This blog is dedicated to my own experiences and thoughts around artificial life, virtual life, and related topics such as neural networks. A lot of it will probably end up being about the alife game Creatures, but I will also post about my own simulation, other alife/virtual life programs, and readings related to alife.
I welcome any comments, questions, or discussion; commenting is open on all posts and does not require a Dreamwidth account. However, if you have an account on another service such as blogspot, you can use OpenID to keep that identity over here.
Why do you like Creatures? If your interest in it has come and gone and come again, what brings you back? Despite how hard it can be to run on modern machines and the total lack of official support now, why do you play?
For me, the appeal of Creatures is the appeal of alife: of seeing something new and wondering what it can say about the things we see in the real world, or could in an alternate world.
Creatures is alife that has nice graphics. Creatures is alife with complexity - social interaction and learning and genetics and biochemistry and neural net. Creatures is alife I can take apart. Creatures is alife that I have access to.
On an emotional level, I love the community and the creative things it's kept coming up with even more than a decade after the last game had an update - like the Garden Box and Magic Words and the recent work on new C2 genomes and CreatureLink and really, I could go on. There's an active and helpful wiki, forums that are rather slower than the heyday but still full of people, and generally everyone is quite friendly.
And the creatures. Even now, I still get attached to one occasionally, and feel compelled to help them out when they're in trouble (when it's not my fault). They're frustrating, but they're lovable.
My interests wax and wane - don't most people experience this? But some things I leave behind and never come back to. Creatures has yet to be one of those things. It may happen someday; but even now, even when I don't play it much, it keeps popping into my head. It helped inspire me to do a senior project at college, which got me into graduate school - and now an extension of that program is the core of my research project.
Thanks, Creatures. Thanks, CC. Thanks, Steve Grand. I'm glad I threw my sanity into the skull-shaped basket with you all (if anyone still gets that joke).
What do you think of the mythology and backstory of creatures? Do you have any favorite background details in the world? Any pet theories or thoughts, or questions you would like answered?
I've always liked the quirkiness of the Shee, like how they took so readily to genetic engineering and biology, never had a straightforward thought in their lives, and were incredibly lucky, and then left their world for a round one (such a great setup for a game that never appeared, alas). I also re-read the Lone Shee story more than once as a kid, perhaps to make up for not being able to have any of the Mall breeds at the time.
I also think that it's a good thing that while there is some of this (not too developed) backstory and myth to the games, you could play without ever looking at any of it and still have some vague ideas - the games, especially C1 and C2, are so atmospheric.
As for details and questions (I have lots), let's do this game-by-game.
~Official lore is that Albia has no moon. You might notice that there is a moon.
~What was the windmill used for? Surely it's not just to move the cable car back and forth.
~Behind the garden, you can see what looks like a temple - is it? What happened there? Did the Shee have deities? Was it just a lab that looks like a temple? The musicola area looks like it could be a small shrine, too, or perhaps just a very well-decorated building.
~Who built the Statue of Nornity, and why? Was it dedicated to a well-known Shee scientist who had done something great, or was it made by an egomaniac who built it too large or too fast and doomed it to crumble away?
~I appreciate the drippy-drips in the caves - the sound effect, too.
I would also encourage everyone to check out these new photos of the C1 background model, there are some nice details there.
~Again, the temple in the desert - or was it one?
~If the Shee tech looks so nice and shiny and metal, then what was it that we saw in C1? Did they just keep their living quarters much more simple than their labs? That would fit in with the bamboo village area. Or was it all built over by someone else - perhaps even a few Shee who survived the volcanic eruption but lost all their access to their old technology?
~There's this one little room just above the Shee statue that's clearly someone's leftover office, and I love all the details in it.
~What's with the gold next to the Shee statue? Donations to a god? Taxes? The entire fortunes of all the Shee?
~Where are the Shee living quarters? On the Ark I guess you could squint and say those rectangles in-between the Aquarium and Desert doors are Shee-style doors, but on the Capillata?
~You know that easter egg with the star in the Norn Terrarium? That's my favorite easter egg in the series.
~Was it really, truly necessary to bring along piranhas, an artificial volcano, and two airlocks? Sheesh, the Shee truly didn't have any sense.
~If you've never read the Help for the ship's lungs, do yourself a favor and check it out. Technobabble at its finest.
~There's a nice little drawing in the kitchen in the Norn Terrarium.
~What was Shee daily life like? What did their society look like? Surely they couldn't have all been scientists working away every day... could they?
~For all the talk about tea and biscuits, there isn't a single teacup in the whole series! We didn't even get biscuits until quirky cookies!
~We had a discussion about this on CCaves a while back, but what even is the Hand? My vote is an AI with a pocket dimension upgrade in C3, meant to help take care of norns and ettins.
Do you create content for Creatures? If so, what sorts? What do you use to make things, and what would you like to make in the future? If not, what would you like to make if you could?
I primarily make agents for C3DS, though I've tried out gengineering before and have branched out to the other games for my CCSF submissions. Also, I made a metaroom once! I also edit the wiki sometimes, if that counts.
Art is done in Photoshop, though I tend to use freely-available sprites when I can. Everything else is the usual set of official tools and Bobcob and so on. One thing I use sometimes that I'm not sure is popular is the CAOS debugging tool - who else uses it? It's not mentioned in tutorials and so on that I remember, but it's quite useful for more complex agents, especially if (like me) you're used to using print statements for debugging.
C1: [stuff related to my main CCSF submission] and making the hummingbirds do more.
C2: More plants, and maybe more critters for creatures to eat. A teardown of the evolving pidgeons. Colortrue C2 creatures, if that would work.
C3DS: The second version of Desert Ruins, with ecology fixes/new plants/a new feature for the beetle/sound effects/music/etc. A metaroom with a Japanese theme. A snowflake patch 'plant'. An annoyance fix for the DS injection screen. My own version of the corpse cleaner. Doing something with some of the incomplete sprites you can find in the image folder. I also have this written in my list but I'm not sure what it is anymore! "magic words drop food? drop things in general?" What?
Misc: I have a folder in my bookmarks for wiki pages I want to add or expand (usually creators whose works aren't fully up).
I'm not going to run out of projects for a while.
This seems like a good time to remind everyone that we still need submissions if you can put one together!
What COBs/agents/breeds/metarooms/etc do you use the most? What would you like to see more of? Less of? What pet peeves do you have with add-ons? What do you love to see?
I use a lot of sprite breeds because I like having a variety of appearances for my creatures. In C1, I prefer the complete '97 santa over the 'classic' one to the point where I'm thinking of making an overwrite to free up a breed slot, and the Wood norns get a lot of use, too. In C2, I love love love the Uriel norns and the Pegasus ettins! In C3DS, um, please don't make me choose. I use different breeds in different worlds.
For genetics, I primarily use CFE and Canny creatures, like probably everyone else. I've been experimenting with C1 genetics but haven't settled on anything quite yet and want to try out the TWB creatures more, though.
In C1, I use some COBs that expand the treehouse area and open up some new travel routes around the world, and I always use the garden cob that adds food to the bubble dome area of the island, and usually other new food sources as well.
In C2, I use the Plato's renovations to open up the world, again, and almost always use the Volcano Garden COB to make the volcano into a blooming paradise. I used to use the hollow coconuts to provide more water sources; now I use the fountains. I also like to expand food options with the popping mushrooms and the meat vines in places where plants won't grow.
As for DS, I'll just link to the Anodyne. I use MW room edits a lot, too. I used to inject the Norngarden and Bug's Temple into everything but aquatic-themed worlds; recently I've stopped using them quite as much and using more of a variety of metarooms.
I would like to see less brain-unfriendly COBs or agents (this is why we have the development standards). Also, for C1 and C2 in particular, I don't find single-use injectable food items to be useful. I much prefer plants or vendors of some kind.
I would like to see more Garden Box releases, and more critters for carnivorous creatures to crunch. In terms of genetic breeds, I like seeing quirky or strange genetic breeds, such as ones that photosynthesize or whatever, especially if based on real organisms.
I would dearly love to see more grendel and ettin sprite breeds, and new kinds of geats.
If we're asking for the moon, for that warp restoration project to work out!
I like anything that has interesting or cute graphics, or unique behavior, or which fixes bugs or annoying aspects of the games, or which adds nice little features.
One of my pet peeves is recolored versions of official sprites taking up a breed slot - with the one exception of the C1 Albian Greys because that's more of a way to get around the C1 color limitations. Even then, I personally prefer the snow norns. There are some C2 breeds, too, that are just recolored Hebes or Golden Deserts with some bad editing, and I don't use those. I do appreciate well-done edits. On the topic of breeds, ones that don't have different ages - at least child and adult - with the exception of those with a 'lore' reason (such as being mechanical, for example). I'll still use them, however.
I'm also not too picky when I comes to agent art, but (and this is mostly a problem with C1 addons) things that look like they were thrown together in thirty seconds in old MS Paint do not get downloaded by me.
Lastly: metarooms without CA links. I shouldn't have to add those by hand! I do recognize that this is something people are more aware of now than they used to be, though. Similarly, anything that throws errors or glitches out in strange ways that the creator should have caught. Aquatilis Caverna, or maybe the second one, throws errors sometimes, and there's a plant that I do use sometimes that has a bad habit of somehow putting seeds behind that little panel in the upper-left corner for some reason @.@ It's okay if things don't always 100% work - it may not even be the creator's fault, I know there's at least a couple of glitchy engine scripts - but most things can be caught by just injecting the COB/agent and letting it run for a while.
How has the way you play Creatures changed since you started? What has stayed the same? Do you play a different game more, have you picked up a different play style, have you thrown out one species and embraced another?
For a long time, I played C3DS almost exclusively. It's still the one I play the most, but now I spend more time with C2; the ecology and graphics of that game are my favorite. C1 I play on and off, but I think at about the same level as I have since I've owned it.
When I was a kid, I used to be a lot more into nurturing-style play, and one way I would do so is that I would use the selective force field to keep babies, and usually children, in the incubator pan area, so I could teach them and keep an eye on them. I would usually put an older norn in with them, too. I've been thinking of trying something like this again, actually, although with something a bit more norn-friendly than the force field. Nowadays I also do more wolfling and feral runs than I used to. Also, I always used to install the Norngarden; I've had problems with plants from there dying out, and the pond kills creatures, and there's a larger variety of rooms available now, so I only use it sometimes.
I only cared about norns as a kid, and even now, I don't care that much about grendels. I do make my worlds grendel-friendly in C1 and make sure they have food and toys, but for C2 I still remove the grendel mother most of the time (the default sprites for them are bad and they die so young) and disable it in C3DS. Like I mentioned yesterday, I did try to do a grendel wolfling run, but it didn't work out that well.
I do have a newfound love of ettins, however. Their big eyes and round bodies are just so cute! Plus, they have some nice breeds - it's a real pity that the snail ettins don't work better, because they're great, but the striped ettins in C2 and C3DS, the pegasus ettins of C2, the rain and cheese and poodle ettins for C3DS... there are options, which I like.
Geats weren't really a thing beyond Gaia and the C1 Shee when I was a kid. I've now tried out a couple of Geat breeds and I think they have their own charm, though they're quite different from each other.
Also, now that I can code, using CAOS - even just to make quick little scripts - is like part of the gameplay for me. CAOS is actually my second favorite of the programming languages I've learned (the first being Python) - yes, it has some annoying features, like not being able to name your variables, but the logic of how it works just clicks with my brain, and it doesn't, for example, have the curly braces of Java, the confusing points (and curly braces) of C++, or the strange decisions of R (error message weirdness; and why do the arrays start at one?!).
One thing that has stayed the same is that in C3DS, when I get bored I often get out the inseminator to make a new batch of eggs from the most adventures or interesting or pretty norns. In C1 and C2, I always tend to leave the toys, for example, where they are placed by default, and the last time I opened it up to play rather than to test I had to almost force myself to try moving them around to different places. The reason for this is that when I was younger I hated 'messing up' the world... but if the norns did it, that was okay somehow. In all of the games, I tend to keep different genomes separated instead of mixing them up, but different species in one world are okay.
How would you describe your playing style? Do you have lots of worlds, or a few? Do you have strict wolfling runs or do you individually nurture your creatures, or both? Any particular habits or quirks?
In C1, I usually coddle my creatures a bit, spending lots of time with them individually, encouraging them to mate if they're being slow about it, and so on. They might get left alone for a while, but the last time I tried to do a C1 wolfling run, even with lots of extra food injected, it was a disaster, and I haven't tried again.
In C2, I have one world series for a canny ettin wolfling run, though I can't help myself from intervening sometimes, and will often hatch spare eggs, teach them their most basic vocabulary, and then after twenty minutes or so shove them out of the incubator chamber. Based on certain criteria, ettins may be exported. I also have a nurturing norn world where I've been trying to get my norns to be a little less stupid, which, yes, I know. Otherwise, I mostly breed them for looks - Frog norns crossed with Golden Desert norns are adorable.
In C3/DS, I never play C3 standalone, mostly because I don't currently have a working install. I can do docked worlds just fine, though. I have one concept world poking along for Pearl Mermaids, where each pod gets a 'queen' female who is the only one allowed to breed - I originally had this for aquanorns, but they have a few issues and aren't CFE. The only problem I've had so far is: when a queen dies, surely I should hatch eggs until I have x females and make them compete with each other to be 'queen', but how? Maybe a more elaborate IQ test? First one to the Meso wins?
I also have a 'hospital' world for caring for sliders, rightwalkers, severe limps, etc, until they die. It also serves as the home for my strangest genetic experiments and crossbreeds. It's very much for-fun.
I have a KT Saber norn world, but I haven't played it in a while. I remember I was getting frustrated with the norns refusing to eat or something like that. I also can't figure out any of the KT recipes, to the point that I'm wondering if I'm clicking the right place on the cauldron.
I had a long-running (200+ generations, 300+ hours) wolfling run world for norns, but it's on pause for the moment. I wanted to try making some of the norns CFE and breeding that into the population, but I discovered that their color genes had gotten very glitchy to the point that the normal genetics kit won't open their genomes. Might be a consequence of breeding Amanora genomes for too long. I'll fix them some day.
I also had a grendel wolfling run, but for some reason it wasn't very successful after a while, and the grendels gradually died off. I have thought about running it again now that I have more breeds downloaded and no longer use a couple of the rooms that were present in this run that might have worked against them. I've also discovered a better way of moving creatures around the world, or at least, it works for the norns I tried it on.
Other ideas I've played around with: an arena world (creatures fight to the death; winners get to make babies), multiple kinds of migration worlds (including inducing migratory behavior via genetics and some code), and I've thought about a Geat world but haven't committed to one yet. I've also been thinking of making a Creature Link world that's a bit more nurturing, since I haven't played that way in DS for a while.
As for particular habits, besides injecting everything included with the Anodyne, I like experimenting with different arrangements of metarooms and connecting them in different ways. In C1, there a cobs that add extra spaces and make the world more connected, and I use several of these in addition with more permanent food sources. In C2, I love love love adding new plants, especially when I make the volcano into a garden, and also new critters, and making my own ecosystems. I do this to some extent in DS, but not quite as much. Also, I am strict about naming my creatures alphabetically by generation.
How did you get into Creatures in the first place? What game did you start with? What intrigued you about it or was the most fun? Do you have any special or fond memories?
I got into Creatures (many, many years ago now - back when Albia 2k was still up, back when the Gameware forums hadn't been shut down, back when the VLforums still existed, back when you could still trade creatures and chat with random people on DS) because I absolutely loved virtual pets and related games as a kid. There were points were I was obsessive about them.
I played Petz. I played Babyz. Eventually I would pick up Pinna (a virtual bird game). I tried out that one Aquazone game where you could breed colorful guppies. I had multiple games where the point was to be a vet and treat pets, zoo animals, or wild animals. I even had a real cat and yes, I did play with her too.
At some point I found a website about virtual and artificial life - I think it was called the Virtual Life homepage - and right next to a page full of links to virtual pet websites, FinFin, and gobs of Tamagotchi, was Creatures. I remember spending a while reading the official page, then downloading DS as soon as my mom would let me use her computer (which must have fit the requirements better; I did play on my hand-me-down Windows 98 at some point, but she had XP and an LCD screen!).
Norns were never as cute as the roly-poly adorable kitties of Catz. But I still played for hours with my copy of DS (soon with a whole bunch of add-ons, of course).
Eventually my parents bought me the Creatures Trilogy for my birthday, but DS - now with C3 docked - was still my favorite. We also borrowed a copy of Creation: Life and How to Make It from the library and I read it together with my dad. I was already learning how to program - mostly how to do things with numbers - and this was an introduction to a new and different way of thinking and coding to me. We skipped the neural network chapter at the time because it was too advanced for me, but the parts about feedback loops and coding an environment and getting emergent behavior rather than hardcoding everything, those stuck with me.
I liked playing with the creatures and taking care of them and breeding them - genetic systems have always been a huge, huge source of fascination for me, and continue to be so - but as time went on, I was inspired by other community members to start investigating some of the science background behind the games. At this point I wasn't quite getting into CAOS - though I do remember trying - and I only poked at genetics, but I did set up some experiments within the game to see what would happen.
Besides watching my little colony in the Meso, I have fond memories of one particular little norn who I hand-raised. I taught her words by hand, though I was frustrated by not being able to teach her verbs. At some point I think she must have refused to eat or otherwise do what I wanted her to do and out of frustration I started slapping her a whole bunch. Much to my surprise, it turned out that a creature could die from slapping. Oops.
Please make sure you have read the entire readme before you install or edit either of the two Anodyne files. This tutorial only covers how to edit the files, because I thought some people might like to have pictures showing exactly what to change.
I would be very surprised if you have the exact same preferences for everything that I do, and there is probably at least one thing included in this by default that you don't like. Maybe you want your engineering icon after all the terrarium icons. Maybe you use a different autonamer. Maybe you have another twenty agents that you want to inject into almost every world that you make. Here's how to make that happen. Open up the .cos file you want to edit - I recommend CAOS Tool, or at least Notepad++, but a normal simple text editor (Notepad, gedit, etc) will work as well.
Making changes is not hard, even if you don't know any CAOS! However, because these files have permanent effects on new worlds, please test your changes on a temporary new world. I highly recommend making both an undocked and a docked test just to make sure that no errors pop up and nothing happens that you don't want to happen.
If you don't want something to be removed, look for the line that says 'kill off ____' where ____ is the thing you want to keep. Either comment out the three lines following it (the ones that say enum ___, kill targ, next) by putting a * in front of them, or delete them.
This example shows how to keep the file from deleting the knowledge stones from your worlds.
Here x y z is the classifier number of the object you want to kill. If you don't know it, open up a world, hit ctrl-shift-t, and hover the hand over the object. Three numbers will come up on your screen. Record those three numbers and plug them into the 'x y z' exactly as they appeared in the game.
In this example, I added the classifier of the DS elevator buttons (maybe if you wanted to raze everything and use Elevines instead?).
You probably didn't need this image, but it's here for the sake of completeness.
If you want your room icons to be in a different order, go down to the part that says 'move camera to hallway' and then has a bunch of lines like this: cmra 6143 8998 0. The 'cmra 6143 8998 0' part is telling the game where to point the camera, so to change the order of your icons, you just have to change the order of those lines. I recommend changing the comments as well (the lines starting with **) to describe the new order, to keep from getting yourself confused. For example, if you wanted to have the Workshop icon be second, not the hallway icon, you would find the cmra line for the Workshop (cmra 4611 9039 0) and put it where the cmra line for the hallway is (cmra 2469 9046 0). Then you would take the cmra line for the hallway, and put it where the cmra line for the Workshop used to be. It is possible to change things around so that C3 icons can come before DS icons, as well.
This shows the above example.
This file is actually easier to change than part one, woo! It also has the potential to cause errors. Be careful when modifying it!
Keep in mind that agents do not need to be in alphabetical order; I just did that to make things easier for me.
If you don't want to automatically add one of the agents in the file to your worlds (or you don't have it, etc), all you have to do is either comment out (add * before it) or take out the line that says 'sets va01 ___' (where ___ is the name of the agent), and the same to the 'elif ov00 eq ___' line just before it. You can also remove the comment (the line starting with **) if you want. Then, you must change all the following 'elif ov00 eq ___' lines following it to subtract one from whatever the 'eq ___' number is for every agent before that line that you removed. For example, if you wanted to take out Autovocab, you would comment out or remove the lines 'elif ov00 eq 3, sets va01 "Autovocab"', and then change the next line 'elif ov00 eq 4' to 'elif ov00 eq 3', the next 'elif ov00 eq 5' to 'elif ov00 eq 4', and so on. This is annoying, so if you want to add other agents to automatically inject, I recommend doing that first to minimize the amount of renumbering you have to do.
This shows the above example. Note the changed numbers; you have to do this for all of the following 'elif ov00 eq ___' lines.
Two more notes on removing agents from the file: first, New Gadget Dropper has three lines you need to comment out or remove, because it actually has to be removed before it is injected. Make sure you get all three lines if you don't want it. Second, if you want to remove Wetness, please make sure that the lines 'doif gmap 1538 3272 eq -1, tick 0, endi' are not removed. If you remove New Gadget Dropper, make sure that the line 'tick 0' is not removed.
This shows what it would look like if you removed only Wetness and New Gadget Dropper.
There are two ways to add more agents to the list. First, you can replace one of the ones that's already there, if you don't want to inject that agent automatically. To do this, just find the name of that agent, then replace it with the name of the one you want to inject. The name must be exactly the same as it appears in the agent injector! For example, if you wanted to inject an agent called 'Foo' (its exact name in the agent injector), and didn't want the HLM Patch, you would change the line 'sets va01 "HLM Patch"' to 'sets va01 "Foo"'.
Again, very simple, but this shows the above example.
Where x one more than the number in the previous 'elif ov00 eq _' line, and the text between the quotes in 'sets va01 "___" is the name of the agent exactly as it appears in the agent injector. You will also have to adjust all of the 'elif ov00 eq _' lines after your new addition to add one to the number for each new agent you add to the file.
This shows adding a new DS agent and a C3 only agent.
You can add as many extra agents as you like.
Before you try out your new file, please check that in all the lines of 'elif ov00 eq x', there are no numbers skipped (going from 'elif ov00 eq 4' to 'elif ov00 eq 6', for example) and there are no numbers that are listed twice.
If you get errors, first check the numbers to make sure that they are in order and that no number is skipped or appears twice. Second, if you changed out any of the agents or added new ones, make sure that the names are exactly as shown in the agent injector (the DS one for DS or C3/DS agents; the C3 one for C3 only agents). Third, make sure that you didn't accidentally add a C3 only agent before the 'EVERYTHING AFTER THIS POINT is a C3 agent;' line.
Good luck! I hope you find these files useful and are able to modify them to suit your purposes.
There's a lot of genomes out there for C3/DS besides the ones that come with the game. I've noticed that new people especially sometimes get confused by what the differences between them all are and which ones they should use in their worlds, so I wrote this guide to the more popular genomes to help clear things up.
Standard: These are your bog-standard creatures that come with the game. Usually, people take the default Chichi genome as being the default. This is because it has additional genes to deal with the networking features introduced to DS as well as some biochemistry tweaks compared to the original C3 breeds, and as it came with the free game DS, it was also the most widely-available genome back in the day. Note that the default C3 norn breeds (Civet, Bruin, and Bengal) have an additional 'expressive' variant available to them in the egg creator – if you use the standard genome, you will probably want to use this one to play, as it's actually a fix. Originally, the norns did not make the appropriate facial expressions to express their mood properly, and the expressive variants are a fix for this.
The standard genome has quite a few bugs in it, and some of the other genomes are attempts at fixing these bugs, while others simply aim to introduce new features.
Gizmo: Gizmo norns were an early fix for many problems in the standard genome. They have many modifications, but to summarize: they have a rebalanced biochemistry, a modified reproductive system to make them less likely to become super-breeders, and changed instincts to make them survive better but also to try and make them less 'pre-programmed'.
Because of these many changes, they probably won't interbreed well with other genomes, though it won't necessarily be fatal to try.
Amanora: Amanora made some beautiful new breeds for C3/DS, the Dream Norns, Butterfly Norns, and Flora Norns. These also used a modified base genome that included changes to the pigment and pigment bleed genes so that creatures would keep their color throughout their whole life (normally creatures can mutate so that they change colors in different life stages), and changes to the pose genes to reduce the chance of getting creatures with limps and other bad movements.
Unfortunately, because of these changes, her breeds can't interbreed well with standard creatures – they're likely to produce sliders. Because of this, Amanora used to have a pack with this modified base genome for all the official breeds, but this no longer appears to be on her site.
CFE: The name stands for 'Creatures Full of Edits'. These are a major fix that was widely adopted in the community and by breed makers. There's a lot of changes, and these include: working friend-or-foe lobe that allows creatures to make friends and enemies, better memory and learning, a new brain lobe that allows creatures to perceive the elevation of an interesting object (so they don't go after things they can't reach), as well as several fixes to prevent behavior loops. They also cannot get stuck on a life stage or live without eating, and will not mutate to severe limps.
CFEm: These are the same as CFE creatures, except they lack a few of the changes: they can still get stuck on life stages, mutate to live without food, and their gait genes will mutate like a standard creature's genes will.
CFE and CFEm creatures are compatible with each other, but breeding them with standard creatures might result in weirdness and is not recommended by the creator. Some older breeds may not have CFE conversions available, but some do.
CFG: The name here standards for 'Creatures Full of Gizmo'. As one might expect, they combine both the changes from the gizmos and the CFEs into one genome.
CFF: This name stands for 'Creatures Full of Fixes' and builds upon the CFE genome. It includes both additional fixes as well as new features. CFF creatures will be aware of being full (so they don't just eat everything in the ship in one go), will react when drowning, and shouldn't breed as quickly as CFE and standard creatures do. They will also hallucinate when ingesting chemical 130, and are meant to act more curious and try more random things.
Evo: The Evo norns are an offshoot of the CFF project. They are meant to mess around with objects more and have a shorter attention span than normal creatures.
CFF creatures are relatively compatible with both CFE and CFG creatures. Evo norns can be interbred with CFF norns. A couple of older breeds have CFF conversions available.
TWB: This name stands for 'True Warmblood'. These creatures, based on the CFFs, have a real internal body temperature, unlike normal creatures. This body temperature is affected not just by their surrounding temperatures, but also things like the creature's diet and activity levels. They also have a few other changes related to instincts, fixing and finishing the hunger system, and fixing some other issues.
Because of their extensive changes, they do not interbreed well with other genomes.
Spice: In this genome, based on the standard one, pigment genes are spread out through the genome, rather than being all bunched up together. This means that offspring inherit a mix of the colors of their parents, instead of only inheriting all of their color genes from one parent. This means that, for example, a blue creature and a red creature can have a purple child, instead of only a blue or a red child.
Spice norns should not be interbred with other genomes because of how their genes have been re-arranged.
Colortrue: This genome is based on the CFE creatures and was inspired by the Spice norns. Similar to the Spice genome, Colortrue genomes have been changed so that the children inherit a mix of the colors of their parents.
Colortrue creatures should also not be interbred with other genomes.
Farbe: This genome is also based on the CFE genome. Farbe creatures have been changed so that their pigment genes cannot mutate, but their pigment bleed genes can, which allows for more realistic and better-looking color mutations.
Farbe creatures can be bred with standard CFE creatures.
These are only some of the more common genomes; there are many others out there to try, such as the Curiosity Norns, not to mention a whole host of new breeds that come with their own unique genomes.
...so what should you choose? That can be a difficult question, and it depends on a lot of things. What features do you prefer? What are existing breeds available in? How compatible will different breeds you like be?
Remember, though, that you don't have to choose just one genome and stick with it. If you don't want sliders and severely messed-up babies in your worlds, you can either keep creatures with incompatible genomes in separate areas, or use different genomes in different worlds. For example, I usually use CFE creatures, but I have one world full of Colortrue norns, and I'm trying out the TWB creatures in another. I even have some Amanora genome creatures in a very old wolfling run world of mine.
I would seriously recommend getting at least the CFEs or CFEms; they are a great improvement over the standard genome in terms of learning and behavior, and the vast majority of newer releases are based on them or a genome based on them. If you really like the idea of the Gizmo biochemistry changes, you can get the CFGs. Whether you want to get CFFs or Evos is dependent on how much you care about the additional changes to their behavior. Maybe you are interested in the realistic internal temperature of the TWBs. And, if you really care about realistic color mutations or inheritance, Farbe or Colortrue creatures might be best for you. On the other hand, if you really like the look of an older breed, you might be stuck with the standard genome or a modification based on it... unless you or someone else converts it, of course.
The best thing to do is to try several of these genomes out, and then observe your creatures to see how they behave and what you like!


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redpajama_set_name: RedPajamaCommonCrawl


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Захоронение Александра Сергеевича Манштейна находится на русском участке христианского кладбища г. Бизерта в Тунисской Республике. Могила старшего лейтенанта Александра Сергеевича Манштейна входит в Перечень находящихся за рубежом мест погребения, имеющих для Российской Федерации историко-мемориальное значение (распоряжение Правительства Российской Федерации от 11.11.2010 г. № 1948-р, с изменениями от 28.08.2012 г. № 1551-р, от 04.03.2014 г. № 310-р, от 13.07. 2016 г. № 1493, от 09.06.2017 г. № 1197-р).

В настоящее время регулярно поддерживается в надлежащем состоянии представительством Россотрудничества в Тунисской Республике, Посольством России в Тунисе и волонтерами Тунисской ассоциации «Российское наследие».

Местоположение
А. С. Манштейн похоронен в г. Бизерте на христианском кладбище Уэд Аль Асель (Сimetière Chrétien D'El Assel de Bizerte). Город Бизерта — последняя стоянка Русской эскадры и символ Русского исхода. Захоронения русских эмигрантов, связанные с Русской эскадрой, появились на местном христианском кладбище с 1921 г. На данный момент сохранилось всего около 40 могил. Здесь покоятся контр-адмирал В. В. Николя (1881-1923), вице-адмирал, участник обороны Порт-Артура, директор Морского корпуса в Бизерте А. М. Герасимов (1861-1931), контр-адмирал С. Н. Ворожейкин (1867-1939) и другие морские офицеры, гардемарины и члены их семей. Русские захоронения расположены группами по разным участкам кладбища. В левой части кладбища находится братская могила. Основанием креста на этой могиле служит морской камень. В апреле 1999 г. на кладбище Бизерты рядом с братской могилой был установлен кенотаф с мемориальной доской на русском и французском языках: «В память о моряках Русской эскадры и всех российских людях, покоящихся в тунисской земле»[1]. Ежегодно в памятные даты, связанные с историей Российского флота и Русской эскадры, на христианском кладбище г. Бизерты проходят мемориальные мероприятия с возложением цветов на кенотаф, братскую могилу и могилу старейшины русской общины в Тунисе А. А. Манштейн-Ширинской. Волонтерами Тунисской ассоциации «Российское наследие» из числа соотечественников и тунисцев проводятся субботники или работы по содержанию данных участков в достойном виде на добровольные пожертвования.

Исторические данные
Манштейн Александр Сергеевич (22 июня 1888, Царское село, Российская империя - 2 февраля 1964, Бизерта, Тунис) — из семьи офицеров Русской армии Манштейнов. Родители — Андрей Сергеевич Манштейн (1861-1934), Анастасия Александровна Насветевич (1864). В 1908 г. окончил Морской корпус в Санкт-Петербурге (Мессинский выпуск), старший лейтенант.

Во время учебного двухмесячного плавания в ноябре 1908 г. на линейном корабле «Цесаревич» в Средиземноморье принял участие в спасательных работах населения г. Мессины.

Действительная служба в Императорском флоте России для А. С. Манштейна началась весной 1909 г. Он получил назначение на судно связи «Геок-Тепе» в составе Каспийской флотилии. В 1911 г. был назначен в Балтийский флот, в 1914 г. был переведен в Ревель, где принял командование посыльным судном службы связи «Невка».

В 1914 г. был опубликован сборник рассказов «Гангутская победа и другие подвиги моряков и судов родного флота» (Санкт-Петербург, 1914 г.)[2], в который вошло 11 рассказов А. С. Манштейна, посвященных офицерам и кораблям флота в первой морской победе русского флота в 1714 г. : «Гангутская победа», «Капитан де-Фремери», «Брандер Ильина», «Подвиг капитана Сакена», «Подвиги капитана-лейтенанта Кроуна», «Бриг "Александр"», «Бой тендера "Опыт" с английским фрегатом», «Бой брига "Меркурий" с двумя турецкими кораблями», «Бой "Весты" с турецким броненосцем», «Бой миноносца "Страшный" 31-го марта 1904 года», «Броненосец "Адмирал Ушаков"». В этот же сборник вошли рассказы лейтенанта А. Н. Лушкова «Геройская гибель броненосца "Князь Суворов"» и капитана 2-го ранга А. В. Домбровского «Русские моряки в Мессине в 1908 году». Сборник был удостоен премии имени графа С. А. Строганова.

В феврале 1918 г., когда немцы заняли Ревель, А. С. Манштейн шесть месяцев находился в казармах для интернирования русских офицеров. Осенью через Украину присоединился к ВСЮР в Новороссийске. В апреле 1919 г. был назначен командиром эсминца «Жаркий» (до 1924 г.)[3]. Его стараниями и настойчивостью миноносец был эвакуирован в составе Русской эскадры в Бизерту. «Жаркий» привел на буксире плавучий транспорт-мастерскую «Кронштадт».

Из воспоминаний дочери А. С. Манштейна Анастасии Александровны Ширинской, автора книги воспоминаний о жизни русских эмигрантов в Тунисе «Бизерта. Последняя стоянка»:

 "До последней минуты мы не знали, как уедем. «Жаркий» стоял в доках с разобранными машинами. Папа получил приказ его покинуть и перевести экипаж на «Звонкий». Папиному возмущению не было конца. «И не говорите, что я потерял рассудок! Я моряк! Я не могу бросить свой корабль в городе, в который входит неприятель!
Пока все грузились, мы сидели дома, а папа упорно добивался в штабе, чтобы миноносец был взят на буксир… После разговора с Кедровым он добился своего. Вернувшись на "Жаркий", не теряя времени, он послал людей вернуть с заводов отдельные части разобранных машин. Это было самое спешное. Надо было также снабдить корабль самым необходимым: хлебом, консервами, нефтью…» [4] В Бизерте после отъезда штаб-офицера С. Л. Трухачева в г.Тунис А. С. Манштейн был назначен командиром бывшего линкора «Георгий Победоносец» (1923-1924) — общежития для русских эмигрантов. В Тунисе после ликвидации эскадры брался за любую работу: тачал сапоги, занимался чеканкой, делал рамки для фотографий, выполнял поделочные работы на заказ. Остался русским беженцем. В 1930-е гг. был избран членом Комитета по строительству русского православного храма св. Александра Невского в г. Бизерта (Тунис), храма-памятника кораблям Русской эскадры. Соорудил крест над киотом в указанном храме. Семья жила в Бизерте.

А. С. Манштейн скончался 2 февраля 1964 г. в Бизерте. Как пишет Анастасия Александровна: «В последний раз в нашей маленькой церкви стоял гроб, покрытый старым Андреевским флагом, — все, что осталось от последней стоянки»''[4].

Семья:

Жена Зоя Николаевна (урожд. Доронина, 13 февраля 1890, Санкт-Петербург, Российская империя - 19 июня 1961, Страсбургˌ Франция). Прибыла в Бизерту с детьми в декабре 1920 г. на пассажирском транспорте «Великий князь Константин». С миноносца «Жаркий» переехала с детьми на бывший линкор «Георгий Победоносец» (до начала 1925 г.). В эмиграции выполняла хозяйственные работы во французских семьях.

Дочери:

Анастасия (23 августа 1912, родовое имение близ Лисичанcка, Российская империя - 21 декабря 2009, Бизерта, Тунис; замужем за С. Ширинским) стала старейшиной русской общины в Тунисе. Анастасия Александровна внесла большой вклад в сохранение исторических реликвий и памяти о Русской эскадре и её моряках. Написала книгу-воспоминаний «Бизерта. Последняя стоянка», изданную на французском и на русском языках (1996, 1999-2000). В 2005 году за эту книгу Анастасии Александровне была присуждена специальная награда Всероссийской литературной премии «Александр Невский» "За труды и Отечество".

Ольга (30 апреля 1917, Таллин - 7 октября 2001, Ницца, Франция, замужем за Н. И. Мандрыкой)

Александра (27 сентября 1918, Привольное, Ставропольский край, Российская империя - 18 сентября 1991, Тулон, Франция; замужем за А. Н. Апухтиным)

Мария (3 марта 1924, Бизерта, Тунис - 14 июля 1925, Бизерта, Тунис)

Литература
[1] Бешанова С. А., Ельцова Е. Н. Сохранение историко-мемориального наследия Русской эскадры в Тунисе: к истории создания братских могил // Судьба Русской эскадры: корабли и люди. Материалы Международной историко-просветительской конференции «Судьба Русской эскадры: корабли и люди» (Санкт-Петербург, 21-22 ноября 2019 г.) / Научн. ред. и сост. С. А. Мозговой. — М.: Институт Наследия, 2020. С. 39.

[2] «Гангутская победа и другие подвиги моряков и судов родного флота». — Санкт-Петербург, 1914.

[3] Люди Русской эскадры / Сост. А. В. Плотто. Библиотека Фонда им. А. А. Манштейн-Ширинской. — М.: Арт Волхонка, 2015. С.275.

[4] Ширинская А. Бизерта. Последняя стоянка. — СПб.: Издательство Фонд содействия флоту «Отечество» , 2003. С. 162-163.

[4] Там же, С. 289.

Бешанова С. А., Ельцова Е. Н. «На чужбине русские могилы…»: братские могилы русских эмигрантов в Тунисе // Чертковский исторический сборник. Материалы конференции. — М.: Государственная публичная историческая библиотека России, 2019. С. 512-535. [Электрон. ресурс] URL: https://elibrary.ru/item.asp?id=42557584

Тунис

redpajama_set_name: RedPajamaWikipedia


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Joe Cormier (1927-2016)
This memorial honoring Cape Breton fiddler Joe Cormier was written by friend and fellow musician John Mark Garrison.
Joe Cormier, one of the greatest of the Cape Breton fiddlers, passed away Sunday, January 31st at the age of 88. Born March 19, 1927 in Cheticamp, Nova Scotia, Joe took to the fiddle at an early age. Cheticamp at that time was a small fishing village in the French-speaking area of Cape Breton which had originally been settled by French Acadians in the 18th century. The nearest railroad was in Inverness, 45 miles away. (Joe said he remembered when flour got scarce in winter it would be brought in from Inverness by horse and sleigh — a round trip of 90 miles.)
Two of Joe's biggest musical influences were Angus Chisholm and Winston Fitzgerald, two of the greatest Cape Breton fiddlers who used to visit his house when he was growing up. From them and others, Joe learned the old Scottish repertoire and style that is the heart of Cape Breton fiddle music. By the time he was a teenager, he was already playing regularly for dances throughout Cape Breton.
In 1962, Joe moved with his wife Norma, and their children to Waltham, Massachusetts. He worked as an electrician and was a force in the local music scene. He played regularly at the Saturday night dances held at the French American Victory Club in Waltham and at the Canadian American Club in Watertown.
During the 1970s, Joe performed from time to time with the "Cape Breton Symphony," a group of four or five traditional fiddlers that appeared on the weekly "John Allen Cameron Show" on Canadian television. In 1974, Mark Wilson recorded an influential LP album of Joe's music for Rounder Records. Although several LPs of Cape Breton fiddling had been available in Canada, these were mostly reissues of earlier 78s. Joe's record exposed the music to a wider audience and played a significant part in reviving this beautiful and ancient tradition.
Joe continued to play regularly and record, doing three more solo CDs for Rounder as well as several recordings with other fiddlers such as Jerry Robichaud and his nephew J. P. Cormier.
In 1984, Joe was awarded a prestigious National Heritage Award Fellowship from the National Endowment for the Arts. He was also one of only six traditional fiddlers chosen to participate in the "Masters of the Folk Violin" tour produced by the National Council for Traditional Arts. In 2006, Joe was awarded an Artist Fellowship in the Traditional Arts by the Massachusetts Cultural Council.
I was lucky to know Joe for the past 20 years. In spite of his immense talent, he was very modest about his music and encouraging to other players. Every Wednesday evening, he invited a small group of younger players to his house to share tunes and stories.
Joe loved the old style of playing he learned from Angus, Winston, and the other great fiddlers he grew up listening to. At the same time, he had his own unique 'touch' which imparted a wonderful lilt and swing to his playing.
He is survived by his wife Norma, his six children as well as numerous grandchildren, nieces and nephews. He touched many people with his music and his warm and generous spirit.
Author Heritage8Posted on February 25, 2016 February 25, 2016 Categories artist grants, MusicTags Cape Breton, Cape Breton fiddler, French Acadian music, Nova Scotia
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bioMérieux ConnectionAn educational resource brought to you by bioMérieux, Inc.
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Keys to Success for Hospital Antimicrobial Stewardship Programs
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Life After Sepsis is Often Challenging
Posted on September 13, 2019 September 13, 2019 by Erin Blumer
By Mauricio Berdugo, MD, MPH, Director, Global Scientific & Medical Affairs at bioMérieux
In United States hospitals alone, one out of every seventeen patients has sepsis, and sepsis contributes to 35%-52% of all hospital deaths. Globally, the numbers are even more staggering—every year, about 30 million people get sepsis, and 6 million people die.
Sources: 1. Global Sepsis Alliance; 2. Rhee, JAMA 2017; 3. Liu, JAMA 2014
That means that worldwide, someone gets sepsis almost every second, and someone dies from sepsis every 3-4 seconds.
Source: Global Sepsis Alliance
However, of the 30 million people who get sepsis each year, 24 million survive. While battling sepsis is difficult, the complications that people face after their ordeals are over can be challenging or even deadly. According to a study published in 2014, 29.5% of sepsis survivors die in the year after sepsis.
Sources: 1. Mayr, JAMA 2017; 2. Prescott, BMJ 2016; 3. Iwashyna, JAMA 2010; 4. Iwashyna, JAGS 2012; 5. Cohen, LID 2015; 6. Prescott, JAMA 2018; 7. Yende, AJRCCM 2014; 8. Jafarzadeh CID 2016
A 2018 review, Enhancing Recovery From Sepsis, reports that one in six sepsis survivors have severe, persistent complications. Those include hospital readmission—the average re-hospitalization rate is 45% for sepsis survivors; and, 19% of sepsis survivors develop recurrent sepsis.
A 2012 study, Population burden of long-term survivorship after severe sepsis in older Americans, showed that 74.8% of patients who survived severe sepsis three or more years earlier suffered from functional disabilities, and 16.7% had moderate to severe cognitive impairment. The Sepsis Alliance notes that a condition called post-sepsis syndrome (PSS) affects up to 50% of all sepsis survivors. The effects from PSS can include insomnia, panic attacks, difficulty concentrating, decreased cognitive functioning, disabling muscle or joint pain, and depression.
Finally, sepsis survivors may also have cardiovascular and kidney complications. According to the authors of the 2018 study, Postsepsis Morbitity, Sepsis survivors are 1.4 to 1.9 times as likely to suffer from a cardiovascular event, compared to the general population. The same study showed that sepsis survivors' risk of 90-day readmission for acute kidney failure increased 2.7 times. A separate paper, Longitudinal Study of the Effects of Bacteremia and Sepsis on 5-year Risk of Cardiovascular Events, showed that people who have survived septic shock may be 6.91 times as likely to suffer a heart attack.
With the burdens that survivors face, especially survivors of severe sepsis and septic shock, it's easy to see why sepsis prevention and early recognition are so critical. Knowing and recognizing the signs of sepsis can help—download the Sepsis 6 card to remind yourself and others of the symptoms of sepsis:
Disorientation
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Fever, shivering
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The flag of Earth is a concept of a possible flag design meant to symbolize the planet Earth, humankind, or a possible world government.

Proposed flags

John McConnell's Earth Flag

In 1969, peace activist John McConnell proposed his design titled the Earth Flag. The current version of the flag consists of The Blue Marble, a photograph of Earth taken on 7 December 1972 by the crew of the Apollo 17 on its way to the Moon. The planet is placed on the dark blue background. Prior to 1973, the flag design used the photography no. 69HC487, taken by the crew of the Apollo 10 on 18 May 1969. The early flag versions also had more simplified designs, depicting white outlines of the clouds, on the light blue circle, instead of more detailed photography of the planet.

The design debuted at the Moon Watch event in the Central Park, in the New York City, on 20 July 1969, during which, people watched and celebrated the first Moon landing done by the crew of the Apollo 11. On 22 April 1970, McConnell organized the first Earth Day, in San Francisco, California at which his flags were used. Since then, the flag has become widely associated with Earth Day. In 1992, astronaut Anatoly Berezovoy carried the Earth Flag with him during his time in space.

International Flag of Planet Earth

In 2015, designer Oskar Pernefeldt proposed a flag called the International Flag of Planet Earth. The design consists of seven rings, linked to each other. It includes one circle in the middle, and six circles around it, forming the shape of a flower. The shape represents the life on the planet, and the connection of everything on it to everything else. The number of circles represents the seven continents of the planet. The symbol is placed on a dark blue background, which represents water, the essential of the planet's life, and the oceans, which cover most of the surface of Earth. Additionally, the outer rings together form a circle, representing Earth, with a blue background, representing the universe. The aspect ratio of the height of the flag to its width equals 2:3.

Oskar Pernefeldt designed the flag as a graduate thesis, but the flag quickly became popular internationally. The website Penerfeldt created for the flag received more than half a million views in its first 24 hours, and it received significant media attention. Many outlets speculated about the design's use in space travel, particularly humans reaching Mars.

The International Flag of Planet Earth Organization (IFOPE-O) is a registered 501(c)(4) nonprofit organization founded by Pernefeldt to promote the proposal. It's mission is to make this flag recognized as the flag of Earth, by serving as its awareness agency

James W. Cadle's Flag of Earth

In 1970, James W. Cadle, a farmer from Homer, Illinois, proposed his version of the flag of Earth, that consisted of a blue circle representing the Earth, placed in the centre of the flag, in front of a segment of a larger yellow circle, representing the Sun, placed on the left side of the map, and a smaller white circle, representing the Moon, located in the right bottom corner of the flag, with everything placed on a black background. It gained popularity among the SETI researchers and is flown of numerous SETI research facilities around the world. Notably, the flag flies at the Ohio State University Radio Observatory, in Delaware, Ohio. On 23 December 1996, in honour of the death of Carl Sagan, three days prior, the flag had been flown there at the half-mast.

The flag was originally distributed by Earth Flag Co. International, which was founded by Cadle. The design had entered the public domain in 2003. Following Cadle's death, the flag distribution is being continued by North American Astrophysical Observatory.

World Peace Flag of Earth

In 1913, James William van Kirk, a Methodist minister from Youngstown designed the first known flag proposed to the peace flag and the flag of Earth. The design includes the rainbow flag on the left, consisting of red, green, yellow, orange, blue, purple, and pink stripes. To the right is depicted a brown globe with coordinate grid including the latitude lines, that go from the longitude lines of the north and south polar circles. In the middle of the globe is placed a white horizontal stripe. The globe is connected to the rainbow flag via thin white stripes going from the side of the white stripe on the globe, to the outher boundaries of the coloured stripes on the rainbow flag. Both object are placed on the dark blue background with 46 stars surrounding them.

In 1913, and 1929, Kirk  made a peace tour through Europe with his flag, promoting "the brotherhood of man and the Fatherhood of God". The Universal Peace Congress adopted Kirk's design as its official World Peace Flag. It was subsequently adopted by the American Peace Society as well as other groups.

The World Flag

In 1988, Paul Carroll proposed a design titled The World Flag, that combined the flags of 159 member states of the United Nations. It was created to promote the global unity and cooperation. The flag depicted the national flags placed next to each other. In the centre of the flag was placed a Dymaxion map of the world. The design was updated in the 1992, expanding number of flags included to the total of 230, adding all national flags used at the time, and additionally including the flag of the United Nations, and flags of the various self-governed depended territories. The flag was again updated in 2006, 2008, and 2011, to accommodate for the changes of the national flags and political events. Through the redesigns, the map in the centre of the flag was also changed.

Flags of international organizations

United Nations

The United Nations is an intergovernmental organization whose stated purposes are to maintain international peace and security, develop friendly relations among nations, achieve international cooperation, and be a centre for harmonizing the actions of nations. It is the world's largest and most familiar international organization. It consists of 193 members, representing almost all of the world's sovereign states.

Its flag consists of the white emblem on the sky blue background. The emblem depicts a azimuthal equidistant projection of the world map, centred on the North Pole, with the globe being bisected in the centre by the Prime meridian and the International Date Line, thus ensuring that no country is at prominence within the flag. The projection of the map extends to 60 degrees south latitude, and includes five concentric circles. The map is inscribed in a wreath consisting of crossed conventionalized branches of the olive tree. The size of the emblem on the flag is one half the width of the flag itself. The flag proportions of the aspect ratio of the flag height to its width, are equal 2:3, 3:5 or to the same proportions as the national flag of any country in which the UN flag is flown. The olive branches are a symbol for peace, and the world map represents all the people and the countries of the world.

The emblem design was officially adopted on 7 December 1946, and the flag, on 20 October 1947.

World Service Authority

The World Service Authority is a non-profit organization that claims to educate about and promote "world citizenship", "world law", and world government. It is best known for selling unofficial fantasy documents such as World Passports. It was founded in 1953 by Garry Davis. Its flag consists of the organization emblem on the yellow background. The emblem depicts a white globe, with green outline, and green lines of the latitude and longitude. Within the globe stands a green figure of a human, reaching with its limbs to the boundaries of the globe.

Olympic Games

The Olympic Games are the leading international sporting events featuring summer and winter sports competitions in which thousands of athletes from around the world participate in a variety of competitions. They are considered the world's foremost sports competition with more than 200 teams, representing sovereign states and territories, participating. The Olympic Games are organized by the International Olympic Committee, a non-governmental sports organisation, founded in 1894.

The Olympic flag depicts five interlocking rings, coloured blue, yellow, black, green, and red on a white field. The number of rings represent the five inhabited continents: Europe, Asia, Africa, Oceania, and the Americas, while the six colours were chosen, as each of the colours appears at least once in the flags of every sovereign state on the world. The flag proportions of the aspect ratio of the flag height to its width, are equal 2:3.

The symbol was originally created in 1913 by Pierre de Coubertin, co-founder of the International Olympic Committee. It was adopted in 1913, and first hoisted in 1914. It officially debuted at the 1920 Summer Olympics in Antwerp, Belgium, and gained popularity and widespread use during the lead-up to the 1936 Summer Olympics in Berlin.

The design of the rings was slightly altered in 1988,  and again in 2010.

League of Nations

The League of Nations was the first worldwide intergovernmental organisation whose principal mission was to maintain world peace. It was founded on 10 January 1920 by the Paris Peace Conference that ended the First World War. The main organization ceased operations on 20 April 1946 but many of its components were relocated into the new United Nations.

The semi-official flag of the League of Nations was created in 1939. It features the organization emblem on the white background, placed in the centre. The emblem consists of a blue pentagon, with a white five-pointed star within it, with each of its points touching its vertexes, and a white five-pointed star placed within the other star, that does not touches its sides. It symbolized five inhabited continents, and "five human races". Above the pentagon is a text written in capital blue letters that reads "League of Nations", while below the pentagon, is text written in the same style, that "Société des Nations". They are written respectively in English, and French, two co-official languages of the League of Nations.

In science fiction

Star Trek
In Star Trek science fiction media franchise created by Gene Roddenberry, Earth is governed by a single world government, the United Earth, which itself is a founding member of the United Federation of Planets.

In 1991 Star Trek VI: The Undiscovered Country film, set in the year 2293, the flag of the United Earth consists of two equally-sized horizontal stripes, of red and blue colour, with a equilateral triangle at the hoist. Within the white triangle is placed the emblem that features a planet, and rising sun behind it, placed within the light blue circle. It depicts the top half of the globe, placed in the bottom portion of the emblem. The planet includes a coordinate grid, and fictional white landmasses. Behind the globe is depicted a top half of a yellow sixteen-pointed star rising over the planet.

In the fourth season of the 2001 Star Trek: Enterprise television series, set in the year 2154, the flag of the United Earth depicts an emblem that includes a circle depicting a map of the world, centred on the prime meridian, and one olive branch placed to the left of the map. The boundary of the circle, landmasses and the branch are colour in golden colour, while the water on the map, in dark blue. The emblem is placed on the white background, slightly off-center to the right. Above and below the emblem are two thin horizontal lines, that consist of small parallelogram placed next to each other. The flag and emblem appears in the episodes "Home", "The Forge", and "Demons". The emblem also appears in the 2020 Star Trek: Lower Decks animated television series, in the episode "An Embarrassment of Dooplers".

In the first season of the 2017 Star Trek: Discovery television series, set in the year 2257, the flag of the United Earth consist of the emblem placed on the dark blue background. The emblem includes a circle depicting a map of the world, centred on the Atlantic Ocean, and one olive branch placed to the left of the map. The boundary of the circle, landmasses and the branch are colour in golden colour, while the water on the map, in dark blue. The flag appears in the episode "Will You Take My Hand?".

In the fourth season of the 2017 Star Trek: Discovery, set in the year 3190, the Solar System is united under the government of the United Earth and Titan. Its emblem consists of the grey circle with beige boundary. On its right, there are two white circles, placed on the circular lines, symbolizing the two words in the orbits around the Sun, represented in the emblem as a golden half-circle in the top left corner of the emblem. Such emblem appears in the episodes "…But to Connect", and "Coming Home". The alternative version of the emblem shown in the episode "Coming Home" depicts a circle with three smaller circles within it. It includes a circle placed to the right includes a map of the world, centred on the Atlantic Ocean, and two smaller circles placed to its right.

In the second season of the 2020 Star Trek: Picard television series, set in the year 2401, the flag of the United Earth consist of the emblem placed on the white background. The emblem includes a circle depicting a map of the world, centred on the Atlantic Ocean, and one olive branch placed to the left of the map. The boundary of the circle, landmasses and the branch are colour in golden colour, while the water on the map, in dark blue.

Futurama

In the 1999 Futurama science fiction comedy television series, set in the year 3000, the Earth is united under a world government. Its flag, contains thirteen horizontal stripes, alternating between red and white, with a blue canton in the left top corner, containing a globe, with the Americas prominently depicted in the centre. It was based on the flag of the United States. Its aspect ratio of the height of the flag to its width equals 10:19. The flag appeared for the first time in the episode "When Aliens Attack", and was prominently featured in the episode "A Taste of Freedom".

The Expanse
In the 2015, The Expanse science fiction television series, set in 23rd century, the Earth, together with the Moon and several colonies across the Solar System, are governed by the United Nations, that assumed a form of a united world government. Its flag is modified version of the current flag of the United Nations. It consists of the white emblem placed in the centre, on the dark blue background. The emblem includes a azimuthal equidistant projection of the world map, centred on the North Pole, with the globe being bisected in the centre by the Prime meridian and the International Date Line. The projection of the map extends to 60 degrees south latitude, and includes four concentric circles, with an empty space left in the place, where the most inner circle should be. The projection accounts for the estimates of the sea level rise that is predicted to occur by the 23rd century. As such it depicts altered coast lines of the landmasses. Around the map is placed a circle, with eight smaller circles event distributed around its subconference. They symbolize the Lunar phase, and depicts, from the top clockwise, the first quarter, waxing crescent, new moon, waning crescent, last quarter, waning gibbous, full moon, and waxing gibbous. The elements are inscribed in a wreath consisting of crossed conventionalized branches of the olive tree, which then, are inscribed in two rows of circular lines, cut vertically in the middle. Above the map, between the space left by the lines, are three five-pointed stars, with the middle one, placed higher than the remaining two. Below the emblem, is inscribed text in the white capital letters, that reads "UNITED NATIONS".

See also
 Cosmopolitanism
 Peace flag
 Earth symbol
 Flag of Mars

References

External links
 Commons: Category: Flags of Earth
 Commons: Category: International flags

Earth in culture
Global culture
Cosmopolitanism
Earth
Earth
Earth
Earth, flag


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Andrew Callaghan on new Jan. 6 documentary 'This Place Rules'
By Alina Selyukh
ALINA SELYUKH, HOST:
Next week marks two years since the January 6 insurrection at the Capitol. This month, a monumental congressional report recommends federal criminal charges against former President Trump for his role in the attack. Now a new documentary on HBO attempts to peel back the beliefs and events that led to that day.
(SOUNDBITE OF DOCUMENTARY, "THIS PLACE RULES")
UNIDENTIFIED PERSON #1: Give me liberty, or give me death. No more fraud. We need to revote in all seven swing states.
UNIDENTIFIED PERSON #2: I am 1,000% sure that he is going to get it again - four more years. I have no doubt whatsoever. I have never doubted it for a nanosecond.
UNIDENTIFIED CROWD: Stop the steal. Stop the steal.
SELYUKH: That was a clip from "This Place Rules" by Andrew Callaghan, who first became known for his YouTube series, traveling in an RV, talking to people from all corners of the country. He joins us now. Andrew, welcome.
ANDREW CALLAGHAN: Hey, thanks so much for having me. I'm a big fan of NPR, so I'm stoked to be on.
SELYUKH: The film is stitched with lengthy interviews with people who have deep conspiracy beliefs, including - you have a convicted pedophile who accuses politicians of being pedophiles, some of those perma-protesters we have at the White House who are shouting grievances, you have a rapper cashing in on the Trump mania. How does all of that connect to the events of January 6?
CALLAGHAN: Well, I started making the film just about the 2020 election, so it was to study how the country would change as a result of either Biden or Trump winning the election. And although obviously the MAGA rapper and people like the QAnon guy you're talking about are very different in terms of what their hustles are, but they're all connected in the same way that they all are in this really tight echo chamber that got tighter and tighter in the lead up to January 6. And alternative news outlets like Newsmax and One America News Network and The Epoch Times really tightened in and kind of made the echo chamber so dense that they were just telling some of these people exactly what they wanted to hear. And things just ramped up to the point that almost everyone at the Capitol believed they were doing something that would save the country and win the spiritual war between good and evil and eradicate the deep state.
SELYUKH: And you paint these pretty detailed, pretty unsettling portraits of those people. What is it that you hope to show through them?
CALLAGHAN: I guess just show that, like, a lot of the foot soldiers that were manipulated by some of these media profiteers and like nihilistic moneymakers are just people who are - more or less been brainwashed and aren't necessarily bad people, aren't necessarily full of hatred, don't necessarily want the worst for the outcome of America and human civilization. But a lot of them are just confused, lost, and the conspiracy framework provided a lot of closure and explanations for them with, like, a rapidly changing world. The goal of the film was to really talk to people without a pre-loaded agenda, not trying to slam dunk or find the dumbest person there and make them feel small or catch them in a lie or a contradiction. But to actually try to apply some empathy and really talk to some of these folks and figure out why it is that they feel this way.
SELYUKH: You also did spend some time with some pretty high profile far-right people - Alex Jones, Enrique Tarrio of the Proud Boys. And after these conversations, a conclusion you seem to draw is - you, I think, just now alluded to - is that their role in the events of January 6 was kind of cynical, commercial.
CALLAGHAN: Yeah.
SELYUKH: Could you talk about that?
CALLAGHAN: Yeah, I mean, I think that the propaganda machine that builds upon stoking fear about, like, an imminent civil war around the corner is always built to sell ads, to sell products, to push merchandise. There's always a net profit that's going to be made during a really tumultuous time in America. You know, obviously, Enrique Tarrio, former chairman of the Proud Boys, Alex Jones runs Infowars - they both were running the two biggest T-shirt companies and the two biggest patriot merchandise empires during the stop the steal movement. Enrique Tarrio personally told me that he doesn't actually think the election was stolen, even though the Proud Boys were some of the key instigators of the Capitol riot. So for a lot of these people, it was a cash grab, and a lot of people made a ton of money off of this.
SELYUKH: As you pursued this documentary, and even in your previous work with your YouTube show "All Gas No Breaks," you sort of travel around the country, and you seek out people living on these extremes. How is that different from this criticism that you offer for both fringe and mass media, that - this idea that highlighting divisions is kind of the focus.
CALLAGHAN: When there is a massive divide in America, you're going to find interviews on the fringe. I think the difference what I'm talking about is punditry versus reporting. And what we try to do is physically speak to people, actually show up and be there and ask people simple questions like, what's on your mind? How are you feeling? And letting them guide the conversation as opposed to presenting it in a very talking-head style where if you want to tune in, it's just me and a panel of four other people kind of bickering with each other to get the viewer as pissed off as possible. So I think that's the main difference. And obviously being a journalist, no matter where you stand, whether you're on the fringe or in the mainstream is kind of like a storm chaser job.
SELYUKH: It's not clear from the film that any of the people you actually spoke with were at the Capitol on January 6. Did you seek any interviews with people who were there?
CALLAGHAN: I mean, I am - I'm the only person to interview the QAnon shaman from jail. If you go to our YouTube channel, Channel 5, I have about an hour and a half interview. But I mean, I'd venture to say that, like, you know, 90% of the people I interviewed in the film were at the Capitol.
SELYUKH: So when you ask them about what happened that day, what is their understanding of how it happened?
CALLAGHAN: I think it was such an embarrassing moment for that crowd because so much of their mythology prior to that stood on, like, assisting and defending law enforcement and backing the blue under any circumstances, because that's, like, the posture they took during the 2020 protest movement. It's funny, I would interview people before the Capitol who were like, we got to storm the Capitol, and then as soon as it happened, all those same people say that it was antifa who stormed the Capitol to make Republicans look bad.
SELYUKH: That was Andrew Callaghan. His new documentary, "This Place Rules," is out streaming on HBO Max. Andrew, thank you so much for joining us.
CALLAGHAN: Hell yeah. It's a dream to be on NPR. I appreciate you guys so much. Transcript provided by NPR, Copyright NPR.
Alina Selyukh
Alina Selyukh is a business correspondent at NPR, where she follows the path of the retail and tech industries, tracking how America's biggest companies are influencing the way we spend our time, money, and energy.
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If you check out the Starlab, please be prepared to bring a large vehicle. If you need assistance loading the equipment, we can help you.
There are parking spaces available for our visitors in front of our office building with signs labeled "CAT".
We recommend that you write "CESTEM" on a sheet of paper and leave it in your windshield, so everyone will know that your car will only be there for a short time.
For more detail please see our location on the Campus Map.
K-12 School STEM Departments are welcomed to hold department meetings in the CESTEM office!
Collaboration between offices presents a great opportunity for departments to see the tools offered for check-out through our Technology Loan Program.
For more information, or if interested, please send an email to Michelle Hafey (hafeym@uncw.edu).
To inquire about a TLP item, including the Starlab, please contact us at cestem@uncw.edu.


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text:
Râul Crasna () izvorăște din Munții Apuseni, străbate Dealurile de Vest și Câmpia de Vest din România, vărsându-se în Tisa, pe teritoriul Ungariei.

Crasna este principalul râu ce izvorăște de pe teritoriul județului Sălaj, din înșeuarea Oșteana între Munții Meseș și Munții Plopiș. Râul propriu zis se formează la confluența brațelor Cizer și Valea Boului. Unele studii, inclusiv cadastrul apelor, consideră Râul Cizer ca reprezentând cursul superior al râului Crasna.

În continuare râul se îndreaptă spre nord până la Vârșolț, de unde pentru a ocolii cristalinul din Dealurile Silvaniei (Măgura Șimleului), o ia spre vest, ca apoi să se îndrepte din nou spre nord, traversând defileul epigenetic între localitățile Șimleu Silvaniei și Uileacu Șimleului, ieșind din județ la Derșida. Râul Crasna își continuă cursul pe teritoriul județului Satu Mare până la ieșirea din țară pe la Berveni, spre  Mátészalka, Ungaria, vărsându-se apoi în râul Tisa. Din cei 193 km, 147 km sunt în România iar restul de 46 km sunt pe teritoriul Ungariei.

Râuri din România
Râuri din Ungaria
Gospodărirea apelor
Râuri din județul Sălaj
Râuri din județul Satu Mare
Bazinul Someș


At the age of 18, Kenji Sakajiri left his hometown of Tanabe, Wakayama Prefecture, and moved to Osaka. He wasn't headed to college or looking for a day job. Instead he dived headfirst into the world of vinyl records.
This was in 1992 and the Japanese club scene was deep into acid jazz, a dance-oriented hybrid of jazz, funk and hip-hop popularized in Britain by Gilles Peterson and in Japan by DJ Krush. Sakajiri loved it.
Sakajiri didn't have dreams of being famous though, he found he was more interested in releasing music.
To date, the label's catalog spans 29 12-inch records and is limited to only six CDs with almost no digital distribution. Suffice it to say, Sakajiri is a vinyl purist.
One particular quirk about the label's output is its geographic focus on New Zealand. Sakajiri has had his ear to that nation's creative output after befriending a kiwi vinyl junkie back in the early 2000s. Since then, beatmaker Julien Dyne, funk outfit Funkommunity, and producer Lord Echo have all found a home on Sakajiri's label.
That said, the label also releases artists from Atlanta, Los Angeles and Tokyo. Starting with Sakajiri's roots in acid jazz through the '90s, and '00s of break beats and crossover, his tastes vary enough to encompass many different genres. However, this roster of diverse artists are bound together by what Sakajiri refers to as a soul. In this writer's opinion, the soul that Sakajiri refers to implies warm timbre and a deliberate and distinct rhythmic groove.
Perhaps it's best left unexplained and better heard in person. Sauce81 will be holding his record release party at Seco Bar in Tokyo on Sunday afternoon, and he'll also be performing at SonarSound festival at Club Ageha in Tokyo on April 7.
Sauce81 plays with Fujimoto Tetsuro at Seco Bar in Shibuya-ku, Tokyo, on March 17 (3 p.m.; ¥2,000; 03-6418-8141); and at SonarSound Tokyo at Studio Coast in Koto-ku, Tokyo, on April 7 (¥7,750 for a one-day ticket, ¥14,500 for a two-day ticket in advance). For more information, visit www.wonderfulnoise.jp, www.secobar.jp or www.sonarsound.jp.


As the title of this essay is meant to suggest, the physical world of our actual experience is 'relational' but the relational view is obfuscated by semantic constructions depicting the world as a world of independent things-in-themselves that are the imputed authors of the world dynamic, among which; 'Western humans', Western nations and Western corporations. This essay exposes the deception in this Western scientific-materialist, thing-based world view and shows how individual and collective 'ego' continues to block the restoring of 'relations' to their natural primacy over scientific materialism/dualism.
[1.] Everything is in continuous relational flux.