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#12 Recording video with both front and rear cameras simultaneously on Android — 17. April 2018
#12 Recording video with both front and rear cameras simultaneously on Android
17. April 2018 9. May 2018 /FR/23 Comments
Last year marked the return of one of THE big pioneers in the history of mobile phones to the smartphone market: Nokia. It's not really the same company from the days of feature and Windows phones anymore (a company named HMD Global has licensed the brand name for their phones) but that doesn't mean we should just ignore it. After launching a bunch of affordable entry-level and lower end mid-range devices (Nokia 3, 5 & 6), the Nokia 8 was the first quasi-flagship phone following the brand's reboot.
One special feature of the Nokia 8 was something the company called the "Bothie" for marketing purposes, obviously trying to convince people that a new flavour of the all-too-common "selfie" is in town. A "Bothie" is a split-screened snapshot that is taken with both front and rear cameras AT THE SAME TIME, giving you two different perspectives of the very same moment. For instance the image of a person looking at something AND the image of the scenery the person is looking at. What's more: this mode not only works for photo but also for video, meaning you can record a split-screened video with both front and rear cameras simultaneously. It turns out however that Nokia actually wasn't the first company to include such a feature in a smartphone. As early as 2013 (Samsung Galaxy S4) other phone makers equipped some of their phones with similar modes, HTC (One M8) followed in 2014, LG (V10) in 2015 – of course they are all using different names for the same feature so we can get jolly confused when talking about it!
Before giving a brief overview on how these modes have been implemented by each manufacturer, you might ask how such a feature can be useful for a more professional video production context. I'd say there are two main use cases for which this mode could be a great asset: piece-to-camera reporting and vlogging – obviously those two areas can heavily intersect. Imagine a mobile journalist reporting from an event, let's say a protest rally – it's much more interesting for the audience to see both the reporter elaborating on what's happening and the rally itself instead of just one or the other. Traditionally one would have to have two separate cameras (or take different shots successively) and edit in post-production to achieve the same but thanks to today's smartphones having HD video capable cameras on the front and the back, this can be done a lot easier and faster.
Samsung's "Dual Camera"
As far as my research showed, Samsung was the first phone maker to introduce a dual video recording feature with the Galaxy S4 in April of 2013. This mode has been on all following Samsung flagships of the S- and Note-Series so far but you might have to download it as a sort of "plug-in" from within the native camera app (there's a "+" button to add more camera modes). Samsung's take is a picture-in-picture approach, not a traditional split-screen where both parts have exactly the same size (there IS a split-screen option but it's barely useful with two 16:9 images side-by-side, extreme letter-boxing). With Samsung's "Dual Camera", one image always is the main image while the secondary image from the other camera is embedded into it. You can resize the picture-in-picture though and move it around within the main image – you can also swap between cameras during the recording. The recorded video file can have a resolution of up to 1080p with a traditional aspect ratio of 16:9 or 9:16. One very cool thing about Samsung's native camera app is that unlike most other Android phones' native camera apps it supports the use of external mics via the 3.5mm headphone jack or USB port which is a tremendous advantage for having professional-grade audio. One catch: You can only record up to 5 minutes for a single clip.
HTC's "Split Capture" (discontinued)
HTC followed Samsung with a similar but slightly different feature (officially called "Split Capture") on the HTC One M8, launched in March 2014. The recorded video was an equally sized left/right split-screen 1080p video with a 16:9/9:16 aspect ratio. HTC subsequently featured this mode in other phones like the Desire Eye and the One M9 but apparently ditched it after the M9 as the HTC 10 and more recent flagships like the U Ultra or U11 don't seem to have it anymore.
LG's "Snap Movie" / "Match Shot"
In 2015 LG redefined what a native camera app on a smartphone can deliver in terms of pro video controls with the release of the LG V10. But not only did the V10 have a unique manual video mode, the app also boasted some more playful features. Among them was a mode called "Snap Movie" which basically invites you to create a short movie (maximum of one minute) out of short, different shots without having to muck around with an editing app. "Snap Movie" is not a dual camera mode per se but one way of recording within this mode is to use a split-screen for simultaneously recording with both front and rear cameras. The image is recorded in 1080p with 16:9 or 9:16 aspect ratio. Big catch: You can only do so for a maximum of one minute! Flash forward to 2017 and the V30: While the "Snap Movie" mode is gone (there's something called "Snap Shot" but that's a completely different thing), there's now a "Match Shot" mode. With "Match Shot" you can record a split-screen image using both front and rear cameras at the same time. You also have the option to select between regular and wide-angle lenses before starting the recording although the front camera actually only has one lens so it's most likely a software crop. Two good things about the new mode: You are not limited to only one minute anymore and there's also support for external mics. The recording format is a bit strange though as it's a 18:9 or 9:18 aspect ration with a resolution of 2880×1440 (you can't change the resolution at all). The beyond-FHD resolution is great but the rather non-standard aspect ratio (probably thanks to the 18:9 display of the phone) is a bit annoying for watching it on anything other than the phone itself because the image will either get letter-boxed on certain platforms like YouTube (I guess it's not that much of a problem for Twitter and Facebook as they are more flexible with aspect ratios) or you will have to perform a crop in a video editing app and re-export in a more common 16:9 ratio. Hopefully LG will fine-tune this mode in the future, it would be nice to record in a standard 16:9 aspect ratio.
Nokia's "Dual Sight"
As it has become quite clear, Nokia's "Bothie" feature introduced with the Nokia 8 last year is actually everything but new – HMD Global just made it an integral part of their marketing campaign for the device unlike their predecessors. The mode's proper name is "Dual Sight" and it's pretty much like the one HTC had, meaning it's an equally sized split-screen image in 16:9 or 9:16 aspect ratio with a resolution of 1080p. The Nokia 8 however DOES have one new trick up its sleeve: live streaming integration! You can use the "Dual Sight" feature not only for recording but also for live streaming video on Facebook and YouTube (not sure about Periscope) which can come in really handy for journalists and live vloggers. One probable shortcoming of this mode on the Nokia 8: while I'm not able to test myself, I think it's pretty save to say that Nokia's native camera app doesn't have support for external mics (the Nokia 5 definitely doesn't). If you do own a Nokia 8 please let me know if my assumption is correct. Last bit of info: The recently launched Nokia 8 Sirocco and Nokia 7 Plus also seem to have the "Dual Sight" mode.
All mentioned instances of dual recording modes have two things in common: You don't get (as much) manual control over the image as you would in a 'regular' video, it mostly runs on auto. And: the feature only works in the native camera app of the phone, third party developers can't access the API to include this functionality in their own apps. There are a bunch of apps on the PlayStore that claim to do something similar but they only take pictures/videos successively with both cameras, not at the same time.
What do you think? Is it a useful feature? Do you know of any other phones that have a dual recording mode? Let me know in the comments below or hit me up on Twitter @smartfilming!
#11 Why 'Motion Stills' is a cool tool for fast micro-storytelling on both Android & iOS — 1. April 2018
#11 Why 'Motion Stills' is a cool tool for fast micro-storytelling on both Android & iOS
1. April 2018 1. April 2018 /FR/Leave a comment
Back in 2016 Google made an iOS-exlusive app (weird, ain't it?!) called Motion Stills. It focused on working with Apple's newly introduced 'Live Photos' for the iPhone 6s. When you shoot a 'Live Photo', 1.5 seconds of video (with a low frame rate mind you) and audio before and after pressing the shutter button is recorded. You can think of it as a GIF with sound. What Motion Stills does is that it lets you record, stabilize, loop, speed-up and/or combine 'Live Photos'. In 2017, Google finally brought the app to Android. Now while some Android phone makers have introduced 'Live Photo'-like equivalents, there's no general Android equivalent as such yet and because of that the app works slightly different on Android. Instead of 'Live Photos' you can shoot video clips with a maximum duration of 3 seconds (this also goes for pre-6s iPhones on iOS). There are also other shooting modes (Fast Forward, AR Mode) that are not limited to the 3 seconds but for this post I want to concentrate on the main mode Motion Still.
When I first looked at the app, I didn't really find it very useful. Recording 3-second-clips in a weird vertical format of 1080×1440 (720×960 on iOS)? A revamped Vine without the attached community? Some days later however I realized that Motion Stills actually could be an interesting and easy-to-use visual micro-storytelling tool, especially for teaching core elements of visual storytelling. The main reasons why I think it's useful are:
a) it's a single app for both shooting and editing (and it's free!)
b) the process of adding clips to a storyboard is super-easy and intuitive and
c) being forced to shoot only a maximum of 3 seconds let's you concentrate on the essentials of a shot
So here's a quick run-through of a possible scenario of how one might use the app for a quick story or say story-teaser: When covering a certain topic / location / object etc. you take a bunch of different 3-second-shots with Motion Stills (wide shot, close-up, detail etc. – 5-shot-rule anyone?) by pressing the record button. It might be good to include some sort of motion into at least some shots, either by shooting something where you already have motion because people or objects are moving or by moving the smartphone camera itself ('dolly' shot, pan, tilt) when there is no intrinsic motion. Otherwise it might look a little bit too much like a stills slide show. Don't worry too much about stabilization because Motion Stills automatically applies a stabilization effect afterwards and even without that, you might just be able to pull off a fairly stable shot for three seconds. After you have taken a bunch of shots, head over to the app's internal gallery (bottom left corner on Android, swipe up on iOS) where all your recordings are saved and browse through the clips (they auto-play). If you tap a clip you can edit it in a couple of ways: You can turn off stabilization, mute the clip, apply a back-and-forth loop effect or speed it up. On iOS, you can also apply a motion tracking title (hope the Android version will get this feature soon as well!) What you can't do is trim the clip. But you actually don't have to go into edit mode at all if you're happy with your clips as they are, you can create your story right from the gallery. And here's the cool thing about that: Evoking a shade of Tinder, you can quickly add a clip to your project storyboard (which will appear at the bottom) by swiping a clip to the right or delete a clip from the gallery by swiping it to the left. If you want to rearrange clips in the storyboard, just long-press them and move them to the left or the right. If you want to delete a clip from the storyboard, long-press and drag it towards the center of the screen, a remove option will appear. In a certain way Google's Motion Stills could be compared to Apple's really good and more feature-rich Apple Clips app when it comes to creating a micro-story on the go really fast with a single app – but Apple Clips is – of course – only available for iOS. When you are finished putting together your micro-story in Motion Stills, you can play it back by tapping the play button and save/share it by tapping the share button. Once you get the hang of it, this is truly fast and intuitive – you can assemble a series of shots in no time.
That being said, there are a couple of limitations and shortcomings that shouldn't be swept under the rug. Obviously, thanks to the 3-second-limit per clip, the app isn't really useful for interviewing people or any other kind of monologue/dialogue scenario. You might fit in some one liners or exclamations but that's about it. It's also a bit unfortunate that the app doesn't apply some kind of automatic audio-transition between the clips. If you listen to the end result with the sound on, you will often notice rather unpleasant jumps/cracks in the audio at the edit points. While you could argue that because of the format content will only be used for social media purposes where people often just watch stuff without sound and will not care much about the audio anyway, I still think this should be an added feature. But let's get back to the format: While you have the option to export as a GIF if you are only exporting one clip, the end result of a series of clips (which is the use case I'm focusing on here) is an mp4 (mov on iOS) video file with the rather awkward resolution of 1080 by 1440 (Android) or 720 by 960 (iOS) – a 3:4 aspect ratio. This means that it will only be useful for social media platforms but hey, why 'only', isn't social media everything these days?! Another thing that might be regarded as a shortcoming or not is the fact that (at least on Android) you are pretty much boxed in with the app. You can't import stuff and clips also don't auto-save to the OS's general Gallery (you will have to export clips manually for that). But is that such a bad thing? I don't think so because a good part of the fun is doing everything with a single app: shooting, editing, exporting/publishing. So let's finish this with an actual shortcoming: While the app is available for Android, it's not compatible with certain devices – mostly low-end devices / mid-rangers with rather weak chipsets. And even if you can install it, some not-so-powerful devices like the Nokia 5 or Honor 6A (both rocking a Snapdragon 430) tend to struggle with the app when performing certain tasks. This doesn't mean the app always runs a 100% stable on flagships – I also ran into the occasional glitch while using it on a Samsung S7 and an iPhone 6. Still, the app is free, so at least check it out, it can really be a lot of fun and useful to do/learn visual (micro) storytelling! Download it on GooglePlay (Android devices) or the Apple App Store (Apple devices).
P.S.: Note that you can only work on one project at a time and don't clear the app from your app cache before finishing/exporting it – otherwise the project (not the recorded clips) will be lost!
P.P.S.: Turn off the watermark in the settings!

redpajama_set_name: RedPajamaCommonCrawl


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Artistic Ensemble
Artistic Associates
Pediatric & Senior LIVING Program
Pediatric Virtual Visits
Every Brilliant Thing
Uptown Scrooge >
Ms. Kitty's Character Creations
Virtual Wizard Camp 2021
GOOD GRAMS
Artistic Director/Founder
Kristie Koehler Vuocolo has been creating and performing and teaching professional empowering theatre for children and adults since 1997. She is a native to central Ohio but has spent two decades working professionally in Chicago theaters and across the country as a performer and teaching artist with an emphasis on comedy, improvisation and clown theater.
actor.
Kristie was a member of the critically acclaimed Neo-Futurists theater company where she wrote, performed and directed for Too Much Light Makes the Baby Go Blind (30 Plays in 60 Minutes) on most weekends and on tour for a decade. There, she also facilitated and developed course curriculum for theater professionals and enthusiasts in writing and performance. Kristie has worked with Available Light Theatre, CATCO, 500 Clown, The Factory Theater, Blair Thomas & Co., and is a lead actress with Project Murder Mystery.
educator.
Kristie is a founding member and former executive director of Barrel of Monkeys, a wildly successful arts education program that works to build literacy skills and self-esteem through writing and theater. Kristie served not only as a performer, but also developed curriculum for at-risk students in Chicago Public Elementary schools and professional development curriculum for teachers and educational professionals.
clown.
As a physical theater artist, she was supervisor and performer with the premier hospital clowning program, the Big Apple Circus Clown Care Unit, where the performance team brought circus arts and improvisational theater to bedsides and waiting rooms at children's hospitals and elderly facilities. She has led workshops with nursing staffs and medical residents at several Chicago hospitals on how the skills of interactive performers can directly translate to the medical profession to bring about a more positive patient relationship. Additionally, she served as the Camp Director and lead clown instructor for CircEsteem Summer Camp. Kristie has trained in commedia dell'arte, slapstick comedy and she naturally falls down a lot. So there's that.
smarty pants.
Kristie holds a B.S. from the Medill School of Journalism at Northwestern University and a Masters in Mass Communication from Kent State University. She served as associate instructor at North Park University for 11 years where she taught various communications courses in theater, writing and journalism and now teaches at Central Ohio Technical College. .
Kristie is also a recipient of the Oprah Winfrey Civic leadership award that honored her continued work in creating theater that serves and nurtures community.
The Good Medicine Specialists
John Beeler (Dr. Croc) John majored in theater at Capital University and has been doing interactive theatre work for several years. He works with Project Murder Mystery and the Ohio Renaissance Festival as well with Columbus Civic and Actor's Theater. Comic Inspirations: Robin Williams, Abbott and Costello, Lucille Ball, and the Marx Brothers
Jesse Pimpinella (Dr. Weeble Wobble) has performed in several theatrical productions and with many improv teams. But his true passion is stand-up comedy. After years of honing his craft, Jesse has been touring as a stand-up comedian in clubs and casinos all over the Midwest, has appeared on CBS and has been a contributor on Buzzfeed. From 2011-2015, he hosted and produced a comedy talk show called The Brew Crew on Rookery Radio, a station sponsored by THE CW at the time. He is also a principal performer in Good Medicine's Uptown Scrooge. Jesse believes that laughter betters the human condition because it brings joy to others while also empowering them during times of struggle. Comic Inspirations: Robin Williams, Christopher Titus, Rachel Bloom, Ron White, Tina Fey and Kevin Hart.
Patricia Winbush (Dr. Funzi) is co-founder & producer of PAST Productions Columbus, the premier Black Theatre company in central Ohio. Having received a BFA in Theatre from Wright State University, Patty has performed in various productions with CATCO, Gallery Players, Short North Stage and the old Players Theatre. She has been twice nominated for Excellence in Directing by Columbus Theatre Roundtable and was awarded Excellence in a Lead Role for her performance in THANK GOD I LOOK GOOD IN PINK, Patty's one-woman show about her journey as a breast cancer survivor. She believes in the power of positivity and tries to elicit as many smiles as possible from strangers on a daily basis. Comic inspirations: Jerry Lewis, Moms Mabley, Carol Burnett, Trevor Noah
Christina Yoho (Ralph, the Therapy Dog) has been actively performing on stages around Columbus since returning from Santa Fe in 2010 with a degree in philosophy and historical mathematics. Productions of the last couple years include The Tempest (Ariel/Iris), The Winter's Tale (Camillo, The Bear!), Richard III (Lady Anne), All the Great Books, Abridged (Coach) with Actors' Theatre of Columbus(Schiller Park), The 39 Steps (Clown #2) with SRO, Fool for Love (May), Slow Dance on the Killing Ground (Rosie), Mother Courage and Her Children (Kattrin), and You Never Can Tell (Dolly) with Columbus Civic. Comic inspirations: Animaniacs, Harpo Marx, Whoopi Goldberg, and Elwood Blues.
Adam Lowe (Dr. Noobie) has been an actor, comedian, and variety performer for over fifteen years. Adam spends both his downtime and his professional time dressed in ridiculous costumes and has a passion for funny hats. He can often be found walking on stilts, is the perfect blend of exercise and attention-seeking. In the past five years, Adam has discovered a passion for therapeutic clowning and has worked with Humorology Atlanta (HA!), Laughter League in Texas, and most recently Good Medicine in Ohio. Thrilled with the successes achieved via interstate clowning, he one day hopes to take the next step and be a professional idiot internationally.
Xema Whitley (Dr. Gooey) has been traveling, improvising, acting and creating theatrical experiences for all ages since 1989. She worked with Lampost Theater Company in Cedar Falls, Iowa where she toured with various national troupes and led workshops in camps and for an international street performance program. Later, she worked with the improvisational troupe Off The Cuff in the Lexington, Kentucky area. She has incorporated her love of drama and improv into her role as Director of Youth Ministries at Church of the Messiah in Westerville, Ohio where she is also the Director of their Puppet Team. Comic inspirations: Carol Burnett, Tina Fey, Will Ferrell, Robin Williams, Ellen DeGeneres, Stephen Colbert and Jimmy Fallon.
Kristie Koehler Vuocolo (Nurse Nee Nee)
Kristie is native to central Ohio but spent two decades working professionally in Chicago theaters and across the country as a performer and teaching artist with an emphasis on comedy, improvisation and clown theater. She was a founding member of the highly acclaimed arts education company, Barrel of Monkeys and was an ensemble member with the Neo-Futurists Theater Company for nearly a decade. Locally, she has worked with CATCO, Available Light Theatre and Project Murder Mystery. Comic inspirations: Carol Burnett, Robin Williams, Eddie Murphy & Miss Piggy.
GoodMedicineProductionsED@gmail.com
Good Medicine Productions
P.O. Box 2892


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Inner Space of the Sacrificial Altar
Looking from afar, the Wuke Family was like an ancient castle where the air was covered by a thick dusky mist. This environment wasn't suitable for humans to live in, even an Immortal Venerable cultivator would feel extremely pressured staying here.
Jiang Chen followed Wuke Sha to the gloomy Wuke Family. Jiang Chen chose to go into seclusion according to the arrangement beforehand.
His place of seclusion was specially arranged for him after he had attained the Barbaric Sovereign realm. It was great news for Jiang Chen because he wouldn't have been able to find his way if he were to look for 'his' previous residence, and would've surely given himself away.
Jiang Chen walked into a small seclusion palace, and never left ever since.
On the darkest night, he quietly crept out of the palace.
During the day, Jiang Chen already found that the Wuke Family's buildings were complicated. The place was like a maze with the addition that the buildings were connected with a mysterious formation. It was impossible to look for Zuo Ling'er in such a complicated maze.
Of course, this wasn't a problem for Jiang Chen. He doesn't have a problem in locating Zuo Ling'er's location with the Great Divination Art.
Jiang Chen unleashed the Great Divination Art, however he still couldn't catch a glimpse of Zuo Ling'er's qi. But this was within his expectation, as Zuo Ling'er must've been kept in a secret location. It would be weird if he could easily catch her qi.
But it doesn't pose a problem even if he couldn't catch Zuo Ling'er's qi. The uniqueness of the Great Divination Art wasn't something that could be overcome by an average technique. Even without the qi of Zuo Ling'er as a guide, he could still feel the general direction where Zuo Ling'er was held in.
*Buzz……*
The Great Divination Art sent out a buzz and Jiang Chen was able to quickly feel Zuo Ling'er's general direction. He then unleashed the Great Void Technique and flew straight towards that direction.
He changed into a black spirit and continuously appeared in different places within the Wuke Family.
Perhaps only Jiang Chen was able to move in the deepest territory of the Wuke Family without getting discovered.
With his Third Grade Great Sovereign realm cultivation base and with the help of the Great Void Technique, he could go anywhere within the Heavens and Earth. Not even an Eighth Grade Great Sovereign would be able to catch his trail.
After a while, Jiang Chen arrived in a black plaza that was located at the centre most point of the Wuke Family. On the plaza, a giant black altar was erected, the sacrificial altar was filled barbaric 'flavour', complex runes were carved upon the altar with a giant cross on top and a portrait of the fierce barbarian god could be seen hanging on top of the cross.
One could feel an immense pressure coming from within the deepest place if one was to stand below the altar. That pressure would even cause the soul to shiver.
"Ling'er must be in the altar"
Jiang Chen surmised the exact location of Zuo Ling'er, but his brow couldn't help but frown because it was extremely hard for him to save Zuo Ling'er out from within the altar.
Jiang Chen could feel a powerful seal placed by a Ninth Grade Barbaric Sovereign on the outside of the altar. Forget about passing through the seal, if one were to even touch it, the Ninth Grade Barbaric Sovereign would immediately be notified. At that time, let alone rescuing Zuo Ling'er, it would be miraculous for him if he could escape with his life.
But Zuo Ling'er must be saved. Moreover, this was the best moment for Jiang Chen to save her. It would be an impossible task for him to take her away from the Old Ancestor of the Wuke Family if he were to wait for the blood sacrifice to start tomorrow, even with the help of the Gold Feather Fan he still wouldn't succeed.
The Gold Feather Fan could only unleash a single attack of Golden Sovereign. Even if this attack could harm a Ninth Grade Barbaric Sovereign, it would merely injure him, it would be impossible to kill him.
At that time, Jiang Chen will be in a dangerous spot, besieged from all directions by the experts of the Wuke Family. At that moment, his best option would be to run away via the Great Void Technique, but Zuo Ling'er's fate would still be the same.
"Ancestral Dragon Pagoda. I can only depend on you now."
Jiang Chen's pupil lit up with splendour. At this moment, he could only rely on the Ancestral Dragon Pagoda.
The Ancestral Dragon Pagoda has reached the sixty-sixth floor, and was now much different from the past. Jiang Chen had used the Ancestral Dragon Pagoda to snatch the Regenerative Lotus. Now that the pagoda has grown stronger, he believed that he could use it to enter the altar without a problem.
Jiang Chen's body vanished and entered the Ancestral Dragon Pagoda. The incorporeal pagoda was like a speck of dust within the void, hovering at will without anyone noticing it.
The only regret was that the speed of the pagoda was slow, like he was moving with a giant mountain on his back.
Quickly, the pagoda approached near the altar and Jiang Chen was feeling anxious. It was after all a seal placed by a Ninth Grade Barbaric Sovereign, he wasn't really sure whether the pagoda could safely pass through it without detection. If it couldn't… everything would've been for nought.
"Let's make a bet!"
Jiang Chen gritted his teeth. At this moment, what he needed was to make a gamble. To save Zuo Ling'er this was the only chance he had.
*Whiz!*
Nothing happened when the pagoda touched the seal and he went straight through it. He appeared in the internal space of the altar in the next moment.
*Err… …*
This obviously caught Jiang Chen off guard. But this did not hinder the joy in his heart. At the same time, he understood that the Ancestral Dragon Pagoda was now strong enough to go through anything. Not even the seal of a Ninth Grade Barbaric Sovereign was a problem.
"Looks like I worried too much. I wonder what the 99th floor of the Ancestral Dragon Pagoda looked like? I'm looking forward for it."
Jiang Chen was feeling happy, however the feeling of anticipation towards the completion of the Ancestral Dragon Pagoda was much greater.
In the inner space of the sacrificial altar, a circular prison could be seen. The prison was connected to the top of the sacrificial altar.
At this moment, Zuo Ling'er was sitting inside the prison with both eyes closed, her face had an expression of indifference, she wasn't as scared as one should be.
But it was exactly because of this that Jiang Chen felt even more hurt. The Zuo Ling'er who doesn't know how to be afraid meant that she went through a lot in the Barbarian World. These experiences had changed Zuo Ling'er's disposition, and the process must've been terrible.
Jiang Chen's body disappeared and jumped out of the Ancestral Dragon Pagoda. He then said quietly: "Ling'er."
This calling had caused Zuo Ling'er's body to shake violently. She opened both of her eyes in an instant. She fell into an endless shock when she saw Jiang Chen appearing in front of her eyes.
"Big Brother."
Zuo Ling'er sprung up and lept into Jiang Chen's arm while her tears flowed down like rain.
It was an indescribable joy, a ray of light shining down in the endless pit of despair, Zuo Ling'er had countlessly dreamt of him appearing in front of her on her final moments. But it was just a dream in the end, and she knew that it was only an extravagant hope of her. Because even if Jiang Chen really came for her, he wouldn't have been able to change a thing, let alone save her. Yet she still longed for it.
Now, the dream she had hoped for had happened in front of her without any indication. She was unable to control her feelings even though Zuo Ling'er's disposition had already gone through an enormous change.


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Q: AZURE Authentication error using REST API in Delphi XE3 I am trying to use the Microsoft AZURE storage service to store files directly from an application, however, as much as I read the authentication documentation MS Documentation I keep getting authentication errors and can not get past it.
Before anyone askes I can not use the included version on the AssureConnection component as this was compiled with a different version of INDY.  I am using the latest version and its not compatible.  IPPeerClient does not compile.  Howwver, if someone has a version that does compile with the latest INDY version I will be most grateful.
Here is my code for getting a list of blobs in a container, but as mentioned I always get an authentication error. I dont seem to get past authentication to get a result and a list of blobs in the container.
What an I doing wrong?
Please replace yourAccount, yourContainer and yourKey with those provided by the AZURE platform.
procedure TForm1.Button4Click(Sender: TObject);
  var
  aStream: TMemoryStream;
  LHandler: TIdSSLIOHandlerSocketOpenSSL;
  resultHTTP: string;
  MyHTTP: TIdHTTP;
  AccessKey: string;

  TheDate: string;
  AuthHeader: string;

  RequestMethod: string;
  URLPath: string;
  dateInRfc1123Format: TDateTime;

  canonicalizedHeaders: string;
  canonicalizedResource : string;

  stringToSign: string;
  authorizationHeader: string;

function GetBase64_HMAC_SHA256(const AKey, AStr: string): String;
var
  sha: TIdHMACSHA256;
  KeyBytes: TIdBytes;
  DataBytes: TIdBytes;
  ResBytes: TIdBytes;
begin
  IdSSLOpenSSL.LoadOpenSSLLibrary;
  if IdSSLOpenSSLHeaders.Load() then
  begin
    if TIdHashSHA256.IsAvailable then
    begin
      sha := TIdHMACSHA256.Create;
      sha.Key := BytesOf(UTF8Encode(AKey));
      DataBytes:= BytesOf(UTF8Encode(AStr));
      ResBytes:= sha.HashValue(DataBytes);
    end
    else
      showmessage('Unable to encode');
  end;
  result:= EncodeBase64(ResBytes, Length(ResBytes));
end;

begin

  // Used for streaming the blob later.  Not in use now.
  //aStream := TMemoryStream.Create;
  //aStream.LoadFromFile('MQ21.JPG');

  RequestMethod:= 'GET';

  dateInRfc1123Format:= TTimeZone.Local.ToUniversalTime(Now);
  TheDate:= formatdatetime('ddd, dd mmm yyyy hh:nn:ss "GMT"',dateInRfc1123Format);
  canonicalizedHeaders:= format('%s\n%s',['x-ms-date:' + TheDate, 'x-ms-version:2014-02-14']);

  URLPath:= format('%s',['comp:list\ninclude:metadata,snapshots,uncommittedblobs\nrestype:container']);
  canonicalizedResource:= format('/%s/%s\n%s',['yourAccount','yourContainer', URLPath]);

  stringToSign:= format('%s\n'+ // request method
                        '\n' + // content encoding
                        '\n' + // content language
                        '\n' + // content length
                        '\n' + // content md5
                        '\n' + // content type
                        '\n' + // date
                        '\n' + // if modified since
                        '\n' + // if match
                        '\n' + // if none match
                        '\n' + // if unmodified since
                        '\n' + // range
                        '%s\n' + // headers
                        '%s', // URL,
                        [RequestMethod,
                        canonicalizedHeaders,
                        canonicalizedResource]);

  authorizationHeader:= GetBase64_HMAC_SHA256('yourKey',stringToSign);
  memo1.Lines.Add('LOG: ' + stringToSign);
  memo1.Lines.Add('LOG: ' + authorizationHeader);

  LHandler := TIdSSLIOHandlerSocketOpenSSL.Create(nil);
  MyHTTP:= TidHTTP.Create(self);
  MyHTTP.IOHandler:= LHandler;
  MyHTTP.Request.CustomHeaders.AddValue('Authorization',format('SharedKey yourAccount:%s',[authorizationHeader]));
  MyHTTP.Request.CustomHeaders.AddValue('x-ms-date',TheDate);
  MyHTTP.Request.CustomHeaders.AddValue('x-ms-version','2014-02-14');

  try
    with MyHTTP do
    begin
      try
        resultHTTP:= MyHTTP.Get('https://yourAccount.blob.core.windows.net/yourContainer?restype=container&comp=list&include=snapshots&include=metadata&include=uncommittedblobs');
      except
        on E: Exception do
          showmessage('Error encountered during HTTP: ' + E.Message);
      end;
    end;
    Memo1.Lines.Add(format('Result: [%s]',[resultHTTP]));
    FreeAndNil(MyHTTP);
    //FreeAndNil(aStream);
  finally

  end;

end;

I just don't understand where the authentication is going wrong.  If you have a REST API example yourself, please feel free to share.

redpajama_set_name: RedPajamaStackExchange


text:
Julio Juliano (en latín, Iulius Iulianus, floruit 315-328) fue un político romano, abuelo y tocayo del futuro emperador Juliano (360-363).

Vida

Carrera

Sirvió a Licinio como prefecto pretoriano desde al menos la primavera del 315 hasta septiembre del 324, hasta que Constantino I derrotó definitivamente a Licinio. Sin embargo, la caída de Licinio no marcó el final de la carrera de Juliano, ya que Constantino había elogiado la administración del Estado de Juliano y lo eligió, en 325, como suficiente para reemplazar a un cónsul caído en desgracia, Valerio Próculo. También sirvió como Praefectus Aegypti en 328.

Familia

Descendía de la gens Julia. Era el padre de Basilina, esposa del medio hermano de Constantino, Julio Constancio y madre del emperador Juliano, y de la madre de Procopio; probablemente estaba relacionado con Eusebio de Nicomedia. Juliano fue el maestro del esclavo filósofo godo Mardonio, quien fue el maestro tanto de Basilina como de Juliano.

Probablemente, falleció antes del años 337.

Referencias

Bibliografía

 Timothy David Barnes, Constantino y Eusebio, Harvard University Press, 1981, ISBN 0-674-16531-4, págs.70 , 214.

 Robert Browning, El Emperador Juliano, University of California Press, 1978, ISBN 0-520-03731-6, p. 32.

Gobernadores romanos de Egipto
Antiguos romanos del siglo IV
Cónsules del Imperio romano
Gens Julia
Prefectos del pretorio

redpajama_set_name: RedPajamaWikipedia


text:
Q: Determine if biometric hardware is present and the user has enrolled biometrics on Android P I'm asked to show certain UI elements depending on the presence of biometric hardware. For Android 23-27 I use FingerprintManager#isHardwareDetected() and FingerprintManager#hasEnrolledFingerprints(). Both of which are deprecated in Android 28.
I understand that I can get this information by using BiometricPrompt#authenticate(...) and receiving either BiometricPrompt#BIOMETRIC_ERROR_HW_NOT_PRESENT or BiometricPrompt#BIOMETRIC_ERROR_NO_BIOMETRICS in the BiometricPrompt.AuthenticationCallback#onAuthenticationError(int errorCode, ...) method. But this would lead to the BiometricPrompt being shown on supporting devices, which is undesirable. Using the CancellationSignal doesn't seem to be a solution either, since I wouldn't know when to cancel the prompt.
Is there any way to detect biometric hardware presence and user enrolment?

A: Sadly Google wouldn't solve this problem having changed the status of related issue to "Won't Fix (Intended behavior)". I prefer to use the old deprecated API for now.
But for those who want to use the newer API there's a hacky/ugly way to get a hasEnrolledFingerprints() analog (the code is for API23+):
public boolean isBiometryAvailable() {
    KeyStore keyStore;
    try {
        keyStore = KeyStore.getInstance("AndroidKeyStore");
    } catch (Exception e) {
        return false;
    }

    KeyGenerator keyGenerator;
    try {
        keyGenerator = KeyGenerator.getInstance(
                KeyProperties.KEY_ALGORITHM_AES, "AndroidKeyStore");
    } catch (NoSuchAlgorithmException |
            NoSuchProviderException e) {
        return false;
    }

    if (keyGenerator == null || keyStore == null) {
        return false;
    }

    try {
        keyStore.load(null);
        keyGenerator.init(new
                KeyGenParameterSpec.Builder("dummy_key",
                KeyProperties.PURPOSE_ENCRYPT |
                        KeyProperties.PURPOSE_DECRYPT)
                .setBlockModes(KeyProperties.BLOCK_MODE_CBC)
                .setUserAuthenticationRequired(true)
                .setEncryptionPaddings(KeyProperties.ENCRYPTION_PADDING_PKCS7)
                .build());
    } catch (NoSuchAlgorithmException | InvalidAlgorithmParameterException
            | CertificateException | IOException e) {
        return false;
    }
    return true;

}

This is based on the following Android keystore docs statement:

*

*User authentication authorizes a specific cryptographic operation associated with one key. In this mode, each operation involving such a key must be individually authorized by the user. Currently, the only means of such authorization is fingerprint authentication: FingerprintManager.authenticate. Such keys can only be generated or imported if at least one fingerprint is enrolled (see FingerprintManager.hasEnrolledFingerprints). These keys become permanently invalidated once a new fingerprint is enrolled or all fingerprints are unenrolled.

See the "Require user authentication for key use" section here https://developer.android.com/training/articles/keystore

A: I wrote this method for Kotlin:
fun checkForBiometrics() : Boolean{
    Log.d(TAG, "checkForBiometrics started")
    var canAuthenticate = true
    if (Build.VERSION.SDK_INT >= Build.VERSION_CODES.M) {
        if (Build.VERSION.SDK_INT < 29) {
            val keyguardManager : KeyguardManager = applicationContext.getSystemService(KEYGUARD_SERVICE) as KeyguardManager
            val packageManager : PackageManager   = applicationContext.packageManager
            if(!packageManager.hasSystemFeature(PackageManager.FEATURE_FINGERPRINT)) {
                Log.w(TAG, "checkForBiometrics, Fingerprint Sensor not supported")
                canAuthenticate = false
            }
            if (!keyguardManager.isKeyguardSecure) {
                Log.w(TAG, "checkForBiometrics, Lock screen security not enabled in Settings")
                canAuthenticate = false
            }
        } else {
            val biometricManager : BiometricManager = this.getSystemService(BiometricManager::class.java)
            if(biometricManager.canAuthenticate() != BiometricManager.BIOMETRIC_SUCCESS){
                Log.w(TAG, "checkForBiometrics, biometrics not supported")
                canAuthenticate = false
            }
        }
    }else{
        canAuthenticate = false
    }
    Log.d(TAG, "checkForBiometrics ended, canAuthenticate=$canAuthenticate ")
    return canAuthenticate
}

Additional, you have to implement on you app gradle file as dependecy:
implementation 'androidx.biometric:biometric:1.0.0-alpha04'

and also use the newest build tools:
compileSdkVersion 29
buildToolsVersion "29.0.1"

A: Google finally solved this problem with Android Q
The android.hardware.biometrics.BiometricManager#canAuthenticate() method can be used to determine if biometrics can be used.
The method can be used to determine if biometric hardware is present and if the user is enrolled or not.

Returns BIOMETRIC_ERROR_NONE_ENROLLED if the user does not have any enrolled, or BIOMETRIC_ERROR_HW_UNAVAILABLE if none are currently supported/enabled. Returns BIOMETRIC_SUCCESS if a biometric can currently be used (enrolled and available).

Hopefully this is added to the androidx.biometric:biometric library, so it can be used on all devices.
Until then the solution by @algrid works to determine biometrics enrollment.
And the following can be used to determine, if a fingerprint reader is present.
Build.VERSION.SDK_INT >= Build.VERSION_CODES.M &&
            context.packageManager.hasSystemFeature(PackageManager.FEATURE_FINGERPRINT)

A: In my biometrics, I used these and a few more checks to make sure that the device was capable and the fingerprint was enabled. In Kotlin I created an Object class and called it utilities.
object BiometricUtilities {
    fun isBiometricPromptEnabled(): Boolean {
        return Build.VERSION.SDK_INT >= Build.VERSION_CODES.P
    }
    fun isSdkVersionSupported(): Boolean {
    return Build.VERSION.SDK_INT >= Build.VERSION_CODES.M
    }
    fun isHardwareSupported(context: Context): Boolean {
        val fingerprintManager = FingerprintManagerCompat.from(context)
        return fingerprintManager.isHardwareDetected
    }
    fun isFingerprintAvailable(context: Context): Boolean {
        val fingerprintManager = FingerprintManagerCompat.from(context)
        return fingerprintManager.hasEnrolledFingerprints()
    }
}

Then in my bioManager class, I placed the conditional statements under a function called authenticate that implements BiometricCallback
fun authenticate(biometricCallback: BiometricCallback) {

    if (!BiometricUtilities.isHardwareSupported(context)) {
        biometricCallback.onBiometricAuthenticationNotSupported()
        return
    }

    if (!BiometricUtilities.isFingerprintAvailable(context)) {
        val intent = Intent(Settings.ACTION_SECURITY_SETTINGS)
           biometricCallback.onBiometricAuthenticationNotAvailable()
        return
    }

    displayBiometricDialog(biometricCallback)
}

This way you can check for availability of hardware and presence of fingerprint on the device and let the OS help you to display a prompt or not

A: AndroidX biometric library started providing this kind of information from version 1.0.0-beta01 (androidx.biometric:biometric:1.0.0-beta01)
BiometricManager.from(context).canAuthenticate()

Which returns one of

*

*BIOMETRIC_SUCCESS

*BIOMETRIC_ERROR_HW_UNAVAILABLE

*BIOMETRIC_ERROR_NONE_ENROLLED

*BIOMETRIC_ERROR_NO_HARDWARE

See changelog:
https://developer.android.com/jetpack/androidx/releases/biometric#1.0.0-beta01

A: The method - checks that the user has biometric authentication permission enabled for the app before using the package manager to verify that fingerprint authentication is available on the device. And even it will check if the user is enrolled or not.
implementation 'androidx.biometric:biometric:1.0.0-alpha03'
private Boolean checkBiometricSupport() {

    KeyguardManager keyguardManager =
            (KeyguardManager) getSystemService(KEYGUARD_SERVICE);

    PackageManager packageManager = this.getPackageManager();

    if (Build.VERSION.SDK_INT < Build.VERSION_CODES.M) {
        notifyUser("This Android version does not support fingerprint authentication.");
        return false;
    }

    if(!packageManager.hasSystemFeature(PackageManager.FEATURE_FINGERPRINT))
    {
        notifyUser("Fingerprint Sensor not supported");
        return false;
    }

    if (!keyguardManager.isKeyguardSecure()) {
        notifyUser("Lock screen security not enabled in Settings");

        return false;
    }

    if (ActivityCompat.checkSelfPermission(this,
            Manifest.permission.USE_BIOMETRIC) !=
            PackageManager.PERMISSION_GRANTED) {
        notifyUser("Fingerprint authentication permission not enabled");

        return false;
    }

    return true;
}

A: There is class method available FingerprintManagerCompat.from(this).isHardwareDetected androidx.core.hardware.fingerprint package.

A: For those who do not want to wait for support library released, you can use nightly build like this
repositories {
        maven {
            url "https://ci.android.com/builds/submitted/5795878/androidx_snapshot/latest/repository/"
        }
    }

implementation group: 'androidx.biometric', name: 'biometric', version: '1.0.0-SNAPSHOT'

get build version from here
https://ci.android.com/builds/branches/aosp-androidx-master-dev/

branch aosp-androidx-master-dev
show latest build from androidx-snapshot


A ravishing of my ears.
of the opulent interior was gutted, but good triumphed over evil, for one consequence of the rebuilding was to create a wonderful space for music. The new church's exceptional acoustic is particularly suited to the complex lines of polyphony in 16th- century music. Worshippers at the 11.15am service every Sunday have their ears ravished—or the spiritual equivalent—on a regular basis. There's also an annual programme of concerts and this season's was opened last week by the Oxford Camerata, celebrating the group's 30th anniversary.
Such beauty of sound… it felt as if my ears were being filled with honey. The conductor, Jeremy Summerly, provided explanatory aperçus. John Sheppard wrote for seven voices because of Mary Tudor's devotion to Marian sevens—the Virgin Mary's Joys and Dolours. I was pleased to learn that Palestrina found financial security by marrying the widow of a fur merchant, disproving the romantic notion that great art can only be produced in a garret. Tomorrow night (October 16), the sensational young Romanian pianist Alexandra Dariescu plays Russian and Romantic music. Oh dear, diary clash. I'm talking to the Churches Conservation Trust about war memorials at the Charterhouse, London EC1.


My name is Steve Hockett and the counselling service I provide is called Alton Counselling Services. I am a member of BACP. I qualified in 1996 and have been providing a professional service since then. I have an Advanced Diploma in Counselling. In 2008 I qualified as an Adoption Counsellor registered through Barnardo's. This enables me to work with birth families, adoptees and adoptive parent(s). I practice in central Southend with close-by parking and easy access by bus and train.
I attend regular training and adhere to regular ongoing supervision. My fees are £35 per 50 minute session. In certain circumstances this can be reduced to £25 and I am happy to discuss this. Couple counselling is £35 per couple per 50 minute session. I very much appreciate how difficult counselling can be. It is important to show warmth and empathy and provide a safe confidential counselling setting. The amount of sessions is flexible and is decided by you, the client, in consultation with myself. It is always the client's decision how often they attend counselling. Sometimes clients take a break and return when any difficulties arise.
I have worked in primary and secondary schools and therefore have a good understanding of children and young people. Within the school system I have worked on self-esteem and bullying issues. I also very much enjoy working with families and looking at their relationship needs. All of my counselling career I have worked with children and young people who have been in the care system. This is also very rewarding work.
I have worked in GP surgeries where the GP would refer clients to me for counselling to help their patient move forward. Counselling is never a quick fix and even small steps are progress! As a client you would only see me as my practice has no other counsellors. I very much enjoy the challenge of counselling and helping people move forward in their lives.
If you would like to contact me for an informal chat please do so or if you prefer you can contact me through email.


Following are the main features of Ocean of Games Assassins Creed 3 that you will be able to experience after the first install on your Operating System.
Click on the below button to start Ocean of Games Assassins Creed 3 Free Download. It is full and complete game. Just Oceanofgames Assassins Creed 3 download and start playing it. We have provided direct link full setup of the game.


It's back! I'll be answering behavior questions monthly or so on the Conscious Cat website.
Today I answer questions about nocturnally annoying cats, how to play with senior cats, and why cats might like to roll in their litter boxes.
Posted in Uncategorized on May 31, 2017 by Mikel Delgado.


text:
Pat Metheny's Enigmatic Acoustic Work
By Dale Turner published 20 January 17
(Image credit: Michael Bush/Getty Images)
Pat Metheny mastered jazz at an uncommonly young age, touring with legendary vibraphonist Gary Burton while still in his teens.
Time spent as a student (and quickly, instructor) at the University of Miami led to many collaborations with bass icon Jaco Pastorius.
By the 1975 recording of his solo debut, Bright Size Life, Metheny's signature modern jazz guitar style—characterized by slippery, horn-like legato phrasing and finger slides, crafty use of chromatics, unpredictable, syncopated rhythms, broad dynamic range and superb tone—was already honed.
For 40 years, Metheny's musical path continuously evolved, embracing acoustic, electronic and symphonic sounds, pitting him alongside disparate luminaries like David Bowie, Joni Mitchell, Ornette Coleman, Steve Reich, Bruce Hornsby, Carlos Santana and Herbie Hancock. Pat's pioneering use of guitar synths, such as the Synclavier (early digital sampler/workstation), unusual "harp" guitars (including a 42-string Pikasso) and the Orchestrion (a player-piano-inspired robotic mini orchestra controlled by guitar) puts him in a league of his own.
Today, with 20 Grammy Awards (in 10 different categories) among his numerous accolades, we celebrate Pat Metheny with a lesson examining his acoustic output. After his Bright Size Life and Watercolors albums, the Pat Metheny Group, featuring Lyle Mays (piano/synth), Mark Egan (bass) and Danny Gottlieb (drums), was formed, issuing their self-tilted debut in 1978.
"Phase Dance," propelled by a Latin-flavored acoustic picking riff akin to FIGURE 1, contributed much to PMG's success. The tune has since become a concert-opening Metheny standard. Pat employed "Nashville tuning" for this song, replacing the guitar's lowest four strings with much thinner strings tuned one octave higher, like the additional "small strings" on a 12-string guitar.
In 1979, Metheny released the solo album New Chautauqua, which features the master musician wielding a host of stringed instruments (all elaborately overdubbed), including a 15-string harp guitar. Standout tracks include Nashville-tuned nuggets like "Country Poem" and "Sueno Con Mexico," along with conventional acoustic pieces like "Heritage," its fingerpicked, low-register chords informing FIGURE 2.
Metheny and Mays combined forces in 1981 for the duo project, As Falls Wichita, So Falls Wichita Falls, which also features vocalist/percussionist Nana Vasconcelos. The composition "September Fifteenth" was penned for that album in honor of the late jazz pianist Bill Evans, deceased on that date the previous year; the track features unpredictable harmonic shifts and lush voicings like those in FIGURE 3.
First Circle marked a huge leap forward for the Pat Metheny Group, its deep musical explorations, top-notch performances and stellar production netting 1985's Best Jazz Fusion Performance Grammy. The Group's core lineup would remain unchanged for 15 years, paving the way for future successes like Still Life (Talking) and Letter from Home.
FIGURE 4 illustrates a variation on Metheny's oddly grouped arpeggios heard midway through the latter album's title track. For 2003's One Quiet Night, Metheny rolled tape in his home studio and cut a handful of beautiful solo acoustic arrangements—songs like the Norah Jones hit "I Don't Know Why," along with some originals—on his Linda Manzer baritone acoustic [standard tuning, down a perfect fifth (A D G C E A), with the middle two strings tuned up one octave].
FIGURE 5 is a nod to his solo rendition of "Last Train Home," a classic Metheny instrumental first released on Still Life (Talking).
Watch Scrolling Tabs for This Lesson!FIGURE 1
Dale Turner
A singer-songwriter/multi-instrumentalist/film composer, Musician's Institute instructor, and author of 50+ transcription/instructional books, Dale Turner is also Guitar World's "Hole Notes"/"Acoustic Nation" columnist, and the former West Coast Editor of Guitar One magazine. Some of Dale's old, weird, rare, and/or exotic instruments are featured in his score for WEEDS, the first animated short completed within the Filmmakers Co-op at Disney Feature Animation. His most recent CD, Mannerisms Magnified, was praised by Guitar Player magazine for its "Smart pop tunes that are crammed with interesting guitar parts and tones ... Like what the Beach Boys might do if they were on an acid trip that was on the verge of getting out of control. Yeah!"
Rufus Philpot: "The first time I heard Level 42's The Chinese Way on the radio, I couldn't believe someone could play bass that fast in a pop song"
InVisions' Lucas Gabb and Alex Scott tear through Deadlock in this mind-bendingly heavy guitar playthrough
Eric Johnson pays heartfelt tribute to late amp-building icon Howard Alexander Dumble
Molly Tuttle shares details and title track from new album Crooked Tree
Cheap Trick's Rick Nielsen: "I'm not a virtuoso. I'm a songwriter that plays rhythm guitar – and once in a while I have to play lead"


text:
Eduardo Halfon (geboren 20. August 1971 in Guatemala-Stadt) ist ein guatemaltekischer  Schriftsteller.

Leben
Eduardo Halfon stammt aus einer jüdischen Familie, der Großvater des Protagonisten Eduardo Halfon im Roman Der polnische Boxer (2008) war ein Łódźer Jude, der das Ghetto Litzmannstadt, das KZ Sachsenhausen und das Vernichtungslager Auschwitz überlebt hat.  Er wuchs in Guatemala auf und wanderte mit zehn Jahren mit seinen Eltern in die USA aus. Er studierte Industrial Engineering an der North Carolina State University und ging dann wieder nach Guatemala zurück, wo er acht Jahre lang Literatur an der Universidad Francisco Marroquín lehrte.
Er lebt in Nebraska.

Halfons erster Roman Esto no es una pipa, Saturno wurde 2003 veröffentlicht. Der Roman untersucht den  Selbstmord des 23-jährigen guatemaltekischen Malers Carlos Valenti im Jahr 1912 aus verschiedenen Perspektiven. Der Buchtitel spielt auf ein surrealistisches Bild an. Für das Buch La pirueta erhielt Halfon den José María de Pereda Preis für Kurzprosa in Santander. Im 2011 erschienenen Roman Mañana nunca lo hablamos beschreibt er eine Kindheit im gewaltbeherrschten Guatemala der 1970er Jahre.

Halfon erhielt 2011 eine Guggenheim Fellowship für die Weiterarbeit an seinem Buch El boxeador polaco, der in zehn Runden geschrieben ist. Vorarbeiten hierzu erschienen unter demselben Titel 2008 sowie weitere Teile 2010 unter dem Titel La pirueta.

Die französische Übersetzung (Deuils) von Duelo wurde 2018 mit dem Prix du Meilleur livre étranger in der Kategorie "Essay" ausgezeichnet.

Werke (Auswahl)
 Esto no es una pipa, Saturno. Guatemala ciudad : Alfaguara, 2003
 De cabo roto. Barcelona : Littera, 2003
 El ángel literario. Barcelona : Editorial Anagrama 2004
 El boxeador polaco. Valencia : Pre-Textos, 2008
 Der polnische Boxer. Roman in zehn Runden. Aus dem Spanischen von Peter Kultzen und Luis Ruby. München : Hanser, 2014, ISBN 978-3-446-24599-0
 Als Taschenbuch bei dtv, München 2016, ISBN 978-3-423-14509-1
 Clases de hebreo. Logroño, La Rioja : AMG Editor, 2008
 Clases de dibujo. La Rioja : AMG, 2009
 La pirueta. Valencia : Pre-Textos, 2010
 Mañana nunca lo hablamos. Valencia : Pre-Textos, 2011
 Elocuencias de un tartamudo. Valencia : Pre-Textos, 2012
 Monasterio. Barcelona : Libros del Asteroide, 2014
  Signor Hoffman, span. u. dt. 2016
 Signor Hoffman. Roman. Aus dem Spanischen von Luis Ruby. München : Hanser, 2016, ISBN 978-3-446-25275-2
 Duelo, Barcelona : Libros del Asteroide, 2017
 Duell. Roman. Aus dem Spanischen von Luis Ruby. München : Hanser, 2019, ISBN 978-3-446-26372-7

Weblinks

 Eduardo Halfon, bei Portland State University, 2010
 Eduardo Halfon. Es sólo literatura, con minúscula..., Interview bei Prensa Libre, 2004

Einzelnachweise

Autor
Erzählung
Roman, Epik
Guatemaltekische Literatur
Literatur (21. Jahrhundert)
Literatur (Spanisch)
Hochschullehrer (Guatemala)
Person (Guatemala-Stadt)
Guatemalteke
Geboren 1971
Mann


Vulnerable people at risk of becoming victims or perpetrators of crime will receive greater support following the release of vital community safety funding.
Nottinghamshire Police and Crime Commissioner Paddy Tipping has chosen 20 community organisations, charities and support specialists to benefit from funding in the latest round of his Community Safety Fund scheme, tackling pressing issues such as domestic violence, hate crime, sexual violence and addiction.
They celebrated their success at a special ceremony attended by community leaders and the PCC at the NBV Enterprise Centre in Nottingham last week (14 March).
Under ambitious plans to help people help themselves, Mr Tipping is backing a number of projects which keep young people on the right road and support them to achieve their ambitions as well as those helping serial adult offenders to turn their back on crime.
He is also fulfilling his pledge to build tolerant and cohesive communities, funding projects that break down negative stereotypes and embrace diversity as well as tackle hate crime.
In all, community projects are sharing a total of £254,174 in 2019-20 - £30,000 of which is being retained by the Commissioner until the completion of his review of youth crime diversionary activity.
"There are lots of issues impacting public safety today but I'm in no doubt that the people working with potential victims and offenders day in and day out are the best-placed to offer help," said Mr Tipping.
"This year we've identified a huge range of projects that will help us to tackle some of the most serious problems of our generation, including youth violence and online sexual exploitation. Some of these break new ground, working with potential perpetrators of crime including sexual offending before they've ever committed crime.
Most projects are receiving funding for 12 months, covering the period from April 2019 until March 2020. The maximum grant available is £25,000.
Successful applicants were selected following a robust scrutiny process which required them to provide evidence of how they supported the PCC's Police and Crime Plan themes. These include protecting vulnerable people, helping and supporting victims, tackling crime and antisocial behaviour and transforming services and delivering quality policing.
Among those celebrating are the Nottingham Muslim Women's Network which has received £18,600 for its Engage Inform Empower project raising awareness of domestic sexual violence and abuse in the Muslim community.
The Children's Society has been awarded £18,850 for its Safe Choices project working with boys and young men at risk of being sexually and criminally exploited while Changing Lives has received the full grant amount of £25,000 for its Conditional Caution Early Intervention work supporting low to medium risk female offenders through Women Specific Cautions (WSCs) to prevent reoffending and escalation of offending.
For the full list of successful recipients click HERE.


The challenging title is a reality check, but delivered with a smile from singer Stefanie Berecz. "It's just a representation of the stories in the songs. Nearly every track has a cheating character, or someone who's had enough of their lover. It's a mixed bag of empowerment and regret." Gets Over You continues the "it's complicated" theme of 2010′s Carry Me Home, although this outing shows Berecz in a darker, seedier role.
Recorded in a cathartic, week-long session in Los Angeles with producer Sergio Rios (Orgone), Gets Over You takes the Chicago septet's soulful sound to thewarm, crackling world of analog tape and vintage instruments. Berecz's voice, often compared to those of Chaka Kahn and Joss Stone, takes center stage. Theband shines with raw, gritty performances and elegant arrangements that are theresult of countless hours of performing, rehearsing, and traveling together.
Berecz's emotionally-charged vocal performance has been the band's calling card at over 200 shows in the past two years. The Right Now's electrifying live show — matching suits, choreographed horn section, and all — has earned them a reputation as "dynamic, complex, hip and just downright fun" (Gapers Block).
The past two years saw immense growth for The Right Now, including a sold-out release party at Chicago's Lincoln Hall; tour dates throughout the Midwest, East, and South; festival appearances at SXSW, North Coast Festival, and Summerfest; and opening stints for Fitz & The Tantrums, George Clinton & Parliament-Funkadelic, Bettye Lavette, Otis Clay, Orgone, Kings Go Forth, Jamie Lidell, and Tortured Soul. USA Today and mp3.com featured the band as a favorite, and live TV appearances (WGN) put the Chicago act on the national stage. Placements in a 2011 episode of CSI: Crime Scene Investigation and promos for Gilly Hicks and other national retailers also broadened the band's appeal.
"It takes a man to admit that it's over," Berecz confidently croons on "Half As Much." "But if you can't, I can do it for sure." While Stefanie Berecz may have gotten over the man in this song, audiences won't be getting over her any time soon.


Tissue Salts also referred to as Cell Salts or the Biochemic Remedies have become very popular with natural health practitioners in recent years. Clearly this is recognition that this long standing therapeutic system of German origin has positive health benefits for people. Naturopath Elaine Geary outlines the history and many of the known benefits. Read more.
Wellmune WGP® a fraction of Beta Glucan 1-3/1-6 is derived from yeast and used in the immune boosting product ImmiFlex. Jan Oddvar Johansen chairman and founder of Immitec who produce ImmiFlex, has over 20 years experience in developing nutritional health products and Immitec has been on the forefront of scientific research in the beneficial use of nutrients for maintaining optimum health and the prevention of adverse health conditions. Read More.
Bioregulatory Medicine. New Medical Paradigm.
Dr. Tayana Bosh, president of the International Society of Bioregulatory Medicine, outlines in an article published in Townsend Letter the significant benefits that this healthcare concept can bring to people in these extraordinary and difficult times that we live in. Bioregulatory Medicine encompasses a wide range of natural therapies which it harmonises in such a way as to provide optimum therapeutic output. Read More.
The responsibility of each of us is to listen to our bodies so that we may discover how we best function, which would then introduce us to our specific relationship with nature. Wellness and healing come with the awareness of one's inner state and the outward manifestations of healthy, active, interesting lifestyles.
Angela Burr Madsen, a registered Holistic Health Practitioner and Specialized Kinesiologist, has been at the forefront of Naturopathic and Kinesiology Associations for many years. She has been running her own busy practice in Natural Therapeutics in the State of California for over 30 years now. In 1987, she developed a kinesiological nutritional assessment programme, now known as Polarity Reflex Analysis and Nutritional Assessment (PRANA), which is taught throughout the US and Europe. She is also the founder of Gateways College of Naturopathy. Read More.
Cancer – Friday 13th; One Day in my Life.
Gemma Hoefkens, a school registrar from London, who was diagnosed with cancer at the age of 26, tells us of her fight with cancer and how she was sent home to die by her consultant. Gemma is now a full time practicing homeopath with her own clinic and in this document Gemma gives an insight into how she overcame the tumours she had on her brain using CAM Therapies. Read More.
"There is no doubt in my mind that Classical Homeopathy can work, and work brilliantly. But when it doesn't work and if we're honest, it doesn't work as we would like it to, often enough. Why doesn't it work?" Read more.
Located in North London, Sally Ann Hutcheson runs a busy practice as a homoeopath and naturopath. In addition she is a regular lecturer on homoeopathy and provides training services for practitioners so as to enable them to further develop their professional practices and income potentials.
For further information, please go to www.sallyannhutcheson.co.uk.
Serving our customers with quality products through a network of highly professional CAM Providers continues to be our mission. Our focus is on optimum health maintenance and the attention to sub-clinical and chronic illness where it arises.
As a registered user with the help of CAM Provider you can gain access to additional information on our products.
Thank you for your support and we look forward to being of service in the years ahead.


UEFA Euro 2008 leverer et solidt fodbold spil til Xbox 360. Et af de bedste på markedet.
Win a penalty shootout with England.
Like the Czechs in 1976, beat Germany in a penalty shootout.
Play as Euzebiusz Smolarek of Poland vs Portugal and win.
Score a hat-trick as David Healy of Northern Ireland vs Spain.
Beat any previous winner of Euro on Pro level or above.
Beat all 16 countries that have qualified for UEFA EURO 2008.
Beat Portugal with Greece on Semi-Pro Level or above.
Beat Italy with France on Semi-Pro Level or above.
Beat Czech Republic with Germany on Semi-Pro Level or above.
Beat Germany with Denmark on Semi-Pro Level or above.
Earn the captaincy in a full international in Captain Your Country mode.
Qualify for UEFA EURO 2008 as captain of a country which has never qualified.
Score from a penalty in Captain Your Country.
Score directly from a free-kick in Captain Your Country.
Win the Golden Boot as 2004 winner Milan Baros in Captain Your Country.
Captain and win a match with a 7th seeded country in Captain Your Country.
Qualify for UEFA EURO 2008 in Captain Your Country as a Defender.
Qualify for UEFA EURO 2008 in Captain Your Country as an Attacker.
Qualify for UEFA EURO 2008 in Captain Your Country as a Midfielder.
Get Man of the Match in Captain Your Country.
Get a Pass Completion% of at least 90% in a Captain Your Country Match.
Win UEFA EURO 2008with a team which has never won it before.
Qualify for UEFA EURO 2008 with a team that has never qualified before.
In the UEFA EURO 2008 finals beat the fastest ever goal of 67 seconds.
In UEFA EURO 2008 mode beat the biggest win of Germany 13 San Marino 0.
Score more than the top amount of 10 goals from 2004 in the UEFA EURO 2008 finals.
Win a qualifying match with San Marino on Pro level or above.
Win UEFA EURO 2008as captain of Greece in Captain Your Country.
Play an individual player scenario in Story of Qualifying.
Complete all the objectives in an individual player scenario in Story of Qualifying.
Complete all the objectives in a team scenario in Story of Qualifying.


I am working now on anti-virus solutions for SBS and hope to have that review for next month.
If you are interested in learning more about NT, through an agreement between SVCS and BANTUG you can now attend the BANTUG meetings for free just for being a SVCS Member. So make sure you dues are up to date with SVCS.


Italian pendant chandelier, produced by Veca, circa 1960-1970, comes with three Dual socket covers, surrounded by rectangular panels in smoked glass, affixed to a central frame in polished chrome. Requires six candelabra base bulbs. This light fixture is in very good condition, consistent with age and use, includes original chain and canopy.