The Who's achievements are many, and the one common factor that has propelled them for more than half a century is rock 'n' roll's finest right hand: that of Peter Townshend, arguably also the owner of popular music's keenest brain and the creative force behind a group that remain one of the world's most popular live draws.
Anyone who has seen The Who recently will testify that even at 70, Townshend has lost none of the fire that's made him such a compelling performer over the years.
Having also worked with The Rolling Stones, Joe Walsh, Eric Clapton and George Harrison, there's very little that Townshend's guitar tech, Alan Rogan, hasn't seen. We meet at Hyde Park's Gate 10, as Alan has agreed to allow G&B a close look at the guitars used by his current employer, ahead of The Who's headline peformance to 70,000 people at British Summer Time festival.
It soon becomes apparent that preparations for a gig of this magnitude leave nothing to chance. As Alan leads me to the festival's Great Oak Stage, you would be forgiven for thinking that NASA is about to launch a space probe: there's high-tech equipment everywhere and security is tight, but it's par for the course in the run-up to a performance by one of the world's greatest live bands.
I am taken immediately to a huge flightcase that contains eight Fender Stratocasters encased in thick foam supports that pull out like drawers. The first guitar I see is the Torino Red Strat (number 4) that Townshend has been using since 1989. He typically has four to six more of these, and all are Eric Clapton signature models.
There are numbers on the back of each guitar to indicate which instrument Townshend will use during certain points in the set, and for capo use. We walk over to a workbench that is full of tools and lay down the Strat. A Peterson Strobe Center 5000 tuner is situated in front of us; there are no pitch pipes here: this is serious tuning tech for the big boys! In addition, there's a small Vox amp with an eight-inch speaker for Alan to plug the guitar into.
Underneath the bench are plenty of small drawers, with just about everything a top guitar tech could need. As Alan strings the guitar up, he tells me that Townshend now uses 10–48 Ernie Ball RPS Slinkys. Alan removes the bottom string from a 10-46 set and replaces it with a 48, which he says Pete prefers.
The guitar is basically a stock Eric Clapton model, with the notable addition of a Fishman Powerbridge. A volume control sits behind the treble side of the bridge and controls the output of the piezo 'acoustic' signal. Alan was directly involved in this layout and the components, which send a stereo output to a Pete Cornish splitter box that also includes the signal from the guitar's Gold Lace Sensor pickups.
On the back of the guitar is an EMG preamp, which boosts the signal from the 'acoustic' side, that goes directly into the board. This combination provides an unbelievably good sound, with such punch and acoustic clarity: it's the best I've heard. Out front, near Pete's monitor, there's a footswitch conveniently labelled 'Big Fat Switch' which enables him to shift between the sound combinations.
This guitar has a 42mm nut width, and the slots for the strings have been cut impeccably – as you would expect on one of Townshend's guitars. On the top horn of the guitar's alder body, I see many scratches on the surface in the area where he plays most of his fast rhythm parts. The Gold Lace Sensor pickups deliver a midrange emphasis with a resistance of 5.8k, complementing the Fishman's piezo tone perfectly.
Designed by Don Lace and launched in 1985, Lace Sensor pickups are equipped with a 'radiant field barrier' system, that surrounds both the coil and magnets and helps reduce 50/60 cycle hum. True single coils, the idea behind Lace Sensors is that the barriers help to concentrate the magnetic field, meaning that lower-strength magnets can be used. Weaker magnets mean less string pull which in theory translates into an increase in sustain and more accurate pitch and intonation.
The Lace Sensor Golds, which date back to the first-generation Eric Clapton Signature Strats that were introduced around 1988, are Townshend's preferred Strat pickups and are vintage-voiced with a great midrange.
The guitar is finished in a thin skin nitrocellulose lacquer, which allows more resonance than a modern poly finish and contributes to the acoustic quality. The scale length is the expected 648mm, with 22 frets and Sperzel locking machineheads. The first Clapton Strat prototypes (1986-87) had 21 frets and a 25dB midrange boost.
The bridge width is 52mm on two pivot screw posts, with two trem springs around the back. The vibrato is set for a semitone pull-back, and the action is perhaps high for many Strat players, but for Townshend's playing technique and power you wouldn't want it any lower. Big Bends Nut Sauce is put into the slots before Alan strings the guitar up. Once he has pre-stretched the strings, and after locking them, he then tightens the machinehead screw to keep everything as tight as possible.
The strings are not cut after passing through the machineheads' string posts until the next day's final tuning has taken place. Early versions of Townshend's EC Strats had a Kahler locking vibrato, but now everything looks a lot tidier: I never did like the locking nut stuff!
The frets have a little wear, but don't need a fret dress. The bridge saddles on the Fishman have the top E saddle set lowest, with the B slightly higher than would be expected – with the G and D set the same. The A is set lower, with the bottom E slightly angled: it is quite interesting looking at this layout because it reflects the style and feel of the player. I notice that from about the 17th to the 22nd fret area, the edge of the maple fingerboard is darker, and has worn through where the pick hits it when Pete is playing rhythm parts.
Next out of the drawer is a Candy Apple Red Strat with number 8 on the back: again a Clapton signature model with Gold Lace Sensors. It has the mid boost and TBX tone circuit and a three-ply white/black/white pickguard. This guitar was used on the Quadrophenia And More tour during 2012-13.
This number 8 Strat was also used for the Dublin gig two nights before, and it too has Pete's blood on the scratchplate and strings at the end of the fingerboard. The edge of the fingerboard at the bass-side 19th fret has some wear, but is not as worn as the Torino Red Strat.
Scratches are still evident on the lacquer above the neck pickup and the top edge of the guitar, where Pete's arm would rest, has some lacquer chips, but the guitar is actually in good condition considering the owner's reputation! Sperzel locking machineheads with staggered tuning post heights are fitted with a butterfly string tree for the B and E strings.
The G string's chrome machinehead has been replaced and a satin-finished tuner has been fitted in its place. Some damage is evident on the headstock, but it is not extensive.
On the back of the guitar, there is a Fender Custom Shop four-bolt neck plate, that has a serial number starting with CZ. The C represents Custom Shop and the Z represents the decade, meaning zero – so appearing after 2000. The bi-flex adjustment hole can be seen below the serial number.
Once again, the action is quite high, while the frets are vintage-style. Townshend also used a Candy Apple Red Strat with a single-ply, white scratchplate around 2007. In 2004, all Custom Shop Clapton Strats that were both Team and Masterbuilt used a standard tone control instead of a TBX tone circuit, which was reinstated around 2009 but only on the Team-built versions.
Interestingly, on close inspection it's noticeable that the 22nd fret overhangs on the treble side of the fingerboard, and you can see the tang under the fretwire as though it had not been trimmed when the guitar was fretted.
It is, though, in my opinion the best of the three guitars. There are no major dings, although inevitably, some surface scratches are visible. The vibrato, like the others, looks set for a semitone pullback. The B-string saddle is set higher, as on the other two Strats. All of Pete's Stratocasters have the Clapton signature decal rubbed out because they are no longer Eric Clapton signature models in the true sense.
The black Strat that fans may have noticed at Hyde Park has 10.5-gauge strings fitted and is used for the song Love, Reign O'er Me. It is tuned half a step down. I don't see this guitar during my tour, but Alan says he always has around 16 Strats ready and waiting in the wings when The Who are on tour. A couple of them were custom-made for Pete, and the black model dates from 1992.
Later in the day, at the back of the stage, Alan invites me to look at one of two Rickenbacker 12-string guitars that were sent to Townshend. The Fireglo finish is stunning to behold, and as I put my hand around the neck I note that it has a really slim profile, especially around the first-fret area. The model is called the 1993 Plus, and is an update of the model he used in the sixties that was exclusive to British distributor Rose Morris.
The two-piece neck has been widened by 1/8th inch (3.1mm) and the fingerboard is made from Caribbean Rosewood. It has three vintage reissue 'Toaster' single-coil pickups, a stereo output and a trapeze tailpiece that catches all 12 strings; the close proximity of each pair of ball ends is thought to improve the tone.
As I walk over to the backline to have a look at Pete's amps, there's a playback of the band from the Dublin gig coming through the monitors and Pete's guitar sound is isolated on the track Who Are You. The tone of that guitar is beyond a simple explanation, but I want one nonetheless!
I am introduced to Tim Myer, who takes care of Pete's backline. Tim works with numerous other major acts, from Jeff Beck, Roger Waters and G.E. Smith to Snowy White. Looking straight at the rig, Pete's main amp is a Fender Vibro-King 60-watt combo in blonde with an Oxblood grille cloth. It has a trio of the earlier 10-inch Eminence blue frame Alnico speakers fitted, and sits on top of a Fender 2×12 cabinet. In the middle is a Vibrolux Reverb combo with 2×10 speakers, on top of another 2×12 cabinet.
The Vibro-King is 22.5 inches in height, 24.75 inches wide and 10.5 inches deep, weighing 72lb. Next to that is another complete Vibro-King set-up, which is brought into use at the end of the show, usually on Won't Get Fooled Again, but the settings are lower than the main amp.
This is about as high as Townshend's volume ever goes!
Townshend's main amp has a piece of tape to indicate where the volume should be set, and I was amazed to see it around number 3! The treble is set at 7, the bass is just over 3, and the mid is at 4. "Usually, at some point in the show Pete will turn the volume up to about 3.5 on his main amp, but not much higher than that!" Tim tells me. The Vibrolux has the inputs covered with black tape on the normal channel, but a lead is coming out of the bright input channel.
As well as the spare Vibro-King, there is a Pete Cornish splitter box that is marked 'Pete Cornish Custom Design, Isolated Piezo/mag splitter Pete Townshend S/N 0607 Oct 2006'. This is the box used to blend the Fishman Power Bridge piezo pickup and the Gold Lace Sensors.
It's a stereo set-up with huge tonal capabilities, and Pete just dials in what he wants. At the back of the rig, there are two more Vibro-Kings and another spare 2×12 cabinet, that are switched on during a gig; and the amps have the settings the same for any sudden changes needed due to front-line failure. Everything is designed for minimal disruption, so switchover can be as efficient as a Formula 1 tyre change.
Myer also brings out the TubeTraps, bass traps made by Acoustic Sciences Corp, invented by Art Noxon. On the top is written, 'this half is a treble diffuser and usually faces the listener, the full perimeter is bass absorptive'.
I contact Marcus Thompson from Acoustic Sciences, who very kindly directs me to Chris Klein, the company's studio acoustic specialist. Klein was directly involved with setting up the TubeTraps for Townshend. He tells me: "Pete has used them in his studio for years. When I was working with Zak Starkey, and involved in his stage set-up, Pete was interested to know how they would work with his own stage amp set-up.
"They make an amp punchier, and where Pete stands will reach about 92dB. The large 16-inch traps are 55Hz absorption, but if you turn the trap around, it will exceed 400Hz diffusive." Pete used four of them for the Hyde Park gig, and Tim used a plan layout showing the precise placement for this gig.
I meet Michael Kaye, who looks after Pino's backline. He's another top-pedigree individual: Michael's worked with Stephen Stills, Don Henley, Megadeth, Prince and many others. Palladino has a similar TubeTrap lay-out, but placed more at the sides of his speakers, separating him from Zak on drums and Roger centre-stage.
These traps are positioned to eliminate excessive build-up of bass frequencies. Kaye shows me one of Pino's bass guitars; it's Pino's own Fender Custom Shop Signature P-Bass, based on an original 1962 Precision. I notice straightaway on the top edge of the headstock, a white piece of tape with the word `pinky' written on it. The bass has a lightweight alder body that has a distressed finish, which is nitrocellulose.
It has a C-shape quarter-sawn straight-grain maple neck. The rosewood fingerboard has the standard 34-inch scale length, with a 'board radius of 7.25 inches and a nut width of 1.75 inches (44.45mm). There are 20 frets, that are very well fitted with dot inlays and a vintage-style split single-coil Precision Bass pickup.It has a master volume and tone control, with a four-saddle American vintage bridge, and the aged nickel/chrome hardware, that has been oxidised, looks great.
The scratchplate is the four-ply tortoiseshell type, and there are knurled flat-top control knobs. There is a vintage-style slotted truss rod nut and the aged plastic parts finish it off. The aged lacquer effect is extremely well done. Mike then shows me Palladino's guitar rack and pulls out his second bass. This model appears to have two old Gibson Thunderbird pickups fitted with stainless steel covers.
He then takes me to another flightcase, and inside is a small softcase housing Analog Alien effects; there's a Rumble Seat drive/delay/reverb, which was recommended to both Palladino and Simon Townshend by Joe Walsh. In addition, there's an Alien Bass Station, a FuzzBubble-45 and an Alien Twister Analogue Fuzz.
Effects on his main board are an Emma DiscomBOBulator, which is an enevelope filter/auto-wah, a Boss Octave pedal and another Alien Bass Station unit. There's also an amp channel switcher and a Snark tuner.
Palladino uses Fender Super Bassman amps.
Moving on, I then meet `Binky'; he deals with all the onstage technical duties for Roger Daltrey and Simon Townshend. Another guy with experience of working with the big guns, he's worked with Stone The Crows, Les Harvey, Bryan Adams, Emperor Rosko and Talking Heads.
Binky is working on Simon's Gibson J-200, and I notice the bone bridge saddle is particularly large and very highly polished. I also note that the strings do not sit in grooves on the bridge saddle. There seems to be a misconception that the bridge saddle should be cut with slots to accommodate the strings, but the slots should not be too deep, as this takes away the tone of the guitar, and also causes tuning problems because of the break angle going to the bridge pins.
The serial number dates the guitar to July 1997. It is likely that, along with two other J-200s, this guitar is used in rotation on The Who's Quadrophenia tour, which ran from June 1996 to August 1997. In July 1997, Gibson artist rep Tim Bolin presented Pete Townshend with a Fishman Matrix-equipped J-200 acoustic, and I wonder if this could be the one.
I also take a look at Simon's 1964 Gibson SG Junior – it is in great condition. I note that the machineheads have been replaced, and there's a screw missing on the treble side. These are such great guitars, with lots of midrange for such a simple design. Simon is a brilliant guitarist, and provides a solid foundation with The Who's rhythm section.
Simon's rig consists of a Hiwatt Custom 100, one 4×12 cab, two 2×12 cabs and a Fishman acoustic combo.
He has an impressive effects arsenal, including a TC Electronic G-System, Blackstar HT-Delay, MXR Micro Amp (x2), TC PolyTune, Compulator by Demeter Amplification, Fulltone Fulldrive, MXR Carbon Copy analogue delay, Boss TU-12H Tuner, two volume pedals and a wah.
We guitarists are constantly looking to get 'that' sound from our instruments, a signature tone that defines us as individuals. Whether you play flamenco, jazz, funk or rock, with four or six strings, if you look at a player such as Pete Townshend and try to understand what he achieves with his guitar, it becomes apparent that his finely-tuned stage setup is much more than simply a collection of his favourite gear – it provides a means of expression and a direct line between the artist and his audience.
Pete Townshend's live guitar playing is a force of nature. His control over the wall of sound he creates is phenomenal, as is his command of dynamics – whether he's playing a solo or arpeggiating in quick succession. And when he hits that A chord, he does it like nobody else can. Alan Rogan is a vital link in Townshend's chain, too; he's been Pete's tech for many years, and has a unique understanding of all that is required to keep his guitars in top shape, which in turn helps The Who remain one of the biggest live bands on the planet after more than five decades in the business.
Steve Clarke and Guitar & Bass would like to thank Alan Rogan, Chris Klein, Binky, Tim Myer and Michael Kaye for their time and help with this feature.


Which integrations are available for TrustSource?
It's easy to include TrustSource into your existing Maven projects. Utilize the ecs-mvn-plugin by declaring it in your pom and using the given example as a template.
Then configure the plugin with your security credentials and bind it for example to the maven install lifecycle.
If you use a more complex, maven multi module setup, you may define the ecs-mvn-plugin in the <pluginManagement> section of your module pom. All your children projects inherit this definition.
TrustSource requires unique project names. Therefore you have to define the project name and moduleId in every child-modules pom within the <configuration>-tag.
Now apply the plugin to one or more child modules by including the following lines in the <build> element of the pom.
If you do not want to include your sensitive credentials in the pom, which may be managed by a version control system, store this information in a separate file. This file may by for example located in your user home directory and should have json data format. If you externalize your security credentials, they are reusable for different projects, even if this projects utilize different build tools.
Afterwards simply adjust the configuration of the ecs-mvn-plugin by specifying an additional <credentials> element. In the element define the path to your properties file and ecs-mvn-plugin will then read the properties from this file. The tilde, '~', represents your user home directory, the dot, '.' stands for the current working directory and forward slashes '/' are used to separate subdirectories.
If you haven't configured the <distributionManagement> element in your poms, because you prefer your own style distribution, then you have to disable the maven distribution plugin to prevent error messages while invoking the deploy lifecycle phase (mvn deploy).
Path to a json file, which holds 'userName' and 'apiKey' credentials. Use '~' as shortcut to your home directory, and '.' for the current working directory. A forward slash '/' separates directories.
This key permits the access to TrustSource server. Create or retrieve the key from your profile settings of the TrustSource web application.
Required, if not specified in credentials file.
Identifies the initiator of the data transfer.
For which project is the dependency information transferred.
Set to true do disable the ecs-mvn-plugin.
Set to true to execute a dry run and do not transfer anything.


I am so torn. I just can't decide if I should get the Pink Petal Louboutins. I clearly want them. I just can't decide if I actually need them (I use that term extremely loosely here). I thought if I actually looked at my shoe collection as a whole then maybe I could make up my mind, but alas I am still at a loss.
Now I have never been one to think it important or necessary to amass a large shoe collection. Like the rest of my wardrobe I try to buy "pieces" that can be worn a number of different ways and I try to buy high enough quality items that I will continue to love them for their every wear.
Marc by Marc Jacobs black patent leather platform heels.
Steve Madden leopard print flats (I never wear them but they are too cute to toss).
Not pictured (by accident) a silver pair of Jimmy Choos on loan from my sister in law.
So that's it. Looking at these now I can see that I clearly need a pair of black leather flat boots. I also definitely need those gladiator sandals that are somewhere in Kansas right now, but do I need the Louies?
I can't make up my mind. So I need some swaying. I'm going to put up a poll so you can let me know what you think.
Yes, I don't need them (again I use that term loosely) but I still really really want them. Help me!
* Missing are the new Sam Edelson black/white snakeskin gladiator flats which are still in route, and my gym and tennis (for actual tennis) shoes which were not worthy of being in the same photograph as the former Louboutins.


Google just reinvented how we navigate our way around unfamiliar places. It's called Google Maps AR and it's solves all sorts of problems we currently experience when travelling with a GPS.
You key in your destination, but instead of looking down at your screen, AR Maps is activated when you hold your phone up, as if to take a photo. AR Maps kicks in with a new street view mode, activating the camera and superimposes massive arrows and banners screen to direct you to your end point.
If the Business Insider's first-hand experience is representative, twirling around flipping your device to calibrate your position a thing of history. The app is able to process real-time footage quick enough to give you instant directions – you won't find yourself wandering aimlessly before Maps recalibrates and directs you another way. It's certainly a step in the right direction.
It certainly holds great promise, but it's still a while till Google releases it for the masses, so here's a list of ideas that really show the potential of the AR Maps technology. It may be wishful thinking, but hey, it's still in development.
A toggle on the AR Maps that enables recommendations and interesting facts about the area and buildings you walk by to pop up on the display. It would make a handy tour guide and the app even more engaging.
We know, you've probably got alarms sounding off in your head – it's an advertising bait. Brands are going to want their ads popping up all over AR Maps. But if you're out shopping anyway, who wouldn't mind a sick deal appearing on your screen. We suggest placing this in a second toggle just to enable ads and promotions. This could radically change advertising for high streets all over the world.
You know that silly ritual of exiting a building or the subway, whipping out maps and having to swirl your phone around for a while just for Maps to calibrate? Or worse, make actual twirls yourself like a ballerina thinking that's going to help with tuning?
Yes, we don't want that anymore, but unless Google really cleans calibration on AR Maps, it could be a lot worse. Imagine the graphical issues AR Maps could face if calibration takes its time; directional arrows pointing to walls or mistaking roads as buildings. There's a whole list of memes waiting to be created.
For AR Maps to really take off, it needs to be reliable, and also not make us look silly.
Despite prompts instructing users to focus on the path, users are still inevitably going to be spending considerable amounts of time trudging along, taking reference from their little screens. This puts them in danger as it drastically reduces our awareness to our surroundings, which may cause us to ignore road signs, traffic lights or incoming traffic. This could be fatal.
AR Maps needs to be built with this in mind, ideally informing users when there is a crossing ahead, and to put their phones down and check for traffic. Safety first.
Just imagine if third-party developers could get their hands on AR Maps' technology and incorporate it with their own apps and tech.
We're talking a whole new wave of AR gaming where developers can bring players out and about and interact with real-world surroundings. Education apps could also be made more immersive, not to mention travel apps and shopping apps. There's so much potential here.
Google Maps is doing already offering this, go on Google!
And should all of this take off and bring Google even more success, we can only expect its AR technology and mapping to improve leaps and bounds.
After all, this is a lot of information we are offering Google. Our cameras will be constantly active, providing real-time updates and images of areas previously unmapped by the search engine. This is gold-mine data that we would hope to see being used to enhance the tech we already have, and lead to crazier innovations to make life easier.
Footage of all the nooks and crannies of obscure cities and towns should help the accuracy of Maps for even better AI-smarts and faster calibration while we're driving. The reality of 360-degree views of specific locations could also become more of a reality now that Google can receive an endless stream of images of places around the world.
These are just some of the hopes and innovations right at our doorstep that we hope Google pursues with all our data and footage. After all, in today's age of digital paranoia, giving any company this much data would be quite the leap of faith.


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CAMP TITIN, Jordan - U.S. Marine Cpl. Frederick W. Maul, a designated marksman with 5th Platoon, Charlie Company, Fleet Anti-Terrorism Security Team, Central Command, holds the M110 Semi-Automatic Sniper System during a hike after conducting live-fire range operations. FASTCENT provides expeditionary antiterrorism and security forces to embassies, consulates and other vital national assets throughout the region.


Showing results for tags '1.6.1'.
I just updated Affinity Designer to v1.6.1 in the 'App Store'. I'm using macOS 10.13.3. Once I attempt to change/choose fonts by clicking the drop down list, Affinity Designer locks up. I've even disabled all User fonts (just in case). I've even uninstalled/reinstalled the app.
I am using Designer 1.6.1 on macOS 10.13.4, and discovered a bit of strange behavior when exporting to PNG. It doesn't export some of the color or layers. However, if I export to JPG, everything exports as expected. Any ideas?
did Screen blending mode change in 1.6.1 ?
I normally use the screen blending mode all the time for blending text on certain areas, like concrete walls etc. today I couldnt get that effect to work. switching to Screen makes my text disappear: normal: screen: I retraced my steps using this tutorial video to make sure I didnt miss anything, but the text keeps disappearing. I tried this on 2 different devices with no luck. I'm pretty sure the Screen blending mode changed since 1.6.1, as this method used to work wonderfully in the past. the affinity work file I used (text.afphoto). Did this change or am I going crazy?


text:
De sitatoenga of moerasantilope (Tragelaphus spekii syn. T. spekeii) is een Afrikaanse antilopesoort, die is aangepast aan het leven in moerasachtige streken. Dit dier wordt in het Afrikaans en het Duits ook wel waterkoedoe genoemd.

Kenmerken

De sitatoenga is een middelgrote antilope met lange, ver uit elkaar staande poten. Hij heeft een ruige vacht. De vachtkleur is vaalbruin tot grijzig bruin bij mannetjes en meer roodbruin tot kastanjebruin bij vrouwtjes. Over de rug en de achterzijde lopen bij het mannetje enkele vage witte strepen. Het vrouwtje heeft acht tot tien witte dorsale strepen. Beide geslachten hebben vage vlekken op de flanken, en witte vlekken op de wangen en op de snuit, onder de ogen. Verder zijn er twee witte vlekken voor op de nek, een op de keel en een dichter bij de borst.

De hoeven zijn lang (tot 18 centimeter) en staan schuin. Hierdoor kan hij over modder en drassige grond lopen zonder daarin weg te zakken. Over droge grond loopt hij echter vrij onhandig. Enkel de mannetjes hebben hoorns. Deze hoorns zijn zwaar en kunnen 45 tot 92 centimeter lang worden. Ze zijn licht gedraaid: in elke hoorn zit anderhalve draai.

Mannetjes zijn groter dan vrouwtjes. Mannetjes hebben een kop-romplengte van 150 tot 170 centimeter, een schofthoogte van 85 tot 125 centimeter en een lichaamsgewicht van 80 tot 130 kilogram, vrouwtjes hebben een kop-romplengte van 115 tot 155 centimeter, een schofthoogte van 75 tot 105 centimeter en een lichaamsgewicht van 40 tot 85 kilogram. De staart is 18 tot 30 centimeter lang.

Verspreiding

De sitatoenga leeft in waterrijke gebieden als moerassen en meeroevers, voornamelijk in gebieden met rietvelden. In de droge tijd zijn ze gebonden aan permanente wateren en moerassen, in de regentijd laat hij zich ook verder zien, waaronder in uiterwaarden. Hij leeft in Centraal-Afrika, voornamelijk in het Kongogebied, maar ook langs de Niger en andere rivieren in West-Afrika, in de Zambezi en het begin van de Nijl.

Een van de gebieden waar de sitatoenga voorkomt is het Odzala National Park, dat gelegen is in het Kongobekken.

Leefwijze

De sitatoenga is een schuwe diersoort, die zich meestal tussen de oevervegetatie (riet, papyrus, zegge) verborgen houdt. Binnen de riet- en papyrusvelden loopt een netwerk van paden. Hierin legt een sitatoenga ook een bed aan van platgetrapt riet en andere vegetatie, waar hij op rust. Pas tegen de schemering verlaat hij zijn schuilplaats om zich te voeden op de open graslanden en bosgebieden. Hij zal zich echter zelden ver van schuilplaatsen begeven. Hij eet voornamelijk rond zonsopgang en zonsondergang, maar ook 's nachts. De sitatoenga eet voornamelijk gras, zegge, kruiden en struiken.

Een sitatoenga kan uitstekend zwemmen en besteedt vaak de dag gedeeltelijk onder water, waarbij enkel een gedeelte van de kop boven water blijft. Hij laat zich zeer langzaam en geluidsloos het water inzakken. Bij gevaar verbergt hij zich bijna geheel onder water, met enkel de neusgaten boven het water. Het is over het algemeen een solitaire soort. Sitatoenga's verzamelen zich soms in groepen tijdens het grazen, maar rusten en herkauwen gebeuren alleen. Ze waarschuwen andere sitatoenga's met niesgeluiden.

Voortplanting
Na een draagtijd van zeven maanden wordt één jong geboren. Jongen worden het gehele jaar door geboren, maar de meeste jongen worden geboren in het droge seizoen. Het jong wordt op een nest in de dichte vegetatie geboren. Het vrouwtje bezoekt het jong met vlugge bezoekjes om het te laten zogen, de rest van de tijd ligt het jong verborgen tussen de vegetatie. De plek waar het jong wordt gezoogd is een andere plaats dan de schuilplaats: het vrouwtje leidt haar jong naar een nieuwe plek om het te laten zogen. Het jong is op jonge leeftijd al vrij onafhankelijk en speels. Na vier jaar is het volgroeid. De sitatoenga wordt tot twintig jaar oud in gevangenschap.

Bedreiging
De sitatoenga is makkelijk te bejagen, aangezien ze duidelijk herkenbare, vaste paden in de rietvelden gebruiken. Strikken die in zo'n pad worden geplaatst, hebben een grote kans om een sitatoenga te vangen. Zolang het moerasgebied intact wordt gehouden, schijnt de sitatoenga zich staande te kunnen houden, zelfs als de soort zwaar bejaagd wordt.

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redpajama_set_name: RedPajamaWikipedia


text:
Adoption and Its Determining Factors of Computerized Tomography in Korea.
Seok Jun Yoon, Sun Mean Kim, Chul Hwan Kang, Chang Yup Kim, and Young Soo Shin
Department of Health Policy and Management, Seoul National University College of Medicine, Korea.
High price equipment is one of the major factors that increases national health expenditure in developed countries. Computerized Tomography(CT), one of the important high price equipment, has been concerns of health service researchers and policy makers in many countries. In Korea, CT, first introduced in 1984, have spreaded nationwide with rapid speed. Though the Committee for Approving Import of High Price Medical Equipment, founded in 1981, tried to regulate the introduction of high price medical equipment including CT, the effort resulted in failure. The exact situation of diffusion of the high price equipment, however, was not yet investigated. We aimed at the description of the diffusion of CT in Korea and analysis of influencing factors in hospitals for the adoption of CT. We mainly used the database of CT, made in 1996 by the National Federation of Medical Insurance for the purpose of insurance payment for CT. Also characteristics of hospitals were gathered from yearbooks published by the central and local governments and by the Korean Hospital Association. We calculated the cumulative number of the CT per one million population year by year. In turn, multiple linear logistic regression was done to fine out the contributing factors for the adoption of CT by each hospital. In the logistic regression model, it is regarded as dependent factor whether a hospital retained CT or not in 1988 and 1993. The major categories of the independent factors were hospital characteristics, environmental factors and competitive conditions of hospitals at the period of the adoption. The results are as follows : Numberof CT scanners per one million persons in Korea marked more higher level compared with those of most OECD countries. Major influencing factors on the adoption of CT scanners were hospital characteristics, such as hospital referral level, and competitive condition of hospitals, such as number of CT scanners per 10,000 persons in each district where the hospital was located. In Korea, CT diffused with rather rapid speed, comparable with those of the United States and Japan. The major factors contributing on the adoption of CT for hospitals were competitive condition and hospital characteristics rather than regional health care need for Ct. In conclusion, a kind of regulating mechanism would be necessary for the prevention of the indiscreet adoption and inefficient use of high price equipment including CT.
Keywords : Technology assessment;Computerized tomography;Adoption;Number of CT scanners per one million persons

redpajama_set_name: RedPajamaCommonCrawl


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As we head into the final day of the Fort St. John Trade show, Manager Gene Daniel states attendance is running right around the norm.
On Friday night, 1,600 people game to the show, down from 2,100 in 2008. Then on Saturday the numbers increased over 2008 as over 6,300 people walked through the gates.
Today is the final day of the 2009 Trade Show and the show will be open from 11am to 5pm at the NP Arena, Curling Club and Kids Rink.


The extremely beautiful case Corsair has made. With tempered glass enclosing the entire chassis, every component of your build is on display for all to see.
Light up your build with brilliant LED effects. Three RGB LED fans and LED controller keeps your components running cool.
Create as much space as you want with room for a few case fans, virtually every-size radiator or by removing fan trays.
Cable routing channels with velcro cable straps for clean cable management.
2 (total) / 2 (free) x internal - 3.5"2 (total) / 2 (free) x internal - 2.5"


text:
hattler: to bed (2003) + alpraum (2001)
a very large increase ... (2013)
divisional articulations (2017)
five (2017)
III=III (2016)
hirmer: spring energy (2016)
kaluga space museum: constant sky (2013)
the many faces of fernando pessoa (2015)
—O| (2015)
all rot (2015)
spin (2010)
sync (2010)
unclear proof (2013)
your highness (2010) + yellow kudra (2006)
forms (2011)
vienna independent shorts: festival trailer (2011)
amnesty international: stop the show (2013)
filmwinter: shapeshifter (festival trailer, 2016)
ladyscraper's cheese burgers (2011)
re:ax (2011)
model starship (2012)
nidden partikel (2012)
the egg: catch (2012 + 2009)
shift (2012)
well (2018)
matter and motion (2018)
kaleidobooth (windows phone app, 2012)
➕ (2019)
serial parallels (2019)
1925 aka hell (2010)
1923 aka heaven (2010)
jovanotti: l'ombelico del mondo (2011)
the egg: nothing (2009)
basement jaxx: where's your head at (2009)
aanaatt (2008)
economy wolf: mount allen (2007)
et1: anticipation (tv ident) (2008)
ikea: house or home (commercial) (2007)
striper v0.1 (2006)
drift (2007)
collision (2005)
everything turns (2004)
nachtmaschine (2005)
info@maxhattler.com
HK +852 5629 6041
DE +49 (0)1788 040 130
talks and more
pig (2000)
archive: young max and rob in japan 2008 / 2009
audiovisual performances
+ concert visuals
texts (writings and press)
max hattler is a moving image artist based in hong kong and germany. click the buttons above to see works or browse the left column for upcoming exhibitions and appearances.
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max is a recipient of the president's awards (TPAs) 2021. TPAs recognize faculty who have made exemplary contributions to research and professional education that have helped city university of hong kong achieve local and global distinction.
UNTIL 20 FEBRUARY 2022
x water screen installation at lichtsicht 7 triennale in bad rothenfelde, germany (22 oct 2021 - 20 feb 2022).
6-10 MARCH 2022
serial parallels is screening at tehran international animation festival in iran.
serial parallels is screening at tampere film festival in finland.
for recent screenings and exhibitions please see individual films' sections. for recent press and publications, see here.
2021 SELECTED
in december, max gave a guest lecture to dirk koy's class at university of applied sciences and arts northwestern switzerland . in november, relentless melt no 24 , curated by max hattler, screened at pacific northwest college of art , willamette university, portland, usa. in october max held a 1-day workshop about dramaturgy in abstract films for students of the re:anima - european joint master in animation and presented a paper at the 7th faia - international academic forum on animation , organised by anima festival and the national university of cordoba , argentina. in september, max co-curated a screening of visual music films and took part in a visual music panel with aimee mollaghan and robin parmar at light moves festival of screendance , ireland. max also gave virtual artist talks to animation students at university of pennsylvania and middlesex university . serial parallels won the audience award at cinema urbana architecture film festival in brazil. relentless melt no 23: cityu hong kong student experimental animation, curated by max, screened at supernova digital animation festival in denver, followed by a live streamed educators discussion with snow yunxue fu, faiyaz jafri and max hattler, chaired by ivar zeile. in august, serial parallels was released online and became a vimeo staff pick ! in july, max's paper abstraction and meaning in the animation of hong kong artists was published in the journal animation practice, process & production (ap3) . serial parallels received the defa promotion prize animation at filmfest dresden and a prädikat "besonders wertvoll" from the deutsche film- und medienbewertung (fbw)! max was a speaker at virtu(re)al playgrounds: how to digitally expand a city , a conference organised by the peter weibel institute for digital culture at university of applied arts, vienna. in june, max presented papers at the 4th international conference on stereo & immersive media , at art machines 2: international symposium on machine learning and art , at the popular culture association annual conference and - together with an accompanying relentless melt screening - at the 32nd society for animation studies conference . max also was a jury member for asifa-hollywood's animation educators forum faculty grants . in may, max was a juror for the animation avantgarde competition at vienna shorts 18th international short film festival . max presented a paper at the association for chinese animation studies inaugural conference organised by hong kong university of science and technology. serial parallels and vœrtex showed at art machines: past/present , a media art exhibition co-curated by jeffrey shaw and richard allen at indra and harry banga gallery, city university of hong kong (24 nov 2020 - 23 may 2021). in april, max received several honours from city university of hong kong: an honourable mention, teaching excellence awards 2020/21, an innovative cityu-learning award , and the scm research award 2021, bestowed by richard allen, dean of the school of creative media. serial parallels won the award for best experimental animation at t-short festival , a merit award at digicon6 asia hong kong , and a special mention at 2annas festival in riga, latvia! max gave a guest lecture, expanding animation? , for the animation research group at arts university bournemouth , invited by prof. paul ward. max also did a presentation about his acim research fellowship entitled roar: retinal optics art research, at run run shaw creative media centre, hong kong. in march, max gave an artist talk for master in animation arts students at lusofona university in lisbon. in february, max was on the experimental film preselection jury for stuttgart international festival of animated film (itfs) , germany. relentless melt no. 20: hong kong animation experiments screening + curator talk was presented by animation;experiment in collaboration with new media society , tehran, iran. max also gave an artist talk to undergraduate students at hong kong baptist university's academy of visual arts (ava) .
in december, relentless melt no. 19 screened as part of seeing sound symposium . serial parallels won best abstract film at london international animation festival , all while max was a jury member (not for the abstract films of course!). serial parallels also received a special mention at festival tous courts in france. lastly, max was a speaker at the ecstatic truth v: the age of the absurd animation studies symposium, as well as for the guest speaker seminar series of computational media and arts at hong kong university of science and technology. in november, max was a speaker at the 21st advanced imaging international festival's ai^2 techart conference organised by chung-ang university in seoul. serial parallels received special mentions at kurzfilm festival hamburg in germany and cinanima in portugal. in october, max gave a talk for big cartoon festival , moscow and served as a jury member at tofuzi international animation festival in batumi, georgia. london international animation festival presented the relentless melt no. 18: hong kong refractions online screening of experimental animation made in hong kong, curated by max. serial parallels won awards for best animation at montreal festival du nouveau cinema and best video at videomedeja festival in serbia, plus a special mention at animatou festival in geneva. in september, serial parallels received a special mention at guanajuato international film festival in mexico. max presented a paper at the animafest scanner symposium , and an artist position at the ars electronica expanded animation symposium , and was featured in the festival's hong kong garden branch. max did a 3-hour artist talk for the 8th animation support program in hong kong. relentless melt no. 17 screened at supernova digital animation festival in denver, where max was also a jury member. max did zoom q&a's for fantoche animation festival and seoul international extreme-short image & film festival . in august, max contributed video projections for pierre jodlowski's mad max concert at roxy, ulm, germany. ex-is: experimental film and video festival in seoul presented max as a featured artist in their indi-visual section. serial parallels won the new signs audience award at the 16th lago film fest and a special mention at malatestashort film festival . relentless melt no. 16 received an honorary mention at iso film fest . relentless melt redux II came online as part of scm v+ gallery. it presents short excerpts of films made by students in max's abstract and experimental animation class at city university of hong kong, and will remain online until april 2021. in june, serial parallels won the off-limits award at annecy international animation festival , an honorary mention at prix ars electronica , and a special mention at vienna shorts ! max also did an artist talk for vienna shorts and an interview for annecy. in may, serial parallels won the award for best film at kinodot experimental film festival . in march, serial parallels received an honourable mention at videoformes festival .
in december, matter and motion received the award for best abstract film at london international animation festival , and serial parallels received a jury mention at fiva: festival internacional de videoarte in argentina! relentless melt no. 15: hongkongské abstrakce , screened at filmasia festival in prague, czechia. this programme of hong kong abstract and experimental films was curated by max hattler and presented in prague by iresa cho, hong kong-based animation artist and vice-chairperson of relentless melt. in october, max was 'director in focus' at taichung international animation festival in taiwan, with a comprehensive retrospective, artist talk and hattlerizer 4.D stereoscopic audiovisual live performance, as well as jury duty. also, later in october: relentless melt no. 14: 香港實驗動畫精選 , a programme of hong kong animation curated by max screened at zhong shan 73 in taichung. in september, max's solo exhibition receptive rhythms showed at goethe-institut hong kong . max co-organised/hosted the symposium lightplay: experimental animation and the bauhaus legacy at city university of hong kong . speakers included tamas waliczky, robert seidel, verina gfader, nicola hens, harald kraemer, tom wolf, yu ka ho albert and max hattler. audio-visual live performances by robert seidel and max hattler (full schedule ). max also guest-curated two events of the year-long 原格破裂/elemental dynamite animation research project at floating projects in hong kong, with presentations by two international animation experts, robert seidel: phantom horizons and verina gfader: neighbours and aliens . in july, matter and motion and serial parallels both won awards at san gio verona video festival ! max's essay 'rupturing visions: towards an expanded stereoscopy' was published in the ars electronica book expanded animation: mapping an unlimited landscape . in june, max attended annecy international animation festival in france with matter and motion, and was on a panel at the 31st society for animation studies conference in lisbon, portugal. in may, max attended stuttgart international festival of animated film as a jury member and to present an in persona screening, a rework vs. max hattler live set, and relentless melt no. 11 and school of creative media screenings. max also spoke at the festival's sas symposium animation and science . afterwards, max was at anifilm in trebon, czechia as a jury member, and to present a retrospective , a masterclass , and a hattlerizer 4.D stereoscopic live performance. max was also a juror for animex awards , uk, and presented relentless melt no. 13 at floating projects , which included the hong kong premiere of serial parallels. in april, max spoke at the symposium 100 years bauhaus: designing the future at hong kong university. in march, the book experimental animation: from analogue to digital came out, which contains an interview with max. in february, max played live with 3x3x3 at processing community day, hong kong. in january, max presented a paper, vj'ed, and screened abstract films at art machines: international symposium on computational media art (iscma 2019) in hong kong. the relentless melt no. 10: year of the bore screening was held at floating projects at jccac, shek kip mei, hong kong.
in december, max was interviewed by clot magazine and presented a guest lecture at the create! makerspace at cityu library, city university of hong kong . in november, relentless melt no. 9: audio visions , a programme of hong kong abstract and experimental animation curated by max, screened at clockenflap festival in hong kong. in october, max attended punto y raya festival in wroclaw, poland with a range of works in different programmes. in september, relentless melt no. 8: hong kong in motion screened at supernova festival in denver. in august, max was in london where he presented relentless melt no. 7: moving image hong kong , performed live at strange umbrellas #21 , and hung out at goldsmiths (for the scm creative computing summer school ). in july, max presented relentless melt no. 6 screening and exploding dynamo: audio-visual performances at dynamo in odense, denmark. he spoke at confia - international conference on animation and illustration in esposende, portugal, and gave an artist talk at museum of digital art (muda) in zurich, switzerland. in june, max was in montreal, canada, where he spoke and exhibited at the 30th society for animation studies conference at concordia university, and presented rétrospective max hattler at cinémathèque québécoise ; he also performed live at fest anca in zilina, slovakia (and divisional articulations won a special mention!), and led an abstract animation workshop at the creative media summer school at st. pölten university of applied sciences in austria, where he also presented the film programme relentless melt no. 5: hong kong rhythms . max also lectured and exhibited at the animation x experimental exhibition at fuzhong 15 in new taipei city, taiwan; played live visuals for blood wine or honey's fear & celebration album launch in hong kong; and presented relentless melt no. 4: integrated services audiovisual network at floating projects in hong kong. in may, divisional articulations won the award for best abstract and non-narrative animation at anifilm in czech republic, and sync won the main prize at muvi5 - video and moving image on synesthesia and visual music in spain! the screening relentless melt no. 3: alternate realities hong kong screened at under the radar in vienna, and relentless melt no. 2: hong kong audio-visual abstractions was shown at splice festival in london. in february, max was a keynote speaker at the symposium multiversal experiences – parallel universes in virtual and augmented reality at nanyang technological university in singapore.
in december, max curated and presented relentless melt no. 1: hong kong music abstractions at floating projects in hong kong. in november, max was in kuala lumpur, malaysia, where he attended klex: kuala lumpur experimental film, video & music festival with a solo screening, an artist talk and an audiovisual performance. he also gave a guest lecture at universiti kuala lumpur . at 56 moon animation festival in chengdu, china, max was on the jury and presented a solo screening and a lecture. max also spoke at exim 2017 cross-straits experimental animation festival at macao museum of art . and divisional articulations won a special mention at cutout fest in queretaro, mexico. in october, max presented a paper at asia animation forum at bucheon international animation festival in korea. divisional articulations won best experimental film at reanima and grand prize at supernova ! (read about it in prosthetic knowledge , imperica , cent magazine , zippy frames , idn , videostatic and sharesynth ). in september, max attended ars electronica festival in linz, austria, with deep space 8k: expanded abstractions and an hour-long in persona screening. max spoke about broken visions in stereo at ars electronica's expanded animation symposium and was a jury member for the st. louis-based video loops at central library competition. in august, max returned to london (for london animation club ) and to goldsmiths (for the scm creative computing summer school ). in july, max was a speaker at the 29th society for animation studies conference at the university of padova in italy. the german pavilion at expo 2017 in astana, kazakhstan, showed an hour-long retrospective of max's work. in june, max attended the visual music award in gelnhausen, germany, with a special screening and as a jury member. max also presented a paper at the ridch conference on digital art, design and advertising at the open university of hong kong. in may, divisional articulations premiered on nowness and was featured on booooooom, animation world network and others. max was a juror at the 1st red bird student film festival at hong kong university of science and technology, and at animex awards at teesside university, middlesbrough, uk. max played live visuals in hong kong: with dj sniff at extended eclectics at xxx gallery, and with blood wine or honey at studio 9. in april, max was in germany where he attended filmfest dresden with animated: max hattler retrospective and as a jury member (see mdr tv's unicato special on filmfest dresden, which features spin and an interview). max also gave a guest lecture at stuttgart media university . in hong kong, sonar hong kong presented max hattler - sonar+d , a screening of max's films and five new works created by his scm students for electronica duo isan ; afterwards max performed live visuals with blood wine or honey .
in november, max presented a paper at the inaugural annual china animation studies conference at chengdu university in china. he also provided live visuals for mad professor at clockenflap festival in hong kong. in october, max performed live with dj sniff, shane aspegren and sune petersen at the school of creative media in hong kong. max attended punto y raya festival at zkm center for art and media in karlsruhe, germany, where he was a jury member and presented a masterclass and a full-length screening of five. while in germany, max also gave a lecture on animation art and video activism at university of mannheim . in september, max was in beijing, where he gave an image power lecture at renmin university and presented III=III at the hong kong and macau visual art biennale at beijing minsheng art museum. since august, max is a fully-fledged, tenure-track assistant professor at city university of hong kong. in july, he spoke at the ridch conference on digital art and film at the open university of hong kong, and he was once again on the jury of the visual music award in germany. in june, max was in singapore as a speaker at the society for animation studies conference at nanyang technological university, and as a guest lecturer at lasalle college of the arts . collaborative mega project five premiered at k11 in hong kong as part of the electronic vibes exhibition. in may, max presented a guest lecture at scad hong kong . in april, all rot won the award for best abstract film at third culture film festival in hong kong, read the interview . in march, max's 3D stereoscopic animation III=III premiered at post pixel: animamix biennale 2015-16 in hong kong, and spring energy premiered on the 20-metre high video wall at hirmer in munich, germany. in february, max lectured in california at calarts , cal state la , and university of southern california . january saw the release of shapeshifter, the official festival trailer for stuttgarter filmwinter .
in december, a very large increase received a special mention at london international animation festival . in november, max showed films and played live at clockenflap festival in hong kong and at summit at sea on board a cruise ship between miami and the bahamas. a very large increase received a prize-of-effort at the 17th tbs digicon6 asia awards hong kong . in october, max premiered the hattlerizer 3.0 performance at the german pavilion at expo milano 2015 in milan, italy. –O| received a special mention at videomedeja in novi sad, serbia. in september, dan torre's article persistent abstraction: the animated works of max hattler came out in senses of cinema online journal. max was a jury member and presenter at indie-anifest: 11th korean independent animation film festival in seoul, korea. he also played a vj set at dreamscapade at dreamlike bubbles in hong kong. in july, max presented a paper at the society for animation studies conference 2015 in canterbury , uk. in june, max attended melbourne international animation festival with an hour-long screening and a render animation conference presentation. he was also on the juries of the visual music award and animafest zagreb , and presented a paper at the animafest scanner II symposium for animation studies . in may, max was in seoul, korea, where he performed live at seoul museum of art and at club vurt , and lectured at wco korea and hongik university . the many faces of fernando pessoa (redux) premiered in denver . in april, max spoke at resonate conference in belgrade, serbia. in march, max was on the juries and held masterclasses at tehran international animation festival and at monstra in lisbon. the many faces of fernando pessoa premiered at monstra as a 4-channel installation. in february, max made prismatic , a 5-sec short of the week bumper. unclear proof received a special mention at jaipur international film festival in india.
in december, max moved to hong kong to take up a faculty position at the school of creative media at city university of hong kong. before leaving europe, he held a week-long masterclass at sint lucas antwerpen in belgium, lectured in germany at institut für musik und medien düsseldorf and cologne game lab , and in the uk at university of the west of england , goldsmiths, university of london and middlesex university . your highness screened as part of off the air: sports on adult swim . in november, stop the show won best commissioned film at bradford animation festival . max held a workshop at california institute of the arts , a lecture at university of southern california , and a retrospective screening at echo park film center in los angeles; he also taught in the uk at the royal college of art and at norwich university of the arts . in october, max was interviewed for the barbican film podcast . he presented a masterclass and was a judge at london international animation festival . he also spoke at london college of communication , london animation club and aalborg university copenhagen . in september, a preview of —O| was presented at museo de bellas artes in caracas, venezuela. max played at trendelenburg festival in spain, lectured in london at london met + national film and television school , and did a q&a at last friday shorts in southend on sea. in august, unclear proof received a diploma at golden diana film festival in austria. in july, a very large increase + unclear proof won awards at marin county festival of short film + video in san rafael, ca, usa. in june, max successfully completed his professional doctorate in fine art at the university of east london with the viva exhibition audiovisual abstractions . max was also on the jury + had a profile screening at fest anca in slovakia (interview ). stop the show received a special mention at one shot international short film festival in armenia, and max was on the art of noise panel at festival 214 at topman in london. in may, max was in caracas, venezuela, where he led an animation workshop at the british council + presented a lecture at museo de arte contemporaneo . in april, max lectured at the school of creative media, city university of hong kong + performed hattler vs. hattler at itfs in germany. in march, a very large increase won first prize + stop the show received a special mention at the visual music award in germany. max did a q&a at tate britain in london. in february, max performed at reykjavík visual music · punto y raya festival in iceland, where shift scooped third prize in the short film competition. max lectured at middlesbrough institute of modern art as part of animex festival + in belgium at kask , kaskcinema + sint-lucas in ghent + at sint lucas antwerpen in antwerp. the wrong - new digital art biennale came to an end - it had featured as one of its pavilions wilderness of mirrors, curated by max + featuring work by sebastian buerkner, ian gouldstone, noriko okaku, memo akten, robert seidel, matt abbiss, papaya gonzales, sune petersen, marcus wendt + motomichi nakamura. in january, max was on the jury + played live at filmwinter in stuttgart, germany.
all content © 1999-19999
(Макс Хаттлер マックス・ハットラー 馬克斯‧哈特勒 max hatler max hatter)


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Angry Shark 2016
Angry Shark 2016 is an Amazing Action Survival and Single-player Simulation in which the player can take control of an angry, bloody shark who can hunt everything and survive as far as possible. The game offers beautiful 3D game world and allows the player immerse himself into the fast-paced, action-packed gameplay… read more
ActionAdventureSimulation
What are best Angry Shark 2016 Alternatives for Xbox 360?
26 21 19 8 1 3 1 1 1 1 2 2
#1 Goat Simulator
Goat Simulator is an Awesome, Commercial, Open-World, Exploration, Destruction, Co-op, and Single-player Simulation developed and published by Coffee Stain Studios. In the game, the player can assume the role of a realistic goat, and the main task is to destroy everything like a goat can.
The game offers exciting gameplay and comes with a realistic environment where the player can move freely without any boundaries and can smash everything. The player can play this game with the third-person perspective and earn points by wrecking stuff.
He can destroy things with different styles and earn more points. The game consists of various levels, and missions and allows the player to complete them. During the gameplay, the player can create his goat and customize it with hundreds of outfits.
Goat Simulator includes core features such as Realistic Goat, Customization, Make own Goat, Millions of Bugs, Exciting Environment, and more. With the superb mechanics, addictive gameplay, brilliant visuals, dynamic sounds, Goat Simulator is the best game to play and enjoy.
More About Angry Shark 2016
Angry Shark 2016 is an Amazing Action Survival and Single-player Simulation in which the player can take control of an angry, bloody shark who can hunt everything and survive as far as possible. The game offers beautiful 3D game world and allows the player immerse himself into the fast-paced, action-packed gameplay. The player can eat humans and mighty beast and get depths of the massive ocean and to combat against the other deadly sharks. The game also allows the player to jump to the surface of the earth and enjoy beautiful beach environment and swimming in warm water. Angry Shark 2016 offers customization option in which the player can change the skin of his shark. The game includes key features such as various Missions, magical underwater environment, simple controls, Animated Aquatic animals and much more. With enhanced game mechanics, 3D graphics and dynamic background music. It is one of the best game as compared to the same genres.
3D Exploration Open World Single Player Skill Third-Person


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FamousDetails
Dom Moraes: Top 10 Must-Know Facts About Poet
Dom Moraes (Poet) was born on the 19th of July, 1938. He was born in 1930s, in Silent Generation. His birth sign is Cancer and his life path number is 11. Dom's birth flower is Larkspur and birthstone is Ruby. What does this all mean? Let's find out!
Discover all the facts that no one tells you about Dom Moraes below ↓
NAME: Dom Moraes
FULL NAME: Dom Moraes
NICKNAME: Dom
PROFESSION: Poet
BIRTHPLACE: India
ETHNICITY: Unknown
1. Bio
Dom Moraes, best known for being a Poet, was born in India on Tuesday, July 19, 1938. Indian poet and author known for such English-language works as A Beginning and John Nobody. Also an editor and television documentary director, he worked for The Asia Magazine and for both ITV and the BBC.
Family: He was married three times. His third wife, Leela Naidu, was a prominent Indian actress. Dom Moraes father's name is Under review and mother unknown at this time. We will continue to update details on Dom Moraes's family.
unknown at this time
BROTHER(S): Not available
SISTER(S): Not available
Education: Education details are not available at this time. Please check back soon for updates.
Dating: According to CelebsCouples, Dom Moraes is single .
Net Worth: Online estimates of Dom Moraes's net worth vary. It's easy to predict his income, but it's much harder to know how much he has spent over the years. CelebsMoney does a good job of breaking most of it down.
2. Dom Moraes's zodiac sign is Cancer
Dom Moraes zodiac sign is a Cancer. Dates of Cancer are June 21 - July 22. Those born under the zodiac sign Cancer need to be needed. They have an great desire to feel loved and appreciated in every part of their lives. This is needed so that they can develop a sense of security and identity. They are nurturing, supportive, healing, compassionate, and unconditionally loving. Although, they can be dependent, indirect, moody, passive, aggressive, and unable to let go.
BORN IN THE YEAR OF THE: Tiger
RULING PLANET: Moon
3. He is currently 82 years old
The Indian poet has been alive for 30,133 days days or 723,208 hours hours. There were precisely 1,021 full moons after his birth to this day.
BORN ON: Tuesday
GENERATION: Silent Generation
Dom Moraes was born on a Tuesday. People born on Tuesdays come with a fiery, fighting spirit. They are brave, impatient, energetic, active, and driven to succeed, sometimes to a fault.
Countdown to Dom Moraes's next birthday.
Dom Moraes will be turning 83.
4. On Dom Moraes's birthday
The world's population was and there were an estimated babies born throughout the world in 1938, Franklin D. Roosevelt (Democratic) was the US President, and the number one song on Billboard 100 was [Not available]. No song matches found..
1595 – Astronomer Johannes Kepler has an epiphany and develops his theory of the geometrical basis of the universe while teaching in Graz.
1843 – The steamship SS Great Britain is launched, designed by Isambard Kingdom Brunel, is the first ocean-going craft with an iron hull or screw propeller and the largest vessel afloat in the world.
1848 – 1st US women's rights convention held in Seneca Falls NY, organised by Elizabeth Cady Stanton and Lucretia Mott.
5. Dom Moraes's stats
We're currently in process of confirming all details such as Dom Moraes's height, weight, and other stats. If there is any information missing, we will be updating this page soon. If you any have tips or corrections, please send them our way.
HEIGHT (FEET):
HEIGHT (METERS): N/A meters
HEIGHT (INCHES) N/A inches
HEIGHT (CM): N/A centimeters
WEIGHT (LBS): pounds
WEIGHT (KG) kilograms
EYE COLOR: N/A
HAIR COLOR: N/A
6. The Year of the Tiger
Dom Moraes was born in the Year of the Tiger. People with Chinese zodiac Tiger are powerful, independent, confident and brave. They have strong sense of errantry, being frank and easy to win others' trust. Their strengths are tolerant, loyal, valiant, courageous, trustworthy, intelligent, and virtuous. But they can also be arrogant, short-tempered, hasty, traitorous. Their lucky numbers are 1, 3, 4, and lucky colors are grey, blue, white, orange.
7. Dom Moraes's life path number is 11
8. Silent Generation
Dom Moraes was born in the middle of Silent Generation.
9. Dom Moraes's birthstone is Ruby
Red rubies are tokens of harmony and peace. Their beauty speaks of strength and nobility of character. It was believed to protect its wearer from evil. Traditionally, the ruby has been regarded by ancient Hindus as the "king of gems"
10. Dom Moraes's birth flower is Larkspur
Larkspurs symbolize positivity and love. They come in a wide range of vibrant colors including indigo, purple and pink.
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The Multihog is a unique range of multi-purpose articulated tractors that accept a wide array of attachments to the front and rear for all year utilisation to maximise return on investment through improved fleet efficiency and operational productivity. Established in 2008, the Multihog product has evolved and expanded through continuous innovation due to our close customer collaboration and success.
Every Multihog machine is road legal and can safely and speedily travel on the highway up to 40km/ph to reduce additional vehicle transport costs and every machine can tow – in addition, you only need a standard UK driving license to drive.
Every Multihog is designed to access difficult and different environments with ease as a result of the articulation. Most model's same track pivot steer means the rear tyres follow the same path of the front.
Rust is a must not – each Multihog's steelwork is powder coated and salt spray tested for 2000 hours to guarantee longevity. Unlike other manufacturers, all Multihogs are built in Western Europe and use quality components to reflect this.
No ad-blue needed – all Multihogs are already fitted with ultra-efficient engines (Tier IV Final) regardless of size and equally every machine can pack a punch of between 90-120 litres hydraulic flow per minute.
Designed to eliminate downtime, switching between different attachments on the front or back only takes a couple of minutes due to the quick release mechanism requiring no manual or mechanical work.
When an operator takes control of a Multihog they become a master of whatever application they undertake due to the comfort and familiarity of controls aided by 360° visibility, push and go drive and simple ergonomic joystick operation.
Patented tilting work station with adjustable air-suspension seats allows a 20° tilt left or right for better comfort on all terrains. Each machine has an exceptionally low centre of gravity empowering performance on steep slopes and gradients.


Serine is an amino acid derived from glycine. Like all the amino acid building blocks of protein and peptides, serine can become essential under certain conditions. Serine is highly concentrated in all cell membranes. (http://www.dcnutrition.com/AminoAcids/) L-Serine may be derived from biosynthesis from the glycolytic intermediate 3-phosphoglycerate; from glycine ; and by protein and phospholipid degradation. Little data is available on the relative contributions of each of these sources of l-serine to serine homoeostasis. In the biosynthetic pathway, the glycolytic intermediate 3-phosphoglycerate is converted into phosphohydroxypyruvate, in a reaction catalyzed by 3-phosphoglycerate dehydrogenase (3- PGDH; EC 1.1.1.95). Phosphohydroxypyruvate is metabolized to phosphoserine by phosphohydroxypyruvate aminotransferase (EC 2.6.1.52) and, finally, phosphoserine is converted into l-serine by phosphoserine phosphatase (PSP; EC 3.1.3.3). Of the three synthetic enzymes, the properties of 3-PGDH and PSP are the best documented. L-Serine is the predominant source of one-carbon groups for the de novo synthesis of purine nucleotides and deoxythymidine monophosphate. It has long been recognized that, in cell cultures, L-serine is a conditional essential amino acid, because it cannot be synthesized in sufficient quantities to meet the cellular demands for its utilization.
L-serine + 1-C-(indol-3-yl)glycerol 3-phosphate = L-tryptophan + glyceraldehyde 3-phosphate + H(2)O.
O-phospho-L(or D)-serine + H(2)O = L(or D)-serine + phosphate.


My friends from ZOIC, called on me to design a logo and create a super fun animation sequence for the introduction of the "Die-Cathalon games," which appears in the climatic season two finale of Hulu's FUTURE MAN.
Think 80's themed olympics with killing…. Like the classic 1987 Arnold movie, "The Running Man". The sequence was executed to perfection by both NYC and LA office of the ZOIC team, and it was awesome to design for and work with such talents.
STILLS from the FINAL Animation by ZOIC.
Watch Season Two of FUTURE MAN on HULU to see the sequence.


The most common sports injuries for kids may surprise you.
Sports illustration from Getty Images. "Pediatric Sports Injuries: An age comparison of children versus adolescents" by Andrea Stracciolini, Rebecca Casciano, Hilary Levy Friedman, William P. Meehan III, and Lyle J. Micheli.


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Q: How to delete in-place items in arrays in a list of arrays I used the following line:
list_split_test_array = np.split(test_array, np.where(test_array == 0.)[0])

to split an array at each 0., a value that I arbitrarily added previously as a place holder.
This gives me a list of arrays where the 0th index of each array (except for the first array) is a 0.
How do I delete these 0's in-place, to get a list of arrays without the placeholder 0's? I say in-place because I'd rather not iterate through, adding each array with the deleted 0 to a new array list.

A: You can use some preprocess to remove zeros, here is an example:
import numpy as np
a = np.random.randint(0, 5, 100)
idx = np.where(a == 0)[0]

np.split(a, idx)

output:
[array([4, 3]),
 array([0, 3, 1, 1]),
 array([0, 4]),
 array([0]),
 array([0, 1, 2, 4]),
 array([0, 4, 2, 2, 3, 1]),
 array([0, 2, 4, 3]),
 array([0, 2, 2, 4]),
 array([0, 3, 2, 1, 2, 4, 1, 2]),
 array([0]),
 array([0]),
 array([0, 1, 3]),
 array([0]),
 array([0, 1, 3, 2, 4]),
 array([0, 3, 3]),
 array([0, 3]),
 array([0, 3, 4, 1, 2, 3, 3, 4, 3, 4, 2, 1]),
 array([0]),
 array([0, 3, 2]),
 array([0]),
 array([0, 4, 1, 4, 2, 3, 1]),
 array([0, 4]),
 array([0]),
 array([0]),
 array([0, 3, 4, 2, 3]),
 array([0, 4, 4, 3, 3, 3, 1]),
 array([0, 2, 4, 1]),
 array([0, 4, 2, 2]),
 array([0])]

remove all zeros in a, and calculate the new index:
idx2 = idx - np.arange(len(idx))
b = np.delete(a, idx)
np.split(b, np.unique(idx2))

Here is the output:
[array([4, 3]),
 array([3, 1, 1]),
 array([4]),
 array([1, 2, 4]),
 array([4, 2, 2, 3, 1]),
 array([2, 4, 3]),
 array([2, 2, 4]),
 array([3, 2, 1, 2, 4, 1, 2]),
 array([1, 3]),
 array([1, 3, 2, 4]),
 array([3, 3]),
 array([3]),
 array([3, 4, 1, 2, 3, 3, 4, 3, 4, 2, 1]),
 array([3, 2]),
 array([4, 1, 4, 2, 3, 1]),
 array([4]),
 array([3, 4, 2, 3]),
 array([4, 4, 3, 3, 3, 1]),
 array([2, 4, 1]),
 array([4, 2, 2]),
 array([], dtype=float64)]

redpajama_set_name: RedPajamaStackExchange


text:
Q: Multiple Scopes using OAuth2WebServerFlow I want to authorize multiple scopes using OAuth2WebServerFlow(). Here is my current code:
flow = OAuth2WebServerFlow(
    client_id=id,
    client_secret=secret,
    scope= ['scope1','scope2','scope3'],
    approval_prompt='force',
    access_type='offline')

When I am redirected to Google Authorization screen, the only permissions the app is asking for is to "Have offline access". Additionally, I have those scopes turned on in the API Console.

A: From the documentation:

In addition to these OpenID-specific scopes, your scope argument can
  also include other scope strings. All scope strings must be
  space-separated. For example, if you wanted per-file access to a
  user's Google Drive, your scope might be openid profile email
  https://www.googleapis.com/auth/drive.file.

So in your case:
scope= 'scope1 ' + 'scope2 ' + 'scope3'

Example:
scope = ('https://www.googleapis.com/auth/devstorage.read_write ' +
         'https://www.googleapis.com/auth/prediction')

EDIT
As @Greg mentioned:

OAuth2WebServerFlow takes either a string or an iterable of strings,
  which it turns into the space-separated parameter before constructing
  the auth-URL.

I tend to use oAuth for the apis (application authorization) and not that much for a user oauth so I forgot that I had observed this at my own apps as well.
If your scope has invalid grants then you will get an error about wrong grants.
Though if you ask for the correct grants most of the times they are combined.
In the following example I am asking about 'https://www.googleapis.com/auth/devstorage.read_write ' +
         'https://www.googleapis.com/auth/prediction'
but though I get prompted only for offline access.
My application is working fine and permissions are correct.
The application does not have more permissions (other apis).


Also, it's impossible to "add" more memory to your existing graphics card. Their should be an option somewhere in the Bios where you can configure the Vram of the graphics card. Any way to get hold of the vista copy that came installed on his lappy?? Please share our article, every link counts! And, we're glad to say, it's come a long way since then. Similar Threads – Aspire You must log in or sign up to reply here.
Powered by an Intel Vieo Duo processor, the performed well in our benchmarking tests. Also, it's impossible to "add" more memory to your existing graphics card. Although its speed is impressive, the mobile version of the Core 2 Duo processor codenamed Merom is due to launch in August. Acer Aspire Average Score: On the other hand, the power consumption is lower vidwo small screen diagonals and the devices are smaller, more lightweight and cheaper.
Having more video memory also doesn't necessary mean you're getting a better performing card too. This large display size is used for laptops which are mainly intended for an use on a desk.
This weight is representative for typical laptops with a inch display-diagonal. Gamers will want more graphics power Overall: There are dozens of Acer laptop reviews per month, the ratings are average as of videoo For the price, the Aspire meets the criteria for a performance machine. Share This Page Tweet. Quality journalism is made possible by advertising.
Hiya a friend of mine has an Acer Aspire Any way to get hold of the vista copy that came installed on his lappy?? So if it's performance you're after, we'd caer holding on to your cash for a few more weeks.
So, details like letters are bigger. Do you already have an account? Please share our article, every link counts!
Does he has to buy a new graphic card or something?? Their should be an option somewhere in the Bios where you can configure the Vram of the graphics card. Keep in mind that adding more memory to the graphics card, decreases the amount of memory available to the rest of the system.
Log in or Sign up. Acer Aspire 5 AGV6 upgrades? We show the least amount of ads whenever possible. Yes, my password is: Personal Computer World Acer is attempting to broaden the appeal of its laptops by launching a host of Aspire ranges, with the one of the latest. Acer Aspire Source: He remembers being told that he could upgrade his video card from mb to something. He bought it last year and now its really outdated to run good games. Similar Threads – Aspire And what other good option do we 9401 for a better graphic card in the lappy???
Please, switch off ad blockers. Acer homepage Acer notebook section. You must log in or sign up to reply here.


text:
The 2023 Reading Challenge is Here!Join Now
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The Wilderwomen by Ruth Emmie Lang
First Published: 2022
View in Goodreads
Rachael's Review
I received a complimentary copy of this book from St. Martin's Press through Netgalley. Opinions expressed in this review are completely my own.
Five years ago, Nora Wilder disappeared leaving behind her two daughters, Zadie and Finn. Even though she's a psychic, Zadie didn't foresee her mother's disappearance. When Finn seizes an echo of a memory of Nora, she believes their mother is still alive and convinces Zadie to accompany her on a journey into their mother's past. But as Finn starts losing herself in Nora's memories, Zadie must decide where to draw the line or risk losing them both.
Ruth Emmie Lang employs subtle magical realism in The Wilderwomen. Instead of X-Men-like powers, Zadie and Finn have slightly useless flashes of abilities. The plot focuses on the estranged sisters discovering their past, but I had difficulty staying engaged with the meandering story. Plus, the strange ending made the whole novel feel pointless to me.
Publisher's Description
Five years ago, Nora Wilder disappeared. The older of her two daughters, Zadie, should have seen it coming, because she can literally see things coming. But not even her psychic abilities were able to prevent their mother from vanishing one morning.
Zadie's estranged younger sister, Finn, can't see into the future, but she has an uncannily good memory, so good that she remembers not only her own memories, but the echoes of memories other people have left behind. On the afternoon of her graduation party, Finn is seized by an "echo" more powerful than anything she's experienced before: a woman singing a song she recognizes, a song about a bird…
When Finn wakes up alone in an aviary with no idea of how she got there, she realizes who the memory belongs to: Nora.
Now, it's up to Finn to convince her sister that not only is their mom still out there, but that she wants to be found. Against Zadie's better judgement, she and Finn hit the highway, using Finn's echoes to retrace Nora's footsteps and uncover the answer to the question that has been haunting them for years: Why did she leave?
But the more time Finn spends in their mother's past, the harder it is for her to return to the present, to return to herself. As Zadie feels her sister start to slip away, she will have to decide what lengths she is willing to go to to find their mother, knowing that if she chooses wrong, she could lose them both for good.
About Ruth Emmie Lang
Ruth Emmie Lang is the author of Beasts of Extraordinary Circumstance and The Wilderwomen. Lang was born in Glasgow, Scotland, but grew up in Ohio were she currently lives. Visit the author's website →
Beasts of Extraordinary Circumstance
Ruth Emmie Lang
A History of Wild Places
Shea Ernshaw
The Ten Thousand Doors of January
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text:
US Rep. Richard E. Neal and Becker College to Dedicate May House Restoration to Underground Railroad Movement
February 28, 2012 By Euginie Kwan
The restoration of the historic May House, a designated part of the National Underground Railroad Network to Freedom, is currently underway and is scheduled to be completed and open to the public by the end of 2012. It is to become a town visitors' center and museum dedicated the anti-slavery movement and the accomplishments of Rev. Samuel May.
In the 19th century, more than 100,000 people sought out freedom in the Northern states of America, Canada and Mexico through the Underground Railroad, a network of people, places and transportation used to help fugitive slaves escape their lives of servitude. Along the way were stops that the National Park Service later designated as official stops on the National Underground Railroad Network to Freedom in 2008. One of these stops was the home that once belonged to abolitionist Rev. Samuel May in Leicester, Mass. and now a part of the Becker College campus.
Rev. Samuel May (1810-1899) was a iconic figure in the anti-slavery movement during the 1860s. Both he and his wife, Sarah, were active proponents for the abolition of slavery and women's suffrage. After graduating from Harvard Divinity School in the early 1830s, May relocated to Leicester to become the first minister of the Leicester Unitarian Church. But because of his views on slavery and segregation in the church, Rev. May lost many friends and was forced to abandon his ministry, where he served from 1846-1870. It was during this time that he had also taken up the post of general agent of the Massachusetts Antislavery Society in Boston. Rev. Samuel May is currently survived by his great-great-grandson, S. Judson May, 64, who is a professor of Geology at Collin College in Texas.
The May House was the first home built, by Rev. May's father in the mid-1830s as a wedding present for Rev. May and his wife Sarah, in the town of Leicester and was occupied by the May family until it was purchased by Becker College in 1966, according to S. Judson May. Forty-three years later, in 2009, US Representative Richard E. Neal, Springfield, Mass., came to Becker's Leicester campus to donate $380,000 in federal funding to the college to be put towards making the May House into a new town visitors' center and an Underground Railroad museum. So far, approximately $40,000 has been received by the college to cover for architectural, environmental and legal costs, says Becker College spokesperson Sandy Lashin-Curewitz.
The project is being led by Bargmann, Hendrie and Archetype Inc. in Boston and is scheduled to be completed by the end of the year. According to Jack Glassman, Director of Historic Preservation at Bargmann, Hendrie and Archetype, in an interview with the Worcester Telegram & Gazette, the drawings for the project are almost complete and work is currently being done on the first phase of the transformation, which includes the restoration of the three first-floor rooms. These three rooms have been designed with interconnecting themes: the May family, the Underground Railroad and the history of Leicester. Additional phases are being planned and will be fulfilled as more of the federal funding becomes available.
Photo by unknown, Wikipedia.
[show_avatar email=euginie.kwan@gmail.com align=left avatar_size=70] click avatar for author info
[mappress mapid="18″]
Filed Under: Boston, Historic, News Tagged With: Bargmann Hendrie and Archetype Inc, Becker College, bhplus, Jack Glassman, Leicester, Massachusetts Antislavery Society, National Park Association, National Underground Railroad Network to Freedom, Rev. Samuel May, Richard E. Neal, S. Judson May, Samuel May, Sandy Lashin-Curewitz, Underground Railroad, Worcester Telegram & Gazette
About Euginie Kwan
Euginie Kwan is an architectural professional based in Boston. She received her Bachelor of Architecture degree from Carnegie Mellon University in May 2011, with a minor concentration in Architectural History.
She believes in an integrated approach to architecture and has experience contributing to residential, commercial, civic and historic preservation projects in a variety of capacities. She has worked for Simonchee Architects (HK) and is always on the lookout for new opportunities to expand her career pursuits. Her professional interests include sustainable technologies, green building, adaptive reuse and historic preservation.
Euginie's interest in historic architecture and preservation has led to her pursuit of active projects in conservation and adaptive reuse. She has interned with the Madison Trust for Historic Preservation as the Coordinator of the 2012 Winter Workshop series which promotes sustainable retrofit and renovation projects to historic homeowners in the Dane County, WI area, worked with the National Park Service (NPS) to further the development of historical sites in the Greater Boston Area, and conducted research for the Chinese University of Hong Kong for existing and potential restoration projects in the area.
As an avid traveler, and having lived in and experienced various regional and international locales, Euginie is constantly observing architectural trends from different parts of the world as a primary means of influencing her own work. Outside of the world of architecture, she likes to spend her free time reading books, listening to music, volunteering for Habitat for Humanity and the local animal shelter, and playing as much Ultimate Frisbee as possible.
www.EuginieKwan.com


text:
BETWAY NIGERIA HOME
Local International
Home Football Premier League How To Winners Other Sports CSR Legal
Liverpool hoping to start the season with a bang
Image copyright: Getty Images
2022 FA Community Shield
Liverpool v Manchester City
King Power Stadium
Kick-off is at 17h00
Liverpool will be looking to build momentum for the new season when they lock horns with Manchester City in the Community Shield on Saturday, July 30.
The FA Cup holders finished the 2021/22 campaign on a disappointing note after being beaten 1-0 by Real Madrid in the UEFA Champions League final.
Jurgen Klopp's side were in the running for the quadruple going into the final day of the Premier League season following their EFL Cup triumph in February, but they lost out on the title to City by a single point.
The Reds will be confident of lifting the trophy for the first time since 2006 as they aim to extend their unbeaten run against the Citizens to four matches.
Neither team came out on top in their top-flight meetings last term, with both encounters finishing 2-2, although the Merseysiders did manage to knock out City in the FA Cup semi-finals.
Klopp intends to give his starting line-up a full game at the King Power Stadium, something which he hasn't done in the pre-season friendlies, with the majority of his players getting 45-minute run-outs under their belts.
"This pre-season we had to do slightly different and we wanted to do as well. All of them will play the first time 90 minutes on Saturday, all of them. But that's how we did the training," the German said.
"So the training sessions were intense to a specific point, that we could get fitter and fitter. The running sessions were extremely hard but we took care of them and now let's see how we can grow in this season.
"For City, it's not really different, they came back from America probably yesterday [Monday] or something like that. So it will be a tough one."
Head-to-Head (Last Five Meetings)
Matches - 5
Liverpool - 1
Man City - 1
Draws - 3
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