text:
Contact A Luxury Yacht Charter Broker
Contact 4Yacht
About 4Yacht
My Yachts
Mega Yachts At Monaco! Could 2018 MYS Be Your Ticket to Owning a 60m-Plus Mega Yacht?
Mega Yachts At Monaco! Could 2018 MYS Be Your Ticket to Owning a 60m-Plus Mega Yacht?: Although the yachting world has seen a number of new boat shows in recent years, nothing matches the glitz and glamor of the luxury yachting industry like the Monaco Yacht Show (MYS).
Some industry insiders have said that the brokerage element of MYS has left something to be desired in recent years, but it appears that is about to change in 2018. Yacht brokers have lamented that the touring brigades along with the business element of the show have made negative inroads on the client-centric focus that the show was once known for.
The show's new layout appears to bring about a return to a client focus. At the Quai des Etats-Unis, which formerly hosted an assortment of yachting-related companies, you'll find an area devoted to superyacht builders, design studios and more. There will also be other layout adjustments that should better segregate those with conflicting agendas.
The fleet on display at the 2018 show indicates that brokers still see MYS as an unparalleled event with serous clout. What is different this year is that there are a number of quality megayachts in the sector over 60 meters. This segment has swung wildly over the past few years, going from having an inventory of predominantly overpriced yacht with few buyers to having buyers but little inventory. The buyers appear to have returned as well as the quality inventory.
Among the notable megayachts on display are the 88.5-meter Barbara, which came onto the market in August. The 85-meter Areti and 74-meter Cloud 9 were admired at last year's show and return for sale this year. The experienced owner of the gorgeous 60-meter Excellence V expects delivery of his new 79.9-meter Abeking & Rasmussen in Spring 2019, so Excellence V has been for sale since last April.
Illusion Plus, built by Pride Mega Yachts, is at the show, straight from her maiden voyage from China. The €145 million asking price appears daunting, but when looking at the €35,000 gross ton price, that figure indicates she's competing with some well-used boats on price-point.
The 70.1-meter Lürssen Saint Nicholas just had a €8.3 million price reduction to €46.7 million. Last October, she was priced at €65 million, so her asking price has dropped almost 30% over the course of a year. Saint Nicholas is one of three Lürssen builds constructed for the same owner at the same time. The others are the 70.8-meter Titania and the 70.2-meter Martha Ann, which have a similar volume.
If one of these yachts piques your interest or if you're interested in purchasing any megayacht, why not work with 4Yacht as your buyers representative? We'll be at the 2018 MYS and will be more than happy to work as your exclusive yacht broker and give you the personalized service for which we're known. There are plenty of new builds debuting at the show that may also be of interest. Contact 4Yacht today by calling 954-767-0220 or our website, https://www.4yacht.com
Luxury Yachts Search Today
Check out Hundreds Of New Yachting Articles Updated Daily On the 4Yacht Blog
4Yacht is a Professional Yacht Broker Located In Fort Lauderdale Florida and specializes in Yachts, Mega Yachts, And SuperYachts.. Visit our website today to discover YOUR next yacht https://www.4yacht.com
757 SE 17th Street, Fort Lauderdale, Florida 33316
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ADD COLOR TO YOUR EVERYDAY LIFE!
Adorned in a rainbow of pom poms carry your new rainbow handbag with you everywhere to add color to your everyday life! Beautifully embroidered handbag hand made by our fair trade partners in Thailand.


text:
<?php

namespace Cloudinary\Test\Unit\Admin;

use Cloudinary\Api\Exception\ApiError;
use Cloudinary\Api\Metadata\EnumMetadataField;
use Cloudinary\Api\Metadata\IntMetadataField;
use Cloudinary\Api\Metadata\MetadataFieldType;
use Cloudinary\Api\Metadata\StringMetadataField;
use Cloudinary\Test\Helpers\MockAdminApi;
use Cloudinary\Test\Helpers\RequestAssertionsTrait;
use Cloudinary\Test\Unit\UnitTestCase;

/**
 * Class MetadataFieldsTest
 */
class MetadataFieldsTest extends UnitTestCase
{
    use RequestAssertionsTrait;

    const EXTERNAL_ID_STRING = 'metadata_external_id_string';
    const EXTERNAL_ID_INT    = 'metadata_external_id_int';
    const EXTERNAL_ID_ENUM   = 'metadata_external_id_enum';
    const EXTERNAL_ID_DELETE = 'metadata_deletion_test';
    const DATASOURCE_SINGLE  = [
        [
            'value'       => 'v1',
            'external_id' => 'metadata_datasource_entry_external_id'
        ]
    ];

    /**
     * Test getting a list of all metadata fields.
     *
     * @see https://cloudinary.com/documentation/admin_api#get_metadata_fields
     */
    public function testListMetadataFields()
    {
        $mockAdminApi = new MockAdminApi();
        $mockAdminApi->listMetadataFields();

        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl($lastRequest, '/metadata_fields');
        self::assertRequestGet($lastRequest);
        self::assertRequestFields($lastRequest);
    }

    /**
     * Test creating a string metadata field.
     *
     * @see https://cloudinary.com/documentation/admin_api#create_a_metadata_field
     */
    public function testCreateStringMetadataField()
    {
        $mockAdminApi = new MockAdminApi();

        $stringMetadataField = new StringMetadataField(self::EXTERNAL_ID_STRING);
        $stringMetadataField->setExternalId(self::EXTERNAL_ID_STRING);

        $mockAdminApi->addMetadataField($stringMetadataField);
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl($lastRequest, '/metadata_fields');
        self::assertRequestPost($lastRequest);
        self::assertRequestFields(
            $lastRequest,
            [
                'type'        => MetadataFieldType::STRING,
                'external_id' => self::EXTERNAL_ID_STRING,
                'label'       => self::EXTERNAL_ID_STRING
            ]
        );
    }

    /**
     * Test creating an integer metadata field.
     *
     * @see https://cloudinary.com/documentation/admin_api#create_a_metadata_field
     */
    public function testCreateIntMetadataField()
    {
        $mockAdminApi = new MockAdminApi();

        $intMetadataField = new IntMetadataField(self::EXTERNAL_ID_INT);
        $intMetadataField->setExternalId(self::EXTERNAL_ID_INT);

        $mockAdminApi->addMetadataField($intMetadataField);
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl($lastRequest, '/metadata_fields');
        self::assertRequestPost($lastRequest);
        self::assertRequestFields(
            $lastRequest,
            [
                'type'        => MetadataFieldType::INTEGER,
                'external_id' => self::EXTERNAL_ID_INT,
                'label'       => self::EXTERNAL_ID_INT
            ]
        );
    }

    /**
     * Test creating an enum metadata field.
     *
     * @see https://cloudinary.com/documentation/admin_api#create_a_metadata_field
     */
    public function testCreateEnumMetadataField()
    {
        $mockAdminApi = new MockAdminApi();

        $enumMetadataField = new EnumMetadataField(self::EXTERNAL_ID_ENUM, self::DATASOURCE_SINGLE);
        $enumMetadataField->setDataSource(self::DATASOURCE_SINGLE);
        $enumMetadataField->setExternalId(self::EXTERNAL_ID_ENUM);

        $mockAdminApi->addMetadataField($enumMetadataField);
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl($lastRequest, '/metadata_fields');
        self::assertRequestPost($lastRequest);
        self::assertRequestFields(
            $lastRequest,
            [
                'datasource' => [
                    'values' => self::DATASOURCE_SINGLE
                ],
                'external_id' => self::EXTERNAL_ID_ENUM,
                'label' => self::EXTERNAL_ID_ENUM,
                'type' => MetadataFieldType::ENUM
            ]
        );
    }

    /**
     * Test deleting a metadata field definition by its external id.
     *
     * @see https://cloudinary.com/documentation/admin_api#delete_a_metadata_field_by_external_id
     *
     * @throws ApiError
     */
    public function testDeleteMetadataField()
    {
        $mockAdminApi = new MockAdminApi();

        $mockAdminApi->deleteMetadataField(self::EXTERNAL_ID_DELETE);
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl(
            $lastRequest,
            '/metadata_fields/' . self::EXTERNAL_ID_DELETE
        );
        self::assertRequestDelete($lastRequest);
        self::assertRequestFields($lastRequest);
    }

    /**
     * Test the reorder of metadata fields for label order by asc.
     */
    public function testReorderMetadataFieldsByLabel()
    {
        $mockAdminApi = new MockAdminApi();

        $mockAdminApi->reorderMetadataFields('label', 'asc');
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl(
            $lastRequest,
            '/metadata_fields/order'
        );
        self::assertRequestPut($lastRequest);
        self::assertRequestJsonBodySubset(
            $lastRequest,
            ['order_by' => 'label', 'direction' => 'asc']
        );
    }

    /**
     * Test the reorder of metadata fields for external_id order by desc.
     */
    public function testReorderMetadataFieldsByExternalId()
    {
        $mockAdminApi = new MockAdminApi();

        $mockAdminApi->reorderMetadataFields('external_id', 'asc');
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl(
            $lastRequest,
            '/metadata_fields/order'
        );
        self::assertRequestPut($lastRequest);
        self::assertRequestJsonBodySubset(
            $lastRequest,
            ['order_by' => 'external_id', 'direction' => 'asc']
        );
    }

    /**
     * Test the reorder of metadata fields for created_at order by asc.
     */
    public function testReorderMetadataFieldsByCreatedAt()
    {
        $mockAdminApi = new MockAdminApi();

        $mockAdminApi->reorderMetadataFields('created_at', 'asc');
        $lastRequest = $mockAdminApi->getMockHandler()->getLastRequest();

        self::assertRequestUrl(
            $lastRequest,
            '/metadata_fields/order'
        );
        self::assertRequestPut($lastRequest);
        self::assertRequestJsonBodySubset(
            $lastRequest,
            ['order_by' => 'created_at', 'direction' => 'asc']
        );
    }
}

redpajama_set_name: RedPajamaGithub


Super easy to use and set up.
Reasonable, although not the cheapest.
Summary: If you want a portable and beautifully-designed art projector, we think the Impression1400 would be a worthwhile investment. It's high-quality, it comes with a lot of benefits and features, it looks great and it's easy to use.
While Artograph offers a wide range of quality fine art projectors for artists on every budget, if you are like us, it is likely that you will be most interested in Artograph's Impression1400 digital art projector, which combines high-quality features with an attractive price point to offer every artist a great value.
Before jumping into a more in-depth review of this particular fine art projector, let's take a moment to explain just how a fine art projector compares to your traditional overhead projector.
Your traditional projector, which is large and bulky, is traditionally designed and sold with boring powerpoint presentations (or, if you are lucky, movie viewing) in mind. On the other hand, fine art projectors are custom built to effectively cater to the needs of the modern artist.
Instead of being designed with grainy powerpoints or movies in mind, art projectors are engineered to emit the highest quality rendition of whichever digital document you choose.
This works just as I had hoped. It took me a bit to figure it out, but when I finally did (with the help of customer service..which is great).... it is perfect for what i am doing. We have not tried it yet for movies, but we will. Would recommend.
Better yet, many art projectors, such as those offered by Artograph, are able to rear-project images will little to no additional setup required, allowing you to project your chosen images directly onto your canvas right after unpacking your new projector.
If you have found yourself interested in recreating famous artworks or placing your own artistic twist on well-known images, you are sure to love the Impression1400 art projector. On the other hand, if originality is your cup of tea, this projector will allow you to work towards creating the next world-renowned masterpiece in a manner that is equal parts intuitive and effortless.
In a sense, digital art projectors such as the Impression1400 give modern artists like yourself access to a limitless number of potential sources of inspiration. This fact is especially true for those that may find themselves in a physical location that lacks beautiful natural landscapes or agreeable weather for painting outdoors, meaning that a small investment in a digital art projector can completely alter how you go about planning and executing your creative sessions.
Such opportunities represent a noticeable paradigm shift in the level of access to artistic resources, which very well could mean that as innovative technology and traditional artistic approaches continue to converge we may see a new, modern Renaissance in the worlds of painting, digital design, and other notable creative endeavours.
For as long as modern art has been pursued by creatives throughout the world, natural landscapes have been of great interest to painters and photographers alike. On the surface, this common interest makes sense, as when natural beauty and artistic expression are effectively combined it can lead to breathtaking artworks capable of producing a moving and emotional experience.
Clearly, there is a clear level of overlap between the artistic interests and pursuits of both painters and photographers. And yet, travel to far away and exotic lands to create artistic works on-site can oftentimes be cost prohibitive for those hoping to paint such landscapes in person.
At the same time, highly skilled photographers are oftentimes able to make a living off of their work, which in turn allows them to travel around the world without the fear of funding in the back of their mind.
To sum it up it has excellent resolution, plug and play ready, easy to set up and operate. You won't be disappointed.
These issues for painters are exacerbated by the fact that even if you are able to secure funding for your artistic travels, poor weather could easily ruin your chances of creating your own masterpiece, leading to a frustrating and confusing process for those creatives who decide to attempt it.
So, what if there was an affordable solution that would allow you to paint any landscape or location in the world, regardless of your lack of funding for travel?
Enter the Artograph line of high quality, professional grade fine art projectors, which allow artists just like you to gain inspiration for their next great work from the comfort of their own home or studio.
Just Who are Digital Art Projectors for?
In short, digital art projectors can and should be considered by anyone interested in combining tried and true artistic methods with cutting edge technologies. With this being said, for those looking to take advantage of innovative technologies throughout their creative process, the Impression1400 might not be right for everyone.
In an effort to help you decide whether or not an art projector represents a wise resource for you, let's quickly cover the best and worst fits for an artistically-minded technology such as this.
For those of you that are dedicated, yet developing artists that would like some subtle assistance while working on your painting skills, the Impression1400 art projector may very well represent one of the best training tools available on the market at such an attractive price point.
Short of investing in expensive painting classes led by expert instructors (which very well may not be possible for all of you out there), this projector represents one of the best investments you can make to further your artistic pursuits as either a fulfilling hobby or a successful side-business (or, if you are brave enough, career).
The Impression1400 is a serious artist tool for serious artists. Professional artists will find its grids and perspective arrays to be extremely useful and will generally love this projector. I find it an outstanding device in the studio and even outdoors at night where electricity is available (obviously, only in fine weather).
Similarly, if you are a creative individual interested in combining the mediums of photography and painting in one smooth stroke, this projector may just be the perfect tool for you.
With its ability to vividly project almost any file format, you are guaranteed to be able to develop paintings inspired by photographs that you may have been able to capture while out and about throughout your day. Furthermore, this particular art projectors would be a great option for those of you who are interested in introducing themselves to the field of landscape painting without having to deal with the hassle and financial burden that can oftentimes come along with the hobby.
On the other hand, there is a likely chance that the Impression1400 might not be right for all of our readers. For example, if you find yourself to be an individual who feels strongly about the use of artistic aids, this product may not be for you. This would be especially true if you find yourself feeling that utilizing a fine art projector to be a form of copying or "artistic cheating".
While it is often said that great artists steal, this viewpoint is completely understandable, as you may have a different set of artistic ethics than your friends or colleagues. Regardless, it is important that you choose whether or not this fine art projector is right for you on your own accord, as only you are capable of deciding the tools needed to fully capture your artistic potential.
Similarly, you may have strong feelings against the utilization of a fine art projector such as Artograph's Impression1400 if you are someone who doesn't want to be disturbed by the sights and sounds of technology during your creative endeavours. Once again, this position is more than understanding, as nothing is more capable of derailing a person's creative process than the need to deal with technical difficulties while in the middle of creating a work of art.
With this being said, please know that these viewpoints are not intent on swaying you in one direction or another when it comes to the topic of fine art projectors. In fact, we have spent the time to carefully craft this review of the Impression1400 Art Projector in an effort to allow our readers to make the most informed purchasing decisions possible. To help further this informative experience, let's take some time to look at some of the features that this particular fine art projector offers and help you figure out whether or not it is the right fit for your personal tastes.
What are Some of the Impression1400's Best Features?
Whenever reviewing a projector (or any product for that matter) it can be extremely helpful to learn more about some of the most and least impressive features offered by the unit. Through such analysis, readers are empowered to make the best buying decisions possible.
In short, taking the time to walk through the features of a product like a fine art projector can help to ensure that you make an informed decision while shopping for your art supplies. With this in mind, here are some of our favorite (and least favorite) features included with the Artograph Impression1400 Art Projector.
For those of us that know a lot about projectors, it is well known that most traditional projectors are bulky and unwieldy. In other words, projectors are oftentimes large and difficult to use. The Impression1400 breaks this mold, offering a sleek and portable projector at an always affordable price.
With a footprint of 8.7 x 5.2 inches and a height of only 3.3 inches, this projector is a true pleasure to carry, and may even fit within your existing travel bags (if, for example, you typically utilize a large tote when traveling to your creative space). This sleek design is complemented by a weight of only 3.3 pounds, meaning that this fine art projector weighs about as much as your average sized laptop these days.
These features combine to make the Impression1400 art projector a true joy to use, regardless of how far you may have to travel. Whether you find yourself traveling across your home/apartment or across the entire city itself, this modern and user-friendly fine art projector will not present you with any issues where portability is concerned.
Better yet, this unit's portability is complemented with a built-in tripod mount, ensuring that regardless of where you go, your fine art projector will be ready to take on whatever artistic challenges you may present to it.
For a fine art projector as reasonably priced as the Impression1400, it would be understandable for you to expect that this particular unit would likely have a poor image quality. Yet, these low expectations seem to be easily surpassed thanks to this fine art projector's high image quality.
When the unit is turned on, you are greeted with a full high definition projection of 1920 x 1080 pixels, complemented with a projection range of 3 to 10 feet. Paired with a bright bulb of 1400 lumens, which is more than enough for a projector of this type.
Furthermore, the lamp bulb utilized by this fine art projector is rated for 30,000 maintenance free hours of use, ensuring that even the most active artists will be able to use this projector for a long while without experiencing any issues.
Overall, if you value a strong image quality over anything else, you are almost guaranteed to fall in love with this fine art projector, especially at a price as attractive as this.
Strong support for different types of input ports can be a frustrating issue for even some of the best projectors out there. Thankfully, this projector will not present you with any of these frustrating issues. This particular fine art projector supports a varied collection of ports that manages to encompass all of the popular connection types of the day.
From HDMI to USB and RGB to Component, the Artograph Impression1400 is able to ensure that your image will be projected easily, thanks in large part to the fine art projector's wide-ranging support for multiple different types of common connection ports.
It is not very often that we are able to review a projector that offers numerous different unique features that manage to set it apart from other product offerings in its class. And yet, the Impression1400 art projector manages to do just this with a laundry list of unique additions.
If you are interested in technical bells and whistles, this fine art projector probably has you covered. From responsive (and oftentimes automatic) image adjustments to the ability to toggle between color, greyscale, and full black & white image projection, this fine art projector will surely add a versatile list of features to your creative toolbox.
Amazingly, these features are just the start. With 22 built-in grids for projection and recreation assistance, all artists, whether a professional level painter or a hobbyist with a newfound interest in artistic pursuits, will be able to effectively capture whatever is being projected onto their canvas in a manner that is both frictionless and highly enjoyable. These grids range from a traditional square-based grid to a circular bullseye-based design and manage to include everything in between, providing an invaluable resource to each and every modern artist.
Better yet, images are able to be increased in size by the projector itself without distorting the quality of the projection. The ability to increase an image in sizes ranging from 125 to 400% is sure to open multiple different creative pathways for you while helping to promote further development of your own unique creativity along the way.
And as if these features were not enough, the Impression1400 is able to support every major image file type, ranging from JPG to PDF, helping to make sure that your favorite image or digital inspiration is almost guaranteed to work with this particular fine art projector.
Should You Invest In This Projector?
While we do not believe ourselves to be in a position to tell our readers whether or not they should buy a product, we are always happy to help lay out some of the pros and cons in an effort to help them make the best decision for themselves.
When it comes to a unit like the Impression1400, it is very hard not to recommend this projector to our readers in the market for a fine art projector. This particular product's ability to combine high-quality features within a sleek form factor and at an outrageously affordable price is enough to make one beg the question why it should not be purchased.
The mother of all artist projectors. As a Custom Painter and Airbrush Artist I look for the best solutions to create and complete my artwork. The Impression 1400 is an amazing way to project your reference image. You can work in a fully lit environment and you can still see your image clear at large scale. And I mean large I've projected work files the size of car and building before.
And, while this thinking is totally acceptable and supported for a select number of our readers, we struggle to suggest this particular unit for those who do not find themselves within the relatively small fine art projector niche.
For example, if you are someone who is looking to purchase a projector to complement your existing home entertainment setup, we can almost guarantee that your hard earned money will be better spent elsewhere. Furthermore, if you are an artist that does not feel like they can seamlessly add a technology-heavy resource such as a fine art projector to their creative workflow, your funds might be better invested in lessons or other art supplies.
The Artograph Impression1400 Art Projector is suitable for any person that likes the idea of having a high-quality projector.
But since it's an art projector, it's a unit that particularly targets art professionals – or people who take art as more than a casual hobby. Yet it can be used by newcomers too. And yes, it's also suitable as a regular projection unit, if you want something like that.
Overall, the Artograph Impression1400 art projector is an unbelievably fantastic offering – for a few select people looking for a fine art projector. If you do not fall within this category, then we suggest you look elsewhere.


text:
The biennale
Guest of Honour
INTERNATIONAL TRANSDISCIPLINARY CREATION
Conditions to apply:
To propose an original artwork using or questioning digital practices in resonance with the theme of the biennial : the NIGHT
To have an executive producer, who will ensure the administrative and financial follow-up of the production of the artwork. It is understood that projects not managed by an executive producer will not be selected.
The artwork must be completed for its presentation during the Biennale from November 2022 to January 2023.
Original artworks in different forms are eligible such as :
Installation and visual art
Video installation
Immersive installation
Sound creation
Virtual or augmented reality
The artworks can also have an online format.
The platform's contributions
The amount of financial support will be decided after studying the estimated budget presented by the executive producer. This contribution includes the transfer price of the artwork for its distribution and the mobilization of the artist for the time of assembly and disassembly if necessary. Possibility of private co-financing by our sponsorship club, the Digital Art Club.
Artistic, technical and logistical assistance
Support during the writing and production phases on technical and logistical aspects, contact with specialized technicians, contribution and sharing of aesthetic and scenographic resources.
Depending on the needs of the project, some of the platform's partners offer support for one or more residencies (see the descriptions of the residency locations and spaces in the presentation of the partners below).
Distribution during the Biennale (virtual tours of the 2020 edition) and assistance with distribution in our regional, national and international networks following the Biennale.
Opening of the calls for projects
Closing of the calls for projects
Mid-October, 2021
Selection jury
Late October, 2021
Early November, 2021
Announcement of results
PARTNER LOCATION OF RESIDENCIES
As part of its production platform, Chroniques offers residency support to winning artists. Below are the residency partner places that you can choose in the context of this call for projects. You can choose the locations that interest you in the application form or indicate that you are not interested in a residency.
gmem-CNCM-marseille
The GMEM is a National Center for Musical Creation directed since 2012 by Christian Sebille. It supports musical creation in all its forms and accompanies artistic teams throughout the year, notably during residencies in its new premises at the Friche la Belle de Mai. The GMEM is a producer and co-producer in the field of musical creation and conducts many educational, teaching and training activities. Beyond the Propagations Festival that it organizes in May, it shares all these activities with the public during residency outings, season concerts, installations, meetings and multiple collaborations.
Possible residencies: March 21-25, 2022 and September 26-30, 2022
Resources: The Module
SCENE44 . n + n corsino
SCENE44, an European stage for choreographic creation and digital innovation, supported by the structure Danse 34, Productions, and directed by n + n Corsino, is a creative hub and a laboratory for shared experimentation. It develops the reception of artists and researchers in residence, and promotes the relationship between artistic creation, research and digital innovation. Its actions are turned towards a relationship with the living and are close to the notion of applied research, they measure the viability and the potential of a technology through its artistic treatment.
Possible residencies: One period in the first semester of 2022, one period in the second semester of 2022
Resources: Location of artistic factory
3 bis f
Located since 1983 in a former women's pavilion of the Montperrin Psychiatric Hospital in Aix-en-Provence, the 3 bis f develops a place for contemporary creations in the performing and visual arts within its art center. Each year, artists and companies are invited to propose and develop projects in the framework of research or creation residencies. Addressing the question of hospitality in all its forms, the place works to create porosities between psychiatry, creation and society through art.
Possible residencies: June, September, October and November 2022
Resources: exhibition space – 80m2 workshop – accommodation
Aix-Marseille Université / NeuroArt Labs
The School (NeuroSchool) and the Institute of Neuroscience (NeuroMarseille) of Aix-Marseille University are developing NeuroArt Labs. These creative workshops, located in research laboratories, allow for fruitful exchanges between students, researchers and artists. Their objective is to produce artworks, jointly designed by scientists and artists. The neuroscience community in Marseille, the second largest after Paris, covers practically all fields of the discipline. On the university's three campuses – Luminy, Saint-Charles and Timone – researchers are working on language, the senses, cognition, brain modeling, human-machine interfaces, neural networks, developmental and old age diseases, paralysis and epilepsy.
Possible residencies: To be determined with the selected artist according to his/her needs
Resources: accommodation, specific skills of the laboratories, part of the elements for the construction of the artwork.
Le Hublot
Located at 109 in Nice, an artistic wasteland, Le Hublot has been promoting creation since 2004 by encouraging the relationship between live performance, dance, music and theater with digital arts. The originality of its approach is its desire to explore new artistic forms, to leave traditional performance venues and to question the relationship that audiences have with artistic creation. Le Hublot has the necessary means and materials to produce digital works. Each year, several creative projects, mixing dance, music and digital technologies, are supported by Le Hublot.
Possible residencies: To be determined with the selected artist according to his/her needs.
Resources: a 6X5 m stage, an exhibition space, a medialab and fablab, rehearsal spaces for theater, dance and music.
EDIS – Fond de dotation
Invested in a mission of general interest, the EDIS endowment fund is dedicated to supporting innovative creation – that which emerges from the meeting of the arts, technologies and sciences – and to making it known to as many people as possible. Its objective is to better understand the contemporary issues of our digital society, through the artistic expressions and poetic vision of each artist. At a time when creative practices follow one another and hybridize at an accelerated rate, often outside of traditional disciplines, EDIS is attentive to these emerging forms, to these new media that invite us to re-evaluate our sometimes very conventional understanding of the world.
Possible residencies: August and September 2022
Resources: a large workspace and audio and video equipment
Located at La Friche La Belle de Mai in Marseille since 1992, the AMI is a general interest structure for artists (musicians and polymaths), cultural entrepreneurs and residents of the metropolitan and regional area. The association offers a pathway to professionalization composed of several devices:
– transmission/ professionalization (workshops and masterclasses, incubator and entrepreneurial formations).
– creation/ distribution (co-productions, residencies, Hip-Hop Society)
– cooperation/networking (export and international residencies via European projects and international cooperation).
These different tools aim to allow artists in our territory to develop their artistic careers in a sustainable way by linking them to their ecosystem (public and operators). The AMI is therefore the place to welcome artists in the making or confirmed thanks to the work spaces offered by its 6 creation studios (including an ERP of 100 m2 with an equipped stage) but also a place to accompany and welcome the cultural entrepreneurs of tomorrow via its platform Dynamo (resource place, training, advice, coworking).
Possible residencies: All year long according to the needs of the projects.
Resources: Creation residencies, co-production, career development strategy consulting, workshops and thematic training, socio-professional environment of the artist, stage work.
Saint-Ex
Saint-Ex, digital culture – Reims is a place of experimentation, transmission, creation and artistic diffusion dedicated to digital arts, to the "maker" culture and to technological innovation. About a hundred activities and projects are proposed each year for all types of public. Saint-Ex proposes to discover international artists around a theme of the season during different highlights : the baréphémère, the avantgoût, the nuitnumérique and the expocollective. The team offers artists various forms of support, from research to dissemination, including production and structuring. We encourage all artistic forms that use new digital technologies with a particular attention to interactivity, to the immersion that the works can offer.
Possible residencies: One week during the months of December / January / February / June / July
Resources: Performance room – 200m2 and 4m under the roof / A fablab with two entities (a manufacturing space and a space dedicated to virtual tools) and human resources (A technical director, 3 hackers/designers/developers, a teacher researcher from the laboratory of CRESTIC (URCA) and an artistic director for external view
KLAP Maison pour la danse
KLAP Maison pour la danse, a permanent venue for choreographic art initiated by Michel Kelemenis, places creation at the heart of every action. Located in the heart of Marseille's third arrondissement, Kelemenis & cie and the artists they welcome, both emerging and established, local and international companies, conceive their works from the first thought to the last touch, nourishing the activity of the place with the diversity of their experiences and aesthetics. Formidable work tool, KLAP is also a space of sharing and sensitization to the art of dance.
Possible residencies: Hosting in residence for one or two weeks during July 2022
Resources: Residencies at KLAP
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A year after taking second, Gediminas Grinius returns to UTMB. In the following interview, Gediminas talks about what drew him back to UTMB this year, why some of his results this year where not as strong as in the past, and why he thinks bad weather would be an advantage for him.
Find out who else is racing in our men's and women's UTMB previews, then follow along with our live coverage on Friday and Saturday.
iRunFar: Bryon Powell of iRunFar here with Gediminas Grinius before the 2017 UTMB. How are you, Gediminas?
Gediminas Grinius: I'm fine, thanks.
iRunFar: Busy days before the race?
Grinius: Yeah, I don't like this kind of rush just before the race. I'm happy I give blood now and not like at Lavaredo on the day of the race. It's busy.
iRunFar: You're back at UTMB. Last year you were second. How has that memory gone for the past year?
Grinius: Actually, that memory plays well which is why I'm happy here. There's some kind of déjà vu when I'm running around the places, and I remember the moments from the race. It's a strange thing because last year I almost promised myself not to come back to UTMB, because it was my fifth time. But when I saw the list of athletes who were coming, I said I must be here.
iRunFar: What do you think about the field?
Grinius: The field is just amazing. I don't know, maybe fifty names which are capable to be in the top five at least. It's amazing competition. I'm very much looking forward to that.
iRunFar: It's a big challenge. You could run as well as you did last year and be fifth or sixth.
Grinius: Yeah, that's right. This is why I'm thinking about which strategy to use, because I'm not so fast to break 20 hours as spoken here by a lot of athletes and probably journalists more putting that on some athletes to do that. I'd be really happy just to break my own time.
iRunFar: Do you think that's possible?
Grinius: I think it's possible. I'm not like… nobody is ready 100%, but I think I'm fit like 90-95%, so it's more than enough.
iRunFar: As strong as last year?
Grinius: I think so or even stronger physically. I have a few small injuries, which I don't know how they'll play in the long run.
iRunFar: You've had a strong season but maybe not as strong as last year. Is there any reason for that?
Grinius: Yeah, one reason is that I just didn't prepare for some races, because I decided to take one year off a little bit and as I said, UTMB wasn't on my plans. It hampers my recovery here, but the other races I did and haven't done well, I'm not worried about that.
iRunFar: It wasn't your focus.
Grinius: No, Madeira [Island Ultra Trail] where I was fourth, I was really happy because my aim was just to beat Zach MIller's time. I just failed by seven minutes, but it's kind of okay. So I was happy to finish fourth. It was my A race of the season. My next A race is UTMB. We'll see. To come here in fourth like Madeira would be a privilege.
iRunFar: The weather could be a challenge this weekend. Is that exciting for you?
Grinius: Actually, I'm not afraid of weather for running 100 miles, but it scares me, because the race course may be changed or shortened. This is what I don't like and is one of the fears I have prior to this race.
iRunFar: I don't think it will be shortened. The back-up course is also 170k with 10,000 meters of climbing.
Grinius: I haven't seen that, but I know it would be more useful for American runners, because I think it's much faster, the B course.
iRunFar: So you're hoping for that…?
Grinius: I'm hoping to race that original UTMB course, because sometimes when you're racing and the course is changed, it's not the same UTMB that it's supposed to be. Then there is a lot of speculation that maybe you can do better on that course or that course.
iRunFar: You have the original course own. You know how to race that well.
Grinius: Yes, we had our Trail Running Factory camp, so I had the possibility of the group to run the whole course in eight days. It was really amazing because I've never run some parts of the course in the daylight. It was really exciting for me to see how it looks and what goes on.
iRunFar: Yeah, the south end of the course is quite beautiful between here and Courmayeur.
Grinius: Yeah, exactly. The Italy side is just amazing. You're running so high with all the snowy peaks. It's just pure joy.
iRunFar: You may see some snowy peaks on Saturday morning down there.
Grinius: Yeah, I heard that. Even the trail could be snowy. Up to 1,000 meters it will be already snowing. We'll see. I'm not afraid of that because I'm from Lithuania, so I'm running all the time on the snow during the winter. For me, I think it's an advantage.
iRunFar: Well, best of luck out there, Gediminas. Enjoy.


text:
We Get What We Want
Your buddy, Dale, would make a better president than anybody who is currently running for that office. He doesn't toe anybody's party line. He looks at each issue on its own merits; uses logic and common sense to make his own decisions on those issues. He thinks, rather than simply putting the pegs into the holes where he is instructed to place them. This is why Dale would make a better president; and this is why he will never hold that office.
Who can trust a guy like that? Who can afford to lay out all that money, just on the off-chance that every decision he makes will coincide with their financial interests? Purchasing the office of President – or any national office, really – is expensive business. Any potential contender who doesn't have virtually unlimited cash behind him/her doesn't have a snowball's chance in hell of winning. With the restrictions on campaign contributions all but gone, it's not the people of this country – you or Dale – who decide who'll be at the helm, it's the money. The money tells the minions what to think, and for whom they should vote. And the minions believe them – because what choice do they have? And when somebody gives you lots of money, they're going to expect something in return. No. Not something. Everything.
Corporations are people. Young people – since their inclusion into that category only came about with Citizens United in 2010 – but people, just the same. So says the Supreme Court. These young people are very rich, which makes them very powerful in our current political system. They pick candidates who can (and promise) do the most for them, and pour their money in behind those candidates. It's a bit of a gamble. If their guy wins, they'll get their cash back, many times over. If their guy loses, it's not really a big deal because somebody else with money had to have made that happen. That other young person's financial interests couldn't be that much different. Money wins. Money makes more money. Everybody's happy. Well, except maybe the little guy, who aligned himself with one of these young citizens; fought in the trenches for them; gave them his vote, his blood, thinking, somehow, his life would be better for the effort. It rarely is. So, not knowing what else to do, the little guy licks his wounds and tries to survive until the next election, when he will have an opportunity to make a better choice. He rarely does.
Here's where it gets complicated. There are a whole damn lot more little guys than there are big corporations. If all of the little guys banded together to watch out for their own interests, like the corporations do, their collective voice could be even louder. But it's hard being a little guy. Somehow, somewhere up the food chain, practically all little guys are tantamount to servants of the corporations. Little guy is afraid to step out of line for fear of retribution from his master. He doesn't have a golden parachute to break his fall, so he abides. And the cycle continues. And the rich get richer. And the little guy ultimately accepts his role on the chess board and surrenders.
Big money has many faces: business, religion, the war machine, to name a few. But, make no mistake, all of them are big money – the kings and queens and the bishops and knights who serve them directly – expecting, demanding, that you little guys get out in front of them and clear the way. When you fall, there will always be more little guys to take your place when the next battle commences. Even though you're laying off the board in a little pile on the table, you get about a 50/50 shot at saying your side won. So, you've got that going for you.
There is no such thing as a democracy, in the context of world governments. We used to consider our form of government as a "representative democracy." For quite a while, the United States has actually worked in what can best be described as a "constitutional republic." The tint of that republic changes from election to election, as various faces of big money persuades the pawns to vote for big money's benefit. In the last few decades, we have moved closer to what could only be described as an "oligarchy" – where, in essence, a few (big money) govern over many (the little guy). Some big money is more transparent than others. If Trump, or Walker (aka Koch Brothers) – the business face of big money - should win the next election, the republic will temporarily take a giant step toward a "plutocracy." This is a government controlled by a few wealthy people, and many will argue that we are already there. But with these guys, the mask is off, and we can quit pretending to be anything else.
Huckabee and Cruz rely on another face of big money. Their election would undoubtedly move us toward a "theocracy." This is a government by immediate divine guidance or by officials who are regarded as divinely guided – meaning the Church (the Christian Church and nothing but the Church) would essentially be making our governmental decisions. After all, it would take a divine miracle for either of them to get elected. The question then would become which branch of the business of Christianity would make the calls. The answer would be Southern Baptist.
Bernie Sanders is a self-described Democratic Socialist. That term scares the hell out of a whole lot of people in the United States who only hear the "socialist" part, bringing to mind the evil empires of Russia and China we all grew up learning to hate and fear. Here's the actual definition: Democratic socialism is a political ideology advocating a democratic political system alongside a socialist economic system, involving a combination of political democracy with social ownership of the means of production. Sometimes used synonymously with "socialism", the adjective "democratic" is added to denote a system of political democracy similar to that found in existing Western societies.
Take that as you will, but it means Bernie would move the country, if even slightly, toward that socialist boogeyman.
Frustrated that nothing we've tried before has actually given us the government we think we should have, no matter which side we sit on, judging from the polls, Americans are faunching at the bits for some kind of dramatic change in our particular directions. The right wants to go way to the right (Donald Trump, Scott Walker). The left wants to go way to the left (Bernie Sanders). Everybody pretty much assumes that the election of Hillary Clinton or Jeb Bush would just keep us in more or less the same place we are now. The truth is, no matter which direction we go, we'll come back toward the middle the next time, and we'll remain a Plutocracy, ruled by one face or the other of big money. This is, until the little guys rise up and demand that we reform our political system back to exclude big money; where each flesh & blood human's vote actually matters and we're not all bombarded by dollars on the airwaves and the newsprint and the internet telling us how to vote.
Until then, we get what we vote for. Meaning we get what we want. What do you want? You're not as radical as you've been told you should be.
©2015 Rick Baber
Labels: Into Focus, Rick Baber, We get what we want


I read some other Goodreads reviews of this book before I started on mine, and it seems there are only two camps regarding this story: you either really like it or you absolutely hate it.
I don't quite fall into the "absolutely hate it" faction; my feeling about this book is that it's mediocre at best, and that's only if you don't think about it too much. Once you do, the severe flaws in worldbuilding, plot and characterization become blindingly apparent.
The most glaring flaw, for me, is the worldbuilding and backstory. There is a lot of handwaving regarding the science (such as it is); I'm sure even a halfway competent beekeeper could take this story apart without much effort. To wit, as much as I understand it--which probably isn't very well at all, as the backstory of this book does not make sense--bees were in danger of going extinct, so there was genetic manipulation, which resulted in the genetically enhanced bees killing the old bees off, and the gengineered bees' sting spread the bee flu (and with that, the severe suspension of disbelief already required to this point absolutely snaps), and the vaccine created for the flu sent some people into comas and turned others into drooling, Incredible-Hulk style monsters. (Really. I kept waiting for the author to describe the lovely green shade of said monsters' skin.) Oh, yeah, this scenario causes mass starvation and the breakdown of society (which is actually the most believable part of the entire book), and the bee flu apparently kills SEVEN TIMES more females than males, as the ratio of f/m is now 1 to 7.
There are considerably more problems with the plot and characters (mainly because Fiona Tarsis, the protagonist, veers perilously close to Too Stupid To Live territory), but I don't feel like going on, to tell you the truth. This book is a mess, and it's not even an interesting mess. Some people might like it; there are a number of 5-star reviews on Goodreads, which I don't understand at all. To me, it reads more like a trunk novel, and the author should have left it there.


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Macagey has not yet attended a Kohl's ranking/evaluation showcase event.
Charting data for Macagey is unavailable at this time.
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The internet of things is a phrase that gets thrown around a lot. The term is said to have been invented by Kevin Ashton during his time as brand manager for Procter & Gamble in 1997. It has been repeated enough to necessitate its own abbreviation: IoT.
Data collection was the first phase of IoT. Getting connected sensors small enough to be able to be put into a wide variety of devices took a lot of technological innovation. Now, the sensors have become so small, robust and affordable that the collection of data is no longer a technical bottleneck. Now, for the IoT to be able to truly change our lives, our business and our buildings, we will have to figure out of way for them to work within the internet of systems.
Because, in the end, it isn't about just collecting data. The future lies in using that data to make real-time decisions. In order to do that, though, there needs to be a connectivity between data systems. Hence the term, the internet of systems.
Now, Disruptive Technologies is turning their sensor horde on buildings and Marian outlined a number of use cases, all of which require a connection to other important systems. One has to do with a building's electrical system, one of the main sources of fire danger. By installing their sensors on every fuse and electrical line and comparing it to granular energy usage they can see circuits start to overheat and recommend maintenance that could prevent damage to the electrical components or worse.
Another use could be to help buildings save on energy. They can help a building understand where its occupants are and adjust everything from heating and cooling to janitorial services accordingly. Here Marian talks about his firm's work with Prescriptive Data's Nantum product.
Lastly, he explained how these tiny devices can change the way we understand our workplaces. They have been working with a number of furniture manufacturers to equipe entire offices with connected chairs and desks. No longer will corporate occupiers and facility designers have to guess about how much workers are using different types of seating. Instead they will be able to understand usage on a much more holistic level. This can also be used to bring transparency to a workplace. Meeting rooms and conference rooms will be able to give updates on when they are full or empty. Devices like coffee machines or printers will be able to have an help button installed that can bring instant help. All of these happen so seamlessly that the users barely even know where the data is being collected. Instead the can just enjoy the benefits of a true internet of systems.
There is no better time to create a connected building than now. No longer to expensive monitoring devices have to be purchased or additional wire need to be run. Instead, those tasked with creating better spaces can worry more about how what the data is telling them, not how to collect the data itself. Here is Marian's final rallying cry for the next generation of the internet of things, the internet of systems.


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Most average drinker's aren't used to eggs being involved in their cocktails, however any true cocktail aficionado will tell you, if there ain't no egg white in your sour… it aint right! I love any use of eggs in my cocktails. There are basicaly four categories of cocktails that use eggs: sours, fizzes, flips and nogs. Sours and fizzes call for only egg whites while flips and nogs use the whole egg. Besides sours one of my other favorite cocktails is the flip. One of my favorite drinks to order when I am at The Varnish in downtown LA is the BAC Flip (Bourbon Apricot Cynar). In making my own flips at home I decided to try one with my Pistachio Fig infused Bourbon and boy was it delicious!
Tags: Egg White, Eggnog, Eggs, Varnish. Bookmark the permalink.


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HomeControlGrid Engine Brings Massive Scale To Docker, Eyes Kubernetes
Grid Engine Brings Massive Scale To Docker, Eyes Kubernetes
September 16, 2015 Timothy Prickett Morgan Control, Enterprise, HPC 0
Sometimes, the customers get out ahead of the vendor community and they lead. This is precisely what happened to Univa, the commercial entity behind the Grid Engine cluster workload scheduler, with regard to Docker containers.
A workload scheduler like Grid Engine is at the heart of the distributed computing platform at HPC centers, enterprises, and government and academic research institutions, and companies do not want to have multiple schedulers running silos of workloads on multiple clusters if they can avoid it. Moreover, the most efficient way to a cluster is to make the largest cluster possible and then schedule the most jobs possible on that big machine rather than a bunch of smaller clusters. Scaling out jobs across more nodes allows them to finish quicker in many cases, so the bigger cluster also can boost overall throughput.
Given all this, it is understandable why customers using Grid Engine have been pushing Univa to integrate support for Docker containers with the workload scheduler. In fact, a number of customers wanted Docker so badly that they figured out how to hack it onto Grid Engine themselves, Gary Tyreman, CEO at Univa, tells The Next Platform. One such customer was the Centre for Genomic Regulation in Barcelona, Spain, and Univa dispatched some of its techies to the research institution to compare notes with how it was implementing Docker on top of Grid Engine. The result, along with input from a bunch of other spearheading customers, is Grid Engine Container Edition, which is shipping to some early accounts now and which will be generally available shortly, says Tyreman.
Grid Engine Container Edition automates the process of deploying the Docker Engine runtime for containers on top of clusters of servers and then dispatching container images from a repository such as Docker Hub, the public repository run by Docker (the company), or Docker Hub Enterprise, the on-premises variant of the repository. In a way, the Docker container and runtime is just another kind of application that Grid Engine deploys on top of a Linux instance on a server, so technically speaking, that is the easy part. The hard part – and what makes the official integration useful – is that it plug into the metering, chargeback, security, and load balancing features of Grid Engine, just like any other workload does. This latter bit is what is important to Grid Engine customers, particularly those in large enterprises who depend on these features so lines of business only get their fair share of capacity and pay their fair share of the IT bill.
"What we have done already we are going to bring to Kubernetes. That is our intent, although we have not put our product plans out yet. We bring to this group experience with enterprise at scale with complex, messy, heterogeneous environments – often with different architectures and with a mix of bare metal and virtualization – that we drive high utilization and efficiencies from."
The extensions for Grid Engine to natively support Docker will work on Grid Engine 8.3 and 8.3.1, the two latest releases, and Tyreman says there is no technical reason why it can't work with Grid Engine 8.2 although the company is not sure if it will backcast support that far. Container Edition does not require the Kubernetes container controller open sourced by Google and that is controlled by the Cloud Native Computing Foundation that the search engine giant set up back in July when the 1.0 release of the software was set into the wild. The Container Edition similarly does not have any dependencies on the Mesos cluster controller or the Universal Request Broker add-on that Univa announced back in April. With this latter bit of software, rather than graft Mesos on top of Grid Engine, Univa has implemented the Mesos APIs on top of Grid Engine so it can look and feel like Mesos to applications that have been coded for that cluster controller and its frameworks but actually be running atop Grid Engine.
Pricing for the Container Edition has not been set yet, but it will carry an incremental charge over the base Grid Engine license and customers will be able to add this feature to existing clusters. The base Grid Engine software costs $100 per core per year to license, including a support contract, and the URB add-on costs another $50 per core per year for the machines that make use of it. Univa does not expect that companies will necessarily buy licenses to either URB or Container Edition that span their entire clusters, but rather for the number of cores where Mesos or Docker jobs will run. Docker is, for the moment, a Linux phenomenon, but Docker will eventually run atop Windows Server 2016 and if enough customers want it, Univa can bring Docker-on-Windows support to Grid Engine. (Univa started supporting Windows Server with Grid Engine with its 8.2.0 release last September.)
Univa is not the first of the HPC-class workload schedulers to support Docker. As we reported in the spring, IBM supports Docker containers on top of its Platform LSF scheduler.
The thing that Univa is stressing that is can bring immediately to the table is scale. As we reported this week, the Kubernetes 1.0 container controller can scale to around 100 nodes and launch maybe one container per second, and the members of the Cloud Native group are working to extend that to 1,000 nodes. Docker Swarm, the container management system from the eponymous creator of Docker, might be running on tens of thousands of clusters out there in the world, but the data that Tyreman has seen says the average cluster size is 42 nodes. This is not exactly enterprise scale.
Tyreman tells The Next Platform that Grid Engine already can launch 1,000 containers per second, and as for scalability limits, the ceiling is not in Grid Engine but in how fast you can get data out of the Docker repository and how fast you can move Docker images through the network to the servers. As for node count, Grid Engine has customers with fewer than a hundred nodes all the way up to over 20,000 server nodes in the installed base, which numbers over 10,000 installations worldwide including those running the open source version. Univa has more than 400 customers that use the supported version of its Grid Engine and extensions.
This is by no means the end of the Docker story for Grid Engine. Univa has something else up its sleeves, and it is only hinting at what that might be.
"We are not going to compete with Kubernetes," Tyreman says right off the bat, and we quipped that perhaps Univa would compete as Kubernetes, which got a laugh. "We all know that Google's enterprise experience is limited, so check box there. Kubernetes has limitations at only 100 nodes and given its dependencies. We are actually participating quite actively in the projects at the Cloud Native Computing Foundation scheduling and scale special interest groups and a couple of others. What we have done already we are going to bring to Kubernetes. That is our intent, although we have not put our product plans out yet. We bring to this group experience with enterprise at scale with complex, messy, heterogeneous environments – often with different architectures and with a mix of bare metal and virtualization – that we drive high utilization and efficiencies from."
The way to think about this future unnamed product – we called it K Engine for fun – is that a follow-on product supporting Docker containers from Univa will take some of the scheduling smarts of Grid Engine and get it into Kubernetes to scale it and speed it up. Precisely how this happens has not been established yet, and it could involve the licensing of some intellectual property to the Cloud Native Computing Foundation. "We are not sure if that is what we will end up doing – we are still in discussions," says Tyreman.
And unlike its path with Mesos, it doesn't sound like Univa will just be supporting the Kubernetes APIs on top of Grid Engine.
"In the future, you will see a Kubernetes product that we will bring to the market, and in that case, we will not be building Kubernetes on the back of Grid Engine, but the reverse. We will take our orchestration and plug it into Kubernetes. We already could support Kubernetes the way Mesosphere does, on top of Mesos, but that is not the right way – it is upside down. From an architectural perspective, Kubernetes is supposed to be making decisions where to place containers, and orchestrating Kubernetes is going to be a key part of our offering in the future."
Taking Kubernetes Up To The Next Level
November 20, 2020 Jeffrey Burt Control 1
From the time Kubernetes was born in the labs at Google by engineers Joe Beda, Brendan Burns, and Craig McLuckie and then contributed to the open source community, it has become the de facto orchestration platform for containers, enabling easier development, scaling and movement of modern applications between on-premises datacenters …
Avoiding The Missing Middle With AI
June 2, 2020 Timothy Prickett Morgan AI 0
It is common knowledge in the manufacturing sector of the economy that many of the companies that should have deployed HPC simulation and modeling applications one or two decades ago to help with product design, among other tasks, did not do so. With the lowering of costs of HPC clusters …
Red Hat Stacks Up Software To Contain AI On Nvidia Platforms
March 22, 2022 Jeffrey Burt Control 0
Nvidia and VMware have forged a tight partnership when it comes to bringing AI to the enterprise, which stands to reason given the prevalence of VMware's ESXi hypervisor and vSphere management tools across more than 300,000 companies worldwide. But there is another important server virtualization and container platform provider: Red …


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Царевщина — топоним; название населённых пунктов в России:

 Царевщина — деревня в Псковском районе Псковской области.
 Царевщина — село в Балтайском районе Саратовской области.
 Царевщина, Большая Царевщина  — исторические названия (до 1961) посёлка Волжский в Красноярском районе Самарской области.

redpajama_set_name: RedPajamaWikipedia


Frame is a mono-block chair, moulded in one piece of plywood with variable thickness and solid wood insert. The whole chair is pressed in one single process. Frame fits in a wide spectrum of public and private interiors. The square cut in the backrest gives the feeling of transparency.
Frame is a mono-block chair, moulded in one piece of plywood with variable thickness and solid wood insert. The whole chair is pressed in one single process. This wooden chair differs from the others by its flawless, straight lines and simple, almost classic design which creates a sense of purity in an interior. It has a strong construction with a stable frame without any weak points. The square cut in the backrest gives the feeling of transparency, as well as makes moving the chair easier as it can be used as a handle. The chair is light both in terms of looks and in terms of weight. Frame is simple, elegant and comfortable.
To make keeping and moving the chairs easier, an unexpected solution was found as the chairs are stackable sideways. Frame fits in wide spectrum of public and private interiors – restaurants, museums, libraries, halls, waiting rooms, schools, conference rooms and homes and it will specially suit places where the lines "speak" or an "invisible" chair is required.
Komplot Design is one of the best-known Danish design studios, a partnership of Poul Christiansen and Boris Berlin. Both designers have a wide experience as they have created graphic, industrial and furniture design.


text:
Transformers: Beast Wars
(Redirected from Transmetals)
This article is about the Beast Wars franchise. For the animated television series in the franchise, see Beast Wars: Transformers.
"Beast Wars" redirects here. For other uses, see Beast Wars (disambiguation).
"Fuzors" and "Fuzor" redirect here. For the Zoids, see Zoids: Fuzors.
Transformers: Beast Wars is an entertainment franchise from Hasbro, and it is part of the larger Transformers franchise. The fiction directly follows the Transformers: Generation 1 continuity established by the 1984 series and animated film. It ignores the continuity established by the Japanese Transformers series, though this franchise would have two exclusive Japanese series of its own. Previous to Beast Wars, Hasbro had attempted to relaunch the original toys and animation as Transformers: Generation 2. Hasbro intended another franchise titled Transtech to follow, combining Beast Wars and Generation 1 characters and aesthetics, but this was cancelled. Instead the franchise began a series of reboots, beginning with the Japanese-produced Transformers: Car Robot series, internationally known as Transformers: Robots in Disguise.
1 Beast Machines
2 Beast Wars in Japan
3.1 BotCon comics
3.2 Dreamwave Productions
3.3 IDW Publishing
5.1 Video Games
5.2 Television Series
Beast MachinesEdit
Beast Wars was succeeded by Beast Machines, a new series with a new creative team in charge of production. The Maximals find themselves back on Cybertron, malfunctioning and trapped in their first beast modes (the ones they had at the beginning of Beast Wars). They were without memory of what happened previously, and fighting for survival against mindless drones called Vehicons. These were created and controlled by Megatron. With the whole planet empty, and all of the Transformers missing, Optimus Primal, Cheetor, Rattrap and Blackarachnia begin a new crusade, this time to free the entire planet.
Beast Wars in JapanEdit
Find sources: "Transformers: Beast Wars" – news · newspapers · books · scholar · JSTOR (June 2011) (Learn how and when to remove this template message)
The Japanese series Beast Wars II and Beast Wars Neo were created to fill the gap while the second and third seasons of Beast Wars were being translated into Japanese (called Beast Wars: Metals). The characters originate from the future that the Beast Wars teams left, but the events of the series take place in the far future. The series are noted primarily for the return of Unicron, but more negatively, for their childish, comedic nature, as the Transformers franchise is aimed at a very young age group in Japan when compared to Canada. Beast Wars II spawned a theatrical movie. The Beast Wars Neo toyline was created to cater to the Japanese market. Whereas the cybernetic transmetal Beast Wars Transformers sold well in Western markets, Japanese fans preferred more realistic looking beast modes, thus Beast Wars Metals was not as successful with Japanese fans. The second and third season of Beast Wars and its toy line only lasted a few months before being quickly replaced by Transformers: Car Robots in the following new year, in which several unused Transmetal 2 molds were used as Destrongers (Predacons). Beast Machines was also imported to Japan in 2004 under the title Beast Wars Returns, though it didn't gain very much popularity.
Comic booksEdit
Officially, the Beast Wars and Beast Machines series exist as the future of Generation 1 universe, and not specifically the original cartoon series or Marvel Comics series. The writers of the series adopted this position in order to pick and choose the best elements of the discrete Generation 1 continuities.
BotCon comicsEdit
In the BotCon comics, two particular Beast Wars storylines are tapped.
In the Omega Point storyline, several events lead up to a tremendous battle against Shokaract, a Predacon fueled by the Dark Essence of Unicron himself. This also serves as an introduction for Apelinq, and the only appearances of Windrazor, Sandstorm, Antagony, and Cataclysm.
In the Primeval Dawn story, Tarantulas comes back from the dead alongside Ravage, Spittor, Iguanus, and Razorclaw to complete the mission he set out to do, while the Vok create Primal Prime to stand in his way; Primal Prime teams up with Airazor, Tigatron, and Ramulus, who have come back from the dead as well.
Dreamwave ProductionsEdit
Dreamwave Productions released a Summer Special which contained a Beast Wars story. It introduced three new characters, Optimus Minor, Bonecrusher, and Wolfang. The comic had a survey as to whether Dreamwave's new comic would be Robots In Disguise or Beast Wars. Beast Wars won.
Dreamwave Productions had plans to release a Beast Wars comic in early 2005, which would have been done by the War Within creative team of Simon Furman and Don Figueroa. Brad Mick and Adam Patyk were originally planned to write the series until they left Dreamwave after not being paid for several projects. However, although some cover art did appear on the internet, Dreamwave entered bankruptcy before one issue could be published.
IDW PublishingEdit
Main article: Beast Wars (IDW Publishing)
A mini-series takes place parallel to the third season of Beast Wars and introduces characters who are not shown in the original series such as Magmatron, Razorbeast, and Injector. Other characters who appear are Grimlock in his Beast Wars body (a recolored Dinobot toy) and Ravage in his Transmetal II "Tripredacus Agent" incarnation.
The mini-series focuses on Magmatron, sent by the Tripredacus Council to capture Megatron after Ravage's failure. However, Magmatron has his own agenda - to create his own army from the stasis pods the Axalon ejected in the pilot episode of Beast Wars. His scheme is partially thwarted by the Maximal double-agent Razorbeast, who ensures the shell program used reconfigures many of the protoforms as Maximals rather than Predacons. The two sides clash in an attempt to stop Magmatron from returning to Cybertron with a captured Megatron, with some unexpected aid from Grimlock ensuring Magmatron is sent back to Cybertron empty handed. However, Razorbeast's Maximals and many Predacons (led by Ravage, resurrected in a Transmetal II body) are left on Earth, opening the way for future series.
Video gamesEdit
There have been two Beast Wars video games. The first game, simply called Beast Wars, was released for the PlayStation and PC. It was a Third person shooter, based on the first season of the show, in which you can control either the Maximals or the Predacons in a series of missions to undermine the other faction's attempts at gaining enough resources to win the war between them and escape the planet. It was given a multiplayer feature (removed from the console releases) that allowed up to 8 players to play over LAN, with its own play rooms in the MS Gaming Zone (they have subsequently been removed). The second game, Transformers: Beast Wars Transmetals, is a Fighting Vipers-style fighting game based on the second season. The PlayStation version was released by Hasbro Interactive and the Nintendo 64 version was released by bam! Entertainment. Neither of these games did well, commercially, and were panned by critics and fans alike, although the second game was memorable for having most of cast members from the show reprise their roles. A third game was in the works for the PlayStation 2, but was scrapped in pre-production, without any official word as to why, or how far the project was before the plug was pulled.[1]
List of Beast Wars characters
List of Beast Wars and Beast Machines characters
Beast Wars: Transformers (video game)
Transformers: Beast Wars Transmetals
Kettō Transformers Beast Wars: Beast Senshi Saikyō Ketteisen
Television SeriesEdit
Beast Wars: Transformers
List of Beast Wars episodes
List of Beast Machines episodes
Beast Wars II: Lio Convoy, Close Call!
List of Beast Wars II characters
List of Beast Wars Neo characters
Beast Wars Sourcebook
^ Beast Wars: Aftermath Episode Trivia - TV.com
Retrieved from "https://en.wikipedia.org/w/index.php?title=Transformers:_Beast_Wars&oldid=932953558"


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Сенаторська вежа або Любранка () — одна з трьох існуючих в даний час веж Вавеля, Краків, Польща. Знаходиться на південній частині фортифікаційних споруд Вавеля. Поряд з Сандомирської вежею є частина комплексу так званих вавельских «Вогняних веж» другої половини XV століття.

Вежа була побудована в другій половині XV століття. Нижня частина вежі була споруджена з каменю і верхня — з цегли. У 1534 році башта була з'єднана з південним крилом королівського палацу. В цей же час були перебудовані нижні поверхи вежі, як повідомляється в хроніках «для юного короля Сигізмунда Августа».

Друга назва «Любранка» походить від імені генерального прокуратора замку Гжегожа з Любранци. У XVII і XVIII століттях вежа також носила найменування «Ольбрамка», «Вольбромка» і «Скарбова вежа».

Вежа неодноразово піддавалася пожежам, у тому числі і в 1656 році під час шведського потопу. У 1858 році австрійська влада перебудувала вежу, яка увійшла в систему фортифікаційних споруд Краківської фортеці.

У 2002-2003 роках проводилися реставраційні роботи під керівництвом польських архітекторів Петра Стемпня і Станіслава Карчмарчика.

Література
 Kazimierz Kuczman: Wzgórze Wawelskie: Przewodnik; Krakkó, 1988.
 Stepień Piotr, Badania i konserwacja baszty Lubranki, «Studia Waweliana» XIII, 2007, ISSN 1230-3275

Вавель
Вежі Польщі