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XDN Makes Targeted Advertising A Unique, Interactive Experience
The advent of multidirectional real-time video streaming opens a new chapter in consumer marketing with support for a much simpler, better performing approach to targeted advertising and a much broader palette of personalized promotional techniques.
Ad targeting has already become a driving force behind monetization of live-streamed video services. And marketers are finding ever more ways to generate sales through interactive shopping videos, messaging overlays, purchasing or information-request prompts on second screens, and other methods.
But while personalized advertising and these other techniques are much more effectively applied utilizing IP technology than they were with legacy TV, they're encumbered by the need to operate in the traditional content delivery network (CDN) environment. Targeted ad placements are hard to execute, deter attempts to bring live-streaming latencies in line with broadcast latencies, and don't meet performance parameters advertisers are accustomed to with broadcast TV. Other approaches to personalized messaging are similarly hard to manage. And there's a whole realm of monetization opportunities associated with real-time interactive video streaming that is completely out of reach.
All these impediments to a next-generation approach to advertising and marketing in the live-streaming era go away when personalized advertising and other modes of messaging are executed on a multi-cloud experience delivery network (XDN) infrastructure. As developed by Red5 Pro, the XDN platform supports real-time streaming in any direction to any number of people worldwide with end-to-end latencies registering at 200 ms to 400 ms or even lower within smaller geographic areas.
An XDN infrastructure, as reflected in the capabilities introduced by Red5 Pro, does away with the client-based per-chunk calls and responses that have to be orchestrated across CDNs, manifest servers, server-side ad insertion (SSAI) platforms, ad servers, campaign management systems and other sources of messaging when adaptive bitrate (ABR) streaming is in play. Instead, executing targeted advertising and other personalized marketing modes in real-time synchronization with core content is intrinsic to how the XDN works.
The highly scalable multicloud XDN architecture uses real-time streaming protocols based on the Real-time Transport Protocol (RTP) employed in voice communications to deliver live payloads. In the majority of instances, the protocol of choice is WebRTC, which has client-side support for execution by all the leading browsers, including Chrome, Firefox, Safari, Edge, and Opera. There are no scaling limitations, as is the case with the multitude of video chat applications now operating in real time.
All audio-visual (A/V) content, data, and ads are delivered in unbroken streams from origin servers to edge nodes, where servers leveraging intelligence about each user can combine and stream the different elements in perfectly synchronized per-session configurations. The multidirectional flexibility of this architecture can be applied so that whenever anyone at any moment of a streamed session chooses to deliver a video communication, that user's stream will be conveyed along with any marketing enhancements to everyone else. Whatever the use case might be, it doesn't matter whether a few or millions of users are engaged or where they are.
Critically, the implications of the real-time SSAI capabilities of the XDN aren't limited to situations calling for real-time video streaming. The simpler, virtually latency-free approach to personalizing ads and other promotional features could become a reason for moving ad-based live-streamed content to an XDN infrastructure even when the goal is simply to maintain broadcast-caliber latency with that content. Moreover, because the XDN supports one-to-many streaming in any direction from any session participant, it's now possible to implement these commercial applications on user-generated streams as well.
At the same time, live content providers seeking to heighten the appeal of their services already have plenty of reasons to move to real-time streaming over an XDN infrastructure. As explored at length in a previous white paper, there's an overarching need to find a way to make the virtual world of video experiences feel more real and more interactive.
This can be achieved provided that the streaming infrastructure meets three fundamental requirements: real-time latency, multidirectional streaming, and data synchronization. This is beyond the reach of HTTP-based CDN streaming.
Whether the use case involves watch parties, user-selected camera angles, virtual reality, or any myriad of other real-time applications, the new goal is to move beyond traditional streaming. For example, the watch party experience with sports, esports, and other live events is much better when all users can simultaneously receive content and respond in real time with the ability to deliver their comments via A/V streams from smartphones and computers rather than texting through chat apps. And, of course, the spoiler effect haunting efforts to live-stream sports and other events is a nonissue, even when people at a venue are communicating with viewers elsewhere.
While personalized advertising is sure to remain the linchpin as advertisers move beyond the one-ad-fits-all TV tradition, a better way to think of campaigns designed to exploit the power of XDN infrastructure is summed up in the term real-time video commerce. Multiple approaches to selling products can now be harmonized in conjunction with real-time user experiences in innovative ways that once were impossible.
We'll take a deeper look at the monetization opportunities XDN technology brings to real-time as well as traditional live-streamed use cases in the pages that follow. The discussion will also explain the mechanics of XDN architecture and how implementation of personalized advertising and other messaging on that platform contrasts with the encumbrances encountered with traditional streaming.
These are early days in the transition to real-time interactive video streaming, although the maturation of XDN technology is taking the marketplace in that direction at an accelerating pace. XDNs can be instantiated by customers independently with Red5 Pro's help, or providers can take advantage of Red5 Pro's upcoming hosted XDN platform-as-a-service (PaaS), which, unlike shared CDN infrastructures, allows customers to configure infrastructure resources in siloed isolation from all others.
The addition of targeted advertising to the XDN application portfolio is part of the work undertaken by Red5 Pro and its partners to develop personalized use cases that rely on synchronized blending of auxiliary with primary content in real time. Many such applications are already in operation with many more to come.
THE GLOBAL SHIFT TO LIVE AND REAL-TIME STREAMING
There are multiple approaches to personalized marketing in the live-streaming domain that can benefit from execution in real time, including most prominently targeted advertising. The ability of XDN technology to operate interactively while eliminating the additional latency imposed by a traditional one-way streaming architecture is significant for all these marketing use cases, whether or not the core content use case requires real-time streaming. And, of course, these monetization opportunities are always available when content use cases specifically designed for real-time streaming are involved.
Such considerations are becoming top of mind in efforts to maximize monetization of online video services and applications as a result of four trends that are surging in tandem worldwide:
Consumer demand for live-streamed content and for real-time, video-centric interactive experiences
The growing reliance on advertising over subscription revenues
The ad industry's embrace of addressable advertising
New modes of personalized marketing that can benefit from real-time video streaming and interactivity
Growing Demand for Live-Streamed Content
Currently, on-demand viewing generates the most traffic by a margin of two to one, but live streaming is destined to accelerate faster as traditional TV consumption transitions to OTT. Live-streamed video traffic, which accounted for 19% of global CDN video traffic in 2018, will surpass non-live traffic by 2024 with a 52.5% share of the total, according to Rethink Research.
This explosion is taking place in the context of the continuous rise in OTT subscriptions worldwide. Going into 2020, there were 461 million subscribers signed up for 714 million OTT service subscriptions globally, marking an increase of 86.6 million subscriptions and 37.1 million subscribers over the previous year, according to Digital TV Research. By 2024 there will be 531.5 million subscribers accounting for 947.5 million subscriptions, representing an average of 1.78 subscriptions per subscriber, the researcher says.
The ever larger share of live traffic within this surging tide reflects consumer demand for sports, esports, news and other live content viewing options, many of which, such as niche sports and most esports competition, aren't available on TV. Sports channels along with other linear TV fare are now a routine component of virtual multichannel video programming distribution (MVPD) services, while dedicated sports league and esports packages offered directly to consumers have become mainstays of online viewing worldwide.
In one example of the traffic-driving power of sports, Q4 2019 regular season NFL games caused an average per-game increase of 4% in total global video traffic with some games pushing the global spikes to 29%, according to advertising metrics tracker Conviva. In 2020, Fox, producer of the 2020 Super Bowl, said its average per-minute online viewer count hit 3.4 million, far outstripping previous Super Bowl averages.
Adding to the acceleration in live traffic, esports events have reached digital audience levels on par with traditional sports. In 2019, per-event viewership averaged 480 million, representing an 18% increase over the previous year, according to Futuresource Consulting. Total time spent by all viewers streaming esports worldwide came to 5 billion hours, which led Netflix to identify esports as a bigger source of competition for viewership than any of its SVOD competitors.
Live concert streaming, driven by the Covid pandemic, is likely to remain a mainstay in impresarios' strategies. Having taken pains to create the infrastructures that support event streaming, they can look forward to adding revenue from people who can't attend in person.
The Intensifying Real-Time Interactive Streaming Imperative
These developments have awakened content producers of every stripe to the need for a real-time interactive streaming infrastructure. For example, among sports producers there's widespread recognition that they must get better at eliminating the spoiler effect when online sports viewing experiences lag behind broadcast viewing.
Overcoming Latency Issues
With OTT latency averaging close to 40 seconds, broadcast latency in the 4- to 6-second range, the industry has a long way to go. The seriousness of the situation was reflected in two global surveys conducted by Bitmovin:
Top concerns most commonly cited by video professionals:
Latency Content Playback CDNs
Latency preferences for live streaming:
5 Seconds or Less Less than 1 Second
Just achieving the 5-second or less latency target preferred by 53% of the survey respondents has been a tough nut to crack, even for the biggest players in the market. For example, at the outset of 2018 the Amazon Thursday Night Football stream review rating was registering just 2.5 out of 5 stars, with many users reporting latency problems and buffering stalls. In 2019, as the Rugby World Cup was breaking that sport's streaming audience record, repeated freezes and rebufferings during one quarter finals game drew intense viewer outrage.
In 2020, Fox Sports put its considerable networking muscle behind ensuring a better Super Bowl streaming experience than the one it delivered in 2017, when a multi-CDN strategy failed to prevent an embarrassing fourth quarter crash. But while the overall quality of performance was rated as much better in 2020, broadcast-level latency proved to be out of reach with some streams running a full minute behind the broadcast feed.
While concerns over latency have generated adaptive bitrate (ABR) streaming techniques like chunked transfer encoding (CTE) used with the Common Media Application Format (CMAF) to approximate broadcast latency, the results fall short of what's really needed. That's the case even when these efforts work, which, as reflected in the Fox instance, is not something producers can count on.
Social Drivers toward Real-Time Video Interactions
Broadcast-caliber latency might make sense in an environment where the audience is strictly in couch-potato mode, but the audience for live-streamed content is anything but passive. Social media has exploded with apps supporting watch parties with every type of streamed or broadcast TV content. And OTT content providers are setting up such apps as well.
Facebook's recently introduced "Watch Together" platform leverages its Messenger app to enable up to eight people to participate in chat and video-call interactions during shared viewing experiences. Others adopting similar watch-features, typically limited to eight or fewer people, include Amazon, HouseParty, Hulu, HBO Max, Sling TV, Twitch, and Disney+, although Disney's approach only allows user communications via emojis.
New watch-party apps devoted to viewing live sports and esports are cropping up as well. In one case in point, Yahoo Sports added a watch-party feature to its mobile app in conjunction with the start of the 2020 NFL season. The app allows up to four people to livestream a game at no charge while participating in a video chat.
Live watch-party apps have also been set up by various entities working with the NBA, soccer leagues, and other sports. And shared viewing of esports with support for text chat has become a feature in many providers' offerings.
These are rudimentary approaches to what's needed, made all the more unsatisfactory by the fact that people aren't seeing what's happening at the same time. People's comments about what they just saw are meaningless to those who haven't seen it yet. In fact, today's watch parties are actually spreaders of the spoiler effect.
Many things need to change before watch parties can deliver satisfactory experiences. Not only are they limited by the inconsistent event viewing experiences caused by different per-stream latencies; they all are encumbered by poor video and audio quality on the interactive streams and the limits they impose on the number of watch-party participants. Watch parties will take on a new level of enjoyment when everyone is viewing the action simultaneously and can communicate via video in real time.
More broadly, the increasingly video-centric nature of social media experiences is pulling the market toward real-time video interactivity. For example, ever more activity is centered on community engagement with user-generated content (UGC) on Facebook Live and Instagram Live. Shared experiences with UGC shape the business model for the HouseParty social networking service and have been the force behind the rapid ascendancy of TikTok into the top social media tier.
In this arena as with watch parties, out-of-sync discrepancies in user experience caused by annoying streaming delays will disappear when everyone is able to interact in real time. And the same considerations apply to many other types of consumer use cases.
Other Major Real-Time Imperatives
For example, online engagement with game playing has become a social experience in its own right, starting with participation in multiplayer gaming and extending to social groups that have formed around various gaming platforms to comment on esports and gameplaying by popular streamers and to share each other's gaming performances. According to one researcher, 43% of online gamers worldwide play at least one game monthly with others, while about 20% also do at least one of the following: watch a live gaming stream, watch an esport competition, or share an image or video of their own game play.
Multiplayer engagement is expanding to include fast-action virtual reality (VR) games and immersive social environments where users' avatars compete and vie for attention. Moving support for these activities into the mainstream networking environment will allow not just gaming, but everything else tied to live interaction with VR.
Network support for experiences with VR poses stiff challenges that can't be met with conventional streaming. Real-time streaming at sub-half-second latencies is essential to enabling instantaneous refreshments of the VR headset wearer's on-screen field of view (FOV) with every turn of the head or shift in gaze when headset sensors are tracking eye movement. And real-time streaming is instrumental to the techniques that have been devised to minimize bandwidth consumed by those FOV flows.
Real-time streaming also comes into play with artificial and mixed reality use cases as well as immersive and non-immersive 360o viewing options with sports and other live-event programming. Notably, such applications are often cited as a major opportunity driving deployment of 5G networks. Even then, as explained in our "Mass rollouts of 5G networks" white paper, the Internet streaming component with use of 5G will require XDN-caliber support.
Online gambling, too, is starting to incorporate real-time streaming. Casino-type gambling involves remotely located players that need to interact with dealers in real time. Sports betting takes on new dimensions with micro-betting that allows people watching an event unfold in real time to bet in advance on what might happen next.
In the case of the multiple types of traditional auctions that are moving online, real-time streaming and interactions between auctioneers and bidders are essential. And, in the individual selling and bidding space, live auction apps that are gaining traction with individual sellers would be better served if those auctions could be conducted in real time.
DISRUPTIVE SHIFTS IN ADVERTISING WITH HIGH-VALUE VIDEO CONTENT
All of these trends have important implications for what happens next in the evolution of advertising tied to high-value content. Currently, as the share of OTT traffic going to live and real-time streaming increases, the share of OTT revenue attributable to advertising is increasing as well.
The Growing Role of Advertising in OTT Monetization
Digital TV Research predicts ad revenue generated by OTT video services worldwide will grow 120% from 2019 to 2025, reaching $53.2 billion or about 32% of total revenue. This compares to a 103% projected growth rate for subscription revenue that's projected to hit $97.5 billion by 2025.
Advertising support for OTT services has become a major component of hybrid monetization strategies among AVOD and direct-to-consumer (DTC) service providers, including most of the prominent new entrants. Here the goal has been to lower rather than do away with the reliance on subscription fees.
In addition, there's a growing class of free ad-supported streaming TV (FAST) services contributing to the ad trends, such as Crackle, the Roku Channel, Viacom's Pluto TV, Fox's Tubi and Comcast's Xumo. In the United States, 25% of broadband TV households now use FAST services, according to Parks Associates.
The growing dependence on advertising can be attributed to the maturing of the subscription market and consumers' reluctance to keep spending more for new services. But there's also a big buy-side demand factor in play.
TV advertisers, facing diminishing returns from traditional linear TV advertising, are feeling greater urgency than ever to reach OTT audiences. Comcast's advertising support firm FreeWheel, in a recent survey of more than 200 advertisers and agencies, found that 52% of agencies were buying from OTT TV as well as traditional TV inventory in 2019 and 91% planned to do so by 2021.
The availability of live content is impacting the amount of traditional TV viewing time going to OTT viewing, especially on connected TV sets, including smart TVs and other sets linked to the Internet via separate devices. According to the advertising metrics firm Conviva, as of Q3 2020 65% of OTT long-form video viewing time worldwide occurred on CTV screens as opposed to 10% on PCs, 10% on mobile, and 5% on tablets. In the United States, Nielsen reported Q2 2020 metrics showing streaming was consuming 25% of all TV minutes viewed, averaging in non-OTT as well as OTT subscribers.
The impact of live OTT content on viewing habits is especially significant to advertisers. According to the Conviva report, at 24.41 minutes per average view, the time spent viewing live-streamed content is 27% higher than average time spent viewing an on-demand stream.
Seizing the Personalized Advertising Opportunity
Another major driver behind the OTT shift to advertising is marketers' demand for personalized advertising opportunities. With unicast delivery of streamed video, dynamic insertion of ads based on geographic, demographic, or more personalized profiles is easier to execute and scale than was ever the case in TV advertising.
Rethink Research recently reported that spending on addressable advertising across all TV platforms worldwide reached $15.6 billion in 2019 and projected it would top $85.5 billion by 2025, largely driven by dynamic ad insertion (DAI) online. Indeed, the move to addressability online is outpacing the growth in conventional TV advertising by large margins, according to FreeWheel.
In the United States, addressable ad buying accounted for 6.25% of the ad campaigns on streamed TV programs in 2020, representing a 50% year-to-year increase compared to 20% growth in traditional TV ad sales, FreeWheel said in the previously cited report. In Europe, the targeted campaign growth rate hit 56% with targeting accounting for 25% of streamed TV ad campaigns.
The pace of growth in addressable TV advertising online reflects consensus among agencies and their clients that the higher returns on ad investment are well worth the costs, including paying higher cost per mill (CPM) rates. According to a survey conducted by the Video Advertising Bureau, 71% of surveyed buyers said they were willing to pay higher CPMs with targeted placements.
Limitations Imposed by Conventional Streaming
Clearly, addressable advertising presents a major monetization opportunity, provided that the processes employed meet advertisers expectations for broadcast-quality performance. The question is, what's the best approach to doing this in the increasingly latency-sensitive live-streaming environment? And how can it be done when real-time streaming is involved?
One aspect to these questions — namely, whether edge-positioned server-side ad insertion (SSAI) or client-side browser- and plugin-based DAI works best — has been answered with the market embrace of SSAI. In part, this is because of the susceptibility of client-side DAI to ad blockers, which are a non-issue with server-side insertions.
In addition, SSAI has proved to be better at minimizing, though not entirely overcoming, latency and inaccurate placement issues associated with client-side DAI. Moreover, many SSAI systems are designed to tap the resource elasticity and hence scalability that comes with orchestrating operations among edge servers, ad servers and other components in the cloud.
But when SSAI is used with HTTP-based CDNs, results fall short of the performance required with latency-sensitive live-streamed content. That's because the approach relies on manifest manipulation used with ABR streaming to ensure each client calls for the right ad for delivery from remote ad servers for insertion at CDN edge points. This leads to costly placement misses and adds, at a minimum, several seconds and often much more to stream latency.
The scope of the problem is reflected in statistics that show HTTP-based ad performance, regardless of whether or not DAI is involved, falls far short of the long-established norms in legacy TV advertising. In early 2020, Conviva's report tracking in-stream OTT video advertising worldwide across all viewing platforms in Q4 2019 revealed that ads failed to play as intended at least once in 36.5% of the viewing sessions. Most of these failures involved long buffering delays but also included complete misses stemming from mismatches in formatting or errors in ad selection.
Subsequent Conviva reports have shown better but still far from ideal performance. Moreover, there's a growing problem impacting latency caused by mismatches between the personalized ads delivered by ad servers and the ad breaks they are meant to fill.
While default modes in ABR-based SSAI operations assume ad servers will return ads perfectly fitted to the break window, that's frequently not the case owing to the difficulties of maintaining accuracy in the fast-paced live-streaming environment. As long as there is unfilled ad space in ad breaks, no matter how short, and there are ads available for clients to call from servers, the system will insert an ad, adding tens of seconds of unexpected latency.
Moreover, added latency is introduced when multiple ad servers are involved, as is often the case, especially in programmatic ad operations. It can take many seconds before a client manifest directs the call to the right ad server.
Introducing a Much Better Approach
These issues are of far less concern when real-time SSAI enabled with XDN technology is employed. Ads, just like core content, are live streamed, in this case from ad servers to XDN edge servers (see "How XDN Technology Enables Personalized Marketing"). A group of personalized ads scheduled for a slot in an ad break can be streamed in real time just prior to the ad break for brief caching at each edge node, where they can be inserted in precise sync with the streams as they are unicast to each user.
Because any participant in a viewing session can be enabled to stream content to participants anywhere, the SSAI capabilities of the XDN can be applied to insert ads on those streams as well as the core content streams. Ads can also be shaped to communicate messages tied to a specific group use case, such as watch parties where, for example, all participants can be invited to join the producer's next event.
Before exploring the mechanics in greater detail, it's important to understand the other aspects of monetization beyond targeted advertising that stand to benefit from real-time interactive video streaming at mass scales.
THE RAPIDLY EXPANDING ECOMMERCE ARENA FOR REAL-TIME VIDEO
One of the fastest-growing use cases along these lines involves interactive live-stream video shopping. Often likened to traditional TV shopping channels like QVC but with the added benefit of direct interactivity, live-stream shopping typically involves live broadcasts of pitches by presenters, sometimes celebrity hosts, selling cosmetics, apparel, electronics, cars, and other items. The underlying platforms support direct in-video purchasing options and chat links that presenters can respond to live as part of the broadcast.
Livestream shopping first took off in China, where the the sales take in 2020 was estimated to have hit $150 billion compared to $65 billion in 2019, which, according to another estimate, represented 9% of total ecommerce that year. But now the phenomenon is accelerating worldwide amid the persistent Covid pandemic.
For example, in the United States, major players are mounting cloud-based livestream shopping platforms, including Instagram Shopping Live, Amazon Live, Facebook Shops, and Google Shoploop, as startups like Popshop Live, TalkShopLive, Packagd, Very Very Shopping Network, and many more pursue a wide range of innovative approaches, often with a fun-loving, youth-oriented slant.
The existence of these platforms and the fact that sellers and buyers are acclimating to livestream shopping as an alternative to traditional ecommerce appear to ensure the new trend will endure and grow. But livestream shopping as it is supported by most platforms today still has a long way to go to better emulate the in-store shopping experience.
The obvious next step is to enable a synchronized real-time viewing experience on the part of shoppers. This eliminates the disparate multisecond latencies that conventional one-way streaming injects into the interactive communications between presenters and audiences.
Equally if not more important, real-time synchronization of viewing experiences paired with the ability to stream video interactively from any direction to any number of people in real time enables interactions with the presenters where viewers' questions selected for airing can be posed via video rather than chat alone. Marketers who choose this approach have the advantage of drawing the higher engagement that occurs when viewers know they have an opportunity to be seen during the presentation.
One example of this approach can be found at the startup Whatnot, which operates a platform that enables its community to connect and interact in real time to buy and sell just about anything. The startup's stated aim is to bring people together, individually or as part of existing communities with shared interests and hobbies, by making it easy and safe to connect, buy, and sell. Some Whatnot sellers are small businesses, but over 90% are people who sell items as a hobby or side-hustle.
Multiple Approaches to Personalized Messaging
Real-time interactive streaming supported by XDN technology is enabling many other new approaches to advancing marketing agendas. One involves just-in-time placements of overlay streams bearing marketing messages with core content.
Overlays and In-Stream Displays
As in the case of targeted ads, the overlays, which can be produced by independent entities in partnership with core content providers, are applied at XDN edge nodes with each unicast stream. They can be positioned anywhere on viewers' displays to deliver any combination of text, graphic, or video messaging.
The placement may be on an overlayed strip at the bottom or elsewhere on the screen, or it can be implemented as a standalone element within the video frames. It might appear in a small video window or as a text message floating over the scene. Or it might be an ad placed in a location designated in production for such messaging, such as a sign on a fence at the ballpark or a billboard along a NASCAR track.
A Better Approach to Second-Screen Marketing
On another track, XDN technology is creating a new, greatly simplified approach to second-screen marketing strategies to enable user interactions with anything promoted for sale in a video stream. The technique can be applied with a full-screen ad, an overlay or products such as clothing or cars that are part of the core video.
This eliminates the complicated traditional second-screen app approaches that rely on audio or text fingerprints or other types of coding embedded in the content to identify the content a user's smartphone app is pointing to. In those cases, an app captures the code and conveys it to remote storage where the code is paired with the content on view, thereby enabling delivery of messaging related to that content element to the phone.
In all cases, users are alerted to the presence of a purchase or information-gathering opportunity by some graphic or other signal embedded in the core video. But when a second-screen marketing app is designed for use in this new XDN-based approach, the app knows immediately what the phone is looking at by simply reading an invisible code inserted into each stream at the edge node. Because XDN node intelligence knows both the identity of the user and the content on view, once the app sees the invisible mark it's able to trigger immediately a marketing response directed to the user's phone.
HOW XDN TECHNOLOGY ENABLES
The possibilities are virtually endless when it comes to embellishing user experiences with personalized messaging in the XDN streaming environment. A brief overview of the XDN architecture makes clear why this is the case.
The Multidirectional Real-Time Streaming Architecture
The Red5 Pro XDN platform consists of a server software stack deployed in a hierarchy organized in three-tiered clusters across one or more private or public cloud environments (fig. 1). Each cluster consists of one or more origin nodes where encoded content is ingested and streamed to relay nodes, each of which serves an array of edge nodes that deliver live unicast streams to their assigned service areas. All nodes can be deployed on low-power consuming virtual machines anywhere in the world to deliver real-time experiences with video simultaneously at any distance to any number of clients, from one to millions.
Figure 1. A Red5 Pro cluster can be deployed on a cloud platform to support millions of users while guaranteeing sub-500 milliseconds end-to-end latency.
To achieve real-time streaming, Red5 Pro uses the Real-time Transport Protocol (RTP), the foundation for IP-based telephony, in conjunction with the User Datagram Protocol (UDP) with no scaling limitations and no dropped-packet impediments to smooth streaming flows. To avoid any perceptible impact of packet losses associated with UDP, which TCP was designed to overcome, Red5 Pro employs a well-designed implementation of negative-acknowledgement (NACK) messaging, which uses advanced iterations of forward error correction (FEC) and other mechanisms to replace essential dropped packets.
With this transport foundation, the platform is designed to use streaming modes optimized for either mobile or fixed access scenarios on a session-by-session basis. In the case of fixed network connectivity, it leverages Red5 Pro's ability to massively scale distribution via WebRTC. This is a real-time streaming protocol that eliminates the need for plug-ins or purpose-built hardware by virtue of the support for client interactions provided by all the major browsers: Chrome, Edge, Firefox, Safari, and Opera.
To stream content for access on mobile devices, Red5 Pro employs theReal-Time Streaming Protocol (RTSP). Like WebRTC, RTSP relies on RTP but exploits the client-server architecture employed in mobile communications, eliminating the need for browser support.
Red5 Pro leverages these protocols' mandatory support for utilization of the Secure Real-time Transport Protocol (SRTP) to protect audio and video channels with AES encryption. This obviates spending on DRM services in instances where DRM requirements aren't baked into licensing agreements.
Along with ingesting any content delivered via WebRTC or RTSP, the XDN can ingest video formatted to all the other leading protocols used with video playout, including Real-Time Messaging Protocol (RTMP), Secure Reliable Transport (SRT), MPEG-TS (Transport Protocol), and HTTP Live Streaming (HLS). These are packaged for streaming on the RTP foundation with preservation of the original encapsulations for egress to clients that can't be reached via WebRTC or RTSP.
XDN comports with the requirements ABR was designed for by preserving distribution in the multi-profile configurations of an ABR ladder. The XDN can do this with ingestion of those profiles from an external transcoder or by using transcoding positioned with XDN origin servers to play out content ingested as a single profile in the multiple profiles used with ABR. Edge nodes choose which profile to use with each unicast stream based on the platform's intelligence related to devices in use and bandwidth availability.
Multicloud Scaling
Set-up configurations and ongoing orchestration of all the nodes across the XDN are performed by the platform's stream manager. The stream manager works in real time as it processes live-stream information, applying automated scaling mechanisms to add or remove server nodes in response to fluctuations in traffic demand or the need to add new broadcasters and end users (fig. 2).
Figure 2. An example of how the Stream Manager spins up and provisions a new instance to add an Edge node to an existing cluster.
The stream manager's autoscaling mechanism, which uses Red5 Pro platform controllers designed to work with each provider's APIs, also supports the cluster-wide redundancy that's essential to fail-safe operations. With persistent performance monitoring of all engaged infrastructure-as-a-service (IaaS) providers, the Red5 Pro platform can instantaneously shift processing from a malfunctioning component within a node to another appliance in that node, or, in the event of the entire node going offline, move the processing to another node with no disruption to the flow or increase in latency.
These capabilities also apply to XDN-wide load balancing. By translating its commands to the API calls of the cloud operators, the XDN operations system is able to execute the load balancing essential to persistent high performance across the entire infrastructure without manual intervention.
XDN cross-cloud operations are enabled by pre-integrations with AWS, Microsoft Azure, and Google Cloud Platform as well as interactions with any other cloud facilities that are tied into the XDN via the widely used Terraform open-source multicloud tools provided by Hashicorp. Terraform facilitates cross-cloud instantiations by translating IaaS resources into a high-level configuration syntax that allows IaaS APIs to be abstracted for access through a Terraform Cloud API specific to each cloud operator.
By leveraging those APIs, the XDN can manage any combination of contractually available Terraform-compatible IaaS resources as holistically integrated components of the live-streaming infrastructure. In addition, the Red5 Pro stream manager can be manually integrated to work with the APIs of any cloud provider that isn't integrated with Terraform.
Red5 Pro's XDN infrastructure opens a new world of marketing possibilities. It does so through multicloud node orchestration, multidirectional real-time streaming, and support for multiple types of core and ancillary content streams in conjunction with the ability of edge nodes to configure personalized combinations of simultaneously delivered content for unicast distribution to end users.
XDNs can be scaled to stream video end to end at sub-half-second latencies to any number of users worldwide. It can do this with streams that originate from any source, including any session participant.
Content and application providers can work with Red5 Pro to build an XDN precisely configured for their needs. Or they can leverage the hosted XDN PaaS to orchestrate their use cases in complete isolation from all other users.
The marketing opportunities that arise from these capabilities include:
SSAI-based personalized advertising
Advertising tailored on a group basis for participants in watch parties and other social engagement
Implementation of marketing messages with user-generated content
Personalized messaging overlays with live content streamed in real time
Video-rich interactivity with live-shopping streams
Marketing tied to second-screen viewing
Anything else marketers can conceive of as a means of engaging personally in real time with every participant in any given use case.
The XDN capabilities have been widely validated by developers and service providers across a rapidly expanding ecosystem of commercial use cases. One case in point involves the multiple personalized overlay applications delivered by graphics tech platform supplier Singular.
"From what we've seen, Red5 Pro is the most robust, scalable enterprise," says Andrew Heimbold, president of integrator Reality Check Solutions, which is closely affiliated with Singular. "And they've been great to work with."
Marc Todd, CEO and founder of Skreens, echoes the sentiment as an XDN user who specializes in live content curation with cloud technology to enable browser-based access to broadcast-caliber production mechanisms that support just about any video-rich application. "Our service covers how you shape the video, enable people to comment on it, as well as produce the whole show," Todd says. "There are many use cases where you need live interactivity with high-quality video. Any time that's the case, you need the XDN."
Logan Head, cofounder and CTO of the previously referenced real-time interactive video shopping platform Whatnot, explains what XDN means to such applications. "We built Whatnot not just to enable transactions but to capture the fun of the in-person experience, so our communities can connect in real-time and geek out with their favorite sellers," Head says. "Whatnot would not be in the place it is today without Red5. Not only is their technology great; their team is A++.


text:
Q: Lock screen not working Since updating to Ubuntu 21.10 my lock screen is not working anymore. I'm using budgie desktop and pressing Super+L to lock my screen this happens in syslog:
Oct 30 07:58:35 lenovo gsd-media-keys[9616]: message repeated 10 times: [ Couldn't lock screen: GDBus.Error:org.freedes
ktop.DBus.Error.ServiceUnknown: GDBus.Error:org.freedesktop.DBus.Error.ServiceUnknown: The name org.gnome.Shell.ScreenS
hield was not provided by any .service files]
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]: WARNING : Error getting shell mode
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]: CRITICAL: Error getting shell version
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]: WARNING : Could not list shell extensions
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]: Traceback (most recent call last):
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:   File "/usr/lib/python3/dist-packages/gtweak/tweaks/tweak_group_a
ppearance.py", line 144, in __init__
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:     extensions = self._shell.list_extensions()
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:   File "/usr/lib/python3/dist-packages/gtweak/gshellwrapper.py", l
ine 76, in list_extensions
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:     return self._proxy.proxy_extensions.ListExtensions()
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:   File "/usr/lib/python3/dist-packages/gi/overrides/Gio.py", line
349, in __call__
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]:     result = self.dbus_proxy.call_sync(self.method_name, arg_varia
nt,
Oct 30 08:01:21 lenovo budgie-panel.desktop[122417]: gi.repository.GLib.GError: g-dbus-error-quark: GDBus.Error:org.fre
edesktop.DBus.Error.UnknownMethod: No such interface "org.gnome.Shell.Extensions" on object at path /org/gnome/Shell (1
9)
Oct 30 08:01:21 lenovo dbus-daemon[1711]: [system] Activating via systemd: service name='org.freedesktop.hostname1' uni
t='dbus-org.freedesktop.hostname1.service' requested by ':1.167' (uid=1000 pid=122417 comm="/usr/bin/python3 /usr/bin/g
nome-tweaks " label="unconfined")

A: Found the solution here:
https://discourse.ubuntubudgie.org/t/lockscreen-not-working-after-update-to-21-10/5394/20

right - so gnome-shell is screwing up budgie here.
Does this work?
pkill -9 -f /usr/bin/gjs /usr/share/gnome-shell/org.gnome.ScreenSaver
Wait a couple of seconds then try running
gnome-screensaver

A: Thanks for the idea! I had the same problem when upgraded from Ubuntu Budgie 20.04 to 22.04 and "Lock" button stopped working. It started working again after removing gnome-shell: sudo apt-get remove gnome-shell.
But (!) in result unfortunately all the icons on my desktop stopped working and clicking any icon does nothing even after re-installing gnome-shell.

redpajama_set_name: RedPajamaStackExchange


text:
International Construction Issue Archibe
Green light for Kentucky aluminium plant
By Mike Hayes2017-04-28T09:15:00+01:00
Braidy Industries CEO Craig Bouchard, right, with Kentucky Governor Matt Bevin
US firm Braidy Industries has announced it will build a US$1.3 billion aluminium plant near the border of Kentucky and West Virginia, US.
The 232,000 m2 facility, to be located in Greenup County, will produce some 335,000 tonnes of aluminium a year, for use in the automotive and aerospace industries.
Braidy is expected to break ground on the plant early next year, with completion scheduled for 2020.
The firm's CEO, Craig Bouchard, said the firm selected the Kentucky site for the plant after the state passed legislation prohibiting the requirement for employees to be members of a union and pay union fees.
Now, in the state, workers can opt out of paying union dues, while still receiving union benefits.
Bouchard said, "When you're managing revenues, which will be $1.5 billion out of this facility, and 550 people working as a team, you have to be efficient. Move quick…throw all those work rules out. Labour unions are somewhat restrictive with those things."
International Construction - December 2019
Aircraft & Shipbuilding
SECH starts on harbour project
Kobelco crawler starts lifting for SECH on project to expand UK's Portsmouth Harbour
Work halts on US$1 billion tunnel
Construction on tunnel project, called a 'technological miracle', has stopped
Plans for growth at Intel's Leixlip plant
Exyte requests permission to build 14 contractors' compounds at tech giant's site in Ireland
Vinci improvement continues
French giant's construction division order book is up 9% since start of year, while Eurovia's order book has grown too
Stellar 1st quarter leap for Cemex
Cement maker reports an almost tenfold increase in net income for the first three months of 2017
Atkins bought by SNC-Lavalin
Canadian group reaches agreement to acquire UK-based design, engineering and project management consultancy in takeover worth €2.43 billion

redpajama_set_name: RedPajamaCommonCrawl


How Much Redundancy Pay Could You Expect?
Will I receive a redundancy payment?
When will I receive my Redundancy pay?
What is my "calculations" date?
Do I need to make a claim for a payment?
Is statutory redundancy pay taxable?
You must be working as an employee under a contract of employment the contract may be written or verbal or a combination. By turning up to work for an employer there is an agreement of employment. Self-employed people and members of a partnership do not qualify.
Directors may be employees if they work under a contract of employment. They are unlikely to qualify if they have a controlling interest in the company.
You will also need to have been actually dismissed- i.e. not resigned. You may be invited to take voluntary redundancy, but this should still qualify as a dismissal by reason of redundancy.
Many employers unfortunately will only pay the statutory minimum redundancy pay, whilst others are more generous, for example, one month's gross salary for every year worked. Generally, blue-chip companies and financial institutions are found to be more generous with their payments.
It is also the case, that even where an employer may only pay the statutory minimum, they will enhance the redundancy payment by making a goodwill lump sum without reference to a specific formula. This is sometimes the case where the dismissal based on a purported redundancy is on shaky grounds.
An employer may make an enhanced payment to take into account any shortcomings in the actual redundancy procedure and to ward of any potential tribunal claim. In turn the employee may be asked to sign a compromise agreement which will prevent you form bringing any subsequent unfair dismissal claim. A specialist employment law solicitor is best placed to negotiate a severance package for you after taking into account the strength of your claim.
Your weekly pay, up to a legal limit, revised as at February 2015 to £475.00.
One week's pay for each full year of service where age during year is 22 or above, but less than 41.
Redundancy Payments Offices - A helpline is available to answer any of your queries, no matter where in England, Scotland or Wales your firm is based. The number to ring is 0845 145 0004.
To help you work out your statutory payment, you can use the Redundancy Calculator for calculating the number of weeks' pay due. Don't forget, the week's pay is subject to a maximum of £450.00 as of February 01st 2013.
If the company you were working for is paying the redundancy, then it should be paid on the last day that you work or as soon as is possible.
If there is to be any long delay with the payment, then that needs to be discussed and agreed with the employee. If the employee feels that they have to wait too long, then they can take the employer to an Employment Tribunal.
This is the date that you were given notice of your redundancy. The minimum notice by law is usually one weeks notice per year of employment up to a maximum of twelve weeks.
The amount of a week's pay to be taken into account is the amount you are entitled to under the terms of your contract of employment on the 'calculation date'.
What does a week's pay refer to?
This refers to the amount of pay you receive under the terms of your contract for employment. The terms of your contract can be spoken, written or implied or a combination of all three. You should have received at the minimum a written statement of your main employment particulars within two months of the start of your employment.
If you were working normal hours and your pay did not change from week to week, your week's pay will be your basic weekly wage or salary. Any overtime earnings will not be included unless overtime was part of your normal weekly working routine.
Your pay is averaged out over a 12 week period before the "calculation date". There is a maximum statutory limit which is reviewed each year in February. Employers can choose to pay more but at the minimum they need to pay at the rate the government has set.
I work shifts how do they work out my redundancy payment?
If your normal working hours varied from week to week because of shift work, and your earnings varied as a result, a similar calculation is done but the average hourly earnings are multiplied by the average weekly hours over the same 12 weeks.
If you had no fixed working hours, your week's pay will be your average weekly earnings in the 12 weeks before the calculation date.
My hours were always different each week what will that mean to my payment?
If your earnings changed from one week to another because of piecework or productivity bonus arrangements, your week's pay is worked out by multiplying the number of hours you normally worked in a week by your average hourly earnings over the 12 complete weeks of work before the calculation date. Only hours actually worked are taken into account. If the hours used in the calculation include hours outside normal working hours and paid at higher rates, the higher rate is ignored and the hours are worked out at the normal basic rate.
Do I need to have worked a certain amount of hours before I qualify for redundancy payment?
It doesn't matter how many hours you work if you have worked continuously for the same employer for two years you are entitled to have a redundancy package.
If my employer asks me to do less hours during my notice period do I have to take a cut in wages?
No, you should be being paid the same weekly wage as you were receiving before the notice period was given.
There is no need for you to make a claim unless your employer fails to pay you or disputes your entitlement. If there is a failure to pay, you must make a written request to your employer or to an employment tribunal within six months of the date the job ended.
You should not have to pay tax on redundancy payment up to £30,000 as a result of HM Revenue and Customs (formerly Inland Revenue) exemptions.
Pensions may not be offset against statutory redundancy payments made to employees dismissed on or after 1 October 2006.


text:
FedScoop: "Increasingly, Federal Agencies Are Joining Industry" in Cyber Risk Quantification
[fa icon="calendar"] Aug 19, 2019 12:32:49 PM / by Jeff B. Copeland
In an article just out on FedScoop, Why government is slow to endorse frameworks for quantifying cybersecurity risk, Dave Nyczepir reports that, while qualitative, red-yellow-green approaches risk still dominate, the move to FAIR-based, quantification-driven risk management is well underway among federal agencies – actually, despite the FedScoop headline, at high speed by the cautious standards of the federal bureaucracy. The article quotes FAIR Institute Chairman Jack Jones and President Nick Sanna extensively.
As the FedScoop article details:
The Office of Management and Budget (OMB) had staff trained on FAIR, though, as Sanna points out, feels it's too early to issue guidance to agencies on quantification methods.
The Department of Energy (DOE) is running a FAIR analysis preparatory to a major cloud migration project.
The Treasury Department's Office of the Comptroller of the Currency (OCC) trained 40 officials on FAIR and is looking for a contract vehicle to start a risk management project.
More signs of momentum: The Army's new Defend Forward strategy for cyber warfare takes a risk-based approach that's FAIR-friendly. And the FAIR Institute is receiving a marked upturn in new memberships from civilian and military branches of the government (join the Institute's Federal Government Chapter to learn more).
Pushing the movement forward is the 2017 Executive Order from President Trump that directs agencies to assess their budgets based on the risks they face. A report by the Congressional Government Accountability Office (GAO) last month revealing inadequate cybersecurity practices at 23 agencies, gave another push: Improve or "face an increased risk of cyber-based incidents that threaten national security and personal privacy," the GAO warned.
"While it may seem a difficult hill to climb, there are already people in these agencies who do this on a day-to-day basis," Jack Jones told FedScoop, "that is, help to look at the impact of events that interrupt the mission...
"The FAIR model actually makes it easy to harness the power of the data already available," Jack said.
Nick Sanna said that he's optimistic that the next iteration of the NIST Cybersecurity Framework will reference FAIR and raise the model's profile among government cybersecurity officials. The FAIR Institute has been in talks with NIST about the CSF, and Kevin Stine, Chief of the Applied Cybersecurity Division at NIST will speak at the upcoming FAIR Conference. Nick also wants to see the Federal Information Security Management Act (FISMA) reporting rules updated to mandate use of FAIR.
"There's a lag, but now the administration is pressuring the agencies to do better because otherwise, what's the alternative?" Nick said. "They're going to cut their budget arbitrarily if you cannot demonstrate you need money."
Join us for the 2019 FAIR Conference, bringing leaders in information and operational risk management together to explore best FAIR practices that produce greater value and alignment with business goals. Gaylord National Resort & Convention Center, National Harbor, MD, September 24 & 25, 2019. More information on FAIRCON19.
Topics: Risk Management
Written by Jeff B. Copeland
Jeff is the Content Marketing Manager for RiskLens.


text:
Visual arts in China
Art as a reflection of cosmic harmony
20/10/2015 – by Florian Arnold
© Arnold
Clay sculpture from Yao Jun's glorifying Mao series "100 Moments of the Great Man", on display at Tianjin Art Museum in 2013.
In China, artists have only recently begun to interpret reality from their unique, personal perspectives. For centuries, Chinese painting, which was considered the highest form of art, consisted primarily of ink paintings of a narrow range of motifs, including idealised landscapes with mountain peaks, rivers, flowering branches or pine trees in the mist.
Traditional Chinese art is not concerned with depicting reality, much less with serving as a visual expression of a particular personality. Instead, it aspires to reflect an all-encompassing cosmic harmony by providing an approximation of an ideal world. Its finely rendered contours dissolve mystically, taking the viewer along with them.
Trained in Confucianism, adept painters tried above all to copy their masters as closely as possible, perhaps using an even lighter touch to achieve an even more sublime landscape. Traditional Chinese painting is closely linked to calligraphy, the other major cultural discipline. It has an equally meditative character.
Interest in Western art and in freedom of expression first emerged when the Chinese empire collapsed in the 19th century under pressure from colonial powers. Some painters no longer wanted to devote themselves to dreamy interior visions, but instead wanted to look reality in the eye – though without completely breaking with tradition. For instance, Xu Beihong (1895-1953) painted proudly galloping horses as a symbol of a reawakening nation. Under Mao Zedong, the visual arts were largely limited to propagandistic kitsch. Progress stalled for 30 years.
The period after Mao's death was marked by renewed enthusiasm for western art. Many artists adapted western styles. A Beijing version of Pop Art was the most commercially successful: it was colourful, striking, satirical, loud. The Swiss diplomat Uli Sigg was one of the first to discover the new Chinese scene. Nowadays his collection is considered the largest and most important of its kind. In 2018, he will bequeath it to the M+ museum of visual culture in Hong Kong. (fa)
e-Paper no. 11 2015, 2015/11, Page 29
Rajapaksa brothers' long history of suppressing free speech through attacks and intimidation
Idi Amin photo exhibition
A photo exhibition marks a first tentative attempt by Ugandans to come to terms with the past under Idi Amin
Florian Arnold
contributed to D+C/E+Z in autumn 2015. He edits the culture pages for Braunschweiger Zeitung and is an expert on Chinese art. He was recently in China on a grant from the Robert-Bosch-Stiftung.
Under President Xi Jinping, pressure has increased on civil society, including on artists
Why the arts matter and need to be free
Identity is a controversially debated topic, as can be seen in a recently published book in Germany
In Assam, an initiative for children's rights is tackling Covid-caused challenges


Comprehensive list of Jersey City, New Jersey based commercial and home mortgage brokers and lenders.
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text:
Home > About the Journal > Submissions
This journal use the software iThenticate as tool for plagiarism detection (Anti-plagiarism Policy)
Download HERE the Good Practice Code in PDF
Download HERE the Authorship Form in PDF
Scientia Marina welcomes original manuscripts on all aspects of marine research including, but not limited to the following fields: Physical and Chemical Oceanography, Marine Biology and Ecology, Fisheries Research, Genetics, Marine Geology, Systematics and Marine Biogeography, Coastal Dynamics, Ecosystem Management and Global Change. Preference will be given to manuscripts of a multi-disciplinary nature and to those of broad interest to marine scientists and beyond. Studies of local interest or of a descriptive nature will not be considered unless a considerable scientific advance is shown. While the aim is to continue being a reference journal for the Mediterranean Sea, there are no geographic restrictions.The following types of contributions are published in Scientia Marina: Articles, Reviews, News and Comments and Book Reviews.
The CSIC Editorial Board has determined to publish only the online edition of the journal, starting with the first issue of volume 78(2014). As such, the printed edition and its associated subscriptions will be suppressed.
Manuscripts that do not fall within the scope of Scientia Marina and those which do not follow the Instructions to Authors will be returned to the authors. Manuscripts will be assigned to one of the Scientific Editors, who will critically evaluate their scientific merits, choose at least two appropriate referees and evaluate the reviewer's comments. The Editor-in-Chief decides to accept or reject them based on the reports and recommendations of the Scientific Editor. Every five years, Scientia Marina will publish the list of reviewers who have given their consent to be disclosed.
The manuscripts of the journal Scientia Marina published on paper and in electronic format are the property of the "Consejo Superior de Investigaciones Científicas", and their origin must be cited in any partial or total reproduction. However, the author retains the right to disseminate his/her own work.
Impact Factor 2017 (2 years): 1.183
Rank: 63/106 (Q3, Marine and Freshwater Research)
Source: Clarivate Analytics©, Journal Citation Reports®
The corresponding author will receive galley proofs and will be responsible for the final version of the published article. Accepted articles appear online as "Forthcoming articles" as soon as the galley proofs have been approved by the authors and the Editor-in-Chief. No changes can be made after online publication. The dates of submission, acceptance and online publication will appear at the beginning of each article.
Submission of a manuscript implies that all co-authors have approved and agree on the contents of the submitted text, tables and graphic material. It is the responsibility of the corresponding author that all co-authors have the correct information on the submitted manuscript. Manuscripts must not be submitted simultaneously to any other journal.
A single file in pdf format (including text, tables and figures) must be sent electronically to scimar@icm.csic.es.
Language: Contributions must be in English. Submitted manuscripts will first be checked for language. Scientists who use English as a foreign language are strongly recommended to have their manuscript proofread by a native English-speaking colleague. Manuscripts which are substandard in this respect will be returned without review.
Please include the title, the complete name (first name and family name) and postal address of the author(s), and the fax number and e-mail address of the corresponding author.
From 1 January 2017, it is a condition of publication for all the authors to provide an Open Researcher and Contributor ID (ORCID). The benefits of registering an ORCID iD are outlined here.
Title: Titles which include species names must also specify the necessary taxa and subtaxa, so that readers not acquainted with the species may at least know the zoological/botanical group the species belongs to.
Summary: No longer than 200 words, in a single paragraph.
Running title: A short title not exceeding 50 characters must be included.
Keywords: Please provide 6 to 8 keywords. In agreement with the recommendations of the IOC-UNESCO, we recommend that the authors use the ASFA Thesaurus to identify the right keywords for their articles.
Text of the article
Length: The total number of typed pages should not exceed 30 and will usually be lower (fewer than 7000 words, including references and figure legends). Font size 12 is recommended. Leave 25 mm margins on all sides. Manuscripts must be printed double-spaced throughout. Pages and lines must be numbered.
Sections: Follow the usual sections (INTRODUCTION, MATERIALS AND METHODS, RESULTS, DISCUSSION). Avoid a single section on Results and Discussion. Avoid numbering sections. Main headings should be in capital letters, subheadings in bold type sentence case.
Do not use ampersands (&); instead use the word "and"
Some Latin abbreviations are set in roman type because they have been thoroughly incorporated into English (note that no comma follows the abbreviations). These include: e.g./ i.e./ ca./ in situ/ vs/ per se/.
Figures and tables should be numbered sequentially in the order that they appear in the text. Do not place figures or tables in the main body of the text, but at the end of the manuscript. Place every table and every figure in separate pages. Figure parts should be labelled with capital letters (A, B, C, etc.). References to figures in the main body of the text: (Fig. 1), (Fig. 1A, B) or (Figs 1 and 2) or full Figure 9.
Note the style of citing figures in the following examples: "The Balearic Islands (Fig. 1) are separated from the Iberian Peninsula by…"; "The bathymetric distribution of the species is shown in Figure 3."
Considerations for publishing genetic data
Genetic nomenclature: Use the zebrafish system (see http://zfin.org/zf info/nomen.html) for gene and protein nomenclature originated from fish species. Genes should be in italic lower case text and proteins in non-italic lower case text with the first letter capitalized. The article of Chakrabarty (2010) [Chakrabarty, P. (2010).
Genotypes: a concept to help integrate molecular phylogenetics and taxonomy. Zootaxa 2632, 67-68] can be used as general guidelines for genetic nomenclature.
Sequence data: Manuscripts containing novel amino acid, DNA, RNA and genomic sequences will only be accepted if they carry an International Nucleotide Sequence Databases (INSD) accession number from the European Biology Laboratory (EMBL), GenBank Data Libraries (GenBank) or DNA Data Bank of Japan (DDBJ). The data base accession number must be given in the Materials and Methods or Results sections of the manuscript. For taxonomic papers that refer to sequences derived from specimens preserved in collections, authors should reference the individual voucher from the collection. Lengthy nucleotide sequences will not be published except in very restricted occasions when these date are of general interest and importance. Refer to the original reference when the sequence used is already published.
All new nomenclatural acts referring new species will be registered in ZooBank in order to fulfill the ICNZ.
Units and numeric values
Applicable to both text and figure legends and axes.
Use International System units (km, m, kg, g, etc.).
Use the symbol "t" for metric tons.
The symbols h, min and s must be used for hours, minutes and seconds.
Use spaces between the quantity and the units (e.g. 2 m, 3 kg, 7 g). Exceptions: degree Celsius °C, latitude or longitude units and % (e.g. 37°C; 41°N, 1°17'E and 10%).
Do not include spaces between arithmetic symbols and numeric values: >, < (e.g. >7, <7, a=b+1).
Do not use • in mathematical formulae or between units to the denote the multiplier terms, except when its omission may lead to confusion.
Abbreviations for "standard deviation" and "standard error" are "sd" and "se" respectively.
Use a dot "." as a decimal marker: Do not use any symbol to separate thousands (e.g. 5200 or 10300).
Salinity is a dimensionless unit, and should not have units such as ‰. It is valid to state once in the paper that salinity was measured in practical salinity units (psu), but thereafter no units should be used.
References in the text
When several references are cited between brackets they must follow a chronological order. Note the style of punctuation in the following examples:
... poses systematic problems (Hulley 1981, Smith and Millar 1995, Carter et al. 2001).
... in coastal upwelled waters (Olivieri 1983a,b, Salat 2000, 2002, Horstman SFRI unpublished data).
... following the opinions expressed by Margalef (1978).
Roel et al. (1985) reported that...
Ensure that there is a perfect match between references in the text and in the reference list. All references, both published and in press, cited in the text, tables or figures, must be included in the reference list. It is not necessary to include the reference when the scientific name of a species is cited in full (e.g. Liocarcinus depurator (Linnaeus, 1758)).
We recommend a maximum rate of 1 page of citations for every 4 pages of text in the manuscript (from Introduction to Discussion).
No more than 3 references can be cited to support any statement.
References must be ordered alphabetically.
Journal names must always be abbreviated.
Papers "in preparation" or "submitted" are not acceptable as references. Once accepted, they may be quoted as "in press", but not before.
The format of the references must be strictly followed.
The list of references should include the complete list of authors, year of publication, title (in the original language), journal, volume and page numbers. Journal abbreviations should be in accordance with the WORLD LIST OF SCIENTIFIC PERIODICALS.
Follow the punctuation and style shown in the examples below:
Pauly D. 2009. Beyond duplicity and ignorance in global fisheries. Sci. Mar. 73: 215-224.
Rossi S., Fiorillo I. 2010. Biochemical features of a Protoceratium reticulatum red tide in Chipana Bay (Northern Chile) in summer conditions. Sci. Mar. 74: 633-642.
Merino G., Maynou F., García-Olivares A. 2007. Effort dynamics in a fisheries bioeconomic model: A vessel level approach through Game Theory. Sci. Mar. 71: 537-550.
Margalef R. 1974. Ecología. Ediciones Omega, Barcelona, 951 pp.
Romero E. 2010. Sources of plankton variability in an urbanized coastal ecosystem. Ph.D. thesis, Tech. Univ. Catalonia, 244 pp.
Please pay especial attention to the citation of articles within books according to the following examples. Do not forget to give the publisher and place of publication and to check the punctuation:
Ruiz-Villarreal M., Bolding K., Burchard H., Demirov E. 2005. Coupling of the GOTM turbulence model to some three-dimensional ocean models. In: Baumert H.Z., Simpson J.H., Sundermann J. (eds), Marine Turbulence: Theories, Observations and Models. Cambridge Univ. Press, pp. 225-237.
Pichon A., Correard S. 2006. Internal tides modelling in the bay of Biscay. Comparisons with observations. In: Morán X.A.G., Rodríguez J.M., Petitgas P. (eds), Oceanography of the Bay of Biscay. Sci. Mar. 70S1: 65-88.
Tables should be consecutively numbered with Arabic numerals and typed on separate pages.
Table headings should be given above each table.
Tables should be designed to fit in the format of the printed page.
Vertical lines should not be used.
When submiting a manuscript, figures must be placed at the end of the manuscript and their legends must be placed separately.
Figures presenting the study area should include a small general map showing a larger geographical region. Maps must show the locations cited in the text, the names of seas or oceans and the main isobaths. Please, avoid political maps.
Drawings, graphs and photographs should be carefully presented on separate sheets. Figures must be prepared so that, after reduction to fit the size of the journal page (16.9 cm for full page width or 8.1 cm one column width), characters and symbols will still be readable.
All figures included in a manuscript should use the same font type.
Avoid very thin or very thick lines.
Please do not draw with hairlines. The minimum line width is 0.2 mm (0.5 pt) measured at the final scale.
Map figures must indicate °N, °S, °E or °W.
Once the manuscript has been accepted for publication, authors will be asked to send the final version. It may be sent by e-mail, or on CD-ROM or DVD.
Text must be sent in "Word" format. The illustrations must be sent separately from the text. Image files should not be embedded in a word-processor file.
Vector graphics exported from a drawing program should be stored in EPS (Encapsulated PostScript) format. Fonts used in the graphics (use preferably Times) must be included. Suitable programs include Freehand, Illustrator and Corel Draw.
Most presentation programs, such as Excel and Power Point, produce data that cannot be processed since they do not support the export of EPS data.
Halftone images Store colour illustrations as CMYK and monotone as greyscale in TIFF or JPEG format. Whenever you use JPEG format, choose maximum quality instead of high compression in the options window. Suitable programs include Photoshop, Picture Publisher and Photo Paint.
Table of resolutions for images and scans
Original Mode Final resolution Format
Colour CMYK 300 dpi TIFF or JPEG
Monotone Greyscale 300 dpi TIFF or JPEG
B/W line drawing Line 900-1200 dpi TIFF or EPS
Please send comments to scimar@icm.csic.esICM (CSIC) - Passeig Maritim de la Barceloneta, 37-49. E-08003 (Spain)
Research data policy
We recommend authors depositing data obtained from the research developed for the preparation of their article in repositories of recognized prestige, specific to the discipline or of a generalist nature. In any case, it must be a FAIR repository (Findable, Accessible, Interoperable, Reusable), preferably in open access.
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Hands on: Panasonic DMC-L10 DSLR
By Anna Lagerkvist 2007-09-17T23:00:00.259Z
We check out Panasonic's new 10MP flagship DSLR
A couple of weeks back, we caught a brief glimpse of the new Panasonic DMC-L10 digital SLR camera when it was first announced at IFA 2007 in Berlin.
Today, at a journalist briefing at the Tower of London, we got a chance to get up close and personal with Panasonic's new flagship DSLR.
270-degree LCD
The biggest addition to the new Panasonic DMC-L10 digital SLR camera is the 270-degree, full live view LCD screen. It flips open from the camera body at a 180-degree angle, and rotates around its axis to a free 270-degree angle - useful for shooting in awkward positions.
Another benefit is that your face will no longer be obstructed by the camera body - as with a traditional optical view finder - which can help when communicating with your subject.
The Panasonic DMC-L10 follows on from the Panasonic DMC-L1 (which will remain in the DLSR family) and retains the Four Thirds interchangeable Leica lens mount system of its predecessor. It's easy to operate, although some buttons (such as the flash settings) are not immediately obvious to the first-timer.
Intelligent ISO
Key specifications of the DMC-L10 include a 10.1-megapixel Live MOS sensor, 3fps burst mode, all the usual focusing and shooting modes, and a 2.5-inch LCD that automatically adjusts brightness.
The Venus Engine III image processing system stays the same, and has been tweaked to work with the supplied Leica D 14-50mm lens. There's also face detection for up to 15 faces, and intelligent ISO to measure movement of the subject/s. These technologies work together to prevent motion blur in your photos.
"We've made unique functions such as intelligent ISO, optical image stabilisation and 28mm lenses standard across our entire range of compact and digital SLR cameras, and that's what sets us apart from other manufacturers," said Mark Robinson, product manager of the Lumix range at Panasonic.
New auto-focus
"The new Panasonic DMC-L10 also features a new appropriate auto-focus system where you can decide on the LCD screen which bits of the image you'd like to be the focus. You can pinpoint the point of focus from 11 zones on the LCD, which should be good news for anyone that has managed to focus on the wrong object," Robinson said.
Photos can be taken in 3:2, 4:3 or 16:9 aspect ratios. Unfortunately we can't show any of the photos we took at the Tower of London grounds this morning since the models we used were not the finished product. We're expecting a review unit in early October and will bring you a more in-depth review then.
The bundled body and lens kit will be branded the Panasonic DMC-L10K. Pricing is to be set around £899, and the camera will go on sale in early November.
MyPlace photo sharing
Panasonic also announced its MyPlace photo sharing website, which lets you share and comment on photos taken around the UK and Ireland. Under the "We love special places. Where's yours?" banner, the MyPlace website lets you upload pictures of your favourite buildings and landscapes around the British Isles, and pinpoint them on a map so that others can discover them.
There's also a hints and tips section where you can get pointers from professional photographers on how to take better pictures, and you can also vote for and comment on other photos on the site. Every week, the photo receiving the highest number of votes wins a prize.
"We noticed that British heritage is very popular at the moment - there have been numerous TV shows where people have travelled around the UK, discovering its cultural and natural history - so we wanted to create a community where people can recommend their favourite spots for others to visit," said Gaële Lalahy, e-commerce manager at Panasonic.
"Reading users' comments and looking at photos uploaded on the MyPlace site, you get a real feeling what that place means to them."
Microsoft and Alphabet chiefs disagree over facial recognition ban


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Гае Едвард Фуфоло (;  1947) — лесотський політик, шостий прем'єр-міністр королівства Лесото.

Біографія
Народився в сім'ї англіканського священника. Вивчав право в Університеті Ботсвани Свазіленду і Лесото та в Единбурзькому університеті. 1977 року здобув ступінь магістра економіки в університеті Адельфі (Нью-Йорк).

Від 1974 року практикував правничу діяльність, зокрема в Національному банку розвитку Лесото, Верховному й Апеляційному судах. 1981 року брав участь у створенні Національного банку Лесото, а 1983 став заступником його керівника. За період своєї адвокатської діяльності (1986—2012) значну увагу приділяв захисту прав людини та громадянина. 1994 року, завдяки його тісним зв'язкам з монархією, король Летсіє III призначив його на посаду прем'єр-міністра.

2012 року здобув перемогу на парламентських виборах у своєму виборчому окрузі. Тоді ж його призначили на посаду міністра юстиції. Тоді Фуфоло пообіцяв удосконалити систему правосуддя в країні. 2015 року йому довелось залишити уряд, після чого він знову зайнявся адвокатською діяльністю. 2017 він очолив Генеральну прокуратуру своєї країни.

Примітки

redpajama_set_name: RedPajamaWikipedia


text:
Andie Macdowell Early Modeling Photos
During her profession, Andie MacDowell has appeared on television shows such as The Fresh Prince of Bel-Air and The Young and the Uneasy. She has actually also starred in feature films such as The Matrix and The Incredible Hulk. Her newest function remained in the movie The Wizard of Oz. Her acting skills and appeal have been recognized all over the world.
Despite being the youngest of four daughters, Andi MacDowell was among the very first in her household to accomplish success in the show business. She has actually appeared in a number of television shows and commercials. She has also collaborated with numerous significant brands, including Armani, Calvin Klein, and Yves Saint Laurent. She has also had a role in numerous movies.
Andi MacDowell was born in Gaffney, South Carolina, USA. Her daddy was a lumber executive, and her mother was a music teacher. She finished from Gaffney High School in 1976. She went to Winthrop College for two years prior to leaving. She signed a modeling contract with Elite Model Management in 1978. She likewise worked as a model for Calvin Klein.
Andi MacDowell wed business owner Rhet Hartzog in 2001. They have a child together. They separated in 2004. She now lives in California.
She is called the face of L'Oreal for 33 years. She has also appeared in numerous commercials for the brand. She has likewise appeared in a number of style displays in Paris and New York. She has actually also starred in a number of films and television shows. She has appeared in movies such as Green Card, Footloose, and The End of Violence. In addition, she has actually starred in the Netflix series Maid.
Andi MacDowell has won a number of awards in her profession She received the Cesar D'Honneur award in 1997. She has actually likewise been nominated for the Golden Globe award. She has been named Miss Golden World in 2012. Her other significant awards include the Emmy award. She was also named Miss America. She has dealt with the television series Muppets Tonight and the BBC sitcom Cuckoo. She has likewise starred in the film Once Upon a Time in Hollywood. She is also a singer. She has launched music under the Rainsford name. She has also appeared in the television series The Nice Guys. She has actually been dealing with numerous brand-new jobs in 2018.
Andi MacDowell has actually starred in a number of movies. She has appeared in such movies as Groundhog Day (1993 ), Harrison's Flowers (1999 ), Multiplicity (1996 ), The Object of Charm (1996 ), The End of Violence (1997 ), and The Beach House (2002 ).
Throughout her acting career, Andie MacDowell has revealed her versatility by appearing in a variety of films. In fact, she has actually been nominated for a variety of awards, including an Independent Spirit Award for her role in 'Sex, Lies and Videotape'. She also appeared in several advertising campaign for style brand names like Armani and Yves Saint Laurent. She has also had roles in numerous Hallmark motion pictures.
Andie MacDowell was born in Gaffney, South Carolina on April 21, 1958. She is the youngest of 4 brother or sisters. She went to Gaffney High School, and after that attended Winthrop University. She graduated with honors in 1976. Later on, she went on to study at the Actors Studio, where she studied approach acting. She has actually since settled into a stable career as a character actress.
Andie MacDowell made her film debut in 1984, when she appeared in Greystoke-The Legend of Tarzan, Lord of the Apes. She was called over by Glenn Close because of her strong southern accent.
She also appeared in a variety of tv shows. She had a popular role in 4 Wedding events and a Funeral, where she starred with Hugh Grant. She then played Rita in Groundhog Day. She also appeared in a couple of other television films. Andie MacDowell has two daughters. One child, Rainey, was called Miss Golden Globe in 2012. Another child, Margaret, is an actress. She currently stars in the Netflix series House maid. Andie MacDowell has likewise been a manufacturer on a few Trademark movies. She has also appeared in a number of ad campaigns for style brand names like Armani, Sabeth-Row, and Yves Saint Laurent.
Andie MacDowell is also understood for her role in the rom-coms, Beauty Shop (2005) and Michael (1996 ). Her other notable film functions consist of Completion of Violence (1997 ), Cedar Cove (2013 ), and Magic Mike XXL (2015 ). She likewise starred in the short-lived ABC Household series Jane by Design in 2012. Andie MacDowell has been wed two times. She wed Paul Qualley in 1986, and separated him in 2004. She has a child with Paul, Rainey, and another child, Margaret.
Throughout her profession, Andie MacDowell has been married two times. She first wed former design Paul Qualley in 1986. They had a boy together, Justin. However their marriage didn't last long. After a couple of years, they separated. MacDowell later on wed Rhett Hartzog, a previous design and a friend from high school. They divorced after thirteen years.
Andie MacDowell grew up in the 1970s, residing in the village of Gaffney, South Carolina. Her mom was a music teacher. Her dad was a lumber executive. MacDowell's mom was alcoholic. MacDowell's dad left when she was 6. She was informed by her mom that she could do anything. But MacDowell found it difficult to adapt to the rural way of life. She ended up being annoyed. In such a way, it didn't help that MacDowell's mom was an alcoholic. But she did get out of your house and raised her children beyond Hollywood.
MacDowell has starred in some popular films. She has likewise operated in many television shows. She has been nominated for Saturn Awards and LAFCA Awards for Finest Starlet. She has likewise appeared in independent movies. She has modeled for Calvin Klein and Vogue. She has actually likewise been a representative for L'Oreal. She has appeared in ad campaigns for Vassarette, Mink International, and Armani fragrance. She has likewise starred in 2 Trademark Channel tv series. One was Cedar Cove, and the other was Jane by Design.
In 1999, MacDowell went back to her Southern roots. She and her family transferred to a 457-acre cattle ranch in Montana. She has been modeling for L'Oreal and Elite Design Management, and she has actually been a representative for the company. She has also starred in the television program Cedar Cove.
She has likewise been engaged to car salesman Kevin Geagan. Andie MacDowell has been separated two times. She and her second partner separated in 2004. However she is still unsure whether she wants her daughters to follow in her steps.
Having invested years in the entertainment industry, Andie MacDowell has an outstanding resume. Her face initially appeared in Greystoke-The Legend of Tarzan, Lord of the Apes, and she has actually since starred in a number of popular movies. She has likewise appeared on several television programs.
Andie MacDowell's two children are both well-known starlets. One daughter, Rainey, has actually starred in several movies. Her other daughter, Margaret, is currently starring in the Netflix series Maid. Both of her children have followed in their parents' steps and have actually had the ability to land some small however essential functions.
Andie MacDowell was born in Gaffney, South Carolina. Her daddy was a lumber executive and her mom was a music instructor. After the two separated, Andie's dad married Mary Frances Stone. The couple separated when Andie was only 6 years old. She was the youngest of 4 brother or sisters.
Andie MacDowell married previous design Paul Qualley in 1986. They divorced in 1999. The couple had three kids together, and Andie and Paul were wed for thirteen years. After their divorce, Andie chose to live a low-key life. She has been able to look after her kids while he continues to live a personal life.
Andie MacDowell's daughter Rainey has actually remained in the entertainment company for a few years. She landed a bit part in the movie Oceans 8. She has likewise been a guest star on the HBO series The Leftovers. In 2019, she starred in a scary funny called Ready or Not. She has actually likewise appeared on the covers of lots of magazines.
Andie MacDowell's youngest daughter, Rainey, was born in the early 1990s. She grew up in Gaffney, South Carolina, and attended Gaffney High School. The family resided in a home near her school. Her dad constructed the house.
Andie MacDowell has been in the entertainment company for numerous decades, however she's likewise been a mother to her three children. She was able to look after her child throughout a nine-month shoot on Vancouver Island. During the shoot, she prepared soup for her child. She has likewise played a fictionalized variation of herself on the TV show Mr. Mayor.
Andie Macdowell Surgery
Andie Macdowell Age Young


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Get Mortgage Pre-Approval: If you have a lender or banker to evaluate financing options and get pre-approved for a mortgage. Ask friends, family, or your REALTOR® if you need a lender.
Identify Your Timeline and Preferred Needs: Determine what you need and want based on location, amenities, schools, features, etc. as well as timing issues you may have.
If you are buying CASH you can easily bypass step #1 but must be prepared to provide Proof of Funds to show you have enough liquid assets to purchase w/o obtaining a mortgage.
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Hillary Clinton made a historic visit to Laos on Wednesday, becoming the first US Secretary of State to travel to the Southeast Asian country since John Foster Dulles in 1955.
While there, Clinton confronted the legacy of US atrocities committed during the Vietnam War, actions which are still killing and maiming Laotians to this very day.
The BBC reports that Clinton met with Prime Minister Thongsing Thammavong and Foreign Minister Thongloun Sisoulith in Vientiane, the capital, as part of a weeklong diplomatic tour of the region.
During the Vietnam War, the United States dropped more than 2 million tons of bombs on tiny, landlocked Laos, a nation populated mainly by subsistence farmers. The country, which was allied with communist North Vietnam and located along the North Vietnamese supply lines that snaked down to South Vietnam and Cambodia, was subjected to the heaviest bombing in human history.
More bombs fell on Laos than on Germany and Japan combined during World War II. Tens of millions of cluster bombs, some the size of golf balls, were dropped by US warplanes, about a third of which failed to detonate. This massive arsenal of unexploded ordnance is literally millions of tiny ticking time bombs, and children are particularly attracted to the brightly-colored bomblets.
Over 20,000 Laotians, many of them children, have been killed or horribly maimed by unexploded ordnance since the American bombing stopped in 1973.
The US and Laos also agreed to "improve and further facilitate the accounting operations for American personnel still missing from the Indochina War era," a statement said.
The two countries also discussed Laos' impending entry into the World Trade Organization (WTO) as well as the controversial Xayaburi Dam, a project that is threatening natural ecosystems and mass dislocation. It has also caused regional tensions with Laos' neighbors Vietnam, Cambodia and Thailand.
Clinton's Asia trip is part of a broader refocusing of US foreign policy towards Asia, which is well on its way to becoming the center of the world's economy. It is also a reaction to China's growing economic, political and military clout.


Three big bottle-shaped structures have been converted into unique apartments, part of the Richmond Dairy Apartment building. Seems to be gradually losing the bottle elements, though.
Downtown. W. Marshall St. between N. Adams and N. Madison Sts.
Easy to "miss" due to lack of paint. You will notice them, and unless you are looking for them, they will just slightly resemble a bottle.
I am very surprised, from what I've read, that the building and its bottles not only still stand but were converted to apartments. If those walls could talk...they wouldn't have to. Dave is doing it for them.
Across the street from the Giant Milk Bottles is Steamer Co. No. 5, Virginia's oldest standing fire and police station. Now it is the hip Gallery5. On first Fridays, check out free live music and art... Sometimes they even have belly dance and fire performers outside across from the Milk Bottles.
I grew up in Richmond, and I've been fascinated by the Richland Dairy milk bottle buildings ever since I first discovered them in the '70s. I hadn't seen them for years, so I decided to drive up there and see if they had indeed been converted to apartments, as a previous tipster stated.
I'm happy to report that although the dairy was completely gutted, the three milk bottles remain. The apartments were completed in early 2001, and the new building has been christened the Richmond Dairy Apartments, and yes, there are apartments in each of the bottles.
Here's a vintage photograph from the late 70's and a shot of what the same bottle looks like now.
Located at Adams and Marshall in Downtown Richmond. Dairy building abandoned years ago was used in the mid-80s as artist studios. Fallen deeper into disrepair over the years, slated for renovation several times. As of June 1999, the building has been gutted, three walls (and the three milk bottles) remain. It is being converted to mid price apartments, with some luxury lofts. Rumor has it that the high end lofts will be inside the actual milk bottles.
Policeman Head Metal Sculpture, Richmond, VA - < 1 mi.
Statue of Bill "Bojangles" Robinson, Richmond, VA - < 1 mi.
Abe and Tad Lincoln Statue, Richmond, VA - < 1 mi.
The Powhatan Stone, Richmond, VA - 2 mi.