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Arts Features
Arts Notes
Arts Choices
Comedy Reviews
Eastside Culture Crawl
PuSh Festival
Arts Reviews
Visual Arts Reviews
Arts Spot
PuSh Festival: Aalaapi director Laurence Dauphinais embraces the rhythm of Inuit life
by Charlie Smith on January 27th, 2022 at 12:11 PM
In 2017, musician and actor Laurence Dauphinais and radio documentary maker Marie-Laurence Rancourt decided to do something that most artists would never consider. The two women set out to make a theatre production concerning a topic about which they were completely ignorant: contemporary Inuit life in northern Canada.
"It was the 150th anniversary of Canada, and there were these very interesting grants at the Canada Council for the Arts," Dauphinais explains by phone from Montreal. "They were basically programs inviting artists to take risks and get out of their comfort zone and dream big."
Dauphinais and Rancourt quickly discovered that radio was an extremely important social and cultural aspect of everyday life in the North. Moreover, radio is available in Inuktitut—which is the language of Inuit communities—as well as in French and English.
People play bingo on the radio, share stories on the radio, and hold political and community meetings live on the radio.
"Radio is on all the time in Inuit houses," Dauphinais relates. "It's really, really the centre of community in a way."
So Dauphinais and Rancourt decided to make this Inuit love of radio a centrepiece of their show, Aalaapi, which aims to convey what contemporary life is really like up North. They gave the microphone to Inuit women to share their realities in a "very antisensationalist way".
"They're for the most part extremely attached to their culture but also are connected to the global realities that we all know," Dauphinais says.
Anne-Marie Baribeau
The set is a façade of a house with a small window, through which the audience can see the women living out their lives. The exterior of the house functions as a screen, allowing Dauphinais, the director, to project multimedia images, live animation, and words and subtitles.
"I kind of knew that it was going to work," she says, "because all of a sudden, we had the space; we had the sensation of voyeurism, of distance. People had to engage and be patient to get access to the culture they were watching."
Through her research and the time she has spent with Inuit people, she's learned that they have a different relationship to language than people down south. In Inuit culture, she maintains, there's a lot of room for silence. The title of the production, Aalaapi, comes from the Inuktitut word meaning "creating silence in order to hear something beautiful".
"You teach through what you do more than through what you say," Dauphinais says. "So we thought that was pretty radical—the relationship to silence."
She points out that Inuit communities have a slower rhythm, which she tried to mirror with a contemplative and poetic theatrical piece. The goal was to put the audience in a head space of deep listening, which is really the theme of the show, so they can appreciate a part of Canada that most of us don't even know.
"We think we are a northern country, but 95 percent of our population lives in this tiny sliver in the south," Dauphinais says.
The PuSh International Performing Arts Festival will present Collectif Aalaapi and La Messe Basse's Aalaapi at the Waterfront Theatre from January 29 to February 2. For more information, visit the festival's website.
@charliesmithvcr
Charlie Smith was editor of the Georgia Straight from 2005 until September 2022. Prior to that, he was the news editor.
VIFF review: "Evan's Drum" shows a little boy's pride in connecting with Inuit traditions
Georgia Straight guide to the PuSh International Performing Arts Festival


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Home News Field Trip to NYC on January 22nd – Waiting List Only
Field Trip to NYC on January 22nd – Waiting List Only
The date for our much anticipated NYC outing has been set as Thursday, January 22nd! Members (only) are encouraged to join us for a trip to the Museum of the City of New York and catch a glimpse of the visual culture of elite New York in the late-19th and early-20th centuries. After our tour, the group is invited to lunch at the fabulous NYC apartment of Rowayton Gardener Lilly Langotsky. For more details about the Museum and specifics of transport, cost and time, click below.
The Museum was founded in 1923 by Henry Collins Brown, a Scottish-born writer with a vision for a populist approach to the city. It was originally housed in Gracie Mansion, the future residence of the Mayor of New York. Hardinge Scholle succeeded Henry Brown in 1926 and began planning a new home for the Museum. The City offered land on Fifth Avenue on 103rd-104th Streets and construction for Joseph H. Freedlander's Georgian Colonial-Revival design for the building started in 1929 and was completed in 1932.
During the next few decades, the Museum amassed a considerable collection of exceptional items, including several of Eugene O'Neill's handwritten manuscripts, a complete room of Duncan Phyfe furniture, 412 glass negatives taken by Jacob Riis and donated by his son, a man's suit worn to George Washington's Inaugural Ball, and the Carrie Walter Stettheimer dollhouse, which contains a miniature work by Marcel Duchamp. Today the Museum's collection contains approximately 750,000 objects, including prints, photographs, decorative arts, costumes, paintings, sculpture, toys, and theatrical memorabilia.
Our chartered bus will leave the Community Center at 8:15 am, with an expected return time of 4 pm. The fee of $50 (payable to Rowayton Gardeners and mailed to Sally Tepas, 8 Barnfield Road, Rowayton, CT 06853) will cover transportation, lunch at Lilly's and a docent led tour of the "Gilded New York" exhibit at the Museum. If you have any questions, email Sally at sallytepas@gmail.com.

redpajama_set_name: RedPajamaCommonCrawl


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Led by Bill Hull. This class will involve an overview of the dynamics of human memory, utilizing some medical and psychology resources, in conjunction with selected stories in the Old and New Testaments. Discussions will revolve around these Biblical texts and how they illustrate the ways reflecting and remembering shape and nurture our faith journeys.


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Q: Which microcontroller to select with A/D more than 24Mhz sample rate? I am looking for a micro-controller a cheap one with dual A/D and at-least 8bit and sample rate more than or equal to 24Mhz.
Please someone provide me with name, number of such microcontroller or some online repository where i can search.

A: Sample rates that high almost never come built in to a micro controller. An ADC with that sample rate is too expensive for the manufacturer to want to add it to their micro controller (and 90% of their customers will not make use of the high sample rate), and almost no micro controller on the market can do any sort of processing on 24MS/s. If you want such a thing, you'll have to purchase an external one and connect it to something that can handle the sample rate, like an FPGA or maybe a high end DSP.

redpajama_set_name: RedPajamaStackExchange


Tom McDougall is the founder of 4P Foods, a D.C.-based food hub that sources from environmentally responsible family farmers and works to reconnect the community with their local foodshed.
Today's food system, according to estimates by the Kellogg Foundation, provides consumers with roughly 2 percent of their food from local and sustainable sources. The other 98 percent comes from a globalized industrial agricultural system, which is fantastically efficient at producing "cheap" food. However, in terms of human and environmental capital, the true cost of food is astronomically higher than the price tags we see in the supermarket. It is time to rethink the fundamentals of our system.
The good news is that system-wide changes are already happening. Around the country, individuals, communities, businesses, and governments are realizing this is not only an urgent problem but also a tremendous opportunity to strengthen communities and heal our planet. Everywhere we look, we are seeing innovative, sustainable, and profitable food systems being built on the principles of equity and inclusion.
We see rooftop farms and community gardens. We see Co-Ops, Benefit Corporations, and food hubs. We see a demand for local, transparent, ethically produced food that is outstripping the supply. We begin to see the mosaic of a sustainable, regenerative food system of tomorrow.
Food hubs, in particular, are a vital component in the burgeoning ecosystem of sustainable, ethical producers. While the USDA defines a food hub simply as a business (or organization) that "aggregates, stores, markets, and distributes, source-identified local food," food hubs do much much more.
As small and mid-scale farmers continue to find creative ways to access markets, food hubs often assist with everything from GAP Certification, to crop planning, pricing strategy, food safety trainings, networking and mentoring, access to capital, and marketing support. Food hubs not only open new market opportunities for the farmers they work with, but they can also help catalyze the shift away from industrialized mono-cropping and back towards a diversified operation, yielding greater environmental resiliency and often more profits to the farming operation. While many of the food hubs around the country are young, the role they are playing in connecting and empowering sustainable farms cannot be understated. In less than a decade, more than 400 food hubs across the country have launched, aggregating from over 28,000 small and mid-size farmers.
The key to success for the various food hub models lies in the fact that there is no "one size fits all" food hub. What works in Bangor, Maine may not work in Charlottesville, Virginia or Jackson, Mississippi. As one of my fellow food hub nerds accurately describes the food hub model, "If you've seen one food hub… you've seen one food hub." The ability for food hubs to listen to their stakeholders and build their models based on the needs of their farmers and their communities has led to tremendous growth in the size, scope, number, and impact of food hubs.
With the growth of these aggregator models, we are reaching a tipping point. Now that there are more than 400 food hubs around the country, we have the beginnings of the physical infrastructure needed to support a new, alternative supply chain that sources exclusively from regional, sustainable producers with technology-enabled transparency every step of the way – once again putting a face and a voice to our food. As food hubs scale, the next generation is emerging: food ports. These aggregate the smaller regional hubs and include processing, production, and distribution functions so that good, small, and mid-scale food can finally make its way into the institutional and large wholesale supply chains.
Increasingly and encouragingly, schools, hospitals, universities, commercial campuses, and the food service giants that contract with all of them are being pushed to procure more transparent, local and regional foods. Good food should be a right, not a privilege. By developing the technical and physical infrastructure to connect these food hubs, and open the channels such that good, sustainable food is the norm – not the exception – we can not only support sustainable, regional agriculture, but we can also provide healthy food to systems and communities that are currently under-served by our industrialized system.
And of course, no one could do this alone. Food hubs, food ports, advances in infrastructure, investments in technology, and collaboration across sectors are but a few of the innovations that will ultimately build more resilient, sustainable, and equitable food systems that not only can sustain agriculture and the communities it supports, but work to regenerate and heal some of the damage that has been done. It takes an entire ecosystem of unique partners and models to make that possible because no size fits all.


Dirk Hebel pictured during the Academic Committee meeting in December 2017 at ETH Zurich, Switzerland.
Dirk Hebel was Assistant Professor of Architecture and Construction at the Future Cities Laboratory (FCL) established by the ETH Zurich and Singapore's National Research Foundation.
Dirk Hebel, Assistant Professor of Architecture and Construction, ETH Zurich, Switzerland.
Dirk Hebel is Professor of Sustainable Construction at the Karlsruher Institut für Technologie (KIT) in Karlsruhe, Germany (2017–).
He joined the Academic Committee of the LafargeHolcim Foundation in 2017.
Dirk Hebel was Principal Investigator at the Future Cities Laboratory (FCL), which was established in 2010 by the Swiss Federal Institute of Technology (ETH Zurich) and Singapore's National Research Foundation. He obtained a Master of Architecture from the ETH Zurich in 1998, and a Master of Architecture from Princeton University in 2000.
He was Assistant Professor of Architecture & Construction and Director of the Master of Advanced Studies Program in Urban Design at the ETH Zurich (2012-17) and founding Scientific Director of the Ethiopian Institute of Architecture Building Construction & City Development (EiABC) in Addis Ababa, Ethiopia (2009-12).
Dirk Hebel practices architecture with his firm DRKH Architecture, based in Zurich, activating unusual building materials such as air (DISCOVERIES, an exhibition for the Foundation Lindau Nobel Prize Winners and ON_AIR, an installation for KunstWerke Berlin), water (as the project manager of Diller & Scofidio for the BLUR Building for EXPO.02 in Switzerland), bamboo (in his research on new bamboo composite materials for the building sector), or waste (as in the New York ETH Pavilion for IDEAS CITIES 2015 and the award-winning project UNITED_BOTTLE). His work has been shown in numerous exhibitions worldwide, including the Design Fair Cologne (2017), the Seoul Architecture Biennale (2017), and the Venice Architecture Biennale (2016).
His building projects include the UMAR (Urban Mining & Recycling) project in Zurich for EMPA Dübendorf (2017, with Felix Heisel and the Werner Sobek Group), the headquarters of Seele in Gersthofen, Germany (2017, with Hotz+ Architekten, Felix Heisel, and Uta Bogenrieder), and a school house complex for 1,000 students and manufacturing complex for 500 workers in Cambodia for the NGO Smiling Gecko (2016-17, with Lisa Devenoge, Lorine Grossenbacher, Franziska Matt, Elizabeth Müller, Alina Wyder, and Marcel Aubert). Dirk Hebel was one of the founding partners of INSTANT Architects (2002-08). He received the New York Van Alen Institute Fellowship Award, the Red Dot Design Award for Best Conceptual Design, the SMART Innovation Grant Singapore, a ZUMTOBEL GROUP Award, and the LANXESS Award Singapore.
Dirk Hebel initiated an exchange program for both faculty and students between the Addis Ababa University (AAU) and the ETH Zurich, together with Franz Oswald and Marc Angélil. They organized study visits to Ethiopia, taking students to Lalibela, Gondar, Axum, Harer, Dire Dawa and Addis Ababa, and conducted workshops with different stakeholders in the field of the building industry including policy decision-making parties.
His publications include Cultivated building materials (Birkhäuser, 2017, with Felix Heisel), Building from waste: Recovered materials in architecture and construction (Birkhäuser, 2016, with Marta H. Wisniewska and Felix Heisel), Cities of change: Addis Ababa, Deviations – an experiment in architectural design pedagogy to initiate a plea for a new type of architectural practice (Birkhäuser, 2008, with Marc Angélil), Bathroom unplugged (Birkhäuser, 2005, with Jörg Stollmann) and Addis Ababa: Manifesto on African Progress (Ruby, 2018).
He was a participant in the 2nd LafargeHolcim Roundtable "Re-materializing construction", held in Einsiedeln, Switzerland (2015) and the 3rd Roundtable held at the Institute for Lightweight Structures & Conceptual Design (ILEK), University of Stuttgart, Germany (2018).
Dirk Hebel was a workshop moderator for Changing paradigms: Materials for a world not yet built at the 6th International LafargeHolcim Forum for Sustainable Construction held in Cairo, Egypt in April 2019.


"The current state of secure software development by corporations both large and small is a mess.
Software vendors need to realize that they must begin exercising due diligence when producing their software products. Microsoft dedicated itself to secure development practices some years ago, yet its developers are still taking months to fix reported vulnerabilities. If an industry giant like Microsoft cannot get a grip, it really does not bode well for the rest of the industry.
Part of my job involves creating an SDLC for the company I work for. Having spoke with many companies both large and small I agree with this article that most companies haven't figured out proper integration of security testing in development and QA. I consider this sort of initiative to still be fairly new to the industry with lots of room for improvement. The real challenge is finding the right balance for your specific development organization, and understanding that one approach does not fit all even within the same company.


text:
This gem bundles [rangeslider.js](https://github.com/andreruffert/rangeslider.js)
for the Rails asset pipeline.

## Installation

Add this line to your application's Gemfile:

```ruby
gem 'rangesliderjs-rails'
```

And then execute:

    $ bundle

Or install it yourself as:

    $ gem install rangesliderjs-rails

## Usage

In your application.js, include the following:

```javascript
//= require rangeslider
```

In your application.css, include the following:

```css
*= require rangeslider
```

redpajama_set_name: RedPajamaGithub


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Q: unable to remove tomcat jdbc dependency I am building a spring-boot application using an alternative to tomcat related stuff (jetty instead of tomcat and hikariCP instead of tomcat-jdbc) and want to exclude them from my dependencies written in pom.xml
I did that for 2 of the packages as shown below -
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-web</artifactId>
        <exclusions>
            <exclusion>
                <groupId>org.springframework.boot</groupId>
                <artifactId>spring-boot-starter-tomcat</artifactId>
            </exclusion>
        </exclusions>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-jetty</artifactId>
    </dependency>
    <dependency>
        <groupId>org.springframework.boot</groupId>
        <artifactId>spring-boot-starter-data-jpa</artifactId>
        <exclusions>
            <exclusion>
                <groupId>org.apache.tomcat</groupId>
                <artifactId>tomcat-jdbc</artifactId>
            </exclusion>
        </exclusions>
    </dependency>
    <dependency>
        <groupId>com.zaxxer</groupId>
        <artifactId>HikariCP</artifactId>
        <version>2.6.0</version>
    </dependency>

But there is some dependency which is including tomcat-jdbc as part of it.
Is there a way to debug that and find out which dependency is including tomcat jdbc as part of it?

A: mvn dependency:tree

If you run mvn dependency:tree, you will see that there are now a number of additional dependencies.


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SWBTS School of Church Music and Worship
BIBLICAL FAITHFULNESS
MUSICAL EXCELLENCE
MINISTRY FOCUS
Artistic Theologian Volume 3 (2015)
Download Full PDF | Download Logos doc (help)
John E. Simons
Artistic Theologian connects people and cultivates the sharing of ideas about worship, missions, and discipleship. As well, Artistic Theologian actively seeks to create thoughtful relationships between the academic and practical worlds of artistic ministry, and it is designed to give opportunities for peer-reviewed publication to scholars, students, and practitioners. This third volume also includes a collaborative article from a research and writing team of doctoral students working with their primary professor. The Editorial Board and the School of Church Music at Southwestern are pleased to present the third volume of Artistic Theologian.
Read more | Download PDF
"Worship from the Nations": A Survey and Preliminary Analysis of the Ethnodoxology Movement
Scott Aniol, et al.
As the world grows smaller through advancements in technology, communication, and transportation, Christians face important questions regarding the appropriate rela-tionship between ministry and culture. Christian missionaries are increasingly forced to wrestle with cultural dilemmas, particularly in the area of worship. Older models imposed traditional western forms on worship in foreign contexts, yet many have recently ques-tioned this practice as ignoring a culture's own indigenous styles and forms. One growing movement that seeks to answer these questions by encouraging full integration of Chris-tian worship with the indigenous target culture is ethnodoxology. Building upon developments in missiology over more than forty years, the ethnodoxology movement has begun to impact significantly the conversation about and the practice of music and worship in missions, and of the missions endeavor in general. The purpose of this paper is to trace the history and emphases of the ethnodoxology movement, assessing its strengths and offering proposals for further study. The pa-per begins with a brief summary of the historical developments that were antecedents to this new emphasis. It continues by synthesizing the movement's primary arguments. It concludes by offering a preliminary assessment of its strengths and potential areas of weakness.
Principles of a Baptist Theology of Worship
Baptists are known, perhaps are even notorious, for their distinctive beliefs, and worship is rarely considered to be one of them. However, worship was once the central concern that created divisions between believers and shaped the beliefs now considered to be distinctively Baptist. Early Baptists benefited from a robust theology of worship, and modern Baptists might be surprised to learn just how relevant the principles of that theology are today. The purpose of this essay is not just to explore those principles but also to open a dialogue about them. Pastors and worship leaders in Baptist churches often have a difficult time with worship because they do not know how to approach it objective-ly. The earliest English-speaking Baptist leaders struggled with some of the same issues we face today, and they left a surprisingly detailed record of their biblically inspired posi-tions. Their perspectives and conclusions offer a helpful starting point for a new dialogue on a Baptist theology of worship. This essay will introduce their theology of worship through two basic questions: what did a church rooted in pure worship look like from the early English Baptist perspective, and how should those churches be evaluated? The prin-ciples they established and the questions they asked are surprisingly germane to Baptist churches today. From time to time in this essay, questions will be offered for reflection on how these issues from the seventeenth century still resonate in the twenty-first century.
The Forgotten Art of Anamnesis
Long before the age of smart phones and tablets, I could recall names, addresses, and phone numbers of all my friends. That time has passed and now I do not even know the phone numbers of my own children. Like many, I tap their name on my smart phone and it dials their number. I e-mail or text them, and thus, do not have a clue of their mailing address. During the era of Bible drills, I knew exactly how deep to turn in my Bible to the book of Second Peter. Today, my Bible is an app on my smart phone, tap a book and chap-ter and within a second, it appears on the screen. Am I more dependent on technology and less dependent on my memory? A popular praise chorus contains the words, "We will remember, we will re-member, we will remember the works of your hands. We will stop and give you praise, for great is thy faithfulness." However, do we really pause in the midst of worship to re-member? The fast-paced, technological society we live in has a dramatic effect on not only our daily lives, but also our worship. Has technology caused us to forget that which we are supposed to remember? I fear that for many worshipers, remembering our actions and elements of worship is a forgotten, if not lost, art.
The Lord's Supper among the Early Philadelphia and Charleston Association Baptists
James Cheesman
The early Baptists of the Philadelphia Baptist Association and Charleston Association viewed the Lord's Supper in terms of the spiritual presence of Christ and emphasized sanctification and the communal significance of the ordinance. To prove these points, I will first discuss Elias Keach and his influence upon the beliefs and practices of the PBA. I will then examine what the Second London Confession, Keach's Covenant, Keach's Catechism, and other catechisms teach about the Lord's Supper. Finally, I will analyze the communion practices of both associations as presented by relevant primary sources.
Some Similarities and Differences between Historic Evangelical Hymns and Contemporary Worship Songs
Lester Ruth
Hymns are not choruses and praise choruses are not hymns. This sentiment was one of the major truisms of the battles that erupted in the United States in the latter twen-tieth century over various styles of worship. The idea that the two were not the same seemed self-evident. Indeed, early forms of contemporary worship, even before that term was coined, were premised on a distinction between the bodies of congregational song. For example, in the late 1970s the worship of John Wimber's congregation in southern California—first a Calvary Chapel and then a Vineyard Fellowship—was predicated upon those worshipers wanting to sing songs to God, not about God. But is such a dichotomy accurate? Are those bodies of song all that different? From a certain angle, especially one that only asks theological questions about the lyrics, hymns and choruses are often quite similar. They both are windows into a piety that shows con-stancy for more than 200 years in many critical aspects. Specifically, a theological analysis of the lyrics of the most popular evangelical hymns and choruses in the United States demonstrates important similarities in their Trinitarian perspective—or lack thereof—over the last 200 years. In addition, a close lyrical examination reveals significant points of divergence, especially in a shift to more direct forms of adoration in worship as well as in different eschatologies.
Abstracts of Recent SWBTS School of Church Music Doctoral Dissertations
"Kendall Taylor, Beethoven Editions, and the 'Tempest' Sonata" by Moira Hopfe-Ostensen, DMA
"The Liturgical History of the Song of Songs and Suggestions for its Inclusion in Haitian Evangelical Religious Gatherings" by Azer Lilite, PhD
"A Performer's Analysis of Fantasia in C Minor, K. 475 and Sonata in C Minor, K. 457 by Wolfgang Amadeus Mozart, and Selected Etudes, Nos. 1, 4, 10, and 16 By György Sandor Ligeti" by Kyoung Ah Mun, DMA
Visual Faith: Art, Theology, and Worship in Dialogue
William A. Dyrness
Worship in the Letter to the Hebrews
John Paul Heil
Intergenerational Christian Formation: Bringing the Whole Church Together in Minis-try, Community and Worship
Holly C. Allen and Christine L. Ross
The Poetic Wonder of Isaac Watts
Douglas Bond
It Was Good: Making Music to the Glory of God
Ned Bustard
Outreach and the Arts: Sharing the Gospel with the Arts
Constantine Campbell
The Secret Language of Sacred Spaces: Decoding Churches, Temples, Mosques and Other Places of Worship around the World
John Canon
Gathering Together: Baptists at Work in Worship
Rodney Wallace Kennedy and Derek C. Hatch
The Beginner's Guide to Worshiping God
Gary Kinnaman
A Guidebook to Prayer: 24 Ways to Walk with God
MaryKate Morse
Journey into the Heart of God: Living the Liturgical Year
Philip H. Pfatteicher
For the Glory of God: Recovering a Biblical Theology of Worship
Daniel I. Block
Joy for the World: How Christianity Lost Its Cultural Influence & Can Begin Rebuilding It
Greg Forster
The Nursery of the Holy Spirit: Welcoming Children in Worship
Daniel R. Hyde
Art and Music: A Student's Guide
Paul Munson and Joshua Farris Drake
The Lyre of Orpheus: Popular Music, the Sacred, and the Profane
Encountering God Together: Leading Worship Services that Honor God, Minister to His People, and Build His Church
David G. Peterson
Seeing Beauty and Saying Beautifully: The Power of Poetic Effort in the Work of George Herbert, George Whitefield, and C. S. Lewis
Monthly Email
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Using Hymnals in Your Worship Planning
Advent Hymns
© 2021 Artistic Theologian
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Huawei SnapTo (Unlocked)
The Huawei SnapTo is a terrific value for an unlocked LTE smartphone, but its performance is strictly entry-level.
Great price for an LTE phone.
Good call quality.
Solid build.
Average performance.
Heavily skinned, older version of Android.
As far as unlocked LTE smartphones go, the Huawei SnapTo is one of the best deals we've seen yet. For $179.99, it's completely compatible with both AT&T's and T-Mobile's LTE networks, as well as 3G networks abroad, making it a great first phone for a kid, or a travel phone for roaming. While performance falls a bit short of our Editors' Choice, the Alcatel One Touch Idol 3, it's hard to argue with the value here.
The SnapTo is a pretty generic-looking device. It's a rounded rectangle, with a removable, textured, black plastic back. But the plastic used here is a step above some of the too-flexible plastics used by, say, Blu and Verykool. I prefer the molded-polycarbonate feel of the unibody Moto E, but at least here you're getting a removable battery.
At 5.68 by 2.86 by 0.36 inches (HWD) and 5.26 ounces, the SnapTo is wider than the competing Moto E and Moto G. But it's still a one-handed phone, unlike the 5.5-inch Idol 3. The SnapTo's 5-inch, 1,280-by-720-pixel screen gets the job done, but it doesn't pop. A big part of the problem is that the plastic covering on the screen shows fingerprint grease very visibly, especially outdoors. It's perfectly usable, though.
Networking, Call Quality, and Android
The SnapTo has quad-band (850/900/1800/1900MHz) GSM/EDGE, quad-band (850/AWS/1900/2100) 3G, and LTE bands 2/4/5/12/17. That means it will work very well on both T-Mobile's and AT&T's networks in the U.S., as well as on 3G networks abroad. We tested the SnapTo with an AT&T SIM and got strong signal, with LTE speeds around 10Mbps down.
Call quality here is generally solid, although I could have done with a bit more volume. There was no scratchiness, and noise cancellation in the earpiece worked very well, but one of my three test calls was a bit too quiet. Transmissions through the mic sound great, with built-in noise cancellation killing even aggressive outdoor background noise. The speakerphone is good for indoor or in-car use, but too quiet for outdoor calls.
Battery life, at 5 hours and 6 minutes of streaming over LTE, was pretty average. Bring an external battery if you plan to have a long day, or go with a battery beast like the Blu Studio Energy.
For software, the phone is running the outdated Android 4.4.4 (KitKat) with Huawei's "Emotion UI" skin, which has one incredibly annoying aspect for longtime Android users: the app tray is gone. App icons march across home screens like the SnapTo was an iPhone with widgets. If the icon isn't on one of your home screens, you don't have the app. I get the point that this is supposed to be simpler than the standard Android approach, but it can be really disconcerting, and you'll end up making a lot of folders.
Of the built-in 8GB of storage, 4.1GB is usable. Some of that gets taken up by bloatware such as the "Route 66 Navigate" app and a town-sim game, but no worries, they're deletable. The microSD card slot under the back cover had no problem with a 64GB SanDisk card.
The SnapTo has a quad-core 1.2GHz Qualcomm Snapdragon 400 processor, which is par for the course with a lot of entry-level Android smartphones nowadays. That provides enough power for basic Web browsing and apps, but falls short on action games. Asphalt 8, for instance, was jerky and hard to control. Benchmarks didn't reveal any surprises: this is a low-cost, relatively low-power phone. The high-intensity GFXBenchmark Manhattan graphics benchmark ran out of memory halfway through, so it's a good thing there's a free-memory indicator on the multitasking screen.
See How We Test Cell Phones
The phone is equipped with a 5-megapixel camera on the back and a 2-megapixel camera on the front. With good outdoor light, the main camera works very well; pictures are colorful and nicely balanced. (The HDR mode does nothing, though.) As the light level drops, photos get softer. The front camera takes overexposed shots with outdoor light, and blurry shots in low light. Both cameras take good 720p video at 30 frames per second outdoors, but frame rates drop as the light gets lower.
Media playback is fine with headphones, but the back-ported speaker is really tinny. The SnapTo doesn't have any custom media apps; it relies on Google's Gallery, Google Play music, and anything you download. Playback of 1080p HD MPEG4 and DivX movies went just fine, although some of my sample videos had no preview icons.
Comparisons and Conclusions
I'm aware that a lot of this review is a little negative. But the SnapTo's value can't be seen independent of its price, and $179 for a solid, reliable LTE phone is a very good price indeed. LTE is critical on a smartphone nowadays; even beyond the increased download and upload speeds over 3G, the lower latency makes everything on the Internet feel much, much faster.
The SnapTo sits right between the Moto E LTE ($149) and the Alcatel Idol 3 ($250) on the price scale. The Moto E may appear to run a bit faster, but that's because it has a lower-resolution screen, and its camera is even less capable than the SnapTo's. The Idol 3, meanwhile, is the best value: For $250, you get a slightly faster processor, a much better camera, more storage, and a 1080p screen. That means the Idol 3 remains our Editors' Choice, although frequent travelers looking for a roaming device, or parents looking for a smaller device for a teen, might be quite satisfied with the SnapTo instead.


Weigela has been a constant, traditional favorite with gardeners and understandably so. Weigela have an abundance of tubular, bell-shaped flowers in late spring through summer. There are many different varieties of blooms and foliage color, which will attract hummingbirds to your yard! Weigela are also resistant to damage from deer or rabbits. You can see why you need to add this incredible shrub to your landscape. Valued as a specimen, border or container plant, Weigela are available in sizes from 12 inches high and wide, up to 5 feet high and wide. Growing best in full sun and in moist, well-drained soil, Weigela is adaptable to other soil conditions. They can tolerate part shade, however, flowering will be somewhat reduced.


If you are not satisfied with your item, because of the following reasons; wrong order, damaged or defective products, please let us know. All items can be returned except for the following items; underwear, adult toys, perfumes, cosmetics, hair extensions and jewelry. Our Returns Policy gives you 7 days to return or exchange an item bought online with a valid receipt. If 7 days have gone by since your purchase, we cannot offer you a refund or exchange. To be eligible for a refund or exchange, goods must be returned in a re-saleable condition. That means your item must be unused and in the same condition that you received it. The item must be in the original packaging and returned with any accessories, labels and "free gifts" or bonus items. To complete your refund or exchange, we require a receipt or proof of purchase. Please do not send your purchase back to the manufacturer.
If you are approved, then your refund will be processed, and a credit will automatically be applied to your credit card or original method of payment, within 14 working days. If you paid for standard delivery of the goods, the cost of standard delivery will also be refunded.
Then contact your bank, it may take some time before your refund is officially posted. There is often some processing time before a refund is posted.
To return your product, your details and reason for returning will be requested. After you have requested for a return and it has been approved a delivery man will be sent for pick-up at the original shipping address. You will be responsible for paying for your own shipping costs for returning your item, unless the item is defective, damaged or broken. Shipping costs are non-refundable. If you receive a refund, the cost of return shipping will be deducted from your refund. Depending on where you live, the time it may take for your exchanged product to reach you, may vary. For items above ₦10,000 you should consider using a trackable shipping service or purchasing shipping insurance as we cannot guarantee that we will receive your returned item.


A powerful audio coding system capable of superior results at stereo bit rates below 128 kb/s.
Advanced Audio Coding, or AAC, is one of several audio coding systems specified in the MPEG-2 standard (ISO/IEC 13818-7).
MPEG-2 AAC is the audio format utilized in the Japanese Digital Broadcast system, known as ISDB (Integrated Services Digital Broadcasting). MPEG-2 AAC is also the basis of the audio coding technology used by XM Radio, one of two satellite radio services currently operating in the United States.
MPEG-2 AAC has been extended with additional features and capabilities in MPEG-4 AAC . However, companies creating products for the applications described above may not require these additional AAC tools, and for such applications, we offer the MPEG-2 AAC Patent License Agreement.
A copy of the MPEG-2 AAC standard can be purchased from the ISO online store (search for "13818-7").
The International Organization for Standardization ISO did foresee the importance of compression algorithms for video and audio signals already at an early stage and hence founded the Moving Pictures Expert Group MPEG with the intention to develop and standardize these methods. The group´s highly acclaimed achievements are the standards MPEG-1 and MPEG-2. MPEG-2 Advanced Audio Coding (AAC) and was declared international standard by MPEG by the end of April 1997.
The major advantages of data compression are minimum memory requirement and minimum transmission bandwidth required by the compressed signal. This method is of useful service whenever resources are scarce or expensive. Thus digital radio (e.g. Eureka DAB, WorldSpace) and audio transmission in the internet constitute two major domains of application within the field of audio coding.
The driving force to develop AAC was the quest for an efficient coding method for surround signals, like 5-channel signals (left, right, center, left-surround, right-surround; as being used in cinemas today. There have been algorithms for these signals in MPEG-2 for quite a while. Optimum efficiency, however, was not reached due to technical and historical reasons. Therefore, the set aim was a considerable decrease of necessary bitrate.
MPEG-2 AAC is the consequent continuation of the truly successful coding method ISO/MPEG Audio Layer-3. The appropriate incorporation of high coding gain and great flexibility opens up a wide field of applications. With sampling frequencies between 8 kHz and 96 kHz and any number of channels between 1 and 48, the method is well prepared for future developments in the audio sector. Compared to coding methods such as MPEG-2 Layer-2, it is possible to cut the required bitrate by a factor of two with no loss of subjective quality.
Like all perceptual coding schemes, MPEG-2 AAC basically makes use of the signal masking properties of the human ear in order to reduce the amount of data. Doing so, the quantization noise is distributed to frequency bands in such a way that it is masked by the total signal, i.e. it remains inaudible. Even though the basic structure of this coding method hardly differs from the ones of its predecessors, a closer look into the details does reveal some new aspects worth paying attention to.
MPEGAudio is an ISO (International Standards Organisation) and IEC (International Electrotechnical Commission) world standard - open to everyone on an equal, non-discriminatory basis.
MPEG Audio is an ISO (International Standards Organisation) and IEC (International Electrotechnical Commission) world standard, open to everyone on an equal, nondiscriminatory basis. Being a world standard means that all organisations which have contributed to this Standard, will make their MPEG Audio patent rights available against fair, reasonable and nondiscriminatory conditions, thus preventing the influence of vested interests. Investments are future proof, the family approach of MPEG means forward and backwards compatibility, thus perfect audio/video integration. The forward and backward compatibility aspect of MPEG means that new developments will not necessarily make existing equipment and programming obsolete. The existing equipment may not handle additional features of a new standard, but will still operate within the specification of its own standard. MPEG equipped hardware is future-proof. MPEG's compatibility between formats allows for great flexibility. Content providers are free to supply their programs in any format (stereo, multichannel) in the knowledge that excellent audio quality is reproduced at the consumer end, whatever equipment is used. In other words: the supplier has a guarantee of, and control over, the quality of their programming. Efficient implementation of MPEG allows for cost effective consumer equipment prices with high quality and performance.
This page provides a background of the theory behind, and techniques involved with MPEG AUDIO. It also covers the more technical aspects of the MPEG standard. This is presented in questions and answers format.
MPEG2 audio is a compatible extension to MPEG1 audio encoding, which enables the transmission of mono, stereo, or multichannel audio in a single bitstream. It can operate at a wide range of bitrates (8 kbit/s up to more than 1 Mbit/s) and supports sampling rates of 16, 22.05, 24, 32, 44.1 and 48 kHz. For stereo, a typical application would operate at an average bit rate of 128-256 kbit/s. A multichannel movie soundtrack requires an average bit rate of 320-640 kbit/s, depending on the number of channels and the complexity of the audio to be encoded. MPEG2 defines an extension for five full bandwidth channels plus a low frequency enhancement (LFE) channel, termed 5.1 multichannel. With an additional compatible extension, seven channels are possible (7.1 multichannel).
How does MPEG audio work?
In devising an encoding method, the basis had to be the human ear. Although not a perfect device for acoustic reception, advantage was taken of one of its characteristics: a non- linear and adaptive threshold of hearing. The threshold of hearing is the level below which a sound is not heard. It varies with frequency and, of course, between individuals. Most people's hearing is most sensitive between 2 and 5 kHz. Whether a person hears a sound or not depends on the frequency of the sound and whether the amplitude is above or below that persons hearing threshold at that frequency. The threshold of hearing is adaptive, and is constantly changed by the sounds heard. For example, an ordinary conversation in a room is perfectly audible under normal conditions. However, the same conversation in the vicinity of a loud noise, such as an aircraft passing low overhead, is impossible to hear due to the distortions introduced to the hearing thresholds of the individuals concerned. When the aircraft has gone the hearing thresholds return to normal. Sounds that are inaudible due to dynamic adaptation of the hearing threshold are said to be 'masked'. This effect is universal but is of particular relevance in music, An orchestra instrument playing fortissimo will, to a greater or lesser extent, make the sound of some other instruments inaudible to the human ear. When the music is recorded, however, all the frequencies go on the medium because the response of the recording device is flat, i.e. it is not dynamically adaptive. When the recording is played the masked instruments will not be audible to the listener. A linear recording, as used on CD, is inefficient in this respect. To make the best use of a recording medium the parts of the medium that contain inaudible data can better be used to store audible data. In this way a fixed capacity recording medium can contain a considerably increased amount of audio without any loss of quality. Also, the demands on a transmission link carrying the information are reduced.
Is MPEG2 compatible with MPEG1?
The MPEG2 standard was designed with compatibility being a major consideration. With the ever-growing number of applications of MPEG1 audio, especially in the entertainment, satellite broadcasting (DSS) and multimedia fields, this compatibility will provide the consumer a cross-platform format to enjoy high quality audio reproduction. The core of the MPEG2 bitstream is an MPEG1 bitstream, which enables fully compatible decoding by an MPEG1 audio decoder. In addition, the need to transfer two separate bit streams (one for stereo and another one for the multichannel audio pro- gram) is avoided. In other words, a future upgrade of e.g. DSS with multichannel audio will not make existing set top boxes obsolete. The existing ones will reproduce stereo, the new ones high quality multichannel sound.
How does an MPEG1 decoder handle multichannel input?
An MPEG1 decoder will be supplied in the MPEG1 part of the bitstream with an appropriate (stereo) 'downmix' of all channels in the multichannel frame. The left and right channel of the stereo signal contain components of all the channels, according to the equations in the compatibility matrix. The MPEG1 (stereo) decoder decodes the stereo part of the MPEG2 frame, and ignores the multichannel extensions. MPEG2 defines four matrix sets, one of which is selected in the decoder from information in the MC (multichannel) frame header.
What is the purpose of the compatibility matrix?
The compatibility matrix is a set of operations performed on the channels to be encoded, which ensures that every type of decoder (stereo, 5.1, 7.1) will properly decode the correct channel information. The matrix equations are very simple, so the matrix operations do not introduce calculation errors. The floating point representation of information in the MPEG bit- stream reduces the need for peak limiting or level reduction, as a much larger dynamic range can be accommodated than with fixed point notation. Any risks of 'unmasking' encoding artifacts after decoding can be avoided by taking precautions in the encoder. The additional encoding efforts are more than compensated for by the benefits of the matrix operations, i.e. better audio quality and low cost stereo compatibility, Another important consideration is how many existing television sets are only equipped with mono sound capability. The matrix operations also ensure that a mono signal can be obtained from the decoder through a downmix of the multichannel information, ensuring that mono TV sets will also reproduce the soundtrack as intended.
Why not encode the channels individually?
First of all it would not provide an MPEG1 decoder with a downmix of all the channels. The matrix is in fact a very clever way of reducing the need to encode additional information. An MPEG2 decoder will use the stereo downmix in the MPEG1 part together with the MPEG2 extension information to reconstruct all channels. With most of the information already in the MPEG1 part, much less additional information needs to be encoded. A large number of bits are saved in this way, which can be put to use in encoding the stereo downmix in the best possible way.
So for low cost applications can I use an MPEG1 decoder?
Current MPEG1 decoders can decode the MPEG2 bitstream into a stereo signal This is a clear benefit in view of the number of MPEG1 decoders currently installed in PCs, set-top boxes and digital broadcasting decoders. When the program material is supplied in multichannel sound, these systems will still provide the same high quality (stereo) audio. So both customers and hardware industry can decide for themselves when to invest in multichannel playback capabilities. In the meantime, stereo decoders continue to drop in price, driven by the many MPEG1 applications. There is also the flexibility of being able to make a separate downmix of the multichannel information into, for example, a stereo signal.
What about the analogue surround sound decoder I already own?
With MPEG2, if you don't want to buy a digital surround decoder yet, you can still apply your current analogue surround decoder. In fact, Philips DVD players will provide on their stereo outputs a signal that is compatible with your current decoder, provided the program material was encoded in multichannel. Otherwise a normal stereo signal is available. In addition a special 'digital surround' output provides an encoded signal for a separate multichannel decoder or multichannel receiver, which you can decide to buy later.
What is meant by variable bit rate encoding?
In any given audio section, certain fragments are more complex than others, e.g. a whole orchestra playing compared to a single instrument. As a result the number of bits needed to faithfully encode varies with the program material. In order to encode in the best possible way, it is advantageous to save bits from the simple sections and use them to encode complex ones. This is what variable bit rate encoding does. Think of movie soundtracks, which can contain a very wide variety of sound complexity; dialogue, music, sound effects, background noise, sections of silence. These variations can occur in any combination at any point in time. In a typical movie soundtrack, for most of the time a bitrate of approximately 384 kbit/s is sufficient to encode the 5.1 channels fully 'transparently' (i.e, indistinguishable from the original). However, the peak bit rate needed for transparency can extend to over 600 kbit/s for some particularly complex sections, e.g. at times where there is music, sound effects, back- ground noise and dialogue all happening at the same time.
What are the benefits over constant bit rate encoding?
Operating at a certain (average) bitrate, a fixed or constant bit rate encoder provides variable quality. For fragments that are simple to encode, the constant bit rate encoder is applying a bitrate that is higher than is really needed. For complex sections the bit rate available is lower than that required, and artefacts may become noticeable. A constant bit rate encoder would have to operate at a bit rate high enough to encode the most complex sections transparently, i.e. around 600 kbit/s, but a variable bit rate encoder can operate at the aver- age bit rate, namely around 384 kbit/s, which represents a significant increase in encoding efficiency. A variable bit rate encoder provides fixed quality.
It always applies the number of bits necessary to encode without noticeable artefacts. It has been suggested that a constant bit rate encoder, constantly operating at the same peak bit rate as the variable bit rate encoder, will sound equally good or better. But the variable bit rate encoder needs the high peak bit rate only for a fraction of the total time. Applying a fixed bit rate is clearly excessive. Another variable bit rate bitstream with e.g. a second language version could easily be added instead.
Can you use a variable bit rate for broadcast?
At the present time, practical limitations restrict broadcast systems to using a fixed bit rate. In this case, the audio and video information must be encoded with a fixed bit rate high enough to ensure that no artefacts occur. However, this does not exclude the use of the more efficient variable bit rate in the future, when more refined and widespread technology allows.
Has MPEG2 audio ever been comparatively tested?
Apart from the many listening tests that have been per- formed during development, the most publicised test has been performed by the 'Grand Alliance' for the USA HDTV system. In the test MPEG2 was compared with systems from MIT and Dolby. It was concluded that both the Dolby system and MPEG2 sounded equally good (see the Grand Alliance test report and press release of February 24, 1994). The most recent listening tests have been carried out for the European RACE dTTb (digital Terrestrial Television broad- casting) project at the BBC Research Labs in Kingswood Warren (Great Britain) and German Telekom FTZ in Berlin (Germany) in January 1996. These tests showed a very high audio quality for MPEG2 Audio Layer II, even for the most critical test sequences. The tests were so critical that in one test 23 out of 36 experienced listeners took no part in the final evaluation of the results, because they could no longer identify the encoded signals. Unfortunately these RACE dTTb multichannel listening tests did not include the Dolby AC-3 encoding system. Although invited to participate, Dolby declined to take part.
What provision does MPEG make for multiple languages?
for each language a multichannel bit stream is encoded. Via the MPEG2 system layer, one of the bit streams can be selected to be reproduced. The advantage of this method is that it is simple at the encoding side.
using the MPEG2 multilingual feature, up to seven different dialogue channels can be included in the multichannel bit stream. The MPEG2 audio encoder can select one of these dialogue channels and mix it in, for example, the centre channel. The advantage of this method is that it is very efficient, and that separate optimised Pro Logic streams can be put in parallel. The disadvantage is that the dialogue is monaural and there is some additional complexity involved.
The content provider has the choice between these two options.
An MPEG2 decoder can select one of the seven dialogue channels, and mix it in, for example, the centre channel. As most movie soundtracks have all the dialogue in the centre channel, this offers the possibility of very efficient encoding in the multilingual case. To add another channel requires only about 64 kbit/s, while without the multilingual feature a complete multichannel soundtrack has to be added, which will increase the bit rate by typically 384 kbit/s. Therefore using the multilingual feature, there is a gain of around 320 kbit/s per language.
In this mode, a player with only a stereo decoder would not reproduce the dialogue. Therefore it is necessary to include at least one stereo bit stream, at an average bit rate of typically 128 kbit/s (it may also be necessary to include a stereo bit- stream for each language). On one hand, the gain in bit rate is reduced by the introduction of these stereo streams to 192 kbit/s per language, but on the other hand it offers the possibility to use a different downmix for the stereo stream instead of an automatic downmix from the digital multichannel sound track.
To minimise the additional complexity involved with the multilingual feature, the selected dialogue channel can be mixed in the centre channel before the subband filter, so that no additional subband filter is needed, The subband filter is the most complex part of the decoder.
The actual use of the multilingual feature is set up by the content provider. The content provider can decide either to include N separate multichannel streams, at N x 384 kbit/s, or to include one multichannel stream, with N dialogue channels, plus one to N stereo (optimised Pro Logic) streams.
Dolby Surround, Pro Logic and AC-3 are trademarks of Dolby Laboratories Licensing Inc.


HomeBlogWhat is a Root Canal Treatment you may ask?
What is a Root Canal Treatment you may ask?
Luckily, this is one treatment I didn't know much about, only that I should avoid needing one at all costs. When you mention root canals, people's faces normally contort. We tend to imagine copious amounts of pain associated with this type of dental treatment, however, the good news is that it achieves the opposite and you get to keep your natural tooth.
A root canal or Endodontic treatment is required when the inside (known as pulp) of a tooth becomes infected or inflamed, as a result of deep decay or trauma. The pulp contains the blood vessels and nerves, which controls the feeling of pain and temperature. Typical symptoms of an infection include – sharp and intense pain when chewing food or lingering pain after eating, a dull ache, and tender gums surrounding the infected tooth.
Preventing root canals is possible! The best way to do this is by maintaining good oral hygiene – brushing and flossing properly, twice a day and visiting your dentist for regular checkups. If dental cavities are dealt with straight away, root pulp infections are avoidable. Dentists will also check your old teeth fillings for effectiveness, as they do not last forever and can cause infections.
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text:
Vivo Y12G, technical sheet of features and price
Vivo continues to launch new versions of its entry line, the Vivo Y12, with different letters and small changes in its specifications. If in November we knew the Vivo Y12, it is now the turn of the new Vivo Y12G.
The Vivo Y12G is a new entry-level mobile with Snapdragon 439 and measured specs. It's virtually identical to the Vivo Y12s, except that it included MediaTek's Helio P35.
Vivo Y12G tech. Sheet
I live in Y12G
HD +
191 grams.
13 megapixels f / 1.8
2 MP bokeh
10W load
Funtouch OS 11
Fingerprint reader on one side
125 euros to change
An input range with an excellent battery
Vivo has just launched a new terminal to further strengthen its input range. This time it is the Vivo Y12G, a fairly simple terminal even for its range and price range.
The Vivo Y12G has a 6.51-inch diagonal screen with LCD panel and HD + resolution. As expected in its range, it has a pronounced chin and at the top is the teardrop-shaped notch that includes the front camera.
For portraits, the Vivo Y12G mounts a front camera with an 8-megapixel resolution, while behind it is included a dual camera with a 13-megapixel main sensor and f / 1.8 aperture. It is accompanied by a 2 megapixel sensor to perform the necessary calculations in portrait mode.
The power of the Vivo Y12G is provided by Qualcomm's Snapdragon 439, this time accompanied by a single version with 3 GB of RAM and 32 GB of storage. This is another key difference from the Vivo Y12, which had a higher version of 4 + 64 GB.
The only points where the Vivo Y12G excels is that it came out with the latest version of Android preinstalled, Android 11, as well as it has a large battery with a capacity of 5,000mAh. Of course, without any kind of fast charging.
Vivo Y12G versions and prices
The Vivo Y12G has been officially unveiled in India, with no news of its possible availability in other regions. There it went on sale in black and blue for 10,990 rupees, or around 125 euros to change.
More information | Living
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❶In English essay first meant "a trial" or "an attempt", and this is still an alternative meaning. Sure thing, feel free to share the link with your audience!
Probably the same can be said about essay writing! First of all, good movie essays should entertain as the film itself. They should persuade and inform the reader, providing an original opinion, but closely follow the plot of a movie. That is the first part of the analysis. After that, we start the most important part of the process. This is composing of movie essay:. After that, the last step left is polishing your essay. It is very important to keep your own writing style.
A good film review should also include plenty of examples, to back up the author points. The last rule is to remember that just because the movie isn't to your taste that doesn't mean you should give it a bad review.
And how about to get high mark for that? Now, you could get help for this at our academic writing website. Our professional essay reviewers are available for you 24 hours, 7 days a week. Whereas some essayists used essays for strident political themes, Robert Louis Stevenson and Willa Cather wrote lighter essays.
As with the novel , essays existed in Japan several centuries before they developed in Europe with a genre of essays known as zuihitsu — loosely connected essays and fragmented ideas. Zuihitsu have existed since almost the beginnings of Japanese literature. Many of the most noted early works of Japanese literature are in this genre. Notable examples include The Pillow Book c. Another noteworthy difference from Europe is that women have traditionally written in Japan, though the more formal, Chinese-influenced writings of male writers were more prized at the time.
Classification is the categorization of objects into a larger whole while division is the breaking of a larger whole into smaller parts. Compare and contrast essays are characterized by a basis for comparison, points of comparison, and analogies.
It is grouped by the object chunking or by point sequential. The comparison highlights the similarities between two or more similar objects while contrasting highlights the differences between two or more objects. Compare and contrast is arranged emphatically. Descriptive writing is characterized by sensory details, which appeal to the physical senses, and details that appeal to a reader's emotional, physical, or intellectual sensibilities. Determining the purpose, considering the audience, creating a dominant impression, using descriptive language, and organizing the description are the rhetorical choices to consider when using a description.
A description is usually arranged spatially but can also be chronological or emphatic. The focus of a description is the scene. Description uses tools such as denotative language, connotative language, figurative language , metaphor , and simile to arrive at a dominant impression.
In the dialectic form of the essay, which is commonly used in philosophy , the writer makes a thesis and argument, then objects to their own argument with a counterargument , but then counters the counterargument with a final and novel argument.
The text makes it clear to the reader why the argument or claim is as such. A narrative uses tools such as flashbacks , flash-forwards , and transitions that often build to a climax. The focus of a narrative is the plot. When creating a narrative, authors must determine their purpose, consider their audience, establish their point of view, use dialogue, and organize the narrative. A narrative is usually arranged chronologically. An argumentative essay is a critical piece of writing, aimed at presenting objective analysis of the subject matter, narrowed down to a single topic.
The main idea of all the criticism is to provide an opinion either of positive or negative implication. As such, a critical essay requires research and analysis, strong internal logic and sharp structure. Its structure normally builds around introduction with a topic's relevance and a thesis statement , body paragraphs with arguments linking back to the main thesis, and conclusion.
An economic essay can start with a thesis, or it can start with a theme. It can take a narrative course and a descriptive course. It can even become an argumentative essay if the author feels the need.
Students are asked to explain, comment on, or assess a topic of study in the form of an essay. A movie essay can talk about some of the greatest movie makers of all time like Charles Chaplin, Akira Kurosawa and Georges Melies.
Movie Essay also helps you to know the art of film making as well. A Movie Essay can also talk about the various techniques implemented in film making. Movie Essays are written by celebrity film critics who share their own views with the audience. Movie Essays are also sometimes written by the directors themselves as well. Movies Essay provides the audience with an insight on the movie and whether it is worth watching. Movies Essay is helpful as you can watch the movies and then compare them with what is really written about it.
Movie Review Essay can also be found on the Internet. It is a way to review a movie according to its theoretical and technical success.
On Film / Essays May 18, The Other Side of Hope: No-Home Movie In the singular world of Finnish filmmaker Aki Kaurismäki, auteurist homage and social consciousness are joined by some of the most lovingly filmed dogs in contemporary cinema.
- Film Making Film production phases Film production is the process of making a film starting from the story or idea through scriptwriting, shooting to the distribution of the movie to the audience. There are four main phases involved in film making. Film analysis essay writing can be so exciting! Learn our top 20 tips to create an outstanding movie review that will wow your professor.
Free movie papers, essays, and research papers. Analysis of the Movie Forrest Gump - I have never really met another character quite like Forrest Gump in a movie. Writing a film analysis essay is an assignment that is less likely to terrorize those who fear the idea of writing an essay, because it allows them to write about something most people enjoy. Film analysis is not the same thing as writing a movie review, which involves passively watching a movie. An.


Plans are progressing well for the implementation of the Alternative Pathways to Secondary Education (APSE) in September 2016, the Ministry of Education, Youth and Information is reporting.
Deputy Chief Education Officer for Curriculum and Support Services in the Ministry, Lena Buckle Scott, said there is now a National Standard Curriculum (NSC), replete with three pathways to education at the secondary level.
Addressing a JIS 'Think Tank', on April 6, she pointed out that the Ministry has taken a decision to provide for students at the secondary level, by meeting them exactly where they are, so the students can maximise their potential.
Mrs. Buckle Scott said the Ministry has been developing the NSC over the past four years and the draft is now in place, which is made up of a framework and teachers' guides for the different disciplines.
She explained that the curriculum is learner centred; therefore it will cater to the needs of all the different learners.
Mrs. Buckle Scott pointed out that when students exit at Grade six, the examination will lead them to the three pathways. Pathway one will facilitate students who can access the secondary school curriculum with little or no support; Pathway two will be for those students who need more support, while Pathway three is for students who require much support for them to adequately access secondary education.
Meanwhile, Chief Education Officer in the Ministry, Dr. Grace McLean, said the APSE will see a full alignment of the education system from the primary level, which has the National Assessment Programme (NAP), to the secondary level, after which there will be the Career Advancement Programme (CAP).
The CAP will provide for students, two additional years for them to be able to develop the competencies and skills they may not have attained at the end of Grade 11.
Dr. McLean said the two additional years of schooling will only be applicable to those students who need this additional support.
The programme will be rolled out on a phased basis and students will be selected based on academic performance.
Dr. McLean noted that 14 schools have already been selected for the APSE and it is expected that approximately 10,000 students will be required to matriculate into the programme.
She explained that the aim of the programme is to cater specifically to the needs of those students who will be required to obtain additional subjects and additional competencies and skills to move into the world of work.
The APSE is to be institutionalised in all 167 high schools in Jamaica, but the roll- out in September will target schools that need the programme the most.


Keeping my feet on the right carpet makes my day! What about you? Ideas and designs intrigued with originality and humor. These carpets are right fit for you if you are looking for something different to add on to your Home Decor.
Available at CB2, this playful design will add delight to kid's room. Creative idea for grown-ups to jump once in awhile.
Designed by Nate Siverstein and Andrea Paustenbaugh, these shoelaces rugs are incredibly fun and original. If you are cat person then your cat is going to love this one.
Colorful rug made of tiny foam-bars give shape to miniature landscape. Designed by Laurens van Wieringen is comfortable and fun to walk on.
A double function carpet: a sofa cover and a carpet. Little difficult on maintenance but original idea makes it an interesting idea to get this wonderful piece at home.
Playful and fun unique product is designed to fit into a contemporary interior. Simple Colors is what makes it aright choice.
Elegant design for music lovers. Featuring piano keys, this black and white carpet would be nice option for large living room.
Design will remind you about polar bears every time you walk on it. Not only has it added on to your room essence but contrasts with a ever rising problem of Global Warming.
Awesome solution for those who love to move their furniture time to time. Made out of modular pieces connected together using zippers.
Designed by Karin Mannerstål for all soccer/football fans. Made from wool, small soccer field can fit into various interiors.
More than carpet this original carpet design act as a comfortable seating. Yolks are cushions that are huggable and act as support while sitting down. It is creative and can work as eye candy. Only thing you need to worry about is cleaning it every now and then.
Dim light during night works well with you, this designer carpet should be your first choice. This elegant carpet can be used as night lamp also. Designed by Johanna Hyrkas.
Carpets along with other Home Decor items can change look and feel of the room. And these designer pieces are right fit for any space.


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USC/UCLA Tied For First In Men's Collegiate Water Polo Rankings
The Collegiate Water Polo Association (CWPA) releases the Men's Varsity National Top 20, Division III Top 10, Northeast Water Polo Conference (NEWPC) Top Five and Mid-Atlantic Water Polo Conference (MAWPC) Top Five Week 12/November 22 Polls for the 2017 season.
Women To Begin First Round Of Water Polo World League
The European preliminary rounds of the FINA Women's Water Polo World League 2018 kick-off tomorrow on Tuesday, November 21 across various European cities.
Stanford Moves Into #1 In Collegiate Water Polo After Taking Down Cal
Stanford University takes over at No. 1 in the National Top 20 Poll in the aftermath of a week in which the Cardinal took down reigning National Collegiate Athletic Association (NCAA) Champion and Week 10/November 8 No. 1-ranked the University of California by an 11-10 final score.
2018 FINA Water Polo World Leagues Begin In Europe
The European preliminary rounds of the FINA Men's Water Polo World League 2018 kick-off tomorrow on Tuesday November 14 across various European cities.
Superman In A Speedo
Later this month (November 2017) Madhu Nagaraja of Oakville, Ontario will attempt a Canadian first as he travels to a remote location in Chile and endeavours to be the 23rd person to swim across the Strait of Magellan.
Indiana Water Polo Signs Six To Class Of 2022
Indiana head water polo coach Ryan Castle announced the six signees to the Hoosiers' incoming class of 2022, set to arrive on campus for the Fall 2018 semester.
Ferencvaros & Verona One Their Way To Semis Of Euro Cup
Title-holder Ferencvaros (HUN) and Verona (ITA) claimed big away wins and seem to secure their respective berths in the Euro Cup semi-finals already. Miskolc (HUN) and Marseille (FRA) are also in a good position to join them.
Cal Takes Over Men's Water Polo #1 In Week 10
The Collegiate Water Polo Association (CWPA) releases the Men's Varsity National Top 20, Division III Top 10, Northeast Water Polo Conference (NEWPC) Top Five and Mid-Atlantic Water Polo Conference (MAWPC) Top Five Week 10/November 8 Polls for the 2017 season.
New York Athletic Club Wins 2017 Collegiate Cup
The 2017 Collegiate Cup ended in thrilling fashion earlier today at Fresno State as the New York Athletic Club took first place with an 8-7 shootout win over Stanford.
Szolnok & Kirishi Win LEN Super Cup Finals 2017
The Champions League and the Euro League winners added the Super Cup trophies to their respective treasuries in the finals held back-to-back in Budapest.
European Sup Cup, Men/Women's Finals Preview 2017
Perhaps for the last time this year all eyes from the water polo family will be set on Budapest: site of this summer's World Championships and also that of three European Cup finals, the Hungarian capital hosts both the men's and women's Super Cup finals on Saturday.
USC Remains #1 In Collegiate Water Polo Rankings
The University of Southern California remains at No. 1 this week as the National Top 20 experiences significant changes in positions No. 12-to-20 from the October 25 voting.
Two Disqualifications Give Uruguay Water Polo Development Trophy
A chippy gold medal match saw both teams disqualified at the FINA World Men's Water Polo Development Trophy tournament, giving bronze medal match winner Uruguay the gold.
Dynamo Shocks Jug, Hannover Upsets Brescia
The opening of the main round couldn't have been any more shocking as last season's runner-up and 2016 winner Jug Dubrovnik (CRO) was beaten by newcomer Dynamo Moscow (RUS).
Water Polo Champions League Main Round, Day 1 Preview
For the first time, eight venues will witness Champions League action on one day: the expanded edition of the world's premium water polo competition kicks off on Wednesday with a series of brilliant battles in sight.


Trane's most selected packaged geothermal solution offers up to 22.3 EER efficiency and is available in two-stage options. The variable-speed blower motor offers up to 12 airflow selections to keep your comfort even and efficient. Optional heating for your water supply is available. Trane EnviroWise™ Geothermal Heating Systems circulate fluid through the earth and a coil that absorbs or dissipates heat depending on the season.
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It all started as one of those coffee fuelled conversations in an airport, a bunch of doodles and the hunt for a factory to make these designs come to life, and so Ratio was born. We love socks and we've struck the balance between colours, robustness and performance so that every ride finishes as good as it started. Our designs are inspired by everything that we encounter from art, food and the areas we ride in. Made for the journey, not just the ride.


Mixed expenses: A blended costs consists of both repaired and variable elements. The Y-intercept of a combined cost line is the general set expenditures. The slope is the variable cost per system, and any point on the line represents the overall cost at the indicated volume. Cost Behaviour is the method cost responds to the modifications in volume or activity a think about virtually every option managers will make. Supervisors frequently utilize it to evaluate alternative strategies so they can choose the course that will finest assurance earnings for an organisation's owners and preserve liquidity for its banks. Supervisors prepare and make use of cost behaviour to identify the number of systems of products or services ought to be offered to develop a targeted amount of revenues and have actually modifications in prepared operating, investing and funding activities will affect running earnings. These expenses are repaired i.e. the range of products produced is 0 or 10000, the costs will not change. The ideal is to produce as numerous products as they can to lower the amount of typical set cost per product.
Variable expenses vary in overall with volume, however are continuous per system within the appropriate range. General variable expenses for a provided circumstance are equivalent to the range of systems increased by the variable cost per system. Keep in mind that the chart of a variable cost is a straight line with favorable slope, starting at the origin. Variable Expenses: Variable Expenses are those expenses which vary with the production. These consist of the cost of fundamental products, the cost of using extra employees, the cost of power or electrical power which is incremental with every extra exceptional produced. Another example of combined cost is shipment cost which has a set part of devaluation cost of trucks and a variable component of fuel cost. If you discover a difference within the business's level of activity, cost behavior is associated with mastering the approach costs modification. The expenses which can be untouched by simply adjustments throughout the quality of activity typically are categorized that fixed expenses. Set expenses are those that remain the very same in overall despite the variety of systems produced or provided. Overall set costs are the very same, set expenditures per system modifications as less or more systems are produced.
With a variable cost, the per system cost stays the exact same, however the more systems offered or produced, the greater the overall cost. The total items cost for one chair is $5 if it takes one yard of product at a cost of $5 per yard to make one chair. Candice is the owner of a service that offers animal items. What Candice did not anticipate was the difficulty in trying to keep precise financial records for her organisation. She has variable costs, repaired expenditures, and blended expenses. Due to the fact that she is the only one who supervises the financial records of the service, it is time for Candice to find cost behavior. For beginners, let's specify cost behavior in fundamental. Cost behavior is exactly what monetary specialists refer to when there is an adjustment in total expenses due to a modification in some organisation activity. Next, in order to truly comprehend cost behavior, we have to break down the 3 kinds of expenditures that can change in action to a business activity: fixed, variable, and integrated.


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The campus went from "green level 1" to "green level 2," she said. That means school is operating as normal, but that one or more classrooms will follow an alternate schedule or is in remote learning.
The news came as part of an overall update by Stavem on the status of the coronavirus pandemic's effect on the Sioux Falls School District now that classes have been in session for about two weeks.
She gave the update during a media briefing after Monday night's school board meeting.
Though she did not give specific numbers, Stavem said the number of staff and students in quarantine are "a little higher" than the number of positive cases because some of those individuals may be asymptomatic but considered close contacts.
The actual number of positive cases is "very low," Stavem said.
The superintendent could not say whether every school in the district has had at least one confirmed case. But she did say the district is currently adding support positions to help with contact tracing in schools in a shared process with the South Dakota Department of Health.
"Contact tracing is not fun, and it requires a lot of staff time, because it's a lot of people who aren't necessarily ill, but it's a mitigation strategy," Stavem said. "I don't think you know how that's going to play out until you start doing that."
It's still a work in progress, and it looks different on any given day, she said.
More:Want to know the scope of COVID-19 in Sioux Falls schools? The district is now providing some clarity.
The district unveiled its learning status levels Aug. 24 with an online dashboard for parents to gauge where their child's school currently stands with COVID-19 safety measures and learning models. Initially, the first level meant no cases were found in the building, but the district updated that level and the others for added clarity on Sept. 1 as part of its "living document" Return to Learn plan.
The levels are now as follows:
Green Level 1: Means a school is operating as normal, with modifications to building processes and procedures
Green Level 2: Means a school is operating as normal, but one ore more classrooms will follow an alternate schedule or is in remote learning
Yellow: Means on-campus delivery of learning, but students will attend class one or two days per a week and work on alternate assignments when at home
Red: Means all instruction is provided off-campus because of COVID-19 cases at the school
Clarification: An earlier version of this story misstated the criteria for "green level 1." On Sept. 1, the school district modified their original definition of the status level from "no cases" to "operating as normal, with modifications to building processes and procedures."


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Q: Incorrect packet format, calling SAP service from C# with WSDL file I am attempting to call a service using a WSDL file provided to me. I am getting an "Unexpected Packet Format" error. I have tested the service using SOAPUI and everything is working from there. When I call the service from my C# application I get the error referenced above.
Relative Information

*

*Service is provided from SAP

*Service was imported usng a .WSDL file

*Testing inside Console Application

*I have tested other services provided by my SAP group that worked just fine.

Code
ZPC_DROP_DOWN_VALUESClient client = new ZPC_DROP_DOWN_VALUESClient();
client.ClientCredentials.UserName.UserName = "ERICO";
client.ClientCredentials.UserName.Password = "Password";
ZpcDropDownValues vals = new ZpcDropDownValues();
vals.Uom = "X";
ZpcDropDownValuesResponse Response = new ZpcDropDownValuesResponse();

try
{
    Response = client.ZpcDropDownValues(vals);
}
catch (Exception ex)
{
    Console.WriteLine(ex.ToString());
}
Console.ReadKey();

Here is the stack trace:

System.ServiceModel.EndpointNotFoundException: There was no endpoint listening at https://r3snd.yaskawa.com:8000/sap/bc/srt/rfc/sap/zpc_drop_down_values/410/zpc_drop_down_values/zpc_drop_down_values that could accept the message. This is often caused by an incorrect address or SOAP action. See InnerException, if present, for more details. ---> System.Net.WebException: The remote name could not be resolved: 'r3snd.yaskawa.com'
     at System.Net.HttpWebRequest.GetRequestStream(TransportContext& context)
     at System.Net.HttpWebRequest.GetRequestStream()
     at System.ServiceModel.Channels.HttpOutput.WebRequestHttpOutput.GetOutputStream()
     --- End of inner exception stack trace ---
Server stack trace:
     at System.ServiceModel.Channels.HttpOutput.WebRequestHttpOutput.GetOutputStream()
     at System.ServiceModel.Channels.HttpOutput.Send(TimeSpan timeout)
     at System.ServiceModel.Channels.HttpChannelFactory`1.HttpRequestChannel.HttpChannelRequest.SendRequest(Message message, TimeSpan timeout)
     at System.ServiceModel.Channels.RequestChannel.Request(Message message, TimeSpan timeout)
     at System.ServiceModel.Dispatcher.RequestChannelBinder.Request(Message message, TimeSpan timeout)
     at System.ServiceModel.Channels.ServiceChannel.Call(String action, Boolean oneway, ProxyOperationRuntime operation, Object[] ins, Object[] outs, TimeSpan timeout)
     at System.ServiceModel.Channels.ServiceChannelProxy.InvokeService(IMethodCallMessage methodCall, ProxyOperationRuntime operation)
     at System.ServiceModel.Channels.ServiceChannelProxy.Invoke(IMessage message)
Exception rethrown at [0]:
     at System.Runtime.Remoting.Proxies.RealProxy.HandleReturnMessage(IMessage reqMsg, IMessage retMsg)
     at System.Runtime.Remoting.Proxies.RealProxy.PrivateInvoke(MessageData& msgData, Int32 type)
     at ServicesFromSAP.TableReference.ZPC_DROP_DOWN_VALUES.ZpcDropDownValues(ZpcDropDownValuesRequest request)
     at ServicesFromSAP.TableReference.ZPC_DROP_DOWN_VALUESClient.ServicesFromSAP.TableReference.ZPC_DROP_DOWN_VALUES.ZpcDropDownValues(ZpcDropDownValuesRequest request) in C:\Users\eric_obermuller\source\repos\ServicesFromSAP\ServicesFromSAP\Connected Services\TableReference\Reference.cs:line 339
     at ServicesFromSAP.TableReference.ZPC_DROP_DOWN_VALUESClient.ZpcDropDownValues(ZpcDropDownValues ZpcDropDownValues1) in C:\Users\eric_obermuller\source\repos\ServicesFromSAP\ServicesFromSAP\Connected Services\TableReference\Reference.cs:line 345
     at ServicesFromSAP.Program.Main(String[] args) in C:\Users\eric_obermuller\source\repos\ServicesFromSAP\ServicesFromSAP\Program.cs:line 33

I am not sure what the issue is. This service was provided to me for testing/learning purposes so I could start learning how to use their services. Is there some kind of setting I am not aware of?
Any suggestions would be greatly appreciated. Not sure if I need to set the timeout to be longer or something along those lines. I have looked everywhere for an answer and it seems this is a case by case issue.

A: Alright I figured out the issue. Originally when testing this application the request was actually sent to me as an Http request.
Endpoint in App.Config
<endpoint address="http://R3SND.yaskawa.com:8000/sap/bc/srt/rfc/sap/zpc_drop_down_values/410/zpc_drop_down_values/zpc_drop_down_values"
            binding="customBinding" bindingConfiguration="ZPC_DROP_DOWN_VALUES"
            contract="TableReference.ZPC_DROP_DOWN_VALUES" name="ZPC_DROP_DOWN_VALUES" />

When I tried the application I got an error that said "Invalid URI Http, Https expected". Not quite knowing what was going on I changed my endpoint address to Https instead of Http. That is where the referenced error above happened.
While messing around I changed it back to Http and realized the error was being thrown because I was using HttpsTransport instead of HttpTransport.
Https Transport
<httpsTransport authenticationScheme="Basic" />

Http Transport(correct one)
<httpTransport authenticationScheme="Basic" />

I hope this can help someone else down the line because it was driving me insane!
Thank you all for looking at my question.