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text:
Q: Is it possible to remove 'Contacts' from Gnome Shell? Whenever I search for a program in Gnome Shell's search panel, some contacts from Pidgin will appear. E.g. when I search for Chromium, by typing chr, Chris Andersen will appear.  I don't want this to happen. Is it possible to disable this function?

A: Go to: Settings | Search | Contacts | OFF

A: I was curious about this myself, greping around in /usr/share/gnome-shell/js/ui I found reference to contactDisplay in overview.js.  You should be able to comment out the two lines:
const ContactDisplay = imports.ui.contactDisplay;
this.addSearchProvider(new ContactDisplay.ContactSearchProvider());

and that will take care of it.  Just tested it, and nothing broke immediately (your results may vary).  I wont make any assumptions of your skill set so to comment these lines
Alt+F2 gksu gedit /usr/share/gnome-shell/js/ui/overview.js
find the two lines listed and place // (comment markers) in front of them, save, and Contacts are gone from search results.
The search panel you refer to is called the overview.  That may help with future questions.

A: At the time of writing (using Gnome Shell 3.10.4) the contacts search provider (gnome-contacts-search-provider) is added by the gnome-contacts package:
> locate gnome-contacts-search-provider
/usr/share/gnome-shell/search-providers/gnome-contacts-search-provider.ini

> apt-file search /usr/share/gnome-shell/search-providers/gnome-contacts-search-provider.ini
gnome-contacts: /usr/share/gnome-shell/search-providers/gnome-contacts-search-provider.ini

If you don't use the Contacts app you can remove it and the search provider with it.
sudo apt-get purge gnome-contacts

A: It is by default search handling technique in gnome , better way is to use synapse for search, it is very light and very fast, plus it provides filters to search. it will solve your problem,

redpajama_set_name: RedPajamaStackExchange


text:
Does the United States military train their soldiers to fight with melee weapons?
http://en.wikipedia.org/wiki/Melee_weapon
Best Answer: Yes in the Marine Corps we trained in hand to hand, with our bayonet in our hands, and with the bayonet attached to our rifles.
Patrick B · 1 decade ago
To occupy and hold territory an army must send in ground troops. Ground troops unlike bombers, warships and fighter jets meet the enemy "face to face" and do not have the luxury of killing from long range. Nor are they has heavily protected as a tank. So even a child with a well-placed shot can kill a soldier. To clear a house or village soldiers and Marines must go from corner to corner, house to house to flush out an enemy. This principle is as old as warfare. Even the the best trained armies can be bested by a poorly trained one in an urban environment (like Stalingrad). Still the US casualties are low compared to other wars. In the late 1940's after Hiroshima and Nagasaki US strategists declared an end to conventional war. Then along came Korea where Nukes were of no use whatsoever and the Marines and Army grunts were sent in to dig out the enemy with rifle and bayonet.
Doreen · 3 years ago
yes, and unarmed
ChampLC · 1 decade ago
of course. do you think that the givernment would send out soldiers that don't know how to fight hand to hand or with a knife? i think not
Payton · 1 decade ago
Basic Army melee weapons include the bayonet and rifle butt/stock/barrel. There is pugil-stick training, which is a basic type of melee/hand to hand training technique. But as far as extensive training in the general use of melee weapons, no, as weapons like say a mace or swords would be unauthorized as actual weapons for combat use (even though swords are part of the dress uniform of certain types of soldiers, like the cavalry or marines)
If you wanna run around with a sword and shield, you should stick to warcraft.
Source(s): Ex-army
kevin · 1 decade ago
yes, and hand to hand, they need to be able to deal with any situation
yes they train with a variety of weapons, US Army Rangers train with tomohawks
DEVGRU · 1 decade ago
The Navy doesn't. I know that one first hand.
holly · 1 decade ago
Yes. There are drills involving melee weapons.
What else would one use if they are out of bullets?
In the next war (with China) there will be no prisoners taken on either side. It will be like the movie "Enemy at the Gates," except it will be waves of Chinese that will just keep coming.
Agent Smith · 1 decade ago
Yep. It's called "Grab the nearest weapon and beat the crap out of the enemy" or more commonly know as "Hand to Hand Combat".
Why can't the United States military engage in war without losing soldiers on the field.?
Can You Name 4 Countries the United States Military Has Bombed in the Last 2 Weeks?
Does anyone have anything good to say about the United States Military?
Does the United States military train it's soldiers to use an arbalest?
Does the United States spend too much on the Military?
Can I still deploy with a missing DA 4700 form?
I want to join the Russian military, but I don't want to lose my US citizenship. What do I do?

redpajama_set_name: RedPajamaCommonCrawl


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Amid muted celebrations, Bangladeshis welcome 2021 wishing for a Covid-free time
Sukanta Halder
We need to increase funds for research ten-fold by 2030
Bangladesh protests US secretary of state's 'baseless' remarks
In Dhaka, New Year's Eve saw a ban on events held in open spaces outside the home
People made the first moment of the new year memorable by having a barbecue party on the rooftop, releasing lanterns and setting off fireworks amid restrictions. Photo: TBS
The festival-loving Bangladeshis have welcomed 2021 in a rather quiet manner because of restrictions on new year's celebrations due to the Covid-19 pandemic.
Being forced to confine themselves to their homes, the people of Bangladesh celebrated New Year's Eve with the hope of a pandemic-free time – leaving behind the fear of death, anxiety and uncertainty about the future.
This time in Dhaka, there was no opportunity for anyone to take part in any event in an open space outside the house on New Year's Eve. The rooftops of houses were also under purview of the ban.
But even then, many people made the first moment of the new year memorable by having a barbecue party on the rooftop, releasing lanterns and setting off fireworks.
Meanwhile, people from the upper classes took part in various events including parties at five-star hotels.
Photo: TBS
New Zealand was the first country in the world to welcome the new year. Thousands thronged Auckland on New Year's Eve. But a nighttime curfew was imposed in major cities of several countries, including France and India, to prevent any New Year's Eve party due to a spike in novel coronavirus cases.
The beginning of 2020 in Bangladesh was a festive atmosphere. People aimed to make the year memorable by celebrating the golden jubilee of the country's independence. Various programmes were also held in the beginning of the year. But when the novel coronavirus outbreak occurred in January, the global situation changed quickly.
Shiuly Nahar Toma, a student at Dhaka University, told The Business Standard (TBS) that the pandemic has dampened the joy of the new year. On top of that, Covid-19's new strain has tainted the new year's journey, she added.
"For this, the celebration of the last night of 2020 has had to be observed in accordance with the special instructions of law enforcement agencies. So, there was a kind of bad feeling. It is our wish the world will return to normalcy in the new year," she added.
Several five-star hotels in the capital usually organise cocktail parties, DJ parties and other lavish events to celebrate New Year's Eve in normal times but, considering the current situation, they made limited arrangements this year.
An official of the Radisson Blu Hotel in Dhaka told TBS, "We have tried to celebrate the Thirty-First Night by maintaining social distancing. However, not all of our guests are the same. Some agreed while some did not."
"The liquor bar usually remains open on this day in normal times. DJs usually have dance party arrangements. But this time around, all these were closed. We just arranged dinner. And there was the count-down," he added.
Meanwhile, Nazmul Hossain, marketing officer of Pan Pacific Sonargaon, said they had arranged Pool Cafe, Cafe Bazaar and special arrangements in the bar on the occasion of New Year's Eve.
"These were organised in compliance with the hygiene rules in their own management. Compared to other years this time there were limited arrangements," he continued.
Apart from this, most of the entertainment centres in the capital saw fewer visitors compared to normal times due to the pandemic, according to the authorities of: the National Museum, Lalbagh Fort, the National Zoo, Wonderland, Fantasy Kingdom in Savar, the Botanical Garden, Ahsan Manzil, the Air Force Museum, and Bangabandhu Novo Theater.
Normally, thousands of tourists flock to Cox's Bazar beach on New Year's Eve. This year's picture was very different.
Rana Karmakar, operations manager of Mermaid Beach and Eco Resort – which is one of the top destinations for domestic and foreign tourists in Cox's Bazar – told TBS, "Normally, we have special arrangements on the occasion of New Year's Eve every year. But, considering the current situation, we have not done much this time. This time, our guests have come, spent their time on their own, eaten, and then left. The number of tourists has been a little lower than usual this year."
Due to the pandemic, various social and cultural events, including national and religious festivals, have not returned to normal since the beginning of 2020.
Renowned playwright Mamunur Rashid told TBS, "Let our world be more beautiful in the new year than before! This is our desire. Bangladesh has a cultural heritage. But, in the last year the country has not been able to organise any event spontaneously!"
There are some similarities between the current global pandemic and the Spanish Flu.
However, if one takes the catastrophic virus outbreak of 1917 as a yardstick, the thought of how 2021 will turn out will not make one feel relieved. This is because the flu that started a century ago lasted for three years.
This time around, however, there are a number of good things starting from the battle to recover the economy from the shocks induced by the pandemic. As a result, one can be optimistic about the new year and the years to come.
Government employee Shahan Shahrior told TBS that the new year has come with some fresh air as the relentless scientific efforts have made it possible to develop vaccines for the novel coronavirus. "The mammoth challenge is to make the vaccines available for the general public. We can only hope that our financial and political constraints do not affect the distribution process of the vaccine."
Bangladesh / Happy New Year


Ever since Airfix released their 1:72 scale Bv-141 I wanted to build a model of this bizarre aircraft.
However, I never got around to building it in 1:72 scale for a few reasons. Firstly because the old Airfix kit looks terrible, and secondly because I moved to 1:48 scale (at least in WWII department).
Last year HiPM came up with Bv 141B in 1:48 scale, which found its way to my unassembled kits pile straight away. More importantly, I got it as a wedding anniversary present so there was no excuse to delay the project! I started working on it immediately.
I decided to build the model out of the box since my references are very limited when it comes to esoteric subjects such as Bv 141.
I downloaded a nice collection of Bv-141A and B photos from the web and found two brief chapters in "general" Luftwaffe books from my collection. In the process of gathering information I learned that a "glasshouse" cockpit of Bv-141 had a lot in common with Fw-189, therefore I used an excellent book published by Aviapress in their series "Skrzydla w Miniaturze" (Wings in Miniature) as a guide for Blohm und Voss cockpit.
This was my first HiPM kit and I must say it was very good. Upon opening the box I was struck by the size of this thing - the tailboom is about 30 cm long! There are four sprues with parts moulded in light grey plastic, one sprue of clear parts, small photo-etched set and a decal sheet printed by Propagteam.
After closer inspection I discovered that all the large parts were moulded very nicely, whereas sprue D containing all the small parts (undercarriage, machine guns, cockpit components) had a lot of flash and looked like it was from another kit. Nevertheless, after cleaning up all the parts came up to standard and looked acceptable.
Panel lines are engraved, although a bit vague in places.
The entire crew compartment is moulded in clear plastic of acceptable clarity, but can use some polishing and a coat of Future. The clear crew compartment is is a very good idea since probably 90% of it consisted of glazed panels to facilitate 360° view - it was a reconnaissance aircraft after all.
The instruction booklet consists of 12 pages with sprue map, clear assembly diagrams and 3 pages of painting instructions (RLM numbers are used). One painting guide is for the cockpit, undercarriage and machine guns and 2 pages with side, up and down views of an entire aircraft.
I started construction by masking.
Tamiya masking tape was used to mask all the transparent panels on both halves of crew compartment.
It took some time to do, but I think that all this masking protects clear windows from accidental damage throughout later construction.
Next, I turned my attention to the cockpit.
No problems here, but small parts needed cleaning up. Photo-etched parts add a lot of life, but when fully assembled the cockpit looks a bit sparse.
Both clear halves fitted together without a problem, however, the join line goes across some of the windows on top of the cockpit. There was nothing else to do, but remove some of the tape, sand down the seam and polish with polishing compound.
In retrospect I think that it would be better to cut these panels out and replace them with clear plastic.
Wings were next and there was no problem here. The tail boom goes together like a dream as well. I decided not to include bomb racks (four are provided, but no bombs) since there are no location points for them and they require a lot of cleaning up.
Wings done, tailboom done, crew compartment done - time to put them all together. This was straightforward too, but I had some gaps underneath at the tailboom and wing joint. Be careful with the alignment of all these components since there are many opportunities to get it wrong. Engine nacelle assembly did not cause any problems.
In case you are wondering there is no BMW 801 engine included, but nothing can be seen behind the cooling fan (provided as photo-etched part) anyway.
Main undercarriage followed. All the parts went together without causing any problems, but when I glued them into the wheel wells it looked like one of the legs was a bit too long and the whole model was a bit crooked. I have no idea what went wrong (it all seemed to be OK before assembly), but the problem was solved by trimming one of the undercarriage legs to bring my Bv-141 to horizontal position.
Construction was completed with antenna and crew access ladder, which I scratchbuilt because I was already fed up with cleaning up all those little bits and pieces.
Now to the most exciting part of model making (at least for me) - painting.
What we have here is a really interesting aircraft with an extremely boring camouflage scheme: RLM 70/71/65. I used Aeromaster acrylics (RLM 70 and 71) and Aeromaster enamels (RLM 65 and 66 - used to paint cockpit interior and entire exterior of the crew compartment before main camouflage colours were applied), Gunze Sangyo acrylic RLM 02 was used on undercarriage.
Each colour of the main camouflage was applied twice. The second coat was lightened with white (approximately 30%) and used inside the panels leaving panel lines highlighted with darker shade.
Weathering was completed with some silver paint chipping, exhaust stains and a subtle wash with oil raw umber. Everything was sealed with Super Shine (Australian equivalent of Future). Decal sheet is printed by Propagteam and offers markings for 5 prototypes (all in the same camouflage scheme). It consists of a set of letters and numbers for different aircrafts, full set of crosses for one aircraft and swastikas (in halves).
There was little carrier film, which I trimmed anyway (I always do, since it solves the problem of silvering later on), colour density was good (just the white outline in crosses, everything else is black so the density is good). All images were very thin and reacted well to Aeromaster Set and Sol solutions without any adverse effects, sinking into panel lines.
The entire model was then sealed with a coat of Humbrol semi-gloss clear and various panels were added in open position to the cockpit. It is pretty big for a single engine aircraft, and stands out on the shelf due to its unusual shape and size.
What can I say - an excellent wedding anniversary present.
Click the thumbnails below to view images full-sized.
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At InfoComm 2016, Planar and Leyard unveiled its low-power TWA series of fine pitch LED video walls.
"The Leyard TWA Series was designed to be a drop-in replacement to legacy LCD and rear projection video walls," said Steve Seminario, vice president of product marketing at Planar and Leyard International.
Planar and Leyard additionally unveiled two additions to its Clarity Matrix LCD video wall system line-up. The Clarity Matrix MX55HDX LCD display features a narrow tiled bezel width of 1.6mm and 800 nits or brightness for LCD video wall installations. The 55-in model now also offers a 10% power consumption reduction over previous models.
The Clarity Matrix LX46HDU-3D has also been added to the line, a LCD video wall system designed for clients seeking a large format stereoscopic display for 3D visualisation applications.
Planar has also announced enhancements to its EasyAxis mounting system so it is easier to achieve the smallest gap between individual LCD video wall displays.


Hi, and thanks for taking the time to view my work!
I'm an enthusiast photographer based in Helsinki, Finland. I got my first DSLR in 2012 and have ever since been passionate about photography.
My images would probably best be categorized as travel photography. For me, this type of shooting means not only taking pictures of the landscapes on location but also aiming to capture the local way of life or other meaningful moments. I try to do this by taking my gear with me whenever walking on the streets of a destination city or visiting natural parks looking for fascinating wildlife.
If you have any questions, feedback or comments, please feel free to drop me an e-mail at tommiaarniophotography@gmail.com. In case you're interested to see more of my work, visit my website.
tommiaarnio doesn't have any testimonials yet.


Dragon Knight is a MMORPG published by Salagame. Wizard is armed with a wand and has powerful combat skills. Able to rule magic of any kind and adapt to the situation. To fight against the ancient dragon's army he discovered the darkest secrets of witchcraft. Do yours in-game purchases now with Multi Game Card!
Shovel with the sword and shield, has both offensive and defensive skills, which helps protect your team in really extreme situations. After Knight recognizes the weakness of the enemy, the final blow draws attention. Heroically he fights the Army of the ancient Dragon, protecting the glory City and six other lands, according to the oath.


text:
At the Movies: reviews and film times for Hinckley's Cineworld
The latest from the cineplex
Emma RayContent editor
The Divergent Series: Allegiant
The Divergent Series: Allegiant (12A)
Anyone who believes that Americans don't grasp irony should watch the third film in the Divergent saga, adapted from Veronica Roth's best selling trilogy for young adults.
While the series' gutsy heroine makes defiant speeches about individuality, Robert Schwentke's dystopian action adventure meekly surrenders to bland genre conformity.
More so than ever, Allegiant languishes in the shadow of The Hunger Games, treading water for almost two hours before lighting the fuse on a final reckoning that forms the dramatic spine of the concluding instalment, Ascendant, due for release in June 2017.
Unlike Katniss Everdeen, Divergent's spunky trailblazer Tris (Shailene Woodley) becomes increasingly reactive in this third outing and is superfluous for extended periods as peripheral characters learn valuable plot information that can be distilled in expository dialogue.
Tris also develops a nasty case of naivety at a critical juncture, which doesn't make sense given everything she has endured.
The demise of Jeanine (Kate Winslet) in the second picture leaves a power vacuum, which is filled by Evelyn (Naomi Watts), embittered leader of the factionless, and Johanna (Octavia Spencer), figurehead of peace-loving Amity.
"Sometimes walls are there to protect us," Evelyn tells her people, but Tris (Woodley), her lover Four (Theo James), brother Caleb (Ansel Elgort), good friend Christina (Zoe Kravitz) and Dauntless turncoat Peter (Miles Teller) disagree and scale the electrified perimeter of Chicago.
They discover a radiation ravaged wilderness known as The Fringe where rivers run blood red. Armed forces from the Bureau of Genetic Welfare rescue Tris and her compatriots in the nick of time and transport them back to headquarters at O'Hare Airport.
There, facility director David (Jeff Daniels) reveals a grand genetic experiment with far-reaching consequences for the fate of mankind.
"Help me save the world," David implores Tris. Unsure who to trust, the new arrivals face difficult choices to survive.
Meanwhile back in the city ruins, Evelyn and thuggish henchman Edgar (Jonny Weston) prepare to usurp Johanna using deadly force. The Divergent Series: Allegiant is the weakest link in the dramatic chain.
Four screenwriters offer no artistic justification for cleaving Roth's final book in half: Allegiant is two hours of awkward foreplay and at the end, we are not remotely excited.
Action set pieces are solid but functional. Woodley is squandered, staring doe-eyed at James' hunky love interest as events spiral out of control around her.
Teller serves up quips as the comic relief and only justifies his presence in a laughable action sequence that witnesses hundreds of extras fleeing from memory-erasing orange gas that looks like the special effects department unleashed a giant carroty trump. We're tempted to take a big whiff to forget Schwentke made this third chapter.
(Two stars)
Kung Fu Panda 3 (PG)
Ardent fans of unlikely kung fu-fighting warrior Po will happily grin and panda bear this derivative yet breathlessly energetic third instalment of the computer-animated adventure series.
Visually, Jennifer Yuh Nelson and Alessandro Carloni's picture is a black belt: bright colours saturate the screen, the 3D format is employed adroitly in gymnastic fight sequences.
However, mothballed jokes about a panda's vast appetite or the creature's inability to scale flights of stairs are aired again and spiky banter between Jack Black's self-doubting hero and Dustin Hoffman's despairing red panda mentor also feel like hand-me-downs.
After 500 years of incarceration in the Spirit Realm, megalomaniacal yak Kai (voiced by JK Simmons) steals the chi of every kung fu master, and only the Dragon Warrior – overweight dumpling-obsessed panda Po (Black) – can bring his reign of terror to an end.
Meanwhile, Po is reunited with his rotund biological father, Li Shan (Bryan Cranston), and embarks on a quest of self-discovery to harness the power of chi.
Po also marshals his fellow bears into a well-drilled army capable of repelling Kai and liberating the creatures under the yak's Machiavellian control. Kung Fu Panda 3 is a jaunty affair that breeds comfort and warm smiles through familiarity.
The third outing is a fitting conclusion to the series, so DreamWorks Animations will hopefully learn from the mistakes of Shrek and let Po bow out in style.
(Three stars)
The Witch (15)
Set in 17th-century New England, The Witch is a slow-burning thriller about a fervently religious family torn asunder by the belief that their teenage daughter is in league with the Devil.
Writer-director Robert Eggers delivers a stylish and ambitious debut of remarkable clarity and emotional power that burrows under our skin and leaves us scratching helplessly in the dark, at the mercy of his dark and unsettling parable.
He steadfastly avoids the jump shocks and scares that have become emblematic of the modern horror genre.
The eponymous hag doesn't materialise unexpectedly out of the darkness, accompanied by a burst of staccato strings, characters don't abandon their senses and stumble blindly to their doom.
Instead, Eggers cranks up suspense until we are whimpering for mercy, underscoring our discomfort with a chilling orchestral score composed by Mark Korven.
William (Ralph Ineson) stands accused of "prideful conceit" before other members of his Puritan Christian community.
Unbowed and unmoved, he is excommunicated with his wife Katherine (Kate Dickie), eldest daughter Thomasin (Anya Taylor-Joy), son Caleb (Harvey Scrimshaw) and the twins Mercy (Ellie Grainger) and Jonas (Lucas Dawson).
The family travels by rickety cart to a clearing and establishes a new homestead, planting crops in time for the birth of a son, Samuel. A witch (Bathsheba Garnett), who lives in the nearby forest, steals the baby during a game of peekaboo with Thomasin and uses the child's freshly spilt blood to restore her youthful lustre.
Katherine is devastated and William struggles to hold together his family as grief and guilt corrupt their love. Poor Katherine's faith wavers and the conspiratorial twins accuse Thomasin of witchcraft, based on whispered conversations with the family's prized goat.
Matters come to a head when Caleb secretly ventures into the forest, gun in hand, and stumbles upon a moss-thatched cottage...
The Witch begins as a coming of age story, focusing on Thomasin's awkward transition to adulthood. Once Samuel vanishes, nerves jangle and Eggers confidently unpicks the seams of the family's existence, eliciting a spellbinding lead performance from Taylor-Joy as the virginal teen, whose sexual awakening doesn't go unnoticed by her hormone-addled brother.
The script evokes the period in both dialogue and design, and cinematographer Jarin Blaschke uses lighting to stunning effect to suggest unspeakable horrors lurking just out of our field of vision. As much as we want to look away, we're riveted to the spot.
(Four stars)
Cineworld film times from Wednesday March 9 to Wednesday March 16
London has Fallen
Wed: 12:30, 15:00, 18:30, 21:00
Thur: 13:30, 16:00, 18:30, 21:00
Fri-Wed: 13:15, 15:45, 18:15, 20:45
Wed-Thur: 12:40, 15:20, 18:00, 20:40
Fri: 12:30, 19:40
Sat&Sun: 19:40
Mon: 12:30, 19:40
Tue: 12:30, 17:45
Wed: 12:30, 19:40
Thur: 15:30, 18:10, 20:50
Fri&Sat: 17:30, 20:15
Sun: 20:15
Tue: 20:15
Tue (Mar 15): 19:30
Fri: 3D 12:15, 14:45, 17:15
2D: 13:30, 16:00, 18:30
Sat&Sun: 3D 11:00, 13:30, 16:00, 18:30.
2D 12:15, 14:45, 17:15
Mon-Wed: 3D 12:15, 14:45, 17:15
Home (Movies for Juniors)
Snoopy and Charlie Brown: The Peanuts Movie (Movies for Juniors)
Alvin and the Chipmunks: The Road Chip
Wed&Thur: 16:00
Sat&Sun: 12:50, 15:10
How to be Single
Wed: 20:00
Fri, Mon, Tue, Wed: 15:00
Wed: 13:30, 18:20, 20:30
Thur: 18:20, 20:30
Fri-Wed: 21:00
Thur: 13:40
WOW Hinckley
LeicesterWhat you need to know about the Highcross transformation plansTwo big developments are taking place
EntertainmentReview: Scrooge The Musical at The Curve TheatreDickens' classic tale of redemption brought to life with music
Concordia TheatreSooty to sweep into Hinckley for Concordia showThe troublesome trio will be bringing their magic on Saturday May 20
Wonderful HinckleyNeed some Hinckley Valentine's Day ideas? We've got you coveredSam Hadadi from Wonderful Hinckley looks at some great venues for February 14
HinckleyMarco Pierre White's Christmas dinner guideFrom perfect roast potatoes to how to time your turkey


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Assimilation & Oppression (179) History (95) Activism (95) Politics (151) Gross Abuse (241) Homelands (79) Sovereignty (180) Self-determination (90) Media Releases (143) country (80) Genocide (103) Culture (113)
UNITY - "Unless our Peoples come together and resist as one, all that will remain will be isolated pockets of liberation fighters being oppressed by the assimilated."
Historical Background to the NAIDOC 2019 Theme: 'Voice, Treaty, Truth'
Our greatest fear is not whether we negotiate a Treaty, but the forcing through of the Recognition campaign for inclusion in the colonial Constitution. Ghillar, Michael Anderson, provides an historical insight into the NAIDOC 2019 theme 'Voice, Treaty, Truth', which reveals that each time First Nations Sovereignty rises up too powerfully it is suppressed in favour of the 'trip wire to assimilation'. The 'Voice', of the NAC was shafted in 1984; the NAC 'Treaty' framework was dismantled and 'Truth' has barely been heard yet. Read more about Historical Background to the NAIDOC 2019 Theme: 'Voice, Treaty, Truth'
Sovereign Treaty
Lest We Forget the Frontier Conflicts March
An invitation to the 'Lest We Forget the Frontier Conflicts March' 9.30 am Thursday 25 April 2019, starts from west end of Anzac Parade, cnr Constitution Ave, Reid, Canberra.
The conflict between the British invaders and First Nations Peoples continue to this very day and the hidden history unveils an orgy of bloodshed without restraint or restriction. First Nations Peoples defended their lands and continue to do so at great loss. Read more about Lest We Forget the Frontier Conflicts March
Frontier Wars
Timber Creek redress precedent - The options for First Nations
Ghillar, Michael Anderson, Head of State of the Euahlayi Peoples Republic and convenor of Sovereign Union is proposing a number of options that First Nations might consider when seeking redress following the High Court's decision in the Timber Creek case. The High Court recognised that Native Title claimants should be eligible for compensation for the 'loss of rights to gain spiritual sustenance from the land' among loss of other rights and interests'. Read more about Timber Creek redress precedent - The options for First Nations
Native Title Act
Sovereignty ILUA
Deceitful and fraudulent land dealings in WA and a breach of Trust: more WA Homelands closed down
Ghillar, Michael Anderson accuses the members of the WA Aboriginal Lands Trust of treasonous behaviour and actions against their own Peoples. He said this is evidenced by the fact that over the past years the Aboriginal Lands Trust has acted in concert with the interests of mining companies, the WA government and the Federal government to shut down Aboriginal communities under a policy of forced removal and clearing the land. The purpose of ridding the land of its true owners is to permit free and open access to exploration, mining and other development. Read more about Deceitful and fraudulent land dealings in WA and a breach of Trust: more WA Homelands closed down
Assimilation & Oppression
'Welcome to Country!' - Our Lands of Poverty and Devaluation
We now come in all sizes and colours, but you cannot take away the spirit of our forefathers and foremothers and our absolute connection to Mother Earth. The divide and rule by colour distinction will no longer work. We are who we are, always was and always will be. However, once you welcome non-Indigenous people to Country, in their world you are opening the door and letting them in and what is your's becomes their's. Right now their only legitimacy on Country is when they are welcomed in ... One way to deflect Welcome to Country is to Acknowledge Country! Read more about 'Welcome to Country!' - Our Lands of Poverty and Devaluation


A strategic and catalytic segment of the South African economy, the automotive sector has become a mainstay of national industry, accounting for just shy of seven percent of GDP.
Standing aside from a continent that is home to just 44 vehicles per 1,000 inhabitants, four times less than the global average of 180 according to Deloitte, this market has continued to prevail in South Africa, remaining the country's sole manufacturing sector to have expanded while others have shrunk.
Setting the scene, Moagi goes on to reveal that the situation is no different for AutoZone itself, a company that remains the largest wholly-owned distributor of auto parts, spares and car accessories across Southern Africa.
"Let me paint a picture of what our company is looking at right now," he continues. "We're arguably the most typical example of an automotive business having been the subject of rapid growth, and now we're reinforcing our position.
The hectic nature of these adjustments aside, the benefits that this strategic overhaul is set to bring to the business are not to be underestimated, providing the company with a platform from which it can accelerate its own consolidation throughout the coming months.
"In essence, what we're trying to do is leverage our core, existing infrastructure and scale that in order to become South Africa's leading vehicle care solutions partner," adds Moagi.
This immediate infrastructure is already substantial, AutoZone priding itself on an esteemed record of providing high-quality products and services that allowed it to establish a broad, loyal client base of engineers, auto-spares retailers, mechanics, workshops, fitment centres and retail car owners located across Sub-Saharan Africa.
Positioned as a one-stop shop with extensive coverage of South Africa, the firm supplies vehicle parts, spares and accessories for almost any vehicle make or model, from brake pads and gaskets to engine parts, oil pumps and other heavy-duty articles.
"We primarily cover the passenger and light commercial vehicle markets," explains Moagi. "Working with close to 700 world-class suppliers, we're able to source and sell approximately 75,000 parts across our 250 branches and additional franchisee member-owned outlets.
However, having somewhat maximised potential by leveraging these existing approaches, the company is looking to raise the stakes and enter a new, more prosperous era by differentiating and diversifying both its service and product offerings.
This has culminated in the identification and development of a three-pronged master plan that will allow AutoZone to enhance its market capitalisation and become more customer-centric.
Embodying the group's 'good-better-best' principle, AutoZone is effectively providing its customers with more options when looking at what they would like to buy. "We're offering not only greater choice, but also a better range of high-quality products," the Marketing Executive adds.
The second point of note is the firm's recent sales channel strategy, splitting its business into three core, defined divisions comprised of wholesale and retail arms and a professional services business that will service key accounts such as workshops, fitment centres and provide fleet management to private businesses.
Now targeting a clear and distinct audience across each of these channels with limited overlap, AutoZone has already been reaping the rewards, no longer using the same operating model to cater to each of these segments.
"We've been able to replace challenges and discrepancies with more efficient and effective operations, evident across our wholesale business, for example," explains Moagi. "In the past there would be precautions when it came to serving independent spare shops with these companies being a major competitor on the retail side.
"We would have to weigh up the potential impact of our wholesale operations against our retail operations, something that regularly stood as a source of conflict.
Similarly, Autozone's dedicated professional services team has expanded productivities for both the customers and business itself.
Alongside the successful expansion of its product range and restructuring processes, the company's third and final strategic focus is centred on expanding its in-house portfolio.
Having had own-brand products for many years, Moagi and his team are keen to grow this segment of the business, hoping to ramp up the production of reputable and reliable products for its clientele.
"Very simply, we're improving the way that we work, finding better efficiencies across the board of our business, from how we get products in and move these around through our distribution networks channels to how these are marketed and how we individually serve our customers as the end-users," the Marketing Executive reveals.
Leveraging this three-pronged plan centred around growing the core, consolidating the firm's trio of channels and bolstering its own-brand portfolio, AutoZone is expected to redefine itself as an innovative, proactive player within the market during the next two to three financial years.
Beyond this, however, the business is also making plans for the longer term. According to McKinsey Global Institute, for example, the ecommerce market in Africa's leading economies is set to be worth $75 billion by 2025, a rising trend that AutoZone is eyeing.
The coming months set to be defined by innovation and adaptation, Moagi and the AutoZone team remain motivated with the monumental yet invigorating task at hand, preparing to embrace the major self-induced changes coming the company's way.
Moagi concludes: "All these things, combined with a refined corporate identity, store design and more that will come with the company's upcoming rebranding sequence, we're expecting the coming 12 months to be one of the most transformative yet positive experiences in the business's entire history.


A then and now image showing the men and staff outside of the Hospital of St John in Holmesdale Gardens, St Leonards.
St John's was an auxiliary hospital run under the banner of the Red Cross, after the British Red Cross and Order of St John of Jerusalem merged at the outbreak of the war. The hospitals looked after the less seriously wounded service men and were staffed mainly by volunteers from the local community.
There were two auxiliary hospitals in Hastings, St John's and Old Hastings House and three in St Leonards; Bannow, Filsham Park and West Dene.
The original image is from the Hastings & St Leonards Pictorial Advertiser dated 1st March 1917.


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Home / Lifestyle / Arts & Entertainment / Was The Endgame Worth The Hype?
By May Dawes on July 11, 2019
"Don't Spoil The Endgame," says directors Anthony and Joe Russo. Everyone has been talking about it, yet no one wants it to be spoiled. Avengers: Endgame has broken box office records within the first opening weekend. The question is: was it worth all the hype and anticipation? Between the upsetting scenes that left viewers in tears and the adrenaline-filled battle scenes, the Russo brothers prove that it was, in no doubt, worth every second.
One of the first and most shocking scenes of the entire movie is when Thanos, the toughest villain the Avengers have ever faced, was killed by the Avengers themselves within the first ten minutes of the film. Thor finally "went for the head" and beheaded him out of pure revenge. This part left viewers shocked and confused because the movie was in total three hours and two minutes. Just after this scene occurred, there was a huge time jump that stated, "5 years later". This captivated the audience and made everyone want to find out what happened in those five years and what will happen after that.
After the time jump, we learn that Tony Stark, Iron Man, has married Pepper Potts, and has a five-year-old daughter, named Morgan. Since he now has a good life and a family, he sees no reason to try to get all of the vanished characters back from Avengers: Infinity War, even though the Avengers tried to convince him to help bring them back. In one of the scenes, Starks sees a picture of him with Peter Parker, Spider Man, who is like a son to him, and realizes he needs to bring everyone back. He meets with the Avengers and they adventure into the past to gather the stones and bring back everyone they lost.
A real tear-jerking scene took place on a planet called Vormir, where the soul stone can be found. Black Widow and Hawkeye, who were best friends, traveled to the past to retrieve this stone, but in order to have the stone, you must sacrifice the person whom you love the most. This scene was very upsetting for many fans because Natasha Romanoff, Black Widow, and Clint Barton, Hawkeye, fought to keep each other from jumping off a cliff to either one of their deaths. Natasha ended up being the one to kill herself in order for Clint to receive the soul stone and bring it back to the future, where the other Avengers were waiting. It was a very shocking and hard-to-watch scene which left viewers shocked and heartbroken.
A scene that triggered cheering in the crowd was when Captain America was able to not only lift Thor's hammer but use its power to fight Thanos. This scene was iconic in the comics and was a major part of the huge battle scene.
Originating from the Marvel comics, the huge battle scene that features the most popular Marvel characters is perhaps the best scene of the movie. In this scene, all of the original Avengers, including other characters from their comics such as Black Panther, Spider Man, Doctor Strange, Star Lord, and Captain Marvel, fought Thanos and his alien army. Just before this scene took place, Bruce Banner, who is more commonly known as the Hulk, held all six infinity stones and snapped his fingers to bring back the vanished characters, who "died" in Avengers: Infinity War. Just before the intense fighting took place, Captain America yelled the iconic, "Avengers… Assemble." The crowd cheered when all of the characters returned. This scene was one of the many reasons why this movie was worth all the hype.
The most spoil-worthy part of the movie was arguably the saddest part. This scene took place at the very end of the battle scene. Iron Man steals the six infinity stones from the Thanos from the past and snaps his fingers, wearing a gauntlet that was attached to his suit. Just as he does this, he yells his last words, "I am Iron Man, " which is an iconic quote from the first Iron Man film from the trilogy. The snap causes Thanos and his entire army to vanish, just as half of all living creatures did in Avengers: Infinity War. Stark saves the universe, but the power of the infinity stones is too strong for a human to harness. Tony dies a hero and leaves the audience in tears.
By the end of the movie, the audience is upset because of the deaths of Black Widow and Iron man, but the final scene of the movie brings peace to the story. Captain America had volunteered to bring the infinity stones to the exact time and place at which they were taken since the Avengers went to the past to find them. When Cap returned to present day, he was 105 years old. He had decided to stay in the past and marry the love of his life, Peggy Carter. The final scene is Steve Rogers (Captain America) and Peggy Carter dancing together. It brings peace to the end of the movie.
The movie sets up the upcoming Marvel movies and triggers some theories about what will happen next. For example, when Cap returns from the past as his 105-year-old self, he gives his shield to one of his best friends and mentee, Sam Wilson (Falcon). This not only hints and creates theories that Sam will become the new Captain America but also continues the hype of the Marvel fandom. Marvel has brought and will continue to bring the hype to the theaters. There is no doubt that the hype will continue to grow.
Related ItemsAvengersEngameMay DawesmoviesWoodland
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In March 2019 the Service introduced new fire engines to its fleet. A total of eleven Rosenbauer Advanced Technology (AT) fire engines have been procured by an in-house project team. The first five fire engines are to be placed at Hanley, Longton, Burton, Cannock and Lichfield Community Fire Stations with the fire engines going 'on-the-run' after an extensive training process. The remaining six will be placed at Leek, Sandyford, Tamworth, Newcastle, Stafford and Penkridge with 'on the run' dates planned for later this year.
Our firefighters will be getting to grips with a high-end NH25 pump, accessed by a lift up glass panel which provides the pump operator with lighting and protection from the elements. The Rosenbauer ATs benefit from some very smart stowage solutions which have allowed the project team to locate equipment in the best possible positions.
The lockers are accessed by drop down steps which improve manual handling and allow for the use of all the available space. Pantographs (expanding metal linkages) are used for the more frequently accessed equipment, such as the battery-powered cutting equipment, branches and breaking-in tools.
The removal of tilt trays allows for space to be used more efficiently and although these appliances are based on a 16-tonne chassis the equipment stowed on them is a definite enhancement to what has been supplied in the past.
Which stations will the fire engines be based at?
The fire engines will be deployed at Hanley, Longton, Burton, Cannock, Lichfield, Leek, Sandyford, Tamworth, Newcastle, Stafford and Penkridge.
This covers all nine whole time shift stations plus the two day crewed stations and one on-call station.
Are they more expensive than our current fire engines?
The new appliances realise a saving of £30,000 each when compared to our last purchase in 2012.
Have they gone through an inspection and testing process?
A rigorous testing and inspection process has been undertaken by the Service's Emergency Response Team and Joint Emergency Transport Service in conjunction with the Fire Brigades Union and Learning and Development (L&D) department. Ten Rosenbauer qualified instructors will be rolling out training across the county with colleagues from L&D.
As the first vehicle of its type in the UK the vehicle has been tested at the Vehicle Certification Agency test centre at Millbrook to ensure that it conforms to BS EN 1846-2 2009 Firefighting and rescue service vehicles.
Will they be more environmentally friendly?
Our appliances are fitted with Euro 6 engines which meet the latest Euro emissions standards. This means they are a huge leap towards cleaner transportation and have a reduced impact on the environment. Power and fuel-efficiency are on par with Euro 5 models, but particulate emissions and oxides of nitrogen have been greatly reduced.


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Hiyu 2014 "The May"
The May is the original 2.5 acre section of the vineyard that we began farming in 2011. It's in the far western corner of the property surrounded by the forest. It has the steepest aspect and produces the most intensly perfumed wines of the site. The wines were made from co-fermented, own-rooted Pinot Noir and Pinot Gris from 2012 to 2016 (there was also a tiny amount of Syrah vinified separately). There were two wines made. The May I and II were both made from multiple vintages from fermenters that spent the whole winter on the skins and were pressed in the spring following the vintage. The single-vintage bottlings had more conventional macerations from 30-70 days and typically spent two to three years in barrel. We started grafting in this part of the vineyard in 2016 and there are now four different wines made from the parcel.
This is one of three vintages made by China and Nate from the original 2.5 acre parcel before grafting. Own-rooted Pinot Noir and Pinot Gris were fermented whole cluster in puncheons with the heads removed and spent between 30 and 70 days on the skins before being pressed directly to barrel with a manual ratchet press. The wine was aged on the lees for 24 months in older barriques before being bottled by hand.
SKU: HU14PNTM


text:
@interface TSMessageMeController ()<UITableViewDataSource,UITableViewDelegate>

@property(nonatomic, strong) NSArray * images;
@property(nonatomic, strong) NSArray * titles;
@property(nonatomic, weak) UITableView * tableview;

@end

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                    @"通知"
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redpajama_set_name: RedPajamaGithub


On June 10, 2015, with the blessing of His Holiness Patriarch Kirill of Moscow and All Russia, a delegation of the Russian Orthodox Church arrived in Istanbul for the name day of His Holiness Bartholomew, Patriarch of Constantinople.
The delegation was led by Bishop Ioann of Naro-Fominsk, administrator of the Patriarchal Parishes in the USA. He was accompanied by the Rev. Mikhail Asmus, adviser, Moscow Patriarchate department for external church relations, and Deacon Fedor Shulga, DECR.
Patriarch Bartholomew's name day celebrations began with Vespers at the Monastery of the Life-Giving Spring of the Most Holy Theotokos in Valikli. At the Patriarch's entry to the church, Russian children living in Constantinople presented His Holiness with their drawings.
After the service the congregation was entertained at the monastery yard and all those who wished to extend congratulations to His Holiness could do it.
On June 11, when the Church of Constantinople celebrates the memory of the Holy Apostles Bartholomew and Barnabas, the ROC delegation attended the Divine Liturgy at the St. George Church in Fanar. Other Local Churches were represented by hierarchs from the Patriarchates of Alexandria, Jerusalem, Serbia and the Church of Greece. Among those who came for the celebrations were also bishops and laity from Western Europe, pilgrims from Greece and Serbia, as well as clergy of the St. Panteleimon and St. Andrew representations of Constantinople together with their Russian parishioners.
After the liturgy, the Synod's oldest member, Metropolitan Konstantinos of Nicaea, greeted His Holiness on behalf of all the hierarchy of the Church of Constantinople. Then Bishop Ioann of Naro-Fominsk read out a message of greetings from Patriarch Kirill of Moscow and All Russia and presented his gift to his Brother of Constantinople, an icon of St. Cyril Equal-to-the-Apostles. In his response, Patriarch Bartholomew thanked the heads of Local Orthodox Churches for having sent their representative to his name-day celebrations and all those present for their participation in the festivities.
After that a reception for high guests was given at the Bosporus coast, during which Bishop Ioann had an opportunity once again to convey brotherly feelings from Patriarch of Moscow and All Russia to the Primate of the Russian Church's spiritual Mother – the Church of Constantinople.


Many IT companies like to give long lists of the products they carry, as well as difficult to substantiate claims about saving your money through complex ROI calculations. Netguistics is first and foremost about finding out what your organization's requirements and goals so as to be able to help align your IT with them.
While there are a number of tools and services available with impressive lists of features and claims of how they will save you money, the reality is a "one size fits all" approach in IT does not yield the best result. Many organizations find out that - usually after a great deal of expense – tools/services they have purchased just do not align with their organization's workflows, needs or goals and in many instances force an organization to align themselves to IT, rather than the other way around. Our goal at Netguistics is to first understand your challenges, goals and requirements.
Regardless of your organization's size, Netguistics consulting services lead to IT that is aligned to your business needs and goals while maximizing functionality, ROI, adherence to budget, and expandability.


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Geometry of light and shadow
One of the challenges of being a background artist in an interactive medium is that often a designer requires us to leave a large surface free of detail or clutter, so that characters can move around on it uninhibited. This means that backgrounds can sometimes look sparse and empty, which is fine in some cases, but often the urge to decorate, to break up those large areas is strong, and there's a number of ways that we can do that. Decorative floors are a good option, especially when using higher camera angles, as are things like rugs, changes in floor coverings, and the like. One option, which can be a bit less obvious, is to use lights and shadows to create shapes and silhouettes on those surfaces, thus breaking them up without actually relying on a change in material to do so.
A good, simple example is Barnett College from Indiana Jones and the Fate of Atlantis. Here you can clearly see the large, glass windows let the light in, which is broken up by the window frames, creating a bold set of quadrangles on an otherwise fairly plain floor. The variety this brings to the scene also helps guide our eyes - it's fairly natural to look first to the lighter parts of an image, and having such a strong highlight in the very centre of the composition helps to reinforce the darkness of the framing elements such as the foreground desk.
Another way lights can break up a composition is by use of rays, such as in this scene from The Koshan Conspiracy. Here the bold, curving arches of the ceiling are broken up by spokes of light, 'filling' the empty space these arches span with forms that, while not tangible, are certainly visible. Because they're translucent, the scene also manages to maintain the appearance of great size, where filling these same positions with solid supports would make the scene feel much more cluttered.
Strong shadows can add bold shapes in any situation. Notice the back wall in this shot from Black Sect, and how the flat plane is broken up by a nice diagonal cast by the shadow. This also helps to frame the shadowy figure in the foreground, by surrounding him with a lighter colour that's framed in by this silhouette on the wall, which follows his form quite closely. Another nice trick is how the arch of the furnace stands out nicely, and feels much hotter and brighter, because it's been surrounded by this much darker colour. As always, contrast and juxtaposition reinforces an element and makes it seem more powerful.
Another great use of silhouettes in light to break up a large area, and focus a composition, is in this scene from The Dig. Here the large, distant mountains are dissected by the looming shadows cast by neighbouring mountains. This adds some diversity to these large, fairly plain surfaces, but it also helps to separate the composition into three very distinct areas of value - the light shades in the top third, the middle shades in the centre third, and the darker shades in the bottom third. This clear division of values in the landscape also means that the bold silhouette of the wrecked craft stands out nicely by being an anomaly withing these value ranges.
This backdrop from Rise of the Dragon is another lovely example of adding variety to plain surfaces. Notice how the flat, square panels of the wall have nice curves given to them by the pool of light from an unseen light source. Without relying on any actual solid, material addition, the artist has given this composition a series of bold, rounded shapes that break it up nicely.
An even more clear example is this scene from Dune. The floor beneath the stillsuits on either side of the scene would, if not for the pools of light, be textureless, almost formless planes with no variety. The pools of light provide a strong indication of the angle of the floor and they also add ovals into a scene that's otherwise formed entirely of hard angles.
This scene from the Lost Files of Sherlock Holmes: The Case of the Serrated Scalpel uses both light and shadow to add shapes to the wooden docks - the angled silhouettes cast by the ship's masts, and the edge of the building, break the sunlight up into areas of shadow, and then the largest area of shadow is broken up once again by the pool of light cast by the lantern. This ends up being a slightly odd effect, mostly because the lantern casts a light that's the same hue and value as the sun, but still showcases two examples of the idea in a single scene.
This scene from Simon the Sorcerer 2 relies on a large shadow to break up the large, plain section of roof to the right of the scene, as well as using large shadows to add depth and clarity to the roofs in the bottom left, despite the fact that these shadows don't seem to quite fit the lighting conditions of materials such as the tiles, which suggest a much more central, overhead light. Nevertheless, it's an effective, functional idea that frames the scene well, adds much needed diversity to the value range, and proves that a design consideration often trumps the pursuit of realistic representation when creating a backdrop.
A fairly subtle use of light and shadow shapes is this scene from Gabriel Knight, which shows dappled sunlight patches on the ground around the tree and on the path and hedges. This is a nice way to add diversity without being overwhelming, and the fact that the focal area of the scene is a white painted building, amongst a very green scene, means the light isn't necessary to guide the viewer's eye too much.
A very similar composition from Quest for Glory 3 shows a much bolder use - here we see a scene exit in a similar spot, but here it creates a large, bold area of highlight on the ground, which adds a number of things. Firstly, it helps centralise the composition's focal point, so that our eyes are drawn clearly to the middle. Secondly, it breaks up the plane of the ground nicely, adding variety into the large area once again, without the need to add physical obstructions. Third, it helps to lead the eye into the scene exit, helping to show us where we can walk - always essential in the genre.
This scene from Kyrandia 2 does a particularly nice thing with its silhouettes - the surface of the quicksand catches the shadows of the tree and the hand beautifully, making wonderful shapes in the negative space around them, and even covering a good two thirds of the sign, breaking up a fairly small surface nicely, adding to the rich detail already present. What's particularly nice is that above the shadows cast by the hand we see another shadow in the quicksand, without any need to show what's casting this shadow - a hidden shadow source, as it were. This helps to isolate the lit areas to a specific zone, and also to help the hand and the key it's clutching to stand out, as well as creating distinct regions in the surface of the quicksand.
An especially wonderful use of light and shadow to create and accentuate geometry is this scene from Full Throttle, in which a hidden light source from the left, shaped by a hidden shadow source, shines onto the large, flat section of ground, centralising the composition and breaking up the plain surface once again, while a hidden light source from below lights the faces in the distance, and uses the shadows from this to accentuate the structure of these. This shows light both creating its own geometry on a flat surface along with the traditional technique of light showing physical geometry in the distance - a wonderful, powerful use of light and shadow that evokes an excellent atmosphere.
Light, then, can bring geometric forms into a composition where there would otherwise be just a flat surface. Doing so can add diversity, focus, and balance, and this makes it an exceptionally useful technique, particularly in a genre where we're often required to use these large, plain surfaces in order to accommodate the needs of a designer. Any artist faced with a large wall, floor, or other large, empty space and is having difficulty filling it with detail would do well to keep these ideas in mind, and will find them very effective tools to have at one's disposal.
Posted by Ben304 at 5:23 AM 2 comments: Links to this post
A look at graphics: framing an interactive painting
My writings over on Adventure Gamers have been mostly about directing the player in various ways - whether in feeling or focus - so far, something I think is especially important to consider as an adventure game artist, and this month's article is no exception. This month's topic, of filling up the rest of the frame, is something I have struggled with, wondered about and tried to figure out for years, and hopefully my thoughts on the issue will make some sense.
Posted by Ben304 at 3:58 PM No comments: Links to this post
Ten gorgeous adventure game scenes from the pixel art era
I was delighted to be asked to select 10 classic adventure game scenes and talk about why I love them over on PC Gamer, and the article is now up. If you're interested in seeing some of my most favourite scenes from the genre, and why I love them, head on over and check it out!
Posted by Ben304 at 2:58 AM No comments: Links to this post
One of my absolute favourite colour schemes to draw with, green and purple complement each other in a mysterious, otherworldly way. Green is a fairly common colour in nature, with purple being more of a feature colour, seen mostly in things like flowers. Seeing the way artists play with the combination, though, is always fascinating, and there are some great examples of this colour scheme.
Because purple feels somewhat opposite to the warm yellow light of the sun, it makes an excellent shadow colour, which suits scenes filled with lush, richly lit foliage, such as this scene from Quest for Glory 3. The purple shadows really help the greens to stand out. Especially interesting here is the leaves in the foreground - though they appear greenish, these are actually a mid blue - only appearing greenish because they're placed with such dark purples.
Another use of a purple among sunny green is as a nice feature colour to mix things up, as seen here. The leaves are nicely balanced, with the large patch in the top right corner evened out by the smaller patch on the left hand side, and a few smaller, individual details down in the bottom right corner. These work particularly well to break up the dominant greens, and add some wonderful variety and colour into the background.
In less sunny scenes, such as this one from King's Quest 5, the greens become less sunny and yellow, and shift to much bluer greens. The purplish blues seem to tinge everything, from shadowed sections of the path, to stones and foliage. This makes for an excellent gloomy feel, without losing the feeling of being in a forest that greenish hues bring.
Another approach is to have the sunniest greens in the background, with the nearer greens less bright, as shown in this scene from Shannara. Here the purples are just the merest hint of a rimlight on the left sides of the trees - it doesn't feel as dark and gloomy as the ominous King's Quest 5 example, but isn't as sunny and cheerful as the Quest for Glory 3 examples, either. A nice middle ground, suitable for a deep forest, without being too sinister in tone.
This scene from Gateway 2 still has a bright sky shining through the trees, but here it's a bluish purple. This light source means that the cool greens of the foreground leaves are well matched, in a very cohesive and beautiful colour scheme. The effect is still of a bright light, but less sunny and a little less friendly as well. Particularly interesting is that most of the darker colours are greens - an interesting subversion of the normal trend to make purples the darker colour in a scene.
This area from Indiana Jones and the Fate of Atlantis does the opposite - instead of putting a bright, glaring purple in the distance, we get a rich, deep bluish colour, with a large, shadowy mountain jutting up above us, and the greens are relegated to the grassy areas. This is more a case of the materials informing the colours, but the lack of the yellowish greens in the grass, coupled with the very deep purple sky, give a feeling of a heavy, overcast day.
Sam & Max Hit the Road takes this to a fun extreme, here with a much more pink purple in the sky, and a very angular green feature in the foreground. This works for a VR simulation because the exaggerated colours make sense - It's easy to accept the massive, purple castle on the hill when it's delivered to us as part of a simulation. The greens and purples here make for a very nice complement, colours that might not work so well in a more realistic environment, but feel great here.
Fate of Atlantis also uses very warm purples in places - here the purples are being lit by lava, and so glow red in the planes where the light hits them the strongest, with bluer shades off into the distance. The green highlights really jump out here, and give the device an otherworldly look; the fact that this is an ancient machine running on mysterious energies is really represented well with the unnatural lighting from below and the presence of green lights - not a common feature in nature.
A third variant of this colour idea is evident in Fate of Atlantis, for yet another very different effect. Here the presence of stone walls is made more interesting by being lit by the eerie green lights, an interesting and mysterious change from the grey stone evident in earlier areas of the game. The purples in the shadows offset this nicely, and help some of the more interesting foreground details to stand out, while also making sure the mysterious feel of the lighting scheme is carried through into the shadowed areas.
For this eerie interior in King's Quest 5, a sickly green light does the same thing to an even greater degree, as offset once more by vivid purple shadows. Like the previous scene, the lighting feels unnatural and mysterious, and conveys an ominous atmosphere to the scene. The presence of blue sky through the windows is largely ignored as a light source, helping the green to shine unchallenged.
This shot from The Dig shows another striking example of green and purple used in an interior, but here roles are reversed, with the highlights shown in vivid purple, the shadows in dark, rich greens, and just a hint of warmer green highlights coming through the distant tunnel sections. This is a very unusual lighting arrangement - there's really very few circumstances in nature, or even in modern cities, where this precise colour scheme can be observed, and as such it looks very alien to us - a perfect colour scheme to use for when exploring an alien ruin as we are here.
Green light light can also look very alien when shown to be very vivid. This bizarre green glow coming from the rocky cavern in The Dig is mysterious and unusual, and the purple rocks, offset by very rich blue and purple features, make this entire scene very unusual. I feel this scene is slightly unbalanced - the strong green really has no other greens to offset it - but perhaps an awkward lack of balance in an alien world is something that could be considered a feature, rather than a flaw.
Here we have a shot from Space Quest 5 that shows us very bright green lights, surrounded with metallic greens and purples. The purple ceiling feels cold and metallic - a common look for science fiction corridors, and the green lights help to liven up the scene and break up the large metallic areas. This adds colour, without ruining the feeling of a technological environment, and also helps to balance the warm, green exit to the left of the scene.
This is another great example, with the purple metal corridors broken up again - this time by much more organic, alien greens. The effect is very different, without losing the dynamic of being in a science fiction setting, and the much darker, less saturated greens suit the organic forms much better than the bright, electronic greens of the previous scene.
One final, rather iconic shot here, showing a green chron-o-john hurling through the vortices of time. What sort of backdrop colour complements a green shape, and also best represents the idea of a mysterious channel through time? Dark purple, of course.
Green and purple, then, is an excellent combination, useful for many different situations - especially for magical, or otherworldly applications. Whether describing organic forms, the idea of future technology, or a combination of both, it's a powerful blend of two hues that has a range of applications. It's a very useful colour scheme, and in the right situation, can give a game's scenery a great sense of atmosphere and tone.
Posted by Ben304 at 2:17 PM 7 comments: Links to this post
Labels: Colour
An extremely common element in composition is what artists and photographers often refer to as the 'S-curve'. This is where elements of a scene form a sinuous, winding path through the shot, often going back into the distance, but not always so. An excellent example is the above location from King's Quest V, in which we see a staircase leading up in a winding path to a throne. There's a few reasons this looks so good - the curving s shape is much more natural than a straight set of stairs, it balances the element so it exists either side of the centre line of the background as it travels up, and it adds a sense of distance, making the steps feel further away, because the path is longer - the shortest line between two points is always a straight line, and by curving this line, the path is made longer. This makes for a much grander set of stairs.
A great example of this is this path off into the distance in Quest for Glory 4. Here the path winds many times, making the journey seem long, and also making the path feel precarious. Aside from distance, it also makes the path more visually interesting - a straight path isn't very exciting to look at, and doesn't feel very 'designed'. This feels more elaborate and stylish; it's an interesting feature by itself, despite the fact that it's just a pathway.
Even when we can't see the entire shape, the s-curve is useful, such as in this scene from Shannara. Here we can see just a single curve on the path, but the presence of the manor doorway in the distance suggests to us that the path winds back to the left (even though the door clearly opens onto grass). The detail of the fountain here provides a natural obstacle for the path to curve around, and acts as a nice layer for it to wind behind.
The power of suggestion is evident, again, in this scene from Full Throttle, where the foreground path isn't defined clearly as a curve, but has markers that sit on it to form one. This acts as a natural continuation of the curve that leads back into the distance, and completes the s shape nicely, while also breaking up the elements so that we're not just looking at a single road.
This Discworld 2 shot has an interesting idea, in which the path veers all the way from the centre of the composition until its right edge is cropped by the edge of the viewing area, and then comes back into frame. The foreground barrel also feels like a slight continuation of this curve - it cuts in right on the sweep towards us, and then takes it back to the edge again.
The Dig has a particularly interesting version here, because it's an example of an s curved path that traverses the screen laterally, rather than back into the distance. Here, as with the other examples, it lends a great sense of a dynamic design, as well as a natural feeling. This means that the full height of the scene is used for playability, rather than just one small section, as is common with pathways that run across the scene in adventure games, and makes for a much more interesting scene.
The curving, natural paths we've seen can also be shown to wind around a column as shown in this scene in Dune. Again, this adds depth, interest, variety and an interesting sense of balance to the scene, despite just being a background element. Stairs like this are particularly nice because we get to see both the lit and shadowed side of a pathway, adding in some wonderful value contrast to the element - a common thing to see in adventure game art.
Even more rigid shapes can benefit from this sort of approach - the stairs to the ground in this Beneath a Steel Sky background aren't curved, but still make an angular shape that veers right, then left, similar to the curves we've been looking at. The effect is similar, without ruining the angular, technological feel of the background.
This scene from King's Quest V shows another approach, in which our curved path is balanced by the opposite curve of the tree above it, a nice complement to the shape beneath. When broken down into simple shapes, this curve is no different to the others - it's a dynamic s shape that balances nicely in the composition and adds a beautiful flow to the scene. It means that the scene isn't just a straightforward composition - it'd be simple enough to have a straight tree above a straight path, but this feels both more natural and more varied.
This scene from Sam & Max Hit the Road shows another interesting approach, where the shape of the curved path is continued by the curve of the fence beyond it. In thumbnail the two flow into each other, creating one big s curve that runs through the whole composition. The fact that they share a colour scheme probably helps this - they connect to each other quite naturally.
It's not just pathways that can wind off into the distance, either. This shot from Quest for Glory 4 shows a similar approach with the water and the land - the land juts out in curving sections that forms a nice, winding s curve as it goes off into the distance. Again, this adds a feeling of balance, of interest and of a natural environment. Water doesn't form straight edges often - it follows undulations in the land, as it does here. This is both more realistic and more beautiful.
This Space Quest 5 background is another great use of the s-curve, with various different winding forms in the scene all working together to make a wonderfully alien landscape. Particularly nice is how the curve on the left frames the curving shape in the centre, leaving enough space for us to see it clearly, before then ducking back behind it at the top. This is a cool example of different curves working in unison, complementing each other and accenting each other's forms.
Even the slightest s-curve add to a scene, such as the one in this Simon the Sorcerer 2 scene. It's just the mildest curve down as we follow the shape of the chimney, but it feels much more interesting than a straight drop down would, and gives a greater sense of depth. The black framing helps to accentuate the shape, too, showing us the curve that goes directly from one side of the centre line of the background to the other as it descends.
Even when there's no direct s-curve, the arrangement of elements can 'lead' a path through a scene in an s shape. This scene from Willy Beamish shows this - the closest element is the clock tower in the very far left, which then leads to the grouped mass of buildings to the right of the scene's centre line, which points to a fountain back to the left of the centre. The next prominent object is another grouped mass, back closer towards the centre, and then a lone, but clear, building back to the far right. Even though there's no actual path drawn between these elements, their placements mean they form an s-curved composition going back into the distance.
It's very common to see the s-curve in compositions of all types, and adventure game background art is no exception. It's a powerful device that can assist the artist in adding depth, variety and interest to their scenery. Whether shown by an actual pathway, or just the suggestion of a curving line through placement of elements, they're a fantastic tool to have in one's composition toolbox, and can really help to liven up or balance a scene.
Posted by Ben304 at 8:03 PM 1 comment: Links to this post
A look at graphics: framing an interactive paintin...
Ten gorgeous adventure game scenes from the pixel ...


Last Tuesday we invited all our partaking artists and a bunch of other great people who helped build this amazing new art platform for the past year.
It all started at a poolside where the founder, Jan van Dreumel, came up with the idea to create an art platform that should be easy and accessible for everyone. A platform where people who love art but don't necessarily have the knowledge about art, can head to without the threshold you often experience when entering a physical art gallery.
And so it happened, by now 35 renowned and young talented artists have joined our platform which results in a varied collection of over more than 160 unique artworks. We believe that buying art should be transparent and easy. Partly for this reason, all artworks are sent and can be returned free of charge.
We want to thank all our partaking artists for joining our pre-launch party. And once again a BIG thank you to everyone else who came out to celebrate with us!
Now take a look in our brand new shop and you might just find the artwork of your dreams!


Distance meter hunting. Binocular profissional: Measuring voltage range: Bijia telescops. 0.3m hd cmos sensor (digital 2m). Wholesale doul camera. Angle square broadside. Monocular telescope: 0-999999.9 meter: Massage head the number: Camouflage waterproofMeasuring tools. 34mm filters. K9 glass. For eyepiece. Working voltage: Fixed bracket parameters thickness: : Wholesale fixtures light. Metal and glass lenses. Tester height.
Surface material: Monocular night. Vwinget. Micrometers stage. 100*36*31mm. Apeture: 130 x 190 x 55mm/5.12 x 7.48 x 2.17in. Theory: Instrustar isds220b. Prism type: Dslr monopodes. Cards 10. 3x + 4.5x.
Wholesale ultrasound. High quality glassApprox. 450g. 56m / 1000m. Optical physics. Wholesale loupe diamond1 x 8x folding key chain magnifier. Mileseey laser distance meter 20m. 0.809kg. 11 pieces item/box. 2.5x/5x/16x. N1224-01. House surveillance. Microscope slides specimen. Double convex vr lens. Wholesale measuring  tape. Working distance:Monocular binoculars telescopio.


text:
Q: Extracting elements of a map from Clojure core.logic I am trying to pull data out of a map using Clojure core.logic.  This code does as I want it to:
 (run 10 [q]
   (fresh [?id ?type ?name]
      (membero ?type [:t2 :t1])
      (== q [?id ?name])
      (membero {:id ?id :type ?type :name ?name}
           [
           {:id 1 :type :t1 :name "one"}
           {:id 2 :type :t2 :name "two"}
           ])))
=> ([2 "two"] [1 "one"])

However if I add some other elements to the map then it fails to match:
(run 10 [q]
   (fresh [?id ?type ?name]
      (membero ?type [:t2 :t1])
      (== q [?id ?name])
      (membero {:id ?id :type ?type :name ?name}
           [
           {:id 1 :type :t1 :name "one" :other1 :o1}
           {:id 2 :type :t2 :name "two" :other2 :o2}
           ])))

I understand why matcho is not working as the maps no longer the same.  My quesiton is, how can I change this so that it works again?  How do I get it to match on only some of the keys in a map or how can I get it to match whatever random keys a map may have?
EDIT:
I got it to work using patial-map (thanks to https://github.com/clojure/core.logic/pull/10)
(run 10 [q]
   (fresh [?id ?type ?name]
          (membero ?type [:t2 :t1])
          (== q [?id ?name])
          (membero (partial-map {:id ?id :type ?type :name ?name} )
                   [
                    {:id 1 :type :t1 :name "one" :other1 :o2}
                    {:id 2 :type :t2 :name "two" :other2 :o1}
                    ])))

However I found a note that featurec should be used instead of partial-map.  My new question: How to change this to use featurec?

A: Answering my own question:
Here is the working code:
(run 10 [q]
   (fresh [?id ?type ?name ?pm]
          (membero ?type [:t2 :t1])
          (== q [?id ?name])
          (featurec ?pm  {:id ?id :type ?type :name ?name} )
          (membero ?pm
                   [
                    {:id 1 :type :t1 :name "one" :other1 :o2}
                    {:id 2 :type :t2 :name "two" :other2 :o1 :another :ao2}
                    {:id 3 :type :t3 :name "three" :other2 :o1 :another :ao1}
                    ]))))

This code allows me to extract values from a map but only paying attention to the keys that are really important.  The rest of the key value pairs are ignored.


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text:
Q: Why does this example of Hardy-Weinberg equilibrium not work? Background Info
Hardy-Weinberg equilibrium is a mathematical model of the frequencies of alleles (i.e., versions of a gene) in a population.  The model states that the frequency of the 2 alleles in a population are described by:
$p + q = 1$
where $p$ = the frequency of one allele in the population , and $q$ = the frequency of the other allele in the population.
Since individual organisms each have any combination of 2 alleles, the frequency of individuals with the different combinations of the alleles are described as:
$p^2 + 2pq + q^2 = 1$
where $p^2$ and $q^2$ = the frequencies of individuals with two copies of the same allele and $2pq$ is the frequency of individuals with one copy of each allele.
Question
If I begin with a hypothetical population where $p^2 = 0.49$, $2pq = 0.42$ and $q^2 = 0.09$ I can calculate $p$ as $\sqrt{0.49} = 0.7$ and $q = 1- 0.7 =0.3$.  I can then use these $p$ and $q$ values to calculate the original population values (e.g., $q^2 = 0.3^2 = 0.09$).
However if I begin with a hypothetical population where $p^2 = 0.21$, $2pq = 0.66$ and $q^2 = 0.13$ (which satisfies the second equation above) I calculate $p = \sqrt{0.21} = 0.45$ and $q = 1 - 0.46 = 0.54$.  These frequencies do not allow me to recalculate the original population frequencies as $0.54^2 = 0.29$ not $0.13$.
Is there a general explanation for why these calculations only work under certain circumstances?

A: Hardy-Weinberg equilibrium is reached after one generation.
In your second example, the initial population is not at equilibrium.
To wit, $4\times0.21\times0.13\ne0.66^2$ hence there exists no parameters $(p,q)$ such that $p^2 = 0.21$, $2pq = 0.66$ and $q^2 = 0.13$. The proportions $(0.21,0.66,0.13)$ describe a population where the Hardy-Weinberg proportions of the alleles A and a are $0.21+\frac120.66=0.54$ and $0.13+\frac120.66=0.46$ respectively. After one generation, and forever after, the alleles AA, Aa and aa are present in proportions $0.54^2\approx0.29$, $2\times0.54\times0.46\approx0.50$ and $0.46^2\approx0.21$ respectively.


I can barely contain the rage I have felt because of these recent remarks.
This simply goes to show that today's white leaders (or at least leading white male Republicans) seem to have never learned anything true about the Civil War. And why would they have? They grew up in segregated schools, in societies where white supremacy was the celebrated norm! Apparently, these norms haven't changed!
Miss. woman gets shot in head, but makes tea.
I'm not sure what this says about Mississippians. Either we're superheros, or we don't need too much of our brains to function normally.
It could be both, since Superman always seemed a bit more brawn than brains to me. Batman was the one with the smarts.
And besides all this, I'm about sick of people killing folks. Stop it.