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Q: How do I go about setting up BoneCP for use in Ibatis? I'm trying to setup iBatis to use boneCP for my JDBC. I haven't tried changing my code yet I'm just curious how I would need to go about doing it.
I haven't seen any good guides on how to setup iBatis with an external JDBC.
From what I have figured out:
The sqlConfig xml needs to be changed. The transactionManager type needs to be changed, and maybe something with properties.
Has anyone done this? or something similar with c3p0?

A: BoneCP provides a datasource, so tell ibatis to use it:
This may help:
http://derscheuch.wordpress.com/2008/06/06/how-to-use-a-datasource-with-ibatis-in-a-realm-within-a-tomcat-environment/
API for bonecp datasource:
http://jolbox.com/bonecp/downloads/site/apidocs/index.html

redpajama_set_name: RedPajamaStackExchange


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Tag: Episode 8
Fresh Off The Boat (S06E08-09) "TMI: Too Much Integrity"/""Lou Wants to Be a Millionaire"
As Louis tries to start his business consulting with a friend, he goes for the million as well. Here's a recap!
Single Parents (S02E08-09) "Every Thursday Should Be Like This"/"A Place Where Men Can Be Men"
From a Thanksgiving celebration to learning the birds and the bees. Here's a recap of episodes eight and nine of Single Parents!
RuPaul's Drag Race (S12E08) "Droop"
Guys I'm going to be real with you. This week was really hard for Drag Race fans, myself included. You know I trust in the judges. While I may have my own personal biases as far as who's my favourite, I generally still agree with any criticism that they receive.… More "RuPaul's Drag Race (S12E08) "Droop""
Legends of Tomorrow(S05E08) "Romeo v. Juliet: Dawn of Justness"
Alright my readers this was an episode that was the final episode for a character. This episode had action, magic, and theater all wrapped in a big package. So let's get to this review!… More "Legends of Tomorrow(S05E08) "Romeo v. Juliet: Dawn of Justness""
Chicago PD (S07E07-08) "Informant"/"No Regrets"
From taking down a drug dealer's powerful drug to finding a kidnapped mother and child, here are recaps of episodes seven and eight of Chicago PD.
Chicago Med (S05E07-08) "Who Knows What Tomorrow Brings"/"Too Close to the Sun"
From Vampires to Internet stars, here's a recap of episodes seven and eight of Chicago Med!
Arrow(S08E08) "Crisis on Infinite Earths Part Four"
Alright guys and gals we had another great episode of the crossover brought to us tonight! We literally had everything that a crossover should, action, suspense, mystery, more action and finally a little extra surprise for all of us!… More "Arrow(S08E08) "Crisis on Infinite Earths Part Four""
Supernatural (S15E08) "Our Father, Who Aren't in Heaven"
I just love playing catch up & this episode has made my night.
(Disclaimer: I haven't been spoiled of ANYTHING before watching this episode today.)
"And guys, when I go crazy again.… More "Supernatural (S15E08) "Our Father, Who Aren't in Heaven""
All Rise (S01E08-09) "Maricela and the Desert"/"How to Succeed in Law Without Really Re-Trying"
A case of a daughter testifying against her father to a blast from the past case gets reopened. Here's a recap of Episodes eight and nine of All Rise.
The Flash(S06E08) "The Last Temptation of Barry Allen Part 2"
Alright ladies and gentleman we had actually a much better episode this time around! We have a lot to talk about so I say we should get to this review!
So with this episode the team had to find a way to get Barry/The Flash/ Dark Flash (Grant Gustin) out of the influence of Ramsey/Bloodwork (Sendhil Ramamurthy) which I kind of figured they would have to find a way to save him because the next episode is the crossover.… More "The Flash(S06E08) "The Last Temptation of Barry Allen Part 2""
Supergirl(S05E08) "The Wrath of Rama Khan"
Alright ladies and gentleman we had a great episode brought to us tonight! And with this we are getting closer to the Crisis on Infinite Earths crossover one episode away! So let's get to this review!… More "Supergirl(S05E08) "The Wrath of Rama Khan""
Batwoman(S01E08) "A Mad Tea-Party"
Alright ladies and gentleman we had a great episode brought to us tonight! It was filled with madness, bat action, and more all with a character death. So let's get to this review!
So in this episode we had Mouse Jacob (Dougary Scott) help Alice (Rachel Skarsten) begin her mad tea-party scheme.… More "Batwoman(S01E08) "A Mad Tea-Party""
The Good Place (S04E08) "Chapter 47: The Funeral to End All Funerals"
The results are in! Did they win or fail? Here's the recap!
Chicago Fire (S08E07-08) "Welcome to Crazytown"/"Seeing Is Believing"
From a crazy beef between a firefighter and a cop to proving a company how bad their products are. Here's a recap of episodes seven through eight of Chicago Fire.
This Is Us (S04E06-08) "The Club"/"The Dinner and the Date"/"Sorry"
"The Club" was such a good episode from beginning to finish as it dives into the relationship of fathers and sons; but also relationships that ended with a not so much of a twist.… More "This Is Us (S04E06-08) "The Club"/"The Dinner and the Date"/"Sorry""
Van Helsing(S04E08) "The Prism"
Alright ladies and gentleman we had another great episode brought to us tonight! Boy oh boy we had some good stuff that we will discuss so with that being said let's get to this review!… More "Van Helsing(S04E08) "The Prism""
Mr. Mercedes(S03E08) "Mommy Deadest"
Alright guys and gals we had another great episode brought to us tonight! This episode brought a lot to the table and we now have two episodes left this season. If you don't think things have gotten crazy after this episode then just wait for those last two episodes!… More "Mr. Mercedes(S03E08) "Mommy Deadest""
Life In Pieces (S04E08) "X Box Spotlight Glimpse"
This week's episode of Life In Pieces might have been the best one of the season so far. Here's a recap!
Chicago Fire (S07E08) "The Solution to Everything"
Will Severide open up before he gets himself killed? Casey and Namoi get a clue on their arson investigation and the hunt is on for a photo from Boden's past. Here's a recap of Chicago Fire.
A.P. Bio (S02E08) "Sweet Low Road"
When facing budget cuts, will Whitlock keep not only the jazz club but also Jack too? Here's a recap!

redpajama_set_name: RedPajamaCommonCrawl


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Belize: the 6 essentials of your trip
Alejandra Rangel
@alejandrarangel
Belize, an emerging destination in Latin America
Latin America is expected to attract more tourists than ever in 2017. As Colombia attracts more and more travelers and links to Costa Rica develop, another emerging destination could catch your eye: Belize .
Wedged between Mexico and Guatemala, Belize completes the trio. Le Petit Futé has just released a new guide dedicated to the small territory prescribed for lovers of wilderness trips. Immediate boarding.
1. The archaeological site of Xunantunich
On the border with Guatemala stands one of the vestiges of the Mayan civilization passed through Belize. Tourists who are not discouraged by the scarce infrastructure to stay in this country of less than 23.000 km2 come here to immortalize one of Belize's most iconic photos. The archaeological site is on top of a hill. Visitors climb to enjoy a superb panorama.
2. The Belize Zoo
Refuge for travelers who adore animals, the Belize Zoo is an essential stopover since it brings together the emblematic species of the small Central American country. All the animals presented, which live as close as possible to their natural conditions, were collected for treatment. The zoo is a great destination for approaching jaguars, pumas and even margays. Moreover, an installation allows you to come face to face with the jaguars, in complete safety. Also, the zoo organizes night tours to understand the behavior of wild animals after dark.
3. Le Blue Hole
Home to the second largest barrier reef in the world which stretches over 130 km, Belize is a destination of choice for both divers and snorkelers. The spots are numerous, but the most famous is the Blue Hole, popularized by Commander Cousteau. The famous sailor considered it one of the best places in the world to dive. The session requires a little organization because the site, which has a diameter of more than 300 meters, is 80 kilometers from the mainland and belongs to Les Cayes, a group of coral islands in the Caribbean Sea. The excursion also imposes a comfortable budget.
4. The Mayan grotte of Actun Tunichil Muknal
The underground cavities, numerous in Belize, were used by the Mayan civilization to honor the Gods. Today, tours are organized to remember this heritage while getting some exercise. The excursion consists of a water hike, a canyoning session and a walk in the jungle. The cave of "Actun Tunichil Muknal" is the most famous.
5. Corozal and the Caribbean coast
Previously known as British Honduras, the former English colony is the only English speaking country in Central America. English is officially spoken, but the proximity to Spanish-speaking countries makes Spanish an essential language. Belize also offers a mix of cultures and languages, with Creole, Garifuna ...
The Caribbean coast will show this diversity which will delight travelers. In Corozal Town, they discover the Spanish colonial imprints and taste shellfish and seafood. To the south, the seaside resort of Placencia is more touristy.
6. The market of the capital Belmopan
For fans of local markets, head to the very small capital of Belize: Belmopan. Built after the destruction of the previous capital, Belize City, following the passage of Hurricane Hattie, the city of 15 inhabitants can be discovered through its municipal market where all the populations meet.
Bewitching photos of a train cemetery in Bolivia ❯
Photo safari in Kenya in 30 shots
What to see and do in Oxford? 10 must-see visits!
Why go to New Orleans, the most "Frenchy" in the United States?
Brighton inaugurates the world's tallest observation tower
These 20 photos will make you want to go to Essaouira
11 things to know before visiting Mexico
Add a comment from Belize: the 6 essentials of your trip
Iran: 7 things to see in Tehran
Everything you need to know about the ESTA form before traveling to the USA
Visit Languedoc Roussillon: between sea and mountains
Valencia in Spain: what to visit and what to do, our itinerary ideas
Madrid or Barcelona: where to go for your next getaway?
Visit unusual places in Paris: some ideas
Travel on the most beautiful trains in the world
New winter sports practices
A weekend in Cannes: the unmissable
Why visit Los Angeles? Stars, beaches and shopping sprees!
What to see and do in Strasbourg? The crossroads of Europe
Car rental: reduced rates
6 must-see visits and activities around Bordeaux
Visit Seville: all you need to know before you go
A road trip to discover Iceland
What to see and do in Montpellier? 6 must-see visits!
Discover Le Puy-en-Velay
Vienna or Prague: a match between the capitals for a better city-trip!
Malaysia: a unique experience
Finland or Norway: where to go to reconnect better with nature?


text:
More info on Jimmy Briand
Jimmy Briand: Map
Categories: 1985 births > Living people > People from Vitry-sur-Seine > French people of Guadeloupean descent > People of Martiniquais descent
Jimmy Briand (born August 2, 1985 in Vitry-sur-Seine, France ) is a French football player who plays as a forward. He currently plays for Rennes in Ligue 1. A graduate of the famous Clairefontaine academy, Jimmy also plays for the France national team. He is currently the longest serving player at Rennes having been at the club since 2001 and making his debut during the 2002–03 season.
Jimmy began his career at US Ivry before joining CSF Brétigny. Following a stint there, he joined Ligue 1 side Rennes who decided to send him to the famed Clairefontaine academy for a year to receive further training.
While in Rennes's youth system, he won the Coupe Gambardella in 2003. During the league season, he would make his professional football debut, at the age of 17, in a match against Paris Saint-Germain coming on as a substitute wearing the number 31 shirt playing 25 minutes. The match would finish 0–0. Over the next two seasons, his play would be heavily limited only appearing in 16 league matches and scoring one goal, his first ever, against Montpellier in a 4-0 victory.
He would finally break into the first-team for the 2005–06 season appearing in 29 league matches and scoring 3 goals helping Rennes finish 7th, just one spot out of Europe. Over the next two years, his play would remain consistent primarily due to him not sustaining injuries. Despite being linked to clubs outside France, Jimmy decided to stay with Rennes for the 2008–09 season. Rennes have been a solid side in league play so far this season with Jimmy scoring 5 goals, second-best on the team.
He will miss the rest of the 2008–09 season, as well as the beginning of the 2009–10 season after rupturing his ACL while training with the French national team.
Jimmy played on the under-21 team from 2004 to 2006 scoring 9 goals on 22 appearances. He was a member of the French squad that participated in the 2006 UEFA U-21 Championship helping France reach the semi-finals before losing to the Netherlands.
Jimmy received his first call-up to the senior side in May 2007 for France's Euro 2008 qualification matches against Ukraine and Georgia. He would not make his debut in those matches. On October 11, 2008, he made his international debut against Romania in a 2010 FIFA World Cup qualifying match that ended in a 2–2 draw.
PSG v. Rennes Match Report
Briand 'disaster' for Rennes
Jimmy Briand's profile, stats & pics
Filing card in L'Equipe


text: Brooks began performing at age 12, then continued performing in clubs and at other venues throughout high school. He also began writing songs at that time. Eventually he landed in Nashville, where he joined Tree Publishing Company. Shortly thereafter, artists like the Nitty Gritty Dirt Band, John Conlee and Highway 101 all scored #1's with Brooks' songs. In 1990 Brooks teamed with Ronnie Dunn to form Brooks & Dunn, who are the highest selling duo in the history of country music. They have sold more than 30 million records, won more than 75 major industry awards, had 23 #1 hits, and set a new record with their 41st top 10 single, breaking a tie with Alabama as the duo or group with the most Top 10 country singles in the 19-year history of Nielsen BDS-monitored airplay. Never one to let the grass grow under his feet, Brooks ventured into the world of radio in 2006 when he took over the hosting reins of the long-running syndicated radio program, American Country Countdown. Having recently notched his fourth year in that chair, Brooks reflected on his reason for joining ACC as host, "I really enjoy what I do for a living. I love this business. I love the characters and personalities in this business. At the end of the day, it's all about sharing those stories." Brooks served as President, in 2004, and Chairman, in 2005, of the Country Music Association (CMA). He remains an active board member of the CMA and served as part of the Blue Ribbon Committee. The Blue Ribbon Committee was a select group of professionals including the mayor, chosen to bring the city of Nashville and the Music Industry closer together. Brooks is also on the boards of Vanderbilt Children's Hospital and Avenue Bank, and previously served on the Nashville Convention and Visitors Bureau. He is the local spokesperson for Monroe Harding Children's Home and is a founding partner of Arrington Vineyards in Arrington, TN. Brooks has been married to his wife Barbara for 30 years and they have two children Molly, 24, and Eric, 21.


There was oil today and then there was everything else. That doesn't mean, though, that "everything else" wasn't interesting. It's just that the movement in oil prices was so spectacular that it garnered top billing throughout the session.
To the latter point, crude prices were down 3.6% in early trading to $43.60 per barrel. They would settle the day up 8.8% at $49.20 per barrel, representing a huge 13% swing from low to settlement price.
The reversal in oil prices triggered a reversal in the S&P 500 energy sector, which was down 2.6% shortly after the start of trading. It would end the day up 1.1%, which left it as the best-performing sector in the S&P 500, as well as the only sector to finish the day in positive territory.
The Chicago Purchasing Managers Index (PMI) for August was the only economic release on today's docket. It checked in weaker than expected at 54.4 (Briefing.com consensus 54.7), which was down slightly from 54.7 in July. It didn't carry much weight in moving the market since participants were keyed in more on Tuesday's release of the national ISM Index and a battery of PMI readings out of China, Japan, and the eurozone.
Notably, the Treasury market coughed up early gains even as the stock market struggled to gain upside traction. Its turnaround was precipitated by the spike in oil prices, which played into Mr. Fischer's view that inflation should move higher. The yield on the 10-yr note, which dipped to 2.14%, eventually pushed back up to 2.21%; meanwhile, the yield on the 2-yr Treasury note, which stood at 0.72%, bumped up to 0.74%.
The U.S. Dollar Index, however, was a bit weaker, falling 0.3% to 95.87 as both the euro and the yen gained ground against the greenback.
The majority of Dow components ended the day lower, led by Boeing (BA 130.68, -2.56, -1.9%), which was the biggest price loser. Conversely, Goldman Sachs (GS 188.60, +0.85, +0.6%) was the biggest price gainer and helped the Dow cut an early 199-point loss.
Boeing's weakness weighed on the industrials sector (-0.9%), but it was the health care sector (-1.9%) that was the weakest area, pressured by losses in the medical equipment and major pharmaceutical stocks. Separately, the biotech stocks also succumbed to selling efforts, evidenced by the 3.3% decline in the iShares Nasdaq Biotechnology ETF (IBB 341.80, -11.48).
Volume was again relatively heavy with 1.08 billion shares changing hands at the NYSE.
For the month of August, the Dow, Nasdaq, S&P 500, and Russell 2000 declined 6.6%, 6.9%, 6.3%, and 6.3%, respectively.


text:
Eva Schonveld
Since March 2019 Starter Culture have been speaking to people in Scotland, Oxfordshire and Devon who are involved, in a wide range of different ways, in the intersection between inner life and social change, in a wide range of different ways,. Through these conversations, we have begun to feel that we are seeing fragments of a collective response to our current political, social and environmental challenges, one which seeks both to resource and strengthen action in the outer world with deep, culture-changing roots into body, mind, and spirit and soul, and which, more ambitiously, challenges us to question, reimagine and re-work our ways of relating to ourselves, one another and to the planet.
We have come to think of our area of focus as a distinct, diverse but as yet, largely hidden social movement. Our hope is that articulating it as such will support its evolution towards the next level of its huge potential, emboldening its practitioners to see what they do not as part of a wide range of highly creative and focused, but disparate activities, but instead to understand it as a crucial part of a potent, collective movement for deep and unprecedented cultural change.
This movement has been hidden in part because its constituent parts can look very different from one another: they can look like two people talking quietly together; like a group of people playing, dancing, making art, crying, or standing in a circle; like a training on clear communication; like someone sitting under a tree, doing nothing... None of these activities look like our usual idea of 'making social change happen', but we are seeing that they all are, or can be, undertaken with the awareness that, though the work may be happening one individual or small group at a time, it is also our shared culture that is being re-woven and healed.
All of these practices address a deep and long-standing cultural severing from our inner worlds, from connection with one another, from the greater whole (however that is expressed), from a relationship of belonging with our places and ultimately our planet. This severing is so deep that it often passes unnoticed, but we experience frequently: in a moment - or a lifetime - of embarrassment or shame in expressing our feelings; in our sense of boredom as we sit behind desks in school instead of relating to other people and the wider world, finding out for ourselves; in our isolation as we end our lives forgotten, in the company of strangers; in our acceptance of or turning away from acts and systems of domination and abuse... It is this same severing that we see it playing out on a grand and terrifying scale in the extinction of growing numbers of other species and the pollution of our most essential commons.
It can be helpful to view this dislocation through the lense of colonisation. The violent appropriation of land, resources and people is a traumatic strand of our human inheritance and one which, though it began long, long ago has now gained close to global influence through neoliberal capitalism. And we know that those who started this process, centuries ago, setting sail for other lands with the intention to make them their own, were traumatised themselves, forced from their lands their traditional ways destroyed by domination or natural disaster.
Traditional, indigenous cultures typically have extensive practices that connect their members to one another, to the other species they depend on and to their beloved lands. The destruction of indigenous cultures leave people adrift and easy prey to much more insidious processes of inner colonisation: of worldview, sense of self, the right ways to behave towards others and sense of place and meaning in the world.
Colonisation of the inner is the ultimate achievement of the colonial project. When our inherent potential for generosity and goodwill towards others is traumatised, one way to respond is to turn our energies to dominating aspects of ourselves that no longer have a place - or to dominating others. In the absence of social processes that support our healing, through child rearing practices, education systems and enduring social norms, that stream of colonial trauma is passed on from generation to generation within our bodies and our cultures. And so many of us live lives which are largely disconnected from the magic of our own rich inner lives, from one another and from the wider world.
In spite of all of this, as living beings, we have an inherent drive towards maturity, wholeness and connection. Within the cultures that have committed the worst colonial atrocities and which continue to act as though the world and all life on it is their property - within all cultures - there are growing numbers of us who are seeing that there is another way. We who are working in a myriad different ways to better understand ourselves and others, to deepen connection and empathy, to support and help one another, to nurture their places and the whole of the earth.
Our movement is essentially a challenge, not only to the political and economic system which through alienating us from deep connection, has brought us to the brink of ending human and many other species' existence, but also to the ways in which movements for change have traditionally tended to take action. In many instances, challenges to the implicit violence and inequality of the status quo have been underpinned by the same unspoken, unchallenged cultural norms as the system they are trying to change. Without questioning those assumptions, and fundamentally transforming our ways of being on a deeper level (and consequently transforming the ways we work together), movements for change risk inadvertently sowing seeds that will grow to replicate the very systems of domination that we are trying to shift.
Ultimately, this movement is hidden because it has not yet made its collective statement of intent. The wisdom and depth it brings are badly needed in the crises we are facing. Our project's aim is to bring together those already involved, to re-birth this hidden movement, to collectively articulate - creating new language if and when we need to - what it is and what it intends for this precious world.
Connecting up, feeding and growing the huge reservoirs of goodwill, good practice and heart connection that already exist, all of us together will build a sense of common cause, of life-affirming movement, between those who, working together, can help us to sow and nurture the seeds of a profound and desperately needed cultural transformation.


gaku nakagawa was born in the temple 'zuisenji' in kyoto, 1966. he studied buddhist art at university and worked as a copywriter after graduating. in 1996 he began work as a freelance illustrator as well as being a monk. his work has been used across numerous genres from government pamphlets, to educational booklets for his temple, to international magazines, websites, and a selection of published books. he is represented by dutch uncle.
designboom: what originally made you want to become an artist / illustrator?
gaku nakagawa: when I was a child, I wanted to be a comic artist. I worked as a copywriter, designer and art director at an advertising agency for 6 years. while I commissioned on an adverting job and explaining a concept to an illustrator, I started to created some small cut illustrations and it became my main role. I became a father, when I was 30 years old and around that time decided to become a freelance illustrator.
DB: how would you describe your approach?
GN: first, I have to cherish the concept of the illustration that is required. then, I consider what and whom the image is for, the best suitable situation, layout and color palette. I tend to draw many sketches, until I come up with an idea. sometimes and idea will come to me while I'm in the bath and I have to draw it quickly – as soon as I get out of the bath!
I don't do so much underdrawing. I mainly work on the computer and enjoy drawing without thinking about a concept. often I draw without knowing exactly what the final image will look like it's somewhat intuitive. the good thing about making images using the computer is that you an easily experiment with the thickness of lines, the various colors and the sizes of elements within the image.
GN: old japanese painting such as ukiyo-e and picture scrolls, pre-war advertising, design and book illustrations, western impressionism, art nouveau and art deco, art print posters, and japanese manga and animation which I was familiar with when I was a child. also I am influenced by every picture and design that I have ever seen.
in terms of people I can name many influences… soutatsu tawaraya, jakuchu ito, hokusai katsushika, settai komura, takachi kohno, sori yanagi, van gogh, toulouse-lautrec-monfa, gustav klimt, aubrey beardsley, erte, ryohei yahagihara, makoto wada, hiroshi nagai, shigeru mizuki, tsubame kamogawa, katsuhiro otomo, fumiko takano, hayao miyazaki, takashi nakamura, osamu kobayashi, kyoka izumi, ryotaro shiba, shinichi nakazawa, eiji tsuburaya, haruomi hosono, eiichi otaki, gotama siddhattha, honen genku, syoku nishiyama and more.
DB: has anyone or anything recently challenged your views on art or illustration?
GN: there are several projects that were turning points for my illustration. one was my solo exhibition, called 'kyoto bojyo', which was done with my japanese agency, visiontrack. it was a good experiment that forced me to think about how to draw a landscape in my style using adobe illustrator. that experimental attempt became the image of perfect city for monocle magazine, published in 2007.
in 2008, I had another solo exhibition, called 'ryutandan' and the challenge was to visualise old stories from japan. I found a way to create a line like ukiyo-e, using illustrator. at the same time, I published two books, 'happy birthday mr.b!' and 'one year at a time of ice cream', it was good challenge to pursue a pop pattern of western style and to seek the fusion between japanese and western pop elements.
DB: what would you say is your strongest skill and how have you honed that skill over the years?
GN: In my opinion my strongest skill is to find the composition to place objects well in a limited space. I learnt this from ukiyo-e and old japanese painting. I often play a game to find out a hidden composition from the everyday landscape. to polish the technique, I always try it for a daily work. I challenge myself always to explore new compositions and have been doing this for 20 years.
DB: what tools and materials do you enjoy working with the most?
GN: an apple mac and adobe illustrator. after making all path lines, I really enjoy to play around and explore what can happen with the colors, thickness of line and zoom, cropping etc. until I feel the image is just right.
GN: I admire to both. I originally stated as a generalist. in japan, we believe that a specialist illustrator is more respectful than a generalist, and I wanted to become a specialist. but as a specialist it's easy to get bored with one style and touch. so I think it is only natural to change your style and habits from time to time.
hokusai katsushika created such a variety of images, bijinga (ukiyo-e portraying beautiful women) landscapes, advertising imagery, book covers, buddhist art and shun-ga (pornographic picture). he was told there was nothing that he couldn't draw. i wanted to be like him.
GN: I am fascinated by kyoka izumi, a japanese author of novels during pre-war period. in his surreal world there's the old japanese culture, customs and beauty, which we have already lost. that said some of the themes in his stories are universal and can be related to the modern world. I made a three picture books that illustrate of the world of kyoka izumi with the flavor of traditional japanese painting in a modern picture style. the tiles of theree books are 'ezoushi ryutandan', 'ehon kecho' and 'syunikki'.
GN: I am an illustrator as well as a priest of the buddhist temple. I am thinking to make the temple (where I live) a better place. when there is not any religious event, we open the temple to have a variety of events, for people to understand the temple. currently we have a meditation meeting, live drawing sessions and a mathematics course in the temple.
GN: as I just mentioned I'm a believer in buddhism. I am part of a a sect of pure buddhism – jyodoshinshu. we are taught that the faith of amida buddha. the idea is we will try to live with nature with humility, without showing off power. I like the teaching that we can live happily without doing such a thing.
DB: what's the best piece of advice you have heard and repeat to others?
GN: I don't have any advice how to draw illustrations, but I was once given advice on how to increase one's luck; when you have good fortune, you must pass it on to the next person. in return you will have more good fortune. if you keep the good things to yourself, they will rot and become bad and good fortune will not return.
GN: the clouds flow without worrying about a thing.


text:
Q: Cordova/Phonegap GCM and Airpush Ok i have the gcm plugin from marknutter/GCM-Cordova and the airpush sdk installed...
https://github.com/marknutter/GCM-Cordova
Both work Seperatly but when combined i get an error and app crashes... logcat info...
11-26 20:43:31.475: D/webviewglue(1847): nativeDestroy view: 0x2a3a5c88
11-26 20:43:32.655: D/BUGSENSE(1847): {"data": [], "error": null}
11-26 20:43:32.675: D/BugSenseHandler(1847): java.lang.NullPointerException: println eeds a message
11-26 20:43:32.675: D/BugSenseHandler(1847): at android.util.Log.println_native(Native Method)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at android.util.Log.v(Log.java:117)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at school.is.in.GCMIntentService.onMessage(GCMIntentService.java:63)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at com.google.android.gcm.GCMBaseIntentService.onHandleIntent(GCMBaseIntentService.java:179)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at android.app.IntentService$ServiceHandler.handleMessage(IntentService.java:65)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at android.os.Handler.dispatchMessage(Handler.java:99)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at android.os.Looper.loop(Looper.java:137)
11-26 20:43:32.675: D/BugSenseHandler(1847):    at android.os.HandlerThread.run(HandlerThread.java:60)
11-26 20:43:32.675: E/AndroidRuntime(1847): FATAL EXCEPTION: IntentService[GCMIntentService-GCMIntentService-4]
11-26 20:43:32.675: E/AndroidRuntime(1847): java.lang.NullPointerException: println needs a message
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.util.Log.println_native(Native Method)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.util.Log.v(Log.java:117)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at school.is.in.GCMIntentService.onMessage(GCMIntentService.java:63)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at com.google.android.gcm.GCMBaseIntentService.onHandleIntent(GCMBaseIntentService.java:179)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.app.IntentService$ServiceHandler.handleMessage(IntentService.java:65)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.os.Handler.dispatchMessage(Handler.java:99)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.os.Looper.loop(Looper.java:137)
11-26 20:43:32.675: E/AndroidRuntime(1847):     at android.os.HandlerThread.run(HandlerThread.java:60)

From the little knowledge that i have of android it looks like the message doesn't have any data and that crashes apps... i've checked the sent message from the server to google gcm server looks good... my question is how to tell if airpush is consuming the data before hand..
I may be way off... someone point me in the write direction...
Thanks roger....

A: Ok, it seems stepping away a little bit brought me to my senses and read the console data.... and it says it was the logger creating the problem... so never mind...


text:
Bagabag Airport (, )  is an airport serving the general area of Bagabag, located in the province of Nueva Vizcaya in the Philippines. It is the only airport in Nueva Vizcaya and is classified as a community airport by the Civil Aviation Authority of the Philippines, a body of the Department of Transportation that is responsible for the operations of airports in the Philippines except the major international airports.

It is the closest public airport to the Banaue Rice Terraces at Banaue, the Rice Terraces of the Philippine Cordilleras at Banaue, Mayoyao, Hungduan and Kiangan; the tourist town of Sagada, Mountain Province; and other attractions in the province of Nueva Vizcaya such as the Bayombong Cathedral, Imugan Falls in Santa Fe, Mount Palali and the Capisaan Caves in the Caraballo Mountains and the San Vicente Ferrer Church in Dupax del Sur.

Following years of only seeing limited use by mostly general aviation and military flights, the airport will once again be serviced by regular commercial flights (at a frequency of every four days) beginning 1 June 2017, with Platinum Skies using 31-seater Dornier 328 aircraft chartered by Wakay Tours to carry passengers availing of their Banaue tour packages. The 30-minute flight to Bagabag from Clark International Airport cuts down travel time to Banaue from Manila, normally a 10- to 12-hour drive, by half.

Airlines and destinations

References

External links

Airports in the Philippines
Transportation in Nueva Vizcaya
Buildings and structures in Nueva Vizcaya

redpajama_set_name: RedPajamaWikipedia


Almost immediately after the introduction of the +1 button, people began selling +1s with the attached claim that it would help your SEO; specifically, that getting more +1s improve your ranking in search results.
Most SEO professionals will agree that +1s help with SEO, and that concession is the end of the matter for most people. The truth is a correlation between +1s and search ranking hasn't been proven to exist. When SEO professionals and Google say that +1s help with SEO, they're referring to Google's search plus your world.
When web professionals use the term SEO, most people automatically think about ranking first on Google. SEO stands for search engine optimization, and it means exactly that. If I could change the background of my listing to bright red, that would be a form of optimization because searchers would be more likely to notice me. While Google doesn't give you that kind of control, there are other things you can do to optimize the actual listing that will improve your click-thru-rates.
Listings that are annotated as personal search results improve the amount of click-thrus considerably.
Backlinks have traditionally made up the biggest factor in offsite SEO, and will continue to do so for the foreseeable future. Many SEO professionals however are beginning to feel like social signals can be used to rank content more efficiently, and would produce higher quality results. There is still too much room for abuse for Google to rely entirely on likes and re-tweets to rank content, but studies are already beginning to show a strong correlation between ranking and signals from social networks (which could possibly be a direct result of more traffic coming from a more prominent search rank).
Even though social signals can't help you in a general search, they can dramatically increase your traffic from users who are signed in to Google+. Google has begun to highlight content that has received a +1 from people in your network while you're logged in to Google+. Content that you or a friend has recommended are referred to as "personal results", and are denoted by a small icon next to the results.
Personal search results are denoted by a small icon next to each listing. You will receive personal results if you are logged in to a Google Plus account and haven't disabled personal results.
Google search has also heavily integrated Google+ pages in their results. Contextual profile and brand pages are displayed in the right hand column of search results for many terms, including influential celebrity users for broad searches. When a user initiates an implied branded search, the brand's profile page along with their most recent posts appear in the right column. Google+ pages will usually gain priority over other branded social media profiles in regular SERPs as well.
A search for Social Media Sun will bring up our Google Plus brand page as a result in the right column along with some of our most recent profile updates.
One of the most obvious results of including personal results can be seen when you search Google images. The very first results will be taken from the public galleries of people you have in your circles if there is anything relevant. The photos that are included in this way are labeled with the name of the friend that they came from.
Relevant images from friends' Google Plus albums are displayed at the top of image search results.
The most important thing you can do in regard to social signals is to make the sharing and other social action buttons as prominent as possible. There are several WordPress plugins and integration widgets available to make this easy for you.
As an author and publisher, one of my favorite advances associated with Google's new Schema markup standard is the introduction of rel= snippets. Google uses the information you provide to associate Google+ pages with your existing web properties. You can identify your brand as the publisher of a piece of content, and you can tag your Google+ profile as the author. When you complete the required steps, Google will display your avatar and a link to other content associated with your profile in the search results. In a page full of text, a small photo can draw the searcher's eye to your listing. It also makes your content more trustworthy because you're publicly claiming your involvement.
The subtle addition of the author's photo to your listing can dramatically increase click-thru-rates.
To properly add a rel=author tag, you need to link your name in the byline to your Google+ profile and include the proper attribute. You'll also need to add the domain your content will be displayed on to your list of "sites I contribute to" on your Google+ profile. It's even easier than it sounds, and the dividends can be significant; one study showed a 150 percent increase in click-thru-rate. All it takes is your picture in the search results to dramatically increase the chance searchers will click. Researchers have also shown a correlation between click-thru-rate and profile picture changes, so go with your best profile picture.
There are also snippets available for products, recipes, reviews and events. Product listings will display price, user ratings in a graphic format, reviews, whether or not the product is in stock and product categories. If your result has a five-star rating in a page full of bad ratings, buyers will likely flock to your product page, and you may even get an advantage in SERPs. Recipe listings include a picture of the food, user ratings, preparation time and even how many calories.
The additional information displayed as a result of the product listing Schema will help tremendously if your prices are fair, the product is good, and your customer support is great.
I'm always surprised at the number of people who spend hours each week working on SEO, but neglect using Google webmaster tools. Google developed the application to help you help them.
When it comes to adjusting your sites actual listing in results pages, there are two primary tools you need to consider. The first is your canonical URL. Under Webmaster Tools>Configuration>Settings you have the opportunity to select whether or not Google includes a www in your site's address. You need to make this decision early on and stay consistent – to avoid duplicate urls and to condition users to refer to your website in a consistent manner. Having your address in the SERPs match your existing branding is an important first step.
Finally, Google will generate a list of sitelinks under your site's search results. These will normally include pages like your About page, Contact page, public Sitemap, Blog and other web standards. In some cases, Google will pull pages that aren't relevant to a user who is searching for your website. Most implied brand searches will be initiated by users who want to learn more about, or contact your brand. Your core pages are especially pertinent to users who searched with the name of your business or website. Use the feature located under Webmaster Tools>Configuration>Sitelinks to demote pages from being included in your sitelinks.
Instead of pulling pertinent pages from our menu, Google has instead chosen a random assortment of articles to list as our sitelinks.
An often overlooked piece of information included in Google's search results is the tag generated by anti-virus software stating that the listing isn't malicious. Users who have gotten viruses through search will be more prone to avoid a site that isn't tagged as safe. In 2011 39 percent of traffic to malicious websites was a result of poisoned search results.
Norton safe web checks websites for 18 different types of threats, including everything from phishing attacks to Trojans. You can test your website through Norton's testing application, but just because your site is clean now doesn't mean it is every time. Avoid installing third party scripts and ad servers that aren't supported by a large company. Take extra precautions with your own security; change passwords frequently and keep all your software updated. Lastly, do not engage in any suspect activity yourself. If you aren't 100 percent positive that using a script or tactic is ethical, then it probably isn't.
The safe web tag is easily overlooked when results pages are filled with them, but users searching for an elusive piece of information will appreciate the assurance that looking up the price of an old baseball card will not lead to reformatting their hard drive.
Getting tagged as a malicious website can cause more damage than losing your web safe approval; you could be removed from SERPs altogether, and dozens of popular applications could identify your site as malicious, blocking direct access from their own sites and applications.
If you are currently getting a sizeable percentage of your traffic from search, these changes can yield instant results. If you haven't mastered on page SEO or suffer from a negative backlink profile, you should probably focus your optimization on those areas. Regardless of where you stand, semantic markups and social media signals promise to play a larger role in search in the future. This type of evolution separates the forward thinking from the layperson. Don't get left behind.
Thank you very much, so complete. Finally an article that doesn´t repeat the same song we´ve been hearing for a while.
something out their readers would benefit from also, or stumbled onto something that they thought was cool.
Blogging worked in the beginning because readers were a lot like the bloggers they followed. If you liked funny pictures, you'd like my funny picture blog. Too many social media, marketing and SEO blogs are written by people who don't work at it every day. They aren't coming across the new cool things or finding out old useful tips themselves, and their content suffers because of it.
I know what I'm trying to accomplish here, and it's the feedback from readers like you that inspire me to go forward, and keep writing as much content myself as is possible. Thanks!


text:
Home News Channels Family & Living 'Bandana Project' to Spotlight Sexual Exploitation of Farmworker Women
'Bandana Project' to Spotlight Sexual Exploitation of Farmworker Women
MONTGOMERY, Ala., April 1 /PRNewswire-HISPANIC PR WIRE/ — Residents of 25 states and three other countries will take a stand against the sexual exploitation of farmworker women and other low-wage female immigrant workers in April as part of the "Bandana Project," a partnership between the Southern Poverty Law Center (SPLC) and community groups, universities and other advocacy organizations to raise awareness and educate these women about their rights.
The Bandana Project is a national campaign, launched in 2007, that adopted the bandana as a symbol of solidarity to end sexual violence against farmworker women because many use bandanas on the job to cover their faces and bodies in an attempt to ward off unwanted sexual attention that often leads to rape.
The SPLC and its partners will invite members of farmworker communities and others to decorate bandanas that will be displayed in museums, community centers and schools. A complete list of the more than 100 Bandana Project partners and their websites can be found at http://www.bandanaproject.org.
The exhibits will be displayed in the United States, Canada, and Mexico during the month of April — Sexual Assault Awareness Month. April 8 is the National Day of Action for Sexual Assault Awareness Month, but some of the Bandana Project partners have organized events for the entire month.
Sexual exploitation has received little public attention but is well-known to farmworker women, many of whom remain silent about sexual harassment on the job. William R. Tamayo, regional attorney for the Equal Employment Opportunity Commission in San Francisco, wrote in a 2000 report that "the sexual harassment of farmworker women is a widespread problem." In a 2008 informal survey of farmworker and low-wage immigrant women in the Southeast, 77 percent said that sexual harassment is a major problem on the job.
"These bandanas offer a message of hope and solidarity for women who often suffer in silence," said Monica Ramirez, project director for Esperanza: The Immigrant Women's Legal Initiative of the SPLC. "It is an opportunity to bring this problem into the light of day by encouraging women to hold their abusers accountable."
The SPLC and other advocacy groups also will join together to offer educational programs across the nation throughout April to inform farmworker women of their rights and the resources available to help them. The SPLC has produced an informational kit for use during these programs to educate farmworker women on the steps they can take to combat sexual harassment and violence.
In addition, Dolores Huerta, who led farmworkers in the grape strike and boycott of the 1960s with Cesar Chavez and today is the president of the Dolores Huerta Foundation, has recorded a public service announcement encouraging farmworker women to speak out.
"No woman should have to sacrifice her dignity and safety in exchange for a paycheck," Huerta said. "We can stop sexual violence in the workplace. But we must speak up."
The Southern Poverty Law Center is a nonprofit civil rights organization that combats bigotry and discrimination through litigation, education and advocacy. For more information, visit http://www.splcenter.org.
SOURCE Southern Poverty Law Center
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text:
Scandia är en stad i Washington County i delstaten Minnesota i USA. Folkmängden uppgick 2010 till 3 936 invånare. Scandia ligger cirka 40 kilometer nordöst om  Saint Paul, Minnesota, och är en del av "The Twin Cities" (Saint Paul och Minneapolis) storstadsområde.

Historia
Precis som namnet skvallrar om, har Scandia stark historisk koppling till Skandinavien. Platsen anses ha varit den första svenska bosättningen i Minnesota. År 1850 byggdes den första trästugan vid Haysjöns stränder. Den första kyrkogården vid Elim Lutheran Church byggdes 1856 nära Haysjön.

Efter att i flera år ha gått under namnet New Scandia Township, blev platsen stad den 1 januari 2007, för att undanröja hoten om att införlivas i Forest Lake. Staden har en tidning som utkommer en gång i veckan, Country Messenger.

Referenser

Noter

Orter i Minnesota
Washington County, Minnesota
Svensk migration till Nordamerika


Are you a man who is dealing with mid-life's challenges?
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By: Crystal Keet, blogger, designer, consultant and linguist at CrystalKeet.com My life changed one day two years ago in June.


text:
Introducción
La iluminación en los videojuegos, al igual que la iluminación en el cine, son un conjunto de técnicas y conceptos en experiencias/ambientes reales transmitidas a un juego para dar en cada caso una sensación diferente. A través de la iluminación podemos transmitir emociones, crear ambientes y llamar la atención de los jugadores hacia los lugares u objetos que el creador quiere que prestes más atención. El desarrollo técnico de los últimos años ha dado lugar a un gran realismo gráfico y a mayores oportunidades de interacción a través de la iluminación en los entornos de los videojuegos.

La iluminación aplicada a los videojuegos  se inspira en la tradición  pictórica como referencias y adaptarlas a los diferentes escenarios dependiendo de cada videojuego. Uno de estos aspectos es el "Claroscuro o Tenebrismo" (técnica pictórica desarrollada en el Barroco), en donde, la luz siempre estará dirigida hacia algún objeto o personaje para poder resaltar las sombras y a su vez, la luz. Esto realizará atmósferas y paisajes que llaman aún más la atención del jugador.

Entre los múltiples tipos de iluminación posibles en el desarrollo de videojuegos, hay que tener en cuenta cuál escoger a la hora de desarrollar nuestro juego, teniendo en cuenta el uso que va a hacer dicha iluminación. Una mala gestión de su uso puede conllevar a un mal rendimiento de nuestro juego, pese a que la iluminación hace que nuestro juego cobre vida, también sacrifica una considerable cantidad de rendimiento.

El proceso de iluminación final se puede llevar a cabo con Unity o Unreal Engine (u otro motor de videojuegos), los cuales son unos software de desarrollo de videojuegos potentes y eficientes. La diferencia entre estos dos es que Unity tiene un uso más fácil que Unreal Engine.

Algunos juegos conocidos como Genshin Impact, Rust, Resident Evil, Assassin 's Creed, Hearthstone, Outlast, Life Is Strange 2, Fortnite, Dragon Ball, FighterZ…  Han usado técnicas de iluminación con los software de desarrollo de videojuegos mencionados anteriormente.

Historia de la iluminación en los videojuegos
La historia de la iluminación en videojuegos apareció en 1958 con el primer videojuego creado, Tennis for Two.  El juego consistía en un programa que mostraba por pantalla rayos catódicos, simulando una cancha de tenis vista de lado y una pelota que botaba según el valor que los jugadores introducían mediante un dial. Lo que podríamos considerar como iluminación en este momento es muy subjetivo. Las limitaciones técnicas de las máquinas de la época no permitían iluminación en tiempo real. Indy 800 (1975), el primer juego a color, no tenía iluminación y se imitaba a través del color.

Por ejemplo Pac-Man, de 1980, se formaba de colores muy definidos que simulaban figuras encima de un fondo negro.  En algunos casos se consiguió simular algunos elementos como el día y la noche o los reflejos de la luz mediante pixel art. Super Mario Bros (1985) fue uno de los primeros en falsear ciclos de día y de noche cambiando la paleta de colores.   Por ejemplo, en el nivel 1-1 es de día y los enemigos están pintados de un color más vivo, en contraste con el nivel 1-2 que nos presenta los mismos enemigos pero de color gris debido a la oscuridad de la fase. Por otra parte, Mega Man (1987) tiene un par de píxeles en el cañón del protagonista de color más claro para dar una sensación de cilindro.

El salto al 3D revolucionó la iluminación tal y como se conocía hasta entonces. Se empezaron a usar programas que buscaban simular la luz natural, como es el caso de Myst (1993), una aventura gráfica que utilizaba renders de alta resolución para mostrar un mundo de estética muy realista para la época.

Myst usa mapas de normales para simular texturas un poco más realistas y juega con las luces para disimular la carencia de potencia de procesamiento.

Otro juego de 1993, pero esta vez con un mapeado en 3D es Doom. El shooter emplea un filtro transparente cuando el personaje dispara, aparte de simular el brillo en las texturas de las armas y texturas, además de popularizar el sistema de Shadow Volume.

Hasta entonces la iluminación siempre había sido estática, falseada en las texturas. Con la llegada de Quake en 1996  los juegos en 3D empezaron a ser creados con motores gráficos   y esto dio la oportunidad de trabajar la iluminación a profundidad mediante el proceso llamado lightmapping.

El motor GLQuake engine permite la integración de personajes tridimensionales en el juego, por ejemplo Doom usaba sprites en 2D para los enemigos y los objetos y en el nuevo juego de ID software se emplearon modelos con volumen.   Lo que supuso esa mejora fue la creación de los Mapas de Luz y de los Puntos de Luz, herramientas necesarias para desarrollar una iluminación cambiante dependiendo la posición de los elementos. A partir de la creación de este motor fueron saliendo otros más nuevos y mejores, aumentando tanto la potencia del producto como refinando la manera de usar la luz. No todo se basaba en buscar el realismo mediante la iluminación, sino aprender a utilizar este elemento como parte del videojuego mismo de manera diegética. Half Life (1998) es uno de los muchos siguientes que implementó un método dinámico para guiar al jugador.

Bioshock (2007) es un claro ejemplo de cómo el equipo encargado de la iluminación guía al jugador con elementos de luz que se integran con intención y no desentonan con el conjunto.

Dramaturgia de la luz en los videojuegos
La dramaturgia (del griego δραματουργία) es la acción y efecto de crear, componer, escenificar y representar una historia, convirtiéndolo en espectáculo teatral. De forma similar, la dramaturgia de la luz es el arte de componer y representar una historia a través de la iluminación de los escenarios del juego y sus personajes, enfatizando determinados aspectos y buscando una estética característica que diferencie el juego.

La dramaturgia de la Luz en los videojuegos se puede escenificar de diversas maneras, el objetivo es conseguir transmitir una sensación o un sentimiento al jugador para que la experiencia sea lo más inmersiva posible, acompañando las escenas y la historia. Algunos de los recursos más usados son:

 Iluminación con tonos fríos para transmitir tristeza, soledad, etc
 Iluminación con tonos cálidos para transmitir felicidad, calidez, etc
 Luz tenue/intensa con una oscuridad profunda para guiar al jugador.
 Luz natural para estimar la hora o la meteorología en la que transcurre el juego.
 Luz secundaria con una intención concreta (peligro, seguridad, ansiedad, etc…)

Independientemente de cual sea el escenario en el que se encuentre el jugador, la iluminación puede afectar de maneras diversas a los sentimientos que pueden llegar a transmitir esa escena. Dependiendo del tipo de iluminación y del tipo de fuente de luz un mismo escenario puede transmitir diferentes sensaciones siempre acordes a la temática del juego y/o el entorno en el que se encuentra el jugador.

Pistas de navegación
La iluminación, cuando se utiliza para guiar las acciones del jugador, se clasifica en dos tipos: diegética y extradiegética. La iluminación diegética es aquella que se encuentra en entornos oscuros e interiores y la iluminación extradiegética es aquella que es causada por la luz del día o que se encuentra en exteriores.

La iluminación es útil a la hora de guiar al jugador. Al señalar la ruta que éste debe tomar, se evitan tiempos muertos en los que se busque la salida sin éxito alguno. La clave para guiar al jugador mediante la iluminación es la intensidad, el contraste y el movimiento. Lo que hace el juego más accesible y permite al jugador moverse fluidamente por el entorno.

Un ejemplo sería el nivel de Robo en el Museo de Uncharted 3, en el que Drake debe escapar rápidamente del museo antes de ser alcanzado por los guardaespaldas de Katherine. En este nivel se le presentan al jugador dos posibles salidas: una ventana y una puerta (la cual está bloqueada). La ventana destaca por su intensidad lumínica, lo que le da una pista al jugador para que descarte la puerta y huya directamente por la ventana.

La iluminación no solo sirve para indicar al jugador la vía de escape, sino también para guiarlo hacia objetos necesarios para cumplir la misión. En el nivel de La Escalera Rota de Darksiders, el protagonista debe abrir un portal, pero para ello necesita una llave. En este, el entorno está iluminado, mayoritariamente, por tonos azules, excepto la sala donde se encuentra la llave, que está iluminada por una luz cálida. En este nivel, la intensidad y el contraste de color guían al jugador desde la distancia y lo invita a visitar esa zona.

Tipos de iluminación y su aplicación en videojuegos
Cómo se diseña la iluminación es algo que no sólo depende del motor gráfico sino de la intencionalidad de lo que se desea transmitir. Lo principal es diseñar las funciones narrativas de la iluminación y luego ver cuáles son las necesidades técnicas y la capacidad de los motores de juego utilizados para trabajar en la iluminación de un videojuego

En la aplicación existen las luces estáticas, las cuales no cambian de posición al salir de luces fijas; es una técnica muy utilizada para ahorrar recursos en los videojuegos y optimizar el rendimiento de estos ya que solo necesitan ser procesadas a la hora de crear el juego.

Por otro lado están las luces dinámicas, que son luces interactivas con la escena 3D creada y que van variando dependiendo del escenario o lugar de la emisión. Por ejemplo, si en un videojuego amanece y anochece, la posición de las sombras varía de un momento a otro.

Podemos distinguir entre aspectos formales, aspectos compositivos y aspectos técnicos.

Aspectos formales
Los aspectos formales son aquellos que pueden hacer variar la intensidad, dirección, etc.. de la luz.

 Difusión: Deformación de la luz después de rebotar o reflejarse en una superficie.
 Color: Según la paleta de colores que se use en un videojuego se puede transmitir un sentimiento u otro.
 Direccionalidad: Se refiere a la dirección que tiene la luz, por ejemplo en los videojuegos la direccionalidad de la luz suele ser utilizada para decir al jugador que camino puede o debe tomar.

Aspectos compositivos
Los aspectos compositivos son aquellos que definen la forma en la que es compuesta una escena, es decir dónde y cómo se sitúan las fuentes de luz.

Pueden ser obvios
Es decir aparecen en la pantalla del jugador de forma que puede ver directamente la o las fuentes de luz que iluminan la escena.

Pueden ser no tan obvios
Es decir el jugador puede deducir de dónde procede la iluminación pero no lo puede ver con certeza, es decir la fuente de luz no es visible para este.

Aspectos técnicos
Los aspectos técnicos son aquellos que influyen en la iluminación dependiendo del software que sea utilizado para crear la iluminación.

Iluminación juegos 2D y 3D
Existen diferentes formas de trabajar la iluminación en los videojuegos. Podemos diferenciar dos grandes ámbitos según sean juegos trabajados en dos o tres dimensiones:

 Juegos diseñados en 2D: Las luces en juegos 2D son, en realidad, sprites con una opacidad y un contraste determinados, de esta manera se mezcla con el entorno y da un efecto de iluminación.
 Juegos diseñados en 3D: Las luces en juegos 3D son fuentes de luz a las cuales se les puede cambiar la intensidad y el contraste, entre otros, y se puede modificar para que, al chocar con un objeto, el rastro de luz se vea interrumpido y de un efecto de sombra.

Aplicación
Estáticas: Las luces estáticas no cambian de posición al salir de luces fijas, es una técnica que se usa mucho para ahorrar recursos en el juego y optimizar su rendimiento ya que solo hace falta procesarlas al crear el juego.

Por otro lado están las luces dinámicas, que son luces interactivas con la escena 3D creada y que van variando dependiendo del escenario o lugar de la emisión. Por ejemplo, si en un videojuego amanece y anochece, la posición de las sombras varía de un momento a otro.

Técnicas de iluminación
Los videojuegos son unos de los medios interactivos más complejos que hay en la actualidad, ya que son capaces de aplicar y relacionar elementos de otros medios, como por ejemplo personajes, escenarios complejos, música y entornos. Por ello la iluminación en un videojuego es un elemento crucial e imprescindible a tener en cuenta, ya que sin la iluminación en un videojuego no podríamos ver, sentir emociones, etc.

Hay varias  maneras de aplicar esta iluminación en los videojuegos y se dividen en dos tipos de procesamiento de iluminación:

 Estáticas: Las luces estáticas tal como dice su nombre, son las luces que no cambian de posición, además es una técnica que se suele usar para el ahorro de recursos en un juego y optimizar el rendimiento de este.
 Dinámicas: Las luces dinámicas reaccionan de forma interactiva a la escena 3D. Por ejemplo, en un videojuego en el que se hace de día y de noche, la posición de las sombras cambian cada cierto tiempo.

Para darle expresividad y vida a nuestros personajes y escenas serían necesarias diversas técnicas.

Iluminación en tiempo real
Cuando hablamos de iluminación en tiempo real estamos hablando del diseño de iluminación por defecto que podemos encontrar como las luces direccionales, de foco o puntuales. Al tratarse de un tipo de iluminación que se calcula en tiempo real, las luces que se producen se proyectan frame a frame, actualizando cualquier movimiento de luz en los objetos. Este tipo de iluminación es el más adecuado para iluminar personajes u objetos en movimiento.

Iluminación global: baking
Es una técnica de iluminación habitual en la iluminación global de escenas, consiste en el cálculo de la luz directa e indirecta sobre un objeto estático, la directa es la iluminación que se produce sobre un objeto y la indirecta es la iluminación que se genera con el rebote de luz de la directa.

Iluminación global en tiempo real precalculada
La iluminación global en tiempo real precalculada sigue trabajando solo con objetos estáticos pero también calcula cómo afectan los distintos cambios de iluminación (rebotes de luz indirecta) a estos objetos en tiempo real mediante los cálculos previos.

Render
El renderizado es el proceso de generar una imagen (realista o no) a partir de una referencia 2D o un modelo 3D a través de un programa especializado. Para poder hacer un renderizado, se requiere de varias cosas: texturas, geometría, luces, sombras y una cámara. Al resultado de este proceso se le llama render.

Cada render tiene un tipo de iluminación específica, hay estos tipos:

Realtime
La iluminación "Realtime" consta de ir generando, en tiempo real, todas las luces y sombras de la escena, cada vez que cambies una luz en tu escena, esta se actualizará en tiempo real dándote un feedback "instantáneo".

Baked
La iluminación "Baked" consiste en hacer un cálculo de las luces que se encuentran en la escena, renderizarlos y plasmarlos en un mapa de luces, el cual se sobrepondra sobre las texturas para generar una falsa ilusión de sombras, es decir si se calcula la luz y después se mueve un objeto, la sombra que arrojaba ese objeto se mantiene y el objeto actual no arrojará sombra hasta que se recalcule la luz nuevamente.

Ray Tracing
El trazado de rayos o "Ray Tracing" es un algoritmo que se utiliza para el renderizado de imágenes que consiste en el cálculo del camino de la luz como píxeles en el plano de una imagen y simula el efecto de la luz sobre las superficies con las que interactúa. Las imágenes que son producidas gracias a esta técnica tienen un grado muy alto de realismo, aunque necesitas una mayor capacidad en tu ordenador. Por ejemplo, un videojuego con el ray tracing activado tendrá un rendimiento menor que un videojuego sin el ray tracing activado.

Hay otras tecnologías a tener en cuenta en el aspecto del color dentro del renderizado en los videojuegos.

HDR
El HDR (High Dynamic Range) es una tecnología que está implantada en las pantallas y en las cámaras fotográficas.  Aunque se puede configurar y desactivar si se desea, lo que hace es conseguir información de captura y reproducir una escala de grises más amplia. Por lo tanto hay una gran diferencia entre luces y sombras que hace que se vea más natural y se acerque más a lo que ven los humanos. El HDR en los videojuegos mejora la experiancia ya que aplica un mejor rendimiento de color multiple, una saturación más profunda, un contraste más diverso, reflejos más brillantes y sombras más oscuras. También hay diferentes tipos de HDR: HDR10, Dolby Vision, HDR10+, y HLG. El HDR10 es el más usado ya que no hay que pagar ningún tipo de licencia. El HDR10 asigna unos valores predeterminados durante todo el tiempo, a diferencia de HDR10+ y Dolby Vision que cambian los valores dependiendo del momento.

Espacio de color
Un Espacio de Color es una organización concreta de los colores. En la actualidad dependiendo del dispositivo que los esté reproduciendo, los colores pueden verse de manera distinta. La forma en la que los dispositivos organizan los colores antes de mostrarlos se llama Espacio de Color. Hay muchos tipos, entre los más comunes se encuentran el RGB y el CMYK.

Desarrollo de videojuegos
Iluminación


text:
ConVal School District Preschool Child Check
The ConVal School District Special Education Dept. will be holding a Preschool Child Check Clinic for 3 and 4 year old children living in the towns of Antrim, Bennington, Dublin, Francestown, Greenfield, Hancock, Peterborough, Sharon, and Temple on Monday, March 13, 2023 at the Antrim Elementary School with appointments between 9:00 a.m. to 12:00 p.m. Snow date is Thursday, March 16, 2023 (same time range).
The purpose of the clinic is to identify 3-4 year old children who may need further evaluation / consideration for special education services. Parents who have concerns about their child's speech, language, or overall development (cognitive, motor, social or play skills) should call 924-7503 x2032 to register for the clinic.
Pre-registration is required. The child must be accompanied by a parent or legal guardian. Vision and hearing will also be screened.
Posted on January 19, 2023 January 19, 2023 Author HelfriedCategories News
Kate Wasserloos


Stefan Wolff is a German political scientist. He is a specialist in international security, particularly in the management, settlement and prevention of ethnic conflicts. He is currently Professor of International Security at the University of Birmingham in the United Kingdom. Born in 1969, He studied as an undergraduate at the University of Leipzig and holds a Master's degree from Magdalene College, Cambridge, and a PhD from the London School of Economics, where he studied under the supervision of Brendan O'Leary.
Wolff specializes in the prevention, management and settlement of ethnic and religious conflicts and in post-conflict reconstruction in deeply divided and war-torn societies. He has expertise in Northern Ireland, the Balkans and the Middle East, and has also worked on a range of other regions, including Central and Eastern Europe, Africa, and Central and Southeast Asia.
Wolff is a consultant for national and international governmental and non-governmental organizations and the private sector. He is part of a small team of experts studying and developing complex institutional design solutions for self-determination conflicts, funded, among others, by the Carnegie Endowment. He is also coordinating a research group examining the influence of external factors on the development and stability of ethnic autonomy regimes. Other research and consulting projects in this area have been funded by the UK Foreign Office, the Westminster Foundation for Democracy and the British Academy. He is convener of the Political Studies Association's Specialist Group on Ethnopolitics and the European Consortium for Political Research's Standing Group on Security Issues. Wolff is a member of the Executive Committee of the Ethnicity, Nationalism and Migration Section of the International Studies Association and a member of the Executive Board of the Association for the Study of Nationalities.
Previously Professor of Political Science at the University of Bath, and Chair in Political Science at the University of Nottingham, he is now based in the Department of Political Science and International Studies at the University of Birmingham. Since the academic year 2003/4 he has also held concurrent appointments as Professorial Lecturer in International Relations at the Johns Hopkins University School of Advanced International Studies, Bologna Center, and as Resource Fellow of the Open Society Institute's Academic Fellowship Program. Since 2005, he has also been a Teaching Fellow at the Joint Services Command and Staff College of the British Ministry of Defence. In 2003, he was appointed Senior Non-resident Research Associate at the European Centre for Minority Issues in Flensburg, Germany.
^ "Appointments". Times Higher Education. 4 February 2010. Retrieved 25 March 2010.
^ "Companies House record". Retrieved 8 May 2018.


text:
Q: VBA Find problems - error when nothing found I bet this is something simple.  Even though I've researched a lot and tried several methods I still get run time error 424.
The code is to find a number the user has entered. If the number is in the data set I want to do one thing but if the number is not in the data set I want to do something else.
Code is below.
Sub Test()

Dim Material As String
Dim cell As Range

    Material = InputBox("Enter BIS # for material type")

    Range("A7:a40").Select

       Set cell = Selection.Find(What:=Material, After:=ActiveCell, LookIn:=xlFormulas, LookAt:= _xlPart, SearchOrder:=xlByRows, SearchDirection:=xlNext, MatchCase:=False _, SearchFormat:=False).Activate
    If cell Is Nothing Then
        MsgBox "Boo"

    Else
        MsgBox "Great"

End If

End Sub

A: You can't call Activate if Find returns nothing, so that will cause an error. Also, Activate is a sub, not a function, so you can't set cell to its return value.
Note: There's no need to Select the Range("A7:A40") for the Find function to work. You can fully qualify the Range that the Find function is searching for the specific value by using Range("A7:A40").Find...
Try this instead:
Sub Test()
    Dim Material As String
    Dim cell As Range

    Material = InputBox("Enter BIS # for material type")
    Set cell = Range("A7:A40").Find(What:=Material, LookIn:=xlValues, LookAt:=xlWhole, _
                        SearchOrder:=xlByRows, SearchDirection:=xlNext, MatchCase:=False)
    If cell Is Nothing Then ' <-- this lines checks if Find failed to find a match
        MsgBox "Boo"
    Else
        cell.Activate
        MsgBox "Great"
    End If
End Sub


Literary enthusiasts can now satisfy their inner art cravings thanks to New York's David Zwirner Gallery. Today marks the opening of its third annual pop-up bookstore, an art-lover's haven with rare finds, custom tote bags featuring limited edition artwork, and of course, books.
Open through August 3, the shop boasts stacks piled high with books of David Zwirner artists such as Chris Ofili, Philip-Lorca diCorcia and Adel Abdessemed — as well as notables like Andy Warhol and Roy Lichtenstein. And with prices starting at only five dollars, it's the perfect chance to add a tome — or two — to your art book collection.
Gallery hours 10 a.m. to 6 p.m.


Come see this updated 2 bedroom ranch in the heart of Des Moines! New floors in the living room and kitchen. The bathroom has been completely redone. Front porch/deck added. Also has new appliances and cabinets in the kitchen. Open floor plan allows for maximum space. Basement is unfinished and has plenty of room for storage. Large shed out back to store all your outdoor items. Schedule your private showing today!


You are here: Insurance » Insurance Companies » Financial Casualty & Surety, Inc.
President: Myron Fuller Steves Jr.
Financial Casualty & Surety, Inc. is a Stock company that was incorporated in 1989-12-20. Financial Casualty & Surety, Inc. is a Fire & Casualty insurance company and has assets of $18,294,698, capital of $2,600,000, and net surplus of $8,089,905.
The president of Financial Casualty & Surety, Inc. is Myron Fuller Steves Jr., the treasurer is , and the secretary is . Financial Casualty & Surety, Inc. insurance plans include airplane, auto, boat, business, health, and home.
Financial Casualty & Surety, Inc. is located in Houston, TX and the phone number for Financial Casualty & Surety, Inc. claims, customer, service, and additional information is (713) 580-6410.
If you already have Financial Casualty & Surety, Inc. insurance quotes then be sure that you compare your quoted Financial Casualty & Surety, Inc. insurance plans with insurance quotes from many other top insurance companies so that you can find the very best insurance plan for your needs. Enter your zip code in for free insurance quotes now!
Rate and Review: Financial Casualty & Surety, Inc.


text:
namespace
{
	class DispatchGuard
	{
	public:
		DispatchGuard(int& count):
			_count(count)
		{
			++_count;
		}

		~DispatchGuard()
		{
			--_count;
		}

	private:
		int& _count;
	};
}

namespace Poco {
namespace XML {

EventDispatcher::EventDispatcher():
	_inDispatch(0)
{
}

EventDispatcher::~EventDispatcher()
{
}

void EventDispatcher::addEventListener(const XMLString& type, EventListener* listener, bool useCapture)
{
	EventListenerItem item;
	item.type       = type;
	item.pListener  = listener;
	item.useCapture = useCapture;
	_listeners.push_front(item);
}

void EventDispatcher::removeEventListener(const XMLString& type, EventListener* listener, bool useCapture)
{
	EventListenerList::iterator it = _listeners.begin();
	while (it != _listeners.end())
	{
		if (it->type == type && it->pListener == listener && it->useCapture == useCapture)
		{
			it->pListener = 0;
		}
		if (!_inDispatch && !it->pListener)
		{
			EventListenerList::iterator del = it++;
			_listeners.erase(del);
		}
		else ++it;
	}
}

void EventDispatcher::dispatchEvent(Event* evt)
{
	DispatchGuard guard(_inDispatch);
	EventListenerList::iterator it = _listeners.begin();
	while (it != _listeners.end())
	{
		if (it->pListener && it->type == evt->type())
		{
			it->pListener->handleEvent(evt);
		}
		if (!it->pListener)
		{
			EventListenerList::iterator del = it++;
			_listeners.erase(del);
		}
		else ++it;
	}
}

void EventDispatcher::captureEvent(Event* evt)
{
	DispatchGuard guard(_inDispatch);
	EventListenerList::iterator it = _listeners.begin();
	while (it != _listeners.end())
	{
		if (it->pListener && it->useCapture && it->type == evt->type())
		{
			it->pListener->handleEvent(evt);
		}
		if (!it->pListener)
		{
			EventListenerList::iterator del = it++;
			_listeners.erase(del);
		}
		else ++it;
	}
}

void EventDispatcher::bubbleEvent(Event* evt)
{
	DispatchGuard guard(_inDispatch);
	EventListenerList::iterator it = _listeners.begin();
	while (it != _listeners.end())
	{
		if (it->pListener && !it->useCapture && it->type == evt->type())
		{
			it->pListener->handleEvent(evt);
		}
		if (!it->pListener)
		{
			EventListenerList::iterator del = it++;
			_listeners.erase(del);
		}
		else ++it;
	}
}

} } // namespace Poco::XML

redpajama_set_name: RedPajamaGithub


National Bank of Canada released in October 2015 a comprehensive study of Canadian family-controlled public companies. It examined how 30 of this country's largest family-controlled businesses performed over the previous decade compared to the S&P/TSX Composite Index.
The 30 businesses, part of the bank's proprietary NBC Canadian Family Business Index, averaged an annualized total return of 11.3% between August 2005 and August 2015 — 570 basis points better than the S&P/TSX Index. On a cumulative basis, the bank's index beat the broader market index by 120% — a significant thrashing.
Not on that list of family-controlled public companies was Kruger Inc., the private holding company for Montreal's Kruger family, which is said to be the 61st wealthiest family in Canada at $1.8 billion.
While the family's net worth has taken a bit of a hit in the past two years, it appears to once more to be trending higher thanks to its 83.9% ownership interest in Kruger Products L.P., the manufacturer of Canada's number one tissue brands Cashmere, Scotties, and Sponge Towels, and others.
This is where income investors might want to pay attention.
In December 2012, Kruger Products L.P. sold eight million shares at $17.50 in an IPO via KP Tissue Inc. (TSX:KPT), whose sole business was its 15.7% ownership stake in the tissue products company; four years later, that stake has increased to 16.1%.
With the exception of KP Tissue's first six months as a public company, its stock has traded below its IPO pricing, sinking as low as $9.81 per share, which is 44% less than what you would have paid in 2012 to get in on the offering.
The stock rebounded nicely in 2016 and is up 40.7% for the year. Income investors can do well by simply following this simple rule: buy whenever KPT dips below $14. Since going public, it's done so on two occasions — the first time for four months between November 2015 and March 2016, and the second time for two months over this past summer — and it will surely dip below this level at some point in the future.
While its current market cap is only $142 million, that puts Kruger Products' enterprise value at $1.3 billion, which includes $396.2 million in net long-term debt. For the first nine months through September 27, 2016, its adjusted EBITDA was $109.6 million — a 14.1% increase year over year. Its revenue grew 6% over the same period to $888.3 million. Extrapolate that growth over the entire fiscal 2016 and you get annual adjusted EBITDA of $144.2 million and $941.6 million in revenue.
South of the border, Kimberly Clark Corp. (NYSE:KMB), whose tissue brands include Cottonelle and Kleenex, trades at 12.1 enterprise value and 2.7 times sales. Apply those same multiples to Kruger Products L.P., and you get an enterprise value between $1.7 billion and $2.5 billion.
So, back out the net long-term debt of $396.2 million and average the two dollar amounts in the previous paragraph, and you get a market cap of $1.7 billion for the entire company and $269.8 million — almost double its current value.
Of course, we know that best-case scenarios never work out, but it gives you an idea of the potential value that lurks in this special-situation stock.
Most importantly, income investors get a 4.7% dividend yield for your troubles — 47% higher than Kimberly Clark.


Media Coverage : ( BUSINESS INDIA - MAY 1-14 ISSUE ) Finding the Fit - Excerpts from the interview with a Pune-based duo which is helping Indian companies use a 45-year-old tool to recruit the right people and reorganise work teams.
The Rs. 230-crore Sudarshan Chemicals Ltd. (SCIL) wanted to formulate job profiles for key positions, then use these for trait appraisals to help in recruitment and to identify training needs. Enter Praendex Management Resources (PMR), a two year old company which brought the Predictive Index® (PI®) to India to do just that. "We started by using the PI® system for this," says SCIL managing director P.R.Rathi. "We are now working further on improving our job position and job evaluation methods-which will then be used for further reviewing the compensation management system."
PMR president Venkatesh Desai discovered the PI® when he was head of human relations (HR) at Alfa-Laval (India) Ltd. (ALIL) till 1997.
"The Tetra Laval group has been using PI Worldwide India for the last 25 years," says Desai. "So I knew the power of this tool." So, with colleague Sujata Rege, he quit to set up his own outfit, which is a licensee of the Massachusetts, US-based Praendex Inc for India, Nepal, Bangladesh and Sri Lanka.
PI®, explains Desai, helps the leader of an organisation identify the motivating needs of his people, and the impact of these on their performance at work. There are a lot of intangibles in this process, and it usually involves a lot of guesswork to convert these to tangibles. "PI® reduces the guesswork by half," he says. "Behavioural dimensions are measurable on a sigma scale."
Obviously, ALIL was one of the first companies Desai and Rege put on their client list. "PI® is good for new recruitment, where it allows you to judge the character of the applicants and fit them in," says ALIL managing director Satish Tandon.
Gopal Amin, managing director of compressor manufacturer Kirloskar Copeland Ltd., agrees : "It's really a terrific tool, providing a good insight into a prospective employee's psyche," PI® helped us evaluate the behavioral patterns for both recruits and existing employees at our plant. It's a good way to fit a person into the kind of job he likes, depending on your requirement as an employer. This keeps the employee happy, too."
The system, he points out, has been validated over 45 years, having been developed and first administered experimentally in 1953-54 and accepted worldwide since 1955. Thousands of managers and executives have attended the PI® management workshop, and the checklist to arrive at the analysis of employee behavior and aptitude has been administered millions of times.
PI®, which its exponents describe as a comprehensive programme that provides tools, training and consulting support to improve the effectiveness of managers in developing and focusing the energy of their people to meet the needs of the business, is currently being used in nearly 40 Fortune 500 companies. "People in an organisation who have been working together for years, look at their job needs differently," Desai points out. "PI® provides the job benchmarking to help prevent selecting the wrong people, trying to fit a square peg into a round hole."