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Sofia Coppola's On the Rocks could be called a sitcom farce if it had some more pep in its step. As it is, it's slow-drip farce, a low-key look at a middle-aged married woman with doubts (Rashida Jones) and her rascally womanizing father (Bill Murray) who flies into town and encourages her doubts in order to spend time with her. It's sweet, sad, and sentimental as the two of them tool around New York City trying to figure out if her husband (Marlon Wayans) is cheating on her. Like a minor B-side to Coppola's great father/daughter picture Somewhere—where there a womanizing movie star father is slowly, potentially, pulled out of his ennui by taking care of his daughter for a while—this new movie finds the push-and-pull of a warm but contentious familial relationship a source of strength and consternation. Coppola is such an astute observer of human behavior, and finds a dreamy specificity in her pin-prick precise production design, so perfectly right it looks tossed off and casual. Because of this, her airy and breezy approach to a situational comedy of this sort looks easy. It has the cheery rhythms of repartee at half speed, a lived-in prickly warmth between a charmingly disappointing —or disappointingly charming—father and his slightly stressed daughter, whose insecurities surely must come, in part, from her dad's approach to women. "You can't live without them," he says, "but you don't have to live with them." He says it not like a punchline, but as a bromide the old fellow has surely dusted off one too many times before. The whole project balances on this sparkling smallness, on subtle turns of phrase and shifts of mood. Here's a portrait of love, aging, and family that's sweet and sad. Without pressing down too overtly, it becomes a deceptively light domestic drama hidden just under the quotidian daily routine and dilemmas—drop offs and pick-ups, lunches and dinners, RSVPs and random catch-ups, babysitters and cabs—and the naturally paced development about what lesser hands would escalate to unreal crescendos. Coppola's a sharp filmmaker, and here finds a generously slight picture of uncomfortably comfortable middle age, its discontents, and its pleasures. No wonder a key recurring image is that of a gifted watch, for the older you get, the more you realize the greatest present you can give someone else is your time.
Posted by The Voracious Filmgoer at 6:01 PM
Labels: Bill Murray, Marlon Wayons, Rashida Jones, Sofia Coppola No comments:
The vulgar genius of Sacha Baron Cohen's Borat, the backwards foreign journalist hailing from a broad stereotype of a third-world country, who first appeared in the early-aughts comedy interview series Da Ali G Show before starring in his own hit film in 2006, is in getting people to expose their subterranean ugliness. His first film found him meandering America, skewering our country's hypocrites' morals and mores by revealing all sorts of prejudices. He surgically targeted the obtuse and the unsuspecting, who time and again revealed supreme patience, albeit in their patronizing attitudes toward other countries by, say, believing that a Kazakh would drink water out of a toilet. Still others were all-too eager to nod along with his endless stream of misogyny, anti-Semitism, and eagerly dance as he giddily fiddled with their own xenophobic assumptions confirmed. All that, a deep commitment to a cracked improv character, and an instant-classic comedy catchphrase machine, too? (You can still faintly hear the "My wiiife"s and "high-fiiive"s echoing across the culture.) How lucky we were to have a movie, however uneven, that brought this concoction to us, with elaborate dirty Candid Camera scenarios that escalated to the wildest gags and can-hardly-believe-what-I'm-seeing-or-hearing moments of high-wire tension and explosive laughter. That he did it again, with the less iconic, but no less outrageous Bruno, a flamboyant razor's-edge confrontation with homophobia, is a feat of gonzo comedy chops. I'm glad he's out there doing his thing.
Alas, the problem with Borat Subsequent Moviefilm is that Americans don't have much ugliness hidden anymore. It's all out in the open. A joke of this surprise sequel is that, no matter how extreme Borat goes, some individual is ready to happily accept him into the fold. Why, even walking into CPAC in a Klan hood gets him a few puzzled looks, but hardly an uproar. We live in a time where stupid political stunts — the faker the better — are the right wing currency, and a social media environment where a lie is a good as the truth and the optics, no matter how strained, are trotted out like actual substance. Truly, the political discourse is as debased as it has ever been. How is Borat to compete? This time around, he's in disguise as an American most of the time, in a transparently fake fat suit and sloppily pasted jowls and facial hair. He says it's because he's too well known, an amusing meta commentary on the dozen years of speculation on how he could possibly follow-up his previous film's unexpected jolts. His shtick is still funny, but more scattershot, and gains welcome novelty from inventing a new character. This time he's brought his daughter along. She's an exuberant match—game actress Maria Bakalova sloshing around a similarly phony accent, and eager to match her father in extreme prejudice, gross-out gags, and preposterous miscommunications. They make quite a pair.
Though the movie as a whole —sloppily photographed and slapped together for an authentic guerrilla style—hangs together less than one would hope, there are a handful of big, cringing laughs to be found here. There's a squirming sequence in a Crisis Pregnancy Center in which a straight-faced evangelical pastor studiously avoids obvious implications of incest in order to affirm "God's plan." (Of course he doesn't know the "baby inside her" is a tiny plastic cupcake topper.) There's a debutante ball in which the old men slobber along with Borat's objectification of the daughters. There's a dress shop where the owner doubles-over in overly-accommodating laughter when Borat asks for the "no means yes" section. And it culminates in a much-buzzed about sequence in which the daughter gets an interview with Rudy Guliiani that ends in him asking for her phone number as he lays back on a hotel bed with his hand down his pants. For every riotously hilarious stunt, there's a lot of downtime and setup, or a misfiring disgusting detail. (The joke of a crowd staring in horror at a dress drenched in menstrual blood was beyond me.) And it's never exactly clear what the film thinks it's exposing. That a right-wing protest will cheer a racist song about wanting Obama locked up and injected with the flu? Of course they would. So the movie doesn't have the shock value, or the novelty. But it does have the perversely appealing Borat, whose elaborate burlesque of Otherness and rampant resistance of progressive values finds some strange sweetness at times. He comes by his ignorance honestly, and actually does want to learn and improve himself, however circuitous and perhaps futile the route. It makes the resolutely ignorant of our country look all the worse in comparison. Its final joke is on them.
Labels: Maria Bakalova, Sacha Baron Cohen No comments:
I could quickly tell that Spike Lee's film of David Byrne's American Utopia is among the greatest of concert films. Plenty capture a performance, record an event, pin down a moment in time for us to return to again and again. When working near the peak of the form, a concert film gives the impression of a night of entertainment with a particular production. Here we have that and more. By the end, I felt I'd seen the show in person myself. It helps that the event itself is a masterwork in which the legendary Talking Heads frontman puts other aging stars' greatest-hits tours to shame. Here he's imagined a fully thought-through theatrical experience. The set is simplicity itself: three walls of chains and lights like bead curtains draped around a bare stage. Byrne and his small backing band and dancers are dressed alike: barefoot in well-tailored blue-grey suits. (They look like preachers ready for a baptism, or maybe Moses on Holy Ground.) The instrumentation is guitar-based, eclectic — especially percussion of an impressive variety — and worn on the musicians with marching band-style rigs. They have maximum mobility to leap and dance — moving with a loose-limbed geometric precision to the driving funky pop rhythm, symbolic and surrealist lyrics, and trance-like repetitions filtered through Byrne's dense kaleidoscopic vector of all world music. They play some hits — "Once in a Lifetime," "Burning Down the House" — that you'd recognize from Jonathan Demme's Stop Making Sense (a perfect concert film). They play some obscurities. They play a cover or two. His stage patter is earnest, a little oddball, a little cornball, a smidge political, and that's just right. It's held together sonically — the music, though drawn from a multiplicity of Byrne's projects is played with a consistent groove and beautifully modulated mood — and visually—the simple staging and costuming drawing attention to the community formed on stage and in the theater. The film, joyfully alive, gathers its ecstatic energy there.
For that's where the production, and Lee's framing of it, reaches its greatest heights. Lee, who has made good concert films in the past (Freak, The Original Kings of Comedy, Passing Strange), here makes his finest one. His camera is always perfectly placed, never obtrusive even when moving, always capturing flourishes of movement. It's edited fluidly, never distracting and always enhancing the movement of people and lights on stage. Sometimes we see silhouettes or half-lit visions of the audience bopping along, lost in the moment, feeling the music. They're totally transported—and so are we. Byrne, as a figure of pop music, has a voice all his own, a distinctive tight lilt that soars in unexpected curlicues or cracks out in driving staccato. His figure—thin, open, somehow clenched and loose in the same moment, almost alien in his movements—is instantly recognizable, even hypnotic. And yet he's unfailingly generous on stage, paying tribute to his collaborators, holding attention while becoming one of the group, moving in the freedom of precision, isolated but together. Lee captures all of this, seeing the stage as a vessel for all of this great music, great communion with the creative energy of the moment. I found American Utopia to be as close to a religious experience as cinema gets. It's a great concert captured exceptionally well, that's true. I was tapping my feet and clasping my hands and bobbing my head and humming along, even all alone in front of my television. But it also has the feeling of a transcendent humanist revival meeting for faith in others, in connection, in imagination, in compassion, in contemplating deep questions, and giving yourself over completely to the power and release of great music. Somehow Lee captures this live experience feeling waves of love from the audience to the stage, from the performers to each other, and everyone in the room to the experience they've collectively had together. I felt I'd had it too.
Posted by The Voracious Filmgoer at 3:12 AM
Labels: David Byrne, Spike Lee No comments:
In this precarious moment for our democracy, how refreshing to hear someone speak about our Constitution and mean it. We've had our fill of prevaricating mendacious allegiances sworn to this document by those who wish to insincerely view it as an inerrant talismanic source of originalist interpretation, when they see it as a convenient carte blanche ticket to roll back rights. What a breath of fresh air — almost dizzying in its openness and honesty — to hear Heidi Schreck tell us what the Constitution means to her. Director Marielle Heller, whose deeply and sensitively compassionate films like A Beautiful Day in the Neighborhood and Can You Ever Forgive Me? are casually radical character pieces interrogating familiar ideas from unusual angles, filmed Schreck's one-woman show What the Constitution Means to Me. It's an extension of Heller's interests in intimate personal stories and the responsibilities we have to one another. Schreck's theater piece is a work about the successes and failures of the American project, about the patterns of abuse and the potential for progress in the life of her family and the life of our country. The two creative voices work well together, Heller choosing exactly the right camera placement, cuts, pans, and pushes to unobtrusively emphasize and draw the eye, as Schreck's masterful monologue slips quickly and logically between time and topic, building a persuasive argument that the Constitution, for all the flaws of interpretation and implementation over our history, remains a vital tool for reviving and providing basic rights and the means to add to them.
To do so, she begins by recreating a speech she gave over twenty years prior as a fifteen-year-old entering an American Legion oration contest in pursuit of scholarship money. (The simple set, naturally, is a wood-panelled room with veteran's portraits lining the walls and the stars and stripes framing a simple podium.) The assigned topic was the title of this project. She chipperly inhabits her adolescent self, beaming broadly as she recreates this experience, boundless enthusiasm sliding between earnest and put on, as she cheerfully praises our founding document and its incredible bedrock importance for protecting Americans. Occasionally, she steps out of her past self and talks to us as a middle-aged woman living in 2019. She comments, adds context, extrapolates. Sometimes she discusses Supreme Court decisions or other relevant case law. Other times she talks about her family history, in particular generations of women who pushed against expectations, lived difficult lives, and suffered hard-fought battles for their rights. As she continues, the distance between her youthful enthusiasm and her modern perspective grows—and yet she never loses sight of the potential in the document that is her topic. The show expands—builds arguments, tells stories, even briefly adds other voices (though it remains a one woman show) —and Heller chooses well when to cut away—letting Schreck catch her breath or allow us brief close-ups of audience members as implications or emotions land with them. It's not all serious business, despite subject matter as intense as the danger of domestic abuse and the very fate of our country, as Shreck's charming demeanor is learned and casual, breezily funny, whip-smart crackling with research rigor, and always real. It's a righteous sermon and a dazzling debate, a wrenching personal statement and an earnest call to political engagement. In the end, she's built her case that our country has a strong foundation, and we not only need to push to expand it, but also vote to keep it.
Posted by The Voracious Filmgoer at 10:58 PM
Labels: Heidi Schreck, Marielle Heller No comments:
Don't Tell Mom the Boogeyman's Back:
Older kids know that becoming a babysitter is a portal to power, an important first step into a larger world. So of course it only makes sense that there could be a secret order of babysitters sworn to secrecy and pledged to protect their innocent charges from the Boogeyman. That's the charm of A Babysitter's Guide to Monster Hunting, which is imbued with the tween energy of getting some measure of control over your life, while still bound by the duties of being a kid. It stars Artemis Fowl's Tamara Smart as a plucky math whiz teen who'd rather be at the cool kids' Halloween party instead of watching her mother's boss's son (Ian Ho). Still, it pays well. And mother said she must. So off she goes, gathering the necessary sheets of instructions from the cold, persnickety mother (Tamsen McDonough) — swanning about dressed as an Ice Queen, the irony not lost on our hero — and seeing the kid safely off to bed, despite his hesitations and stories of vivid nightmares. Shame, then, that the Boogeyman (Tom Felton, looking like a glam Tim Burton castoff, or like something out of the classic DCOM Don't Look Under the Bed) arrives and carries the tot off to a dream-harvesting underworld. This is where our hapless babysitter is introduced to the noble secret monster-hunter cause, by way of a super cool older girl (Oona Laurence). She swoops in a motorized scooter wearing a leather jacket and slick cotton candy hair perfectly coifed. She knows all the tricks, and so the two girls zip around tracking the gently designed beasties that lead the way to the villain's lair, with stops at a basement laboratory, the aforementioned Halloween party, and the Art Deco home of a silent-film star turned witch (Indya Moore). Scripted by Joe Ballarini from his own children's book of the same name, the whole thing is fast-paced and cute. It is carried along with gentle buoyancy, adventurous without being overwhelming, and possessed of only the mildest of creep factors. It's a kids picture and knows it. Director Rachel Talalay (Tank Girl) brings the lively Goosebumps by way of Spy Kids style, with sharp blocking, sparkling fantastical sets, and zippy action. She also coaxes the sweetest, appealing performances out of her young cast, steering hard into their likability, and the bouncy young person's adventure of it all. It's an all around charmer.
Labels: Ian Ho, Indya Moore, Joe Ballarini, Oona Laurence, Rachel Talalay, Tamara Smart, Tamsen McDonough, Tom Felton No comments:
Pity the sex comedy, that endangered species, done under by getting caught between a resurgence of puritanism in Hollywood productions, and the free-wheeling permissiveness available on any social media platform. Add to that the increasing disappearance of mid-budget films and the migration of once-proud genres into distended projects for streamers, plus the tricky social climate, and it's no wonder studios, let alone filmmakers, are more likely to not even bother. Nonetheless, when we get a rare good sex comedy, like 2015's Magic Mike XXL or 2018's Blockers, it succeeds with a broad-minded kindness, centering desire and consent without losing the inherent silliness of interpersonal fumblings and foibles. They're celebrations, not merely objectifications, of this normal aspect of life. No room for the snickering juvenile leering of the old frat house yuckers and locker room droolers like Revenge of the Nerds or Porky's, films which were cheap, cruel, and exploitative, even back in their own day, and have aged about as well as a raw egg in the summer sun.
That cultural shift is what makes the curiously evergreen American Pie franchise such an oddity. What began as a quaint, comparatively innocent, cringingly raunchy comedy of teen embarrassment back in 1999 begat a long line of sequels and direct-to-video spinoffs that never quite recaptured the strangely naive vulgarity of the original. Here we are, two decades hence, with the ninth: American Pie Presents: Girls' Rules. Unlike the first of the series, which follows a group of senior guys hoping to get some experience before college, this one is about some young ladies. About time there's a better gender balance here, some might say, if hopelessly inclined to pin their progressive hopes solely on the optics of their lowest-common-denominator entertainment. (I'm thinking of the memorable tweet which jokingly described this tendency thusly: conservatives want to lock up their enemies, while some liberals ask for more women guards.) Regardless, this new Pie bakes up nothing more than another batch of flailing sub-sitcom farce and cringing gross-out gags in this tired franchise. In brightly lit, indifferently staged medium shots, director Mike Elliott (one of Universal's stable of DTV sequel helmers, having tackled the fourth Scorpion King and second Blue Crush) has characters endlessly discuss who is doing what to whom and who wishes to put what where. It's an endless torrent of profanity, innuendo, and sexual slang. The movie knows the words, but it never once indicates that it knows the feeling. Here are characters who so mechanically discuss desire that their antics are entirely disconnected from genuine human experience. It then sends them through a gauntlet of extreme humiliations—take the opening, in which a nice girl wedgies herself on the top of a fence, falls into a mud puddle, gets a prophylactic stuck in her throat, and falls out the second story window. It wants to be open-minded enough to focus on female desire, but instead finds non-stop punishment. It doesn't let them off easy. At least that's par for the course for this execrable franchise.
Much better at putting us in the mind of a young woman is Yes, God, Yes. It's the directorial debut of Karen Maine, who had a story credit on Gillian Robespierre's Obvious Child, the 2014 Jenny Slate-starring indie rom-com about a woman falling in love while waiting for an abortion. That movie, so sweetly frank, gently funny, and warmly understanding of its characters, is the better picture, but Maine's new feature shares some of those same qualities. It stars Stranger Things' Natalia Dyer as a student at a Catholic high school. Her stirrings of desire rub up against her upbringing's expectations. Set in 2001, it's a story of AOL chats and Titanic on VHS, of whispered rumors among friends and faculty, and a casually stern priest (Timothy Simons) policing the boundaries of expected behavior. Most of the film takes place at a four-day retreat sponsored by her school. There she finds herself lost—feeling alone even in the group, since others are admitting their struggles and sadness and she can't quite bring herself to admit the feelings with which she's wrestling. Take an early scene in which the handsome senior football player (Wolfgang Novogratz) greets the group. The camera cuts in tight on his hairy, muscular forearms. Then it cuts back to Dyer, as her eyes flit and stare. An apt period-appropriate pop song pounds onto the soundtrack: "Genie in a Bottle." It's clever. The movie admirably sticks to her viewpoint, and the film is quiet and soft, even a little slow, even if some scenes seem to end abruptly. It never quite reaches a good climax. And I wanted more follow through on some character beats. But the sense of space and place is sensitive and its keen understanding of the lead's alienation and inner conflicts is tender. Would that that grace be extended to some of the supporting characters, who are either casually complicated, or tossed aside for a point. Compared to something similar like the great Miseducation of Cameron Post, and its warm understanding for even its antagonists, this small, slightly more comedic take can't compete. For how well it knows Dyer's character, it loses nuance around the side characters. Worst is a wise old biker who actually speaks the words "You should check out colleges on the east and west coast" as advice, as if our main character's dilemmas are uniquely midwestern. So it could be a better movie, but its commitment to close-up portraiture of a particular experience is admirable.
Labels: Karen Maine, Mike Elliott, Natalia Dyer, Timothy Simons, Wolfgang Novogratz No comments:
Finally, a vampire movie that knows Dracula is a novel about real estate. In Vampires vs. the Bronx, a compact little teen-friendly horror movie from sitcom alum Oz Rodriguez, vampires are real and they're gentrifiers. As a trio of young teens bike around drumming up support for a block party to save their local bodega, dark-suited investors swoop in to buy out local buildings at top dollar. If the proprietors promptly go missing, well, that's just a sad coincidence. Besides, maybe they've just up and gotten themselves absorbed into the suburbs. The film has a scrappy underdog appeal, as the kids are hardly believed, and thus must sneak around and gather evidence or, if comes to worst, fight off the evil themselves. The central trio is well cast and appealing, with Jaden Michael (Wonderstruck), Gerald Jones III, and Gregory Diaz IV playing both believable blustering bravado and in-over-their-heads young-as-their-years sympathy. They have a sense of righteous indignation to save their neighborhood, whether it be from bloodsuckers of an economic or literal sense. They're surrounded by a cast of memorable faces—a little bit Do the Right Thing in its panoramic portrait of a neighborhood's regulars filled out with authentic unknowns and well-chosen recognizable performers like Zoe Saldana, Method Man, and Chris Redd. But, like Joe Cornish's terrific public-housing vs. space-invaders picture Attack the Block, the political point in this movie is wedded to a style of pure genre, lightness and heaviness held in fine proportion. The movie is a low-key charmer, and an exercise in unfussy tropes and tricks. The thing just plain works. The sleek scope frame pulsing with the rack focus and deep shadows, the crackling lights, squirmy effects, and slick asphalt play up the very real danger of the supernatural forces swirling in business suits. As villains, Sarah Gadon and Shea Whigham are two perfectly pale character performances, blonde and white and gliding, sticking out but without raising suspicions in this neighborhood as they play like one kind of villain to hide the deeper, darker evil they really are. After all, the locals are already plenty suspicious without having to add the vampiric truth. When one of the boys tries to warn his mom away from taking a meeting at the developers' office, shouting that he's a bad man, she wryly replies: "Of course he is; he's in real estate."
Labels: Chris Redd, Gerald Jones III, Gregory Diaz IV, Jaden Michael, Method Man, Oz Rodriguez, Sarah Gadon, Shea Whigham, Zoe Saldana No comments:
Labels: Kirsten Johnson No comments:


vampire. . Wallpaper and background images in the Vampiri#From Dracula to Buffy... and all creatures of the night in between. club tagged: vampire horror blood.
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We are Henry Paul Funeral Directors in Ealing, and we have had the privilege of serving our Brentford community since 1919.
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All courses include aims and objectives, a tip sheet (if desired) and a commitment to action postcard. They can also be tailored to your firm's values and objectives.


Felix Kitten Mixed Selection Pack in Jelly Cat Food provides the nutritional care and specially formulated food your growing kitten needs from the very beginning. The pack contains an assortment of delicious flavours packed with essential nutrients including chicken, cod, lamb and plaice. Each tasty pouch contains proteins, minerals and vitamins that promote growth and support the development of healthy teeth, muscles and bones in your kitten. Box contains 12 x 100g pouches. 3 x Chicken, 3 x Cod, 3 x Lamb and 3 x Plaice.


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What does FAASV Stand For?
For FAASV we have found 6 definitions.
What does FAASV mean? We know 6 definitions for FAASV abbreviation or acronym in 2 categories. Possible FAASV meaning as an acronym, abbreviation, shorthand or slang term vary from category to category. Please look for them carefully.
All acronyms (6)Airports & Locations Business & Finance Common Government & Military (2)Medicine & Science Chat & Sub Cultures Education Schools (1)Technology, IT etc.
*** FAASV Filipino-American Association of Stafford Virginia, Inc.


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PITTSBURGH, Feb. 5, 2014 /PRNewswire/ -- For the third year in a row, ANSYS (NASDAQ: ANSS) has earned an award celebrating unique tools that improve and simplify the electronic design process.
ANSYS won the DesignCon 2014 DesignVision Award for the Integrated Circuit (IC) Design Tools category for ANSYS PathFinder-D technology. A comprehensive layout-based electro-static discharge (ESD) integrity solution, PathFinder is critical to custom IC designers because it helps identify weak areas of the design in layout or circuit that could potentially cause ESD failures.
Historically, electronic components have often experienced ESD failures, or electrical shorts. However, these failures are becoming more frequent due to the rise in use of smart devices, shrinking geometries, higher levels of digital and analog integration and advanced electronic package designs. So the advanced technology to address these phenomena is becoming increasingly valuable.
"It's with great pride that ANSYS accepts recognition from DesignCon for the third consecutive year," said Norman Chang, vice president and senior product strategist at ANSYS subsidiary Apache. "As electronics products become smaller and smarter, ensuring design reliability has become increasingly challenging. This DesignVision award further underscores our commitment to providing best-in-class technology to our customers and the electronics industry."


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6 - 8 June, 2023
Postillon Hotel AmsterdamDigital Experience: All Sessions Live-streamed 6-8 June, 2023
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Geoff Hale, PhD
CEO at mAbsolve
Geoff has researched monoclonal antibodies since 1980. He was part of the team that developed the first humanized antibody (Campath-1H) and worked for 25 years at the Universities of Cambridge and Oxford to develop and manufacture antibodies for clinical trials. In 2002 Geoff founded BioAnaLab, a service laboratory specialising in the analysis of biologics. In 2009 the company was acquired by Millipore and Geoff continued as Chief Scientist until 2011.
Since then he has founded several other life science businesses and worked as a freelance scientist, consultant and company director, with interests in the development of antibodies and antigens for research, diagnosis and therapy.
Diversity of Fc Effector Function in Antibody-Based Therapeutics
Jun 06 , 08:15
Thom Sharp, PhD
Leiden University Medical Center
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Antibody & Protein Therapeutics – From Discovery to Production
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Antibody Engineering & Therapeutics Europe
Emaildisha.koshal@informa.com


It's sometimes hard to explain to people exactly what it is that I do and why I love it. The simple answer is that I create digital images that can be used for commercial applications. Boring right? Surface design is essentially creating imagery that can be placed on a manufactured product to make it aesthetically pleasing. Once you get it you will start seeing it every where! I like surface design because it was the perfect marriage of my love for fine art and my desire to work digitally. I enjoy the manipulation process of digital work and being able to change a piece of art into something completely different than what you began with using digital tools. I also enjoy painting and the colors that come from gouache and watercolor in a natural and more organic way than you traditionally get with digital art. Thus began a deep seeded obsession with surface pattern design. I'm so blessed to have found something that I truly love to do everyday. I wake up with ideas for new patterns and illustrations and I can spend hours working on a surface design without even realizing how much time has passed. I get inspiration often and I feel like I will never have enough time to do all of the things I want to do. In other words, surface design lights my fire EVERY DAMN DAY.
I am so happy that I am able to share this love and passion with you. Sharing my artwork hasn't always come easy. The only way it gets better is to just keep doing it. It's being vulnerable and taking risks over and over and over to make that fear subside. I won't say it goes away, but it definitely gets easier.
These two things are the best part of being an artist. Finding a niche that works for your skills and interests and lights your fire everyday and the ability to be vulnerable and share it with the world. What lights your fire and what are you doing to share it with the world?


text:
Q: How to search a column in Yajra DataTable with relationship in other table in Laravel 9? I'm using Yajra DataTable now, and I was able to display the data from StudentApplicants with relationship with users and course to my table, but I can't search the data from users relationship.
I can only search column of StudentApplicants but not with users column. I already tried this but it's not working EAGER LOADING RELATIONSHIP. For now, I'm using the manual search for my first model.
Controller
if ($request->ajax()) {
        $data = StudentApplicants::with('users')->with('courses')->where('student_applicants.course_id', $courses->id)->select('student_applicants.*');
        return DataTables::of($data)
            ->addIndexColumn()
            ->addColumn('image', function ($status) {
                $url = asset('uploads/' . $status->image);
                return '';
            })
            ->addColumn('status', function ($status) {
                if ($status->status == '1') {
                    return 'Approved';
                } else if ($status->status == '2') {
                    return 'Rejected';
                } else {
                    return 'courses->course_code . '/approve/' . $status->id . '" class="btn btn-success btn-sm btn-icon-split">

                    Approve

                courses->course_code . '/reject/' . $status->id . '" class="btn btn-danger btn-sm btn-icon-split" >

                    Reject
                ';
                }
            })
            ->addColumn('action', function ($status) {
                $btn = '';
                $btn .= 'courses->course_code . '/' . $status->id . '" class="btn btn-sm btn-secondary">  ';
                $btn .= '<button type="button" class="btn btn-sm btn-danger deleteUserbtn"> </button>';

                return $btn;
            })
            ->filter(function ($instance) use ($request) {
                if ($request->get('status') == '0' || $request->get('status') == '1' || $request->get('status') == '2') {
                    $instance->where('status', $request->get('status'));
                }

                if (!empty($request->get('search'))) {
                    $instance->where(function ($w) use ($request) {
                        $search = $request->get('search');
                        $w->orWhere('gwa_1st', 'LIKE', "%$search%")
                            ->orWhere('gwa_2nd', 'LIKE', "%$search%");
                    });
                }
            })
            ->rawColumns(['image', 'status', 'action'])
            ->make(true);

Student Applicants Model
public function courses()
{
    return $this->belongsTo(Courses::class, 'course_id', 'id');
}

public function users()
{
    return $this->belongsTo(User::class, 'user_id','id');
}

Javascript
columns: [
        {
            data: "users.stud_num",
            name: "users.stud_num",
            className: "font-weight-bold",
        },
        { data: "users.first_name", name: "users.first_name" },
        { data: "users.last_name", name: "users.last_name" },
        { data: "courses.course_code", name: "courses.course_code" },
        { data: "gwa_1st" },
        { data: "gwa_2nd" },
        {
            data: "image",
            className: "text-center",
        },
        { data: "status", className: "text-center" },
        {
            data: "action",
            orderable: false,
            searchable: false,
        },
    ],

A: Answer
Instead of using the filter, create if condition that will filter the data. It's very difficult to use the search in nested relationship in Yajra DataTable so creating your own will be the best possible solution.
 $courses = Courses::where('course_code', $course_code)->first();
 $model = StudentApplicants::with('users', 'courses')->where('student_applicants.course_id', $courses->id)->where('award_applied', '1')->select('student_applicants.*');

    if ($request->get('status') == '0' || $request->get('status') == '1' || $request->get('status') == '2') {
        $model->where('status', $request->get('status'))->get();
    }
    if ($request->ajax()) {

        return DataTables::eloquent($model)
            ->addColumn('studno', function (StudentApplicants $stud) {
                return $stud->users->stud_num;
            })
            ->addColumn('fname', function (StudentApplicants $stud) {
                return $stud->users->first_name;
            })
            ->addColumn('lname', function (StudentApplicants $stud) {
                return $stud->users->last_name;
            })
            ->addColumn('course', function (StudentApplicants $stud) {
                return $stud->courses->course_code;
            })
            ->addColumn('image', function ($data) {
                $url = asset('uploads/' . $data->image);
                return '';
            })
            ->addColumn('status', function (StudentApplicants $data) {
                if ($data->status == '1') {
                    return 'Approved';
                } else if ($data->status == '2') {
                    return 'Rejected';
                } else {
                    return 'courses->course_code . '/approve/' . $data->id . '" class="btn btn-success btn-sm btn-icon-split">

                    Approve

                courses->course_code . '/reject/' . $data->id . '" class="btn btn-danger btn-sm btn-icon-split" >

                    Reject
                ';
                }
            })
            ->addColumn('action', function ($data) {
                $btn = '';
                $btn .= 'courses->course_code . '/' . $data->id . '" class="btn btn-sm btn-secondary">  ';
                $btn .= 'id . '"> </button>';

                return $btn;
            })
            ->rawColumns(['image', 'status', 'action'])
            ->make(true);

In Javascript
 columns: [
        {
            data: 'studno',
            name: 'users.stud_num',
            className: "font-weight-bold",
        },
        {
            data: 'fname',
            name: 'users.first_name'
        },
        {
            data: 'lname',
            name: 'users.last_name'
        },
        {
            data: "course",
            name: "courses.course_code"
        },
        { data: "gwa_1st" },
        { data: "gwa_2nd" },
        {
            data: "image",
            searchable: false,
            className: "text-center",
        },
        { data: "status", className: "text-center" },
        {
            data: "action",
            orderable: false,
            searchable: false,
        },
    ],

redpajama_set_name: RedPajamaStackExchange


Open Your Heart and Be Kind is the message on the joyful holiday drawing that will be the face of Niagara Health's 2018 Holiday Greeting Card.
Alexa Kirkwood, nine-year-old daughter of Service Desk Analyst David Kirkwood at our Data Centre in Thorold, is the brilliant artist behind the grand prize-winning entry of our 12th Annual Holiday Card Contest for kids.
Angela Zangari Niagara Health's Executive Vice President Finance, Operations and Chief Financial Officer, presenting the Holiday Card Contest grand prize certificate to Alexa Kirkwood of Fonthill.
In addition to her love for drawing, Alexa is an avid dancer, and has a special interest in ballet. She practices dance four days a week and is proud to be performing in Niagara Ballet's Nutcracker.
On top of these interests, she focuses on her schoolwork and enjoys spending time with her family.
Niagara Health President Dr. Suzanne Johnston and 2018 President's Award of Excellence recipient Don Versluis had the challenging task of selecting the winners.
Caption for photo: Angela Zangari Niagara Health's Executive Vice President Finance, Operations and Chief Financial Officer, presenting the Holiday Card Contest grand prize certificate to Alexa Kirkwood of Fonthill.


text:
import {Component, ViewChild, OnInit} from '@angular/core';
import {REACTIVE_FORM_DIRECTIVES} from "@angular/forms";
import {FormBuilder, ControlGroup, Validators} from "@angular/common";

@Component({
    moduleId: module.id,
    selector: 'model-forms-example',
    templateUrl: 'model-forms-example.html',
    directives: [REACTIVE_FORM_DIRECTIVES]
})
export class ModelFormsExampleComponent implements OnInit {
    public submittedData: string;
    public userForm: ControlGroup;
    constructor(private formBuilder: FormBuilder) {
    }
    ngOnInit() {
        this.userForm = this.formBuilder.group({
            userId: [
                'dfbaskin',
                Validators.compose([
                    Validators.required,
                    Validators.pattern('^[a-z]([a-z0-9_])+$')
                ])
            ],
            fullName: [
                'Dave F. Baskin',
                Validators.required
            ],
            contact: this.formBuilder.group({
                emailAddr: [
                    'dfbaskin@gmail.com',
                    Validators.required
                ],
                twitterHandle: [
                    '@dfbaskin',
                    Validators.pattern('^\@[a-z]([a-z0-9_])+$')
                ],
            })
        });
    }
    onSubmitUser(data: any) {
        this.submittedData = JSON.stringify(data, null, 2);
    }
}

redpajama_set_name: RedPajamaGithub


The windshield wiper/washer control lever is located on the left side of the steering column. The front wipers are operated by rotating a switch, located on the end of the lever. For information on the rear wiper/washer, refer to "Rear Window Features" in "Understanding The Features Of Your Vehicle".


Bouncy Castles, Inflatables and so much more!
We cater for children's parties - age range: 3-12 years.
(to maximum value £50 subject to availability).
• Up to date party tunes.
• A great light show.
Parent's are encouraged to join in the fun or can in turn sit back, relax and enjoy the show.
Our parties are hosted by a professional DJ / Entertainer - who will interact with guests to create a fun time to be enjoyed by all.
Why not make your disco a fancy dress party??? Our DJ will judge the contest and award a prize to the best dressed!!!
All this for ONLY £160 with a free bouncy castle!
If you wish to upgrade the FREE £50 Castle to a larger one or other piece of equipment, this is possible - all you have to do is pay the difference.
Terms and Conditions: Ideal number of children 25 or less for maximum fun - but we can cater for more if required.
Throw the party of the year for just £25!


text:
Humor/Satire September 21, 2015 September 21, 2015
Carly Fiorina Claims to Have Seen Proof That Moon Landing Was a Hoax
Carly Fiorina sees all kinds of things in all kinds of videos.
GOLDEN, IOWA — 2016 Republican presidential hopeful Carly Fiorina made headlines during the second televised GOP primary debate when she claimed to have seen a scene in the Planned Parenthood "sting" videos released by the right-wing anti-abortion group Center for Medical Progress that many media outlets have called an outright fabrication. Fiorina shrugged concerns of her possible mendacity and instead pivoted early this week to another topic — the 1969 moon landing of the Apollo 11 space craft — while at a campaign stop in Iowa.
"I have seen, with my own three eyes," Ms. Fiorina told an assembled crowd in front of a Planned Parenthood clinic, "the things I described seeing in the Planned Parenthood videos, rest assured. But I have also recently been showing damning, conclusive evidence that the 1969 Apollo 11 moon landing was not only a hoax, but it was a hoax perpetrated by a young Kenyan boy of just eight years of age," Fiorina teased before giving her audience what they wanted, "and yes, it's that Kenyan boy I'm talking about, rest assured."
According to Fiorina, shortly after the second Republican debate, "a man approached [her] with an iPad, queued up to a YouTube video called 'The Moon Landing Was a Hoax Perpetrated By Obummer.'" In the video, Fiorina says she saw not only definitive proof that Obama's birth certificate is "as phony as those abortion group's Planned Parenthood videos" and that she also saw "irrefutable evidence that President Obama, then just eight years old, helped Saul Alinksy perpetrate a massive fraud on the American people called the Moon Landing."
"The video is very clear, rest assured, in showing that Neil Armstrong was an Alinksy agent, and the person behind the camera, faking this supposedly huge accomplishment for the government — which we all know is evil — was none other than a young Barack HUSSEIN Obama," Fiorina told the crowd. The former Hewlett-Packard CEO also said she will be releasing the video on her own campaign website, as well as hand out screen shots from the video at all her rallies. "We cannot let the government — and specifically this feckless so-called leader of ours — continue to tell lies about stuff."
Fiorina said if there is "one thing [she] hate[s] about" people, it's "when they are clearly lying about something and don't fess up." The current second place Republican candidate said that "when you can't trust someone to tell you the honest truth, they are worthless as a president" before reminding the audience that she had "totally seen the things [she] said [she] saw in both the Planned Parenthood and moon landing hoax videos."
"Rest assured," Fiorina said, "I will not be one to lie to the American people. Rest assured, I will tell you exactly what I see with my own three eyes. Rest assured, there will never be a reason to doubt me, even when facts and evidence seem to completely contradict me. Rest assured," Fiorina said, "I am the single-most honest person in the world. Just ask my best friends Beyonce Knowles, Stephen Hawking, and of course my bestest of best friends, President Chester A. Arthur."
Carly Fiorina, Moon landing, Neil Armstrong, Planned Parenthood, President Obama
God to Marco Rubio: Leave Me Out of Your Sick Fantasies
God is not pleased with Marco Rubio's rhetoric dragging him into Earthly,...
Trump Asks Putin If It's Okay For Him To Celebrate American Independence Day
Michele Bachmann: "Obama Brought On the Rapture, My IBS"
Sad Republican Realizes He Hasn't Blamed Anything On Obama in 9 Months
The 3 Biggest Surprise Guests at Obama's Last State of the Union
Texas Republican Invents Shrinking Ray to 'Make Government So Small It Fits In Your Pee-Hole'
Another Benghazi? Obama Reportedly Wore Tan Suit, Ate Burger With Mustard While Watching Gaza Protester Massacre
Sane Republican Quietly Admits He'd Totally Take A Third Obama Term Right About Now
"My Own Personal Thoughts on the Iran Nuke Deal" by George W. Bush (and Dick Cheney)
Previous articlePresident Obama Declares 'Mission Accomplished' In Jade Helm Operation
Next articleObama's Gun Confiscation Count: Week #347
5 Lesser Known Rand Paul Conspiracy Theories


How much does an Order Picker make in Kitchener, ON?
The average salary for an Order Picker is $15.75 per hour in Kitchener, ON, which is 6% above the national average. Salary estimates are based on 28 salaries submitted anonymously to Indeed by Order Picker employees, users, and collected from past and present job advertisements on Indeed in the past 36 months. The typical tenure for an Order Picker is less than 1 year.


This pixellated rose print in coral, teal, and navy is perfect for any toddler girl's room. We love the unique print and colors that will grow with her! This toddler bedding collection is truly unique and gorgeous! Don't forget to add the coordinating pillow shams, accent pillow, and bed skirt!


A North Texas homeless shelter fire leaves at least five people dead.
Wired PR News.com – A fire broke out in a Paris, Texas homeless shelter early Monday morning and claimed the lives of at least five individuals. As reported by the Dallas Morning News, the fire began around 3 a.m. at the Seed Sowers Christians in Action men's shelter. Firefighters were said to have spent over three hours trying to extinguish it.
Foul play was not suspected by officials at the time of the report, however, a determination of the cause of the fire had yet to be made. Survivors have reportedly received some assistance from the nearby First United Methodist Church, but await word on when the shelter might be reopened.


Looking for fun quotes to share on social media? The weekend is here, and you've been waiting all week long to relax and enjoy it! Share this with your Instagram, Pinterest, Facebook, or Google+ friends so everyone will know, "Better Days are coming."
Better days are coming quote meme.
Quotes to Share: Better days are coming!


text:
Q: Why Thymeleaf is showing a strange symbol when using numbers.formatCurrency(value)? I´m learning Spring MVC, and i´m using Thymeleaf to add logic to the views.
The video that i´m following, shows this line of code:

 Valor: 200,99

In this video, he shows that the Symbol is R$ (because he is in Brazil). I´m in Brazil too, but I received this weird symbol: ¤

Why is this happening? Is there a way to force it to show the same Brazilian currency symbol, without hardcoding the string (adding R$ at the beginnning)?

A: I found out what the problem was.
When using Google Chrome as a client, you should see the language of your browser, and see if it is a language of a specific country, or it is a language of a region.
In my case, i had the "Spanish(Latin America)" region selected, and that caused the unexpected currency sign.

The solution is to move to the top the language of a specific country, like "Spanish(Argentina)".

Thanks everyone for the other possible solutions.


These yummy four ingredient Milo balls are based on an easy rum ball recipe, and all you need to do is substitute the cocoa for Milo – how easy is that?!
As there are only four ingredients needed to make them, it's a great recipe to make with the kids. My boys love making these, especially when it comes time to lick off the mixture stuck to their hands after rolling the balls!! Along with taking no time at all to make, I also love that these Milo balls are freezer friendly, I usually pop them into a ziplock bag and store in the freezer until needed. Otherwise, they last seven days in the fridge in an airtight container. They are perfect for any occasion including birthday parties, Christmas, Easter, and they are also a yummy lunchbox treat for the kids.
While I normally roll these in coconut once rolled, you can also roll them in Milo powder to give them an even bigger Milo hit. If you try this, I'd love to hear what you think!
Add the condensed milk, coconut and Milo powder and mix until well combined.
Use a teaspoon to scoop up the mixture and roll into balls. Roll the balls in the extra coconut and place on a plate. Repeat until all of the mixture has been used.
Place the Milo balls into the fridge for one hour to chill.
Republished with permission from Create Bake Make.
You won't be able to stop at eating just one!
Sushi sandwiches, pinwheel wraps and more! These lunch options are so good, you'll want to try them too.
Kids love 'em and they're delectable for grownup sweet cravings too.
Quick, easy and most of all - yummy!
Tasty meals for little hands and mouths from One Handed Cooks.
Lots of veggies, freezer-friendly and a kid fave!


Just a reminder about the forthcoming 2nd Digital Health & Wellbeing Conference which will be held at The Open University, UK between 1-3 May.
We received a great number of abstracts across different themes: Games for Health, Wearables, Long-term Conditions, Digital (Health) Literacy, Environments, Social Media.
There will be poster presentations, networking and social events on Days 1 and 2, and a book launch.
More information on the Conference Programme will be available on the website later this week.
There is a variety of hotels in and around Milton Keynes. For more information can be found on the Conference website.
Is open and will close on 14th February.


Well, dear readers, you know what's annoying? I'll tell you what's annoying, because why should I keep such things from you dear readers? What's annoying is that I had a title for the notes and a whole thing to write about. It came to me in the late afternoon. I did not write it down and now I have no idea what it was other than it was interesting and fun, not necessarily in that order. Oh, well, maybe it will come to me as I write these here notes without a title or any ideas.
Yesterday was an interesting day in one way or the other. I got eight hours of sleep, and then a short time later I had to venture out to pick something up. When I left it was lightly drizzling in the Oaks of Sherman. Once on the freeway, it began to pour and it stayed pouring all the way to Canoga Park and all the way home after I picked up what I was going to pick up.
I decided to get Taco Bell for my food, but I got less than I've ever gotten there. It was still raining pretty hard at that point, but after I got home and ate all the food up, it finally stopped raining and stayed that way. I tell you, these here notes would be so much more entertaining if only I could remember what they were going to be about. Perhaps they were going to be about senility.
I did some work on the computer, entering the last of the fixes, after running them by Muse Margaret. One of the issues was the old "lay" "laid" "lain" "laying" or "lying" stuff. I tend to use the incorrect use of laid, as in "she laid down on the bed." That is the only word that makes sense to me in that particular use, since I'm in the past tense. I know it's proper to say "she lay on the bed" but it doesn't feel right and I've never liked it and, for me, I get weary of all these grammar "rules" and as they always say, rules are meant to be broken and I tend to go with what sounds right to my ears, that and the fact that my two other proofers said nothing about it. I do try to do as much correct rules as I can, but not when they interrupt the flow of the writing and not when they sound foreign to me and not when I think a word doesn't impart what I'm trying to say. And the rules keep changing anyway and writers tend to do what they want these days. Sometimes things just sound too proper for my taste, even though I know it's correct. Say, maybe that's what I thought about as a great idea for the notes. Perhaps my title was "To lay or not to lay, that is the lying of the laying of the lain? After doing all that, I finally sat on my couch like so much fish.
Last night, I began watching The Assassination of Gianni Versace on the Flix of Net, one of those Ryan Murphy things on American Crime Story or whatever the HELL it's called. It took exactly six minutes into episode one to get to the obligatory vomit scene and I almost turned it off, because that is just so lazy in every way. But thankfully I'm on episode seven and there have been no further occurrences of said vomit. Maybe that's what notes were going to be about – the obligatory vomit scene, and perhaps I was going to title them Vomit. That is a possibility. Anyway, it's enjoyable for what it is, especially as I knew nothing at all of the story. The title is a bit misleading as it's not really the story of Mr. Versace, but the story of the crazy idiot who killed him and others. I think I'll probably finish it before going to bed, since I only have two episodes left.
Today, I will do stuff for the Kritzerland show, then I will eat, hopefully pick up packages, and I'm hoping that Grant will start on the design of the book, which I sent him last night. He's also supposed to come finish hanging things that have been sitting on the floor since I moved in. And then at some point I'll relax.
Tomorrow I have a lunch meeting, during which I will not eat, and then I'll mosey on over to Hollywood around five, get a parking space should I be lucky enough (or I'll park in my usual lot on Vine), then I'll go eat at the Japanese jernt I like on Vine, then I'll probably kill some time over at Amoeba, which is just a short walk from there. Then I go to see Hello, Dolly at the Pantages. Ms. Buckley has missed a few performances here already, but I made sure she knew I was coming, not that that probably makes any difference whatsoever. The rest of the week is meetings and meals and going and doing and doing and going and finishing the book design and my final proofing of the designed book.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, do stuff for the Kritzerland show, I must eat, I must hopefully pick up some packages, I'm hopeful that Grant will start the book design and come hang a few items, and then I'll relax. Today's topic of discussion: Who are your favorite clothing designers throughout the years? Let's have loads of lovely postings, shall we, whilst I hit the road to dreamland, happy to have completed these here notes whilst not remembering what they were actually supposed to be about.


text:
package net.hydromatic.optiq.impl.spark;

import net.hydromatic.linq4j.expressions.*;

import net.hydromatic.optiq.rules.java.*;

import org.eigenbase.rel.RelNode;
import org.eigenbase.rel.convert.ConverterRelImpl;
import org.eigenbase.relopt.*;

import java.util.List;

/**
 * Relational expression that converts input of {@link EnumerableConvention}
 * into {@link SparkRel#CONVENTION Spark convention}.
 *
 *
Concretely, this means iterating over the contents of an
 * {@link net.hydromatic.linq4j.Enumerable}, storing them in a list, and
 * building an {@link org.apache.spark.rdd.RDD} on top of it.

 */
public class EnumerableToSparkConverter
    extends ConverterRelImpl
    implements SparkRel {
  protected EnumerableToSparkConverter(RelOptCluster cluster,
      RelTraitSet traits, RelNode input) {
    super(cluster, ConventionTraitDef.INSTANCE, traits, input);
  }

  @Override
  public RelNode copy(RelTraitSet traitSet, List<RelNode> inputs) {
    return new EnumerableToSparkConverter(
        getCluster(), traitSet, sole(inputs));
  }

  @Override
  public RelOptCost computeSelfCost(RelOptPlanner planner) {
    return super.computeSelfCost(planner).multiplyBy(.01);
  }

  public Result implementSpark(Implementor implementor) {
    // Generate:
    //   Enumerable source = ...;
    //   return SparkRuntime.createRdd(sparkContext, source);
    final BlockBuilder list = new BlockBuilder();
    final EnumerableRel child = (EnumerableRel) getChild();
    final PhysType physType =
        PhysTypeImpl.of(
            implementor.getTypeFactory(), getRowType(),
            JavaRowFormat.CUSTOM);
    final Expression source = null; // TODO:
    final Expression sparkContext =
        Expressions.call(
            SparkMethod.GET_SPARK_CONTEXT.method,
            implementor.getRootExpression());
    final Expression rdd =
        list.append(
            "rdd",
            Expressions.call(
                SparkMethod.CREATE_RDD.method,
                sparkContext,
                source));
    list.add(
        Expressions.return_(null, rdd));
    return implementor.result(physType, list.toBlock());
  }
}

// End EnumerableToSparkConverter.java


text:
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onfocus="search_focus_changed(this, true)" onblur="search_focus_changed(this, false)"
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  com.google.android.gms.appstate

  com.google.android.gms.auth

  com.google.android.gms.common

  com.google.android.gms.common.annotation

  com.google.android.gms.common.api

  com.google.android.gms.common.data

  com.google.android.gms.common.images

  com.google.android.gms.drive

  com.google.android.gms.drive.metadata

  com.google.android.gms.drive.query

  com.google.android.gms.drive.widget

  com.google.android.gms.games

  com.google.android.gms.games.achievement

  com.google.android.gms.games.leaderboard

  com.google.android.gms.games.multiplayer

  com.google.android.gms.games.multiplayer.realtime

  com.google.android.gms.games.multiplayer.turnbased

  com.google.android.gms.gcm

  com.google.android.gms.location

  com.google.android.gms.maps

  com.google.android.gms.maps.model

  com.google.android.gms.panorama

  com.google.android.gms.plus

  com.google.android.gms.plus.model.moments

  com.google.android.gms.plus.model.people

  com.google.android.gms.wallet

Interfaces

PlusClient.OnAccessRevokedListener

PlusClient.OnMomentsLoadedListener

PlusClient.OnPeopleLoadedListener

PlusClient.OrderBy

PlusOneButton.OnPlusOneClickListener

Classes

PlusClient

PlusClient.Builder

PlusOneButton

PlusOneButton.DefaultOnPlusOneClickListener

PlusOneButtonWithPopup

PlusOneDummyView

PlusShare

PlusShare.Builder

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Summary:

  Ctors

  | Methods

  | Inherited Methods

| [Expand All]

    public
    static

    class

PlusShare.Builder

    extends Object

        java.lang.Object

               ↳

        com.google.android.gms.plus.PlusShare.Builder

Summary

Public Constructors

        <nobr>

            </nobr>

        <nobr>
        PlusShare.Builder(Context context)</nobr>

Create a new Builder for launching a sharing action from the given context.

        <nobr>

            </nobr>

        <nobr>
        PlusShare.Builder(Activity launchingActivity)</nobr>

Create a new Builder for launching a sharing action from launchingActivity.

        <nobr>

            </nobr>

        <nobr>
        PlusShare.Builder(Activity launchingActivity, PlusClient plusClient)</nobr>

      This constructor is deprecated.
    Please migrate to ERROR(/#Builder(Activity)), the PlusClient is optional.

Public Methods

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        addCallToAction(String label, Uri uri, String deepLinkId)</nobr>

Adds a call-to-action button for an interactive post.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        addStream(Uri streamUri)</nobr>

Add a stream URI to the data that should be shared.

        <nobr>

            Intent</nobr>

        <nobr>
        getIntent()</nobr>

Retrieve the Intent as configured so far by the Builder.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setContentDeepLinkId(String deepLinkId, String title, String description, Uri thumbnailUri)</nobr>

Include a deep-link ID to a resource to share on Google+.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setContentDeepLinkId(String deepLinkId)</nobr>

Include a deep-link URI of a resource to share on Google+.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setContentUrl(Uri uri)</nobr>

Sets a URL to link to from the content on the web.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        <a href="../../../../../../reference/com/google/android/gms/plus/PlusShare.Builder.html#setRecipients(java.util.List<com.google.android.gms.plus.model.people.Person>)">setRecipients(List<Person> recipientList)</nobr>

Deprecated, use the constructor ERROR(/#Builder(Activity)) and call
 ERROR(/#setRecipients(Person, List<Person>)).

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        <a href="../../../../../../reference/com/google/android/gms/plus/PlusShare.Builder.html#setRecipients(com.google.android.gms.plus.model.people.Person, java.util.List<com.google.android.gms.plus.model.people.Person>)">setRecipients(Person user, List<Person> recipientList)</nobr>

Sets a list of people to send the interactive post to.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setStream(Uri streamUri)</nobr>

Set a stream URI to the data that should be shared.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setText(CharSequence text)</nobr>

Set a pre-filled message to be sent as part of the share.

        <nobr>

            PlusShare.Builder</nobr>

        <nobr>
        setType(String mimeType)</nobr>

Set the type of data being shared.

  [Expand]

Inherited Methods

From class

  java.lang.Object

        <nobr>

            Object</nobr>

        <nobr>
        clone()</nobr>

        <nobr>

            boolean</nobr>

        <nobr>
        equals(Object arg0)</nobr>

        <nobr>

            void</nobr>

        <nobr>
        finalize()</nobr>

        <nobr>

            final

            Class<?></nobr>

        <nobr>
        getClass()</nobr>

        <nobr>

            int</nobr>

        <nobr>
        hashCode()</nobr>

        <nobr>

            final

            void</nobr>

        <nobr>
        notify()</nobr>

        <nobr>

            final

            void</nobr>

        <nobr>
        notifyAll()</nobr>

        <nobr>

            String</nobr>

        <nobr>
        toString()</nobr>

        <nobr>

            final

            void</nobr>

        <nobr>
        wait()</nobr>

        <nobr>

            final

            void</nobr>

        <nobr>
        wait(long arg0, int arg1)</nobr>

        <nobr>

            final

            void</nobr>

        <nobr>
        wait(long arg0)</nobr>

Public Constructors

        public

      PlusShare.Builder
      (Context context)

Create a new Builder for launching a sharing action from the given context.

Parameters

          context
          Context that the share will be launched from

        public

      PlusShare.Builder
      (Activity launchingActivity)

Create a new Builder for launching a sharing action from launchingActivity.

Parameters

          launchingActivity
          Activity that the share will be launched from

        public

      PlusShare.Builder
      (Activity launchingActivity, PlusClient plusClient)

      This constructor is deprecated.

    Please migrate to ERROR(/#Builder(Activity)), the PlusClient is optional.

Public Methods

        public

        PlusShare.Builder

      addCallToAction
      (String label, Uri uri, String deepLinkId)

Adds a call-to-action button for an interactive post.  To use this method, you must have
 passed a signed-in PlusClient to the
 Builder.Builder(Activity, PlusClient) constructor or an
 IllegalStateException will be thrown.

Parameters

          label
          The call-to-action label.  Choose a value from the list of

                  list

          uri
          The URL to link to when the user clicks the call-to-action.  This parameter
            is required.

          deepLinkId
          A deep-link ID to send to mobile clients when the user
            clicks the call-to-action.  This parameter is optional.

        public

        PlusShare.Builder

      addStream
      (Uri streamUri)

Add a stream URI to the data that should be shared. If this is not the first
 stream URI added the final intent constructed will become an ACTION_SEND_MULTIPLE
 intent. Not all apps will handle both ACTION_SEND and ACTION_SEND_MULTIPLE.

Parameters

          streamUri
          URI of the stream to share.

Returns

This Builder for method chaining.

See Also

EXTRA_STREAM

ACTION_SEND

        public

        Intent

      getIntent
      ()

Retrieve the Intent as configured so far by the Builder.

Returns

The current Intent being configured by this builder

        public

        PlusShare.Builder

      setContentDeepLinkId
      (String deepLinkId, String title, String description, Uri thumbnailUri)

Include a deep-link ID to a resource to share on Google+.

Parameters

          deepLinkId
          The deep-link ID to a resource to share on Google+.
            This parameter is required.

          title
          The title of the resource. Used if there is no content URL to display.
        This parameter is optional.

          description
          The description of a resource. Used if there is no content URL to
        display. This parameter is optional.

          thumbnailUri
          The thumbnailUri for a resource. Used if there is no content URL to
        display. This parameter is optional.

Returns

This Builder for method chaining.

        public

        PlusShare.Builder

      setContentDeepLinkId
      (String deepLinkId)

Include a deep-link URI of a resource to share on Google+.

Parameters

          deepLinkId
          The deep-link ID to a resource to share on Google+.
            This parameter is required.

Returns

This Builder for method chaining.

        public

        PlusShare.Builder

      setContentUrl
      (Uri uri)

Sets a URL to link to from the content on the web.  The content URL is required when
 used in conjunction with addCallToAction(String, Uri, String) to build an
 interactive post, and to provide the user context for the call-to-action button.

Parameters

          uri
          the URL to link to on the web.

Returns

This Builder for method chaining.

<A NAME="setRecipients(java.util.List<com.google.android.gms.plus.model.people.Person>)">

        public

        PlusShare.Builder

      setRecipients
      (List<Person> recipientList)

Deprecated, use the constructor ERROR(/#Builder(Activity)) and call
 ERROR(/#setRecipients(Person, List<Person>)). Sets a list of people
 to send the interactive post to.

This sets the initial people to share with, but the user can change who the post
 is shared with before posting.  A maximum of ten recipients are allowed.

Parameters

          recipientList
          A list of recipients.  See loadPeople(PlusClient.OnPeopleLoadedListener, String...) and
         createPerson(String, String).

Returns

This Builder for method chaining.

<A NAME="setRecipients(com.google.android.gms.plus.model.people.Person, java.util.List<com.google.android.gms.plus.model.people.Person>)">

        public

        PlusShare.Builder

      setRecipients
      (Person user, List<Person> recipientList)

Sets a list of people to send the interactive post to.

This sets the initial people to share with, but the user can change who the post
 is shared with before posting.  A maximum of ten recipients are allowed.

Parameters

          user
          The user to send the post as, see
         ERROR(/People#getCurrentPerson(com.google.android.gms.GoogleApiClient)).

          recipientList
          A list of recipients.  See loadPeople(PlusClient.OnPeopleLoadedListener, String...) and
         createPerson(String, String).

Returns

This Builder for method chaining.

        public

        PlusShare.Builder

      setStream
      (Uri streamUri)

Set a stream URI to the data that should be shared.

This replaces all currently set stream URIs and will produce a single-stream
 ACTION_SEND intent.

Parameters

          streamUri
          URI of the stream to share

Returns

This Builder for method chaining

See Also

EXTRA_STREAM

        public

        PlusShare.Builder

      setText
      (CharSequence text)

Set a pre-filled message to be sent as part of the share.
 This may be a styled CharSequence.

Parameters

          text
          Text to share

Returns

This Builder for method chaining

See Also

EXTRA_TEXT

        public

        PlusShare.Builder

      setType
      (String mimeType)

Set the type of data being shared.

Parameters

          mimeType
          mimetype of the shared data

Returns

This Builder for method chaining

See Also

setType(String)

  Except as noted, this content is licensed under Apache 2.0.
  For details and restrictions, see the
  Content License.

    Android  r —

    About Android  |
    Legal  |
    Support


Yup. Good luck, first responders.
See what happens when you think everything on TV, radio, etc. is "fake news."
/Of course, not everyone can simply flee due to circumstances.
If you choose to stay, you choose to wait.
Before someone says something about how many of these people are poor and couldn't afford to evacuate, let me ask a serious question: Is there any chance the rescue people could sweep the area before a hurricane hits and drag those people to shelters, as opposed to waiting until the storm hits? That way once the waters start to rise the rescue people don't have to risk their lives.
I feel horrible for those without means to evacuate. But the storm that hit is even weaker than projections indicated. The storm was always projected to hang out for a while. Any flooding they're getting is lower than they should have prepared for. Anyone who could have left and didn't should get zero recovery efforts.
TL;DR - Fark them and let Darwin sort them out.
Submitted this hours ago with a more cynical headline. Guess that's not what we're going for.
Why do I get the feeling that they were all Trump voters?
In nature, these people would perish and not pass on their genes. We'll save them and be assured their stupid genes are able to continue to spread, unabated.
This guy is driving up the Neuse River in New Bern and it looks like the tide is out. I don't know if I would call a couple of inches of water on the roads flooding.
Darwin is my best friend. He gives me all kinds of wisdom by simply showing me all the different ways stupid people get to die. He's quite the mastery of this death business.
DRTFA: Before someone says something about how many of these people are poor and couldn't afford to evacuate, let me ask a serious question: Is there any chance the rescue people could sweep the area before a hurricane hits and drag those people to shelters, as opposed to waiting until the storm hits? That way once the waters start to rise the rescue people don't have to risk their lives.
Or at the very least have them dragged to a local hurricane resistant shelter of some kind.
Nick Nostril: In nature, these people would perish and not pass on their genes. We'll save them and be assured their stupid genes are able to continue to spread, unabated.
I have a friend who just posted on FB that her in laws are in New Bern and decided to wait it out because it was only a 2. It's very hard to not say harsh things on her feed. I unfollowed it to stop the temptation.
If there was only some way we could know that hurricanes can create storm surge that can result in flooding in intercostal waterways and river outlets.
I called it on the Neuse River yesterday, the reason New Bern got whacked with 10' of storm surge this morning.
As the outer bands were coming ashore yesterday, NPR interviewed a woman in NC who was frantic because Lowes had closed. "I get that the staff need to be safe, but what about the rest of us?"
They should have driven Volkswagens.
SoupJohnB: As the outer bands were coming ashore yesterday, NPR interviewed a woman in NC who was frantic because Lowes had closed. "I get that the staff need to be safe, but what about the rest of us?"
How many people are in a typical NPR news crew?
I want an update on the guy that was going to ride out the storm on his boat.
I read an article about a woman who wouldn't leave (with husband, small child and two cats) because A) no money, and B) she was afraid of losing her job at Dollar General. She's about to have a baby, too. Then it said they were Trumpers, so I figured she got what she probably voted for. I hated to think this, but my cynic meter almost blew up.
baltimoreblonde: I read an article about a woman who wouldn't leave (with husband, small child and two cats) because A) no money, and B) she was afraid of losing her job at Dollar General. She's about to have a baby, too. Then it said they were Trumpers, so I figured she got what she probably voted for. I hated to think this, but my cynic meter almost blew up.
Why the Fark is the Dollar General store open during a hurricane?
A storm descends on a small town, and the downpour soon turns into a flood. As the waters rise, the local preacher kneels in prayer on the church porch, surrounded by water. By and by, one of the townsfolk comes up the street in a canoe.
"Better get in, Preacher. The waters are rising fast."
"No," says the preacher. "I have faith in the Lord. He will save me."
Still the waters rise. Now the preacher is up on the balcony, wringing his hands in supplication, when another guy zips up in a motorboat.
"Come on, Preacher. We need to get you out of here. The levee's gonna break any minute."
Once again, the preacher is unmoved. "I shall remain. The Lord will see me through."
After a while the levee breaks, and the flood rushes over the church until only the steeple remains above water. The preacher is up there, clinging to the cross, when a helicopter descends out of the clouds, and a state trooper calls down to him through a megaphone.
"Grab the ladder, Preacher. This is your last chance."
Once again, the preacher insists the Lord will deliver him.
A pious man, the preacher goes to heaven. After a while he gets an interview with God, and he asks the Almighty, "Lord, I had unwavering faith in you. Why didn't you deliver me from that flood?"
God shakes his head. "What did you want from me? I sent you two boats and a helicopter."
MadMonk: I want an update on the guy that was going to ride out the storm on his boat.
Many people having been searching for an extended period of time, but to this point nobody has been able to locate the man in the boat. I've heard unconfirmed reports that the man in the boat has been found, but these reports are based solely on the volume of fluids that have been flowing throughout the area and cannot be counted on as definitive proof that the man in the boat was successfully located and stimulated.
Fark 'em and let them drown. It's not worth the risk to police and firefighters.
/My son goes to The Citadel and went inland on 9/11.
Emposter: baltimoreblonde: I read an article about a woman who wouldn't leave (with husband, small child and two cats) because A) no money, and B) she was afraid of losing her job at Dollar General. She's about to have a baby, too. Then it said they were Trumpers, so I figured she got what she probably voted for. I hated to think this, but my cynic meter almost blew up.
I strongly support the rights of people to stay in their own homes, even when a mandatory evacuation order is given. But, if those people require rescue, they should pay for every cent of the costs, including the medical costs of any emergency personnel who are injured while rescuing them. And if emergency personnel die while attempting to rescue them, they should be charged with manslaughter.
I've decided to stay when told to evacuate before. I did that knowing I was ON MY OWN. I prepared, battened down the hatches, and waited.
If I had gotten into trouble, the last thing I would be doing would be begging for someone else to put themselves at risk to help me.
You can bet he's cranking up the REO until the bitter end.
whidbey: Why do I get the feeling that they were all Trump voters?
The rain falls on the right and the left just the same.
You do know there are blue voters in red counties right??
No money to evacuate but she keeps breeding? Sympathy for the cats, none for her.
I'm so sick of people not having a disaster preparedness plan and depending on others to bail them out when things go wrong. If you live by the coast, in tornado alley, in earthquake zones, etc, evacuation NEEDS to be part of your life's plan. This includes the elderly, the disabled, the poor, etc etc. If you can't get to a safer place because of one of these issues that are known about ahead of time, don't farking live there. Nothing is worth your life.
Almost none of them had any plans to evacuate.
tommyl66: MadMonk: I want an update on the guy that was going to ride out the storm on his boat.
It's all "Imma stay right here" until your bootstraps get wet.
PapermonkeyExpress: whidbey: Why do I get the feeling that they were all Trump voters?
Yeah, no, my gut feeling is that those who don't want to leave are Trumpers who probably don't even believe climate change is real.
So if she had voted for Hillary instead, she would have become financially secure between noon on 2017-1-20 and today?
People on the left don't ignore weather forecasters and government agencies because they think they're part of the global climate conspiracy.
AirForceVet: See what happens when you think everything on TV, radio, etc. is "fake news."
Not so much fake news, but everything nowadays is "catastrophic". A 10' surge isn't the Apocalypse. That city has seen much higher, per signs around town the last time I visited it. Hell the NC Aquarium on the beach had a high water sign above its roof.
He was just interviewed on NPR. Apparently he still has power and it's raining sideways.
It runs both ways, there were Trumper jerks hounding on Twitter this morning that "all" the 150-200 people needing a boat rescue in New Bern had to be lazy democrats looking for a free ride to safety.
If you're under mandatory evacuation and you need rescue, the dispatcher should laugh, say "we'll swing by after it's over", and hang up on you.
Which Trump policy made her poor, pumping out too many babies, and afraid to lose her job? I'm just curious where the "got what she voted for" comes in?
Did the report state if any of them are members of the Cape Fear Rugby Team?
ViolentEastCoastCity: No money to evacuate but she keeps breeding? Sympathy for the cats, none for her.
You know, if you advocate for a position where only the financially secure may breed, you're a white supremacist.


text:
Kentai's Films
DVD restorations, reviews, and other general madness at no extra charge.
Saying Goodbye to 2010 & Mystery Project X
Mystery Project X is officially on hold until I can get final approval for it. That means I can get my lazy ass back to work on other stuff in the meantime, but doesn't actually mean that it's 100% finished. There's also the little matter of syncing subtitles/alternate language tracks, encoding the feature to DVD in the highest quality possible, and some manual dirt clean-up that'll have to be done over from scratch, but all of this is really small-potatoes in the scheme of getting a finished restored workprint with image stabilization, analog noise removal, film damage repair and every other crazy thing I've had to do like outline darkening, anti-aliasing and creative attempts at chroma interpolation that turned out to only be partially effective.
I've had to restructure some of the processes, and it's meant that the work I had done back in October/November basically had to be torched and worked out from the ground up... it sounds horrible (and is, kinda) but it means the restoration will look substantially better than it would if I'd just have shrugged and said "eh, screw it, looks pretty close". I wasn't starting with a master any sane person should have the slightest bit of hope for, but if vintage Japanese animation has taught me anything, it's that when you've lost all hope that you have to stand your ground and fight to your last breath... even if it means you just end up dying.
Most iconic spoiler ever?
There's still some banding I wish I could get rid of, and some weird chroma... stuff, I don't even know how to describe it, like, static horizontal banding patterns in the red channel. But in both cases these are side-effects of the source having been limited from the start. It looks pretty damn good, all things considered. Once the DVD encode is finished I'll try to share it via some "Official" means, but I don't have control over any of that, so you might just have to take my word on everything I've said here.
Only thing that still needs to be toyed with is the color correction. I don't typically have to play with analog themed tools like "hue", but for this particular title the RGB data was relatively stable, it just needed to be shifted away from green/blue towards yellow/red, and instantly everything looked just right. I wish more studios would treat analog materials as needing even the most basic of color correction, since even 10 minutes could easily make the difference between a transfer being totally forked and looking more or less okay.
Look forward to more restorations and DVDs in 2011, ladies and gents. I didn't get everything I wanted finished in time, but I still think the quality of what's been completed in 2010 was worth it. With any luck, 2011 will be full of more of the same.
Labels: Kentai Films, Work
What's Kentai Reading Now?
Asian DVD Club
Blog of the North Star
Dynamic Pro Scanlations
erobeat
Eye of the Beholder: The Elegant Succubus
Land of Whimsy
Lyris Lite
Midnight Legacy
Kentai Resurgence [シン・拳態]


Downtown Lisbon is highly susceptible to earthquakes, fires, not to mention tsunamis. Four researchers investigate how the city center changed centuries after the 1755 disasters.
On the morning of the first of November 1755, one of world's deadliest and most powerful earthquakes struck Downtown Lisbon with a magnitude that ranged between 8.5 and 9.0. By the end of the week, the earthquake had killed 75,000 people. The earthquake coincided with the Catholic holy feast day of All Saints, and Portuguese worshippers streamed to Lisbon's churches and cathedrals to celebrate, unaware that the old churches and cathedrals weren't designed to withstand an earthquake of this magnitude. Many worshippers died as the roofs of their places of worship collapsed. Centuries later, has Downtown Lisbon changed enough to endure similar disasters in the future?
Four researchers from Portugal, Australia, and Germany, published a study on February 2018 to investigate how the City of Lisbon has changed over the years, dating back to not only the great earthquake, but the tsunami and fires that followed. Through Geographic Information System (GIS) mapping of the city, the study, which is titled "The changing city: risk and built heritage. The case of Downtown Lisbon," identifies the exposure of the built heritage of Lisbon's city center to natural hazards, including earthquakes, tsunamis, floods, and landslides.
This study is especially significant due to the recent conversation around resilient cities. The World Bank's calculates that disasters costs an annual $520 billion and cause the impoverishment of 24 million people. The researchers ask whether these buildings would be able to withstand a similar event now or whether they have they been compromised by the changes that have occurred in and around them. This study investigates the vulnerability of the city's historic structures and sites, which have withstood a number of disasters.
After the 1755 disasters, Lisbon decided to build a modern, commercial, disaster-resilient city, represented in Downtown Lisbon, which locals call Baixa Pombalina. Some of the country's leading engineers and architects at the time worked on this project under the command of the Marquis of Pombal and the Crown's Engineer Manuel da Maia. "Maia's design included respect for certain attributes of the destroyed city, including retention of the principal road axis, the location and size of the main squares and use the same hierarchical street naming scheme," the study reads.
Downtown Lisbon is located in a high seismic risk area, according to the sectorial diagnosis of "Risks and Civil Protection" included in the Regional Plan of Lisbon Metropolitan Area (link in Portuguese). This is due both to its proximity to active underwater structures bordering the Portuguese mainland, and to a fault zone in the lower Tagus Valley. The city center is also built on areas that have high seismic risk, both along the waterfront and over its ancient streams.
Downtown Lisbon was built over river flats and the remains of earlier settlements, in spite of its alleged fire- and earthquake-resistant design. The researchers observe that in many parts of the city, a timber platform and piles were used to provide a stable base for construction and some protection from liquefaction in a seismic event. Although most of the piles uncovered today appear to be undamaged, others that were uncovered were decayed, such as Bank of Portugal and Millenium Bank's archaeological sites.
The study also discusses the city's vulnerability to and resistance against fires, referring to several fires that caught in the city in the 20th Century. The most damaging – the 1988 Fire in the historic Chiado district (right next to Downtown Lisbon) – destroyed 18 commercial buildings and 40 businesses and left 300 people homeless and 2,000 more jobless.
In 1988, just when the city was rebuilding the downtown area, newly introduced street furniture and café structures often served to hinder fire-fighters' response. Therefore, the researchers conclude that fire risk to Baixa Pombalina's buildings will be determined by the vulnerability of their timber-framed construction, their use, contents, age, and the condition of their electrical wiring, as well as the capacity of their occupants to respond to a fire. The researchers shed light on the fact that many of the residents of Baixa Pombalina are now elderly and highly vulnerable, both physically and economically, and would find recovery from such disasters – regardless of how powerful – very difficult.
Given the aforementioned conditions, the researchers conclude that a disaster as deadly as the 1755 earthquake could cause irreversible abandonment of the district and an incalculable loss of heritage, represented in the cultural identity of Downtown Lisbon.


text:
Queer Gaming Convention GaymerX Debuts in Australia with Kickstarter Campaign
By Pink Banana Media - October 28, 2015
Special guests include Chris Avellone, Tim Cain, Rae Johnston and AussieGamerChick
The Kickstarter campaign for GX Australia, Australia's first queer geek and gaming convention has gone live. This marks the first time the highly successful US convention GaymerX has debuted outside of the United States. Run by Liam Esler (Event Manager of Game Connect Asia Pacific, Australia's premiere game development conference) and Joshua Meadows (organiser of Sydney Gaymers, Australia's largest queer gaming group) in conjunction with GaymerX organisers MidBoss, GX Australia will be arriving in Sydney, February 27-28, 2016 at the Australian Technology Park.
In order to make the convention a reality, GX Australia is asking for $50,000 which — along with sponsor funding and ticket sales — will be used to fund over 6,000 square metres of expo space showcasing cosplay tournaments, vendor stalls, tons of indie games talent, and appearances by well-known personalities in the video games industry. Additionally, for the first time at any GX event, the convention will be offered to anyone fifteen and up, or younger if accompanied by a parent or guardian.
"We're incredibly excited to be working with MidBoss in the United States to bring GaymerX to Australia," said GX Australia co-director Joshua Meadows. "Both Liam and myself are incredibly passionate about making GX Australia a space for everyone regardless of identity, and we hope to create one of Australia's best events for gamers and geeks of all stripes!"
Special guests ("Bosses of Honour") already announced include games industry veterans Chris Avellone (Planescape: Torment and Fallout 2) and Tim Cain (Fallout, Pillars of Eternity), as well as Rae Johnston (Australian cosplayer and technology, video game, and social media expert) and AussieGamerChick (well-known Australian YouTuber), with more announcements promised as the campaign continues.
Strongly supported by Australia's independent games industry, with sponsors such as Many Monkeys, Defiant Development, League of Geeks, Well Placed Cactus, Screwtape Studios and many more, as well as Media Partner IGEA (the Interactive Games and Entertainment Association), GX Australia seeks to create an inclusive, safe space for everyone with a passion for gaming and geek culture. Its mission is to celebrate the diversity already present in the community while encouraging developers and publishers to continue improving on issues of representation, community safety, and anti-bullying initiatives.
The Kickstarter can be found at http://bit.ly/gxaus, and more information about GX Australia on its website, http://gxaustralia.com.
Joshua Meadows, Co-Director
joshua@gxaustralia.com
ABOUT GX AUSTRALIA
GX Australia is the country's first queer geek and gaming convention. Believing that geekdom is for everyone, its mission is to create safe & inclusive spaces for geeks and gamers of all stripes so they can celebrate what they love without feeling uncomfortable or bullied. The convention's debut is February 27th & 28th, 2016 at the Australian Technology Park in Sydney.
ABOUT MIDBOSS
GaymerX launched in 2012 after a highly acclaimed crowdfunding campaign, and has taken place every year in San Francisco since. Seeking to create an inclusive alternative to mainstream conventions, GaymerX makes its international debut with GX Australia. In 2015, MidBoss launched their very own game, the cyberpunk RPG Read Only Memories.
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Jacopo Bettazzi (Prato, 1722-1755), correttore del calendario gregoriano
 Rodolfo Bettazzi (Firenze, 1861 – Torino, 1941), matematico
 Monsignor Luigi Bettazzi (1923), vescovo emerito di Ivrea, ex presidente di Pax Christi, figura di rilievo nel movimento pacifista di ispirazione cristiana

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