【産業上の利用分野】本発明は、通信ネットワークを介して情報のフレーム又はパケット(以下「フレーム」と表記)を伝送するための方法に係り、更に詳細に説明すれば、直列ネットワークの環境において肯定応答フレーム(以下「ACKフレーム」と表記)を利用しつつ、データ・フレーム及びACKフレームの両方について順不同の引き渡し(out-of-order delivery )を可能にするフレーム伝送方法に係る。 The present invention relates relates to a method for transmitting information in frames or packets over the communication network (hereinafter referred to as "frame"), and more detail, in the environment of the series network while using the acknowledge frame (hereinafter referred to as "ACK frame"), for both data frames and ACK frames according to the frame transmission method that enables delivery of unordered (out-of-order delivery).
宛先ノードがデータ・フレーム内の情報を受理する際に宛先ノードからイニシエータ・ノードにACKフレームを返送するようになっている。 The destination node is adapted to send back the ACK frame from the destination node to the initiator node upon receiving the information in the data frame. かかる確認信号は、音声通信の環境では殆ど使用されないが、ディジタル・データ伝送の完全性を保証するためには、ACKフレームによる確認信号を広範に使用することが不可欠である。 Such confirmation signal is not almost used in voice communication environments, in order to ensure the integrity of the digital data transmission, it is essential to extensively use the confirmation signal by the ACK frame.
ev. 2.2 」に文書化されている。 ev. 2.2 are documented in ".
フレームごとに異なることがあり得るからである。 This is because there may be different for each frame. このため、ACKフレームの伝送タイミングもそれに伴うことになる。 Therefore, it results in concomitant also transmission timing of the ACK frame. 同様に、ネットワークが使用中である場合には、ACKフレームがイニシエータ・ノードに順不同に引き渡されることがある。 Similarly, when the network is in use, there is an ACK frame is delivered in random order to the initiator node. 或る状況では、ネットワーク内のエラーに起因して、ACKフレームが完全に失われる。 In certain circumstances, due to an error in the network, ACK frame is completely lost. また、ネットワークの輻輳条件又は高優先順位の伝送に起因して、ACKフレームが意図的に削除されることもあり得る。 Further, due to the transmission of the congestion condition or high priority network may also be ACK frame is intentionally deleted. 他方、プロトコルの要件が次のようなもの、即ち各データ・フレームがこれに先行する各データ・フレーム用のACKフレームを待機しなければならないか、又はデータ・フレームとACKフレームとの整合性を保証するためにネットワークの諸チャネルを専用しなければならないようなものであれば、ネットワークの通信速度が著しく低下することになる。 On the other hand, the protocol requirements include:, i.e. do not have to wait an ACK frame for each data frame, each data frame is preceded by this, or the consistency of the data frame and ACK frame if various channels of the network be such that must dedicated to guarantee, so that the communication speed of the network is significantly reduced.
フレームに固有のACKフレームが再送されるまで、これを待機しなければならない。 Frame until retransmission is unique ACK frame, it must wait this.
このアプローチは、比較的低速であって、特にネットワークの輻輳密度が増大すると更に性能が劣化することが分かっている。 This approach is relatively a low speed, further found that the performance is deteriorated particularly congestion density of the network increases.
CKフレームの順不同の引き渡し伝送とを容易に行えるようにした方法を提供することにある。 And delivery transmission of unordered CK frame is to provide a method to easily.
【課題を解決するための手段及び作用】本発明の前記目的に従ったアーキテクチャ及びプロトコルは、通信ネットワークのイニシエータ・ノード及び宛先ノードにおける諸資源によって実現される。 The architecture and protocol in accordance with the purpose of the means and functions to an aspect of the present invention is realized by the various resources in the initiator node and the destination node of the communication network. これらの資源は、イニシエータ・ノードにおいて定義されたデータ・フレームの通し番号又はシーケンス・カウント(以下「通し番号」 These resources, serial number or sequence count of the defined data frames in the initiator node (hereinafter "serial number"
各ACKフレーム内に設けられる追加の制御情報を使用して、当該ACKフレーム内の通し番号よりも前の通し番号を有する諸データ・フレーム用の全てのACKフレームが宛先ノードから返送されたことを表すようにした点にある。 Using additional control information that is provided in each ACK frame, so that all ACK frames for various data frame having a serial number before the serial number in the ACK frame indicating that it has been sent back from the destination node there in the points.
前の全てのACKフレームの伝送状態が表されるようになっている。 So that the transmission states of all the ACK frame before is represented.
ACKフレームをイニシエータ・ノードに返送して、そのデータ・フレームが受信されたことを表すようになっている。 And it returns an ACK frame to the initiator node is adapted to represent that the data frame has been received.
スイッチング・ファブリック1が順不同の引き渡しを可能にするとしても、帯域幅割振り(チャネル占有)動作モードが存在しない場合には、ACKフレームを必要とする伝送は低速となることが判っている。 Even switching fabric 1 allows the delivery of any order, when the bandwidth allocation (channel occupancy) operating mode is not present, the transmission requiring an ACK frame is found to be slow. かかる順不同の引き渡しプロトコルの性能が低くなるのは、スイッチング・ファブリック1の使用中状態又は高優先順位の伝送に起因して、ACKフレームの伝送が遅延されるからである。 The performance of such unordered delivery protocol is low, due to the transmission of the busy conditions or high priority switching fabric 1, because the transmission of the ACK frame is delayed.
【0012】本発明は、ネットワークの性能を維持しつつ、データ・フレーム及びACKフレームの両方について順不同の引き渡しを可能にするものである。 The present invention, while maintaining the performance of the network, is to enable the delivery of unordered for both data frames and ACK frames. イニシエータ・ノードは、宛先ノードに伝送される各データ・フレーム内に、当該フレーム用の一の通し番号を与える。 Initiator node, each data frame to be transmitted to the destination node, providing an serial number for the frame.
当該宛先ノードが確認中の対応するデータ・フレーム内の通し番号と一致するような通し番号を保持している。 It holds the serial number as the destination node matches the corresponding serial number of the data frame in the confirmation.
そのACKフレーム内の通し番号よりも前の通し番号を有する諸データ・フレーム用の全てのACKフレームが宛先ノードから返送されたか否かを表す。 All ACK frames for various data frame having a serial number before the serial number in the ACK frame indicating whether sent back from the destination node. 即ち、この制御ビットの状態は、以前のACKフレームについての全体的な伝送ヒストリを表すことができる。 That is, the state of the control bit may represent the overall transmission history for a previous ACK frames.
Sによって定義されているように、ノード間の通信チャネルは、不特定ノード間(any-to-any)通信及び対等ノード間(peer-to-peer)通信に加えて、マスタ−スレーブ又はイニシエータ−宛先という関係についても与えられる。 As defined by S, the communication channel between nodes, inter unspecified nodes (any-to-any) communication and peer node (peer-to-peer) in addition to communication, master - slave or initiator - also given the relationship that destination. その各々は、スイッチング・ファブリック1を通して、3つのクラスのサービスを与えるための資源を有する。 Each, through switching fabric 1 has a resource for providing a service of three classes. 3つのクラスのうち、クラス1は専用接続であり、クラス2は多重化(無接続)であり、クラス3はデータグラム(無接続)がそれである。 Of the three classes, class 1 is dedicated connections, class 2 is multiplexed (connectionless), Class 3 datagram (connectionless) is it.
0、FC−1及びFC−2内で行われる信号プロトコルは、1個の集積回路チップ内で実現することができる。 0, FC-1 and the signal protocol performed in the FC-2 can be realized in one integrated circuit chip.
【0015】FC−0は、物理リンクの属性を定義する。  FC-0 defines the attributes of the physical link. これらの属性は、種々のデータ速度、単一/多重モードの光ファイバ、同軸ケーブル、及び撚り線対についてのサポートを含んでいる。 These attributes may include various data rates, an optical fiber of a single / multi-mode, the support for the coaxial cable, and twisted pair. 送信機/受信機対は、長波長及び短波長のレーザ、長波長のLED及び電気的インタフェースを含んでいる。 The transmitter / receiver pair, a laser of a long wavelength and short wavelength, and includes an LED and electrical interfaces of the long wavelength.
8.5を保持し、その後の3つの位置に3つのデータ文字を保持する。 Holding 8.5, it holds three data characters subsequent three positions. 順序づけられたセットは、プリミティブ信号、プリミティブ・シーケンス及びフレーム・デリミタ(SOF(フレーム開始)、EOF(フレーム終了))を指定するために使用される。 Ordered set, primitive signals, primitive sequences and frame delimiters (SOF (Start of Frame), EOF (End)) is used to specify.
リンクを初期化又はリセットするために使用されるところの、ディジタル情報の順序づけられたセットである。 Link as used to initialize or reset an ordered set of digital information.
特定のプリミティブ・シーケンスを連続的に伝送すると、ネットワークの状態情報を通知することができる。 When continuously transmitting a specific primitive sequence, you can be notified of the status information of the network.
各プリミティブ・シーケンスは、インターロックされていて、応答として伝送される一のプリミティブ・シーケンスを待機する。 Each primitive sequence is not interlocked to wait for one primitive sequence transmitted in response. 諸プリミティブ・シーケンスのリンク初期化プロトコルに続いて、アイドル信号(プリミティブ信号)がそのリンクを介して伝送される。 Following link initialization protocol of various primitive sequence, the idle signal (primitive signal) are transmitted over the link. フレーム伝送は、このアイドル・ストリーム内に一のフレームを挿入することによって行われる。 Frame transmission is carried out by inserting one frame in the idle stream. 図3に示されているように、各フレームは、SOFデリミタとEOFデリミタとの間にカプセル化されている。 As shown in FIG. 3, each frame is encapsulated between the SOF delimiter and EOF delimiter.
その終了端の位置に最大3つの充填バイトを保持することができる。 It can hold up to three fill bytes on the position of the terminal end.
2又は3を指定する)。 To specify the 2 or 3). これに対し、そのシーケンス内の他のフレームは、SOFnx(ノーマル)デリミタから開始する。 In contrast, other frames in the sequence begins SOFnx (normal) delimiter.
経路指定を制御するために使用される。 It is used to control the routing. D_ID(宛先ノードの識別子)フィールドとS_ID(イニシエータ・ノードの識別子)フィールドは、24ビット長であって、スイッチング・ファブリック1のアドレス定義域内にある特定のN_Portを識別するために使用される。 D_ID (identifier of the destination node) field and S_ID (identifier of the initiator node) field is a 24-bit, is used to identify a specific N_Port in the address within the domain switching fabric 1. スイッチング・ファブリック1内でN_Portの選択を高速に行うことができるように、小さいアドレスが選ばれた。 The selection of the N_Port in the switching fabric within 1 so that it can be performed at high speed, a small address was chosen. TYPEフィールドは、使用中の上位レベルのプロトコルを指定する。 TYPE field specifies the upper level protocol being used. F_CTL(フレーム制御)フィールドは、シグナリング・プロトコルを支援するための多数の制御ビットを与える。 F_CTL (Frame Control) field provides a number of control bits to support signaling protocols. SEQ_IDフィールドは、一の交換内の特定のシーケンスを識別するための、1バイト長の識別子である。 SEQ_ID field for identifying a particular sequence in one exchange, which is an identifier of 1 byte long. DF_CTL(データ・フィールド制御)フィールドは、データ・フィールド内のオプションとしての見出し部の存在を識別する。 DF_CTL (data field control) field, identifying the presence of a heading portion of the optional data field.
【0021】SEQ_CNTフィールドは、そのシーケンス内の一の通し番号である。  SEQ_CNT field is one of the serial number in the sequence. 各シーケンスは、ゼロに等しい値を保持するSEQ_CNTフィールドで以て開始し、各フレームの伝送ごとにSEQ_CNTフィールドの値が1ずつ増加する。 Each sequence starts Te than in SEQ_CNT field that holds a value equal to zero, the value of SEQ_CNT field for each transmission of each frame is increased by one. OX_IDフィールドは、この交換のイニシエータ・ノードにより一意的に割当てられる、2バイトの交換識別子である。 OX_ID field is uniquely assigned by the initiator node of this exchange is the exchange identifier of 2 bytes. RX_IDフィールドは、この交換の宛先ノードにより一意的に割当てられる、2バイトの交換識別子である。 RX_ID field is uniquely assigned by the destination node of this exchange is the exchange identifier of 2 bytes. パラメータ・フィールドは、諸データ・フレーム用のペイロードの相対オフセットを保持する。 Parameter field holds the relative offset of the payload for various data frames.
フレーム内にEOFdt(切離し−終了)デリミタを含めて伝送する。 EOFdt in the frame (disconnect - End) transmitting including delimiters. 除去接続プロトコルは、その接続の除去を調整するために定義されている。 Removal connection protocol is defined in order to adjust the removal of the connection.
【0023】クラス2において、各データ・フレームは、専用接続を確立せずに単一のエンティティとして引き渡される。  In a class 2, each data frame is delivered as a single entity without establishing a dedicated connection. クラス2において、使用中及び拒否応答フレームも与えられる。 In Class 2, also given and reject response frames during use. 交換を発生し且つ管理するための通常のルールが、クラス1及び2に適用される。 Normal rules for generating a replacement and managed, is applied to the class 1 and 2. クラス3において、各データ・フレームは、応答フレームなしにベスト・エフォート型で引き渡される。 In Class 3, each data frame is delivered on a best-effort without response frame.
rtは、一のACKフレームを受信する前に、そのクレジット限界(M)までのデータ・フレームを伝送することができる。 rt, prior to receiving an ACK frames, it is possible to transmit data frames to its credit limit (M). その応答として伝送されるACKフレームは、そのデータ・フレームを受信したバッファが他のデータ・フレームを受信するために使用可能であることを表す。 ACK frame transmitted as a response, indicating that it is available to buffer that receives the data frame to receive another data frame. もし一のエラーが検出されるならば、そのシーケンスは打ち切られ、ULPに依存して、その全体が再送されるか又は障害点から再送されることになる。 If one error is detected, the sequence is aborted, depending on the ULP, in its entirety will be retransmitted from or fault point is retransmitted.
Kフレームのフレーム見出し部内にあるパラメータ・フィールドに保持される制御ビットを作成及び使用する。 To create and use the control bits held in the parameter field in the Frame heading of K frames.
ACKフレーム内に設けられるデータ・フレームの通し番号と制御ビットを組み合わせると、データ・フレームの引き渡し状態及びACKフレームの伝送ヒストリの両方を含むように状態情報を拡張することができる。 Combining serial number and control bit of a data frame provided in the ACK frame, it is possible to extend the state information to include both transmission history of delivery status and ACK frames of data frames.
で定義されたアーキテクチャ及びプロトコルに準拠するネットワークが、高優先順位の伝送を含む互いに競合する伝送を許容するからである。 Network that conforms to in defined architecture and protocol, because allowing transmission to compete with one another, including the transmission of high priority. そのような事象は、影響されるACKフレームを遅延させたり、その後の再送を更に延期させたりすることがある。 Such events, or to delay the ACK frame is affected, which may or further postpone subsequent retransmission. 第2に、本発明の方法を利用する場合は、一のACKフレームが完全に失われても、大きな問題とはならない。 Second, when using the method of the present invention also one ACK frame is completely lost, not a serious problem.
オペレーティング・システムを搭載したRISCシステム/6000のようなワークステーションが、本発明の方法を実施するために、イニシエータ・ノード及び宛先ノードにおいてアプリケーション・コードを実行する。 Workstations such as RISC System / 6000 equipped with operating system, for implementing the method of the present invention, executes application code at the initiator node and the destination node.
Y)フレームが処理される。 Y) frames are processed. 更に、一のACKフレームを受信する前に伝送可能な、未確認データ・フレームの数の上限として、Max_Creditが使用される。 Furthermore, can be transmitted before receiving an ACK frames, the upper limit of the number of unacknowledged data frames, Max_Credit is used.
BSY及びCredit_Cntは、共にオプション的な機能である。 BSY and Credit_Cnt are both optional features. ACKフレーム内の制御ビットがゼロに等しい場合(Parm=0)、そのACKフレーム内の通し番号FR_CNTよりも前の通し番号を有する諸データ・フレーム用の全てのACKフレームが宛先ノードから返送されている。 If the control bit in the ACK frame is equal to zero (Parm = 0), all ACK frames for various data frame having a serial number before the serial number FR_CNT in that ACK frame is returned from the destination node. 他方、ACKフレーム内の制御ビットが1に等しい場合(Parm=1)、そのACKフレーム内の通し番号FR_CNTよりも前の通し番号を有する少なくとも1つのデータ・フレームがまだ確認されていない。 On the other hand, when the control bit in the ACK frame is equal to 1 (Parm = 1), at least one data frame having a serial number before the serial number FR_CNT in that ACK frame has not been confirmed yet.
フレーム受信処理シーケンスを定義し、そしてACKフレームに応答するシーケンスで終了する。 Define the frame reception sequence, and ends with a sequence responsive to the ACK frame. この擬似コード内で使用される諸変数は、次の通りである。 Various variables used within this pseudo code is as follows.
【0030】 FR_CNT: イニシエータ・ノードによりデータ・フレーム内 (即ち、フレーム見出し部内)で伝送される通し 番号。  FR_CNT: initiator node by the data frame (i.e., intraframe heading portion) through number transmitted in.
【0031】 I_FR_CNT: イニシエータ・ノードにより伝送されるデータ・ フレーム内の最高位の通し番号。  I_FR_CNT: the highest serial number of the data frame to be transmitted by the initiator node. これはシーケン ス状態ブロック内に保持される。 It is held in sequence state block.
【0032】 ACK_FR_CNT: 受信した任意のACKフレーム内の最高位の通し 番号。  ACK_FR_CNT: highest through numbers in any of the ACK frame received. これはシーケンス状態ブロック内に保持さ れる。 It is held in the sequence status block.
【0033】 ACK_R_R: 0〜7にインデックスされるACK受信レジスタ (この例では8ビット)。  ACK_R_R: 0~7 are indexed to the ACK reception register (8 bits in this example). インデックス値7(1 ビット)は、ACK_FR_CNTに対応する。 Index value 7 (1 bit) corresponds to ACK_FR_CNT. インデックス値6は、ACK_FR_CNT_1 に対応し、インデックス値0は、ACK_FR_ CNT_7に対応する。 Index value 6 corresponds to ACK_FR_CNT_1, the index value 0 corresponds to ACK_FR_ CNT_7.
【0034】 CREDIT_CNT: データ・フレームを受信するために宛先ノードで 使用可能なバッファの数を表す値。  CREDIT_CNT: value representing the number of buffers available at the destination node for receiving a data frame.
【0035】 MAX_CREDIT: データ・フレームを受信するために宛先ノードで 使用可能なバッファの最大数を表す値。  MAX_CREDIT: value representing the maximum number of buffers available at the destination node for receiving a data frame.
【0036】 MISS_ACK_CNT:処理中のACKウィンドウを外れた受信済みのA CKフレームのカウント。  MISS_ACK_CNT: count of already received A CK frame out of the ACK window being processed. このシーケンスが完了 した後に、クレジットが再クレームされる。 After this sequence is complete, credit is re-claim.
【0042】一般に、宛先ノードにおける活動は、データ・フレームの受信及びACKフレームの伝送動作を追跡する、というものである。  Generally, activity at the destination node tracks the receive and transmit operation of the ACK frame of a data frame, is that. 以下の擬似コードは、初期化シーケンスから開始し、データ・フレームの受信に関係する動作を定義し、ACKフレーム用のフレーム見出し部を作成することに関連するプロセスを定義し、そのACKフレームの伝送を行い、そしてネットワーク・ファイバの使用中状態に対する応答を定義する。 The following pseudocode begins with an initialization sequence, defines operations related to the reception of a data frame, it defines processes associated with creating a frame heading part for ACK frame, transmission of the ACK frame It was carried out, and defines a response to use of state of the network fiber. 宛先ノードについて以下の擬似コードで使用される諸変数は、次の通りである。 Various variables used in the pseudocode below for the destination node is as follows.
【0043】 FR_CNT: 宛先ノードによりデータ・フレーム内(即ち、フ レーム見出し部内)で受信され、FR_CNTに より指定されるデータ・フレームを確認するAC Kフレーム内で伝送される通し番号。  FR_CNT: the destination node by the data frame (i.e., frame heading portion) is received, the serial number transmitted in AC K in a frame to verify the data frame specified more FR_CNT.
【0044】 DE_FR_CNT: 宛先ノードにより受信される入る最高位の通し番 号。  DE_FR_CNT: highest serial number of the entering received by the destination node. これはシーケンス状態ブロック内に保持され る。 This Ru held in the sequence state block.
【0045】 DE_R_R: 0〜7にインデックスされるデータ・フレーム受 信レジスタ(この例では8ビット)。  DE_R_R: data frames received 0-7 are indexed to the signal register (8 bits in this example). インデック ス値7(1ビット)は、DE_FR_CNTに対 応する。 Index value 7 (1 bit) is the corresponding to DE_FR_CNT. インデックス値6は、DE_FR_CNT_1に 対応し、インデックス値0は、DE_FR_CN T−7に対応する。 Index value 6 corresponds to DE_FR_CNT_1, the index value 0 corresponds to DE_FR_CN T-7. このレジスタは、失われたデ ータ・フレームを検出するために使用される。 This register is used to detect the data frame has been lost.
【0046】 ACK_FR_CNT: 伝送された任意のACKフレームの最高位の通し 番号。  ACK_FR_CNT: highest through number of any ACK frame transmitted. これはシーケンス状態ブロック内に保持さ れる。 It is held in the sequence status block.
【0047】 ACK_T_R: 0〜7にインデックスされるACK送信レジスタ (この例では8ビット)。  ACK_T_R: 0~7 are indexed to the ACK transmission register (8 bits in this example). インデックス値7(1 ビット)は、ACK_FR_CNTに対応する。 Index value 7 (1 bit) corresponds to ACK_FR_CNT. インデックス値6は、ACK_FR_CNT_1 に対応し、インデックス値0は、ACK_FR_ CNT_7に対応する。 Index value 6 corresponds to ACK_FR_CNT_1, the index value 0 corresponds to ACK_FR_ CNT_7.
【0048】 CREDIT_CNT: データ・フレームを受信するために宛先ノードで 使用可能なバッファの数を表す値。  CREDIT_CNT: value representing the number of buffers available at the destination node for receiving a data frame.
【0049】 BITNUM: 一のレジスタ内にビットを設定するための計算に 使用されるレジスタ。  bitnum: one register used in calculations to set bits in a register.
【0050】 SETBIT: 一のレジスタ内にビットを設定するための計算に 使用されるレジスタ。  SetBit: one register used in calculations to set bits in a register.
【0051】 GOBIT: 一のDO_WHILEループを制御するために使 用される1ビット変数。  GOBIT: 1 bit variables used to control one DO_WHILE loop.
【発明の効果】以上のように、本発明によれば、多ノードの直列ネットワークを介して、イニシエータ・ノードによるデータ・フレームの順不同の引き渡し伝送と、宛先ノードによるACKフレームの順不同の引き渡し伝送とを容易に行うことができる。 As is evident from the foregoing description, according to the present invention, through a series network of a multi-node, and passing the transmission of unordered data frame by the initiator node, and passing the transmission of unordered ACK frame by the destination node it can be carried out easily.
【図1】本発明が適用されるネットワークの概略的ブロック図である。 1 is a schematic block diagram of a network in which the present invention is applied.
【図2】ファイバ・チャネル規格(FCS)に従った通信階層の概略的ブロック図である。 2 is a schematic block diagram of a communication hierarchy in accordance with the Fiber Channel standard (FCS).
【図3】FC−2フレームのフォーマットを示す概略的ブロック図である。 Figure 3 is a schematic block diagram illustrating a format of a FC-2 frame.
【図4】フレーム見出し部のフォーマットを示す概略的ブロック図である。 Figure 4 is a schematic block diagram showing a format of a frame heading part.
フレームをネットワーク内の一のイニシエータ・ノードから一の宛先ノードに伝送するとともに、前記一のデータ・フレームが伝送されたことを記録するステップと、 前記宛先ノードにおいて、前記ネットワークから前記一のデータ・フレームを受信する際、前記一のデータ・フレームが受信されたことを記録するとともに、前記一のデータ・フレーム内の前記通し番号よりも前の通し番号を有する他のデータ・フレームの受信記録及び前記他のデータ・フレームに関連する肯定応答フレームの伝送記録を調べることにより、前記他のデータ・フレームに関連する全ての肯定応答フレームが前記宛先ノードから前記イニシエータ・ノードに返送されたか否かを表す制御パラメータの値を決定するステップと、 前記宛先ノードが前記一のデー With transmitting frames to one destination node from one initiator node in the network, the steps of said one data frame recorded to have been transmitted, in the destination node, the data from the network of the one when a frame is received, the with one of the data frame recorded to have been received, the reception recording and the other for other data frame having a serial number before the said serial number of said one data frame by examining the transmission record of the acknowledgment frames associated with data frames, control that all acknowledgment frames associated with the other data frame indicating whether sent back to the initiator node from the destination node determining a value of the parameter, data the destination node is the one ・フレームを受信したことを確認するため、前記一のデータ・フレーム内の前記通し番号及び前記制御パラメータを保持する一の肯定応答フレームを、前記宛先ノードから前記イニシエータ・ノードに返送するとともに、前記一の肯定応答フレームが返送されたことを記録するステップと、 前記イニシエータ・ノードにおいて、前記ネットワークから前記一の肯定応答フレームを受信する際、前記一の肯定応答フレーム内に保持されている前記通し番号及び前記制御パラメータの値に基づいて、データ・フレームの引き渡し状態及び肯定応答フレームの伝送状態を更新するステップとから成る、 データ・フレームの伝送方法。 - To confirm that the frame has been received, an acknowledgment frame that holds the serial number and the control parameter of the one data frame, sends back to the initiator node from the destination node, the one a step of acknowledgment frames to record that it has been sent back, and in the initiator node, when receiving said one acknowledgment frame from the network, the serial number and is held in said one acknowledgment frame based on the value of the control parameter, comprising a step of updating the transmission status of the delivery status and acknowledge frame of a data frame, a method of transmitting data frames.
BE1004367A5 (en) * 1989-02-24 1992-11-10 Rosemount Inc Method and device for receipt of data sets.
GB2252020A (en) * 1990-12-04 1992-07-22 Ibm Flow control in data communication systems.


The Gordon Duff prize is awarded for an essay on a subject relating to the science or arts of books and manuscripts. The winners of this annual prize are awarded £500.
The Rose Book-Collecting prize is awarded for a book collection built by a student of the University of Cambridge. The winners of this annual prize are awarded £500 and 10 years' free membership of the Friends of Cambridge University Library.
The Sandars Readership in Bibliography is one of the most prestigious honorary posts to which book historians, librarians and researchers can be appointed to deliver a series of lectures on their chosen subject.


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Maximize your time on exam day by knowing how to use your Casio FX-115 ES Plus Calculator. These 12 easy-to-follow video lessons will provide you with the training, tips, and shortcuts necessary for exam success.
You can follow along with the online lessons anytime and anywhere, and all at your own pace. Each lesson contains step-by-step videos that demonstrate calculator functions most likely to be used on exam day.
They are an excellent reference tool throughout your exam preparation, and will give you added confidence when taking your exam.
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Home » Movies Related » Hollywood Reviews » Once Upon A Time In Hollywood: Movie Review
Once Upon A Time In Hollywood: Movie Review
By knowledgemasti in Hollywood Reviews, Movies Related on July 26, 2019 .
Directed by – Quentin Tarantino
Produced by – Quentin Tarantino, David Heyman, Shannon McIntosh
Starring – Leonardo DiCaprio, Brad Pitt, Margot Robbie, Al Pacino, Dakota Fanning, Damian Lewis, Bruce Dern, Emile Hirsch, Scoot McNairy, Luke Perry, Damon Herriman, Austin Butler, Lena Dunham, Maya Hawke
Most of "Once Upon" happens on a February weekend in 1969, acquainting us with its two leads, TV on-screen character Rick Dalton (Leonardo DiCaprio) and his long-term stand-in and BFF Cliff Booth (Brad Pitt). Rick was the star of a hit Western show called "Bounty Law" yet he's attempting to make sense of what's straightaway, distinctly mindful that his long stretches of valor are finishing as he ages out of Hollywood—and he's empowered by a fat cat played by Al Pacino to go to Italy to reboot his vocation with spaghetti westerns.
Precipice is far increasingly laid-back, the sort of fellow who cherishes his pooch nearly as much as he adores Rick and says what he means even to somebody like Bruce Lee (Mike Moh), whom he really battles in one of the film's most group satisfying scenes.
The genuine figures living alongside Rick Dalton are the most dubious ones—Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie). Much has just been expounded on Robbie's constrained line aggregate, and this is on the grounds that Tarantino doesn't consider Tate to be much as an individual as a thought—a look at Hollywood's idealistic joy. Regardless of whether she's moving at a gathering at the Playboy manor or sneaking in to watch herself at an open appearing of "The Wrecking Crew," she's practically sparkling each time she shows up on-screen, a counter to Dalton's expanding nervousness.
The vast majority of all, "Quite a long time ago … in Hollywood" is the principal Tarantino movie to feel like the result of a more seasoned chief. Tarantino was the issue offspring of Hollywood for a considerable length of time, reclassifying the business at such a youthful age, however "OUATIH" couldn't have been made by the '90s Tarantino (or, in any event, it would have been an altogether different and much more awful motion picture). One can see Tarantino reflected in Dalton, somebody glancing back at their profession and pondering what's straightaway, still ready to get energized by the way that he lives by the executive of "Rosemary's Baby" yet additionally gushing over a book he's finding out about a blurring saint. DiCaprio demonstrates to be such an ideal decision for Dalton that one can't generally envision any other person in the part. He's consistently had great Hollywood fame, yet he permeates Dalton with that odd blend of aching that regularly accompanies maturing—sure, he adores his life and hanging with his amigo however he's anxious when he contemplates what's straightaway, thinking about whether he hasn't passed up something for eternity.
It's so layered and eager, the result of a sure movie producer working with teammates totally tuned in to his vision. Each piece fits. Each decision is deliberately considered. Regardless of whether everything signifies something is currently up for crowds to choose, however this is a film that feels like it's not leaving at any point in the near future. It's one of those uncommon films that will incite discussion and discussion long enough to bond itself in the open awareness more than the passing multiplex hit of the week.
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Q: How far is Pandora from Alpha Centauri A I have this little project of my own to determine to how extent is Avatar's story-line scientifically possible. Pandora, where the story-line of Avatar takes place is depicted as a moon orbiting around the gas giant Polyphemus that orbits around the star Alpha Centauri A.
In this project, I have to find a large amount of facts unspecified/not explicitly specified in the film. Among these many facts, one would be the size of the orbit of Polyphemus, the gas giant which Pandora orbits around.
We currently know that Alpha Centauri A is a star slightly larger than our Sun, and it's one of the stars in a binary system. The size of the orbit of Polyphemus will tell us how far Pandora is from its host star, and thus how much radiation it gets. Then we can determine whether or not Pandora can support life.
So, how far is Pandora (and Polyphemus) from its host star, Alpha Centauri A?

This will be the start of a series of questions (a multiple question, now deleted) I have.

A: Nothing is specifically stated on the "JC's Avatar" Wikia page, but it does say Polyphemus  orbits in the habitable zone of Alpha Centauri A (ACA).  ACA is only slightly larger (110%) and brighter (152%) than the sun, so...

[A]ny suspected Earth-like planet around Alpha Centauri A would have to be placed about 1.25 AU away – about halfway between the distances of Earth's orbit and Mars's orbit in the Solar System – so as to have similar planetary temperatures and conditions for liquid water to exist.
—Alpha Centauri / Theoretical planets

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In this episode, you will learn what Google Drive is, why you should be using it and how to use it in your homeschool.
The Google Drive apps make collaboration between people easy. It is very easy to work together on a document. My high school children and I would share documents we kept updated with their activities and achievements so either of us could update it.
The Google Drive apps allow you to recover earlier versions of your documents. Just to the right of "help" at the top of the screen, you will see "All changes stored in drive" or "last edit made on …". Just click on that and in the righthand side of your screen you will see all your versions and you can choose the one you want to revert to.
It is in the cloud so you can access it anywhere you have internet. You don't need your own device. You can log in on anyone's computer to access your files.
What are the Google Drive Apps?
Just as with a physical filing system, you can create folders. And then you can create folders within folders. You could have one folder for "School". Under that folder, you could have a folder for each child. And in each child's folder, you could have folders for each subject.
Once you have high schoolers you can add a college folder which has more sub-folders for information about colleges, one for scholarships, one for the documents needed to submit to the applications. You just need to find a solution that works for you.
You can have top-level folders for all the major areas in your life you will use this for. For instance, I have one for my online classes, one for vacations and one for Science Olympiad (which I coach).
Once you have your folders created, you can either use the integrated Google Apps to create documents in the folders, or you can upload files from your hard drive.
Of course, if you realize you want to move a document to a different folder, it is very easy to do that!
If you use Gmail, you can save attachments directly from your email. At the end of the email, look for the Google drive icon. Click on that icon instead of downloading the file to your hard drive.
There is a Chrome extension called Save to Google Drive that makes it really easy to save files while browsing the web. You may want to download a document from a website you visit or a class you or your children are taking.
Open the file in your browser. Then click on the Chrome extension and the file will be automatically downloaded into the folder you designate. You designate this folder when you set up the extension and then everything will go to the same folder. (Call it 'Downloads' for instance). You just need to remember to go to that folder and move the document to the correct destination.
If you have never used Chrome extensions before, here is a video to explain what they are and how to add them to Chrome.
If you would like your children to learn to use Google Drive, take a look at FundaFunda Academy's web-based unit study which also covers how to use Google Docs, Google Sheets, Google Slides and Google Forms. In fact, you can learn along with your children!
If you found this useful, please subscribe to the show wherever you get your podcasts.


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Data Protection Law Is A Fundamental Human Right, Experts Say
It was revealed at the seminar that most African countries, including Nigeria, do not have data protection laws.
by Grace Edema Dec 05, 2017
Data protection and privacy have been identified as a fundamental human right, as such, there should be creation of data protection laws in Africa.
This was the submission at the at the seminar/Colloquium of the African Academic Network on Internet Policy held at IITA, Ibadan on Tuesday.
The Ibadan School of Government and Public Policy was the host institution of the African Academic Network on Internet Policy, a multidisciplinary, problem-solving think tank.
The theme of the two-day seminar which started on Monday was, 'Privacy and Security: Building the Evidence Base and a multi-stakeholder action base for Personal Data Protection in Nigeria'. It was revealed at the seminar that most African countries, including Nigeria, do not have data protection laws.
In his opening remarks, the Executive vice chairman of ISGPP, Dr. Tunji Olaopa, said that the African continent is touted as fertile ground for Netpreneurs, Mobile institutions, increasing use of technology and leveraging the internet to address developmental challenges.
"Required policies and laws in place to address concerns such as data protection, intellectual property and patent, online privacy and online security in Africa are virtually non-existent or at best, far between and calls for spirited informed action, stakeholders vigilance and voice."
He added that, with the exponential increase in the use of personal information by businesses in technology age, data protection has become such a defining compelling agenda for priority attention in many countries worldwide. Olaopa emphasized that it is high time that Africa aligns itself with this global movement by coming up with sufficiently strong and intelligent data protection policy to drive the growth of the African Digital Economy.
While giving a brief overview of the African Academic Network on Internet Policy, member of the steering committee, Dr. Temitope Aladesanmi, said that the formation of the group was as a result of the poor and low level of African voices specifically to Internet policy and governance. He explained that the European Union General Data Protection Rule (GDPR) would come to effect May 2019 and as such, it has significant impact for some local organizations who are in business with the EU maybe required to conform with the standard.
"One of the direct outputs of the main conference was the imperative of the need to begin an immediate discourse with respect to data protection and security in Africa."
According to Co-creation Hub Nigeria, Emmanuel Okochu, the biggest challenge in Data Protection in Nigeria is that most users do not have a detailed understanding of positive sides of data protection entails.
"The people you seek to protect are the ones who don't understand why they should be protected. When you try to explain to people how dangerous it is to keep posting every thing about them online."
Several representatives came from other African countries, including South Africa, Mauritius, Kenya, Ghana, and Code d'Ivoire to mention a few.
According to Tope Ogundipe of Paradigm Initiative,"It is dangerous to exist in an environment where you don't know how your information is used. It is possible you are put under surveillance without any legal framework."
Panelists and speakers at the events were, World Wide Wed foundation, Nnennan Nwakanma, Former director, Data Protection commission Ghana,Teki Akuetti Falconer, Partner Webber Wentzel Okyerebea Ampofo-Anti, Douglas Oyango, Google Policy Lead, Sub Saharan Africa, Titi Akinsanmi, Dr. Lobade Shyllon, Faculty of law, University of Pretoria, Tope Ogundipe, Barbara Imaryo, Research manager, Research ICT, Africa, Enrico Calandro to mention a few.
Co-Creation Hub Nigeria Co-Creation Hub Nigeria
Grace Edema
Politics President-Elect Changes Twitter Account To @MBuhari
Education OSUSTECH Is On The Verge Of A Degradation, Senior Lecturers Tell Governor Mimiko
Technology New Law Will Attract Investments Into Auto Sector - DG NADDC
Technology Last Day Of Voting For CNN Hero Of The Year
Technology NCAA To Demolish Globacom Masts, Others' After 30-Day Ultimatum
Technology NIMC To Conduct NIN Enrolment In Austria, Germany
Legal Court Remands Traditional Ruler In Rivers State For Sponsoring Cult Group
Legal Tension In Abia As Court Rules On Nnamdi Kanu's Suit Against Nigerian Government


The 24th Annual Grammy Awards were held on February 24, 1982 at the Shrine Auditorium in Los Angeles, and were broadcast live on American television. The event recognized the accomplishments of musicians during the year 1981. Quincy Jones was the major recipient of awards with a total of five Grammys.
The much coveted 'Album of the Year' award went to Jack Douglas, John Lennon and Yoko Ono for Double Fantasy, and Song of the Year went to Donna Weiss and Jackie DeShannon for "Bette Davis Eyes".
↑ "Grammys go to music's best". The Milwaukee Sentinel. 25 February 1982. Retrieved 1 May 2011.
↑ "1981 Grammy Award Winners". Grammy.com. Retrieved 1 May 2011.


Harley Cosmetic London flew abroad to help clear this lady's acne.
Sometimes acne can make us very impatient and try new things too soon without giving things a chance, which then leads to making it worse. This lady was getting her cystic breakouts POPPED by a skin 'specialist' which resulted in pitted scarring and dreadful pain in the process.
We flew over to help her and give her the correct advice and knowledge and to help her understand this does not happen over night and to follow our lead patiently.
What are we doing to this client's acne?
After the week we have then treated the ACNE SCARS (once acne has cleared) with microneedling.
Microneedling creates a series of wounds or channels into the dermis.
The skin becomes thicker with the creation of new collagen and elastin fibres, so visibly improving skin texture.
A recommendation of 6 sessions of microneedling and also depending per client followed by a strict skin routine.
Contact us today and speak to our acne specialist for more information on problematic skin.


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Unter einem Single Point of Failure (kurz SPOF bzw.  einzelner Ausfallpunkt) versteht man einen Bestandteil eines technischen Systems, dessen Ausfall den Ausfall des gesamten Systems nach sich zieht.

Bei hochverfügbaren Systemen muss darauf geachtet werden, dass alle Komponenten eines Systems redundant ausgelegt sind. Auch sollte die Diversität eine Rolle spielen. Hierbei kommen Systeme unterschiedlichen Aufbaues (beispielsweise verschiedener Hersteller) für die gleiche Aufgabe zum Einsatz. Damit wird ein gleichzeitiger Ausfall mehrerer Systeme aus einem einzelnen Grund unwahrscheinlicher.

Prinzip
Je nach Anforderungen dürfen redundante Geräte nicht am selben Ort betrieben werden, da ansonsten immer noch ein SPOF besteht:
 Beim Unfall von Fukushima waren die Diesel-betriebenen Notstromaggregate zwar mehrfach vorhanden, was in vielen Schadenszenarien eine genügende Absicherung darstellt. Jedoch zerstörte der Tsunami einen großen Teil der Notstromaggregate. Seither wurden mobile Notstromgeräte und solche, die sich auf einer vor Überschwemmungen sicheren Anhöhe befinden, umgesetzt.

 Dasselbe Problem stellt sich etwa bei der Datensicherung: Wenn Daten auf eine externe Festplatte gesichert werden und diese im eigenen Büro aufbewahrt wird, ist dies in den Szenarien "Laptop durch ausgeschütteten Kaffee zerstört" und "Dieb stiehlt den Laptop" sicherlich ausreichend, aber nicht mehr, wenn ein Brand das gesamte Büro zerstört. In einem solchen Fall müsste die Festplatte zum Beispiel in einem Bankschließfach gelagert werden, um die Redundanz zu gewährleisten.

Im IT-Bereich
Als einfache Schritte zur Vermeidung von mehreren SPOF im IT-Betrieb kann man mehrere unterbrechungsfreie Stromversorgungen (USV) verwenden, Teile des Servers redundant auslegen (Netzteile und Netzwerkkarten) und die Menge der nutzenden Endgeräte ausreichend erhöhen.

Bei der Anbindung an mehrere Trafos des Energieversorgers, der Einbindung einer Kreuzverkabelung (mehrere Strompfade), eines oder mehrerer Generatoren als Netzersatzanlage, IT-Systemen mit mehreren Netzteilen oder der Verwendung mehrerer STS (Vorschaltgeräten), der redundanten Klimatechnik und multiplen Zugriffen auf die Endgeräte über das betriebseigene Netz (CorporateNetwork) erhält man eine weitgehend gegen Ausfälle abgesicherte Infrastruktur. Die nächste Steigerung der Verfügbarkeit wird durch die Verwendung intern hochredundanter (fehlertoleranter) Server oder Cluster-Systeme erreicht. Darüber hinaus können Ausweichrechenzentren für den Katastrophenfall eingesetzt werden.

Beispiel
In einer Firma soll das Computernetzwerk gegenüber Strom- und Server-Ausfälle gesichert werden. "SPOF" bezeichnet jeweils ein einzelnes Element, dessen Ausfall das gesamte System beeinträchtigt.

Aviatik
In der Luftfahrt ist die Vermeidung von single points of failure von herausragender Bedeutung. Wenn ein Ausfall die Sicherheit nicht beeinträchtigt, oder Sicherheitsanalysen bestätigen, dass der Ausfall ausreichend selten eintritt, ist ein single point of failure jedoch zulässig .

Die FAA teilt die Bordsysteme – aufgrund ihrer möglichen Fehlfunktionen – in folgende Kategorien ein:
 Minor Failure (darf häufiger als 1 pro 100.000 Betriebsstunden auftreten, hat keinen Einfluss auf die Sicherheit)
 Major Failure (muss seltener als einmal pro 100.000 h auftreten, alle Insassen überleben den Vorfall)
 Hazardous Failure (muss seltener als einmal pro 10 Millionen Betriebsstunden auftreten, erfordert hohes fliegerisches Können, einige Insassen sterben beim Vorfall)
 Catastrophic Failure (muss seltener als einmal pro Milliarde Betriebsstunden auftreten, Flugzeug ist auch beim besten Können der Piloten unrettbar verloren, die meisten Passagiere sterben beim Vorfall)

Bedeutet ein Systemausfall ein major failure, ist eine einzelne, nicht ausfallsichere Auslegung erlaubt. Hingegen soll der Ausfall eines einzelnen Systems nicht in einem catastrophic failure münden.

Messgeräte und Avionik
Ein modernes Flugzeug verarbeitet pausenlos Dutzende von verschiedenen Messwerten: Flughöhe, Geschwindigkeit, Positionswerte des Trägheitsnavigationssystems, Triebwerksdaten, der Empfang der Signale des Instrumentenlandesystems und viele mehr.

Je nach Anforderung müssen diese Daten nicht nur ausfallsicher erhoben werden, sondern auch ausfallsicher verarbeitet werden. Bei modernen Flugzeugen sind somit drei voneinander unabhängige Flugkontrollrechner im Einsatz, welche die Rohdaten von drei voneinander unabhängigen Quellen (Pitotrohre, statische Sonden …) beziehen.

Unter der Annahme, dass die zweifache Fehlfunktion eines Systems extrem unwahrscheinlich ist, kann ein dreifach ausgelegtes System den richtigen Messwert erkennen und den falschen verwerfen. Sind nur noch zwei Systeme aktiv, kann das System die Piloten wenigstens noch auf einen fragwürdigen Messwert hinweisen – es kann aber nicht mehr entscheiden, welcher der beiden Werte nun korrekt ist.

Steuerung
Die Steuerungssysteme eines Verkehrsflugzeuges wurden aus Gründen der Sicherheit doppelt oder gar dreifach ausgelegt und waren gleichzeitig spätestens für die moderneren Grossraumflugzeuge Boeing 747, Lockheed Tristar oder Douglas DC-10 in rein mechanischer Form über Hebel, Gestänge oder Seilzüge nicht mehr praktikabel. An ihre Stelle traten hydraulische und später elektrische/elektronische Systeme, um die Steuerbefehle an die Klappen-Antriebe zu übertragen (sogenanntes Fly-by-Wire). Mittels elektrischer Signalübertragung war es nun viel einfacher, die notwendige Redundanz zu gewährleisten.

Im Falle hydraulischer Signalübertragung war es gegen alle Unwahrscheinlichkeit in Einzelfällen möglich, dass alle drei Systeme aufgrund örtlicher Nähe der redundanten Systeme von demselben Schadensvorfall beschädigt wurden und ausfielen. So zerstörten bei United-Airlines-Flug 232 zersplitternde Triebwerksteile einer DC-10 alle drei Hydrauliksysteme. Bei Japan-Air-Lines-Flug 123 wurden nach einer Druckentladung aus der Druckkabine alle vier Systeme einer Boeing 747 zerstört.

Eine weitergehende Verbesserung stellt das EBHA (electric back-up hydraulic actuator) an Bord der Airbus 380 und Gulfstream 650 dar. Normalerweise werden hydraulisch bewegte Aktuatoren elektrisch/elektronisch angesteuert; der Ausfall der hydraulischen Leitungen würde also einen solchen Aktuator trotzdem stilllegen. Ein EBHA hingegen verfügt über ein eigenes, autarkes hydraulisches System. EBHAs erlauben es, eines von drei hydraulischen Systemen und somit Gewicht einzusparen.

Einzelnachweise

Risikomanagement

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The End of the "Before and After"
Using empathy and education to build the next generation of teen acne brands.
Regardless of the generation someone is born into, the realities and struggles of being a teen with acne are evergreen. Curious about how skin care companies are innovating with the next generation of teenagers in mind, Caroline Fletcher, Vice President and The Sound's Head of Beauty & Fashion sat down with Ginny Friedman.
Ginny, an executive marketer and brand leader with over 15 years of experience working with high impact teen acne brands like Neutrogena and Clean & Clear shared some of her deep insights on the changing ideals of perfection, the need for teen-directed unbiased education, and empathy.
Here are highlights from their conversation, lightly edited for length.
"I think being inclusive and showing that the face of your brand isn't that one perfect person, that being perfect isn't the endgame. Teen acne is now about acceptance and taking care of yourself and being your best self – whatever that is – and taking care of your skin."
CF: You've been working in skincare for close to two decades. Share with me a little more about your professional background.
GF: I have been working in marketing for 20 years. I started in food, and it was for a really fun, very authentic Italian brand. Then I decided that I loved marketing but, I wanted to work in beauty. I turned to beauty and started working for Neutrogena and I spent 15 years there and at Clean & Clear, all focused on face and facial care.
I spent a lot of time working with teens, understanding dermatologists, scientists and how that all comes together. When I first started working at Neutrogena, I thought makeup and the non-acne business would be more glamorous and fun to work on, but I actually really appreciate working on acne. I felt it was a place where you could really make a difference in someone's skin. It's all linked to self-esteem – not that you have to have good skin to have good self-esteem – but there are a lot of people that suffer and really wish their skin were better.
Is there any one moment of innovation or messaging over your time working within acne that you can point to as being the most significant?
There have been a few times where things have come and created a splash and a change in the marketplace, but the acne space is just constantly evolving. There's still not a cure for acne and I think one of the things that really exploded in the last ten years was Proactiv. A lot of that was swung by their business model, which helped consumers learn how to use skincare.
Kits were really prolific in teaching people how to use regimens to clear their skin, transforming the experience of treating acne, which used to be very medicinal. If you think back to Stridex and Clearasil, it was a lot of heavy hitting, highly medicated products, teeming with the smell of alcohol.
I actually lead the development of focusing on that acne-treating experience – transforming it to still be about efficacy, but without having to sacrifice the more pleasant, non-medicinal experience that comes with non-acne products. In order to clear your skin with these products you have to actually use them, so that space just grew tremendously. It became a growth-driver for Neutrogena.
It sounds like the innovation arc has been steps on top of steps on top of steps. It hasn't been a light-switch moment. It's been a slow and steady progress
Another area is customization. It's probably been over the past decade that it's really started and now you have companies built on that. It's a difficult business model to crack. There hasn't been something that has fully transformed the industry yet. Acne is not a one product fits all, and there's not any cure, so it's still an issue.
One of the particularly unique and unfair challenges of teen acne is that it happens to people at a point in their life where they're also the most vulnerable. They're gaining independence, they're figuring out who they are, they're stepping outside and away from their parents, they're identifying their preferred sex. I'd love to know how knowing the context of teenager's lives impacts the way that brands think about acne solutions.
It's true, it's hard to keep acne in perspective, especially when it flares up in its most awful form, which often happens in your teenage years. I think that not all brands do consider it, and I think that's the sad thing.
Working in the industry, you see things and think 'what were they thinking?' It's critical to understand what's going on in a teen's life. Not every teen wants to do a five-step regimen two times a day, for example.
The other thing is figuring out how you connect with teens so they know how to use the product. With acne, it's important to comply with a regimen, and it's a simple story, but it hasn't been communicated over time very relevantly. So, reaching teens and figuring out what's the best way to educate them, where do you speak to them, where do you find them, what are they open to learning and sharing about acne, is key.
The teens today are very different from the teens 20 years ago. It's easy through the development of a product and its communication to come across plenty of people who don't understand teens, don't exactly know who they are or how to attract them. It's important because how you show up could come across as extremely irrelevant, or it could come across as trying to be cool, which is the worst thing you can try to do.
Now there's been a couple of years since your roles at J&J, who do you see really being very successful in empathetic messaging to teens that hits the spot?
I think Curology is interesting. It's creating an understanding that everyone is different, an appreciation for diversity, and being there to help in a way that's personalized. I think teens believe they're not the same as everyone else, so I think that's an interesting brand.
Clean & Clear has done so much interesting work recently, transforming who they are and how they're communicating. The brand used to be about showing the two cute girl best friends and it's evolved a lot to show who teens are and their meaningful relationships today. It's more of the smaller, indie brands that are doing a good job, and they're doing it online more so than the bigger companies.
Getting ready for our conversation, I went down a YouTube hole watching decades of teen acne commercials. The messaging from brands in the 80s and 90s was about attracting the opposite sex, fitting in, and aligning with the "popular" kids. Today we know that Gen Edge kids are a lot more woke when it comes to their identity, their sexual preferences, how they see inclusion. Those older heteronormative messages would be wrong. How do you see that generational shift impacting teen acne marketing?
It used to be about this perfect outer self and that was portrayed. That was the aspiration, and if you weren't that it was harder to be in that in-crowd. Versus now where it's a totally different acceptance level in terms of who people are, their identities, it's a completely different vernacular, a completely different way of relating and we're starting to understand that.
Proactiv was one of the first brands showing real people. That wasn't aspirational years ago, but it was a way to show real results. I think being inclusive and showing that the face of your brand isn't that one perfect person and that being perfect isn't the endgame, it's about acceptance and taking care of yourself and being your best self – whatever that is – and taking care of your skin. It's more about empowerment and support than it is about perfection.
When I think about teenagers who are suffering with acne today, while there are seemingly endless resources, and a lot more openness that everyone is imperfect, at the same time there have also never been more images of perfection. Has that impacted any of the work that you've done in the acne space?
What I've seen is not everyone wants to show their acne, but there are people who are willing to share their story and their vulnerability and be honest about what works and what doesn't work. The end state is not perfection. It is a fine balance in terms of…you want to show efficacy, but you also want to embrace that perfection is not the end goal.
That's really interesting, and something I hadn't thought about. That the idea of the 'before and after' feels less reasonable. That there isn't a binary state where skin was once bad and now it's great. That's not a reality that exists.
Yes, it's more about the journey, giving hope, and offering some level of comfort. Because when you're experiencing acne it feels out of control and you feel helpless if you don't know what you're doing and there's so much information out there that what works for one person may not work for someone else as well. The key is feeling like you're offering hope, support and guidance.
Let's talk a little bit about information, or education, about acne solutions. Even a decade ago, certainly a few decades ago, there were really specific resources like teen magazines, television commercials on youth networks like MTV. Even cruising the skincare aisle in your local drugstore felt like a way to learn. Now, information is everywhere, which feels like a blessing and a curse. What platforms do you see today as being the most valuable for teens to learn about acne?
There is so much information out there, but teens are looking for education and they're looking for unbiased information. They're looking for peer recommendations or what they consider expert recommendations, but they want them to be unbiased. So, Google search is critical because they are going and searching there first, but also Amazon. They're looking a little bit further down the decision path. They're searching on Amazon because they view those as more unbiased reviews of the product. YouTube reviews and ratings are huge.
Education-wise, it's hard to say people are 'looking for education' so they'll Google and they go from there. Video is a platform that still draws teens in. YouTube is still relevant. In principal, they go to places where they can hear experts and where they'll find a connection and be able to talk about products.
Instagram, Snapchat, those have been good for engagement, learning, some awareness building but they don't necessarily offer as much in terms of the education. Getting people to the right place in order to truly learn from a credible source in a teen space is still a challenge.
What are your thoughts on some emerging skincare lines? Those that are not specifically about treating acne but positioned as skincare for teens by teens, like Florence by Mills or Kylie Jenner. What are your impressions of these younger creative skincare lines?
I think they're really interesting. There are so many teens and young people who are doing things and making things. It shows the power of someone younger, who you can relate to, who makes things happen, and is highly respected. I think that part is great from a relevance perspective, connecting with someone you think knows you better than an older person who's creating a line.
I think Florence by Mills is interesting, it comes across as a little bit more authentic, a little bit more approachable. Not acne per se, but I like the way that she's created it – it's fun, and she's still someone who people look up to. There's an element of integrating other things that are important to a teen: the cruelty-free, the giving back. There's a personal element to it. Also, she's taking the more clean beauty route. Her price points are also fairly approachable.
Overall I think it's great. I think that teens are so much more educated today than they were years ago in terms of skincare. Years ago, teens wouldn't even use a moisturizer and today they will. They're educating each other about sunscreen and knowing different steps.
When I was a teenager, getting Proactiv mailed to you every month felt unbelievable. It required a parent to dish out their credit card, and from a price perspective it was much, much higher. Now with shopping online being the daily way, how is that changing the acne aisle? What are the big impacts there?
There is a lot of pre-shopping. It's a combination; the online space is growing tremendously but brick and mortar still has a space. There's pre-shopping, research that happens before going down the aisle, then going down the aisle to actually purchase or see or get more information there. There's also going down the aisle because you're in the store and then using your phone to check a rating or review, not just a simple look at the shelf.
There's a lot of checking products digitally and there are teens today who could not believe if you told them the way we used to shop. They're baffled that you could shop in aisle and make a decision without doing research or looking at your phone.
There's still a mom dynamic that happens as well. There are teens who know more than their moms, there are teens who don't know more than their moms and they couldn't care less, and so those moms play a bigger role in terms of guiding or gently providing or buying for their teen. There's also the flipside of the teen researching, shopping, convincing their mom to buy.
Would it be a fair statement to say that more of the change is upfront education, information assurance, and negotiation with parents, but purchase is somewhat more of the same over the years?
I think the purchase is somewhat the same, it's still more brick and mortar than it is online. I think that it's shifting. It's the pre-research. The parent dynamic has always been there, but the teen has more power today through more access to research. It's that pre- and while in the aisle education empowerment. And there's this whole social thing that has happened with skincare, less so with acne than other skincare and makeup. I was at a Bar Mitzvah recently and I overheard this conversation amongst kids, all about these products and this and that and I think the level of sophistication today is off the charts compared to where it was.
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For a while now, we've been trying to think of what we could do to share a bit more about our day-to-day lives. Since we work most of the time, it's normally pretty average, but one thing tends to spice up our evenings: cooking. Because of this, we've decided to create a whole new section of our blog dedicated to creating delicious dishes in under 300 square feet.
So it's pretty fair to say that there isn't a whole lot of normal when it comes to living in an RV full-time. In fact, nearly every aspect of your life will change somehow once you begin living in a house on wheels with only a few hundred square feet.
Just like living life in an RV, cooking in an RV is meant to go with the flow. Minimal storage means less ingredients and more creativity, so I thought it would be fun to share what we're doing to keep eating healthy on the road... for the most part (there may or may not be three boxes of Oreos in our cupboards right now). Take a peek to see what we came up with and how you can make it your own, too!


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Owner, Ryan Shapcott
One day, when Ryan was 14, his dad gave him a lawnmower and told him to go cut the lawn. He did but he didn't stop there: he pushed that lawnmower around the neighbourhood with a trimmer in a little red wagon. That's what started Ryan's Landscaping.
So, he's always been an entrepreneur at heart. He created his own job and then worked hard to grow his business so he could also employ a team of people each season. This strong work ethic and dedication to teamwork grew from his love of sport as a kid.
"I grew up loving baseball and sport became my life. So now, I sponsor and coach a couple of local teams, so the boys in my community can enjoy that same excitement and working as part of a team."
Ryan's Landscaping also sponsors 3 racing teams to help local rookie drivers gain experience on the track at Sunset Speedway.
Dedicated To Business Community
Ryan also insists on contributing to the economy by sourcing much of the materials he works with from other local businesses. Recently, Ryan became an Executive Director of the Bradford Board of Trade after being a member of the organization for years. He hopes in this new role, he can help build bridges between local entrepreneurs and business owners and the Town of BWG, ultimately helping other business owners thrive in their own community too.
Ryan and his wife Leanne moved to Bradford in 2003 because of its thriving sports organizations and its growing business community. They are now raising their two boys in BWG.
Ryan's Landscaping delivered on our vision
Our interlocking patio and flagstone walkways were long overdue for an overhaul, so we contacted Ryan's Landscaping. Ryan and his dedicated crew updated the patio colours to properly match our home and leveled and redesigned the flagstone pathways. They listened to our input and modified the process along the way to fit with our vision. It was a pleasure to have the team on site and we are very happy with the end result.
We would refer Ryan's Landscaping without hesitation.
– Chuck Skitch & Dawn Forfar – Bradford
At Ryan's Landscaping, the safety of your family and our are team top priority.
This business is licensed and fully insured, carrying a $5,000,000 liability for Property Maintenance, Decks, and Interlocking installations. Owner/Operator, Ryan Shapcott, is a member of the "Approved Contractors of Home Advisor"; a web-based lead program that rigourously researches and designates the top businesses in trades across North America. This is a prestigious designation and membership is strictly and extensively checked regularly to ensure that consumers get the best recommendations.
Locally, Ryan's Landscaping has been continuously nominated for Customer Service Excellence Awards.
We had a flawless experience in having our backyard landscaped.
The crew was friendly and very diligent to ensure all design elements were done exactly to spec. They did an amazing job including a great clean up afterward. We will be looking to use Ryan and his team again for our future projects and will definitely refer them to anyone we know looking for a great landscaping company.
– Don Adam, Bradford
Ryan's Landscaping has been a member of the BBT for 5 years, but now, Owner/Operator Ryan Shapcott is serving his first term on the Board of Directors for the Bradford Board of Trade. As a business owner in Bradford, he supports local business by buying products and services in town for his projects. As an entrepreneur who knows the ropes of building a business in Bradford, he hopes to build bridges between other local entrepreneurs and the Town of BWG, ultimately helping other owners thrive in this community. Ryan's passion has always been to build beautiful, safe and useful spaces but he loves to meet other entrepreneurs and residents – look for his tent at local events and say hello!
The Ryan's Landscaping Atom Softball team was the winning team this season! Ryan not only sponsors the team, he coaches with the Bradford Minor Softball Association. As a dad and a long-time lover of sport, baseball in particular, Ryan donates his time to help BWG boys, including his own sons, learn about teamwork while having fun on the ball diamond.
Bradford West Gwillimbury, Ontario
ryan@ryanslandscaping.ca


Adrian Bieri is specialized in commercial law and is primarily active in the areas of intellectual property and competition law, contract law, corporate law. Adrian Bieri advises his clients but, in case needed, also regularly represents them in proceedings before state courts and authorities. Adrian Bieri is author of numerous specialist publications in his fields of activity and also acts as a speaker in these areas.
Adrian Bieri is the head of our intellectual property and data protection know-how cluster. In addition, he is co-head of the bratschiLAB, our innovation and start-up desk and also legal coach for start-ups at the Impact Hub Zurich (Futurepreneurship). He is sponsible for a large number of start-ups in these functions and he offers start-ups professional and pragmatic legal advice, in particular in key areas for start-ups such as the development and protection of IP rights, data protection law, corporate law, financing rounds, distribution law and contract law in general.
Admitted to the Swiss Bar since 2012.
Adrian Bieri studied law at the University of Zurich and during his studies he also worked for the Tax Administration of the Canton of Zurich (2002-2006). After his studies he worked as a research assistant for Prof. Dr. Hans-Ueli Vogt at the Chair of Business and Intellectual Property Law, University of Zurich (2006-2009). He served his internship in our office and following his admission to the bar he rejoined our office as an associate in 2012.


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Q: Java code to connect to FTP server using SSL I am looking for Java sample code to connect to FTP server using SSL certificate. I have all needed certificates in my project folder. I tried some approach, but it doesnt work. We are using Spring batch component. Any help is appreciated. Thanks
protected FTPSClient createFTPClient() throws Exception {
 FTPSClient client = new FTPSClient(protocol,true);
 client.setNeedClientAuth(true);
 KeyStore ks = KeyStore.getInstance("JKS");
 FileInputStream fis = new FileInputStream(keyStoreFile);
 ks.load(fis, keyStorePassword.toCharArray());
 fis.close();
 KeyManagerFactory kmf = KeyManagerFactory.getInstance(KeyManagerFactory .getDefaultAlgorithm());
 kmf.init(ks, keyStorePassword.toCharArray());
 client.setKeyManager(kmf.getKeyManagers()[0]);
 return client;
}

int reply;
FTPSClient ftps = null;
try {
  ftps = createFTPClient();
  ftps.addProtocolCommandListener(new PrintCommandListener(new PrintWriter(System.out)));
  //ftps.setTrustManager(trustManager)
  ftps.connect(host,portnumber);
  ......

I am getting Plaintext connection exception....

A: I got this from this different question 425 error ftp over SSL in Java
ftps.setTrustManager(TrustManagerUtils.getAcceptAllTrustManager());

It might help.


Liz, this is absolutely fantastic. Adding moisture to the Oil Pastel created such realistic softness. Thank you for sharing your great experiment.
Liz these are gorgeous! I'm very new at papercrafting and don't own a die cut machine yet. (Still trying to make up my mind on which one to get)... I've never heard of silk foam.... Is it fabric? The flowers are awesome.


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Be part of the fun! April 13 at Adams Motorsports Park!
Gates open 8am, Admission $5.00 ($8.00 after 5pm). 17 and under FREE with Adult.
Thursday, January 31 The Galleria at Tyler will host the 2013 Mega Mixer & Trade Show presented by the Greater Riverside Chamber of Commerce. Racing enthusiasts will want to drop by the Motosports Expo with exhibits by Stronghold Motorsports and Adams Motorsports Park for a meet and greet with seven-time AMA Supercross Champion Jeremy McGrath, 2012 Lucas Oil Off-Road Racing Series ProLite Champion RJ Anderson, and up and coming female super-star Shelby Anderson, Limited Buggy racer for Walker Evans Racing. The event will be held from 4:30pm-7:30pm with autograph signings from 5:00pm-6:00pm and admission is free to the public.
Riverside is home for the Stronghold Motorsports super-team, which was founded in 2009 by its owners Scott and Beverly Bailey. Their son, Pro4 racer Brandon Bailey, manages the Stronghold team operations both on and off the track and many of the team's off-road drivers are trained by Troy Adams, President and CEO of Adams Motorsports Park. Through excellent ownership, management and training they are equipped for every race.
2012 Lucas Oil Off Road Racing Series Season Championship awards banquet the super-team reigned on top. Stronghold Motorsports was named "Team of the Year" while ProLite Champion, RJ Anderson received "Driver of the Year" honors and Crew Chief Nick Griner was acknowledged as "Mechanic of the Year." RJ Anderson also took home the 2012 ProLite truck championship trophy along with "Crash of the Year" which fans can recall for his efforts to take the lead from Casey Currie in the Lucas Oil Challenge Cup season finale.
Also home to the Riverside area and sponsors of both Stronghold Motorsports and Adams Motorsports Park are Lucas Oil, Walker Evans Racing and KN Filters. Fans who attend the Mega Mixer and Trade Show on Thursday can "Spin the Wheel" at the Stronghold and Adams Motorsports Park exhibit for a chance to win product from sponsors, along with many other great prizes.
Since 1959 Adams Motorsports Park has been the place to go for great racing action in Southern California's Inland Empire. Adams Motorsports Park is located at 5292 24th St. Riverside, CA 92509. For more information call 951-686-3826 or visit them on the web at www.adamsmotorsportspark.com.
Don't miss the drift action this Thursday night at Adams Motorsports Park, as we celebrate St. Patty'sDay with a big Monster Bash! Representatives from Monster Energy, the official Beverage Sponsor for Adams will be in attendance with samples, swag and some Monsterous raffles.
Jeremy "Twitch" Stenberg, freestyle motocross rider and professional off-road truck racer and Brandon Bailey, professional ProBuggy driver from the elite Stronghold Motorsports team, sponsored by Lucas Oil, Loctite, and Supercross.com are set to make an appearance, sign autographs and do the Monster Bash!
Professional Formula D driver, Joon Maeng will also be at Adams for the second week in a row! Joon is set to do the Monster Bash in his Lucas Oil Nitto Tire S13.5, and will be giving ride alongs to a lucky few, signing autographs, and bringing some Lucas Oil giveaways for his fans!
This is one Monster Bash you won't want to miss!
Sport your Monster gear and pay only $3.00 before 7pm, general admission is $5.00. Drifters, buy the first two sessions and get the third FREE, sessions are only $20.00!
Adams Motorsports Park is located at 5292 24th St. Riverside, CA 92509. For more information call 951-686-3826.
motoGP legend Max Biaggi joined us (or did we join him?) for one of our trackday last Saturday at Adams. I'll freely admit I was like a star struck school girl (minus the screaming), and had a great time watching him ride/taking a million photos.
La Sierra Grand Prix – May 15 in Riverside – Drifting – Karting – FUN!
You guys have to check out this event, it's going to be a lot of fun!
May 15, 11am – 6pm at 4204 Riverwalk Parkway (near Pierce and 91). Call 951-826-5265 for more info!
Racing, drifting, car show – special races against police officers, firefighters and city officials!
Sam Hubinette has started his own racing team, Samuel Hubinette Racing, given his title-winning Dodge Viper to team driver Andrew Comrie-Picard and picked up a shiny Dodge Challenger for himself. The team went out to Adam's Motorsports Park in Riverside, California to shake everything down, and the result is a couple of orange blurs and a lot of smoke.
Marco aka Sharkerio has put together a fine episode for you tonight. Highlights from the last few weeks at Adams Motorsports Park Thursday night drifting including interviews with pro drivers, D1 qualifying, great music and more!


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Home3D PrintingNew Volumetric 3D Printing Technique Opens Bioprinting Possibilities - 3DPrint.com
New Volumetric 3D Printing Technique Opens Bioprinting Possibilities – 3DPrint.com
The work was carried out by a team consisting of researchers from the Laboratory of Applied Photonics Devices, School of Engineering, Ecole Polytechnique Fédérale de Lausanne and startup Readily 3D. You may recognize Readily for its volumetric Tomolite bioprinter. In its paper, the team explained how it was able to correct for light scattering in opaque resins:
"We proposed to make a correction based on a spatial frequency analysis of a stack of images captured with a side-view camera, perpendicular to the optical axis. Corresponding experimental data reveal the poor transmission of high spatial frequencies due to light scattering by the photocurable resin," the team wrote. "Following this image analysis, a numerical correction can be performed to compensate for this frequency-dependent attenuation by accentuating the features of highest spatial frequencies. The resulting corrected light dose presents an increased contrast compared to the standard binary map conventionally used. Through the printing of several object geometries in two different scattering materials (acrylics and hydrogel-based resins), we demonstrate that the correction improves printing fidelity and resolution."
The researchers believe that their approach can be applied to other volumetric 3D printing technologies, as well. However, they do qualify their work in stating that a lot of resins will scatter light way beyond what is reasonably correctable. For now, the team specifically looked at highly loaded cell-laden hydrogels adapted through contrast agents. The team first examined the scattering effects and corresponding changes to the digital micromirror device (DMD) to correct for these effects.
"Scattering-corrected tomographic volumetric additive manufacturing (VAM) allows to print complex geometries with hollow channels in scattering materials, such as cell-laden hydrogels. a) A 3D model of an object with a core surrounded by four interconnected hollow channels. b) Example of a hydrogel containing 4 million cells mL−1. The text written behind a typical vial used for printing is not readable due to light scattering by the cells in suspension. c) In conventional tomographic VAM, the 3D model is binarized into a computed light dose that is used to calculate the set of patterns for printing. When these patterns are projected onto the scattering material, they are blurred and the resulting deposited light dose prevents from printing the target object. d) In scattering-corrected VAM, the 3D model is transformed into a continuous light dose that accounts for light distortions by the gel. The projection of the corresponding light patterns produce a print that matches the geometry and the function of the target 3D model."
Used in digital light processing (DLP) and other 3D printing techniques, the DMD is where millions of tiny mirrors are manipulated to generate an image. By changing the amplitude and angle of the mirrors in the DMD through a correction mask, the team hopes to correct the attenuation and distortion of light in the resin. Their correction method is such that intensity is greatest at the center of parts where it is needed most. Normally, this cannot be done because you'd have to do this by overexposing a section of the vat in order to adequately expose an interior area. Their technique, which they also refer to as "scattering corrected volumetric additive manufacturing", can also increase print fidelity compared to other volumetric methods.
Their technique is especially viable for bioprinting hollow channels, convenient because this has historically been rather difficult to do. It is, however, essential since hollow channels are needed to provide nutrients and oxygen to printed tissue. It is in 3D printed hydrogel hollow channels that the team therefore envision its work to be the most relevant.
"Bio-fabrication of a functional vascular model in cell-laden hydrogels. a) 3D model of a construct with a core surrounded by four channels, emulating vasculature. b) Side-view of how light is blurred as it penetrates into the hydrogel with cells. c) Corresponding light patterns projected at different angles during tomographic VAM with and without correction. The difference shows by where and by how much is the correction applied to account for scattering d) Photographs of the resulting printed constructs after dying them in red. e) Timelapses of a blue dye flowing through the constructs. The scattering corrected tomographic VAM produces an object that matches the geometry and function of the model; while conventional tomographic VAM results in an unintended malfunctioning tube at the center of the construct. f) Fluorescence microscopy image of stained nuclei of cells in the fabricated hydrogels (4.0 million cells mL−1)."
This is good news for the participating researchers from Readily3D (and another Ecole Polytechnique Fédérale de Lausanne researcher who is a shareholder). Readily3D advises that its bioprinter uses a low photoinitiator dose and "shaped light beams from multiple angles" to produce constructs. The main feature is, of course, that because the "entire build volume is illuminated simultaneously, centimeter-scale biological systems are produced in just tens of seconds. After printing, the object is simply separated from the uncured ink and collected."
Low photoinitator doses will of course help mitigate cell death which is a continuous issue with light based bioprinting methods. At the moment, the printer can build objects 27mm high with a diameter of 12.5mm in hydrogels, silicones, and acrylics.
The speed of volumetric printing is very exciting, but this team may yet have improved upon it in a very significant way. The team also may have some valuable IP on its hands that it could license to other firms playing in the space. Bioprinting is to be a very long race, a marathon not a sprint. Firms will have to have war chests or continuous revenue to survive the current dearth of funding and emerge at a time when bioprinting is more mature and ready to treat patients. Due to this, it is tough to pick the winners now, but this technology would be an interesting thing to have in anyone's arsenal—most of all 3D Systems.
Image courtesy of Advanced Science.
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Prezi initially debuted as the PowerPoint antithesis, though it has grown in recent years to include tools for making not only presentations but also talking-head videos, infographics, social media posts, and more. This presentation software was meant to right the wrongs of typical corporate slideshows. Instead of sequential slides, it gives you a canvas to lay out ideas and information in nonlinear fashion. Instead of hokey transitions, Prezi zooms in and out on your canvas with a virtual camera. Its new tools for video and media creation are a boon to organizations and teams that don't have dedicated designers, making it easy to produce professional results—if you stick with Prezi's templates. It hasn't quite kept pace with other online collaboration tools in ease of use and efficiency, but Prezi is worthy of a PCMag Editors' Choice designation and a great alternative if you're not a fan of traditional slide decks.
How Much Does Prezi Cost?
All told, Prezi sells 11 different tiers of service, ranging from $3–$59 per person per month. All the plans are billed annually, though, so it's really $36–$708 per year. If you're just buying a license for yourself and not a whole team, you can expect to pay $3–$7 per month, or more accurately, $36–$84 per year.
The app known simply as Prezi really has three pieces:
Prezi Present for creating and sharing presentations;
Prezi Video, which allows you to record yourself speaking and presenting; and
Prezi Design for making charts, reports, maps, and infographics.
The free tier of service comes up short in many ways. In the Video app, you don't get presenter notes. In the Present and Design apps, there are no privacy controls, so all the content you make is available for others to find within Prezi. Everything you make in the Design and Video apps gets watermarked. You can't use the desktop app for Prezi Present, and you can't download or export any final work. In short, a free account won't get you far. Educators and students with validated .edu email addresses get one or two more features in their free version, but not much.
How Do Prezi's Prices Compare?
Compared with similar apps, Prezi's prices are quite reasonable, though it's hard to gauge the competitiveness exactly, because no other presentation app is quite like Prezi.
A few presentation apps are completely free, including Google Slides (as long as you have a Google account), and Apple Keynote (if you've purchased an Apple device). Keynote is quite capable. Google Slides doesn't have as many features as most competitors, but depending on your needs, it could be a practical choice.
Microsoft PowerPoint costs $139.99 if you buy it outright, or you can get the whole Microsoft 365, which includes PowerPoint, starting at $6.99 per month or $69.99 per year.
Powtoon, an app for creating animated video presentations, has a free version that's quite limited and paid plans that cost between $19 and $89 per month. On average, Powtoon costs a heck of a lot more than Prezi.
Another presentation app, Visme, has a limited free plan and paid plans from $15–$29 per month.
Depending on how you use Prezi, you might consider Miro a competitor. It costs about $10-$16 per person per month. Miro is a collaborative whiteboard app that includes features for turning your whiteboard into a presentation, which Prezi does, too.
What's New in Prezi?
As mentioned, Prezi now includes three distinct pieces: Prezi Present, Prezi Video, and Prezi Design.
Prezi Present is the component that has been the foundation of Prezi since the beginning. It's a whiteboard where you create visuals to present to others, as an alternative to slide decks. When you present the whiteboard, you zoom in and out on different parts of it to show what you want in whatever order you want.
Prezi Video lets you use the camera on your device to record a video of yourself talking, overlaid with graphics and text. After you set up all the graphics and text, you record the video or present yourself via video live.
Prezi Design gives you templates and tools for creating charts, graphs, infographics, maps, social media posts, and other visual materials. You don't have to have much design know-how to use Prezi Design, much less Prezi Present or Prezi Video.
A Word on Prezi Classic
In 2017, Prezi overhauled its app to such a degree that it began referring to the earlier version of the app as Prezi Classic and the new one as Prezi Next. It's helpful to know this history in case you encounter those names. If you created an account before April 2017, you have access to both the current version of Prezi as well as Prezi Classic. Newer accounts do not have Prezi Classic.
Prezi Classic offers some advantages over the current version. The original gives you a lot more control over the creation of your presentations, for example. That said, it takes a little more skill to use well. The newer version of Prezi is easier to learn to use, but it gives you less control over the fine details of your presentation.
Scout around for Prezi Classic user forums and you will certainly encounter some grumbling about how the free version of Prezi is no longer as generous as it used to be.
Getting Started With Prezi
Prezi works right in the browser, though there are desktop apps for Prezi Present and Prezi Video for macOS and Windows, too. The desktop apps work only for Prezi Next Plus accounts or higher licenses. Note that the Prezi Present desktop app is called Prezi Next when you install it. There are also Android and iOS apps, called Prezi Viewer, that let you access presentations you've made—for viewing, practicing, and presenting them, but not for creating or editing them.
In addition to being a creation tool, Prezi offers storage; You save and organize your work right in the app.
All three pieces—Present, Video, and Design—put ease of use and simplicity front and center. Templates are plentiful and set you up for success, and they're a large part of what makes Prezi shine. Having a large gallery of beautiful templates is a growing trend across media-creation tools. You can see it in the likes of Lucidchart, Canva, SquareSpace, and other apps. Clearly there's a need to help non-artistic people make professional-looking materials quickly.
The tools you get for creating and editing files are limited in a way that prevents you from steering too far off course and making something ugly. If you like a lot of control over the finest of details, then Prezi is not for you. If you are handy with design, then stick with more traditional media creation tools, like PowerPoint, Adobe Illustrator, and others that require more know-how.
Whether you find Prezi challenging or easy to use may depend on how much experience you have with basic multimedia software. If you can master TikTok and Instagram, Prezi isn't a stretch. If making graphics and videos is new to you, however, you'd do well to watch a few video tutorials from Prezi that teach you not only how to use the app but also how to make high-quality content. In fact, the app shows short Getting Started videos when you click to make your first presentation.
In Prezi Present, you make a presentation by starting with a blank canvas, a template, or an imported slide deck, which gets converted into Prezi's format. Templates have themes, covering General, Sales & Business Development, Marketing, Education & Nonprofit, and HR & Training. In addition to viewing templates by theme, you can also filter templates by their main color.
Because templates are quite specific, the idea is to replace the sample text and images as you see fit, while sticking to what it's guiding you to provide. For example, in a template for an investor pitch, the template's sample text includes The Opportunity, The Market, Our Solution, and Business Model. You're meant to provide and elaborate on those topics. It's a template not just in color theme and styling, but content, too. You can move elements around the page and change their order if you like, just as you would in any other presentation app.
Starting from a blank canvas in Prezi Present is not all that different from using a template, except that you get generic placeholders instead of highly specific sample text and images. If you use Prezi Classic, a blank canvas is in fact a completely blank canvas.
The magic sauce in Prezi Present is the animated path you take across and through the canvas. In Prezi Classic, it helps to get all the parts of your presentation onto the canvas first and save making the path until last. You can choose a predefined path or create your own.
Prezi has simplified many of its tools to make it easy for anyone to create presentations, but this can create as many frustrations as it solves, depending on what you're trying to accomplish. Something as mundane as resizing text can be a pain. You can make the text field larger or smaller by dragging one of the text box corners to resize it, or you can tap a plus sign on a font button. But you never see the point size as a number. This means you can't select all your text boxes and set the point size to be the same across them. Likewise, when you move and resize objects, guidelines appear that help you align and center the elements, but you don't get a full suite of tools for aligning, spacing, and centering, like you do in traditional presentation apps. Prezi makes it tough to be a stickler for precision.
These same problems are repeated in Prezi Video and Prezi Design, too.
Creating content with Prezi Video is as simple as using Prezi Present. Templates here consist of stylized text and images that get overlaid onto video that you shoot of yourself speaking. Alternatively, you can present in real time via video and overlay your effects.
Let's say you want to record a video that explains the onboarding process for new hires to your organization. First, you would create all the overlays that you want to appear in the video, such as company policies or a summary of the benefits plan. When you finish making your text and images, you rehearse the presentation by turning on your computer's camera and watching your own talking head with the overlays. Finally, you record it or save your work and present it live via a video conferencing or live-streaming tool.
For live videos, Prezi works with Zoom, Cisco Webex, GoToMeeting, Google Meet, Microsoft Teams, Slack, Facebook, YouTube, and a few others. It's not limited to Prezi Video either. You can present anything you make with Prezi through these services.
Just as with Prezi Present and Prezi Video, Prezi Design gives you a host of templates that you choose from to make graphics. These include infographics, reports, charts, maps, social media posts, email headers, YouTube thumbnail images, and more. Many of the designs contain animation, so they aren't all flat images. Included among the templates are even classic slide decks, should you choose to go that route.
If you start in Prezi Design and realize you want to use what you're making in a video, you can easily pull the assets into a Prezi Video piece.
One of the many helpful elements in Prezi Design is the Size tool, which lets you set the canvas size for the graphic you're creating. Among its options are presets such as Instagram post, LinkedIn post, and Pinterest post, so you never have to know the dimensions for popular social media apps. Prezi takes care of that for you.
Prezi gives you a few ways to share presentations. You can send people a link to your final work so they can view it. You can give individuals the right to present your final work. And you can grant permission to people to edit your works in progress alongside you.
When co-authoring or co-editing a presentation, the initials of every active participant appear on-screen. Their initials also appear on the slide that they're viewing or editing. It's not unlike Google Slides or PowerPoint's Share mode in that regard.
The main difference between collaborating in Prezi versus Google Slides or Microsoft PowerPoint is that Prezi doesn't have a chat box. If you and your collaborators are working on a presentation at the same time, you can't have a real-time, in-app conversation about it. You would need to pick up another app or the phone to discuss what you're doing. Prezi does have a commenting tool, but it's limited to Business grade accounts.
A neat feature not found in Prezi but seen in Miro (which is something of a competitor) is the ability to jump to where one of your collaborators is working or pull all collaborators to you. In Prezi, because content is non-linear and often nested, it's easy to lose sight of your collaborators while they're working. We like Miro's solution to click on any collaborator and immediately get whisked to their location on the board.
Prezi certainly has room for improvement in the collaboration department, though the tools that are available work well enough to at least enable multiple people to edit a file at once.
There's Nothing Quite Like Prezi
Don't view Prezi as a replacement for PowerPoint or Adobe Illustrator or Photoshop, but rather as an alternative for people who don't have the design skills or bandwidth to master those tools. If your organization or team can't hire a designer, Prezi offers a decent substitute. Though, really, there is no substitute for a skilled designer. Wading through Prezi's long list of plans is a drag. Simplifying the options would be a good service for Prezi's potential customers. Still, the app is well worth wading through the plans and pricing.
You can't directly compare Prezi with PowerPoint, Keynote, or other traditional presentation software, because Prezi offers something different from a slide deck. It frees you from the sequential slideshow format, and that has the potential to create a more intimate and personalized experience for people to whom you present your work. You don't have to tab through slides but instead can bring the focus where you want with greater fluidity. Prezi's Video and Design pieces extend Prezi to better serve the needs of video conferencing as well as other kinds of media creation. For all those reasons, it's a PCMag Editors' Choice winner.
Innovative presentation style
Helps non-artistic types create professional presentations, videos, and graphics
Ample selection of beautiful templates
Confusing assortment of plans and prices
Some tools lack precision
Collaboration support could use improvement
Prezi frees your presentations from the sequential slide-deck format. It allows non-artistic people to easily make interactive presentations, talking head videos, and standalone graphics.
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