Festivities will be held on S Walker Street between 21st Ave S and 22nd Ave S. Please be respectful of our new neighbors when parking. Our new campus is within an easy walking distance of both Metro bus stops and Light Rail.
We'll have fun activities (and warm drinks) for the whole family and the first 100 people will receive a special give away.
Giddens School and Lake Washington Girls Middle School are building a new campus for our two schools at 2101 22nd Avenue South the former site of the Imperial Lanes bowling alley. With gratitude to the Takagi family (owners of Imperial Lanes) and respect for the rich history of this site, we look forward to meeting you and learning how we can help strengthen opportunities for families in the Rainier Valley.


Terriers are taking on cross-town rival Northeastern in their final home game of the season. BU's first match-up of the season comes on Senior Night as five senior skaters will be recognized. Puck drop is set for 7 p.m. with the senior night activities beginning at 6:45 p.m. The Jack Parker number retirement will take place during the first intermission.
BU's three top scorers are Robbie Baillargeon (23 points), Ahti Oksanen (22) and Danny O'Regan (21). The Huskies are led by Kevin Roy (42 points), Mike Szmatula (36) and Braden Pimm (31). Goalie Clay Witt has a 2.17 GAA and .940 save percentage.
● USCHO Hockey East picks and predictions.
● College Hockey News Tale of the Tape.
2014 recruit J.J.Piccinich (photo-right) scored the deciding shootout goal as Youngstown edged Dubuque, 5-4. 2015 recruit Maxim Letunov's (photo above) backhander—assisted by Piccinich—midway through the third period gave the Phantoms a 4-2 lead, but the Saints rallied and sent the game to overtime when former Terrier Alexx Privitera scored on a one-timer with ten seconds left in regulation. Letunov, who also had an assist, improved his scoring line to 14-19-33, while Piccinich, who received a 5-minute major for the first fight of his USHL career, now has 47 points (25G, 22A).
The retirement of former head coach Jack Parker's number from his playing days will take place during the first intermission of tomorrow's Senior Night game against Northeastern at Agganis Arena. Originally set for the Feb. 14 game postponed by a snowstorm, the ceremony will have Parker's #6 will join Travis Roy's #24 in the Agganis rafters. The game will air live on NESN.
Senior night activities honoring five seniors will be held prior to the 7 p.m. puck drop. Those seniors are co-captains Patrick MacGregor and Garrett Noonan, Jake Moscatel, Anthony Moccia and Matt Ronan.
► The ice surface at Agganis was dedicated as Jack Parker Rink in October 2005.
Episode 19 of Inside BU Hockey features Bernie Corbett's interviews with Head Coach David Quinn, Senior Co-Captain Garrett Noonan and former Terrier standout forward and NHL player and coach Joe Sacco. Noonan recently scored his 30th career goal, making him the first BU blueliners to do so since Vic Stanfield in the mid-1970s.
Sacco was a 128 point scorer (63G, 65A) in three varsity seasons. As a junior in 1989-90, his 28 goals were tops on a BU squad that put on a stirring post-season run to reach the NCAA Final Four. During the Hockey East best-of-three quarterfinals against Northeaster, with BU facing elimination, Sacco scored all five goals in a 5-2 win followed the next night with a clinching win against the Huskies. After BU, the Medford, Mass., native spent 12 seasons in the NHL, scoring 94 goals and 119 assists, before beginning a coaching career. After season seasons in the AHL, he took the reins of the Colorado Avalanche for four seasons and now is an assistant in Buffalo.
2016 recruit Clayton Keller, a sophomore on Shattuck St. Mary's prep, enjoyed another solid weekend for the Sabres. In SSM's 5-3 win against Culver Academy, Keller an even-strength goal and a short-hander, while 2014 recruit Chase Phelps tallied an assist.
Former Terrier All-American and Hobey Baker finalist John Curry has been called up to the Minnesota Wild from AHL Iowa. The Sherwood, Minn., native had recorded a 2.08 GAA and .935 save percentage in 14 AHL games. Curry had previously played four NHL games for Pittsburgh.
BCDwire.com offers a well-written profile of former BU defenseman David Warsofsky who is back in Providence awaiting his next call-up to the Bruins.
Sophomore Sarah Lefort, who leads Division 1 with 29 goals, was named one of ten finalists for the Patty Kazmaier Memorial Award, women's hockey's version of the Hobey Baker Award. The Quebec native is the first Terrier to be named a finalist and is the only Hockey East player in the group. Hockey East's Player of the Month in December, she is tied for the conference lead in game-winning goals (4) and plus/minus (+21). Her next goal would make Lefort the second Terriers to score 30 goals in a season.
2014 recruit Jack Eichel (photo) scored twice and added an assist in the NTDP U18s 5-4 loss to the Indiana Ice on Sunday. With the U18s trailing 5-2 entering the third period, the 6-2 center converted on a power play midway through the period and then again in the final minute to cut the margin to one.
In two weekend games against the Ice, Eichel had a combined six points (3G, 3A), which earned him USHL Forward of the Week honors. The two-game outburst extended his scoring streak to 10 games (7G, 12A) and his season total to 60 points in 36 games. Playing in the World Junior Championships as an under-ager, Eichel scored a power play goal, added four assists in five games and was regularly on the ice in key situations.
"Ori Abramson is an imposing figure on the blue line. Standing 6'5 and 220 lbs., Abramson moves and skates extremely well for his size. Ori possesses a heavy shot from the point, a strong stick defensively and is well versed in joining the rush in transition from defense to offense."
For the second weekend in a row, 2015 recruit Maxim Letunov (photo) set up an overtime winning goal for Youngstown. On Sunday, he had the primary assist on both Youngstown goals with the game-winner coming 27 seconds into overtime, as the Phantoms edged Chicago, 2-1. A week earlier, his slick goal-mouth pass led to the GWG in a 4-3 win over Des Moines (video). The center from Moscow now has a 14-19-33 scoring line in 46 games, third best on the Phantoms.
34 years after Team USA completed the "Miracle on Ice" with a 4-2 win against Finland, a Boston Globe sports blog caught up with goalie Jim Craig who talked about Lake Placid (1980) and Sochi and the occasional pleasure of anonymity. The article includes video of the final minutes of the gold-medal game.
Canada.com looks at 2010 and 2014 Olympic "hero" Marie-Philip Poulin through the eyes of Terrier teammate Louise Warren. Poulin has scored a combined four goals in two gold-medal games, including the game-winner in each game.
Brandon Yip scored a goal and an assist for Portland but the Pirates were edge by St. John's 6-5.
Friday's script was repeated Saturday as the Terriers were blanked again at Notre Dame by the same 2-0 score. Sophomore netminder Sean Maguire dueled Notre Dame's Steven Summerhayes evenly throughout two scoreless periods. But the hosts converted just 19 seconds into the third period on Jeff Costello's power play goal after a Garrett Noonan penalty late in the middle stanza carried over to the start of the third.
Austin Wuthrich, who had scored Friday's game-winner, doubled the Irish's lead with two-and-half minutes left.
Like Matt O'Connor on Friday, Sean Maguire was exceptional in goal stopping 38 shots and earning second-star honors.
BU suffered back-to-back blankings for the first time in 72 years (1941-42).
2015 recruit Bobo Carpenter played a pair of games this weekend for the Sioux City Musketeers, the USHL team that had added him to their roster on February 7. Carpenter recorded an assist in last night's Sioux City 6-5 win against Des Moines. Earlier in the week, Carpenter scored four goals for Austin Prep in a 6-0 win against Hingham. Carpenter has 21 goals for the this season for the Cougars, despite missing time with an injury. Ranked #146 in the NHL Central Scouting midterms, Carpenter had been coached at the 2013 USA Select 17s development camp by Musketeers coach Jay Varady. If he plays 10 games with Sioux City this season, he'll become property of the USHL team.
2014 recruit Jack Eichel scored a goal and two assists in the NTDP U18s' 4-1 win against Indiana last night. The 6-2 center, who earned the game's second star, now has a 26-31-57 scoring line in 35 U18 games.
2014 recruit AJ Greer scored the first goal for Kimball Union in the Wildcats 4-1 win over Vermont Academy in the Lakes Region tournament semi-final on Friday. Greer is a co-captain of KUA which won yesterday's tournament championship defeating Proctor Academy, 4-2. Next up is the NEPSAC tournament.
Kerrin Sperry made a season-high 47 saves, but the Terriers yield two third-period to BC and the Eagles came away with a 3-2 victory at Conte Forum. The Comm Ave. rival were tied at a goal apiece after one, with BU getting a goal from Lillian Braga, assisted by Louise Warren and Dakota Woodworth. Terriers took the lead in the middle period on Warren's 24th goal from Braga and Kaleigh Fratkin. The hosts knotted the score midway through the final period and nailed the game-winner with just five seconds left in regulation.


Question concerning Stalin - Soviet-Empire.com U.S.S.R.
I have read long time ago somewhere that Stalin has offered his resignation four times during the period in which he was a member in the Central Committee of the Soviet Communist Party. is this a historical fact that can confirmed by historical documents ( ex: files or papers from the soviet archive )? or it is just a rumor?
It seems that no one of the comrades has heard about this resignation thing.
That's the first time I've heard of anything like this, so I can't really comment on it. Plus I can't read Russian and reading Soviet archives would be quite a problem for me.
First, I disagree with Yeqon. If he did present a resignation, it sounds pretty interesting. In my mind, it would be merely a gesture, since he knew that it wouldn't be accepted, but it still speaks a lot about political stratagems and protocol, and the circumstances for each attempt at resignation should also be an indication of the seriousness of a certain setback or of the need to reassert leadership.
Now, as to the question at hand. I remember reading in this board that Stalin presented his resignation when Lenin's much debated "last will" was presented.
Googling around, the answer came up on Ludo Marten's Another view of Stalin, where the author directly quotes Stalin's "The Troskyist Opposition, Before and Now.
A year later I again put in a request to the plenum to release me, but I was obliged to remain at my post.
So that's twice. It's not too farfetched to think he again has resorted to this, as a way of obtaining a vote of confidence.
Perhaps I was being a little careless with my choice of words. Okay, so I was being very careless. I mostly agree with what praxi has stated. There was indeed political manoeuvring in mind when he offered resigning. From what I've read nobody in the central committee ever thought that the position of General Secretary of the Communist Party was or would be of especially high significance politically. They surely wouldn't have let Stalin retain that position if they had known that this very post would be critical to him expelling them and ultimately leading the country.
I don't think that even Stalin back then knew that this post would serve as the de facto highest in the Soviet Union. So the answer to the original question that the opening poster made is yes. Stalin has offered resigning from this post in the past.
I also remember something akin to this during the civil war when differences between him and Trotsky would arise on military questions.
Thank you all for trying to answer the question, but I think the core of the question is not touched even in a superficial way. I have myself read that Stalin offered his resignation four times: after reading Lenin's recommendation to his comrades (It is said that the whole members of the central committee Including Trotsky refused this demand of resignation), two times during the second world war, and some other time which I do not remeber exactly, but the question here, is there, if there can be, any historical document that confirms this '' rumor '' clearly and undebatably?
I can only speculate but I would doubt any attempt at resignation would occur during the war of all times, if anything it would likely be between 1921 and 1924 when the Soviet State was first developing... there was a lot of chaos developing government structures and figuring out whats going to work and what isn't and there were many times certain commissars disagreed with others, so perhaps ultimatums that involved a resignation occurred??? I'd search that period of time for the answer.
It seems to us that a national leader so persistently boosted, and so generally admired, has, in fact, become irremovable against his will, so long as his health lasts, without a catastrophic break-up of the whole administration.
The "catastrophic" bit at the end applies more to the time the Webbs were writing than when Stalin died a little less than twenty years later, but the quote is still basically correct.
Stalin himself confirmed for the 1st resignation. I might also have heard about something after WWII, but during the war itself, that seems highly unlikely.


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Pediciidae
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redpajama_set_name: RedPajamaWikipedia


In August, the Yale University Art Gallery will open the first major exhibition of early Rhode Island furniture in half a century. Art and Industry in Early America: Rhode Island Furniture, 1650–1830 illustrates Rhode Island's standing at the center of a dynamic and active cabinetmaking trade during the colonial and Federal periods and features some of the most iconic pieces of American furniture ever created.
The show gathers more than one hundred examples, including masterpieces of American furniture such as elaborate block-and-shell case pieces from Newport and Providence long appreciated for their craftsmanship and design innovation. These are presented alongside objects made in smaller towns, such as Warren and Coventry, illuminating how their makers interpreted the styles of the more populous centers (as seen in the comparison between the two desks and bookcases shown here). Prints, paintings, silver and architectural elements provide a broader cultural context for the furniture. The installation also includes videos of contemporary craftsmen making reproductions of objects in the exhibition.
Drawing on decades of research, Art and Industry reexamines not only the artistry of the furniture made throughout Rhode Island but also the cultural and commercial system in which it was made. Whether working in prosperous port cities or smaller agricultural towns, Rhode Island craftsmen produced objects that combined artistry and industry, design and engineering. Their furniture graced homes both grand and humble and was shipped to ports both near and far, fueling Rhode Island's commercial economy within the Atlantic world.
Visitors will encounter 17th century chairs and chests that show multiple influences, mirroring the diverse backgrounds of early colonists of British, Dutch, and French descent. By the mid-18th century, considered Rhode Island's golden age of cabinetmaking, a recognizable style had developed, and furniture made for export became a large part of the cabinetmaking business. Pieces made after the American Revolution demonstrate the gradual decline of the handcraft tradition, as small shops serving local markets gave way to a wholesale economy.
The exhibition is accompanied a comprehensive publication, featuring more than 400 objects that demonstrate the superb workmanship and artistic skill of Rhode Island's furniture makers. Written by distinguished scholars, including Dennis Carr, Nancy Goyne Evans, Jennifer N. Johnson, Patricia E. Kane, and Gary R. Sullivan, the book presents new information on the export trade, patronage, artistic collaboration, and shop traditions that defined early Rhode Island craftsmanship. The show and catalogue are the culmination of the Rhode Island Furniture Archive project, a long-term fieldwork and archival survey venture that endeavored to identify extant objects as well as the joiners and cabinetmakers who produced them. The fruits of this impressive labor are fully accessible through an online database.
For additional information on the exhibition and publication, visit http://artgallery.yale.edu. To access the Rhode Island Furniture Archive database, visit rifa.art.yale.edu. Yale is hosting a symposium related to the exhibition on September 15-16. Trust members will have the opportunity to tour the show with Pat Kane on October 14. Please stay tuned for more details.
The Decorative Arts Trust is a 501(c)(3) non-profit organization that encourages the study and appreciation of material culture through educational programs, collaborations, and grant funding.
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When it comes to purchasing a new camera, most of us are incredibly excited to jump right in and start using our new creative tool…but that process can also be frustrating. Learning all of the new camera menus, features and functionality can be challenging, especially if you are coming from a completely different camera brand. With the release of Sony's latest flag ship full frame mirrorless camera, the highly sought after a7R III, many of you might find yourself in a similar situation.
Even Sony shooters might be a little surprised with all the new changes to the brand new menu system, differences in button layout and new features that make the a7R III one of the best cameras I have ever used. Fortunately for many of you, I have put together this extensive guide to getting the most of your brand new a7R III. As a Sony Artisan, I was fortunate to be able to take an a7R III with me to Myanmar prior to its release, where I was able to pour over the camera menus, dive into the new features and fully customize my own Mark III. While my full in-depth review won't be available for another week or so, this mini-guide should drastically help reduce the learning curve when it comes to figuring out how to make the most out of what will probably be Camera of the Year in 2017.
Additionally, if you haven't picked up a Sony a7R III yet, be sure to scroll down to the bottom of this post as I will be giving one away one Instagram soon!
After unboxing your a7R III for the first time & charging the camera battery, I know many of you are probably pretty eager to start shooting right away. I know I was! But before we do that, there are a number of basic settings on the camera that we need to adjust first. While the following 11 settings aren't game-changing when it comes to your your a7R III experience, they are important never the less!
When you first turn on your camera, you will be greeted with an option to set the system language right off the bat. After choosing whatever option suits you best, it is now time to set the Area/Date/Time. While many photographers set this up initially, they don't think much about it afterward. This can quickly become an issue if you use multiple camera bodies like I do and especially if you travel to different time zones. Making sure that you correctly adjust the area/time zone for each of your cameras every time you travel will help to make sure that your images line up correctly in whatever photo editing/organization programs you use such as Adobe Lightroom or On1 Photo RAW 2018.
After initially setting up your camera, you can find the Date/Time Setup in the "Area Settings" options in the Toolbox Menu Tab on page 5.
Aside from choosing the language and setting the date and time of your camera, the very first thing most photographers do is make sure they are shooting in the right image file format. By default, most digital cameras are set to shoot in JPEG. Personally (and professionally), I prefer to shoot in RAW so that I have access to all of the image data that the incredible sensor inside the a7R III is capable of capturing.
It is, however, important to note that you also can choose the RAW file type with the a7R III: Compressed or Uncompressed. The default RAW file type is Compressed, which is essentially a smaller RAW file size (40mb vs 80mb) that is considered "Lossy" as Sony's algorithms have helped to shrink down the RAW image file size. It does this by removing what Sony considers as unnecessary or redundant image data while still providing a RAW image that can be fully edited to your heart's content. The uncompressed file type has had no algorithms run through it, providing pure RAW image data. The distinction between the two options are negligible in 95% of shooting situations, however, if you shoot in many high contrast situations, such as Astro/night photography, I recommend that you use the Uncompressed RAW file type.
Both of these settings can be found in the Camera Menu Tab (1) on Page 1.
While Sony typically does a great job of providing useful features and settings in its cameras, I generally prefer to handle things such as Noise Reduction and Expanded Dynamic Range on my own through post-processing. This is why I generally turn off Long Exposure Noise Reduction, High ISO NR (JPEG only) and Auto DRO (which artificially increases dynamic range). Each of these settings are on by default with the a7R III. However, if you aren't as familiar with processing techniques that deal with noise or expanding dynamic range, you might want to subjectively leave some of these settings on.
These settings can be found in the Camera Menu Tab (1) on Page 2 & 14 respectively.
By default, the a7R III is set to shoot in the sRGB color space, which is the most universally used & accepted color space for the vast majority of the internet and nearly all mobile devices. That being said, it isn't a very large Color Profile, meaning that it doesn't capture any many variances of different colors as other Color Profiles out there. For example, if you do a lot of printing, you will want to use the AdobeRGB Color Profile instead as it contains a larger spectrum of possible colors to capture. While this isn't a big deal if you are shooting in the RAW file format, it is one less thing that you might have to change in the digital darkroom.
This setting can be found in the Camera Menu Tab (1) on Page 2.
If you are a landscape or travel photographer that likes to have the ability to shoot bracketed images (multiple images of the same exact scene with different exposures) to help capture a much wider dynamic range of image data, you will want to make some minor adjustments to your Bracketing Settings and Drive Modes. As usual with bracketed images, it is always recommended that you use a tripod.
First, within the "Bracket Settings" menu option, you will want to change "Selftimer during Brkt" from "Off" to "2 Sec".
Next, within the "Drive Mode" menu you will want to scroll down until you see "BRK C – .3EV3" and then press right on the rear Control Wheel until you see "BKK C – 2.0EV3". This setting allows you to shoot a 3 image bracket with 2 stops of exposure difference between each image, which is my go-to when it comes to Auto Bracketing. By setting the self-timer to 2 seconds and using this mode, the a7R III will take all three images in quick succession of each other.
These settings can be found in the Camera Menu Tab (1) on Page 3 or via a Custom Button you assign the Drive mode to.
If you find yourself shooting in Manual Focus modes often, one of the handiest features found in the a7R III might be "Focus Peaking". As you dial the MF ring on your lens, a color overlay will appear over your image as things become sharp, making it easy to know when you are close to getting tac sharp results.
For the best results, I highly recommend that you change the "Peaking Settings" to the following options: Peaking Display: On – Peaking Level: Mid – Peaking Color: Red These settings can be found in the Camera Menu Tab (1) on Page 13.
While the Horizon Leveling tool can be extremely handy to use with the a7R III when you are on a tripod, I find it harder to use when shooting handheld. A simple solution to help give you some guiding lines can be found by adding Grid Lines to your displays.
The "Rule of 3rds Grid" is the one I use most often as it not only helps me level my horizons when shooting on the go, but it can also help me with subject placement when I am shooting on the run. This setting can be found in the Camera Menu Tab (2) on Page 6.
One of the most annoying sounds to come out of any digital camera these days are the audio beeps to let you know when you are either shooting or when you use a shutter delay. While it might not bother you personally when you are alone, you might find other photographers giving you the stink eye if you all line up to shoot a beautiful sunset and your camera happens to be the one making all the noise. Simply select the "Off" option in the "Audio Signals" option found in the Camera Menu Tab (2) on Page 9 to fix this.
In one of the more surprising settings found in the a7R III, Sony has left "Viewfinder Brightness" to "Auto" by default. This means that the brightness of the Viewfinder can change based on the outside lighting conditions. Personally, I found this to be problematic because one of the benefits of a mirror-less camera is the fact that the Rear LCD and the Viewfinder generally show you exactly what your exposure is going to look like (outside of low light situations). With this setting set to Auto, I found that occasionally a scene appeared brighter when viewed through my viewfinder then what my RAW image file actually looked like when I began to process it.
The solution is to switch Viewfinder Brightness into manual mode and leave it on the default brightness. At least this way, you have a much better indicator of the kind of exposure results you can expect with your images when using the Viewfinder. This setting can be found in the Tool Box Menu on Page 1.
Another handy features found on the a7R III have to do with Auto ISO. When you find yourself shooting in Manual, Shutter Priority or Aperture Priority modes (in both Stills & Movie modes), you have the option to set your camera to Auto ISO, so that the camera choose your ISO setting for you. This can be handy when shooting in an environment with changing lighting situations, such as street photography.
But if you really want to take advantage of this feature, you will want to also set your "ISO AUTO Min. SS". To engage this feature, you need to be using the Aperture Priority camera mode (The "A" icon found on the top camera mode dial). Once in the mode, you have the ability to set the minimum shutter speed you are willing to let your camera shoot at before the Auto ISO feature engages. How does this work? Let's say you are shooting in Aperture Priority mode while you are walking around your hometown. Light is changing on your subjects as you walk up and down your street. By setting your "ISO AUTO Min. SS" to 1/125th of a second, you are telling your camera that if your shutter speed doesn't drop below 1/125th of a second, your ISO should stay at 100. However, if your scene all of a sudden becomes too dark, your camera will pump up the ISO to maintain that minimum shutter speed, making sure that your shutter speed never drops so low that your images become blurry in the process.
Both of these settings can be found in the Camera Menu Tab (1) on Page 9.
While the a7R III might seem pretty familiar, especially for those coming from the a7R II, there are a number of new features that you will want to configure and learn how to use to really get the most out of this camera. Here are some of my favorites!
One of the most sought-after feature requests from Sony mirror-less camera users has been multi SD card support. Now you not only have it with the incredible a9 but also the a7R III. But that begs the question of what kind of workflow system do you want when it comes to having the ability to write to two different SD cards? For many of you, you will probably want to make sure that anything that is captured to Card 1 (the faster UHS II slot) automatically gets copied to Card 2. You also have the ability to separate RAW/JPEG or photos/videos or just copy photos (or movies) to your backup slot. Long story short, the options are endless!
However, if you are like me and you have never had an SD card go bad, there is no point in making two copies of your SD cards when you are out shooting. But that doesn't mean you don't have options. If you set "Prioritize Rec. Media" to Slot 1, set "Recording Mode" to Standard and turn on "Auto Switch Media", you won't have to worry about switching to a new card when you run out of space in the middle of a shoot. This happens to me often when out in the field and nothing is more frustrating than having the perfect moment pass you by because your primary card was full.
These settings can be found in the Toolbox Menu Tab on Page 6 under "Rec. Media Setting".
When it comes to ergonomics and button layout, one of best things the a7R III inherited from the a9 is the dedicated focus button on the rear of the camera. The idea of back button focus is fairly straightforward. The Shutter Release button on the top of the camera is configured to solely be responsible for taking an image while a button on the rear of the camera is dedicated to achieving focus. By separating these two functionalities, the idea is that you are able to react in a much quicker manner to capture the moment at the exact right time, rather than accidentally refocus your shot by pressing your shutter button halfway down by accident. While I have always customized a button on my Sony mirrorless cameras to have this feature with previous models, the addition of a large dedicated button for back button focus is a welcomed change.
The 'AF-ON" button is correctly configured by default, but we do need to adjust the "Shutter Release" button so that it too no longer controls your autofocus system. To do this, jump into the Camera Menu Tab (1) and find Page 6. Adjust "AF w/ shutter" to "Off".
One of the most powerful and often under-rated features found in nearly all Sony mirrorless cameras is known as Eye AF. Essentially it works by quickly changing the cameras AF system to search for and track human eyes, although it doesn't work very well with animals. The system will continuously track the eye, even as your subject moves around your frame, allowing you to have a much higher chance at nailing tac-sharp eyes with your subjects. While Eye AF has been in Sony's cameras for a few years, the a7R III has received some pretty incredible upgrades, including the ability to track eyes even when they are closed. Having used this feature in Myanmar earlier this month, I can say that the results blew my mind!
So how do you take advantage of this feature? The key is to customize one of your camera's buttons to allow you to easily engage it. By default, the center button found in the middle of your rear control wheel is set for Eye AF, but I don't feel that is a very natural place for you to access it. Two better choices would be either the Auto Exposure Lock Button (AEL) or a press down on the rear joystick as they are both in close proximity to the rear "AF-ON" button that you might already be using for back button focus. However, if those don't work, you might want to look into using the "Focus Hold" button found on the side of many Sony lenses. This is most likely the button that most of you never knew what it did…let alone that you could customize it's functionality.
I have an entire section of this blog post dedicated to fully customizing your a7R III buttons and menu systems, so be sure to check it out to learn how to customize this functionality with your own a7R III.
The a7R III marks the first Sony in the a7 series of cameras to have received Touch Screen support, thanks to all of the requests from photographers out there. It joins the likes of the a9 and a6500 within the Sony camera lineup and while the feature is limited to helping you achieve a specific focus point in both Still and Video modes (sorry no menu support at this time), the functionality is actually off by default with the RIII.
To enable Touch Screen Support, head to the Tool Box Camera Menu and make your way to Page 2. At the bottom of the screen, you will find "Touch Operation". Change it from "Off" to "On".
Another new feature to the a7R series is the ability to force the cameras light meter to read from an adjustable focus point rather than just the center of your image when you use the "Spot Metering Mode". Mix this setting with the "Touch Screen" support I mentioned above and you have a handy way of capturing very specific spectrums of light in a scene, such as rays of light piercing through a cloud or the glow of a candle on a wall or face.
To enable this setting, jump to the Camera Menu Tab (1) and move to page 10. There you will find "Spot Metering Point" at the top of the menu and select "Focus Point Link".
One of my favorite features found on many Sony mirrorless cameras is the rear articulating LCD screen. It gives you a lot of flexibility when you are using your camera at odd angles or perspectives (both high and low), which can be extremely helpful in a pinch. However, one often annoying aspect of this setup is the Proximity Sensor found just above the Viewfinder. As you move your face close to the rear camera, the sensor picks up on this and automatically switches the display to the Viewfinder. This in and of itself is generally a good thing, unless you are trying to use the rear LCD screen and you find the Proximity Sensor simply too sensitive, causing your rear LCD to switch on and off repeatedly as you try to find the right distance.
One of the more exciting Movie modes found in the a7R III is its ability to shoot HDR movies which have a much higher dynamic range to work with than standard movies. You will be able to pull out more details in the shadows and highlights then you normally would be able to do.
To shoot in HDR mode, you need to first head to the Camera Menu Tab (1) and find Page 12. At the bottom of the menu you will find "Picture Profile". Once that has been selected, you can scroll down your list of options until you get to "PP10". From there you can either shoot in this standard mode for HDR or press the right button on the rear control wheel and further adjust your settings, namely "Gamma" where you can change between HLG & HLG1 – HLG3 for different results.
HLG: Gamma curve for HDR recording. Equivalent to the HDR standard Hybrid Log-Gamma, ITU-R BT.2100.
dynamic range than with [HLG2] or [HLG3].
HLG2: Gamma curve for HDR recording. Provides a balance of dynamic range and noise reduction.
HLG3: Gamma curve for HDR recording. Wider dynamic range than [HLG2]. However, noise may increase.
[HLG1]: approx. 87%, [HLG2]: approx. 95%, [HLG3]: approx. 100%.
In addition to inheriting the "no blackout" shooting experience from the a9, the a7R III has drastically improved the rear LCD and Viewfinder displays from the Mark II model. In fact, I think only the a9 can compete when it comes to the quality of both displays. For both the Viewfinder and the Rear LCD, you will want to make sure that Display Quality is set to "High". This increases the resolution of the displays so that you see alot more texture fine detail than before, especially for those that like to pixel peep with their images. In addition, you will want to make sure the "Finder Frame Rate" is also set to "High". This will come in handy when you are photographing fast moving objects, giving you a much smoother viewing experience when tracking subjects.
These features can be found in the Tool Box Menu on Page 2 under "Display Quality as well as the Camera Menu Tab (2) on page 6 under "Finder Frame Rate".
While many travel and landscape photographers have been asking for a dedicated GPS device to GeoTag their images taken with Sony mirrorless cameras, Sony has provided the next best option on the RIII. Instead of a device that you have to purchase separately, Sony has added built-in Bluetooth based GPS tagging into the Sony Play Memories mobile app (Android & IOS). Once you link your camera to your phone through the app, the GPS location from your phone is embedded into the RAW & JPEG files you capture with the a7R III. While it takes a minute or two to get things setup, things run pretty smoothly from there when you want to turn on the feature.
The first thing you need to do is turn on the Bluetooth setting on your a7R III by going to the Network Setting Menu Tab and moving to Page 2 "Bluetooth Settings". Once you have turned it on, you need to select "Pairing" on the same menu screen to allow the a7R III to be discovered by your mobile phone.
On your phone, you will want to open up the "Sony Play Memories" app and select "Location Information Linkage". Once there turn on "Location Information Linkage" by tapping the toggle on the right. Next, you need to tap the "Set the Camera" button where you should see "ILCE-7RM3". Once you have selected the RIII on your phone, you will need to verify things back on your Rear LCD of the Mark III by hitting the "OK" button. Now that the pairing is complete, you can hit the "Menu" button to go back to the Network Settings Menu and select "Loc. Info Link Set" and make sure it is set to "On".
Now all you need to do is open up your Play Memories App on your mobile device to make sure you have a connection and then start shooting away. Do note that if your camera goes to sleep, it will temporarily break the connection with your phone, but it should re-establish that connection fairly quickly when it wakes up.
Another big addition to the Sony a7R III is known as "Pixel Shift Technology". While I won't get into too much detail, the general premise is that most camera sensors have gaps in the pixel image data they capture, forcing the camera's sensor and computer to help fill in those gaps with highly educated guesses when it comes to color and texture detail. With Pixel Shift, the goal is to fill in those "gaps" with RAW image data by taking four images in a row with a 1-pixel difference between each of them. You then take those four images and merge them together on your computer to get some fairly impressive results when it comes to the depth, texture, and color found in your images. The tradeoff is that you not only need to shoot this from a tripod, but there can't be any movement in your scene either, otherwise, the results can be blurry.
Another challenge is that this feature is buried inside the Camera's Menu System, which might cause some unnecessary delays when you want to use it out in the field. To have quick access to this setting, you might want to customize its functionality to one of the buttons on your camera, such as the C4 button. If you have other plans for that button, you could also set "PX. Shift Multi Shoot" mode to the Fn (Function) button/menu found on the back of your camera. Either way, this feature is one that you might want easy access to. In the next section of this blog post, you will see how to customize the camera's buttons as well as the Fn. menu system.
A small but important feature missing from Sony cameras until now has been the ability to Rate and Protect images from being deleted while in camera. While you are reviewing your images, you can now lock your images, making them impossible to delete (outside a Format of your SD card). This is done by hitting the "C3" button near the "Menu" button in the upper left-hand corner of the back of your camera. The C3 button even has a "Key" logo to showcase this feature.
Additionally, you can also customize the C1 or C2 button to allow you to rate your images from a 1-5 star rating. These ratings will carry over into your preferred Photo Editing/Organizing app of choice, allowing you to easily get a head start on sorting through what you feel are some of your best images from a given shoot. In the next section of the blog article, I will show you how to customize these buttons.
Easily one of the best things about Sony mirrorless cameras is that you have the ability to customize nearly every button or menu system on your camera, and the a7R III is no different. From the physical buttons on the camera to the Fn. & My Menu options there are a ton of ways to customize your a7R III. If you customize your camera in the right way, you should rarely if ever need to go into the standard Sony Menu System, an occasional sore point for some photographers moving to Sony from Nikon or Canon.
One of my favorite things to do with a new Sony mirrorless camera is to customize the experience of shooting with the camera to match my needs as a landscape, travel and humanitarian photographer. While the Canon and Nikon's functionality and button layout has mostly stayed the same over the years and companies like Fuji have taken advantage of offering tons of physical dials, Sony has worked hard to give you the ability to make your camera your own, instead of like everyone else's. If you don't like how things work right out of the box, you can customize nearly every button and dial found on the camera body.
When it comes to image and video playback, this is how I have my 7R III setup.
To customize your own a7R III, jump into the Camera Menu Tab (2) and find your way to Page 8.
Here you will find the "Custom Key" config menus for Stills, Video, and Playback listed at the top of the screen.
The second most important customizable element of the a7R III is the Fn or Function Menu. This is where I make sure I have quick and easy access to all of the camera settings I might need to shoot both Stills & Video that I didn't already assign to a custom button. With the Fn menu, you have the ability to assign 12 functions/settings, 6 on the top row and 6 on the bottom. Since I shoot a mixture of stills and video projects throughout my travels, I decided to make video settings the focus of the upper Fn menu and assign still photography based settings to the bottom or lower row to keep them organized and separate.
A new addition to the a7 series is the ability to customize one of the menu tabs inside the a7R III main settings menu. This is something that I have missed from my Canon & Nikon days and I am glad that it has come to Sony. While I tend to fully customize 95% of my needs into my a7R III button layout and the Fn. Menu, there are a few features or settings that you simply can register in those areas. For anything like that, the new "My Settings" Menu is where you will want to look.
File Format – Allows me to easily move back and forth between RAW, JPEG or RAW & JPEG.
To customize your own "My Menu" simply navigate to the "My Menu Setting" menu tab (Star) and select "Add Item" to begin the process.
One of the often ignored settings found on many digital cameras these days is the ability to save a specific set of camera modes, settings, and features on your camera, allowing you to quickly switch your favorite settings to capture a movie as well as shooting landscape still images in a matter of a second or two. On the a7R III, you are given 3 such modes, represented by the 1, 2 and 3 modes found on the top Camera Mode Dial.
For my a7R III, Memory 1 is set for shooting landscapes, Memory 2 for shooting portraits and Memory 3 for shooting HDR 4k video at 24p. Put some thought into how you might use your camera differently for different subjects.
To register a Custom Shoot Mode, move the top Camera Mode Dial to one of the three Custom Modes and then adjust all of your settings and features on your camera until you are fully dialed in. Then jump to the Camera Menu Tab (1) and move to Page 3. There you will find the "MR 1/2 Memory" menu item. Select it and then choose 1,2 or 3 at the top of the next screen. You can also register four more groups of settings with M1-M4, but those specific settings are registered to your SD Card. Format the SD Card and those settings with be gone as well.
While many photographers (myself included) often customize the name of our image files when we import them into Adobe Lightroom, Capture One or On1 Photo RAW, there can be some merit to customize the names of image files coming out of the a7R III. This can be especially helpful if you shoot with multiple cameras or if you have a team of photographers shooting an event. Sony lets you control the first three letters of any file it creates with this camera from the default of "DSC". I choose to go with "7R3" so that I know which camera took this images. I do the same thing with my a9, so that it says "a9_", making it very easy to know which files right off the SD card came from which camera.
To customize the names of your files, head to the Toolbox Menu and move to Page 5 where you will find "Set File Name" as the last option on the page.
One of the last things I like to do with my Sony cameras is embedding my Copyright Information right into any images taken with my cameras. The a7R III has a setting that makes customizing this image metadata very easy.
In the Toolbox Menu under Page 5 you will find the "Copyright Info" option. Under that setting, you can easily set the photographers name as well as the kind of copyright you wish to show. Once you are ready, make sure "Write Copyright Info" is set to "On" and you are good to go.
No camera is complete without a few optional 3rd party accessories to help make your life easier and arguably more creative. The following five items can be found in my gear bag that also houses my a7R III.
One of the first things you are going to want to purchase for your a7R III will be the fastest UHS-II SD card you can find. While the Mark III doesn't shoot 20 fps like the Sony a9, it is still capable of shooting at 10 fps. Additionally, with a 42mp sensor, you are going to be dealing with pretty large files, especially if you shoot in RAW. An uncompressed RAW file will come in around 80mbs while a compressed will be about half that. Long story short, if you want the improved image buffer to work as intended, you need a fast SD card.
Personally, I recommend the 64GB (LINK) & 128GB (LINK) Sony SDXC UHS-II cards that have read speeds of 300 MB/s and write speeds of 299 MB/s.
After spending a month in Myanmar shooting with the a7R III, I only completely drained a Z100 battery once after a full day of shooting. Most of the time I could go 3-4 days on a single charge. While the new Sony Z100 batteries are much better than the older NP-FW50 batteries found in nearly all previous Sony mirrorless cameras, it doesn't hurt to pick up a few extras just in case.
To charge these batteries on the road, I opted to pick up two Newmowa dual chargers from Amazon. Not only are these chargers pretty cheap, but they are super portable as well. As icing on the cake, they charge via a micro USB cable so that I can recharge them in my hotel room, in my car or even in my backpack with an external power brick. I have been thrilled with them so far!
*It seems too many of you bought this charger quickly and it is now sold out, but I am sure it will be back for sale soon-ish. It is worth the wait!
While the brackets for the a7R II won't fit the a7R III because of the side camera ports, nearly anything made for the a9 should work just fine with the a7R III. Really Right Stuff (RRS) makes one of the best brackets out there, but it is expensive. A slightly cheaper alternative would be from Kirk. Otherwise, you can find many Chinese knockoffs on Amazon as well, generally in the $30-$50 USD range.
If you find yourself shooting from a tripod often, you might want to look into picking up a remote for your a7R III. Personally, I prefer wireless remotes, because I often find the cable from a wired remote can cause issues with my L bracket when shooting in the vertical orientation. I use Foto & Tech Wireless Remotes from Amazon. They cost a fraction of what Sony sells their remotes for, and they work pretty well. Plus they are cheap, so you can pick up a few pairs and simply keep them in your gear bag.
Additionally, you might want to look into picking up an intervalometer if you find yourself wanting to shoot a timelapse since Sony has unfortunately removed the Play Memories App support for this camera. Historically the Timelapse App was one of the more popular apps they offered. So now if you want to shoot a time-lapse with the Mark III, I would look into picking up a JJC TM-F2 Timer Remote.
One of my favorite features found in all of my Sony mirrorless cameras is the ability to charge the camera easily while on the road. With an external battery, I can quickly connect my Sony a7R III to a power brick by using a micro USB cable. If I am hiking or have long drives between locations when shooting, this can make topping off my Z100 batteries a breeze.
I carry an Anker PowerCore+ 20100 USB-C Power brick. It has two standard USB ports & a single USB Type C port to charge from.
While charging your camera via micro USB is possible on all Sony mirrorless bodies, the a7R III also has a USB Type C port that can be used as well. This should be welcome news to Timelapse shooters who might have been worried when they heard there would be no Timelapse Sony PlayMemories App support on this camera. Historically photographers would use the app while also trickle charging their battery via the USB port on the side of the camera so that they can capture a long timelapse without running out of battery life. Since the use of an intervalometer will now require that micro USB port to function, the USB Type C port can be used to charge the camera instead.
I am giving away a Sony a7R III on my Instagram account (@ColbyBrownPhotography) to one lucky winner. Details can be found in my IG post below!
GIVEAWAY!!! I am super stoked to announce that I am going to be giving away a brand new Sony a7R III 42mp full frame mirrorless camera that retails for $3200 USD. It recently won numerous camera of the year awards, showcasing how it is easily one of the best cameras available to date. To Enter: 1.	Like this Post 2.	Follow me @ColbyBrownPhotography 3.	Tag a friend in the comments below. Each tag is an entry. Enter as many times as you wish. Optionally you can also can "Turn On Post Notifications" for my IG Profile, so that you can learn of additional chances to win as well as making sure you get notified when I give other cameras, lenses, tripods, filters, laptops and even trips away here on IG. The Winner will be chosen at random on January 15th, 2018 This giveaway is not sponsored by Instagram or Sony. No Purchase Necessary. Void where prohibited.
If you have any questions about the Sony a7R III, please let me know in the comments below! My full in-depth review will be coming soon!


I gave a short presentation on "The Untold History of Social Media" at a national seminar on "The Role of Social Media in Democracy" in Hyderabad. The seminar was organized by Friedrich Ebert Stiftung, MICCI, COVA & Dot Now Social.
I thoroughly enjoyed the whole process right from the preparation to the intellectually stimulating discussions by distinguished participants which included professors, journalists of high repute and media researchers. Unlike several conferences which often degenerate into marketing spiel for Social Media, thanks to orgasmic numbers thrown everywhere on users, Social Media Nations et al, I felt this seminar critically examined this emerging medium, warts and all. Going by the live tweets during the conference and the feedback I received from fellow participants and audience, I thought my presentation was well received. While I have uploaded the deck with a rough transcript of the talk in slide notes, I thought I would post a detailed account of my presentation here with reference links for further reading.
I intend to present a broad perspective on the history of Social Media within the larger context of democracy and then look at some of the critical shifts that have taken place in the world of communication.
So what is the current state of the world as I see it?
Imagine a gigantic system powered by complex, multi-causal, interconnected forces. This Industrial civilization system has been running well for the last 150 years. However, over the last few decades the discomforting truth about this system has been revealed. The Operating System is about to collapse. The truth is hard to fathom. Sooner than later, the entire system will come to a standstill and we will have to press Ctrl + Alt + Del again. Once you press the reset button, every governing institution would have to be rebuilt. The system has been chugging along, showing symptoms of breakdown in isolated segments over the last few decades. During 2008, it suffered a major blow with the financial crisis affecting several lives.
The consequences of pressing Ctrl + Alt +Del are beyond our imagination. We still have some time left to find a way to lessen the impact of this disaster. This is one of the greatest moments in our history as we have the potential to rebuild everything from scratch. That includes rebuilding democracy as well, exorcised from the ghosts of the past. While some of you may argue with me on the scale of change, the need for change just cannot be dismissed. Our democratic system has also been under tatters, caught in a self-destructing loop by the pernicious forces of the free market system. The system lacks proper representation with enlightened understanding, not just from the countries trapped under totalitarian governments but also from tribes living in remote forests, sacred groves and ecosystems which have ensured that our environments are stable enough to lead comfortable lives.
Media plays a strong role in providing representation for voices ought to be heard in a proper functioning democracy.
With no academic background in historical study, I think it would be fair to start with a simple question:Why bother studying about the history of Social Media?
Especially, when the ephemeral world of Social Media changes in a matter of few random likes, clicks and shares, it seems like a futile exercise. I remember, much to my astonishment, hearing a 15 year old kid saying that Facebook and Twitter are for the older generation. Historians have often told us that history enables us to interpret past and understand patterns. Interpreting the past is often jettisoned by the gale force which surrounds nowness and constant change . Understanding patterns definitely makes sense as it is often touted to be one of the critical skills required for survival in the twenty-first century.
I found a wonderful metaphor to look at history when I read the fascinating book on World History, Guns, Germs &Steel by Jared Diamond.
When we begin to look at history as an onion, of course, your eyes begin to irritate and tears roll down your eyes..! As you peal the layers of history, you come across depressing stories of people who zealously devoted their lives in the pursuit of an idea/invention. Heart rending stories of people who never got the credit they deserved just because the time wasn't right. As you begin to decide on someone as a pioneer for an invention , you come across pioneers whom the world never bothered to notice. Needless to say that you are left with nothing in the end having pealed all the layers.
This act of pealing the layers is useful for two reasons. Firstly, It helps in debunking the popular myth around history that it is all about those heroic figures who determined to find an answer to a problem. We fail to notice that there were several people who were pioneers in their own right. For instance, we know about Tim Berners Lee. But how many of us know Ted Nelson who originally coined the term hypertext? Or Paul Otlet who invented Universal Decimal Classification and envisioned the Web in 1934?
Our minds are often swayed by "Necessity is the mother of invention" mindset which makes us look at most of the inventors responding valiantly to the needs of the society. The reality is different. In several technological developments, it is the case of Invention being the mother of necessity. Amongst several cases, the one I want to point out here is Twitter.
Once Twitter came into being, it's the users who determined its multifarious uses , be it something as useful as updates during moments of crisis as we saw in Haiti Earthquake or something as trivial as telling what you ate for breakfast in the morning. The inventors of Twitter couldn't have come up with all the ways the tool is now being used for. Technology growth has always been auto catalytic. In simple terms, technology begets more technology. It speeds up evolution. While the first changes often happen in larger steps, as technology accelerates evolution, the changes grow exponentially faster. This is so evident in the Social Media Ecosystem with the time it took for people to embrace the tools and the widespread proliferation of the tools that came out of Twitter.
So what is the starting point in history where we can see the first signs of humans trying to communicate with fellow human beings?
I want to take you to the Ice Age, approximately 25000 to 35000 years ago. We were hunter-gatherers, hunting wild animals and foraging for roots and berries. As Alex Wright explains in his research, the Earth experienced huge environmental changes, hunter-gatherers began living closer and devised methods of growing food. This transition is very critical for the development of technology as sedentary living was sine-qua-non for its growth and development. Remember this crucial shift as we would come back to this point again to see how history repeats itself.
When hunter-gatherers came in close contact with each other, they carried their social identities through symbols. Prehistoric women wore jewels to indicate their social status. We can see such behavior today in the walls of Facebook where there is an innate urge to change our profile status to Married or In a relationship or, perhaps, the most precise description of all, Its complicated.
Let us now fast forward several thousand years to land up at 1450 AD. Gutenberg invented the printing press. Luther's 99 theses was the first document to go viral. It was posted on the wall of Wittenburg Church. It spread to Germany and then across the entire Europe. It led to Protestant reformation movement and the birth of Scientific method.
Fast forwarding hundred years ahead, the era of broadcast began. It started with the idea that if you extend the market beyond the local, you can't really have one-to-one conversation. The growth of currency enabled businesses to deal on a standardized platform at a larger market scale. With upfront access to capital and information, businesses could get means of production and broadcast.
What is broadcast? It was essentially one talking to many. However, if you observe carefully, it was essentially no one talking with none. The communication seemed real. It was unidirectional unlike the chaos that prevailed in the real world. We can see this model in the way seminars are held and auditoriums are designed. There is a podium/dais and the speaker often speaks to a passive audience without much feedback on what the audience are thinking.
So what has changed? Communication has undergone a huge shift. It is nothing short of a revolution. What do you see now in communication? It is immediate. It is real. It is personal. It is volitional.
During the year 1985, Neil Postman wrote a sharp critique on the Television culture of America, in his book, Amusing Ourselves to death, which reduced every mode of discourse to sensationalism and entertainment. Be it politics, sports, or religion, this debasement is quite evident everywhere. This was perhaps, an unintended consequence of a dramatic change which occurred in our modes of public conversation. One of the lens through which we could look at this problem is through our understanding of the content and context in the case of television. Television channels were constrained by the limitations of the context provided by the channel, imposing restrictions owing to profit motives. Television channels had to insert an advertisement in regular time periods between the shows in order to sustain themselves.
As content became digitized, it transcended the limits imposed by the medium. In other words, content became subservient to context. The digital context had enough and more bandwidth to encompass every form of media content. This is the first time in history when content became subservient to context. Once context was created, it became possible to build in content. Two years back, I and my friend made an open source movie trilogy called Web Brahman, which looked at the Past, Present and Future of the Web. Inspired by the Open source movement and copy left movies like Sita Sings the Blues, we made the movie in a span of few weeks and screened it in an auditorium for a niche audience. This wouldn't have been possible before. The entire movie is available for free in You tube.
I want to now look deeper into the democratizing aspect of this new medium. In the Old Era, segments played a critical role in the way marketers looked at customers. Marketers loved calling the customer groups as segments because it was inconvenient to deal directly with the customer. Segments made them faceless customers herded together by warped marketing logic. Thanks to the advent of Social Media, segment is now dead. Every customer is an individual. Companies and Governments have no choice but to live with it.
Network has become the fundamental unit which defines the customer and the citizen. When the fundamental unit is a complex entity, it is difficult to mess around. When network becomes the unit, it becomes difficult to apply false identities like segments to it. Because information is infinitely available, you can verify whether this information is true or not. Have you noticed that it is becoming increasingly difficult to lie in Facebook? True democratization happens when the node is the fundamental unit.
The jaded cliche of all times: History repeats itself. We are now beginning to see the possibilities of leading a digital nomadic life. Technology, whose origins and development necessitated sedentary living, permits us now to lead nomadic lives like our early ancestors. This shift has been facilitated by technology's ability to treat work as a verb rather than as a noun.
What really inspires me about technology is that it has provided means for humans' altruistic nature to manifest in the most demanding situations. What you see here is the Photo restoration project in Tohoku, Japan. When the Tsunami struck Japan, lives and properties were destroyed. So were memories. Several volunteers decided to take action to preserve the memories. They created a site where they uploaded the damaged photographs and joined hands to restore them with the help of their Photoshop skills. They ensured that the memories remained intact.
Technology is not going to solve all our problems. We have all the information available. Yet, we haven't found a solution to several critical problems which plague our lives. Often technology is assumed to be the cause of change. It is simply a consequence of change. Technology by itself doesn't know to do good for the society until we decide to something out of it .In the light of the recent uprising movements in Arab, there have been lots of debates about whether Social Media is the cause of revolutions. Our journey with technology is an ongoing one with trade offs that we aren't even aware of. While information asymmetry is almost coming to an end, wisdom asymmetry still prevails. I would like to end with these wonderful words of wisdom by Thoreau.


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Reviews, Video games
Video Game Review – 50 Cent: Blood on the Sand (PS3)
Get "50 Cent: Blood on the Sand" at Amazon.com
Awhile back I played and reviewed (somewhere else – I can't find the precise review) 50 Cent: Bulletproof. The game was the first game featuring rapper 50 Cent. It wasn't a good game, but it wasn't absolute crap either. It was just incredibly mediocre. However, it sold incredibly well. So, I wasn't surprised when the game got a sequel, but I wasn't particularly expecting quality in any form, so I just ignored the game. However, then I started hearing murmurings from game journalists whose opinions I trust about action shooters. I was hearing things about how this also was not a bad game. To the contrary, the word was that it was actually kind of good. So, I added the game to my GameFly queue, and now I finally got it, and beat it – which means it's time for me to give my opinion on it.
The game's premise is rather silly. The idea behind the story is that 50 Cent and G Unit perform a rap concert in this unnamed war-torn Middle Eastern country (and by war-torn I mean it's slightly less peaceful than Somalia). Once the concert is completed, Fifty learns that the promoter doesn't actually have the money to pay the $10 Million dollar fee Fifty was supposed to be paid for the concert. The promoter manages to talk his way out of getting ventilated by 50 by offering him a priceless diamond encrusted skull instead. Fifty accepts the skull and he and G-Unit head for the airport to get out of the country as soon as possible. Unfortunately for them, the convoy is ambushed, and the skull is stolen. Fifty loads up on guns and he and G-Unit set out in pursuit of the skull.
The game is a modern Unreal Engine game – this means that the graphics are going to have a lot of brown. That said, the environments are also very internally consistent – which is good, because, to the game's credit, the game has almost-but-not-quite the same degree of geographical progression a game like Half Life is lauded for. Let me clarify this a bit – every level connects together in a logical fashion, and were it not for the occasional prerendered cutscene, or the end of level rating of the score, the the entire path of the story could be mapped – in engine – as one continuous unbroken path. That's actually a good thing, it gives the story a sense of continuity and a sense of place by making the game designers stay consistent.
The game itself is a standard cover-based 3rd person shooter, which is fine. However, it changes things up a little by borrowing some mechanics from Bizarre Creation's shooter "The Club". As you go through the levels and kill enemies, you earn points. If you kill a series of enemies in quick succession, you build up a combo multiplier. You get additional multipliers for your point total depending on whether you taunt after each kill, if you blow up your enemies, set them on fire, or other methods of killing them. This encourages a play style where you come out of cover, kill a series of enemies (maybe hitting a few with a grenade), before ducking into cover and letting your health recharge. Additionally, Fifty also has melee take down moves, activated by hitting circle near an enemy. This triggers a canned animation, during which Fifty is invulnerable, and the player can hit a timed series of presses of the circle button. Once the animation completes, the target is killed and combat goes on.
As you go through the levels, you're accompanied by one of the members of G-Unit: Tony Yayo, Lloyd Banks, or DJ Whoo Kid. If you choose, you can make your game open for online drop-in-drop-out co-operative play. If you choose not to, the AI for your chosen member of G-Unit is still fine, though not as good as a second player. That said, the game doesn't give an option for split-screen co-op, and if your co-op partner drops out in the middle of the game (for various reasons), you're bumped back to the last checkpoint you reached, which leads into my next problem.
Specifically, the checkpoints are just a bit too far apart. Two great examples of this are in the later levels of the game. First, in one part of the level, you face a room with two "wings", one open area to the right, one narrow area to the left, with a pillared "corridor" in the middle, with a machine gun at the end. In order to beat the level, you have to swing to the right, kill the enemies there, take out the machine gunner in the middle, and then cross the center aisle to the left section. During this section, if you kill the machine gunner in the middle before you cross the center aisle, another enemy will pop out of the door behind the machine gun, man the gun and start firing. They'll keep coming until you clear out the left side and reach the machine gun. After that point, another wave of enemies springs out of the doors to the left and right of the room, and you have to quickly work back and forth to take them down. The problem is that there's no checkpoint between waves. If you know what you're doing, and you've got a human partner, this is easier. However, otherwise, if you die, you have to start the entire sequence over again. In a similar vein, in the final boss fight of the game, against a helicopter, When you get two hits in on the helicopter, the helicopter will blast the floor your on with rockets, so you have to flee down to the balcony on the next floor down. While going to this balcony, you have to fight through a couple waves of enemies. After getting 2 more hits in on this balcony, you then have to go down one more floor before you can get the last two rocket hits in. Once again, during this trip, you have to fight through more enemies. However, this is all on one checkpoint, so if you die at any point you have to start the entire fight over again. This fight, on it's own, took me about an hour to complete, with the final run being about 10, 15 minutes. This turned that boss fight into an exercise in frustration.
Finally, the game is short. Really short. I beat the game the day I got it from GameFly, in less than 10 hours. Once you've beaten the game, you could in theory play through the game repeatedly in an attempt to unlock more concept art, various cheats, and standard definition music videos, I really can't see any reason to buy this game. Rent, sure, but I don't see the replay value there – particularly without split-screen co-op. If split-screen co-op was there, I could see the game being enough fun with someone in the same room to make it worth playing a few times repeatedly. However, I can't see anything more than that – particularly since the game apparently doesn't have any Trophies on the PS3 version (from what I saw on my Cross Media Bar). That said, I do think the game's a very good rental, one that could get you an evening's amusement.
Alexander Case June 11, 2010 June 8, 2010 PS3, review, Video games
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Top News: Law Does Not Violate Human Rights in Conditions of Detention, Says Kazakhstan's Commissioner for Human Rights
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Friends of Denis Ten ice show comes to Nur-Sultan Dec. 14
By Nazira Kozhanova in Sports on 6 December 2019
NUR-SULTAN – The Friends of Denis Ten ice show will take place Dec. 14 in the capital, reported the show's Instagram account @denistenshow. This event is slated to feature skaters such as Tatyana Volosozhar, Maxim Trankov, Ekaterina Gordeeva, Kaitlyn Weaver, Andrew Poje and Jeremy Abbot.
Photo credit: Denis Ten Show instagram account.
The show started as Denis Ten and Friends, when the Kazakh Olympian and his skating colleagues organised the country's first ice shows. After Ten's death in 2018, his team continued inviting athletes to shows in the capital and Almaty.
Pairs skaters Volosozhar and Trankov are two-time Olympic champions, World Champions, four-time European and three-time Russian champions. This will be their second appearance with the show.
Gordeeva, who will be making her debut, is a Russian figure skater who, with her late partner and husband Sergei Grinkov, was a two-time Olympian and four-time World Champion.
Ice dancers Weaver and Poje, performing for the third time, are three-time World Championship medallists, three-time Canadian National champions and two-time Grand Prix Final and Four Continents champions.
Abbott is the 2008 Grand Prix Final champion, two-time Four Continents bronze medallist and four-time U.S. national champion.
Kazakh British Technological University launched a scholarship for KBTU student athletes Nov. 20 in Ten's honour. The scholarship seeks to encourage students to continue his legacy by combining studies with competitive sports.
"Denis was a graduate student of the Executive MBA of KBTU Business School and actively participated in the life of our university. Despite great success in sports, he did not stop there and continued to develop in various directions, inspiring our youth with his own example. That is why we decided to give the name of Denis to the KBTU cinema hall, as well as to establish a scholarship named after Denis Ten with the support of the Endowment Foundation, in order to honour the memory of our champion and continue his work," KBTU President Kenzhebek Ibrashev told kt.kz.
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LEONNA MORTIMER — Lassen College (Susanville, Calif.), 2015 Douglas graduate: Mortimer scored 25 points and grabbed 14 rebounds Friday in Lassen's 68-48 win against College of Marin in Livermore, Calif. The 5-foot-10 freshman forward had another double-double on Saturday with 21 points and 11 rebounds in a 72-61 loss at home against Contra Costa. Mortimer played softball for the Cougars this past spring and is now in her first basketball season.
MADELINE LOWE — Sonoma State, 2016 Douglas graduate: Lowe scored 11 points in 13 minutes on the floor to help the Seawolves to an 87-84 win over Dominican at the CCAA/PacWest Challenge in Belmont, Calif. She shot 5-for-8 from the field. On Friday, Lowe had two points and four points in her Sonoma State debut, an 88-67 opening round win over Notre Dame de Namur.
JAMES HERRICK — Sacramento State, 2014 Douglas graduate: Herrick, a 6-foot-10 junior, scored two points and grabbed one rebound Friday in a 90-53 loss at Colorado.
CORRYNE MILLETT — College of San Mateo (San Mateo, Calif.), 2015 Douglas graduate: Millett had two points and four rebounds in a 70-56 loss Friday against Cabrillo.
SAM BROERSMA — Feather River College (Quincy, Calif.), 2015 Douglas graduate: Broersman is a 6-foot-6 freshman listed on the Feather River roster. The Golden Eagles are coming off a 2015-16 season in which they compiled a 27-2 overall record and won the Golden Valley Conference championship.
AMBER TAYLOR — William Jessup College (Rocklin, Calif.), 2014 Douglas graduate: Taylor ran 19:36 for 5,000 meters to finish 39th on Nov. 5 at the Golden State Conference Championships at Spring View Park in Rocklin. She was the No. 4 finisher for the Warriors.
WESLEY HUNDLEY — Earlham College (Richmond, Ind.), 2014 Douglas graduate: Hundley threw a 6-yard touchdown pass in the third quarter Saturday to account for Earlham's scoring in a 74-6 season-ending loss against Rose-Hulman in Terre Haute, Ind. Hundley passed for 96 yards and rushed for 14 for the Quakers (0-10 overall).


Elnino is a Nigerian born Togolese act whose both parents are Togolese but resident in Nigeria.
Elnino was born and raised in Lagos State, Nigeria, and bagged a degree from Olabisi Onabanjo University, Ago Iwoye, Ogun State.
He is the frontline act of his own imprint Mapuno Records under which the single is released.
Waate by Elnino Mapuno is definitely a song that would top charts and gain widespread acceptance worldwide.
The popular magic finger Fiokee did justice to this piece with an exceptional tune of guitar play.
Download, Listen, Share & Enjoy!


1Now Jehoshaphat had riches and honor in abundance; and he joined affinity with Ahab. 2After certain years he went down to Ahab to Samaria. Ahab killed sheep and cattle for him in abundance, and for the people who were with him, and moved him to go up [with him] to Ramoth Gilead. 3Ahab king of Israel said to Jehoshaphat king of Judah, "Will you go with me to Ramoth Gilead?" He answered him, "I am as you are, and my people as your people. We will be with you in the war." 4Jehoshaphat said to the king of Israel, "Please inquire first for the word of TheIAM." 5Then the king of Israel gathered the prophets together, four hundred men, and said to them, "Shall we go to Ramoth Gilead to battle, or shall I forbear?" They said, "Go up; for God will deliver it into the hand of the king." 6But Jehoshaphat said, "Isn't there here a prophet of TheIAM besides, that we may inquire of him?" 7The king of Israel said to Jehoshaphat, "There is yet one man by whom we may inquire of TheIAM; but I hate him, for he never prophesies good concerning me, but always evil. He is Micaiah the son of Imla." Jehoshaphat said, "Don't let the king say so." 8Then the king of Israel called an officer, and said, "Get Micaiah the son of Imla quickly." 9Now the king of Israel and Jehoshaphat the king of Judah sat each on his throne, arrayed in their robes, and they were sitting in an open place at the entrance of the gate of Samaria; and all the prophets were prophesying before them. 10Zedekiah the son of Chenaanah made him horns of iron, and said, "Thus says TheIAM, 'With these you shall push the Syrians, until they are consumed.'" 11All the prophets prophesied so, saying, "Go up to Ramoth Gilead, and prosper; for TheIAM will deliver it into the hand of the king." 12The messenger who went to call Micaiah spoke to him, saying, "Behold, the words of the prophets [declare] good to the king with one mouth. Let your word therefore, please be like one of theirs, and speak good." 13Micaiah said, "As TheIAM lives, what my God says, that will I speak." 14When he had come to the king, the king said to him, "Micaiah, shall we go to Ramoth Gilead to battle, or shall I forbear?" He said, "Go up, and prosper. They shall be delivered into your hand." 15The king said to him, "How many times shall I adjure you that you speak to me nothing but the truth in the name of TheIAM?" 16He said, "I saw all Israel scattered on the mountains, as sheep that have no shepherd. TheIAM said, 'These have no master. Let them return every man to his house in peace.'" 17The king of Israel said to Jehoshaphat, "Didn't I tell you that he would not prophesy good concerning me, but evil?" 18[Micaiah] said, "Therefore hear the word of TheIAM: I saw TheIAM sitting on his throne, and all the army of heaven standing on his right hand and on his left. 19TheIAM said, 'Who shall entice Ahab king of Israel, that he may go up and fall at Ramoth Gilead?' One spoke saying in this way, and another saying in that way. 20A spirit came out, stood before TheIAM, and said, 'I will entice him.' "TheIAM said to him, 'How?' 21"He said, 'I will go forth, and will be a lying spirit in the mouth of all his prophets.' "He said, 'You will entice him, and will prevail also. Go forth, and do so.' 22"Now therefore, behold, TheIAM has put a lying spirit in the mouth of these your prophets; and TheIAM has spoken evil concerning you." 23Then Zedekiah the son of Chenaanah came near, and struck Micaiah on the cheek, and said, "Which way did the Spirit of TheIAM go from me to speak to you?" 24Micaiah said, "Behold, you shall see on that day, when you shall go into an inner room to hide yourself." 25The king of Israel said, "Take Micaiah, and carry him back to Amon the governor of the city, and to Joash the king's son; 26and say, 'Thus says the king, "Put this fellow in the prison, and feed him with bread of affliction and with water of affliction, until I return in peace."'" 27Micaiah said, "If you return at all in peace, TheIAM has not spoken by me." He said, "Listen, you peoples, all of you!" 28So the king of Israel and Jehoshaphat the king of Judah went up to Ramoth Gilead. 29The king of Israel said to Jehoshaphat, "I will disguise myself, and go into the battle; but you put on your robes." So the king of Israel disguised himself; and they went into the battle. 30Now the king of Syria had commanded the captains of his chariots, saying, "Fight neither with small nor great, except only with the king of Israel." 31It happened, when the captains of the chariots saw Jehoshaphat, that they said, "It is the king of Israel!" Therefore they turned around to fight against him. But Jehoshaphat cried out, and TheIAM helped him; and God moved them to depart from him. 32It happened, when the captains of the chariots saw that it was not the king of Israel, that they turned back from pursuing him. 33A certain man drew his bow at random, and struck the king of Israel between the joints of the armor. Therefore he said to the driver of the chariot, "Turn your hand, and carry me out of the army; for I am severely wounded." 34The battle increased that day. However the king of Israel propped himself up in his chariot against the Syrians until the evening; and about the time of the going down of the sun, he died.


Google is going to give Chrome users in 60 countries the option to choose duckduckgo as their default search engine, replacing vinden.nl for the Netherlands and Belgium. the change will be made in chrome 73.
Go with Firefox and first thing after install, you flip the search engine to DuckDuckGo and then delete all others. Done deal.
I thought you can add whatever search engine you want as your default in whatever browser you use.
Well that's..kinda pointless and at the same time smell fishy..and i am sure its not fish.
That's a dad joke..promise me it won't happen again..
That's a dad jokes..promise me it won't happen again..
If "someone" knew the Chrome flag coming into the search server, it could be useful for a moderate tracking layer compared to an explicit one. Other little detail is Search or even Beacon tracking is too well known at this point, so a lot of systems (that get popular) are building in counter-measures. As we're in a massive move into Mobile and a new generation of Edge Server equipment, they don't really need it anymore.
As for Google's end, it just a sign that a lot of people manually move to DDG. Been using DDG for a long while now and the short answer is the search results are better than most modern Google Searches. It's kind of sad we're already into the "back in my day..." stuff with Internet content, but the quality of Google Search has been on a hard decline for a decade. It really did use to be a lot better, as a result DDG or even Bing are so similar that it doesn't matter.
@LukeSavenije it was always there in settings. since like forever.
you sure that isn't firefox?
go to chrome, settings, search engine and click it. there are a lot of options, including duckdukgo.
it's always been there for me lmao, on Windows, Linux and macOS. always.
maybe you manually added it with sync?
maybe. or because my systems are set to use english as the main language. they all have the netherlands set as region though.
But imagine putting DDG into chromium itself so that all new distributions will have it.
What really annoyed me was when you said to someone "search for term X" in Google and the 3rd result is what you're looking for. And the guy had entirely different 3rd result. Which is just stupid. This could simplify so many things, but it just made it worse coz having to send someone full URL instead of telling what search result is the right one is a bit counter productive.
Why would you tell someone "search for XYZ in Google and then click the third result" when you obviously already went through all those step yourself, and could easily just send the link?
That seems counter productive to me, to tell someone to redo all the steps you have already done.


$6.49 $11.95 Save 46% Current price is $6.49, Original price is $11.95. You Save 46%.
The word "capitalism" is one that is heard and used frequently, but what is capitalism really all about, and what does it mean? This Very Short Introduction addresses questions such as, "what is capital?" before discussing the history and development of capitalism through several detailed case studies, ranging from the tulipomania of 17th century Holland, the Great Depression of the 1930s, and in this new edition, the impact of the global financial crisis that started in 2007-08.
James Fulcher looks at the different forms that capitalism takes in Britain, Japan, Sweden, and the United States, and explores whether capitalism has escaped the nation-state by going global. It ends by asking whether there is an alternative to capitalism, discussing socialism, communal and cooperative experiments, and the alternatives proposed by environmentalists.
James Fulcher read History at Cambridge, took a Sociology Masters at the London School of Economics, and wrote his PhD at the University of Leicester. His career was spent in the Sociology Department at the University of Leicester and, with John Scott, he produced a number of editions of Sociology, published by Oxford, which has been judged "the best of the all-encompassing texts". His main research interest has been in the history of industrial relations in Sweden and his main teaching interest in the development of Japanese society.


text:
Select steht für:

 LML Select, Motorrollermodell des Herstellers LML
 Select (Rebsorte), französische Weißweinsorte
 Select (Zeitschrift), britisches Trendmagazin
 Select (Album), Album von Kim Wilde (1982)
 select, Operator im Datenzugriffsverfahren LINQ, siehe LINQ #Select
 SELECT, SQL-Schlüsselwort in der Selektion (Informatik)

Siehe auch:

 Chip Select
 Selection
 Selektion
 The Selecter


Passed away peacefully at Vernon Jubilee Hospital on Friday, July 30, 2004. She is survived by her loving husband, Bill daughter, Kim (Russ) Meek, Preston England; brother, Fred Burnie; grandchildren, Brad and Hollie; stepson, Phillip Bradford, Terrace; and many other relatives and friends. Cremation. Memorial Service to be announced at a later date. Funeral arrangements in care of Len Gallo, Mountain View Funeral Home 546-8294.


"Just Add Water" is one of the finest 41 foot Express Yachts on the market. She is a low hour vessel and has been professionally maintained by her owner since new and she features many upgrades you will not find in other Sea Rays such as
Helm A/C - Dedicated Unit with Custom Helm Enclosure
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Windshield Shades
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If you are looking for a nice marina to keep your new purchase and would like a package deal the owner is also interested in selling his 55' boat slip in an excellent location in our marina facility. Call today for a showing!

Just Add Water
Hull Shape Deep Vee
LOA 41 ft 6 in
Beam 13 ft 10 in
Maximum Draft 3 ft 4 in
Deadrise 19 ? at Transom
Dry Weight 21000 lbs
Engine 1
Engine Brand Caterpillar
Year Built 2000
Engine Model 3116
Engine Type Inboard
Engine/Fuel Type Diesel
Engine Hours 900
Engine(s) Total Power 340 HP
Engine 2
Engine Brand Caterpillar
Year Built 2000
Engine Model 3116
Engine Type Inboard
Engine/Fuel Type Diesel
Engine Hours 900
Engine(s) Total Power 340 HP
Fresh Water Tanks (100 Gallons)
Fuel Tanks (335 Gallons)
Holding Tanks (42 Gallons)
Number of single berths 6
Deck Hardware
?4-Bolt Stainless Steel Cleats (8) - Anchor Rope Storage w- Hatch - Boot Stripes - Bottom Paint? - Fiberglass Molded Deck Toe Rail - Gel-Coat (Arctic White) - Gel-Coated Bilge Area - High-Performance Vinylester Resin - Insulated Engine Compartment - Integral Deck Ventilators - Large Flush Mount Skylight - Lofrans Progress I Rope - Chain Windlass w- Foot Switches & Stainless Steel Anchor Chute - Navigation Lights - NMMA Certification - PVC Rub Rail w- Stainless Steel Insert - Rod Holders (2) - Stainless Steel Deck Fill Plates - Stainless Steel Hull Windows - Swim Platform w- Concealed Stainless Steel Ladder - Translucent Deck Hatches (3) w- Locks & Sky Screen Covers - 12V Accessory Outlet - 120V Outlet - Aft Cockpit Seating - Aft-Facing Cockpit Bench Seat - Aft Wall Fender Storage w- Dock Line Storage Straps - Cockpit Side Panel Storage - Cockpit Table w- Designated Storage - Companion Bench Seat w- Storage Below - Custom Electric Adjustable Helm Seat - Electrically Operated Engine Hatch - Fiberglass Spoiler w- Stainless Steel Grab Rails & Overhead Lighting - Icemaker (120V - 60 Cycle) or (220V - 50 Cycle) - Indirect Cockpit Lighting - Molded Burl Instrument Panels - Molded-In Cockpit Boarding Steps - Portside Panel Storage w- Wet Bar, Faucet, Grab Handle & Trash Can - Self-Bailing Fiberglass Cockpit - Snap-In Carpet Liner - Stainless Steel Handrail - Tan Dash Gel-Coat - Transom Door - Wood-Accent Steering Wheel Cabin - 12V Clarion AM-FM Digital Cassette Stereo, 6-Disc CD Changer, Amplifier, Subwoofer w- 8 Speakers & Cockpit Remote Control - Windshield and Canvas - Aft Sun Shade - Opening Steel Cabin Port Lights (4) - Stainless Steel Handrail - Stainless Steel Windshield Curved Tri-Section - Tinted Glass & Electric Front Vent - Sunbrella Bimini Top w- Boot & Vertical Top Storage - Windshield Wipers (2) - Aft Curtain - Canvas Storage Bag - Front Curtains - Side Curtains
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Electrical
?
120V - 30 Amp - 12V Converter - 42 Gallon Holding Tank (28 Gallon w- Gray Water System) - 50 Amp Electronics Circuit - ACR Remote-Controlled Spotlight - Aluminum Fuel Tanks w- Filters, Anti-Siphon Valves & Electric Senders - Automatic Bilge Pumps (2 - 2000) - Backlit Switch Panel w- Illuminated Weatherproof Rocker Switches & Dimmer Control - Batteries (5) w- Trays & Switches - Bilge Lights - Cabin High Water Alarm & Pump - Cabin Sump Pump & Float Switch - Central Vacuum System - Color-Coded Wiring w- Chafe Protection - Compass - Concealed Horn - Custom Sea Ray Backlit Instrumentation w- Low-Glare Blue Night Lighting - Diamond Plate Bilge Access Steps - Digital LCD Systems Monitor for Engine - Diagnostics & Pump Monitoring - Dual 30 Amp 120V - 60 Cycle Dockside Power w- 50' Cord & Adapter - Dual Gear Shift & Throttle Controls - Electric Bilge Blowers (2) - Emergency Start System - Engine Alarms (Water, Oil & Transmission Oil) - Engine Synchronizer Gauge - Freshwater Washdown w- Hot & Cold Cockpit Shower & Dockside Inlet - Galvanic Isolator - Ground Fault-Protected Outlets - Halon System - High Water Bilge Alarm & Pump (1 - 2000) - Hydraulic Steering w- Tilt Wheel - Main DC Breaker Panel - Power Vents - Head & Galley - Pressure Water System & 8.5 Gallon Water Heater w- Exchanger -
Mechanical
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Racor Filters-Heat Exchanger & Fuel Shutoff Valve - Remote Circuit Breaker Panel - Systems Monitor Panel - Tachometers w- Hourmeters - Underwater Exhaust System (Patented) Generator - Remote Start - Muffler, Freshwater Cooling, Fuel Filter & Seawater Strainer - Air Conditioning and Heating - 19,000 BTU - 1.5-Tons - Underwater Gear - Bonding System - Dripless Shaft Logs w- Extra Seal Carrier Kit - Hydraulic Trim Tabs - Manganese-Bronze Rudder & Struts - Propellers - Seacocks On All Underwater Fittings - Seawater Strainers - Stainless Steel Prop Shaft - Zinc Hull Plate - Engine - T-CAT3116TA Caterpillar (T-340 hp - 254 kW) - Generators - Remote Start - Muffler, Freshwater Cooling, Fuel Filter & Seawater Strainer - 7.6 kW Westerbeke Diesel Generator
Disclaimer
The Company offers the details of this vessel in good faith but cannot guarantee or warrant the accuracy of this information nor warrant the condition of the vessel. A buyer should instruct his agents, or his surveyors, to investigate such details as the buyer desires validated. This vessel is offered subject to prior sale, price change, or withdrawal without notice.


RIO DE JANEIRO – Family members and friends of Maria Eduarda Alves, the 13-year-old girl who was killed this week by "stray bullets," bid her their final farewell at a cemetery in Rio de Janeiro in a case that has deeply moved public opinion.
Maria Eduarda was laid to rest at Parque Jardim Cemetery in the Baixada Fluminense region after a vigil marked by anger and demands that the authorities determine the circumstances of her slaying.
"It was not a stray bullet, there were four bullet holes. What kind of stray bullet was that? For the love of God!" the victim's sister Daniela said.
The teen was hit by four bullets last Thursday while doing gymnastics in the patio of her school in the Pavuna neighborhood on Rio de Janeiro's north side.
The bullets reportedly came from a shootout between police and a criminal gang near Maria Eduarda's school.
Soon afterwards, also near the school, two police officers shot and killed two disarmed suspects who were lying wounded on the ground.
The execution was caught on video by a nearby camera and created a scandal about police violence in Rio when it was aired on Globo television.
Police are looking into the origin of the bullets that ended Maria Eduarda's life, and have taken into custody the two officers implicated in the double execution while investigating the case.


Advanced Home Environments Smart Home technology offerings now includes the new Pyng™ system from Crestron. Crestron is recognized as the world's best, largest and longest established premium name in home automation and the best in luxury technology control. Crestron puts the power of true convenience in the hands of the homeowner for a revolutionary, premium control experience.
The new Crestron Pyng "App' based system provides a quick, easy solution for setting up and controlling lighting, shades, thermostats, door locks, and audio. Pyng also enables the client to easily to make changes to the system set up themselves right from their own iPad.
You may already be familiar with some smart home apps, so what makes Pyng different? Many homeowners have begun to adopt new smart home gadgets but the problem is that they end up collecting dozens of apps on their phones so they have to open up a new one every time they want to control a device.
Crestron Pyng simplifies your controls by tying all of your electronics together and giving you all the control using one app – Pyng. You'll be able to dim the lights, turn on the music, change the room temperature and lower the shades with just one easy interface on your phone or tablet.
Wake up Scene: Customize your Crestron experience by setting the scene every day when you wake up. Imagine your audio system turning on your favorite song at 7 a.m. to wake you up. Simultaneously, your roller shades go up letting the sunlight in, the TV in the bathroom turns on the morning news so you can catch the traffic, and the lights in the kitchen turn on downstairs so you can go make a cup of coffee.
Goodnight Scene: At the end of the day, say goodnight by hitting one button using your Pyng app. All of the indoor house lights go off, except for the one by the fridge in case you need a glass of water, and the outdoor flood lights on the front porch turn on. All of your electronics, like the TV and speakers, go off as well, and your doors lock instantly. The shades go down so you can maintain privacy and peace of mind as you sleep.
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We're taking part in the World's Biggest Coffee Morning in aid of Macmillan Cancer Support.
Help us raise money for Macmillan Cancer charity by buying one of our delicious cakes on sale in the foyer! And fairtrade coffee is available in our Tea Room. All day on Friday 26 September from 10am to 5pm.