text:
Andrea Osvart
For Actors
Rachel Baker's "Don't Be So Dramatic"
By Osvárt Andrea
Podcast excerpt
I've been an actress for nearly 25 years, and I'm now a coach for actors, not coaching the craft of acting but everything else outside of acting. When I was a teenager, I worked a lot in TV commercials, and that's how I got sure that I wanted to be in the motion picture industry. And so I went to acting school, then moved abroad, and had many more opportunities in Western countries outside of Hungary. I lived in Italy for nearly ten years, then moved to LA, where I lived for about three years, and worked there as an actress. But as I said, I now live in Budapest again because I missed Europe and my home, and I realized this is who I am. This is where I belong, and I'm happy here.
Rachel Baker: I can't even imagine what it was like to grow up in that period under communism. And it's a very interesting picture that you paint, saying everything was gray, but you know, you had these daydreams that essentially manifested what your life is now. How did the modeling come into it? Where did you get the idea that you could be a model? Did someone you know know how to get into the modeling industry? How did that come about?
Andrea Osvart: I lived in a small village with about 10,000 inhabitantsts. One of the shops selling clothes asked us to do a catwalk. That was my first job, which brought me to modeling.
Rachel Baker: The modeling industry is an industry I know little about but is interesting because of its skill set. I admire models because it's a brutal industry. After all, it's all exterior, and you must have thick skin to succeed in that industry. So whenever I speak to models, it's always super interesting. How did you go about being in an industry so exterior-focused?
Andrea Osvart: I envisioned this could be a way for me to get out of poverty to build a future of abundance. And so I did: I was 22 when I bought my first apartment as a model. So it was worth sacrificing, but it's an industry based on the exteriors only, and I got bored of it.
Rachel Baker: And through doing commercials as a model, that was kind of your taste of acting that you went.
Andrea Osvart: I got good feedback from the directors of commercials. They liked my acting. So there was a director who cast me five times for different commercials. So that is how I realized this is a good fit for me.
Rachel Baker: It's interesting having you on because I have absolutely no concept of how the European industry works. And so, with going to drama school, I have no idea if it's similar to what it would be in Australia. So when you decided to go to drama school, was it like a three-year course where you learned all acting techniques?
Andrea Osvart: We call it university here. You get a master's degree in acting. It's a four-year-long school. But it wasn't my case because I needed to make a living and survive. So since this school is not allowing students to work until they are fully trained actors, t was impossible for me to attend it because I needed to work. So I went to different private workshops and intensive courses. I did a one-year acting workshop in Hungary. And when I moved to Italy, I attended another private school,
It is my theory, but I, I believe that, that it is like programming that people had for so many years and entire generations.
Rachel Baker: Yeah. There are whispers of that limiting belief that kind of do find themselves in Australia: "I can't do that. I'm too old. I can't learn a new thing". Society has told me that by 40 or 50, I'm set for life, and that's it. And that's what I've done. I think in Hungary, it seems like it is a bit more full-on in that respect of that belief.
Andrea Osvart: The sense of freedom here was not very known as it is probably in your culture, so people don't feel free to realize their dreams. I wasn't able to realize my dreams in my country either. So I had to leave and go abroad, so that's how I could become who I am today.
Rachel Baker: Yeah. And interestingly, Hungary celebrates you as a successful Hungarian actress, and you are the one that didn't play by the rules and went overseas.
Andrea Osvart: Exactly. I'm an outsider because I did it my way. And this is also how I started my coaching business because there're so many ways people can get into the acting business or progress in their careers. Sometimes people get stuck and don't see other ways of pursuing their careers or dream. I help actors restructure thoughts and definitions to have clarity, like clearing the fog in front of their eyes to see and reach their goals or even cross the finish line.
Rachel Baker: Yes. Which you talk about in your ebook. I had so many thoughts and these AHA moments when I read it. Thank you.
Andrea Osvart: Thank you. I'm glad because I just recently published my ebook.
Rachel Baker: It's, it's amazing. It's like everything that is like my thoughts as well. So I'm like, this is what I've been thinking too, which is great.
Andrea Osvart: Oh, thank you so much.
Rachel Baker: So when you were in Italy, what was your first big acting job, and how did that come about for you? That's so
Andrea Osvart: interesting because I remember the first big booking I got was maybe a five or six days role, a co-star role in a mini-series. I thought this was it. I made it, ow my life will change. But it didn't. Nothing changed. So I had to rewire my brain and realize that success is not momentum; Success is a process that happens in a prolonged timeframe. I can only define success in the long term. So my big break was not that role I thought it would be, but maybe three or four years later when I was hosting a huge live TV show. And from that point, everybody knew who I was, so I started to book even more meaningful and bigger parts.
Rachel Baker: Process. Yeah, definitely. And so, when did you decide to move to America and start working in Los Angeles?
Andrea Osvart: In Italy, I felt like they were giving me nice roles in television productions, but I wanted to make movies and feature films, and of course, I had a heartbreak also. I broke up with my boyfriend and thought this was the time; I had to do it now. So I was about 30 years old when I decided to move to Los Angeles, found an agent, and started to network there. After a year and a half -see, things don't happen overnight-I finally got my first job.
Rachel Baker: Wow. Did you find that people were kind of excited about all the work you had done in Italy? Or do they did not care?
Andrea Osvart: I was renowned in Italy, but that was not the point. The card I played was since big productions shoot in Europe a lot. So I had been cast multiple times in huge American films playing movie stars like Robert Redford, Heath Ledger, and Clive Owen. These were day-playing parts, but I put them into my showreel, which impressed the Americans. I think the European market makes sense because, as you said, I would have probably been lost if I were in America in that big pool. But in Europe, which is smaller, not everybody speaks English well, and for certain roles, you know, big productions will not bring actors from overseas. So they just cast local actors. And if you book something like that, it can add something to your resume and your credits.
I believed so much in the American Dream and Hollywood. So I collected all this work evidence and press clips for the immigration they needed to prove why people should hire me instead of an American. So that was when all those Italian press clips made sense and came in handy because I was on the cover of the magazines a lot, and I was known, and those things helped. But still, even though I got work in America, those productions were shot outside of the US, so by the time I had a movie to be released. I was invited exactly on Late late TV Show with Craig Ferguson, It was a moment when I had to fly back to America for the purpose for work purposes, and that was the invitation from CBS that I attached to my application finally, that there's no one else than can do this job, then can do this interview except me in America, because I am the lead of this movie. Period. So they could not deny my visa application, and I got my working visa. But by that time, after five years of trying, I had already reached the point that it was enough of the Hollywood system. Five years have passed since I first applied, so I was at a different stage in my life, and my perspective changed. Priorities changed, so I didn't see a point in why it is so important to have a working visa in the States because all the shows I've done were not shot in the US anyway.
Rachel Baker: And it's that classic saying of being careful what you want to manifest because if you're trying to manifest something. Then you grow as a human being and have different priorities, but then that thing can manifest for you. And you know, it's not necessarily negative, but you are over it.
Andrea Osvart: yes. Watch out for what you wish for because you might get it. So I think that's how it goes. And exactly, because I used to think and picture myself in Hollywood, like making it as an actress, being on the red carpet in Hollywood. And I did that, I manifested that, but I found myself. You know, without further goals at that moment. And I said to myself, Oh my God, why didn't I think further? What am I going to do next? Because I just achieved this. I made it, So it happened, but it wasn't exactly the way I wanted it to be.
Rachel Baker: I have felt that as well when I've wanted things, and sometimes we can put those dreams on a pedestal and think it's going to feel a certain way and make us feel a certain way when we get them. But when we do get them, it's kind of like, Oh, this is just so like, it's not mind-blowing like I thought it was going to be.
It's not like; My reality has shifted so enormously that I feel like, you know, crazy good. It's like, oh yeah. Cool. Okay. What's next? What's next? And you know, I know that you also talk about it; I think it might be in your ebook or your blog. I think it's the ebook where you talk about having a purpose other than just I want to be an actor. I want to be on a red carpet. The why is so important to have that purpose, to drive you and continue when you do get on the red carpet, which is fine to want; what is your goal from there? And I found that interesting to read.
Andrea Osvart: Thank you, and I think it's very helpful.
It would be very helpful for all actors to know their purposes of why they became actors, and what they want to do with this, what they want to achieve by becoming an actor or a successful actor. I, I used to give it a lot of thought. And also is important that purposes change, but one should always have a higher purpose.
I don't know if you learned script analysis, but where I realized there was this term for the character's overall objective. So every scene has its scene objective, but the overall objective is to get to the end of the film.
And this is the same with us in life. Like we have many little objectives, many little goals that bring us forward in life, we eventually have one higher purpose or overall objective in film terminology pulling us towards our destiny.
Rachel Baker: When did you realize this way of thinking and think about your acting purpose?
Andrea Osvart: I've been putting together a program for actors in the hope that it would help them become more conscious.
Rachel Baker: Yeah. I agree with that. I often use the Imagery of a little seed being planted, a very common image, and you can never see what's going on below the soil. And so it can be frustrating before the thing sprouts. You're like, is it even growing? Or has it died in the ground? Like, who am I at this moment?
Andrea Osvart: We sometimes forget we are also a character that needs character development and are always in another character's shoes. We are always somebody else, but it can go out of balance if you are only focused on your, exclusively on your career. You know, casting calls and being fit, keeping up with the industry news, knowing everyone, and networking. And then where is, where is Rachel? Where is the person, and how about her life, identity, little things, and hobbies as a character? And if, if you. If you lose your character, if you lose yourself, then eventually, it will harm your career as well. Because actors, directors, and casting directors look for characters and not just blank sheets and blank papers with no identity.
Rachel Baker: Definitely. I've also learned in the last couple of years that whenever I try and bring. As Rachel to a scene, I play it like there are small parts of Rachel in that scene. So I always get a better result, and it took me a long time to figure that out. And so if you're not, yeah, if you're not looking after yourself as a person and all you are is an actor, then you can't bring that to your work.
Andrea Osvart: I agree a hundred percent. Mm. Yeah, so, in the program that I'm preparing for actors, and hopefully it will be ready by the end of the year, I dedicate a lot of thoughts and clarification about the self, the ego, the replicated itself, which is coming from characters we play that are not us, the identity.
True self. It is so interesting that there are so many items and parts inside us; it's sort of schizophrenic. But, still, it's very useful to separate these and understand which one we need or which is functioning and working when we do certain things. So just, let, let me explain.
Then, when you see yourself on a billboard or the cover of a movie poster, you can think it's you, of course, right? Because you see yourself, you see your face, but it is just a perception of you. It is just a constructed image of you. It's not you. You are not only that, so. Feedback on any movie or performance that we make as actors are.
And if you suffer from bad criticism, for example, or bad publicity, it sometimes affects us. A lot more than it should affect us because it goes right into our soul, and we take it personally because it's our person. But I try to teach techniques on how to separate those things and not let negative comments or even, you know, cyberbullying or being targeted on social media have a negative say in affecting our lives so much and how we present ourselves from there to the world.
Rachel Baker: I guess it's; I don't know if that makes sense. No, it makes complete sense. Yeah. Yeah. And it's also helpful when you are an actor and you're constantly putting yourself out there and putting yourself forward in auditions. You're not getting cast. It's the same thing of, like, it's not me, it's not Rachel that they're saying no. The product that Rachel is an actor, they're saying, isn't suitable. For what they're casting right now. Because you can get into that awful downward spiral of I'm not getting cast anything, and it's me. Yeah. And they don't want me.
Andrea Osvart: Or I'm not good enough, they don't need me, and maybe I should quit. In these moments, it is important to have the right thoughts about how entertainment works and don't take it personally.
Oh yeah, definitely. Another great point I loved reading, you wrote a post about guilt around success. When you succeed, there is guilt because you experience envy for how much you have achieved.
I can relate. When I've had small bits of success, it's almost like I am stepping up. Above is the group of people you think you've been comrades with, and you've all been in the trenches together. So when you get a little bit of success, you're like, Oh, I feel so guilty that I've gotten this and they haven't, and how do I navigate that?
So I wonder if you could speak on your experience and try to navigate that feeling of guilt.
Andrea Osvart: It's one of my most popular blog posts. I got a lot of feedback on it. It's helped others to understand similar feelings in them because I think it happens to everyone that success comes at different moments for them or their siblings, relatives, or friends. And yeah, it's just, it's probably like how we people grow apart. From one union, from one community, let it be a family or let it be on like classmates, a classroom that we eventually end up being individuals who have to create their realities, their futures, their own families. So it happened at different times, and I am now at quite peace because all my siblings became successful. Now, but it wasn't always the case 10 years ago. So I sort of had to help them out financially, for example, and I thought that would also help my sense of guilt to, you know, be released and not feel so guilty because I was kind of rich compared to them. But that has changed by now. So everything.
On a spectrum, everything depends on the perspective you look at because people saw me as successful, but as I told you, I wasn't completely happy about my roles or my results because I wanted something else. And I sacrificed and paid a high price for my success that people didn't. So you used the metaphor of a plant. I used the analogy of an iceberg that people used to see only the tip of it, the end of the iceberg, but they didn't see all the loneliness, all the sacrifices, and missing appointments. For example, the wedding of my best friend I couldn't attend because I was shooting overseas. So success is relative. Also, it's not necessarily the complete picture like what people see. It's not; it's not necessarily the whole truth.
Rachel Baker: Mm. I had a great conversation with another actor today, and she was talking to me about how she was down because she's probably going to listen to this, but I won't say her name.
She was talking to me about how she was down because she just recently had an amazing acting opportunity, and she knew there was someone. But unfortunately, speaking ill of her created a lot of negative talk among other people about her. And I said, I'd been pondering on this morning that, you know, this life that we're creating.
Which is being an actor, but I think, you know, you and I share the kind of manifestation beliefs and beliefs in the universe. But, that can also be incredibly lonely because as you start seeing that success, I've found for myself as I keep going down my path, I really kind of move away from the people that don't align with me anymore. And in a way, good because you need to create space for more inspiring, more aligned people to come in better things for you. But it can feel lonely, and it is very lonely, I think. Yeah. Yeah. It's that interesting thing of, like, I do want all these things, but it's very hard when you are going through that and are kind of being ridiculed by other people or, you know, people you thought were your friends.
You're kind of like, Why are we moving apart? Why can't you come along on my journey to my dreams? But it's, you know, such a learning lesson when you get older and continue down that road, I think.
Andrea Osvart: Yes, because normal people can't imagine how it is to work. As professional actors, we are always living in standby and uncertainty.
We hop on a job, then we get dismissed and don't know what's next. So it is tough, and as you said, it's, it's, it is lonely even though people think. Making movies is a collective art form. We are all in together and fighting for the same goal. And it's a great feeling of, you know, a sense of belonging that we are together in this, but eventually, every project ends before or after.
And then lose this sense of belonging and your goal because it's finished. So it's a sort of similar to a grief process, I think that you have to. Detach yourself from that crew, detach yourself from those people, and find yourself again. And then eventually go on a new adventure with new people again. So it is psychologically and mentally quite challenging, I think. And that's why a lot of people have difficulty. But, on the other hand, living this lifestyle is very understandable.
Rachel Baker: Yeah. I think that that is also why in more recent times, we've been such pioneers to say, You need to get mental help.
Therapy is great for actors. It's really important. And doing that, that internal work also includes asking for help and going, you know, I, I think it's like, so I guess you cannot be an actor without a great support system.
Andrea Osvart: I, Oh, thank you for saying that. Because this is what I always tell people that, you know, you don't have to feel sick or mentally unstable.
You don't have a mental illness. It's not that, Absolutely not. But in these moments when we are in our heads, Sometimes it's just not enough to do a meditation. It's not enough to attend a yoga class; you need to talk to someone because actors need just a little bit, maybe more attention than other people do, and There is a reason why we chose this path of wanting to be in, in the be in the attentive gaze of others.
We need attention. We can't deny that. So when you don't have the attention that you are dreaming about the find, find a way, reach out. I'm doing this exactly like you can reach out and pay attention to yourself. I mean, I offer. Free a free call, a free first session to everyone. A coaching session, about 45 minutes, and I pay attention to you, and hopefully, you will feel much better by the end of that session.
And you will feel if you need this in the long term and someone on your side, you can, someone with who you can always talk.
Rachel Baker: I wonder, what made you realize that this was a great purpose of your career, Was to create these guides and create this service for other actors? It
Andrea Osvart: it was also a journey because I used to blog anonymously in Hungarian because I was afraid to put out my thoughts publicly.
Mm. I wonder why it probably had to do much with my image as an actress. And a completely different private person. And then, the difficulties that I went through, I didn't want the press talking about it, for example. I've been blogging for about seven years but to another audience. I realized my blog is so popular I could do something similar for actors because I could help them.
So, this year I started to, to, to do this adventure, and I try, and I think I re I do help actors who have Some, some fog is, be before their eyes and, and I just allow them to have clarity, new directions and, and a little bit of a support system because agents don't provide that. Service managers don't offer that service, so publicists don't provide that service. So, I think it's something to pay attention to because also self-disruption is a way for actors; they can hurt themselves and make bad decisions. So before you do that, just find someone you can talk to, and just by, and just by talking, you can; it's therapeutic. Get out all those negative feelings and maybe rewire your brain, and that's, or that in itself already can, can push you forward.
Rachel Baker: And it's funny in those moments as well, how I know I certainly, every time I kind of have doubts and have those negative thoughts coming in, I always feel so alone that it's funny that I can guarantee you are like, I have thought every thought that you are feeling as well, it's like a shared experience of actors that you just forget is shared when you're going through it.
Andrea Osvart: Thank you so much for having me, and I hope I could spark some thoughts within your listeners. If you want to get on a call with me, I offer a complimentary coaching session online. May be something going on in your life as a performer; I'm more than happy to hear from you.
Andrea Osvart on coaching actors for great results - The Rumikay podcast
Perceptions of an actor: Tootsie today
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MÉRIDA, Yucatán, Mexico — The World Baseball Softball Confederation (WBSC) has added Mexico's top professional baseball leagues, the Mexican Baseball League (LMB) and the Mexican Pacific League (LMP) as Associate Members of the world governing body.
With the addition of LMB and LMP, WBSC's global structure has expanded to 206 Members (195 National Federations and 11 Associate Members) across Africa, Asia, the Americas, Europe and Oceania, representing approximately 65 million athletes and 200 million fans and followers worldwide.
WBSC President Riccardo Fraccari, alongside Mexican Baseball Federation (FEMEBE) President Enrique Mayorga, formally handed over official WBSC Affiliation plaques/certificates to LMB President Javier Salinas and LMP President Omar Canizales.
For the 2017 season, LMB and LMP registered attendances of 4,042,605 and 2,584,328, respectively.
In the most recent WBSC Baseball World Rankings, Mexico advanced to No. 5 in the world — a historic high for the nation.


NORTHRIDGE – Changes of the heart and soul will be on the minds of Jews who attend tonight's Selichot services at local temples and synagogues.
Selichot, a Hebrew word meaning forgiveness, are the prayers recited the month before Rosh Hashanah, Jewish New Year. Rosh Hashanah begins at sundown Friday.
"Selichot is the opening event of the High Holy Days. It's part of the process to open our minds up to forgiving others and asking them for forgiveness," said Rabbi Michael Graetz, recently hired as interim rabbi at Temple Ramat Zion in Northridge.
The Conservative Jewish congregation has been going through a transition itself, after the death last year of its senior rabbi, Steven Tucker.
Graetz, who served for more than 30 years as rabbi at Kehillat Magen Avraham in Omer, Israel, brings his rabbinic and scholarly talents to the congregation for one year.
Rosen lauded Cantor Paul Dorman for his spiritual leadership after Tucker's death. Dorman, in his third year at the temple, said Temple Ramat Zion is an evolving congregation.
The Selichot service, described as short and somber by Graetz, begins at 10 tonight. A musical program and a discussion titled "What is God?," led by Graetz, will be held at 8:30 p.m.
"Modern people have a hard time thinking about the 'G' word. There are so many theories out there about God. I want to point people to the liturgy to look at the ways that God is called: King, Father," Graetz said.
Graetz was ordained and made an Aliyah, a return to Israel, in 1967. His insights about living and working in Israel are part of what intrigued the congregation at Temple Ramat Zion.
"I think my No. 1 strength is teaching and helping people to understand Jewish traditions in both the abstract and concrete life," Graetz said.
Selichot program, 8:30 p.m.; service, 10 p.m. today, Temple Ramat Zion, 17655 Devonshire St., Northridge. Call (818) 360-1881 or see www.trz.org.


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Why claustrophobic patients should be able to request an Upright Open MRI scan
by Maggie | Feb 13, 2019 | Health & Beauty News | 0 comments
It's estimated that around 10% of the UK population are affected by claustrophobia during their lifetime.
So imagine the fear associated with having an MRI scan in a conventional 'torpedo tube'. As we get older, this is something that we could all have to face at some point.
Traditional MRI scanners require you to slide into a narrow tunnel or tube which many people find uncomfortably hemmed-in, cramped and can induce anxiety or panic. Indeed, up to half a million scans a year may be disrupted or aborted by claustrophobic patients, at a huge cost to the NHS.
Even an 'open' MRI scanner still requires you to endure the machine very close to your face as you have to lie between two magnetic poles, often referred to as a 'double doughnut' format. The distance between the upper and lower poles varies, but is typically only around 38 – 43 cm. Importantly, showing joints and the spine in natural weight-bearing positions such as sitting, standing, crouching, twisting is simply not possible – and you would still have the upper part of the scanner directly in front of your face, as the system is only open at the sides.
But there is an alternative. It's called an Upright Open MRI.
Medserena Upright Open MRI centres in London and Manchester offer patients a state-of-the-art MRI examination that removes the feeling of claustrophobia and even allows you to watch TV or DVD, on a large screen, while your scan progresses.
Patients have nothing in front of their face at all so there is no feeling of claustrophobia. All coils (antennae), even the head coils for brain scans, are designed to allow you to clearly see outside the system.
The procedure is conducted in a natural weight-bearing position so you can stand up, sit down, flex your neck and be moved into different postures – allowing the scan to be carried out in exactly the position that pain is experienced.
Indeed, some conditions may be underestimated or may not even be seen at all in a traditional tunnel MRI scanner. For example, this type of MRI scan can offer a thorough, more conclusive diagnosis of conditions ranging from problems with the spine or neck, hips, knees and foot, prostate or pelvic floor disorders, whiplash, sports injuries and even breast implant leakage.
The staff at Medserena Upright Open MRI centres are specially trained in dealing with claustrophobic patients. And, if required, a relative or friend can stay with the patient in the room.
With increased awareness many more patients will benefit from this type of scan. Some will have had a conventional MRI scan but their condition may not have been properly diagnosed and they still suffer from pain. And others will be claustrophobic or anxious about the idea of going through an MRI 'tunnel'.
(Story source: 50 Plus)
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Insert into multiple tables doesn't insert all records I am new to PHP and MySQL. I am facing a problem: some records are inserted into the database, and some records are not inserted. There are two tables

*

*Login

*Profile

No problem with the Login table, it always inserts records. But there is a problem with the profile table. Some records have been inserted but some not.
My database is on live. Many people fill forms so I observe no record second table. Here is code:
$pwd= $_POST['spwd'];(Get all values in the form of post)

$a1 = mysql_query("INSERT INTO Login (email,password,active) VALUES('$email','$pwd','1')");
$fk=mysql_insert_id();
if($fk!=0)
{
$a2 = mysql_query("INSERT INTO Profile (name,father,age,gender,kids,nationality,house,height,whenmarry,description,partnerquality,imagepath,email,mobile,mstatus,cast,education,religion,aqeeda,peer,madaniwork,country,city,zip,job,familydetail,salary,bodybuilt,fklogin)
                   VALUES('$name','$father',$age,$gender,$kids,'$nationality','$house','$height',$whenmarry,'$description','$partnerquality','$new_image_name','$email','$mobile',$ms,'$mothertongue','$education',$religion,$aqeeda,'$peer',$mwork,$country,'$city','$zip','$sjob','$fd','$salary',$bbuilt,$fk)");

}
if ($a1 and $a2) {

 $response["success"] = 1;
 $response["message"] = "Register Successfully";
 echo json_encode($response);

}

A: Make sure that there is no 'primary key' or 'Unique' constraint in the Profile table because if there is so then it will not allow duplicate values to be inserted. Also make sure that the variables have some value for the columns in which NULL insertion in MySQL is not allowed. (in Php MySQL by default NULL is not allowed)

A: I have found out my mistake there is no issue of 'primary key' or 'Unique' constraint but problem with qutoes which i forget to add `` with database fields and second thing is that users give input 5'6 which make problem to insert in to database so i use mysql_real_escape_string to solve my problem

redpajama_set_name: RedPajamaStackExchange


text:
Leading Digital Transformation Player blue-infinity becomes Isobar
blue-infinity Linked by Isobar has announced that it will rebrand to become Isobar from April 1 2019. This change marks the culmination of the blue-infinity integration process within Isobar, part of Dentsu Aegis Network.
blue-infinity's full integration will further power Isobar's technology capabilities and cross-border European offering, delivering experience-led transformation, powered by creativity. The blue-infinity team will be reinforced by Isobar's strategic, consulting, and creative capabilities around the world.
Headquartered in Switzerland, the leading digital transformation and technology player was acquired by Dentsu Aegis Network and became Linked by Isobar in 2017. Since then, blue-infinity Linked by Isobar has continued to strengthen its position in Switzerland and throughout EMEA. The full integration will strengthen opportunities for Isobar across the transformation sector internationally with blue-infinity already being a key part of Isobar's global transformation consulting practice.
Founded in 2001, blue-infinity has been a major player in the digital economy in Switzerland and Europe over the last decade and generated 20% revenue increase year on year, thanks to the synergies developed with Isobar. The team aligns with Isobar's global proposition of experience led transformation and continues to provide a wide range of services, for over 100 industry-leading clients in the Luxury, FMCG, retail, banking, pharmaceutical sectors, as well as for government and non-governmental organizations. The team comprises of over 700 digital experts based in offices across Switzerland, Czech Republic and Portugal.
"Our long-standing technical expertise combined with Isobar's market positioning gives us a greater competitive edge" says Patrik Gamryd, CEO, Isobar Switzerland "As one of the largest Isobar markets, we differentiate ourselves by offering a wide scope of solutions in a fast-paced digital economy".
Pierre Aebischer, Managing Director, Isobar Switzerland adds, "We joined Dentsu Aegis Network to provide a broader range of services to our clients and to provide international career opportunities for our employees. Adopting the Isobar identity fully is the logical outcome of two years of integration within the network".
The management and teams remain unchanged. Patrick Gamryd and Pierre Aebischer, will continue to lead the company. Pierre-Alexandre Riera has been appointed to the Board of Directors as Chief Commercial Officer.
Isobar has certified experts and specialists that work with local teams to deliver global integrated platforms and solutions for clients. In 2018, blue-infinity was awarded Salesforce Partner of the Year for Central & Eastern Europe and the Czech team is part of Isobar's Salesforce Centre of Excellence. Isobar also has alliances with world-leading technology partners, including Global Alliance Solution Partner for Adobe, a Salesforce Platinum Cloud Alliance Partner, a Sitecore Platinum Implementation partner, and an Enterprise Magento Partner, winning Regional and Global Commercial Partner of the year in 2018.
Jean Lin, Isobar Global CEO said: "The team's extensive design, consulting and tech expertise has continued to expand Isobar's experience-led transformation offering in Switzerland and beyond. Their focus on combining creative, technical, design and implementation skills aligns with Isobar's vision across the world. In 2017, we were excited to welcome the team into our network, and now we are proud to officially bring them into the Isobar family".
International Committee of the Red Cross & Isobar Switzerland reinforce their partnership
Designing value-driving digital assistants
Isobar Business Breakfast: Reflections, Visions, Lively Discussion


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Q: Multiple pageview controllers scrolling I have two page view controllers inside a parent view controller.I want their controls to be connected i.e. If someone turns page in one, other's page should also be turned to the same index.Thanks in advance for the help.
When someone is scrolling through one page view controller,I am sending the index of  current page to the parent and from parent changing the page of other page view controller as well but there is a lag between both scrolling .How can I minimise the lag or is there any better way to do it?

A: You probably need to implement a UIPageViewController subclass, and then intercept amongst other things UIPageViewController.willTransitionToViewControllers. That way you will be able to respond much earlier to the page turn event.


text:
Following the Trails of El Dorado: How and Why to Visit Guatavita Lake
Learn more about the fascinating and mystic legend of El Dorado that involves Spanish conquers, Muisca indigenous tribe, gold pieces, and an enchanted lagoon.
By: IMPULSE Travel Team | Publish: Jan 08, 2019
IMPULSE TRAVEL TEAM
We are a team of storytellers here to bring you the best Colombia has to offer. On our blog, we answer your most frequent questions and uncover our countries mysteries, culture, and highlights for you.
Numerous articles, poems, and even songs have been written about it. The legend of "El Dorado" is one of Latin America's most captivating histories and its central point is located in Colombia, just a few hours outside Bogotá.
The talk is of Guatavita Lake, also called Guatavita Lagoon. It enchants visitors with its natural surroundings and the color of the water ranging from emerald green to a clear, deep blue, depending on the season.
The Lagoon with a deep blue color
But the beautiful natural setting only scores the second place when it comes to the reasons why you should visit. What's most captivating about the place is its link with the Muisca culture and the legend of "El Dorado".The lake was a sacred place for the indigenous Muisca tribe that used to inhabit the region of modern-day Cundinamarca and Boyacá. It was the scenery for one of their most important rituals which involved a lot of gold.
In this context, it is important to know that gold was not of material value in the Muisca culture. The value of this scared metal rather derived from the figures formed out of it, that soon after their creation served as a sacrifice to their god. In contrast to the modern world, gold had a spiritual value in this culture.
The legend of "El Dorado"
As history has told us, the life of indigenous cultures in Latin America was interrupted by the arrival of Spanish conquerors. With the first attempts to colonize the tribes, they were also retrieving large amounts of gold from them. From this discovery, a story was born about a mysterious place, a lost city where the indigenous people kept all their gold. Of course, many eagerly tried their luck in finding this place as it promised endless prosperity.
The closest they ever came to discovering the golden city was when the author Juan Rodriguez Freyle, among others, described one very important ritual of the Muisca in his book. It talked about "El Dorado", a priest or leader-to-be of the Muisca culture that sailed out onto a lake covered in gold, on a float loaded with even more gold and emeralds. These valuable treasures were then thrown into the lake as part of the ritual and sacrifice to their god.
A float showing the "El Dorado" ritual, today exhibited at the Gold Museum in Bogotá
On the hunt for this gold lake, the Spanish discovered Guatavita lake which had been the scenery of such rituals. Trying to recover the gold, there were several attempts made to empty the lake. The most successful one lowered the water level by only 50 centimeters. However, some gold pieces were found on the sides of the lake. The hunt for gold at Guatavita ended in 1965 when the site was named natural heritage, preventing anyone from trying to drain it again. Today, it's one of the most popular places to visit around Bogotá.
How to visit Guatavita
Guatavita is not only the name of the famous lagoon but also of a village that's located close to it. If you want to visit the lagoon, the easiest way is to take a bus there and continue the trip to the lagoon from the village. From Bogotá, there are several buses per day that take you to Guatavita. The pick-up is at Cra. 7 #72 and the bus ride will cost you about 7.000 COP (US$ 2.15).
Depending on when you arrive, it might be a good idea to spend a night in Guatavita and visit the lagoon the next day, as it is only open from 9 am to 4 pm. This way you also get to discover the small town a bit. Some people decide to camp slightly outside of Guatavita but there are also some rooms available in the village itself.
The small town of Guatavita
The village of Guatavita is located next to another lake that was created artificially by the people living there. They were in need of an energy source and decided to drown their village turning it into a lake and reconstructed their houses at the side of it. This admittedly unusual plan resulted in a commonly shared architecture among the core part of the village. All the houses, as well as the church and public buildings, are white-washed with terracotta-colored, moss-covered roofs which gives the village a magical touch.
Around the various town squares, there are some handicraft stores and small cafés. Guatavita also has a free museum that is basically a café that exhibits some of the old figures from the church. However, the real sight here is the village itself. Time runs slower in Guatavita which is a nice contrast to the buzzing city life in Bogotá. Once you have discovered the narrow streets, you can also take a walk down to the water to watch the sunset.
A small street close to the center in Guatavita
Insider Tip: On Saturdays and Sundays, you can buy typical Colombian drinks and food like canelazo, homemade ice cream, coffee and obleas at "la ventana". Literally, a small window where its owner, Angie, tends to visitors on the weekends. Sit down at the little bench behind her house and enjoy the stunning view.
From one of the squares, you can take buses to the lagoon. Make sure to buy your ticket in advance, as the spots in the small buses tend to sell out quickly. The bus ticket will cost you about 14.000 COP (US$ 4.30) per person and at the lagoon, you will have to pay an entrance fee of 12.500 COP (US$ 3.80 for Colombians) or 17.000 COP (US$ 5.20 for foreigners).
From Guatavita it takes about 30 - 40 minutes in bus to get to the lagoon. After paying the entrance fee, you will be led through the area by a guide who will let you in on some of the ancient Muisca traditions and beliefs. The last part of the small hiking track goes steeply upward until you reach the border of the lagoon. The moment you reach the top of the hill and get a first glance at the impressive lake is breathtaking. The majority of the year, you will see the lagoon in an emerald green color, due to the algae that grow in the water. In December and January, the lagoon has a beautiful deep blue color.
The Guatavita Lagoon with a beautiful dark green color
Wandering on the trails of "El Dorado" is one of the most fascinating things you can do around Bogotá. The tales of a long forgotten time will astound you and offer you a look at the incredible indigenous past of Colombia and the crazy hunt for gold by the conquerors. However, closing with the lesson that the guides teach you at Guatavita, "el verdadero El Dorado es el pensamiento". The real El Dorado, meaning the real wealth of the Muisca, was not gold but their culture and their way of thinking.
Check our tour to follow the trails of El Dorado at Guatavita here!
https://www.nationalgeographic.com/archaeology-and-history/archaeology/el-dorado/
https://theculturetrip.com/south-america/colombia/articles/the-story-behind-the-legend-of-el-dorado/
https://www.bbc.com/news/magazine-20964114
http://www.colombia.travel/en/blog/culture/muisca-raft-symbol-el-dorado
Go back to Blogs home
Nov 18, 2020 | Impulse Experience Calendar
Jul 16, 2020 | 5 Reasons to visit Colombia after COVID-19
Jul 14, 2020 | How we will make 15 peace and culture projects prosper during this crisis
Guatavita Golden Lake
Zipaquirá Salt Cathedral and Guatavita Lagoon
Transport to Zipaquirá and Guatavita
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It's a familiar experience in my world – everything seems to be going well and I'm feeling really content and happy with my life. Then I discover that all the time I had been so content and thinking everything was going great, there was this thing going on. If I had been aware of this thing, I would have been anxious and worried or sad and discouraged. All that contentment was false – it was just there because I was unaware of the reality of my situation.
It got me thinking about perspective and emotion and how I make sense of my life. A lot of what I do is predicated on my emotion. If I'm feeling positive and upbeat, I'm more likely to tackle housekeeping and projects around the house. When I'm feeling down or stressed out, you can find me stretched out on my bed with a good book. But what if those emotional cues to my behavior are false? What if I'm all happy when events in my life should be making me miserable? or visa versa? It's not such a big deal when we're talking about whether the vacuuming gets done. But it did make me wonder about bigger choices. It's the Sense and Sensibility dilemma – do I act on my emotions, ignoring convention or let my behavior be dictated by a moral frame irregardless of how I'm feeling? In the end, both Marianne and her more sensible sister Eleanor are hurt by their choices, but only Marianne comes so close to dying – Jane Austen seems to come down in favor of being suspicious of emotion as the guiding force in action.
I'm all for feeling good – but sometimes I neglect things like heartfelt prayer because I feel like everything is going great and I don't really need help right now. There are a number of things wrong with that statement, starting with the idea that prayer is only good for getting things. But also, often times, when I'm blindsided by the truth of my situation, I see that actually I did need help – I was just unaware of what was really going on. And feeling good generally means I'm feeling content with myself – there's nothing I need to work on or change about myself. That's a really bad place to be … because there are so many metaphorical weeds in my garden that need my consistent attention. Emotions can persuade me that those weeds are not there when really, if I neglect them, I'll be overrun in short order.


Silver, oxidized silver, powder coated copper, synthetic fibers and paint.
Reality and dreams of past centuries meet in an ornamental story that is neither black nor white; instead it exists in a grey area, undefined and strange. Hanna Hedman wants to entice you into her suggestive world full of detail; sometimes beautiful but also melancholic and malevolent.


text:
Q: formula to calculate bounding coordinates of an arc in space I have 2 lines that intersect at a point with know coordinates
 - x1,y1
 - x2,y2
 - x3,y3
From this I have calculated an arc at a given radius between the lines. So I now know
 - 2 arc endpoints x4,y4 and x5,y5
 - arc centrepoint Cx,Cy
 - arc radius r
 - starting and ending angles relative to the X axis in polar and therefore the angle between the lines.

I want to create a formula that will calculate the maximum and minimum X and Y values of the arc. I.e. the coordinates of the box that would enclose the arc.
In the example below I can find out the minimum X value and maximum Y value, they are known values, but am unsure how to calculate the maximum X and minimum Y.
In other instances the arc could be any coordinates so the known minimum and maximum values will change.
I know how to calculate points along an arc at a given angle or intervals but not the maximum and minimum in a particular direction, in this case X and Y axis.
I am going to use the formula in programming.

A: Suppose we have start angle θ1, end angle θ2 (both in radians), radus r, direction of the arc counterclockwise. We'd like to find Xmax,Ymax,Xmin and Ymin. Consider this values as functions of quadrants q=f(θ):
Xmax=f(q1,q2,r), Ymax=f(q1,q2,r), Xmin=f(q1,q2,r), Ymin=f(q1,q2,r).
Instead of writing huge number of "if" statements it's convenient to represent this functions as an "extremum matrices". Evaluating functions f(q1,q2,r) we'll end up with this matrices.
So here is the algorithm:

*

*Find quadrants (q1,q2) of θ1 and θ2;

*Convert θ1,θ2,r to the Cartesian coordinates;

*Find bounding box excluding extreme points;

*Build extremum matrices;

*Select Xmax,Ymax,Xmin,Ymin accoding to q1 and q2 from this matrices.

Here's my C#6 implementation:
using System;
using System.Windows;
using static System.Math;

public static class GeomTools
{
    public static Byte GetQuadrant(this Double angle)
    {
        var trueAngle = angle%(2*PI);
        if (trueAngle >= 0.0 && trueAngle < PI/2.0)
            return 1;
        if (trueAngle >= PI/2.0 && trueAngle < PI)
            return 2;
        if (trueAngle >= PI && trueAngle < PI*3.0/2.0)
            return 3;
        if (trueAngle >= PI*3.0/2.0 && trueAngle < PI*2)
            return 4;
        return 0;
    }
    public static Rect GetBounds(Double startAngle, Double endAngle, Double r)
    {
        var startQuad = startAngle.GetQuadrant() - 1;
        var endQuad = endAngle.GetQuadrant() - 1;

        // Convert to Cartesian coordinates.
        var stPt = new Point(Round(r*Cos(startAngle), 14), Round(r*Sin(startAngle), 14));
        var enPt = new Point(Round(r*Cos(endAngle), 14), Round(r*Sin(endAngle), 14));

        // Find bounding box excluding extremum.
        var minX = stPt.X;
        var minY = stPt.Y;
        var maxX = stPt.X;
        var maxY = stPt.Y;
        if (maxX < enPt.X) maxX = enPt.X;
        if (maxY < enPt.Y) maxY = enPt.Y;
        if (minX > enPt.X) minX = enPt.X;
        if (minY > enPt.Y) minY = enPt.Y;

        // Build extremum matrices.
        var xMax = new[,] {{maxX, r, r, r}, {maxX, maxX, r, r}, {maxX, maxX, maxX, r}, {maxX, maxX, maxX, maxX}};
        var yMax = new[,] {{maxY, maxY, maxY, maxY}, {r, maxY, r, r}, {r, maxY, maxY, r}, {r, maxY, maxY, maxY}};
        var xMin = new[,] {{minX, -r, minX, minX}, {minX, minX, minX, minX}, {-r, -r, minX, -r}, {-r, -r, minX, minX}};
        var yMin = new[,] {{minY, -r, -r, minY}, {minY, minY, -r, minY}, {minY, minY, minY, minY}, {-r, -r, -r, minY}};

        // Select desired values
        var startPt =new Point(xMin[endQuad, startQuad], yMin[endQuad, startQuad]);
        var endPt=new Point(xMax[endQuad, startQuad], yMax[endQuad, startQuad]);
        return new Rect(startPt,endPt);
    }
}

It is fair for arc centre point at (0,0) but you can easily move resulting bounding box to your Cx,Cy.
Unlike Tim Buegeleisen's approximate solution this solution is exact, though it may be a little bit more memory expensive.

A: To add another solution; I implemented the idea from https://groups.google.com/g/comp.graphics.algorithms/c/GtvMc05E0CQ/m/duaoXIWaqJIJ into the following example:

*

*Angles are in degrees, clockwise from "3 o'clock"

*0,0 is at center of circle

*Axis +ve towards bottom right

*When startAngle === endAngle it's ambiguous if arc is whole circle or nothing, by default method returns bounding box for whole circle.

const svg = d3
  .select("section")
  .append("svg")
  .attr('width', 200)
  .attr('height', 200)
  .append('g')
  .attr('transform', d3.zoomIdentity.translate(100, 100).toString());

const pathShape = d3
  .arc()
  .startAngle(datum => degToRad(datum.startAngle))
  .endAngle(datum => degToRad(datum.endAngle))
  .innerRadius(datum => datum.radius)
  .outerRadius(datum => datum.radius);

function mod(
  n,
  m
) {
  return ((n % m) + m) % m;
}

function degToRad(
  degree
) {
  return degree * Math.PI / 180;
}

function reDraw() {
  const radius = 100;

  const startAngleInput = parseInt($('#start-angle').val());
  const endAngleInput = parseInt($('#end-angle').val());

  $('[data-field=start-angle]').text(startAngleInput);
  $('[data-field=end-angle]').text(endAngleInput);

  const startAngle = Math.min(startAngleInput, endAngleInput);
  const endAngle = Math.max(startAngleInput, endAngleInput);

  const cross0 = mod(startAngle, 360) >= mod(endAngle, 360);
  const cross90 = mod(startAngle - 90, 360) >= mod(endAngle - 90, 360);
  const cross180 = mod(startAngle - 180, 360) >= mod(endAngle - 180, 360);
  const cross270 = mod(startAngle - 270, 360) >= mod(endAngle - 270, 360);

  $('[data-field=cross-0]').text(cross0);
  $('[data-field=cross-90]').text(cross90);
  $('[data-field=cross-180]').text(cross180);
  $('[data-field=cross-270]').text(cross270);

  const startX = radius * Math.cos(degToRad(startAngle));
  const startY = radius * Math.sin(degToRad(startAngle));
  const endX = radius * Math.cos(degToRad(endAngle));
  const endY = radius * Math.sin(degToRad(endAngle));

  const right = cross0 ? +radius : Math.max(startX, endX);
  const bottom = cross90 ? +radius : Math.max(startY, endY);
  const left = cross180 ? -radius : Math.min(startX, endX);
  const top = cross270 ? -radius : Math.min(startY, endY);

  $('[data-field=right]').text(right.toFixed(2));
  $('[data-field=top]').text(top.toFixed(2));
  $('[data-field=left]').text(left.toFixed(2));
  $('[data-field=bottom]').text(bottom.toFixed(2));

  const pathSelectAll = svg
    .selectAll('path')
    .data([{
      // input angles start at 3 o'clock
      // SVG angle starts at 12 o'clock
      startAngle: startAngle + 90,
      endAngle: endAngle + 90,
      radius: radius,
    }]);

  const pathEnter = pathSelectAll
    .enter()
    .append('path')
    .attr('fill', 'none')
    .attr('stroke', 'black');

  pathSelectAll
    .merge(pathEnter)
    .attr('d', datum => pathShape(datum));

  const circleSelectAll = svg
    .selectAll('circle')
    .data([{
      cx: startX,
      cy: startY,
    }, {
      cx: endX,
      cy: endY,
    }]);

  const circleEnter = circleSelectAll
    .enter()
    .append('circle')
    .attr('fill', 'none')
    .attr('stroke', 'blue');

  circleSelectAll
    .merge(circleEnter)
    .attr('r', 10)
    .attr('cx', datum => datum.cx)
    .attr('cy', datum => datum.cy);

  const rectSelectAll = svg
    .selectAll('rect')
    .data([{
      right: right,
      top: top,
      left: left,
      bottom: bottom,
    }]);

  const rectEnter = rectSelectAll
    .enter()
    .append('rect')
    .attr('fill', 'none')
    .attr('stroke', 'red');

  rectSelectAll
    .merge(rectEnter)
    .attr('x', datum => datum.left)
    .attr('y', datum => datum.top)
    .attr('width', datum => Math.abs(datum.left - datum.right))
    .attr('height', datum => Math.abs(datum.top - datum.bottom));
}

reDraw();

$(document).on('input', '#start-angle', reDraw);
$(document).on('input', '#end-angle', reDraw);

        Start Angle
        <input id="start-angle" type="range" min="0" max="360" value="10" step="1">

        End Angle
        <input id="end-angle" type="range" min="0" max="360" value="200" step="1">

      Cross 0?

      Cross 90?

      Cross 180?

      Cross 270?

      Right

      Top

      Left

      Bottom

I know this is old but the current accepted answer is really inefficient and not even accurate, it just brute forces the answer by trying a bunch of points along the arc...
imbrizi's JavaScript implementation seems to break down at
certain points e.g.:

A: I have an algorithmic solution you can try using.  It involves scanning the polar coordinate space in between your known starting and ending points on the arc, and keeping track of the minimum and maximum values.
Here are the basic steps of the algorithm:

*

*convert two input (Cartesian) points on the arc to Polar coordinates

*walk along the arc counter-clockwise in Polar coordinates

*at each step, convert back to Cartesian coordinates and check for minima/maxima

I took advantage of the following two equations to convert polar to Cartedian coordinates:
x = r*cosθ
y = r*sinθ

Here is an equation to convert Cartesian coordinates to a polar angle:
θ = tan-1(y / x)

You need to watch out for the potential divide by zero in this equation.  Arc tangent of infinity is Pi / 2 radians.
This solution assumes that an arc begins and traverses counter-clockwise from a low radian value to a high radian value.
// Input Parameters:
// (x1, y1) first point on arc
// (x2, y2) second point on arc
// (xc, yc) center point of circle

public void findMinMax(double x1, double x2, double y1, double y2, double xc, double yc) {
    double xMin, yMin, xMax, yMax;
    // compute radius of circle
    double radius = Math.sqrt(Math.pow((xc - x1), 2) + Math.pow((yc - y1), 2));

    // compute starting and ending points in polar coordinates
    double t1 = 0.0;
    if (x1 == 0.0) {
        t1 = Math.PI / 2;
    }
    else {
        t1 = Math.atan(y1 / x1);
    }

    double t2 = 0.0;
    if (x2 == 0.0) {
        t2 = Math.PI / 2;
    }
    else {
        t2 = Math.atan(y2 / x2);
    }

    // determine starting and ending polar angles
    double tStart, tEnd;
    if (t1 < t2) {
        tStart = t1;
        tEnd = t2;
    }
    else {
        tStart = t2;
        tEnd = t1;
    }

    // now scan the polar space at fixed radius and find
    // the minimum AND maximum Cartesian x and y values
    double delta = 0.01;

    // initialize min and max coordinates to first point
    xMin = radius * Math.cos(tStart);
    yMin = radius * Math.sin(tStart);
    xMax = xMin;
    yMax = yMin;

    for (double theta=tStart; theta < tEnd; theta += delta) {
        // compute coordinates
        double x = radius * Math.cos(theta);
        double y = radius * Math.sin(theta);

        if (x > xMax) {
            xMax = x;
        }
        if (x < xMin) {
            xMin = x;
        }
        if (y > yMax) {
            yMax = y;
        }
        if (y < yMin) {
            yMin = y;
        }
    }

    // display min and max values
    System.out.println("xMin = " + xMin + ", yMin = " + yMin);
    System.out.println("xMax = " + xMax + ", yMax = " + yMax);
}

Testing
Arc starting at (5, 0) and ending at (0, 5) with center point (0, 0)
findMinMax(5, 0, 0, 5, 0, 0)
xMin = 0.003981633553660766, yMin = 0.0
xMax = 5.0, yMax = 4.999998414659173

A: Oleg Petrochenko's answer implemented in Javascript:
const PI = Math.PI;
const HALF_PI = Math.PI / 2;
const TWO_PI = Math.PI * 2;
const DEG_TO_RAD = Math.PI / 180;
const RAD_TO_DEG = 180 / Math.PI;

const getQuadrant = (_angle) => {
    const angle = _angle % (TWO_PI);

    if (angle > 0.0 && angle < HALF_PI) return 0;
    if (angle >= HALF_PI && angle < PI) return 1;
    if (angle >= PI && angle < PI + HALF_PI) return 2;
    return 3;
};

const getArcBoundingBox = (ini, end, radius, margin = 0) => {
    const iniQuad = getQuadrant(ini);
    const endQuad = getQuadrant(end);

    const ix = Math.cos(ini) * radius;
    const iy = Math.sin(ini) * radius;
    const ex = Math.cos(end) * radius;
    const ey = Math.sin(end) * radius;

    const minX = Math.min(ix, ex);
    const minY = Math.min(iy, ey);
    const maxX = Math.max(ix, ex);
    const maxY = Math.max(iy, ey);

    const r = radius;
    const xMax = [[maxX, r, r, r], [maxX, maxX, r, r], [maxX, maxX, maxX, r], [maxX, maxX, maxX, maxX]];
    const yMax = [[maxY, maxY, maxY, maxY], [r, maxY, r, r], [r, maxY, maxY, r], [r, maxY, maxY, maxY]];
    const xMin = [[minX, -r, minX, minX], [minX, minX, minX, minX], [-r, -r, minX, -r], [-r, -r, minX, minX]];
    const yMin = [[minY, -r, -r, minY], [minY, minY, -r, minY], [minY, minY, minY, minY], [-r, -r, -r, minY]];

    const x1 = xMin[endQuad][iniQuad];
    const y1 = yMin[endQuad][iniQuad];
    const x2 = xMax[endQuad][iniQuad];
    const y2 = yMax[endQuad][iniQuad];

    const x = x1 - margin;
    const y = y1 - margin;
    const w = x2 - x1 + margin * 2;
    const h = y2 - y1 + margin * 2;

    return { x, y, w, h };
};

Here is a jsfiddle: https://jsfiddle.net/brunoimbrizi/y3to5s6n/45/

A: First find in which quadrant the endpoints are.
If they are in the same quadrant, then the arc is monotonic and the bounding box is easy.
Otherwise, each time you cross a quadrant, you'll get an extreme point that is an endpoint of a horizontal or vertical diameter.
Not too complicated to write an algorithm for that, though there may be several cases to consider, including the orientation of the arc.


The problems I had with my equipment last night in Utrecht were with the POWER SUPPLY, not the Line 6 amp & pedal board!
Without a clean and stabilized supply of electricity, this excellent equipment will not work properly.
I was extremely disappointed that this affected the my performance.
I was in front of you and you're a God to me. I love Yes for about 30 years, it gives me happines and I even got 3 tattoos of Yes. I saw you and your supply had these problems and you were annoyed, but you and the crew were doing what they could. Still I think the show was good enough to film with my phone and I loved it, till the moment you put your foot twice in my camera. My God, what was happening? I loved the show, I was filming my favorite band, the best guitar player and you gave me your foot. I do understand you were annoyed because of the problems and I hope it will be better in other shows.I hope you understand it changed my mood too, but still think you're a great player and I loved your show in Utrecht. Sorry I couldn't film any more clips of the album Fragile. The album I knew first and sometimes really helped me in my youth, just by listening. One of my tattoos.
My Line 6 DT-50 did fail on me at a gig. The power transformer and two power capacitors had to be replaced and it was out of warranty.
It must have been incredibly frustrating for you with the power causing those problems, I was able to see close up the efforts you and your techies were going to trying to correct the situation as I was sat in the small front row, immediately behind your guitar tech. Being in such close proximity to the band was an absolute privilege (and the highlight of the seven gigs I attended this tour) Whilst there were the difficulties already mentioned, the concert was not diminished for me in any way, as the problems were outweighed by being able to see the interaction between the band.
Was the problem in Heart of The Sunrise in Brussels the previous evening also power related?
Looking forward to seeing you at your solo show at the Colston Hall Lantern in October. Have a good (issue free)rest of this tour.
I attended this concert in Utrecht. Yes, I saw immediately you had some gear problems. In fact, the issues went on during the whole first set. Yes, I can imagine this must be utterly annoying and frustrating. During the break you came back on stage to try to solve the problems. Sure, you can expect people to photograph you as you are the legendary guitarplayer… Hereafter you decided to yell at the audience roughly that you didn't want to be photographed any longer, 'or I won't work'. That was really unpleasant. I mean, you can be there because the audience is there, right? When the second part of the show began, the problems seemed solved…but your mood wasn't. At least you could have said something like: sorry guys, I had some severe problems just now, let's rock this place (or whatever). You didn't…at all. On this site you say it was all about the power supply and that it frustrated YOU… ok, fine… I believe that. But it surprises me there was apparently no second in Utrecht you realized all those people in the audience had paid for the ticket to see you and the band, not to be yelled at. You could at least have said one tiny thing to show your appreciation and respect for them, their patience and loyalty to the band.
i wasn't at this show but it sounds like Steve was obviously frustrated and concerned about the power supply and i'm sure the last thing he wanted was people taking photos and filming. why can't people just enjoy the moment??
I have met Steve Howe several times before and after concerts and he is very polite, modest and refined. Guitarists as brilliant as Steve Howe, Brian May and Jeff Beck are perfectionists. They rightfully get upset if equipment or power problems harm and/or distort their riffs, tones and sound. Steve never has an off night in reference to his consistently brilliant mastery of the electric, acoustic and pedal steel guitar.
When are you coming to Texas?
I'm an engineer, specialize in power. Sometimes a supply just doesn't cooperate. That's why your technicians should carry two or even three. Never troubleshoot at a show. Heck include a (or 2)battery backup (converter->battery->inverter) in your gear so even if the house voltage or frequency is all over the page, your equipment will always have pure reliable AC. Your techs should know that. Insist.
Steve Howe is a genius, and an intense and fascinating person. He has gone through a lot this year, with losing Chris and everything, and is understandably feeling very down right now. He should be respected!!
Thank you for responding E.M. I appreciate you sharing your thoughts. We all lose people we know and love. At 56, I too have lost a few and there will be more this year. I have also been supporting Steve and Yes from 1969, through the 70's and beyond buying their albums the day they came out. Dug all the original members (not crazy about the new ones).
Respect? I've been playing Steve for over 40 years, and still can't keep up with him. I don't think he's as fragile as you make him sound with all this "he has gone through a lot" business. Even from a Texan, I would bet he is a tough bird. I get what you're saying though. I'm not a star struck kid anymore, but am still a big fan.
Steve knows guitars and chords and scales well, but I know reliable electrical power, designing systems for years. No it is the person responsible for providing Steve with the AC he needed that I have little respect for (Steve's techs, the venue's electrician, whoever). I take responsibility of my clients seriously. I am responsible for CRITICAL reliable power, way beyond the needs a musician might have. So when I learn that any event suffered due to power, I become shocked, especially when the prevention is so simple. If Steve was my client, at every show, I would set up a table off stage with a spare of every device he uses, and probably 2 battery backup power supplies. If something starts misbehaving, I would have it replaced before Steve could scratch his head.
I happen to be on a job in Oregon, hope I can catch you in California this fall Steve.
Well, after re-reading my comment, I must confess that when I attend the occasional concert now, I AM a star struck kid again. It's great!
By the way Steve, I still poke around and restore old amps, radios, phonographs, anything with tubes in it for a hobby. Hope you still have and play your Twin Reverbs, or at least gave them a good home; those and the Deluxe Reverb's are still the best, by far.
Steve, I hope you will publish sheet music for your solo version of "To Be Over" from Montreaux 2003. Thank You!


text:
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This Data Processing Addendum ("DPA") forms part of, and is subject to the provisions of Ebuildix's Agreement (Terms and Conditions). All capitalized terms not defined in this DPA shall have the meanings set forth in the Agreement.
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text:
Cote d'Ivoire: What the Return of Gbagbo Could Mean for Ivory Coast's 2020 Election
Photo: Fraternité Matin
Gbagbo et Blé Goudé
The Conversation (Johannesburg)
analysis By Peter Penar, Michigan State University
Former Ivorian President Laurent Gbagbo's acquittal on charges of crimes against humanity by the International Criminal Court (ICC) opens the way for his return to Côte d'Ivoire once released.
His return after seven years in detention at The Hague and eight years after being discovered in a bunker during the disputed 2010 presidential election, could shape the character of the country's 2020 presidential election. Despite his absence, his influence on Ivorian politics has shaped opposition divisions in the years since he's been gone. His return therefore raises the question of internal opposition party loyalties.
Gbagbo and his co-accused, youth militia leader, Charles Blé Goudé, were arrested for having allegedly orchestrated the murder, rape and persecution of opponents after he lost the election in Côte d'Ivoire in December 2010. At least 3,000 people were killed in the violence.
Despite his absence, he has continued to influence internal opposition party loyalties. His return is therefore likely to shape the character of the election. Another reason he's likely to play a significant role is that the coalition that won presidential elections in 2010 and 2015 - led by President Alassane Ouattara - has, for the time being, fallen apart.
Ouattara has signalled that he may stand for a third consecutive term. But Côte d'Ivoire's new constitution promulgated in 2016, states that a candidate can only be reelected once.
These signals have not been well received by Ouattara's now former coalition partners. For example, his entertaining a third term and efforts to lessen the power of coalition partners has led one member of the coalition to quit the arrangement. Others have also walked away. In response, Ouattara has attempted to solidify his support by morphing his ruling coalition into a new party called the Houphouetists Rally for Democracy and Peace. The jury is still out on whether it will be enough to bring back disgruntled coalition partners.
With Ouattara's coalition weakened and the opposition divided, Gbagbo's return could shape coalition politics before the elections. Gbagbo continues to hold a bastion of popular support in the country, including his home area in Western Côte d'Ivoire.
More broadly, it's likely that Ivorians would support his bid for the presidency. And, his return to Côte d'Ivoire would lend credence to his purported innocence and the image of success in his struggle against Ouattara and Western bias.
In short, his return could make him a larger than life figure ahead of elections.
Gbagbo's friends and foes
Early on in his absence, Gbagbo's party, the Front Populaire Ivoirien, fragmented between those loyal to him and those interested in moving beyond his legacy. In particular, Aboudramane Sangaré, Gbagbo's friend, dismissed attempts to continue the party's work without him. Sangaré, and like-minded opposition officials, believed that Gbagbo would return to Côte d'Ivoire, ready to contest incumbent President Alassane Ouattara after the ICC proceedings ended.
Sangaré gained the unofficial title of "guardian of the temple", for his part in maintaining Gbagbo's place at the centre of the opposition movement. Sangaré died late last year though his imprint hasn't diminished.
Efforts to move beyond Gbagbo's legacy were led by Affi Pascal N'Guessan, a former prime minister during Gbagbo's presidency, who took over the presidency of the party before the 2015 election. This sparked vehement protests from Gbagbo loyalists. Although N'Guessan paid homage to Gbagbo, the loyalists felt he wasn't sincere.
More controversy followed N'Guessan when he decided to contest the 2015 presidential election. In advance of the election, he met then French president Francois Hollande. This led to Gbagbo loyalists suggesting he was receiving payment from France to contest the election. The claim has never been verified.
With low voter turnout at 55% compared to 80% in 2010, N'Guessan's lack of popular and internal party support saw him garner just over 9% of the vote compared to Ouattara's nearly 84%. The opposition boycott and calls to await Gbagbo's return appeared strong. Since then, N'Guessan has experimented with different political alliances and has seemingly not reconciled with Gbagbo loyalists.
Gbagbo's options
If he returns, one option is that Gbagbo resumes the flag-bearer position of the Front Populaire Ivoirien and contests the 2020 election. Because he sought election in 2010 but lost, he would be able to run. In addition, the removal of a maximum age for candidates (previously age 75) makes him eligible. He'll be 74 in May. This scenario assumes that Ouattara doesn't set up legal roadblocks to Gbagbo's return.
Another scenario is that Gbagbo may guide the Front Populaire Ivoirien towards a new political alliance ahead of the election. The alliance may involve some of Ouattara's unhappy former partners.
Top Headlines Cote d'Ivoire Governance Legal Affairs
A related scenario is that Gbagbo will be able to unite the Front Populaire Ivoirien and opposition forces, but anoint a new flag-bearer and act as the elder statesman for the party.
Finally, Gbagbo may decide to stay on the political sidelines but remain vocal on the political scene.
What do Ivorians think?
According to a 2017 survey by Afrobarometer - the independent African research network - Ivorians strongly support (81%) the maintenance of a two-term limit for a president. They also overwhelming support democracy (77%). But, they have some concerns about the democratic space afforded ahead of elections next year, with 52% suggesting that they are not satisfied with how democracy works in the country.
One of the criticisms that the opposition has levied against Ouattara is his intolerance of dissent. Among Ivorians, 48% feel that they are not at all - or not very - free to criticise the president.
It's quite possible that Gbagbo will build on these concerns, and the energy and high levels of participation that characterised Ivorian politics in 2010 could return.
Abel Gbala, who holds an M.A. from the University of Félix Houphouët Boigny and is a Development Monitoring and Evaluation expert, contributed to this article.
This article is republished from The Conversation Africa under a Creative Commons license. Read the original article.
Judges Order Gbagbo's Immediate Release
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Jubilation Among Gbagbo Supporters, but Rights Groups Lament Justice not Served
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Gbagbo Pleads 'Not Guilty' to Crimes Against Humanity
Gbagbo Pleads Not Guilty
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Gbagbo to Remain in Detention Pending Prosecution Appeal
Gbagbo's Acquittal Isn't Bad for the ICC, but Problems Remain
Gbagbo's Detention 'Disrespects Human Rights', Says Lawyer
Copyright © 2019 The Conversation. All rights reserved. Distributed by AllAfrica Global Media (allAfrica.com). To contact the copyright holder directly for corrections — or for permission to republish or make other authorized use of this material, click here.
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Africa: New Estimates Show 14.8 Million Children Globally Are HIV-Exposed but Uninfected
South Africa: Ramaphosa Fails to Show Leadership As Difficult and Decisive Year Looms
South Africa: Why This Academic Got a Radio Ad Banned
Nigeria: How the Nigerian and Kenyan Media Handled Cambridge Analytica
South Africa: South Africa Has Huge 'Green Fuels' Potential but It Needs to Act Now
Zimbabwe: Mnangagwa Is Archbishop of Machete-Wielding Gangs - Opposition
Nigeria: Minimum Wage - Labour Union Issues New Deadline to State Governors(Premium Times)
Zimbabwe: Teachers Reject Cushion Bribe(Kubatana.net)
Kenya: I Acted on Kenyatta's Orders, Magoha Says on VC Drama(Nation)