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Independent and self-determined living is a valuable good that should be sustained as long as possible. For the elderly or people with a visual or cognitive impairment this is not taken for granted as easily. Rollators are a commonly used motion aid in the everyday life of elderly people. Making these aids more intelligent in order to not only support their physical abilities, but also to support their visual and cognitive capabilies, could enable them to maintain an active life and reduce the amount of help required from caregivers.
The beActive+e wheeled walker used for this project is developed by our project partner Bemotec GmbH. It has two powered back wheels which support the user in their motion. With a maximum range of 30km at a maximum speed of 0.8m/s it is capable of supporting a user over longer distances and handling a variety of everyday tasks. The intelligent prototype is equipped with an onboard computer, a RGB-D camera, a stereo camera, a 2D laser scanner, a GPS module and a touchscreen.
Since safety is regarded the most important aspect, situations which may pose a threat to the user have to be recognized and avoided in advance. The prototype is able to detect and avoid negative and positive obstacles. Negative obstacles are obstacles below the ground plane, e.g. sidewalk edges or downward leading stairways. Positive obstacles are above the ground, e.g. furniture or persons. Using its RGB-D or stereo camera a local map of the close by environment is created and used to identify both negative and positve obstacles very precisly.
A detailled traversability analysis can remotely predict several safety relevant criteria for the vehicle and it's user. These criteria include: The 3D orientation of the rollator, the wheel support and the angular velocity. Based on these criteria different actions can be performed: Warning the user, stopping the vehicle or planning a safe path as close to the user's intended motion as possible.
Fig. 2: The vehicle model in a test environment with several obstacles. Green lines represent feasible paths. The brown line indicates the target direction. The purple line is the path selected for driving.
Due to the direct physical interaction of the user with the wheeled walker, human-robot-interaction is a highly relevant topic for this project. Restrictions to the user's intended motion should be as small as possible and interventions by the algorithm should have reasonable causes to achieve a high user acceptance.
The navigation system provides guidance to the user for in- and outdoor areas. For outdoor navigation GPS is used in conjuction with external map data for path planning and localization. In indoor areas a SLAM system is used to build a map and perform localization based on the 2D laser scan data.
Fig. 3: Path planning on OpenStreetMap data.
Fig. 4: Indoor localization and mapping with the 2D laser scanner.
This work is funded by the Federal Ministry of Education and Research under research grant number 01IS15049B.


Maelle Imagine is Mazz's trading name. She's a Maëlle makeup mentor and was looking to use a one-page website to attract both customers and reps.
This simple, easy-scrolling website lets people get the whole picture quickly, easily and in modern attractive layout.


With the exterior and engine bay pretty much done, I still felt like the interior of my '13 Scion FR-S was pretty basic. It always bugged me when I would see a dope car on the outside, but a bone stock interior. I mean, I don't blame them, unless you're at a car show; the general public probably won't be paying much attention to the interior of your car. The only modification I had really done was my Works Bell hub/quick release and Vertex steering wheel. As some of you may know, my Scion FR-S is meant to be a full streetcar that I can also take on the track. It was time to throw out my factory seats and step up my interior game.
As mentioned, my Scion FR-S is a streetcar and also happens to be my daily driver. This meant a full bucket seat was out of the question. I needed a reclinable seat that would fit a big dude such as myself, especially for those times I'm stuck in LA traffic or long road trips. I reached out to my friend Bun Fukuyoshi of Lot U.S.A., the master distributor of Bride seats. He recommended the Bride Digo II, and suggested I pair them with the Type-YZ seat rail.
I knew I was going to eventually run harnesses, so I began shopping around for a harness bar. I opted for Agency Power's bolt-in bar for its straightforward install and added rigidity. To contrast the dark interior, I requested the bar painted white. Once it arrived, I dropped by Auto Tuned in Monrovia, Calif., to get both my Bride seats and harness bar installed. Agency Power wasn't kidding when they said the harness bar installation is easy. The kit is made up of five pieces and best of all, no cutting or drilling is needed. You'll need to remove the bottom portion of the rear seats to mount two points to the seat belt anchor and two other mounting points on the front seat belt anchors. It took Meng Tea of Auto Tuned around 20 minutes to install. While this was happening, the older brother, Young Tea, was prepping the Bride Digo II by mounting the rail to the seat and installed the airbag seat cancellation sensor. The first thing you'll notice when you install Bride seats and rails is that the seating position is significantly lower. It takes a few days, but you eventually get used to it.
Next stop was Evasive Motorsports to get my Takata Drift III Snap harnesses installed. Takata uses polyester webbing, which has the advantage of minimal degradation under UV light as well as resistance against acids, like battery acid. The material also doesn't absorb moisture, so you'll have consistent performance in any climate. These belts are perfect since they meet FMVSS standards for street legal use. But we think the most important feature is the ASM technology, which is an acronym for anti-submarining.
This technology reduces the risk of sliding underneath the lap belt in the event of frontal impact. Just like regular seatbelts, your upper torso should be able to rotate slightly in an impact. The ASM system on the shoulder belt releases an extra length of webbing for torso movement to prevent your body from submarining under the lap belt. While the body is out of alignment your glutes stay firmly planted into the seat, just like it would with factory seat belts. According to Takata, if you have a roll cage or a harness bar, the safest way to mount the shoulder belts is between 0 and 20 degrees. If you don't have a harness bar or roll cage you can mount them to the rear OEM seatbelt anchor points at an angle of 45 degrees going downward from the seat harness opening. Personally I always found the factory FR-S seat a little uncomfortable. Being strapped down by Takata harnesses feels and looks much better.
The Bride seats MSRP at $1,050 each, the Agency Power harness bar goes for $570 and Takata harnesses will run you $305 each. Next my interior will need some sort of custom work, like an alcantara dash. Now that my car is supercharged, I'll also need some gauges.


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I know it's been a while since the last post. I've just been too lazy to take pictures and post it up.
It's not difficult to make. It's just kind of tedious to put together. The ball has 12 kasudama flowers, where each includes 5 pieces of paper per flower. In total, it required 60 pieces of paper to make this flower ball. I broke the folding and assembly process into two days.
I'm working through Fabulous Origami Boxes by order, so first up are the bowls. They are pretty easy to fold, but I had a bit of trouble trying to figure out the diagrams.
I folded two versions of each. One being the trial version just to get the hang of things and the second version was the final version with the least amount of creases possible for presentation.
Yes, there are lucky stars in the bowls. I figured I ought to fill it with something, right?
The bowls are created using two pieces of paper. One was used for the shell and the other piece was a liner of sorts. There are a few bowls or vessel pieces that includes minor variations of the first one.
The bowls were kind of *blah* when they were combined as is, but using double sided tape to align and affix the paper together made it look better. I'm assuming if my paper were actually square, that I wouldn't have this problem.
In some cases, I snazzed up some of the parts to make it look a little nicer. Looks like a tulip, no?
All in all, the bowls are pretty easy to fold and are pretty useful in holding, um, more origami in.
Actual boxes to come next.
Yeah, its been a while. I do have a bunch of pictures and junk that I had since a month ago and have been meaning to post up, so here we go.
I started working on the Fabulous Origami Boxes by Tomoko Fuse and I really didn't want to use my nicer more expensive papers, especially for the trial folds. I wanted nice colorful paper and stopped by Staples to grab a ream of their brights. It was on sale (after rebate), so I spent about $3.5 for the whole thing, including tax.
You do get what you pay for so, the problem with cheapo paper is that the corners are not square. So now, I'm going to have to look into getting a paper cutter. Maybe I'll do a cost comparison post on them in the future.
In the meantime, I'm just cutting my squares out by hand and its not perfect by any means, but its good enough for my future experimenting.
Warning: you will see a lot of these colors in the coming posts.
I'm probably going to sell the stars in jars for the Japan relief effort. I opened up a Storenvy shop in anticipation of it too. I spent a good few hours working on the CSS there so that the shop can match the blog somewhat.
And yes, I have 2 bag full of mini cranes. There are about 1k in each bag.
I want to hold on to the mini cranes a bit to do something with them. Not sure what yet. Maybe make a colorful mosaic of some sort.


or those of you currently using CrossFit as your form of training or exercise, you should be familiar with the general Crossfit prescription of nutrition: a diet based on vegetables (especially greens), lean meats, nuts and seeds, limited starch and no sugar. The recommended macronutrient breakdown is typically 30% protein, 30% fat and 40% carbohydrates.
Like most CrossFitters, you've likely spent some time adjusting your food choices and food quality while learning about the Paleo or Zone diet, but what about Carb Backloading™? More recently within the CrossFit community, there have been several discussions concerning the topic of cycling carbohydrates based on training volume.
For those of you that are already familiar with Kiefer's work and have read Carb Backloading (CBL) you may recall him stating that it was not intended to be used with CrossFit training. However, since the addition of a CrossFit coach to the Body IO® team, we've received several questions on how to best utilize CBL for the average Crossfit trainee. Based on my personal success, as well as the success of many of my clients, I have found the CBL program to be very beneficial, as it can accomplish the two most commonly requested goals of the clients I see in our gym: 1) Fat loss and 2) Lean muscle gain.
When adhering to any nutritional protocol, there's typically an elimination or reorientation phase. The Carb Backloading protocol begins with a 10-day preparation phase that allows your body to deplete its current primary fuel source—glucose. Ultimately, this transitions into burning stored body fat or dietary fat as fuel. In this phase, you are training your body to what is known as fat adaptation, which increases the ease with which you can switch between fuel sources in the future.
Is the Preparation Phase Necessary?
The preparation phase is highly beneficial, especially to those who are switching from anything other than an ultra-low carb/ketogenic diet, even if it is "paleo". How long you need to be in your prep phase can be somewhat subjective and should be based on what your diet consists of at the present time. In my experience, shortening the 10 days to 8 can be done if you are already fairly lean, have a primary goal of building muscle, and have been following a relatively low-carb diet. Shortening this phase any further is not beneficial.
Can I train during the prep phase?
The best approach during this time is to lower your training/frequency over the 10-day prep phase. A common problem within the CrossFit community is that people are so dedicated to their daily workouts that they cut corners with the prep phase but this bites them in the end—especially for women.
While you can continue to work out, doing some accessory or skill work, you should be aware that as your body goes through the depletion process and works towards fat adaptation, you will feel pretty drained. During this time, you should understand that you are setting yourself up for future benefits, so your current training volume may need some adjusting.
During the preparation phase, carbohydrate intake will be kept to 30 grams or less. Your best options will be to get these grams from vegetables, preferably green leafy ones. As a general starting point, your protein and fat grams should typically be at a 1:1 ratio per pound of lean body mass. When you reach Day 10 or the end of your prep phase, you will have your first Carb Backload. Some people choose to have a full Carb Nite, and most of my clients consume these carbs between the hours of 4-9 pm. If you train in the morning, it is still optimal to hold off your carbs until later in the day.
After the 10-day prep phase, you'll hit the gym for a heavy training day and then start implementing a CBL based around your training. It is important to note that this doesn't necessarily mean that you eat carbs just because you trained. We are focused on the next day's training. You aren't so much eating to recover from your workout as much as you are preparing for the next day's exertion. If tomorrow is a rest day, keep your carbohydrate grams within the 30-gram-or-less limit; also, your daytime nutrition should not change from what it looked like during the initial prep phase.
I recommend that my clients keep track of their overall caloric intake and macronutrient breakdown through the use of a food-tracking app. This will be important when trying to lean out and will be the easiest way to see if adjustments need to be made to your intake levels based on your overall results.
Just how many Carbs can you eat?
Your first Carb Backload is a critical time to pay attention to how your body responds. If you wake up feeling puffy, as though you're retaining water, then you have likely overdone it. On the flip side, if you go into your training session and feel deflated and tired, then you should try increasing your carbohydrate intake on your next backload. The exact carb dosage is highly individualized, but my general recommendations for female clients is .5 – .7 grams per lb. of lean body mass and 1.0 -1.5 for males.
The most important piece of any nutrition protocol is paying attention to how your body responds and sticking it out long enough to get a good evaluation of whether or not your approach is yielding your desired results. More often than not, I see clients switch to a new training program or nutrition protocol every few weeks, which doesn't allow enough time to benefit from any of them. Ultimately, this leads to mass confusion in regards to personal goals and leaves one feeling and looking okay, but not great, unsatisfied and still searching. It is critical to understand that you are buying into something that will yield results, but you have to remain persistent and patient.


The rising levels of obesity could bankrupt the NHS if left unchecked, a British Medical Journal report warns.
Experts, including government A&E tsar George Alberti and Glasgow University professor Naveed Sattar, said obesity treatment took up 9% of the NHS budget.
But they warned this would rise as the number of obese adults rose from one in five to one in three by 2010.
They said action was needed by all of society and even recommended a helpline for people who bought larger clothes.
The number should be promoted on the labels of all clothes sold with a waist of more than 40in (102cm) for men, 37in (94cm) for boys, 35in (88cm) for women, and 31in (80cm) for girls. Read more…..
Professor Sattar, an expert in metabolic medicine, said research had linked obesity to a range of diseases and disorders, including heart disease, cancer, depression, back pain, diabetes and skin problems.
He said: "The problem of rising prevalence in obesity may get much worse - rates could climb still further, bankrupting the health system and leading soon to reductions in life expectancy.
"So we need to think out of the box, nothing that has been looked at so far seem to have worked."
He said while individuals "clearly have some responsibility for their health", the rest of society should also play more of a role.
He said the food industry should own up to the role they play through advertising and schools should be doing more to promote good diets and lifestyles.
He also called for obesity to become a core part of medical training and for public health consequences to be considered "for all decisions made in public life".
Stricter planning regulations to only allow new housing complexes if they have sports facilities and green parks nearby.
The government published a Public Health White Paper two years ago which promised to put the issue at the top of the agenda.
This came after a report by former NatWest chief Derek Wanless claimed unless the nation became healthier, spending on the NHS would increase by £30bn over the following 20 years.
Professor Anthony Barnett, head of the diabetes and obesity research group at the University of Birmingham, said the dire prediction could well come true.
"It is heading in that direction". The World Health Organization recently suggested 70% of deaths will be due to obesity related illnesses in the future.
"In the UK, we have one of the worst problems and that is and will continue to put a terrific strain on the health service."
And Steve Webb, health spokesman for the Liberal Democrats, said: "This staggering analysis must be a wake-up call for the government, which has failed to get a grip on key public health challenges such as obesity.
"At a time when an emphasis on prevention is needed more than ever, the NHS is slashing public health spending simply to make ends meet."
But Janice Bhend, a former editor of Yes magazine, which targets larger women, said the idea of a clothes phone line was a "ghastly idea".
"We need to come at it from a different angle but I don't think the fat police need to start telling us to phone a helpline."
She added it was enough to make people depressed.


text:
5 Questions: Feldman on risk of bisphenol A in plastic bottles
Bisphenol A - an estrogenlike compound in polycarbonate plastics and epoxy resin - has been popping up in the news a lot lately. On April 18, Canada announced that it would ban baby bottles containing bisphenol A beginning in mid-June. The action would make Canada the first country in the world to set exposure limits on the chemical. In addition, the U.S. National Toxicology Program, which is part of the National Institutes of Health, recently concluded that there is 'some concern' that fetuses, infants and children may be harmed by the amounts of bisphenol A that leach out of many brands of baby bottles, hard-plastic water bottles and food cans lined with epoxy resin. In the early 1990s, David Feldman, MD, and his team at the School of Medicine were the first researchers to identify and call attention to the possible impact of low levels of bisphenol A on human health. Science writer Krista Conger catches up with Feldman, an emeritus professor of endocrinology, to learn more.
1. How did you first identify bisphenol A?
Feldman: It was basically an accident; we were not looking for it. We study receptors for steroid hormones like estrogen, and wondered if they had originally evolved in yeast. Although that turned out not to be the case, we were looking for both receptors and hormones when we found what looked like an estrogenic molecule in the yeast tissue culture medium we grew the yeast in. However, the medium had been sterilized by autoclaving (a process that involves very high heat and pressure) in 'autoclavable' polycarbonate flasks. We identified the estrogenic molecule as BPA using mass spectrometry, and discovered it was present even in samples of pure water that had been autoclaved in the flasks. At that point we realized that we had identified a molecule that was leaching out of the plastic that, because of its estrogenic hormonelike properties, had the potential to be important and perhaps even dangerous to people who were eating or drinking out of containers made of this type of plastic, polycarbonate. Since polycarbonate has so many uses as a clear and strong plastic, it is ubiquitous in packaging food and beverages, and epoxy resin is used in lining metal cans.
2. What did you do next?
Feldman: We wanted to let people and governmental authorities know what we found. We sent samples to the company that made the polycarbonate flasks to warn them of the problem, but they couldn't find the bisphenol A. Our biological tests were more sensitive than the tests they were using, which were meant to identify levels of more than 25 to 50 parts per billion. Anything under that amount was considered to be safe. In contrast, we were picking up levels, and seeing estrogenic biological effects, at 5 to 10 parts per billion.
3. So, were the former regulations wrong? And why has it taken so long - nearly 15 years - to get attention?
Feldman: It's very difficult to know what 'safe' levels are. Although we published our findings in 1993, it was unclear for a long time how much of the bisphenol A was absorbed by humans, how fast it accumulated and even whether or not it was damaging to human health. In fact, to date there have been no studies showing that bisphenol A exposure affects human health. Although subsequent studies have shown that the levels to which humans are exposed do have adverse biological effects in laboratory animals, it would of course be unethical to conduct similar dosing studies in humans.
One thing we do know is that, in the 2003-04 National Health and Nutrition Survey conducted by the Centers for Disease Control, 93 percent of about 2,500 people ages 6 and above had detectable levels of bisphenol A in their urine. So almost everyone is exposed. We also know that bisphenol A is similar in chemical structure to diethylstilbestrol, a synthetic estrogen that has been linked to the development of vaginal cancer and other toxicities in the daughters of women who took the drug during the '50s and '60s to prevent miscarriage. So we know that it is possible for some of these synthetic estrogenlike compounds to have bad effects many years after initial exposure. We also need to remember that the effects of these so-called 'environmental estrogens' or 'endocrine disrupters' are additive. There are many different ways we can be exposed to these various compounds and they are cumulative.
4. Do you feel it is time for the individual consumer to take protective action?
Feldman: Well, I feel there's enough evidence to support a 'better safe than sorry' approach, particularly for fetuses, infants and children. Not only do they weigh much less than adults, making their relative exposure greater, but they are also still developing estrogen-sensitive breast and prostate tissue. In my opinion, the prudent thing for current or expectant parents or those planning a pregnancy to do would be to limit their child's exposure to bisphenol A by avoiding bottles and cups that are made of polycarbonate, and to microwave food in glass containers whenever possible. For adults, however, canned foods and beverages may be the most important source of bisphenol A.
Manufacturers are already responding to this change in consumer demand. For example, Nalgene has just announced that it will no longer make reusable drinking containers with plastic containing bisphenol A, and Wal-Mart will no longer sell baby bottles with bisphenol A. Once these major merchants begin demanding bisphenol A-free alternatives, we can hope the use of polycarbonate to package food and beverages will decline.
5. Have you changed your own habits in the lab or at home because of your bisphenol-A findings?
Feldman: Yes, to some extent. I do strongly advise my children to avoid exposing our grandchildren to bisphenol A. I don't microwave food in plastic containers, or wash the containers in the dishwasher because heat and some detergents cause leaching. I try to limit the amount of canned food I eat, or rinse the food before consuming the contents. Of course, we no longer autoclave laboratory materials in plastic. Overall, it is safest to try to be careful and avoid bisphenol A and other endocrine disrupters.
By Krista Conger
Krista Conger is a science writer for the medical school's Office of Communication & Public Affairs.
Bisphenol A facts
Bisphenol A is a component of polycarbonate plastic and epoxy resin. Epoxy resins are used to coat metal food cans and bottle tops.
Painkiller-vitamin D combo slows prostate cancer growth

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text:
Global Snapshots
Do and See AZ
Eat + Sleep
Discover Arizona
Throwback Thursday: January 1977
From the issue: "The sandstone arch known as Elephant Rock in the Valley of Fire, Nevada State Park, southern Nevada." Photograph by David Muench. (The park is actually called Valley of Fire State Park.)
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From the issue: "'Lake Powell — The Lake of Enchantment' by Josef Muench. Photograph taken in the Last Chance Arm of Lake Powell, in Glen Canyon National Recreation Area."
From the issue: "The front cover by Jack Breed is a stunning study of a Navajo and his horse. The Navajo tribe in northern Arizona lend added color to Arizona and are portrayed in beautiful Kodachrome." One of Monument Valley's Mittens is visible in the background.
Our January 1927 issue doesn't indicate where in Arizona this photo was made. Your guess is as good as ours!
Q&A: Route 66's History, in Photos
Terrence Moore's new book is "66 ON 66: A Photographer's Journey." Scroll down to see photos from the book. | Courtesy of Terrence Moore
In its prime, Historic Route 66 served as a main vein of travel from east to west in the United States. For decades, millions of travelers and tourists took this scenic, eclectic road to get to their destinations, stopping at the many colorful motels, shops and diners along the way. A lot has changed in the route's 92 years, but many continue to be captivated by the road and its history.
Photographer Terrence Moore has been fascinated with the Mother Road for as long as he can remember. For more than 40 years, he's been photographing the road from Missouri to Arizona, capturing its evolution on film. In his new book, 66 ON 66: A Photographer's Journey, he selected 66 of his favorite images he's made over the years and put them together in a never-before-seen collection.
We recently spoke with Moore to learn more about his new book and what he sees in the future for the iconic route. (This interview has been condensed and edited for clarity.)
Tell our readers about yourself and about your history with Route 66.
When I was 9 years old, my family moved from Minnesota to California. On our drive we actually got on Route 66 in Tucumcari, and having never been out West before, I have all these vivid memories of the trip. When we got to California, we moved to a town called Claremont and we lived just off of Route 66. Then I went to high school on it. In later years, after I got out of college, I moved to Albuquerque and I lived about a half a block off of Route 66; that's when I actually started seriously photographing it. So it's kind of just been part of me for most of my life. It was something I was interested in doing, and I just continued doing it over time. I got a few magazine assignments along the way, and that inspired me, too. Next thing you know, it's 48 years later!
What inspired you to make your new book?
Having grown up in Southern California in that era, it was really a beautiful place to be: a quintessential small college town with citrus groves surrounding it. When I lived there in my formative years, I basically watched the groves disappear before my eyes, and they were mostly replaced with tract housing. It was a really hard thing to watch and take in. When I moved to Albuquerque in 1969, I decided I wanted to document what was left, because I was interested in the architecture and the uniqueness of the businesses along the road. That's what got me going.
I wanted to do a book years ago, and there wasn't a great deal of interest. I tried quite a few times in the early days, but it didn't work out. Eventually everybody started doing books on Route 66, which is really phenomenal. All these years I had dreamed of doing my own book, but I had pretty much given up. But some of my friends inspired me and helped me edit my photos and put the book together.
I've made three trips from Chicago to Los Angeles on Route 66, and with my work I've concentrated more on what I knew the best: California, Arizona, New Mexico, a fair amount of Oklahoma and a little bit of Illinois and Missouri. I didn't try to do a book that represented the entire road and every state; I just concentrated on what I had and who I am.
As you've photographed and traveled on Route 66 over the years, how have you seen it change and what remains the same?
There have been huge changes, since the interstate sort of ravages the countryside, the small towns and the small businesses that are scattered along the way. It'll never be the same, certainly, but the good thing is that some things have maintained. Like the Hackberry General Store in Arizona — that store has been there, I think, since the 1930s and it's still in business. Or Delgadillo's Snow Cap Drive-In in Seligman, the Museum Club in Flagstaff and La Posada in Winslow. There are still a lot of really wonderful things to see and experience, that give the feel of the old days, even though most of Route 66 has become interstate.
You document the past and present of Route 66 in your new book. What do you see in the future for this iconic route?
The road is overseen by the National Park Service, and they've done a lot to preserve these icons and landmarks that are left since it was declared a National Historic Highway. Unfortunately, it's very likely that the funding that they've had through this year won't be renewed. The good thing is that two senators introduced a bill to make Route 66 a National Historic Trail, and it looks like that's going to go through. That will breathe new life and bring some funding back into the road again.
The thing about Route 66 is that it's never going to die, no matter what. Between the individuals along the road, the associations along the road and the federal government doing what they can do, people are still going to be driving down it in 50 years, having fun.
What do you hope people take away from your book?
People are going to get a real feel for what the road was like before it was rediscovered, before people realized they needed to save and preserve it. By looking at my book and paying attention to where the photos were taken, you're going to see what was once there. But I didn't just want to show places that don't exist anymore. There's plenty of stuff in there that still exists and stretches of the road you can still see and experience today. I wanted the book to represent the old and the new, and just give people a little more to see and experience than a book that was all shot in the past 10 or 15 years.
The thing that's different about my book is that more than half the images in there are things that are gone. There was no one else seriously photographing the highway in the 1970s and into the early 1980s. The images I have in that era are really unique, and many of them are one of a kind. I don't just have 66 images; I have thousands. I've got a lot more that I wish people could see, but at the same time, we have a book that's kind of quick and easy and fairly strong visually, because it doesn't have so many images that you don't see them all.
What would you tell people who are interested in traveling on Route 66 today?
Get an idea ahead of time of what you don't want to miss and factor those in, and then just slow down, poke around and talk to people. The more you do that, the more fascinating your trip will be, whether you're just doing a small stretch of the road in Arizona or if you're doing the entire thing. There's little gems out there. I never really searched the road with a microscope, and there's all kinds of amazing things out there that are associated with the road. Just don't be in a hurry and don't be afraid to talk to people. Let the experience come to you.
66 ON 66: A Photographer's Journey is now available everywhere books are sold. To learn more about the book or to see Terrence Moore's work, visit his website.
— Emily Balli
Throwback Thursday: December 1938
From the issue: "December's cover is a study in color photography by G.E. Ruckstell, Boulder City, of Grand Canyon after a light snow."
Gilbert Exhibition Features Arizona Highways Photographers
Gary Ladd's photo of the Grand Canyon is among the stunning photographs featured in "Arizona Highways — Hanging Together."
A new exhibition at Art Intersection in Gilbert celebrates eight frequent Arizona Highways contributors and their stunning photos of the state.
Arizona Highways — Hanging Together features the work of Paul Gill, Joel Grimes, Joel Hazelton, Kerrick James, Gary Ladd, Suzanne Mathia, Eirini Pajak and Bruce D. Taubert. It includes photos featured in the magazine, along with images never before displayed to the public.
Jeff Kida, Arizona Highways' photo editor, curated the exhibition. "We are very excited to bring work from these Highways photographers into an exhibition at Art Intersection," he says. "These artists are shining examples of the magazine's goal of showcasing Arizona's beauty."
The exhibition is open until mid-January, and there is no charge for admission. Art Intersection is located at 207 N. Gilbert Road, Suite 201, in Gilbert.
A free opening reception is tomorrow (Saturday, December 1) from 4 to 7 p.m. at the gallery. For more information, call Art Intersection at 480-361-1118 or visit www.artintersection.com.
Photographs by Barry M. Goldwater: The Arizona Highways Collection
Over the years, Arizona Highways published hundreds of photographs by Barry Goldwater. The first was this shot of Coal Mine Canyon, which ran on page 16 of our August 1939 issue. | Courtesy of the Barry & Peggy Goldwater Foundation
EDITOR'S NOTE: The following letter from Editor Robert Stieve appears in the upcoming December 2018 issue of Arizona Highways.
I met Alison on a Saturday morning. At a parade. We were introduced by a mutual friend, one of the few hippies in Old Town Scottsdale. Like most parades, Parada del Sol is loud. It's hardly a place to hatch a plan, but that's where this began. This issue. This collaboration. This attempt to rescue valuable artifacts.
Despite the commotion, Alison pulled me aside and started talking — 2,600-pound Percherons, hell-bent tuba players and varsity cheerleaders are no match for Alison Goldwater Ross. She needed help.
"I'm trying to preserve my grandfather's archive," she said. "There are thousands of negatives and transparencies. And they're disintegrating. Film deteriorates. Did you know that? If we don't do something, all of that history will be lost."
She spoke with a sense of urgency. Like Paul Revere that night in Boston. I don't think she ever came right out and asked for help, but she didn't have to. I'd been looking for something like this for a while. Something that might transcend the pages of the magazine. When she finally took a breath, I shared my vision. And then we started brainstorming — right there on the corner of Main Street and Brown Avenue. Two years later, the firstborn of that collaboration has arrived.
For more than 80 years, we've presented our December issue as an exclamation point on the calendar year. "A Celebration of the Season." "A Postcard to the World." Every year we try to make it something special, and 2018 is no exception. This time around, we're featuring the photography of Barry Goldwater. Although he's best known nationally as a public servant, a man who dedicated his life to the people of Arizona, his passion for photography was as powerful as his love of politics.
"Barry set out to visit and photograph remote parts of the state," Matt Jaffe writes in Barry Goldwater, "bringing together an artist's eye and an anthropologist's commitment to record his homeland's ancient cultures and timeless, yet fragile landscapes."
"My photographs have been taken primarily to record what Arizona looked like during my life," Barry said. "The first photograph I sold to Arizona Highways was in 1939. [Editor Raymond Carlson] and I were driving along one day by Coal Mine Canyon up near Tuba City. Ray said, 'You wouldn't have a picture of that, would you?' I said, 'Yeah, I've got a good one.'"
The image ran on page 16 of our August 1939 issue. It was just the beginning. Many more have followed, including a portrait from June 1940 that Barry titled The Navajo. "That's one of my better pictures," he said. "It was taken back in 1938 at an Indian fair near Window Rock. His name is Charlie Potato, and I guess I must have printed maybe 5,000 of those."
The Navajo is one of our favorites, too, which is why Barb used it as the opening shot in this month's portfolio. The runner-up for that spot was a photograph that's sometimes referred to as The Shepherdess. It first ran on the cover of our December 1946 issue. You might remember it. Arguably, it's the most famous photograph we've ever published.
"It was a cold, raw winter day deep on the Navajo Reservation when Barry Goldwater took the picture we use on our cover," Raymond Carlson wrote in his column, 72 years ago this month. "The snow clouds were low over Navajo Mountain and the little Navajo girls, watching their sheep, were wrapped in their blankets against the wind. The whole scene is real and simple."
Turns out, that issue — with Barry's now-legendary image on the front cover — marked the first time in history that a nationally circulated consumer magazine was published in all color, from cover to cover. In the annals of magazine publishing, that's significant, but to Barry, it was something more.
"The great thing about photography," he wrote, "is that through it, I was able to enjoy my state as it was growing up, and capture some of it on film so other people could have a chance to see it as I knew it. To photograph and record Arizona and its people, particularly its early settlers, was a project to which I could willingly devote my life, so that I could leave behind an indexed library of negatives and prints."
When you do the math, there are more than 15,000 slides and transparencies in his archive, along with 25 miles of motion picture film. As he'd requested, many of his images are housed at the Center for Creative Photography at the University of Arizona, the Hayden Library at Arizona State University and the Heard Museum in Phoenix. The rest are with the Barry & Peggy Goldwater Foundation, the nonprofit formed by Alison Goldwater to preserve her grandfather's legacy.
Unfortunately, all of his images are in need of preservation — even under the best of circumstances, film deteriorates over time. What's worse, as the film slowly disintegrates, so do important pieces of Arizona history. Priceless artifacts.
"What I'm setting out to do with the foundation is to fulfill his wishes," Alison says. "His wishes were to document Arizona and show the beauty of the landscape and the people."
The task of doing that — through digitization and optical restoration — will be costly and time-consuming, but the work has already begun, and you'll see some of the results in our portfolio. All 46 photographs in there have been restored.
The Navajo, The Shepherdess, Big Country ... some of the images have been published in this magazine over the past eight decades. Others have never been seen before. That's the exciting part. For us, getting access to the family archive was like being let loose in Copenhagen's Conditori La Glace at Christmastime. There were so many photos to choose from. Too many. Ultimately, we had to expand the issue to 100 pages. And even then, narrowing it down was a challenge. So was writing the captions.
Although Barry created an elaborate filing system, indexed by subject, he could be stingy with details. And sometimes, he'd give multiple names to the same image. Where the information was thin or confusing or nonexistent, we relied on commentary from other photographers, including Ansel Adams, who, like our subject, was a longtime contributor to Arizona Highways.
"Senator Goldwater's deep involvement in the affairs of the world and at the summit of political activity have undoubtedly limited the time and effort he could expend on his photography," Mr. Adams wrote. "The important thing is that he made photographs of historical and interpretive significance, and for this we should be truly grateful. We sometimes forget that Art, in any form, is a communication. Barry Goldwater has communicated his vision of the Southwest, and he deserves high accolades for his desire to tell us what he feels and believes about his beloved land."
We also reached out to some of our current contributors. The names are names you'll recognize: David Muench, Jack Dykinga, Paul Markow, Paul Gill, Joel Grimes, J. Peter Mortimer. In addition to being a talented photographer, Pete was our photo editor in the early 1980s. In that role, he often visited Barry at his home in Paradise Valley.
"The first time I met Barry Goldwater," Pete says, "was when Editor Don Dedera asked me to go to Barry's house to get an envelope of photographs that were going to be used in the magazine. As I drove up the driveway, I noticed that the abandoned Secret Service guard shack was still there — a relic from Goldwater's 1964 presidential campaign. Near the driveway, there was a man in dark shorts and a T-shirt slapping a tar-like substance onto an old, ailing saguaro. As I got closer, I realized that it was Senator Goldwater. I rolled down the car window and he said, 'You've come for the pictures?' I told him yes, and then I asked what was wrong with the cactus. He looked over at the saguaro and said, 'Oh, I don't think these damn things like us very much!' Then he added, 'Go up to the house and get some iced tea; I'll be there in a few minutes.' Over the years, I was lucky enough to make a number of trips to his house to get photographs. I always looked forward to hearing him talk about the specific images that he was sending back to the magazine."
In all, we've published hundreds of Barry's photographs, the best of which will be on display from January 6 through June 23 at Western Spirit: Scottsdale's Museum of the West. The exhibition, Photographs by Barry M. Goldwater: The Arizona Highways Collection, is another one of the ideas that Alison and I talked about during the parade.
It was an idea that took off, and now, so many months later, Arizona Highways is proud to be partnering with the Barry & Peggy Goldwater Foundation on this important show, a show that wouldn't be possible without the generous support of Salt River Project. SRP has a long history of supporting arts and culture in Arizona, and this exhibition is another one of the many beneficiaries. On behalf of the Goldwater family and everyone at this magazine, thank you, SRP. We look forward to what's ahead, including more exhibitions, a coffee table book and a line of related products, all of which will benefit the foundation in its ongoing effort to preserve those 15,000 images.
Stay tuned for details on all of the above. Meantime, whether you celebrate Christmas, Hanukkah, Kwanzaa or just a few days off in December, happy holidays, and thank you for spending another year with Arizona Highways.
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Boyce Thompson Welcomes Eirini Pajak
Eirini Pajak
A frequent contributor to Arizona Highways will see her breathtaking nature photography exhibited at Arizona's best-known arboretum next month.
Eirini Pajak's macro photography will be on display all November at the gallery at Boyce Thompson Arboretum State Park's visitors center. The arboretum, near Superior, is open from 8 a.m. to 5 p.m. daily in November. Admission is $12.50 for adults and $5 for ages 5 to 12.
"I studied photography in school, but I gave it up almost as soon as I graduated," Pajak told the arboretum. "Instead I devoted most of my spare time to learning about the natural world around me. I moved around quite a bit growing up, so knowing the land and living creatures around where I live makes me feel more rooted.
"When I moved from California to Arizona, one of the first things I did was obtain several nature field guides specific to this state. Once I set photography aside, it wasn't until over a decade later that I picked up a camera again. One day, a monk from St. Anthony's Greek Orthodox Monastery in Florence, Arizona, suggested that I begin photographing wildflowers. He specifically emphasized that I should not overlook even the tiniest of flowers.
"Since then, I have been drawn especially to making close-up photographs of beautiful but often overlooked aspects of nature."
Pajak's photographs are also on display in an upcoming Arizona Highways book, set to be released in early 2019.
To learn more about the photographer, visit her website.
CCP Announces UA Presidential Scholar
David Hume Kennerly
A Pulitzer Prize-winning photographer has been named a University of Arizona Presidential Scholar, the university's Center for Creative Photography announced this month.
David Hume Kennerly will be based at the CCP and will develop lectures and events that touch on photography, journalism, history, government, sociology and other topics, the center's director, Anne Breckenridge Barrett, announced in a letter to CCP supporters.
Kennerly won the Pulitzer Prize in Journalism for Feature Photography at age 25, and he later was the chief White House photographer during President Gerald Ford's administration. "His body of work includes images from 12 presidential campaigns, several wars, including Vietnam, and many other significant historical moments," Barrett said.
The UA's president, Robert C. Robbins, made the appointment. Kennerly is the first Presidential Scholar appointed during Robbins' tenure.
"This is a solid indicator of the new and expanding role that the CCP plays in the interdisciplinary academic experience of UA students from across the campus," Barrett wrote.
The CCP opened in 1975 and now houses more than 90,000 photographs by more than 2,200 photographers. For more information, visit the center's website.
2018 Documentary Will Examine the Lost Dutchman Myth
No, Sunset Crater Volcano Is Not Erupting
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© Copyright 2019 Arizona Department of Transportation, State of Arizona. Reproduction in part or whole without written permission from the publisher is prohibited. The images on this website are copyrighted. Copying and downloading images from this site are strictly prohibited. All rights reserved.


This 2 bedroom, 2 full baths home, located on Hewitt Street was just sold on Wednesday, February 6th for $1,100,000.
With 1,380 square feet of total floorspace, this home comes in at $797.10 per square foot. That's 2.83% higher than the neighborhood average. There are also 1.00 garage spaces available for parking.
Originally built in 1966, this 5-story home sits on a 23,466 square foot lot.


ABSTRACT: comparison of expression of wildtype lungs and lungs with hypomorphic expression of nmyc. the lungs were pooled from several biological samples. The hypomorphoic mutant was orignally published in Moens CB et al [PMID: 1577267]. this is part of a larger collection of data comparing nmyc misexpression in the lung (gain of fucntion) and protein expression in the hypomorphic lungs. Experiment Overall Design: samples from pooled lungs were analyzed.
A hypomorphic Lsd1 allele results in heart development defects in mice.
Project description:Microarray characterization of Lsd1 knock-outs compared to littermate controls Microarrays were employed to identify transcripts that were differentially modulated in the hearts of wild-type and Lsd1-hypomorphic late-stage embryos. Late-stage embryonic hearts were isolated from wild-type and Lsd1-hypomorphic hearts, in order to isolate RNA for hybridization on Affymetrix microarrays. We sought to identify gene products that are differentially regulated between the two genotypes, in order to explain the observed ventricular septal defects in the hypomorphic animals.
Project description:The essential S. pombe protein Teb1 contains two Myb-like DNA binding domains related to those found in telomere proteins and binds the human telomere repeat sequence TTAGGG. Here we analysed the consequences of reduced Teb1 function. The hypomorphic allele, teb1-1, confers reduced levels of histone transcripts. Together with other data, this experiment allowed to identify Teb1 as a master regulator controlling histone levels and centromere identity.
Murine bone-marrow derived macrophages: Wild type Control vs. DICER1 (Dcr1) hypomorphic cells.
Project description:This study aims to identify miRNA molecules that are involved in inflammatory response in macrophages. A miRNA expression profiling of mouse macrophages comparing control wild type cells with DICER hypomorphic cells were conducted after these were subjected to treatment with LPS. Keywords: miRNA; DICER hypomorphic macrophages, microarray Pairwise comparison of Control versus DICER1 (Dcr1) hypomorphic cells. Two biological replicates were performed with three technical replicates for each biological replicate: 1 Control, 1 DICER1 (Dcr1) hypomorph, 2 treatment conditions. Exposed to LPS, harvested at 2hr and 4hr post treatment.
Project description:This study aims to identify miRNA molecules that are involved in inflammatory response in macrophages. A miRNA expression profiling of mouse macrophages comparing control wild type cells with DICER hypomorphic cells were conducted after these were subjected to treatment with LPS. Keywords: miRNA; DICER hypomorphic macrophages, microarray Overall design: Pairwise comparison of Control versus DICER1 (Dcr1) hypomorphic cells. Two biological replicates were performed with three technical replicates for each biological replicate: 1 Control, 1 DICER1 (Dcr1) hypomorph, 2 treatment conditions. Exposed to LPS, harvested at 2hr and 4hr post treatment.
Project description:The function of Dnmt3b, of which deregulated activity is linked to several human pathologies, was studied using Dnmt3b hypomorphic mutant mice with reduced catalytic activity. Microarray analysis of deregulated expression programs in the hypomorphic Dnmt3b mutant mice (m3/m24) was combined to an analysis of the molecular mechanisms involved in the illegitimate activation of a specific set of genes. Mouse embryonic fibroblasts and thymus tissues isolated from 12.5 dpc and 18.5 dpc, respectively, wild-type and hypomorphic embryos (129SvJae x C57BL/6 hybrid genetic background). Total RNA was isolated using RNeasy Mini kit (QIAGEN), amplified, labeled, and hybridized following a previously described protocol (Le Brigand et al., Nuc Acid Res, 2006). Total RNA was coupled with Cyanine 3 or 5 and then hybridized in competition with reference RNA composed of a pool of total RNA isolated from wild-type thymus or MEF cells (thymus, n=5; MEF, n=5); two dye-swap were realized leading to the analysis of 18 microarrays for thymus (2 microarrays were excluded for unsufficient quality) and 20 for MEF cells. Arrays were then scanned with Agilent G2565AA Microarray Scanner (Agilent Technologies).


It's official, "light, wintry mix" has re-entered our vocabulary. Besides cursing the weather gods, pre-April showers also bring Hermès sample sale fanatics, as evidenced by the gargantuan crowd that started lining up for the mother of all luxury sales (up to 70% off) at 4:30 morning. While at this point the merch on tap has to be scraping the bucket, Racked reports that there are scarves for $231 (originally $385), ties for $111 (originally $185), bracelets for $215 to $330, and bags that run the gamut from $962.50 to $3950, including an orange nylon tennis bag with tennis-racket pouch for $1577. Note that they will not be restocking the floor, but you can ask for plastic packing baggies. Score! For more deets and a hilarious live report, check out Fawnia Soo Hoo's column. "It's a black hole!"


text:
Wizkids teases a new Dice Masters set and other upcoming releases!
Wizkids seems to be all about the hype train as of late with the teasing of a new DnD Adventure game, and now it's a new Dice Masters set. This new set will be set in the Forgotten Realms of Dungeons and Dragons. It will have all new spells, adventurers, and monsters, plus a new draft pack format to allow for tournament play. Each pack will come with enough cards and dice that when two packs are put together, you have everything you need for a game. Look for this new set to appear on store shelves in September of this year.
Bushiroad, known for other TCGs like CardFight!! Vanguard, are getting ready to release a new TCG designed by Mike Elliot called Dragonborne – Rise to Supremacy. What makes this game interesting beyond the setting and art is that dice are being introduced to enhance in-game effects. You will be able to use the dice to defend your forts, strengthen your units, or enhance your spells, making them better. You can check out more on Dragonborne's Facebook page, and look forward to it's release in August of this year.
Last, IDW Games is reprinting a highly rated abstract strategy game called Torres. In Torres you are the sons of the king, vying for prestige in order to be crowned the next ruler of the land. To do that you will need to rebuild the kingdom with the most impressive castle you can. In the game you will use action points to build up your castle, but you have to not only build it tall, but also spread it out across the land. Plus you will also be playing cards and placing knights to help earn you points, and whoever has the most at the end is the winner. Look for this game on store shelves in August.
abstract strategy game
D&D Dice Masters
Dragonborne - Rise to Supremacy
KS For EXCEED Season 2 Seventh Cross
Phalanx To Bring 20th Anniversary Hannibal & Hamilcar


text:
A Palazzo dei Cartelloni vagy Palazzo Viviani palota Firenze történelmi központjában.

Története
A palotát a matematikus Vincenzo Viviani építette a 17. század végén. Az ő rendeletére készültek el a homlokzatot díszítő latin nyelvű feliratok, amelyek Galileo Galilei munkásságának állítanak emléket. Az épületet Giovan Battista Nelli tervezte. Az épületet díszítő Galilei-szobor Giovanni Caccini műve. Viviani halála után (1703) a palota Paolo Panzanini apát tulajdonába került, majd 1733-ban a tervezője, Nelli vásárolta meg. A következő századokban a palota többször is tulajdonost cserélt. Napjainkban az amerikai Studio Art Centers International non-profit egyesület székhelye, amely szépművészeti tanfolyamokat tart diákoknak.

Leírása
Nevét a bejárat két oldalán található kőtábláról (cartellone) kapta, amelyre a Galileit dicsőítő feliratok vannak felvésve. Az épület közepén egy kis kert található. A palota belső termeit a századok során többször is átalakították. Freskóinak és kazettás mennyezeteinek többsége 19. századi. Figyelemre méltóak az első emelet trompe-l'œil freskói.

Források
 Fajth Tibor: Itália, Athenaeum Nyomda, Budapest, 1980
 Mueller von der Haegen, Anne: Tuscany: Art and architecture, Könemann, 2005
 Wellner István: Firenze, Panoráma Kiadó, Budapest, 1975
 Wirtz, Rolf: Firenze'', Vince Kiadó, Budapest, 2007

További információk

Firenze történelmi központja
Cartelloni
Olaszország barokk kastélyai, palotái

redpajama_set_name: RedPajamaWikipedia


The doors of Christmas. Notes for a homily.
You find yourself in a softly lit room, alone, quiet. You may hear voices in the distance, but you do not attend to them. You are you alone, standing in a room with doors, perhaps many doors. You do not count them. You look at some of them. If you do not open a door and pass through, you will not find what is there. Only if you open the door and pass through do you find the gift of Christmas, the gift of God.
Through one door you enter into sheer gratitude and thankfulness, for the many gifts given to you, and which you gratefully received: for life, for loves, for beauty in many forms, for refreshment, and peace and joy, and for the trials of life through which you have passed, or are even now passing. Gratitude and light fill your heart and mind and soul.
Through another door you enter into sheer joy, a lifting up and out that is self-forgetfulness, as you are overcome with the lightness of a joyful and merry heart. You may dance, you may sing, you may take a lost loved one by the hand, but you feel whole, and at home at last.
Through another door you softly step, and immediately are overcome by sheer beauty, by the shining presence of the unspeakable, unsearchable goodness and mercy. And you are filled with awe and wonder, and gently drop to your knees, and just silently gaze. All else is far from you.
Through another door you walk across the threshold, passing under the wood that frames the door, and immediately you lower your head, your eyes turned towards the ground. You dare not raise your eyes, as you are utterly humbled by the sheer humility of the One coming right now, even to you, just as you are, asking nothing, demanding nothing from you, just presenting himself, herself, itself to you. And you are filled with the humility of the One who became one with us, there and here, then and now.
You open another door, and pass through. All is dark and still, but you feel no fear. Your heart and mind are utterly stilled, and you feel the peace of God that surpasses all understanding come over you, and fill you. Nothing is lacking, nothing is heard or seen, but inexpressible peace that is bliss itself.
You may enter yet another door, and you know at once that you are not alone. You are no longer just you, but you and your beloved, together, one. There is no separation, no distance, no tension, but sheer loving union. You are dissolved into an all-beautiful, unbounded You. Now you are one in the Other, who is one in You. Such a love transforming the beloved into the Lover.
These are the doors of Christmas. There may be others for you to find. The point is: enter through the door, enter into the hidden joy, enter into the peace and light with wonder and gratitude. Here you are home, here you are all one in the One that loves you utterly, as you are, here and now.
Merry and Christ-filled Christmas to each and to all.


text:
Butterfly Lake ist der Name mehrerer Seen

in den Vereinigten Staaten:
 Butterfly Lake (Alaska)
 Butterfly Lake (Florida)
 Butterfly Lake (Lake County, Minnesota)
 Butterfly Lake (St. Louis County, Minnesota)
 Butterfly Lake (Oregon)
 Butterfly Lake (Duchesne County, Utah)
 Butterfly Lake (Garfield County, Utah)
 Butterfly Lake (Marinette County, Wisconsin)
 Butterfly Lake (Vilas County, Wisconsin)

in Kanada:
 Butterfly Lake (Manitoba)


We love Tokyobikes and this one is no different! Whether you need a sporty little runabout to get around the city or a comfy cruiser for those country rail trails, a Tokyobike will take whatever you can throw at it in its stride!
Equipped with a responsive flat handlebar, 9 gears and black 26" x 1 tyres, the model offers an agile and quick ride. The matte metallic finish, together with black details, gives a clean aesthetic that is simple yet sophisticated. Compatible with fenders, racks and most accessories, it serves as a well equipped modern commuter ride.
Tokyobikes are kept in stock in Melbourne. Stock shown here is a reflection of that warehoused stock, available to us in a matter of days! Feel free to contact us to ensure your chosen size and colour is in stock before placing your order.


Screen Australia has released the second instalment of tracking against its Gender Matters target, which reveals in the year 2017/18 the majority of feature film, documentary, television drama and online dramas that received production funding from the agency, had women occupying at least half of the key creative roles. This is the first time that this has occurred across all content types since tracking began in 2015/16.
Screen Australia's Gender Matters target is that by the end of 2018/19, half of the projects that receive production funding will have women occupying at least 50% of key creative roles.
On a three-year average, Screen Australia has met its overall Gender Matters target for the first time since the initiative was launched, with 51% of all projects receiving production funding having at least half of the key creative roles occupied by women. However, while there has been real improvement in female participation, there is still work to be done, particularly in the feature film sector which is a high profile part of the industry.
Although the Gender Matters KPI only relates to production funding, Screen Australia has also released an update on all application data (available here), covering both successful and unsuccessful applications across development and production. This data gives a sense of the pipeline of stories that may transition from development into production in the coming years.
All Screen Australia funding is based on merit and the Gender Matters initiative does not include a quota.
The next Gender Matters tracking data will be released in August 2019.
*three year average 2015/16 – 2017/18 inclusive.
Screen Australia has also released new industry-wide data charting female participation in Australian feature film, documentary and for the first time, television drama. The data reveals women made up less than half of all producers, directors and writers working in each format (2011-2017), except for producing in television drama where women represented 52% of the workforce.
The percentage of female directors working in feature film (16%) has not improved since the previous industry-wide data set was released by Screen Australia in 2015 covering the period July 1970 to June 2014.
However feature film is a smaller sector compared to television drama in terms of the volume of content being produced, so the number of opportunities for creatives to work in feature film are less. For instance, Screen Australia's Drama Report showed that in 2016/17 $321m was spent to make 457 hours of Australian television drama. In the same period, $284m was spent on 41 Australian features.
In July 2016, $3.7m was distributed to fund the development of 45 female-driven stories (Brilliant Stories) and 13 female-driven businesses (Brilliant Careers).
Three alumni of Brilliant Stories have already proceeded to production, with online comedy Sheilas from Hannah and Eliza Reilly launching later this month (sheilas.tv) and Rachel Griffith's Ride Like a Girl feature film about Michelle Payne's life is currently in post-production. Last month Natalie Erika James' feature Relic received production funding and has just finished shooting in Victoria.
The suite of Brilliant Careers recipients focussed on either slate development or providing career opportunities for individuals, with the aim of creating self-sustaining enterprise. Sophie Hyde and Rebecca Summerton utilised the funds to shepherd a large slate into fruition via their South Australian production house Closer Productions, including offering work opportunities to producers Bettina Hamilton, Katrina Lucas and Christine Williams.
The Australian Directors Guild (ADG) utilised their Brilliant Careers funding to place female directors into TV drama work experience. The approach has been highly successful, with Jane Eakin (Street Smart), Darlene Johnson (Home and Away) and Lisa Matthews (Doctor Doctor) placed as shadow directors.
Lucy Gaffy was also hosted by Essential Media and Entertainment as the Shadow Director on episode seven of Doctor Doctor series two, and as a result was hired to direct four episodes of series three.
Four more shadow directing opportunities are in the works through the ADG program. A further seven female directors were awarded commercial content mentorships in 2016/17 from the ADG and The Communications Council, with eight more placements announced in May 2018.
The Gender Matters Better Distribution incentive scheme closed at the end of 2017/18, with support provided to forthcoming features The Flip Side and The Nightingale (which was recently selected for the Venice Film Festival).
The Gender Matters Attachments for Women scheme also closed at the end of 2017/18, having placed 24 female creatives in a paid placement. Four final attachments remain active, namely Julia Corcoran who is a Post Producer Assistant on Judy and Punch, Mary Duong who is a Digital Producer on The Strange Chores, Sarah Jo Fraser who is a Cinematographer attachment for The True History of the Kelly Gang and a forthcoming attachment on High Ground.
Due to the success of the Attachments for Women program, from July 2017 a new Inclusive Attachment Scheme was introduced for all Screen Australia productions. The program includes a paid placement for an emerging creative, with the length of the attachment and the focus being flexible so as to suit the particular theme / direction of the project.
In May 2018 Screen Australia updated its guidelines for General Drama and Children's Programs which stipulate that unless in exceptional circumstances, at least one female director must be used on extended television series (where there is more than one filming block).
In July 2018 the agency made historic changes to its Story Development guidelines, removing most barriers to entry. This change was inspired by the success of Gender Matters: Brilliant Stories, which allowed new ideas and talent access to Screen Australia's development funding.
The agency has continued to offer bespoke industry development opportunities, such as the Brilliant Pitches workshops and public forum held in July 2018, which assisted creatives to pitch their ideas to market.
For this update, all online documentaries formerly marked as online productions were reclassified as documentaries. This does not ultimately affect the outcome of the Gender Matters KPI.
Screen Australia does allow creatives to identify their gender as 'other' and this is tracked in both the Gender Matters and industry-wide data. No person identifying as having a non-binary gender appeared in the data used in this particular media release.
Gender Matters tracking includes Screen Australia initiatives administered by third-parties including ABC Art Bites (15/16, 16/17, 17/18), ABC Love Bites (17/18), ABC Long Story Short (15/16), ABC Fresh Blood 2 (16/17, 17/18), ABC Girls (16/17), NITV A Moment In History / You Are Here (15/16), NITV Songlines on Screen 2 (15/16), The Guardian (17/18), whimn.com.au Doco 180 (16/17, 17/18), VICE Pitch Australiana (17/18), Screen Queensland and ABC Straight out of the Straits (17/18), Google Skip Ahead (15/16, 17/18), ABC Shock Treatment (17/18).
Here are high resolution JPEGs of the available graphs.


text:
package repository

import (
	"context"
	"net/url"
	"strconv"
	"testing"

	. "github.com/smartystreets/goconvey/convey"

	"github.com/diegobernardes/flare"
)

func TestResourceGenResourceSegments(t *testing.T) {
	tests := []struct {
		expect      string
		result      string
		resources   []flare.Resource
		qtySegments int
		want        [][]string
	}{
		{
			"When the list is nil",
			"The result should be a empty list of flare.Resource",
			nil,
			0,
			[][]string{},
		},
		{
			"When the list is not nil",
			`The result should contain a list of list of strings with the flare.Resource id and each
path segment`,
			[]flare.Resource{

				{ID: "1", Endpoint: url.URL{Path: "/product/123/stock/{*}"}},
				{ID: "2", Endpoint: url.URL{Path: "/product/{*}/stock/{*}"}},
				{ID: "3", Endpoint: url.URL{Path: "/product/456/stock/{*}"}},
			},
			5,
			[][]string{
				{"1", "", "product", "123", "stock", "{*}"},
				{"3", "", "product", "456", "stock", "{*}"},
				{"2", "", "product", "{*}", "stock", "{*}"},
			},
		},
	}

	Convey("Given a list of flare.Resource", t, func() {
		for _, tt := range tests {
			Convey(tt.expect, func() {
				var r Resource
				result := r.genResourceSegments(tt.resources, tt.qtySegments)

				Convey(tt.result, func() { So(result, ShouldResemble, tt.want) })
			})
		}
	})
}

func TestResourceFindOne(t *testing.T) {
	Convey("Given a Resource", t, func() {
		c := NewClient()
		r := c.Resource()

		Convey("It should not find a flare.Resource with id 1", func() {
			resource, err := r.FindByID(context.Background(), "1")
			So(resource, ShouldBeNil)
			So(err, ShouldBeError)

			nErr, ok := err.(flare.ResourceRepositoryError)
			So(ok, ShouldBeTrue)
			So(nErr.NotFound(), ShouldBeTrue)
		})

		Convey("When a list of flare.Resource is inserted", func() {
			for i := (int64)(0); i < 10; i++ {
				err := r.Create(context.Background(), &flare.Resource{
					ID:       strconv.FormatInt(i, 10),
					Endpoint: url.URL{Host: strconv.FormatInt(i, 10)},
				})
				So(err, ShouldBeNil)
			}

			Convey("It should find the each flare.Resource by id", func() {
				for i := (int64)(0); i < 10; i++ {
					id := strconv.FormatInt(i, 10)
					resource, err := r.FindByID(context.Background(), id)
					So(resource, ShouldNotBeNil)
					So(err, ShouldBeNil)
					So(resource.ID, ShouldEqual, id)
				}
			})
		})
	})
}

func TestResourceCreate(t *testing.T) {
	Convey("Given a Resource", t, func() {
		c := NewClient()
		r := c.Resource()

		Convey("It should be possible to insert a flare.Resource with id 1", func() {
			err := r.Create(context.Background(), &flare.Resource{ID: "1"})
			So(err, ShouldBeNil)

			Convey("It should not be possible to insert another flare.Resource with id 1", func() {
				err := r.Create(context.Background(), &flare.Resource{ID: "1"})
				So(err, ShouldNotBeNil)

				nErr, ok := err.(flare.ResourceRepositoryError)
				So(ok, ShouldBeTrue)
				So(nErr.AlreadyExists(), ShouldBeTrue)
			})
		})

		Convey("It should be possible to insert a flare.Resource with app.com address", func() {
			err := r.Create(context.Background(), &flare.Resource{
				ID:       "1",
				Endpoint: url.URL{Scheme: "http", Host: "app.com"},
			})
			So(err, ShouldBeNil)

			msg := "It should not be possible to insert another flare.Resource at the same address"
			Convey(msg, func() {
				err := r.Create(context.Background(), &flare.Resource{
					ID:       "2",
					Endpoint: url.URL{Scheme: "http", Host: "app.com"},
				})
				So(err, ShouldNotBeNil)

				nErr, ok := err.(flare.ResourceRepositoryError)
				So(ok, ShouldBeTrue)
				So(nErr.AlreadyExists(), ShouldBeTrue)
			})
		})
	})
}

func TestResourceDelete(t *testing.T) {
	Convey("Given a Resource", t, func() {
		c := NewClient()
		r := c.Resource()

		Convey("It should not be possible to delete a flare.Resource that does not exist", func() {
			err := r.Delete(context.Background(), "1")
			So(err, ShouldNotBeNil)

			nErr, ok := err.(flare.ResourceRepositoryError)
			So(ok, ShouldBeTrue)
			So(nErr.NotFound(), ShouldBeTrue)
		})
	})
}


§ 1048.101 What exhaust emission standards must my engines meet?
§ 1048.105 What evaporative emission standards and requirements apply?
§ 1048.110 How must my engines diagnose malfunctions?
§ 1048.115 What other requirements apply?
§ 1048.120 What emission-related warranty requirements apply to me?
§ 1048.125 What maintenance instructions must I give to buyers?
§ 1048.130 What installation instructions must I give to equipment manufacturers?
§ 1048.135 How must I label and identify the engines I produce?
§ 1048.140 What are the provisions for certifying Blue Sky Series engines?
§ 1048.145 Are there interim provisions that apply only for a limited time?


Made for transport your sports kit or personal belongings when travelling (from three days to a week).
The 55 L foldaway duffle bag is ideal for trips lasting from several days to a week. Its easy storage in the integrated pocket makes it convenient for bringing extra luggage back from your holiday!
Multiple compartmentsEasy storage thanks to a large compartment and a zipped front pocket.
Compact designTakes up very little space thanks to the ability to fold down into its pocket.
Carrying comfortMakes getting around easier thanks to its adjustable strap.
All Newfeel backpacks and travel bags are tested by representative testers replicating the everyday conditions you might encounter during your use of the product (in terms of weather, walking time etc.).These daily tests allow us to improve the quality of our products and provide you with full satisfaction as you use them.
Within our Strenfit laboratories, we replicate extreme usage conditions to test the resistance of materials, seams, assemblies and plastic parts. These tests allow us to guarantee our products for 2 years.
How is the volume of Newfeel bags and suitcases measured?
Volume is measured using a standard method: we use small balls to fill the main compartment in addition to every pocket. We then empty the balls into a graduated container which provides the equivalent volume in litres.
Newfeel luggage is field and laboratory tested.
The Newfeel team recommends you keep your luggage in a dry, dark and well-aired location.
To ensure fabrics retain all their properties (water repellent properties in particular), do not machine wash, do not tumble dry, do not dry clean, do not use bleach. Do not iron. To clean your backpack by hand, you are advised to use warm soapy water and a brush if necessary. After a few years, you can refresh the water repellent properties of the fabric using a waterproofing spray.
Actually holds a lot more than expected great value.
We use the bag to store some of our camping gear, really handy bag.
Purchased this bag due to the price as we are a family of 6 and we're going on holiday and thought it would be OK as a spare.
The Zips and stitching are of excellent standard and the bag looked trendy !
Really pleased with this bag.
Great bag with plenty of space for a weekend away.
I thought this bag was really great, as it complies with BA carry-on baggage (not budget airlines), but fits far far more than a roll-on ever could. It also weighs much less. The fold-down process is also innovative and simple. The components are quality and the material is surprisingly strong. HOWEVER, one little change could make it so much better. Th webbing straps, which are well stitched down the entire length of the bag, are not continuous under the bottom of the bag. I cannot understand why not, as this means that 55L worth of luggage weight rests on unsupported material and seams at the base. Had the straps encompassed the bags, the webbing would have taken nearly the entire strain of the weight. Because of this, I am concerned about the bottom giving out during use, despite the material appearing strong, and have bought two webbing luggage straps to help support it. I think adding continuous webbing underneath the bag would make this product perfect.
Folds down, strong, Looks Good. Fits tonnes.
Very light bag. Although, with heavy stuff inside, shoulder may feel bad.
These bags are fantastic. We have three that have been taken on safari, thrown in vehicles and through countless airports. None of the stitching or fabric has been damaged and they are still in perfect condition. The 35L version is also very useful for a weekend trip. Love them!
Excellent size bag, good for a weekend or take camping as it folds down so small when put away. Very well made and very sturdy. Great value for money.


text:
Exo-poly-alpha-galacturonosidase (, exopolygalacturonosidase, exopolygalacturanosidase, poly(1,4-alpha-D-galactosiduronate) digalacturonohydrolase) is an enzyme with systematic name poly((1->4)-alpha-D-galactosiduronate) digalacturonohydrolase. This enzyme catalyses the following chemical reaction

 Hydrolysis of pectic acid from the non-reducing end, releasing digalacturonate

References

External links

EC 3.2.1


Rock Throwing is the act of throwing rocks. It has been said that Bigfoot does this activity. This is common with other known primates as a way to communicate. In an episode of History Channel's MonsterQuest, the crew experienced a rock being thrown and landing on the roof of their cabin. It was stated that no other humans were around for many miles.
Broken branches have been thought to be evidence of Bigfoot. Several branches and trees in one area have been observed to be broken or twisted off. These trees are often two to three inches thick and would take an incredible amount of strength to bend or twist.


Toy retailer Toys R Us Canada has begun a national promotion in association with cinema chain Cineplex Entertainment. During the initiative, Cineplex's Mini Combo concession product will display the Toys R Us brand, either alone or co-branded with specific family or action movies. Through the holiday season, the combos will include one of three holiday-themed wristbands.
Toys R Us and Cineplex will also offer co-branded private party packages, including an in-theatre party room, games presented in association with Hasbro and Disney, a host, reserved movie seating, mini combos for attendees and a coupon. Cineplex's pre-show will also feature a segment called Toy Box that will focus on 12 toys on the Toys R Us 2014 hot Toy list. The 30-second segments will run nationally until the end of December.
In addition, the company's Babies R Us division will sponsor the Cineplex's Stars and Strollers program for parents with infants.
"Cineplex has long been the destination for a night out at the movies and we're delighted to bring family favourite and action-packed movies to life through toys," said Liz MacDonald, vice-president of marketing and store planning at Toys R Us Canada. "Movie character toys have always been popular in our stores, and are among the top trends this holiday season. Branded concession programs and toys allow kids to continue the narrative by playing with them long after the film is over."


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