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\section*{Supplemental material}

\subsection{Exact tensor network for a Gibbs distribution}
It is possible to represent the Gibbs distribution exactly by a tensor network
\begin{equation}
P_E  (\mathbf{z}) = \sum_{\mathbf{i}} \prod_{\ell} A^{[\ell] z_\ell}_{\mathbf{i}_{\ell}}, \nonumber
\end{equation}
where the bond dimensions are $\chi = d$.

The generality of such a representation follows from the arguments justifying the generality of the tensor network factorization of the partition function as, for example, appears in Ref.~\cite{Levin2007}. Here we give explicit expressions for the tensors $A^{[\ell]}$ corresponding to the two systems discussed in the main text: the one-dimensional (1D) open Ising chain and the two-dimensional (2D) periodic square Ising system, both with $d=2$.

For the 1D open Ising chain the elements of tensors $A^{[\ell]}$ are
\begin{align}
A^{[1] z_1}_{i_1} =& \exp \left[ \beta z_1 (J  i_1/2 + \lambda ) \right] ,  \nonumber \\
A^{[\ell] z_\ell}_{i_{\ell-1} i_\ell} =& \exp \left[\beta z_\ell (J  (i_{\ell-1} + i_\ell )/2 + \lambda ) \right], \; \; \; 1 < \ell < N ,  \nonumber\\
A^{[N] z_N}_{i_{N-1}} =& \exp \left[ \beta z_N (J  i_{N-1}/2 + \lambda ) \right] . \nonumber
\end{align}
The labeling of the indices $i_{\ell}$,  for $\ell = 1,\dots,N-1$, makes it clear which pairs are contracted. The indices take values $\pm 1$ and so the matrices $A^{[\ell] z_\ell}$ for $1<\ell< N$ are $2 \times 2$ (the boundary vectors $A^{[1] z_1}$ and $A^{[N] z_N}$ are $1 \times 2$ and $2 \times 1$, respectively).

For the 2D periodic square Ising system the tensors $A^{[\ell]}$ are identical and their elements are given by
\begin{align}
A^{[\ell] z_\ell}_{i_1 i_2 i_3 i_4} =& \exp \left[\beta z_\ell \left (J  \sum_{\ell'=1}^4 i_{\ell'}/2 + \lambda  \right ) \right] .  \nonumber
\end{align}
The indices should be paired to form a square periodic lattice. The order of the indices at any one site is not important since the tensors are symmetric in the indices $i_1,\dots,i_4$. As before, the indices $i_{\ell'}$ for $\ell' = 1,\dots,4$ take values $\pm 1$.

\subsection{Time-dependence of the bias}
In our calculations the bias $\lambda (t)$ is varied between $\lambda_0$ and $\lambda_1$ according to a smoothed tanh ramp. The exact time-dependence used is
\begin{align}
\lambda(t) = \lambda_0 + \frac{\lambda_1 - \lambda_0}{2}\left [ 1+ \frac{ \tanh \left(  \sin \left[ \left(  \frac{t}{\tau} - \frac{1}{2} \right) \pi \right] \right)}{\tanh \left( 1  \right)} \right] , \nonumber
\end{align}
where $\tau$ is the duration of the quench.

\subsection{Single-time compression}
With the system out of equilibrium, we wish to determine the effect of compressing a distribution $P (\mathbf{z}, t)$ (similarly $Q (\mathbf{z}, t)$) at some time $t$. In other words we wish to construct a tensor network of small dimension $\chi$ that closely approximates the distribution
\begin{equation}
P (\mathbf{z}, t) \approx \sum_{\mathbf{i}} \prod_{\ell} A^{[\ell] z_\ell}_{\mathbf{i}_{\ell}} . \nonumber
\end{equation}
For a 1D system with open boundaries the tensor network takes the matrix product form
\begin{equation}
 \sum_{\mathbf{i}} \prod_{\ell} A^{[\ell] z_\ell}_{\mathbf{i}_{\ell}} = A^{[1] z_1} A^{[2] z_2} \cdots A^{[N] z_N} , \nonumber
\end{equation}
with $\chi \times \chi$ matrices $A^{[\ell] z_\ell}$ for $1<\ell< N$, and $1 \times \chi$ and $\chi \times 1$ boundary vectors $A^{[1] z_1}$ and $A^{[N] z_N}$. It is well-known how to find an accurate matrix product approximation to a distribution $P (\mathbf{z}, t)$ using singular value decomposition decimation, as explained in Refs.~\cite{Vidal2004,Johnson2010}. Note that the matrix product obtained may not be optimally accurate for the observable of interest, and thus even more effective compression may be possible than that we have reported. However, singular value decomposition decimation is closely related to how compression occurs in the operation of the time-evolution block decimation (TEBD) algorithm, and thus we expect the conclusions regarding compressibility at a single time here to be most relevant to repeated compression within the TEBD algorithm.

\subsection{Time-evolution block decimation}
TEBD is a standard method, detailed in Refs.~\cite{Vidal2004,Johnson2010}, for evolving a matrix product representation of some distribution $P (\mathbf{z}, t)$ according to an equation of the form
\begin{align}
\pd{P (\mathbf{z}, t)}{t} &= \sum_{\mathbf{z}'} H  (\mathbf{z},\mathbf{z}',t) P (\mathbf{z}', t) . \nonumber
\end{align}
The algorithm proceeds by breaking the evolution into timesteps $\delta t$. Evolving the distribution $P (\mathbf{z}, t)$ over a timestep takes it away from one expressed in terms of a matrix product of dimension $\chi$. Thus the distribution is repeatedly, within each timestep, re-compressed to this form using the singular value decomposition. The method we use to discretize time is a typical one and is explained in detail in Ref.~\cite{Johnson2010}. It is accurate up to errors that are second-order in $\delta t$.

The most typical implementations of TEBD are compatible with two-site nearest-neighbor Hamiltonians only. Since the values of the transition rates appearing in Glauber dynamics depend on the energies at three nodes, the Hamiltonian is not naturally two-site.
To bring it into standard form, rather than $N$ single nodes with $d=2$, the system is broken down into $N/2$ supernodes with $d=4$ according to $\mathbf{z} = ( z_{1,2}, \dots , z_{N-1,N} )$, where $z_{2\ell-1,2\ell}= \{ (-1,-1),(-1,1),(1,-1),(1,1) \}$ for $\ell = 1, \dots, N/2$. In the supernode picture the Hamiltonian is naturally formed of two-site nearest-neighbor terms.

Finally, the calculation results and scaling of resources quoted in the main text is for fixed IEEE 64-bit double precision computing. Though not necessary for the calculations presented here, higher than normal precision may be required for very large systems (see e.g.\ Ref.~\cite{Carlon1999}) due to the number of orders of magnitude spanned by the observable and probability distributions.

\subsection{Tensor renormalization group}
We have used the tensor renormalization group method to calculate the sum $\sum_{\mathbf{z} \in S} Q (\mathbf{z} , t)$ for the case of an $N = 64 \times 64$ 2D periodic square Ising system, $O(t) = \textrm{e}^{-\beta W(t)}$ and $S$ the set of configurations with $z_1 = 1$. We are able to use tensor renormalization group methods because of the equilibrium structure $Q (\mathbf{z} , t) = P_{t} (\mathbf{z}) Z_t(\beta)/ Z_0(\beta)$ taken by the non-equilibrium distribution $Q (\mathbf{z} , t)$ for this observable.

To see this, we use the above to rewrite $\sum_{\mathbf{z} \in S} Q (\mathbf{z} , t) = (Z_t(\beta)/ Z_0(\beta)) \sum_{\mathbf{z} \in S} P_{t} (\mathbf{z}) $, where $P_t (\mathbf{z}) $ is the equilibrium Gibbs distribution corresponding to the bias $\lambda(t)$ at time $t$, and $Z_t(\beta)$ the corresponding partition function. Thus the calculation reduces to calculating partition functions $Z_t(\beta)$ and partial sums $\sum_{\mathbf{z} \in S} P_{t} (\mathbf{z}) $ over Gibbs distributions conditioned upon the value of a single spin $z_1 = 1$. Given the representation of a Gibbs distribution $P_t  (\mathbf{z})$ by a tensor network, the partition function $Z_t = \sum_\mathbf{z} P_t  (\mathbf{z}) = \sum_{\mathbf{i}} \prod_{\ell} T^{[\ell] }_{\mathbf{i}_{\ell}}$ is merely a contraction of transfer tensors $T^{[\ell] } = \sum_{z_\ell} A^{[\ell] z_\ell}$ with a square geometry. The partial sum $\sum_{\mathbf{z} \in S} P_{t} (\mathbf{z}) = \sum_{\mathbf{i}} \prod_{\ell} T^{[\ell] }_{\mathbf{i}_{\ell}}$ is similar except with $T^{[1] } = A^{[\ell] z_1}$.

These contractions can be performed using the well-known tensor renormalization group method~\cite{Levin2007}, the relevant details about which we provide here. The strategy is first to perform the contractions involving each set of four nodes making up a node of a coarse-grained square lattice. We are then left with tensor network in a square lattice with the number of nodes reduced by a factor of four, but the dimension of each index potentially increased by a power of $4$. Next, we compress this to obtain smaller index dimension $\chi$. The contraction/compression process is then repeated iteratively until a single node remains, and the contraction can be trivially evaluated.

For $N = 64 \times 64$ this requires six iterations. We found it acceptable to use an intermediary dimension $\chi = 3$.

\subsection{Dynamical Monte Carlo}
We have used dynamical Monte Carlo to calculate the sum $\sum_{\mathbf{z} \in S} P (\mathbf{z} , t)$ for the case of an $N = 64 \times 64$ periodic square Ising system and $S$ the set of configurations with $z_1 = 1$. We were able to use dynamical Monte Carlo because, by defining an observable $O(\mathbf{z})$ taking values $1$ if $\mathbf{z} \in S$ and $0$ otherwise, we have $\sum_{\mathbf{z} \in S} P (\mathbf{z} , t) = \sum_{\mathbf{z}} O(\mathbf{z}) P (\mathbf{z} , t)$ i.e.\ the quantity of interest is just the expected value $\langle O(t) \rangle$ of this observable.

We implement a variable-timestep dynamical Monte Carlo algorithm (as e.g.\ explained in Ref.~\cite{Jensen2003}) to sample $N_{\mathrm{s}}$ paths and estimate $\langle O(t) \rangle$ by averaging the values taken by the observable over such paths. Because the variance of the observable is necessarily less than unity, the expected error due to insufficient sampling must be less than $1/\sqrt{N_{\mathrm{s}}}$, which is small for the $N_{\mathrm{s}} = 14790$ we used.

The only source of error other than insufficient sampling is an approximation made when estimating the time until the next transition as part of the sampling of a path. We assumed for simplicity that the transition rates stayed constant between transitions, which ignores their varying due to the change in $\lambda(t)$. Since the average time between transitions is on the order of $(64^2 h)^{-1}$ and $\beta \lambda$ is varied by unity over a time $10 h^{-1}$ in our example, the approximation induced by this is negligible.

redpajama_set_name: RedPajamaArXiv


text:
by Cogito | Dec 14, 2020 | Artificial Intelligence | 0 comments
As per the latest reports, by end of 2020, the population of wild animals living on the Earth is expected to fall by two-thirds. Few folks don't care about animals and don't know how these natural habitants affect the life of other livening beings on this planet.
This continuous process will disturb the biodiversity of the Earth, and conserving the natural biodiversity of the planet is vital for the functioning of our natural ecosystems. Every animal, even a single plant or a small fungus is a part of a bigger system, and if they disappear, it will affect the parts of an ecosystem resulting in the instability eventually the collapse of the entire system.
Hence, saving the biodiversity of the earth is important to maintain the balance between the entire eco-system. But existing wildlife monitoring system is either incapable to scale globally, or don't have the right resolutions or you can say the fine-scale data is often not within reach of the authorities.
As a conventional practice, researchers work tediously to complete manual tasks like identifying the specific animals from photoshoots for population studies. Later with more effort and spend time these camera photos are classified manually.
But now, thanks to advanced level technologies like Artificial Intelligence (AI) and Machine Learning (ML) such tasks can be performed more efficiently with better results. Yes, the fully-integration of AI & ML-based solution in wildlife conservation can help us to save the biodiversity of the earth.
Also Read: What are the Common Myths about Machine Learning?
How AI can Help in Saving the Biodiversity?
Animal conservation is becoming one the key issue to save the biodiversity of the earth. And AI can play a vital role in detecting or recognizing and keeping the track of wild animals wandering into their natural environment or conserved into the wildlife sanctuaries.
Most importantly, AI can help in preventing the extinction of endangered plants and animals. And if such animals are kept under observation or tracked by the forest rangers, they can be saved from natural disasters such as fires in the forest, floods, and illegal activities like poaching.
And to conserve wild animals, AI-enabled devices, applications, and analysis or monitoring system is used to keep their track record and understand the behavior of animals for right predictions. Let's find out how AI-enabled applications can be used for animal conservation.
AI in Animal Detection & Counting
Endangered species at the brink of extinction are kept in special conservation. AI-enabled machines like robots or autonomous flying drones can keep an eye on such animals helping the wildlife conservation authorities keeping their population under observation.
Similarly, computer vision technology in AI-enabled drones can detect the types and species of animals inform researchers about their activities. The machine learning algorithms developed with a wide-ranging huge quantity of training datasets equips AI to recognize the different species of animals.
Also Read: How to Improve Computer Vision in AI Drones Using Image Annotation Services?
Large animals like elephants and whales can be spotted from the satellites. And using the set of satellite imagery, researchers can gather the data and keep an eye on such animals. Animal detection and their counting are important to make sure if their population is increasing or decreasing.
Detecting Poachers to Save Animals
Intensely killing the animals is another illicit activity, reducing the population of endangered species. Poachers kill animals like elephants for their precious tusks and Rhinoceros for their horns that are sold at very high rates in the international markets. But now AI can help in controlling such unlawful actions through a human-less monitoring system.
AI-enabled drones and night vision cameras can detect such poachers on the ground and report the forest rangers to take the action against them before they kill any animal. Humans with weapons and other unusual activities can be easily spotted by the AI-enabled cameras with quick alert systems.
The combination of the machine with humans working together with forest rangers can accomplish more such actions. And with intelligent visibility from the sky, there is a great opportunity for the wildlife animals. And to make the drones detect varied animals, a relevant amount of high-quality training datasets are required for training the machine learning algorithms.
Also Read: How Much Training Data is Required for Machine Learning Algorithms?
Identifying the Waste Materials in the Ocean
People enjoying beach sides but litter waste material near the banks of the ocean, which is another risk for various species living or completely dependent on marine life. But now thanks to AI algorithms, models can easily identify and remove plastics from natural environments before they harm wildlife.
Drones are trained to identify the waste materials floating or drowning into the sea and inform the marine wildlife conservation department to collect and remove such waste materials. Marine litter mostly contains the plastic materials that have become a universal practice by the tourist and people enjoying their life around the ocean.
Plastic is harmful for living beings and carries invasive species posing a risk to biodiversity and ecosystems. Hence, an improved understanding of littering sources, the distribution, and the degradation of the plastic in oceans is necessary to reckon the risk related to plastic pollution.
Identifying and classifying the littered plastic waste in the ocean is a challenging task. But improved AI-enabled cameras equipped with drones, gathering marine litter information has become easier. The AI model is well-trained to recognize the varied types of waste materials littered into the ocean.
Image Annotation for AI in Animal Conservation
Annotation for Animal Counting
Reckoning the wild animals is another challenging task, especially when they are living into their natural environment. But thanks to AI, such animals can be easily counted without any human encounter to keep their population under observation.
Cogito provides bounding box annotation to make such animals identifiable to machines like drones. All types of animals are annotated here with best level of accuracy for right detection.
Annotation for Animal Detection
Apart from counting, detecting the different types or species of animals is also the part of animal conservation. Here again image annotation services can make such animals recognizable to machines (drones) and provide the information to forest rangers. Cogito use the right image annotation technique for animal detection with best level of accuracy.
Also Read: What Are The Applications of Image Annotation in Machine Learning and AI
Annotation for Animal Recognition
Again, semantic segmentation is the image annotation technique helps to recognize the animals in the single class. AI Drones can recognize such animals captured in the single frame helping the forest animal's conservation department to recognize animals. Cogito can produce the high-quality training data sets for machine learning to train the AI models developed for animal recognition.
Also Read: What is the Importance of Image Annotation in AI And Machine Learning?
Annotation for Species Identification
Identifying the different animal species is another challenging factor for wild animal conversation. But AI can easily detect the different species living on the earth or water. And Cogito provides the image annotation to annotate the animals with metadata if animal name or species. And when wide range of animal species can be identified with the AI model is trained with right training data.
Also Read: What are the various Types of Data Sets used in Machine Learning?
Semantic Segmentation Annotation
The animals in the single class need to more precisely identified. And semantic segmentation image annotation is the best and one of the right technique, helps to identify such animals from distant location with extra precision. Cogito use the best tools and techniques annotate the animals in the images with semantic segmentation for deep learning AI models developed for animal conservation.
Also Read: What is Semantic Image Segmentation and Types for Deep Learning
Annotation for Poachers Detection
Animals at extinction levels can be protected if illegal killings can be spotted by the wildlife conservation department using the AI-enabled security surveillance installed at suspicious locations. Yes, poachers, even in the dark or night can be detected with AI security cameras.
Cogito provides image annotation for AI cameras, night vision view and object detection in the dark and nights. Image Annotation with added metadata is used to train the AI model that can detect the person and helping the animal conservation authorities to save the biodiversity of the earth.
Summing-up
If AI can be fully and efficiently deployed into the animal conservation it can help in saving the biodiversity of the earth. And it is only possible when the AI models are trained with the right machine learning datasets. And to develop such a fully functional model, AI companies need high-quality animal detection dataset for machine learning training to identify animals and objects with the right precision.
Also Read: What is Human-in-the-Loop Machine Learning: Why & How HITL Used in AI
Image annotation is the right data labeling process to generate the datasets for computer vision-based AI models. As much as such data is feed into the algorithms the model will be able to learn with a varied scenario and detect the different objects for giving the right predictions when used in real life.
Also Read: How to Create Training Data for Machine Learning?
Role of Computer Vision in AI for Developing Robotics, Drones & Self-driving Cars January 14, 2021
Artificial Intelligence in Biodiversity: How AI can help in Animal Conservation? December 14, 2020
Automated Data Labeling vs Manual Data Labeling and AI Assisted Labeling October 23, 2020
Role of Medical Image Annotation in the AI Medical Image Diagnostics for Healthcare August 31, 2020
LIDAR Sensor in Autonomous Vehicles: Why it is Important for Self-Driving Cars? August 6, 2020
How to Hire a Remote Machine Learning Engineer for AI Development? June 26, 2020
What Are The Applications of Image Annotation in Machine Learning and AI? June 9, 2020
Why Social Media Content Moderation is Important for Online Platforms & How it Works? May 20, 2020
Annotation (8)
Training Data (3)
Transcription Services (4)
Virtual Assistant (2)
Visual Search (1)

redpajama_set_name: RedPajamaCommonCrawl


Urban Science, a Detroit-based company founded 34 years ago to help bridge science and marketing functions primarily for automotive clients, recently announced it has expanded to a larger and completely renovated 100,000-square-foot space. The new digs, at 400 Renaissance Center in Detroit, will accommodate Urban Science's growing business and work force.
"People think of the Renaissance Center as GM's headquarters, but we were there first," says company founder and CEO Jim Anderson with a laugh.
The company got its first break in 1977, when Anderson was still a professor at Wayne State University. He got wind that Cadillac was in search of better technology to deal with the problem of mapping potential dealer locations. Anderson pioneered the concept of using a mainframe computer to generate dot mapping and the discipline of automotive network planning.
Through the years, Anderson has taken Urban Science from a $50,000 company to a $125 million company with offices in the United States, Spain, the United Kingdom, Germany, Italy, France, Australia, China, Mexico, and Japan. Previously located in Tower 200 in Renaissance Center, Urban Science is now occupying four floors in Tower 400 with the option to add another floor next year. The move accommodates a 69 percent increase in staff over the last five years, which has brought the Detroit office workforce to more than 300. The company has more than 750 employees worldwide.
Anderson says the main goal with the expansion was to increase collaboration and connectivity with its other offices across the globe.
Urban Science also has the only office in the Renaissance Center with an interior staircase. In the middle of the four floors is a large, open area where employees can eat their lunches while gazing at the Detroit River. Anderson says that, too, is meant to be another opportunity for collaboration, though on a more informal level.
So now that Anderson has doubled down, so to speak, on Urban Science's Detroit headquarters, how does he feel about Michigan's prospects for the future?
Looks like their business model is thriving despite the recession. I think car companies may need their services even more during economic lows in order to get through the tough times. Incorporating the internet with finding new opportunities seems to be a big trend.


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I was searching for a Property and found this listing (MLS® #4739722). Please send me more information regarding 5908 Gunnison Turn Rd, Austin, TX, 78738. Thank you!
I'd like to request a showing of 5908 Gunnison Turn Rd, Austin, TX, 78738 (MLS® #4739722). Thank you!


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'May karma find you all' | East Texas man's obituary goes viral on social media
David W. Nagy, 79, of Jefferson, passed away on July 22, after being hospitalized with COVID-19.
Author: Reagan Roy
Published: 6:34 PM CDT August 3, 2020
Updated: 7:33 AM CDT August 6, 2020
JEFFERSON, Texas — The obituary of an East Texas man, who died after contracting COVID-19, has gone viral on social media.
David's obituary has been making the rounds on the internet and many were questioning its validity. Stacey Nagy, David's wife, confirmed via Facebook she wrote the obituary and submitted it to the Jefferson Jimplecute.
In the obituary, Stacey says her husband, who had underlying health issues, suffered greatly "from the ravages of COVID-19 virus and the separation from his much loved family who were not allowed at his bedside."
Stacey said David was in the Magnolia Place Skilled Nursing & Rehab Center for what was supposed to be a temporary recuperation period. In an interview with BuzzFeed, Stacey said David suffered a fall in late March that forced him to be hospitalized and then to the rehab center to recover. However, there was an outbreak of COVID-19 at the facility and her husband was one of the victims.
David's family says they blame politicians who "did not take the pandemic seriously" and were "more concerned with their popularity and votes than lives."
In an interview with Snopes, Stacey said she has seen a lot people around Jefferson and Marion County refusing to wear masks.
"Also to blame are the many ignorant and self centered and selfish people who refused to follow the advice of the medical professionals, believing their 'right' not to wear a mask was more important than killing innocent people," the obituary stated.
"It gets me so angry that people are aren't taking this seriously," Stacey said in an interview with Snopes. "The people who are dying are the older people especially — a lot of younger people are dying too — but it's almost like they're saying, 'Who cares about the older people?' I've been with my husband for 20 years and all of a sudden he's gone. People should know how this makes others feel."
"...Dave did everything he was supposed to do, but you did not," the obituary read. "Shame on all of you and may karma find you all."
Herman Cain dies after battle with COVID-19
Texas man dies while waiting for COVID-19 plasma treatment
Country rocker and fiddler Charlie Daniels dies at age 83
COVID-19 videos from CBS19


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Educators often approach Holocaust study from a historical point of view, deepening their students' knowledge and understanding through the use of survivor testimonies, classroom discussions, films, books, and other disciplines. However, teachers may find that the world of art offers their students another path to processing this difficult and complex subject matter.
This learning environment presents a way to use art from and about Auschwitz in teaching the subject to your students.
In order to use art as a tool to teach about Auschwitz, the teacher does not have to be an expert in the field. Exploring each painting, looking in detail at what's represented in it and appreciating its artistic elements, together with the study of the context in which it was created and the questions each artwork raises, deepen our understanding of the Holocaust in general, and enable us to view Auschwitz as the human experience that that it was.
Note to the teacher:
In preparation to using art as an educational tool in learning about Auschwitz, teachers and students should familiarize themselves with the subject of Auschwitz and Art in/from Auschwitz.
Art as Evidence
Yehuda Bacon (b.1929), In Memory of the Czech Transport to the Gas Chambers. 1945. Charcoal on paper. Yad Vashem Art Museum Collection, Jerusalem. Courtesy of the artist.
Yehuda Bacon, Works of Art. Collection of the Yad Vashem Art Museum. All rights reserved
Some of the art from Auschwitz served another function after the war. It served as evidence that confirmed Nazi criminality during various trials. An example of this is Yehuda Bacon's work which was used together with his recollection of the gassings, beatings, selections and the Sonderkommando revolt as proof in both Eichmann's trial in Jerusalem in 1961 as in the Frankfurt Auschwitz trial that took place between December, 1963 and August, 1965.
Yehuda Bacon had been transferred from Theresienstadt to Aushwitz-Birkenau with his family where upon arrival they were sent to the Theresienstadt Family Camp at Birkenau. Later on, after a Selektion performed by Josef Mengele, Bacon was sent to the men's camp. There, together with 20 other men, he had to carry wood and clothing from one side of the camp to another, including the crematoria. After liberation and after recovering from typhus, in June 1945 Yehuda Bacon made drawings from his memory of the gas chambers and crematoria in Birkenau.
In the drawing In Memory of the Czech Transport to the Gas Chambers, we see the face of a man coming out of the crematoria, this man is his father. Bacon wrote the date of his death, in the gas chambers, in the lower part of his drawing as he knew exactly the date when his father, together with the thousands of Czechs who had arrived from Theresienstadt in December, 1943, had been killed in massive gassings that were carried out between July 10-12, 1943. Bacon portrayed him as coming out from the chimney of the crematoria, rendering testimony to the way in which he had died. Bacon painted it immediately after being liberated. He was afraid that if he didn't draw his father's face, he would soon forget it.
Yehuda Bacon's biography
Born in Moravská Ostrava in Czechoslovakia, in 1929. In 1942, he was deported with his family to Terezin, where he lived in the youth barracks and belonged to a group that produced the newspaper "Vedem" (We Are Leading). He studied with artists in the Ghetto. In 1943, Bacon and his family were deported to the "family camp" at Auschwitz. In 1944, he was transferred to the men's camp and assigned to a labor group, which was assigned the task of gathering the murdered inmates' belongings, and collecting the victims' ashes for dispersal. The evacuation of Auschwitz being imminent, Bacon was sent on a death march to the Blechhammer camp, then by an arduous route to Mauthausen, and finally, to the Gunskirchen camp, where he was liberated.
Immediately following his release, he drew small sketches of the crematoria and gas chambers at Auschwitz, which would later serve as testimony in Eichmann's trial. After immigrating to the Land of Israel, he studied at the Bezalel Academy of Art, where he eventually became a faculty member.
Halina Olomucki Six Figures, 1943 21.8x18.1 cm
Halina Olomucki, "Don't shoot my mother!", Auschwitz-Birkenau, c. 1944, Pencil and Charcoal on paper, 17.3X13.6 cm
Although maybe most people wouldn't expect it, the most prominent form of art created during the Holocaust in Auschwitz and other camps and ghettos is portraiture. Portraits gave the subject a sense of permanence, it was a proof that they had been on this Earth and it gave them the hope that even if they wouldn't survive they would be remembered.
Halina Olomucki recalls that "While I was in Auschwitz-Birkenau someone told me, 'if you live to leave this hell, make your drawings and tell the world about us. We want to remain among the living, at least on paper."1
Their portrait also made them feel they were individual and unique human beings, in a place where all efforts were made to take their individuality and humanity away from them. Artists also made self-portraits claiming their own individuality.
Painting portraits was a means of psychological escape for some of the artists whilst painting them. Polish prisoner Franciszek Jazwiecki, who made around 114 portraits of fellow prisoners explained it further, "For a moment of happiness, or actually forgetting...I have been making pencil portraits in the camp. The portraits were made on the sly, in secret, and were a moment of forgetting for me. They took me to a different world, the world of art. I simply disregarded the fact that drawing was punished by death; I did that not because of courage. I just didn't pay any attention to the danger; it was so attractive to be and work in this world of mine..."2
Halina Olomucki's biography
Born to the Olszewski family in Warsaw, Poland, in 1921. Died in Ashkelon, Israel, in 2007.
Olomucki's father died when she was a child. She grew up in Warsaw and received a Jewish, although not religious, education at a Yiddish-speaking school. With the German occupation in 1939, Olomucki and her family were deported to the Warsaw ghetto. She was conscripted to forced labor outside the ghetto walls. In May 1943, Olomucki and her mother Margarita were transported to Majdanek, where her mother was murdered. In May 1943, Olomucki was transported to Auschwitz-Birkenau. There, she was forced to work in the Union (Weichsel-Union-Metallwerke) ammunition factory. She was designated to paint signs for the barracks. With the approach of the Red Army in January 1945, she was evacuated on a death march to Ravensbrück, and from there to Neustadt-Glewe, where she was liberated on May 2, 1945. She returned to Warsaw in the hope of finding family members who survived, but to no avail. She moved to Łódź, where she married, and studied painting at the Academy of Fine Arts until 1951. She was a student of the artist Władysław Strzemiński. In 1957, she moved to France and in 1972, immigrated to Israel, where she settled in Holon.
Olomucki portrayed daily life in the Warsaw Ghetto. After she was transported to the concentration camps, she continued to draw, using materials that she obtained through her assignments as a forced laborer. In Warsaw after the war, she found her drawings, which she had been able to smuggle out of the ghetto to a Polish friend, who had saved them. She also managed to find a few of the drawings she had hidden in Birkenau.
Miriam Novitch, Lucy Dawidowicz andTom L. Freudenheim, Spiritual Resistance. Art from Concentration Camps, 1940-1945 (Union of American Hebrew Congregations, 1981), p. 17. As discussed in the online exhibition "The Last Portrait" https://www.yadvashem.org/yv/en/exhibitions/last_portrait/index.asp, accessed on November 5th, 2015.
APMO: Franciszek Jazwieck; Wspamnienia (Dreams, written in the camp), vol.32, 84-85. Also cited in Szymanska, Portret, 95, In Sybil Milton, "Art in the Context of Auschwitz", in Art and Auschwitz, ed. by David Mickenberg, Corinne Granof and Peter Hayes, (Evanston: Northwestern University Press, 2003), p. 64.
Art as a Way to Record
Another purpose that art served was to record secret SS medical experiments and racial hierarchy in Birkenau. One artist whose work served this purpose was Dinah Gottliebova's. Gottliebova was forced to draw portraits of Sinti and Roma by Mengele, the senior SS physician in Birkenau, for a future publication about the racial hierarchy and the experiments that he would perform on them. Gottliebova's assignment in the Sinti and Roma camp continued until they were all murdered in the Birkenau gas chambers.
Gottliebova was taken daily to Mengele's office from the Theresienstadt Family Camp and, after March 1944, from the women's camp, where she and her mother had been moved to. She was given cardboard, brushes, watercolors, and two chairs to paint portraits of Sinti and Roma subjects used in Mengele's genetic and medical experiments. She later recalled that she had painted around ten portraits of the Sinti and Roma; in them, we can grab the humanity of her subjects, she portrayed them showing that they were human beings and not mere objects on whom cruel experimentations were performed.
Dina Gottliebova arrived at Auschwitz from Terezin and was assigned to the Theresienstadt Family Camp.
Freddy Hirsch, who ran the children's block asked her to paint a mural to cheer up the children in the children's bunker.
She recalls that she intended,
"to make it look like we are in a Swiss Chalet...with flowers and flower pots on it and we're looking out at the beautiful meadows and maybe some cows and sheep...and then I noted that all the kids were standing around me, behind me, so I turned around and I asked them if they have any special need what to put in that meadow and they said "Snow White and the Seven Dwarfs" and that was a very surprising answer but since I had seen the picture seven times before, even while Jews were not allowed to go to the movies anymore with my star in my pocket, I had memorized everything down to the soft shoes, the way they moved and everything. So I made a painting... and the kids loved it. ..., I made almost all the dwarfs standing around some of them were clapping and that's what the kids like."3
Gottliebova's wall paintings and the pictures she was making for SS members were seen by Franz Lucas, the SS physician for the Theresiendstadt Family Camp and the Sinti and Roma Camp in Birkenau.
"...and (Lucas) took me to Mengele. Mengele was trying to photograph Gypsies then and Lucas told him 'Here is the painter I told you about' and Mengele said 'Do you think you can paint as accurate as a photograph and get the colors right because in photography the colors come out to they are not correct' and I said 'I can try'."4
Mengele claimed that photographs didn't capture the skin color of the Sinti and Roma (Gypsies) as it was. He wanted to prove by their skin tone that they were genetically inferior to the Aryan race. Before accepting the task, Dinah Gottliebova told Mengele that she would only do it if he would spare her mother from the gas chambers. She threatened suicide otherwise. She told him "I'm not staying here without my mother alive" Mengele said "What's her number?
In her interview made by USC Shoah Foundation she refers to one of the women from her Sinti and Roma portraits, whom she befriended,
"Then I went to get another girl and that was Celine, she was French, and we became friends, we started talking. She had this, not just sad but totally wistful empty look about her and I said 'Are you sick? Is something wrong?' and she said 'My baby died' I said 'How old was your baby?' She said 'Two months old. I couldn't feed him. I didn't have any milk. It starved to death, it's gone.' We were hardly able to speak, she didn't speak much German and I didn't speak any French at that time but we did get things across. And then I asked her if I can do anything for her because she looked sick and she said 'Well I have terrible diarrhea I can't hold that black bread I can't eat it, everything that I ate so far just goes right out of me'. So the next time Mengele asked someone to bring some lunch for me, to bring some food, I said could I have white bread please, so I got white bread everyday which I gave to Celine and it helped her a little...I painted her, it occurred to me that she was so beautiful in a fine delicate way...she was like a porcelain doll and I thought with the blue scarf she wore I will make her look like a Madonna and I took the scarf and untied it and I draped it around her head and then Mengele came in and he said yeah but I want the ear, and he took the scarf and put it behind her ear so she had to tie it back again and that's why she's the Madonna with the ear...then there was a little (Sinti and Roma) boy that I also painted later...I remember (that I painted) about 11, so I would say 10... the entire Gipsy camp was gone and I found out that they were all gassed."5
Dinah Gottliebova-Babbitt's biography
Annemarie Dinah Gottliebova was born in Brno, Czechoslovakia in 1923. She started studying art at the Academy of Fine Arts in Prague. When the Germans invaded Czechoslovakia she was forced to abandon her art classes. In January of 1942 she and her mother were sent to the ghetto and transit camp of Theresienstadt. In the fall of 1943 they were both transferred to Auschwitz with more than 4,000 other Jews.
On January 19th, 1945 she was sent in a Death March to Ravensbruck camp for women, from where she and her mother were liberated on May 5th, 1945.
In Paris, after the war in a job interview, she met an American cartoon animator, Art Babbitt who reluctantly had worked on Disney's "Snow White and the Seven Dwarfs". They eventually got married and moved to Hollywood, California, where she worked as an assistant animator for different companies on films and cartoons.
After nearly thirty years since the end of the war, she got to know about the fact that some of the water-colors she had painted, of the Sinti and Roma by command of Josef Mengele, in Auschwitz, had not been destroyed. They had survived and had been bought by the Auschwitz-Birkenau Memorial and Museum. The moment the Museum's staff was able to identify Mrs. Gottliebova as the same person who had signed the watercolors as "Dinah 1944" and they found her address, they made contact with her, informing her on the existence of the works she had created in the camp. In January 1973, she went to Poland to see them.
In the mid 90's she began a quest to have her paintings returned to her. The museum claimed that they were "...a unique document and piece of evidence, having the biggest meaning, significance and impact in the place of their creation."6 She continued trying to retrieve her paintings until the day of her death.
She died in 2009, at the age of 86.
From the testimony of Dina Gottliebova-Babbitt Jewish Survivor, USC Shoah Foundation
Auschwitz-Birkenau Memorial and Museum website www.auschiwtz.org accessed on November 5th, 2015.
Art as a Means of Conveying
Thomas Geve, Works of Art. Collection of the Yad Vashem Art Museum. All rights reserved
When he was liberated on April 11th, 1945 from Buchenwald concentration camp, Thomas Geve, who was fifteen years old at the time, found some scraps of paper the SS had left behind and asked for some colored pencils. He began to document the details of everyday life in the concentration camps he had been in, including Auscwhitz, with the seven colors he was given. His goal was to somehow explain to his father what he had been through. His father had fled Germany in 1939, and had gone to England with the intention of also bringing Thomas and his mother there. In the meantime, the Second World War began with the invasion of Poland, in September 1939 and Thomas and his mother weren't able to leave the country anymore.
Eventually they were both taken to Auschwitz where Geve's mother was murdered. In Auschwitz Thomas Geve was able to work as a bricklayer. He drew compulsively and produced a series of seventy nine drawings.
Thomas Geve's biography
Born in Züllchow in 1929. In 1939, he moved with his family to Berlin. His father immigrated to England but Thomas and his mother were unable to join him. After the closure of the Jewish schools, he was forced to work in the Jewish cemetery at Weissensee. His mother was put to work making alterations in German Army uniforms. In June 1943, he and his mother were transported to Auschwitz, where they were separated, and his mother was murdered. Thomas was assigned to a bricklaying commando. With the approach of the Red Army in January 1945, he was evacuated on a death march to Gross-Rosen and then to Buchenwald. In April he was liberated by the American Army. Upon his liberation, he drew 79 works depicting his personal annals during the war. He was transferred to an orphanage in Switzerland, and then to England, where he reunited with his father. He immigrated to Israel in 1950, and after army service as an engineer officer, studied and worked as a construction engineer. He published his memoirs in the book Youth in Chains.
These paintings are part of the series Thomas painted immediately upon liberation, in order to be able to relate his wartime annals to his father.
Art as Testimony by a Liberator
Zinovii Tolkatchev. "The Savior, Auschwitz, 1945"
Zinovii Tolkatchev, The Burial Day of the Victims Auschwitz, 1945, Pencil on paper
"On January 27th, 1945, Red Army soldiers liberated Auschwitz-Birkenau. As the Soviet Army was approaching the Auschwitz vicinity the Nazis started retreating quickly from the camp In Birkenau. Most of the remaining camp's prisoners; men, women and children, 58,000 in number, mainly Jews, were evacuated in brutal death marches in the direction of Germany and Austria.
In Birkenau the soldiers found the corpses of 600 prisoners who were murdered by the Nazis shortly before the evacuation. Some 7,650 prisoners, mostly sick and in a state of collapse, remained alive in the camp. In the storehouses, the Red Army soldiers found hundreds of thousands of sets of clothing, tens of thousands of pairs of shoes, and 7.7 tons of human hair in paper bags packed for transport.
With the USSR entering the war in June 1941, the Jewish artist, Private Zinoviy Tolkatchev volunteered to join the front. In the autumn of 1944, he was sent to serve as an official artist of the Red Army in the Political Department at the First Ukrainian Front.
At the end of January 1945 he accompanied the Nazi Crimes Investigation Commission to Auschwitz, literally hours after the entrance of the Red Army into the camp. Tolkatchev, seized by the urge to capture the scenes and the voices, entered a spiritual whirlwind. In a frenzy and he immersed himself in painting the horrifying scenes he witnessed. In the absence of drawing paper he entered the camp's former headquarters and took stationary with bold black letters: Kommandatur Konzentrationslager Auschwitz; I.G. Farbenindustrie Aktiengesellschaft; Der Oberprasident der Provinz Oberschlesien. The typography becomes an integral part of the composition and the image of the Nazi oppressor. The fact that on these same pieces of paper were written, just a few days earlier, orders of extermination, endow them with a tragic power that causes one to shudder.
He obsessively drew sketches of what he saw. Next to the sketches he added densely written lines with the testimony of the few survivors able to utter words. And he jots repeatedly –'to remember, not to forget'."
In the words of artist Private Zinovii Tolkatchev who arrived at the gates of Hell in Red Army uniform,
"I did what I had to do; I couldn't refrain from doing it. My heart commanded, my conscience demanded, the hatred for fascism reigned."
Zinovii Tolkatchev's biography
Born in the town of Shchedrin in Belarus. He was active in the Communist youth movement and later in the party. In 1928, Tolkatchev studied art in Kiev and in 1929 held an exhibition on the death of Lenin. In the thirties, he illustrated books, including works by Gorky and Sholem Aleichem, and exhibited the series, "The Shtetl". From 1941-1945, he served as an official artist in the Red Army. In the summer of 1944 he was attached to the Soviet forces at the front after the liberation of Majdanek, and afterwards to the forces liberating Auschwitz. In these camps he painted and drew series of artwork depicting the horrific scenes he witnessed in these camps. These series were exhibited throughout Poland at the close of the war. He died in Kiev in 1977.
Yehudit Shendar, Senior Curator, Yad Vashem Art Museum, Private Tolkatchev at the Gates of Hell, Majdanek and Auschwitz Liberated: Testimony of an artist. Jerusalem, Yad Vashem, 2005.
Ibid. p.5.
He obsessively drew sketches of what he saw. Next to the sketches he added densely written lines with the testimony of the few survivors able to utter words. And he jots repeatedly –'to remember, not to forget'."7
"I did what I had to do; I couldn't refrain from doing it. My heart commanded, my conscience demanded, the hatred for fascism reigned."8
The Auschwitz Album. Guidelines for educators.
The Development of the "Final Solution"
Teaching the Holocaust using art
Jewish Doctors in Auschwitz. Ross Halpin
The Auschwitz Bombing Controversy in Context. Dr. David Silverklang
Architecture of Murder: The Auschwitz-Birkenau Blueprints
The Auschwitz album
Flickers of light
The story of Trzebinia
Testimony of an artist: Tolkatchev
Child survivors at the liberation of Auschwitz
Jews deported from Lodz to Auschwitz
Artifacts Immortalize
Learning and Remembering about Auschwitz-Birkenau (Lesson Plan)
Auschwitz album (Lesson Plan)
Teaching about Perpetrators: A Case Study about a Deportation of German Jews from Düsseldorf to Riga (Lesson Plan)
Liberation and survival (Lesson Plan)
Women in Auschwitz (Ceremony)
Development of Auschwitz (Interactive Timeline)
Archival data preservation in the State Museum Auschwitz-Birkenau in Oświęcim - How many people can we commemorate by name?
The implementation of the Final Solution - Auschwitz-Birkenau Extermination Camp
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text:
Energy transition in Europe: How can we make it a reality beyond the EU?
NIS Gazprom Neft
Energy transition in Europe - How can we make it a reality beyond the EU.pdf
In November 2017, the 197 Parties to the United Nations Framework Convention on Climate Change (UNFCCC) gathered in Bonn for the COP23. By now, an overwhelming majority of countries have realised that in order to avoid rising temperatures and to contribute to a sustainable future, a transition towards more efficient energy is needed. It is not necessarily only a question of energy type and source, but more about efficiency and which techniques and business conduct can help to amplify this. But now that the EU is discussing a package entitled Clean Energy for all Europeans, one could rightfully wonder how to make it effectively for "all" Europeans, including outside the EU.
The energy transition has to become a reality in the EU
A transition towards more efficient and cleaner energy is one of the goals of the Clean Energy Package that was officially proposed by the European Commission on 30 November 2016. It is acknowledging the differences between EU countries and trying to create a level playing field in this attempt to move toward a more sustainable future. In the European Union, differences between countries are sometimes consistent and the respective energy mixes can vary greatly. In France, the energy mix is dominated by nuclear and a small amount of renewables, whereas in Germany, nuclear has been predominantly phased out, the amount of energy gained from renewable sources increases and coal is still used to a large extent. Nordic countries rely on a lot of hydro and thermal energy while Poland is mainly dominated by energy from coal.
… Being equally important for countries in South Eastern Europe
South Eastern Europe is in the middle of a transformation process, which might have been slower than in most EU countries, for historical, political and economic reasons. Yet, the potential in countries, member states or just candidates, such as Serbia, Bulgaria or Montenegro is real and needs to be expanded and fostered by the right policies and by initiatives from the private sector.
In general, South Eastern European countries have made first steps towards an energy transition, already. Companies embrace more efficient and sustainable solutions, by changing their business conduct, by adhering to international standards and by improving their environmental footprint. In a longer term, these countries could manage to meet their own demands and foreseen targets and nevertheless export energy to EU countries as well (Source). For South East European countries, it might also be easier to develop new climate and energy technologies that enable energy efficiency. Indeed, unlike EU Member States, these countries have started to modernise their energy systems rather late, for the above-mentioned reasons.
… And an eventual, shared win-win situation
Cooperation between South Eastern countries and with the EU would be a positive way to establish a situation that is beneficial to everyone. Investing money into projects and good governance would ensure security of supply and the development of a region that awaits accession to the Union. This will take time as the use of oil and gas can prove strategic in a period of transition towards renewables, with switching to entirely green power not being possible from one day to the other. Even though South Eastern Europe can be seen as a "Shangri-la for clean energy production", EU officials reportedly underline that "fossil fuels have to be supported in those regions as well for the sake of development and energy security". Yet, the transition will have to take place in any case. South Eastern European countries, who are all part of the Energy Community (hence including Serbia) and aiming to form with the EU an energy single market, will have to pursue their convergence with the targets and policy set by the European Union. This shall apply to the Clean Energy Package as it is the case for the third Energy package. Beyond the legal aspects and the question of a legal extension to the whole Energy community, there is also the need to remain in line with a philosophy and the ultimate objective of EU accession, which requires to integrate the Acquis communautaire.
Serbia can act as a pioneering country
Serbia is a good example of how the transition to more efficient energy can be put into practice. The oil and gas sector is modernising its practices by strategic and ambitious investments into projects and refineries, such as the Pančevo Refinery, which is driving modern solutions like the installation of separators for treating oily atmospheric water, completing the modernization of the dock and working on new concepts of permanent waste disposal or improving accident technique responses. By innovating and re-thinking their business conduct, energy companies can embrace change and commitment to EU and national goals. Indeed, the role of the state should not be forgotten either, as it is instrumental to introduce corporate governance standards, incentives and targets meeting European standards. Serbia has worked on a National Emission Reduction Plan (NERP) that is directed at the power sector and aims to decrease emissions nationwide. In addition, Serbia is transposing EU legislation, either through its Energy Community membership or in the process of negotiating its accession: it is now working on the implementation of the Industrial Emissions Directive, which tackles pollution coming from the industrial sector. This is just two examples of steps Serbia is taking to amplify its commitments to sustainability and climate friendly business conduct.
… But nevertheless cooperation is key
Overall, it is recognisable that change does not take place only on state or industry level. It is an incremental process that has to happen in close coordination between the public and the private sector and during which everyone has to cooperate, in order to achieve a viable and sustainable outcome. Investment is key in this approach and industry has to show self-driven commitment beyond state guided regulation, being a driver of environmental, economic and societal well-being and change.


"The Sangha of the [Buddha]'s disciples who have practiced well... who have practiced straightforwardly... who have practiced methodically... who have practiced masterfully ... they are the Sangha of the [Buddha]'s disciples: worthy of gifts, worthy of hospitality, worthy of offerings, worthy of respect, the incomparable field of merit for the world."
↑ See, for instance, Rhys Davids & Stede (1921-25), p. 667, entry for "Sangha" (retrieved 2007-11-11 from "Univ. of Chicago" at http://dsal.uchicago.edu/cgi-bin/philologic/getobject.pl?c.3:1:2839.pali); and, Bullitt (2005).
↑ For example, this quote can be found in one of the oldest Buddhist books, the "Anguttara Nikaya" (AN), in a talk given by the Buddha called the Mahanama Sutta (Thanissaro, 1997).
Bullitt, John T. (2005). Sangha. Retrieved 2007-11-11 from "Access to Insight" at http://www.accesstoinsight.org/ptf/sangha.html.
Rhys Davids, T.W. & William Stede (eds.) (1921-25). The Pali Text Society's Pali–English Dictionary. Chipstead: Pali Text Society. A general on-line search engine for the PED is available at http://dsal.uchicago.edu/dictionaries/pali/.
Thanissaro, Bhikkhu (1997). Mahanama Sutta: To Mahanama (1) (AN 11.12). Retrieved 2007-11-11 from "Access to Insight" at http://www.accesstoinsight.org/tipitaka/an/an11/an11.012.than.html.
This page was last changed on 14 December 2015, at 05:16.


text:
Hedd Wyn
Hedd Wyn killed, 1917
Pte Ellis Humphrey Evans was serving with the Regiment at Pilckem Ridge, Belgium. He was a shepherd and poet from Trawsfynydd, North Wales, whose pen name was Hedd Wyn. At the National Eisteddfod at Liverpool in 1917 there was a tense and dramatic silence which followed the summons of the Archdruid to Hedd Wyn to reveal his identity and take his victor's place on the Bard's Chair. The vast audience was stunned when it became known that he was dead.


only recently have i been having issues with Thief Gold. it usually works perfectly fine, although starting a week ago, every time i try to launch it. only recently have i been having issues with Thief Gold. it usually works perfectly fine, although starting a week ago, every time i try to launch it, an error. Reinstalled T2X today but when I try to runT2X,I get a message on the desktop " Resolution in swiftescrowsd.com does not match that given in swiftescrowsd.com".
So after messing around a little in the options (just pressed the "hardware" button under graphics to see if there's any diffrence, none) tried to. 8 Feb think of, including installing updated versions of DDFix with Thief 2, to the latest version and the multicore fix enabled in swiftescrowsd.com) and it. Should you need to, you can set a custom resolution manually in swiftescrowsd.com and swiftescrowsd.com - but make its the SAME resolution set in both files.
It seems that one of the files swiftescrowsd.com doesn't match swiftescrowsd.com An easy was is to simply verify game cache. Open Steam and Log In; Right Click. i actually got system shock 2 working a while ago. it took me months to get it working. now it doesn't work. i remember the last thing i did (after. 1 Jan instead of aborting - now also saves swiftescrowsd.com and swiftescrowsd.com (if it exists), to avoid a possible error with the. T2Tool should also clean up ddfix stuff more efficiently now. - 1st June.. Delete.


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text:
Hackers have stolen record $3 billion in cryptocurrency this year
Hackers have stolen more than $3 billion in cryptocurrency so far this year, shattering the previous record of $2.1 billion set in 2021, according to blockchain analytics firm Chainalysis.
A big chunk of that $3 billion, around $718 million, was taken this month in 11 different hacks, Chainalysis said in a series of tweets posted Wednesday.
"October is now the biggest month in the biggest year ever for hacking activity, with more than half the month still to go," the company tweeted.
1/ After four hacks yesterday, October is now the biggest month in the biggest year ever for hacking activity, with more than half the month still to go. So far this month, $718 million has been stolen from #DeFi protocols across 11 different hacks. pic.twitter.com/emz36f6gpK
— Chainalysis (@chainalysis) October 12, 2022
In past years, hackers focused their efforts on attacking crypto exchanges, but those companies have since strengthened their security, Chainalysis said. These days, cybercriminals are targeting "cross-chain bridges," which allow investors to transfer digital assets and data among different blockchains.
The bridges hold a lot of cryptocurrencies, providing a larger and more complex arena for hackers to infiltrate, according to cybersecurity experts.
"Cross-chain bridges remain a major target for hackers, with three bridges breached this month and nearly $600 million stolen, accounting for 82% of losses this month and 64% of losses all year," Chainalysis said.
Hackers initially made of with $570 million in cryptocurrency from Binance, but company officials have minimized the losses to under $100 million, its CEO said last week. Hackers also struck Nomad in August, reportedly taking nearly $200 million. Both the Binance and Nomad attacks were instances of hackers exploiting security flaws within the cross-chain bridge transaction protocols.
Crypto.com, known for its recent $700 million deal to rename the former Staples Center in Los Angeles, said in January that hackers managed to bypass its two-factor authentication system and withdraw funds from 483 customer accounts. Harmony lost about $100 million in a hack in June. Crypto platforms Wormhole and Ronin Network were also targets of hackers this year.
All told, Chainalysis said there have been 125 hacks so far this year.
Binance CEO Changpeng Zhao said in an interview with CNBC last week that the crypto industry is vulnerable to hackers whenever customers move assets from one blockchain to another, but the goal is to learn from what caused the hack and develop extra safeguards in the future.
Cryptocurrency is not federally regulated or FDIC insured like a bank account, which means if an account gets hacked, the government will not work to restore a customer's funds.
Khristopher J. Brooks
Khristopher J. Brooks is a reporter for CBS MoneyWatch covering business, consumer and financial stories that range from economic inequality and housing issues to bankruptcies and the business of sports.
Tags: BillionCryptocurrencyHackersrecordStolenYear
Cardano Slump Continues As DeFi Momentum Reverses And Bulls Temper Expectations – CryptoMode
Blockchain-based stock exchange for SMEs set to break down barriers


Craving chocolate? Whip up this creamy protein-packed snack and don't feel guilty about doing it! This dip is delicious served with fresh fruit (strawberries and bananas are the best!) and are the perfect afternoon pick-me-up to help you power through your day!
I love fresh fruit, but there is something about having a delicious dip served with it that takes it to the next level.
My kids love dipping any kind of fruit, so I want to be sure that it's healthy and not loaded with sugar.
This dip starts with Greek Yogurt as a creamy base. Now, we need to talk about that all Greek Yogurts are NOT created equal.
In order to keep this dip as healthy as possible, it's crucial that you are checking the ingredients label and nutrition facts!
Step 1: Start with your yogurt.
One of my favorite kinds of Greek Yogurt is Fage (this isn't sponsored, but I am just sharing my what I use for my family).
They have lots of protein and no sugar added, plus all their ingredients are natural.
I also love how smooth it is and the flavor is so good. Do you have a favorite kind? I would love to hear in the comments below.
The next ingredient needed to make this fruit dip is cocoa powder.
By itself, cocoa powder is actually quite bitter tasting and you usually have to add a lot of sugar to make it taste good.
Step 3: Add the sweetener.
However, for this recipe, we are going to be using honey as a sweetener. I know that honey is still considered a sweetener, but I do appreciate the added nutrients and benefits that it provides.
You can also use a smaller amount than sugar to still get the sweet taste that you need for your recipes when you use honey, so that's another pro to add to the list.
Step 4: Add your vanilla.
The last pantry ingredient that you need for this dip is vanilla extract.
I do not recommend making this recipe without it. It adds the flavor that you need to pull everything together.
Mix all the ingredients together and serve. I have also made this dip hours before eating it and letting it chill in the fridge until I served it and it was delicious.
I think that you could make this up to a day before and have it still be perfect. It's creamy, it's chocolatey, and it's delicious.
I really could eat it with a spoon and be happy. I also love that it's actually pretty healthy for you as well.
With summer right around the corner, this is the perfect snack to make on a hot day with all the fresh fruit that is in season.
It's also perfect for all those potlucks and parties that happen all season long.
I also love serving this yogurt dip with graham crackers.
Eat immediately or chill in the fridge until ready to serve.
Serve with strawberries and bananas.


MIDDLEBURY — The Middlebury Union High School boys' tennis team's outstanding season came to an end in a Division I quarterfinal on Saturday, when visiting No. 7 St. Johnsbury dealt the No. 2 Tigers their first loss, 5-2.
The Tigers finished at 10-1, while the Hilltoppers, who played more D-I competition this spring than the Tigers, advanced to the semifinals with an 11-3 record.


If you're planning a wedding, birthday party or an end of year work celebration, the hiring of a food van is the perfect addition to any festivity.
Here at KK Catering, we have a wide variety of fantastic food vans available for hire for any occasion and our team of experts can create a menu that is perfect for your event.
What do KK Catering offer?
We offer burger vans – which are great for outdoor parties and music events; fish and chip vans – a firm favourite amongst wedding parties; and pizza vans and pie and mash vans, to name just a few.
Forget the over-ordered buffet food, the mid-evening snacks of sausage and bacon sandwiches that just aren't cutting it anymore, or the European work luncheon that you don't have time to prepare – it's time to treat your guests to something more imaginative, more exciting and more fulfilling. It's time to call in the experts.
Whether you are looking for Mexican, Greek, English, Chinese, Italian or Indian, we have it all.
Why are food vans so popular?
Our guests delight in our traditional street food van hire, our flavoursome southern fried chicken van, our German Bavarian van and our baked potato van. Whatever you fancy, we can bring it to you; this is why food van hire is becoming more popular today – it's convenient and can cater for a variety of different needs.
No matter your necessity, your type of business or your timescale, we can work around you to bring you exactly what you require to make your event a success. We have the experience and the knowledge to make your special day a day you'll never forget.
If you've got a huge workforce to feed or you're planning a large wedding, the best and usually most cost-effective way to feed your guests or employees is with one of our mobile catering units.
Offering internal or external catering for breakfast, lunch, dinner or even full days, we can work to your every requirement. Located across the UK, we can cover any mainland location.


Welcome to the Home on the Web for the El Eden Ecological Reserve. Here you can learn about research projects in progress at the reserve, results of previous studies, available services and facilities, and details of the different ecosystems, habitats and species of the Yucatán Peninsula.
Feel free to browse through our site. If you would like more information about the reserve or anything you see at this site, send an e-mail to jramos@uv.mx, reservaeden@prodigy.net.mx, floramex@.ucr.edu, or contact us at the address provided below.
The latest news about El Eden and associated projects.
El Eden needs your help!
¡El Edén necesita de tu ayuda!
Information about the reserve, including the ecology of the reserve and surrounding areas.
On-line versions of technical reports, research papers and other publications.


text:
Tag: visual cliff
How to avoid VR headaches and other visual jitters with visual release, visual cliff
The most common problem with VR, in my experience, is that it's too much.
I've spent much of my career designing VR headsets, and I know from experience that the biggest headaches are caused by the overwhelming experience itself.
A recent article from The Wall Street Journal highlighted a number of problems that VR headsets can cause.
"There is a sense of overwhelming, and the sense of an empty world that the experience does not have time to fill," it read.
In other words, VR headsets are hard to wear out and that's why they cause headaches.
I'm sure there are some other problems, too, like that the headset can get too hot and you have to run to cool down before you can go back to the room.
But these are the ones I see the most frequently in VR headsets.
The more you spend time playing, the more it's going to affect your brain.
It's like a giant, throbbing headache.
I often have to get out of the room, and it's almost impossible to go back.
If you've never tried a VR headset before, this is a big learning curve for you.
But you should already be able to tell that you're not ready to jump into VR just yet.
The best VR headsets work in very different ways to your average video game, which is why it's so important to find the right one for you, even if you've been through the trial and error process before.
I was introduced to virtual reality in early 2016 when I was invited to the Oculus booth at a VR event.
My head was spinning as I tried to figure out what I was seeing.
There was a virtual reality headset in front of me, but it was too low resolution and there were too many moving objects.
It was a bad experience, but the Oculus team was quick to respond and offer a refund.
In the past year, I've gotten to spend a lot of time with other headsets that I've already used.
I can now sit comfortably in a room and have the feeling of being in the virtual world, not in the physical world.
That's great, because there's no getting out of VR just because it's not working.
As a developer, you need to know how to use these headsets to make the best of them, but there's a lot you need not to know.
Below, I'm going to show you how to get the most out of your virtual reality experience, how to avoid some common problems, and what you can do about it if you find yourself in a headache.
Posted on September 6, 2021 Categories BlogTags unity visual studio, visual brain teasers, visual cliff, visual release hallucinations
How to make a visual hallucinations visual effect
The technique used in the creation of visual hallucinations, or "visual cliff", is one of the oldest in visual effects.
It is often applied to a wide range of scenes and often involves lighting, a computer model or even special effects, such as a water-splashing splash.
It was created by visual effects supervisor Tom Clark in the late 1990s, and it's now used to create many effects in the industry.
And yet, it's still not quite perfected.
And that's partly because of the limitations of modern software, said Clark.
"Visual cliff is not really a tool for making the illusion believable, and is actually a tool to reduce the realism of the scene," he said.
"That's one of its limitations, because if you can get rid of the realism and get the illusion that the scene is not real, you can make a really impressive scene."
Clark said he and his team had created visual cliffs on the set of Star Wars: Episode IV A New Hope, where a camera operator used the technique to create a series of flickering shadows that appeared to come from the back of a spaceship.
"The problem with this technique is it doesn't actually work with all of the lighting you want to use, because it has to work on the camera's perspective," Clark said.
It wasn't until his team made an improvement that the technique was adopted in the Star Wars franchise, Clark said, adding that it is now used for effects in more than 200 films.
"We did some really fun things with this, and people have asked us about it," he explained.
"And I think it's probably the best we've ever done."
One of the biggest hurdles to being able to create visual cliffs is a lack of space to build it from.
"There's so much space in the film, so it's hard to find the right space," Clark explained.
That's why he and co-writer Dan Pinchbeck created a computer-generated environment in which a large screen and a large background were created.
"I had this idea that if we were going to create this, it had to be really big," he recalled.
"It had to look really big.
And we've done a lot of computer-graphics work in the past, so I think that was something we wanted to do."
The resulting image of the space station, which was used for a scene in Episode IV, is a lot bigger than what was originally in the script, Clark explained, but the computer created it using the same technique.
"Now that we've got the technology, we can create a much more detailed, very realistic environment that can be used to simulate the look of a ship in the sky," he added.
"But the trick is, it doesn's actually get very expensive, because we have to build this from scratch."
To create the illusion of a massive space ship, the team built a mock-up of a real-world space station in order to simulate its size.
But it was difficult to create the look they wanted, so they went back to their original idea.
"Instead of building this from a blank canvas, we decided to use a real space station," Clark told Mashable.
"Then, it was really hard to get it in the right place.
And the reason is we had to have the space stations, so we had a really big space station to work with, so you can't just use an old computer model and get a very good look."
In the final image, a large piece of the film's space station is visible, but it looks very small compared to the rest of the movie.
Clark said the team used the same techniques to create more realistic scenes in the final film, and the effect is a bit more subtle than the first one.
"In the original film, the entire space station has to look big, and so we tried to do that in the movie as well," he continued.
"This time, we did something slightly different.
We were trying to do a real piece of that space station."
In this image, the camera has zoomed in on the space ship and the background.
It has also been rendered using a digital rendering technique, but that technique was only used for one scene.
"If we're going to do it, we're not going to make the spaceship look big and the crew look small," Clark continued.
The trick is that we have the technology so we can make it from scratch.
"So instead of building a spaceship from scratch, we created a real spaceship and then built it from that," he concluded.
Posted on September 6, 2021 Categories ContactTags visual cliff, visual hallucinations, visual studio 2013, visual studio express


text:
Corcoran v. City of New York
Baltimore v. Thompson
public highways safe for public travel, and it is equally well settled that it is not an insurer of the…
Tresise v. Ashdown
The decisions supporting this rule seem to us the better reasoned cases and in harmony with the principles…
Full title:EMMA CORCORAN, as Administratrix of the Estate of MARGARET CORCORAN…
Court:Court of Appeals of the State of New York
Date published: Mar 15, 1907
80 N.E. 680 (N.Y. 1907)
80 N.E. 680
Court of Appeals of the State of New York
In Corcoran v. City of New York, 188 N.Y. 131, 80 N.E. 660, the plaintiff's intestate was riding at night in an automobile over Jerome Avenue, which abruptly terminated at the edge of a sheer declivity.
Summary of this case from Baltimore v. Thompson
Argued February 26, 1907
Decided March 15, 1907
Dudley R. Horton and Charles W. Ridgway for appellant.
William B. Ellison, Corporation Counsel ( Theodore Connoly and Royal E.T. Riggs of counsel), for respondent.
WERNER, J.
Jerome avenue is one of the public streets in the city of New York. Its general direction is north and south, but as it approaches the Harlem river from the north it turns westerly and ends abruptly at the New York Central Railroad Company's tracks which, at this point, border on the Harlem river at a level of from twenty to thirty feet below the surface of the adjacent streets. Prior to 1895 the old McComb's dam bridge formed a continuation of Jerome avenue and connected it with the island of Manhattan on the south side of the Harlem. At some time in that year the old bridge was removed, leaving Jerome avenue to terminate abruptly as above described, and some six or seven years before the trial of this action the defendant had erected across this abrupt end of Jerome avenue a picket fence about six feet high, which extended across the whole width of the street. This fence was close to the end of the declivity, and converted this part of the street into a cul de sac. Extending across a part of the street, at a point about four feet easterly from the fence in question, was what is known as a guard rail, constructed of upright chestnut posts, six inches in diameter, connected at the top and about midway between the ground with two by four rails. After the old bridge had been taken away a new bridge was built across the Harlem river, with its easterly approach commencing near the intersection of Jerome avenue and One Hundred and Sixty-second street, at a point about fifteen hundred feet easterly from the fence at the end of the cul de sac. This new approach forms a continuation of Jerome avenue, which now converges southerly on a curve and crosses the Harlem to the south of the cul de sac, while the cul de sac continues along the old lines of Jerome avenue, which are slightly to the right of and almost parallel with the new approach. The two branches of Jerome avenue thus described form what may be termed an oval which extends to the Harlem river. At this point Jerome avenue is intersected on the northerly side by Ogden avenue and Sedgwick avenue. Ogden avenue runs generally north and south, and enters Jerome avenue about three hundred and fifty feet from the picket fence. Its course is changed on the opposite side of Jerome avenue, where it connects with the approach to the new bridge, forming what is called the Ogden avenue approach. The direction of Sedgwick avenue is approximately east and west, and it enters Jerome avenue still nearer the fence, its curb line on the westerly or lower side being two hundred and forty feet therefrom and practically opposite the Ogden avenue approach. From the intersection of these two avenues with Jerome avenue the latter continues, as already stated, along the old lines to the abrupt ending at the guard rail and picket fence. This was the physical situation at the time and place of the accident.
On the night in question the plaintiff's intestate with ten others had been at a resort on One Hundred and Tenth street. They left there in two automobiles at between nine and ten o'clock in the evening and went to a roadhouse called Woodward's, at One Hundred and Seventy-seventh street and Jerome avenue. Two of the party left the latter place in one of the automobiles, and the other nine, including plaintiff's intestate, continued there, dancing and singing until about midnight when they entered the remaining automobile. Seven of them got into the tonneau of the vehicle, and the front two seats were taken by the plaintiff's intestate and one Noyes who operated the machine. The party proceeded along Jerome avenue towards the city, and when they had reached the intersection of that avenue with the new bridge approach near One Hundred and Sixty-second street they held to the right or north, following the old lines of Jerome avenue into the cul de sac, instead of keeping to the left and going along the new approach to and across the bridge. This explains how they came into collision with the guard rail and picket fence with the result above stated.
The foregoing facts were supplemented by evidence from which a jury might have found that to a traveler in the darkness of the night, who was unfamiliar with that locality, there was nothing to indicate that the street ended at a dangerous declivity not more than two hundred and fifty feet beyond the intersection of Jerome avenue with Ogden and Sedgwick avenues, unless there was sufficient artificial light in the vicinity to plainly disclose the situation. It is obvious, therefore, that the crucial question in the case was whether this dangerous place was sufficiently lighted. As bearing upon that question it was shown that there was an electric light (since removed) on the northerly side of Jerome avenue one hundred and seventeen feet from the fence and one hundred and twenty-six feet from the place where the automobile collided with the fence. There were small maple trees on each side of this light, the branches and foliage of which somewhat obscured it. On the left or southerly side of Jerome avenue, at the easterly corner of the Ogden avenue approach and a distance of two hundred and eighty-two feet from the fence, there was another electric light, while there were others further to the south. The new bridge which, viewed from the cul de sac, extended diagonally across the Harlem river, was brilliantly lighted, and the lights on the draw span were so directly in front of the traveler coming down Jerome avenue that they might easily have been mistaken for lights that appeared to be placed along a direct continuation of Jerome avenue to the west. The possibility of such a mistake was increased by the fact that the cul de sac was paved, guttered and curbed. It was laid with two lines of railroad tracks close up to the fence, and the sidewalks extended on either side to the same point. The guard rail and the picket fence were so weather beaten and dark in color that they were less visible in the night than painted structures would have been. There was evidence tending to show that there was plenty of light on the Ogden avenue approach, but that it cast a very dim reflection toward the fence two hundred and eighty-two feet distant, and that in going from the illuminated zone of the Ogden avenue approach into the more dimly lighted cul de sac, the traveler's ability to see surrounding objects plainly was considerably decreased. Something like a month prior to the date of the accident another person or party coming down Jerome avenue in an automobile had crashed into this same fence under similar circumstances, and had reported the accident at a police station. Horses had been frequently heard in the night time to stop suddenly in front of the fence, and there was other evidence from which the jury could have found that it was impossible to see the fence in the night time until very close to it.
Upon such evidence, with all the inferences fairly deducible therefrom, it seems to us impossible to escape the conclusion that the case presented questions of fact for decision by the jury. Jerome avenue was one of the public streets of the city of New York. It was, therefore, the duty of the municipality to see that it was at all times kept in a reasonably safe condition for travel thereon. Although it owed no special duty to those who ride in automobiles, and was not an insurer of the travelers using that street, it was at all times bound to exercise due care to keep the highway reasonably safe and free from dangerous defects. ( Hunt v. Mayor, etc., of N.Y., 109 N.Y. 134; Hubbell v. City of Yonkers, 104 id. 434.) It cannot be said that the city was under any duty to safeguard this dangerous place with a more substantial barricade than the fence and guard rail, for they were doubtless sufficient for ordinary emergencies such as would be likely to arise in the day time in the use of the street by pedestrians or drivers of horses. But the streets of a city may be as freely used by those who ride in automobiles as by pedestrians or travelers, and if this cul de sac was likely to be a dangerous place in the night time to any class of wayfarers who might be misled into thinking that it would be a continuation of the highway, it should have been so well lighted as to give fair warning that it was merely a cul de sac, or so well guarded as to prevent entrance to the point of danger, for "a public highway may be used in the darkest night; a night so dark that the keenest and clearest vision may not be able to detect obstructions and defects." ( Harris v. Uebelhoer, 75 N.Y. 175.) We think that the question whether the city had provided sufficient light to enable a traveler at night to discern the guard rail and fence, and to be aware of the danger in time to avert accident, was one of fact. ( Snowden v. Town of Somerset, 171 N.Y. 99.) The situation disclosed by the record was such as would have warranted the jury in deciding that a traveler, although exercising reasonable prudence and foresight, might meet with an accident at this place in the absence of more effective safeguards than those furnished by the defendant. This conclusion is no less admissible in respect to automobiles than of any other kind of vehicle rightfully used upon the public streets. As bearing upon that question the jury would have had the right to consider that at least one similar accident had previously happened at this place to the knowledge of some of the city authorities, and that all the physical conditions surrounding the place of the accident were such as to lull the wayfarer into a feeling of security instead of awakening in him a sense of danger.
We are also of the opinion that the question of contributory negligence was one of fact for the consideration of the jury. The automobile was going at the rate of eight to ten miles an hour, and Noyes was shown to have been an experienced and careful operator. Although the testimony tends to show that this automobile, weighing three thousand pounds, and going at the rate of from eight to ten miles an hour, could have been stopped in from eighteen to twenty feet, it is still a question of fact whether under the conditions which existed the guard rail and fence were visible from a sufficient distance to make such a stop possible. It is true that one of the occupants of the tonneau testified that the fence could be distinguished at a distance of fifteen feet, but that is by no means conclusive, for the plaintiff was entitled to the benefit of the legal principle that a traveler on a city street has the right to assume that all the parts thereof intended for travel are safe, and he is not open to the imputation of negligence if he fails to discern an unknown and concealed danger at the very instant necessary to prevent an impending disaster. ( Brusso v. City of Buffalo, 90 N.Y. 679; McGuire v. Spence, 91 id. 303; Weed v. Vil. of Ballston Spa., 76 id. 329; Chisholm v. State of New York, 141 id. 246.)
The judgment should be reversed and a new trial granted, with costs to abide the event.
EDWARD T. BARTLETT, WILLARD BARTLETT and HISCOCK, JJ., concur; CULLEN, Ch. J., HAIGHT and VANN, JJ., dissent.
Judgment reversed, etc.


text:
<?php

declare(strict_types=1);

namespace SolidWorx\FormHandler;

use Symfony\Component\HttpFoundation\Response;

interface FormHandlerSuccessInterface
{
    /**
     * Handle successful form submits.
     *
     * @param mixed $data The data that is returned from the form
     */
    public function onSuccess(FormRequest $form, $data): ?Response;
}

redpajama_set_name: RedPajamaGithub


Expertise: Aquatic ecology and fisheries science. Dr. Ostrand's research integrates the fields of physiology (e.g. bioenergetics, osmoregulatory, reproductive, and stress related biochemical processes), behavior (e.g. migration, microhabitat use, inter-and intra-specific competition), and ecology (e.g. alternate life history strategies, population dynamics, community interactions) linking basic science to applied questions.
Expertise: Provides administrative assistance with personnel, timekeeping, facility record keeping, budget management, procurement, and travel related actions in support the SMARC mission.
Expertise: Provides assistance with budget management, procurement of supplies and other clerical duties to support the SMARC mission.
Expertise: Conservation and ecology of native aquatic and riparian plants, habitat restoration, and non-native plant control methods using integrated pest management. His research is focused on maintaining refugia of Texas wild rice ex-situ using various culture methods. Other research areas include long-term monitoring of Texas wild rice and non-native aquatic plant populations on the San Marcos River and other river systems within the Edward's Plateau, applied management for control of aquatic and riparian non-native plants on listed plants, and native plant propagation to supplement restoration of disturbed habitats.
Expertise: Invertebrate zoology and aquatic biology. Mr. Gibson's research background is primarily on invertebrate communities of springs in east, central, and west Texas and threatened and endangered species of the Edwards Aquifer (e.g. Devils River minnow, Comal Springs riffle beetle, Comal Springs dryopid beetle, and Peck's cave amphipod). He is currently working on captive breeding strategies for these listed species and working with others to learn more about the rare and relatively unknown spring and cave invertebrates of Texas.
Expertise: Native Seed Collection and Storage. Leah has worked as a botanist and seed collector for Seeds of Success, Project Baseline, and the Conservation and Lang Management Program through Chicago Botanic Gardens. She is working to create and seed bank and herbaria of the flora of the San Marcos River. Her research efforts include developing a management protocol for Texas Wild Rice, as well as working with other federally listed species in the Central Texas Region.
Expertise: Marine and freshwater biology and aquaculture systems. Justin has experience in the husbandry of fish and aquatic salamanders, the construction and maintenance of aquaculture systems and research focusing on environmental factors that affect aquatic animal physiology. He is currently working on captive breeding techniques for several federally listed spring and cave invertebrates found throughout Texas.
Expertise: Endangered species propagation and reintroduction. Mr. Stagg's research background includes fish physiology, evolutionary changes to predation, and evaluation of stocking success. His current research efforts include developing a captive propagation manuals for aquatic species dependent upon the Edwards Aquifer.
Expertise: Fisheries science. Morgan has experience in aquaculture and endangered species propagation. Her research background includes the use of ultrasonic imaging to identify eggs in endangered fish. She is currently developing new propagation techniques for aquatic invertebrates found in Texas, including the Comal Springs riffle beetle and the Peck's cave amphipod.
Expertise: Aquatic biology and ecotoxicology. Josh has experience researching the effects of pesticides and heavy metals on aquatic ecosystems, and pest management strategies on commercial shellfish operations. His current research efforts include developing a captive breeding strategy for Devil's River minnows, as well as working with other federally listed fish species native to Central Texas.
Expertise: Construction and maintenance specialist with an emphasis on project management, quality control inspections and OSHA regulations. His technical background covers utility maintenance and new construction, installation of new equipment and maintenance of existing equipment and infrastructure. He also maintains and operates all material handling equipment, government owned vehicles, agriculture and grounds equipment.
Expertise: Maintenance and repair specialist with experience in the operation, maintenance and repair of mechanical and structural systems. He assists with the installation of new equipment and maintenance of existing equipment and infrastructure.


Andermatt is a really cool village. It is very authentic, with old and beautiful buildings. There are plenty of shops in Andermatt alongside the good skiing and snowboard rentals and restaurants. The hotels range from cheap to expensive. Andermatt ski area is fabulous. If you have touring skis, you can have a lot of fun out there. As we where there, the first two days it was snowing hard. We didn't have to go far for "fresh pow". If you go there, don't forget to go through the "Felsental" (rock valley) but only if there is a lot of snow. It's really cool. You'll get to another village, where you can have lunch. A taxi bus will bring you back. The piste skiing at Andermatt is also very nice, with long runs to the village. There is also a controlled unprepared (off-piste) area within the piste area. The top gondola is quite small, and you'll have to wait about half an hour sometimes. Make sure you also go to the two smaller areas (Andermatt is built up in three areas.) They sometimes provide better sunny conditions and they also offer very nice off-piste skiing.
Ski Arena - Andermatt ski center, in the canton of Uri in Central Switzerland is actually develloped in the axis west - east parallely to the train rail, starting from Andermatt (west) and ending to Sedrun (east). From Andermatt up to Dieni you can ski on your own skis. Further away you must take the train. Between Andermatt and Dieni is Oberalp station. I skied in Ski Arena on Saturday, 16th March 2019 and I can say I was not really happy with what the ski center offered to me. The main problem was high temperature, which caused the snow to be soft. I think that the pistes were not well or maybe not at all prepared. All the red pistes had many bumps. In particular, piste no 26 was in awful condition and was even dangerous to ski there. I started skiing from Andermatt, up to Dieni and then returned back to Andermatt. It took me approximately 3 1/2 hours. The itinerary I took were pistes 13, 18, 20, 37, 43 and 47 to Dieni and from there back to Andermatt pistes 49, 39, 36, 26, 27, 3, 2 and 1. As said, the ski center consists mainly of red pistes. None of them seemed to be very difficult because of inclination. The difficulty of all red pistes had to do with bad snow quality and many bumps. The landscape is mainly alpine. There are no trees except in Dieni section. Lift ticket from 12:00 at 67 Swiss Francs and ski equipment rental at the price of 47 Swiss Francs.