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Q: Trying to interpret (VS2008) Threads Window with whats actually executing I'm new to multi-threading and I have been doing a Proof-of-Concept, I've also 'discovered' the (VS2008) Threads Window:

My Question is: how can I "link" the running threads to my code?
For example, how would I get the Thread ID (as shown in the Threads Window) so that I could log it (for example); or, the BeginInvoke() method takes a 'id' argument (string) which I have set (as "Service A" in the example below) but I can't see it in the Threads Window.
The thing that interests me is that I'm sparking up three parallel threads of execution using AsyncCallbacks and BeginInvoke() but I can only see two worker threads in the Threads Window at a point where i think I should see three.  Actually I think I can - the three worker threads with the 'Name' as <No Name>.
For reference here's some of the code I'm using:
// Creating the call back and setting the call back delegate
AsyncCallback callBackA = new AsyncCallback(AsyncOperationACompleted);
// callBackB ...
// callBackC ...

// Create instances of the delegate, which calls the method we want to execute
callerA = new DumbEndPoint.AsyncMethodCaller(DumbEndPoint.PretendWorkingServiceCall);
// callerB ...
// callerC ...

// sleep = thread sleep time in milliseconds
IAsyncResult resultA = callerA.BeginInvoke(sleep, "Service A", callBackA, null);
// resultB ...
// resultC ...

// I expect to see three threads in the Threads Window at this point.

I'm then getting the results in the call back delegate:
    private void AsyncOperationACompleted(IAsyncResult result)
    {
        try
        {
            string returnValue = callerA.EndInvoke(result);
            mySmartDTO.ServiceDataA = returnValue;
        }
        catch (Exception ex)
        {
            // logging
            ...
        }
    }

A: You can use Thread.Name to set a name for the thread.  After the name is set, it will appear in the "Name" column of the Threads window.
e.g., assuming that Service A is the name you'd like to appear in the Name column of the Threads window, you could do something like this in PretendWorkingServiceCall:
void PretendWorkingServiceCall(int sleepMilliseconds, string name)
{
    System.Threading.Thread.CurrentThread.Name = name;

    // your code goes here
}

redpajama_set_name: RedPajamaStackExchange


text:
A trauma informed intervention to improve mental health and school success for urban eighth graders
Mendelson, Tamar
Johns Hopkins University, Baltimore, MD, United States
Search 16 grants from Tamar Mendelson
Search grants from Johns Hopkins University
Imaging Biomarkers of Severe Respiratory Infections in Premature Infants
Sry transgenic rats for investigation of XX vs. XY differences in phenotypes
Vitamin D3 Regulation of the Hypothalamic-Pituitary-Gonadal Axis
Research in Mental Retardation
REU: AERO-U: Aerospace Engineering Research Opportunities for Undergraduates
Macromolecular dynamics and conformational changes in biological function
Core 1 Training pp.332-366
Investigating aryl hydrocarbon receptor-cofactor interactions that mediate toxicity
. Approximately half of all 14-17 years olds in the U.S. are estimated to be victims of physical assault; chronic stress and trauma exposure are particularly prevalent for youth growing up in high-crime urban communities. Emotion regulation difficulties due to stress and trauma exposure contribute to disparities in mental health problems and school failure, with low-income and African American youth at much higher risk than their higher-income, White counterparts. Schools serving high-crime communities, however, do not offer universal trauma-informed strategies to support student success. RAP Club is a school-based group prevention program aimed at improving emotion regulation and decision-making in urban upper middle school students to improve their transition to high school. The program fills key gaps in current school practices, including a trauma-informed approach, universal delivery to all students without pre-screening, transdiagnostic effects on internalizing problems as well as behavioral issues, and a focus on upper middle school students. Our team adapted RAP Club from Structured Psychotherapy for Adolescents Responding to Chronic Stress (SPARCS), a group treatment for adolescents based on empirically supported mindfulness and cognitive- behavioral techniques. Using a novel delivery method, RAP Club is co-facilitated by school mental health personnel and young adult community members to promote student engagement. In our NIMH-funded pilot research, the program improved classroom behavior, social functioning, and academic competence. The program improved outcomes for students at varying levels of baseline distress?even low levels?suggesting its appropriateness as a universal model. Building on that work, the proposed R01 trial will test whether urban eighth grade students randomly assigned to RAP Club show improved emotional, behavioral, and academic outcomes in eighth and ninth grades compared to those assigned to Healthy Topics, a health education control group. Intervention and control programs will each be delivered by different school personnel with co- facilitation by young adult community members. The research will be conducted in 32 Baltimore City Public Schools serving urban communities with high rates of violence exposure. We will collect teacher- and student- reported data on student self-regulation, emotional functioning, classroom behavior, and academic performance at pre- and post-intervention and 4-month follow up, as well as student data at 12-month follow up. We will gather school record data on academic indicators in the year before, year of, and year following study participation. We will evaluate factors relevant to program implementation and potential sustainability, including stakeholder perspectives and cost data. The RAP Club model of trauma-informed, universal support has potential for widespread dissemination in school districts serving disadvantaged youth nationwide.
The proposed randomized controlled trial will evaluate the effects of RAP Club, an evidence-based trauma-informed intervention, on eighth graders in an urban school district characterized by high rates of violence and trauma exposure. Schools serving youth in trauma-affected communities currently lack universal, trauma-informed approaches for promoting mental health and school success in upper middle school students prior to high school entry. RAP Club has potential to reduce risk for emotional, behavioral, and academic problems in our most vulnerable young people across the nation, with significant implications for reducing disparities in achievement and health.
Psychosocial Development, Risk and Prevention Study Section (PDRP)
Maholmes, Valerie
Schools of Public Health
R01 HD A trauma informed intervention to improve mental health and school success for urban eighth graders
Mendelson, Tamar / Johns Hopkins University
Be the first to comment on Tamar Mendelson's grant

redpajama_set_name: RedPajamaCommonCrawl


Are modern cars too boring and too technology focussed? Do you yearn for something new that you can take offroad, park where you want and not look like you are trying too hard to impress anyone? If so, then Suzuki might just have a solution for you.
This is the all-new Suzuki Jimny, the first update to the little off-roader in 20 years! It's a pocket-sized SUV…wait, it's a pocket-sized offroad vehicle, calling it an SUV seems a bit of a disservice and lumps it in with less rugged cars.
The Jimny is a MUCH more affordable, if much smaller, rival to cars such as the Mercedes G Class, Landrover Defender and Jeep Wrangler, but where the G is £100k, the Jeep starts at north of £40k and the Defender replacement is still waiting in the wings, and likely to have a huge price tag, the little Suzuki can lead them all over a rugged mountain from only £15,495.
At this price point, the Jimny is pretty much without rivals in terms of looks and capability, and even in the used market, you'd struggle to get a running a driving Defender at this price. Still, it's not going to be stealing many sales from Ford Fiesta drivers, and its quirkiness will mean it remains as a small niche in the market.
Unless you like miles along a dirt track the often sees snow in the winter, then the Suzuki Jimny will probably 2nd car as a bit of a toy, or maybe a statement car for those who live in the city. With this in the mind, the rivals for the Jimny are everything from a second-hand sports car to a beaten up old Vauxhall Frontera.
Very much like the old Jimny! Suzuki hasn't messed much with the formula which kept the last Jimny in production for 20 years. Some of the edges are squared off, the lights and grill are a lot sharper, bolder and more modern, while the dimensions have expanded by a very small amount to increase the stature.
Add these changes together, mix in a green (sorry, Kinetic Yellow) paint job and the Jimny is one of the coolest cars on sale today. Seriously, this little car gets more glances, smiles and strikes up more conversations with strangers than anything short of a hypercar.
It's not quite that basic, but it's still only about on par with a 1990s BMW.
The SZ5 version comes with a 7″ touchscreen with Apple Carplay, Android Auto, DAB and Bluetooth, which keeps you up to date with most modern machinery. These are connected to a pair of speakers, and so sound quality isn't exactly what you might expect of a modern car.
You do get steering wheel controls, cruise control and easy to use buttons for things like the climate control, but the Jimny still feels quite utilitarian compared to even the most basic of modern superminis.
I didn't get a chance to take the Jimny properly offroad, but I did get out into some country roads when there was snow on the ground.
In these conditions the mini offroader is great. You feel pretty much invincible, even if you are in a tiny car, and just like the old version, it feels like you can go anywhere.
Driving around town, the Jimny feels like it can handle our pothole-ridden streets with ease, and although it's not exactly powerful (100hp and 130Nm) it's keen enough to get you out of junctions without too much hesitation. Take the Jimny to the shops and it's great for parking and for manoeuvring into space.
Where the Jimny is not at home is cruising on the motorway. If this is part of your daily commute then the Jimny is not the car for you. Cruise control on at 70mph and the engine feels and sounds like it's working very hard. This is not a relaxing way to spend time and you'll quickly grow weary and not want to take the car any great distance again.
Will Jimny drivers really care about the MPG? I'm not sure they will, and that's a good thing. With the normally aspirated 1.5 petrol unit, the Jimny should average 35.8mpg which is pretty low by 2019 standards.
Is it a nice place to spend time?
It is and it isn't. The interior and driving experience are from a different era, but the coolness factor and chance to stand out from the crowd is not something to be sniffed at.
Some people will spend tens or hundreds of thousands of pounds to personalise a supercar and make a statement – you can do this for £15k in a Suzuki Jimny and make just as much of an impact.
Drive around town in your brightly colour Jimny and you'll be smiling from ear to ear…until you get to the motorway.
If you have another car to get you to the office, or your office is next door to your farmhouse, then yes. If you join the morning commute into a city after dropping the kids off at school, then it's probably not the car for you.


Great ideas come from a need.
According to TRIAS this need is to ensure greater safety for our children by facilitating the ever more difficult task of the parent. On this need is founded our company, an innovative Italian start-up in the babycare sector.


A lot of people who come to Thailand do so for the Hua Hin golf courses. In fact, the popularity of these courses grows heavily each year. People love the great views that can be had from each tee and green. If you love golf and want to play it in a tropical setting, then you may want to check out Hua Hin golf courses. Not only will you have fun playing, but you will also get to experience everything else that this awesome tropical resort town has to offer. Next time you are planning a vacation, definitely consider Hua Hin, Thailand.
There are so many great Hua Hin golf courses that they can be pretty hard to count. Every year, new golf courses open up. Hua Hin is swiftly becoming a big golfing capitol of the world. There are several Hua Hin golf courses that have the other beat. For example, the Palms Hills Golf Course has great views of the Gulf of Thailand whilst among the hills and trees that make Hua Hin so unique. This is one of the best Hua Hin golf courses. Another really great course is the Lakeview Golf Course. Many famous professional golfers have come here to experience the majesty that can only be had at these Hua Hin golf courses. They are famous because they are challenging and they have great views of the vegetation and wildlife that surrounds them.
There are certain hotels that have special packages involving Hua Hin Golf Courses. These packages include the hotel stay for a certain number of nights as well as a certain number of golf games at one of the many Hua Hin Golf Courses. For example, the Wora Bura Hotel has a five night stay with three rounds of golf for only 28,000 Thai Baht, or about 880 American dollars. Keep in mind that you will need to sign up at least two people in order to receive this golfing package.
Whichever method you choose, you are bound to have loads of fun on the Hua Hin golf courses. Consider the range of quality amenities when you visit. You also will find hundreds of people to golf with if you have not brought with you others. Hua Hin golf courses provide you with everything that you need to fully enjoy the weather, the greens and of course the country. Start by investing Hua Hin golf courses that fit with your needs.


Union members stage a protest outside the New School on Strawberry Hill in Stamford, Conn., Friday morning, a day after authorities said a 13-year-old boy was found working for a contractor on the site.
STAMFORD — A day after a 13-year-old boy was found doing electrical work at a school construction site, more than a dozen union members staged a protest outside the building.
The state Department of Labor's Wage and Workplace Standards Division sent inspectors to the New School, an extension of Rogers Magnet Elementary, Thursday after learning of the violation. Authorities said they found the juvenile helping his father, an electrician working for D.F. McDermott, a contractor out of Ansonia.
Police removed the boy and his father from the construction area, but no one was arrested.
City Engineer Lou Casolo, whose office manages the project, said Thursday that the contractor was hired by the city's Information Technology Department to install digital whiteboards.
The owner of the electrical company, David McDermott, could not be reached for comment.


text:
Facts & Advice
About IFH
Home Hygiene & Health
The Leading Source of Scientific,
Professional & Consumer Information
The Leading Source of Scientific, Professional & Consumer Information
Conference presentation: Lessons from COVID-19 – how do we re-engage the public to play their vital role in preventing spread of infection?
This is a video of the presentation given by Professor Sally Bloomfield, Chairman of the International Scientific Forum on Home Hygiene (IFH), at the UK Infection Prevention Society Meeting in Liverpool, September 2021
The presentation looks at the dramatic changes that have occurred in the last 20 or so years that have brought hygiene in home and everyday life back up the health agenda. Globally, pandemic preparedness plans recognised that, in the early stages, hygiene is essential to mitigate spread before other measures can be put in place. Ongoing, hygiene in the community is also a key part of tackling AMR. Hygiene also plays a vital role in shielding "vulnerable groups" living in the community
The paper suggests that if we are to re-engage the public, hygiene practice in the home - and in everyday life needs to be reviewed to ensure it is appropriate to the issues we currently face. Equally there is a need to develop hygiene strategies which address the public's lack of understanding of hygiene and how it differs from cleanliness.
The paper sets out the approach which IFH has been developing since 1997 to meet these needs. This approach, called Targeted Hygiene, is based on risk management which means focusing hygiene practices at the times (the 9 key moments) and the places where cleanliness really matters to break the chain of infection. The need to develop hygiene procedures which are both effective and sustainable is also discussed
The paper presents some of the results from a recent public poll in 23 EU countries which showed that although 80-90% agreed that hygiene is important, the public have limited understanding of the concept of a risk based approach to hygiene.
The paper makes reference to the 2021 white paper in which IFH makes a number of calls to action to stakeholders, on what needs to be done to re-engage the public to play their part in preventing spread of infection.
https://vimeo.com/talkingslides4/review/618110509/fe6734444b
Author: S.F Bloomfield
Publication Type: Online Learning, Review
© Copyright IFH 2019 | Web Design ICW Digital Site maintained by Thoroughbred Design and Print | Privacy Policy & Disclaimer


Season Four of Community begins in an impossible position. The show is beloved by its cult audience in large part because of the voice of its creator, Dan Harmon. When thinking of Community in terms of voice, the show is analogous to things like The West Wing, Gilmore Girls or Buffy The Vampire Slayer--a show with a unique voice developed by one mind, and to a certain extent dependent on that mind. So when Harmon was fired from his brainchild last year, it struck a serious blow to the show, and its future was uncertain. David Guarascio and Moses Port were put in the difficult position of stepping in and taking control of a show its creator never wanted to leave, making them especially vulnerable to potential fan criticism. Then NBC pulled the show from its fall premiere slate and pushed it to mid-season. Inevitably, this allowed expectations to increase and worries to percolate, making their debut even more difficult to pull off. What I'm trying to illustrate here is that these guys had a tough job to begin with, and circumstances have made it a lot tougher.
I enter into season four of Community a show that has been my favorite comedy on television at its heights, with incredibly muted expectations. I loved Harmon's voice, and I loved the way he managed to tell deeply personal, emotionally dark stories in a hilarious and heartfelt way. Harmon is a cynic with a heart of gold, a guy who kind of hates the world, but also truly loves it, and that vibe is what made Community great. At its center was Jeff, a misanthrope just looking for a reason to love the world again--in other words, Dan Harmon. He was given that chance by an awkward introvert with an obsessive pop culture knowledge, a boy constantly ostracized from society but longing to be part of it in ways he had trouble articulating--in other words Harmon. I could extend the metaphor, but the point has been made: this was a deeply personal show, and it is losing that element going forward. I wanted to review this season both because I hope that fact doesn't doom the show, and because I think that, at worst, this season will be interesting from an authorial perspective. So I enter into this as someone sympathetic to the plight of the new showrunners, but deeply skeptical of what they will accomplish. Basically, I'm watching this like I did the fifth season of The West Wing (the show's first without Sorkin and undeniably its weakest): knowing something I love is gone from the show, but respecting the cast and remaining crew, and loving the characters and the world enough, that I know I'll stick around for a while and hope the ship gets righted. The West Wing was never as good once Sorkin left, but it did get better over time, and its seventh season was worth watching, even if it was never great television. I hope that I'll be able to say the same of Community eventually, even though I kind of doubt it.
So now, to "History 101," a deeply flawed episode of the show that has me worried about it going forward (though I'm not jumping to conclusions; its unsurprising that Port and Guarascio stumbled out of the gate a bit). The show is everything I expected it might be without Harmon: broader, more reliant on pop culture gags for their own sake rather than to serve a deeper thematic purpose, and somewhat emptier as a result. There is a running gag throughout the episode in which Abed imagines his life as a three-camera sitcom, laugh track included, and while this is a fine idea for a joke, it becomes problematic because everything outside the gag feels more of a piece with it than the writers could possibly have intended. If the jokes are as broad and one-dimensional in the "real world" of the show as in Abed's sitcom parody, the parody loses its bite and, even worse, the general broadness of the episode has attention called to it throughout.
There is plenty here that shows the new showrunners watched Community before, and probably that they even loved the show. Some running gags appear, and some of them even land (Jim Rash is a comedic God who will make anything work, for example). But mostly, this feels like a wolf in sheep's clothing: a different beast wearing the skin of a show I love. Sometimes it wears it more convincingly than others, but at tonight's lowpoints, the snout is all too clear.
The main plot of the episode has Jeff competing in "The Hunger Deans," a variety of contests to determine who gets to take the class A History of Ice Cream. Jeff needs one history credit to graduate early, and he wants the group to take the class with him. This "New Jeff" plot line would work better if we hadn't seen Jeff effectively turn over a new leaf multiple times before, especially in last season's excellent finale. At this point everyone should know Jeff has become less selfish, and his redemption arc is hurt as a result. Also causing problems is the fact that this plot line lacks the dramatic stakes it seems to think it has. In theory, Jeff competing to win 7 of the contests so the group can stay together should have serious, even foundational weight to it. No matter how often the story gets told, an episode about a threat to the group's integrity, done well, should always hit fans of the show close to home. But because we never see Jeff struggle at all, because we are never given even a hint he might fail, this plot amounts to a series of scenes where we see Jeff do slightly wacky things to grab a red ball. There are chuckles here, sure, but nothing I really feel like I'm supposed to care about.
Britta and Troy are dating now, a development which would have made me ecstatic under normal circumstances, but which doesn't do a whole lot for me here, at least not yet. When Abed is dealing with his stressors (we'll get to them in a moment), Britta agrees to accompany Troy on he and Abed's first day of school tradition of making wishes in a fountain. Britta unsurprisingly Brittas it, and the two end up wrestling in the fountain in a montage that strains for hilarity, but is certainly worth some laughs. Gillian Jacobs is an incredibly capable physical comedian, and Donald Glover is an adept improviser, so the scene works, even when on paper it feels pretty flat. Of all of the plot lines tonight, this felt like it came the closest to being a version of Community that, while different and far from incredible, would definitely be watchable. If the new team took lessons from this first outing going forward, I hope they were the lessons of this subplot, even though it still never blew me away.
Meanwhile, Annie and Shirley decided to prank the Dean in a plotline that I feel like we have seen before in slightly different formulations. Neither really gets any laughlines tonight (excepting Brie's shockingly accurate Dean impression), but I think this worked conceptually, even if it failed in execution. I enjoy Shirley's mischievous side immensely, and when she lets the darkness out, she is often hilarious. Here, though, this was mostly an excuse for Annie to toy with switching her major, a plot line that hopefully will have significance in future episodes but was mostly just hinted at here.
Finally, there was the Abed story. Abed is the character who is probably most closely associated with Harmon, and thus in a lot of ways is Community's heart. Writing the character made Harmon confront his own tendencies, and to discover that he himself is on the autism spectrum, but more than that, Abed seemed to often serve as the voice of the show's creator, dealing with issues of artistic integrity, worries about not fitting in with people's expectations, and general social unease in ways that felt deeply personal and immensely well realized. Most of that is absent tonight, which is odd, seeing as Abed's plotline is basically a cover version of "Virtual Systems Analysis," the episode that took place inside the Dreamatorium. Abed doesn't want to deal with the idea that this is the group's senior year, and so Britta tells him to retreat into himself, to find his "happy place" and go there. A larger laugh should have been wrung from what terrible advice this is to give Abed, but that's mostly a quibble. The big problem here is that Abed's fantasy never really coheres as anything beyond a string of jokes about sitcom punchlines and a Muppet Babies riff that feels forced more than funny. What should have given the episode its emotional core instead became a hollow exercise in genre-riffing from a show that at its heights mined various tropes for thematic and emotional resonance.
And that's what really scares me about new Community in a way that may not bother most fans of the show. We have talked before on the Review to Be Named podcast about how many fans seem to like this show because of all the pop culture references embedded in it, and while I love a reference as much as the next nerd, that's never really been what made me love Community. What I loved about this show was the emotional veracity it was able to maintain within a sitcom setting. I loved the way it was telling a long, complex story about how people struggle to evolve but truly try to be better, and that it did so while riffing on Spaghetti Westerns and My Dinner with Andre was a perk to me only when it used the thematic underpinnings of those works to get at something larger about its characters. If the new version of Community is a pop culture gag machine, that can work (Port and Guarascio worked on Happy Endings for a time, and that show is an excellent example of the ability to mine pop culture gags for great humorous effect without needing any resonance), but it won't be the Community I fell in love with. Maybe that's ok. Maybe that was inevitable. But I can't help but feel a little sad, watching "History 101."
I wish Port and Guarascio the best. I'll be watching season four of this show regardless, and we'll talk a lot in the coming weeks about what Community looks like now, and how successful I think the new version of the show is. I'm not writing anything off on the basis of one episode, and even if I were, "History 101" is hardly bad television. The fountain set-piece worked well enough, the tango scene was funny, and this is a show with one of the best comedic ensembles of the modern era. Even if its bad Community the chances are slim that this season will be bad television. Give Gillian Jacobs some physical comedy, give Donald Glover room to find the funny, give Jim Rash a silly costume and pretty much any joke, and these people will make it work. At worst, I will be watching a mediocre show starring some of my favorite comedic actors currently on television. And I look forward to that, and hope that this show will eventually transcend those expectation. But I want to take a moment to mourn the loss of Harmon, and with him, the loss of Community's soul. This is a fine show. It may even become a very good one (or possibly even a great one). But its a different show, and that makes me a bit sad, a bit nostalgic, and a bit disappointed. With that out of the way, though, let's settle in for a season of television that will be interesting at worst. Let's sit back, relax, and watch a show full of people we love, that will give us a chance to discuss a lot of interesting things about authorship, acting, joke structure, pop culture gags, and all sorts of nerdiness. Let's rejoice in the fact that even if this isn't Community we fans still have our community. And let's make this season count for something.
-"I started out with the babbling brook, but then I layered in elements from our world. I'm sure fans of the babbling brook will complain, but I felt it was limiting." This could easily be a thesis statement for the new creators, and there's a version of this review in my head centered around this quote.
-"Last year, Troy wished we got Bin Laden and the Dorito Taco." "Yeah, but Obama got credit for both."
-"They overbooked it, so its first come, first serve now." "Just like real ice cream."
-"As you know, our student records are stored on a Microsoft Paint file, which I was assured would be future proof. Meanwhile, our extended warranty is not being honored by the restaurant that used to be Circuit City."
-"Jeffrey, is that blood on your shirt?" "Oh no, its cool. Its Leonard's."
-"Why does this feel good?" If this is the version of the show we are stuck with now, at least have more Gillian Jacobs and Donald Glover fighting in fountains, please.
-Jim Rash continues to be the best. He was perfect in the tango scene.
-The Greendale Babies joke should have worked for me so much better than it did.
-"When they were incepting, I got their balls!"
-"You smell like the floor of a movie theater!" "Yeah, but not for the usual reasons."


This is quite a stunning piece of accessory which can be rarely found elsewhere. The whole design is a new concept which cannot be thought by amateur designers. A lot of effort has been put in to crafts the design to perfection and give it a modern taste. The modern shape is in the shape of a diamond which carefully given a metallic finish. Made out of solid brass this key hole cover is meant to add style and a new aura to your doors.


text:
Board index Off Topic General Chat
DEWEY'S RECORD PARTY!
Chit-chat, current events
CineMaven
Joined: September 24th, 2007, 9:54 am
Location: Brooklyn, New York
Contact CineMaven
Re: DEWEY'S RECORD PARTY!
Postby CineMaven » September 22nd, 2013, 10:00 pm
ChiO wrote: From the Downunder:
Speaking for us all -- I, ya-I, ya-I, ya-I love Lee Remick
[youtube]http://www.youtube.com/watch?v=2p9lNUHM_pc[/youtube]
Yup, count me in, ChiO....
"You build my gallows high, baby."
http://www.megramsey.com
Joined: January 2nd, 2008, 1:26 pm
Postby ChiO » September 24th, 2013, 2:39 am
Time to reprise a theme?
[youtube]http://www.youtube.com/watch?v=P5_0DzMVf1M[/youtube]
[youtube]http://www.youtube.com/watch?v=qlywcuw-1TU[/youtube]
[youtube]http://www.youtube.com/watch?v=GlPe9mhZgM8[/youtube]
[youtube]http://www.youtube.com/watch?v=gE9oz49E7K8[/youtube]
[youtube]http://www.youtube.com/watch?v=vpu8RlxI_2w[/youtube]
[youtube]http://www.youtube.com/watch?v=8zmZdoINi9E[/youtube]
Everyday people...that's what's wrong with the world. -- Morgan Morgan
I love movies. But don't get me wrong. I hate Hollywood. -- Orson Welles
Movies can only go forward in spite of the motion picture industry. -- Orson Welles
JackFavell
Postby JackFavell » September 24th, 2013, 7:32 am
[youtube]http://www.youtube.com/watch?v=MyB_IP05jeY[/youtube]
[youtube]http://www.youtube.com/watch?v=j-5yn3v3N8A[/youtube]
[youtube]http://www.youtube.com/watch?v=oeGSjDLf8bk[/youtube]
[youtube]http://www.youtube.com/watch?v=1XO7mgCTFAw[/youtube]
Postby ChiO » September 24th, 2013, 10:44 am
Love Yo La Tengo's "Tom Courtenay".
[youtube]http://www.youtube.com/watch?v=mriBc6NjUhg[/youtube]
[youtube]http://www.youtube.com/watch?v=4RItiVmmUVM[/youtube]
[youtube]http://www.youtube.com/watch?v=Y5qyNF-MLaQ[/youtube]
[youtube]http://www.youtube.com/watch?v=UVrBl368VGY[/youtube]
[youtube]http://www.youtube.com/watch?v=kFwhTx_hVIQ[/youtube]
Mr. Arkadin
Postby Mr. Arkadin » September 24th, 2013, 11:01 am
Coolest version of Theme for an Imaginary Western I've seen. Leslie was one of my biggest influences--and still is!
[youtube]http://www.youtube.com/watch?v=sVG7eQ1TcNo[/youtube]
Postby ChiO » September 24th, 2013, 9:35 pm
Feeling the Noir of Sebadoh.
[youtube]http://www.youtube.com/watch?v=QZb4Uk9jlGA[/youtube]
[youtube]http://www.youtube.com/watch?v=Hv1O_xMpzSQ[/youtube]
[youtube]http://www.youtube.com/watch?v=D8eqLSf0ipI[/youtube]
[youtube]http://www.youtube.com/watch?v=XQ75hRwvpTo[/youtube]
[youtube]http://www.youtube.com/watch?v=TI1VN43lmIU[/youtube]
Postby ChiO » October 27th, 2013, 3:33 pm
Avant-garde rock. Art rock. Glam rock. Punk rock. Lo-fi. He was in
the forefront of each. Lou Reed (nee Louis Allen Firbank).
March 2, 1943 - October 27, 2013
[youtube]http://www.youtube.com/watch?v=hugY9CwhfzE[/youtube]
[youtube]http://www.youtube.com/watch?v=EkbpmFOuKrc[/youtube]
[youtube]http://www.youtube.com/watch?v=VGpkoctRSHs[/youtube]
[youtube]http://www.youtube.com/watch?v=RsVLIiI8Vfo[/youtube]
[youtube]http://www.youtube.com/watch?v=Uri6LLCZVjg[/youtube]
Postby JackFavell » October 27th, 2013, 3:45 pm
NO...I can't believe it.
RedRiver
Postby RedRiver » October 27th, 2013, 3:48 pm
I didn't know this until this very minute. Sad. I'm not a rocker, and even I like his music. Art is like that. It transcends all boundaries.
Postby JackFavell » November 9th, 2013, 2:32 pm
Last night Andrew and I went to see Elvis Costello.
BEST CONCERT EVER! I had high expectations and they were exceeded in every way. That doesn't ever happen!
When the tech brought out Elvis' guitars, I was wowed immediately because they actually looked used. The tech was extra careful wiring and setting up, which I wondered about. I've seen a lot of concerts, and most often the guitars are polished to a high finish and look fancy and clean (including one unfortunate black lacquered guitar belonging to Emmylou Harris at a previous concert, which caught the lights too well and blinded us all). There was an array of 5 or 6 different instruments, ranging in size and shape, each had so much character. I later found out that the first one brought out and given about five minutes of stage time by itself before the others were brought on had once belonged to Chuck Berry. And OH! did that famous guitar send chills up our spines! Elvis introduced us to his historic baby in the 5th song, playing the slowest and smokiest version of The Only Flame in Town. The sound was deep and rich and mellow and went right through you like a ghost... It was the most thrilling point in the evening. Elvis played it exceptionally, letting that Berry sound resonate in our bones. There wasn't a corner of that theater that Berry's guitar didn't reach right down to through the joists. Beautiful.
Elvis is not the very best guitar player, nor the very best singer, but he is an incredible musician and knows stuff you can only learn from history and from old time musicians. Things you get from loving music and making it your lifetime work. He can make a guitar speak. I don't think he gets that across in recordings, just how fine he can be as a player. He can put enormous, complicated feeling into a song. One thing I love about him is that cracked voice - you think maybe he won't make the note he's reaching for, but you want him to, so the suspense is built up - and then it comes out so beautiful, so strong and rather pure. Very pleasing. There's something incredibly plaintive in that mix of ugliness and beauty.
When I'm thinking back on the songs he chose to play, I realize that there was a melancholy note throughout Of course! And yet, the last thing I felt was melancholy last night. He came on with so much energy, before anyone really expected him to. He played for 2 hours straight, solo, working in many little funny vintage ditties (not on the playlist) and the feeling was one of sly - dare I say it? contentment. He moved from song to song quickly, but took time within the songs themselves. On stage I was surprised at how normal he looked under the traditional Elvis garb. I don't know whether this is something that has come with age, or if his odd, big head/skinny body alien look is exaggerated by TV cameras. I could see him being the type of person who could run by on the street without your noticing. He looked....athletic. Not what I expected. His slender wrists are what I admired most, his strumming is very fluid, and he has large fingers on slim hands, which give him the ability to go easily for those chord changes and reaches, while keeping very loose and hitting the notes precisely.
His music is nuanced, just like his playing...in fact it's all in the nuance with him. His skill in live performing lies in his use of time change, chord or key change, and dynamics within songs. It's what happens between the notes or different passages of a song that makes him so affecting. The slowing up for added meaning takes on epic personal proportions. The stretching of a song from standard pop tune into something with a more complicated chord structure, and then shoved back into the standard time signature or pop format by the end is masterful. He can thrill you through and through with a sustained chord - on Chuck Berry's guitar, THE most beautiful sounding instrument I've heard (it's like the Stradivarius of electric guitars), it can be overwhelming. Just the tipping up of another instrument for vibrato can mean something. He takes his time, letting a word linger in the air or a sound... I found him the most complex, musically satisfying musician I've ever seen as well as the most emotionally satisfying. He is equal parts serious musician and bad vaudeville comic, and it makes for a very elegant, and at the same time, a raucous good time.
Tripwire was a highlight, just a perfect Bill Frisell style rendition of this new song collaboration with The Roots. So Like Candy was a saturated sound pleasure, while the devastating, spare and bloody I Want You was interspersed with guitar fuzzed and noise influenced evil jams - really cool, but it ended with a rather soppy close. That was the only small point in the evening where I was less than impressed...the rest of the audience loved it. I would have preferred a more cutting ending to match that deeply disturbing noise, which was perfect for the song. But it's a small gripe. Starting to Come to Me off of the album All This Useless Beauty was a simple Woody Guthrie style anthem that was as good as anything I've heard from more accomplished folk singers. His version of Walking My Baby Back Home was as happy and foolish as I've ever heard Costello. Accompanied on a tiny guitar, it sounded fresh and vintage at the same time.
Oh, and he played my favorite song, The Other End of the Telescope written with Aimee Mann. Fate? I like to think so, but more likely not.
Jimmie Standing in the Rain, a song about his grandfather who was an itinerant musician in the 30's
[youtube]http://www.youtube.com/watch?v=WydHsPivceY[/youtube]
[youtube]http://www.youtube.com/watch?v=SEGH2nfC7os[/youtube]
[youtube]http://www.youtube.com/watch?v=hbKBzjNX1fk[/youtube]
[youtube]http://www.youtube.com/watch?v=de-lYs1du0g[/youtube]
[youtube]http://www.youtube.com/watch?v=Y6pkW23vpKM[/youtube]
[youtube]http://www.youtube.com/watch?v=62wgmULhoao[/youtube]
And I don't care if he hates I Write the Book, or that it only took him 10 minutes to write it. What the heck does he know? it's a good song.
Postby ChiO » November 10th, 2013, 9:45 am
Love Elvis Costello! There aren't too many performers that have
a songbook so deep that they can blend their 30-year old tunes with
new works and make it seamless.
The one time we saw him was when he and Burt Bacharach were
touring together -- it was like three concerts in one.
Last night we took a trip in the Way-Back Machine so I could hear the
voice I've coveted since the mid-'60s.
[youtube]http://www.youtube.com/watch?v=W38SOJXx2ZM[/youtube]
[youtube]http://www.youtube.com/watch?v=gMR6Sfc3Fag[/youtube]
[youtube]http://www.youtube.com/watch?v=qDcOqanBW4A[/youtube]
[youtube]http://www.youtube.com/watch?v=bXJB_f132w0[/youtube]
And my favorite:
[youtube]http://www.youtube.com/watch?v=BHlhpOZaDgg[/youtube]
Postby JackFavell » November 10th, 2013, 10:20 am
Hey, was this the Once Upon a Dream hybrid show I've heard about? Amazing that they got together for this. They were and are a great band, I think maybe they were a better and certainly tighter band than some of their contemporaries who went on to more fame and fortune.
[youtube]http://www.youtube.com/watch?v=sastKEBZhXY[/youtube]
[youtube]http://www.youtube.com/watch?v=gs6oc7hR6vM[/youtube]
[youtube]http://www.youtube.com/watch?v=hi5GOq817VM[/youtube]
Wow, Elvis AND Burt? You lucky dog! I was surprised at how much Elvis gave during the show... despite his prickly image and a few comments about the more vocal audience members.
Postby CineMaven » November 11th, 2013, 2:19 pm
JackFavell wrote: Last night Andrew and I went to see Elvis Costello.
I read your first line.
...And then I read your very enthusiastic review. Two things came to mind, Jaxxxon. When I read your first line again, it really had the import for me, of Daphne DuMaurier's famous first line: "Last night, I dreamt I went to Manderley again." Why? Because the rest of your review was such a wonderful vivid read, it totally supports your first line. You really made me see him and hear him and I'm not even really familiar with his music. I know of one song of his, lost in the creases of my memory. It wasn't a rock 'n roll song. It had a bluesy/jazzy/ballad-y sound like something Sinatra or Nat King Cole and old masters of that ilk would sing; it haunts me partly because I can't get a handle on my memory of the song. ( Don't know title nor one lyric. )
The second thought that came to mind is Scheherazade. You weave tales with your review of films and you've done the same with music. You could write music reviews. Your review made me listen to every single one of the YouTube clips you posted for Elvis Costello. I'm glad you enjoyed him and the night out. Thanks for sharing it here.
Postby JackFavell » November 11th, 2013, 3:38 pm
WOW! I can't believe you not only read the whole thing, but you listened to all the videos I posted too - what a chore! I hope they were enjoyable for you. That is high praise indeed!
It's so funny, I wanted to get down my impressions right away, because I was so elated after this concert. I guess it came through. I also wanted to describe the feel of it - WHY it made me feel a certain way, what he did that seemed so unusual to me. After I talked about it with him, my dad said that it was the "expression" that was so highly developed in Costello's performance, and I'd say that is a pretty spot on description.
The definition of EXPRESSION as it relates to music (from Wiki, so take it with a grain of salt):
Musical expression is the art of playing music with communication. The elements of music that comprise expression include dynamic indications, forte or piano, phrasing, differing qualities of timbre and articulation, color, intensity, energy and excitement all at the service of the composer's intention as best perceived by the performer.
A performer aims to elicit responses of sympathetic feeling in the audience, and to excite, calm or otherwise sway the audience's physical and emotional responses. In a great artist, one can feel that it is the soul that is speaking to the audience.
And this is what I was trying to get at, that Costello used all of the above elements to elicit a feeling in the audience. It was magnificent to me, and I wonder if that is something that would come through on a recording of the event. I just don't know.
I didn't mention what an incredible songwriter he is. That is what draws me back and back again to his music. His lyrics are complicated and perverse, but no one captures certain disturbing feelings we have as well. Melodically, he's almost as good. There are few artists out there that can switch up their melodic structures as well as Elvis can, and who can write as many differing tunes as he has. To combine both words and music so well, and not have one or the other drag him down, well that's genius. The best thing about him is he uses irony so well - not just in words but in the music.
Anyway, thanks again for slogging through my Elvis Costello fanpage. I'm terribly flattered that I could get you to listen to him. As for that song stuck in your head, I couldn't tell you what it is, but the way you described it could be a description of many of his songs:
I know of one song of his, lost in the creases of my memory. It wasn't a rock 'n roll song. It had a bluesy/jazzy/ballad-y sound like something Sinatra or Nat King Cole and old masters of that ilk would sing; it haunts me partly because I can't get a handle on my memory of the song. ( Don't know title nor one lyric. )
it's one of the reasons I like him so much. He is able to use classic pop balladeers' styles and timbres without ever seeming like a copycat. He retains his individualism, twisting the style to create a hybrid form of music all his own.
Do you want me to try to help you figure out what the song was?


text:
Making Europe cool again
Three do's and don'ts to help European policymakers get through again and rebuild trust.
Christine Graeff
Posted: 14 March 2018
My most uplifting moment in 2017 was watching freshly elected French President Emanuel Macron walk across the courtyard of the Louvre to the sound of Beethoven's Ode to Joy, the official anthem of the European Union.
But elsewhere in Europe, populists of all stripes are still busy scapegoating the EU for all sorts of economic and societal ills. As Macron and others have shown, it does not have to be this way. Here are three dont's and three do's for policymakers to follow in order to "get through" to the general public, regain trust and make Europe cool again.1
Three dont's
1. Don't dismiss the legitimate concerns of the people: The fact that those concerns do not fit the liberal world view does not mean that they do not deserve to be listened to and respected. Labelling those who vote for populists as a "basket of deplorables" (as then-Democratic nominee Hillary Clinton described them in the run-up to the 2016 US presidential election) or generally stigmatising them as extremists or outright lunatics can only backfire.
If policymakers want to regain credibility and trust, they need to do more to acknowledge the valid experiences of ordinary people and to connect with them by calling things by their real names
Public institutions have to take the wind out of the sails of populists who style themselves as the ones who are simply "saying out loud what many people think". They should avoid any impression of Orwellian 'newspeak', which is seen as being imposed from the liberal moral high ground and narrowing the range of acceptable thought.
Doing so does not imply accepting the rhetoric of insurrection that calls into doubt the underlying consensus in our democratic societies. The appeal and lifeblood of populists is their promised power to permanently delegitimise established institutions; it feeds their anti-elitist claims that they represent the "true people" and that the "system" is rotten.
The mainstream responds to populists' taboo-breaking rhetoric with predictable indignation (or "Empörungskultur" as the Germans call it). But this reaction only serves to reinforce those parties' anti-establishment appeal – and is a communicative trap. It can only be avoided by going the extra mile and clearly distinguishing when populists:
present contrarian political positions that can be countered with facts and arguments;
take manipulative shortcuts between facts and ideological convictions that can be refuted by logical reasoning;
resort to outright lies that need to be exposed;
engage in destructive rabble-rousing that needs to be rejected.
Diligence and hard work will be needed to meet the populist communicative challenge.
2. Don't keep sitting on the high horse of expert authority: Public institutions need to stop using jargon and start speaking a language that people understand. Jargon, by definition, creates distance, establishing an "us" and a "them". Applying some of the rules outlined in George Orwell's Politics and the English Language, from back in 1946, would already be helpful. For instance:
never use a long word where a short one will do;
never use the passive where you can use the active;
never use a foreign phrase, a scientific word, or a jargon word if you can think of an everyday English equivalent.
This certainly applies to economics. If it is meant to be understood by the general public, then it has to be accessible.2
Making public policy accessible is all the more important with younger generations. For my generation, when we didn't understand a text, a chart or graphic at first sight, we probably thought: "It must be me, I do not understand". Millennials, who are much more digitally and visually literate, have no such self-doubt. If they do not understand something instantly, it is the producer of that content that is seen to be at fault for not making it accessible.
Experts should be humble and stop pretending knowledge and certainty where there is none. One key reason for the lack of respect for experts is that, well, the experts got it wrong. For instance, there is a wide-ranging debate about whether the economics profession is up to the job of giving useful advice to policymakers.
The economy is a profoundly complex system; uncertainty is pervasive. Human behaviour cannot be pressed into models of rationality and perfect knowledge. It is therefore right to stress humility.
Even under such circumstances, experts can still give useful advice. We are not in the Dark Ages. But experts must be wary of what Austrian-British economist, philosopher and defender of classical liberalism, F.A. Hayek called the "fatal conceit" ("Verhängnisvolle Anmaßung") of complete knowledge. They can still point out likely implications of certain courses of action and, at the same time, honestly acknowledge uncertainty.
3. Don't bother with people who are in outright denial of facts: As communicators, we have to accept that some people are beyond reach. The likelihood of entering their bubble is extremely low, and even if one could, the chances of 'getting through' with a different set of arguments and facts are minute. In a world of finite resources it is ultimately more efficient to invest in more promising target groups.
Taken together, these three "dont's" I've listed above would already make a difference, but they need to be complemented by three things that experts and policymakers should start doing.
Three do's
1. Do focus on authenticity and credibility
For policymakers, the best way to achieve this is when words and actions are congruent – the famous "do as you say" and "say what you cannot do". Too much spin has brought about a widespread loss of trust in media. Messages have no chance of getting through if the messenger is not believed.
The 2018 Edelman Trust Barometer (see article on page 16) shows that trust in media is at rock bottom. People are rightly concerned about fake news, mainly on social media platforms, being used as a weapon – though quality journalism seems to be enjoying a certain degree of recovery in public confidence.
The popular 'media nihilism' that one cannot believe anything anymore can only be countered by being authentic and credible.
Public institutions should present precise, accurate and useful information. They should tackle the populist myths head-on and make the case for their own, fact-based, discourse. They need to present convincing arguments and actively counter falsehoods, "truthiness" and outright lies.
This is helped – according to the Edelman Trust Barometer – by a recovery in public confidence in technical and experts. That said, a majority of people still consider a "person like you or me" to be credible.
The power of authenticity which neighbours, friends or family have as witnesses and messengers, and the reach generated through their personal networks, means that institutions (and businesses) need to cultivate their own staff and customers as ambassadors and invest in their networks.
2. Do tell a story and bring back emotion: To succeed in public debate, policymakers need to tell a story. We have seen this at work: emotive language like "taking back control" or "Let's make America great again" has struck a chord with voters – it is inclusive and infinitely more tangible than facts like GDP figures or budget numbers that have lost any human dimension. What does a billion euro, let alone a trillion, really mean to the average citizen?
A recent analysis of World Bank Annual reports from a timespan of over 65 years found an increasing use of jargon, abstraction and a "language that is intentionally ambiguous, meant to obscure or confuse". It is no wonder that people feel more attracted to the feel-good language of emotion – which also conveniently blanks out the full implications of the chosen policy path.
There is also no problem in sounding as patriotic as the populists. This does mean, to a certain extent, accepting the discourse of the populists, but cutting out the jingoistic exclusiveness of it. Across the entire political spectrum we are already witnessing a drive to re-appropriate and give new meaning to the concepts of nation and patriotism.
3. Do be present where people get their news: This means reaching out beyond the usual comfort zone of specialists, interest groups and traditional media. Public institutions need to be more present in spaces where people receive their primary information, exchange views and form opinions. That means outside the realms of traditional journalism and information channels, for instance on social media.
These lists of things to stop doing and things to start doing would enable European policymakers to take back the reigns of effective communication and create our very own narrative, to make Europe 'cool' again. Thankfully, the core ingredients for an uplifting story about Europe are there. Whatever one thinks of its institutions, processes and representatives, the European Union:
has delivered peace and prosperity;
is a crucial insurance policy against the destructive effects of inward-looking nativism;
is a supranational influence to make sure European nations keep talking to each other, respectfully, in order to bridge their inevitable differences and settle their numerous disagreements.
These arguments continue to convince, as the recent revival of pro-European sentiment mirrored in both election results and greater civil society as a whole show. The Pulse of Europe movement embodies this. They have helped to bring back the Ode to Joy – and the European spirit which it symbolises – not just to the courtyard of the Louvre, but to town squares across Europe. Let's have much more of that.
Image: Christine Graeff speaking at the Central Bank Communications Conference 2017 / Photo: European Central Bank
1 Inspired in part by Simon Kuper's columns in the Financial Times of 22 June and 5 October 2017
2 Former World Bank chief economist Paul Romer recently tried to follow this path. He publicly vented his criticism of the growing tendency to obscure economics through increasing "mathiness", which makes effective scrutiny and debate more difficult.
Christine Graeff is director general of communications at the European Central Bank, where she has led communications since 2013. She is also in charge of the communications strategy she set up in 2014 for the Single Supervisory Mechanism, the new European banking supervisor.
Before her move to the public sector, Christine worked from 2001 to 2012 for strategic communications firm Brunswick, where, as founding partner, she established and developed the group's German business.
Prior to that, she was at Burson-Marsteller in London for two years. Christine serves on the board of TalentNomics, a non-profit organisation supporting and empowering women in leadership. She also serves on the board of trustees of the Frankfurt Opera and on the advisory board of the Global Teacher Prize.


After the notorious Lemonade was released over a year ago by Queen B, speculation arose as fans wondered what exactly Beyonce was referring to in the single "Sorry". The single led listeners to believe that the "Bey Hive" could be in trouble and her husband did not disappoint wondering minds when he released his new album 4:44.
The seasoned rapper set the record straight, although not to intentionally disrespect his family but to come clean of his imperfections and maybe to even shed light on what has haunted him.
Jay-Z (possibly) cheating became a hot topic on social media. It seemed that his lyrics were directly linked to those in Beyonce's album and fans wanted every detail.
Seemingly the two have worked things out seeing that they have since welcomed twins to the family. Let's hope it stays that way!


If you didn't find the solution to your misfire problem in this video, then the 1999 Mercury Villager 3.3L might have a code P0305 (Cylinder #5 Misfire). This is great troubleshooting advice from a professional mechanic to help you diagnose the problem. The vehicle is a '99 Mercury Village, 3.3L, with 150,000 miles on it. The chief complaint is the CEL (check engine light) comes on and it runs like it has a misfire. It feels like a steady consistent misfire, which is code P0305. Watch the video for the simple process of finding the solution to this troublesome problem.
How To: Burn mercury thiocyanide, "the rock from Mars"


text:
Q: Using Vuforia provided Projection Matrix and Marker Pose in SceneKit Currently I'm trying to troubleshoot the use of the projection matrix and framemarker pose when rendering in SceneKit. The model in the scene and the camera image background appear without problems. However, once I change the projection matrix and framemarker pose matrix to match Vuforia everything is pushed offscreen.
func didUpdateProjectionMatrix(projectionMatrix: matrix_float4x4)
{
    let extrinsic = SCNMatrix4FromMat4(projectionMatrix)
    let camera = self.cameraNode?.camera
    camera?.setProjectionTransform(extrinsic)
}

func didUpdateFramemarkers(framemarkers: [Framemarker]?)
{
    guard let framemarkers = framemarkers else {
        return
    }

    for framemarker in framemarkers {
        let pose = SCNMatrix4Invert(SCNMatrix4FromMat4(framemarker.pose))
        self.objectNode?.transform = pose
    }
}

Is this a correct way to setup the SCNCamera and object node and is there anything else required to setup Vuforia framemarkers to work with SceneKit?

A: It just works!
The hard part is determining what pieces of SceneKit are necessary to make this work. Originally I read the article Making Augmented Reality app easily with Scenekit + Vuforia which outlined how to rejigger the sample app for user-defined targets. The downsides to that article include that it isn't always clear what the author changed, no sample project is provided, and it is based upon an older version of Vuforia. Ultimately, I found it unnecessary to invert the pose matrix.
Draw camera image and set projection matrix and update marker pose
override func viewDidLoad()
{
    super.viewDidLoad()

    let scene = SmartScanScene()

    let camera = SCNCamera()
    let cameraNode = SCNNode()
    cameraNode.camera = camera
    scene.rootNode.addChildNode(cameraNode)
    _cameraNode = cameraNode

    let view = self.view as! SCNView
    view.backgroundColor = UIColor.blackColor()
    view.showsStatistics = true
    // view.debugOptions = SCNDebugOptions.ShowBoundingBoxes.union(.ShowWireframe)
    view.autoenablesDefaultLighting = true
    view.allowsCameraControl = false
}

func didUpdateProjectionMatrix(projectionMatrix: matrix_float4x4)
{
    let extrinsic = SCNMatrix4FromMat4(projectionMatrix)
    _cameraNode?.camera?.setProjectionTransform(extrinsic)
}

func didUpdateFramemarkers(framemarkers: [Framemarker]?)
{
    guard let framemarkers = framemarkers else {
        return
    }

    for framemarker in framemarkers {
        let pose = SCNMatrix4FromMat4(framemarker.pose)
        self.objectNode?.transform = pose
    }
}

func didUpdateCameraImage(image: UIImage?)
{
    if let image = image {
        _scene?.background.contents = image
    }
}


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redpajama_set_name: RedPajamaGithub