text:
Everlasting Letters
Letters that transcend time
About Everlasting Letters
A West Point Plebe, Circa 1930 – Part 1
June 3, 2020 June 3, 2020 ~ manager
West Point, N.Y.
Dearest Dorothy:
We just have about two minutes till time for more work. I just want to let you know I love you and always will. The address is changed as follows:
Cadet John L. Schaefer
4th Company
New Cadets
Please write soon. They are just riding us to death and how I will tell you more about it as soon as I get time. I hope I'll see you soon but they talk as though I won't be able to see any one for a month or two. I sure miss you and a year and a half of this will make me or break me. I will see write more later.
Your sweetheart
This letter is part of a collection I picked up at an antique store in April 2019 in Savannah, Georgia. In July, it will be 80 years old.
The handwriting is definitely masculine, and the writing paper is heavy. A bit of research using census records shows that the author of the letter, John L. Schaefer, is 19 years old at the time of its writing. Dorothy is 20 or 21. They are from Buffalo, New York, a city of over 570,000 people, according to the 1930 Polk City Directory. The same directory shows Dorothy living at home with her parents and her occupation as a teacher. John does not live with his parents—he may be living with an aunt and uncle—and his occupation is listed as a student.
John writes from United States Military Academy, better known as West Point. West Point is the United State's oldest military academy. When John was a cadet, it was an exclusively male school. Now, West Point admits women.
Census records show that Dorothy is part of a family of six. She's the eldest of four children and was born in 1909 in Buffalo. She graduated from Masten Park High School (now known as Fosdick-Masten Park High School) in Buffalo in June 1926. Here's her senior yearbook photograph and quote:
John had a tough childhood. He was born in 1910 to a jeweler father, also called John, and his mother Anna. John and Anna were married in May 1909. By 1925, he and his brother Arthur were orphaned, losing their father in 1923 and mother in 1925. John also had a brother, Frank, who died very young. After their parents' passing, John and Arthur moved in with their aunt Mary and uncle Adolf nearby. Here's a photo of a very young John from the Buffalo Courier, November 2, 1913:
What's not clear to me is how John and Dorothy know each other. As we'll find out later, John has been away for a few years at a different school. Were they in school earlier together? Did they attend church together? Grow up in the same neighborhood?
An appointment to West Point is a big deal. It's extremely competitive, and a candidate must have a nomination from a federal lawmaker, or have specific ties to the Academy. These days, students who are appointed to any of the military academies are often announced in newspapers because it's quite an accomplishment. Archival newspaper searches turned up no such announcements made, which could be attributed to an incomplete newspaper collection–one would definitely expect to see his name in print when accepted to a prestigious institution like West Point.
At the time that these letters were written, the United States was in dire straits. The stock market crash of October 1929 (Black Tuesday) led to the Great Depression, and nearly 25% of working people were unemployed. Banks closed, and because there was no FDIC insurance on deposits, people's money just disappeared. President Herbert Hoover was criticized as being too slow to act, relying on states to voluntarily step up and develop assistance programs. An appointment to West Point, where he was guaranteed an education, room, board, and clothing–basically, anything he needed–must have seemed to be the best deal available to young John.
A note to readers: We only see John's side of the story in this series. Keep that in mind as you read what comes next.
Dorothy WilsonGreat DepressionJohn L SchaeferUnited States Military AcademyWest Point
< Previous California Poppies and Idaho Potatoes
Next > A West Point Plebe, Circa 1930 – Part 2
everlastinglettersblog@gmail.com


I struggled with A Level Chemistry throughout JC. I always failed or got at most E in JC1. But when I joined TWIG in JC2, suddenly all the concepts felt so much easier to grasp and I could actually keep up in class. After just one term in TWIG, I jumped from a S to C! Mr Koh breaks down complex concepts and questions to make them so easy to understand. He's also always so patient in explaining. Eventually I got an A for Chemistry for my A Levels! Thank you Mr Koh!


Give your hair a just-washed look in between washes with Luseta Beauty's Dry Conditioner Spray, the perfect companion to our Volume Reviving Dry Shampoo. The Dry Conditioner Spray's oils and nutrients instantly add shine to hair while conditioning, leaving hair looking and feeling smooth and soft. The weightless spray also works to protect your hair from damage caused by heat or environmental pollutants, while keeping your hair silky and touchable.
Luseta Beauty Dry Conditioner Spray is like magic in a bottle. Simply applying it helps restore locks that are ragged, frizzy, or tangled without the need to get hair wet. Perfect for when you need to look put-together in a hurry or after a gym session, or for a simple pick-me-up for your strands, the Dry Conditioner Spray transforms dry and lifeless hair into a thing of beauty.
It's easy to use the Dry Conditioner Spray. Remember to use the Luseta Volume Reviving Dry Shampoo first to lift up the roots before applying the Dry Conditioner Spray. Shake the can well, hold the can 6 to 8 inches away from your hair, and then spray the contents from the mid-shaft to the ends of dry hair. Run your fingers through your hair to distribute.
The Dry Conditioner Spray enhances and texturizes even the most problematic hair and gives more life to your favorite styles. Use it to turn locks from lifeless to fabulous in no time.


We fund skills training for further education (FE) in England. We support over 1,000 colleges, private training organisations, and employers with £3.7 billion of funding each year.
SFA is an executive agency, sponsored by the Department for Business, Innovation & Skills.


text:
Cowboys RB Tony Pollard injures ankle vs. SF; ruled out
Jan 22, 2023, 3:22 AM | Updated: 5:24 pm
Dallas Cowboys running back Tony Pollard (20) runs against San Francisco 49ers defensive end Samson Ebukam (56) during the first half of an NFL divisional playoff football game in Santa Clara, Calif., Sunday, Jan. 22, 2023. (AP Photo/Godofredo A. Vásquez)
(AP Photo/Godofredo A. Vásquez)
SANTA CLARA, Calif. (AP) — Dallas Cowboys running back Tony Pollard was carted off the field late in the first half of Sunday's divisional-round game against San Francisco after injuring his left ankle and was ruled out for the rest of the game.
Pollard got hurt when San Francisco's Jimmie Ward fell on his ankle on a tackle following a reception late in the first half.
Pollard was helped off the field to the injury tent and then taken off the field with a towel draped over his head. The team announced Pollard would not return.
Pollard led the Cowboys with 1,007 yards rushing during the regular season. He was tied for the team lead with 12 touchdowns and ranked second with 1,378 yards from scrimmage.
Pollard had six carries for 22 yards and two catches for 11 yards in the first half before getting hurt.
MELBOURNE, Australia (AP) — Of all of his considerable talents, Novak Djokovic's ability to cast aside whatever appears to stand in his way might be the most valuable. So forget about the potential distraction of his father's decision to stay away from Rod Laver Arena for Djokovic's semifinal against unseeded American Tommy Paul at the […]

redpajama_set_name: RedPajamaCommonCrawl


The objective of these contacts is to facilitate the contact of wine producers and marketers with importers from Europe.
Location: Hotel near the Madrid Adolfo Suarez Airport.
(*) With this price the expenses corresponding to the exhibition halls hiring, Flights, lodging and internal transport of the 6 importers are covered, selection, follow-up and call of the participating importers, elaboration of the Commercial Agenda, Assistance and Firmagil coordinators during all the event. On the other hand, the participant company will be responsible and will assume the expenses derived from the transport of the samples and additional days of storage if they require it, Displacement, diets and overnight stay of the representative of the winery.


Please call us directly at (727) 397-5944, or email carouselmotel@yahoo.com for availability.
Rates are based on double occupancy, do not include 13% taxes and are subject to change without notice.
EACH ADDITIONAL PERSON PAYS $10 PER DAY.
We are sorry, NO PETS ALLOWED.
Check-in 2:00 pm, Check-out 10:00 am.
Late check-out may be available but not guaranteed. Please check with our office for late check-out availability. An additional charge could be added for non-approved late check-outs.
SMOKING POLICY: All rooms and units are NON-SMOKING. There will be a $100 cleaning fee taken from the damage deposit if this rule is broken and this could result in immediate eviction. Smoking is permitted outside only.
A 2 or 3 nights minimum is required on some Holidays and special week-ends.
We require at least one member staying in the room to be over 21 years of age.
One complimentary parking space provided per room; 2 Spaces only if accommodations allow.
*Cancellation policy: Out of season at least 72 hours prior to the arrival date , Holidays and in season at least 30 days prior the arrival date – l night or 25% – whichever is greater.
Rates valid for advance reservations only.
These rates exclude Holidays and Special Events.
Maximum room occupancy is 4. Units are rented under the guidelines that there will not be more people than allowed as stated on the website. If there are more people than allowed, this could result in immediate eviction and/or an extra cleaning/damage fee of up to $200.
Damage Deposits: We can place a hold on your credit card for a damage deposit. The normal amount to be held is $100 unless otherwise specified. Most rooms have cleaning fees built in; however, if the room or unit is left in a complete disarray, an additional cleaning fee can be charged to the damage deposit.
A 25% non-refundable deposit is required on all rentals at the time of booking.
We reserve the right to substitute your reservation with another room or unit in the event of circumstances beyond our control. We have described the rental in detail to the best of our ability, but we cannot make the decision for you, and will not be responsible if you are not happy with your choice upon arrival. The rent will not be refunded and cannot be transferred to another location.
No Refunds will be given for early departure and/or eviction after check-in.
Payments Accepted: Cash, Visa, MasterCard and Discover.


text:
REMEDIES OF THE CHARGEE UNDER RLA
There is an impediment as regards the exercise of such power of sale as envisaged under the Act. The Amendment impedes the exercise of such powers and leaves in doubt the reliability of this particular remedy especially when it is subjected to a continuous interruption.
Under the RLA a chargee has fewer remedies than would avail to a mortgagee under ITPA, infact the RLA severely restricts other remedies apart from the statutory power of the sale. Section 80 declares that a chargee may not enjoy a right of entry therefore there can be no taking of possession neither can a chargee proceed by way of foreclosure. Similarly under S. 84 of RLA a Chargee has no right of consolidation unless his sale is expressly reserved in at least one of the charges. One is better of dealing with this particular transactions under the ITPA than under the RLA from the perspective of the person providing the
The Judicial approach to the exercise and/or enjoyment of the Right of Redemption.
At common law, failure to make repayment of the amounts advanced and any other interests accrued automatically led to extinction of rights so if at the legal date of redemption no repayment has been made, common law treated the right of redemption to have ceased. Through intervention of equity this position has been substantially altered in the sense that indulgence is granted to the borrower even long after the expiry of the actual date, the legal date of redemption. That is premised on the understanding that the basic character of the transaction i.e. that of a mortgage transaction should not be undermined and once a mortgage the transaction remains a mortgage.
Both the ITPA and the RLA grant the right to redeem which is granted in absolute terms and there is no element of a fetter or clog even from a statutory standpoint and accordingly the borrower may move to redeem his property at any time after the principal sum has become due and payable an there is no requirement to issue a notice of such intention. Section 72(1) of the RLA makes it clear that any agreement between the Chargor and Chargee to deprive the Chargor his equitable right of redemption shall be void for all purposes. Under both legislation the right of redemption is inviolable. In any case if no date of redemption is specified in the instrument of the charge it is the position in the RLA that the sums shall be deemed to be payable 3 months after a demand in writing from the Chargee to the Chargor seeking for repayment of such an amount as may be due. In the event that the Chargor wishes to express his right of redemption after 3 months following the demand, there is a requirement that he shall serve 3 months notice or pay 3 months in lieu thereof at the time of redeeming the property. Based on this points the courts have approached the issue of guaranteeing this right and protecting it wherever it is necessary to do so.
There are a number of case law to support that situation.
In Saleh V. Eljofri (1950) 241 KLR the court held that a borrowers equity of redemption was an essential element of every mortgage transaction and that failure to repay the mortgage on the agreed contractual date of redemption did not debar the borrower from exercising his right to redeem the mortgage property.
Similarly in Industrial and Commercial Dev Corp V. Kariuki and Gatheca Resources Ltd the court underscored the fact that the right of redemption subsists until such a time that a transfer has been duly registered. Accordingly anytime before such an exercise is undertaken in exercise of this equity of redemption, the Chargor can proceed and make good on the amounts due in exercise of this particular right. This is guided by the understanding that the borrower both under the ITPA and RLA is entitled to redeem his property unconditionally at any time after the principal amount has fallen due and that right cannot be impeded. There is an exception to this under S. 91 of the Companys Act we have a situation where the rights of redemption can be precluded if one enters into an arrangement involving irredeemable debentures. Creation of these debentures would appear to offer some sort of departure from the holdings of the courts that this right cannot be displaced.
In the case of Fairclough and Swan Bakery Co. Ltd (1912) AC 565 there was a clause that purported to postpone the right to redeem on the part of the mortgagor for about 20 years in the estimation of the court this particular clause rendered the property virtually irredeemable and that was a violation of the mortgagor's right of redemption and accordingly such a clause could not stand and the court agreed that the borrower had the right to redeem at an earlier date other than the one stated if he was in a position to solve his debts. In the words of MacNaghten J. equity will not permit any device or contrivance being part of the mortgage transaction or contemporaneous with it to prevent or impede redemption.
In the case of Lewis V. Frank love Ltd (1961) the arrangement was that the borrower and the personal reps of the lender agreed that if the said personal reps did not demand for the repayment of the mortgage debt for a period of 2 years, the borrower would grant them and option to purchase part of the mortgage property. In the opinion of the court this agreement constituted a clause that amounted to a fetter on the borrowers redemption of equity and could therefore not stand and accordingly it was void since it amounted to a clog on the equity of redemption.
In Davies and Simmons 1934 Ch. 442 the court declined to uphold an agreement by virtue of which the mortgage property would belong absolutely to the Mortgagee in the event that the borrower died before him because that sort of condition tended to fetter and clog the equity of redemption the idea being that the mortgage transaction essentially retains its character as such and anything that is introduced which would substantially alter this character would not be upheld by the courts because it undermines that the institution.
There are instances where the courts have upheld existences of terms and conditions which would appear to assume the character of a fetter or clog but for the fact that they are collateral advantages that subsist alongside such terms and conditions which effectively alter their nature so that they are not seen as fetters and clogs but rather reasonable. The courts jealously guard the mortgagors equity of redemption and anything inconsistent with enjoyment of the mortgagor's rights is resisted. The other side of the coin is that in situations where such conditions that would appear to be fetters and clogs, are there but it is the understanding that provided that these conditions and terms are not oppressive or unconscionable the courts will disregard the clauses and give them effect. There are a number of judicial decisions which represent this standpoint
In Knightsbridge Estates Trust Ltd V. Bryne (1940) AC 613 the agreement was to the effect that the mortgagors would repay a loan advanced to them amounted to Pounds 360 for a period stretching 40 years. They later changed their stand because they had found an alternative lender that would give preferential interest rates and wished to borrow from that other source and sort to do that before the other period ran. In any event the stipulation in relation to the forty year period postponed the exercise of their right of redemption. This was unreasonable and therefore void. The court held that there was nothing oppressive in this particular arrangement and the mortgagors has been indulged and accommodated based on very fair terms and Lord Green observed that equity does not reform mortgage transactions because they are unreasonable but it is concerned to see that essential requirements of such transactions are observed and unconscionable terms are not endorsed.
In Krellinger V. New Patagonia Meat and Cold Storage Co. Ltd, (1914) AC 25 the arrangement was that the Respondents would be provided with a loan which was to be secured by a floating charge. A further stipulation in the mortgage instruments was to the effect that for a period of 5 years from the date of the mortgage the company would not sell sheep skins to persons other than the lenders provided that the lenders paid the best price obtainable in the market within the material period. When the matter became contentious it reached the courts and in the opinion of the court the agreement was valid because the stipulation that was restrictive was in fact a collateral contract outside the main mortgage transaction and conferred collateral advantages and so the courts would not interfere.
In Multi Service Bookbinding Co.V. Marden 1978 Vol 2 WLR 535 the court was categorical that a collateral provision in a mortgage which does not clog the equity of redemption would stand and can only be objected to on the grounds of it being unfair or unconscionable. Such a transaction would not be impeached.
In Noakes V.Rice the court stated that if provisions in a mortgage transaction though unreasonable are not unconscionable in any way, no subsequent events will operate to invalidate the transaction. The court declined to intervene in the commercial transaction foreseeing a drop in the value of the British pound.
In the clearest of cases, where there is an impediment in the right of redemption the courts will strike down the transaction for being void on the other hand in those other situations where the parties bind themselves to terms to terms that amount to clogs and fetters but include collateral advantages would be saved.
Labels: property law


text:
BRONA MARTIN
RESIDENCIES >
Locus Sonus 2020
EMS Residency, Stockholm 2019
Atlantic Center for the Arts with composer Natasha Barrett
University of Limerick with Darren Copeland and SpADE, March 2015
Atlantic Center for the Arts, Florida with Jonty Harrison
COMMISSIONS/PROJECTS >
Jazz As Social Machine
Sound Heritage: Sounding Erddig
L-ISA: Immersive Hyperreal Sound
Seed Studios/Vonnegut Collective Project
Full of Noises Commission
Hear Th↓s Space and The Octopus Collective
Soundscape Studies
Creative Gaming in Unity
Women in Sound
Residency with Jonty Harrison at Atlantic Centre for the Arts, Florida.
Jonty's residency statement:
"I am interested in working with acousmatic composers and sound artists, particularly those who wish to explore the sounds of the real world (for example, sounds gathered in the geographical area around the ACA) and to develop them into new and striking works of sonic art (concert pieces or installations). The means of doing this will embrace studio recording and field recording (with contact microphones and hydrophones, as well as air mics) and software for sound transformation and mixing. Practical work will be informed by critical listening to, and discussion of, existing works that embody this approach. As well as time for individual work, there will be ample opportunity, in both one-to-one consultations and group sessions, to explore ways in which specific sound materials can be taken beyond straightforward documentation or collage, and be transformed and sculpted into coherent artistic statements. There will hopefully be an opportunity to present any developing or completed works by Associates at the end of the residency."
This residency is for 3 weeks in October. Other Masters in Residence at the center will include Aram Bartholl (Visual Artist) and Josh Neufeld (Graphic Novelist). I am really looking forward to working with Jonty and all the other associate artists to share ideas, compose and collaborate. Also I have never been to FLORIDA!!!
More information here:http://www.atlanticcenterforthearts.org/master-artist-residence-schedule
Arrival at ACA:
I arrived at ACA just in time for the welcome dinner where we were served wonderful food and wine. I met my group who are wonderful interesting composers, easy going with an eagerness to share ideas on recording and compositional techniques. We were given a tour of the campus. It is located in a wooded area, private and quiet with wonderful facilities that cater for composers, dances, visual artists and writers. After that we returned to the common area for some desert and wine.
We set up an 8-channel studio in the music studios area and a stereo system in another room. Between all of us we had a lot of equipment, a wide range of microphones, recording devices and software. We discussed 8-channel composition and ambisonics and the different techniques and methods we use. We created a time-table so everyone had the opportunity to use the studio facilities, edit sound-files and compose. We also had group and 1:1 tutorials with Jonty where we had the opportunity to discuss works in progress, listening sessions, composing in Reaper and compositional techniques.
My group: Master Artist- Jonty Harrison. Associate artists: Elainie Lillios, John Nicols III, Andrew Babcock, Rick Nance, Mitchell Hermann, Nic McConaghy, Damian O' Rian
Recording a thunder storm:
As we finished up one of our group studio sessions, there was a massive thunder storm. There was a rush for recording equipment. I ran back to my room, grabbed my recording gear and went to run back to the studio to the others but it was too late. It was pouring. But luckily I could stand outside my room under a shelter and capture the thunder. I quickly set up my DPA's and H4n Zoom and began to record. The thunder ranged from muffled bangs to deafening claps. There was a a lot of peaking in the recording so I had to reduce the volume in order to capture the entire thunder clap peak free.
After the thunder moved further away, the rain also eased off leaving behind the delicate sounds of water drops landing on the large palmetto leaves that populate this forested area. Once the rain eased off I ran back to the studio and borrowed Jonty's M&S rig which I have never used before. I found some sheltered areas and continued with my recording as the thunder returned without too much rainfall.
On another outing our group went down to New Smyrna Beach to make some hydrophone recordings and I took along the M&S rig again. As we returned to the car we passed a garden centre with a wonderful sounding wind-chime which played a beautiful melody. We recorded that and then moved on to the riverside where we made some more hydrophone recordings. I recorded a little bit but then grew tired of the incessant traffic noise. I decided to make some recordings in the children's playground where I recorded the sound of batteries and money being thrown down the slide. We also used contact mics on the metal frames.
Other activities:
During this residency I made a lot of recordings using Jonty's M&S rig, experimenting with different recording techniques. I also composed using Reaper rather than Pro Tools which I have been meaning to learn for a while. I spent a lot of time just listening to the sounds around the grounds of ACA and enjoying the rhythmic patterns of cicadas, frogs and the rustling of lizards and small animals amongst the Saw Palmetto trees.
The residency was a thoroughly enjoyable and inspirational three weeks where artists had the opportunity to share ideas, work on their own projects and enjoy the scenery and wildlife of New Smyrna Beach. I also learned a lot about the working progress of cartoonists, graphic novelist and visual artists.
On the final evening we held an event, INsideOUT to showcase our work to the public. For this event I created a soundmap, documenting the areas around New Smyrna Beach where we had made our recordings. The cartoonists also contributed drawings of animals that we had recorded which were also placed on the the map.
I am currently working on a piece using the recordings that I made and also those made by the other members of my group.
Bee Recording
Recording at the Sea


1) See a Broadway show, this is a perfect evening out, the visual effects, the stage props and the fantastic Broadway actors really create memorable performances. If your budget cannot stretch to a high end show the drama students of New York are still able to leave their mark on the stages of Manhattan's Broadway and it rarely disappoints. Also it's such a nice feeling to come back home and say 'I caught a Broadway show in New York and it truly was something else!' My friend and I watched Ghost and it was just like that, we were absolutely thrilled and gobsmacked! I even have a beaker as a souvenir. For cheaper tickets for any of the shows, book in advance or visit the Times Square box office from 9am on the day you want to see the show.
6) Take time to just sit on the steps of Times Square before you jet off to shop on fifth avenue and the endless markets or out to dinner or wherever your next destination is, take it all in, the people, the vibrancy, the big lights, the music, street entertainers, fellow tourists and city slickers. Just take it all in for as long as you can. This is one of those moments you realise, the world has so much to offer, you can be anything if you put your mind to it and you can achieve your goals and dreams. From such young beginnings this city transformed itself to a powerful, dynamic cocktail of energy, charisma, drive, ambition and success!
There are other places and other things to do of course including a visit to grand central station, art galleries, museums, jazz bars, comedy clubs, roof top bars and gorgeous restaurants. I'll go through the rest in part two. What are you waiting for? Check out the links and book that week off work. New York is not to be missed and I'm not at all biased…part two coming soon.
*Circle Line Cruises also cater for cruises round the whole city in as little as 4 days and 3 nights.
Copyright © 2019 Harsharan Hoonjan. All rights reserved.


text:
Old Glory Flies Again Over Goodland Post Office New postal clerk gets it done
By Barry Gwinn
Judith Pritchard was Goodland's last postmaster. She was popular here and served faithfully for eight years until her retirement on July 31, 2012. Due to budget deficits, the U.S. Postal Service (USPS) has since cut back on personnel and closed some offices. Goodland was spared, but instead of a postmaster, a series of postal clerks ran our post office. They were Shannon Mitchell, Marie Thompson, Rhonda Joyce, and our current clerk, Asiel Rodriguez. A sprinkling of substitutes, filled in at times. At some point, the American Flag was taken down, likely for a coming storm. Due to the revolving clerical door, it was not raised again until last week. At least no one can recall seeing it before then. (A photo in the post office depicts a lowering on 9/18/13.) Finally, someone did notice. On May 31, 2016, the day after Memorial Day, a Goodland Resident, a veteran himself, wanted to know why our post office had no flag up the day before. Things moved fast after that. Considering the USPS was involved, they moved at warp speed. We have Asiel Rodriguez to thank for this. Rodriguez, who became the postal clerk in charge in March 2016, was contacted on June 1. The flag was raised the same day. One of the first things he noticed when he came
Submitted PhotoGoodland postal employee, John Diamantis, with an unidentified helper, lowers the American flag at Goodland Post Office on 9/18/13. To date, no one is sure that it has flown since. On 6/1/16 it was raised again.
to Goodland was the bare flagpole outside the post office. "I thought it a shame that we had no flag," said Rodriguez, "I found a flag in the back, but had no way of putting up." As we were puzzling how to go about it, Lou and Linda VanMeter showed up. Lou is the preeminent engineer type guy who can figure out how to repair almost anything. Within minutes, he and Asiel had the pole down, the halyard reattached, and the flag up and flying.
Marco Island Postmaster Michael Gomez came down the next day to look things over. "He wanted to see if the nearby streetlight would illuminate the flag at night," said Rodriguez, "He decided it wouldn't and asked that the flag be taken down at the end of each day until a floodlight could be installed." Gomez also ruled that it would be inappropriate to fly a Goodland Flag as USPS had ordered a MIA/POW flag to be flown on their buildings to honor our dead and missing. So, until a floodlight is installed, the flag will be raised in the morning and lowered each afternoon at 4:30 PM when the post office closes. That means it will not fly on weekends and on national holidays, at least until a floodlight is installed. Let's keep our eye on it until then.
More From Feature Stories Go To The Feature Stories Section
Inaugural Island Club Cup Held
Can Marco Island Learn from The Daytona Beach Court Ruling?
Burnishing an Already Sterling Reputation


If you need to make a formal presentation, one of the best supportive tools you can use to create visuals for those attending is Microsoft PowerPoint. It can be found in Office 365 subscriptions for both personal and business use.
The primary advantage of using PowerPoint is that visual representations can help to reinforce the key points you're speaking about. Humans are visually orientated when learning new skills or ideas, so having a graphic representation of what you're speaking about makes it easier to retain the information.
The primary disadvantage is that it takes time to learn how to use this software. For those unfamiliar with visual presentation software, the process can become difficult. It may even cause some to give up trying to learn it. Here are some of the other pros and cons of PowerPoint presentations that are worth thinking about as well.
What Are the Pros of PowerPoint Presentations?
1. It is easy to download and use virtually anywhere.
PowerPoint is considered a standard product in many professional settings. This allows you to take your user license virtually anywhere to be able to create the graphics needed for your presentation. It is so expected, in fact, that you may create a negative first impression if you don't have a PowerPoint presentation to offer.
2. It can make a presentation more interesting.
Even interesting presentations can grow long and boring. With an animated presentation or interesting quotes or other fun slides, you can bring people back from their boredom.
3. It is easy to customize each slide to meet specific needs.
Images on a slide can be decreased or increased in scale to fit your needs. It only takes a few clicks to insert, alter, and align images to create a needed visual representation. You can even use arrows, pointers, or other shapes to highlight key areas of information you want people to know about.
4. It is a simple process to create follow-along hand-outs.
You can print each slide directly from PowerPoint. Then you can copy those slides to become a helpful hand-out that can be given to each presentation participant.
5. It is reasonably affordable for most professionals.
Business plans for Office 365 start at just under $10 per month. This gives you 1 license to use on a computer of your choice. For $15 per month, you receive 5 computer licenses to use.
What Are the Cons of PowerPoint Presentations?
1. There's always the chance of running into technical difficulties.
Even tech-savvy individuals can run into presentation issues when the technology doesn't work as intended. Maybe the computer stops working. Or you lose power to your outlet. Or the overhead display doesn't work right. This can alter the positive first impression of a presentation very quickly.
2. Slides with too much information on them can become overwhelming.
Because there are so many options that can be included on a PowerPoint presentation, it can be easy to go overboard on the number of colors, sounds, shapes, and other items that can be used. By adding to many things, you can detract from the information that needs to be shared.
3. It isn't a substitute for what a presenter must do.
Many who use PowerPoint tend to rely on the information on the slide instead of providing a learning narrative. It is easy to become too reliant on this software and forget that there is an actual presentation that needs to be completed.
4. Costs are always ongoing.
Because it is part of the Office 365 package, you no longer receive a proprietary software license for one specific cost. You must pay a monthly or annual subscription cost, which over time can add up to more than what the proprietary license once offered. You must also download the software to each computer, which consumes data that may be capped for some small business owners.
5. Some participants may tune out your narrative.
If your PowerPoint is very detailed, some participants in your presentation may focus on your handouts and slides more than your actual narrative. This may make it difficult to make the call to action that you want participants to follow at the end of the day.
The pros and cons of PowerPoint presentations show that with careful planning, any narrative can be enhanced for those who are participating in the event. Without that planning, the presentation may do more harm than good to the narrative.
Do you use Microsoft PowerPoint for your presentations? What helpful tips do you have to refine the presentation creation experience?


text:
Q: Is git flow development and master branch never merge again(parallel forever)? I read this gitflow article.
And it seems branch develop and branch master are parallel.
They will never be merged again.
(What I mean is:
git checkout master
git merge develop
git checkout develop
git merge master)
Is that right?
If the two branch are parallel, the team leader need to make sure the two branch has same code by himself, right ?

A: develop and master do indeed run in parallel in a mathematical sense. However, there should not be 'parallel development' going on -- development should only be occurring on branches stemming from develop - never master.
Assuming proper Git Flow is followed, no intervention is required to make sure the code branches are identical (and in fact, develop is nearly always significantly ahead of master).
You should never be making changes on master directly, and master should merely be treated as a 'last known good state' of your project. ONLY release branches should ever be merged into master (as, in theory, you would only ever want to release good to the public that is in a good state).
All code that reaches master will have originally been in develop at one point. You should work on feature branches that get merged to develop once complete, and then this code eventually makes its way into the master branch after a release.
This is done through a release branch, which is a point in time where you are happy with the work that has been completed thoroughly, and think that the code is ready for exposure to the public. This release branch is what should be deployed out to your production server (after proper testing). It should also be tagged with the version you are deploying (such as 1.0.1 or 1.0.2).
If there is a (severe) problem with the release that was only found after releasing, you can create a hotfix branch to resolve it. In theory, this branch is based off of the release branched and merged back to the release branch. Often this can be done directly on the release branch itself, however. If there is a minor problem, yu may wish to leave it until the next official release.
After deployment, you merge the release branch to master -- you're happy that the deployment went well, and are confident that the code is in a good state. In addition to merging the release branch to master (indicating that you are  indeed at a 'safe' point in your project), you should also merge the release branch back to develop. This ensures that develop also acquires any hotfixes that may have been made.
This is illustrated in the following diagram:

redpajama_set_name: RedPajamaStackExchange


Gorgeous real touch gerbera, rose and beauty lily bridal bouquet.
Hand tied with luxury ivory satin ribbon, with light pink soft netting.
Finished off with sparkling clear and baby pink Swarovski crystals.
Stunning, bespoke artificial wedding flowers from Glasgow.
Perfect mix of light pink and white gerberas, beauty lilies and roses. Silkblooms.co.uk the best for artificial flowers.
Flowers and ribbons can be changed to any desired colour.
We can make matching items for all of our wedding flowers.
Just a quick thank you for the lovely flower arrangements. They're all very beautiful! Really appreciate all your help along the way!
I just wanted to thank you SO very much for my beautiful bouquet! It's exquisite! I absolutely love it!
Just wanted to let you know my flowers arrived today and I'm so happy with them. They are amazing you have done such a great job can't wait for my big day to show them off.


text:
The Japanese Automotive Market: Driving Strong Demand in 2021 and Beyond
27 July 2022 5 October 2022
By Emma Regan
After the second world war, Japan needed to boost its economy and did so by manufacturing vehicles. Now, the nation is world-leading in the automotive industry and is widely known for its cutting-edge technology and invigorating ideas. Here, we look at how Japan has catered to the domestic and global market through its peculiar characteristics, response to globalized supply chains, shift to green technology, and how the worldwide pandemic has affected the Japanese automotive market.
Need help with marketing in Japan? Contact us
I. Overview of the Japanese Automotive Market
II. Kei Cars
III. Best-selling Brands in Japan's Automotive Industry
III.I. Toyota
III.II. Nissan
III.III. Honda
III.IV. Yamaha
III.V. Suzuki
IV. Impact of Covid-19 on the Japanese Automotive Market
V. The Future of the Japanese Automotive Market
Overview of the Japanese Automotive Market
The automotive sector in Japan is the third-largest automotive producing industry in the world, with 78 factories in 22 prefectures and employing over 5.5 million people, it is a major pillar of the country's economy. Automotive manufacturing takes up 89% of the country's largest manufacturing sector (the transportation machinery industry) and auto parts suppliers have also grown a substantial part of Japan's economy, spreading into other industries such as chemicals and rubber. It is a highly innovative and technology-driven industry, with increased production of hybrid and electric vehicles being brought onto the domestic and global market and an increase of supply and demand on an international scale.
Domestic brands such as Toyota, Nissan, Honda, Suzuki and Mitsubishi dominate the Japanese automotive market, with foreign-manufactured cars seen more as status symbols due to the incredibly high maintenance cost of imported vehicles. The majority of car owners reside in rural areas of Japan, while its urban population heavily relies on public transport.
Kei cars and motorcycles are also affordable alternatives to regular-sized cars and satisfy the country's demand for convenience in tiny spaces, however, the Japanese automotive industry is becoming more environmentally aware thus consumers are moving away from motorcycles to bicycles and e-bikes.
Kei Cars
In order to cater to Japan's limited space, ageing society and increase in single-person households, Japan's automotive industry created 'keijidōsha' (軽自動車), light automobiles otherwise known as Kei cars. They are very small vehicles that benefit from certain tax insurance and regulations, making them much cheaper than regular passenger cars, but also easier to navigate in Japan's metropolitan areas.
The success of Kei cars is limited to Japan, being bought mainly by first-time drivers and as a fashion statement by female drivers, yet they are sold across Europe. All of Japan's major automotive brands manufacture 'keijidōsha', with 1.65 million sold in 2021. Honda's N-Box dominated this category, selling almost 190 thousand units in the same year.
Best-selling Brands in Japan's Automotive Industry
Toyota is currently the top-selling vehicle brand in Japan, selling more cars than its competitors Nissan and Honda combined. In 2021, it sold 1.4 million vehicles in Japan and 10.5 million vehicles globally, an increase from the previous year. Yet its beginning was very humble, starting as a textile manufacturer in the mill town of Koromo, it is now one of the largest automakers in the world. The company has pushed boundaries, curated high-quality designs for practical and recreational use combined, and are responsible for pushing hybrid and electric cars to the forefront of the automotive sector in Japan with their model Toyota Yaris – the best-selling passenger car model in Japan.
Having released a two-seater electric vehicle predominantly aimed at older drivers in late 2020, and its first BEV (Battery Electric Vehicle) Toyota BZ4X in 2022 among plans to offer 30 BEVs by 2030, the company aims to increase its global sales of electric vehicles to 3.5 million units per year by 2030. Toyota CEO Akio Toyoda recently doubled down on this strategy of offering a wide range of options for consumers, having previously cited the diverse and unpredictable state of the world.
Not only does this accommodate the automotive sector in Japan, but Toyota has collaborated with Hitachi and JR East on developing railway vehicles equipped with hybrid systems (trials of which commenced in late March this year), and previously the company announced it would build a prototype 'city of the future', a fully-connected ecosystem powered by hydrogen fuel cells at the base of Mt. Fuji.
Source: Best Selling Cars
Nissan is one of the giants in the Japanese automotive market, selling nearly half a million units in 2021, and has also expanded into the global market.
The company is one of the oldest in the Japanese auto sector, established in 1911 and manufactured trucks and planes for the Japanese army during the Second World War. It has partnered with various foreign brands such as Austin and Prince Motor Company, however, it is more recently in a horizontal keiretsu (系列) between Renault and Mitsubishi– an expansive network of companies working tightly to maintain mutually beneficial strategic relationships. Together, they have sold 10.6 million units in 2019. In 2022, Nissan launched the all-electric version of the new Townstar van, which is based on the Renault Kangoo and produced in France.
Growing demand for SUVs, light commercial vehicles and electric vehicles have helped Nissan's sales numbers grow, with the keiretsu accounting for half of the electric vehicles sold worldwide back in 2016. The Nissan Leaf is a popular choice, now having sold 157,000 in Japan alone, as is the recently released Ariya model. By 2030, Nissan intends to offer 15 all-electric models and a total of 23 electrified cars.
Source: Nissan
Honda is another giant within the Japanese automotive market, almost 50% of automobile sales occurred in Japan and other Asian countries this year. Honda started by selling motorcycles in Japan post-war for the country to be mobile at a quick and affordable mass-producing rate. It became the biggest motorcycle manufacturer in Japan in the 1950s, and despite the recent decline in motorcycle sales in Japan, Honda is still the country's leading domestic manufacturer of motorcycles (of 251cc and higher). In 2021, its unit sales amounted to approximately 22.31 thousand.
The company went onto manufacture cars during the 1960s and has since gone on to produce a wide variety, including Kei cars and electric vehicles. Signifying a step-up from its 2016 plans to have electric and hybrid vehicles make up two-thirds of its sales in 2030, Honda aims to have electric vehicles account for all its unit sales globally by 2040. The company also plans to work with tech giant Sony to create a new company for the production of electric vehicles, aiming to begin sales in 2025.
Source: Japan Times
Famous for its product variety, Yamaha is a world-leading producer of motorcycles, marine products, intelligence machinery and from their sister company, musical instruments. It is the second-biggest motorcycle brand in Japan and the world, with a 41% share of net sales in Asia and generating ¥1.8 trillion globally in 2021 alone. Established in 1955, the company produced its first motorcycle in the same year, it launched the YA1 by demonstrating it in a motorcycling race in Japan where rival companies such as Honda would also publicize the superiority of their products.
Over the years, Yamaha has continued this rivalry, yet when the domestic market in Japan started to shrink, the companies teamed up to devote more resources in other Asian markets. Recently, Japan's big four motorcycle brands have worked together to make a unified standard for electric motorcycles, helping to make the Japanese automotive market even more sustainable. After a successful collaboration with Gogoro (global technology leader in battery swapping ecosystems), Yamaha announced in 2022 that it will produce a second electric scooter with the company.
Source: My News Desk
Suzuki is similar to Honda in that it's a multifunctional company manufacturing automobiles, motorcycles, ATVs, engines, and wheelchairs. Starting out as a looming company, it is now part of the big four brands dominating the motorcycle world but also does exceptionally well in Japan with its range of Kei cars, sharing over 30% of the market in 2021.
In the 1980s, Suzuki entered a keiretsu with General Motors to start its expansion into the US market, which led to expanding to countries such as India, Germany, Thailand and China. At the beginning of 2020, the company said it would follow in Yamaha's footsteps by releasing an electric scooter onto the Indian market, joining the global sustainable vehicle race. A possible market launch may be coming in 2023.
Impact of Covid-19 on the Japanese Automotive Market
During the COVID-19 pandemic, the Japanese automotive market was significantly affected, with all Japanese automakers having to close production plants all around the world for safety measures. Japan sales declined sharply by 23% in June of 2020, with Toyota still being the best-performing brand, followed by Honda and Nissan. However, Japanese automakers vowed to protect jobs against the worldwide pandemic, setting up a special fund for those who have been laid off to find jobs and even produced face masks.
Exports and imports were greatly affected by the pandemic, which includes the 'chip shortages'. These semiconductor chips are necessary for car manufacturing, and their global supply shortages halted production for many Japanese automotive companies during the pandemic. Indeed, Toyota had to cut its global production in September 2021 by 40% from planned levels as a direct result of the shortage. However, now that the supply chains are stabilising, the Japanese automotive market is not only expected to recover, but the automotive industry is also expected to boost the overall Japanese economy.
This global crisis has also prompted many automotive companies to re-examine and plan for medium-to-long-term developments. Like with many other industries, the pandemic gave companies the opportunities to pause and rethink and prioritise their next goals. In Japan, it looks like most automotive industries are driving towards a cleaner, greener world with electrical vehicles.
The Future of the Japanese Automotive Market
While the global pandemic has had a massive impact on the automotive industry in Japan, it's clear to see where the sector is going in terms of developing renewable, green technologies to be incorporated into vehicles. Demand for electric motorcycles is stronger now than ever before amid declining sales in Japan, so hopefully, these will be released on the Japanese automotive market soon enough and help spur growth in the sector. Japan remains to be a leader in this space, and the UK-Japan Trade Deal will also benefit the Japanese automotive market in the long run.
See also: IoT In Japan: Essential yet Lacking?
Keep checking back or follow us on LinkedIn, Facebook or Twitter to get notified about our latest posts. We'll be adding more articles on technology developments and various sectors in Japan, so watch this space!
Alternatively, feel free to get in touch and see how we can help you develop your offering for the Japanese market.
Vegetarianism and Veganism in Japan – Why Vegan Products Should Be in Japan Now
Smart Cities in Japan: Practical Innovations for Conscious Future Living
Sportswear in Japan — Cool Trends You Should Know
A Look at the Lucrative Japanese Coffee Market
Growing Trends of Personalised Beauty in Japan 2022
Anime in Japanese Advertising – 4 Impactful Examples
Growth and Innovation: Overview and Opportunities of Agritech in Japan 2022
Innovative Sustainability: How 5 Japanese Companies are Implementing SDGs
The Power of Yen: Understanding How Foreign Exchange Influences The Japanese Market
SDGs: How Greenery Day Contributes To Japan's Cut Towards Carbon Neutral
Here's what we do:
BESPOKE MARKET RESEARCH
We enable our clients to understand Japanese audiences in order to make an impact in the marketplace.
MARKET EXPANSION STRATEGY
Our team are familiar with both the European and Japanese markets. We bring clients on-the-ground in their target markets to truly understand the culture, trends and innovations that will have an impact on their success in the market.
We provide Japanese / English translation and localisation services for Japanese and UK corporates. Our professional, bilingual team is well-versed in creating messaging that resonates with the target audience.
Contact us if you have questions – we're here!
Want to stay connected?
Tokyoesque News
Halloween in Japan 2022: Charming or Spooky?
By using this website, you agree to our use of cookies. We use cookies to provide you with a great user experience and to help our website run effectively.


text:
"LEXUS ACCELERATES ITS ELECTRIFIED FUTURE..."
LEXUS ACCELERATES ITS ELECTRIFIED FUTURE WITH LF-Z ELECTRIFIED CONCEPT DEBUT
World Premiere of "LF-Z Electrified," a BEV Concept Car Symbolizing the Next Generation of Lexus
Lexus to accelerate the development of vehicles that meet the diversifying needs and lifestyles of customers around the world
The world premiere of the "LF-Z Electrified", a BEV concept car that suggests new values to be realized through electrification
By 2025 Lexus will introduce 20 new vehicle models including BEVs, PHEVs, HEVs, and other electric vehicles, and develop a diverse product lineup
Establishing a new business and technical center that integrates development, design, production technology, and planning departments, to further encourage innovative vehicle development
TOYOTA CITY, Japan (March 30, 2021) – Lexus announced today (19:00 Japan time) initiatives for the transformation of the Lexus brand through its "Lexus Concept Reveal Show".
With an unyielding spirit of innovation and support from buyers around the world, Lexus has continued to evolve as a luxury lifestyle brand. Lexus has delivered amazing product and brand experiences with new technologies and value since 1989. Now, the automotive industry has entered a period of once-in-a-century transformation. In addition to the growing social mission of carbon neutrality and compliance with the Sustainable Development Goals (SDGs) of the United Nations, customers' lifestyles and values are changing and diversifying at a speed previously beyond imagination. The social environment, mobility needs, and customer lifestyle demands have evolved as part of the evolving luxury landscape. Throughout it all, Lexus continues to innovate for the benefit of society at large, as well as for our customers. Lexus will continue to respond swiftly and with careful consideration to the changing times and needs of our customers, and will strive to transform itself into a brand that exceeds customer expectations.
Since the launch of the RX 400h – the world's first luxury electrified model – in 2005, Lexus customers have purchased nearly two million electrified vehicles, as of the end of 2020 and currently, offers nine models of hybrid electric vehicles(HEVs) and battery electric vehicles (BEVs) in approximately 90 countries and regions around the world. Lexus has always pursued both performance and environmental friendliness. Through its "Lexus Electrified" vision that Lexus announced in 2019, Lexus aims to realize a fundamental leap in vehicle performance by employing electrification technology, and to continue to provide its customers with the enjoyment and pleasure that cars have to offer.
Today Lexus held the world premiere of "LF-Z Electrified", a conceptual BEV that incorporates driving performance, styling, and technologies envisioned for realization by 2025. It features ideal dynamic balance achieved through the optimal placement of the battery and electric motors, as well as, among others, a new four-wheel driving force control technology known as "DIRECT4" that generates a superior and highly flexible driving performance, setting the LF-Z Electrified apart from conventional vehicles. Also, in the near future, Lexus plans to incorporate technologies and advanced infotainment functions that will further enrich our customers' mobility experience.
By 2025, Lexus plans to introduce 20 new or improved models, including more than 10 electrified models such as BEVs, plug-in hybrid electric vehicles(PHEVs), HEVs, in line with the needs of each country and region around the world and based on the concept of offering the right products in the right place at the right time.
In addition to strengthening and expanding its core sedan models and SUV lineup, Lexus will pursue the possibility of rolling out models such as sports models that continue to provide the fun of driving, a car that redefines the concept of having a chauffeur, and new genres that have never before existed. In doing so, it will take on the challenge of providing new value that exceeds the expectations of its diverse customers.
Lexus aims to offer electric variants of all its models by 2025, with the sales ratio of electric vehicles exceeding that of gasoline-engine vehicles. By 2050, Lexus aims to achieve carbon neutrality throughout the lifecycle of its entire model lineup – from the manufacturing of materials, parts and vehicles, to vehicle logistics, to the final disposal and recycling of older vehicles. In this perspective, and with a clear mission to achieve carbon neutrality, Lexus will reduce the environmental impact of materials' manufacturing processes.
In March 2024, to accelerate the planning and development of diverse and attractive products that are close to its customers, Lexus is scheduled to open a new business and technical center at which members involved in Lexus-brand development, design, production technology, and planning are to unite in creating the next-generation of cars and where the environment will be one for open collaboration that encourages co-creation with external partners.
KOJI SATO
President and Chief Branding Officer, Lexus International
"I would like to express my heartfelt respect to all the people around the world who are working so hard in the face of various difficulties.
While fulfilling our social mission of realizing a carbon-neutral society, we will continue to provide the fun and joy that cars bring, and we will contribute to the happiness and smiles of our customers and everyone involved with Lexus.
Starting with two new models to be released this year, we will continue to develop innovative products that will add color to the diversifying lifestyles of our customers.
We hope you will look forward to the future of Lexus with its strong will to create the future toward the realization of a hopeful mobility society."
LF-Z ELECTRIFIED
The LF-Z Electrified is a BEV concept vehicle that is symbolic of Lexus' brand transformation and incorporates driving performance, styling, and advanced technology set to be realized by 2025.
To realize the significant evolution of basic vehicle performance using electrification technology, which is the aim of Lexus' "Lexus Electrified" electrification vision, the LF-Z Electrified adopts a BEV-dedicated platform. It features a new four-wheel driving force control technology known as "DIRECT4", which uses the instant responsiveness of an electric motor's driving force to freely control a vehicle's four wheels for superior and highly flexible driving performance that sets it apart from conventional vehicles. By fusing the electrification technologies and vehicle motion control technologies it has long cultivated, Lexus aims to evolve driving performance in a way that better connects the driver with their vehicle.
The LF-Z Electrified's sculpted and emotional exterior strongly accentuates the uniqueness of Lexus design and expresses the dynamic and agile driving sensation delivered by high-output electric motors.
To provide a uniquely BEV driving experience, the interior is equipped with a "Tazuna" cockpit and features an open and minimalist design. The interior embodies an elevated level of Lexus' human centered approach, an ethos that has been a foundation of the Lexus-brand since 1989.
Also, through dialogue with the driver and based on having learned the driver's preferences and behavioral traits, AI, acting as a lifestyle concierge, proposes routes and restaurant reservations, among others. By enhancing safety and security along the way, AI enriches the mobility experience.
AN ENHANCED HUMAN-MACHINE CONNECTION
The LF-Z Electrified evolves the "Lexus Driving Signature," a unique Lexus driving experience that aims for a linear response that is faithful to the driver's intentions, including the feeling of seamlessly connecting deceleration, steering and acceleration in all driving situations. The LF-Z Electrified achieves an ideal balance and inertia by optimally positioning the battery and motors. The electrification technology allows for innovative packaging and design, and raises the Lexus Driving Signature to an even higher level by significantly evolving the basic performance of the vehicle.
By orienting the battery assembly longitudinally under the floor of the vehicle, the chassis becomes more rigid and the vehicle's center of gravity is lowered for improved dynamics. In addition, this design helps mitigate vibrations and unpleasant noises from penetrating the passenger cabin. The Lexus DNA of quietness and ride comfort has evolved dramatically yet remains.
The new four-wheel drive force control technology, DIRECT4, allows the drive force of the high-torque motors to be controlled freely, enabling the vehicle's posture to be finely controlled according to human senses and inputs. In addition, by controlling the front and rear drive wheels independently, the system can provide the appropriate drive system – e.g. front-wheel drive, rear-wheel drive, or all-wheel drive – for each driving situation. The system controls the distribution of driving force through the seamless orchestration and calculation of accelerator pedal application and steering wheel operation, resulting in powerful acceleration and exhilarating cornering performance that aligns near-perfectly to the driver's will.
The use of steer-by-wire eliminates the need for a mechanical connection through the steering shaft, resulting in a more direct response between steering operation and driving force. This enables the vehicle to turn with less steering angle – and more precision – in response to driving conditions.
AN ADVANCED EXTERIOR THAT SUGGESTS THE DIRECTION OF THE EVOLUTION OF LEXUS STYLING
The LF-Z Electrified, as a study model that suggests the direction of the evolution of Lexus styling, aims for a simple and captivating shape rooted in strong proportions and a distinctive appearance. Specifically, the overall form, which starts low in the front and peaks toward the rear, as suggestive of a BEV, is composed of a continuous silhouette centered on a smooth cabin. Large-diameter wheels that transmit the power of the high-power electric motors to the road surface are situated as much as possible at the vehicle's four corners for a wide stance with a low center of gravity.
Lexus has taken up the challenge of evolving the Lexus design icon of the spindle shape into a spindle body as the overall body architecture in a new form of expression. The aim was to create a three-dimensional design that transforms the form of the vehicle body itself into the icon of the Lexus brand and to continuously develop functional expressions and styling that keep abreast with the evolution of technology.
The use of DIRECT4, which freely controls the driving force of the four wheels, enabled styling that evokes the image of dynamic driving in which the distribution of driving force is linearly shifted. The accentuation of the doors fluently transitions from the front wheels to the rear wheels, which are surrounded by shiny, projecting, flare-shaped molding.
In the rear, a clean and simple horizontal design combines with the molding that emphasizes the projecting wheels to express a powerful stance in support of a torque-strong driving force. Also, horizontally displaying "LEXUS" in the continuous slender rear combination lamp contributes to styling that, along with the front of the vehicle, symbolizes the next generation of Lexus.
A COCKPIT BASED ON THE NEW CONCEPT OF "TAZUNA" AND AN INTERIOR WITH A SENSE OF OPENNESS
To embody to an even higher degree Lexus' human-centered approach, which has been the foundation of the Lexus-brand since its birth, the cockpit was designed based on the new concept of "Tazuna" ("tazuna" is Japanese for "rein"). Inspired by the relationship between horse and rider, who communicate through a single rein, steering wheel-mounted switches and the vehicle's head-up display have been highly coordinated to create a space in which various functions, such as the navigation system, audio system, and driving mode selection, can be performed while concentrating on driving and without movement of the driver's line of sight or need to operate complicated switches.
While the cockpit is a key focal point, the low positioning of the instrument panel relative to the vehicle occupants and other measures are used to express a refreshing minimalism and a space that offers true Omotenashi.
The entire interior has been made a clean and high-quality space by a form that seamlessly connects the cowl to the front doors and on to the rear doors. Also, a panoramic roof uses long plates of glass that bring about a feeling of openness, emphasizing the minimalist environment.
While the augmented reality head-up display, gauges, touch display, and other information-provision functions are grouped into a single module, driving system functions are concentrated around the steering wheel. This suggests the direction of next-generation Lexus interior styling, with expanded forward visibility and the driver being naturally invited to look forward.
ADVANCED FEATURES TO ENRICH YOUR MOBILITY EXPERIENCE
In the LF-Z Electrified, Artificial Intelligence (AI), which learns the driver's preferences and behavioral characteristics, provides constant support to the driver. Voice communication contributes to improved operability while driving. The voice recognition system uses the latest AI to recognize, learn, and adapt to a driver's habits and preferences, supporting with tasks such as determining driving routes and making restaurant reservations. Such interactivity between AI and driver leads to a fruitful dialogue, thus improving the overall ownership and driving experience, adding color to the customer's life as a lifestyle concierge.
The use of a digital key allows family and friends to access the car without having to hand over a conventional key, in addition to operating the vehicle with a smartphone, such as opening and closing the door locks. Also, by enabling service providers to access the car via the digital key, it will be possible to provide vehicle-linked services such as package delivery to the car or car sharing, making life with a car even richer.
The E-Latch system makes door opening and closing smoother and safer. When boarding, the retractable door handle automatically appears above the vehicle's surface when a driver or passenger approaches with key in hand. The door can be unlocked and opened smoothly by touching the sensor inside the handle. When exiting the vehicle, the door can be opened by pressing the door-opening switch. An added benefit: LF-Z Electrified's sensors scan the surrounding environment for oncoming and adjacent traffic prior to passenger egress to provide an additional layer of passenger safety.
The panoramic roof, which gives a sense of openness, uses electrochromic glass and is equipped with entertainment functions such as dimming for privacy and shade, or illumination to reflect the passing night sky. In the center of the roof is a touch panel that connects the front and rear seats and is used for communication between passengers. The reclining rear seats are equipped with a massage function, bringing a soothing and peaceful time to all passengers when traveling.
The next generation Mark Levinson¹ audio system can reproduce a concert hall-like audio experience. With the next-generation sound management function, active noise cancellation facilitates interaction or privacy amongst passengers, providing a quiet and comfortable interior space.
SHIMOYAMA TECHNICAL CENTER
In March 2024, Lexus will open a new business and technical center at Toyota Technical Center Shimoyama (TTCS). Here members involved in the development, design, production technology, and planning of the Lexus brand will gather to promote " Building Ever Better Cars" that can bring smiles to customers' faces during the period of great automotive change, which is said to occur once in a century.
In addition to continuing with development tests at locations around the world, at Shimoyama Lexus will develop the cars and the people who make the cars. It will do this by repeatedly "driving and fixing" vehicles on test courses that reproduce a wide variety of harsh driving environments from around the world. This kind of vehicle and human resource development is possible because of Shimoyama's vast land and natural terrain with its many undulations.
As for the offices, the Lexus building will be the center of development, and the Messe building will be used for co-creation with external business partners. These two facilities will be sites where members from inside and outside the company share the same purpose and challenge, utilizing an open and agile work style to push car manufacturing beyond existing boundaries.
The cornerstone of new vehicle development will be a new three-story Lexus Building. The first floor – emulating the look and feel of a pit at the Nürburgring where members from all functions gather for each project with a strong will to promote agile development by integrating real car manufacturing on site with cutting-edge digital equipment.
The design area on the third floor will prominently feature clay design models, and along with further enhancements to the environment to maximize creativity, will ensure that designers, production engineers, aerodynamicists and other members of the experimental department can closely collaborate and work on new ideas together at the very center of Lexus design development.
The second floor will house an office area with an open layout for various work functions to improve collaboration and maximize the creativity of each individual. To accelerate car-centered development, all members will be able to move freely between floors as needed and utilize telework, according to their working style at any given time.
The open environments at the Shimoyama Technical Center will also foster co-creation with suppliers and business partners to support the ongoing evolution of the brand in line with our customers' lives. The Messe Building will be a place for close collaboration and in addition to a multipurpose hall, will include an additional garage for Lexus business partners to view, measure, work with, and directly interact with vehicles.
The Shimoyama Technical Center covers and encompasses several test courses engineered for meticulous vehicle evaluation. The first of three test courses was opened in 2019 – a 5.3-kilometer (3.3-mile) country road course that uses the natural terrain of Shimoyama to create vigorous driving, bespoke to Lexus vehicle evaluations, with numerous curves of different radii and banking over a total elevation change of 75 meters (250 feet). Around 10 different test courses are now under construction include a high-speed evaluation loop and a test course that recreates specific road surfaces from around the world.
The Shimoyama Technical Center is built under the philosophy of "technical center in harmony with nature and local communities" With regard to coexistence with the local community, we will value the ties we have built with the local people and listen to their opinions as we proceed with the construction.
In terms of environmental conservation, we are striving to properly maintain and manage the natural environment, with nearly 70 percent of the total site area consisting of preserved topography and original plants and wildlife.
Lexus are working to support the regeneration and conservation of the nearby forests and rice fields, also referred to as satoyama (neighboring ecosystems linked closely to the nearby human life), restoring dry and degraded rice paddies into wetland biotopes, and installing year-round water channels in the surrounding valley paddies to provide refuge for the aquatic eco-system.
In addition, tunnels and bridges have been engineered to maintain the natural topography as much as possible, and to provide habitats and migration routes for animals and plant growth.
Updated April 14, 2022.
Toyota Motor Corporation works to develop and manufacture innovative, safe and high-quality products and services that create happiness by providing mobility for all. We believe that true achievement comes from supporting our customers, partners, employees, and the communities in which we operate. Since our founding over 80 years ago in 1937, we have applied our Guiding Principles in pursuit of a safer, greener and more inclusive society. Today, as we transform into a mobility company developing connected, automated, shared and electrified technologies, we also remain true to our Guiding Principles and many of the United Nations' Sustainable Development Goals to help realize an ever-better world, where everyone is free to move.
SDGs Initiatives: https://global.toyota/en/sustainability/sdgs/
The Press Release relates to SDG 9,12,13 and 17.
¹Mark Levinson is a trademark of Harman International Industries, Inc.
Amanda Roark
amanda.roark@lexus.com
2021 Lexus LFZ 0001
2021 Lexus LFZ-0062
Shimoyama00.new_facility
Shimoyama02.2F_officearea
Shimoyama07.visitorarea
2021_Lexus_LFZ_Concept_Video
2021_Lexus_LFZ_Concept_Video_subtitled
2021_Lexus_Electrified_Virtual_Reveal
2021_Lexus_Electrified_Virtual_Reveal_subtitled
REDEFINING THE LUXURY CROSSOVER THAT LAUNCHED A SEGMENT: THE ALL-NEW 2023 LEXUS RX
WHAT'S NEW: 2023 Lexus RC and RC F
INTUITIVE TECHNOLOGY ADDED TO 2023 LEXUS LS 500, 500h WITH LEXUS INTERFACE INTEGRATION


Written between 1914 and 1916, The Planets is a seven-movement orchestral suite by English composer Gustav Holst. It received its orchestral premiere 100 years ago on 29 September 1918 in the Queen's Hall, London conducted by Holst's friend, Adrian Boult, before an invited audience of around 250 people.
Born Gustavus Theodore von Holst on 21 September 1874 at 4 Pittville Terrace, Cheltenham, Holst was the elder of two children of Adolph von Holst, a professional musician, and his wife Clara Cox, nee Lediard, the daughter of a respected Cirencester solicitor. Holst came from a musical family – his father taught piano and was organist and choirmaster at All Saints' Church, Cheltenham and his mother was a talented singer and pianist. His great-grandfather, Matthias Holst, born in Riga, Latvia, served as composer and harp-teacher to the Imperial Russian Court in St Petersburg.
When his mother, Clara, died from heart disease when he was only eight years old, Holst and his younger brother Emil (who later became known as Ernest Cossart a successful actor in the West End, New York and Hollywood) were looked after by their aunt Nina, who alongside their father, taught Holst how to play the piano and compose music. Between 1886 and 1891 he attended Cheltenham Grammar School (now Pate's Grammar School) and, after having spent four months in Oxford studying counterpoint with George Frederick Sims, organist of Merton College, Holst gave held his first concert at the Montpellier Rotunda in Cheltenham at the age of 21.
In 1893 Holst left Cheltenham for London to study composition at the Royal College of Music. After finishing at the college, Holst discovered that 'man could not live by composition alone' and took various organist posts at London churches and became a professional musician, playing the trombone in theatre orchestras. In 1903 Holst decided to abandon orchestral playing to concentrate on composition, however his earnings as a composer were too little to live off and in 1905 he accepted the offer of a teaching post at James Allen's Girls' School, Dulwich which he held until 1921. This was followed by the teaching posts for which he is probably best well known – director of music as St Paul's Girls' School, Hammersmith, from 1905 until his death and director of music at Morley College from 1907 to 1924. Whilst working as a teacher Holst wrote many pieces of music, including The Planets.
Disillusioned and depressed by his lack of success as a composer, Holst went on a walking holiday with friends to Spain in the spring of 1913. One member of the group was Clifford Bax, a writer with an interest in the esoteric. According to Bax in his book Ideas and People, it was Bax who first introduced Holst to astrology. As a result Holst became quite a devotee of the subject and became an enthusiastic creator of horoscopes, casting them for his friends for fun.
It was during this time that Holst first started thinking about a piece of music inspired by the planets. The concept of the work is astrological rather than astronomical, with each movement intended to convey the different 'personalities' of the planets and the ideas and emotions associated with the influence of the planets on the psyche; not the Roman deities.
Originally, Holst composed The Planets on the piano, using a piano in his newly built sound-proofed room in the music wing at St Paul's Girls School, as well as the piano at home in Thaxted. The piece was composed in a version for four hands, two pianos and was scored by two of his colleagues at St Paul's, Vally Lasker and Nora Day, who acted as amanuenses. The help of colleagues was necessary due to neuritis pain which Holst frequently suffered in his right hand.
On this score Holst would mark indications of instrumentation in red ink and his amanuenses worked from this to produce the full orchestral score. The exception to this version was the last movement, Neptune, as Holst considered the piano to be unsuitable as it was not mysterious enough for the distant planet. Instead it was scored for a single organ, but the orchestral version has the addition of an offstage choir of women's voices.
As it was being composed, Vally Lasker and Nora Day played the two piano version to Holst, movement by movement. They continued to play this version in concerts and rehearsals in various parts of the country, and also to visiting conductors, including Adrian Boult. The piece was originally entitled Seven Pieces for Large Orchestra, probably inspired by Schoenberg's Five Orchestral Pieces, which Holst had attended a performance of in January 1914. However, by the time of the first public performance in 1919 it had been renamed The Planets.
When Holst started composing the suite in 1914, the movements appeared not quite in their final sequence. Begun in May 1914, shortly before the outbreak of World War I, Mars was the first movement to be written and is frequently seen as Holst's critique of war. This was followed by Venus and Jupiter. Saturn, Uranus and Neptune were all composed in 1915 and Mercury was completed in 1916.
The orchestral score was created after the two piano version by Holst, his amanuenses Vally Lasker, Nora Day and one of his St Paul's pupils, Jane Joseph, who was the main amanuensis for the orchestral score of Neptune. It was in this form that that The Planets became enormously popular, yet the work was not heard in a complete public performance until some years after it was completed.
Holst had tried to enlist at the outbreak of the First World War, but was rejected as unfit for military service due to his health problems. However, we wanted to contribute to the war effort and so volunteered to teach music to the troops under the direction of the YMCA. In 1918, just as the war neared its end, he was posted to Salonika in Northern Greece to assume the post of Musical Organiser, helping to organise music activities in military training camps and hospitals. Morley College and St Paul's Girls' School both offered him a year's leave of absence, but one obstacle remained – his name. The YMCA felt that his surname 'von Holst' was far too Germanic to be acceptable in such a role, so a prerequisite of him taking up the post was a change of name. He formally changed it by deed poll to the less inflammatory 'Holst'.
Holst was given a spectacular send-off when his friend, fellow composer, Balfour Gardiner, organised a private performance of The Planets as a farewell gift.
The orchestral premiere of The Planets suite was held at short notice on 29 September 1918 during the last few weeks of World War I, in the Queen's Hall, London. Conducted at Holst's request by Adrian Boult, it was a private performance by the Queen's Hall Orchestra, organised by Balfour Gardiner as a farewell to Holst, before he left England for Salonika to teach music to the troops as part of the war effort. It was hastily rehearsed – it is said that the musicians only saw the complicated music two hours before the performance and the choir for Neptune was recruited from pupils at St Paul's Girls' School, where Holst taught. A comparatively intimate affair, it was attended by around 250 invited associates, including conductor Sir Henry Wood and most of the professional musicians in London. Nevertheless, Holst regarded this very first performance as the public premiere, inscribing Boult's copy of the score, 'This copy is the property of Adrian Boult who first caused the planets to shine in public and thereby earned the gratitude of Gustav Holst'.
Although there were three further performances between February 1919 and October 1920, they were all incomplete. At a public concert in London on 27 February 1919 under the auspices of the Royal Philharmonic Society and conducted by Boult, five of the seven movements were played. The decision not to play all the movements was made by Boult, who felt that introducing something so new to the public would be more than they could take in. Holst then conducted Venus, Mercury and Jupiter at a Queen's Hall symphony concert on 22 November 1919 and there was another incomplete performance in Birmingham on 10 October 1920, where five movements were played. The first complete public performance was finally given in London at the Queen's Hall by the London Symphony Orchestra, conducted by Albert Coates – this was the first time that Neptune had been heard in a public performance, as all the other movements had been given earlier public hearings.
Holst returned to England in June 1919 and resumed his teaching and composing. In addition to his existing wok he accepted a lectureship in composition at the University of Reading and joined his great friend Vaughan Williams in teaching composition at their alma mater the Royal College of Music. Boosted by the international popularity of The Planets, Holst, by now in his forties, suddenly found himself in demand and becoming increasingly famous. The strain caused by the demand on him became too great, and in 1924 he cancelled all professional engagements on doctor's orders and retreated to Thaxted. In 1925 he resumed his work at St Paul's, where he continued to pioneer music education for women, but he did not return to any of his other posts.
Holst continued to write and teach music; his productivity as a composer almost immediately benefiting once he was released from his other work. His works from this period include the Choral Symphony to words by Keats, a short Shakespearean opera At the Boar's Head, an orchestral piece called Egdon Heath inspired by Thomas Hardy's Wessex and Choral Fantasia. However, Holst's health deteriorated in the last years of his life and he died in 1934 at the age of 59 of heart failure, following an operation on a duodenal ulcer. Vaughan Williams conducted music by Holst and himself at the funeral and Holst's ashes were then interred at Chichester Cathedral.


text:
COS 116
Climate Change: Ranges And Phenology I
Thursday, August 13, 2015: 1:30 PM-5:00 PM
303, Baltimore Convention Center
COS 116-1
Recent synchronous horticultural escape and naturalization of Magnolia tripetala north of its native range will give tree species a 'head start' on climate change
Jesse Bellemare, Smith College; Claudia Deeg, Smith College; Dov F. Sax, Brown University; Regan Early, University of Exeter, Cornwall
Is the timing of bird migrations keeping up with climate change?
Stephen J. Mayor, University of Colorado; Robert P. Guralnick, University of Florida; Morgan W. Tingley, University of Connecticut; Javier Otegui, University of Colorado; John C. Withey, Florida International University; Sarah C. Elmendorf, National Ecological Observatory Network (NEON); Margaret E. Andrew, Murdoch University; Stefan Leyk, University of Colorado; Ian S. Pearse, Illinois Natural History Survey; David A.W. Miller, Pennsylvania State University; Katherine M. Thibault, National Ecological Observatory Network (NEON); David C. Schneider, Memorial University of Newfoundland
The last stand? Using tree-rings and downscaled climate models to predict future ponderosa pine growth and distribution near its southern range limit
Ian M. McCullough, University of California, Santa Barbara; Frank W. Davis, National Center for Ecological Analysis and Synthesis; Alan L. Flint, U.S. Geological Survey California Water Science Center; Lorraine E. Flint, U.S. Geological Survey California Water Science Center; John R. Dingman, U.S. Geological Survey California Water Science Center
Convergence and divergence of flowering times across the Arctic in response to warmer temperatures
Janet S. Prevéy, Swiss Federal Institute for Snow and Avalanche Research; Christian Rixen, Swiss Federal Institute for Snow and Avalanche Research; Mark Vellend, Université de Sherbrooke; Robert Hollister, Grand Valley State University; Greg Henry, University of British Columbia; Jeff Welker, University of Alaska Anchorage; Toke T. Hoye, Aarhus University; Ulf Molau, University of Gothenburg; Anne D. Bjorkman, German Centre for Integrative Biodiversity Research; Elisabeth Cooper, University of Tromsø; Bo Elberling, University of Copenhagen; Sarah C. Elmendorf, National Ecological Observatory Network (NEON); Anna Maria Fosaa, Faroese Museum of Natural History; Ingibjörg Svala Jónsdóttir, University of Iceland; Kari Klanderud, Norwegian University of Life Sciences; Esther Lévesque, Université du Québec à Trois-Rivières; Marguerite Mauritz, Northern Arizona University; Isla H. Myers-Smith, University of Edinburgh; Susan M. Natali, Woods Hole Research Center; Steven F. Oberbauer, Florida International University; Eric Post, Pennsylvania State University; Sabine Rumpf, University of Tromsø; Neils M. Schmidt, Aarhus University; Philipp Semenchuk, University of Tromsø; Tiffany G. Troxler, Florida International University; Sonja Wipf, Swiss Federal Institute for Snow and Avalanche Research
Shifts in climate niches for major tree genera in eastern US caused by historic land use and climate change
John W. Williams, University of Wisconsin-Madison; Simon J Goring, University of Wisconsin; Madeline Ruid, University of Wisconsin-Madison; Charles V. Cogbill, Plainfield, VT; Michael Dietze, Boston University; Stephen T. Jackson, U.S. Geological Survey; Jason S. McLachlan, University of Notre Dame; David Mladenoff, University of Wisconsin-Madison; Christopher J. Paciorek, University of California, Berkeley; Sydne Record, Harvard University
COS 116-
Consequences of shifts in the mean and variation in prey phenology for predator-prey interactions
Nick L Rasmussen, University of California-Davis; Volker H. W. Rudolf, Rice University
Shifting habitat causes niche offsets and range asymmetries in experimental populations
Brett A. Melbourne, University of Colorado at Boulder; Alan Hastings, University of California, Davis
Long-term climate impacts on avian reproductive phenology in Pennsylvania
Molly E. McDermott, Carnegie Museum of Natural History; Lucas W. DeGroote, Carnegie Museum of Natural History
Potential effects of climate warming on two species of mountaintop endemic salamanders
David Marsh, Washington & Lee University; Kara Farroni, Washington & Lee University; Kate McCreary, Washington & Lee University
COS 116-10
Single measures of phenology do not accurately predict phenological shifts
Shannon K. Carter, Rice University; Volker H.W. Rudolf, Rice University
See more of: Contributed Talks


text:
Flutterby™! : Send in the Clones
Send in the Clones
2003-01-22 17:08:46+00 by TC 8 comments
Eventhough they share the same DNA. Cloned cats are not identical. So would you wackos stop trying clone Hitler so you can put him on trial! It doesn't work that way! Cloned Hitler might be a nice guy but still certainly ugly.
[ related topics: Cool Science Bioinformatics Current Events Work, productivity and environment ]
#Comment made: 2003-01-22 23:18:58+00 by: anser
My view is that if merely copying the DNA doesn't produce an identical individual, then DNA copying simply ISN'T CLONING - we haven't made a clone yet, we've just made copied-DNA critters.
Cloning doesn't fascinate people because we all walk around counting chromosomes in everyone we meet, it fascinates us because of the idea of an identical person. There is probably something (or things) else that you have to do BESIDES copying the DNA to produce an identical individual. When we figure those things out and learn to do them, then we will have created a clone.
#Comment made: 2003-01-23 14:00:56+00 by: John Anderson [edit history]
/me steps in and puts on the "PhD in Biology" hat
Actually, that's exactly what a "clone" is: two organisms, same DNA. Period, end of story.
Now, it is somewhat inconvenient that when you're dealing with, oh, say, mammals, that environmental influences during the development process and various other imprinting sorts of events have as much influence on the appearence and behavior of the organism as the DNA does (if not more). That doesn't change the fact that the two cats are still clones. That's what the word 'clone' means.
/me takes the hat back off and continues about his business
#Comment made: 2003-01-23 18:23:46+00 by: other_todd [edit history]
I'm with the gentleman formerly known as Mr. Anderson :)
This cat story was a "duh" story to me (and I didn't use it in my weblog) because it seems so obvious. We have people NOW with the same DNA and same environment - identical twins. You can bring up identical twins in the same house in the same way and knock yourself out trying to hand out symmetrical treatment, and yet sooner or later one is going to develop a quirk the other doesn't have. Maybe one day one is going to be nearly hit by an SUV and develop a fear of them or something. But it'll happen.
Now, let's consider the cats. They have the same DNA. Why don't they have the same coloration? Because cat fur patterns are only PARTIALLY determined by genetics. Conditions in the womb can affect it, as can conditions after birth. Dark-pointed cats, like Siamese, are heavily affected by temperature, for example; the extremities get dark because they're colder. If you shaved a Siamese's back and strapped an icepack to the shaved area the whole time the fur was growing back in, it'd come back black.
And the default cat pattern is tabby, but the range of variations on that is so huge that two-thirds of them are not recognizable as tabby. See The Book of the Cat, ed. Wright and Walters.
Why do they behave differently? One presumes they were raised differently. I haven't heard the backstory but at the very least I assume that CC has had an awful lot of excess attention lavished on it since its birth. Cats do notice these things, you know :)
#Comment made: 2003-01-24 00:10:06+00 by: TC
I guess I'm mostly preaching to the choir here but I read stories about people saving the DNA of their dead son in the hope of one day bringing him back and I want to cry at how hoplessly misguided they are. The cloning Hitler thing was something I heard on talk radio and some people were for it!!! My biggest anoyance is that therapeutic cloning is now under fire because of misunderstanding it. It's like stem cells all over again! grrrrrrrr
#Comment made: 2003-01-24 14:30:34+00 by: John Anderson
My biggest anoyance is that therapeutic cloning is now under fire because of misunderstanding it.
todd, the important thing to keep in mind is that this is just like any other science policy sort of issue: it's driven primarily by ideology and political agendas. The actual, real, honest-to-Ghu science is a very small part of it. (Logical reasoning is even smaller than that...)
/me takes off the "will opine cynically for food" hat and goes about his business
#Comment made: 2003-04-16 18:06:16.48452+00 by: heather [edit history]
HI I WOULD LIKE TO ASK IF I COULD SHARE THE STORY OF MY TWIN SISTER IF I COULD PLEASE CONTACT ME AT PrincessHeather8671@yahoo.com
#Comment made: 2003-04-16 19:37:49.256377+00 by: dexev
Dan-
How hard would it be to "lock" articles here after they were dormant after two weeks (or whatever), and then require a 24(or 48, 72...) hour waiting period before new accounts could comment on locked articles? Just a thought...
#Comment made: 2003-04-16 20:47:41.444024+00 by: Dan Lyke
Oooh. Cool idea. Thanks, I'll look at that.


text:
Vídeos empresariais Destaques dos produtos Aplicações Apresentações de diapositivos
Canal 3: Aplicações
ATEN War Room - Meeting Room Solution
Take a closer look in this video at the ATEN 'War Room', a meeting room solution for critical, decision-making meetings.
Streamlined Workflow on a Pro YouTuber's Desktop
To a pro YouTuber, filming and editing usually involve lots of time and setup. The key goal to a good story is the quality, and in order to make that happen, she can't do without a powerful PC and a 4K monitor. See how CS1953 helped streamline her workflow on a cable-cluttered desktop with KVM efficiency.
Success Story - Goodideas-Studio, Taiwan
The Goodideas-Studio in Tainan, Taiwan was looking for a new livestreaming solution that's easy to use and features camera switching, pro-level effects, portability, and more. They chose the ATEN StreamLive HD (UC9020) because it does all this and the studio's members can all quickly learn how to use it.
ATEN Remote Control & Monitoring Solutions - High-Tech Production Line
Manufacturing is among the vertical sectors to have received the largest impact of the technological developments of the last decade. Beyond the incredible cross-industry disruption created by the Internet of Things (IoT), new paradigms in consumer purchasing behavior, manufacturing services, and industrial security are beginning to upend traditional production models, leaving companies both large and small scrambling to catch up to ensure competitiveness.
Success Story - VIVE Cooking School, Australia
Previously, VIVE's technology solution made it very difficult for students to watch demonstrations proffered by chefs up-close. The system offered no centralized control to allow for switching multiple inputs to multiple outputs; rather, it was limited to just two video inputs and outputs and teachers needed to switch cameras manually from a laptop.
Now, with the introduction of a tailored solution from ATEN that includes the 8 x 8 HDMI Matrix Switch with Scaler VM5808H, which offers a local output (8 total) for each input (8 total) as well as profiles to be pre-set so that input/output routing is done once via an online browser setup; the ATEN Control System - Compact Control Box VK1100, which allows for easy switching of VM5808H screen setup and centralised control; and, the 3G-SDI to HDMI/Audio Converter VC480, which converts a 3G/HD/SD-SDI input signal to HDMI in real time while avoiding transformation loss for both audio and video signals.
Success Story - Nan-Hu Elementary School, Taiwan
See a total control system solution including seamless switching matrix switch, HDBaseT extenders, PDU, lighting control for building an interactive eFuture classroom.
Success Story - Elevens Bar, UK - Digital Signage
Elevens Bar & Grill, the new sports bar partnership between Wales and Real Madrid footballer Gareth Bale, needed a 4K control / distribution system for its 20 screens across the two floors. The ATEN solution included the VM3200 32x32 Modular Matrix Switch, VK2100 Control Box, and our HDBaseT products.