The amount of nostalgia that fills Epic Mickey, intentionally, is really something that should be commended. What other games try to do with a cameo or quick cutscene, Epic Mickey accomplishes throughout an entire game from start to finish, and it succeeds in motivating the player to get to the end. Anyone looking for a seriously engaging platformer may best stick to another series, but for a good mix of storytelling, humor, heartwarming art and style, Epic Mickey shines through and through.
great game, very interesting story..


text:
LGBTQ+ students, allies find home in LLC
Thomas Yang | Assistant Visual Editor
Lothrop Hall houses the 14 students in Pitt's Gender and Sexuality LLC.
By Neena Hagen, Staff Writer
Pitt is home to a plethora of organizations that foster an atmosphere of acceptance for LGBTQ+ students — Rainbow Alliance and oSTEM to name a couple. But until fall of 2018, none of these organizations offered living accommodations to students.
Now, the Gender and Sexuality LLC, which occupies half of the 12th floor of Lothrop, houses 14 primarily first-year LGBTQ+ students in single dorms and boasts the only gender-neutral communal bathroom on Pitt's campus. It's a safe space that, according to RA Ryan Ferrante, a sophomore biology major, was badly needed for Pitt's sizable LGBTQ+ community.
"Leaving home for the first time can be stressful," Ferrante said. "But for LGBTQ+ students, piling on the added weight of wondering if you'll fit in … or if the college community will accept you for who you are often makes the transition a lot harder."
At Pitt, applying to the Gender and Sexuality LLC works the same as for any other LLC. The process is contained within the housing application — all students must do is write a brief essay and fill out a questionnaire detailing their housing preferences. According to Ferrante, the LLC is open to anyone who's dedicated to maintaining a supportive environment — not just LGBTQ+ students.
To ensure that the LLC fosters an inclusive atmosphere, members take part in many LGBTQ+-themed activities together. Recently, the group embarked on a short excursion to the Andy Warhol museum to view Warhol's paintings of drag queens and transgender women — all of whom remained anonymous until their names were dug up and revealed in August 2018.
"It's really heartening for us to see ourselves represented in everyday art and culture. It really contributes to our sense of belonging in the LLC," Ferrante said. "Educational movies … like 'Before Stonewall' and 'After Stonewall' that teach us about the history of our struggle for civil rights are also on the lineup."
The LLC takes full advantage of its learning component, as students in the LLC have the opportunity to take a one-credit course on LGBTQ+ communities taught by professor Julie Beaulieu. The course not only allows students to discuss sensitive topics — like prejudice they may face in their everyday lives — but also educates students about oppressive power structures and explores the intersections between sexuality and other identities.
"Education is key to social and political progress for historically marginalized people," Beaulieu said.
According to Danielle Jakob, a sophomore bio-med major and the only non-LGBTQ+ member of the LLC, the class has been integral in allowing her to confront her own prejudices and become a more active and understanding ally.
"In class discussions, I often feel like the oppressor being the only straight cis person," Jakob said. "It's very sobering to hear my peers talk about what they go through on a daily basis because I can't fully understand … but I can help dismantle the system that perpetuates prejudice."
Many discussions that take place in the LLC involve members sharing their experiences facing discrimination throughout campus, according to Jakob. The prejudice often isn't overt, but it manifests itself pretty frequently.
"There seem so be so many instances where trans members are misgendered," Jakob said. "Recently one of our trans members got a dirty look for being in the 'wrong' bathroom."
Talking through those issues remains one of the most emotionally challenging aspects of being an RA for the LLC, but Ferrante embraces the responsibility with open arms.
"I signed up to be the RA for this LLC so I could provide support to queer people who need it," Ferrante said. "Discrimination won't fix itself, but we can bandage the wounds … by supporting each other within the community."
But according to Beaulieu, larger, more sweeping initiatives at Pitt are needed to grow and better include the LGBTQ+ community.
"I would like to see more engagement with Pitt's other programs, including events or partnerships with PQP [Pitt Queer Professionals], Pitt's LGBTQ+ faculty and staff affinity group, as well as community engagement with local artists, activists and academics," Beaulieu said. "These forms of mentorship are incredibly valuable given that we, as LGBTQ+ people, do not always have access to queer mentors or elders."
Jakob firmly believes more allies should join the LLC.
"It's about dismantling … a heteronormative-, gender-binary-supporting mentality that allows prejudice to persist," she said. "I don't need to be LGBTQ+ to participate in that … in fact, I think everyone at Pitt, regardless of their gender and sexuality, should participate in inclusiveness training."
But to Ferrante, until these large scale changes become a reality, raising a greater awareness of the LLC throughout Pitt is a good start.
"The concept of a gender and sexuality LLC is pretty new at most colleges, including Pitt," Ferrante said. "But I think spreading the word is a crucial first step to growing the LLC … Who knows? Maybe we can even fill a whole floor of Lothrop next year."
Gender and Sexuality LLC
lothrop
Rainbow Alliance
Neena Hagen, Senior Staff Writer
Neena is a senior staff writer at The Pitt News who has covered Pitt's graduate student and faculty union campaigns since January 2019. Originally from...

redpajama_set_name: RedPajamaCommonCrawl


Juniors, known as a MSIII, will act as Squad Leaders and/or Platoon Sergeants, in charge of a squad of underclassmen or an entire platoon. With the help of the other juniors, they will facilitate PT, lab and other important battalion events. This year is the most vital for Cadets, as their leadership is evaluated rigorously in preparation for the Accessions process.


text:
Q: how to add animation when the text changes in React tailwind Please see the below code
Right now, the text can be changed when the "text" variable changes.
And i want to fade-out the previous text and fade-in the new text when the text variable changes.

{text}

this is the setting for fade-out, and fade-in animation.But this code doesn't work...
How can i add animation when the text changes in React?
  theme: {
    extend: {
      animation: {
        "fade-out": "fade-out 1s ease   both",
        "fade-in": "fade-in 1.2s cubic-bezier(0.390, 0.575, 0.565, 1.000)   both"
      },
      keyframes: {
        "fade-out": {
          "0%": {
            opacity: "1"
          },
          to: {
            opacity: "0"
          }
        },
        "fade-in": {
          "0%": {
            opacity: "0"
          },
          to: {
            opacity: "1"
          }
        }
      }
    }
  },

I tried above code bu it doesn't animate

redpajama_set_name: RedPajamaStackExchange


text:
Law Enforcement's Secret 'Super Search Engine' Amasses Trillions of Phone Records for Decades
By Aaron Mackey and Dave Maass
EFF Fights For More Disclosure About Hemisphere Program
Although the government still hides too much information about a secret telephone records surveillance program known as Hemisphere, we have learned through EFF's Freedom of Information Act (FOIA) lawsuits that police tout the massive database of private calls as "Google on Steroids" [pdf].
Hemisphere, which AT&T operates on behalf of federal, state, and local law enforcement, contains trillions of domestic and international phone call records dating back to 1987. AT&T adds roughly four billion phone records to Hemisphere each day [.pptx], including calls from non-AT&T customers that pass through the company's switches.
The Drug Enforcement Agency (DEA) and other federal, state and local police use Hemisphere to not only track when and who someone is calling, but to perform complicated traffic analysis that can dynamically map people's social networks and physical locations. This even includes knowing when someone changes their phone number.
And federal officials often do it without first getting permission from a judge.
Indeed, Hemisphere was designed to be extremely secret, with police instructed to do everything possible to make sure the program never appeared in the public record. After using Hemisphere to obtain private information about someone, police usually cover up their use of Hemisphere by later obtaining targeted data about suspects from phone providers through traditional subpoenas, a process the police call "parallel construction" and that EFF calls "evidence laundering."
Government Treats Same Information Differently in FOIA Cases
Government secrecy about Hemisphere has extended to refusing to disclose basic records about the program, and EFF has had to sue federal and California law enforcement to win access to this critical information. EFF filed another round of briefing in federal court in November calling on the government to provide records as soon as possible, given that we made our FOIA request almost two years ago. The delayed resolution in federal court has stalled a related lawsuit EFF brought against California law enforcement agencies for access to their records about Hemisphere.
We aren't the only ones suing: the Electronic Privacy Information Center filed similar litigation, which has allowed us to learn even more about Hemisphere, including how the federal government has used inconsistent arguments to avoid public scrutiny of the program.
In EFF's case earlier this month, the government filed a list of Hemisphere records that the government is withholding from both EFF and EPIC. This list shows the government treated the two requesters differently. Specifically, the chart shows that out of the 161 pages common to both lawsuits, the government claimed more than twice as many legal reasons to withhold the majority of pages from EFF. The government withheld 151 pages from EFF (but not EPIC) on the grounds that disclosure could interfere with an ongoing law enforcement investigation. And it withheld 107 pages from EFF (but not EPIC) because disclosure would supposedly out confidential informants.
The government has yet to explain why it treated the exact same information so differently in EFF's and EPIC's respective FOIA requests. Absent any explanation, the disparate treatment appears highly arbitrary. Moreover, it highlights the large power imbalance between the government and FOIA requesters seeking records.
Agencies know exactly what the documents contain and are in the best position to use or abuse FOIA's exemptions to withhold them. This asymmetry is often to the government's advantage. The government's inconsistent treatment of EFF's and EPIC's FOIA requests show why FOIA should better limit officials' discretion to treat requesters so differently, and better ensure judicial oversight over the entire FOIA process.
Disclosed Docs Show Police View Hemisphere as a "Super Search Engine"
Before the Hemisphere Program came to light in 2013, when a presentation was inadvertently released to a privacy activist, the public knew nothing about the massive phone records dragnet.
Through the program, AT&T assists federal and local law enforcement—often by stationing company staff in police "Fusion Centers"—in accessing and analyzing AT&T's massive database of call detail records (CDRs). This information includes phone numbers dialed and calls received, as well as the time, date, and length of the call, and sometimes location information. This information isn't limited to AT&T customers either.
From the records that have been disclosed in EFF's lawsuits, we've learned that police view the astonishing size and scope of the database as an asset, referring to it as the "Super Search Engine" and "Google on Steroids." Such descriptions confirm EFF's worst fears that Hemisphere is a mass surveillance program that threatens core civil liberties.
The program poses severe Fourth Amendment concerns because police are obtaining detailed private information from the call records and learning even more about people's social connections and physical movements based on pattern analysis. Federal officials do all of this without a warrant or any judicial oversight.
But beyond the Fourth Amendment problems, Hemisphere also poses acute risks to the First Amendment rights of callers caught in the program's dragnet. Specifically, Hemisphere allows police to see a person's associations, shedding light on their personal connections and political and social networks. It's not hard to see such a tool being trained on activists and others critical of law enforcement, or being used by the government to identify entire organizations. We know that law enforcement officials have subjected Black Lives Matter activists to automated social media monitoring, and subjected attendees at gun shows to surveillance by automated license plate readers. Government officials can easily use Hemisphere in similar ways.
The Hemisphere program could not operate without AT&T's full cooperation. It's time for AT&T to reconsider its responsibility not only to its customers, but to all Americans who pick up the phone.
Hemisphere: Law Enforcement's Secret Call Records Deal With AT&T


Tinea capitis. This disease is caused by a fungal infection of the scalp's skin (ringworm of the scalp) and other areas like eyebrows and eyelashes, oftentimes attacking the hair shaft and follicle. It's the most common cause of pediatric alopecia and its occurrence is on the rise. Children suffering from tinea capitis have patchy hair loss with broken hairs at the surface of the scalp. This disease can be treated with an antifungal and special shampoo for a total of eight weeks. Children with tinea capitis can stay in school while being treated as they aren't contagious when following treatment directions.
Alopecia areata. This condition is known to occur overnight, and results in round or oval shaped hair loss. The resulting bald patches are smooth without any redness, scaling or broken hairs. Alopecia areata is thought to be caused by the immune system attacking the hair follicles. Approximately 1 in 1,000 children has this condition, however, with proper treatment, a large percentage of patients will have their hair back within a year. Of those who develop alopecia areata, 5% will progress to developing alopecia totalis. There is no cure for alopecia areata, nor any FDA approved drug or treatments. There are, however, several drugs that can be prescribed off label for the treatment of alopecia areata. A health care professional should be consulted to determine the best options for your child.
Trauma. Trauma to the hair shaft is another common cause of hair loss in children. Trauma can occur through traction, friction or even chemical burns. Alternatively, trichotillomania is a misunderstood form of trauma hair loss. With trichotillomania, those affected have the habit of twirling or plucking their hair. This obsessive-compulsive disorder results in patchy hair loss, with broken hairs of different lengths. As long as the trauma is not severe or chronic, the hair should regrow once the trauma has stopped.
Telogen Effluvium. For the majority of people, 80% to 90% of their follicles are in the growth phase, 5% are in the brief transition phase, and 10% to 15% are in the telogen phase. As a result, 50-150 hairs are shed and replaced by new hairs every day. By contrast, with telogen effluvium, this normal life cycle is disrupted and many or all of the hairs are thrown into the telogen phase. Partial or complete baldness results a mere 6-16 weeks later. Telogen effluvium can be caused by extremely high fevers, surgery under general anesthesia, excess vitamin A, severe prolonged emotional stress, severe injuries and the use of certain prescription medication. Despite the severe hair loss caused by telogen effluvium, full hair growth in children usually occurs between six months and one year after the stressful event is over.


Free Mp3 Download And Listen Online Music. MP3Fast daily renewed online music search engine. Site provides high quality mp3 downloads. You don't have to convert videos from YouTube to mp3.
Sicko Mode Mp3 ty In Free Album And Mixtapes (ZIP. Last summer, Tory Lanez lent a vocal assist on Detroit-bred Tone Tone's "Give It To Ya," the end result of a chance encounter in Miami and now the duo has returned to deliver on a fun-loving set of new visuals to attach to the track, another delivery in line with the new season.


This could be the only web page dedicated to explaining the meaning of GTBB (GTBB acronym/abbreviation/slang word).
Ever wondered what GTBB means? Or any of the other 9127 slang words, abbreviations and acronyms listed here at Internet Slang? Your resource for web acronyms, web abbreviations and netspeak.
GTBB is "Good To Be Back"
The definition of GTBB is "Good To Be Back"
GTBB means "Good To Be Back"
So now you know - GTBB means "Good To Be Back" - don't thank us. YW!
What does GTBB mean? GTBB is an acronym, abbreviation or slang word that is explained above where the GTBB definition is given.


Searching for a new home community? Browse the 359 new homes in Mettler, California below. If there is a new home being built to match your needs you are sure to find it here. There are currently 27 builders to choose from in 62 new home communities across the Mettler area. Choose from 300 home plans or the 41 quick move-in homes to find the perfect home for you in the Mettler area. With prices ranging from $118,990 to $699,900 and home sizes between 990 and 4,478 square feet there is sure to be a home that will fit your needs. Whether you need a small starter home or large family home, you will find homes in Mettler that have between 2 to 6 bedrooms and 1 to 4 bathrooms. You many also notice that newly built homes in Mettler are more expensive than resale homes. Before you let this deter you, remember there are tons of cost savings that come with buying a new home including less maintenance cost and energy cost. If you have any questions, fill out a lead form and a builder will contact you.


Additional information about the current processed tile, available for tiled aperture processors via their context.
This object is returned by customData() method of the current context ArrayProcessor.context() of the one-tile aperture processor — the argument of TiledApertureProcessorFactory.tile(ApertureProcessor) method — if this one-tile processor implements ArrayProcessorWithContextSwitching interface and is called from the tiled processor (the result of tile method) for processing a tile. See comments to TiledApertureProcessorFactory, the section "Contexts for the one-tile processor".
Returns the position and sizes of the currently processed extended tile (fe, te).
Returns the position and sizes of the currently processed tile (f, t).
Returns the position and sizes of the currently processed tile (f, t). See the strict definition of (f, t) area in the specification of process method, stage 3, in comments to TiledApertureProcessorFactory.
The min() point of the result contains the minimal coordinates of the matrix elements, belonging to this tile: min() = f = (f0, f1, ..., fn−1). The max() point of the result contains the maximal coordinates of the matrix elements, belonging to this tile: max() = t−1 = (t0−1, t1−1, ..., tn−1−1).
the currently processed tile (f, t).
Returns the position and sizes of the currently processed extended tile (fe, te). See the strict definition of (fe, te) area in the specification of process method, stage 3, in comments to TiledApertureProcessorFactory.
The min() point of the result contains the minimal coordinates of the matrix elements, belonging to this extended tile: min() = fe = (fe0, fe1, ..., fen−1). The max() point of the result contains the maximal coordinates of the matrix elements, belonging to this extended tile: max() = te−1 = (te0−1, te1−1, ..., ten−1−1).
the currently processed extended tile (fe, te).


Unknown Service | Dr. Justin Imel, Sr.
Yesterday, I was sitting in Starbucks (Starbucks isn't that expensive if you use their iPhone app and order a tall [that's their small] coffee and rack up reward points). As I'm writing, I happen to notice a gift card on the service counter as a lady walks over to add cream and sugar to her coffee (why someone would add anything to coffee is beyond my comprehension), and she, too, notices that someone has left behind a gift card. The lady picks up the card, and I watch with peaked interest to see what she'll do. She doesn't know that anyone has seen her pick up the card, and she doesn't know how much money might be left on that card: a rich uncle may have given a greatly loaded card to a favorite nephew who has only used the gift once or the card may have been intentionally discarded after someone had used the entire balance.
Impressively, the lady never contemplated – as far as I could tell – what to do with the card. She picked it up and handed it to a barista and told him what she had found and thought the owner might come back looking for it.
Service. Service like Jesus. Service to someone the lady will never meet. Service to someone who might be the salt of the earth or someone who might be a scoundrel among scoundrels. The woman will never know whom she served, but she served nonetheless.
Those who brought the gospel to the small town of Camargo, Kentucky, where I would hear and respond to the Word.
Researchers who developed the medications that ease my pain.
The farmer who realized that watermelon could be grown and safely consumed.
The police officers who patrol the streets.
Translators who took the Scriptures from Greek to English that I might easily receive the Word that is able to save my soul.
The ladies of a Bible class in Georgia who sent me a note to say that they were praying for me.
Whoever realized that coffee beans could be roasted and turned into a heavenly delight.
The instructors who trained my neurologist and helped him hone his abilities.
The men and women who died in defense of this free nation.
Yes, some of these are tongue-in-cheek and some are serious. Think about all the people who have served you whom you have never met. Thank God for people who selflessly serve.
How might you serve this very day? Go forth and imitate Jesus. Go forth and be a servant.


text:
Royal College of Surgeons in Ireland (RCSI)
An Evaluation of the Impact of a Multicomponent Stop Smoking Intervention in an Irish Prison.
ijerph-18-11981.pdf
Bowe, Andrea
Marron, Louise
Devlin, John
Kavanagh, Paul
multi-component intervention
prisoner health
The disproportionately high prevalence of tobacco use among prisoners remains an important public health issue. While Ireland has well-established legislative bans on smoking in public places, these do not apply in prisons. This study evaluates a multi-component tobacco control intervention in a medium security prison for adult males in Ireland. A stop-smoking intervention, targeting staff and prisoners, was designed, implemented, and evaluated with a before-and-after study. Analysis was conducted using McNemar's test for paired binary data, Wilcoxon signed rank test for ordinal data, and paired T-tests for continuous normal data. Pre-intervention, 44.3% (n = 58) of the study population were current smokers, consisting of 60.7% of prisoners (n = 51) and 15.9% of staff (n = 7). Post-intervention, 45.1% of prisoners (n = 23/51) and 100% of staff (n = 7/7) who identified as current smokers pre-intervention reported abstinence from smoking. Among non-smokers, the proportion reporting being exposed to someone else's cigarette smoke while being a resident or working in the unit decreased from 69.4% (n = 50/72) pre-intervention to 27.8% (n = 20/72) post-intervention (p < 0.001). This multicomponent intervention resulted in high abstinence rates, had high acceptability among both staff and prisoners, and was associated with wider health benefits across the prison setting.
Prison Staff and Prisoner Views on a Prison Smoking Ban: Evidence From the Tobacco in Prisons Study.
Authors: Brown A, Sweeting H, Logan G, Demou E, Hunt K
UK news media representations of smoking, smoking policies and tobacco bans in prisons.
Authors: Robinson A, Sweeting H, Hunt K
Issue date: 2018 Nov
Implementation and impact of anti-smoking interventions in three prisons in the absence of appropriate legislation.
Authors: Etter JF, Ritter C, Christie DH, Kunz M, Rieder JP, Humair JP, Wolff H, Eytan A, Wahl C, Elger B
Smoking-Related Behaviors and Effectiveness of Smoking Cessation Therapy Among Prisoners and Prison Staff.
Authors: Turan O, Turan PA
Issue date: 2016 Apr
Smoking Beyond Prison Bans: The Impact of Prison Tobacco Bans on Smoking Among Prison Entrants.
Authors: Albany H, Richmond R, Simpson M, Kariminia A, Hwang YIJ, Butler T


text:
Phí Hữu Tình (ur. 27 czerwca 1960) – wietnamski zapaśnik w stylu wolnym. Uczestniczył w Letnich Igrzyskach Olimpijskich w Moskwie w 1980 roku. Walczył w wadze piórkowej (do 62 kg). W pierwszej rundzie pokonał reprezentanta Kamerunu Victora Kede Manga. Dwie kolejne walki przegrał – z reprezentantami Węgier i Grecji – i odpadł z dalszej rywalizacji.

Przypisy

Wietnamscy zapaśnicy
Urodzeni w 1960
Wietnamscy olimpijczycy
Uczestnicy Letnich Igrzysk Olimpijskich 1980

redpajama_set_name: RedPajamaWikipedia


BizNet OnLine Magazine, But, They're Too Stupid To Know!
But, They're Too Stupid To Know!
Boy there is a whole lot of dumb going around.
This week in Los Angeles, a woman doing community service time was bitten by a Bear. She was with a group having an outdoor lunch. A bear started coming into the area. The person in charge told everyone to go inside and stay inside til after the Bear left. The woman decided to go outside and finish her lunch even though the Bear was still right outside. The Bear walked up and gave her a sniff, then bit her!
In Australia they are enacting emergency legislation. Why? Because, ready for this.... A big dead gray whale is floating off shore. Great White Sharks (can you say "JAWS") are feeding on it. In an almost constant feeding frenzy. Tourists are going out by boat to look at it. Some are then getting out of the boat and standing on the whale carcass as the sharks tear at it. Oh, it gets better... Or would that be dumber???? Some are reaching into the water and rubbing the sharks on their heads as they tear at the whales flesh!!!!!!
Hey this is all true!!!!!!
So, Australia is outlawing it.
I say what's the point.
If folks are too stupid to understand "Don't play with wild Sharks or Bears"... Because they will kill you... What makes anyone believe they will understand "Don't play with wild Sharks or Bears" because it's against the law?????????
Now with stupid folks in mind, make all the laws you want about talking on a Cell Phone and driving... But Stupid is stupid and some folks are just too stupid for their own good.
Personally I say we let them play with the Sharks and Bears. It will result in a lot fewer stupid folks. Just one thing. Lets not kill the Sharks or Bears just because they had an encounter with a stupid person.


text:
Here I live
International Photo Exhibition
300 works united by one theme: photographers from various countries along with their colleagues from different regions of Russia will present visual stories revealing their cultures, or depicting the life in distant territories and unique fates of the locals that caught their attention.
YOUR PHOTOS AT THE HERMITAGE
«Here I live» photo-exhibition, which will open on April 21, 2022, gathers annually around 300 works of photographers from all over the globe! Exposition will be traditionally held at the General Staff Building in the frame of the Dialogue of Cultures Media-Forum.
In 2022, a special section of the exhibition will be devoted to the photographs of the best emerging photographers from all over the world, laureates and winners of international photo contests 2020-2021. The Organizing Committee consider it important that works by authors from different countries will be presented along with the masterpieces of varied eras and cultures that have been collected in the State Hermitage for more than 2.5 centuries. It will become today's symbol of the continuation of the dialogue expressed in photographs.
Submit your works now and participate in the competition!
Openings of the previous exhibitions
PREVIOUS EXHIBITIONS' PARTICIPANTS
The whole world at the State Hermitage Museum: meet the authors, whose works, single and series, have already been exhibited in the General Staff Building in frameworks of previous «Dialogues».
Kieran Dodds
How can the hair color unite nations? Scottish photographer Kieran Dodds created portraits of gingers at almost identical latitudes but separated by hundreds of miles – in Scotland and Russia.
watch the interview
Nemanja Pancic
One shot can make you redefine the value of life and think about those who can not find support from the state and are forced to take extreme measures. A Serbian photographer tells the story of the photograph «Little survivor», which helped him to win the prestigious World Press Photo award.
Roger Anis
Photo Project «Closets full of Dreams» by Roger Anis tells a story about Egyptian women living in a society where a woman, going out, feels oppressed. He opens the doors of their closets, where women hide the clothes they will never wear again, so as not to catch the judgmental glances of passers-by.
Chris de Bode
All kids dream. Whether their home is. Every child dreams of acquiring their own place in this world where they can be themselves, without being restricted by their living conditions. This is what Chris's project "I have a dream" about.
Gabriele Cecconi
By documenting the tragic link between the plight of refugees and the environmental crisis at Cox's Bazar in his photography project «The wretched and the Earth», Gabriele Cecconi presents a different perspective on the global problems facing humanity today.
Photography is the only "language" understood in all parts of the world, and bridging all nations and cultures, it links the family of man. Independent of political influence – where people are free – it reflects truthfully life and events, allows us to share in the hopes and despair of others, and illuminates political and social conditions. We become the eyewitnesses of the humanity and inhumanity of mankind.
— Helmut Gernsheim
("Creative Photography" [1962])
Tonje Bøe Birkeland (Norway)
Anuj Medhavi (India)
Eric Pickersgill (USA)
Solovki
Juan Manuel Castro Prieto, Rafael Trapiello (Spain)
Marinka Masseus (The Netherlands)
Kieran Dodds (Scotland)
Maria Svarbova (Slovakia)
Benjamin Rasmussen (The Philippines)
Sergey Rusanov (Russia, Tyumen Region)
Andrew McConnell (Ireland)
Armenian Villages
Gogar Hakobyan (Armenia)
Vtorchermet
(Russia, Sverdlovsk Region)
Traditional horse game 'Kok-Boru'
Tabyldy Kadyrbekov (Kyrgyzstan)
COVID makeshift hospital
Vladimir Zivojinovic (Serbia)
Frank Herfort (Germany)
Yazidi Survivors
Georgios Makkas (Greece)
Closets Full of Dreams
Roger Anis (Egypt)
For the past 15 years «Dialogue of Cultures» has been remaining one of the biggest platforms located in Russia, where representatives of the international media space from more than 35 countries meet every year. Joining the work of the Forum you become a part of a huge media event: try to find by joint effort the answers on the media challenges, present your own transboundary projects, aimed at overcoming the conflicts between representatives of different cultures and confessions, adopt experience of colleagues from other countries and find new friends in profession.
Moscow, Zubovskiy blvd, 4-443
Email: mediacongress.photo@gmail.com
© 2021. Медиаконгресс «Содружество журналистов».


Our Antioxidant Supplements work to sweep up free radicals in the body that are the causes of many diseases. These supplements also stimulate the body's antioxidant systems to protect cells from the negative effects of unwanted amounts of oxidation.
NitrEmulse is a specially developed formula that includes key nutrients that are used for the expression of eNOS and nNOS, as well as for the balance of iNOS. It incorporates targeted nutritional support for tissues and the immune system. It further supports peripheral blood flow. The ingredients in this advanced formula also help support brain endurance, focus, and metabolic endurance during exercise. Key ingredients include ATP, xanthinal nicotinate, and N-acetyl L-carnitine.
Suggested use: Take 1 teaspoon once a day, or as directed by your healthcare professional.
Other ingredients: Filtered water, vegetable glycerin, honey, evening primrose oil. Luo han guo fruit extract, natural flavor (peppermint), potassium sorbate (to maintain freshness), stevia extract, citric acid.
• Water balance – Taurine and vitamin B6 work synergistically to help maintain equilibrium of water in the body by encouraging normal flow of electrolytes (such as potassium, calcium and sodium) in and out of cells.
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• Cardiovascular support – This formula may promote cardiovascular wellness through several mechanisms, including supporting healthy blood lipids and blood pressure.
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For nutritional information, references and directions click here.


text:
Q: How can I force the background to fill the screen Tailwind/CSS I need the dark grey background to fill the screen but I don't want overflow. Setting the page to 100vh + overflow hidden won't work because it takes out our footer.
Thanks.


text:
Sky's Build New HD Facility Around Calrec Consoles, Routers
By Jason Dachman, Chief Editor
Tuesday, September 14, 2010 - 11:18 am
Calrec Audio has sold Sky five of its latest-generation Apollo consoles, each in an 88-fader configuration, along with multiple smaller consoles and Calrec Hydra2 audio networking technology and infrastructure. The sale forms part of the ongoing build-out of Harlequin 1, Sky's new combined HD studio, post-production, and broadcast control center, currently in Phase 1 of construction in Osterley, West London.
Calrec Audio is also actively involved in helping Sky to define infrastructure for the new facility. For example, Calrec's Hydra2 audio networking, the routing technology that forms the backbone of the Apollo console, was designed and developed in part to serve Sky's audio requirements within Harlequin 1.
"Calrec hasn't just sold us five consoles. Rather, we are together building many of the protocols, workflows, and technologies that will drive this facility for the next few years," says Martin Black, Sky senior sound supervisor. "It's a joint effort with a new platform, Apollo, and with new requirements from our side."
These requirements are considerable. All of the planning for Harlequin 1 is designed to create a state-of-the-art, future-proof transmission center that will create and distribute Sky's HD programming over the next decade and a half. Capture, origination, post-production, new media transmission and broadcast control, along with all of their requisite infrastructure, will be housed under one roof, with tapeless, HD video and discrete-channel surround sound workflows throughout.
To deal with the sheer volume of required audio inputs and outputs in the new center, Sky has purchased two additional standalone Hydra2 routers from Calrec, in addition to the single router supplied as part of each Apollo console. Both these stand-alone routers have been expanded to their maximum I/O capacity from 16 to 32 fiber-optic connections, each capable of accepting and outputting 512 simultaneous channels of audio I/O.
Managing and assigning these channels is a matter for the Calrec Hydra2 audio networking protocol, which Calrec developed partly in response to Sky's requirements for Harlequin 1.
"One of the design briefs of the Harlequin project was that any gallery would work with any floor, and Hydra2 allows that flexibility," says Black. "In fact, every port on every I/O box is available to every console — unless you choose to specify otherwise and deliberately restrict access. More importantly in some ways, all of the output buses from all the galleries can be made available to other studios, which makes for an extremely flexible system."
Calrec also worked with Sky to produce its recently launched Hydra2 modular stageboxes, a series of chassis that accept cards with a variety of I/O connectors, as well as 3G SDI embedder and de-embedder cards.
"In combination with the very versatile Hydra2 network management tools, the modular stageboxes offer us maximum flexibility, allowing any stagebox connection in almost any common physical format to be routed anywhere in the building," says Black.
In addition to the five 88-fader Apollo consoles and the Hydra2 infrastructure, Calrec is also supplying a 56-fader Artemis desk for mixing in Harlequin 1's planned international commentary area, and three other sub-mixers: one for dedicated use on sports broadcasts, and two more on casters that can be used as mobile sub mixers in any of Harlequin 1's studios.
The 88-fader Apollos will be installed in the five studios that are set to open when Harlequin 1 first goes on air sometime in the second half of 2011. There will eventually be eight HD studios in the facility, but the remaining three will come on stream at a later date. As of today, the first of the five new Apollo consoles has arrived at Sky and is being tested, while the other consoles are still under construction at Calrec's headquarters.
Sustainability in Sports Production: Sky Sports Pledges to Make All Host Broadcasts Albert-CertifiedGrass Valley Makes Move Towards Cloud/Software-Defined Future


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Indian Photographing Tourist Photographing Indian
December 1, 2013 7:19 PM Subscribe
The Tourist Gaze and the competitive jockeying to get the perfect photograph of the exotic other is a familiar sight, with Native Americans a common subject.
The reverse gaze is less common. Photographing photographers photographing a pow wow. Mayan women in traditional dress behind the camera instead of in front of the camera.
And in Alex Gillespie's "Tourist Photography and the Reverse Gaze" (pdf hosted on his home institution) he describes how a Ladakhi woman in the audience of a dance performance turned the tables on a French tourist who had been "relentless[ly] photographing" her. A female tourist had offered the Ladakhi woman her own camera to turn the lens on the Frenchman, thus 'ventriloquizing the actions of tourists that she had seen so many times before'. (summary) The tourist was so discomfited that he left. Gillespie goes on to describe how this was "the only time that I saw a Ladakhi take a photograph of a tourist without the tourist requesting it" during his 12 months of fieldwork.
Partial list of readings on tourism photography from Reframing Photography: Theory and Practice.
posted by spamandkimchi (33 comments total) 42 users marked this as a favorite
I forgot to add in the aside that while American/European tourist gaze is usually normalized, the Japanese (or now Chinese) tourist with a camera hanging around his/her neck is somehow a figure of foolishness and stereotype.
posted by spamandkimchi at 7:21 PM on December 1, 2013 [18 favorites]
posted by Miko at 7:35 PM on December 1, 2013
I love photography, and photos of people making photos. I don't care how you culturally interpret them, I'm just happy to see them. Thanks!
posted by cccorlew at 7:53 PM on December 1, 2013
Really interesting stuff here. Thanks!
posted by salishsea at 8:14 PM on December 1, 2013
I think the stereotype of a fat USian in a trucker hat, shorts, white socks, running/tennis shoes and a camera he/she doesn't know how to work is just as prevalent as goofy Asian tourists, except of course for Metafilerians.
posted by Ideefixe at 8:21 PM on December 1, 2013 [4 favorites]
Pow Wow Traditions and Etiquette from the Prairie Island Indian Community.
posted by gimonca at 8:40 PM on December 1, 2013
A female tourist had offered the Ladakhi woman her own camera to turn the lens on the Frenchman, thus 'ventriloquizing the actions of tourists that she had seen so many times before'.
It says something that I was hoping for an image of this occurring...
posted by Kutsuwamushi at 8:53 PM on December 1, 2013 [3 favorites]
The high school that I work at holds a pow-wow every year and I always feel like a bit of a wang photographing the event (pics are used in the school yearbook, website etc.)
They are mostly happy/proud that somebody wants a picture of the event and their regalia.
posted by davey_darling at 9:00 PM on December 1, 2013
Anyway, I think there's some self-reflection I need to do as a tourist and my own preference for the unposed photo, no permission asked and no payment tendered. I had my first intervention in camera etiquette when I traveled to Cusco and some of the domestic Peruvian tourists wanted to take my picture. "Chinita!" I was mostly tickled that I was seen as an exotic addition to their Macchu Picchu visit.
If National Geographic trained us in a kind of glossy aesthetic approach to tourist photos, then perhaps the rise of urban street fashion photography* encouraged us to turn the lens on the "natives" of our own hometowns. That's got to be an improvement from visual anthropology as titillation (look at the bare-breasted women of the jungle tribes!).
*(Japan's Fruits magazine was the first one I noticed but as street fashion merges with portraiture, at least one critic thinks Humans of New York is another example of white guy photography)
posted by spamandkimchi at 9:18 PM on December 1, 2013
Zig Jackson (photographer of the series Indian Photographing Tourist Photographing Indian) was my photo professor in graduate school and one of my MFA thesis advisers. He is a pretty cool dude who is the first Native American to earn an MFA in Photography. All of his work is definitely worth taking a look-see, found here.
posted by ruhroh at 9:33 PM on December 1, 2013 [4 favorites]
This is interesting to me, as a fairly keen hobby photographer. I basically abhor taking photos of people I don't know, except large crowds that are more landscapes and photos of like, tennis players or whatever.
I don't really get the fetish for "street photography" that's swept the hobby in the last two years. Most of it seems to be uploading every pic you take, purposeless black-and-white coupled with bad compositions and crank the contrast to 11. It's like a spash of cold water when you see some genuine, talented, street photography.
I do empathise with the element of pursuing a common, well-done shot when travelling. You want your own tori gate, Himba tribeswoman, etc etc. But I don't know. The more "exotic" the subject is to you, the more issues there are with taking the pics. I do feel like there can be an element of autonomy-robbing that goes beyond people-as-museum-piece/visual spectacle. In that, these people don't have a choice about when they're photographed, how they're photographed. It's a pretty potent metaphor for western colonialism/exploitation in general I think.
Indeed, looking at the attitudes of the people in some of those pics (the white people), I see a generally thoughtlessness and discourtesy that tourists often bring with them in all aspects of a trip - it contains but is not limited to photography, and thus I would argue that photography, per se, is not the probem.
Basic photography 101 etiquette, mindful travel, etc. One thing these pieces don't touch on is monocultural photography that's like this. If you travel in Japan you can see lots of it - as Japanese people love domestic travelling, and if you hit up a shine or temple at the right time in autumn or spring, it's everywhere. Are they othering their own priests? Food for thought.
posted by smoke at 9:51 PM on December 1, 2013 [2 favorites]
This is so awesome.
I instantly wanted to judge the 'tourist' photographers. Then I realized that there's someone taking that picture, who could be photographed by another photographer...it's so meta, and just becomes an endless riddle about who owns the gaze. But it's totally fascinating.
It reminds me of years and years ago when I went to Pisa, Italy, as a teen and I took all these pictures of people posing for pictures while pretending to hold up the leaning tower...I thought I was so clever and original to remove them from the context of the tower and just have literally dozens of people in a photograph doing the same pose with their hands in the air (which makes no sense without the tower in the shot; they just look ridiculous.) I was the clever one because I was objective, and everyone else was participating in some kind of touristy, pedestrian ruse.
posted by chococat at 9:56 PM on December 1, 2013 [7 favorites]
For me the camera becomes a barrier to the experience. I was at a party once when I was in art school years ago and I took tons of pictures with my old film camera (pre digital days). After the party I had great images of what happened. I got great shots of everyone. But I could barely tell you what the experience of the party was outside of those shots. I was so busy creating an edited experience in my lens that I barely experienced the actual party.
So when I travel I try to lay off the pictures. I still take tons, but if I'm somewhere where something is happening I try to remember to put the camera away. An awareness of the camera and it's potential to preserve can alter what's going on. I love a nice image as much as the next person and I still like to take a ridiculous amount of pictures, but I don't want my camera altering what's going on. And I want to experience the whatever it is in traveling that is happening. The camera takes me out of that.
posted by dog food sugar at 10:43 PM on December 1, 2013 [2 favorites]
I've traveled a lot but have very few pictures of people I don't know, because of this issue. I have a really hard time taking pictures of people without feeling like I'm fetishizing some sort of exotic other. The exception to that is kids, who will, almost universally, pretty much demand that you take pictures of them. Of course, if their parents are around, I ask first, and I'd never share pictures of kids I don't know in a public setting like Facebook with or without permission.
The interesting thing is that, when I was in Southeast Asia, locals (or, more accurately, people from that country who were also on vacation) would take pictures of me all the time. Often first plopping a baby into my arms. I must be in at least half a dozen family photo albums in Thailand or Laos.
Of course, that's a bit different, because I was basically on their turf. It wasn't like someone was taking a "cultural tour" of my neighborhood and sticking their camera in my face while I was walking my dog or buying coffee. But it does point to the fact that even this critique of travel photography comes embedded with specific cultural assumptions that are Western and not necessarily universal.
posted by lunasol at 10:46 PM on December 1, 2013 [4 favorites]
Ugh. This reek more of an ugly classism (how gauche of the hoi polloi to travel everywhere with their cameras and ghastly wives) thna of genuine concern about cultural imperialism.
posted by MartinWisse at 11:40 PM on December 1, 2013 [1 favorite]
Ooh, this book looks relevant. The Framed World: Tourism, Tourists and Photography. The publisher has the first chapter up as a pdf, which upon first skim, looks like a great introduction to the topic of tourist photography.
In chapter 2, Matthew Martinez and Patricia Albers offer a diachronic study of the visual techniques, ideologies and power relationships underlying the touristic enchantment, imaging and imagining of Pueblo people in Northern New Mexico... While the tropes of the romantic wilderness, and of a Western frontier continued to underscore tourism representations of the Pueblo people during the twentieth and into the twenty first century, a shift in style and authorship takes place. With the progressive social and political emancipation of the Pueblo people, this is translated by the use of more 'ennobling' photographic styles and, more importantly, the taking of control by the Pueblos over the production of their visual representations. By restricting tourist access to certain ceremonies and social spaces, and by producing and authoring their own guidebooks, the Pueblos increasingly assert control over the way they are represented within the tourism realm. At the same time, they actively promote alternative visions of themselves as people participating in contemporary history, conscious of the future.
Janet Hoskins explores in chapter 8, the colonial stereotype of the native who 'fears that the camera will steal his soul' and the alternative phantasm of 'global vampirism', both corresponding to a discursive formation in colonial thought.
posted by spamandkimchi at 1:43 AM on December 2, 2013 [1 favorite]
That's actually an example of the point of Gillespie's article – from the extract:
In this article, I argue that tourists, when they feel the reverse gaze, are not taking the actual perspective of Ladakhis, but are instead attributing their own critical attitudes toward other tourist photographers to the Ladakhi photographee. Thus, the discomfort that a tourist in Ladakh feels when caught in the reverse gaze, I argue, is a product of that tourist being positioned in the same disparaging way as that tourist usually positions other tourist photographers.
In other words, you're seeing the critique as classist because you believe, whether you're entirely aware of it or not, that tourists photographing "the exotic other" is classist. See also: psychological projection. As someone who is often assumed to be a somewhat-less-but-still-exotic other (a Frenchwoman), I can tell you that speaking American-accented English with tourists who ask me to please speak my native French so they can hear my accent and practice their own French, is not classist (or as it's often deemed by a certain group of tourists, "rude"), it's a reality based on multiple layers of assumptions butting heads. The reality here is that the exotic other is neither exotic nor other, they are human, and as humans, they have their own agency. Foisting one's expectations of what "exotic" should mean and then foisting another layer of judgment (classist, rude, etc.) when that expected behavior is not performed, is all sorts of messed up. This explores that nicely.
posted by fraula at 4:09 AM on December 2, 2013 [4 favorites]
People are going to be in pictures when you take them, because people are everywhere. I try to only take pictures of people if it was more about the activity than the people, though-- like ox cart drivers in Nicaragua or a fish market in El Salvador. Or something that seemed kind of important to capture, like an armed guard at a gas station pump, or a taxi driver strike.
That said, I let some Mayan kids play with my ipad for 30 minutes, and I still have like 100 pictures they took of themselves with all the weird filters in photobooth.
posted by empath at 6:09 AM on December 2, 2013 [1 favorite]
For me the camera becomes a barrier to the experience.
I feel this way as well. I almost never take photos, and try to experience and remember instead. It's a tradeoff, definitely -- there are many places and people I would love to have photos of, but whenever I watch people interact more with their cameras than the world around them I am glad not to be doing that.
posted by Dip Flash at 6:09 AM on December 2, 2013
However, as someone who takes photos of strangers for a living and who spends a lot of time among other photographer, there is one immutable fact of photography: People taking pictures always look like complete idiots.
posted by msbrauer at 6:29 AM on December 2, 2013 [3 favorites]
I had the odd experience while holidaying in Singapore (bleach-blonde hair, bright pink/purple streak in the front) of having an Indian woman wanting her photo taken with me. I was so embarrassed and flustered that the photo probably looked terrible, and I had this idea in my head of her going home and sharing the photo with her friends, "This was a white lady I met at the mall!"
I didn't like photographing people before; I like it less now.
posted by tracicle at 6:31 AM on December 2, 2013
Oh, and Jörg Brüggemann's Same Same But Different is one of my favorite photo essays on the subject of tourism.
Excellent post. I still like Susan Sontag's (oldie but goodie) On Photography as a starting point. She talks about tourists on pages 9 and 10 of "In Plato's Cave".
Photographs will offer indisputable evidence that the trip was made, the program was carried out, that fun was had.
Later she writes about how the act of photography gives one control of an unknown situation. It is interesting to think about how losing control, under the gaze of another, takes away the sense of stability (and work, and purpose) that the camera previously gave the person controlling it.
Traveling in northern India, especially less touristy places like say, Chandighar, I (blonde, white(ish) skin) had this happen to me. It was an extremely uncomfortable position to be in.
posted by Cuke at 9:13 AM on December 2, 2013 [1 favorite]
When I travel, I often treat photography like a visual diary. I am trying not so much to capture a preconcieved image but to make, in some way, the idea "I was here," and give me an aide-memoire for how it felt to stand there, how it sounded, the weather, the people, the scents, the activities. It may be true that there are millions of other, better pictures of that arch or that fountain or that festival, but there are only a few that are mine, that represent my coming into contact with that thing or event or person at that specific point in time.
posted by Miko at 9:17 AM on December 2, 2013
Very interesting. I spent a few years living/working in rural South Africa, where people are exoticized in a really strange way sometimes by tourists and their countrymen. I struggled with this question a lot and ultimately I'd try to only take pictures of performers, people I knew personally, etc.
But then I'd also look around and see all these people snapping covert photos of me with their camera phones. A nice reminder of our similarities.
Also whenever I took a picture, people presumed that I would print it out and give them a copy. Because most photographers were local people who sold pictures as a side business. Very interesting dynamic all around.
There's so much politics tied up with photography! Fascinating stuff.
posted by Solon and Thanks at 9:28 AM on December 2, 2013 [1 favorite]
Most of my travel pics are full of architectural details, some streetscapes, some landscapes, and as few individual people as possible, except maybe for those who are actually performing. I like pictures of loved ones having fun, but strangers, even beautiful ones, I don't feel comfortable photographing. It feels so rude.
There is also that thing that happens when you're around lots of tourists where one person starts frantically taking pictures of something, then everyone does, because OMG I might miss something! The internet has helped lots with this; I can absolutely say there is a very good chance that a picture of whatever already exists and I don't need one for myself.
posted by emjaybee at 9:33 AM on December 2, 2013
Later she writes about how the act of photography gives one control of an unknown situation.
This is a strong point. I see putting your face behind a camera as a way to remove yourself from the situation, to a degree, as if to say "I'm not a participant but just an observer." It eliminates the possibility of being unwillingly involved in the action. I know I've often used photography as an way to distance myself from an situation when I was uncomfortable and dreaded being pulled in. If you're interested in photography as a hobby, it's hard to know when you're being reasonably productive and when you're using it as a way to disconnect from the moment.
posted by Solon and Thanks at 9:38 AM on December 2, 2013 [2 favorites]
If you travel in Japan you can see lots of it - as Japanese people love domestic travelling, and if you hit up a shine or temple at the right time in autumn or spring, it's everywhere. Are they othering their own priests? Food for thought.
This is true, in fact at a lot of places I visited in Japan there would be groups of Japanese students who would ask me to take pictures of them and their friends and then pose in pictures with them cuz I'm a big weird white guy. Japan may not be the best example of this phenomenon, except maybe the ubiquitous "I'm on a crowded-ass subway" selfie?
posted by Hoopo at 10:25 AM on December 2, 2013
One of the things that I enjoy doing as a tourist is taking pictures of other photographers taking pictures. Well, one of the things I enjoy as a photographer generally. I do it at shows and at news conferences (those are especially good for wide shots that show how little is actually happening despite the attention). I tend to think of it as a little self-deprecating comment on the mediated experience.
posted by klangklangston at 12:37 PM on December 2, 2013 [1 favorite]
Do you ever get tired of all this meta-analysis? Anybody we don't know personally becomes an "other."
on preview, what chococat and dog food sugar said. No one is truly objective, who watches the watchers etc....
posted by St. Peepsburg at 12:45 PM on December 2, 2013
Anybody we don't know personally becomes an "other."
But you need to recognize this human tendency in order to intentionally counteract it.
posted by Miko at 2:25 PM on December 2, 2013 [1 favorite]
For me taking photographs is a different way to connect to a place or an experience, and being somewhere with a camera and an intent to shoot kind of drives to look at and see things differently in a way that can deepen the experience. And for me that's actually the only justification for taking my own picture of a site/sight that's been photographed previously and better and is freely available in a hundred different forms.
That said, it seems to me that taking pictures of people you don't know (and who don't ask you to) is literally treating people as visual props for your (and maybe others') aesthetic experience and a big Granny Weatherwax no no. It's still hard to resist when I see something so... picturesque and I want to capture it and retain it.
posted by Salamandrous at 11:27 AM on December 3, 2013 [1 favorite]
"For me taking photographs is a different way to connect to a place or an experience, and being somewhere with a camera and an intent to shoot kind of drives to look at and see things differently in a way that can deepen the experience. And for me that's actually the only justification for taking my own picture of a site/sight that's been photographed previously and better and is freely available in a hundred different forms. "
For me, it's often a way of processing what I'm seeing, and often a way of quieting down a riot of sensation by consciously ordering it and composing it.
"That said, it seems to me that taking pictures of people you don't know (and who don't ask you to) is literally treating people as visual props for your (and maybe others') aesthetic experience and a big Granny Weatherwax no no. It's still hard to resist when I see something so... picturesque and I want to capture it and retain it."
I think it's a lot more complicated than that. There are a lot of power dynamics, intention, cultural norms… just a lot to deal with when taking any given picture. I do a lot of street photography, and try to clearly communicate with people about taking their pictures (it's something that I've worked harder on, especially with folks who could feel exploited), but when I take a shot like this (self-link tumblr), waking up the sleeping homeless guy in the park to get his consent first is different from asking this guy to take a shot of him in costume. (Other shots, some with explicit consent, others without: no, no, yes, no, no, yes, yes, no, no, yes, no. All self-links, and I chose ones that are mostly "exotic" street shots.) I also tend to feel like in most situations, if someone is in public, it's OK to take their picture, and that the ethical concerns are possible vetoes on that inherently permissible action.
posted by klangklangston at 12:07 PM on December 3, 2013
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touristgaze


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Q: Make Woocommerce Product Subcategory small boxes without image I work on small home project, and removed images from category/subcategory to be shown into shop page. I corrected blocks to be small, into shop page, but when go to category that have subcategory inside blocks are much larger then others.. So i want all blocks to be the same size. For example into shop page:

and into subcategory page:

i tryed to fix that blocs via this CSS:
.fusion-blog-layout-grid .post .fusion-post-wrapper, .fusion-blog-layout-timeline .post, .fusion-portfolio.fusion-portfolio-boxed .fusion-portfolio-content-wrapper, .products li.product {
height:120px;
}

but makes all blocks smaller including products. So any tip how to fix this?

A: Change your style css with follows -
.fusion-blog-layout-grid .post .fusion-post-wrapper, .fusion-blog-layout-timeline .post, .fusion-portfolio.fusion-portfolio-boxed .fusion-portfolio-content-wrapper, .products li.product-category.product {
height:120px;
}


What Do Success Profiles Look Like?
Developing a search plan from a job description (JD) or a few words in an email can be difficult, especially if it's a challenging skill set or one you haven't sourced for in the past.
A while back, I had a project to source a Corn Seed Scientist, someone who develops drought tolerant corn seeds in a laboratory (actually they wanted more than one). They had to be based in South East Asia (Thailand, India, Philippines etc.).
Now, as if looking for Corn Seed Scientist wasn't challenging enough, having to find a group of them who is located in or is willing to relocate to South East Asia certainly made this a challenge!
What I'm trying to say is, if you have to search for a Corn Seed Scientist online, don't rely on a position description or a few words in an email because you will be setting yourself up for failure.
So what does a Success profile give you that a job description or a few words in an email in many cases won't?
Your Success profile should clearly define the level and depth of skills and experience a candidate needs to possess in order to be able to perform the role at the level required. You should also agree with your hiring manager on a scoring framework so that you can score each candidate against a set criteria. This will enable you to gauge the Success profile fit.
We ran a global sourcing project to identify a list of potential professors in the digital media space for a leading Australian University.
This may not sound like a very difficult search, as academics are highly visible online. However, when you are dealing with an educated group of academics who are worried about career suicide, and who are extremely detailed and conservative, you need to paint a very clear picture when presenting a list of potential candidates.
Having a Success profile and agreeing on a scoring framework will help you achieve sourcing success.


Help us Stuff The Bus with school supplies to support Trent Park Elementary School this fall! We will be collecting new School Supplies (pencils, pens, paper, notebooks, Crayons, markers, glues sticks, tissue, scissors, book bags, and more) on Sunday August 19th. Lets help make this the best year ever for our local School System.


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Photoresist market snapshot for semiconductor fab
June 23, 2011 — Photoresist revenues will grow at about 5% for the next several years, says Techcet Group. Consolidation is long overdue among resist suppliers, and EUV may be the last straw. For materials — resins, PACs and PAGs — supply is abundant.
2010 photoresist sales climbed to 93% of the 2007 peak, says Techcet Group, which sees complete post-recession recovery for the photoresist market in 2011. Revenues are expected to continue to grow at 4.7% over the next 3 years.
Flash memory is driving demand for 193nm immersion lithography with double patterning. DRAM and microprocessors are also influencing the lithography market. About 40% of all semiconductor resist revenue earned is for 193nm (ArF) dry and immersion patterning, even though 248nm and i-line resists are used for most layers produced. This is the result of ArF's price hike: 3-6 times more expensive than 248nm and i-line resists.
There continues to be an unsustainably high number of suppliers in the resist market,
with at least nine manufacturers offering standard and advanced photoresist products. JSR and TOK share 46% of the global market, with Dow approaching 20% while others hold shares of 8% or less. With a surge in R&D expenses expected as EUV becomes the primary focus at the leading edge, it seems likely that some consolidation is due.
Resist manufacturers are sustained by an abundant supply of resins, PACs and PAGs despite the declining number of materials suppliers. Worldwide, there are only four basic resin suppliers, three of them in Japan. Many solvents and other materials used in the photolithographic process are no longer made in the U.S.
This includes solvents such as IPA and other critical chemistries used for carriers and processes in the semiconductor manufacturing world.
The photoresist ancillary markets, which include strippers/removers, developers, ARCs
and other ancillaries (EBR, HMDS, specialty solvents) are expected to reach a combined $1.22B this year, up 16% over 2009.
Techcet's report, "Photoresists and Photoresist Ancillaries, Semiconductor Critical Materials Report 2011," covers market analysis, critical supply chain issues and technical trends, and profiles and updates for the eight major photoresist suppliers to the global semiconductor industry.
Techcet Group LLC specializes in technical trend analysis and market analysis for the semiconductor, silicon, PV and related electronics industries. The company has been responsible for producing the International Sematech Critical Material Reports since 2001. For additional information about these reports, www.techcet.com.
Also read: The future of lithography
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2nd ARUCAD High School Design Competition Awards Night
By hughjarss on August 20, 2021
The winners of the High School Design Competition, organised for the second time this year by Arkın Creative Arts and Design University (ARUCAD), received their awards at a special ceremony held at ARUCAD Workshops Building on Tuesday 17th August in the presence of their families. The theme of the Contest this year was "The World After COVID 19".
Burak Zafer Kibar from Girne Anafartalar High School took the first place, Süleyman Şehit from Nicosia Turkish High School took the second place, Ekatarina Vardar from the English School of Kyrenia and Güllü Güloğlan from Değirmenlik High School received the Erbil Arkın Special Award. The contestants who won the first three awards were presented with full scholarship and monetary awards from ARUCAD. In addition, contributions were made to the art workshops of the winning contestants' high schools in order to meet their needs.
The jury consisted of: Erbil Arkın, Founder of ARUCAD, Dean of Faculty of Arts Prof. Dr. Nur Onat, Professor of Plastic Arts Department Dr. M. Turan Aksoy, Head of Visual Communication Design Department Assoc. Dr. Nuran Öze, Head of Architecture Department Assist. Assoc. Dr. Cem Yardımcı and Head of Plastic Arts Department Assist. Assoc. Dr. By Eser Keçeci
After the first three competition winners were determined a selection was made by the jury from the designs of the other participants and submitted to the vote for the social media awards. As a result of the voting, Sibel Çapar from Değirmenlik High School came first in social media, Derviş Eren Şimşek from Nicosia Anatolian Fine Arts High School came in second in social media, and Naz Irmak Göksan came in third in social media.
At the awards night, where the designs sent by the competitors were exhibited, Erbil Arkın, the Founder of ARUCAD, expressed his happiness to be together with young talents and their families, and gave the following message to the young artists: "Encourage the young to participate. Because our love for art continues not just when we are young, but throughout our whole lives. And again, let us know that civilisation begins with art and will be remembered by the art we leave behind."
Speaking at the ceremony, ARUCAD Rector Prof. Dr. Asım Vehbi said, "Both on the Island and in the world, we are going through difficult times. For this reason, we chose the theme of the competition as 'The World After COVID-19'. Our jury members and Mr. Erbil Arkın carefully evaluated the submissions. We are only able to host the winners here tonight, but we welcome other students who have the courage to participate in the competition in the coming days, and we hope to see them all among us at ARUCAD in the future. We would like to thank our dear teachers for encouraging their students and valuable families for encouraging their children to art. As ARUCAD, we are making this competition traditional and we will continue it with your increasing participation every year."
After the certificate presentation ceremony, the award night continued with a cocktail reception attended by talented young people, parents and ARUCAD artist academics.
Source (Turkish) : Arkın Creative Arts and Design University (ARUCAD)
Categories: Education, University life
Tagged as: Arkin University (ARUCAD), Erbil Arkin, High School Design Competition, North Cyprus, Prof. Dr Asim Vehbi, TRNC
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Home Community Roxburgh kids village gone for good.
Roxburgh kids village gone for good.
Simon Henderson
Vacant village . . . Children's voices may never return to Roxburgh's children's camp. PHOTO: SIMON HENDERSON
The Roxburgh's children's village will not reopen in any capacity as Stand Children's Services hands back administration of the site to the Department of Conservation (Doc).
Stand chief executive Dr Fiona Inkpen said the trauma and treatment service offered at the camp was closed in July because of a shortfall in funding.
But when researching alternative possibilities for the camp Stand discovered it was only the administrator of the land, not the owner.
"It is because it is health camp reserve, so it has a reserve status and so we don't actually own the land – we have been the administrators of the land."
"We didn't fully understand that until recently."
Central Otago Mayor Tim Cadogan said news that Stand was handing back administration of Roxburgh children's village to Doc would come as "the final blow to those who had held hope that the village may have one day reopened."
"It is a sad day for Roxburgh and for the children of the South and is the somewhat inevitable conclusion to the despicable decision by Oranga Tamariki, condoned by Minister Tracey Martin, not to give the increased funding required to keep the village operating."
However the return of the land to Doc administration opened the door to conversations about how the former children's camp might be able to be used, Mr Cadogan said.
positive outcome for Roxburgh than a mothballed situation such as we have had, although nothing will replace the village in the hearts and minds of the people of Central and the greater South."
Doc statutory land management adviser Ken Stewart said Doc was at present processing Stand's request and would be contacting the Central Otago District Council to see if it might have any suitable alternative public community use before a decision was made.
Dr Inkpen said there were around five to six staff still working from the village site, who would be relocated to another office in the region.
"We are probably looking at establishing our regional office in Alexandra."
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