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Mirrorless Camera News
Canon Unveils Budget-Friendly M200 Mirrorless Camera
Dan Havlik | Sep 25, 2019
Canon just unveiled a new entry-level model in its mirrorless camera line: the EOS M200. The Canon EOS M200 features a 24MP APS-C size "crop" image sensor similar to the one in the previous model, the Canon M100 from 2017.
The Canon EOS M200 with the EF-M 15-45mm IS STM kit lens will go on sale in October 2019 for $550, which is a fraction of the price of Canon's top-of-the line EOS R, which has a 30.3MP full frame image sensor and sells for $2299, body only.
While the Canon M200 appears to be very similar to its predecessor (resolution is nearly identical), it adds 4K video shooting, the Digic 8 image processor, eye-detection autofocus, vertical video shooting, and improved connectivity for wirelessly sharing images from the camera on social media.
The Canon M200 will come in black or white options. More details in the official Canon USA press release below.
DOCUMENT YOUR DAY AND EFFORTLESSLY SHARE YOUR PHOTOS AND VIDEOS WITH NEW CANON EOS M200 CAMERA
The Newest Compact Interchangeable-Lens Camera is Perfectly Positioned to be Your Next Travel Buddy
MELVILLE, N.Y., September 25, 2019 – Whether you're planning a weekend getaway or revel in documenting everyday moments, memories should be captured and easily shared. Offering social media enthusiast high image quality, Canon U.S.A., Inc., a leader in digital imaging solutions, introduces the EOS M200 camera. Great for those with wanderlust in their hearts, this camera ushers in a variety of new features, such as vertical video1, for those looking to step up from smartphone photography and enter the realm of interchangeable-lens cameras.
"Ease of use, convenience and shareability are imperatives for consumers today, especially when introducing new imaging products into an ever-changing market place," said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. "The new EOS M200 camera is a mix of tried and true Canon features as well as new ones, and combined they create a non-intimidating mirrorless camera for the experienced photographer - yet it is approachable for someone beginning their visual storytelling journey."
Standout Attributes of the EOS M200 Camera
Designed to capture life's special moments in vibrant color and clarity, the EOS M200 camera is built with quality and connectivity at its core. Key components include:
· DIGIC 8 Imaging Processor
· 4K UHD, Full HD up to 60p, Vertical video support
· Dual Pixel CMOS AF
· Eye Detection Auto-focus
· Convenient Wi-Fi and Bluetooth Technology
· Capable of Sharing Photos and Videos to Social Media Platforms
· Compact and Lightweight Design
· Compatible with Extensive Line of EF-M, Canon EF4 and EF-S4 lenses
Thanks to an impressive 24.1 Megapixel CMOS (APS-C) sensor, the EOS M200 camera is capable of rendering detailed images of your travel escapades or your family milestones. The tilting LCD with touch screen allows for artistic expression when shooting subjects from a variety of angles, including selfies. Understanding the importance of sharing photos and videos, this camera is capable of transferring files directly to compatible smart devices using the Canon Camera Connect app. Images can then be seamlessly shared on social media platforms and web services or printed directly to compatible wireless Canon printers.
Pricing and Availability of the EOS M200
The EOS M200 camera has an estimated retail price of $549.99 and is expected to be available in October 2019. More details here.
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"That's My Girl"
Original Air Date: May 12, 2016
On Scandal Season 5 Episode 21, Mellie and Vargas pick their running mates going into the conventions and their choices may shock you on the season finale.
"Trump Card"
On Scandal Season 5 Episode 3, Olivia and Abby must put their differences aside in order to ensure they take down Hollis Doyle, but are thet able to do that?
"Buckle Up"
Original Air Date: April 28, 2016
On Scandal Season 5 Episode 18, Abby and Olivia go against each other in order to help their respective candidates. How did it all play out?
"Till Death Do Us Part"
On Scandal Season 5 Episode 18 Olivia must make an agonizing choice when she uncovers the details about what Jake and Rowan are actually planning.
"Thwack"
On Scandal Season 5 Episode 17, the candidates must come together to stop a potential leak that could destroy all of them, bu how far will they go?
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Original Air Date: March 31, 2016
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On Scandal Season 5 Episode 15, Mellie makes a very public mistake while David tries to figure out what to do about his love triangle with Liz and Susan.
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On Scandal Season 5 Episode 13, Secret Service look for help from Olivia's team when they get into trouble, and Abby struggles to keep Fitz in line.
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On Scandal Season 5 Episode 12, Olivia is perplexed by Jake as he steps into his role with the NSA while Cyrus designs a new plan while Fitz is preoccupied.
On Scandal Season 5 Episode 11, Abby and Cyrus are at odds, Liz wants Susan Ross to run for president and Mellie second guesses asking Olivia for help.
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Olivia feels more and more frustrated as she takes on First Lady-like responsibilities at the White House on Scandal Season 5 Episode 9, the winter finale.
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Fitz tries to negotiation an historic peace treaty on Scandal Season 5 Episode 8. Meanwhile, Jake uses Huck's assistance to get closer to his target.
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[to Mellie] First, let's be clear. You did not do anything for me. You did that for you. You only ever do anything for your own benefit. Second, you didn't take me in. I was your prisoner. I was your puppet. I was your bitch. Third, my payment was that I got you elected. You are sitting in that chair, in this office, a United States Senator, because of me. That is how I repaid you. Fourth, one can only be betrayed if there is loyalty first. I was never loyal to you and you were never loyal to me. I don't think you've ever been loyal to anyone.
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redpajama_set_name: RedPajamaCommonCrawl


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Q: Is there a tool in GIS to find the surface of a profile section in a DEM? For example I have a DEM of river bed over which we made several profiles – eg sketch: http://prntscr.com/cqwile
Now in cross section, it will look like this http://prntscr.com/cqwx59 .
Is there a way in GIS to find the surface of the green area by adding the DEM and a profile line from which it should be measured?
Or maybe set a Plane Height from which to start.

A: As far as I know, the only built-in functionality related to the profile section in ArcGIS Desktop is located in 3D Analyst toolbar via Profile Graph. You can read from the respective help page how to do this. This help page states that

you can create profiles on either a raster, triangulated irregular
  network (TIN), or terrain dataset surface.

I used this tool in version 10.3, and remember that it draws you a functional profile (as expected) but there are a few visualisation related limitations which make it hard to produce pleasing graphics.

A: No such tool, I decided to make one.
In order to test it, I created 4 copies of the same polyline, and used DEM available and interpolate shape tool to convert them into 3D lines.

SCRIPT:
import arcpy
from math import hypot
inLines = r"C:\FELIX_DATA\SCRARCH\line3d.shp"

g=arcpy.Geometry()
with arcpy.da.UpdateCursor(inLines,("Shape@","WL","Channels","SectArea")) as cursor:
  for shp,wl,channels,sArea in cursor:
    part=shp.getPart(0); array=arcpy.Array();L=0
    for i,p in enumerate(part):
      if i==0:p1=p
      else:
        p2=p
        L+=hypot(p1.X-p2.X,p1.Y-p2.Y)
        p1=p
      array.add(arcpy.Point(L,p.Z))
    section=arcpy.Polyline(array)
    LeftPoint=arcpy.Point(0,wl)
    RightPoint=arcpy.Point(L,wl)
    horizontal=arcpy.Polyline(arcpy.Array([LeftPoint,RightPoint]))
    G=arcpy.FeatureToPolygon_management([section,horizontal],g)
    channels=0;sArea=0
    for pgon in G:
      extent=pgon.extent
      if 0.5*(extent.YMax+extent.YMin)>=wl: continue
      channels+=1;sArea+=pgon.area
    arcpy.AddMessage(channels)
    cursor.updateRow((shp,wl,channels,sArea))

OUTPUT:

Note:
I used in memory geometries as inputs to mighty polygon constructing tool. I think this is very GIS solution to the task. Script will work on v.1.0 and later, not on 9.3.

A: We use Global Mapper for applications like this.  They have a profile tool that allows you to at this in detail including cut and fill volumes.

redpajama_set_name: RedPajamaStackExchange


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How Smart is the Cloud?
What It Takes to Make a Port City Smart
October 2017 - Smart City | Digital Transformation
The process of transforming a city into a smart city requires clear goals and a change in attitude to the deployment of municipal services and infrastructure, as Mathias Röckel shows through the example of the developing smart city of Hamburg.
© RudyBalasko | istockphoto.com
Mathias Röckel
FRESH INFO +++ for
Many cities want to become "smart," but not every city is alike. Hamburg, the home of Europe's third-largest port, faces different challenges to a desert city like Dubai, considered the frontrunner in the smart-city race. But Hamburg is rising to the challenge and defining for itself what it means to be smart.
Two things to know about Hamburg: First, Hamburg is Germany's most popular city, according to The Economist. If you live here, chances are you plan to stay. If you don't live here, it's probably your top dream vacation destination among German cities – or you might even be considering relocating to Hamburg.
The second thing to know: The city's heart is its harbor.
What is the one common goal of all smart city projects?
"Smart Cities are smart once their inhabitants are supported in their everyday lives in such a way that they don't even realize how it's done." Ralph Grothmann, Siemens Corporate Technology.
According to Ralph Grothmann, Siemens Corporate Technology, it is to make themselves invisible. "Smart cities are smart once their inhabitants are supported in their daily lives in such a way that they don't even realize how it's done. The less remarkably and the more smoothly this happens, the better."
In a city where life centers around its port, how smoothly and unobtrusively can a smart city initiative be implemented? The first step is to break old habits. "We cannot and should not continue building roads, railways, and canals wherever we want to," says Jens Meier, Hamburg Port Authority board chairman. Instead, each project, like any acceptable smart city project, should "improve efficiency on existing routes and thus improve the quality of port services," Meier says.
CC0 Creative Commons | pixabay.com
In the case of Hamburg and its smartPORT project, this means:
"The port plans to develop an 'intelligent' parking management system for trucks and loaders. Another system will collect and analyze real-time traffic information to avoid tailbacks and spot potential problems. Streetlight controls will be optimized, and emissions data will be recorded and evaluated to accurately forecast noise, temperature, humidity, and air pollution. All major port installations will be monitored to ensure safe, efficient processes."
Smart cities are about more than just efficiency
Hamburg has two main rivers that serve different needs. While the Elbe is critical for trade and commerce, the Alster is a hotspot for recreation, namely, fishing. Fortunately, Hamburg's smart city strategy extends to fishing as well. Citizens no longer need to show up in person to register their vehicles with the municipality or get a fishing license for the Alster. Those services and many others can be handled online, notes Bettina Lentz, Head of Staff at Hamburg's municipality, leaving more time for citizens to actually get their feet wet.
eco survey estimates impressive growth for smart city projects
In partnership with Arthur D. Little, eco – Association of the Internet industry has recently published a study on the German smart city market. The study found that the market for smart city solutions in Germany will grow by an impressive annual rate of 16 percent
"In the market of smart solutions, zero-error culture does not lead to success." Lars Riegel, Principal at Arthur D. Little.
Lars Riegel, Principal at Arthur D. Little, says that German smart city projects are often limited by business strategies that helped make Germany successful in many industries. Such business strategies are a burden in the smart city: "The German industry, successful as it is, was made successful through behavior like strong vertical integration with its suppliers. Here, Germany comes out at the top. Also, German industry has a zero-error culture which has made German industrial products known worldwide for their quality. In the market of smart solutions, this does not lead to success." (see Lars Riegel's interview "Smart City & Smart Home – The Opportunities and Benefits for Companies")
German companies must re-learn what they know, Riegel says, especially when it comes to cooperations: "We have to work together with competitors. We have to open up horizontally. To get better data for our users, we have to incorporate feedback from as many users as possible in order to improve our products. At the same time, we must also try to distance ourselves from our zero-error culture in certain areas, because today's successful companies often launch products which are perhaps not yet 100 percent mature, but which can be improved through, for example, software updates."
Markus Schaffrin, Head of Member Services at eco – Association of the Internet Industry, took a close look at the smart city segments covered by eco members. He sees his members being active in "more or less all market segments relevant to the smart city" and concludes that "Germany certainly has a good starting position." The time is right to take off, Schaffrin says. Hamburg seems to have taken off already. The city's port announced that it resumed its growth and increased container throughput earlier this year. (See Markus Schaffrin's interview "Forging Partnerships to Conquer Smart Markets")
© Comomolas | istockphoto.com
Solving Tomorrow's Problems with Smart City Methodology
© chombosan | istockphoto.com
Smart City & Smart Home – The Opportunities and Benefits for Companies
Forging Partnerships to Conquer Smart Markets


There's no need to stand on ceremony with port – just treat it like any other wine.
Port drinkers fall neatly into two groups: the ones who are mesmerised by its generous, fruitcake-rich scents and intense, lingering flavours; and those who seem to delight rather more in the ceremony that surrounds it. You know, all that port etiquette – sediment searches by candlelight, extreme decanting, passing the blinking bottle to the left.
Just get on with it, I say, and treat port like any other wine. True, it's an especially strong and sweet one, having been fortified with spirit, so exercise caution, but, really, there's no need for any retro rigmarole. It might even distract from the glorious sensations ahead.
Red ports are aromatic, and should taste complex, with peppery, spicy kicks to plush cherry, plum and blackberry fruit. Avoid real cheapies and buy fine vintage port for keeping, or single quinta (estate) wines in non-vintage years, or late-bottled vintage, somewhat simpler but good value.
Red ports are served at room temperature, and only more mature, very serious examples need decanting so you can chuck the gritty dregs. Drink from normal wine glasses, with ginger cake, Christmas cake, unsalted nuts and hard cheeses.
Tawny ports, which slumber for decades in oak barrels, are amber-hued, smoother, without fiery fruit, instead glowing gently with citrus peel, mellow caramel, nut oils. They're even better for a light chill and make good partners for creamy coffee, chocolate or nutty puddings. Or soft cheeses. Pass it along – from any which way, but, please, in my direction.
Superior LBV, delivering plenty of spiced red cherry and plum, seasoned with a good twist of black pepper. An excellent introduction for new port drinkers.
'Crusted' is a rarer creature, made from a blend of different years, but bottled together on a labelled date. This is robust and satisfying, and tastes like spiced fruitcake.
A sublime mature tawny, wonderfully mellow, with creamy toffee, brazils and hazelnuts that linger for ever. Great antidote to a miserable dark evening.


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Kia will celebrate the world premiere of an enhanced Kia Rio at the 2014 Paris Motor Show on 2 October, featuring a number of improvements to maintain the competitiveness of its global best-selling car.
Published | 29/09/2014
Enhanced Kia Rio set for Paris Show world premiere
Enhanced Kia Rio to be unveiled at 2014 Paris Motor Show
B-segment Kia's makeover gives exterior and cabin a fresh appearance
Enhanced Rio range on sale in Europe from early 2015
Frankfurt, 29 September 2014 – Kia will celebrate the world premiere of an enhanced Kia Rio at the 2014 Paris Motor Show on 2 October, featuring a number of improvements to maintain the competitiveness of its global best-selling car.
"The Kia Rio was our best-selling vehicle nameplate worldwide in 2013, with a total of 471,000 sales, and among our top-three sellers here in Europe with 56,821 units delivered. Improvements to this model are of major significance for our brand," commented Michael Cole, Chief Operating Officer, Kia Motors Europe.
"The immense popularity of the Rio shows that our designers and engineers got most things 'right' when creating the fourth-generation of our compact B-segment challenger in 2011. The Rio retains the core attributes that have proved so popular with owners, while enhancements to the 2014 model include a slight visual makeover, giving it a fresh exterior and interior look," added Cole.
Under the direction of Peter Schreyer, President and Chief Design Officer of Kia Motors Corporation and Hyundai Motor Group, the Rio design team in Korea has updated the Rio's 'tiger-nose grille' and given the car a newly-designed front bumper and fog lights. Three new alloy wheel designs (available in 15-, 16- and 17-inch) refresh the Rio's profile and a new rear bumper completes the exterior makeover. In addition, two new paint finishes (Urban Blue and Digital Yellow) will be added to the colour line-up.
The Rio's cabin is brightened by the addition of chrome accents around the four dashboard air-vents, and the fitting of a newly-designed centre-stack around the audio system. Range-topping EX models have a new cloth trim as standard, while Kia is introducing the option of grey faux leather upholstery on this model.
New optional features for the 2015 Kia Rio will include a new DAB digital radio and a new generation of Kia's AVN (audio-video navigation) system with a 7.0-inch display screen, improved processing speed and faster route calculation (availability of system depends on individual markets).
Depending on individual markets, the enhanced Rio will be offered in Europe with a choice of up to four highly efficient engines – ranging in power output from 75 to 109 ps – driving the front wheels via five- or six-speed manual or four-speed automatic transmissions.
Every engine in the enhanced Rio range is available with Kia's optional second-generation fuel-stretching Start/Stop (ISG) technology (automatic start-stop, advanced alternator control and an upgraded starter motor, as well as the fitment of low-rolling resistance tyres).
The Kia Rio hatchback is manufactured for Europe at Kia's Sohari plant in Korea. The enhanced Kia Rio is expected to go on sale across Europe early in 2015, with country-by-country availability to be decided locally.
About Kia Motors Europe
Kia Motors Europe is the European sales, marketing and service arm of the Kia Motors Corporation. With its headquarters in Frankfurt, Germany, it covers 30 markets in Europe.
About Kia Motors Corporation
Kia Motors Corporation (www.kia.com) – a maker of quality vehicles for the young-at-heart – was founded in 1944 and is Korea's oldest manufacturer of motor vehicles. Over 2.7 million Kia vehicles a year are produced in 10 manufacturing and assembly operations in five countries which are then sold and serviced through a network of distributors and dealers covering around 150 countries. Kia today has around 48,000 employees worldwide and annual revenues of over US$43 billion. It is the major sponsor of the Australian Open and an official automotive partner of FIFA – the governing body of the FIFA World Cup™. Kia Motors Corporation's brand slogan – "The Power to Surprise" – represents the company's global commitment to surprise the world by providing exciting and inspiring experiences that go beyond expectations.
Enhanced Kia Venga to be revealed at Paris Show
Refreshed look for upgraded 2015 Kia Venga on car's fifth anniversary
Compact MPV has a new face and more sophisticated cabin
New options include integrated 7.0-inch navigation display screen
Enhanced Venga on sale in Europe from early 2015
Frankfurt, 29 September 2014 – Five years after launching the Kia Venga, Kia will reveal an enhanced version of its popular compact MPV at the 2014 Paris Motor Show on 2 October. The refreshed model features a new-look front and rear, a more sophisticated cabin, new alloy wheels and an expanded range of options.
"On its introduction in 2009, the Kia Venga brought stylish good looks to what was, at that time, an otherwise-unremarkable vehicle segment. As well as winning prestigious design awards, the Venga also ensured that rewarding, fun-to-drive motoring was available to drivers whose lifestyles demand a compact MPV," commented Michael Cole, Chief Operating Officer, Kia Motors Europe.
"The 2015 Kia Venga continues to offer all the practicality, versatility and reliability that European buyers expect, but a mildly refreshed appearance will boost the appeal of our compact MPV in the years ahead," added Cole.
Kia's European design team, based in Frankfurt, has given the Venga a larger 'tiger-nose grille' with a separate, repositioned Kia badge, and a restyled lower grille with combined fog lights and LED daytime running lights. At the rear, horizontal chrome trim joins the new rear light clusters, which also feature LED bulbs. New designs of the larger (16- and 17-inch) alloy wheels are also available.
Inside, the enhanced Venga is fitted with darker metal trim with bright accents and a choice of two new seat trims to raise the quality of the cabin, plus a new centre-stack fascia. New options include a heated steering wheel for colder mornings and the new generation of Kia's AVN (audio-video navigation) system with a 7.0-inch display screen, rear-view camera, improved processing speed and faster route calculation (availability of system depends on individual markets)
The 4-metre long upgraded Venga retains the original model's unusually long wheelbase for its class (2,615 mm) and its 1,600 mm high roofline to maximise cabin space. Skilful packaging also ensures that the Venga delivers levels of interior space typical of many larger C-segment vehicles, but within a B-segment footprint. Every Venga is equipped with a 130 mm sliding 60/40 split-fold rear seat, which also folds flat into the floor to create a versatile and spacious cargo bay.
Depending on individual markets, the 2015 Venga will be offered with a choice of up to six 1.4-litre and 1.6-litre gasoline and diesel engines, generating between 77 and 128 ps, driving the front wheels via five- or six-speed manual or four-speed automatic transmissions.
Every engine in the Venga line-up is available with Kia's fuel-stretching Start/Stop (ISG) technology and complies with Euro 5 emission standards. ISG equipped models have a CO2 rating from just 114 g/km (models equipped with the 1.4-litre U2 diesel engine).
Designed, engineered and manufactured in Europe for European consumers, the stylish and genuinely spacious Kia Venga, has proven to be a strong seller for the Korean brand since its introduction in late 2009, recording sales of more than 150,000 units so far and 29,000 units sold to European buyers in 2013.
Manufactured exclusively at Kia's Žilina plant in Slovakia, the upgraded Venga is expected to go on sale across Europe in early 2015, with local availability to be decided by individual markets.
Kia to launch full virtual tour of Paris Motor Show stand
Online Kia Virtual Tour for 23-car Kia motor show stand
Google View shows exterior and interior of Kia's latest models
Kia Virtual Tour displays general information for each car
Kia to launch new Sorento at Paris show
Frankfurt, 29 September 2014 – Kia fans will have the chance to experience the brand's all-new Sorento and the full range of Kia models remotely, with a virtual tour of Kia's 72 metre-long Paris motor show stand due to go live on 9 October.
The Kia Virtual Tour will be the first ever created by a car manufacturer, and will be visible on the Google Maps community site, 'Views', where users publish their photos and panoramas.
The virtual tour of the Paris show stand will let users navigate around the 23 Kia cars on display at the Porte de Versailles exhibition centre, and even take a closer look inside each of the cars.
Users will have information on each car at their disposal as they tour the display, with key features just a click away. Content will be translated for the majority of Kia's most popular European markets, and images and descriptions of the cars will be instantly shareable by users via social media sites.
The new Kia Sorento SUV will make its European premiere at the Paris Motor Show, and this will be the first chance that media and consumers alike will get to see the car. For those unable to attend the show, a full 360° overview of the cars exterior and interior will be available online via the Google View function.
Kia is also exhibiting its innovative new diesel-electric hybrid powertrain technology, demonstrated for the first time in the handsome Kia Optima T-Hybrid sedan show car.
Artur Martins, Vice President, Marketing, Kia Motors Europe, commented: "Motor shows are some of the most important events in our calendar for introducing our latest models to media and the general public, and the virtual tour will open up our incredible Paris motor show stand to even greater numbers.
"Paris is the first place in Europe that people will get to see the new Kia Sorento, but this time even those unable to attend the event will be able to get a first impression of the car and Kia's entire range of new and innovative products," added Martins.
The show will be open to the public on 4 October, and the Kia Virtual Tour will be available from 9 October – visit the Kia show stand here: www.kia.com/eu/parismotorshow
Third-generation Kia Sorento set for European premiere at Paris Motor Show 2014
European premiere on 2 October at Paris Motor Show
Sophisticated new design for third-generation Kia Sorento SUV
All-new bodyshell improves ride, handling and crash safety
Improvements to NVH and a step-change in interior quality and design
Range of three improved gasoline and diesel engines for Europe
Frankfurt, 29 September 2014 – The all-new Kia Sorento will make its European premiere in Paris on 2 October, exhibiting a unique blend of style, practicality and technology, which builds on the success of the outgoing model. The new's SUV's smoother, swept-back profile and deeply sculpted surfaces introduce a higher level of sophistication for the third-generation model, delivering a premium look and feel, with more space and numerous innovative features.
The designers of the third generation Kia Sorento named their inspiration for the new car as 'Streetwolf'. Although the styling changes are evolutionary, they subtly alter the character of the new Sorento, highlighting its sleek, sinuous, profile, while creating a sophisticated appearance and ensuring the new model has a bolder on-the-road presence.
The front of the new Sorento incorporates long, wrap-around headlamps and more prominent fog-lamps, as well as a larger, more upright 'tiger-nose' grille, with a distinctive three-dimensional diamond pattern, first featured on the 2013 Kia Cross GT concept.
In profile, the new model retains the Sorento's hallmark long bonnet and characteristic wide D-pillar, but a lower roofline, higher beltline and swept-back shape give the car a more dramatic, muscular stance.
The rear of the car features more prominent 'shoulders' and a highly sculpted registration plate surround. The latter is made possible by the introduction of new laser welding manufacturing techniques – a first for a Kia model – which renders weld lines invisible, meaning the Sorento can do without the traditional (joint-masking) garnish on the tailgate.
The sleeker look of the new Sorento is enhanced by its increased length (+95 mm to 4,780 mm)*, reduced height (down 15 mm to 1,685 mm) and extra width (+5 mm to 1,890 mm).
The exterior styling of the new car was led by Kia's Namyang design studio in Korea, with significant input from the brand's Frankfurt, Germany and Irvine, California design studios.
'Modern and wide' theme for interior styling
Inside the all-new Sorento is where some of the most significant improvements are to be found. Interior styling was led by the brand's European design team, based in Frankfurt, and Kia's designers have created a more sophisticated, more luxurious cabin, featuring significantly higher quality materials.
The styling of the cabin follows a 'modern and wide' theme, providing the interior with a stable, horizontal layout and appearance. This width is echoed in the wider instrument cluster, interior garnish and the wrap-around shape of the dashboard which extends into the door trims. A higher proportion of soft-touch materials and leather creates a modern luxury feel to the cabin and gives the new Sorento a genuine premium vehicle ambience.
One of the most distinctive interior styling features is the Swiss watch-inspired user interface, which incorporates Kia's latest HMI (human-machine interface) technologies, surrounded by new silver-look border.
The flowing contours of the dashboard rise to incorporate the driver's instrument binnacle, while the smoothly-styled design curve in the doors, which leads from the audio speakers up to the SUV-style grab handles, also endows the cabin with a more luxurious, sophisticated appearance.
Customers will be able to specify the interior in either single-tone (black) or two-tone (black and stone beige) colour schemes with cloth or leather trim. Additionally, brown or light gray colour schemes in leather trim will be offered as an option.
Comfort, convenience and new technologies
Compared to the previous-generation model, the increased exterior dimensions and the extended wheelbase (+80 mm to 2,780 mm) have liberated additional space in the cabin of the new car.
Although the roofline is 15 mm lower, repositioned seat cushions ensure increased headroom for occupants in all three rows, who will also enjoy greater legroom. Cargo space also increases, with a longer cargo bay floor (up by 87 mm), and capacity with the third row seats folded flat up 17.5 percent, from 515 to 605 litres (VDA). The new Sorento also features a new under-floor tonneau cover storage compartment.
Available in 5- or 7-seat versions, the new Sorento features 40/20/40 second row split folding for improved versatility, with a higher folding centre armrest. The second row seats of the 7-seat version are equipped with 'remote folding' controlled by two levers in the side of the cargo bay, and also slide to allow easier entry and exit to the third row of seats.
The new Sorento debuts a number of new, advanced on-board technologies to improve convenience and further enhance the ownership experience. Depending on market, new available features will include: an Around-View Monitor, with four cameras helping the driver to manoeuvre when parking by displaying a birds-eye view of the vehicle on the dashboard display screen, and a Smart Power Tailgate. This system opens the tailgate automatically when the key is 'sensed' in close proximity to the trunk, so owners can slide their shopping bags or heavy objects straight into the vehicle.
Enhanced refinement
Throughout the development of the new Sorento, Kia engineers also focused on strengthening the bodyshell structure and improving NVH (noise, vibration and harshness) characteristics to increase refinement and create a tranquil travelling environment that is as sophisticated as the new model's styling.
The increased torsional rigidity of the new bodyshell (up by 14 percent compared to the outgoing model) provides an excellent foundation for both enhanced refinement and improved safety.
NVH-reducing measures adopted for the new Sorento include new soundproofing material for the transmission tunnel, a 29 percent thicker dashboard soundproofing panel (increased from 0.7 mm to 0.9 mm), larger engine and transmission mounts for greater powertrain refinement and, for diesel models, a new DPF cover and an acoustic shield integrated into the engine's timing chain cover. Cabin noise is reduced by 3-to-6 percent, depending on driving conditions.
Improved powertrains, ride and handling
To match consumers' rising expectations, Kia engineers worked to improve every aspect of the new Sorento's driving experience, creating upgrades for the engines, steering and suspension.
Three engines are available with the new Sorento, offering power outputs ranging from 185 to 200 ps. These include a 2.4-litre gasoline direct injection (GDI) unit, and two turbo-diesel engines, in 2.0-litre and 2.2-litre capacities, which are expected to account for the majority of European sales.
When developing the new Sorento, a key focus for the Kia chassis engineering team was achieving improvements in ride comfort, high-speed stability and handling response to match the leaps forward in interior quality and NVH.
The fully-independent suspension retains the format of the outgoing model (MacPherson struts at the front and Kia's multi-link system at the rear), but features a range of modifications. At the rear, the subframe supporting the suspension has larger bushings to better isolate it from the cabin and the larger shock absorbers are now mounted vertically behind the axle line, improving body control motion.
These changes, together with the longer wheelbase, deliver a more compliant ride, with a more progressive response to bumps in the road, making the new Sorento a very comfortable place in which to spend time on longer journeys.
At the front, an all-new electric motor-driven power steering system (R-MDPS), available as standard across Europe, is mounted directly onto the steering rack – rather than the steering column as on the outgoing model. This provides greater steering feel and quicker response, ensuring that new Sorento will be among the more agile and sporty vehicles in its segment, without sacrificing the ride quality that customers expect from a luxurious SUV.
Better passive and active safety
The structure of the new Sorento is significantly stronger, thanks in large part to the more widespread use of ultra-high tensile steel. The previous-generation model was made up of 24.4 percent ultra-high tensile steel (UHTS), while the bodyshell of the new model consists of 52.7 percent UHTS, aiding the integrity of the car's core structure in the event of an impact and also improving torsional rigidity. The stronger steel has been used to reinforce the wheel arches, tailgate surround and rear-wheel surround.
The new Sorento also features more than twice as much ultra-strong hot-stamped steel as the outgoing model, up from 4.1 percent to 10.1 percent in the new model, greatly strengthening the A- and B-pillars.
Buyers of the new Sorento will be able to choose from a wealth of 'active' safety technologies – depending on market. Available systems will include: ASCC (Adaptive Smart Cruise Control); LDWS (Lane Departure Warning System), which emits an audible alert when the driver strays from the chosen lane without using indicators;; BSD (Blind-Spot Detection), with a visual warning in the door mirror when another car is in the driver's blind spot; RCTA (Rear Cross-Traffic Alert), which warns against other cars driving behind the Sorento in car parks; and SLIF (Speed Limit Information Function), which displays the speed limit in the driver's instrument cluster based on cameras detecting roadside signs.
* Vehicle length dimensions are for the European specification model.
Kia to showcase diesel-electric Kia Optima T-Hybrid at Paris
More power and lower emissions for Kia Optima mild hybrid show car
Innovative new powertrain pairs 1.7-litre CRDi turbo-diesel engine with 48V lead-carbon battery, small electric motor and an electric supercharger
Kia Optima T-Hybrid concept previews new powertrain technology ahead of future mass production
Frankfurt, 29 September 2014 – Kia will reveal the new Kia Optima mild hybrid show car at the 2014 Paris Motor Show on 2 October, the first application and demonstration of the brand's innovative new mild hybrid powertrain.
The Kia Optima T-Hybrid (turbo hybrid) concept is powered by the model's existing 1.7-litre CRDi turbo-diesel engine, paired with a small electric motor, powered by a 48V lead-carbon battery. The diesel-electric powertrain concept, which was previewed at the 2014 Geneva Motor Show, enables the Optima T-Hybrid show car to be driven in electric-only mode at low speeds and when cruising, with deceleration serving to recharge the battery pack.
Lead-carbon batteries were chosen for the mild hybrid powertrain as, unlike lithium-ion batteries, they require no active cooling and are easier to recycle at the end of the unit's lifecycle.
The vehicle features a zero-emissions stop-start system, and a new belt-driven starter generator replaces the conventional alternator, meaning the engine can restart with almost no noise or vibration. Installing the powertrain in the Optima sedan has enabled engineers to fit a smaller vehicle battery and starter motor, enhancing weight distribution and handling.
The system also allows the installation of an innovative electric supercharger for the CRDi engine, in addition to the conventional turbocharger, providing improved power and torque at all engine speeds. The electric supercharger in particular helps to boost torque and engine response at low engine speeds.
Still under development, no specific performance or fuel economy figures are confirmed for the powertrain or its application in the Optima T-Hybrid show car. However, Kia's engineers are targeting a significant reduction in CO2 tailpipe emissions and fuel consumption and a power increase of between 15 to 20 percent for any model which could be equipped with the new powertrain. Currently, the Optima's 136ps 1.7-litre engine produces CO2 emissions of 128 g/km (when fitted with ISG stop-start).
"In future, our mild hybrid powertrain could offer Kia customers greater performance and lower running costs, without sacrificing the qualities they expect of a Kia car – enjoyable handling, a comfortable ride and high quality. Demonstrated for the first time in the Optima T-Hybrid, the technology will lower the total cost of ownership of our cars, yet still keep them affordable as an outright purchase for customers," commented Michael Cole, Chief Operating Officer, Kia Motors Europe.
"The new mild hybrid system is our flagship technology for improving the efficiency of our internal combustion-powered models. In future, technology such as this will help Kia further reduce fleet emissions in Europe," added Cole.
While under development, no plans have been confirmed yet for mass production of the Kia Optima T-Hybrid show car. The T-Hybrid powertrain remains under consideration for new Kia models in the future.
KIA OPTIMA T-HYBRID SHOW CAR – TECHNICAL SPECIFICATION
Four-door, five -seater sedan, with all-steel unitary construction bodyshell. Diesel four-cylinder engine, paired with electric motor and electric supercharger, driving the front wheels via a six-speed manual transmission.
1.7-litre / 170 ps CRDi diesel engine with 48 V electric motor and electric supercharger
Four cylinder in-line
1.7-litres, 1,685 cc
170 ps (125 kW) @ 4,000 rpm
Total torque
380 Nm (280 lb ft) @ 1,500 rpm
Battery and electric motor
0.96 kWh
Max power (motor)
15 ps (11 kW)
55 Nm (41 lb ft)
Battery weight
Motor weight
Electric supercharger
Max power (shaft)
> 8 ps (> 6 kW)
< 0.25 secs
1.7 CRDi T-Hybrid
1.7 CRDi ISG
Top speed (kph)
0-to-100 kph (sec)
Fuel economy (litres / 100 km)
Kia to launch new Sorento and enhanced Rio and Venga at 2014 Paris Motor Show
European debut for sophisticated third-generation Kia Sorento
Enhanced Kia Rio and Venga on display for the first time
New Kia Optima T-Hybrid show car demonstrates capabilities of innovative new mild hybrid powertrain
Frankfurt, 18 September 2014 – The all-new Kia Sorento will make its European debut at the 2014 Mondial de l'Automobile in Paris on 2 October, alongside enhanced versions of Kia's bestselling B-segment models, the Rio and Venga. These models will be joined on the stand by the new Kia Optima T-Hybrid concept, the first demonstration of Kia's new fuel-saving diesel-electric mild hybrid technology.
Building on the success of the outgoing model with a unique blend of style, practicality and technology, the all-new Kia Sorento SUV introduces a higher level of sophistication with a distinctive new design, premium interior and even greater practicality. The new Sorento takes a number of styling cues from the 2013 Kia Cross GT concept, such as the more upright 'tiger-nose' grille, wrap-around headlamps and a more swept-back profile.
Underneath the new Sorento's sleeker profile and deeply sculpted surfaces, the third-generation of the car offers occupants a more luxurious cabin with significantly higher quality materials. Depending on market, the Sorento will offer a range of advanced on-board technologies to improve convenience, such as an Around-View Monitor, with four cameras helping the driver to manoeuvre when parking, and a Smart Power Tailgate.
Longer, wider and lower than the second-generation Sorento, and with an extended wheelbase, the new model maximises cabin space and practicality. Cargo space is increased to 605 litres (VDA) and both five- and seven-seat variants are available.
The new Sorento will benefit from more accomplished ride and handling and a higher level of refinement and safety thanks to a stronger bodyshell structure, enhancements to the suspension and steering, improved NVH (noise, vibration and harshness) characteristics, and the longer wheelbase.
For European buyers three engines will be available with the new Sorento: a 2.4-litre gasoline direct injection (GDI) unit, and a choice of two turbo-diesel engines, in 2.2-litre and 2.0-litre capacities, with the diesel engines to account for the majority of sales.
The new Sorento goes into production later this year and will be on sale across Europe in the first half of 2015.
As well as a new version of Kia's largest vehicle, the 2014 Paris Motor Show also marks the next chapter for the brand's global bestseller, the enhanced Kia Rio. Around the world, the Rio is Kia's best-selling vehicle nameplate, with 471,000 sold in 2013, and the B-segment car sits among the brand's top-three sellers in Europe with 56,821 units sold last year.
The 2015 Kia Rio receives a slight visual makeover, with a fresh exterior and interior look, while retaining the core attributes that have proved so popular with owners.
The enhanced Rio receives a newly-designed front bumper and fog lights, and an updated version of the brand's hallmark 'tiger-nose' grille. Three new alloy wheel designs, available in 15-, 16- and 17-inch diameters, refresh the Rio's profile and a new rear bumper completes the exterior makeover. Two new paint finishes, Urban Blue and Digital Yellow, will also be added to the colour line-up.
The Rio's cabin is brightened by the addition of new chrome accents and a new centre-stack audio system. New optional features for the 2015 Kia Rio will include a new DAB digital radio and a new generation of Kia's AVN (audio-video navigation) system with a 7.0-inch display screen, improved processing speed and faster route calculation (availability of system depends on individual markets).
The enhanced Rio will be offered in Europe with a choice of up to four highly efficient engines – ranging in power output from 75 to 109 ps – driving the front wheels via five- or six-speed manual or four-speed automatic transmissions. Every engine in the enhanced Rio range is available with Kia's optional second-generation fuel-stretching Start/Stop (ISG) technologies.
The Kia Rio hatchback is manufactured for Europe at Kia's Sohari plant in Korea. The enhanced Kia Rio is expected to go on sale across Europe early in 2015.
Five years after its launch, Kia will reveal an enhanced Kia Venga in Paris. The brand's popular compact MPV is designed, engineered and manufactured in Europe for European consumers, and has proven to be a strong seller for Kia, recording sales of more than 150,000 units since 2009, with 29,000 units sold to European buyers in 2013.
The enhanced Venga continues to offer the practicality, versatility and reliability expected by European motorists, but now features a new-look front and rear, a more sophisticated cabin, new alloy wheels and an expanded range of options.
Inside, the upgraded Venga is fitted with darker metal trim with bright accents to raise the quality of the cabin, a new centre-stack and audio system, plus the option of a heated steering wheel for colder mornings and Kia's new-generation AVN system with 7.0-inch display screen.
The upgraded Venga will continue to be offered with a choice of up to seven 1.4-litre and 1.6-litre gasoline and diesel engines, generating between 77 and 128 ps, driving the front wheels via five- or six-speed manual or four-speed automatic transmissions.
Manufactured exclusively at Kia's Žilina plant in Slovakia, the upgraded Venga is expected to go on sale across Europe early in 2015.
Exhibited earlier in the year at the Geneva Motor Show, Kia will display the first practical application of its innovative new mild hybrid powertrain, developed by the brand's European R&D centre for use in future Kia models. Created as a one-off show car, the Kia Optima T-Hybrid (turbo hybrid) is the first application and demonstration of Kia's new mild hybrid powertrain.
The T-Hybrid concept is powered by the model's existing 1.7-litre CRDi turbo-diesel engine, paired with a small electric motor, powered by a 48V lead-carbon battery pack. The new powertrain enables the Optima T-Hybrid show car to be driven in electric-only mode at low speeds and when cruising, with deceleration serving to recharge the battery pack.
Lead-carbon batteries were chosen for Kia's mild hybrid powertrain as, unlike lithium-ion batteries, they require no active cooling and are easier to recycle at the end of the unit's lifecycle.
The system also allows the installation of an innovative electric supercharger for the CRDi engine, in addition to the conventional turbocharger, which helps to boost torque and engine response at low engine speeds.
The new T-Hybrid powertrain will offer Kia customers greater performance and lower running costs, yet still ensure that any Kia model fitted with this technology remains affordable as an outright purchase.
Still under development, no specific performance or fuel economy figures are confirmed for the new powertrain or its application in the Optima T-Hybrid show car. However, Kia's engineers are targeting a significant reduction in CO2 tailpipe emissions and a power increase of between 15 to 20 percent for any model which could be equipped with the new powertrain. Currently, the Optima's 136 ps 1.7-litre diesel engine produces CO2 emissions of 128 g/km (when fitted with ISG stop-start and a manual transmission).
No plans have been confirmed yet for mass production of the Kia Optima T-Hybrid show car. The T-Hybrid powertrain remains under consideration for new Kia models in the future .
Vladislav Alexiev
Manager Product Communications
E-mail: kme-press@kia-europe.com
Press Release Information Accuracy Disclaimer
Information posted in press releases on the Kia Media website was accurate at the time of posting but may be superseded by subsequent releases or other information.
© COPYRIGHT 2015 KIA MOTORS EUROPE GMBH. ALL RIGHTS RESERVED.


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Tag Archives: Glastonbury Festival
Press release, The Impact of British Music Festivals report
[press release from UEA's press office, concerning our new report which, by the way, you can read in full and for free here]
Music festivals' impact on cultural, socio-political and economic life of Britain
The cultural, socio-political and economic impact of Britain's festival season reaches far beyond the summer mnths and event locations, according to a new report from the University of East Anglia (UEA).
From interactive arts festivals to world-renowned headliner acts, the 21st Century has seen a boom in British festivals, according to a UEA report released today. From Glyndebourne to Glastonbury: The Impact of British Music Festivals, will be presented at the Cheltenham Jazz Festival by UEA's Dr Emma Webster and Prof George McKay. It is funded by the Arts and Humanities Research Council's (AHRC) Connected Communities programme, in partnership with the EFG London Jazz Festival, and is based on a critical literature review of more than 170 books, papers and reports.
On the surface, London's Notting Hill Carnival may appear to have little in common with the Shetland Accordion and Fiddle Festival. But whether large or small, new or old, jazz, rock, folk or classical, the British festival phenomenon helps create feelings of belonging between like-minded people while enhancing social cohesion, according to the report.
"Festivals are often sites of multicultural and multigenerational music consumption, where…fans (including families) can congregate and socialise," the report said.
Glastonbury is arguably the most famous festival in the world while Glyndebourne and The Proms export a particular notion of Britishness, said Dr Webster, a post-doctoral research associate in UEA's School of Art, Media and American Studies.
An accurate economic picture of British music festivals is difficult to state, according to Dr Webster, due to the individual assessments used. However, based on music tourism figures from UK Music, music festivals generate major amounts of direct and indirect spending – £1.7 billion – attract high numbers of music tourists – 2.2 million – and sustain more than 13,500 jobs.
Moreover, the UEA study said festivals "provide volunteers with learning and development opportunities" and "can improve the skills and knowledge or practitioners and help them develop professional networks."
Prof McKay, a professor in media studies in UEA's School of Art, Media and American Studies, has been writing about festival culture for two decades, most recently in his 2015 collection, The Pop Festival.
Prof McKay said: "When you think about it, it's extraordinary that the music festival has become such a dominant feature of the seasonal cultural landscape, especially the outdoors pop festival.
"With vagaries of the typical British summer there's often mud, toilet facilities are usually not the most pleasant, traffic jams in country lanes, crowds on site everywhere, watching bands playing in the distance. And yet, festivals thrive today. Why? Because, while culture and life may be ever more fragmented, festivals speak to our need for community and belonging, they can offer us an intense, special space-time experience, often in a beautiful landscape, surrounded by the music we like."
On a larger scale, festivals influence the appetite for and the ways in which music is created and consumed; bring social and political issues into focus; and "generate funds for external charitable or not-for-profit organisations, either directly or indirectly via awareness campaigns." This carries on a tradition established at early rock festivals: the first Isle of Wight festival in 1969, the UEA report said, was organised to raise funds for a local swimming pool.
The UEA report found:
Creativity: music, musicians, art and design: Performance at particular festivals can enhance musicians' status and increase the chances of further festival bookings – festivals can act as showcases and platforms for exporting musicians abroad. For some musicians festivals have become an essential income stream. The record industry now launches new albums at the start of the festival season, and "breaks" new acts through key festival appearances. Festivals can also be sites for musical experimentation and hybridity, as well as leaving a rich legacy of art and design through posters and promotional materials.
Politics and power: The frivolity of festivals sometimes masks deeper issues around race, religion, class, sexuality, and gender – line-ups are often white and male-dominated, for instance – although music festivals have been sites for social and political debate, and sometimes action. Notting Hill Carnival as a key cultural means of articulating black British identity in the 1970s, or Glastonbury Festival and the Campaign for Nuclear Disarmament movement in the 1980s, for example.
Place-making and tourism: Festivals have become ubiquitous within tourism and place-marketing campaigns. They are vehicles for celebrating, constructing and maintaining national or cultural identity, such as the flag waving at the Last Night of the Proms constructing a particular notion of Britain. Music festivals often contribute to a positive image of a locale, both to its residents and to visitors, and hence attract people to live in the place and tourists to visit.
Environmental: local and global: Festivals have environmental impacts – locally via a temporary increase in population and in the production of waste, and globally via the increased carbon footprint of touring international artists. But they're often also sites for exploring and teaching about alternative ways of living, particularly around energy usage and waste. Glyndebourne, for instance, installed a wind turbine in 2012 that provides 95 per cent of the organisation's electricity needs.
Mediation: Multiplatform mediation on television, radio, press and online pushes the festival concept into the national consciousness and exports ideas about and images of Britain and Britishness around the world. For instance, most people today experience Glastonbury via BBC coverage rather than at the festival itself.
Health and well-being: Festivals are either associated with well-being and wellness – healing fields and the psychological benefits of being outdoors, or even just fancy dress – or with negative health issues such as over-consumption or injuries.
The Impact of British Music Festivals takes a broad definition of events to include outdoor festivals and those that take place in concert halls, as well as street-based urban carnivals.
Dr Webster said: "We hope our report will be useful to the festival community and to policy-makers as a means of showing the impact of British music festivals, economically, socially and culturally."
From Glyndebourne to Glastonbury: The Impact of British Music Festivals, was first presented at the 2016 Cheltenham Jazz Festival on 29 April 2016. If you would like a copy or to discuss further please contact George McKay.
This entry was posted in Academic, Connected Communities, Festival, Jazz, Knowledge Exchange, Media, Music, project, Public engagement, Publication and tagged AHRC, CHIME, Emma Webster, Glastonbury Festival, Glyndebourne, impact, Impact of Festivals, report, UEA on May 11, 2016 by George.
From the Battle of Beaulieu (1960) to the Battle of the Beanfield (1985): Lord Montagu, the pop festival, the media, and alternative culture in Britain
Awesome article by @george_mckay on music festivals & counter-culture. I now feel the need to use the phrase 'Beatnik horror' in daily life.
— Aleisha Ward (@nzjazzhistory) September 2, 2015
The death yesterday (31 August 2015) of Edward, Lord Montagu of Beaulieu at the age of 88, reminded me of what a remarkable life he had, not least (perhaps surprisingly) in two key moments of festival culture in Britain. (The Guardian obituary fails to even mention the jazz festival, as one commenter—see below—not me btw…—points out.)
I wrote about these festival moments first in Andy Bennett's 2004 collection Remembering Woodstock, and my own Circular Breathing from the following year, drawing on AHRB-funded archival research at Beaulieu, in particular the press cuttings files, as well as an interview with Montagu from 1999, and what follows is an extract from my Bennett essay. (The complete text, open access, is available here.)
The near riot at the Beaulieu Jazz Festival on Saturday … was a disgraceful affair. There are those who criticise Africans and who say that such people will never be fit to govern themselves. But a tribal dance to the sound of a tom-tom has a more civilised air than this modern wreck and roll to the beat of the jazz drum.—Bradford Telegraph and Argus, 1 August 1960
… But the new romantic lifestyles, rural excursions and incursions, musics and fashions, temporary communities of festivals and marches, competing versions of Englishness and the past, that I am writing of and have linked as Beaulieu Jazz Festival (1956-61) and the Aldermaston Easter marches of CND, do not always behave. For peace is not always easy during carnival.
At the 1960 Beaulieu festival, the trad clarinettist and somehow pop star Acker Bilk entered on a Model T Ford, courtesy of the Motor Museum. By the end of Saturday night, vehicles had been targeted by festival-goers for destruction—I am resisting calling this an early anti-car protest, that is too utopian an argument even for me. While Acker played, jazdup youth climbed a scaffolding lighting rig, and removed horses from the roundabout stage and mounted them on rigging as they climbed. A storage shed was set alight, and a 1921 14-seater charabanc had its hood burned. Over the Saturday night riot 39 people were injured, none seriously, though two people were subsequently jailed for assaulting police officers. For George Melly, though, '[i]t wasn't a vicious riot. It was stupid. The traddies in rave gear booing the [modern jazz Johnny] Dankworth Band. A young man climbing up the outside of the palace in the floodlights waving a bowler hat from the battlements. Cheers and scuffles'. Others viewed exuberant youth quite differently. Kenneth Allsop in the Daily Mail asked his readers:
Why do the Ravers rave? At which point do enthusiasm and high jinks twist into the urge to hate and destroy?… Whacky dress and wild fun do not necessarily spell delinquency. Yet for a certain product of our Affluent Society this seems to have become a rebel's uniform of viciousness—and the degree is fine between beating-up a jazz festival and beating-up Negroes in Notting Hill and Jews in Germany. (1 August 1960)
For some of those activists and idealistic jazz fans who had been on the Aldermaston march a few months earlier it must have come as a surprise to be now compared to racists and fascists. But Allsop's point is perhaps more a symptom of a common English unease with American popular culture (it was Teddy Boys, inflamed by the new sounds of rock 'n' roll, that beat up London's black youth), or with unfamiliar mass events such as these new youth festivals. Montagu himself was to say that 'You'd need a policeman in every garden' in Beaulieu village if the festival was held again—hardly the image of pastoral promise to transmit.
Beaulieu in 1960 was important too because of it was an example of the mediation of subcultural panic. Jazz from the festival was filmed and broadcast live on BBC television, and on the BBC Light Programme radio network. During the riot on Saturday night, the live broadcast was cut by six minutes, an interruption prefaced by an anxious BBC live commentator saying: 'Things are getting quite out of hand. [pause] It is obvious things cannot continue like this.' A commandeered BBC microphone was used to broadcast a shout from one fan for 'More beer for the workers!'
An apologetic BBC spokesperson was quoted in the next morning's press: 'We have had a lot of telephone calls from viewers who thought the scenes were disgraceful' (quoted in Sunday Express, 31 July 1960). On the other hand, the News of the World was happy to report to its readers that its switchboard had been jammed with calls from television viewers wanting to know what was happening (News of the World, 31 July 1960).
The 'BEATNIK BEAT-UP', as it was headlined in one newspaper, was reported in the Commonwealth and world press—in South Africa, the United States, Argentina, Gibraltar, Australia, Kenya, Canada, Italy, Germany, France. The combination of aristocracy and jazz madness was an outstanding popular story of English eccentricity run, literally, riot. The Battle of Beaulieu was in part a symptom of jazz purists' investment in their particular form: subcultural tensions between traditional jazz fans and modernists were evident ('Go home dirty bopper' was by this stage a favoured slogan of tradders). We would do well here to remember that, as E. Taylor Atkins observes wryly, '[o]ur comfortable characterization of jazz as a "universal language" fails to do justice to the conflicts the music ignited around the world'. This may explain the irreparable damage inflicted on Acker Bilk's banjoist's instrument: the banjo was truly despised by modernists.
The riot was also a demonstration of the cumulative sense of empowerment the collective identities of groups attending the event each year developed with it—the carnival beginning to blur the distinction between participant and observer, as well as to challenge and invert the social hierarchy. Here the minor manifestations of transgression at the 1959 and 1961 festivals should be acknowledged too. Also important though was the presence of the media—the camera as inflaming device—and its privileged space at the 1960 event—the camera as intrusion. Jeremy Sandford notes this:
Montagu had been criticised for giving too much space to T.V. cameras, and of thinking too much of the T.V. technicians and too little of his audiences.… The BBC had also been accused of a prissy and somewhat condescending attitude 'to unsafe things like Youth and Jazz'.
For Mick Farren too, the Beaulieu festivals were 'primitive mini-Woodstocks that reached media attention when the audience took offence at being filmed as though they were sociological exhibits and turned over BBC TV cameras'.
[Click on the image below for some footage of a Pathé newsreel showing hip cats at the 1961 Beaulieu Jazz Festival… YOUTH HAS A FLING]
There is a (retrospectively) intriguing coda to the Beaulieu Jazz Festivals. For 1962, a Daily Mail article describes the extraordinary early invention of a proto free festival, of the kind organised extensively in Britain in the 1970s and early 1980s. This indicates the distance between festival organisers and festival-goers, and the increasing autonomy of carnival.
Like Frankenstein, Lord Montagu of Beaulieu has created a monster from which, it seems, there is no escape. After the beatnik riots last year Lord Montagu vowed: 'There will never again be a jazz festival at Beaulieu'. But last night he told me that he has had to appeal to the police for protection from the jazz beatniks, who threaten to descend on the picturesque, Hampshire village again. Thousands of leaflets have been distributed in Chelsea exhorting the 'trads' and 'moderns' to turn up in force on August 4 'for a free rave to the bitter end'. The leaflets, signed 'Pete the Brolly', read: 'If you can play any musical instrument please bring it with you and help make a successful weekend for every one. Spread the news and rave on'. (Daily Mail, 16 May 1962)
The uncertainty of this putative Beaulieu free festival's countercultural or subcultural construction—it veers in its embryonic way between an alternative gathering or 'free rave' and a mods vs. rockers-style showdown between competing jazz fans 'to the bitter end'—should not detract from its importance as an early manifestation of more radical DIY youth culture. It also provides evidence of the emotional and social investment the audiences at Beaulieu developed in making the festival their own over the years it ran, even to the extent of claiming it as their own autonomous event.
The newspaper returned to the story a month later, when the straight identity of white beatnik Pete the Brolly (complete with goatee beard and a small signifier of English eccentricity, a monocle, though no umbrella, I think) became clear at a court appearance following, of course, a drug bust. Outside a London court, following a £10 fine for possession of cannabis found during a raid on the candlelit Chelsea jazz club Café des Artistes, Pete the Brolly owned up: 'I am the cat who has been distributing thousands of leaflets in Chelsea and throughout the country exhorting anyone who can play a musical instrument to come to an unofficial Beaulieu jazz festival on August 4' (Daily Mail, 9 June 1962). Pete the Brolly, aka 30-year old Peter Dawson, said from his Holborn office, just visited by two police officers:
This is really awful man, but awful.… [The police] told me if I persisted with the plan I would be the first to be carried off. When I wrote to Lord Montagu I pointed out that to combat any trouble I would organise a beatnik police force. There would be little risk of damage. This rave would have lasted a while. We planned to live in the forest while it was on. (quoted in the Scottish Daily Mail, 16 June 1962)
Wild pastoral living, self-policing, DIY music-making, and a non-commercial economy—many of the ingredients of the free festival movement are glimpsed here up to a decade before its popularisation in Britain, and long before the inspiration of Woodstock. The poor or political in the free community of Desolation/Devastation Hill outside the fences of the 1970 Isle of Wight festival, the 1970 IT financial 'fuck up' (IT's own description) that became the free festival of Phun City, the 1971 free festival of Glastonbury Fayre organised and financed by upper class drop-outs like Andrew Kerr and Arabella Churchill—these were the early manifestations.
But as an ideological social movement of sorts in Britain free festivals came into their own with Windsor People's Free in 1972 and then the best known, Stonehenge Free, from 1974 on. In a way, with Pete the Brolly, Beaulieu was present at the lost beginning of the movement, and also at its notorious arrest, the 'Battle of the Beanfield' near Stonehenge, where the large convoy of New Travellers on its way to the stones for the 1985 festival was violently ambushed and broken up by police. As head of English Heritage then, Montagu was responsible for the preservation of national monuments like Stonehenge, though he was not absolutely opposed to some sort of gathering.
My desire was to turn the festival into some sort of controlled event, which meant it could still have happened. I would have loved to have made a sensible event—in fact, one year we offered 400 tickets to the alternative community to attend the stones during the solstice, but they said no, we'd rather stay outside. I did then think they were anarchists, you see: they'd rather riot really. Were there anarchists at Beaulieu, too, among the trad jazzers, beatniks, and CND-ers? Oh yes, quite possibly. (personal interview, 1999)
At Beaulieu in 1960 (and, in leaflet form at least, 1962), at Stonehenge after 1985, the aristocratic imperative to grant and control freedom of festival was challenged and rejected. As is its wont, carnival would not be so easily limited, it required its potential for social inversion to be fulfilled. And so it was—as the Daily Mail delineated the carnivalesque trajectory of the Beaulieu Jazz Festivals for its readers:
At first audiences were sprinkled with famous faces. Gerald Lascelles, cousin of the Queen, was one who made the trip to Beaulieu. Then the rowdies moved in and last August [sic: July] there were riots, nude bathing parties, fights with broken bottles, beatings-up of innocent bystanders and drunken orgies. Fifteen ambulances were called. 'I was disgusted and flabbergasted by the drunken youths and girls lying on the ground', said Lord Montagu. (Daily Mail, 16 May 1962)
(Perhaps audiences expected a degree of sexual licence such as they might have heard of reported from the etablishment-rocking scandal of the Montagu trials in 1953-54.) Just as in the Victorian Beaulieu Fairs banned by his grandfather, the transgressive purpose of carnival, in the highly encoded and hierarchical social setting of an English stately home, burst out with energy, without apology, once more. That the febrile Americanisms of jazz should now be carnival's accompaniment, compounded the 'disgust', and/or the pleasure….
This entry was posted in Festival, Jazz, Music, protest, The Pop Festival and tagged Acker Bilk, AHRC, Aldermaston march, banjo, Battle of the Beanfield, BBC, beatnik, Beaulieu, Beaulieu Jazz Festival, Cafe des Artistes, CND, Daily Mail, DIY, Glastonbury Fayre, Glastonbury Festival, Jeremy Sandford, Lord Montagu, Mick Farren, Pete the Brolly, Phun City, rave, Stonehenge Free Festival, Windsor Free Festival on September 1, 2015 by George.


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Bootleg City: Simple Minds, 6/14/09
The budget cuts continue in Bootleg City. This week I had to lay off the village idiot.
It was a tough call. On the one hand, he's provided countless hours of "It's funny because it's not me" entertainment. On the other hand, he's a symbol of a more ignorant time in human history, when those with limited mental capacities were openly encouraged to humiliate themselves, only to be mocked by society for their efforts.
Luckily, Bootleg City's village idiot took it in stride. "I'll be honest with you — I'm relieved," he said. "My last job, I was there too long. The first two years were pretty good, but then it started to get really hard, and my boss turned into a real jerk, and everybody started blaming me for everything. Here I just could be myself, but six months was a good run. Any longer and y'all would've started hating me, probably saying I was only here in the first place because somebody pulled some strings."
I asked about his plans for the future. He said he might look into adjunct faculty positions at Yale. I thought he was making one last joke, but he was serious. All I could do was smile, pat him on the back, and say, "Good luck, George."
This week's fresher-than-usual bootleg is another gift from Matt Wardlaw of Addicted to Vinyl, but it didn't come with a link to a PayPal account containing a $500 bribe. Budget crisis, Wardlaw! Helloooooooo! Don't be such a moron– Wait … sorry … I take that back. I need to be more sensitive about words like "moron" and "idiot" and "Us Weekly reader." In fact, we all do. But if you disagree, let the world know how you feel in the comments section below by ignoring ignorance and instead talking about Simple Minds, who performed at the 2009 Isle of Wight Festival on Sunday, June 14, in Seaclose Park in the town of Newport. The bootleg's source is an FM broadcast, so the audio quality is excellent, as is the performance of Simple Minds, who released their 16th studio album, Graffiti Soul, in May.
I Travel
See the Lights
Stars Will Lead the Way
Ghost Dancing
Don't You (Forget About Me)
Promised You a Miracle
Someone, Somewhere in Summertime
New Gold Dream (81-82-83-84)
Alive and Kicking
preshow interview with Jim Kerr
Bootleg City, Music
Bootleg City, Isle of Wight Festival, Simple Minds
Robert Cass
Robert Cass lives in Chicago. For Popdose he's written under the Sugar Water, Bootleg City, and Box Office Flashback banners and collaborated on the series 'Face Time with Jeff Giles and Mike Heyliger.
Cratedigger: The Jimi Hendrix Experience, "Electric Ladyland"


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Schriver Funeral Home
| Ipswich, SD 57451
In addition to the bereavement services for the families we serve, we have provided some helpful grief support links below:
Crisis, Grief and Healing
Webhealing.com, the first interactive grief website on the internet, offers discussion boards, articles, book suggestions, and advice for men and women working through every aspect of grief. The site's founder, Tom Golden LCSW, has provided book excerpts and contact information to help those healing from loss.
Willowgreen
Willowgreen offers support and information for those dealing with life transition & aging, illness & caregiving, loss & grief, and hope & spirituality. The site offers advice, products, and inspirational materials.
The American Association of Retired Persons (AARP) website contains a Grief & Loss section with grief-related articles and information.
The National Hospice and Palliative Care Organization's website provides a host of information and resources for people facing a life-limiting illness or injury and their caregivers.
Schriver's Memorial Mortuary in Aberdeen was founded in 1961 when Ray and Mary K. Schriver purchased the former Kreuger Mortuary. Ray and Mary K. worked together growing their family business and in 1978, when Ray suddenly passed away, Mary K. began operating the mortuary as its owner-operator.
In 1987, Mary K. and her sons, George and Jim, and daughter, Mary, designed and built a new facility moving Schriver's Mortuary to 414 Fifth Avenue Northwest along Highway 281 in Aberdeen. Mary K. purchased the land and began the process of designing and building a new mortuary from the ground up. George and his wife Stacy Schriver have been successfully operating Schriver's Memorial since Mary's passing.
The pair expanded west in 2022 when they purchased the former Gramm Funeral Home, now Schriver Funeral Home.
First Generation: Ray & Mary Schriver
Second Generation: George & Stacy Schriver
© 2023 Schriver Funeral Home. All Rights Reserved. Funeral Home website by CFS & TA | Terms of Use | Privacy Policy | Accessibility


I have let my monthly round ups slip in recent months. The end of last year was insanely busy. This year is all about making time for me and spending more time on doing the things which make me, and therefore my family, happy. Unless you've been living under a cloud you'll have probably noticed I've been sharing lots of pictures of the Liberty quilt I have been stitching this month.
I started and finished my Liberty rainbow quilt which I am so pleased about. I am terrible at buying fabric and never making anything so I've started the year with a bang. I bought the strips pre-cut so the top was quick to stitch. I stitched them together in groups of 5 to make sure my fabric didn't go wonky when I was sewing it. This also made me feel like I was making progress as stitching long lines can be a little tedious.
I was originally going to make my own binding from the backing fabric, more beautiful Liberty fabric. However, I had a change of heart and folded the material from the back, using Clover clips to keep everything in place. I've used this technique a few times and really like it. I machine quilted 'in the ditches' every two strips and hand-stitched the binding.
Despite it being Winter I have used a light weight batting. The Liberty prints suggest Summer picnics and warm days to me and it hasn't seemed to stop my daughter snuggling underneath it at bedtime. I think this is the largest quilt I've made so far, and definitely the prettiest.
This month I also tried my hand at the Mollie Makes Paper Gems Kit which was fun and have made lots of things with the children.
January was the month of Tunnocks Caramel Wafer cupcakes, Betty Crocker Spiced Ginger Cake and our rude word Valentines' biscuits.
This was a great month for seeing exhibitions. I've managed to visit both the Alice in Wonderland exhibition at the British Library and The Crime Museum at the Museum of London. Last but not least, I squeezed in another trip to the West End to the Hobbycraft Spring/Summer press show.
That quilt is gorgeous, so simple but effective.


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Stefanik: GOP unified in exposing Biden's 'radical' agenda, Cheney too busy 'looking backwards'
Stefanik: GOP unified in exposing Biden's 'radical' agenda, Cheney too busy 'looking backwards'
May 16, 2021 | Jon Dougherty | Print Article
Newly-elected House Republican Conference chair Elise Stefanik laid out her party's vision moving forward during a Sunday morning interview in which she reaffirmed that former President Donald Trump remained the GOP's driving force.
In an interview with "Sunday Morning Futures" host Maria Bartiromo, Stefanik, a New York Republican, also talked about the differences in her vision for the party versus the woman she replaced, Rep. Liz Cheney of Wyoming, whom she said was "looking backwards" rather than ahead to the party's, and the country's challenges.
"Republicans are unified in exposing the radical Far-Left agenda of President Biden and Speaker Pelosi. We want to spend every day on exposing the border crisis, the economic crisis, and the national security crisis in the Middle East," Stefanik began.
She went on to say that the party is also focusing on "safely reopening" the economy after more than a year's worth of pandemic-related business disruptions and pushing back against the administration's energy policies, which have led to the "highest gas prices in seven years."
Bartiromo responded by saying that Cheney appears to be focused on the Jan. 6 riot and its immediate aftermath before then played a clip of her suggesting the party move on from Trump after she was ousted from her No. 3 position within the party.
Stefanik accused Cheney of "looking backward" while adding that the GOP is "unified" and "looking forward," noting further that under Trump enacted pro-growth policies, brought peace to the Middle East, enhanced national security, and focused on other issues important to working-class Americans.
She went to chastise the administration as well as the president himself, saying that the "bipartisanship" Democratic nominee Joe Biden promised during his campaign has yet to materialize.
"I'm proud to represent the vast majority of Republicans, and that's why we needed to make a change at House conference chair," she continued.
After discussing how important state efforts are at shoring up voter integrity to regain the public's confidence in elections following the 2020 chaos, Stefanik pushed back on reports that she is less conservative than Cheney by touting her credentials as one of Trump's impeachment defenders. She went on to say that she's also focused on issues that matter more to her voters and others around the country such as the current worker shortage Republicans have blamed, in part, on enhancements to unemployment benefits paid under the recently passed COVID-19 relief bill.
Later, Stefanik lashed out at "progressive" criminal reform measures that have led to massive crime spikes in New York City and around the country, while noting that Republicans support fully funded police departments and a tough-on-crime approach.
She also noted that the current crisis along the U.S.-Mexico border, which includes increased drug trafficking, affects all parts of the country.
Bartiromo then asked Stefanik, whom Trump supported for the Republican Conference chair, how important he is to the party's future electoral success.
"He's critical to the party, he is the leader of the Republican Party," she responded. "Voters determined the leader of the Republican Party and they continue to look to President Trump for his vision.
"He's gonna be an important part of us winning back the House in 2022," she said.
Jon Dougherty
Jon is a staff writer for BizPac Review with 30 years' worth of reporting experience, as well as an author and U.S. Army veteran. He has a BA in political science from Ashford University and an MA in national security studies/intelligence analysis from American Military University.
Latest posts by Jon Dougherty (see all)
Jan. 6 committee chair Benny Thompson offers a stunning take on potential Trump criminal actions - January 2, 2022
Life-long New Yorker posts 'sad' Twitter ode on post-pandemic Big Apple being 'shadow of its former self' - January 2, 2022
NYPD officer shot in head in police lot as he slept in vehicle between shifts - January 2, 2022


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Room on the Broom: Book and CD Award-winning team
by Julia Donaldson (author) and Axel Scheffler (illustrator) (UK edition)
Suitable for 3 - 5 years
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More books for 3 - 5 year olds
Holidays and Celebrations > Halloween
Myths and Legends > Witches
Rhyming Text
Vroom! Zoom! A carefree witch and her faithful cat are flying through the wind on a broomstick – and lots of fuzzy friends would love to hitch a lift. Is there room on the broom? "Yes!" cries the big-hearted witch! What with a dog, a frog, a bird, a cat, one cauldron and one witch on board, it's a busy and bumpy ride on the broom – until it snaps in two! Oh no! Just as they all land in a bog, a scary dragon appears. Can the witch's grateful passengers save the day? Listen along to the audio story CD as you enjoy this sweetly spooky rhyming favourite by Children's Laureate Julia Donaldson.
"Julia Donaldson and Axel Scheffler have come up with another gem… We loved it." Independent
Julia Donaldson is author of many of today's best-loved picture books including The Gruffalo and Stick Man. Best known for her collaborations with Axel Scheffler, each of these vivid rhyming stories is a triumph of imagination. She was also the Children's Laureate 2011-2013.
More about Julia: "I grew up in a tall Victorian London house with my parents, grandmother, aunt, uncle, younger sister Mary and cat Geoffrey (who was really a prince in disguise. Mary and I would argue about which of us would marry him).
Mary and I were always creating imaginary characters and mimicking real ones, and I used to write shows and choreograph ballets for us.
I studied Drama and French at Bristol University, where I met Malcolm, a guitar-playing medic to whom I'm now married.
Before Malcolm and I had our three sons we used to go busking together and I would write special songs for each country; the best one was in Italian about pasta.
The busking led to a career in singing and songwriting, mainly for children's television.
One of my television songs, A Squash and a Squeeze, was made into a book in 1993, with illustrations by the wonderful Axel Scheffler. It was great to hold the book in my hand without it vanishing in the air the way the songs did. This prompted me to unearth some plays I'd written for a school reading group, and since then I've had 20 plays published.
My real breakthrough was The Gruffalo, again illustrated by Axel. We work separately – he's in London and I'm in Glasgow – but he sends me letters with lovely funny pictures on the envelopes.
My novel The Giants and the Joneses is going to be made into a film by the same team who made the Harry Potter movies, and I have written three books of stories about the anarchic Princess Mirror-Belle who appears from the mirror and disrupts the life of an otherwise ordinary eight-year-old.
When I'm not writing I am often performing, at book festivals and in theatres. I really enjoy getting the children in the audience to help me act out the stories and sing the songs."
Axel Scheffler was born in 1957 in Hamburg, Germany. At school, although always good at art, he never really considered a career in illustration. But long before he began his professional life, he had won his first drawing prize for an international chocolate company – his prize was a cuddly lilac cow.
Axel went on from school to study History of Art at the University of Hamburg – but he didn't like the course and decided to leave. Knowing that he wanted to live in another country and learn a second language, he moved to England to study illustration at the Bath Academy of Art.
After graduating with a first class degree, Axel moved to London where he began illustrating for a variety of English and German advertising companies, magazines and newspapers. He took his portfolio to a number of publishers and Faber commissioned him to illustrate The Piemakers by Helen Cresswell and The Bottle Rabbit by Bernard McCabe. In 1989, Walker asked Axel to illustrate a text by Jon Blake, You're a Hero, Daley B.
A writer called Julia Donaldson was also writing songs for Playdays at this time and her song A Squash and a Squeeze was commissioned to be a picture book. Axel Scheffler was recommended as an illustrator for the text and an award-winning team was created.
Their next book, The Gruffalo, was published in March 1999 and has already become a modern classic, selling more than 2 million copies worldwide and translated into over 20 languages. Axel also continues to illustrate for other authors as well, including Ian Whybrow and David Henry Wilson.
Axel has achieved worldwide acclaim for his humorous illustrations, and his books have been translated into over 29 languages. He has enjoyed particular success in his award-winning picture book collaborations with Julia Donaldson, but is also the best-selling illustrator of novelty books such as The Bedtime Bear. In 2006 he was been called upon to design Gordon Brown's annual Christmas card!
Still living in London, Axel makes frequent visits to continental Europe. His hobbies include walking, cooking and reading and beadwork.
Room on the Broom Colouring
Room on the Broom Invitations
Room on the Broom Party Ideas
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Room on the Broom x 30
Award-winning team
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There's a Witch in Your Book
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Winnie and Wilbur at Chinese New Year
Winnie and Wilbur: Winnie the Witch
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If You Like Julia Donaldson, You'll Love...
Loo Queue
Winnie the Witch x 6
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What kids think
millie9ward
it is short
Cheerforevers
on 9 March 2014
This is about a witch who keeps losing things.
this book is hilarious. it is rhyming
Sherlock25
A good book for younger children about a witch on a broom with her cat :)
ninjastickman
This is an unforgetable tale of an old witch who has a broom and each time she lands a little animal asks: "Is there room on the broom for a thing like me". I recommend this book for young readers aged 2-6
lmdrld
This is about a witch who gets lots of different passengers on her broom.
samcharlie123
Ha ha ha! This is a hilarious book by Julia Donaldson, and it comes with a CD!
I would recommend this to any younger readers.
kkitt-kkatt
on a cd…geneous. i loved it
Charlies-boy
on 8 February 2013
This is a great book, I love it!


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Games Are Enjoyable! You Ought To Find out To Play Them.
Whether you're a fan of games or simply finding out to play them, it's constantly valuable to know what a game is. A game is a virtual item that has a set of rules, auto mechanics, and also features. These are created to give gamers a sense of immersion and also realistic look.
In most cases, a game can be played solo or with other people. There are a range of genres and also sub-genres, and the checklist of video games remains to expand.
Most of the times, a game will have a specific objective. Some of these objectives consist of winning or shedding, getting factors, and also reaching a certain time limit. The game likewise has a player-chosen difficulty setting, which sets the level of obstacle the player faces.
Furthermore, a game can have multiple objectives, such as winning or shedding, attaining a collection quantity of cash, or finishing a particular goal. A game can likewise have a checkpoint system, which serves as a risk-free factor for the player. When the player lacks lives or is not able to get to a set goal, the video game ends. Some video games may even have a "winner" and a "loser." This is very important to understand when deciding which sort of video game to play.
A video game's icon (GUI) is the collection of switches as well as various other controls that the gamer interacts with while playing. This consists of the keyboard as well as computer mouse, along with screen-based controllers. The most recent computer game feature outstanding degrees of information, which develop an immersive experience.
Another term used to describe the basic elements of a video game is the "mesh." This is a computer-programmed series of lines and forms. These can be connected to create bigger visual components. A video game design is created by integrating the mesh with appearances as well as other attributes. This procedure is called prototyping. A beta version of a game, on the other hand, is launched to the general public for insect testing and essential comments. It typically consists of all major functions as well as assets.
The game's design additionally has a hitbox, or accident criterion, which is the area in which the character can be hit. This specification is essential in preventing the character from colliding with other objects in the video game.
A video game's mesh is additionally made use of to specify the size and shape of the room the personalities move in. This is especially vital in multiplayer games, which need the room of all the players to be the same. This is because a straightforward act of standing on the floor requires crash parameters on both the feet as well as the floor.
During the video game growth process, video game makers link graphical nodes as well as use visual scripting to arrange code aesthetically. They can additionally utilize ray mapping to imitate the communication of light with items in the game.
Some video games have a "lightmap," which is a collection of pre-rendered lights results. These are also made use of to create deepness in the game. This is completed by catching multiple structures of activity, likewise known as keyframing.
Usually speaking, a game is an interactive amusement that entails a range of elements. These components consist of: the guidelines, content, player input, and the environment. Some games are made to involve players with their creative imaginations and also imagination while others are simply artistic and immersive.
There are additionally some standards that apply to all kinds of games. The first requirement is that a game has to have some kind of challenge. This might come in the kind of a physical challenge, a mental obstacle, or a mental barrier. Sometimes, fulfilling the aims of a video game calls for skills, good luck, or a mix of the three.
The next requirement is that a video game needs to have a gamer control. Most of games involve more than one player, but this is not always the instance. There are single-player video games that are fights against time and also skill, while there are multiplayer video games that involve multiple gamers, too.
The third standard is that a game's web content has a purpose. This can be attained in a number of methods, consisting of academic games that teach a skill, simulation video games that imitate a real-life situation, or perhaps games that are just for enjoyable. Many organization video games, for example, concentrate on organizational behavior as well as team building. These video games can be computer system simulations, interactive parlor game, or even physical video games with props.
The final standard is that a video game is fun. Some games are made to be fun for adults while others are produced children. There are even games that are played by professionals as well as beginners alike. Some are for satisfaction while others are utilized as an anxiety reliever. The key is to find the video game that's right for you.
Some common instances of game-like attributes include: a story, technicians, degree design, and also a variety of various other features. These components are the heart of the video game. The player should adhere to the regulations, however hardly ever does she or he have to put in much effort to do so.
A variety of games are likewise developed to stimulate emotions. This is usually done via a component of risk and also shock. For example, a bullet heck game is a video game that makes use of physics to simulate reality. The primary auto mechanic involves capturing targets, however it may additionally include evading and also dying. The goal is to maintain the personalities safe. Other examples consist of scary games and also stealth video games.
These games are made to elicit concern in the gamer. They are likewise developed to promote positive sensations. They can be very habit forming. Several games are readily available on the market, such as Fortnite and also PlayStation VR. There are also other free-to-play games that monetize via advertisements or microtransactions. These video games can be located on the web, in video clip shops, or via mobile apps. browse around this website
The meaning of a game is occasionally debated. The contemporary interpretation originates from the jobs of Johan Huizinga and also Friedrich Georg Junger. The former specifies a game as a competitive task, while the last specifies it as an artform.
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