This is a great idea ironically using Kelo v New London. One question is how would an eminent domain argument prevail over an 'obligation of contracts' challenge? Secondly, I would expect cash-strapped municipalities would not have the cash to purchase mortgages or pay extra legal expenses for the court proceedings. Could they issue bonds in advance with the resulting raised funds dedicated for the purchases and fees?
I understand the potential legal argument (though I have no doubt that the premise will be tested). However, there are a number of assumptions that leave the world of legal theory and extend into economics and risk/reward - as well as how the participants will respond to this situation. For instance, consumers routinely maintain debts that are above the fair market value of the goods they own. The only cost to defaulting on those debts (say, a bedroom set), is damage to their credit. Credit has a real, measurable market value that means someone who is slightly underwater will live with their situation and make payments.
Additionally, this scheme creates a strange set of incentives. The broader argument would say that individual losses on investments such as housing should be spread out across the "system," causing everyone to pay a little more for our credit risk in the future because we're also paying for the risk that assets may decrease in value. Meanwhile, the benefits of rising asset value belong to the individual who owns the asset.
Based on this model, individuals should strive to have as little equity in their homes as possible because any equity is immediately lost - in the case of a downturn while any debt is eligible to be forgiven.


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-> The novelties of version X
-> The novelties of version 9.5
The novelties of m.objects version X-2022
Intelligent media insertion and deletion
m.objects X-2022 offers considerable simplifications in the creative design of your shows. If you want to add new media to an existing show or delete media from an image sequence, m.objects X-2022 now makes your work much easier. To do this, you drag one or more images, videos or texts to the desired insertion point in the timeline, and m.objects creates the necessary space to place this media there and to align the timing with the media already there. This allows additional content to be seamlessly added simply by dragging and dropping without having to manually create the required free space. m.objects automatically adapts the fade-in and fade-out duration to the existing sequence, and if a changed track assignment of the following media is necessary, as many as necessary are rearranged. It doesn't matter whether you drag content from the lightbox or Explorer into the timeline, copy and paste it from the clipboard, or use macros you have created yourself.
You can also mark and delete images, videos and text on the timeline, and m.objects will automatically close the resulting gap. If necessary, m.objects moves subsequent objects to adjacent tracks.
Of course you can work completely manually as usual. So the automatic insertion will only be active if you drag content exactly on an image transition. In addition, intelligent insertion and deletion can be switched on and off in the program settings or temporarily suppressed by pressing the shift key.
Track assignment of newly inserted media
A simplified assignment of media newly imported into the timeline now ensures an alternating distribution on 2 tracks. This means that m.objects, for example, no longer inserts new images on all available image tracks, but specifically on two adjacent image tracks. This also eliminates the need to mute individual tracks, for example for texts and titles. If required, this new function can also be deactivated in the program settings or switched on a case-by-case basis by pressing the Alt key.
Stabilization of videos
from m.objects live
In many shooting situations, filming from a tripod is not possible or useful. Subsequent stabilization of the video by the software can do a good job here, and that's exactly what the new m.objects version X-2022 offers you. With this new video stabilization, you can eliminate shaking effects that occurred during recording extremely efficiently. And as usual with m.objects, you always have the opportunity to intervene individually. That means you determine the intensity with which your videos are stabilized. In many cases, hands-free video recordings are intended to convey an action character, so that a certain restlessness in the picture is quite intentional. Then apply the stabilization more subtly to compensate for heavy stuttering without changing the actual character of the video. In other cases, you use this function more intensively.
The smoothing of the movements can be set in the form of a time window between 0.2 and 10 seconds. In addition, the content can optionally be rotated to compensate for accidental tilting of the camera. With a – also optional – dynamic zoom, the necessary zoom in the video is slowly reduced where the recording is less blurred.
If the option Decide export settings for each clip automatically is selected, the result of the stabilization will be encoded and written with parameters such as (codec, bitrate, etc.) that are identical to the source video. If the option is deactivated, the form known from the H.264/H.265 video export appears, which allows certain changes such as container type, compression and bit rate, and all selected video clips are written with these settings.
Important for the new video stabilization: If a video is cut on the m.objects timeline, m.objects only stabilizes the part of the video used on the timeline. The video is also trimmed to the required length, a function that m.objects carries out without re-rendering the video and thus without any loss of quality. You can also deselect this option if required, so that m.objects then stabilizes the entire video file, regardless of whether it has already been cut on the timeline.
Of course, m.objects also works non-destructively in this function, so the original videos remain untouched.
Real-time post-processing
Another important innovation of the m.objects version X-2022 can be found in the post-processing of the canvas settings. All functions from the Dynamics tool for image and video processing are now available to you here. This means that you can make settings and changes to brightness, contrast, gamma value, saturation, Hue and Sharpening globally for the entire presentation.
There is also a global adjustment of the white balance or the tone, which can be particularly helpful for compensating for a color cast – for example when using a projector whose color display you want to correct. This can be done with just a few mouse clicks and – unlike before – without any recalculation of content, so that the display can be adapted to unfavorable ambient light conditions at lightning speed or the color display can be corrected on site immediately before the start of the presentation.
You can also select a Lookup Table (LUT) here in order to set up a specific color look for the presentation. This type of color grading has been mastered by m.objects for several versions. With the new option in the canvas settings, a LUT can now be set for the entire presentation and at the same time combined with correction LUTs in the settings of individual videos.
All settings made here can also be saved and reloaded when needed, whether in another presentation to which you want to apply the same changes, or because you regularly use certain output devices whose color settings you want to correct.
New and improved editing features
m.objects X-2022 also offers decisive innovations when it comes to video editing: You simply position the locator at the point in a video where you want to cut it and then carry out the video editing using a key combination. If the video is dubbed, i.e. the soundtrack is on a separate audio track, the audio is also cut at this point and optionally grouped with the respective video handles.
As a reminder: With the quick preview while holding down the Shift key, m.objects offers an exceptionally practical function for locating exactly the desired frame of a video. Alternatively, you can navigate through the video frame by frame using the arrow keys (cursor keys). Thanks to the new key combination, the cut is now even faster and completely precise, even without stretching the timeline.
But that's not all. As before, you can cut out a passage of the video with two cuts, for example to delete a slip of the tongue or less important video content. The gap that occurs after deleting is now automatically closed, both in the video track and, if the video has just been dubbed, in the soundtrack.
This innovation makes video editing much more convenient and also facilitates the exact editing of videos. And as with inserting and deleting media, the same applies here: the previous way of working with video and audio editing via the context menu and manual closing of the gaps is still possible, so that you can also proceed with the video editing as before if necessary.
Timing adjustment wizard with expert mode
The expand/compress or unify timing wizard allows you to adjust the timing in your production, for example for a specific sequence of images. It also ensures that subsequent areas are automatically adjusted to the changed timing. In certain cases, however, it can make sense to carry out scaling without shifting the subsequent areas. For this purpose, the wizard with version X-2022 now has an expert mode in which you can specifically switch off the adjustment of the subsequent objects. In this mode, the combined treatment of the selected images as an image sequence can be switched off, so that each object retains its starting position and is modified separately. A targeted influencing of only the fade-in or fade-out time can then also be preselected.
Quick selection of objects of the same type
As you work on a multivision, you tend to try different values and settings in objects and dynamics tools. In animations in particular, it is often necessary to only select objects of a certain type in the timeline. Therefore, m.objects now offers the new option of not only selecting specific areas on the timeline, but also specific types of objects.
An example of this: If you do a left/right click in the timeline, you select all objects that are to the right of the mouse pointer. In the new version X-2022, if you instead perform such a left/right click on a zoom object while holding down the alt key, m.objects will only select zoom objects that are to the right of the mouse pointer. Of course, this works for all types of objects and also with the selection via the context menu or when selecting an area with the lasso.
Configurable whereabouts of deleted media
Until now, m.objects always put images, videos, texts and audio clips back in the light desk or in the audio pool if you deleted them from the timeline. In the new Timeline Editor and Pool tab in the program settings, you can now optionally deactivate these options – separately for the individual media types.
Image blending for imported objects can be set in advance
In the *Default macro – with active image tracks at the top of the tool window – you can now preselect the type of image blending for images and videos. For images, m.objects uses additive image blending as the standard. For certain image compositions on the timeline, it can make sense to change them to overlapping. For videos, on the other hand, overlapping image blending is used as the standard. Here, too, it can make sense to switch the image mix to additive for creative effects or to simplify crossfades between several videos. Of course, you can switch back to this mode at any time as usual.
Important: The settings made here relate exclusively to media that you then insert into the image tracks. Existing media are not affected.
New status display during video import
The first import of video files now takes place in two stages: In the first step, m.objects signals the analysis of the new videos. Only after the analysis has been completed is the content placed with a mouse click in the second step, i.e. only when m.objects has the exact information about the effective playing time of the video clips.
Internal optimizations and improvements
Over 120 other improvements, optimizations and bug fixes have been incorporated into the development of m.objects X-2022 to further optimize performance, stability and the user experience when working with the program.
-> The novelties of version X-2022
The novelties of m.objects version X
m.objects X for Windows and macOS
m.objects X is the first version of the software that can be used both under Windows and directly under macOS. In the previous versions, the installation of an additional partition with Bootcamp or the installation of a virtual machine was required for use on Apple computers. With m.objects X, this detour has become superfluous. This means that production and presentation in the usual m.objects quality is now possible directly on both systems.
X stands for 'cross platform'. On the one hand, this means that m.objects productions are fully compatible between Windows and Apple computers. You can edit an m.objects show that you created on a Windows computer without any conversion on a Mac and vice versa. On the other hand, every current m.objects license is suitable for use under both Windows and macOS. So you don't need a special license for either platform. In addition, future developments of the software will be carried out simultaneously for Windows and macOS.
Activation of m.objects X
Up to version 9.5, the m.objects licenses live, creative and ultimate as well as m.objects pro were always activated with a USB dongle. When starting the program, it must be connected to the computer. With m.objects X there is now a new, additional form of activation for all licenses using an activation code, i.e. without a dongle. With such an activation code, activation is possible on up to two computers. Please note the differences between activation under macOS and Windows described below. basic licenses are activated without a dongle like before m.objects X, so they are not affected by these differences.
Activation on macOS with activation code
For use under macOS, m.objects licenses are always activated with an activation code. So if you want to use an existing m.objects license (live, creative, ultimate or pro) under macOS or under Windows and macOS, you exchange the existing dongle for an activation code.
Activation on Windows with dongle or activation code
If you only use m.objects under Windows, you have the choice of activating your license with a dongle or with an activation code instead. If you would like to continue using an existing dongle, the type of activation will not change. Otherwise, there is also the option here of exchanging the existing dongle for an activation code.
New licensing options
In addition to the proven model of permanent licenses, it is now also possible to rent an m.objects license for a limited period of time. This can be particularly interesting if m.objects is to be used for a specific project or a customer order. You have the choice between different rental periods. You can choose between one, three and six month rental periods. If desired, such a rental license can then be converted into a permanent m.objects license. A subscription model – as known from other photo applications – is not planned for m.objects.
New function in the object reflection
Photo: WIMPRO, Cyriakus Wimmer
The well-known dynamic object Reflection offers you interesting possibilities for creative effects. New in Version X is a gradient function that you can use to fade the mirrored representation of an object into transparency. The reflection becomes weaker and weaker towards the outside, i.e. with increasing distance to the reflected object. This allows even more realistic effects to be achieved than before. The effect of the gradient can be individually adjusted. To activate the function, check the Transparency gradient option in the properties window of the reflection object. To the right you can set the extent of the gradient: the higher this value, the larger the visible area of the reflection, and the less effective the gradient will be.
Display of the frame rate in the status bar
At the bottom of the m.objects workspace you will find the status bar. If the status bar is not visible, activate it via the View menu. As soon as m.objects is in pause or play mode, you will see the new display refresh rate in fps (frames per second) on the right-hand side. This allows you to check whether your system is playing a show at the desired constant frame rate. Up to now, this display was only possible directly on the screen itself and thereby generated a certain system load. The new form of this status display, on the other hand, does not load the system during playback.
Navigation with the arrow keys
The arrow keys [→] and [←] on the keyboard can also be used in connection with the [Ctrl] key under Windows or [cmd] under macOS in editing mode (stop mode) to jump to the next or previous image.
Paste macros and clipboard content
When you paste macros or previously copied content from the clipboard into a show, the track-related hierarchy of objects is now preserved. For example, if you insert a macro that contains images on several tracks with overlapping content, its function and thus its visual effect are retained in any case. Of course, this arrangement can be changed individually later.
Moving objects horizontally
If you move several objects horizontally on the tracks at the same time while holding down the [Shift] key, the track-related hierarchy of the objects among themselves is retained. In this way you avoid an unwanted vertical shifting of the objects between the tracks.
The novelties of m.objects version 9.5
Create individual window layouts and call them up at any time
With the new m.objects version you save your individually set up window layouts of the m.objects user interface and access these personal settings at any time: when creating a new show or when working with existing presentations. Just two mouseclicks and you have the desired window design in front of you.
In this way, you set up the work surface specifically according to your way of working and can also create different layouts for different purposes. Whether the toolbar is above the image and audio tracks or whether it is arranged vertically next to the tracks, whether the Tools window, which now also offers new options for displaying the tools, is arranged to the right or left, horizontally or vertically – you make the decision. For example, you can set up one layout specifically for presentation and additional ones for video or audio processing and call them up as required.
Automatically show and hide dockable windows
In this context, the new option to have all dockable windows such as Tools window, Image Pool, Speaker Preview, Digital Audio – to name just a few – automatically shown or hidden in the editing and presentation mode is from particular importance. You decide whether a window is always shown, only while the show is being edited or only when it is being played back.
This allows you to set up the window layout of your m.objects user interface in a way so that, for example, the Tools window is visible during Stop mode in which you are editing your presentation. However, as soon as you switch to Pause or Playback mode, the Tools window is hidden and the Speaker Preview, Comments window or any other window is displayed in the according place. This saves space and makes the interface even clearer, but above all, you always have exactly those controls and windows in front of you that you need in the respective situation. These properties can of course also be saved in the individual window layout.
New functions in the Tools window
The Tools window is even more diverse and flexible in the new version 9.5: You can choose between the two display options "show as Tree" and "show as List". The tree structure that was introduced with the previous version of the program shows the m.objects tools sorted according to their functions in sub-categories that can be opened or closed for a compact view.
In response to popular requests, we have also reactivated the well-known list form and made it even more convenient. This also enables the Tools window to be displayed in columns. You can specify the width of the columns individually.
For quick access to frequently used tools, you also have the option of setting up favorites in both display forms. These then appear at the top of the tree structure or at the beginning of the list and can be used more quickly.
Speaker Preview redefined
An important tool for the presentation is the Speaker Preview, which shows the current and the subsequent image of the presentation on the programs work surface, invisible to the audience. But thats not all that the Speaker Preview has to offer with the new update. The new Speaker Preview goes far beyond that and offers you even more display options: The new option to display the live image, which can also be seen on the screen here, is particularly interesting. This way you have the exact presentation image in view without having to turn away from the audience. Optionally, you can also combine the live image with the subsequent image on the timeline in order to have the further course of the presentation in front of you as well.
Here, also, the new m.objects version offers another important innovation: You decide for yourself whether an image, text or graphic appears in the Speaker Preview. By default, each object is initially selected for this display, but you can exclude individual or multiple objects with a mouseclick. This can be particularly useful for texts and titles, as these are usually placed in front of a background image. This also applies to more complex picture-in-picture constellations, in which the display of one of the pictures in the Speaker Preview is completely sufficient and provides a better overview here.
Inserting comments made easy
Prompter texts, also called comments in m.objects, are shown – like the Speaker Preview – exclusively in the program interface and are therefore not visible to the audience. For example, you can show historically relevant data on the lecture as a reminder or important information for your lecture.
The new m.objects version makes handling the prompter texts a lot easier. If, for example, you have opened a Comments window, you only need to click in this window at the relevant point in your presentation, and m.objects inserts a new Comment object and – if it does not already exist – even a Comments track. So all you have to do is write your comment. This enables intuitive work and saves many mouse clicks for setting up the component.
And the Comments window itself has become much more comfortable in version 9.5 as well: You can now either scale the displayed size of the text with a freely selectable percentage value or choose automatic scaling. In the second case, m.objects automatically scales the text depending on the size of the Comments window. This way you can ensure optimal readability of your comments at any time.
Other helpful innovations for the live presentation
The new m.objects version contains a few other innovations, which support live presentations crucially and give you even more security during the presentation. If the locator stops at a Wait Marker, all the time windows on the user interface indicate this by flashing. This means, once again, that you don't have to take your eyes off the audience, a glance at the m.objects interface is sufficient. This also applies to Ducking, with which you can lower the volume for a spontaneous comment by pressing a button on the remote control: The Digital Audio status window now shows a noticeable pattern to indicate active Ducking. So if you are ever uncertain whether Ducking is still switched on: A look at the program interface will clarify.
In addition, in the new m.objects version you can also define specific points on the timeline at which a potential volume reduction due to Ducking is always reset. So if you should forget to turn up the volume again after a spontaneous comment, m.objects will do it for you at the desired point. All you have to do is insert a Time Marker into the time ruler, the corresponding option can be found in its properties.
You can now also reset the Presentation Time with a Time Marker. This is particularly useful if you loop an opening for a while before the start of the actual presentation. The main lecture starts after the opening loop, so this should also be the starting point for the Presentation Time.
Extended possibilities of the presentation files (EXE Files)
Exporting a presentation as an EXE file gives you the option of outputting your presentation without m.objects being installed – for example on a third-party PC – in absolutely the same quality as from the timeline. EXE files are therefore the preferred insurance against technical problems on their own computer by many speakers. EXE files are also often used in competitions, which is why m.objects has supported this option for a long time.
Version 9.5 extends the presentation files by two important functions: On the one hand, asynchronous audio is now also supported – in the same way as you are used to from the presentation in the program. The use of asynchronous audio in EXE files is now possible both with Wait Markers, where the asynchronous audio runs in a loop if necessary, and for jumps with Index/Jump Markers. On the other hand, Ducking in EXE files is also supported with the new version. Presentation files now offer even more flexibility than before.
Title generator 2.0
The m.objects-internal title generator in version 9.5 shines with crucial new functions and application possibilities, so that you can let your creativity run free when designing texts.
While texts were previously limited to a certain design in terms of formatting, the new Titeleditor allows any text passages to be formatted completely unattached: You can now select the Font Family, Color and Style for individual words, across words and even for individual letters and combine them as you wish. The option "Justified" for the Alignment of texts is also new. To insert different formats and text colors, simply mark the desired text part and select the appropriate option or color. This results in completely new design options with the Titeleditor of m.objects version 9.5.
But that's not all. The new m.objects version makes it a simple matter to create texts of any length and number of lines in a predefinable format and – where required – in exactly the same size. With the new option Define Line Height you can give your texts a freely selectable font size. This has the critical advantage that the texts always retain their font size even if the number of lines changes. You can also transfer the selected line height to other texts so that, for example, in an animated title credits, each individual text block appears in the same size.
Positioning the text is also made very easy with Version 9.5. The Titeleditor now gives you the option of setting texts left- or right-aligned either in relation to the individual lines or to the surrounding Image Area. If necessary, m.objects also automatically inserts a Zoom object that ensures the fitting alignment. With the Image Area, you can then place the text anywhere on the Screen. If there are already Zoom objects in the light curve of the text, these will be adjusted accordingly.
Working with text in m.objects is much easier and more diverse with the new version. It is important to note that texts, as usual, are treated in the same way as images, so they can be freely adjusted and animated with all m.objects tools.
Further novelties in version 9.5
In addition to the new features described, m.objects v9.5 offers numerous other additions and optimizations. This includes, for example, the creation of the video preview. m.objects now uses hardware acceleration for suitable graphics hardware, which significantly speeds up the process. In addition, the video preview is created in the background, so that you can continue working on your presentation during this process.
Novelties on the timeline and in the Tools window
The first thing that catches the eye in m.objects v9.0 is the new coloring of the light curves. Depending on the mode of Image Blending, these now appear in a dark yellowish (additive), greenish (overlapping) or gray (Mask) hue that reveals at a glance how an assembly or a cross-fade is structured. This way you can see immediately which mode of Image Blending is used at the respective point. The color coding is based on the conversant color representation in the bar below the light curve.
Video clips on the timeline can now be set so that only the first and last frame of the respective visible section are shown in the light curve. In this mode, also, the frame at the exact position of the cursor can be displayed without delay by holding down the Shift key.
You will also notice changes in the Tools window in the new m.objects version. This central constituent of the software now offers a clear hierarchical structure of the tools available for the respective component. Macros, Dynamic Objects and Media Files are now listed under separate branches within one tree structure, which you can open and close individually. In addition, we have also added Blending Effects and Sound Processing to the Tools window, which can thus be drawn directly onto the light curves or audio tracks. The path via forms and context menus is therefore no longer necessary. When pulling the tools, the respective symbol is also always recognizable on the cursor.
These innovations make working with the Tools window much more convenient. A tip in this context: The new tree structure can be used particularly efficiently if you dock the Tools window to the left of the tracks in the work surface.
In all licenses starting from basic, m.objects v9.0 supports the use of so-called lookup tables, or LUTs for short, which change the color effects of videos and pictures in a variety of ways. Lookup tables have been used in post-productions of movies for many years. This technique will already be known to videographers, but in the new version of m.objects it is not limited to use on video sequences, but can also be used for still images. For countless effects, free creative LUTs are available on the Internet, which can be easily used in m.objects and from m.objects live their effects can even be modified.
Color grading, i.e. color processing with LUTs, provides a high degree of creative and artistic possibilities for post-processing your multivisions, because colors can create specific moods and specifically enhance the emotional effects of images. In addition, m.objects v9.0 also supports the use of correction LUTs, which are used for professional film cameras.
The lookup tables are applied in the Dynamic object for Image-Processing (available from m.objects live) or alternatively in the editing window for videos or pictures. Creative LUTs can also be applied to complete presentations with just a few mouseclicks. This creates an individual look that supports the expressiveness and effect of your pictures and videos.
White Balance in Image-Processing
Another novelty is the White Balance in Image-Processing, which is very easy to use: You activate the new Picker function in the Image-Processing tool and click on a point in the picture or video, that is intended to be neutral – gray or white – in color. This color is corrected accordingly, with all other colors also being adjusted. Since the m.objects Image-Processing tool is a Dynamic object, you can also change the White Balance dynamically. This can be particularly useful for videos with repositioned White Balance by the camera, in order to adapt the White Balance to the respective scene.
Video export in standard H.265 and extremely fast with hardware acceleration
With v9.0, m.objects now also extends the video export with the current codec H.265 (also known as HEVC). To match this, there are new Presets in the Export settings especially for 4K output devices.
m.objects now uses hardware encoding for all video exports in the formats H.264 and H.265, which accelerates the computing process many times over with a suitable graphics card. The export of an m.objects show as a video – also in high resolution – is much faster than before, depending on the graphics card up to ten times faster.
There are also important innovations for users of stereoscopy: 3D presentations can now also be exported in the formats H.264 and H.265 as well as in an image sequence.
Video trimming: frame-accurate and without any loss of quality
In most cases, videos are cut to a specific section using the established m.objects functions. Version 9.0 now offers the new option to trim the videos, i.e. to save them as a new file that only has the length actually required plus a selectable cutting reserve for later editing. This saves a significant amount of storage space.
The crucial point here: The trimming is executed without further compression – i.e. without any loss of quality compared to the original and therefore also incredibly fast. Optionally, the video files on the timeline are exchanged immediately for the trimmed version – frame-accurate, of course. This procedure works with almost any encoded video files.
The new screenshot function
By popular request, it is now possible to save the current output image of the m.objects Screen in a selectable resolution simply by pressing the [Print] key. In the course of one whole multivision, many insightful image compositions are created, which you can capture as a separate picture, be it for high-quality printing, your homepage or the thumbnail of a YouTube video.
Exporting selected objects and sequences as videos
Similar to how you can save individual samples and excerpts in the audio tracks as a separate audio file, m.objects v9.0 can now also be used to save individual objects or arrangements on the image tracks as a video. The export is ensued in mp4 format and can be set in detail as with the video export of an entire presentation or with a pre-selected Preset.
The new function is particularly well suited, for example, for converting complex animations, time-lapse or extremely high-resolution video material into a new, separate file that affects the performance of the computer to a lesser extent. The corresponding part of the show can simply be replaced by the newly created video.
Using the arrow keys to navigate on the timeline
The arrow keys (right / left) of the keyboard can be used for navigation on the m.objects timeline in m.objects v9.0. In video sequences you navigate back and forth frame by frame, outside of video sequences the locator moves 20 ms to the right or left. If you keep the [Ctrl] key pressed, the current selection is moved to the subsequent or preceding object of the same track – as usual.
Adjusting objects when the speed changes
The Speed object allows you to modify the speed of videos and audio samples. However, this also means that the respective video or sample requires a longer or shorter Projection time than before, which had to be adjusted manually thus far. With the new version, m.objects optionally carries out this step automatically.
Exporting comments as a text file
Users that work with the Comments feature can now also export the comments from a show as a text file. This can be helpful to create a script and print it out, for example.
Optionally hidden Jurying Mode
In the form for the Jurying Mode, you can now choose whether the ratings of the individual judges during the evaluation run are shown on the Screen openly or are carried out hidden. If the ratings are hidden, the symbols displayed for each judge only reveal whether the rating has already been submitted. This is indicated by the gray question mark symbol switching its color to green.
Dynamics Processor
The Dynamics Processor makes it possible to compensate for deviations in loudness (i.e. the perceived volume). Many producers of multivision know the problem that music pieces, spoken texts and original sounds are perceived as divergently loud. Complex and time-consuming correction work is usually the result. The new Dynamics Processor provides a very effective remedy here by reducing significant deviations between quiet and loud passages, but without leveling out short-term developments in dynamics. The specific characteristics of particularly sophisticated music are retained, however, texts spoken divergently loudly or pieces of music from different sources that differ significantly in dynamics are effectively coordinated.
The new Dynamics Processor works as a global tool, thus affecting all audio samples in a production. It is available in all expansion stages. From m.objects live there is also the possibility to apply the Dynamics Processor individually to particular samples in the Sound Effects options (see below).
New Sound Effects
With new sound effects, m.objects v8.1 extends the creative applications of the recently re-arranged Audio Service. The sound effects can be configured individually for each audio sample.
Change Stereo-Mix
With this option, the left and right audio output can be swapped (swap L/R) or both channels can be output simultaneously as mono sound (L+R to Mono). In addition, it is also possible to output the single audio signal from the left or right channel on both outputs (L to Mono or R to Mono). This option is used, for example, if a recording could only be made by one channel due to a technical problem or if one of the two channels contains interference.
With the very flexibly adjustable Equalizer, heights, mids and lows of the audio samples can be configured individually. This way, dull-sounding recordings are given more brilliance while droning basses or disturbing, dominant mids in the music are attenuated. The adjustments are made in a diagram using handles. If required, any number of additional handles can be added to the existing ones to make differentiated changes.
With the Reverb effect, audio samples are subsequently given an acoustic environment. This is useful, for example, for comments or mono recordings in order to give them a spatial character.
As an individual sound effect, the new Dynamics Processor can also be applied to particular audio samples. This way, the settings of the global Dynamics Processor can be overwritten at specific points with individual values or deactivated entirely.
Animation of travel routes and cut-out shapes
An animated travel route gives the audience an effective impression of the course of a trip. Therefore, this stylistic device is often used in Multivisions. Whereas complex constructions with masks were previously required to create an animated travel route, m.objects now offers tools for an equally simple as effective implementation with the new QuickBlending effects Flood fill and Flood wave. The two new effects reproduce the cut-out lines accurately. With a single mouseclick, the user determines the starting point of the animation, the rest is done automatically by the program. It is completely irrelevant for this function how differentiated the course of the travel route is. The defining parameters can of course also be set individually here, and the speed of the animation is simply regulated by the duration of the fade-in or fade-out of the image. The Flood fill option draws a line from the starting point to the end, while the Flood wave option displays only a section of the line at a time that moves from the starting point to the end point.
With these two new QuickBlending tools not only travel routes can be traced, but also other optional shapes, so that there are plenty of creative design options.
Ducking indicator for live presentations
For spontaneous comments during an ongoing presentation, manual ducking offers the option of lowering the volume at the touch of a button on a remote control or the keyboard and then increasing it back to the normal level in the same way. In order to give the speaker an overview of the current state of ducking, m.objects offers a new indicator that can be activated in the Screen Options. While the ducking function is activated, an unobtrusive arrow symbol will become visible in a freely selectable corner of the Screen with an adjustable intensity.
Optimized video handling on the timeline
In order to show the exact end of the content – especially in the light curve of a video – m.objects inserts a vertical red line at the relevant point if desired. This new function can be used, for example, if the timing of the video is changed by working with dynamic slow-motion or time-lapse effects. In order to prevent the last video frame from freezing, the length of the light curve may need to be adjusted, which is easy to implement with the new earmark.
Naming tracks individually
Individual tracks on the m.objects timeline can now be given freely selectable names. A better overview can be achieved if tracks that are used specifically for masks, backgrounds, texts or original sounds are given corresponding names. Tracks for light control (DMX) also benefit from this. When the cursor is moved over the tracks with the Shift key pressed, the assigned name appears next to it.
Quick overview of object properties
The most important parameters of individual objects on the timeline can now be displayed directly without having to open the respective properties window. To do this, simply move the mouse pointer over the corresponding object while holding down the Shift key, whereupon the adjustable values are shown next to the cursor. For a Zoom object, for example, the Zoom Factor/Level and the position of the Zoom Center are displayed.
Purchase new m.objects license
Purchase update/upgrade

redpajama_set_name: RedPajamaCommonCrawl


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University of Maryland Breaks Ground on E.A. Fernandez IDEA Factory
Jessica Jennings, 301-405-4618
COLLEGE PARK, Md. - University of Maryland, state and local leaders gathered with donors and supporters yesterday to celebrate the groundbreaking of the E.A. Fernandez IDEA Factory. The latest addition to UMD's innovation ecosystem, the IDEA Factory will incorporate open design to enable collaboration between diverse areas of engineering, business and science. Experts in robotics, quantum technology, rotorcraft and transportation will work alongside entrepreneurial students, faculty and partners to inspire creative thinking, new products and research breakthroughs.
"The road from idea to invention is filled with bumps, and this new building will pave the way for our innovators," said University of Maryland President Wallace D. Loh. "We will build it solely with funds from private donors. They are demonstrating the power of philanthropy to transform our research and education."
"We have to combine our engineering specialties so that our knowledge evolves into products and services that help humanity," said Emilio Fernandez '69 (electrical engineering), an entrepreneur and inventor whose vision for a space that "allows the mind to expand" inspired the IDEA Factory's open, collaborative design.
The IDEA Factory will bring together students, faculty and staff from various majors and fields to conceive ideas, create designs, build prototypes, develop business plans and bring products to the market to spur economic development in the region, state and nation.
"The IDEA Factory will be like no other building on campus," said Darryll J. Pines, Dean and Farvardin Professor of the A. James Clark School of Engineering. "It is a truly unique space where student design teams, faculty researchers, venture creators and industry experts will work side-by-side to meet the challenges of the 21st century by creating disruptive engineering breakthroughs."
The 60,000-square-foot facility will be connected to the Jeong H. Kim Engineering Building. With five floors, the IDEA Factory will include open workspaces for students, dedicated areas for student competition teams and a new home for UMD's student-run incubator, Startup Shell.
It will house the Alfred Gessow Rotorcraft Center, Robotics Realization Laboratory, Quantum Technology Center and the Maryland Transportation Institute.
The $50 million project is fully made possible by private philanthropy supporting Fearless Ideas: The Campaign for Maryland, UMD's $1.5 billion fundraising campaign, and is expected to open in 2021.
About the University of Maryland
The University of Maryland, College Park is the state's flagship university and one of the nation's preeminent public research universities. A global leader in research, entrepreneurship and innovation, the university is home to more than 40,000 students, 10,000 faculty and staff, and 280 academic programs. As one of the nation's top producers of Fulbright scholars, its faculty includes two Nobel laureates, three Pulitzer Prize winners and 57 members of the national academies. The institution has a $1.9 billion operating budget and secures $514 million annually in external research funding. For more information about the University of Maryland, College Park, visit www.umd.edu.


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Top 10 green building products for 2014
BuildingGreen, Inc., publisher of GreenSpec and Environmental Building News (EBN) today announced this year's winners of its annual Top-10 awards. The winners were featured over a live BuildingGreen webcast and will be presented at the U.S. Green Building Council's Greenbuild convention in Philadelphia on Thursday, November 21.
Now in its twelfth year, the Top-10 awards go to the most innovative green building products handpicked by BuildingGreen editors from among the hundreds of new and innovative products reviewed over the previous twelve months.
"The products we're recognizing this year are remarkable in their diversity and innovation," said Alex Wilson, founder of BuildingGreen. "We are thrilled to call attention to these products, which are helping to create more sustainable, greener buildings throughout North America."
The 2014 selections emphasize how a focus on simplicity and quality enable today's green products to contribute to sustainable and resilient design goals. This year's winners include a commercial composting system, dimension stone that utilizes quarry waste, and an engineered wood product that is partly sourced from trees killed by the mountain pine beetle. Inverters that take solar energy off the grid and electronic door locks that can stay operable during power outages using very little back-up energy are also on the list.
A big driver of innovative green products continues to be the LEED rating systems and this year's launch of the newest version, LEED v4, marks an even stronger focus on safe materials and product transparency. As the nation's leading directory of green products, GreenSpec allows users to find products organized by LEED credits as well as by building category and the MasterFormat structure.
The BuildingGreen Top-10 Products for 2014 (in no particular order) are:
1. Earth Measure from Coldspring and Jason F. McLennan
Earth Measure, a collaboration between Coldspring and Jason F. McLennan, is a dimension stone product that takes waste from stone manufacturing and cuts it into specific patterns that mimic the natural world. The Fibonacci series is based on spirals found in seashells and other natural elements; the Linear series is closest to standard dimension stone; the MUD series looks similar to drying mud; and the Reptile series mimics the look of reptile skin.
Earth Measures can be used for everything from pavers to walls to flooring, so it can transition from exterior to interior
2. CrossLam Cross Laminated Timber from Structurlam Products
CrossLam is a cross-laminated timber (CLT) structural panel made by gluing layers of softwood boards one on top of the next at right angles to each other. The resulting panels are light and dimensionally stable in all directions and can be used for floors, walls, and roofing. CLT is made from less desirable wood, including wood taken from forests killed by mountain pine beetles, but higher quality wood can be used if it is going to be exposed to view, and FSC-certified wood is available. CLT comes in panels up to 40 feet long, 10 feet wide, and 12 inches thick and uses formaldehyde-free Purebond polyurethane adhesive.
3. ComfortBoard Mineral Wool Board Insulation from Roxul Inc.
Roxul manufactures rigid and semi-rigid mineral wool board insulation for both commercial and residential applications. ComfortBoard, designed for applications over exterior sheathing, is produced in the Milton, Ontario, plant with a minimum 75% pre-consumer recycled content, primarily iron ore slag. The residential version, ComfortBoard IS, has a density of 8.0 pcf, while the commercial product, ComfortBoard CIS, has a density of 11 pcf. At these densities, ComfortBoard is rigid enough to be used as exterior insulation, and it provides an affordable alternative to foam-plastic insulation materials typically used in this application. Comfortboard also provides very good sound control and excellent fire resistance without the use of flame retardants. It can be used in rainscreen details, and it retains thermal resistance when damp. The R-value ranges from 4.0 to 4.2 per inch. These products are produced with a urea-extended phenol formaldehyde binder, though heat processing during production drives off most of the formaldehyde, resulting in extremely low emissions.
4. ERC 50 Modernization Façade from Schüco
The ERC 50 Modernization Façade from Schüco is a retrofit façade system that can be installed on older, inefficient commercial buildings to improve energy efficiency, occupant comfort, and aesthetics. The ERC 50 incorporates an aluminum load-bearing framework, Schüco's high-performance windows, exterior insulation, and cladding into a system that can be installed with minimal disturbance to building occupants. The ERC 50 is modular and uses EPDM gaskets rather than caulk, so it is relatively easy to replace damaged components. Schüco's building-integrated photovoltaic panels can also be used in this system.
5. PoE Access Control Locks from Assa Abloy Group, brands Corbin Russwin and Sargent
Assa Abloy offers power-over-Ethernet (PoE) electronic access-control locks, including the Sargent Profile Series v.S1, the Sargent Passport 1000 P1, and the Corbin Russwin Access 700 PIP1. Ethernet data cables carry low-voltage electricity to power the lock as well as transmitting data to and from the devices using a facility's already existing wired and wireless local area network (LAN). Each PoE door typically uses about one watt per door in standby mode, saving more than 150 kWh per year compared to a traditionally wired system. Ethernet power loads are low enough that a modest uninterruptable power supply (UPS) may be able to maintain electronic-access functionality in the case of a power outage.
6. Kinetex Textile Composite Flooring from J+J Flooring Group
Kinetex is a soft surface floor covering intended for use in place of hard surfaces such as vinyl composite tiles in medium- to high-traffic commercial applications. These 24" x 24" semi-rigid tiles are 0.20" thick, compared to 0.25"–0.60" for standard carpet tiles, and are engineered with a wear layer made from solution-dyed PET that resists staining or bleaching and is woven for abrasion resistance and durability. Kinetex is made from 60% recycled content (50% post-consumer PET sourced primarily from water and soda bottles) and, unlike carpet, can be ground and processed into new backing in one step without costly material separation and sorting or loss of performance. Kinetex is treated with perfluorinated compounds to resist dirt and improve its lifespan; note that these chemicals persist in the environment and may have long-term environmental impacts.
7. Earth Flow Composting System from Green Mountain Technologies
Earth Flow is a medium-size, in-vessel composting system with a motorized traveling auger to aerate the compost and a biofilter and fan to minimize odors. With walls that are insulated to R-18 and a greenhouse top, the vessel is sealed against pests and leakage. Units can accept 300–3,000 pounds of organic waste per day and are designed for use on college and corporate campuses and at resorts. Depending on size (10'–40' in length), the system may consume 5–10 kWh per day, according to the company. A unique biofiltration system using wood chips can be part of the planted landscaping for some projects, and this system can be hooked directly to a commercial pulper system for greater convenience. Compost is harvested every two to three weeks and should be cured before spreading directly on beds or fields.
8. CO2-Refrigerant Heat Pumps from Mayekawa USA MYCOM
Mayekawa manufactures three different heat pumps for commercial applications that use carbon dioxide as the refrigerant, rather than industry-standard HFCs. The EcoCute model is a water-to-water heat pump that provides both water heating (up to 194°F) and cooling from any water source, including waste heat or solar-preheated water, with a COP up to 8.0. This makes it feasible as an alternative to fossil-fuel-fired boilers. The Unimo air-to-water heat pump water heater produces similar output temperatures using the outdoor air as the heat source, while the Sirocco water-to-air heat pump also offers high-temperature water heating. All Mayekawa heat pumps have 25 kW reciprocating compressors. Key markets include hotels, food processing, pasteurization, and thermal energy storage. The economics for EcoCute and Sirocco products will be most attractive where both heating and cooling loads exist and long run times are feasible.
9. Sunny Boy 3000TL-US, 4000TL-US and 5000TL-US Inverters from SMA America
Most grid-connected inverters used for solar-electric systems cannot provide any power during power outages, even when the sun is shining. These revolutionary transformerless inverters from SMA America provide daytime power in the event of a grid outage. Without requiring battery storage, these inverters can switch from interactive operation to providing off-grid energy to a dedicated power outlet. Provided the sun is shining, these inverters can deliver 1,500 watts (12.5 amps at 120 volts) with a maximum efficiency of 97%. While they may not provide enough power for major household loads, these inverters can provide critical cell phone and laptop computer charging and other emergency needs.
10. Vivid MR16 LED from Soraa
Soraa Vivid MR-16 LED luminaires are ideal for use where light quality is critical, such as art galleries or retail displays. Unlike other LEDs that use gallium nitride (GaN) crystals grown on a sapphire or silicon carbide base, Soraa uses GaN grown on a GaN base so the crystals have far fewer imperfections. Though less efficacious than some LEDs, Soraa MR-16s produce higher intensity, "full spectrum" light that can rival halogen bulbs, while operating at much lower temperatures. The color rendering index (CRI) is as high as 95. Soraa's Vivid MR16s are available in 14-, 25-, and 36-degree beam angles.
Source: .bdcnetwork.com
Publisher:.bdcnetwork.com
green building sustainability LEED


Partial Beard freestyle: Free design and styling of the partial beard. All partial beards that do not qualify for other categories may compete in this category. Styling aids allowed.
Goatee: Goatee as it grows naturally, the more natural the better. Moustache not required. Goatee and moustache can be accentuated but without styling aids. No curled moustaches. There must be a clean shaven section along the ears, at least 1.5" (4 cm, the width of a razor blade) between the onset of the head hair and the beard. No styling aids allowed.
Whaler: Bushy hair grown along the jaw, chin and lower lip, and optionally on the cheeks. No hair grown on upper lip. No styling aids permitted. Acceptable styling methods include brushing, combing, conditioning, and shampooing.
Full Beard Styled Moustache: Beard: as it grows naturally, the more natural the better. No styling aids allowed in the beard. Moustache: prominent and consisting only of hairs growing from within 5/8" (1.5 cm) past the end of the upper lip. Styling aids allowed only in the moustache.


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The Club's History
Little Pictures 2019
Making Her Mark
An important part of the Providence Art Club's mission is the preservation of our four historic buildings. From the early years of our organization's existence, these properties have been the face of our Club to the public and the pulsating hub of our member activities. Together, this proud row of buildings symbolize art and culture, history and architecture, all characteristics that define our Club as well as our home city.
The Fleur de Lys Building
Built in 1885, the building was designed by Sydney Richmond Burleigh with Providence architect Edmund R. Willson and is one of the most delightful in Providence.
The Deacon Edward Taylor House
The oldest house on the street stands next to the Seril Dodge Gallery, so close that you can touch the walls of both as you pass down the alley between them.
The Seril Dodge House
This elegant house was built by Seril Dodge between 1786 and 1789. Dodge had come to Providence in 1784 after serving an apprenticeship with Thomas Harland of Norwich.
Perhaps the first brick veneer structure in Providence, the three-story dwelling was built by Seril Dodge in 1790 and bought in 1799 by Moses Brown for his son Obadiah.
11 Thomas St.
Gallery Hours: Mon.-Fri. 12-4, Weekends 2-4
Galleries may also be opened by appointment. Please contact our Gallery Manager Michael Rose at 401-331-1114 ext. 5 to schedule your visit.
Angell's Lane Hours: Tues.- Sat. 3-8pm
© 2020 Providence Art Club.


A brief interactive message sent to a subscriber's desktop (or mobile device), web push notifications are designed to increase traffic, jumpstart engagement, and re-capture visitors to a website, even when a user isn't browsing it.
While popularized on mobile devices, the push notification has taken on a larger and larger role in websites. Just about every major browser has integrated them with their own platforms — Chrome, Firefox, and Safari — and for good reason. Simply put: web push notifications work.
Take eXtra Electronics, a consumer tech retailer that increased sales by 100% via web push notifications, or Japanese real estate site Suumo, who reported a impressive 31% open rate of their desktop notifications.
But the myriad benefits of web push can only be truly realized when the entire notification process (from subscribing to clicking) is optimized for the user experience, or UX. With poor UX design, these notifications go from a blessing to a curse, yielding disastrous results for your website.
To avoid these pitfalls, I've compiled this list of three common UX mistakes in web push notifications. These are mistakes that developers or site owners regularly make when employing web push. I've also provided remedies for these mistakes, which you can either implement yourself, or hire a UX design agency to fix for you.
Before we delve into optimizing the UX of the notification itself, it's imperative to design your website so that users will actually opt to receive them. To achieve this, your website has to explicitly ask the user for permission to send push notifications.
This is where the first common UX flaw occurs: requesting permission from the user without clearly and concisely explaining the purpose of the notifications. Remember, users find unnecessary notifications annoying — if they're not absolutely sure of what type of alerts they'll be receiving, they'll deny permission without a second thought.
The most egregious version of this gaffe is the "page-load" request, where the user is prompted to block or allow notifications from the site immediately after the page loads. This is poorly-designed UX because it offers zero context to the user.
What kind of notifications will they be receiving? How often? Why do they matter? A page-load request answers none of the questions a user will have, so they'll simply opt out of receiving them.
You'll notice this example is for mobile push notifications, not web. But the principle transcends the medium: if you don't provide an explicit, contextual permission request, you don't reap the benefits of web push notifications.
To avoid obtrusiveness, most web push notifications are fairly small; they rely on movement, rather than size, to catch the user's eye without interfering with whatever task they're completing. Because of this, you have limited real estate to deliver the notification's message.
Which brings us to the second major UX design flaw: being too verbose, or stuffing your notification with content. This is a mistake site designers make all the time, and not just in the realm of web push — nobody likes to read long paragraphs of text on an ecommerce site.
This notification doesn't need to say "heavy traffic expected Tuesday" twice — it gives them more to read for no reason whatsoever. Even if it's just four extra words, you have to consider that many web push notifications are time sensitive, and could disappear before the user gets to relevant information.
Another quick tip to keep your notifications concise: don't inject additional advertisements into them, even if it's for your mobile app, another service you provide, or anything extraneous to the actual message you're delivering to the user.
You don't need to include your website title or domain name either. Most browsers include this information by default in their notifications, and an appropriate icon should make it obvious to the user who is sending them this alert.
While it's important to avoid verbosity, it's also prudent to not overcompensate, and potentially err on the other side of the content spectrum. If your notification is too vague, the user won't understand what it's for, or why they should click on it.
Here's a terribly vague example that may as well be a riddle instead of a web push notification. "New missive" is cryptic, and most likely completely meaningless to the average user. The "explanation" under it is even more half-hearted.
Often times, your notification needs to strike the right balance between informative and open-ended. It shouldn't be so thorough that the user doesn't need to visit your site, but it should provide value. Remember, the end goal is for the user to visit your website.
Web push notifications are a powerful tool for increasing conversion rates. They can provide customer value and boost engagement, even when users aren't browsing your website. But when wielded improperly, without considering their UX design, they're ineffective.
Whether you're considering implementing web push notifications, or if your current campaign isn't performing, consider enlisting a UX design company. With a UX-first strategy, you're utilizing web push notifications at their maximum potential.
To get started with Aimtell, click here.


Idea generation, product development, complex distribution is at the heart of today's global Brands expectation with increasing digitalization and speed. As a result Miles-Promocean's final objective is to accompany key Brands in each aspect of their Supply Chain journey and create value. We deal with each customer case as unique case and develop tailor-made tools and solutions to best fulfil their needs.
Packaging is a part of our 4 P strategy and concerns a variety of product ranges. Especially in the Wine&Spirit industry and the Luxury industry, we design and develop eye-catching and festive value-added packs, gift packs to push our client's products on permanent shelves, or during a specific season or a special occasion.
Not only the Wine&Spirit and Luxury industries are our expertises, we also have the properties and the experience in the food industry. In this product area, we create and produce primary and food-related packages. All of this activity is orchestrated by a very thorough analysis of the Brand itself, but also material and decoration trends, consumer behaviour analysis that guide us into our offer so as to remain close to the end consumer's expectations.
Premium is one of our field of expertise. We deal with standard items or special development and OEM. Textiles, bags, toys, bar items, Gifts with Purchase, Add-ons, On-pack promotions… are the key categories we service. Our designers and product engineers have a wide experience and can make each item exclusive to a consumer group.
Firstly we offer manual or automatic paper bags, bows and ribbons, hangers, suit covers, e-commerce special packs, are very relevant to the Retail worlds of Fashion, Jewellery, Gourmet Food, Writing instruments, Watches. We are using highly tested and qualitative material to surrounder our client's items.
Second we provide Barware, Dispensers, enlighted Signs, Statues or Glorifiers, which are mostly used in the Wine&Spirit industry. Here we help our clients to magnify their offering and support outstanding presentation of their Brands.
Finally Corporate Fashion is a key tool to vehicle and translate the values of a Brand or a Retailer via their own staff and the way they present themselves to their own clients. In this situation, clothing styles and components become the centre of attention. Apparel from the "Corporate Fashion" department of Miles Promocean belongs in the business sector, customer service, corporate events, exhibitions and finally across the entirety of functional and work clothing. We offer our customers a multitude of design options, like special accents, details or colours and similarly the possibility of different combinations, such as whole outfits or even single pieces. The designs are developed in close collaboration with our customers and the focus lies simultaneously with reflecting the business culture of firms.


To collect and deliver donated furniture from customers across your community and beyond, providing excellent customer service. Collected items are delivered in good condition and therefore sold at affordable but sustainable prices to a diverse customer case.
Helping to update social media and distribute marketing materials.
Our core values are Excellence, Engagement, Ethical, Equality and Enterprise and each CT Furniture employee and volunteer strives to represent these values in all we do.


Thank you for LOVING Lincoln Elementary, with your help we raised over $70,000!
If you purchased tickets to parent hosted events or teacher experiences, you will not need to take further action, hosts will be provided with a list of purchasers/winners and will contact you directly.
There are tickets to Parent and Kid Parties still available. click the image above to view.
Thank you for donating items and thank you for bidding!
Follies tickets are sold out. If you purchased tickets, you will receive an email with more information about will call and doors open times.


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Make a real and eternal difference for Israel's Biblical heartland!
Shabbat Shalom - sent every Friday Stories and News from Israel - sent every Tuesday
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Nitzavim (Standing) – Deuteronomy 29:9 – 30:20
This week's portion includes Moses' last speech to the nation before the final poem that is Chapter 32 and the blessings in Chapter 33. Chapter 30 is often referred to as the "Return" chapter, including, as it does, references to both a physical and spiritual return to God and the Land of Israel. But a close examination of the verses in this chapter reveals a confusing sequence of events.
The first verse of Chapter 30 sets the stage – the blessings and curses have already come to pass. The Nation of Israel has already settled in the Land and enjoyed its blessings, but has also sinned and been exiled, and the land has been decimated, as predicted in Chapter 28. At this point, there will be a return to God, a repentance that is initiated by the people themselves. In the first verse, God promises that "you call them to mind among all the nations where the Lord your God has driven you." The actual Hebrew phrase for "call them to mind" is literally, "return to your heart." Using the same word "return" that will figure so prominently in this chapter, the stage is set for an introspection, a reminder of the blessings and the curses and the covenant set forth in chapter 28. The second verse is clearer: "And return to the Lord your God, you and your children, and obey his voice in all that I command you today, with all your heart and with all your soul." The initial awakening will bring in its wake repentance, a return to God.
The following verses speak of a physical return – God will return the people of Israel from their exile among the nations to the Land of Israel. But verse six goes back to a more spiritual return:
And the Lord your God will circumcise your heart and the heart of your offspring, so that you will love the Lord your God with all your heart and with all your soul, that you may live. (Deuteronomy 30:6)
This verse, in fact, raises a number of questions: If the entire process begins with a spiritual return, as noted in the first two verses of the chapter, what does this return signify? And if the initial return is initiated by the people themselves, why does God have to get involved and help the return along with the circumcision of the heart mentioned in verse six?
A number of classical commentaries interpreted this set of verses as indicating that the first initiative towards repentance must come from man himself, but once a man begins the process, God will assist him in continuing the process. Nachmanides, a 15th century Spanish Jewish commentator, took this idea further. He noted that these verses had not yet come to pass, that they refer to a Messianic age. He believed that the initial spiritual return would bring about the physical return that the Messiah would herald and, at that point, the human inclination towards good and obedience to God's commandments would become natural. The circumcision of the heart refers to a supernatural event that will return man to the state of Adam in the Garden of Eden before the first sin. Nachmanides quoted Jeremiah 31:32* [Jeremiah 31:33] and Ezekiel 36:26-27, both of which refer to a change of heart that will bring the nation closer to God and to His commandments.
In recent years, commentators have taken a new look at these scriptures in light of the development of modern Zionism and the subsequent establishment of the State of Israel. The physical return noted in verses 3-5 has indeed taken place. But what of the spiritual return? Did that precede the physical return? And what of the fact that the main motivation behind the Zionist movement was secular, deriving from a need to solve the horrors of
anti-Semitism, to provide a safe haven for the Jewish people. Indeed, most of the early Zionist pioneers were atheists!
Rabbi Abraham Isaac HaKohen Kook was probably the most influential of the early Zionist rabbis. He believed that while the declared motivation of the Zionist pioneers was secular, it actually derived from a deep spiritual core, a seeking of the soul itself for a return to God and to His Land. He believed that the strong desire of these pioneers to rebuild an independent nation in the Land of Israel and the reconnection of so many of them with the Bible was actually a spiritual event, despite their protests to the contrary.
Perhaps therefore, these verses can be seen as referring to the process that is currently happening in Israel. The original return is a subtle one. It is a beginning, but not a complete return. It is a return to God, but not necessarily a conscious return, for there is no change of heart. But God picks up on this initiative in order to return us physically to our land. But the final return to God takes place once we are in the Land – only then will there be a circumcision of the heart and a total return to His ways.
Of course, there were always Religious Zionists who felt the stirring to return to the Land as part and parcel of a spiritual return to God, Jews who had always obeyed the commandments and prayed fervently for a return to Zion and Jerusalem. And perhaps it is the presence of these religious Jews in the land, alongside the secular, that is enabling the final spiritual return to take place. And that return is happening, daily, as more and more secular Jews seek out their traditions and their roots, as more Bible study is taking place in Israel than ever before. It is unclear how long the process will take, how long it will be before verse six is fulfilled. But we pray daily and fervently for God to bring His promises to total fulfillment, as quickly as possible.
*Jeremiah 31:33 is Jeremiah 31:32 in the Jewish Bible.
Shabbat Shalom From Samaria,
Sondra Baras
Director, Israel Office
© 2017 All rights reserved. Christian Friends of Israeli Communities
About CFOIC Heartland
Christian Friends of Israeli Communities was established in 1995, in response to the Oslo Process, which ceded land to the Palestinian Authority in the heart of Biblical Israel. CFOIC Heartland stands steadfastly with Jews who are at greatest risk in Israel by connecting them with Christians around the world who share their core Biblical values.
Ginot Shomron, Karnei Shomron
sondra@cfoic.com
kim@cfoic.com


This property is 1 minute walk from the beach. Just a few steps away from the cosmopolitan beach of Ornos, Mykonos Blanc combines elegance and comfort with respect to the traditional Cycladic style. It has a swimming pool surrounded by tall palm trees offering panoramic views over the bay.
This property also has one of the best-rated locations in Ornos! Guests are happier about it compared to other properties in the area.


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Jefferson Scholars Foundation announces $100 million gift from David and Jane Walentas
A new merit-based scholarship program aimed at attracting the most talented first-generation students to the University of Virginia will be established as part of a $100 million gift to the Jefferson Scholars Foundation.
Courtney Hill, JF '20, uses funding from the Foundation to help give individuals and families access to clean water
Jefferson Scholars Foundation and U.Va.'s Darden School of Business work together to attract a global thought leader in health care and women's leadership
Chris Benos, JS '18, shares his passion for music and law
Kristen Barrett, JS '20, awarded prestigious Marshall Scholarship
David and Jane Walentas
A transformational gift for UVA — $100 million to benefit first-generation students


The Trump administration plans to demand that any country hosting U.S. troops on its soil cover their cost — along with an at least 50% premium for "the privilege of hosting them" — according to a Bloomberg report.
Why it matters: Bloomberg reports that President Trump wants to use this "Cost Plus 50" formula as a tool for increased defense revenue, but it could cause close allies like South Korea and Germany to spend up to as much as 5 or 6 times more to host American troops. Last month, South Korea agreed to pay the U.S. almost $1 billion to station U.S. troops — a sharp increase from the previous $800 million agreement.


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The BRVM, solution for WAEMU's Companies
OECD Observer Business brief
Edoh Kossi Amenounve, Chief Executive Officer Bourse Régionale des Valeurs Mobilières (BRVM)
"The BRVM is the unique stock exchange for eight countries in West Africa: Benin, Burkina Faso, Côte d'Ivoire, Guinea-Bissau, Mali, Niger, Senegal and Togo."
Edoh Kossi Amenounve
Bourse Régionale des
Valeurs Mobilières (BRVM)
1. Can you present the BRVM and give us an initial assessment of its activity?
The BRVM is the unique stock exchange for eight countries in West Africa: Benin, Burkina Faso, Côte d'Ivoire, Guinea Bissau, Mali, Niger, Senegal and Togo. The BRVM started up its operations on 16 September 1998. Its creation is the result of a long process since the ratification of the Treaty establishing the West African Monetary Union (WAMU) in 14 November 1973.
After 15 years of activities, the BRVM has 37 listed companies and a stock market capitalization of the shares of 4,973,000,000 CFA francs, an increase of 388 % of its size. As for the bond market, it has grown from a market capitalisation of 83 to 957 Billion CFA francs, an increase of 1053%.
Indexes BRVM 10 and BRVM Composite totaled 224 and 205 points compared to the base 100 at the beginning in 1998. The indexes show the BRVM positive performance since its creation.
2. What are the projects you will implement to strengthen the role of BRVM as an instrument for financing West African economies?
Companies in the WAEMU must seek long-term financing to create value and be competitive their sector. The BRVM is a solution for them.
It is a challenge for the BRVM because the enterprises dynamism has an impact on economic growth. This is the reason why we adopted strategic directions for the coming years: facilitating access to financing for businesses in the market; being more accessible to investors and increasing its regional and international visibility. Manning to a continuous auction system on 16 September 2013 will contribute to the stock exchange liquidity and attractiveness. In addition, we are working for the opening of the SME / SMI compartment in 2014, the development of savings securities and so on.
See other OECD Observer Business Briefs
The path towards a 100% renewable energy future


Evoking nature in its most elemental state, the MYRIAD blends sharp, articulated arms with soft, reflective light, for an overall arboreal feel. Lighting inspired by bioluminescence, this sculptural light fixture diffuses a warm light through its double-blown glass pivoting at the tips of a modular, asymmetric system. Expert craftsmanship met with clever engineering, the MYRIAD is available in various metal and glass finishes. Custom sizing available.