text:
\section{Introduction}

Please follow the steps outlined below when submitting your manuscript to
the IEEE Computer Society Press.  This style guide now has several
important modifications (for example, you are no longer warned against the
use of sticky tape to attach your artwork to the paper), so all authors
should read this new version.

\subsection{Language}

All manuscripts must be in English.

\subsection{Dual submission}

Please refer to the author guidelines on the CVPR 2020 web page for a
discussion of the policy on dual submissions.

\subsection{Paper length}
Papers, excluding the references section,
must be no longer than eight pages in length. The references section
will not be included in the page count, and there is no limit on the
length of the references section. For example, a paper of eight pages
with two pages of references would have a total length of 10 pages.
{\bf There will be no extra page charges for CVPR 2020.}

Overlength papers will simply not be reviewed.  This includes papers
where the margins and formatting are deemed to have been significantly
altered from those laid down by this style guide.  Note that this
\LaTeX\ guide already sets figure captions and references in a smaller font.
The reason such papers will not be reviewed is that there is no provision for
supervised revisions of manuscripts.  The reviewing process cannot determine
the suitability of the paper for presentation in eight pages if it is
reviewed in eleven.

\subsection{The ruler}
The \LaTeX\ style defines a printed ruler which should be present in the
version submitted for review.  The ruler is provided in order that
reviewers may comment on particular lines in the paper without
circumlocution.  If you are preparing a document using a non-\LaTeX\
document preparation system, please arrange for an equivalent ruler to
appear on the final output pages.  The presence or absence of the ruler
should not change the appearance of any other content on the page.  The
camera ready copy should not contain a ruler. (\LaTeX\ users may uncomment
the \verb'\cvprfinalcopy' command in the document preamble.)  Reviewers:
note that the ruler measurements do not align well with lines in the paper
--- this turns out to be very difficult to do well when the paper contains
many figures and equations, and, when done, looks ugly.  Just use fractional
references (e.g.\ this line is $095.5$), although in most cases one would
expect that the approximate location will be adequate.

\subsection{Mathematics}

Please number all of your sections and displayed equations.  It is
important for readers to be able to refer to any particular equation.  Just
because you didn't refer to it in the text doesn't mean some future reader
might not need to refer to it.  It is cumbersome to have to use
circumlocutions like ``the equation second from the top of page 3 column
1''.  (Note that the ruler will not be present in the final copy, so is not
an alternative to equation numbers).  All authors will benefit from reading
Mermin's description of how to write mathematics:
\url{http://www.pamitc.org/documents/mermin.pdf}.

\subsection{Blind review}

Many authors misunderstand the concept of anonymizing for blind
review.  Blind review does not mean that one must remove
citations to one's own work---in fact it is often impossible to
review a paper unless the previous citations are known and
available.

Blind review means that you do not use the words ``my'' or ``our''
when citing previous work.  That is all.  (But see below for
techreports.)

Saying ``this builds on the work of Lucy Smith [1]'' does not say
that you are Lucy Smith; it says that you are building on her
work.  If you are Smith and Jones, do not say ``as we show in
[7]'', say ``as Smith and Jones show in [7]'' and at the end of the
paper, include reference 7 as you would any other cited work.

An example of a bad paper just asking to be rejected:
\begin{quote}
\begin{center}
    An analysis of the frobnicatable foo filter.
\end{center}

   In this paper we present a performance analysis of our
   previous paper [1], and show it to be inferior to all
   previously known methods.  Why the previous paper was
   accepted without this analysis is beyond me.

   [1] Removed for blind review
\end{quote}

An example of an acceptable paper:

\begin{quote}
\begin{center}
     An analysis of the frobnicatable foo filter.
\end{center}

   In this paper we present a performance analysis of the
   paper of Smith \etal [1], and show it to be inferior to
   all previously known methods.  Why the previous paper
   was accepted without this analysis is beyond me.

   [1] Smith, L and Jones, C. ``The frobnicatable foo
   filter, a fundamental contribution to human knowledge''.
   Nature 381(12), 1-213.
\end{quote}

If you are making a submission to another conference at the same time,
which covers similar or overlapping material, you may need to refer to that
submission in order to explain the differences, just as you would if you
had previously published related work.  In such cases, include the
anonymized parallel submission~\cite{Authors14} as additional material and
cite it as
\begin{quote}
[1] Authors. ``The frobnicatable foo filter'', F\&G 2014 Submission ID 324,
Supplied as additional material {\tt fg324.pdf}.
\end{quote}

Finally, you may feel you need to tell the reader that more details can be
found elsewhere, and refer them to a technical report.  For conference
submissions, the paper must stand on its own, and not {\em require} the
reviewer to go to a techreport for further details.  Thus, you may say in
the body of the paper ``further details may be found
in~\cite{Authors14b}''.  Then submit the techreport as additional material.
Again, you may not assume the reviewers will read this material.

Sometimes your paper is about a problem which you tested using a tool which
is widely known to be restricted to a single institution.  For example,
let's say it's 1969, you have solved a key problem on the Apollo lander,
and you believe that the CVPR70 audience would like to hear about your
solution.  The work is a development of your celebrated 1968 paper entitled
``Zero-g frobnication: How being the only people in the world with access to
the Apollo lander source code makes us a wow at parties'', by Zeus \etal.

You can handle this paper like any other.  Don't write ``We show how to
improve our previous work [Anonymous, 1968].  This time we tested the
algorithm on a lunar lander [name of lander removed for blind review]''.
That would be silly, and would immediately identify the authors. Instead
write the following:
\begin{quotation}
\noindent
   We describe a system for zero-g frobnication.  This
   system is new because it handles the following cases:
   A, B.  Previous systems [Zeus et al. 1968] didn't
   handle case B properly.  Ours handles it by including
   a foo term in the bar integral.

   ...

   The proposed system was integrated with the Apollo
   lunar lander, and went all the way to the moon, don't
   you know.  It displayed the following behaviours
   which show how well we solved cases A and B: ...
\end{quotation}
As you can see, the above text follows standard scientific convention,
reads better than the first version, and does not explicitly name you as
the authors.  A reviewer might think it likely that the new paper was
written by Zeus \etal, but cannot make any decision based on that guess.
He or she would have to be sure that no other authors could have been
contracted to solve problem B.
\medskip

\noindent
FAQ\medskip\\
{\bf Q:} Are acknowledgements OK?\\
{\bf A:} No.  Leave them for the final copy.\medskip\\
{\bf Q:} How do I cite my results reported in open challenges?
{\bf A:} To conform with the double blind review policy, you can report results of other challenge participants together with your results in your paper. For your results, however, you should not identify yourself and should not mention your participation in the challenge. Instead present your results referring to the method proposed in your paper and draw conclusions based on the experimental comparison to other results.\medskip\\

\begin{figure}[t]
\begin{center}
\fbox{\rule{0pt}{2in} \rule{0.9\linewidth}{0pt}}

\end{center}
   \caption{Example of caption.  It is set in Roman so that mathematics
   (always set in Roman: $B \sin A = A \sin B$) may be included without an
   ugly clash.}
\label{fig:long}
\label{fig:onecol}
\end{figure}

\subsection{Miscellaneous}

\noindent
Compare the following:\\
\begin{tabular}{ll}
 \verb'$conf_a$' &  $conf_a$ \\
 \verb'$\mathit{conf}_a$' & $\mathit{conf}_a$
\end{tabular}\\
See The \TeX book, p165.

The space after \eg, meaning ``for example'', should not be a
sentence-ending space. So \eg is correct, {\em e.g.} is not.  The provided
\verb'\eg' macro takes care of this.

When citing a multi-author paper, you may save space by using ``et alia'',
shortened to ``\etal'' (not ``{\em et.\ al.}'' as ``{\em et}'' is a complete word.)
However, use it only when there are three or more authors.  Thus, the
following is correct: ``
   Frobnication has been trendy lately.
   It was introduced by Alpher~\cite{Alpher02}, and subsequently developed by
   Alpher and Fotheringham-Smythe~\cite{Alpher03}, and Alpher \etal~\cite{Alpher04}.''

This is incorrect: ``... subsequently developed by Alpher \etal~\cite{Alpher03} ...''
because reference~\cite{Alpher03} has just two authors.  If you use the
\verb'\etal' macro provided, then you need not worry about double periods
when used at the end of a sentence as in Alpher \etal.

For this citation style, keep multiple citations in numerical (not
chronological) order, so prefer \cite{Alpher03,Alpher02,Authors14} to
\cite{Alpher02,Alpher03,Authors14}.

\begin{figure*}
\begin{center}
\fbox{\rule{0pt}{2in} \rule{.9\linewidth}{0pt}}
\end{center}
   \caption{Example of a short caption, which should be centered.}
\label{fig:short}
\end{figure*}

\section{Formatting your paper}

All text must be in a two-column format. The total allowable width of the
text area is $6\frac78$ inches (17.5 cm) wide by $8\frac78$ inches (22.54
cm) high. Columns are to be $3\frac14$ inches (8.25 cm) wide, with a
$\frac{5}{16}$ inch (0.8 cm) space between them. The main title (on the
first page) should begin 1.0 inch (2.54 cm) from the top edge of the
page. The second and following pages should begin 1.0 inch (2.54 cm) from
the top edge. On all pages, the bottom margin should be 1-1/8 inches (2.86
cm) from the bottom edge of the page for $8.5 \times 11$-inch paper; for A4
paper, approximately 1-5/8 inches (4.13 cm) from the bottom edge of the
page.

\subsection{Margins and page numbering}

All printed material, including text, illustrations, and charts, must be kept
within a print area 6-7/8 inches (17.5 cm) wide by 8-7/8 inches (22.54 cm)
high.
Page numbers should be in footer with page numbers, centered and .75
inches from the bottom of the page and make it start at the correct page
number rather than the 4321 in the example.  To do this fine the line (around
line 23)
\begin{verbatim}
\setcounter{page}{4321}
\end{verbatim}
where the number 4321 is your assigned starting page.

Make sure the first page is numbered by commenting out the first page being
empty on line 46
\begin{verbatim}
\end{verbatim}

\subsection{Type-style and fonts}

Wherever Times is specified, Times Roman may also be used. If neither is
available on your word processor, please use the font closest in
appearance to Times to which you have access.

MAIN TITLE. Center the title 1-3/8 inches (3.49 cm) from the top edge of
the first page. The title should be in Times 14-point, boldface type.
Capitalize the first letter of nouns, pronouns, verbs, adjectives, and
adverbs; do not capitalize articles, coordinate conjunctions, or
prepositions (unless the title begins with such a word). Leave two blank
lines after the title.

AUTHOR NAME(s) and AFFILIATION(s) are to be centered beneath the title
and printed in Times 12-point, non-boldface type. This information is to
be followed by two blank lines.

The ABSTRACT and MAIN TEXT are to be in a two-column format.

MAIN TEXT. Type main text in 10-point Times, single-spaced. Do NOT use
double-spacing. All paragraphs should be indented 1 pica (approx. 1/6
inch or 0.422 cm). Make sure your text is fully justified---that is,
flush left and flush right. Please do not place any additional blank
lines between paragraphs.

Figure and table captions should be 9-point Roman type as in
Figures~\ref{fig:onecol} and~\ref{fig:short}.  Short captions should be centred.

\noindent Callouts should be 9-point Helvetica, non-boldface type.
Initially capitalize only the first word of section titles and first-,
second-, and third-order headings.

FIRST-ORDER HEADINGS. (For example, {\large \bf 1. Introduction})
should be Times 12-point boldface, initially capitalized, flush left,
with one blank line before, and one blank line after.

SECOND-ORDER HEADINGS. (For example, { \bf 1.1. Database elements})
should be Times 11-point boldface, initially capitalized, flush left,
with one blank line before, and one after. If you require a third-order
heading (we discourage it), use 10-point Times, boldface, initially
capitalized, flush left, preceded by one blank line, followed by a period
and your text on the same line.

\subsection{Footnotes}

Please use footnotes\footnote {This is what a footnote looks like.  It
often distracts the reader from the main flow of the argument.} sparingly.
Indeed, try to avoid footnotes altogether and include necessary peripheral
observations in
the text (within parentheses, if you prefer, as in this sentence).  If you
wish to use a footnote, place it at the bottom of the column on the page on
which it is referenced. Use Times 8-point type, single-spaced.

\subsection{References}

List and number all bibliographical references in 9-point Times,
single-spaced, at the end of your paper. When referenced in the text,
enclose the citation number in square brackets, for
example~\cite{Authors14}.  Where appropriate, include the name(s) of
editors of referenced books.

\begin{table}
\begin{center}
\begin{tabular}{|l|c|}
\hline
Method & Frobnability \\
\hline\hline
Theirs & Frumpy \\
Yours & Frobbly \\
Ours & Makes one's heart Frob\\
\hline
\end{tabular}
\end{center}
\caption{Results.   Ours is better.}
\end{table}

\subsection{Illustrations, graphs, and photographs}

All graphics should be centered.  Please ensure that any point you wish to
make is resolvable in a printed copy of the paper.  Resize fonts in figures
to match the font in the body text, and choose line widths which render
effectively in print.  Many readers (and reviewers), even of an electronic
copy, will choose to print your paper in order to read it.  You cannot
insist that they do otherwise, and therefore must not assume that they can
zoom in to see tiny details on a graphic.

When placing figures in \LaTeX, it's almost always best to use
\verb+\includegraphics+, and to specify the  figure width as a multiple of
the line width as in the example below
{\small\begin{verbatim}
   \usepackage[dvips]{graphicx} ...
   \includegraphics[width=0.8\linewidth]
                   {myfile.eps}
\end{verbatim}
}

\subsection{Color}

Please refer to the author guidelines on the CVPR 2020 web page for a discussion
of the use of color in your document.

\section{Final copy}

You must include your signed IEEE copyright release form when you submit
your finished paper. We MUST have this form before your paper can be
published in the proceedings.

Please direct any questions to the production editor in charge of these
proceedings at the IEEE Computer Society Press:
\url{https://www.computer.org/about/contact}.

{\small
\bibliographystyle{ieee_fullname}

\section{Introduction}

Please follow the steps outlined below when submitting your manuscript to
the IEEE Computer Society Press.  This style guide now has several
important modifications (for example, you are no longer warned against the
use of sticky tape to attach your artwork to the paper), so all authors
should read this new version.

\subsection{Language}

All manuscripts must be in English.

\subsection{Dual submission}

Please refer to the author guidelines on the CVPR 2020 web page for a
discussion of the policy on dual submissions.

\subsection{Paper length}
Papers, excluding the references section,
must be no longer than eight pages in length. The references section
will not be included in the page count, and there is no limit on the
length of the references section. For example, a paper of eight pages
with two pages of references would have a total length of 10 pages.
{\bf There will be no extra page charges for CVPR 2020.}

Overlength papers will simply not be reviewed.  This includes papers
where the margins and formatting are deemed to have been significantly
altered from those laid down by this style guide.  Note that this
\LaTeX\ guide already sets figure captions and references in a smaller font.
The reason such papers will not be reviewed is that there is no provision for
supervised revisions of manuscripts.  The reviewing process cannot determine
the suitability of the paper for presentation in eight pages if it is
reviewed in eleven.

\subsection{The ruler}
The \LaTeX\ style defines a printed ruler which should be present in the
version submitted for review.  The ruler is provided in order that
reviewers may comment on particular lines in the paper without
circumlocution.  If you are preparing a document using a non-\LaTeX\
document preparation system, please arrange for an equivalent ruler to
appear on the final output pages.  The presence or absence of the ruler
should not change the appearance of any other content on the page.  The
camera ready copy should not contain a ruler. (\LaTeX\ users may uncomment
the \verb'\cvprfinalcopy' command in the document preamble.)  Reviewers:
note that the ruler measurements do not align well with lines in the paper
--- this turns out to be very difficult to do well when the paper contains
many figures and equations, and, when done, looks ugly.  Just use fractional
references (e.g.\ this line is $095.5$), although in most cases one would
expect that the approximate location will be adequate.

\subsection{Mathematics}

Please number all of your sections and displayed equations.  It is
important for readers to be able to refer to any particular equation.  Just
because you didn't refer to it in the text doesn't mean some future reader
might not need to refer to it.  It is cumbersome to have to use
circumlocutions like ``the equation second from the top of page 3 column
1''.  (Note that the ruler will not be present in the final copy, so is not
an alternative to equation numbers).  All authors will benefit from reading
Mermin's description of how to write mathematics:
\url{http://www.pamitc.org/documents/mermin.pdf}.

\subsection{Blind review}

Many authors misunderstand the concept of anonymizing for blind
review.  Blind review does not mean that one must remove
citations to one's own work---in fact it is often impossible to
review a paper unless the previous citations are known and
available.

Blind review means that you do not use the words ``my'' or ``our''
when citing previous work.  That is all.  (But see below for
techreports.)

Saying ``this builds on the work of Lucy Smith [1]'' does not say
that you are Lucy Smith; it says that you are building on her
work.  If you are Smith and Jones, do not say ``as we show in
[7]'', say ``as Smith and Jones show in [7]'' and at the end of the
paper, include reference 7 as you would any other cited work.

An example of a bad paper just asking to be rejected:
\begin{quote}
\begin{center}
    An analysis of the frobnicatable foo filter.
\end{center}

   In this paper we present a performance analysis of our
   previous paper [1], and show it to be inferior to all
   previously known methods.  Why the previous paper was
   accepted without this analysis is beyond me.

   [1] Removed for blind review
\end{quote}

An example of an acceptable paper:

\begin{quote}
\begin{center}
     An analysis of the frobnicatable foo filter.
\end{center}

   In this paper we present a performance analysis of the
   paper of Smith \etal [1], and show it to be inferior to
   all previously known methods.  Why the previous paper
   was accepted without this analysis is beyond me.

   [1] Smith, L and Jones, C. ``The frobnicatable foo
   filter, a fundamental contribution to human knowledge''.
   Nature 381(12), 1-213.
\end{quote}

If you are making a submission to another conference at the same time,
which covers similar or overlapping material, you may need to refer to that
submission in order to explain the differences, just as you would if you
had previously published related work.  In such cases, include the
anonymized parallel submission~\cite{Authors14} as additional material and
cite it as
\begin{quote}
[1] Authors. ``The frobnicatable foo filter'', F\&G 2014 Submission ID 324,
Supplied as additional material {\tt fg324.pdf}.
\end{quote}

Finally, you may feel you need to tell the reader that more details can be
found elsewhere, and refer them to a technical report.  For conference
submissions, the paper must stand on its own, and not {\em require} the
reviewer to go to a techreport for further details.  Thus, you may say in
the body of the paper ``further details may be found
in~\cite{Authors14b}''.  Then submit the techreport as additional material.
Again, you may not assume the reviewers will read this material.

Sometimes your paper is about a problem which you tested using a tool which
is widely known to be restricted to a single institution.  For example,
let's say it's 1969, you have solved a key problem on the Apollo lander,
and you believe that the CVPR70 audience would like to hear about your
solution.  The work is a development of your celebrated 1968 paper entitled
``Zero-g frobnication: How being the only people in the world with access to
the Apollo lander source code makes us a wow at parties'', by Zeus \etal.

You can handle this paper like any other.  Don't write ``We show how to
improve our previous work [Anonymous, 1968].  This time we tested the
algorithm on a lunar lander [name of lander removed for blind review]''.
That would be silly, and would immediately identify the authors. Instead
write the following:
\begin{quotation}
\noindent
   We describe a system for zero-g frobnication.  This
   system is new because it handles the following cases:
   A, B.  Previous systems [Zeus et al. 1968] didn't
   handle case B properly.  Ours handles it by including
   a foo term in the bar integral.

   ...

   The proposed system was integrated with the Apollo
   lunar lander, and went all the way to the moon, don't
   you know.  It displayed the following behaviours
   which show how well we solved cases A and B: ...
\end{quotation}
As you can see, the above text follows standard scientific convention,
reads better than the first version, and does not explicitly name you as
the authors.  A reviewer might think it likely that the new paper was
written by Zeus \etal, but cannot make any decision based on that guess.
He or she would have to be sure that no other authors could have been
contracted to solve problem B.
\medskip

\noindent
FAQ\medskip\\
{\bf Q:} Are acknowledgements OK?\\
{\bf A:} No.  Leave them for the final copy.\medskip\\
{\bf Q:} How do I cite my results reported in open challenges?
{\bf A:} To conform with the double blind review policy, you can report results of other challenge participants together with your results in your paper. For your results, however, you should not identify yourself and should not mention your participation in the challenge. Instead present your results referring to the method proposed in your paper and draw conclusions based on the experimental comparison to other results.\medskip\\

\begin{figure}[t]
\begin{center}
\fbox{\rule{0pt}{2in} \rule{0.9\linewidth}{0pt}}

\end{center}
   \caption{Example of caption.  It is set in Roman so that mathematics
   (always set in Roman: $B \sin A = A \sin B$) may be included without an
   ugly clash.}
\label{fig:long}
\label{fig:onecol}
\end{figure}

\subsection{Miscellaneous}

\noindent
Compare the following:\\
\begin{tabular}{ll}
 \verb'$conf_a$' &  $conf_a$ \\
 \verb'$\mathit{conf}_a$' & $\mathit{conf}_a$
\end{tabular}\\
See The \TeX book, p165.

The space after \eg, meaning ``for example'', should not be a
sentence-ending space. So \eg is correct, {\em e.g.} is not.  The provided
\verb'\eg' macro takes care of this.

When citing a multi-author paper, you may save space by using ``et alia'',
shortened to ``\etal'' (not ``{\em et.\ al.}'' as ``{\em et}'' is a complete word.)
However, use it only when there are three or more authors.  Thus, the
following is correct: ``
   Frobnication has been trendy lately.
   It was introduced by Alpher~\cite{Alpher02}, and subsequently developed by
   Alpher and Fotheringham-Smythe~\cite{Alpher03}, and Alpher \etal~\cite{Alpher04}.''

This is incorrect: ``... subsequently developed by Alpher \etal~\cite{Alpher03} ...''
because reference~\cite{Alpher03} has just two authors.  If you use the
\verb'\etal' macro provided, then you need not worry about double periods
when used at the end of a sentence as in Alpher \etal.

For this citation style, keep multiple citations in numerical (not
chronological) order, so prefer \cite{Alpher03,Alpher02,Authors14} to
\cite{Alpher02,Alpher03,Authors14}.

\begin{figure*}
\begin{center}
\fbox{\rule{0pt}{2in} \rule{.9\linewidth}{0pt}}
\end{center}
   \caption{Example of a short caption, which should be centered.}
\label{fig:short}
\end{figure*}

\section{Formatting your paper}

All text must be in a two-column format. The total allowable width of the
text area is $6\frac78$ inches (17.5 cm) wide by $8\frac78$ inches (22.54
cm) high. Columns are to be $3\frac14$ inches (8.25 cm) wide, with a
$\frac{5}{16}$ inch (0.8 cm) space between them. The main title (on the
first page) should begin 1.0 inch (2.54 cm) from the top edge of the
page. The second and following pages should begin 1.0 inch (2.54 cm) from
the top edge. On all pages, the bottom margin should be 1-1/8 inches (2.86
cm) from the bottom edge of the page for $8.5 \times 11$-inch paper; for A4
paper, approximately 1-5/8 inches (4.13 cm) from the bottom edge of the
page.

\subsection{Margins and page numbering}

All printed material, including text, illustrations, and charts, must be kept
within a print area 6-7/8 inches (17.5 cm) wide by 8-7/8 inches (22.54 cm)
high.

\subsection{Type-style and fonts}

Wherever Times is specified, Times Roman may also be used. If neither is
available on your word processor, please use the font closest in
appearance to Times to which you have access.

MAIN TITLE. Center the title 1-3/8 inches (3.49 cm) from the top edge of
the first page. The title should be in Times 14-point, boldface type.
Capitalize the first letter of nouns, pronouns, verbs, adjectives, and
adverbs; do not capitalize articles, coordinate conjunctions, or
prepositions (unless the title begins with such a word). Leave two blank
lines after the title.

AUTHOR NAME(s) and AFFILIATION(s) are to be centered beneath the title
and printed in Times 12-point, non-boldface type. This information is to
be followed by two blank lines.

The ABSTRACT and MAIN TEXT are to be in a two-column format.

MAIN TEXT. Type main text in 10-point Times, single-spaced. Do NOT use
double-spacing. All paragraphs should be indented 1 pica (approx. 1/6
inch or 0.422 cm). Make sure your text is fully justified---that is,
flush left and flush right. Please do not place any additional blank
lines between paragraphs.

Figure and table captions should be 9-point Roman type as in
Figures~\ref{fig:onecol} and~\ref{fig:short}.  Short captions should be centred.

\noindent Callouts should be 9-point Helvetica, non-boldface type.
Initially capitalize only the first word of section titles and first-,
second-, and third-order headings.

FIRST-ORDER HEADINGS. (For example, {\large \bf 1. Introduction})
should be Times 12-point boldface, initially capitalized, flush left,
with one blank line before, and one blank line after.

SECOND-ORDER HEADINGS. (For example, { \bf 1.1. Database elements})
should be Times 11-point boldface, initially capitalized, flush left,
with one blank line before, and one after. If you require a third-order
heading (we discourage it), use 10-point Times, boldface, initially
capitalized, flush left, preceded by one blank line, followed by a period
and your text on the same line.

\subsection{Footnotes}

Please use footnotes\footnote {This is what a footnote looks like.  It
often distracts the reader from the main flow of the argument.} sparingly.
Indeed, try to avoid footnotes altogether and include necessary peripheral
observations in
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\begin{table}
\begin{center}
\begin{tabular}{|l|c|}
\hline
Method & Frobnability \\
\hline\hline
Theirs & Frumpy \\
Yours & Frobbly \\
Ours & Makes one's heart Frob\\
\hline
\end{tabular}
\end{center}
\caption{Results.   Ours is better.}
\end{table}

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\section{Introduction}
The computer vision community has seen immense progress in solving a variety of semantic image understanding tasks, such as classification and segmentation. Typically, a deep convolutional network learns to predict labels from pixels, remaining mostly unaware of the geometric and physical constraints that govern the visual world.

Learning from video streams, as opposed to images, offers temporal coherency as a strong cue that can significantly enhance segmentation. These cues are often utilized \cite{Oh_2019_ICCV} through dedicated network architectures, capable of both segmenting and correlating objects in time.

\begin{figure}[t]
\centering
\includegraphics[width=8.5cm, trim = {0 0 0 1.8in}, clip]{images/model_diagram_edited.pdf}
\caption{\small \label{fig:model} Illustration of the proposed consistency-driven training of the segmentation model.}
\end{figure}

3D Multiview consistency is another cue, shown \cite{guerry2017snapnet, Ma2017MultiviewDL} to improve semantic segmentation, both as an additional supervision signal to train a single-frame segmenter, and as an additional signal at multi-frame inference time. However, these methods generally require RGBD inputs.

Recent advances in unsupervised depth and egomotion estimation can bring together temporal continuity and multiview consistency as supervision signals for improving segmentation models. A depth prediction model can transform video sequences to RGBD sequences, correspondences between pixels in neighboring frames can be established, and consistency in segmentation mask across corresponding pixels can be used as a supervision signal. Together with the recently-demonstrated \cite{Gordon_2019_ICCV} ability to learn the camera intrinsics from unlabeled videos, depth and egomotion prediction networks facilitate adapting techniques that were previously reserved to RGBD input to general unlabeled video.

In this work, we demonstrate the effectiveness of 4D consistency constraints (that is, 3D multiview consistency alongside with temporal continuity) in providing an additional supervision signal for a semantic segmentation task. The latter is trained in a semi-supervised manner, that is, with only a small fraction of the segmentation labels used, whereas the depth, motion and intrinsics models needed for asserting the 4D consistency are trained fully unsupervised. By only using previously-published off-the-shelf networks, we demonstrate that our approach does not require any network architecture tuning, lending itself to future improvements by upgrading the respective models as they become available. The focus of our study can be summarized in three questions:
\begin{enumerate}[noitemsep,topsep=0pt,leftmargin=*]

    \item{How to construct a training objective that enforces spatio-temporal consistency?}

    \item How much improvement can the spatio-temporal (4D) consistency constraints provide when training a single-image semantic segmentation model?

    \item{How many labels can the consistency constraints replace?}
\end{enumerate}
The study is performed on the ScanNet \cite{dai2017scannet} dataset.

\section{Related Work}
The advantages of learning geometric and semantic tasks jointly have been long recognized \cite{eigen2015predicting, standley2019tasks, zou2018df}. Eigen and Fergus \cite{eigen2015predicting} are among the first to exploit relations between geometry and semantics by learning them jointly. Their work provides empirical evidence for performance improvement when optimizing depth and semantics jointly. Right-left geometric consistency has been used to improve semantic segmentation in a stereo setting \cite{chen2019towards, jiang2019sense}. Optical flow has been used to improve the temporal consistency of segmentation masks \cite{hur2016joint,nilsson2018semantic}. To the best of our knowledge, this work is the first attempt at improving single-image segmentation by employing spatio-temporal consistency using unsupervised depth, egomotion, and camera intrinsics estimates learned from videos.

\section{Method}\label{sec:consistency_losses}
In this section we discuss the formulation of consistency losses that are based on the idea of self-supervision and the design does not assume access to any task specific supervision. We start with a pair of consecutive images from a video, $\im{I}{t}$ and $\im{I}{t+1}$. We have access to the models for depth estimation, camera motion estimation, and semantic segmentation: $\Delta(\makebox[1ex]{\textbf{$\cdot$}})$, $\Omega(\makebox[1ex]{\textbf{$\cdot$}}, \makebox[1ex]{\textbf{$\cdot$}})$, and $\Sigma(\makebox[1ex]{\textbf{$\cdot$}})$ respectively. We first estimate the depth $d_t=\Delta(\im{I}{t})$ and the camera motion, i.e., 3D rotation and translation, $M_{t,t+1} = \Omega(\im{I}{t}, \im{I}{t+1})$. Simultaneously, the segmentation model generates the logits masks, $L_t = \Sigma(\im{I}{t})$ and $L_{t+1} = \Sigma(\im{I}{t+1})$. Using the depth and motion estimates we have a differentiable warping function, $\omega(\makebox[1ex]{\textbf{$\cdot$}}, \makebox[1ex]{\textbf{$\cdot$}}, \makebox[1ex]{\textbf{$\cdot$}})$ that gives us an estimated transformation function from $\im{I}{t}$ to $\im{I}{t+1}$. We thus have an additional estimate for the logits mask $\hat{L}_{t+1} = \omega(L_t, d_t, M_{t, t+1})$. An overview of the proposed method is presented in fig.~\ref{fig:model}.

Now, we employ consistency between the propagated logits mask, $\hat{L}_{t+1}$, and the predicted logits mask, $L_{t+1}$. Note that the proposed loss formulation will hold for the backward consistency constraint between $\hat{L}_{t}$ and $L_t$ as well, where $\hat{L}_{t} = \omega(l_{t+1}, d_{t+1}, M_{t+1, t})$.
\begin{align}
\label{eq:l1_loss}
\ell_{L1} = \sum_{x,c}W(x, c)||\hat{L}_{t+1}(x, c) - L_{t+1}(x, c)||_1
\end{align}
where $x$ is the pixel index in 2D space, $c$ is the class index, $W(\makebox[1ex]{\textbf{$\cdot$}}, \makebox[1ex]{\textbf{$\cdot$}})$ is the normalized weight for the L1 difference as a function of pixel location and class label. We use a combination of 3 different formulations of the weighing function with the respective weights as 0.2, 0.4, and 0.4.
\begin{enumerate}[noitemsep,topsep=0pt,leftmargin=*]
    \item {Uniform}: Mean of the difference, where $W(x, c)$ is constant across both pixel and class indices in the mask.
    \item Label prior: Uniform averaging fails to differentiate between the classes that actually appear in the image from those that don't, whereas it is more reasonable to have a higher penalty for the inconsistencies in the former. Since we do not have the groundtruth labels we use $\hat{y}_{t+1}$ as a belief for the same and set $W(x, \makebox[1ex]{\textbf{$\cdot$}}) = \mathbbm{1}_{\hat{y}_{t+1}(x)}$, where $\mathbbm{1}_{\hat{y}_{t+1}(x)}$ is a one-hot vector of the length same as the number of classes with 1 at index $\hat{y}_{t+1}(x)$, and $\hat{y}_{t+1} = \text{argmax} (L_{t+1})$ along the class index axis.
    \item Pixel prior: Here, the weight is constant across different classes while the inconsistencies for edge pixels are penalized more than the others. Here, $W(\makebox[1ex]{\textbf{$\cdot$}}, c) = E(\im{I}{t+1}) \text{ }\forall\text{ }c$, where $E(\im{I}{t+1})$ is the two-dimensional edge detector output for the image, with one for pixel locations corresponding to the edges.
\end{enumerate}

\section{Experiments}
\subsection{Models} All models trained in our experiments -- depth prediction, egomotion prediction, and semantic segmentation -- were taken from other publications, using their respective open-sourced code, along with their tuned optimization hyperparameter settings. This choice allows gauging the quality improvements associated with imposing consistency constraints, as opposed to architectural improvements. By applying the consistency constraints in an architecture-agnostic manner, we leave an open route to further improvements, by simply replacing the comprising models by better ones, as they become available in the literature. For semantic segmentation we use the NAS-FPN \cite{ghiasi2019fpn} as the backbone architecture with the segmentation classifier design as proposed by Kirillov et al. \cite{kirillov2019panoptic}. For the prediction of depth, egomotion, and camera intrinsics we use the models from Ref.~\cite{Gordon_2019_ICCV}. Both the off-the-shelf models we use are recently proposed, strong models attaining the state of the art performance in the respective tasks.

\subsection{Dataset}
We use ScanNet \cite{dai2017scannet}, a dataset of indoor RGB-D video sequences. It consists of 2.5M views across 1500 scans. All the frames in a video sequence are labeled for semantic segmentation masks across 21 classes including a background class. The annotations were obtained by rendering the 3D scans from the sequence of 2D images to get 1500 3D scans. These 3D scans were then manually annotated for segmentation and were projected back to 2D. This is a good dataset for the proof of concept evaluation of our method as it gives a handle to freely control the available supervision to create an artificial limited supervision setting.

\subsection{Key Results}
\begin{table}
\small
\begin{center}
\begin{tabular}{|l||c|c|c|c|c|c|}
\hline
\% supervision & 0.1 & 0.2 & 0.5 & 1 & 2 & 4 \\
\hline
Baseline & 39.8 & 43.2 & 47.0 & 49.0 & 49.1 & 51.1 \\ \hline
With consistency & 43.3 & 46.1 & 49.4 & 49.3 & 51.1 & 51.1 \\ \hline
\end{tabular}
\end{center}
\caption{\small \label{table:results} Mean intersection over union (MIOU) scores (\%) for semantic segmentation on ScanNet validation set, for models trained with varied fraction of the labels (\% supervision), with and without spatio-temporal consistency. No improvement in the MIOU was observed above 4\% supervision due to the strong correlations between the ScanNet images.}
\vspace{2mm}
\end{table}
The effect of spatio-temporal consistency on the segmentation performance is summarized in Table \ref{table:results}. The fraction of labels used for training is varied from 0.1\% to 4\%, where the rest of the images were stripped of their labels and only used for imposing spatio-temporal consistency. At or above 4\% supervision, we observe a mean intersection over union (MIOU) of 51.1\%\footnote{This number is in the ballpark of prior RGB-only segmentation benchmarks of MIOU=50.3\% \cite{valada2019self}, however the numbers are not directly comparable since our results were evaluated on the validation set rather than the test set, and because different subsets of the training set were used.}. For each case, the supervised baseline model is obtained by training the single-image segmentation model on the respective labeled data. The MIOU of the resulting baseline model is summarized in the second row of Table~\ref{table:results}. Depth, egomotion, and camera instrinsics models were trained separately, unsupervised, on the entire ScanNet training dataset. Then the consistency loss in Eq.~\ref{eq:l1_loss} was switched on as an additional supervision signal for the segmentation model, and the latter continued to train, achieving the MIOU values summarized in the third row of Table~\ref{table:results}. We notice that the proposed approach gives consistent improvements across the range of supervision. Higher relative improvements are observed at lower supervision.

Additionally, it is meaningful to analyze the effect of consistency as an alternative to direct supervision. Indeed, supervision obtained through consistency constraints can mimic an increase in the number of labels by up to a factor of \textit{four}: The baseline MIOU at 2\% supervision (49.1\%) matches the MIOU with \textit{only quarter} as much labeled data (49.4\%) with the proposed approach.

\subsection{Effect on the Rare Labels}
\begin{figure}[t]
\centering
\includegraphics[width=8cm, trim = {0.1in 0in 0.08in 0in}, clip]{images/results_freq.pdf}
\caption{\small Relative improvement in the class-wise MIOU score as a function of the class frequency in the labeled data.}
\label{fig:freq_plot}
\centering
\vspace{3mm}
\includegraphics[width=8.5cm, trim = {0.15in 2.2in 2.5in 0}, clip]{images/qualitative_analysis.pdf}
\caption{\small \label{fig:qualitative}Qualitative comparison of the 4\% baseline with the proposed approach trained on 0.1\% supervision. Rare labels ``door" (top) and ``picture" (bottom) are successfully identified by the proposed approach.}
\vspace{3mm}
\end{figure}

Fig.~\ref{fig:freq_plot} presents the relative improvement in per-class MIOU for the 0.1\% baseline when trained with the proposed consistency constraints. We observe that the relative improvement in the MIOU tends to be the highest for the rarest labels, especially those that are only 5\% frequent or lesser. The spatio-temporal consistency constraints effectively augment the training labels to include more instances of each label. This naturally leads to improved performance for especially less frequent labels.

Fig.~\ref{fig:qualitative} demonstrates two such examples where the best baseline fails to identify masks for rare labels, ``door" and ``picture", whereas the proposed consistency-based approach trained with \textit{40 times less direct supervision} is able to accurately label the corresponding pixels. The examples also show that the predictions for the proposed model are smoother across pixels corresponding to a particular object with hardly any fragmentation artifacts.

\subsection{Ablation Study of consistency constraints}
Table~\ref{table:ablation} presents the individual contribution of different components of the consistency loss across rows 2 to 5. We can see that each loss components helps individually while the combination of the three performs the best. Additionally the last two rows of the table are added for reference where the logits are used to generate the pseudo labels. These pseudo labels are then used to train the warped logits using the cross-entropy loss $\ell_{CE} = CE(\hat{L}_{t+1}, \hat{y}_{t+1})$. We see that this straight-forward approach based on the hard decision on predictions is not nearly as good as the proposed averaging method to impose the consistency.
\begin{table}
\small
\begin{center}
\begin{tabular}{|c|c|c||c||c|}
\hline
Uniform & Label Prior & Pixel Prior & $\ell_{CE}$& MIOU \\
\hline\hline
\multicolumn{4}{|c|}{baseline} & 39.8 \\ \hline
\checkmark &  &  &  & 41.7 \\ \hline
 & \checkmark &  &  & 41.3 \\ \hline
& & \checkmark  &  & 41.8 \\ \hline
\checkmark & \checkmark & \checkmark &  & {\bf 43.3} \\ \hline \hline
 &  &  & \checkmark & 41.4 \\ \hline
\checkmark & \checkmark & \checkmark & \checkmark & 42.0 \\ \hline
\end{tabular}
\end{center}
\caption{\small \label{table:ablation}Effect of different consistency losses (detailed in Sec.~\ref{sec:consistency_losses}) on the segmentation performance.}
\end{table}

In all the experiments above, the depth, egomotion, and camera intrinsics models supervised the segmentation model via spatio-temporal consistency losses, but not the other way around. Allowing the segmentation model to supervise the other models resulted in no significant improvement in the depth estimation error. While such improvements were observed in prior work \cite{Gordon_2019_ICCV}, they were attributed to the ability of segmentation to identify moving objects. This ability is irrelevant to ScanNet's static scenes.
The analyses and the ablation studies presented in this section were done on the 0.1\% supervision case.

\section{Conclusion}
In this work, we used models predicting depth, egomotion, and camera intrinsics, to provide additional supervision to a semantic segmentation model through spatio-temporal consistency constraints. The latter were shown to reduce the need for direct supervision by a factor of up to four. Enhancement in semantic segmentation performance was observed, especially for the less frequent labels. All models were adopted from prior publications, through our approach that is network-architecture-agnostic.

The method proposed in this work can be readily extended to dynamic scenes. Rather than only estimating camera motion, dynamic scenes require the estimation of 3D object motion relative to the scene. It has been previously shown \cite{Gordon_2019_ICCV} that segmentation can provide a regularization for 3D motion estimation. The consistency losses developed in this study can provide supervision from the depth and motion model to the segmentation model, closing the loop on the three models, depth, 3D motion and segmentation, peer-supervising each other.

{\small
\bibliographystyle{ieee_fullname}

redpajama_set_name: RedPajamaArXiv


text:
Books On Books Collection – Béatrice Coron
Much has been written on Béatrice Coron's works — including "Machines", the commissioned work below. Her interviews with Helen Hiebert and Steve Miller are excellent accompaniment to her pieces with TED.
Machines: Poem by Michael Donaghy (2017)
Leporello pop-up, enclosed in box with closure of small gear and black thread. Box: H205 x W162 x D27 mm. Leporello: H195 x W143 mm (closed), W1125 (open). Edition of 3, of which this is #1. Acquired from the artist, 31 July 2017. Photos: Books On Books Collection. With permission of the artist. "Machines" © Michael Donaghy Estate.
For more on "Machines" in the Books On Books Collection, click on the link.
Further Reading/Viewing
Carter, David A. and Diaz, James, The Elements of Pop-Up, A Pop-Up Book for Aspiring Paper Engineers (New York: Little Simon, 1999).
Coron, Béatrice. "Stories Cut from Paper", TED Talk, March 2011.
Coron, Béatrice. Interview with Steve Miller, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, September 2011.
Coron, Béatrice. Interview with Helen Hiebert, Paper Talk Podcast, 22 August 2020.
May, Kate Torgovnick, "Daily Battles, cut from paper, animated in 3D", TED blog, 26 November 2013.
Wallace, Elaine. Masters: Book Arts: Major Works by Leading Artists (New York: Lark, 2011).
Book Art/Book ArtsBéatrice Coron, Helen Hiebert, Michael Donaghy, Steve Miller
Books On Books Collection – "Machines" by Michael Donaghy and Two Artists' Books
Michael Donaghy (1954-2004) was something of a throwback to the Metaphysical Poets of the seventeenth century. Their love poetry excelled at extended metaphors designed to touch the heart and mind. "Machines" illustrates this best among his poems. It is worth a listen.
For Barbara Tetenbaum, intense listening to works of literature has provided a rich source of artwork. Her Mining My Ántonia (2012) is based on hours in a gallery at Reed College listening to a recorded reading of Willa Cather's novel. Here is how she describes the artist's book:
It features five automatic drawings made while listening to the novel, printed as etchings. A cloth-bound book of handset letterpress-printed excerpts accompanies this. A large fold-out map of how I see the novel, printed as a large etching with letterpress text, is housed inside the book along with one piece of text from the original Reed College installation.
Framed copy of the large fold-out map included in Mining My Ántonia (2012). Photos: Books On Books Collection. With permission of the artist.
Decades earlier while working with Ron King, founder of Circle Press, Tetenbaum was engaged in a 10-year body of work of "marks on pages, marks as diary entries, marks as keeping time, marks as recording lived experience". That work foreshadowed Mining My Ántonia — as did the result of meeting Michael Donaghy and his wife Maddy Paxman in 1986. That same year, when King and his wife left for an extended vacation in Eygpt, he gave Tetenbaum free rein to make any chapbook she wanted while he was away. She naturally turned to Donaghy's melodic poetry to find the right one to react to with typesetting, paper choice, printing, binding and her own artwork — not to illustrate the poem but rather to create a companion experience for the reader.
The first of that companion experience comes from the warmth of the cover's color, texture and weight.
Machines: A Poem by Michael Donaghy (1986)
Designed and printed by Barbara Tetenbaum at Circle Press, Guildford. Handset 14 pt Optima printed on rag paper, artwork printed on Himalayan mitsumata paper. Edition of 75, of which this is #72. Acquired from Circle Press, 22 June 2015. Photos: Books On Books Collection. With permission of Maddy Paxman and the artist. "Machines" © Michael Donaghy Estate.
The cover is actually a large single deckle-edged sheet, trimmed at top and bottom then folded to quarters.
In addition to strengthening the cover, the folding protects the three-point single-thread binding that attaches two sheets of rag paper and one sheet of mitsumata paper to the cover.
Structurally the pages have a subtle imbalance. The first sheet of rag, bearing the title and colophon, folds to two slightly unequal panels. The title page is wider than the colophon page.
The second sheet folds to three unequal panels, the last bearing the dedication to Maddy Paxman on one side and the poem itself on the reverse. In a gestural embrace, the panels fold to envelop the sheet of mitsumata paper on which Tetenbaum's marks appear.
Also folded in "slightly off" thirds, the soft translucent mitsumata has an additional subtle imbalance. Unfolded for "reading", the panels show a steady increase in the number of marks from left to right. Oddly though, the first and third panels show vertical marks, while the second's are horizontal and printed on the other side of the sheet.
With permission of Maddy Paxman and the artist. "Machines" © Michael Donaghy Estate.
What is going on? The answer begins to appear from the view of the triptych of marks alongside the poem and its music. The columns of marks move left to right and down like the lines of verse. Taken together, the four panels achieve a forward-moving balance: vertical-horizontal-vertical- horizontal. Like a bicycle ride, the poem and marks start slowly, then move forward picking up speed — a natural outcome of a performative response to Donaghy's poem.
But then, this is a view the artist did not fully intend. She writes, "The folding in the book was in part to allow the reader to have access to the poem without the intrusion of the visuals". Listen though to Donaghy as he speaks the poem, which at the end appositely replies to the artist's intention: "So much is chance, So much agility, desire and feverish care, As bicyclists and harpsichordists prove Who only by moving can balance Only by balancing move". The same for the book artist. The varying folds and contrasting papers envelop, separate and blend art and text. Just as the asemic pulsing marks contrast with and mirror the rhythmic, rhyming text.
Before going on to the next artist, it is worth a short online detour for background on the mitsumata paper that Tetenbaum chose. The paper is handmade from the inner bark (or bast fibre) of a plant called mitsumata (argeli in Sikkim, India). A sustainable and renewable resource, the plants are cropped above ground level and reharvested after 3-4 years. Argeli's scientific name is Edgeworthia gardneri, in honour of Michael Pakenham Edgeworth, botanist and civil servant in India, and for his half-sister, writer Maria Edgeworth. So much is colonial science, so much is literary chance.
Mitsumata paper is made with the Japanese nagashizuki dipping and layering method of papermaking. From "Mountain Plants to Paper: A Sikkim Story", documentary by Jaya Jaitly, Dastkari Haat Samiti, n.d. Accessed 25 September 2020.
Béatrice Coron has dived into the mechanical and musical metaphors of the poem and emerged with a knife-cut leporello pop-up incorporating text, images and metal gears.
Leporello pop-up, enclosed in box with closure of small gear and black thread. Box: H205 x W162 x D27 mm. Leporello: H195 x W143 mm (closed), W1125 (open). Acquired from the artist, 31 July 2017. Photos: Books On Books Collection. With permission of the artist. "Machines" © Michael Donaghy Estate.
The black thread unwinds from the sprocket on the fore edge of the box, and the box opens to a pastedown title page sprinkled with drops of solder. The enclosed leporello unfolds to a tour de force of paper engineering.
First photo: Books On Books. Second photo: Etienne Frossard. With permission of Maddy Paxman and the artist. "Machines" © Michael Donaghy Estate.
The first double-panel spread presents a centered fanfolded pop-up, whose slits and folds across the crease deliver a stroboscopic effect. Or that of a speaker vibrating with music. The words of the first stanza bracket the pop-up like parentheses representing motion or sound.
Photos: Books On Books. With permission of Maddy Paxman and the artist. "Machines" © Michael Donaghy Estate.
For the next double-panel spread, Coron takes the first line of the poem's second stanza — "The machinery of grace is always simple" — and centers it appropriately at the top. The lines expanding on that statement are cut just below the teeth and into the circumference of interlocking gears. Along with their struts, rims and teeth, these gears are the only remains of this section of paper. Despite all that air and the weight of the small metallic flywheels and gears centered in the cutouts, the double-panel spread balances gracefully.
The floating layer technique is used for the third double-panel spread. The whole note (or circle) in the center hovers over the musical staves by virtue of hinged multi-tier paper supports. The words appearing between the staves and inside the whole notes (or rests?) take in all of the third stanza and first line of the fourth.
The remaining lines of the poems are cut above, below and into two interlinked spiral pop-ups. Normally a spiral is cut from a circle on one page, and one end of it is attached to the facing page. Here, with this variant on the technique, Coron give us the two bicycle wheels linked by a chain, or perhaps two treble clefs fallen over.
Coron's and Tetenbaum's palettes reflect the rich diversity of book art. With a few elements in common from the book arts, these two very different works, engaging the same poem, speak to the eclecticism of the Books On Books Collection and some of its underlying themes. One is the meaningful materiality of book art as well as its haptic pleasure — be it in the structure, paper, the type or lettering or marking, the colors, the balance of image and text, or that of shape and space.
The second is a particular kind of engagement with literature. Not all of the book art in the collection engages with literature, but that which does performs a sort of inverse ekphrasis, where the poem engenders the work of art. So distinctively different in their responses, the two works show that, even within that underlying theme, eclecticism seems inevitable.
And finally, the last of the three is chance. As noted, the poem itself addresses the role of chance in the "gadgetry of love" and creativity. But what of this then? When Donaghy reviewed the proofs of Tetenbaum's typesetting, he called out the presence of one extra word that threw off the meter. The type had to be reset. When Coron's rendering was opened and inspected, the collector called out the absence of one word. The leporello had to return for recutting. Mirrored typos thirty-one years apart — now there's chance.
Further Reading and Listening
Donaghy, Michael. Collected Poems (London: Macmillan, 2014).
Ferguson, Margaret W.; Mary Jo Salter; Jon Stallworthy (eds.). The Norton Anthology of Poetry (New York: W.W. Norton, 2005).
Paterson, Don. Smith : a reader's guide to the poetry of Michael Donaghy (London: Picador, 2014).
Tetenbaum, Barbara. Interview with Claudia Hamilton, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, 13 January 2006.
Tetenbaum, Barbara. Interview with Sarah Lange, University of Wisconsin-Madison Book Arts: Oral History, 18 June 2018.
Tetenbaum, Barbara. Correspondence with Books On Books. 22 September 2020.
Book Art/Book ArtsBarbara Tetenbaum, Béatrice Coron, Circle Press, Michael Donaghy, Ron King, Willa Cather
Books On Books Collection – Jenny Smith
2017/07/31 2020/05/12 Books On BooksLeave a comment
Matte-beige slot-and-tab case containing eight-panel leporello, four panels lasercut and three screenprint. Case: 167 x 167 mm; Book: 165 x 165 mm.
Edition of 25 of which this is #21. Acquired from the artist, 31 July 2017. Photo: Courtesy of the artist.
Photos: Books On Books Collection.
This portable sculpture echoes the tradition of Bruno Munari and Eleonora Cumer. The handling of ink from matte gray to silver to reflective black plays beautifully behind the vertical and
Book of Beads (2008)
Case of beige matte-finish, screenprint black interior, title lasercut: 165 x 165 mm;
Book in accordion-fold, eight panels lasercut, taupe on one side, screenprint black on other, 160 x 160 mm
The interlocking views of panels through panels foreshadow a work by Katumi Komagata:「Ichigu」(2015). The fine tendrils in the cutting may remind some of works by Béatrice Coron or Merrill Shatzman.
Matte-black slot-and-tab case containing matte-black single fold booklet; cover engraved with an abstract, calligraphic design that is cut out inside on the pop-up page and reappears in shadow against a gloss black screenprint insert behind the pop-up page.
Case: 167 x 167 mm; Book: 160 x 160 mm; Pop-up page: H140 x W150 mm.
Edition of 20, of which this is #14. Acquired from the artist, 31 July 2017. Photo: Courtesy of the artist.
Little Black Book exemplifies Smith's exploration of writing as a form of drawing, which also often finds expression in site-specific work such as What is the most important decision you have made? (2013) in Cupar, Fife, Scotland, and What is Shadow? and What is Freedom? (2016) in the same vicinity.
The grassy nature of the 2013 installation and its engagement with children may remind the reader/viewer of Water on the Border (1994) by Helen Douglas and Telfer Stokes. For some, the interaction of cage and words in the 2016 installation may recall Bird Language (2003) by Xu Bing.
"Medicinal Art", Studio Pavilion, 19 September 2019. Accessed 2 May 2020.
Blakeley, Deborah. "Jenny Smith, Edinburgh, Scotland", Zone One Arts, 1 November 2015. Accessed 2 May 2020.
Book Art/Book ArtsBéatrice Coron, Bruno Munari, Eleonora Cumer, Helen Douglas, Jenny Smith, Katsumi Komagata, Merrill Shatzman, Telfer Stokes, Xu Bing

redpajama_set_name: RedPajamaCommonCrawl


How to Configure Start and Stop buttons invisible for Operator on the faceplate and rest user members can See.
You can have the buttons enable/disable for different users but you can't have them invisible.
Can you tell me how to Enable and Disable buttons for different users .
You have to set permission for the variable which is connected to the button. Open the control module in Editor, go to Tools/Edit Permissions, look for the variable and choose a appropriate Write permission (for ex. Administrate, operators doesn't have Administrate right).
You can use Security Definition aspect to Allow/Deny rights for a specific user.
If an expression returns "0" or False, the button is disabled. If an expression returns "1" or True, the button is enabled (for stating the obvious).
I do not think this will help you design an expression to hide the button based on the current user - I believe that these expressions cannot read property attributes (happy to be corrected).
It might still be handy to know that returned value of "2" makes the button invisible.


text:
package org.openspaces.admin.space.events;

import com.gigaspaces.cluster.activeelection.SpaceMode;
import org.openspaces.admin.space.SpaceInstance;

/**
 * An event indicating that a {@link org.openspaces.admin.space.SpaceInstance} mode was changed (for example,
 * form primary to backup).
 *
 * @author kimchy
 * @see org.openspaces.admin.space.SpaceInstance#getSpaceModeChanged()
 * @see org.openspaces.admin.space.Space#getSpaceModeChanged()
 */
public class SpaceModeChangedEvent {

    private final SpaceInstance spaceInstance;

    private final SpaceMode previousSpaceMode;

    private final SpaceMode newSpaceMode;

    public SpaceModeChangedEvent(SpaceInstance spaceInstance, SpaceMode previousSpaceMode, SpaceMode newSpaceMode) {
        this.spaceInstance = spaceInstance;
        this.previousSpaceMode = previousSpaceMode;
        this.newSpaceMode = newSpaceMode;
    }

    /**
     * Returns the Space Instance that space mode changed for.
     */
    public SpaceInstance getSpaceInstance() {
        return spaceInstance;
    }

    /**
     * Returns the previous space mode.
     */
    public SpaceMode getPreviousMode() {
        return previousSpaceMode;
    }

    /**
     * Returns the new space mode.
     */
    public SpaceMode getNewMode() {
        return newSpaceMode;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Read The Last Flight Online
Authors: Julie Clark
The Last Flight (8 page)
Eva had always been a survivor. But it was easy to be fearless when you'd already lost everything. "Tell me what I have to do."
Dex's voice pulled her back to the present. "A bunch of us are going into the city tonight to hear this new band, Arena, play. Come with us."
Eva shot him a sideways glance. "Pass."
"Come on, it'll be fun. I'll buy you Diet Cokes all night long. You need to get out more."
She studied the way his stubble was beginning to turn gray near his jawline. The way the ends of his hair curled up near his collar. She sometimes had to remind herself that Dex was her handler, not her friend. This was his attempt to keep an eye on her, not give her a fun night out. "I get out plenty," she said.
"Really?" he pressed. "When? With who?"
"Whom," she corrected.
Dex gave a soft chuckle. "Don't distract me with a grammar lesson, Professor." He nudged her arm. "You need a social life. You've been doing this long enough to know that you don't have to hide from the world. You're allowed to have friends."
Eva watched a mother sitting under a tree with her son, reading a book. "I'd spend all my time trying to hide things from them. Trust me. This is easier."
But it was also what she preferred. She never had to explain anything, or answer the get-to-know-you questions that people always asked.
Where did you grow up? Where did you go to college? What do you do now?
"Is it easier, though?" Dex didn't look convinced. "What's that saying about work?"
"I never met a dollar I didn't like?"
Dex grinned. "No, the one about all work and no play."
"All work and no play makes Eva a rich girl," she finished. When he didn't laugh, she said, "Thanks for worrying about me. But really, I'm fine." She pulled her coat tighter. "Now, if you'll excuse me, I'm meeting that new client in a half hour, and then I'm working a shift at the restaurant."
For years, Eva had worked two shifts a week at DuPree's, an upscale steak and seafood restaurant in downtown Berkeley. The tips were great, and it allowed Eva to pay taxes, which kept her off the IRS's radar.
"I don't know why you bother with the charade," Dex said. "You don't need the money."
"The devil is in the details." Eva rose from the bench. "Have fun tonight. Don't do any drugs."
As she walked away, Eva glanced again at the playground. A small girl was standing at the top of the slide, frozen, fear plastered across her face. As tears began to fall, her cry grew into a loud wail that sent her mother running to help her. Eva watched the woman lift the little girl from the slide and carry her back to the bench where she'd been sitting, kissing the top of her daughter's head as she walked.
The girl's cries echoed in Eva's mind long after she closed her car door and drove away.
I wake early and let my body and mind adjust to my new surroundings. My first full day of freedom. My head feels foggy, desperate for caffeine. But when I rummage around in Eva's kitchen, I can't find a coffee maker or coffee of any kind, and Diet Coke is not going to cut it. My stomach gurgles, reminding me I also need more than just crackers to eat, so I go upstairs to use the bathroom and grab Eva's purse, again tucking my hair under the NYU baseball cap.
Back downstairs, I stand in front of the mirror that hangs on the living room wall, my reflection staring back at me, blotched from a restless night of sleep. I'm still too much myself, recognizable to anyone who might be looking for me.
But no one is looking
. The thought slices through me, a brilliant flash of opportunity, impossible to ignore.
The street is dark and silent, the sound of my steps bouncing against the dark houses and echoing back to me, until I hit the edge of campus. On the corner is a coffee shop, lights on, a young woman moving behind the counter, making coffee and setting pastries into the display case. I watch her from the safety of the shadowed sidewalk, weighing my need for caffeine and food against the risk of someone recognizing my face from the news.
But my stomach growls again, pushing me through the doors. Eclectic music swirls around the space, something Eastern and meditative. The smell of roasted coffee travels straight through me, and I inhale, savoring it.
"Morning," the barista says. Her long dreadlocks are held back with a colorful scarf, and her smile is bright. "What can I get you?"
"Large drip coffee, room for cream, and a ham and cheese croissant if you have one. To go please."
As she begins making my drink, I look around. Outlets dot the walls, and I imagine the place later in the morning, crowded with students studying and professors grading. As the barista finishes up my order, my eyes are drawn toward a stack of newspapers.
Oakland Tribune
. The headlines are hard to avoid.
"The Fate of Flight 477" reads the
"Crash of Flight 477 Leaves No Survivors and a Lot of Heartache" reads the
Luckily, the editors have decided to go with action shots of the wreckage and not human-interest stories that would surely put my face on the front page. I hesitate for a split second, before sliding them both on the counter along with a twenty-dollar bill.
The barista sets my drink and a bag with my croissant next to them and hands me my change. "Sad, isn't it?"
I nod, unable to meet her eyes from under the brim of my cap, and shove the change in my pocket. Tucking the papers beneath my arm, I push out onto the dark street again.
I cross the empty road and follow a sidewalk that leads me into the center of campus. Beautiful redwoods tower over me, the sidewalk dotted with lamps still illuminated, casting pools of light beneath them. I follow a path through a thick stand of trees and emerge onto a wide expanse of grass leading down toward an enormous stone building. I settle on a bench and sip my coffee, letting it heat me from inside out. The place is deserted, though in a few hours it will probably be crowded with students, making their way across campus to morning classes or study halls. I open the bag and take a bite of my croissant, my mouth aching from the rich flavors. It's been nearly twenty-four hours since I've had anything substantive to eat, and it's been years since I've had anything as heavy as a ham and cheese croissant. I finish it quickly, then crumple the bag in my fist.
The birds in the trees around me begin to wake up, soft at first, but growing louder as light creeps over the hills to the east. Behind me, a street cleaner makes its way up the empty road, while overhead, a plane flies, its lights blinking. I think about the people on board, no different than the ones on Flight 477, who got on a plane thinking they'd get off at their destination, a little tired, a little wrinkled, but no different than taking the subway from point A to point B, trusting they'll arrive where they're supposed to.
The plane passes behind the trees, and I study the buildings that surround me and think about my own years at Vassar. My mother had been so proud of me, the first of our family to go to college. Violet had sobbed when I left, holding on to me so tight my mother had to pry her arms from around my waist.
I'd been ten when Violet was born, the product of a short and volatile relationship with a man who left town shortly after my mother told him she was pregnant. I was relieved, and I think my mother was too. She had a talent for finding unsuitable men whose only skill was their unreliability, like my own father, who disappeared when I was four.
I got the better end of the deal
, she'd always say. My mother never seemed to think we needed anyone but the three of us. But I always wished she had found someone to share the burden, to make us feel more like the families I read about in books and saw on TV. I knew she was lonely and often worried about money, exhausted from working two jobs and doing everything on her own.
And so I tried to make things easier for her. I was a hands-on sister from day one, feeding Violet, changing her diapers, carrying her for hours when she fussed. I watched her while our mother worked, taught her how to play Monopoly and how to tie her shoes. Leaving home was the hardest thing I ever did, but I needed to see who I might be, apart from a dutiful daughter and devoted sister. My high school years had been rough, and I was eager to reinvent myself as someone new, to build the life for myself I'd always dreamed of. I feel the weight now, the cost of wandering too far away from home. Of wanting too much.
I could have gone to college locally. Worked part-time. Spent the evenings with my mother and sister around our wobbly kitchen table, where we could have sat in the warm, yellow light, my mother doing a crossword while Violet and I played endless games of gin rummy.
Instead, I'd left, and I never went home again. Not in any real sense.
The sky is streaked with pink clouds, and the lamps on the walkway flicker off for the day. It would be easy to sit here and wallow—to rail against all that has happened to me—but I don't have that luxury. I need to stay focused and make some decisions. What do I need?
Money, and a place to hide
. One out of two isn't bad.
I won't be able to stay at Eva's for very long. As soon as Eva doesn't show up downtown next week, people are going to come looking for her, and I want to be gone by the time that happens. But for now, it's my best option. It's free, and it's safe.
I stand and toss my empty coffee cup and crumpled bag into a nearby trash can, making my way back toward the edge of campus, the newspapers tucked into Eva's purse. Behind me, bells toll the hour, and I pause, listening. The chimes seem to vibrate through me, and I think of what it would be like to live here. To walk these streets on my way to a job I don't yet have, living the quiet life I always imagined for myself when I dreamed about leaving Rory. Of all the scenarios I imagined, the glitches I prepared for, the mistakes I knew were inevitable, I never imagined a break as clean as this. Not a single person knows what happened to me, and I have to guard this opportunity—for that's what this is, an incredible and heartbreaking opportunity—with every ounce of cunning I've got.
I find a twenty-four hour pharmacy a few blocks west of campus. The bright lights assault my eyes when I enter. I angle my head down, keeping my cap pulled low, and find the hair-care aisle. So many different shades, from bright reds to jet blacks, and everything in between. I think of Eva's blond pixie cut and choose something called Ultimate Platinum. On a lower shelf is a complete hair-cutting kit—
Easy to use clippers! Color-coded combs! A step-by-step guide to the most popular hairstyles!
—on sale for twenty dollars, and I grab that too.
At the front of the store, there's only one person working the registers, a pimply undergrad who looks half-asleep at the end of his shift, with glazed eyes and earbuds shoved into his ears. I set everything down on the counter and mentally calculate how much of my meager savings this will eat up.
I hesitate before sliding Eva's debit card out of her wallet, tracing the edges of it, wondering if I can use it as a credit card. I cast a quick glance around the empty store before I slide it into the machine. It's not like Eva's going to come back and accuse me of stealing from her.
I bypass the request for a PIN and select credit, my heart beating out a frantic rhythm I'm certain this kid can hear through whatever music pounds in his ears.
But then the register does something I can't see, drawing the kid's attention back. "Credit? I gotta see your ID," he says.
I freeze as if I've been caught in a bright headlight, every vulnerable inch of me exposed. Thirty seconds. One minute. An eternity.
"You okay, lady?" he asks.
Then I snap back. "Sure," I say, and pretend to search through my wallet, finally saying, "I must have left it at home. Sorry." I tuck the card back into my wallet and quickly pull out cash to cover the cost. When he hands me my receipt, I scramble out of the store as fast as I can, my entire body vibrating with tension and fear.
The brisk walk back to Eva's steadies me, and when I get there, I take everything upstairs to the bathroom and strip off my clothes, propping the directions to the hair clippers against the mirror, noticing for the first time the expensive hand lotions that line the counter. I open the cap on one and sniff—roses, with a hint of lavender. Then I peek in the medicine cabinet, expecting to see numerous prescriptions leftover from her husband's illness. Painkillers. Sleeping pills. But it's empty. Just a box of tampons and an old razor. I close it with a soft click, uneasiness poking at me, like a minuscule burr in my sock, a flash of warning and then gone, impossible to locate.
I take a last look at myself in the mirror, the way my hair tumbles and curls around my face, and take a deep breath before attaching the medium-sized comb to the clippers and turning them on. I remind myself that even if I mess up, it won't matter. Eva's words about Berkeley come back to me.
It's easy to blend in because everybody's a little weirder than you are.
No one will look twice at a bad haircut.
I'm surprised by how easy it comes off, leaving an inch and a half of hair resting against my scalp. My eyes look bigger. My cheekbones more pronounced. My neck longer. I turn one way, and then another, admiring my profile, before turning to the box of hair color. Not done yet.
The dye has to stay on for forty-five minutes, so while I wait, I spread the newspapers open on the coffee table and read, my scalp tingling and burning, the sharp smell of chemicals making me dizzy. The articles are filled with details of the crash, though they're incomplete, gleaned only from radio communication with the air traffic controllers. But it's enough to chill me, to force me to reckon with what I've done. Approximately two hours into the flight, after they'd crossed Florida and were over the Atlantic, one of the plane's engines went out. The pilots tried to turn around and radioed Miami, requesting an emergency landing. But the plane didn't make it, instead crashing into the water thirty-five miles off the coast. The article is filled with statements from NTSB officials, and of course, Rory's representative on behalf of the families. No details are given yet about recovery, other than to say it's ongoing.
I try to imagine my bag, my phone, my pink sweater, torn from Eva's body and floating in the water, waiting for someone to scoop them out and identify them. Or nestling onto the sandy bottom of the ocean, where they'll soon be lost forever. I wonder whether they will try to recover remains, or if that's even possible. And what might happen if they come across someone whose dental records don't match anyone on the flight manifest.
I take several deep breaths, focusing on the biology of it. Oxygen entering my bloodstream, feeding my cells, then releasing carbon dioxide into the quiet space that surrounds me. In and out, again and again, each breath a reminder:
I made it out. I survived.
Forty-five minutes later I stare at myself in the mirror of Eva's bathroom, astonished. Taken on their own—my eyes, my nose, my smile—I can still see my old self, looking back at me. But as a whole? I'm someone completely new. If I seem familiar to anyone, they're going to search different corners of their mind, different parts of their life—someone from work or college. Perhaps the daughter of a former neighbor. They won't see Rory Cook's wife, who died in a plane crash.
The look suits me, and I love the freedom it offers. Rory always insisted I keep my hair long, so that I could wear it up for formal events and down for casual ones, arguing it was more feminine. I grin, and am surprised to see flashes of my mother, of Violet, smiling back at me.
On the nightstand next to Eva's bed, the clock flips to seven o'clock, and I can't help but think about what I'd be doing right now if I were still living my old life in New York. I'd be sitting across from Danielle in my office, outlining our schedule for the day. Morning Meeting, she called it. We'd discuss the calendar—meetings, lunches, evening events—and I'd give her the tasks I needed her to work on for the day. But if my plan had worked, I'd be somewhere in Canada. Maybe on a train, heading west. I'd be scouring the news for any hint of my disappearance, the plane crash just a sad story that might have caught my attention for a moment. Instead, it's the turning point for my entire life.
I return to my computer and pull up the CNN home page, clicking on a short human-interest piece titled "Rory Cook's Second Heartbreak," with my photo alongside Maggie Moretti's. They rehash her death over twenty-five years ago and the subsequent investigation into Rory's involvement, and for the first time I realize how similar Maggie and I are. Some of the information I'd already known about her—she'd been a track star at Yale, where she'd met Rory, and she, too, had come from a small town. But I hadn't known that her parents had also died, when she was even younger than I was. Looking at us side by side, it makes me wonder if Rory had a type, zeroing in on women alone in the world who might be eager to join an established family like the Cooks. I know I was at first.
Claiming Rights by ID Locke
The Warlock Heretical by Christopher Stasheff
Alan Rickman by Maureen Paton
Trifariam, The Lost Codex (2012) by Diego Rodriguez
Rose Hill by Grandstaff, Pamela
You're the One: a Contemporary Romance Novella Set in Paris (Bistro La Bohème) by Nichols, Alix
Taken by Cassandre Dayne
The Doctor's Society Sweetheart by Lucy Clark
I Owe You One by Natalie Hyde
The Hike by Drew Magary


Over 425 million people are currently living with diabetes. 1 in 2 people currently living with diabetes is undiagnosed. In two decades, India will be home to 120 million diabetics. If there's any disease every single Indian needs to guard against, it's diabetes. Characterised by an escalated blood sugar level, this non-communicable disease (NCD) impacts the young, middle-aged and elderly with a vengeance, reducing their productivity and life-span. Early detection, treatment and the cultivation of a healthy lifestyle are measures recommended to ward off the dire consequences.
In 2018, World Diabetes Day falls on Wednesday 14th November. The purpose of this one day is to raise awareness of a condition that millions of people all around the world live with every day. Diabetes if left untreated can lead to several short-term and long-term illnesses.
Essentially, diabetes is about the body's ability (or lack of it) to produce the required amount of a hormone called insulin to control glucose levels in the blood. There are broadly two types of diabetes: Type 1 requires daily administration of artificial insulin by means of injection or insulin pump. Type 2 is more generally managed by a combination of dietary control and medication in the form of tablets. A diet high in processed and fatty foods rather than fresh, wholesome foods, in combination with reduced physical activity, has increased the average risk of diabetes.
Defects in insulin secretion or insulin action or both cause Diabetes Mellitus and this condition is increasing worldwide. It is called Type 1 Diabetes or Juvenile Diabetes when it affects children between the age of 0-14 years.
The reason for this condition to occur is not known exactly. However, autoimmune diseases, in which the immune system misbehaves and destroys the healthy cells in the pancreas, is one of the guilty parties. Heredity also plays an important part when it comes to the occurrence of autoimmune diseases.
Excessive thirst, increased appetite, blurring of vision, weight loss and exhaustion are some of the symptoms which should be taken very seriously for they may be occurring because of Diabetes Mellitus.
It is important for the patient to keep his/her blood sugar level under control. It can be done by monitoring the blood glucose and taking insulin, if necessary. The disease can be managed by making few lifestyle changes like making healthy food choices and maintaining a healthy weight through regular exercises.
The concentration of blood glucose level should be regularly monitored too so that the fluctuation can be managed to prevent complications.
Deep, rapid breathing, dry skin and mouth, flushed face, fruity breath odour, nausea and vomiting, and abdominal pain are some of the symptoms of diabetic ketoacidosis (DKA) which may be fatal and which develops due to the lack of insulin.
Excessive hunger, headache, nervousness, rapid heartbeat, sweating, tremors, and weakness are symptoms of hypoglycaemia or low blood sugar which may occur when the dose of insulin, food intake and exercise do not match each other. A glass of sweet beverage or a couple of sweet biscuits should be given immediately to the person experiencing these symptoms.
Have a regular, protein-rich, wholesome breakfast.
Eat small meals at frequent intervals, to avoid hunger pangs and consequent unhealthy snacking.
Have fruit and nuts handy for healthy snacking.
Drink water all through the day.
Incorporate regular physical activities into the daily routine: take stairs instead of lifts; park car a block away and walk the remaining distance; office or table-chair exercises are also a great way to stay active; walk around the office during breaks and lunch hour.
How To Check For Signs Of Zika Virus?


This past weekend saw the SA National Marathon Championships taking place at Cascades MTB Park in Pietermaritzburg.
This popular mountain bike venue is typically used for the short-course formats of cross-country (XC) and downhill (DHI) racing. This time around the park formed the hub of the marathon course which is the endurance side of our sport.
Renowned trail builder Nic Floros, who built the original XC and DHI tracks at Cascades, extended the trails into the surrounding area as the mountain bike park looked to host not only SA Champs but other World Class events at the end of this month.
With the Msunduzi Marathon Challenge (27 June), UCI World Rainbow Challenge (28 June) and the prestigious UCI World Marathon Championships (29 June) taking place at Cascades it was the ideal opportunity for Cycling South Africa to have the SA Championship on the same course as it would serve as a 'dry run' for the above mentioned events. This was also beneficial to the riders as we got to pre-race the world marathon course before the actual big day.
All the ladies categories were set off together at 7:15am sharp on a chilly Sunday morning. Ahead lay 70km which included a total of 2116 meters of climbing. From Cascades the course immediately headed upwards as we climbed out of Chase Valley for about 15km to the summit of Monte Verde. From there we headed towards Hilton College where a large part of the route was laid out.
Too many riders relief there was only one way back to Cascades and that was descending back down into Chase Valley. The plunge back to Cascades was mostly on loose dusty single track making for some hair raising moments.
Once back at Cascades our climbing legs got tested for the final time as the route again headed upwards out of the valley to complete the last 20km circuit of the event.
My race didn't go as planned. I had a rough day out making silly mistakes which at times ended up in silly crashes and a loss of confidence. I battled on but was relieved to finally cross the finish line after more than 4 hours of racing. I was very disappointed in myself, more because I had targeted the race as a goal event and it ended up being one of my worst days out.
At the end of the day you have to accept the bad days to truly enjoy the good days. I've had a good year so far so it would be unfair to complain, but sometimes it's just a bit harder to see it at the timeJ. On the up side, at least I got to race on the 2014 World Championship Marathon course with my super light Merida Big Nine hardtail and know what to expect come the end of June.
Robyn de Groot (Biogen CycleLab) on the other hand had a great ride and retained the SA National Championship jersey. Candice Neethling (VeloLife) finished in 2nd place with Samantha Saanders (Valencia Cycles) returning from injury to round out the podium in 3rd spot.
This entry was posted in Uncategorized on June 10, 2014 by yolliedutoit@yahoo.com.


text:
Florencia Lozano On Disrupting the 'Narcos' Boys' Club
ByGarin Pirnia
Freelance arts and culture writer, cat enthusiast, and author of an upcoming book on beer cheese. @gpirnia
Florencia Lozano in 'Narcos'
At the end of Narcos' first season, drug patrón Pablo Escobar escapes La Catedral, his mansion "prison," and is on the lam. "It was the biggest law enforcement blunder of all time," DEA agent Steve Murphy (Boyd Holbrook) says in season 2's premiere. If the first season is about Escobar's ascent into a cocaine billionaire, the second season is about his fall—and his inevitable demise.
The new season raises the stakes, with more violence, more smoking, more Spanish curse words, and most importantly, more female cast members. This season takes a step forward in introducing a female DEA chief named Claudia Messina, the only woman in a male-dominated government. This makes about six main, non-prostitute roles for women on the show, an uptick from last season. New York native and soap star Florencia Lozano portrays Messina. When she first comes to town and meets Murphy and DEA agent Javier Peña (Pedro Pascal), he snarls, "Get ready to get your balls snipped." They aren't happy about having to answer to anyone, let alone a woman. But she's not the ball buster they think she is, and together they try to hunt down Escobar, even though it involves some illegal situations.
Before acting in the telenovela-like Narcos, Lozano spent seven years, as Téa Delgado on One Life to Live, and a year playing her on General Hospital. Lozano's friend Catherine Curtin (prison guard Wanda Bell on Orange is the New Black) told her about the role, so Lozano auditioned and nailed it. Lozano spoke to Complex about the complicated history of Escobar, what went into playing a DEA agent, and the emotional difficulties in working in a foreign country.
Why did you want to be involved with Narcos?
I was really interested in being on a show that was set in Latin America and tells a Colombian story. My parents are from Argentina, so I was very interested in being a part of that storytelling. And I love that so much of the show is in Spanish. I think we're getting to the point where there are more and more Spanish speakers, immigrants and first generation Hispanics who are in the U.S., and our stories are starting to be told in our language, partially at least, and that sort of integration of Spanish into the U.S. is very hopeful and exciting to me. I really like being a part of broadening people's understanding of what it means to be Hispanic.
Last season, people criticized the show for not employing Colombian actors—for instance, Wagner Moura, who plays Escobar, is Brazilian. What are your thoughts on that?
People feel very proprietary about their heroes or their villains or their icons, and Escobar was arguably—depending on who you talk to—a villain, a hero, everything in between, but you can't argue with the fact that he was a very prominent figure in Colombian history. There are people who I met down there who are tired of the story of Escobar and stories about drug dealing in Colombia. And I understand that, too. There's a really great Colombian series, Escobar: El Patrón del Mal. It was shot in Colombia with all Columbian actors, and it's a soap opera. It's a really comprehensive story that follows the real life story of Escobar. If people want to see that story with Colombian accents, and Colombian actors, that's a beautiful piece of work. Narcos is different; it is a gringo telling in some ways.
What kind of research did you do in order to play a DEA agent?
I called this homicide detective that I had met when I played a cop in the Harvey Keitel movie The Ministers. She introduced me to a DEA agent in New York, who in turn introduced me to a DEA in Bogotá, and he introduced me to a whole bunch of agents there. He took me to the Embassy. We went to Super Bowl parties; I introduced my cast to them. So we got to hang out and be friends and pick their brains about what it is they do. The story we're telling is set in 1991, 1992 [and 1993] and Colombia was a far more dangerous place than it is right now. So what the DEA is doing now, yes, they're risking their lives, but the people we are portraying had bounties on their heads. They had a very, very dangerous job. Bogotá was the place to be a DEA agent. It was where DEA agents wanted to go because they are thrill seekers. I talked to a man who my character was very loosely based on, who now no longer lives in Colombia, but I met him through the DEA agents who knew him, and he told me about how dangerous it was and how alive he felt during that time, so I feel like I got a sense of what it might've been like to be there in the early '90s.
You have some intense scenes on the show. How do you prepare, mentally, for that?
It was an intense experience being in a foreign country away from my friends, my family, everything that was familiar, and telling a story that I knew was so deep for Colombians. It was intense being in a machismo culture where women are treated differently than here. So I didn't have to do much work in terms of feeling what she might have felt there—very excited and grateful, but also alone. The DEA is very much a boy's club, and my character is a woman in a man's world within a man's world, because Colombia is a man's world, too. Getting to just live that, I think, translated to some of my work as a character.
What are your personal views about Escobar?
The U.S. history involvement in Latin America is one we don't learn much about in high school, and it is a shady, criminal history. I think people do what they need to do to survive. And drugs are—whether they're in this country or in any other country—lucrative. Escobar went way beyond earning money to feed his family. He was the one of the most wealthy men on the planet. I think for me, a lot of telling this story and learning about it, I continued to be amazed how greed can poison the human spirit, how the desire for more and more is never enough and really can wreak havoc on humanity, in all its forms—corporate greed, Escobar's greed. For the Colombian people, he is a figure of great complexity and there's a lot of power and grief and pride. I would never opine, because I don't know enough to say, look, I think this about him or I think that. I know enough to know it's a very profound character in the Colombian consciousness.
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WTF is Up With the Amount of Saturated Fat in Coconut Milk?
Saturated fat... yes or no?
Coconut water, coconut oil, coconut milk, coconut shavings. There's no doubt that coconut everything is trending right now in the foodie world. Many coconut products have great health benefits but, like everything in life, it is all good in moderation.
Coconut milk is a form of coconut that was recently added to the Starbucks menu. It's made from blending the meat of coconuts and straining it to get a creamy and sweet liquid. It contains many beneficial nutrients, such as manganese, copper, iron, potassium, and magnesium.
Coconut milk is high in saturated fat, containing 13 grams of saturated fat in a 100 ml serving. This may seem like a bad thing, but these types of fats are actually very good for us, in moderation. When we think of healthy fats, we usually think of unsaturated fats that are liquid, but there are some saturated fats that also have benefits.
The saturated fats in coconut milk are called medium chain fatty acids. These fats are easily absorbed by our bodies for energy. They can help lower blood pressure because they have minerals that help circulate our blood. They can also lower cholesterol, even though most saturated fats do the opposite. The fat in coconut milk has also been found to act as an antibacterial and antiviral in the body.
So, despite the stigma towards saturated fats as being very unhealthy (which some are), the saturated fat in coconut milk is very healthy! Limiting your intake to 1/4 cup may be best since it is higher in calories from the high amount of fat, but don't avoid it completely. Try this coconut soup recipe or just add some to your daily cup o' joe and get all of the nutrients that coconut milk can provide!