ROOM: The Space magazine is one of the leading magazines on space exploration, technology and industry. At ROOM, we share a common objective – advancement of peaceful space exploration for the benefit of humankind, all while bringing you incisive articles on an array of interesting topics. Our authors include researchers and industry leaders from all over the world, which lets us bring you timely and accurate information about time magazine space 2015.


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Tessaku Seikatsu, 7 December 1943
From Life behind Barbed Wire [鉄柵生活 Tessaku Seikatsu]: The World War II Internment Memoirs of a Hawai'i Issei, by Yasutaro Soga [1873–1957] (U. Hawai'i Press, 2008), pp. 144-145:
December 7, 1943, was the second anniversary of the attack on Pearl Harbor. A ceremony honoring the memory of fallen soldiers was held in the square in the morning. We bowed in the direction of the Imperial Palace, sang the national anthem twice, and observed a moment of silence. A speech was given by General Manager Kondo. After the ceremony, a packet of fragrant green tea, donated by the Japanese Red Cross, was distributed to each internee by the barracks chiefs. A large flag of the Rising Sun made with used paper was displayed in the Upper Town mess hall. This would have been a problem in the outside world, but here it did not seem to matter.
On December 9 it snowed heavily all day. The roads were slippery and dangerous. It was the forty-ninth day after the death in Italy of Mr. Akira Morihara, the third son of Mr. Usaku Morihara, a shopowner from Kona. A memorial service was held at the Lower Town mess hall in the afternoon, and many internees attended. This was the first service in the camp for a fallen Japanese American soldier. On the night of the tenth, the sight of the Rocky Mountains covered in snow and illuminated by the moon was bewitching and beautiful beyond description. On the night of the thirteenth, internees from Maui held a memorial service for eight Japanese American soldiers from Maui (including Mr. Yoshinobu Takei) who had been killed in Italy. The Reverends Ryugen Matsuda and Tamasaku Watanabe delivered sermons and Mr. Tokiji Takei said a few words on behalf of the families. It was later reported that, of Japanese American soldiers from Maui, 8 had been killed and 180 injured.
Posted by Joel at 12/08/2007 03:40:00 PM
Labels: Japan, U.S., war
Out of Town on a Eurail
Uganda's Abayudaya
To Ceausescu and Back: Notes from a Tunnel
Tessaku Seikatsu: Postwar Delusions
Hijab vs. Koteka: West Papua Culture Clash
Tessaku Seikatsu: Tule Lake Thuggery
Father Pat's Old-time Syncretic Religion
Tessaku Seikatsu, 7 November 1944
Telefomin, Barcelona, and Bulmer's Fruit Bat
To Save or Not Save a Wife
Tessaku Seikatsu: Bad Language
Wordcatcher Tales: Shaba, Tekipaki, Baribari
Tessaku Seikatsu: An Embarrassment of Clerics
A Tale of Two Blogs

redpajama_set_name: RedPajamaCommonCrawl


A recent Baruch College graduate with an Accounting certificate. Excellent analytical, communication and teamwork skills developed through internship and group project experience. Very organized, social, hardworking, and creative.
Prepare a financial update for the church's monthly newsletter.
Performed bookkeeping tasks in QuickBooks (keeping financial records, handling credit and collection, monthly mail sending of patients' statements, and filing out insurance forms).
Took an inventory and order the medical, laboratory, and office supplies and equipment.
Converted Paper charts into digital records.
Analyzed blueprints and other documentation to prepare time, cost, materials, and labor estimates.


Home / News / Trending / Video / Millennial na Anak, Pinahanga si Raffy Tulfo Nang Magpangaral sa Magulang!
Millennial na Anak, Pinahanga si Raffy Tulfo Nang Magpangaral sa Magulang!
If you're a millennial, you're surely familiar with the stereotype against our generation. Elder generations enjoy criticizing us for not being level-headed and by always going with our emotions when decisions have to be made. However, a recent episode of Raffy Tulfo Aksyon sa Tanghali proved that millennials aren't all that.
Melody Seña is the young daughter of Cheryl Seña, who sought the help of Raffy Tulfo because, according to her, her marriage with husband Sonny Seña is no longer working. Depr3ssed, she told Raffy Tulfo how Sonny would always refuse her initiatives for love making. She even went so far as to say that Sonny has been insulting and degrad!ng her.
When Raffy Tulfo called Sonny up to confront him, he denied really being mean to his wife. He alleged that Cheryl was simply bemoaning how their family was in a sort of tight spot in terms of finance.
That's when the daughter, Melody, chimed in. She revealed how she thinks both her parents have misgivings, so both are responsible of their relationship is actually falling apart. She also reprimanded her own mother for broadcasting their families woes to the whole world instead of trying to resolve everything at home. Melody further told her mom off for thinking that money is everything.
In the end, though, Raffy Tulfo got impressed with Melody saying that if the couple isn't really happy with each other anymore, then it might be better of they choose to split, since all these household problems are weighing on them, the children, too. This should get the parents thinking, if their kid has all the wits to even tell them what to do with their crumbling household!
What can you say about Melody's insights on her family? Let us know in the comments section below!
While this family is in the brink of collapse, a celebrity couple seems to have gotten everything they ever wanted! Zia Dantes has been the pride and joy of Dingdong and Marian, GMA's A-listers! And why wouldn't they? Just look how irresistibly cute and charming their unica hija is!


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David Lomeli
Mexican tenor DAVID LOMELÍ's performances have garnered tremendous critical acclaim, with Zachary Woolfe of The New York Times calling his New York City Opera performances of Nemorino "a terrific debut," The Independent's Edward Seckerson praising his "bright vibrant top and bags of conviction" in his Glyndebourne Festival debut performances as Rodolfo in La bohème, and Operasora announcing him an "up-coming tenor star" after performances as the Duke in Rigoletto with Badisches Staatstheater Karlsruhe.
Critically acclaimed for his performances as the legendary Verdi character, David Lomelí portrays the Duke with three companies this season and adds the new roles of Graf Leicester and Riccardo Percy to his repertoire with company debuts at Oper Frankfurt in concert performances of Maria Stuarda and at Oper Köln in a new production of Anna Bolena. Tonight, Lomelí performs with Gustavo Dudamel and the Los Angeles Philharmonic at the Hollywood Bowl in concert performances of Rigoletto, followed immediately by September performances at San Francisco Opera under the baton of Nicola Luisotti, concluding in April 2013 with a new production of the opera at Deutsche Oper Berlin led by Pablo Heras-Casado. Further highlighting the young tenor's 2012/13 season are performances of Verdi's monumental Requiem with Philharmonie Essen and his first-ever solo recital at the Mondavi Arts Center on the campus of UC Davis.
Successful performances in past seasons have included engagements with Santa Fe Opera, Theater Basel in Switzerland, and Pacific Symphony (Rodolfo in La bohème), New York City Opera (Nemorino in L'elisir d'amore), Deutsche Oper Berlin (Alfredo in La traviata and Edgardo in Lucia di Lammermoor), Houston Grand Opera (La traviata), Pittsburgh Opera (Lucia di Lammermoor), Opéra de Lille (MacDuff in Macbeth), Michigan Opera Theater (Don Ottavio in Don Giovanni), Madison Opera (the title role in Gounod's Faust), Canadian Opera Company, and Badisches Staatstheater Karlsruhe in Germany (Duke of Mantua in Rigoletto), as well as festival performances at the Glyndebourne Festival (La bohème). Among Lomelí's most important concert engagements were performances of Verdi's Requiem with the Los Angeles Philharmonic led by Gustavo Dudamel and with the Berlin Philharmonic under Mariss Jansons. He has also sung in concert with the Oslo Philharmonic, the Prague Philharmonic, the Hamburg Symphony, the Munich Radio Orchestra, and Sinfonieorchester Basel.
The international opera community first took notice of David Lomelí in 2006, when the young tenor – then only 25 years old – scored a stunning double victory in Plácido Domingo's Operalia competition. At that time, David was the only singer to ever win a first-place prize in both the opera and zarzuela divisions. Plácido Domingo tapped the tenor for the LA Opera program after hearing him sing "Che gelida manina" from La bohème at his audition, which had been set up by the noted singer and voice teacher César Ulloa, with whom Lomelí studied in Mexico City. During his tenure with the Domingo-Thornton Young Artist Program in Los Angeles, Lomelí performed Rodolfo in La bohème and appeared as Javier in Federico Moreno Torroba's zarzuela Luisa Fernanda.
A graduate of both the Merola Opera Program and San Francisco Opera's Adler Fellowship program, Lomelí made his San Francisco Opera debut in the 2008/09 season as Alfredo in La traviata. He has also appeared with the company as Rinuccio in Gianni Schicchi and as Harry in La Fanciulla del West.
In addition to the Operalia competition, Lomelí was a first-place winner at the national tenor competition in Merida, Mexico and secured prizes at the Palm Beach Opera Competition, the Montserrat Caballé Competition, and the José Iturbi Voice Competition, where he was also given the People's Choice Award. One of the highlights of his career was performing at a 2010 Grammy Award tribute to his mentor, Plácido Domingo.


How can we make our cities more welcoming to bikers? How can we encourage more people to ride a bike when they can?
The solution could come in many forms: a product, program, device, game, movement, or competition. It could involve new business models and bike sharing; new bike design that's safer and more comfortable or government-funded workshops to teach people better biking. Whatever it is, it's got to be smart and have mass appeal.
The competition featured four teams, each of which entered a series of videos presenting their views on the challenges of urban biking, as well as a final "pitch" for a concrete idea to face those challenges. !ola, made up of Ozge Kirimlioglu, Liesje Hodgson, and Angela Chen, was one of four teams competing in the better biking challenge, proposed a "campaign for better biking" that would focus on the ideas of mutual respect between bikers and drivers, improved visibility, and resourcefulness (designing clothes to make bike commuting more practical).
The simplest way to get people on bikes isn't through legislation, more bike lanes, or technology but a change in attitude. Team !ola proposes a multi-platform, character-driven campaign that highlights biking-related issues in unexpected ways. Standing in a bike lane? A glance at the nearby pink arrow poster will remind you to step out of the way. By shifting perspectives, we intend to foster safer, more enjoyable biking conditions and encourage you to hit the road on a regular basis.
The Campaign for Better Biking from Team !ola on Vimeo.
Bike Tab from Urban Futurists on Vimeo.
Urban Futurists, the team behind Bike Tab, received a $5,000 reward, which they chose to donate to Recycle-a-Biclycle. It's unclear whether or not they or the other teams will have the opportunity to turn their ideas into reality, but we can always hope. In the meantime, Yoxi is getting ready for a another social change competition, and is taking votes on what the challenge should be.


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Error! Not Found
A podcasting network, ostensibly about video games, but mostly not.
Error! Report
Superhero Super Show
ShrekTalk: A Shreksversation
VFS Variety Hour
The Series Regular
Features, Op-Ed
by Evan Tognotti May 16, 20133:28 pm
Games Don't Have To Be Fun
I love Metro 2033; but it isn't fun
In an effort to catch up in time for its sequel, I've been playing a healthy amount of Metro 2033 recently. For those reading who aren't familiar with the series, it's set in post-apocalyptic Russia, where the few survivors have flocked to the subway tunnels to escape the destruction and radiation. Most of the game takes place in these tunnels, with some infrequent and ill-advised trips to the surface.
It's a first-person shooter, really, but it gives the player an impressive amount to manage. Bullets are scarce, and also serve as the currency at stations. If you want to buy a medical kit, you have to give up a means of defense. You also need to keep fresh filters stocked for your gas mask, and manually charge your flashlight with a hand-pump. The shooting mechanics are fuzzy and imprecise, and the enemies are often overwhelming, resulting in a severe feeling of dread from each missed shot.
I love it, and it's no fun at all.
I can only play Metro for about an hour at a time before needing to do something else to wash the taste out. The atmosphere is so oppressive, and the mechanics so harrowing, that I really don't want to be playing it when I am. Occasionally I'll get stuck at a particular combat encounter, and I'll bang my head against a wall trying to figure out the best approach. The only truly satisfying outcome is to sneak past the enemies; no blood on my hands, no precious bullets wasted. But a lot of the time, it doesn't work out that way. Even in triumph, I'm reminded of how it could've gone better, and how my carelessness will make my life more difficult in the future.
A lot of this is just set-dressing. Ultimately, that one shotgun shell I misfired probably won't come back to bite me in the end (at least, not on the difficult I'm playing). It's just that there's no joy in the world of Metro, no hope or humanity or humor. There are only interminable slogs through poorly lit subway tunnels.
As the player, and a critic, I can abstract my visceral feeling (this game isn't fun) from my academic feeling (this game is achieving exactly what it wants to). I deeply respect the game in that way, for creating a first-person shooter I can love that doesn't rely on me having fun, well, shooting people.
I remember when Tomb Raider came out, there was a fairly bitter divide between some people in regards to its story. I was in the camp that objected to the game's treatment of Lara Croft, seeing as each brutal injury had no impact beyond that of shock value. The opposing company felt, largely, one of two ways: 1) Lara's development was actually well-handled, or 2) a game in which Lara's injuries were more permanent wouldn't be fun to play. This got me thinking: does a game really need to be fun?
First, it's probably good to address the obvious criticism of such an ideology. Whether or not something is "fun" is purely subjective. So subjective, in fact, that the term is kind of meaningless in game criticism. It's about on the level of recommending a game because it's "good."
Even then, the vague, standardized meaning of what constitutes a fun game doesn't translate into a good one. Or… okay, let me take that back, and provide a somewhat sterile thesis.
Most fun games are good, but not all good games are fun.
It has a nice ring to it, but it also falls apart from my perspective. Take, for example, the Call of Duty series, which thrives on well-refined, "fun" gameplay. The problem for me lies in the way it encourages you to have fun in brainlessly militaristic and sadistic ways. Spec Ops: The Line tried to tackle that problem admirably, but there lies a case where I felt the game should have been more fun: the best satire often starts with parity.
Thinking back over the games I've really loved this year, many of them stand out as not being traditionally fun. In fact, the most fun I've had was probably with Bioshock Infinite. It paired some really solid and inventive FPS mechanics with the engaging beautiful/disgusting disparity the game flaunts aesthetically and thematically. There I enjoyed shooting people, thanks to both the fluidity of control and the means by which the game earns its violence through its narrative (many would argue it doesn't, but that's another argument for another editorial).
Antichamber, too, was incredible but agonizing
Another highlight for me this year was the non-Euclidean puzzle game Antichamber. It was utterly spellbinding in its atmosphere, one both sterile and foreboding but also sarcastic and playful. Was the time I spent getting lost in its shifting hallways really all that fun? Is it fun to be stuck on a single puzzle for over an hour? Not by my definition.
And yet Antichamber delighted, surprised, and thrilled me in every virtual step I took. Part of it was the basest neural reaction a video game: spot a challenge, overcome it. But the more time I spent playing, the more I found myself intellectually engaged and immersed in a way that was isolating, scary, impenetrable, and most importantly, not fun.
Most every horror game is based upon a similar principle. Who really likes being scared? If something is truly scary, most people's reaction is to run, hide, or stop looking. Games force you to confront a fear, be it a lanky, faceless man in a suit, or, in the case of another one of my recent favorite games, Year Walk, an eery Swedish forest buried in mythology. The "fun" for most people comes in the relief of overcoming a fear, or in the pleasure of admiring and dissecting a scare.
Okay, here's a good example to illustrate my point. I recently played both Zero Escape games, the first called 999: 9 Hours, 9 Persons, 9 Doors, and the second called VLR: Virtue's Last Reward. In summation, I found myself disinterested in 999 but utterly in love with VLR. Why? They're basically the same game. Both are visual novels featuring ensemble casts. The premises are very intentionally similar. How could I love one and be so apathetic toward the other?
A personal favorite moment from VLR; but… fun?
Neither game is fun. They consist primarily of tapping through dialogue and sometimes solving and escape-the-room-style puzzle. But VLR does something 999 never quite figured out: it wields that lack of fun, and turns it into agonizing tension. Without talking about it too much in detail, VLR features several moments of choice that are nuanced and morally somewhat gray. It reminded me of Heavy Rain. You're engaged because of the way the mechanics impact the story: not the mechanics themselves.
That worked wonders for both those games, and I wouldn't call either fun. I would call them good. I would call them engaging. Just like Antichamber, and Year Walk, and Metro 2033. Demanding every game be fun is akin to demanding every book be a page-turner, or every piece of music, pop, or every movie exciting. There are page-turners, and pop songs, and exciting movies, and some of them are great, and some of them aren't. It's not a binary state. And you know what? I think a game like Tomb Raider – one with such obvious character development aspirations – would've been better if it were less fun. Make the player feel inconvenienced. Make them feel sad, or angry. Make them feel pain. Make them empathize.
Designing every game to be fun would stick this medium in an even more severe case of arrested development. Like a record skipping, hitting the same beat over and over again. You don't have to like every game, and really, there's probably no way for you to like every game. I certainly don't. I can't stand Dark Souls, but I recognize how it fits into the exact same category I've been describing. I want to let every game breathe whether or not it speaks to me, because ultimately, it's speaking to someone.
And I'd rather let the record play.
Tagged with: 999 antichamber dark souls Fun games metro 2033 Spec Ops: The Line Tomb Raider VLR year walk zero escape
Bioshock Infinite vs. The Last of Us – Error! Not Found	 on June 27, 2013 at 8:58 pm
[…] has talked before about how games don't have to be fun, and that perfectly describes my feelings on The Last of Us' combat. Every encounter is […]
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ERROR! REPORT -- A podcast about video games. Airs weekly on Mondays. Starring Clint Prentice, Evan Tognotti, Matthew Milewski, and Ryan McGinley.
FAMILY GAME NIGHT -- Like Dungeons & Dragons, but also Call of Cthulhu, and an improv show, and a radio drama? Airs weekly on Wednesdays. Starring Clint Prentice, Evan Tognotti, Matthew Milewski, and Ryan McGinley.
SUPERHERO SUPER SHOW -- Two super friends watch all of TV's superhero shows and talk about them. Starring Clint Prentice and Ryan McGinley.
SHREKTALK: A SHREKSVERSATION -- A podcast where two friends and one Shrek-spert watch all the Shrek movies and talk about their cultural significance. Starring Evan Tognotti and Matthew Milewski. Guest Starring Clint Prentice.
THE SERIES REGULAR -- A big-picture look at TV, new and old. Currently on hiatus. Starring Evan Tognotti and Matthew Milewski.
YOU MIGHT ALSO LIKE... -- We make you mixtapes. We talk about music. Airs on the first of each month. Starring Evan Tognotti and Matthew Milewski.
VFS VARIETY HOUR -- Two students in Vancouver Film School's writing program discuss their "craft." Airs weekly on Saturdays. Starring Evan Tognotti and Ross Jenkins, with weekly special guests.
THE CREW 2 -- A special edition podcast dedicated to discussing the impending announcement of the sequel to 2014's hit open-world driving game. Airs sporadically. Starring Evan Tognotti.
The Hosts On Twitter


I note I've been overusing the adjective "iconic" in my blogs on Egypt. But it is hard to avoid when you're trying to describe the famous structures, monuments, and tombs you've grown up seeing on television or reading about in text books. So I'll describe our Nile Cruise as a quintessentially classic Egyptian tourist activity. We boarded ours at noon on day 4 and settled in for 4 days and nights.
Each morning we were greeted with hot coffee and a huge buffet breakfast, including a omelet station. Lunch and dinner were equally copious. There were always many salad choices, a couple of soups, and various pasta, rice, and vegetable dishes to choose from. And always chicken, beef, and fish dishes to choose from. For those with a sweet tooth, a generous selection of desserts was always on offer. And just in case one struggled to last from lunch to dinner, on sailing days the boat hosted coffee/tea and cake on the sun deck.
Each stop provided a new excursion. The Temple of Horus at Edfu, Kom Ombo temple at dusk, the Valley of the Kings in Luxor, and Philae Temple reconstructed on a tiny island behind the lower Aswan dam. I think what we enjoyed the most was the leisurely pace of the cruise. Easy morning excursions followed by lazy afternoon cruises were the norm. In Aswan we added an afternoon felucca (traditional sailing vessel) excursion and a visit to a Nubian tea house. It was a very relaxed way to tour upper Egypt from Luxor to Aswan.


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Gov't offers P500K bounty on Peter Lim
admin • September 14, 2018	• 2557
FILE PHOTO: Businessman and alleged drug lord Peter Lim
Justice Secretary Menardo Guevarra announced Friday, September 14, that the government is offering a P500,000 reward to anyone who can give information on the exact whereabouts of Cebu businessman and alleged drug lord, Peter Lim, "provided that such information will lead to the actual arrest of said fugitive."
In a statement, Guevarra also warned those who are coddling Lim of facing charges.
"They will be prosecuted for obstruction of justice and punished accordingly."
Lim has been indicted for conspiring with self-confessed drug lord, Kerwin Espinosa, Marcelo Adorco and Ruel Malindagan, to commit illegal drug trading.
He was tagged as the supplier of shabu that the Espinosa Group sold in Regions 7 and 8 in 2013 and 2014. — Mai Bermudez
TAGS Kerwin Espinosa, Peter Lim, shabu
Police seize P13.6-M worth of shabu; Nigerian national killed in buy-bust operation
MANILA, Philippines — The Philippine National Police-Drug Enforcement Group (PNP-DEG) seized P13.6 million worth of shabu (methamphetamine hydrochloride) in a buy-bust operation in Pasig City, where a Nigerian national was killed.
In a report of PNP-DEG Director PBGen. Ronald Lee, the Nigerian national identified as Christopher Chukwuma was an alleged member of West African Drug Syndicate.
Authorities posed as buyers of illegal drugs during the operation. The suspects were able to perceive the said operation which led to an armed encounter.
Suspects attempted to take the firearms of the police and tried to fire back.
Chukwuma is a resident of Angeles City, Pampanga and was reported to have escaped in a previous drug operation of the PNP in Tarlac last December 31, 2020. -AAC (with reports from Lea Ylagan)
TAGS buy-bust operation, Nigerian national, Philippine National Police, PNP, shabu
2 Chinese claimants of P1.6-B shabu shipment arrested in Nueva Ecija
Maris Federez • October 31, 2020
Crystallized methamphetamine or shabu, with a street value of P1.632-billion
MANILA, Philippines — Two Chinese nationals who were the alleged claimants of a cargo containing crystallized methamphetamine or shabu, with a street value of P1.632-billion were apprehended by the operatives of the Philippine Drug Enforcement Agency (PDEA), the Bureau of Customs-Ninoy Aquino International Airport (BOC-NAIA), the NAIA-Inter-Agency Drug Interdiction Task Group (NAIA-IADITG), and local police.
The Chinese nationals were nabbed in Sumacap Sur, Cabanatuan City at around 11:30 PM on Friday, October 30, in a joint controlled delivery operations conducted by the BOC-NAIA, PDEA, and NAIA-IADITG.
Alleged claimants of shabu shipment
The BOC said, that based on records, the subject cargo was declared as workbench tables, shipped by a certain Ywlee 87 Trading of Subang Jaya, Selangor, Malaysia, and consigned to a certain company "Allejam International Trading" from the City of Manila.
The cargo arrived at the PAL PSI Warehouse on October 24, 2020.
Thru the vigilance and intensified surveillance of B0C-NAIA frontliners and its close coordination with PDEA, the misdeclared cargo was identified and subjected to X-ray Scanning and 100% Physical Examination. Found were heavily wrapped 240 plastic packs of shabu.
BOC-NAIA said that it has formally turned over the seized illegal drugs to PDEA for further profiling and case build up against the importers and other responsible persons, and inquest of apprehended claimants for violation of the Dangerous Drugs Act of 2002 in relation to Section 1401 of the Customs Modernization and Tariff Act. — /mbmf
TAGS BOC, crystallized methamphetamine, NAIA-IADITG, PDEA, shabu
P4.5 million worth of shabu seized in Pasay City
MANILA, Philippines – The Bureau of Customs (BOC) at the Ninoy Aquino International Airport (NAIA) has seized 640 grams of shabu (crystal meth) estimated to worth P4.5 million in a warehouse in Pasay City.
The contraband was found in an unclaimed parcel at the DHL warehouse.
The BOC said the seized illegal drug was concealed inside tin cans of wafer and packs of chocolates, stuffed toys, candies and slippers to avoid detection.
It was shipped from Las Vegas, Nevada in the United States and consigned to a certain resident of Hagonoy, Bulacan.
However, its contents were detected through "intensified vigilance and profiling BOC-NAIA" and coordinated with Philippine Drug Enforcement Agency (PDEA and the NAIA Inter-Agency Drug Interdiction Task Group (IADITG).
Chemical Laboratory Analysis conducted by PDEA confirmed that the seized white crystalline substance were indeed methamphetamine hydrochloride.
The BOC said the items have been turned over to the PDEA on Sept. 24 for further profiling and case build-up against those behind its importation for possible prosecution for violation of the Dangerous Drugs Act of 2002 in relation to Section 1401 of the Customs Modernization and Tariff Act.
TAGS BOC, NAIA, Ninoy Aquino International Airport, PDEA, Philippine Drug Enforcement Agency, shabu


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Department of Animal Science - Basic Animal Genetics
Genetics Timeline
Mendelian Genetics
Anatomy of a cell
Somatic vs. Gametic
Growth & division
Basic DNA Structure
Anatomy of a Gene
Transcription & Translation
Introns & Exons
Codons, anticodons
Genotype & Phenotype
Dominant/recessive
Independent Assortment
Punnett squares
Sex-linked
Modify Mendelian Ratios
Incomplete dominance
Co-dominance
Multiple alleles
Lethal alleles
Epistasis
Genomic imprinting
A transgenic animal is one whose genome has been experimentally altered by the stable introduction of a foreign (exogenous) piece of DNA called a transgene. There are many methods used to produce a transgenic animal; however, the method demonstrated in this animation has proven to be very successful.
First, the transgene of interest, along with specific promoter elements necessary for its expression, is injected into one of a fertilized egg's two pronuclei. These haploid pronuclei, one of which came from the egg and one that originated from the sperm, eventually fuse to form a single diploid transgenic embryo nucleus. The transgenic cell produced in this manner ultimately gives rise to the complete animal. In other words, insertion of the transgene at this stage allows for it to be incorporated into all of the cells of the body, including both germ cells and somatic cells. Thus, the transgene can be passed on to future generations. Finally, the transgenic embryo is implanted into a female, and the first generation of transgenic individuals is born.
These animals can be used for many different purposes, including determining the function of individual genes, producing proteins of commercial value, and improving the health and productivity of domestic animals and plants. Scientists can insert genes that have uncertain functions into an animal. From observing the offspring of this animal, the function of the gene and its effects on phenotype and development can be determined.
Trangenic animals can also be used to produce proteins that are needed for people or animals that lack the ability to produce them. An example would be the production of insulin. Some individuals who suffer from diabetes lack the ability to produce insulin in the amounts needed for daily function. Therefore, they need to get insulin from another source. Using the technology of transgenics, scientists have solved this problem by creating animals that possess the gene that makes insulin. The insulin can then be collected from the animals and processed so that it can be sold to those who need it.
Lastly, transgenics can be used to produce better animals and plants that are necessary for the food industry. Cows can be created that have the genes to make milk with added vitamins and proteins. The genes that cold water fish possess to keep them from freezing can be inserted into plants, so they will be able to withstand any mid-harvest freezes that could lead to a loss of important fruits and vegetables. The amount of knowledge that can be gained and positive outcomes that can be achieved by the technology of transgenics is far-reaching.
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Tag: beginners
The C# "Yellow Book": Free as in Beer and Good as in Beginner's Guide
4 Comments on The C# "Yellow Book": Free as in Beer and Good as in Beginner's Guide
As a new Microsoftie and programmer returning to C# after a six-year absence, I have a lot of learning and re-learning ahead of me. In preparation for this, I spent the better part of an afternoon in the "Computers" section of my neighbourhood bookstore going through the C# programming books, sorting the gems from the junk. I took the "beginner's mind" approach and looked at all the books on the shelves, regardless of the skill level they were written for, even the books that devoted whole chapters to basic concepts like looping and branching. At the very least, it would give me an idea of the current state of programming literature was like in the .NET world.
A couple of weeks later, I stumbled across the C# "Yellow Book". It's the standard book for first year computer science students at the University of Hull (I know of it thanks to a Black Adder episode) and written by Rob Miles, a Microsoft MVP and lecturer at that university. Each computer science student there is given a free-as-in-beer printed copy of the book, and now anyone can get a free-as-in-beer PDF copy online.
The C# Yellow Book is quite good, and can easily hold its own against some of the commercial C# books I've seen, which typically sell for about $35. It's written in a clear and breezy style, explains it concepts well, has examples that actually work (I tried some out just for kicks) and often goes beyond typical beginners' books with many asides called "Programmers' Points" that explain good programming technique. Its 185 pages cover most of the basic C# language — and most of the example code is run in console mode except for the section near the end that covers basic Windows Forms. After finishing this book, you should have enough background material to tackle an intermediate book on C# or introductory books on .NET topics like GUI programming, ASP.NET or even game development for the PC, Xbox 360 and Zune (yeah, really, the Zune) with XNA.
I'd say that Rob has a strong incentive to make the book as good as possible because it's the basis of a course at his university and because he can get some rather immediate feedback from its readership. If only that was true for a professor of mine back at Crazy Go Nuts University, whose Pascal programming book (it was the eighties) had terrible examples, an incomprehensible presentation and writing style and annual revisions to foil used-book sales and to force each new class to buy the latest edition. Kudos to Rob and the computer science department at Hull for giving away the course textbook for free!
If you're a starving student looking to learn Windows programming, I'd recommend getting your hands on a copy of Rob Miles' free-as-in-beer C# "Yellow Book" and pair it with Microsoft's free-as-in-beer Visual C# 2008 Express Edition. Alas, I can't point you to any free-as-in-beer computers.
Rob Miles' C# "Yellow Book"
Visual C# 2008 Express Edition
WindowsClient.NET: The official site for GUI development in Windows, covering both Windows Forms and the new GUI framework, WPF.
ASP.NET: The official site for ASP.NET, Microsoft's framework for web application development.
XNA Developer Center: The official site for XNA, Microsoft's game development framework.
XNA Creators Club: The online community for XNA game developers.
Tags beginners, books, C, cheap, free as in beer, Microsoft, students


[19:43] - Flight KAC673 is ready to depart OKBK with a final destination of OMDB.
[21:13] - Landed at -80fpm. With 14551kgs of fuel onboard and a pitch angle of 6deg.
[21:17] - Arrived safely at OMDB. We hope you enjoyed your flight!


We've thrown water to wash away the discontent of the last year (make that plural!) and hung the golden Padauk (symbolising strength and durability) in Megsie's workshop (celebrating the fresh beginnings of the new hope/joy/goodwill.) Gotta love that.
We didn't free the birds, they're happy just the way they are.
This entry was posted in Album and tagged Prisoners of the Crown, Thingyan. Bookmark the permalink.


How to use Reshma Henna?
Using Henna cone is very easy.
Just wash your body part and start making designs with Karishma Henna.
Once you have finished making design, wait until it dries.
It will 2-3 Hours to completely dry.
Remove the dry paste after 2-3 hours using towel or tissue paper.
Apply skin cream or any hair oil on that decorated part.
After 20 minutes, wash it with plain water.
Click the button below to add the Karishma Henna Arabic Mehndi Cone to your wish list.


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How to Watch Alabama vs. Duke on ABC Live For Free on Apple TV, Roku, Fire TV, iOS, & Android
Aug 30, 2019 9:29 pm PDT – Jason Gurwin
Today, Saturday August 31st at 3:30pm ET, #2 Alabama Crimson Tide faces unranked Duke Blue Devils from Mercedes-Benz Stadium in Atlanta, GA. The game airing exclusively on ABC, which you can stream with a Live TV Streaming Service.
Alabama vs. Duke
When: Saturday, August 31st @ 3:30pm ET
TV: ABC
Stream: Watch with Free Trial on PlayStation VueSign Up
After getting blown out by Clemson in the Championship Game, Alabama has been waiting for the new season to begin. The team is trying to make their fifth straight championship — and will start the season as five touchdown favorites against Duke.
You can stream game without cable with a Live TV Streaming Services — PlayStation Vue, Sling TV, Hulu Live TV, AT&T TV NOW, and YouTube TV. If you haven't tried it before, you can get a 5-Day Free Trial of PlayStation Vue.
• - • - • - - •
Includes: ABC + 26 Top Cable Channels


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The Royal Edinburgh Military Tattoo
- Image ID: EEX48Y
Guillem Lopez / Alamy Stock Photo
Image ID: EEX48Y
2014, annual, armed forces, bagpipe, bagpipers, band, british, castle, culture, display, edinburgh, edinburgh military tattoo, entertainment, esplanade, europe, european, festival, great britain, heritage, international, marching band, military, military tattoo, music, music band, parade, performance, pipe, scotland, scottish, show, touristic, tradition, traditional, uk, uniform, uniforms, united kingdom
the 2019 Royal Edinburgh Military Tattoo, performed on the esplanade at Edinburgh Castle. The massed pipes and drums
Construction of stands at the Esplanade of Edinburgh Castle for the annual Royal Edinburgh Military Tattoo as part of Edinburgh Festival 2018
The sign of the ticket office of The Royal Edinburgh Military Tattoo. The event is held each August as part of the Edinburgh Festival.
Aerial view of Edinburgh Castle during The Royal Edinburgh Military Tattoo as seen from the air
Europa, Großbritannien, Schottland, Edinburgh, Castle, Schloss, Royal Edinburgh Military Tattoo
Edinburgh, Scotland, UK. 2nd August 2014. The Royal Edinburgh Military Tattoo takes place on the esplanade of the world famous E
Edinburgh Festival: Edinburgh Military Tattoo
Tourists queueing for tickets for the Royal Edinburgh Military Tattoo
Sign for the Edinburgh Military Tattoo queue
The Royal Mile, Edinburgh, Scotland - crowds passing through security baggage check on their way to the Edinburgh Tattoo 2015


Kilroy Home Insulation Inc. was founded in 1977 and is a general contractor specializing in energy effecient home weatherization. Kilroy Home Insulation Inc. services the greater Cleveland area and its surrounding suburbs.
* To perform for our customers the highest level of quality HOME WEATHERIZATION services at fair competitive prices.
Did you know that about 44% of your total utility bill pays for heating and cooling your home? In fact, the Department of Energy (DOE) recommends that by insulating your home adequately, an investment of just a few hundred dollars can reduce heating and cooling needs by about 30%. Said another way, you can put your utility dollars back in your pocket month after month by ensuring that your home's insulating system is as good as it can be. The home's exterior building envelope is the first and best defense in this equation.


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Sony Releases Some PSP Price Details
By dsmith on October 27, 2004 at 1:52 pm
Proving a few recent rumors surprisingly true, Sony Computer Entertainment confirmed the Japanese price and release date for its new PSP handheld last night. The unit will hit Japan on December 12 at a price of 20,790 yen including tax ($194), and Sony will be offering some attractive bundle deals as well.
The basic package will include the PSP hardware, an AC adapter, and a single battery pack. For the price of 26,040 yen including tax ($244), consumers will be able to pick up the PSP Value Pack…
More details and pics can be found at Ziff-Davis' gaming site, 1UP.com. Click here for the rest of this story.


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Woman climbs on the bottom of the Statue of Liberty in protest, 7 arrested
Posted: Jul 4, 2018 / 04:07 PM CDT / Updated: Jul 4, 2018 / 07:22 PM CDT
(CNN) -- A woman has climbed the base of the Statue of Liberty and seven people have been arrested on Liberty Island, all of whom are believed to be protesters, law enforcement sources told CNN.
At one point, the woman walked back and forth under Lady Liberty's sandal and then sat down and appeared to unfurl a small flag or banner. The other protesters held a banner over the railing at the base of the statue.
Law enforcement officials were seen mounting a ladder to the base of the statue and talking to the woman, who was sitting in the folds of the statue's gown.
The NYPD is building a rope rescue system to help bring the woman down from the base, because officers don't believe she will come down on her own, a police source told CNN.
Liberty Island has been evacuated while they attempt to get her down, according to Jerry Willis with the National Park Service.
The NYPD says three of its emergency service units and a harbor unit are on scene.
Would you eat something a roach walked on?
Harmony Public Schools' Harmony Science Academy Houston presents 'Serenity' and 'Mount Awesome'


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Career-High 26 From Cook Leads Boxers in 76-53 Win at Lewis & Clark
Pacific (9-12 (5-7 NWC)) 39 37 76
Lewis and Clark (7-14 (4-8 NWC)) 30 23 53
Pts: Olivia Cook - 26
Reb: Olivia Cook - 11
Ast: Kaila Johnson - 5
Pts: Ayisat Afolabi - 13
Ast: Sarah Anderson - 5
More news about: Pacific
PORTLAND – A career high 26 points from Olivia Cook, coupled with her sixth double-double of the season, helped push the Pacific women's basketball team to a 76-53 road victory over Lewis & Clark at the Pamplin Sports Center on Saturday evening.
Lewis & Clark opened the evening's scoring with a Sarah Anderson 3-pointer less than a minute into the game, with Pacific's first basket coming from Cook at 17:53. Cook followed up her first make with a second less than a minute later to pull Pacific within one of the homestanding Pioneers.
Cook scored Pacific's first 10 points of the night, but Lewis & Clark continued to lead 18-10 until Kaila Johnson (Sr., McKinleyville, Calif.) joined in on the action with a 3-point make at 12:23.
Pacific was able to pull within two of the Pioneers during the opening 10 minutes of the game, but Lewis & Clark held the Boxers off until the Pioneers four-point advantage shrank to two on a pair of made free throws from Nani Ostrom (Sr., Juneau, Alaska) and after three-scoreless minutes, saw the Pioneers' lead disappeared with a jumper from Maia LaBoy (Fr., Honolulu, Hawaii).
After exchanged makes by Lewis & Clark's Lauren Wood and Pacific's Kyla Siri (Jr., Spring Creek, Nev.) to put the scoreline at 24-24, the Boxers gained a two-point advantage just inside the five-minute mark on a jumper from Sarah Curl (So., Portland, Ore.).
Curl's jumper, off an assist from Johnson, would give the Boxers a lead they would fail to relinquish the remainder of the evening.
A jumper from Cook was followed by a layup from Lewis & Clark's Kaitlin Mathewson before LaBoy and Ostrom combined for five points to push Pacific's lead to seven points.
The Boxers closed out the half with four-straight points to head to the break with a 39-30 lead.
The two sides traded baskets over the first three minutes of the second period before Kelsey Misseldine (Sr., Phoenix, Ariz.) and Curl scored back-to-back baskets for Pacific to put the Boxers ahead by 13. The Boxers would lead by double digits for the remaining 16 minutes of the game.
Misseldine made the back-end of a trip to the free throw line with 13:43 on the clock to set Pacific on a 13-point run over a nearly seven-minute span, including makes from Curl, LaBoy, Cook and Ostrom. Pacific's run saw the Boxers' advantage reach 25 points before Miya Leith scored from the free throw line to break the Pioneers' scoreless spell.
The final five minutes of regulation saw both teams trade makes until a 3-pointer from Ostrom with 1:58 on the clock wrapped up the scoring for the evening on a 76-53 Pacific victory.
Pacific outrebounded Lewis & Clark 36-22 on Saturday, and finished the night shooting 59.3-percent from the field.
Cook's career-high 26 points were combined with 11 rebounds for her third-straight double-double. Cook added four assists and two blocked shots to her statline on Saturday.
Ostrom finished the evening with 16 points, while Curl and LaBoy rattled off 12 points each. Johnson led Pacific with five assists.
The Boxers next see action on Friday night in Walla Walla, Wash., with a 6 p.m. scheduled tipoff against the Whitman Missionaries.


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What Does a Production Designer Do? Roles, Responsibilities & How To Become One
A production designer is a person who makes decisions about the look and feel of a film, TV show, or theatrical event.
They are responsible for everything from the sets to costumes to props. Production designers can be found in every kind of entertainment industry including movies, theater, opera, and ballet.
The role can range from creating sketches that communicate ideas for set design and costume design to overseeing construction on-site during filming.
In all cases, however, they need an eye for detail – understanding what each item means within the context of its own world while considering how it will work with other items within that world as well as how it will function on screen or on stage.
WHAT DOES A PRODUCTION DESIGNER DO
What Does a Production Designer Do?
Production designers are the people who work behind the scenes to bring a film, TV show, or play to life.
They create sets and decide how everything is going to look for each scene.
A production designer creates sets and props for theater, film or television productions.
A set designer takes into account all the elements that go into designing a set, such as color scheme, furniture style/period (or lack thereof), light fixtures, etc., while also working within budget constraints of the project at hand.
A production designer's job is to create the look and feel of a film. They take into account all aspects of set design, from costume design to props.
Their work is not only limited to on-screen visuals but extends to signage, furniture, and other objects that appear in the background or foreground of scenes.
The process begins with researching a director's vision for a project and then turning it into reality by working closely with many different departments including art direction, set decoration, and construction as well as all members of cast and crew who may have creative input about how they want their character to be seen in this particular world.
The Role Of The Production Designer
The production designer's responsibilities range from set design to working with actors, directors, and all other members of the crew.
Production designers also oversee budgeting, scheduling, props, costumes, hair/makeup departments as well as many more key roles on set.
A production designer is a person who designs sets and scenery for the theater, film, or television. They are responsible for all aspects of set design including space planning, color selection, shopping, and budgeting.
The Production Designer's job entails creating an environment where actors can perform to their fullest potential.
They also work closely with other crew members in order to make sure that they have everything needed to create the best show possible.
Examples Of Great Production Design
Production design has become an integral part of cinema, and the best films are those that have the most immersive environments.
These movies take into consideration every detail in order to immerse the viewer into their world. The following are some examples of great production design in cinema.
For example, Blade Runner 2049: One way this movie immerses us is by using set decoration to create a visual contrast between humans and replicants. This helps convey which characters we should trust more than others while also showing how much work was put into designing these visually stunning scenes.
Design can be seen as a form of art that is used to communicate ideas and messages through visual elements like color, shape, and texture with an intention to improve quality of life. This artistic expression has been utilized by filmmakers for decades to create compelling storylines which captivate viewers' attention and leave them wanting more.
Some films that display excellent use of design are:
The Sixth Sense (1999).
Eternal Sunshine Of The Spotless Mind 2004).
Inception (2010).
Great film and tv rely heavily on design. For example, in the seminal 'Hitchcock' movie "Psycho," we see that director Alfred Hitchcock used a number of clever techniques to subliminally scare his audience.
From the colors red and white throughout the film to the iconic shower scene with its blood-red curtains, Hitchcock's choices were deliberate. In this blog post, I'm going to explore some great examples of design in films!
Why Is Production Design So Important?
The production design is a highly underrated but nonetheless essential part of the filmmaking process.
The most important aspect of any film set is the visual representation of space. The audience should be able to relate to it easily enough so they can focus on what's happening within it.
This way, if you're watching a horror movie and there's nothing but blood-soaked walls near our protagonist (who also happens to have been attacked), we know exactly why he has turned around and spirited away!
The production design process is what gives a film its unique style. The sets, props, and costumes all contribute to the overall feel of the movie.
It's not just about creating an aesthetically pleasing space; it also has to work with the director's vision for how they want their story to be told.
This is why many people in Hollywood are put in charge of this department because they have such a strong understanding of cinematic storytelling.
Keys To Awesome Production Design
The production design is the art of planning a theatrical or cinematic production. It includes the development of costumes, scenery, and lighting.
The importance of product design cannot be understated- without it, movies would lack depth and meaning. It can make or break a film, which makes you wonder why more filmmakers don't take into consideration how important this aspect really is when making their films!
Production designers can also be referred to as scenic designers, set designers, or visual directors. They are responsible for creating a look that will create an overall effect on the audience such as realism, fantasy, horror, etc.
The production design is important because it creates a general feel for what is happening in the story and helps focus attention on specific details from which you may not have otherwise noticed if they were designed differently.
For example, there's something about seeing rust-colored dirt contrasted against crisp white walls that makes everything seem more real than if you saw all green grass with no buildings or white curtains hung up everywhere like in Westworld season one.
What's A Production Designer Good At?
Do you love movies? Do you enjoy art and design? Would you like to make a living in the film industry? Production Designers are responsible for making the actors, sets, and props look believable.
They create moods with color, shapes, textures, etc. If this sounds appealing to you, here is how to become a production designer!
A production designer is a person who designs the sets and scenery for a film or television show. They are in charge of selecting materials, colors, textures, and furniture that best represent the world they are creating on set.
The major duties of production designers include: defining color palettes for scenes/sets; designing lighting schemes for scenes; choosing props (i.e., furniture); determining what kind of camera shots to use during filming; ensuring crew members have enough time to complete their tasks before filming starts; and more!
They are responsible for making sure that everything from props to costumes to lights works together in order to create an environment where the performance can take place.
A production designer should have experience working as a set dresser on productions and also has knowledge of architectural design principles.
Production designers must have a keen eye for detail and an extensive knowledge of color, texture, construction materials, and more in order to create the perfect set.
Who Does A Production Designer Work With?
A production designer works with a variety of individuals throughout the production process.
They communicate with everyone from artists and actors to set builders, lighting technicians, costume designers, directors, and producers.
They are responsible for developing designs that convey the time period or place in which their story is set as well as conveying specific themes important to the film's narrative.
Production designers are responsible for everything from choosing furniture and determining colors to assisting in dressing actors so they look like their characters.
Production designers work closely with directors, set dressers, cinematographers, actors, producers, and art directors in order to make sure that everything on-screen looks perfect.
The production designer also needs to know how much time they will have in post-production so they can plan accordingly while shooting on location or on stage.
What Is The Difference Between A Production Designer vs. Art Director?
There is a lot of confusion about the difference between a production designer and an art director.
Oftentimes they work hand-in-hand with the director to help convey their vision. But what is the difference between these two positions?
The difference between these two jobs is subtle but important: A production designer has more creative freedom than an art director because they have control over all aspects of their work whereas an art director works under the direction of a producer or another person higher up on the chain.
A production designer is responsible for the visual elements of a film, such as assets, and costumes.
An art director focuses on set decoration, which includes props and furniture. Sometimes these two roles are combined so that one person can do both jobs at once.
A production designer is an individual who manages the design of sets, costumes, and props for film and television.
An art director's job is to create conceptual designs for the set or other elements that will be included in a scene.
Production designers are responsible for designing everything you see on set, including the sets, props, costumes, and lighting.
Art directors are in charge of visual design for projects like brochures or corporate identities. If you're not sure which one to hire for your project, it's best to clarify with them (or their company) what they will be doing before hiring them.
Production designers and art directors are responsible for the overall appearance of movies, television shows, theater productions, and other performance events.
Is Production Designer The Role For You?
Do you love art, architecture, and design? Do you like to be creative with your work? If so then the production designer role could be for you.
The production designer is considered one of the most important positions on a movie set since they are responsible for every single detail that goes into making a film or TV show come alive.
They coordinate all aspects of set design from lighting to color schemes, props and even costumes which means that this position allows for an immense amount of creativity in what needs to happen behind the scenes.
This fascinating job has been around since 1906 when it was introduced by Cecil B DeMille in his famous silent film "The Cheat".
If so, a production designer may be the right career path for you. Read on to learn more about this exciting position.
As a production designer, it will be your job to take all of the different elements of a project and put them together into one cohesive product.
This includes everything from developing costumes and sets to coordinating transportation logistics with local authorities.
What It Takes To Be A Production Designer
It's not easy to be a production designer. It requires an artistic eye and attention to detail, as well as the ability to work with people from all different backgrounds.
A production designer is an artist who sets the stage for a film or television show.
Production designers must have a strong sense of spatial design and an understanding of how color schemes affect moods in order to create the perfect atmosphere for each scene in their productions.
They must also be able to work well with groups under intense deadlines while still maintaining high artistic standards.
These skills can be learned through education programs at universities or on-the-job training working as an assistant to more experienced designers before starting out on your own as an independent contractor.
You'll need creativity and attention to detail as well as spatial reasoning and artistic abilities.
Additionally, being able to manage your time effectively is essential for any successful designer because they often have multiple projects going on at once.
Become A Production Designer
Production designers are the masterminds behind everything from TV shows to blockbuster films.
The process starts with research, which may include visiting locations or taking photographs.
They'll also sketch out ideas and concepts for set design. Throughout production, they'll supervise the construction of the set and oversee changes made by other crew members as needed.
As post-production begins, they'll make sure everything meets their original vision; if it doesn't then they do any necessary changes before filming begins again.
Applying for a production designer position requires a lot of dedication and creativity.
Production designers are responsible for creating the overall look of movies, TV shows, commercials, video games, theater productions, and more.
They have to work closely with producers and directors to create the vision for their project which includes designing sets or backgrounds that reflect the time period in which the story is set.
They also need to make sure each scene has its own mood by choosing appropriate props, furniture, and other objects that will be visible on camera. In addition, they are tasked with overseeing all aspects of product design including:
art direction; sketching ideas; rendering 3D images; constructing models; tracking shots in order to map out perspectives before shooting begins.
They should be confident in their skills, learn about the business side of design, and learn how to market themselves as a brand.
You'll also want to understand copyright laws, patents, trademarks, and other legal items related to your work.
And finally, you'll want to take care of yourself so you're able-bodied enough for all that hard work!
What do you think a production designer does? Well, they are the ones that make sure everything is coming together.
They work closely with the director and other members of the film crew to envision how sets, costumes, props, and lighting will be seen on camera for each scene.
A production designer brings those ideas into reality by working with art directors, set designers, costume designers, prop masters, and more to bring their vision to life.
With so many moving pieces in a production team, it can get complicated but these masterful professionals know just what needs to happen when!
Production designers are responsible for making sure everything that appears on screen makes sense within the context of the story being told.
What Kind Of Production Design Education Do I Need?
No matter which path you choose, it's important to have good communication skills and be able to work well with others. Follow us as we explore some of the options available!
For starters, in order to work as a Production Designer, all you really need are some basic drafting skills and an eye for detail.
That said, there are two different kinds of Production Designers – Set designers and Props Designers – so if those sound like something you're interested in then here's what kind of production design schooling will help your chances along the way.
There is no one specific degree that will give you the skills necessary for this field and there are many different avenues to explore.
You can get an arts degree from a university or take more specialized courses on set design at technical colleges.
The job typically requires a Bachelor's degree in Theater Arts or Design. There are many different routes into this career depending on which aspect you want to focus on:
scenic design,
costume design,
sound design,
stage management.
What Skills Are Required For The Production Designer Role?
The most important skill required of a production designer is creativity. They must be able to think outside the box, as it were when designing set pieces and creating new ideas for scenery or costume design.
A certain level of technical knowledge is also needed in order to make sure that everything works on stage or film set properly, but this can usually be learned with training or experience.
In order to become a Production Designer, you need to have many different skills. You need to be someone who has an eye for detail and can work well with others.
The key qualification is that you must have at least four years of experience in art or design-related fields.
You also need some expertise in computer applications such as Photoshop or Illustrator. In addition, you should know how to use Microsoft Office products like PowerPoint or Word?
If you want to be able to call yourself a Production Designer, there are certain steps that need to be taken before you can get your foot in the door. Here's what you should do if this is your goal:
1. Have experience with art programs such as Photoshop and Illustrator.
2. Take classes at schools like UCLA.
3. Become familiar with many different styles of design.
Designing a room layout is not an easy task. There are many factors that need to be considered, such as the size of the room and how much natural light it will receive.
It takes years of experience before someone becomes qualified enough to become a full-time designer on productions that are large scale productions with budgets exceeding $1 million dollars per
In the film industry, a production designer is responsible for creating the look and feel of sets. Production designers are tasked with collaborating to create realistic worlds that match their clients' vision in order to produce high-quality films.
They generally work closely with a director, cinematographer, art director and costume designer as well as other production staff members such as set dressers, props specialists, and model makers.
The role typically requires an individual who has extensive experience in architecture or drafting courses.
This person must be able to sketch out ideas quickly so they can provide inspiration for others on set before construction begins on the actual set pieces.
In addition to these skill sets, it is important that this individual also have knowledge about color theory and methods of painting surfaces.
Production Designer Resume Help
Are you a designer looking for help with your production design resume? If so, this blog post is for you. Here are some tips on how to create an awesome production design resume that will get you the job!
Do you need help building your production designer resume? Do you have a good eye for detail and the ability to work with people from different backgrounds?
The following tips will help you with your resume:
-Include your educational background as well as any other relevant work experience.
-List any awards or honors you have received on this page too!
-Use different sections of the resume such as "Skills" and "Professional Interests." These could be anything from hobbies to skills that did not fit elsewhere like languages spoken.
You should also include relevant work history, training, education, and other qualifications in order to make yourself stand out from the rest of the competition.
What Should I Include In My Production Designer Portfolio?
You need to include examples of the work that you have done.
You can also add a description of how and why you did it. Include what kind of equipment, software, or other supplies were used for each project. If possible, provide links to the websites where these projects can be viewed online.
Include some personal information about yourself such as age, location, hobbies, education level, and work experience so that people know who they are looking at.
What Kind Of Salary Can I Expect As A Production Designer?
The production designer salary you can expect is dependent on the type of work you do. Production designers typically have a higher salary in the film than they do for commercials, and it also varies based on their experience level.
A mid-level production designer with less than five years of experience could expect to earn between $60,000-$80,000 per year.
Senior-level production designers with more than ten years of experience may make upwards of $100,000 per year or even more depending on the company and location.
The industry standard for starting salaries is usually around $45,000-$50,000 per year for those just entering into the field without any previous experience in design or related fields such as art direction or set decoration.
Do I Need To Join A Production Design Union?
If you're a professional in the design industry and are looking for work, then yes.
If you're not a professional designer but know someone who is or has an interest in becoming one, then read on to learn more about what it means to join a production design union.
A production design union is an organization that helps designers get jobs by organizing them into categories of expertise so they can be matched with appropriate projects.
They also help set standards and keep track of credits for those working in the field.
There are two major unions that offer membership to those who work as designers: The International Alliance of Theatrical Stage Employees (IATSE) or the Motion Picture Studio Production Designers Association (MPPD).
The IATSE is an organization devoted to representing workers in the theatre industry such as stagehands, carpenters, electricians, and members of other crafts involved in theatrical productions.
It also represents projectionists working at movie theatres. MPPD is an association that represents individuals with experience in film production design including set directors.
Joining these organizations requires dues, which vary depending on your salary level.
There are many benefits to union membership including health insurance and residuals (payments made when your work is re-broadcast).
Once you're a member you can't work for anyone who doesn't sign an agreement with the union – which means that nonunion productions will never hire you again.
The downside?
You have to pay dues each year – $700 per year if you live in LA County ($350 outside LA County) and there's also an initiation.
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Mastering The Film Score According To John Williams


Grey seal is the biggest seal species out of the three species living in the Baltic Sea. Male seals can weight up to 300 kg and reach the length of up to 3 meters. Grey seal have a recognizable long snout. Females are lighter colored than the males and they are smaller in size. Some black and yellow-brown colored individuals have been reported as well. Their diet consists of fish, crayfish and mollusks.


text:
\subsection{Polarization dependence of the effective length scale}
\begin{figure}[b]
\includegraphics[width=90mm]{fig1s.pdf}
\caption{\label{fig1s}
Effective length scale $\xi_g$ for a circularly polarized light (black solid curve) and a linearly polarized light (red dashed curve) against the bare light-matter coupling  $g$. This length characterizes the effective interaction strength in the asymptotically decoupled frame. We set $\omega_c=\hbar=m=1$.
}
\end{figure}
We here mention that the effective length scale $\xi_g$, which characterizes the light-matter interaction strength in the asymptotically decoupled (AD) frame, in general depends on a polarization of an electromagnetic mode coupled to a many-body system. To demonstrate this, we consider a two-dimensional many-body system coupled to a circularly polarized electromagnetic mode as an illustrative example:
 \eqn{
\hat{\boldsymbol{A}}={\cal A}\left(\boldsymbol{e}\hat{a}+\boldsymbol{e}^{*}\hat{a}^{\dagger}\right),\;\;\boldsymbol{e}=\frac{1}{\sqrt{2}}\left[\begin{array}{c}
1\\
i
\end{array}\right].}
In this case, there are no terms that are proportional to $\hat{a}\hat{a}$ or $\hat{a}^\dagger\hat{a}^\dagger$ in the $\hat{\boldsymbol{A}}^2$ term;  this diamagnetic term simply renormalizes the photon  frequency without performing the Bogoliubov transformation. Thus, the resulting light-matter Hamiltonian in the Coulomb gauge is given by
\eqn{
\hat{H}_{{\rm C}}=\int d\boldsymbol{x}\,\hat{\psi}_{\boldsymbol{x}}^{\dagger}\left(-\frac{\hbar^{2}\nabla^{2}}{2m}+V(\boldsymbol{x})\right)\hat{\psi}_{\boldsymbol{x}}-gx_{\omega_{c}}\int d\boldsymbol{x}\,\hat{\psi}_{\boldsymbol{x}}^{\dagger}(-i\hbar\nabla)\hat{\psi}_{\boldsymbol{x}}\cdot\left(\boldsymbol{e}\hat{a}+\boldsymbol{e}^{*}\hat{a}^{\dagger}\right)+\hbar\Omega\hat{a}^{\dagger}\hat{a},
}
where $g=q{\cal A}\sqrt{\omega_c/m\hbar}$ and we introduce
\eqn{\label{circpolmic}
x_{\omega_{c}}=\sqrt{\frac{\hbar}{m\omega_{c}}},\;\;\Omega=\omega_{c}\left(1+\frac{Ng^{2}}{\omega_{c}^{2}}\right).
}
Note that the renormalized photon frequency depends on $g$ in a different way from the linearly polarized case discussed in the main text, for which $\Omega=\sqrt{\omega_c^2+2Ng^2}$.

To asymptotically decouple the light and matter degrees of freedom, we can use a unitary transformation
\eqn{\label{unicirc}
\hat{U}=\exp\left[-i\xi_{g}\int d\boldsymbol{x}\,\hat{\psi}_{\boldsymbol{x}}^{\dagger}(-i\nabla)\hat{\psi}_{\boldsymbol{x}}\cdot\hat{\boldsymbol{\pi}}\right],\;\;\;\hat{\boldsymbol{\pi}}=i\left(\boldsymbol{e}^{*}\hat{a}^{\dagger}-\boldsymbol{e}\hat{a}\right),
}
where we define the effective length scale $\xi_g$ by
\eqn{
\xi_{g}=\frac{gx_{\omega_{c}}}{\Omega}=x_{\omega_{c}}\frac{g/\omega_{c}}{1+Ng^{2}/\omega_{c}^{2}}.
}
This length scale for a circularly polarized case asymptotically vanishes in the strong-coupling limit with the scaling $\propto 1/g$, which is faster than the linearly polarized case $\propto 1/g^{1/2}$ [see Fig.~\ref{fig1s}].
For the sake of completeness, we also show the full expression of the transformed Hamiltonian $\hat{H}_U=\hat{U}^\dagger\hat{H}_{\rm C}\hat{U}$ in the present case:
\eqn{
\hat{H}_{U}\!=\!\int d\boldsymbol{x}\,\hat{\psi}_{\boldsymbol{x}}^{\dagger}\left[-\frac{\hbar^{2}\nabla^{2}}{2m}+V\left(\boldsymbol{x}+\xi_{g}\hat{\boldsymbol{\pi}}\right)\right]\hat{\psi}_{\boldsymbol{x}}\!+\!\hbar\Omega\hat{a}^{\dagger}\hat{a}-\frac{\hbar^{2}g^{2}}{m\Omega^{2}}\left[\int d\boldsymbol{x}\,\hat{\psi}_{\boldsymbol{x}}^{\dagger}(-i\nabla)\hat{\psi}_{\boldsymbol{x}}\right]^{2}\!+\!\int d\boldsymbol{x}d\boldsymbol{x}'\,\frac{q^{2}\hat{\psi}_{\boldsymbol{x}}^{\dagger}\hat{\psi}_{\boldsymbol{x}'}^{\dagger}\hat{\psi}_{\boldsymbol{x}'}\hat{\psi}_{\boldsymbol{x}}}{4\pi\epsilon_{0}|\boldsymbol{x}-\boldsymbol{x}'|}.
}

\subsection{Enhancement of the effective mass}
We here demonstrate that the enhanced effective mass, which was discussed in the main text for a single-particle sector, in the case of a general $N$-particle system. For the sake of simplicity, we consider a 1D translationally invariant many-body system consisting of $N$ particles coupled to an electromagnetic mode, and write its Hamiltonian in the first-quantization form:
\eqn{
\hat{H}_{{\rm C}}=\sum_{j=1}^N\frac{(\hat{p}_{j}-q\hat{A})^{2}}{2m}+\sum_{j<j'}\frac{q^{2}}{4\pi\epsilon_{0}|x_{j}-x_{j'}|}+\hbar\omega_{c}\hat{a}^{\dagger}\hat{a}.
}
 Introducing the total momentum $\hat{P}=\frac{1}{\sqrt{N}}\sum_{j}\hat{p}_{j}$, we can decompose $\hat{H}_{{\rm C}}$ as
\eqn{
\hat{H}_{{\rm C}}=\hat{H}_{{\rm rel}}+\frac{\hat{P}^{2}}{2m}-\frac{q{\cal A}}{m}\sqrt{N}\hat{P}(\hat{a}+\hat{a}^{\dagger})+\frac{Nq^{2}{\cal A}^{2}}{2m}(\hat{a}+\hat{a}^{\dagger})^{2}+\hbar\omega_{c}\hat{a}^{\dagger}\hat{a},
}
where  $\hat{H}_{{\rm rel}}$ governs the relative motion of particles:
\eqn{
\hat{H}_{{\rm rel}}=\sum_{j=1}^N\frac{(\hat{p}_{j}-\hat{P}/\sqrt{N})^{2}}{2m}+\sum_{j<j'}\frac{q^{2}}{4\pi\epsilon_{0}|x_{j}-x_{j'}|}.
}
After performing the Bogoliubov transformation for the photon operator
and applying the decoupling unitary transformation in the same manner as done in the main text, we obtain
\eqn{
\hat{H}_{U} =\hat{H}_{{\rm rel}}+\left(1-\frac{2Ng^{2}}{\Omega^{2}}\right)\frac{\hat{P}^{2}}{2m}+\hbar\Omega\hat{a}^{\dagger}\hat{a}=\hat{H}_{{\rm rel}}+\frac{\hat{P}^{2}}{2m_{{\rm eff}}}+\hbar\Omega\hat{a}^{\dagger}\hat{a},
}
where we introduce the enhanced effective mass as
\eqn{
m_{{\rm eff}}=m(1+2Ng^{2}/\omega_{c}^{2}).
}
We note that this reduces to the effective mass discussed in the main text in the case of a single-particle sector $N=1$.

\subsection{Derivation of the tight-binding models}
We here provide technical details about the derivation of the tight-binding models in the AD frame and the Coulomb gauge.
 We consider an electron that is subject to the periodic potential $V(x)=v[1+\cos(2\pi x/d)]$ and coupled to an electromagnetic mode. The total Hamiltonian in the AD frame is given by [cf. Eq.~(5) in the main text]
 \eqn{\label{hus}
 \hat{H}_{U}=\frac{\hat{p}^{2}}{2m_{{\rm eff}}}+v\left[1+\cos\left(Kx\right)\cos\left(K\xi_{g}\hat{\pi}\right)-\sin\left(Kx\right)\sin\left(K\xi_{g}\hat{\pi}\right)\right]+\hbar\Omega\hat{b}^{\dagger}\hat{b},
 }
 where $\hat{\pi}=i(\hat{b}^\dagger-\hat{b})$ and $K=\frac{2\pi}{d}$.
 To derive the effective low-energy Hamiltonian, we consider the lowest-band Bloch wavefunctions for the single-particle Hamiltonian with the effective mass $m_{\rm eff}$:
 \eqn{
\left[\frac{\hat{p}^{2}}{2m_{{\rm eff}}}+V(x)\right]\psi_{k}=\epsilon_{k,g}\psi_{k},
 }
 where $\psi_{k}(x)=e^{ikx}u(x)$ with $u(x)$ satisfying $u(x)=u(x+d)$. Here, we note the $g$ dependence of the dispersion $\epsilon_{k,g}$, which comes through the effective mass $m_{\rm eff}=m[1+2(g/\omega_c)^2]$.
 The corresponding Wannier function is
 \eqn{
w_{j}(x)=\int\frac{dk}{K}e^{-ikjd}\psi_{k}(x).
 }
 We now introduce a manifold of light-matter wavefunction spanned by product states consisting of these Wannier orbitals and an electromagnetic mode:
 \eqn{
|\Psi_{j}\rangle=\int dx\,w_{j}(x)|x\rangle\otimes|\psi_{{\rm photon}}\rangle,
 }
 where $|\psi_{\rm photon}\rangle$ represents a photon state.
 When we consider the projection of $\hat{H}_U$ onto this manifold, the contribution from the term proportional to $\sin(Kx)$ in Eq.~\eqref{hus} vanishes. This is because the Hamiltonian $\hat{H}_U$ has the parity symmetry under $x\to -x$ and $\hat{\pi}\to-\hat{\pi}$ and the lowest states reside in the even parity sector. Since the lowest-band Wannier state $w(x)$ respects the even parity symmetry, a photon wavefunction must also be symmetric against $\hat{\pi}\to-\hat{\pi}$. This fact leads to $\langle\sin(K\xi_g\hat{\pi})\rangle=0$, where $\langle\cdots\rangle$ represents an expectation value with respect to a photon wavefunction with the even parity.  Thus, after performing the tight-binding approximation and taking into account the leading contributions, the projection results in the matrix elements
 \eqn{
\langle\Psi_{j}|\hat{H}_{U}|\Psi_{i}\rangle&=&\langle\Psi_{j}|\frac{\hat{p}^{2}}{2m_{{\rm eff}}}+V(x)+v\cos\left(Kx\right)\left[\cos\left(K\xi_{g}\hat{\pi}\right)-1\right]+\hbar\Omega\hat{b}^{\dagger}\hat{b}|\Psi_{i}\rangle\nonumber\\
	&\simeq &t_{g}\left(\delta_{i,j+1}+\delta_{i,j-1}\right)+\mu_{g}\delta_{i,j}+\left[t'_{g}\left(\delta_{i,j+1}+\delta_{i,j-1}\right)+\mu'_{g}\delta_{i,j}\right]\langle\hat{\delta}_{g}\rangle+\hbar\Omega\delta_{i,j}\langle\hat{b}^{\dagger}\hat{b}\rangle,
 }
 where we introduce the renormalized tight-binding parameters depending on $g$ as
 \eqn{t_{g}=\int\frac{dk}{K}\epsilon_{k,g}e^{ikd}\in\mathbb{R},\;\;\mu_{g}=\int\frac{dk}{K}\epsilon_{k,g},}
 \eqn{
t'_{g}=v\int dx\,w_{i-1}^{*}\cos(Kx)w_{i}\in\mathbb{R},\;\;\mu'_{g}=v\int dx\,w_{i}^{*}\cos(Kx)w_{i},
 }
 and the operator describing the electromagnetically induced fluctuation by
 \eqn{
\hat{\delta}_g=\cos\left(K\xi_{g}\hat{\pi}\right)-1.
 }
 After transforming to the second quantization notation, we obtain the tight-binding Hamiltonian in the AD frame, which provides Eq.~(9) in the main text
 \eqn{\label{tbsup}
\hat{H}_{U}^{{\rm TB}}=\left(t_{g}+t'_{g}\hat{\delta}_g\right)\sum_{i}\left(\hat{c}_{i}^{\dagger}\hat{c}_{i+1}+{\rm h.c.}\right)+\left(\mu_{g}+\mu'_{g}\hat{\delta}_g\right)\sum_{i}\hat{c}_{i}^{\dagger}\hat{c}_{i}+\hbar\Omega\hat{b}^{\dagger}\hat{b},
 }
 where the annihilation operator should be understood in terms of the expansion $\hat{\psi}_{x}=\sum_{j}w_{j}(x)\hat{c}_{j}$.
 We remark that, while this tight-binding description is valid when low-energy equilibrium properties are of interest, one may have to include further correction terms for analyzing nonequilibrium dynamics.  For instance, the contribution from the $\sin(Kx)$ term in Eq.~\eqref{hus} can be relevant when excitations to higher bands are nonnegligible.

  We here note that the calculation of matrix elements of the shifted potential term $V(x+\xi_g\hat{\pi})$ has been separated into light and matter parts. This simplification has its origin in the translationally invariance of the potential $V(x)$, and can be transferred to a general periodic potential.
  While one needs to work with the operator-valued term such as $\cos(K\xi_g\hat{\pi})$, in practice, it can still efficiently be calculated since it usually suffices to set a photon-number cutoff to at most $\sim100$ in the AD frame, for which $\hat{\pi}$ is just a matrix with a small dimension [cf. Fig.~\ref{fig2s}]. This is the reason why we did not need to rely on the approximative form (Eq.~(10) in the main text) obtained by the expansion in $\xi_{g}\hat{\pi}$, but only on the tight-binding approximation, resulting in Eq.~\eqref{tbsup}.

 Meanwhile, when we are interested in a nonperiodic potential, the simplification at a large coupling can be made possible by performing the Taylor expansion and truncating at a finite order as discussed in the main text.  Said differently, the calculation of the shifted potential can be challenging if the potential is nonperiodic and singular such that the truncation cannot be well-justified and the coupling strength lies in the intermediate regime $g/\omega_c\sim 1$ for which the effective length $\xi_g$ is rather large [cf. Fig.~1 in the main text].

 For the sake of comparison, we next explain the construction of the tight-binding Hamiltonian in the Coulomb gauge. We start from the Coulomb-gauge Hamiltonian
 \eqn{
\hat{H}_{{\rm C}}=\frac{\hat{p}^{2}}{2m}+V(x)-gx_{\Omega}\hat{p}(\hat{b}+\hat{b}^{\dagger})+\hbar\Omega\hat{b}^{\dagger}\hat{b}.
 }
 Similar to the above discussion, we consider the lowest-band Wannier states for the single-particle Hamiltonian with the {\it bare} mass $m$:
 \eqn{
\left[\frac{\hat{p}^{2}}{2m}+V\left(x\right)\right]\tilde{\psi}_{k}=\tilde{\epsilon}_{k}\tilde{\psi}_{k},\;\;\tilde{w}_{j}(x)=\int\frac{dk}{K}e^{-ikjd}\tilde{\psi}_{k}(x),
 }
 and consider a manifold spanned by the following light-matter states
  \eqn{
 |\tilde{\Psi}_{j}\rangle=\int dx\,\tilde{w}_{j}(x)|x\rangle\otimes|\psi_{{\rm photon}}\rangle.
  }
  We note that the dispersion $\tilde{\epsilon}_k$ is independent of $g$ as we here consider the bare mass $m$.
The projection of $\hat{H}_{\rm C}$ onto this manifold results in the matrix elements
\eqn{
\langle\tilde{\Psi}_{j}|\hat{H}_{{\rm C}}|\tilde{\Psi}_{i}\rangle	&=&\langle\tilde{\Psi}_{j}|\frac{\hat{p}^{2}}{2m}+V(x)-gx_{\Omega}\hat{p}(\hat{b}+\hat{b}^{\dagger})+\hbar\Omega\hat{b}^{\dagger}\hat{b}|\tilde{\Psi}_{i}\rangle\nonumber\\
	&\simeq&\tilde{t}\left(\delta_{i,j+1}+\delta_{i,j-1}\right)+\tilde{\mu}\delta_{i,j}-\left(\tilde{\lambda}_{g}\delta_{i,j+1}+\tilde{\lambda}_{g}^{*}\delta_{i,j-1}\right)\langle\hat{b}+\hat{b}^{\dagger}\rangle+\hbar\Omega\delta_{i,j}\langle\hat{b}^{\dagger}\hat{b}\rangle,
}
where $\langle\cdots\rangle$ represents an expectation value with respect to an arbitrary photon state and the tight-binding parameters are defined by
\eqn{
\tilde{t}=\int\frac{dk}{K}\tilde{\epsilon}_{k}e^{ikd}\in\mathbb{R},\;\;\tilde{\mu}=\int\frac{dk}{K}\tilde{\epsilon}_{k},\;\;\tilde{\lambda}_{g}=\hbar gx_{\Omega}\int dx\,\tilde{w}_{i-1}^{*}(-i\partial_{x})\tilde{w}_{i}\in i\mathbb{R}.
}
We again emphasize that, in contrast to the AD-frame case above, the tight-binding parameters are defined in terms of the single-particle states with the bare mass $m$; thus, in particular, $\tilde{t},\tilde{\mu}$ are independent of the light-matter coupling $g$.

In the second quantization notation, the tight-binding Hamiltonian can be written as
\eqn{
\hat{H}_{{\rm C}}^{{\rm TB}}=\sum_{i}\left(\left[\tilde{t}-\tilde{\lambda}_{g}\left(\hat{b}+\hat{b}^{\dagger}\right)\right]\hat{\tilde{c}}_{i}^{\dagger}\hat{\tilde{c}}_{i+1}+{\rm h.c.}\right)+\tilde{\mu}\sum_{i}\hat{\tilde{c}}_{i}^{\dagger}\hat{\tilde{c}}_{i}+\hbar\Omega\hat{b}^{\dagger}\hat{b},
}
where the annihilation operator is defined in terms of the Wannier function with the bare mass, $\hat{\psi}_{x}=\sum_{j}\tilde{w}_{j}(x)\hat{\tilde{c}}_{j}$.
Its eigenspectrum can analytically be given by
\eqn{\label{dispC}
\tilde{\epsilon}_{k,n,{\rm C}}^{{\rm TB}}=2\tilde{t}\cos\left(kd\right)+\tilde{\mu}-\frac{4\tilde{\lambda}_{g}^{2}}{\Omega}\sin^{2}\left(kd\right)+\hbar\Omega\,n,
}
where $n=0,1,2\ldots$ The results plotted in Fig.~2 in the main text correspond to the $n=0$ sector of this dispersion.  It is evident from Eq.~\eqref{dispC} that the tight-binding spectrum in the Coulomb gauge is completely independent of $g$ at $k=0,\pm \pi/d$, which clearly indicates difficulties of level truncations in the Coulomb gauge.

Finally, we remark that the one-dimensional tight-binding model acquires additional contributions in the case of the circularly polarized light. To see this, it is sufficient to consider the following single-particle continuum model [see Eq.~\eqref{circpolmic} for the definitions of the microscopic parameters]:
\eqn{
\hat{H}_{{\rm C}}=\frac{\hat{\boldsymbol{p}}^2}{2m}+V(x)+\frac{m\Omega_y^2 y^2}{2}-gx_{\omega_{c}}\hat{\boldsymbol{p}}\cdot\left(\boldsymbol{e}\hat{a}+\boldsymbol{e}^{*}\hat{a}^{\dagger}\right)+\hbar\Omega\hat{a}^{\dagger}\hat{a},
}
where $\boldsymbol{e}=\frac{1}{\sqrt{2}}[1,i]^{\rm T}$ is the polarization vector, $\Omega=\omega_c(1+g^2/\omega_c^2)$, and the electron is tightly localized in the transverse $y$ direction via the potential $m\Omega_y^2 y^2/2$, while it is subject to the periodic potential $V(x)$ in the $x$ direction. Using the unitary transformation~\eqref{unicirc}, we obtain
\eqn{\label{circtbm}
\hat{H}_{U}\!=\!\frac{\hat{\boldsymbol{p}}^2}{2m_{\rm eff}}+V\left(x+i\xi_g(\hat{a}^\dagger-\hat{a})/\sqrt{2}\right)+\frac{m\Omega_y^2 \left[y+\xi_g(\hat{a}+\hat{a}^\dagger)/\sqrt{2}\right]^2}{2}+\hbar\Omega\hat{a}^{\dagger}\hat{a},
}
where $m_{\rm eff}=m[1+(g/\omega_c)^2]$ and $\xi_g=gx_{\omega_c}/\Omega=x_{\omega_c}g/(\omega_c+g^2/\omega_c)$. It is now clear that, even when we are interested in 1D electron dynamics in the $x$ direction and aim to derive the tight-binding model along this direction, we must in general take into account the contribution from the third term in the RHS of Eq.~\eqref{circtbm} that arises from the coupling between the transverse motion and the circularly polarized light. Nevertheless, the simple 1D description along the $x$ direction analogous to Eq.~(5)  in the main text (i.e., neglecting the orbital motion along the $y$ direction) can still be recovered when (i) $\Omega_y$ is large so that motional excitation in the $y$ direction is suppressed and (ii) the coupling $g$ is large in the sense that $\Omega_y\ll g^2/\omega_c$ (which means  $m\Omega_y^2\xi_g^2\ll\hbar\Omega$) in such a way that the light-matter coupled term can be neglected compared to the dressed photon term. We note that the condition (ii) can in principle be satisfied for any finite $\Omega_y$ provided that $g$ is sufficiently large.

\begin{figure}[t]
\includegraphics[width=140mm]{fig2s.pdf}
\caption{\label{fig2s}
Comparisons of convergence of low-energy spectra in the AD frame (blue solid curves) and the PZW frame (red dotted curves) with respect to the photon-number cutoff $n_c$ at different coupling strengths $g$. The AD-frame energies efficiently converge at low $n_c$, while the results in the PZW frame require an increasingly large cutoff at stronger $g$, and do not converge for $g/\omega_c\gtrsim 10$ at least in the plotted scale. We set $\omega_c=\sqrt{\hbar/m\omega_c}=1$ and choose the parameters $\lambda\!=\!3$, $\mu\!=\!3.85$.
}
\end{figure}

\subsection{Photon-number cutoff dependence of the low-energy spectra}
We here briefly mention the photon-number cutoff dependence of the low-energy spectra in different frames. We compare the spectra for the double-well potential $V=-\lambda x^2/2+\mu x^4/4$ in the AD frame $\hat{H}_U=\hat{U}^\dagger\hat{H}_{\rm C}\hat{U}$ with $\hat{U}=\exp(-i\xi_g\hat{p}\hat{\pi}/\hbar)$ and the Power-Zienau-Woolley (PZW) frame $\hat{H}_{{\rm PZW}}=\hat{U}_{{\rm PZW}}^{\dagger}\hat{H}_{{\rm C}}\hat{U}_{{\rm PZW}}$ with $\hat{U}_{\rm PZW}=\exp(iqx\hat{A}/\hbar)$:
\eqn{
\hat{H}_{U}&=&\frac{\hat{p}^{2}}{2m_{{\rm eff}}}+V\left(x+\xi_{g}\hat{\pi}\right)+\hbar\Omega\hat{b}^{\dagger}\hat{b},\label{huss}\\
\hat{H}_{{\rm PZW}}&=&\frac{\hat{p}^{2}}{2m}+V(x)+mg^{2}x^{2}+ig\sqrt{m\hbar\omega_{c}}x(\hat{a}^\dagger-\hat{a})+\hbar\omega_{c}\hat{a}^{\dagger}\hat{a}.
}
In Fig.~3 in the main text, we show the results at the large photon-number cutoff $n_c=100$, and demonstrate that the PZW frame fails to capture the key features in the extremely strong coupling (ESC) regime, such as the level degeneracy and narrowing. This is caused by the slower convergence of the PZW results  at larger coupling $g$ with respect to the photon-number cutoff $n_c$. To see this explicitly, we plot the low-lying energies (subtracted by the lowest eigenvalue) in different frames in Fig.~\ref{fig2s}. While the results in the AD frame efficiently converge already for low cutoff $n_c\sim 5\!-\!10$ at any coupling strength $g$, the convergence in the PZW frame becomes worse as $g$ is increased. In particular, in the ESC regime (roughly corresponding to $g/\omega_c\gtrsim 10$), the PZW results typically fail to converge within a tractable value of the photon-number cutoff. This difficulty stems from the rapid increase of the mean-photon number in an energy eigenstate due to large entanglement among high-lying levels present in the PZW frame.

\subsection{Derivation of the multimode generalization of the unitary transformation}
We provide details about the derivation of the multimode generalization of our formalism presented in the main text.
We start from the light-matter Hamiltonian including multiple spatially varying electromagnetic modes in the Coulomb gauge:
\eqn{
\hat{H}_{{\rm C}}=\frac{\hat{\boldsymbol{p}}^{2}}{2m}+V(\boldsymbol{x})-\frac{q}{2m}\left(\hat{\boldsymbol{p}}\cdot\hat{\boldsymbol{A}}(\boldsymbol{x})+{\rm h.c.}\right)+\frac{q^{2}\hat{\boldsymbol{A}}^{2}(\boldsymbol{x})}{2m}+\sum_{\boldsymbol{k}\lambda}\hbar\omega_{\boldsymbol{k}}\hat{a}_{\boldsymbol{k}\lambda}^{\dagger}\hat{a}_{\boldsymbol{k}\lambda},
}
where we consider the vector potential expanded by plane waves
\eqn{
\hat{\boldsymbol{A}}(\boldsymbol{x})=\sum_{\boldsymbol{k}\lambda}\boldsymbol{\epsilon}_{\boldsymbol{k}\lambda}{\cal A}_{\boldsymbol{k}}\left(\hat{a}_{\boldsymbol{k}\lambda}e^{i\boldsymbol{k}\cdot\boldsymbol{x}}+{\rm h.c.}\right),\;\;\boldsymbol{k}\cdot\boldsymbol{\epsilon}_{\boldsymbol{k}\lambda}=0,\;\;\boldsymbol{\epsilon}_{\boldsymbol{k}\lambda}\cdot\boldsymbol{\epsilon}_{\boldsymbol{k}\nu}=\delta_{\lambda\nu}
}
with $\lambda$ denoting polarization.
To generalize the asymptotically decoupling unitary transformation~$\hat{U}$ to this multimode case, we first introduce the field operators
\eqn{
\hat{X}_{\boldsymbol{k}\lambda}(\boldsymbol{x})\equiv\sqrt{\frac{\hbar}{2\omega_{\boldsymbol{k}}}}\left(\hat{a}_{\boldsymbol{k}\lambda}e^{i\boldsymbol{k}\cdot\boldsymbol{x}}+\hat{a}_{\boldsymbol{k}\lambda}^{\dagger}e^{-i\boldsymbol{k}\cdot\boldsymbol{x}}\right),\;\hat{P}_{\boldsymbol{k}\lambda}(\boldsymbol{x})\equiv\sqrt{\frac{\hbar\omega_{\boldsymbol{k}}}{2}}i\left(\hat{a}_{\boldsymbol{k}\lambda}^{\dagger}e^{-i\boldsymbol{k}\cdot\boldsymbol{x}}-\hat{a}_{\boldsymbol{k}\lambda}e^{i\boldsymbol{k}\cdot\boldsymbol{x}}\right),
}
and define the coupling as
\eqn{
g_{\boldsymbol{k}}=q{\cal A}_{\boldsymbol{k}}\sqrt{\frac{\omega_{\boldsymbol{k}}}{m\hbar}}.
}
We then rewrite the quadratic photon part of the Hamiltonian (aside the constant) as
\eqn{
\frac{q^{2}\hat{\boldsymbol{A}}^{2}(\boldsymbol{x})}{2m}+\sum_{\boldsymbol{k}\lambda}\hbar\omega_{\boldsymbol{k}}\hat{a}_{\boldsymbol{k}\lambda}^{\dagger}\hat{a}_{\boldsymbol{k}\lambda}&=&\sum_{\boldsymbol{k}\lambda}\frac{\hat{P}_{\boldsymbol{k}\lambda}^{2}(\boldsymbol{x})}{2}+\frac{1}{2}\sum_{\boldsymbol{k}\lambda\boldsymbol{k}'\lambda'}\left(\delta_{\boldsymbol{k}\lambda,\boldsymbol{k}'\lambda'}\omega_{\boldsymbol{k}}^{2}+2g_{\boldsymbol{k}}g_{\boldsymbol{k}'}\boldsymbol{\epsilon}_{\boldsymbol{k}\lambda}\cdot\boldsymbol{\epsilon}_{\boldsymbol{k}'\lambda'}\right)\hat{X}_{\boldsymbol{k}\lambda}(\boldsymbol{x})\hat{X}_{\boldsymbol{k}'\lambda'}(\boldsymbol{x})\nonumber\\
&=&\frac{1}{2}\sum_{\alpha}\left(\hat{P}_{\alpha}^{2}(\boldsymbol{x})+\Omega_{\alpha}^{2}\hat{X}_{\alpha}^{2}(\boldsymbol{x})\right),
}
where we define the diagonalized basis labeled by $\alpha$ via
\eqn{
\hat{X}_{\boldsymbol{k}\lambda}(\boldsymbol{x})=\sum_{\alpha}O_{\boldsymbol{k}\lambda,\alpha}\hat{X}_{\alpha}(\boldsymbol{x})
}
with $O_{\boldsymbol{k}\lambda,\alpha}$ being an orthogonal matrix.

We next introduce the $\boldsymbol{x}$-dependent annihilation operators via
\eqn{
\hat{b}_{\alpha}(\boldsymbol{x})\equiv\sqrt{\frac{\Omega_{\alpha}}{2\hbar}}\hat{X}_{\alpha}(\boldsymbol{x})+\frac{i}{\sqrt{2\hbar\Omega_{\alpha}}}\hat{P}_{\alpha}(\boldsymbol{x}),
}
and also define the vector-valued variables labeled by $\alpha$ as
\eqn{
\boldsymbol{\zeta}_{\alpha}=x_{\Omega_{\alpha}}\sum_{\boldsymbol{k}\lambda}\boldsymbol{\epsilon}_{\boldsymbol{k}\lambda}g_{\boldsymbol{k}}O_{\boldsymbol{k}\lambda,\alpha},
}
where $x_{\Omega_{\alpha}}=\sqrt{\frac{\hbar}{m\Omega_{\alpha}}}$.
We now introduce the unitary transformation in the multimode case by
\eqn{
\hat{U}=\exp\left[-i\frac{\hat{\boldsymbol{p}}}{\hbar}\cdot\sum_{\alpha}\boldsymbol{\xi}_{\alpha}\hat{\pi}_{\alpha}(\boldsymbol{x})\right],\;\;\hat{\pi}_{\alpha}(\boldsymbol{x})=i\left(\hat{b}_{\alpha}^{\dagger}(\boldsymbol{x})-\hat{b}_{\alpha}(\boldsymbol{x})\right),\;\;\boldsymbol{\xi}_{\alpha}=\frac{\boldsymbol{\zeta}_{\alpha}}{\Omega_{\alpha}}.
}
We note that, since the electromagnetic modes now explicitly depend on the position $\boldsymbol{x}$, they do not commute with the momentum operator $\hat{\boldsymbol{p}}$ in the transformation $\hat{U}$, and thus, the transformed Hamiltonian in general acquires additional contributions compared to the simple expression obtained in the single-mode case [cf. Eq.~\eqref{huss}].
Nevertheless, significant simplification can occur when the field variation is small compared with the effective length scale:
\eqn{\label{cond}
k|\boldsymbol{\xi}|\ll 1\;\;{\rm for}\;\;|\nabla\hat{b}|\sim k\hat{b}.
}
We emphasize that this condition is independent of system size and thus much less restrictive than the standard dipole approximation. In particular, Eq.~\eqref{cond} can, in principle, be attained for any $k$ if the coupling $g$ is taken to be sufficiently strong such that the effective length scale $|\boldsymbol{\xi}|$ is short enough to satisfy this condition.
Under this condition, the derivative terms of the field operators $\hat{b}(\boldsymbol{x})$, $\hat{\pi}(\boldsymbol{x})$ can be neglected, resulting in the simple transformed Hamiltonian:
\eqn{
\hat{H}_{U}=\hat{U}^{\dagger}\hat{H}_{C}\hat{U}\simeq\frac{\hat{\boldsymbol{p}}^{2}}{2m}-\sum_{\alpha}\frac{\left(\hat{\boldsymbol{p}}\cdot\boldsymbol{\zeta}_{\alpha}\right)^{2}}{\hbar\Omega_{\alpha}}+V\left(\boldsymbol{x}+\sum_{\alpha}\boldsymbol{\xi}_{\alpha}\hat{\pi}_{\alpha}\left(\boldsymbol{x}\right)\right)+\sum_{\alpha}\hbar\Omega_{\alpha}\hat{b}_{\alpha}^{\dagger}(\boldsymbol{x})\hat{b}_{\alpha}(\boldsymbol{x}),
}
which provides Eq.~(12) in the main text.

\end{document}

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Home » Celebrities » Kim Kardashian Meets with Inmates in Solitary Confinement at Pelican Bay
Kim Kardashian Meets with Inmates in Solitary Confinement at Pelican Bay
Kim Kardashian hasn't slowed down her efforts when it comes to prison reform … as evidenced by her latest visit to a prison in California and the inmates she came face-to-face with during her trip.
A source with direct knowledge tells TMZ … Kim spent a day at Pelican Bay State Prison in Crescent, CA earlier this week. We're told her focus was to meet with inmates in solitary confinement, speaking with them in depth about the toll the lockup can have on their mental stability.
Kim wasn't alone on her trip, actor Tobey Maguire and Scott Budnick — the executive producer of "The Hangover" film franchise also joined. The three had a camera crew in tow, and back in 2016 Budnick did a documentary on teenagers in the prison system … and we're told another documentary is underway.
We got a photo of Kim at a restaurant near Pelican Bay the same day as her visit … she was deep in convo with several people as cameras rolled.
She also had some locals talking, as her custom private jet pulled up to the local airport.
As we've reported over the years, Kim's passionate about prison reform, even meeting with President Trump at The White House in 2018 in an effort to campaign for her cause and help pardon Alice Marie Johnson. She's also still working toward becoming an attorney, recently revealing she's still studying and trying to pass the California Bar Exam.
Kim Kardashian Quietly Helped Free 17 Inmates in 90 Days
Kim has also helped Tennessee inmate Cyntoia Brown secure clemency, and played a huge role in freeing inmates like Matthew Charles and Jeffrey Stringer. In fact, Kim and her legal team wound up helping with the release of 17 prisoners over the span of 3 months.
We haven't known Kim to visit anyone in solitary, though she's spoken to inmates on death row … so this latest venture appears to be yet another step in her quest.
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Marriage is, after all, intangible. It is an idea. A label.
Becoming the wife of the man I love won't change how I feel about him, surely. He's already my best friend, my person (or soulmate, if you prefer). How will a certificate from town hall make any difference?
This is a question I've been asking myself since we began talks of our future together.
I knew, without a doubt, that I wanted to marry him. But why?
Was it societal norms, pushing me to conform? The media? The chance to throw a big party?
Somehow, as an introvert who rebels against social norms on a daily basis, I don't think any of those are the answer.
Then is it the legal rights? The knowledge that I will be the first person they call if anything were to happen? That I will be able to make decisions for him and take care of him if he can't take care of himself?
Sure, that's definitely part of it. My need to protect the love of my life is strong. But is it just practicality?
The idea of committing to each other forever appeals to me, but we've already done that a thousand times.
Is is different to do it in front of family and friends? To share our love with them rather than making promises in private?
No matter how many aspects of marriage I analyze, I can't quite get to the bottom of the strong urge and overwhelming excitement I feel about saying "I do."
It just feels right. It feels like the ultimate "I love you." The confirmation of every promise to care for, protect, love, support, cherish, and respect him until the day I die.
And that's all the answer I need.
I hope you enjoyed the musings of a soon-to-be bride, four days away from her nuptials!
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