Arezoo Pooresmaeili, Guido Marco Cicchini, Maria Concetta Morrone, David Burr; Spatiotemporal filtering and motion illusions. Journal of Vision 2013;13(10):21. doi: 10.1167/13.10.21.
We are perplexed by Clarke et al.'s (2013) criticisms on our recent contribution to Journal of Vision (Pooresmaeili, Cicchini, Morrone, & Burr, 2012). Our group has long championed the idea that perceptual processing of information can be anchored in a dynamic coordinate system that need not correspond to the instantaneous retinal representation. Our recent evidence shows that temporal duration (Burr, Tozzi, & Morrone, 2007; Morrone, Cicchini, & Burr, 2010), orientation (Zimmermann, Morrone, Fink, & Burr, 2013), motion (Melcher & Morrone, 2003; Turi & Burr, 2012) and saccadic error-correction (Zimmermann, Burr, & Morrone, 2011) are all processed to some extent in spatiotopic coordinates. Imaging studies reinforce these studies (d'Avossa et al., 2007; Crespi et al., 2011). Much earlier, we showed that the processing of smoothly moving objects was not anchored in instantaneous, retinotopic coordinates, but in the reference frame given by the trajectory of motion. There is an effective interpolation along the trajectory, so temporal offsets in spatially collinear stimuli causes them to appear spatially offset, corresponding to the physical reality of stimuli moving over large regions of space, behind occluders (Burr, 1979; Burr & Ross, 1979). Our explanation for this surprising effect was that it could be a direct consequence of the spatiotemporal orientation of the impulsive response of motion detectors, providing the spatiotemporal reference frame needed to account for the interactions between time and space (Burr & Ross, 1986; Burr, Ross, & Morrone, 1986; Burr & Ross, 2004; Nishida, 2004). Recently, we have applied the concept of spatiotemporal oriented receptive fields to account for "predictive remapping," the "nonretinotopic" effects that occur on each saccadic eye-movement (Burr & Morrone, 2010; Burr & Morrone, 2012; Cicchini, Binda, Burr, & Morrone, 2012).
We were most impressed by the compelling demonstrations of Herzog's group, clearly showing that the reference frame of processing is not the instantaneous retinal position, but is flexible, depending not only on real physical motion, but on an illusory apparent motion where the stimuli do not actually move (Boi, Ogmen, Krummenacher, Otto, & Herzog, 2009). This seemed to us important, worthy of quantitative measurement and modeling, particularly to see whether these new effects may fall within the framework that so successfully explained previous demonstrations, such as spatiotemporal interpolation.
It is reassuring that Clarke et al. (2013) confirm our results, albeit with some variability between subjects. But more importantly add a very nice result in showing that our simplified version of the "litmus test" can be enhanced by attending to the motion. This is an excellent point that we overlooked. The strength of this type of motion is well known to depend on attention (Cavanagh, 1992), and it is indeed interesting that the strength of motion-induced effects depends not only on the physical conditions, but on internal states such as attention. Perhaps attention may also provide the flexibility in choosing the most appropriate scale for analysis, which in this case would be lower, given that attention is diverted to the periphery. This would add strength to our model, and an idea worth following up, given that attention has been implicated in another form of nonretinotopic processing: the BOLD response of areas of the dorsal visual system, clearly spatiotopic under free-viewing conditions, becomes retinotopic when attention is diverted from the moving stimulus to the retinotopically stable fovea (Gardner, Merriam, Movshon, & Heeger, 2008; Crespi et al., 2011).
However, we find it odd that Clarke et al. refer to our approach as "indirect:" it is formally equivalent to theirs. They show that the apparent motion of dots can change when the frame on which they are displayed itself moves, causing motion frames to pair with stimuli that are on the motion trajectory but nonaligned retinotopically. We show that a grating can appear to drift in a specific direction by causing the motion frames to pair with stimuli that are on the motion trajectory, but nonaligned retinotopically. It is important to note that there was no directed motion in retinotopic coordinates, confirmed by the fact that the two-bar stimulus showed no bias. The only originality in our stimulus is that it lends itself to measure the magnitude of the effect psychophysically, by annulling either phase or contrast. While methods could have been devised to measure psychophysically the strength of the rotating dot, we believed that the more traditional grating, fully described by phase, frequency and contrast, was more amenable to rigorous control. Obviously, any result obtained with a drifting stimulus can be generalized to rotation, by a simple polar transform.
Perhaps we failed to communicate our very simple message. We believe that "nonretinotopic" processing can be described as a dynamic change in the coordinate system of analysis (the result of the slant of receptive fields in space-time), where successive motion frames are not aligned in retinal coordinates, but along the trajectory of the apparent motion created by the Ternus display. The simplest way of imposing this dynamic reference frame is to apply a motion detector with impulse response slanted in space-time, which is what we did in our model. However, it turned out that this was not sufficient: a nonlinear stage was necessary to compute motion energy. Although we used specific parameters in our simulation (correctly reported and well justified in our paper), the modeling was robust, and worked for a range of parameters. We do not understand in what sense this is not falsifiable: it would be sufficient to devise a motion-based, nonretinotopic effect that could not be explained by spatiotemporal filtering or slanted spatiotemporal receptive fields.
Clarke et al. report many objections to our experimentation and modeling. Unfortunately, many of their complaints were highly subjective, such as the "indirectness" and "unsuitability" of our psychophysical methods (standard, off-the-shelf annulment techniques), or the nebulous criticisms of our (noncrucial) choice of parameters for our toy model. Some statements are simply untrue: such as the width of the receptive field used for the simulation (correctly stated in the paper as 1° half-width at 0.37 height), the number of nonlinearities, and many similar errors. They claim that our filter selection is ad-hoc, overlooking the fact, obvious in their figure 3, that the upwards bias in the three-bar condition occurs in 8 out of 12 filters, and also holds if we chose the same filter for both two and three bars. Our filter selection was to maximize the fit to the behavioral data, while keeping the model as simple and as biologically plausible as possible, but was not crucial for the reproduction of the main effects. Neurons have receptive fields with specific sizes across the visual hierarchy, so assuming that the most appropriate filters perform the spatiotemporal integration is not unreasonable, and quite standard for the most modeling and simulations. To respond to the other purported discrepancies, the scrupulous reader is referred to our original paper, where all details are correctly reported.
The Herzog group (Boi et al., 2009; Clarke et al., 2013) favor a multistage model. We ourselves have no strong views on how many stages are necessary for the analysis. We used a standard motion-energy model with local-maximum selection, with minimal free parameters (Adelson & Bergen, 1985; Santen & Sperling, 1985; Heeger, 1987; Yuille & Grzywacz, 1988; Del Viva & Morrone, 1992). Certainly, it may be conceptually useful to separate the global Ternus/Pikler motion from the vertical "nonretinotopic" motion, but it is difficult to assert whether this necessarily occurs in functionally different stages. This is possible, given the number of distinct areas that have been identified for motion processing, but we prefer not to speculate at this stage.
In conclusion, we simply do not see the point to Clarke et al.'s commentary. We believe that the line of research that Herzog's group has recently revived is important, well worthy of further study. We also believe it important to try to inter-relate different experimental approaches, to search for a common language to relate findings from the various research traditions. It was in this spirit that we used the standard spatiotemporal filter approach to model Boi et al.'s clever demonstration, after minimal modification to render the two approaches compatible. Only the test of time will validate the usefulness of our approach, either by providing helpful insights or by stimulating further research along this fascinating line. We trust that readers of this journal will consider the utility or otherwise of our contribution with the objectivity and openmindedness that characterizes good science.
This work was supported by the European Research Council (FP7 – "STANIB") and the Italian Ministry of Research.
Address: Institute of Neurosciences, National Research Council, Pisa, Italy, and Università degli Studi di Firenze, Florence, Italy.
Burr D. C. Morrone M. C. (2010). Spatiotopic coding and remapping in humans. Philosophical Transactions of the Royal Society A, 366 (1564), 504–515.
Cicchini G. M. Binda P. Burr D. C. Morrone M. C. (2012). Transient spatiotopic integration across saccadic eye-movements mediates visual stability. Journal of Neurophysiology, doi: jn.00478.2012 [pii] 10.1152/jn.00478.2012.
Crespi S. Biagi L. d'Avossa G. Burr D. C. Tosetti M. Morrone M. C. (2011). Spatiotopic coding of bold signal in human visual cortex depends on spatial attention. PLoS One, 6 (7), e21661. doi:10.1371/journal.pone.0021661 PONE-D-11-02036 [pii].
Del Viva M. Morrone M. C. (1992). Feature detection and non-Fourier motion. Perception, 21 (Supp 2), 41.


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text:
Our Game Changers
2018-19 was our 23rd year of successful operations – and during that time, we have created many game changing moments we're proud of, like the opening of Gold Horse Casino in Lloydminster this past year.
We look forward to continuing to provide our customers with First Nation hospitality and customer service excellence, and to build on the success of a First Nation business model that creates opportunity and value for our 74 First Nation communities.
in revenue
(2018-19 fiscal year)
Profit Distribution
This is a very exciting time for SIGA, as we've moved into another expansion phase of our operations – opening a new casino in Lloydminster, Saskatchewan, and taking over the management of our slot system.
Chief Reginald Bellerose
SIGA Board Chair
SIGA has entered a new era – one of renewed growth and expansion, which will set us up to continue to deliver the outstanding entertainment experiences expected by our guests…
Zane Hansen
President and CEO, SIGA
Message from SIGA's Board CHAIR
Message from the President and CEO
Gold Horse Casino
SIGA Good food Run
Jim Pattison Children's Hospital
New Central office Sod Turning
Habitat for Humanity Women's Build
View the 2018-19 Annual Report
Full ReportFinancials
SIGA has entered a new era! 2018-19 saw SIGA reach some significant milestones through the growth and expansion of our company. These developments both enhance the entertainment experience for our guests and enable SIGA to further deliver on our mandate of opportunity creation, First Nation development and sharing success with our communities.
There were a number of game changing moments this year for SIGA: evolving to become a true gaming operator by taking over the management of our slot system; opening our seventh destination, Gold Horse Casino, in Lloydminster, Saskatchewan; holding the sod turning with our partners Whitecap Dakota First Nation on a first-rate hotel out at Dakota Dunes Casino; and breaking ground on a new office for the central administration of SIGA.
Despite all of these major investments, the continued challenge of mature gaming markets, and enduring the coldest February on record, we outpaced our projections and continued to see very strong business performance. This past year, we earned revenues of $262 million and a net income of $82.5 million, which will go back to our beneficiaries across the province. Thank you to our employees and customers for helping us to achieve and Share Success.
As we look ahead – only one year out from celebrating a major milestone, 25 years in business – we reflect on how far we've come. From about 500 employees and four casinos to close to 2,000 employees and seven casinos – with a 64 per cent First Nation workforce. We've been able to build this success by maintaining a resolute focus on our 'why,' our purpose – to create opportunity and to help strengthen the lives of First Nation people. We couldn't do this without our loyal patrons and employees, which is why we remain committed to providing exceptional customer service and organizational excellence.
I am proud of the continued dedication of our team across SIGA. Again this year, we were named a Great Place to Work and a Top Saskatchewan Employer. We were also honoured with several new awards this year in various areas, including the national Canadian Gaming Association Community Investment Award, the national IABC Silver Leaf Award for excellence in communications, along with business, employer, marketing and community involvement awards won by many of our casino locations.
We are proud to be a First Nation owned and operated organization, and I would like to thank the Chiefs of Saskatchewan for their vision that led to SIGA's creation. On behalf of SIGA's Executive, thank you to the Board of Directors for your strategic governance. Together, we are building a better future for our people.
Board Chair, siga
It's been an honour to once again serve on the Saskatchewan Indian Gaming Authority Board of Directors. On behalf of the Board I am pleased to present this 2018-19 annual report.
This is a very exciting time for SIGA, as we've moved into another expansion phase of our operations – opening a new casino in Lloydminster, Saskatchewan, and taking over the management of our slot system. True to our mandate to create employment, support First Nation economic development and maximize our earnings for First Nation people, these projects have helped us to grow to close to 2,000 employees, to support economic development in Lloydminster on Little Pine First Nation, and to continue to generate north of $80 million in net income for our beneficiaries.
Thank you to the Chiefs of Saskatchewan for your vision that led to SIGA's establishment more than 23 years ago. As we move into this next year, we will continue to build success by investing in our people, our operations and in projects that benefit our shareholders and customers.
Thanks to our leaders, SIGA employees, management and Board for your hard work to continue to fulfill our mission to strengthen the lives of First Nation people in Saskatchewan.
Is shared with the First Nations Trust, which is distributed to Saskatchewan First Nation communities
Is shared with the provincial government's General Revenue Fund
Is shared with regional Community Development Corporations, which are situated in casino locations and fund local initiatives
Saskatchewan Indian Gaming Authority
250-103C Packham Avenue
Canada S7N 4K4
SIGA wins 2018 Award for Volunteerism and Community Service
SIGA is proud to win this national award for volunteerism and community service from the Canadian Gaming Summit. The Canadian Gaming Summit is
co-owned by the Canadian Gaming Association, which works to advance the evolution of Canada's gaming industry. The Industry Awards recognize excellence and achievement in exemplary volunteerism and community contributions to the province's tourism sector.
SIGA named a 2019 Top Saskatchewan Employer
SIGA was proud to be recognized again this year as a Top Saskatchewan Employer by the Canada's Top 100 Employers project! This special designation recognizes Saskatchewan employers that lead their industries in offering exceptional places to work.
SIGA receives IABC Silver Leaf Award of Merit
SIGA is one of only three winners in Saskatchewan to win a Silver Leaf Award this year! We won the award for our 2017-2018 Corporate Social Media Strategy. This is the first time SIGA Communications has applied for a national award and it is an honour to receive this recognition for our work. The Silver Leaf Awards is Canada's premier professional awards program celebrating excellence in business communication.
SIGA among Canada's Best
in Retail and Hospitality in 2019
SIGA was honoured to be included on the Great Place to Work® (GPTW) Canada's list of the Best Workplaces in Retail and Hospitality again this year. The list of GPTW in Retail and Hospitality is based on direct feedback from employees of the hundreds of organizations that were surveyed by GPTW.

redpajama_set_name: RedPajamaCommonCrawl


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Magazine | Music | london
BILL BAILEY ON...OUDS
Written by Siobhan Morrin
05 Sunday 05th December 2010
Bill Bailey, legend of musical comedy, is currently on tour with his new show Dandelion Mind. We caught up with him between gigs to chat about music, mammals and mantras.
Don't Panic: Your new show, Dandelion Mind, is about doubt. That seems quite cynical. Is it? Where did it come from?
Bill Bailey: Cynical? It's certainly skeptical. I'm also curious as well. I'm relentlessly curious about things. I find that if you have doubts about something, that leads you to an interesting place.
People with faith have certainty, and scientists have great faith in what they do, yet I'm still unsure as to where that's leading us. So I'm sort of somewhere in the middle and I think that that sort of grey area is a fertile place for comedy.
DP: In your new DVD there's part of the show where you play an oud, and a whole religious-type chant of 'oouud' starts. Were you expecting that?
BB: That came out of nowhere, that was extraordinary. I mean, it took me totally by surprise. It was the tone of voice of the guy that did it. He shouted out, 'Oooouudd' and it didn't sound like somebody saying, 'Ooh that's an oud', it sounded like a religious incantation, and other people picked up on it (Sounds like a bit of an Oud-dunnit - Ed). And suddenly it became like this sort of strange tribal chant thing. I'm glad it got caught on film really.
Bill Bailey with the magical oud.
DP: Are there any other instruments you want to play in future shows?
BB: I'd love to work with more musicians on stage. That'd be fun. I did this show last year where I worked with an orchestra and that was fantastic fun. There's only so much you can do as a solo artist. You can only play one thing at a time, one guitar, one keyboard. That's something I want to try and explore next year, collaborate more. It's what I do anyway really, a juxtaposition of ancient instruments and modern high tech gizmos filtered through my comic sensibilities. So you won't see Little Boots mucking about with a Tenori-On, you won't see the world's famous oudists getting the audience to shout, 'Ooouuud!' That won't happen, but it'll happen at my gig.
DP: You did pretty well by yourself, playing different instruments all at once…
BB: Yeah. Sort of. That was like, get the Tenori-On working, then run round, play the drum machine madly with my left hand, play the keyboard with my right hand and then play the recorder whilst my right hand's still playing the keyboard. I'm thinking, Give yourself a break Bill. You need another musician!
DP: Do you think you'll do any more documentaries?
BB: Yeah, definitely. I'm involved with wildlife and conservation around the world and I assume that's just going to be an inevitable part of what I do. In fact I think I'm already going to do one in the new year about baboons. There you go, Bill Bailey's Baboons.
DP: Good to have a name with two Bs then.
BB: Yeah, it's mainly things with Bs. Bison. Buffalo.
DP: If you couldn't do what you do, what would you like to do instead?
BB: Oh.. I would write music and be in a band. Yeah I'd perform. Even if it was a piano in a hotel lobby in Basingstoke.
Dandelion Mind is out now on DVD.
Guest: luke.murphy.1
Sun 13 - Feb - 2011, 23:56
Ouuuuuuuuuuuuuuuuud.
Guest: g1fton
Mon 06 - Dec - 2010, 13:05
Nice interview, must be such an interesting guy to sit down with!
Guest: generationtwat
Yes, a total legend, and such an interesting guy! Really respect the man.
Guest: slim_slim_slider
Fri 03 - Dec - 2010, 01:06
Bill Bailey is such a legend. Looking forward to DVD. Cheers for this.
Videos to watch while high
Nail the Cross 2010
Pointless Music Apps
UK Festival Awards 2010
Vincent Moon's An Island
Betsy Dadd
onedotzero Festival
Track of the Week: Gold Panda


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India's Sun Pharma Says Halol Facility Listed Under FDA Import Alert
Updated: 08 Dec 2022, 12:01 PM IST
The import alert means all future shipments of products made at Halol can be refused admission to the U.S. market until the facility becomes compliant with the FDA's Current Good Manufacturing Practice standards, the company said.
FILE - A sign in front of the Food and Drug Administration building is seen on Dec. 10, 2020, in Silver Spring, Md. Expedited drug approvals slowed in 2022, as the FDA's controversial accelerated pathway came under new scrutiny from Congress, government watchdogs and some of the agency's own leaders. With less than a month remaining in the year, the agency's drug center has granted 10 accelerated approvals — fewer than the tally in each of the last five years, when use of the program reached all-time highs. (AP Photo/Manuel Balce Ceneta, File)
(Reuters) The U.S. Food and Drug Administration (FDA) had listed Indian drugmaker Sun Pharmaceutical Industries Ltd's facility in the western Indian state of Gujarat under an import alert, the company said on Thursday, sending its shares down 3.6%.
The import alert means all future shipments of products made at the Halol plant can be refused admission to the U.S. market until the facility becomes compliant with the FDA's Current Good Manufacturing Practice standards, Sun Pharma said in a statement.
"The company continues to cooperate with the U.S. FDA and will undertake all necessary steps to resolve these issues and to ensure that the regulator is completely satisfied with the company's remedial action," Sun Pharma said.
The FDA has excluded 14 products from the import alert, subject to certain conditions.
It was not immediately clear what the conditions are and what remedial action the FDA had asked the company to take. Sun Pharma did not immediately respond to Reuters' request for further comment.
Supplies to the U.S. market from Halol contributed to about 3% of Sun Pharma's consolidated revenue in the year ended March 2022, including the 14 excluded products.
The company's shares posted their sharpest intraday percentage drop since end-May following the news and were the top loser on the blue-chip Nifty 50 index.


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« Gear Alert! Aracom Amps to Release a New Model!!!
Jeff Aragaki of Aracom Amps: Vintage Guitar Builder Profile »
Gear Review: It's Here! Aracom Amps VRX22
March 15, 2009 by GoofyDawg
Aracom Amps VRX22 22 Watt Combo Amp
Aracom Amps VRX22 22 Watt Head
Aracom Amplifiers Vintage Rox 22 Watt Amplifier (a.k.a. VRX22)
Summary: This brand-new 22 watter is the newest in the Aracom low-wattage amp series now called the Vintage Rox or VRX series, which includes the original RoxBox 18 (now called the VRX18). Loaded with a pair of 6V6 power tubes, this amp oozes vintage American clean and dirty tone ala Stevie Ray Vaughn.
Pros: More clean headroom in Channel 1 as compared to its EL84-based 18 Watt sibling. And despite its lower wattage rating, this amp is capable of getting LOUD! Plus the VRX series sports what I think are the best power switching and master volume in the business!
Price: $895 Head / $995-$1095 for Combo (dep. on speaker)
– (2) 6V6 Power Tubes
– (3) 12AX7 Preamp Tubes
– S.S. Rectifier with "sag" circuit
– Hi/Low B+ voltage switch (22/10 watts)
– On/Off Switch
– Indicator Lamp
– Custom Heavy Duty Aluminum Chassis
– Custom Wound Transformers
– 4, 8, 16 ohm Speaker Jacks
– Custom Handcrafted
Turret Board
– HandwiredTone Bone Rating: 5.0 – Jeff Aragaki has hit the ball out of the park with this amp! I loved the original RoxBox 18, and gave it a 4.75, but with this amp, Jeff "fixed" the harshness of the breakup at lower volumes. To me, it's the perfect amp!
Let's roll back the clock a couple of months. I get a call from Jeff Aragaki. The conversation went something like this…
"Hey Brendan! How's it going?" asks Jeff.
"Not bad. Howzit with you?" I ask.
"It's going good. Listen, I'm experimenting with a new tube compliment for the RoxBox and put a pair of 6V6's in it to see how it sounds," says Jeff."
"Oh REALLY? Kinda tryin' to get an American voicing, are ya…"
"Yeah, plus the output rating should be bit higher at around 22-25 Watts," Jeff states.
"Okay," I say, "Now you've got my attention. When can I try it out?" I ask.
<chuckle> "Well, I called to see if could bring it over to you for you try out and give me some feedback," replies Jeff.
"Brand new amp? Experiment? Need you ask to see if I'd like to try it out? I'm free Saturday morning!" I exclaimed.
Fast-forward to the following Saturday, and Jeff lets me try the amp for a couple of days before he has to take it back, and I immediately start taking it through its paces. I even gig with it. I'd instantly fallen in love with it! I call Jeff and tell him that I think he's onto something with this amp. He's glad for the feedback, then a couple of days later, he picks it up to finish it out.
A few days later, he calls and tells me that he had to tweak the circuits a bit to handle the increased power. Uh-oh. So I asked, "Did it change the tone?"
"Hahaha… not at all. In fact it was actually running at way below 22 Watts. Since I reworked the circuitry, it has tons of power now, and it sounds even better. I even adjusted Channel 1 so you get even more clean headroom, and Channel 2 breaks up real nicely now. In any case, I'm going on a business trip to Indonesia and you can play with the amp for a couple of weeks while I'm gone."
And play I did! That was one of the most exhausting two weeks of my life because I was up till late (like 2-3 am) playing that amp. I just couldn't get enough of it, especially playing "Goldie" (a Saint Guitar Goldtop I recently reviewed) through the amp. And in all that time, I wanted to write a review of it, but I had agreed with Jeff to not talk about it (though I hinted a lot) until he got back from Indonesia and turned it into a production amp.
Once he returned from Indonesia a couple of weeks ago, he came over to pick the amp up. He asks me the usual questions about how I liked it, and I just said, "Jeff, this is a PERFECT amp! I can't say anything bad about at all. Channel 1 is gorgeous and works great with pedals. Channel 2 just rocks the house! It's the channel I used the most, and it's also real pedal-friendly. And for once in my life, I'm at a total loss for words; that's how much this amp affects me to the core."
Jeff just laughed, and said, "Well, I've got a couple of other amps for you to try out…"
I cut him off, and told him that it's fine if he wanted me to review them, but as far as what amp I'd choose to go with for my personal amp, the VRX22 was it. Search over. He laughed again, and said he'd get started on it….
Okay… fast forward to yesterday…
Jeff called me up to give me a status on my amp, and that he talked to someone this past week who is also getting one, choosing the VRX22 over a well-known boutique manufacturer. So it was definitely going into production, and he was almost done with the web page and announcement. Of course, I couldn't keep my mouth shut and immediately wrote an announcement, despite his recommendation to wait until today). 🙂 I just promised I wouldn't say too much, which I didn't because I wanted to write a review.
To create alignment in the series, Jeff has renamed the "RoxBox" line to the "Vintage Rox" or VRX series. If you recall, the original RoxBox 18 sported a pair of EL84 power tubes and is now called the VRX18; and the only difference between the two amps is that the VRX22 employs 6V6's and circuits that can deal with the increased power. In essence, with the VRX series, Jeff is providing both British (VRX 18) and an American (VRX 22) voicing options. The EL84-based VRX18 breaks up very similarly to a VOX AC15, with a lot of high-freq shimmer. The VRX22, on the other hand, breaks up like a classic Tweed. Frankly, once I have the bucks, playing both together will sound absolutely awesome!!! And priced at $895 each for the head models, that's A LOT cheaper than a single hand-wired amp from most boutique manufacturers.
Hand-wired goodness at an affordable price
I can't stress this enough: The thing that originally blew me away with Aracom Amps was the price of the RoxBox. I couldn't believe Jeff could sell a hand-wired amp for less than a grand – even with a solid-state rectifier! As I've gotten to know Jeff, and I've come to understand one thing about him: He's an incredibly shrewd businessman. As he shared with me this morning, "It's a matter of philosophy. Some guys make boutique gear, give their stuff a nice paint job, then charge a bunch of money for their gear. Then there are other guys who just want to make a few bucks off their gear, but sell it at a lower price so more people will play it."
The net result is that we consumers reap the rewards of that philosophy, and probably one of the reasons why Jeff's amps are starting to gain a lot of traction in the industry. And artists have started to find out about Jeff's amps. Gene Baker of B3 Guitars fame plays an early-model Evolver, and just recorded his new album using the Evolver in all the songs. Obviously, a guy like this who gigs all the time is a believer. I'm nowhere near Gene's abilities, but I totally dig his amps – I think you can tell. 🙂
I'm not going to rehash features here, since the features are the same as the original RoxBox 18 that I reviewed a few months ago. Again, the fundamental difference is the use of 6V6's.
If you're looking for a classic American tone, this amp is it. Yeah, you COULD go with a classic Tweed from Fender or other boutique manufacturers. But you'd pay way more for the sound. But I also need to qualify that. The tone is "American-like." It has a voicing that whether Jeff stumbled onto it or not, is a voicing that is at once familiar, but all its own at the same time. To me, I don't give a rat's ass about the power rating of this amp. All I know is that it sounds like nothing I've played before. That's the feeling I get with the Reason SM25, which is another 6V6 beauty, but has a sound all it own.
Channel 1 is bright and gorgeous. It's chimey as you'd expect from a classic Tweed sound, but it's amazingly very lush as well – which is where this amp is really distinct. The words that come to mind with this clean channel are "subltely sensuous." It's not like a hot chick dressed in a tight mini skirt. It's more akin to a gorgeous woman dressed in a simple cotton summer dress who doesn't need any makeup to enhance her looks, and she has nothing to prove. She just looks to be all-woman. The net result is that you're just drawn into aura without really knowing why – nor caring. The clean channel of the VRX22 has a similar effect on me. It's just a gorgeous tone with any guitar (though I especially loved play "Pearl," my Strat through it. The raw tone just draws you in, and when you add effects, it just handles them beautifully.
Channel 2 is also bright and ballsy, but its breakup is incredibly smooth. This is the channel where I think Jeff has really hit the ball out of the park. One of the things that has bugged me about the power tube distortion in a lot of Tweed-types of amps is the harsh grind from the power tubes that you oftentimes have to tame with some filter cap and capacitor changes – it's a bit too open. Not so with this amp. The "hidden" gain stage that acts as a tube overdrive pedal that's always on helps smooth out the distortion by making it a bit tighter, but not so much that you lose that openness that you expect from a Tweed-type amp. I loved slamming the front-end of the amp with tons of input gain, and pushing both pre-amp and power tubes at the same time. Talk about compression and sustain!
Here's a clip I used for my review of "Goldie." The amp is in Channel 2 for the lead, and I added just a tad of Tube Screamer to get a more punchy midrange response. The TS overdrive was maybe at 10 am – not much at all. Plus I layered on some reverb with my Hardwire RV-7 Reverb. The bulk of the breakup came from the amp. The rhythm track was recorded with Pearl on Channel 1.
https://guitargear.files.wordpress.com/2009/03/vrx22test.mp3
Man! I just listened to that track again, and can't get over how great the amp sounds. Normally I record at bedroom levels, but I wanted the amp to move a bit more air this time, and I recorded it at gig levels (for me, that's around 90-100db, so it's fairly loud but not over the top), and I used a ribbon mic to pick up the ambient a bit better. The mic was placed at a 45 degree angle along the speaker cone about a foot and a half away from the amp.
I just can't rave about this amp more! To me, it's the perfect balance of tone and power for practically all my needs! I'm getting the head with a 1X 12 cab, both wrapped in that awesome blue tolex that you see in the picture above!
Admittedly, the purist in me originally scoffed at the idea of a solid-state rectifier in the original RoxBox series. But as I told Jeff this morning, what people are typically after is the voltage sag you get with a tube rectifier. Jeff has built a custom "sag simulator" circuit that does the job so well that frankly, I can't tell the difference. Besides, it's what the amp sounds like that counts, not necessarily its components. Look at the classic Roland JC-120. That has to be one of my all-time favorite amps – even Satch played with one for years. It's completely solid-state and it sounds freakin' awesome!
But circling back to the VRX22. You can't go wrong with this amp. Yes, it's priced for value, but the tone that you get for that far surpasses anything that I've played at these lower wattages.
Posted in 6V6, amplifiers, amps, Amps/Amplification, aracom amps, buying gear, GAS, gear, gear reviews, guitar, guitar gear, guitar reviews, guitarists, Guitars, Tone, VRX22 | Tagged amp, amplification, amplifiers, amps, aracom, aracom amps, Aracom Vintage Rox, Aracom VRX, buying gear, GAS, gear, gear reviews, guitar, guitar gear, guitarists, Guitars, Music, musicians, new gear, Tone, VRX series amps, VRX22 | 1 Comment
on October 29, 2009 at 2:50 pm | Reply NOS Tubes: It Ain't All Hype… « Guitar Gear
[…] 29, 2009 by goofydawg Just put in a re-labeled 1960's-era Mullard ECC83 into my Aracom VRX22 this afternoon. I had a JJ 12AX7 in there, and make no bones about it; that's a great pre-amp […]


Billabong Mens Furnace Absolute X 5/4mm Chest Zip Wetsuit Slate Medium Short. Billabong Mens Furnace Absolute X 5/4mm Chest Zip Wetsuit Slate Furnace Lining Furnace jacquard knitted quick dry lining.
Large front and back panels are lined internally with a new double knit furnace jersey creating pockets of air trapping body heat, as well as allowing it to drain and dry ultra fast. Light Foam High stretch foam core with excellent thermal retention.
Its also made from upcycled tires. Welded Seams Extrenal liquid welded seems for a water tight seem seal. Please select your size above when completing checkout See Size Guide below (PLEASE NOTE THIS IS AN ESTIMATED SIZE GUIDE ONLY): Size Chart: MS: Height: 5'6"-5'9" 168-175cm Weight: 145-160lb 66-73kg Chest: 38-40in 98-103cm Waist: 30-32in 76-81cm M: Height: 5'9"-5'11" 175-180cm Weight: 155-170lb 70-77kg Chest: 38-40in 98-103cm Waist: 31-33in 79-84cm Medium Tall: Height: 5'11"-6'1" 180-185cm Weight: 165-180lb 75-82kg Chest: 39-40in 100-104cm Waist: 31-33in 79-84cm L: Height: 5'11"-6'1" 180-185cm Weight: 175-190lb 79-85kg Chest: 41-43in 103-109cm Waist: 33-35in 84-89cm. Please note: We do not accept cheques, postal orders, bankers drafts or bank transfers. We want you to have your order ASAP.
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The item "Billabong Mens Furnace Absolute X 5/4mm Chest Zip Wetsuit Slate" is in sale since Friday, October 19, 2018. This item is in the category "Sporting Goods\Surfing\Wetsuits". The seller is "fostertrading" and is located in Wimborne, Dorset, United Kingdom. This item can be shipped to all countries in Europe, all countries in continental Asia, United States, Canada, Australia.


text:
The Health Protection (Coronavirus, Restrictions) (All Tiers and Self-Isolation) (England) (Amendment) Regulations 2021 (SI 2021/97) is an emergency statute in response to the COVID-19 pandemic in England, which came into force at 5.00pm on 29 January 2021.

The Regulations increase from £200 to £800 the amount an individual attending a house party involving more than fifteen people can be fined for a first offence. The Regulations also broaden (by amending the Health Protection (Coronavirus, Restrictions) (Self-Isolation) (England) Regulations 2020) the personal details that health service personnel or local authority personnel may disclose about an individual, and extend the permitted uses of those details to include the prevention, investigation, detection or prosecution of offences under those Regulations.

Whilst these Regulations have not themselves expired or been revoked, all of the regulations they amended are no longer in effect.

References

Statutory Instruments of the United Kingdom
2021 in England
COVID-19 pandemic in England
Public health in the United Kingdom
2021 in British law
Law associated with the COVID-19 pandemic in the United Kingdom

redpajama_set_name: RedPajamaWikipedia


165gsm 100% polyester mini pique Micro-DryTM Regular Fit Breathable Micro-Dry fabric - wicks the sweat away. Quick dry. Sporty design. Contrast piping and inset detail. Matches with our P-11 Men's Defender Polo. Ideal for corporate, school, sporting clubs etc. White/navy, white/red, sky/navy, royal/white, royal/gold, navy/white, navy/gold, bottle/gold, black/white or black/gold.


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Alternative In-Vitro SPF Sunscreen Test Method
Sébastien MIKSA – Apr 28, 2020
TAGS: Sun Care
In the past years, sun protection has been deeply improved in terms of:
Balance (UVB, UVA, Blue Light, Infrared, etc.)
Claims (Sun Protection Factor – SPF, UVA Protection Factor – UVAPF, Critical Wavelength – CW, Water Resistance – WR, etc.), Formulation
Understanding sunlight and testing methods
Regulations, awareness from consumers, etc.
There are different methods available for the sunscreen testing procedure. These methods are relatively complex and require significant experience, processes and equipment. Fortunately, standards are available in order to harmonize these methods worldwide, mainly, according to ISO (International Organization for Standardization).
Nowadays, from the ISO projects, several methods are already available or under development, such as:
In-Vivo SPF according to ISO 24444 (published)
In-Vivo UVAPF according to ISO 24442 (published)
In-Vitro UVAPF – CW according to ISO 24443 (published)
In-Vivo WR procedure according to ISO 16217 (development)
In-Vivo WR percentage calculation according to ISO 18861 (development)
In-Vitro SPF according to ISO 23675 (development)
In-Vivo/In-Vitro Hybrid Diffuse Reflectance Spectroscopy SPF – UVAPF according to ISO 23698 (development)
(Other methods may be added in the future for standardization process such as the Blue Light assessment, In-Vitro Water Resistance, etc.).
Among all these methods, the In-Vitro SPF is strongly required by the industry and governmental organizations delivering results equivalent to the ISO 24444 method. As evidence, the degree of protection should be measured using standardized, reproducible testing methods and take photo-degradation into account as recommended by the European Commission[1].
Let's study the alternative In-Vitro sunscreen test method under the project ISO 23675.
In-Vitro SPF Method Principle
The In-Vitro SPF method in progress at the ISO level (projects ISO 23675) includes new requirements and appliances to ensure the reliability of the results for the In-Vitro determination of UVA protection. The method is validated by Cosmetics Europe (CE) in a recent publication[2] and incorporates many of the recommendations issued by the ISO 24443. Given below are the different simplified steps[3-4]:
As for the ISO 24443, topographic parameters of the substrate shall be controlled and respected as a control chart for both molded and sandblasted PMMA plates. Both substrates are used with different quantity of products (1.3 mg/cm2 for molded and 1.2 mg/cm2 for sandblasted).
Molded (L) and Sandblasted (R) PMMA Plates
Source: HelioScreen
The temperature of the interface substrate/sample shall be controlled during the whole process.
HD-THERMASTER – An Instrument that Controls the Temperature of Substrate/Sample
As the method consists of assessing the residual transmission of a product spread in a thin layer on substrates, to ensure reproducibility, it has been demonstrated that automated spreading is the only way by using a robotic arm with specific characteristics.
HD-SPREADMASTER – An Automated Sunscreen Product Spreading Machine Using a Robotic Arm
After the drying step and prior to any UV irradiation, the acquisition of the initial UV absorbance spectrum, the characteristics and the performance of the spectrophotometers and their regular checking with specific calibration are necessary.
After a mathematical adjustment of the initial UV absorbance spectrum using correction factors, a single UV exposure dose D (MED/h) is applied with a solar spectrum similar to the In-Vivo SPF ISO 24444. It will be mandatory to control the emission of the source in order to calculate and justify the dose.
Finally, a second In-Vitro absorbance measurement of the sunscreen product after UV exposure is required in order to calculate the final In-Vitro SPF after mathematical adjustment.
In-Vitro Absorbance Measurement of the Sunscreen
Acceptance of the Alternative SPF Method
Even if it was never raised so far for other sun protection testing methods, one of the problems created for the In-Vitro SPF method validation was that no acceptance criteria existed among the ISO TC217 (Technical Committee for Cosmetics) WG7 (Working Group for Sun Protection Test Methods) consensus.
To respond to this issue, after a huge work from different parties (ISO TC217 WG7 Ad Hoc group, CE, statisticians, experts, etc.), an international consensus was proposed and accepted years ago by checking:
The ascertain minimal method bias (matrix effect, overall bias, etc.).
At least 95% of the paired SPF values for 24 products, derived from the 3 in-vivo test institutes (at least 5 test subjects per laboratory) and the 3 in-vitro testing labs (both in a blinded fashion), fit within the upper and lower limits of a funnel across the full range of labeled SPF categories (SPF 6, 10, 15, 20, 25, 30, 50 and 50+).
During this time, even if other proposals were proposed regarding validation criteria[5] and even if some of them may be interesting, no new consensus from the different experts in the sun protection testing fields changed at the international level.
In other terms, the minimum criteria proposed and accepted by the ISO/TC217/WG7 years ago remain valid and already include a balance between the statistical requirements, the cost efficiency and the realistic feasibility.
Today, all barriers are solved for the alternative In-Vitro SPF method according to the ISO 23675 projects, including:
The technical limits (the method is reproducible and correlated to the In-Vivo SPF values).
The fulfillment of the ISO acceptance criteria (as explained in a publication about the CE method[2]).
The established international majority consensus.
To summarize, this most advanced In-Vitro SPF method is based on the UV transmittance measurement process using a multi-substrates approach (molded and sandblasted PMMA plates) with correction factors, a robotic spreading and a UV exposure step.
Keep Updated with the SPF Testing Protocols!
Take the course UVA/SPF: Optimizing your Test Protocols to support your formulation work & UVA/SPF claims for your targeted markets (EU, US, Japan). Learn how to conduct the right test at the right time (in-vitro or in-vivo) & interpret test results better.
Commission Recommendation of 22 September 2006 on the efficacy of sunscreen products and the claims made relating thereto (notified under document number C(2006) 4089).
M. Pissavini et al., Validation of an In Vitro Sun Protection Factor (SPF) method in blinded ring-testing, IJCS, April 2018.
S. Miksa et al., New approach for a reliable in vitro sun protection factor method-Part I: Principle and mathematical aspects. IJCS, 2015.
S. Miksa et al., New approach for a reliable in vitro sun protection factor method-Part II: Practical aspects and implementations. IJCS, 2016.
U. Osterwalder et al., Validating Alternative SPF Test Methods, C&T, April 2020.
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1 Comments on "Alternative In-Vitro SPF Sunscreen Test Method"
Irwin P Dec 23, 2021
In-Vitro SPF testing on Inorganic Sunscreen (usingTiO2 and/or ZnO) formulations has notoriously been inaccurate in determining the actual SPF of a formulation. This inaccuracy is primarily due to the inefficient capturing of the reflected light that comes from UV radiation hitting the Inorganic particles. I am assuming that there has been documented correlation established between the proposed In-Vitro SPF test and the current In-Vivo test that (with minor variations) is used globally for determining the actual SPF on formulations based on TiO2 and or ZnO.
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The Jaguars (1962 to 1963) The Jaguars were a beat group formed in Harrow County around 1962. The group consisted of schoolmates from Harrow County School for Boys, along with 14 year old drummer Roger Hills, a student from another nearby school. The following year, the band morphed into The Aliens after the departure of their singer Bob Heaps.


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Science Bulletin
Home Animals & Plants Nature's smallest rainbows may inspire new optical technology
Nature's smallest rainbows may inspire new optical technology
Brightly colored Australian peacock spiders (Maratus spp.) captivate even the most arachnophobic viewers with their flamboyant courtship displays featuring diverse and intricate body colorations, patterns, and movements – all packed into miniature bodies measuring less than 5 mm in size for many species. However, these displays aren't just pretty to look at, they also inspire new ways for humans to produce color in technology.
One species of peacock spider – the rainbow peacock spider (Maratus robinsoni) – is particularly impressive, because it showcases an intense rainbow iridescent signal in males' courtship displays to the females. This is the first known instance in nature of males using an entire rainbow of colors to entice females to mate. But how do males make their rainbows?
Figuring out the answer was inherently interdisciplinary so Dr. Bor-Kai Hsiung – now a postdoctoral scholar at Scripps Institution of Oceanography at the University of California San Diego – assembled a team that included biologists, physicists and engineers while he was a Ph.D. student at The University of Akron's (UA) Integrated Bioscience Ph.D. program under the mentorship of Dr. Todd Blackledge and Dr. Matthew Shawkey (now at University of Ghent), and supported by UA's Biomimicry Research and Innovation Center. The team included researchers from the United States – UA, Scripps Institution of Oceanography, California Institute of Technology (Caltech), and University of Nebraska-Lincoln (UNL) – Belgium (University of Gent), Netherlands (University of Groningen), and Australia to discover how rainbow peacock spiders produce this unique iridescent signal.
The team investigated the spider's photonic structures using techniques that included light and electron microscopy, hyperspectral imaging, imaging scatterometry and optical modeling to generate hypotheses about how the spider's scale generate such intense rainbows. The team then used cutting edge nano 3D printing to fabricate different prototypes to test and validate their hypotheses. In the end, the team found that the intense rainbow iridescence emerged from specialized abdominal scales on the spiders. These scales combine an airfoil-like microscopic 3D contour with nanoscale diffraction grating structures on the surface. It is the interaction between the surface nano-diffraction grating and the microscopic curvature of the scales that enables separation and isolation of light into its component wavelengths at finer angles and smaller distances than are possible with current engineering technologies.
"Who knew that such a small critter would create such an intense iridescence using extremely sophisticated mechanisms that will inspire optical engineers," said Dr. Dimitri Deheyn with excitement during an interview. Deheyn is the postdoc mentor for Hsiung at Scripps Oceanography and a coauthor of this research.
For Hsiung, the finding wasn't quite so unexpected. "One of the main questions that I wanted to address in my Ph.D. dissertation was 'how does nature modulate iridescence?' From a biomimicry perspective, to fully understand and address a question, one has to take extremes from both ends into consideration. Hence, I purposefully chose to study these tiny spiders with intense iridescence after having investigated the non-iridescent blue tarantulas," said Hsiung.
The mechanism behind these tiny rainbows may inspire new color technology, but wouldn't have been discovered without research combining basic natural history with physics and engineering.
"Bringing together such diverse research expertise to understand the incredible diversity of nature and then applying that knowledge to human technology is exactly what UA's Biomimicry Research and Innovation Center is all about," said Blackledge.
"We sometimes forget that mathematical optical models, while critical tools, are hypotheses that need to be tested," answered Shawkey, when asked about how this research could change the way researchers investigate biological photonic structures in the future. "Nanoscale 3D printing allowed us to experimentally validate our models, which was really exciting. We hope that these techniques will become common in the future."
"As an engineer, what I found fascinating about these spider structural colors is how these long evolved complex structures can still outperform human engineering," added Dr. Radwanul Hasan Siddique, a postdoctoral scholar at Caltech and coauthor of this research. "Even with high-end fabrication techniques, we could not replicate the exact structures. I wonder how the spiders assemble these fancy structural patterns in the first place!"
Inspiration from these super iridescent spider scales can be used to overcome current limitations in spectral manipulation, and to reduce the size of optical spectrometers for applications where fine-scale spectral resolution is required in a very small package, notably instruments on space missions, or wearable chemical detection systems.
In the end, peacock spiders don't just produce nature's smallest rainbows, they could also have implications for a wide array of fields ranging from life sciences and biotechnologies to material sciences and engineering.
Provided by: University of Akron
More information: Bor-Kai Hsiung et al, Rainbow peacock spiders inspire miniature super-iridescent optics, Nature Communications (2017). DOI: 10.1038/s41467-017-02451-x
Image credit: Dr. Jürgen C. Otto, co-author
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Aakash Chopra feels India should stick to the same XI for the final ODI
July 22, 2021 by Erin Clark
Aakash Chopra believes that there is no scope for any change in Team India's playing XI for the final ODI against Sri Lanka.
The Shikhar Dhawan-led Indian team have already sealed the three-match ODI series after taking an unassailable 2-0 lead. The Indian team management has fielded the same XI in both ODIs thus far and the players have given a decent account of themselves.
In a video shared on his YouTube channel, Aakash Chopra responded that he foresees Team India sticking with the same playing XI when asked by a fan on possible changes for the third ODI. With regards to the Indian bowling lineup, the cricketer-turned-commentator said:
"Not even one. I am not expecting any changes again. You have to play Kuldeep – you will not play him in the T20Is, you should play Yuzi Chahal all the matches, Deepak Chahar – don't even touch him, Bhuvneshwar Kumar is the vice-captain and is just coming back from injury."
Aakash Chopra highlighted that there is no change feasible in the batting department either. He reasoned:
"Hardik Pandya has not done anything till now, neither in bowling nor batting, so you will play him. Why will you not play Krunal Pandya – he scored 35 runs and gave away only 26 runs in the first match. Pandey ji has done okay in both knocks, Ishan scored runs in one knock, Prithvi also scored runs in one knock, Suryakumar in both knocks and Shikhar Dhawan is the captain. There is no scope for any change."
Although Aakash Chopra reckons Team India are unlikely to make any changes, the team management might consider resting some of the players ahead of the T20I series and giving an opportunity to some of the youngsters waiting in the wings.
"You should play the team you picked in the 1st match" – Aakash Chopra
Aakash Chopra feels Team India should only make a change in case of any injury
Aakash Chopra added that selected players should be given a decent run to showcase their credentials. He elaborated:
"When it is a three-match series, my belief is that you should play the team you picked in the first match. It's just being fair, that if you have picked someone and he has not done badly in two chances, you would want to give him a third chance."
The 43-year-old signed off by stating that a change should only be made if a player is ruled out due to injury. Aakash Chopra explained:
"If you sit him out and play someone else, he will play just the one match and what great will he do there. And even if he does, he will not be able to take the confidence forward because it is the last ODI, you will again choose a new team for the T20Is. I don't foresee any changes as far as India is concerned unless of course if there is an injury or a niggle about which we have no idea."
With Sanju Samson having already recovered from his injury, he could be in the mix for the final ODI. Navdeep Saini could also be given an opportunity by resting Bhuvneshwar Kumar, thereby keeping the Indian vice-captain fresh for the T20I series.
Official @BCCI Update on Sanju Samson:
Sanju Samson has recovered from his knee injury and the medical team has declared him fit and available for selection.#SLvIND
— Subhayan Chakraborty (@CricSubhayan) July 20, 2021
Visa acquires Currencycloud, which makes APIs for remittances and currency transfers, in a $963M deal – Report Door
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A short look into the Kiryuin household a few months after the OVA. A little big of sadness, a little bit of sweetness.
Five glimpses into five very distinct relationships, with the only consistency being a set of rainbow locks that hurt if you look at them for too long. Love hurts sometimes, though.
Satsuki Kiryuuin, CEO of LifeLine Records, comes across a young artist in a run down club one night. When Satsuki offers the young woman a drink, she couldn't have been prepared for what would happen next.
Satsuki wants to know what it feels like to be dominated, and she thinks her trusted underling Gamagori will serve her purpose quite well. Commission for Thrally.
Sometimes the best cure for a mind aching after a day spent listening to Satsuki Kiryuin preach from atop her ivory tower is to take a quiet motorcycle ride around the outskirts of town.
Sometimes medicine comes in the form of cat-calling that hot platinum blonde in the limousine that just rolled by.
Sometimes you end up getting prescribed more than you can swallow.
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Rumor has it that REVOCS' iconic brand of test tube alien baby couture is sewn from pink silk, space garbage, the death throes of your crush's ex-husband, and existential lesbian horror. While some try not to lose their way, Nui Harime tries not to lose another eye.
When Honnouji Academy fell, Ryuko and her friends thought that was the end of their troubles, that they could move on to pursue their dreams. Unfortunately, due to a computer mishap and the rest of the world 'forgetting' the Life Fiber conflict, their school records are gone. So they need to go back to school...at Kuoh Academy. Their troubles are just beginning.
Satsuki lets loose the quietest breath Ryuuko has ever heard, and in that puff of air is all of the fragility and doubt and fear existing in this otherwise absolutely steel woman. That sound, the single breath, is like a storm blowing through Ryuuko's resolve, through all of her will.
Nonon Jakuzure. Bard. Assassin. Personal musician to the enigmatic Princess Satsuki Kiryuin, and enjoying it...but what does the princess do when she disappears from the castle every now and then? Why does she keep so much of herself secret? Did she consider Nonon a friend?
...and will Nonon be able to assassinate her?
Nonon promised that if school spirit dipped she would allow herself to be freely used by the students it picked up again, and even if she's intent on acting like it's a bother to her, it's really all she could ever want. Anonymous commission.


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Garcetti's L.A. River Tour Goes On, Despite Rained-Out Kayak Plans
Last night's rain dashed plans by Mayor Eric Garcetti to kayak part of the 51-mile Los Angeles River with the chief of the U.S. Environmental Protection Agency today.
A ranger deemed the water conditions unsafe due to the rain, so the mayor and EPA Administrator Gina McCarthy instead took a 45-minute walking tour during which they discussed river restoration and revitalization efforts, mayoral spokeswoman Vicki Curry said.
City Councilman Mitch O'Farrell, whose district includes the Los Angeles River, also was along for the tour.
The change in plans did not appear to put a damper on the EPA administrator's mood. Following the tour, McCarthy tweeted: "Great tour of LA river with (Eric Garcetti) and (Mitch O'Farrell). Real community progress, everyone working together."
The mayor, McCarthy and a representative of the U.S. Army Corps of Engineers had planned to start at the 3-acre Marsh Park and spend half an hour paddling through the Glendale Narrows portion of the Los Angeles River.
More on Garcetti and the river
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Thoughts on the River: Eric Garcetti
Mayor Eric Garcetti, EPA Administrator Gina McCarthy, and Councilmember Mitch O'Farrell. Photo courtesy of Grove Pashley.
The Glendale Narrows stretches nine miles through the Elysian Valley and is one of the few parts of the river that still has a natural "soft-bottom" that attracts fish, bird and other wildlife.
During a meeting last month in Washington, D.C., to discuss a river revitalization effort led by the Corps of Engineers, Garcetti invited McCarthy to tour the river with him, according to Curry.
Garcetti has thrown his support behind Alternative 20, a $1 billion Corps of Engineers plan to restore natural habitats along the river, and he hoped to show McCarthy a portion of the river that best represents what that plan would do, Curry said.
Most of the river was covered in concrete and turned into a storm water channel during the first half of the last century to guard against flooding.
The city has taken steps in recent years to reopen the river to the public and restore natural wildlife habitats alongside of it. This year, a 2.5- mile section of the Glendale Narrows was opened to recreational fishing, boating and kayaking.
Garcetti was also expected to point out bike and walking paths, park facilities and other revitalization measures along the river. After the river tour, McCarthy is scheduled to visit the Port of Long Beach and a recycling facility in Wilmington.
Mapping Power and Strategy for Conservation Victories: An Interview with Kai Anderson
Kai Anderson's eye-catching, multi-colored, hand-drawn thematic maps have developed a cult following in conservation circles in the American West. He walks us through a map he created of Sen. Harry Reid's major environmental campaigns.
By Jon Christensen
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"The New West and the Politics of the Environment," a feature-length documentary for the public television environmental news magazine "Earth Focus," makes the case for placing former U.S. Sen. Harry Reid and Nevada at the center of a green new deal.


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Q: Where can I ask a question about estimating project costs? I'm interested in asking this question:

I have a client whom have "idea" of his project "that is in his mind". He said he is not going to share any details, knowledge, and ideas until we have a contract because as he's saying "he's worried about someone stealing his ideas". However, in our first meeting on client side, I think I get global global overview what he wants to have (generally). Now he's awaiting my offer and that's where I stack on to prepare it to him including price.
Should I just prepare an offer on the knowledge i have? For instance I know he want application to create article/edit it, associate with some elements blabla... However we haven't talked about details, how this information should be inserted by users etc.
Should I propose just my view generally and prepare an offer with price how i see this and how this could be done giving general information on an offer and final price? However what about details, should them be on this offer or just general list and later on we should talk about this? I am bit confused.. Please of your advice.

Is there a site on the Stack Exchange network that will accept a question like this?

A: Two possible places I can think that you may consider for targets of your question are:

*

*The Workplace: "Q&A for members of the workforce navigating the professional setting".
I am a regular user of this site, and of what I can tell your proposed Q could fit there. Still, please read the tour and help section (and look around a bit) so you can rephrase your question to better fit there
I believe you could focus on "Should I just prepare an offer on the knowledge i have?". However, "should I" question are not taken positively over there (as they are asking for answerers to make a choice for you), so try to rephrase it to something like "What can I do to give an acceptable estimate with the information I have?", or "How can I prepare an adequate estimate with the information I have?", etc.

*Project Management: "Q&A for project managers"
This is a Beta site I found searching, and although I am not an user of it, its topic seems to suggest that you can try and post your question there. Again, I suggest you read the help section of that site (and perhaps double-check on their chat) before posting.

redpajama_set_name: RedPajamaStackExchange


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Model pilots — Wasatch Aero Modelers fly radio-controlled electric, gas-powered and sailplane models
By Ben Caballero, Deseret News
Published: Friday, Aug. 17 2007 12:00 a.m. MDT
It was war. The pilots strained their concentration as their airplanes rolled and dived through a seemingly random swarm of wings and propellers, each pitted against the other
(L) (Jennifer Ackerman, Deseret Morning News) – Took the picture of the red, white and blue combat plane.
(C) Scott Stringham from Layton releases his model airplane at the Wasatch Aero Modelers club in Syracuse. (Jennifer Ackerman, Deseret Morning News)
(R) Adam and Larry Petersen fly their model airplane. (Jennifer Ackerman, Deseret Morning News)
(L) A model airplane soars across the sky during the Wasatch Aero Modelers club's combat contest in Syracuse earlier this summer. (Jennifer Ackerman, Deseret Morning News)
(C) Frank Scharnell III, left, and son Rick Scharnell help Alan Thovson fuel his model airplane. (Jennifer Ackerman, Deseret Morning News)
(R) Scott Stringham from Layton fuels up his airplane for the next round at the Wasatch Aero Modelers club's combat contest in Syracuse. (Jennifer Ackerman, Deseret Morning News)
Some of the model airplanes built by Alan Thovson. (Jennifer Ackerman, Deseret Morning News)
It was war!
The pilots strained their concentration as their airplanes rolled and dived through a seemingly random swarm of wings and propellers, each pitted against the other.
The location: Syracuse, Utah. The objective: to get as many points as possible by cutting ribbons trailing other model airplanes and to just stay in the air.
This combat contest of the Wasatch Aero Modelers club on the morning of July 7 is just one of the activities the club holds throughout the year. The whine of these radio-controlled miniatures has been a siren call to people in many different walks of life along the Wasatch Front, including former career pilot Keith Harris of Davis County.
When Harris, 83, heard the motor of his first gas-powered model airplane come to life as a teenager, he was hooked.
His love for flight has led him to complete a career as a pilot and to develop a lifetime love for building and flying model airplanes. For Harris, this hobby has not only provided a chance to do something fun, it has helped him spend time with his sons and make friends with other aero modelers.
Harris is one of about 118 members of the Wasatch Aero Modelers club based in Syracuse. The club began in 1987 and has air-loving members from Ogden to North Salt Lake. It is a non-profit organization and part of the larger Academy of Model Aeronautics. Its members fly radio-controlled electric, gas-powered and sailplane models.
Harris' love for the air led him to fly and instruct during World War II and enjoy a career with Continental Airlines and as a chief pilot for an oil company.
Now Harris sticks with the models. They stand in corners and sit on tables throughout his Davis County home. Outside, Harris has a van dedicated to the hobby with makeshift shelves holding wings and parts.
"He builds absolutely gorgeous airplanes, drop-dead gorgeous airplanes," said Terry Pitkin, the club's treasurer, about Harris' models. Flying Harris' planes is a real "treat" for other members of the club, he said.
Harris has been building them from scratch since he was a kid, his first a rubber band-propelled glider he gave to his doctor. "He took it and put it on his desk, and I thought that was pretty neat that somebody would want something that I made," Harris said.
Harris, as a teenager, took his first model-airplane motor to mechanics in his hometown of Lovell, Wyo. They offered to help him get it working after their shift.
"They got that little thing running and got the mixture controlled just right, and it just screamed, and I thought that I was the happiest kid that ever lived hearing that thing run."
He said he would send a gas-powered model airplane into the air while in high school and watch it fly uncontrolled over the fields near his home until it landed on its own (or more likely crashed).
Harris' tastes have grown more sophisticated over the years as his skills in the hobby and technology have improved. The more he has built, the more he has learned, Harris said.
"It's almost an education in itself."
The process of building an aircraft throws model builders into a crash course concerning the many areas involved in making something fly, from mechanics to physics to electronics to woodworking.
The other crash course is literally that — learning the hard way how to keep the plane in the air.
Harris said the skills he gained as a career pilot didn't just translate into flying model airplanes.
The biggest difficulty comes when the model airplane is flying toward the pilot and the controls reverse, he said. "It's like putting the steering backwards in your car … . You had to learn a new reflex action and unlearn the old one," he said.
Harris' son got the hang of it faster than he did.
Despite the time and resources put into their airplanes, he said model airplane flyers inevitably expect their airplanes to crash at some point, something Harris has done many times himself.
The inevitable happened several times during the club's combat contests on July 7 at its flying site in Syracuse as models crashed midair, sending wings fluttering to the ground.
However, this group has got some of the nation's top talent, crashes and all, said Scott Stringham, president of the club. Stringham himself holds the No. 1 position in the nation in the sport's Open B category, and several of the combat contest fliers who participated July 7 also rank nationally.
Pitkin, who helps instruct new fliers, said it takes an average of about four months for someone to learn to fly a model airplane. "It's absolutely different," Pitkin said about flying a real airplane, recalling a time when he had to help a top-gun pilot keep a model in the air.
For members of the club, including Harris, flying is only part of the fun.
As Harris raised a family, he said building and flying model airplanes allowed him to spend time with his sons.
"For a father-son program, I don't know anything that's better," he said. "It's just pure joy … . This was something that just continually has drawn us together."
Harris also said the hobby has allowed him to interact and build friendships with the other members of the club, what he called a "brotherhood."
Harris said building model airplanes is also therapeutic for him.
"Your mind goes clean, and you walk into a different realm."
He enjoys solving problems, tweaking things and figuring out how to make his models work and work better.
"When it all comes together and it works, that's the icing on the cake."
E-mail: bcaballero@desnews.com
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