Centre Pompidou in Paris and the Mall Galleries in London. His work has been published by Gestalten, The Guardian, The Independent, FT and Creative Review. Originally from the UK, Matt spent ten years in Bangalore, India where he held a faculty position at Srishti Institute of Art, Design and Technology. He has also been an associate lecturer on the postgraduate Visual Arts: Digital Arts course at Camberwell College of Arts. He has a passion for Indian matchboxes, surf music and hand block printed shirts. Illustration clients include: Afar Media | Atelier Works | Bacardi NH7 Weekender | BBC | British Airways | Caspian Media | Cedar Communications | Centaur Publishing | Computer Arts | Craik Jones | Creative Review | Dont Panic Media | Duncan Baird Publishers | Goldfish | Lowe Worldwide | FT | HSBC | Mongrel | MTV | Orange | Ocean Media | Paperwhite Studio | Reed Business Information | Rubber Studios | Shots Magazine | TES | The AOI | The Guardian | The Independent | The Times | Time Out | Unanimous
Mattei, George
I like to explore medical & psychological themes as well as anything else you just can't wrap your mind around.
Chou, Ping Hua
Ping is an illustrator grew up in Taiwan where she studied Chemistry. After working at a newspaper publisher in Taiwan as a visual designer for four years, she went on to study Illustration at the Academy of Art University in San Francisco. Her work includes editorial illustration, commercial illustration, interactive illustration, animated illustration and graphic design. She loves cooking and cycling.
Coyle, Laura
Laura Coyle creates distinctive art with wide appeal. Her clients include major brands like Target, Amazon.com, Disney and publications including Better Homes and Gardens and The Wall Street Journal.
Laura made her first foray into product design with Hasbro. She was called upon to refresh the classic Parcheesi board game, a design that had remained unchanged since the early 1900's. The challenge was to create illustrations that would highlight the game's origins in India and enhance its appeal to kids today. In working on Parcheesi, she discovered a love for designing products that can connect with people every day.
Since then, Laura's gift bag, wrap and paper ware designs have appeared on the shelves at Target, Papyrus and Hallmark.
Laura grew up in Atlanta, Georgia, and earned her BFA from Auburn University. She started her freelance career living in the East Village in New York City, dropping her portfolios off with art directors while working part time as an assistant to renowned jazz photographer Jimmy Katz. Laura now lives back in her hometown with her husband Clayton, an architect, in their 1950's ranch house which they renovated together.


Going eco or organic, like minimalism, is a process. If you don't love it, or you don't use it, get rid of it. From there, only buy what you love – applying the one in & one out principle.
I first applied the minimalist philosophy to my wardrobe, then my home: kitchen, bathroom, linen cupboard. Then came my personal items: skincare and cosmetics. All of this, whilst very quickly typed into a neat paragraph here, is a process that has taken me a couple of years. Now that my home has had an overhaul (and is in a constant state of 'minimalist progress') it was high time to devote my attention to – finally – going green with my cleaning products.
When thinking of a cleaning product (that I haven't yet found/made a suitable DIY recipe for) I didn't think it was possible to find something that met my desire of turning my home eco / organic. What's typically scared me off in the past is the exorbitant / cost prohibitive price tag that's come with the opportunity to buy organic.
And then I found Eco Store. Welcome to the Heussler Family you delicious brand you!
I spent MONTHS researching the best organic companies the world had to offer – more specifically those made locally, or could at least ship to me here in Sydney, Australia. Not only did I find the products I wanted for my home – they are wholeheartedly New Zealand made (close enough to being Aussie *wink) – and come in an entire range of cleaning, laundry, hair, skin, body, oral care, kids and baby products! Ahhh, my skin did a little dance.
+ Health first | When delving into the EcoStore brand philosophy, health is a big concern. Their scientists evaluate and minimise the impact their products have on people's health every step of the way, from sourcing raw materials to end use.
+ Sustainability | EcoStore use sustainably-sourced plant and mineral based ingredients over petrochemical ones whenever possible and every one of their ingredients is assessed for sustainability and biodegradability. They also report to undertake independent environmental testing to make sure that their products are suitable for septic tanks and greywater systems (a huge plus if you're an Australian – we have plenty of these in our back yards). Learn more about Eco Store's pledge: kinder to our planet here.
+ Not tested on animals | The biggest deal-breaker for all my purchases is the difference between being PETA-certified cruelty-free – and not. EcoStore carry out extensive in-house testing, as well as large-scale consumer testing of their products, to make sure their customers love them (if only they had my number when they opened their doors for business in 1993! Well, back then, at least my parents number haha). Their products proudly carry the PETA (People for the Ethical Treatment of Animals) Logo and they have verified that they do not conduct or commission any animal tests on ingredients, formulations, or finished products and pledge not to do so in the future. Learn more about Eco Store's not tested on animals statement of assurance here.


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text:
A nod to an engineer
Posted on July 12, 2018 by NSC in Projects and Features, This month's featured stories
The building forms an important part of a new canalside development
Exposed steelwork is the order of the day for a new eye-catching commercial development in west London. Martin Cooper reports.
Brunel Building, Paddington, London
Main client: Derwent London
Architect: Fletcher Priest Architects
Main contractor: Laing O'Rourke
Structural engineer: Arup
Steelwork contractor: Severfield
Steel tonnage: 2,350tOverlooking the Grand Union Canal opposite Paddington Station, an innovative new workplace, which offers up more than a passing nod to the famous builder of the rail terminus, is taking shape.
Named in honour of Isambard Kingdom Brunel, the Brunel Building would undoubtedly have delighted the famous engineer with its exposed engineered steelwork and multiple connections, which sits perfectly next to his giant iron-framed station shed.
Together with exposed steelwork, the industrial palette of the building also includes exposed concrete flooring and cores as well as service runs, accommodated within cellular beams, all left in full view.
"As well as offering recognition to Brunel, as his first-ever bridge was once located on the northern boundary of our site, the steel design has enabled us to express the structure in a contemporary way and create the desired clear internal spans," says Fletcher Priest Architects' Senior Project Architect Chris Radley.
The scheme has been in the offing for nearly 14 years, but finally started to come out of the ground last year once Laing O'Rourke had been awarded the contract by Derwent London.
The design had always envisaged a stand-out commercial building, one that would make people stop and look up, and that is exactly what is now being delivered.
Brunel Building features an eye-catching steel exoskeleton
The skeleton's nodes have up to seven beam connections
Orange steelwork highlights the main entrance
Orange shrouds cover the connections between the skeleton and the internal beams
Topping out at 17-storeys high, the building's most visually exciting component is its exoskeleton that sits in front of the cladding and allows the structure to have continuous glazing to all facades.
The glazing will offer the occupiers, especially those on higher floors, some spectacular views of London, while the exo-skeleton will provide solar shading.
The exoskeleton is a diagrid of steel beams that rakes out and then inclines back in at level nine as it wraps around the building's four elevations. Connecting the skeleton's beams are a series of nodes, that depending on their location, have up to seven beam connections.
The largest of the multiple nodes are generally 6m in diameter and weigh 2t, while the diagrid's steelwork is a combination of UC sections and fabricated plate girders up to 17m in length.
The fabricated column sections that make up the exoskeleton have a common overall dimension of 350mm x 400mm, with flange and web thicknesses optimised to suit loads.
"The skeleton is an architectural feature as it supports vertical loads, but does not contribute to the overall lateral stability of the building as this is done by three cores," explains Arup Engineer Steve Peet.
"There are longitudinal forces generated and these are taken back to the cores, but generally the less steep elements are all non-structural, acting as bracing while the steel is being erected."
A series of Fabsec cellular beams connects the exterior skeleton frame to the three centrally-positioned concrete cores.
As the building splays outwards on plan, the eastern end of the structure has column-free spans of 6m, but this increases substantially to 18m-long clear spans, either side of the core at the western end.
"Because the steelwork is left exposed as a feature element, the cellular beams have bespoke 'wishbone' connections to the core and exoskeleton," says Severfield Senior Project Manager Andy Luter.
'They taper down from 650mm-deep sections to 350mm in order to minimise the penetration through the cladding as well as providing aesthetically pleasing steelwork."
Architectural flourishes of bright orange are a feature adorning a number of areas within the building. The eastern elevation of the structure features orange-painted steel columns for the lower floors, highlighting the main entrance, while the 'wishbone' connections have all been retrofitted with an orange aluminium shroud that sits outside of the cladding, providing another stand-out feature.
Forming the floors of the building, the Fabsec cellular beams support precast panels, all of which have been installed by Severfield along with the steelwork. They have a highly architectural polished finish to their undersides as this part will be left exposed in the final scheme, while on top, a concrete topping is applied to form the floor.
Prior to the topping being applied the panels would ordinarily need to be propped as they would not be stable. However, on this scheme, most of the temporary props have been dispensed with as the panels have a steel torsional restraint which provides rigidity during the temporary state.
The restraint is a steel beam fixed to the underside of each panel, which is removed once the floor has been cast. Either end of the panel has a steel plate that connects to the adjoining panel, and these are cast-in and hidden from view once the floor is complete.
Severfield's programme involved erecting three floors of steelwork before using the same tower cranes to install the concrete floor panels, by lifting them carefully down through the steel members.
The site's two tower cranes are positioned in voids either side of the main central core and the two outer cores. These areas, which measure up to 8m-wide, will be infilled by Severfield during a return visit once the cranes are no longer needed and dismantled.
"Coordination has been key to the success of this project," explains Laing O'Rourke Project Manager Craig Stokes. "Severfield has had to work closely with our offsite precast panel production to install the steel restraints prior to them being delivered to site."
Steelwork starts at ground level and is founded on a concrete substructure encompassing a two-level basement. This has been formed by a combination of raft foundations, a secant wall up to 25m-deep and a concrete capping beam.
"The secant wall and the raft have to work in conjunction as in one corner of the building the proximity of the Bakerloo Underground Line meant no deep piles could be installed," explains Mr Peet.
The Brunel Building is due to be completed during 2019.
Exoskeletons in buildings
The Brunel Building adopts an exoskeleton. Richard Henderson of the SCI discusses the structure.
Exoskeletons are present in various creatures to support and protect the animal's body. Examples are such insects as grasshoppers and crustaceans such as the lobster. Humans have an endoskeleton as do most buildings. Exceptions are described by Kathleen Villaluz [1] and include the Centre Pompidou (Paris) and the Hotel Arts (Barcelona). Placing the structure of the building externally allows large open spaces in the interior and using it to resist lateral loads maximises the lever-arm in the structure and therefore minimises the uplift forces due to overturning. A penalty is paid for this in the necessary penetrations through the building façade to allow the connections of the horizontal structure to the exoskeleton. Other building forms which employ the structure at the perimeter to resist lateral loads are the framed tube pioneered by Fazlur Khan in the 1960s (eg the Willis Tower, Chicago) and the braced tube (eg 30 St Mary Axe – colloquially, the Gherkin). In these buildings, although the lateral load resisting structure is on the perimeter, allowing the same generous open spaces in the interior, it is enclosed within the façade.
Another example of a building with an exoskeleton in London is Bush Lane House by Arup Associates in which the external diamond lattice structure transfers vertical loads to the main vertical columns and shares in resisting the lateral loads on the building in one of the orthogonal directions. A particular feature of the external structure in Bush Lane House is that the external bracing is of stainless steel and is water filled to provide fire protection. The external structure therefore has several different functions.
The exoskeleton of the Brunel Building is an architectural feature which supports vertical loads but does not resist lateral loads, thus not fully exploiting the available structure. The lateral stability of the building is provided by three substantial concrete cores. The absence of stiffeners in the connection details between the less-steeply inclined elements and the steeper ones in the exposed frame confirms that the forces in the former elements are not significant.
[1] https://interestingengineering.com/top-7-exoskeleton-structures-around-the-world
braced tube
cellular beams
exposed concrete floor
exposed steel frame
Fabsec
framed tube
lateral stability
plate girders
precast panels
temporary propping
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text:
A new digital challenger bank just got its licence and is raising tens of millions of pounds
Oscar Williams-Grut Dec. 1, 2015, 8:43 PM
Tandem will be looking to dethrone banking heavyweights — like Tyson Fury did with Wladimir Klitschko. Action Images via Reuters / Lee Smith
A new British challenger bank set up by a host of financial heavyweights, including the co-founder of Capital One, got its banking licence on Tuesday and is set to launch next year.
Tandem Bank is the second digital-only bank to be licensed by the Bank of England this year after Atom Bank, which became the first mobile-only bank to get a licence from the Bank of England in June.
Both will be regulated by the Financial Conduct Authority and the Prudential Regulation Authority.
Tandem's co-founder Ricky Knox told Business Insider: "We've been amazed by the process, we've really found them incredibly accommodating. We've had a very smooth ride from the beginning."
Knox has a long history in fintech (financial technology), helping to found international currency businesses SmallWorldFS and Azimo. Tandem will be a so-called neobank — a new, online-only, mobile-focused bank with no branches (although it will have call centres).
There's a boom in neobanks springing up across Europe, with Atom Bank, Mondo, and Starling in the UK, and Lunar Way in Denmark.
Knox has founded Tandem with Matt Cooper the co-founder of Capital One, the 10th biggest bank in the US. Cooper chairs the company.
Knox says: "We looked around all the sectors that were being disrupted and saw the next frontier being retail banking, the core business. We feel it's going to be massively disrupted over the next 10 years."
He adds: "The reason there's an opportunity for a new digital bank is because there's a new generation of people growing up who have very different relationships with their institutions. They want mobile banking.
"We think now is the time [to launch a digital challenger bank] and that's driven by a generational, as well as a behavioural, shift. We're looking to address the vast majority of the UK working population."
Tandem Bank co-founder Ricky Knox. Tandem Bank
Alongside Cooper, Tandem's management and board features a host of other financial veterans who between them have served at GE Capital, Lloyds, Barclays, Williams & Glyn, and Santander.
"I always try and get the best talent from the industry to come and support me because I think it is absolutely massive," Knox says. "If you want to really disrupt and really do something new, you have to really understand what came before."
Knox and Cooper have been working behind the scenes on getting Tandem its banking licence since July last year and Knox says the company has raised a "quite a lot of capital" although wouldn't say how much.
He did say that the company is currently in the process of raising a big round of funding "similar to Atom's" — referring to Atom Bank, another pre-launch digital challenger bank that last week raised £45 million from Spanish bank BBVA.
Knox says Tandem differs from Atom in that it is more customer focused, rather than technology focused. He says: "We know their crew [Atom] pretty well. I think the really big difference between us and Atom is I think Atom are very focused on the mobile experience as the driver for everything they do.
"We're very focused on customer outcomes and getting a much better deal for our customers. We come from different places."
He adds: "It's good that we have lots of guys entering the market. If I was a one man band trying to convince the UK to drop their bank, I think that would be a fiasco. Frankly, the more the merrier."
London-based Tandem will launch to the public in the second half of next year with products including current accounts, credit cards, savings, and loans.
Knox says the plan is to use innovative products to drive customer adoption, saying: "We're not assuming people are going to walk in and open a current account on day one, we're assuming we need to build trust with the customer over time and solve pain points over time."
He gives loans for a housing deposit as an example of the type of "pain point" Tandem will look to solve, saying: "Right now it's pretty tricky to get a loan for a deposit, in fact banks actively avoid deposit loans.
"We see that as a really interesting pressing need that banks aren't addressing right now because they say oh that's not in my risk profile. It's something we'll definitely look to address."
NOW WATCH: What you need to know before going into business with family
Oscar Williams-Grut


text:
Q: Exclude all modules from Wildfly 10 I'm trying to deploy my Spring-boot app to a wildlfy server.
However, i'm finding some conflicts between the libs.
So, i want my app to use only what i define on my pom, and completely ignore all wildfly modules.
Is it possible?
Using Wildfly 10 and spring-boot 2.x

A: Modules
Yes, it is possible. According to the RedHat docs, §3.4, and according to my practice which I have tested several times: You can PREVENT A Module being implicitly loaded. For this:

*

*Create (if not already existing) jboss-deployment-structure.xml file and add this into that file:
<jboss-deployment-structure>
    <deployment>
       <exclusions>
          <module name="org.javassist" />
          <module name="org.dom4j" />
          <module name="org.apache.commons.configuration" />
          <!--and so on.. -->
       </exclusions>
    </deployment>
 </jboss-deployment-structure>

*add this (jboss-deployment-structure.xml) file to the project (For a web application (WAR) add this file to the WEB-INF directory. For an EJB archive (JAR) add it to the META-INF directory).
Sub-systems
On the other hand, EAR files (modules) will most likely include sub-systems, like WAR and JAR files. You can exclude only sub-system, from the module, as well. For this, include this snippet in the same (jboss-deployment-structure.xml) file:
<exclude-subsystems>
  <subsystem name="SUBSYSTEM_NAME" />
</exclude-subsystems>


text:
Rowing ready to make a splash in Fayette County
Post author:Christopher Dunn
Post category:Community / News / Top Stories
Another recreation option is coming to Fayette County following a unanimous vote of support from county commissioners Thursday night. The vote creates a Youth Athletic Association Agreement between the Fayette County Parks and Recreation Department and the Peachtree City Rowing Club, allowing for the club to use Lake McIntosh as a venue for the sport.
Megan Gradek spoke on behalf of the Peachtree City Rowing Club, sharing her enthusiasm for the sport and its potential in the county.
The Rowing Club, with their eyes set on putting boats in the lake in early July, will begin by offering high school and middle school rowing programs, Masters rowing programs, and recreation department summer programs for kids.
With a view towards the future, the club hopes that growth could lead to rowing eventually becoming an officially recognized school sport. That prospect could be especially exciting for girls, as the sport has the highest rate of scholarships. Gradek noted that the largest number of women's college scholarships relative to the number of high school participants in a sport comes in rowing, where 52% of girls who apply for scholarships get them.
Gradek, who has competed in rowing for the U.S. National Team, noted that Lake McIntosh has the potential to host some tremendous events down the road.
"We could indeed host a very large scale international regatta one day," said Gradek. "It's a great venue."
While the county will put some money upfront to help jumpstart the program, particularly to help improve facilities, the $25,000 to $30,000 they would provide will be minimal thanks to the assistance of Row America. Row America is a program dedicated to helping grow the sport, and they will supply the bulk of what is needed, namely coaches and equipment. The biggest cost savings will be in Row America supplying the boats that would typically cost about $40,000 apiece.
"I was shocked at how many rowers actually live in Fayette County," said Commissioner Steve Brown, who expressed particular interest in eventually seeing it become a certified high school sport. "It's going to be a great program."
Christopher Dunn
Managing Editor Christopher Dunn has been with the Fayette County News since 2011, in addition to running Fayette Victory magazine. He is a graduate of Fayette County schools, as well as a graduate of Georgia State University with a degree in journalism. Follow him on twitter @fayettesports.
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