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Meg Currell
This is me. My thoughts. In words. Sometimes pictures. Tim's still here, he's changed into one of those programs that runs in the background.
All There Is
Since the election, my mood has trended downward, unable to lift higher than "okay", just enough to get out of bed in the morning. A pall was cast on the world that night, and I can't find a way to poke through to let light in.
Tim coming home at Thanksgiving helped, and having him here now for an extended stay has raised my baseline, but life feels like a trudge now, the effort of optimism a burden.
But for a few hours on New Years Eve, I experienced joy again. We went to Oregon Symphony's year-end performance, which featured a first half of perfectly acceptable music (a tribute to a dedicated former conductor and his lifetime's work of arrangements) and finished with Beethoven's Symphony No. 9.
Last year on New Year's Eve, I drove out to dark-sky country and listened to the top 10 classical hits of all time, which ended, of course, with Symphony No. 9. I never gave that symphony a second thought before, because I wasn't much for "choral symphonies"; I want choirs and symphonies to stay separate. But listening to No. 9, sitting in the car on the edge of a field on a frigid, starry night, I heard it totally differently. No. 9 is a remarkable piece of work, abundant in its instrumentation and voicings, as if inviting everyone who's ever sung or played a note to participate in lifting up this single thought: joy.
Symphony no. 9 begins with chaos of tuning, then strikes a bold two-note stance; here I am. Here we go. To me, Symphony no. 9 is about the individual attempt to create one's life, and it starts with the very first phrase. Here, says Beethoven, is where we will plant our foundation. The second movement, with its racing sixteenths in overlapping voices, trots past onlookers, all action and movement, its goal the momentum building to the crescendo, punctuated by tectonic bass drum blasts, until the rapid finish devolves again into chaos. The third movement is a placid interlude, its opening bars a balm after the burning purpose of movement two. The fourth movement, however, is unmistakably given to chaos and darkness from the first notes. Some interplay occurs between the sweetness of the melody of creation and the brash destruction of the bass drum, and they fight upward into a chaotic swirl. Like taxiing on a runway, the momentum starts and stops, waiting for something to happen.
Beethoven is such a tease: the terraced dynamics bring you to the brink of fulfillment, and then he lays off the gas, and you're left reaching.
Enters the voice of the baritone, with the statement of the opening lines of the poem from which the symphony gets its title. "Enough dallying!" he says, "enough quarreling! Let's go!" and sings one of the most beautiful words in German: Götterfunken. It means "lovely divine spark" or (my favorite) "thou beauteous Godly lightning".
And with that lightning, the music lifts off. In that moment, this ponderous chaos of a symphony rises, an ecstatic shooting skyward of human endeavor. This is fireworks in music.
What makes Beethoven so powerful is his embrace of the messiness of life, his willingness to descend into chaos in harmony and instrumentation, all while celebrating the exuberance of creation and connection. Through the vivid and striking violin melody, the bass drum crashes, a reminder that light does not exist without dark, that chaos precedes order, and order is fleeting.
Beethoven's insistent dancing through bedlam, the hallmark of his marriage of classical and romantic periods, is what makes his music so intoxicating to me. There is order, he says, at the loss of beauty. We give ourselves over to apathy and death when we allow orderliness to be the guiding thought; here, he says, is joy. HERE is unfettered creation and life. I feel him straining at the bonds of classicism throughout No. 9, particularly in the cascading melodic lines that simulate destruction.
In its outrageous size, No. 9 has space for all of that messiness of life, and gave me hope in our ability to get through this unbearably dark time together. From the allegretto, the sound of the fear gripping us, now that the worst has happened, how do we face what comes next? But we can face it, but only with all of our voices pushing and straining against the conformity required of order.
Beethoven famously renamed his Symphony No. 3 from "Buonaparte", for Napoleon Bonaparte, who he initially supported, to "Eroica" after finding out Napoleon named himself "Emperor of the French". Beethoven refused to honor a tyrant with his music.
I like to think we could use music–Beethoven's and others'–to express our collective will to fight the darkness, to refuse to give in to our own tyrant; we have been mourning the destruction of our society, however fragile our peace, and while we carry with us that frustration, together we will move forward, our collective, intentional joy shutting out the darkness of this new tyranny.
Looking at the stars on a dark, cold night, it isn't the black sky that causes us to marvel; it's the millions of pinpricks of light piercing the darkness that keep us enthralled. The infinite void is broken by the light of thousands of suns and planets. In holding high our lights for justice, equality, goodness and kindness, we are the stars in this darkness.
Featuredmeg1001	beethoven, classical, music	Leave a comment
Feelings Machines
I grew up in a family dominated by boys, a group as macho and male-centric as you can get. As the youngest of five, I held a particularly dismissed position, made worse by my gravitation toward music and literature. All my life, I've been told that having feelings is bad. Showing emotion is a sign of weakness. Vulnerability. Even outside my family, this is the prevailing message: a premium is placed on "stiff upper lip" and stoicism, something I've learned to feign effectively.
My mother was an artist and a musician, my father an avid reader and self-taught musicologist, my sister a fine artist. Art and music and literature were everywhere in our house, and yet the prevailing attitude was that feelings were meant to be feared or avoided, and certainly not discussed.
But I've learned in therapy that our bodies — all of our bodies, not just women, not just writers and musicians — are feelings machines. Our five senses provide input to our brains about the world. The senses provide data that we then have to interpret. Feelings are what happen when our brains interpret that data. It's how we deal with that interpretation that defines who we are.
Some of us are "sensitive" people, and some have learned to lock away the process of interpreting this data so it doesn't show. But all of us do it. Sensitive people may have a more finely honed lens through which we see; things are brighter or sharper, and the input is intense. When we express those impressions to other people, we're told we are strange or weird. That the world couldn't possibly look that way. I've heard that message my whole life.
Well, until I moved to Portland. Here, I'm rather tame.
Some of us learn to hide away those feelings, bury them until they become caustic and threaten an internal — and ultimately external — explosion. Some learn to control the feelings, only letting them out in the safety of relationships with healthy, loving others. Some wallow in feelings, overwhelmed and confused by the power of these feelings.
But feelings don't just go away when we don't want to deal with them, or because we think they're bad. They get bigger and more chaotic when we ignore them, like Gremlins in water.
Some of us are compelled to put those feelings into music, art, words, photographs, dance, sculpture — where other, less-feeling-aware people can see them and marvel at our talent. Art teaches us to see the human spirit and art lovers bask in its beauty and ability to make us feel.
To make us feel.
Tell me again feelings are bad?
Shouldn't we be celebrating our body's ability to reveal the world to us? Shouldn't we be teaching our children, instead of hiding feelings in shame, to understand what the feelings are telling us? Joy, wonder, frustration,– anger! Anger tells us something is wrong, yet we are told to quell that anger and be calm.
And certainly not to talk about it. Oh heavens no.
In denying the feeling, we're denying the right to explore life on our own terms and in our own observation of the world. Feelings are clues to help us understand the experience of being alive. We ignore and squash and deny them to our peril.
When we recognize the feelings, when we take the time to know ourselves and listen to what our feelings are telling us, we have the opportunity to be really alive, to live honestly. This isn't to say we must revel impulsively in every feeling that crops up, but to become aware, to take time to analyze what's going on so we understand and can make informed decisions.
This process has, for me, improved my relationships. When I understand the feelings that occur when I interact with the world, I am more considerate of other people, more aware of how my behavior changes, and how I affect other people. I'm more aware, too, of the variability of the feelings of people around me, and want to ensure that people I work and live with feel comfortable and safe with me. Increasing my awareness of myself has sent ripples out into my little world, and I am happier because of it.
Our systems are designed to take in this input, process it, and use it to guide our path. When we refuse to process it, it piles up and gets unmanageable. But we have tools: meditation or prayer, exercise, yoga, playing or listening to music, producing art, writing, sitting quietly and watching the sun rise or set.
My tools, the activities I use for what we call "self-care", are gardening, being in nature, singing, and writing. I spend some time every week doing all of these. Tim has other tools, including playing the guitar. Each of us has different tools to help us quiet the mind, to get us into a place of understanding feelings.
We celebrate artists for what they remind us about ourselves, but we can also investigate our own impulses and instincts, dig down to find out how *we* see the world, and share our own unique perspective on this experience.
We are feelings machines, built to take in and process all that life has to offer. It's a beautiful kaleidoscope.
December 29, 2015 meg1001	art, feelings, Mental Health, music, relationships, Self Care, vulnerability	Leave a comment
Where's Christie?
A couple of friends of mine are at the Billy Joel concert at Wrigley Field tonight. One of them posted an update saying they happened to be sitting behind the dumbest audience member in the place, someone who tried to join in the revelry by lighting up her phone's flashlight and holding the device above her head, like people used to do with cigarette lighters.
Only this genius held the device backward, and the flashlight shone right into the eyes of my friend and her husband.
It reminded me that weird/stupid/rude audience members have been on my mind lately. Now that I'm going to a lot of events, I am encountering audiences more, and the experience isn't always pleasant.
Some of them are wonderful, to be sure. Like the woman who sat next to me in a hot theatre and started fanning herself, sending a cooling breeze my way. I leaned over and thanked her for doing "God's work", and she started a conversation (as Portlanders do, which is straight-up awesome), and the next thing you know, we were comparing childhoods in Catholic school and horrible nuns and being a mother. I don't remember her name, but we sure had a great time laughing our asses off before the concert began.
But others aren't so great.
I seem to have a penchant for being seated directly behind the drunkest fan in the joint, or the loudest, or the most enthusiastic. At the United Center, I was behind the drunk fan who stood and yelled at the officials every five minutes. We were on the 300 level, so the chance that the officials would hear and obey the fan's wishes were slender. Seated next to me was the second-drunkest fan who wanted to chat. All. Night. Long. Dude, I know it's a hockey game and not a library, but seriously…I came here for the guys on the ice, not you.
At a chamber concert, I was seated behind a tall woman with huge dangly earrings. No big deal, until the music started and she started bobbing her head to the beat. It was a fast piece. Those earrings could have sliced her skin, they were bouncing around so much. I tried to shift positions so I could see around her, but she had some kind of ESP about my sight-lines, and kept moving right in front of me, earrings flapping away. She didn't miss a single beat of the entire performance. By the end, I wanted to yank the earrings off her head.
At the Bruce Cockburn concert, we were seated near some lovely people who surprised us with drinks before the show began. So sweet. And then we talked and became friendly and everything was wonderful. And then the guy sitting in front of us was clearly trying to learn Bruce's guitar solos by copying his hand movements in the air. Every solo. Maybe I'm too distractable, but I couldn't stop looking at him. I wanted to see if he succeeded. It's like watching somebody play a video game; you have no stake in the outcome, but you watch anyway, just to see if they can win.
At a jazz concert, the woman sitting to my right was familiar with the performer's work, and very enthusiastically applauded and cheered every song. But at the final song, when the performer brought out his "finale" fireworks, she just went ape-shit.
Now, I'm familiar with the jazz idiom and its fans. I know jazz is a conversation, it's interactive, it's a function on some levels of the energy brought forth from the crowd. I get it. Some commentary isn't just expected, it's encouraged. I understand. And I accept that–to a point.
This woman was narrating each phrase with "oh WOW" or "Unbelievable" or "Incredible." Not softly, either. No, loud and clear, so that everyone around her knew how impressed she was. My favorite was "Oh, you've got to be kidding me." What an odd phrase. Someone, please, give her a chewy caramel, a Now and Then, a Laffy Taffy to get me through the rest of the set.
But the one that started it all was, in fact, a Billy Joel concert so many years ago. It was 1986, his Bridge tour, and my college roommate and I went to the Checkerdome in St. Louis to see him play. It was my first "real" concert, and I was excited to be in a big city on my own watching my favorite popular musician in this huge venue. It was really a great concert.
Except for the guy sitting directly in front of me.
Now, I don't know if he felt he had to drink to tolerate the music, because he clearly wasn't into it, but he was SOUSED. And again, we're in the upper seats, not close enough for him to make anyone on stage pay attention, but he had a lot to say. At the time, Billy was married to Christie Brinkley, and Drunk Guy spent most of the concert standing on his unsteady feet and shouting "WHERE'S CHRISTIE?" at the top of his lungs. Over and over, "Where's Christie?" as any answer would satisfy him. He just wanted to see the gorgeous model, not the troll piano player. Why did he pay good money for tickets to see the troll? Who knows.
He must have been really, really drunk. And all of these people, on some level, were just enjoying themselves. I get it. Maybe they were fulfilling a bucket-list wish and seeing a chamber concert for the first (and only) time. I don't know. In the moment, I try to remind myself that everyone is just trying to have a good time, and people show happiness in lots of different ways. It's just happiness, I tell myself. They're happy and they want to show it.
I wish there were some way to divine when I'm buying my tickets where the "happiest" audience member would be seated. I'll just buy my tickets strategically, and seat myself in the quiet section. Wherever that is.
August 27, 2015 meg1001	Billy Joel, concerts, Fun, music	Leave a comment
To take flight.
It's the goal of many of our endeavors. To master a skill or talent or job so that when we do it, we soar, effortless and powerful, self-sufficient, peerless.
Good musicians achieve this occasionally. Great ones do it regularly. Michael Jordan did it, and Wayne Gretzky. Swimmer Maritza McClendon just did it. Artists and chefs and scientists, authors and carpenters. Dancers fly. We can actually see it. Have you ever watched Misty Copeland?
It's why we watch professional performances, why we marvel over their magical "play" and wonder how they did that. But their play (a term we use for musicians and athletes, but not for others) is a result of years of work, dedication, practice, concentration, study, experimentation, mistakes, re-dedication, competition with themselves — ourselves — to push, to leap, to attempt repeatedly to take off and stay aloft.
To Daedalus. Without the "flying too close to the sun" part.
It's enough sometimes to get an inch off the ground. I've done it once or twice in the Brahms Ballade and the Khatchaturian Toccata. In writing, occasionally. I saw it last weekend at the Community Music Center Anniversary Recital, during the faculty performance. It's stunning to see people you encounter every day transforming into a collective effort pushing skyward, the music creating an updraft, the chamber orchestra following. Like the house from "Up" affixed to a million balloons. The musicians stood, seemingly earthbound, connected to one another in tempo and rhythmic pulses and eye contact, but if you weren't watching, if you took your gaze from them for a second, you would be sure they had taken off and were dancing far above, beckoning. Come with us, leave your gravity and fly, you can do it too!
And so, after watching in wonder, many of us head back to the practice room. To the desk, the lab, the palette, the workshop, the top of the key, back to our repetition and promise to the research and failed attempts, to the possibility of lifting off even an inch at a time. For the chance someday to not be earthbound. The feeling of liftoff, the tickle in the stomach, the butterflies so akin to falling in love or off a cliff, into danger, is the joy in life, the "ah-ha" moment, energy of danger and excitement and realization of our haunting dream. The elusive sense that we have touched that magic that skitters out of sight, around the corner, in our periphery.
And maybe that's the point of Peter Pan. Not just retaining childhood innocence, but the belief in ourselves. Belief that if we never forget our magic, we can truly fly.
Maybe not like Peter and the Lost Boys, but in our way, in the manner we were designed for. I will never fly like Misty Copeland, but I can fly as I am; with words, or in E Major, or with my voice.
But I can't stop trying. For those of us who keep falling in the attempt, we can't stop trying. Because deep down, I know it's possible. I won't give up the attempt, even when I keep falling. And I see this is true for my scientist friends, and artists and actors, my musician friends and authors. For those of us who just can't stop pursuing this crazy idea, even when it doesn't look like we're getting very far. We do it for one reason and one reason only.
For the persistent belief that, just for a moment, we can fly.
June 12, 2015 meg1001	art, flight, magic, music, sports	1 Comment
Faire son Calimero
Months ago, when my husband was in Europe with his male family members, I lied about being okay with it.
Maybe I didn't come out and say I was okay with it, but I tried to give the impression that I was okay with it.
And of course, now that the trip is over, I'm okay with it. Because what can I do about it now? Nothing. But the fact of the injustice of him getting to go and me not still sticks in my craw.
Maybe I need to rethink what it means to "be okay" with it.
He brought me some beautiful gifts. Pearl and sapphire earrings from the Louvre and a pashmina in hues of blue, which he knew I'd love. And I do. When my son went to Paris years ago with a high school group, he brought me a scarf in blue too, which I also love. I wore it this morning.
I treasure the Paris swag that's been selected for me so lovingly. I love knowing that somewhere on the Pont des Arts, there is a photo of Tim and me at our wedding, a picture affixed to a lock. The lock has probably been removed now, as the city has had to cut down the weight the bridges were supporting. But for a number of years, it was there. A part of me has been in Paris.
But *I* have never been there. I have pieces of Paris that I can touch, jewelry talismans that connect me to the city.
I have a memory chock full of study of the city from French class in high school and college, the map of the city we had to learn for tests, the arrondissements whose names evoke images of cobbled streets and revolution, of fin du siecle philosophers and writers lounging in cafes, so fed up with the world they can't fake it anymore.
Now, suddenly, I long to go there. Whereas before, I could convincingly say I didn't care one way or the other, somehow the fact that my husband has been without me, and numerous friends have gone in the last few months, and I've been treated to a parade of photos about all of their adventures, I am awash in longing for the city of light. I'm tired of hearing about it, of looking at it through glass, of never being able to taste or smell or feel the air. I get lost in thoughts of wandering the glossy streets washed by rain, smelling fresh bread and feeling adrift, as I am sure I will, in the unrequited energy. I'm stuck with recordings of Jacques Brel and Nina Simone, French curling sadly around their melodies. Flimsy approximations of being there.
Like many of you, I have the itch to travel. Since I moved to Portland, my desire to escape my life has dissipated, but I still want to see the world, all of it that I can manage, and Paris has risen to the top of my pile of wishes. The frequent reminders of what waits there for me have rushed into my consciousness and created a nagging ache that nothing will quell.
It's a shame that it would be so inappropriate to make a crowd-funding account just so I can go to Paris. If I could, though, I'd definitely call it "GoFundMeg." I'm hoarding pennies and dimes (and centimes, when I can rescue them from Tim's Paris leftovers). And fantasizing about flying to Paris all by myself, hours upon hours available for me to just wander and absorb and reflect the shimmering city.
I'll bring an empty suitcase for the books I'll buy in that tiny little shop along the Seine. I'll stuff sentimental souvenirs (which translates literally to "in place of going", how fitting!) for the people I've left behind. I'll buy Tim a beret he'll never wear, and maybe a cravat, but certainly not earrings.
And I'll only return when I'm good and ready, when I've learned to speak French confidently, without the fearful, stammering Midwest failings that pepper my current attempts. When I've finished with my tour of the countryside, when I've walked the Tuileries enough times to know the paths by heart.
When I have left part of myself in Paris, then I think this ache will subside.
April 23, 2015 meg1001	ALone, Gifts, Light, music, Paris, Pity, Souvenir, Travel, Writing	1 Comment
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Miss Bennet
GFAF, a Complaint
I write about Select Category activism anger Aspberger's assault Autism balance mood baseball Blended Families body-positive Boy Scouts of America camp CAPD Chicagoland childhood childish Christmas conservative cooking creative habits Depression disability diversity Dreams Eagle Scout election family Fat fear foreclosure Fun gluten free government healthy Hockey Holiday home hospital in-laws inclusion introvert Kids liberal Life living alone marriage menopause Michigan Michigan State University Moving music Obstacles Oregon osteogenesis imperfecta parenting people of color piano politics Portland premarital sex progressive race Reality Self Care Short Story siblings sports synethesia theatre travel Uncategorized Adventure Risks university unwed mother welcome white supremacy Writing
I write so I can figure out what I think and share it with others. I'm glad you're here so I can share it with you.
I will keep in my mind and heart these people, who comprise my home.


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The Candid Frame #174 - Jonathan Hanson
Ibarionex Perello February 18, 2013
Jonathan Hanson is a freelance photographer based in Baltimore, MD. His passion for culture, exploration and storytelling inspired him to leave his Midwestern roots for the East coast. His work is inspired by color, light and the relationships photography can often forge. He has travelled through Southeast Asia, Africa, Mexico and Canada. He received dual BA's in Journalism and Creative Writing from Drake University. In 2010, he was selected for the Eddie Adams Workshop and was named one of the top emerging photographers in the U.S. by The Magenta Foundation. You can find out more about Jonathon and his work by visiting his website and blog.
Jonathon Hanson recommend the work of Joel Sternfeld.
In "Baltimore", "Jonathon Hanson", "commercial", "documentary", "editorial", "magazine", "personal projects", "portrait"
The Candid Frame #163 - Emilio Banuelos
Emilio Banuelos has worked as an editorial photographer and consultant for newspapers in Mexico, Panama and the United States. His documentary work earned him fellowships from the Poynter Institute, The Marty Forscher Fellowship for Humanistic Photography and an award from EnFoco Inc. In the San Francisco Bay Area, Emilio teaches documentary photography for the Academy of Art University, and has conducted workshops for the University of California Santa Cruz-Extension, the University of Coahuila and Black Boots Inc. You can discover more about his work by visiting his photo website or the site for Black Boots Ink.
Emilio Banuelos recommends the work of Donna Ferrato.
In "Emilio Banuelos", "Leica", "San Francisco", "documentary", "film", "instructor", "personal projects", "photojournalism", "street photography", "workshop"
The Candid Frame #157 - Brian Smith
Brian Smith is a Pulitzer Prize-winning photographer who for the past thirty years has created iconic portraits of famous athletes, celebrities, politicians and business people. His images have appeared in countless books and magazines, not least of which are Sports Illustrated, ESPN the Magazine, Time, Forbes, New York Times Magazine, Elle and British GQ.
He won the Pulitzer for Spot News Photography for his photography of the Olympic Games in Los Angeles. He was also won awards from both World Press Photo and the Picture of the Year competitions for his image of Greg Louganis hitting his head on the diving board at the Seoul Olympics. His personal project have included images of Burlesque performers from today and the past. He is also the author Secrets of Great Portrait Photography: Pictures of the Famous and the Infamous. You can discover more about Brian and his work by visiting his website at www.briansmith.com.
Brian Smith recommends the work of Elliot Erwitt.
In "Brian Smith", "DLR", "Sony", "celebrity", "people", "personal projects", "photojournalism", "photojournalist", "portrait"
The Candid Frame #151 - Jasmine DeFoore
Ibarionex Perello August 12, 2012
Jasmine DeFoore is a photo consultant who knows first hand what busy editorial and commercial clients are looking for when it comes to finding photographers. She infuses her consulting projects with energy, enthusiasm and fresh ideas. Her approach integrates social media marketing with traditional promotional efforts and relationship building.
Jasmine launched her consulting business in 2010 and continues to be an active member of the photo community. Whether reviewing portfolios at international photo festivals, judging contests, blogging, lecturing at universities or mentoring young photographers, Jasmine keeps her love of photography at the forefront. You can find our more about Jasmine and her work by visiting her website and her blog.
Jasmine DeFoore recommends the work of Allison V. Smith.
In "Jasmine DeFoore", "business", "commercial", "consultant", "editor", "editorial", "marketing", "personal projects", "photography", "promotion", "top podcast", "top podcasts", "website"

redpajama_set_name: RedPajamaCommonCrawl


Costly Fire is a Cincinnati Candle Factory---Narrow Escape of Millions of Dollars Worth of Property.
CINCINNATI, Sept. 27.---Shortly before midnight fire was discovered in the works of the Emery Candle company, located in the suburban town of Ivorydale. The fire was in the grease warehouse, a two-story brick building 100 by 130 feet. When discovered the flames had already gained such headway that it was impossible for the firemen to get close enough to throw on any water.
The entire building was enveloped in flames in a few minutes, and the reflection of the blaze illuminated the whole city. The fire was confined to the cooperage building by the firemen from St. Bernard, Elmwood and the local department of the Proctor & Gamble company. Just east of the warehouse, but a few yards distant from the fire, were five large oil tanks, each holding 4,600 barrels and all full. For a time there was imminent danger that the flames would reach these tanks, and had the fire reached them the consequent loss through the spreading of the oil to adjacent property would have reached into the millions. The falling in of the walls of the burning building alone is what saved the tanks. The loss is estimated at $100,000.


Is it possible to achieve in one year?
We've all been inundated in the last year with guidance on how to survive this economic downturn. Most of the time it revolves around how to stretch each dollar. While much of the content is timely, is any of it really new? Most of what we hear is good business advice that should be followed all the time and not forgotten when the bounty is plentiful. Perhaps the single most important item firms should be looking at these days is how to do more with less. While this is something everyone knows, what you may not know is how to accomplish this while also seeing a return on your investment that can approach 400 percent in the first year.
Managing Tax Season with Fewer People.
Many firms had to lay off employees after April 15. While it's always hard to part ways with an employee, economic realities set in and firms have to do what is necessary to survive. Interestingly enough, many of these same firms are now wondering how they will be able to get the same workload, or more, done next year. By focusing inward on your processes, you can drive out waste and inefficiency. You will be able to complete more work with the fewer people you have on staff, and you won't need to make new hires.
Start by taking an objective look at your processes. Have you mastered the process? Are inconsistencies minimized? Have you reduced any bottlenecks? And are you consistently delivering good, timely service to your clients? After you answer these questions, ask yourself an even more important question: Would the rest of your staff answer these questions the same way? Unfortunately, processes in accounting firms are ripe with inefficiencies for a variety of reasons. Lean Six Sigma is a methodology that helps a firm to take a good, hard look at its processes to find ways to drive more and more waste out of the process. Ultimately, this leads to an increase in capacity and the true ability to do more with less.
Obtaining a Return on Your Investment.
When Lean Six Sigma has been implemented in accounting firms processes like business or individual tax returns, some firms have saved upwards of 100 hours per person on an annual basis. It doesn't take long to do the math to see that for every 20 people involved in the process, you are saving 2,000 hours - which is one less person you have to hire. Depending on what you would have to pay that person in salary and benefits, you could easily see between a 300 and 400 percent return on your investment. By rearranging the process flow around the final review step of a tax return process, one firm has saved its partners approximately 80 hours per year. What would you do with 80 extra hours? What would your other partners do with an extra two weeks? From drumming up new business to helping clients with new planning ideas, the additional income that could be generated by each partner will have an even bigger impact on our ROI.
If you keep doing what you've always done, you'll keep getting what you've always got. If you're happy with the status quo of your processes, that's great. If you think this economy presents an opportunity to improve, Lean Six Sigma is a proven process improvement technique that can help your firm go from good to great.


Falconhurst manages 26 properties in and around Markbeech village. They include 16th century Wealden farmhouses, pretty Victorian village cottages and converted barns. Cowden station has a good regular service to central London taking 45 minutes and free parking! We are approximately 20 minutes from Tunbridge Wells, East Grinstead and Sevenoaks, and 30 minutes from Gatwick, yet the feel of the surroundings are that of deepest, rural Kent with fields as far as the eye can see.
The estate office keeps a list of prospective applicants for cottages. Please contact us if you would like to be included on this list.


People are always trying to predict outcomes of games, or in-game events. By using technical data and making the challenge within an organized platform, we are attempting to attract a broad base of sports enthusiasts to compete on various aspects of individual professional games.
Fanduel and DraftKings are daily fantasy sports players, however our product is based more on individual achievements and overall outcomes of games. It competes with Las Vegas gambling, however there is no betting or wagering on our website. WinView games is the nearest competitor in the space.
We are looking to make watching a variety of sports and individual games more interesting by having our users have a vested interest in each game by offering cash prizes to winners.
There will be tiered levels of data analysis that we would provide for varying fees. The more data and analysis that users purchase, the more events they can participate in per day/week/month.


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The Durand Border Between Pakistan and Afghanistan
January 14, 2022 by TMO
By Mahvish Akhtar
The Pakistani government has been facing turmoil with the new Taliban-led Afghan government in terms of border control and fencing.
There has been a video circulating on the internet showing the Taliban members on the Afghan side destroying a part of the fence that Pakistan has built to create a prominent border at the Durand Line. The Taliban claimed the fencing was done inside Afghanistan's territory.
In another video circulating on Twitter, Afghan Defence Ministry spokesperson Enayatullah Khwarzmi was heard saying that Pakistan had no right to fence the border and create a divide, adding that such a move was "inappropriate and against the law".
Nonetheless when asked about the video and the government's stance on this issue Mr. Khwarzmi commented that "the same nation lived on both sides of the border and it was "logically not appropriate to create a gulf among a nation." However, Pakistani security officials told Pakistan news sources that the Taliban's claim of Pakistani forces trespassing into Afghanistan to build the border fence is false.
Pakistan said it will continue to have more talks with Afghanistan's administration to settle "some confusions" that have risen from the border fiasco.
Pakistan Foreign Minister, Shah Mehmood Qureshi said in a news conference in Islamabad that his country was determined to protect its "interests" and continue unilateral fencing Pakistan's almost 1,615-mile-long border with Afghanistan.
"We are not silent. We have installed the fence and, God willing, this effort will continue," Mr.Qureshi emphasized. "Afghanistan is our friendly neighbor. We are engaged with them, as some confusions have emerged, and we shall be able to resolve them through diplomatic channels." While Pakistan is downplaying the whole incident and the issue itself the Afghanis are making sure their disapproval of the border and its placement is understood.
Taliban spokesperson and Afghanistan's acting information minister Zabihullah Mujahid said in a statement, "The issue of the Durand Line is still an unresolved one, while the construction of fencing itself creates rifts between a nation spread across both sides of the border. It amounts to dividing a nation."
The fencing project had triggered clashes between Pakistani troops and Afghan security forces of the former US-backed government in Kabul in the past as well. The Durand border has been a disputed issue for a long time between the two countries. This border agreement was signed in 1893 between Afghan King Abdul Rahman and British-India's Foreign Secretary, Sir Mortimer Durand.
Along with the Afghan Taliban government, the country has to deal with the Pakistan Taliban daily. According to officials, Pakistan Tehreek-Taliban ( TTP) has been emboldened by the new Afghan government.
TTP is banned in Pakistan and is known as a terrorist organization. Last week security forces raided its base in the Waziristan area near the Afghanistan border. The group claimed the clashes had killed several Pakistani troops but there weren't any TTP casualties. The government statement said security forces had captured "one terrorist along with weapons and ammunition," and lost four personnel in an intense exchange of fire that followed the raid.
This organization has a very strong foothold in that area and is recruiting people for their cause. It is difficult to single out people from within civilians and stop the work they are doing. This kind of tactic can be more damaging and problematic for the country than a full-on attack. TTP has perpetrated many deadly attacks on Pakistani soil as well. The deadliest one was in 2014 when 132 school children were killed in an execution-style massacre in a military school.
Many militant organizations had found a home and training grounds in Afghanistan during the time of war, and some of them fought alongside the Taliban that won them their country back. TTP is one of those groups so getting the Afghan Taliban to help settle disputes with TTP would be difficult if not impossible.
The new Afghan government did mediate between TTP and the Pakistani government late last year. A ceasefire was ended a while back. This time around chances of them getting involved in a way that's positive for Pakistan is unlikely.
Any attempts to negotiate with the TTP recently, have fallen apart. Mr.Rana, a Pakistan Chief Minister says Pakistan's policy of simultaneously negotiating with and attacking the TTP is "confusing" and risks encouraging other insurgents in both countries.
Analysts say that the Afghanistan government would not be helpful in this matter because they cannot turn over leaders from groups that helped them win their country back. This is not just about one organization and a few people, if Afghanistan was to negotiate about TTP they would have to negotiate about IS and Al-Qaida as well and they are all allies of the newly built state.
This causes a crisis for Pakistan because it forces the Pakistani government to negotiate with TTP which is unsettling for multiple friends of the country. These countries are helping Pakistan financially and with trade. Pakistan cannot afford to upset them.
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Ost-West Handelsbank AG was a Soviet-controlled bank in Frankfurt established in 1971. It was acquired by VTB Bank and changed its name to VTB Bank Deutschland.

History
Ost-West Handelsbank AG (OWHB) was founded in 1971 by the Soviet Union's Gosbank, VEB of the USSR and a number of allied trade associations with Andrey Dubonosov as chairman of the board.

Ost-West Handelsbank supported trading between West Germany and the West with the Soviet Union and its friendly socialist states including East Germany, and, after the reunification of Germany, it continued supporting trade between Germany and the CIS states. From 1973 to 1991, OWHB facilitated trade between East Germany and West Germany through its stand at the annual spring and autumn festivals in Leipzig.

In 1974, OWHB gained stakes in Moscow People's Bank (London) and Wozkhod Handelsbank (Zurich) and Viktor Gerashchenko became the second chairman of the board replacing Dubonosov.

On 9 May 1976, Igor Semyonovich Gorbatsevich () from Vneshtorgbank became chairman of the board of OWHB and Gerashchenko transferred to the Singapore branch of the Moscow Narodny Bank.

In 1983, OWHB opened its Moscow branch at Kamergersky Lane, 6.

From July to December 1985, Anatoly Tsemyansky replaced Gorbatsevich, who retired, and in February 1986 Valery Lyulchev became chairman of the board until November 1989 when Sergei Bochkarev replaced him. Bochkaryov was chairman of the board of OWHB from 1989 to 1993.

By 1990, it was the third largest of the daughters of the State Bank of USSR behind the much larger Moscow Narodny Bank in London and Banque Commerciale pour l'Europe du Nord – Eurobank in Paris.

At the end of 1991, Ost-West Handelsbank had a DM 65 million paid-in share of capital.

In the early 1990s, Sergei Nikolaevich Dergachev () became president of Ost-West Handelsbank after the former president and chairman of the board of Ost-West Handelsbank from 1985 to December 1993 Sergei Mikhailovich Bochkarev () left for work with the German branch of Inkombank.

See also
 Foreign trade of the Soviet Union

Notes

References

Banks of Germany
Banks of the Soviet Union
Germany–Soviet Union relations
1971 establishments in West Germany

redpajama_set_name: RedPajamaWikipedia


Cambria Estate Winery, the seminal winery in Santa Maria Valley known for its single vineyard Pinot Noirs and Chardonnays, today announced the launch of its 'Stewards of the Land' environmental sustainability grant program in partnership with the Leonardo DiCaprio Foundation (LDF). LDF has worked on environmental issues globally for the past 20 years and pulled from their broad network of leaders and organizations in the space to nominate the women for this new grant program.
The Cambria 'Stewards of the Land' grant program identifies and empowers female leaders who are making meaningful contributions to environmental and community-based causes. In partnership with LDF, Cambria Estate Winery's co-proprietors Julia Jackson and Katie Jackson selected two recipients who will each receive a $25,000 grant to further their mission as Stewards of the Land. The inaugural grant recipients, Calla Rose Ostrander and the Women's Empowerment Program of Amazon Frontlines, were selected for their demonstrated commitment to environmental conservation and excellent stewardship of our natural resources, in California and around the globe, respectively.
- Julia Jackson, co-proprietor of Cambria and Family Ambassador for Jackson Family Wines.
Calla Rose Ostrander is an activist and organizer in the environmental movement with a focus on advancing carbon farming, compost production, and climate beneficial material economies in California. She brings together philanthropists, government leaders and businesspeople to build new climate-beneficial social and economic structures. Calla Rose is currently working to scale the healthy soils movement from California to the rest of the United States, with collaborators such as John Wick of the Marin Carbon Project and the philanthropist Jena King.
The Women's Empowerment Program of Amazon Frontlines aims to support indigenous women and strengthen indigenous families through the formation of community-led enterprises and women's associations that focus on income-generating socio-agricultural projects, as well as the recovery of plant medicines and traditional healing systems. Amazon Frontlines, with the support of Ceibo Alliance, provides women across dozens of indigenous communities the support they need to become leaders, advocates and entrepreneurs, creating sustainable economic alternatives for their families and communities.
Throughout its history, Cambria Estate Winery has taken serious, continuous steps to preserve and protect the land, take care of its employees, and support the local community. Every aspect of the winery's operations, from the cellar to the estate vineyard, practices sustainable farming and winemaking techniques. This includes planting over 5,500 trees on the estate and working in partnership with resource agencies on habitat restoration and endangered species protection. In the cellar, the winery recycles its process water for reuse as vineyard and landscape irrigation. The winery also has a 504kW photovoltaic (PV) solar array which helps reduce Cambria's carbon footprint by offsetting 52% of the winery's annual electricity use from onsite renewable power. These efforts have resulted in Cambria Estate Winery completing its sustainability certification through Sustainable in Practice (SIP) and the California Sustainable Winegrowing Alliance. To further demonstrate the winery's commitment to sustainability, a selection of Cambria's wines will showcase the California Certified Sustainable logo starting with the release of its 2017 vintage releases.


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A Look Back: Splinter Cell Blacklist's Benghazi Level
Making Of / 06 April 2019
**Originally published August 19th, 2016**
I'm feeling nostalgic. Tomorrow will mark 3 years since I shipped my first game with the amazing team at Ubisoft Toronto, Splinter Cell Blacklist. To this day, it is still my favorite project and the one I remember the most fondly out of all those I've worked on so far. I grew immensely as both an artist and a developer on this project. In many ways, it was the launching pad for my career and I owe a lot to both this project and Ubisoft Toronto for how much I was trusted with despite it being my first shipped game.
That said, I thought it would be fun to look back on the level that I worked on for the majority of production, the 'Safehouse' level set in Benghazi, Libya. Given that this was the first proper gameplay level after the initial tutorial level, we took the somewhat daunting task of making this level head on. Being a 3D Modeler at the time, I worked on this level closely with my Level Artist, Jon Boujos, our Level Designer, Nick King, our Modeler/Texture Artist, Tim Bergholz and our Texture Artist, Pierre Thériault.
Loading blog post...it's a long one, you've been warned.
If you need a refresher of the map (or a first time look!), here's a Perfectionist playthrough video.
#1_Barely Any LODs Used In Level
One thing you might have noticed playing through the level is that we barely had any assets with LODs in the level. If I recall correctly, virtually the only assets that had LODs were the great palm tree assets Tim Bergholz had made. The LEAD Engine (a heavily modified Unreal Engine 2.5), had a pretty robust occlusion system that handled 90% of our culling through hand-made occlusion meshes that lived in an invisible layer. The last 10% of assets missed by occlusion had their kill distances set by hand by both Jon Boujos and I as a fail-safe.
Due to the relatively tight structure and design initially laid out by both Nick & Jon combined with our tight culling, this enabled us to really use up the memory afforded from not having LODs to push a lot more props and clutter on-screen compared to other levels all while still running at a solid 30fps.
That said, were I to take another stab at the map today, one thing I wish we could have focused on more is push a lot more vistas throughout the map. We only revealed a bit of a vista at very key points due to the linear structure of the level, but in hindsight, we could have broken free from that more and make the level feel much larger than it actually was.
#2_Play Your Game's Other Content: A Case of Flashing Lights
Throughout Safehouse's production, I made a point to play the map almost everyday to re-assess the previous day's changes, note any previously missed bugs, etc. (Yes, that means I had to hear Elias Toufexis as Kobin in cinematics everyday) I always had a running log of things to do from those playthroughs, and they were incredibly valuable. One thing I had the chance to do towards the end of production is start going through a lot of the Co-Op maps made by our partners at Ubisoft Shanghai, as we were helping them bug fix gameplay issues to make the maps as smooth as possible for cover, Stealth, AI, etc. It was incredibly eye-opening going through their maps. I quickly realized, there that were so many little tricks and neat little things they were doing in their maps, whether it be lighting, smart optimization techniques, etc. that we didn't really do or pick up on in Singleplayer (and we were running out of time to implement new things). One thing I managed to ninja into our Benghazi map with the help of our trust Lighting team, VFX team & Sound team was selling the fact that the AI's truck was running and waiting for them to come back:
Don't you just want to cover on this truck?
I wish I could take credit for the idea, but as you might have guessed, it was a little thing I picked up from one of Shanghai's Embassy Co-Op maps. There was a garage in one of the maps with some running vehicles with their emergency lights flashing and it dawned on me...'Holy s***, why aren't we using this for our cover tutorial truck?!' (our truck originally had everything off). After a quick afternoon of running around and working with Lighting/VFX/Sound, we managed to get the implementation you see above in-game. In one fell swoop, all thanks to seeing a similar implementation in our game's Co-Op maps, we managed to lead the player to better reinforce our cover-to-cover mechanic in this tutorial section, sell the story that the mercenaries were keeping their truck running and loading it up and give some nice visual contrast to this heavily shadowed alleyway.
For me, this specific example really changed the way I've approached development for these increasingly large projects we work on with Singleplayer, Co-Op and/or Multiplayer. Next time, do yourself & other mode's team a favor...play each other's content earlier (and periodically) in development! Feed off each other's differing creativity and ideas.
#3_Yes, You Can (get your map to 30FPS, 10 mins before content lock)
Confession time. We almost shipped a section of our map running at ~25FPS on PS3. The exterior of the Police Compound near the end of our map was our last remaining big gameplay sandbox section running under performance. It was always eating me up inside that we still had one this one section left despite all the optimizations we did. Time was running out. I was the last person on our map and, while bug-fixing something in another Singleplayer map that day, I spotted a texture. A texture using a simple shader that was very similar to the expensive vertex-blended textures we were using in our under-performing area. With a bit less than an hour to spare before Art Content Lock, I made the very last minute decision to swap out the shader we were using on our street in that area for the shader of the texture from the other map. Visually, you could barely tell the difference. I built and launched the map on PS3, holding my breath. I get to the Compound area of the map. The whole area was now running at 30FPS on PS3. I can't tell you how much that of a relief that was checking that change in 10 minutes before Content Lock. So yeah, yes you can?
Our heaviest and largest section of the map
#4_How Far We Go To Save Memory
Ah, the days of 512mb of memory from last generation. When we say that we try to squeeze every last drop of the consoles, it's never a joke. Self-explanatory image taken from my notebook at the time (love hanging on to them!):
Every KB counted...
#5_Working in Passes: The Case of the Tri-Rotor
For games with multiple playstyles, gadgets and such, people often wonder how is it we go about supporting *all the things*. For me, through Splinter Cell's development, working in multiple passes was definitely key. For example, with the Tri-Rotor whose metrics got finalized a bit later in development, there was no choice but to do a big pass on the map once those metrics came in. We had to find cool and relatively natural areas to punch holes through to support a Tri-Rotor-sized vent. It almost became a fun little puzzle for each area to see which creative ways we could use to support this particular gadget. Often it even snowballed and the new opening became a great one to throw in other gadgets. For example, this backdoor leading to the Safehouse's laundry room, notice the open window at the top:
The late addition of the open window at the top became a great entry-point for the Tri-Rotor...and throwables!
The sad part is that, in all likeliness, most players probably didn't even have the Tri-Rotor unlocked at this level (though you definitely have enough money to buy it). That said, for more open-ended sandbox games, I think that's just something you have to live with, players can't and won't see everything you've worked on. For me, even if there's just 1% of players who ended up finding our little Tri-Rotor entries and felt smart and creative doing so? That's worth it.
#6_Same Structural Mesh, Different Set-Dressing
One sneaky little bit of re-use we ended up doing in the map is between two apartment complexes you go through in the map at opposite ends of each other. One apartment complex you end up going through a little later in the map ended being finished before the first one. When came time to finish the first one at the beginning of the map, I was able to re-use two entire apartment sets almost wholesale with just some set dressing changes between the two to accommodate little bits of story. This ended up being a godsend for the 1st apartment as we were knee deep trying to wrap up that section of the map for our very first press demo of the game, which our map was apart of.
The apartment later in the map
The apartment earlier in the map
One little caveat of re-using this same mesh was that it physically didn't actually fit in the 1st apartment building (woops). The interior and exterior didn't quite line up. In reality, if both the exterior and the interior of the apartment complex were loaded in the same time, you'd be seeing the walls of the interior protrude outside. Given how our loading was set-up between sub-maps, that was luckily never the case, the exterior and interior of the apartment were never loaded together so we were able to get away with the slightly hacky re-use!
#7_Cut, Copy?
Surprisingly, when I look back, not much of our map actually got cut. A lot of it came down to the great initial layout Nick & Jon established, it was a pretty solid foundation upon which to build the map. There was only one section/sequence that ended up being cut down and that's the intro of the map. It was originally supposed to be an elaborate market sequence, but it ended up being condensed down to the one we shipped with.The original plan for it ended up being way too long and for it to reach the quality needed we would have had to compromise quality and time for the rest of the map which had meatier gameplay. We ended up conserving the essence of that whole sequence and boiled it down to what shipped:
Notice Navid Khavari on the left there
#8_Light & Shadow
We knew that working on this map was going to be an uphill battle. We knew that Splinter Cell purists would want to hang us...a Splinter Cell map in daytime?! We were conscious of it all the time and it's something we honestly took to heart as a map team. A lot of onus was put on us and the lighters to come up with interesting gameplay and lighting setups to support Stealth and Panther playstyles, whether in daylight or inside. It actually was a fun challenge to come up with creative ways to create natural pools of shadows for Sam to roam in...flapping cloth outside, a turned on TV inside casting shadows, etc. As you can see from most of the screenshots I've posted of the map (and more can be seen on my site), despite being a daylight map, the map oozes with dark inky shadows whether we're inside or outside and that was fully intentional. We wanted to prove that we could do a daytime Splinter Cell map well, and to a degree, I think we succeeded (though I may be biased!).
Flapping cloth created great dynamic shadows Splinter Cell is known for
One interesting issue that came up from us loving to use flapping cloth in our exteriors was that we realized that Sam wasn't registering as in shadow or stealth when under one. Turns out that in that engine, for a shadow to be recognized by Sam's light meter on his back (which turns on when in shadow/hidden), whatever was being shadow-casted had to have collision. So, one pass that I ended up having to do throughout the map was add invisible blocks of collision roughly the size of the flapping cloths to have those cloth shadows register properly. So if you run through those clothed areas...notice how his light meter turns on and off properly! The little details.
#9_"Smart Polish"
Towards the end of development, Billy Matjiunis coined the term "smart polish". We were both the last two people on our respective maps, so we were debugging and closing the map for Goldmaster submission. Technically we were only supposed to be bug fixing and doing nothing else but...in between bug fixes, we were always sneakily fitting in as much polish as we could in our maps. Material tweaks here...a chamfered edge there...some more clutter here...we called it "smart polish", wherein we had to make doubly sure our ninja polish wasn't going to break anything or cause more bugs. Luckily, after having worked with that engine for so long at that point, we knew the right levers to pull.
One bit of sneaky gameplay polish I ended doing quite a bit of was making sure we supported our little friend the Tri-Rotor as much as possible (and not in the typical ways you're thinking). The vents were all well and implemented, but I wanted to make sure the Tri-Rotor could go through everything that seemed like he was big enough to go through. One particular section of the map had a lot of wood slat walkways with pretty sizable holes that we couldn't really pass through with the Tri-Rotor due to them having very broad Navigation Collision (which the Tri-Rotor tested against). We originally kept the collision fidelity pretty low there for memory purposes, but by the end, we were in a pretty good spot, so I ended up defining the collision much more to enable Tri-Rotor navigation but also having to add an additional block of collision to still mainting player cover against the railings (you couldn't cover cleanly on non-rectangular collision).
You can fly through all those railings!
#10_Easter Eggs!
We actually had a couple of easter eggs in the map, both planned and unplanned.
If you pay close attention to the picture frames and billboards in the map, you'll notice that you may recognize some of those people and names. The caricatures of us were lovingly rendered by my good friend Nacho Yagüe:
Did I ever mention I used to be a dictator?
One great little detail Nick King added was in this little sequence here where militia are raiding apartments. They never break through this specific door pictured, but if you look under it with your Snake Cam once the militia neutralized, you'll notice a scared civilian cowering in their apartment:
Whew. That was a long one (sorry!). I hope that, despite the 10 points being all over the spectrum, this was useful and/or fun to read through! It certainly was fun for me to remember a lot of these anecdotes and tidbits. If you ever have any questions, you can hit me up on Twitter @jobyek as usual!
Welcome + My Guiding Art Principles
Making Of / 29 August 2015
Welcome to my game art blog, 'Creating Triangle Soup'! (Bonus points to whoever catches that name reference.) Ever since I overhauled my portfolio website a couple of years ago, I've always been meaning to eventually add a blog component to it. I've only ever had a couple of articles/posts in mind, but recently, there was a sudden influx of post ideas which prompted me to *finally* start this up. Here we are.
Expect to see posts about a range of topics, from posts about game art, the industry, to posts with WIPs of studies or future art projects that I've been kicking around in my head. I'll try to keep this as active and updated as possible, if not, scream at me on Twitter @jobyek.
Without further ado...onto my first post!
My Guiding Art Principles
I recently got asked by a friend how is it I approached creating props and environments when I was talking about what I do for a living. I actually really enjoyed thinking about my approach and breaking it down for said friend, and thought it would be worth sharing. I'd love to hear about how different or how similar people's approaches are in the comments!
Throughout the post I'll focus on these two images that you can find on my portfolio:
From Modeler to Level Artist
I started out at Ubisoft Toronto as a Modeler nearly 4 ½ years ago and worked my way up to my current position of Senior/Technical Level Artist. Boy am I glad I started out as Modeler and not as a Level Artist. After finally breaking into the industry and seeing just how much a Level Artist is responsible for, there was no way in hell I could have done that straight out of school like I thought.
As a Modeler at Ubisoft, you're typically responsible for modeling and texturing all your own environmental props under the guidance of a Level Artist (if it's a more linear Singleplayer game) or a Lead Artist managing a pool of artists (if it's more of an Open World game). To start out in the industry, that's great. It let's you really focus on the details, the nitty gritty art/tech details and start to have you worry about gameplay constraints (cover, vaulting, etc.) and really start developing your eye for all of that. And from there, if you so choose, you can grow into doing level art given the chance. It's something I slightly miss, but what I realized transitioning from Modeler to Level Artist, is that a lot of the same principles apply, just on a different scale.
Some of the core principles that I subscribed to whenever I start a prop, in no particular order:
Context - From a core question like: Where is this prop being used? You can extrapolate many other questions: How is a person using it (where are the hand and feet going)? What weather or natural elements are affecting it? Etc. All of those inform my decisions in both modeling and texturing and not to mention reference gathering. I never add any detail just for the sake of detail. Everything should have a purpose or a reason it's there, however small the reasoning is.
Imperfection - This is a tenant I've carried with me ever since our very first high-level Art Direction meeting with Scott Lee. One of the art pillars of Splinter Cell: Blacklist was Imperfection. That's something that applies whether you're making something for a war-torn map, an abandoned warehouse or a perfectly pristine government facility or private estate. Nothing in life is ever really perfect. There's always some sort of imperfection whether it be in its placement, its shape, its material quality (this is where you get a lot of your imperfections for 'clean' environments), etc.
Gameplay - Does this prop need to be gameplay friendly? Does the player need to take cover behind it? Can the player vault over it? Is it purely visual dressing and other props will stack near it to form cover instead? A lot of those questions can drastically change the design and approach of whatever you're making, so it's good to answer those questions early.
How I applied this practically on the scooter model I made for our Benghazi map in Splinter Cell:
As much as I miss doing that hyper-detailed work of a Modeler, where I get the most joy out of my work is building up full environments as a Level Artist. At the end of the day, players won't notice your little super detailed prop in the corner (exception: Weapon and Vehicle Artists!), what they'll notice is the Big Picture, the whole environment. That's what gives chills and creates emotions for players when exploring a game's world. Not sure about everyone else, but whenever I come across a beautifully realized expansive vista in a game level (even better when you get to play in it!), I usually, without fail, get those 'good' spine-tingling chills. Halo 4 comes to mind with their beautifully-paced vistas and reveals in their Singleplayer levels (looking forward to Halo 5's!).
A (playable!) vista reveal that I was particularly proud of in my Shangri-La map in Far Cry 4.
As I mentioned earlier, a lot of those principles I applied to my props, they can be applied to full environments and locations, just on a much more bigger scale.
For the principles, they stay the same, but the questions you ask yourself change, as all other departments' work converges in the level:
Context - What is the narrative of the world/location your level is set in? What is the gameplay or story beat that needs to be hit in this area? How is VFX & Lighting coming into play? How are all those factors affecting your environment? Etc. The more questions you ask yourself, the more you can ground your environment by directly answering those with your art's layout.
Imperfection - Again, same principle I've been carrying with me ever since Splinter Cell. Although, instead of applying it on the macro level on a prop, you're blowing that up to the scale of a whole level. Imperfection can apply to the placement from anything small in the level (rocks, trash, etc.) all the way to the large (architecture, entire sections of level, etc.). Things are rarely ever perfectly straight or perfectly on-grid (which can cause a lot of back and forth with Level Design depending on how rigid your gameplay features are).
Gameplay - Design and gameplay naturally plays an ever bigger role as you're working on a full level. You have to be in total sync with your Level Designer to make sure you preserve (and even add to!) their gameplay intentions all while making everything look pretty. At the end of the day, we're game artists, not just Artists. You could have the most beautiful level, but if the gameplay is s***, it's a bad level and it won't be memorable. Some things you naturally always have to think about: How is the player flowing through these spaces? How does it feel to flow through---Natural? Kind of awkward? Can we get a nice reveal here through layout?Where are his natural cover points? Where can he vault? What can he climb? All things you need to constantly worry about and feel out by constantly playing your level. Something I make a point to do almost everyday first thing in the morning if I'm working on a map.
How I applied this practically in this shot from the Shangri-La level in Far Cry 4 (which happened to be the intro shot of our hands-on Gamescom 2014 demo):
And on that note, that pretty much concludes my very first blog post. Hopefully the first of many. Sorry for the overly 'wordiness' of it all (there's some pictures!), I tend to write too much. Will need to learn how to be more succinct in my writing!
I'd love to hear from other artists in the comments, on Twitter @jobyek, whatever! How similar or different is your approach to making a prop or an environment? Always good to get different perspectives. If you have any questions too, feel free.
Jobye


I was given this clock by my Grandmother.
I don't know how to get it started.
Question for Kathleen - what type of oil did you use? I recently had to re-assemble my Senator and it only runs for about 20 minutes. Also, do you recall how the pendulum hooks are oriented? On mine the hooks at the top of the pendulum, where it attaches to the little arm, are curved from back to front.
How did you receive this clock? in pieces or together and you just want instructions on how to get it running?
I don't have much ideas about antique clock , but your blog tittle just remind me the an old watch of my grandfather , still in my cupboard.
Its an old more then 50 years , its numbers and pins are all made of radium , and in dark its glow just like a light and give a fantastic look. Although its looses time but any way a very handsome watch to put on hand and amazingly i did not find such a great clocks on market now a days.


New NIVEA MEN Deep deodorant with the magnetic absorption of charcoal, protects you agaist sweat, bacteria and body odour. Gives you long lasting dryness and clean skin feel just like after shower. Reliable 48 hour anti-perspirant protection with skin tolerance dermatologically proven.
Apply evenly on both underarms. Leave it to dry before putting on clothes.


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Ford and Zotye will sell electric cars in China under new brand
Ford shied away from partnerships under former CEO Mark Fields, but that's all out the door under new CEO Jim Hackett. And he's gotten to work fast since taking up the reins in May. In that time we've seen Ford link up with Mahindra in India, with Lyft in North America, and now with Zotye in China.
Zotye sells cars in China under an eponymous brand and is most (in)famous for the T700 Porsche Macan clone. With Ford, Zotye plans to introduce a range of affordable electric cars to be sold under a new brand.
Ford and Zotye on Wednesday established a 50:50 joint venture that will develop and manufacture electric cars for the brand. The two automakers are injecting $756 million to establish the joint venture.
The joint venture will handle production at a new plant to be constructed China's Zhejiang Province, pending approval from regulators. It will also be responsible for designing, marketing and distributing the new brand's cars across China. It will also look to offer new mobility services as demand in this area grows.
For Ford, the move is in line with its vision for a more sustainable automotive industry, especially since China has embraced electrified vehicles, known locally as New Energy Vehicles, or NEVs for short. Sales of NEVs in China are expected to hit six million units by 2025. Two thirds of these are expected to be pure electrics and the rest mostly plug-in hybrids.
Ford is also investing heavily in electrified vehicles back in North America. Recall, the automaker intends to introduce 13 by 2020, including a Mustang Hybrid and an electric SUV with 300 miles of range.
Electric Cars Ford News Industry Zotye
EU proposes stricter emissions regulations for 2030
Chinese Porsche Macan knockoff is worse than we thought
Zoyte preps a Range Rover Sport clone for the Chinese market
China's Zotye prepares to enter US by 2021 with T600 crossover
Chevy reportedly mulls electric SUV as part of expanded Corvette family Sports Cars January 15, 2021
2022 Ford Ranger spy shots: New mid-size pickup takes shape Spy Shots January 14, 2021


There are a few of us on this site who are unapologetic fans of Oasis and the great Noel Gallagher. There are so many songs he's written that I love but this cover of The Smiths' "There Is A Light That Never Goes Out" is one of my go-to Noel Gallagher moments. The video here is audience filmed but it's not too bad. If you want to hear this song in much better quality but without the video, it can be downloaded from iTunes and is highly recommended.
I'm not resident Smiths obsessive -- that title belonging to BBS writer extraordinaire Heather -- so I asked her about this cover before posting it. While nothing is ever going to touch the original in her mind, she likes it and we both noted the reverence with which Gallagher performs it. You can tell he "gets" what's truly special about this one and he turns in a damn fine performance.


Information sheet showing how children are never too young to learn about the living world and where our food comes from.
Set up by garden equipment and sundries supplier Harrod Horticulture to provide advice and resources for school and community gardens.
An interesting experiment into different materials and their properties. By looking at a variety of different mulches (a material that covers the soil) to discover which is the most effective at trapping moisture, this deceptively simple activity can lead into the wider world of water. Why do we need to conserve water? How can we reduce watering and what are the benefits of this?


text:
Q: React leaflet Marker position with latitude OR longitude indicator I have been using react leaflet succesful with Int/Float coordinates like [51.505, -0.09]
however, i have longitude and Latitude indicator included on my coordinates like ['51.505W', '-0.09S'].
First options runs well with this code.
const position = [51.505, -0.09]

render(
  <MapContainer center={position} zoom={13} scrollWheelZoom={false}>
    <TileLayer
      attribution='© OpenStreetMap contributors'
      url="https://{s}.tile.openstreetmap.org/{z}/{x}/{y}.png"
    />
    <Marker position={position}>
      <Popup>
        A pretty CSS3 popup.
 Easily customizable.
      </Popup>
    </Marker>
  </MapContainer>
)

Thie second options breaks with error  Invalid LatLng object How best can i handle this

A: Leaflet, and by extension react-leaflet, expects latitude longitude to simple numbers, either in the form of an array of 2 numbers [number, number], or an object in the format { lat: number, lng: number }.  Coordinates like ['51.505W', '-0.09S'] don't fit that pattern.  But they can be easily transformed with a simple function that strips the letter character from the string and returns a number:
function transformCoords(pair) {
  return pair.map(coordString => {
    return Number(
      coordString
        .replace('N', '')
        .replace('S', '')
        .replace('E', '')
        .replace('W', '')
    )
  })
}

This will take in an array of the format ['51.505W', '-0.09S'] and will return an array like [51.505, -0.09], which can then be properly fed to a Marker position prop:
const position = ['51.505W', '-0.09S']

render(
  <MapContainer ...>
    <Marker position={transformCoords(position}) />
  </MapContainer>
)

redpajama_set_name: RedPajamaStackExchange


Hello and thank you for choosing The Claw of Enumclaw! We have put together some helpful tips and advice for you that will help you with the rental of our venue.
Our Preferred Catering company is New York Catering. They are on site at our location. You can reach them at 253-241-6897 or visit their website at www.new-yorkcatering.com. Or you can bring your own catering company or bring your own food to the venue.
The kitchen is not part of your venue rental, it is for the the exclusive use of staff.
We have a warming oven, microwave, warming drawer, sinks, walk in refrigerator, etc. available for use.
We do have an ice machine; our staff can help get ice for your event.
Please remember that we do not have any items in the venue for your food service. You need to bring all serving utensils, napkins, plates etc.
By law you are required to stop serving alcohol one hour prior to the end of your event. This does not include the clean-up time. If you are going to serve alcohol you are required to have a banquet license.
No guests are allowed to bring alcohol to the venue, it states this on your liquor license. There is no drinking in the parking lot, only in the fenced area that belongs to The Claw. Do not get taps for your kegs. We have three CO2 taps for your use. Please be sure to get your kegs to the venue the day prior to your event so that the kegs can get cold and settled.
Your banquet permit reads "Liquor and Cannabis Permit" However, we do not permit Cannabis and other marijuana products at our venue.
No glitter is permitted in The Claw venue.
We do have a three-zone heating and air-conditioning system.
We recommend that you have an IT person set up your sound system and or run the onsite TV system, microphone, audio, and PowerPoint for HDMI, etc.
We have plenty of parking on site and other ancillary parking if needed.
We have an outdoor garden fire pit. The charge for the use of the propane is $50 for your event.
The hotel behind us does offer discounts to those that are coming to your wedding, please let the hotel know this when making reservations.
Staff will provide the booking party with the free wifi password at the time of the event.
We have 15 round tables. It measures 5 feet across. We have 15 rectangle tables as well, these measure 6 feet long. There are 8 pub tables that are 23 ½' x 39 ½' on the top by 43" high. These tables can also go outside in the summer. The smaller metal tables are 30" high, 41" long and 29 ½" wide. These are good tables for cakes.
You can bring your own linens or rent them through a company that we can refer. The cost to rent linens is $150. You have the choice of black, white or ivory colors on the linens. Please coordinate with staff at least two weeks prior to the event the table sizes and colors if you choose to rent. Also, you can also buy plastic table covers at the local dollar.
The arbor is 77" high and 64" across, you are able to decorate this as you wish. No painting please.
Our decorations vary throughout the year but you are free to use what we have at no charge.
Animals are not allowed in the building, with the exception of service animals.
Clients are responsible for their own set up and take downs of table and chairs.
We do not clean up bodily fluid, you are responsible for your guests. You are required to clean up after your event.
We do have all the cleaning supplies on site that can be used to help clean after the event. Please leave the facility in a similar condition as you found it. You are responsible for cleaning up the venue after your event.
A check in the amount of $250 is due two weeks prior to the event. As long as the event is left in the same condition as when you rented it, the check is given back.
Please call 253-326-1162 to schedule a viewing.
Again, thank you for choosing The Claw!
Please contact us for availability and further questions.
*Please send any payments by check to the Claw of Enumclaw, 718 Griffin Avenue #238, Enumclaw, WA 98022, or call 360-825-5489 or 360-761-2378 to make payment over the phone.


This Plyo Box is a heavy duty multi-level platform for Crossfit and plyometric jump training. This platform can be used for box jumps, step ups, negative jumps and box squats. The results are increased speed, power, and explosiveness and are a great supplement to your regular strength training routine.
Robust wooden design with internal reinforcement braces provides a solid and stable landing platform.
Ideal for box jumps, step ups, negative jumps and box squats. Develops explosive power and strength.
Suitable for home and commercial use.
The plyobox is shipped flat packed and some very simple self-assembly is required. The 6 sides are slotted together, insert the braces and insert in the screws provided.


LITTLE PEBBLE: During the evening as I woke up, Jesus came and spoke to me about the Warning. He told me He wishes His children to know these special actions of God's intervention of the Warning. People may wonder what will happen to those people who know nothing about God's Gift. God is most merciful to every soul who is not aware of what is going on. When the Great Darkness of Three Days comes, their Guardian Angel will bring a candle and take that soul to a safe haven, for the White Cross in the sky will illuminate their soul.
Each soul will experience Purgatory, dependent upon the state of Grace that soul is in. Time will stop for fifteen minutes while God's Spirit opens-up man's conscience. It will be a Mini-Judgement, and each person over the age of reason will see, that if he died at that moment, where he would live eternally from then. Some would go to Heaven and will experience a glimpse of Heaven, as a reward for their faith-filled lives. Those who still have sins to expiate will experience the level in Purgatory where they would go, but would be given a glimpse of hope. They would be told the length of stay in Purgatory before they go to Heaven.
Then there are those persons who would see themselves lost in Hell; they will experience Hell and be tormented by the demons; they would be shown the very caves/cells they would be chained in for eternity. But it is God's Mercy that now gives them one more chance to change their lives, repent of their sinful lives and make reparation for the rest of their lives, until Christ Returns.
After mankind witness the spectacle in the sky and become infused with God's Knowledge of the state of their souls, darkness will fall over the whole Earth for three days. During this time both Hell and Purgatory will also go into darkness.
Men of goodwill, will have nothing to fear, for the blessed candles must then be lit and the Guardian Angels will become visible to them, and prayers are to be said constantly, asking God for mercy for mankind. Many souls will be called to God during this time – over sixty-million persons will die. Many evil-doers will die a horrible death and will be thrown into the Abyss.
Many households will not be prepared for this event, but God will be merciful to those of goodwill, and the Angels will be sent to them with a blessed candle, food and water, for God is merciful.
All the Mystics, Prophets, Seers and Visionaries will go into ecstasy and be enveloped by the Spirit of God in a Pillar of Light and given instructions to prepare them to guide the Remnant Church after, when all things will return to normal in the world.
The Chair of Peter will be empty after the Warning for a short time.
The Truth will be revealed to the Remnant Church – the Priests and Hierarchy of every Church – and will be told who to follow after the Warning.
Concerning the little children under the age of reason – they will be in a deep sleep during the three days of the Warning.
The Warning will be the most severe upon souls in authority, as God will exact much from them after the Warning – correcting the laws that govern their countries.
There will be peace after the Warning until the Great Miracle is given, where the Mother of God will appear to the whole world as the final act of mercy for mankind.
As the whole world will be Christian for but a short time, the final evangelization will be given before the Antichrist has once again convinced the world that the Warning was only a sign to prepare mankind for the Second Coming of the Messiah, which he will claim to be himself, as he will encourage all to join his new One World Religion. Then will come the final persecution of Christians and the end of time will then arrive, with Jesus' Second Coming, with the arrival of the Second Three Days of Darkness – where the Remnant Church will be raptured.
The Antichrist will be thrust down to Hell, and the world will be cleansed, and mankind returned to Earth in Jesus' Second Coming. All of this Jesus told me and locked it in my mind, and said it would be unlocked once I prayed and asked the Angels. Saint Uriel, the Archangel, Saint Gabrielultis and Saint Menoloutis, were the three Angels that helped me to write this.


Simply put, Management Accounting provides regular, timely financial and statistical information to enable you to make informed business decisions. This is vital for all businesses, as it is used to drive performance, inform strategy, maximise profit and highlight issues.
Management Accounting Reports are vital to enable your business to succeed and develop. We know that every company is different so we work closely with our clients to create bespoke reporting solutions.
To ensure the financial well-being of your business, we will work with you to identify and implement strong financial controls, enabling the effective management of resources, systems and funds.
We can prepare Management Accounts on a monthly or quarterly basis in an efficient and cost effective way, in order to help you keep track of how your business is performing and identify strengths and weaknesses in good time to make changes. Alternatively, we can also design and implement systems so that you can produce management accounts on an ongoing basis.
Our expert staff ensure that all your taxation and in-year regulatory reporting requirements are met in an efficient and timely manner.
We will explain what the Management Accounts mean and help you better understand your business.
Why Franks Accountants for your management accounts needs!
This is highly beneficial if you're a business that needs Management Accounts to be prepared on a regular basis to provide information to the bank, for example, to support a borrowing facility. We can prepare Management Accounts on a monthly or quarterly basis in an efficient and cost effective way to help you track how your business is performing and to identify strengths and weaknesses in good time to make changes. Alternatively, we can also design and implement systems so that you can produce Management Accounts on an ongoing basis.
To make sure you're making the best decisions for your business, you need the relevant data and information. A Management Account Report provides you with this financial and statistical data so you can drive performance, adapt your business strategy, maximise profits and highlight problems and potential issues. This then enables you to make informed business decisions which will improve and impact your business results.
We know every business is different, so we like to work closely with our clients so we can create unique and bespoke reporting solutions designed solely for you and your business. This gives you the most accurate and relevant data so you can use the data and information to grow your business.
Adam and his team really do go out of their way to ADD VALUE to your business, which is something than many traditional accountancy practices fail to do. I am really impressed with the service provided and would definitely recommend Franks Accountants.
Not only do Adam and his team provide a very professional accountancy service, they also take the time to understand how your business operates and show a genuine interest in improving performance. Overall highly recommended.


1. The National Captioning Institute's registered service mark identifying the programs which they (and only they) have captioned. This symbol is recognized throughout the television industry. Designer: Cheryl Kaplan, Diana Graham/Graphic Design, New York.
2. The Caption Center's logo for closed-caption[ed] programs. This design is not copyrighted and may be used to identify any closed-captioned program. The legibility suffers somewhat in small sizes, but the "CC" within a television frame is immediately understandable.
3–12. Commercial for a microcomputer in which the actor's versatility suggests the computer's flexibility. The telephone rings (note Caption Center's standard style for sound effects: Lower-case italic between parentheses) and the actor changes his voice with each call to make believe he is more than one person. In Fig. 8, we know the narrator announcer is speaking because the captions are italicized. In Figs. 9–11, the captioners did the sensible thing and wrote out the voice changes; the colon isn't really necessary inside the parentheses. NOte also that "gravelly" is misspelled.
13–16. A song-and-dance-in-a-thunderstorm commercial for 7Up, captioned by the Canadian Captioning Development Agency. The [|||] in Fig. 13 is superfluous since the singing doesn't start till the next scene. According to CCDA custom, the only end punctuation is at the finale of the song (Fig. 16), where the exclamation point is essential. These captions are ambiguous: The singer in the commercial is actually offscreen, so a more rigorous captioner might have set the lyrics in italics. In Fig. 14, the caption is displaced to the right slightly to avoid covering the product.
17–20. In this United Kingdom commercial for Heineken, a satire of black-and-white Eastern Bloc art films, the actors speak in Czech with English subtitles in the first half, and Cockney English with Czech subtitles in the second half. The BBC uses the font shown – complete with proportional spacing, upper and lower case, and variable colours – for its subtitling and captioning. A very important advantage of the BBC font is its enormous range of accented characters.
21–30. Commercial for Minute Maid, in which oranges cascade from every corner to show how intensely orange the soft drink is. Italicized captions in Figs. 21 and 22 show that the narrator, not the actor, is speaking; note the centring in four-space blocks (Fig. 22). As the commercial proceeds, a range of sound effects is introduced, all of which the National Captioning Institute captions as descriptively as it can, given the fleeting nature of the images. As the oranges pile out of the elevators (Fig. 25) and bump into each other, viewers see how captioners typically show simultaneous speech – in discrete little caption blocks. In this case, it really isn't important exactly who said what, so caption placement isn't critical. Finally, the captions follow a man as he runs from left to right down the steps (Figs 29, 30).
36–39. In this commercial for Ontario Racing, even though there is ample room at the bottom of the screen for the captions, CCDA sets them at the top. Logic suggests that covering up wardrobe would be less jarring than covering up a forehead. This series illustrates CCDA's bad habit of italicizing arbitrarily (Fig. 36). Finally, Fig. 39 shows how CCDA very sensibly avoids obscuring the on-screen graphics by pushing the caption to the right.


SaltStack is everywhere. Find us hosting, sponsoring, or speaking at an event near you. Sign up here if you would like to join or host a SaltStack meetup chapter in your city.
We have you covered if you missed SaltConf18, the fifth annual SaltStack user conference. Go to the SaltConf18 speakers page to get access to video recordings of 50+ keynote and breakout session presentations.
We produce a couple of SaltStack webinars per month. Whether you join us live or listen to one of the recordings, you'll learn how to use SaltStack intelligent IT automation to control, secure, and optimize your digital business infrastructure.


text:
Bambusana bambusae är en insektsart som beskrevs av Matsumura 1914. Bambusana bambusae ingår i släktet Bambusana och familjen dvärgstritar. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Dvärgstritar
bambusae


Happy 2017! There's always something so refreshing about starting fresh in the new year. So many exciting things to look forward to and be happy about - I have a feeling it's going to be a really good year!
Oh my gosh I absolutely love this outfit!! But then again when do I not love everything you wear?!
Wow this is such a look and the shoes really bring it all together! Adding this all to my wishlist, ha!