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"Breathe" offers a work of fiction in which Reece seeks to interweave elements of supernatural happenings and suspense into a descriptive narrative. Although the main character, Eric, is a vampire, the manuscript is not completely dedicated to that plot. Four main characters, including Eric, are introduced with "plot building, sub-stories" of their own.
As the first story, "In Life or Death", unfolds, Eric is introduced as a firefighter preparing to leave the Midwest for a vacation in New Orleans. It is there that he discovers a race of beings thought only to exist in folklore. He has been chosen to lead them.
The second story, "The Worst in Life", describes Kyle as a troubled new army recruit, not caring about himself, or his fellow infantryman. With the advent of an invasion by his unit, down to Honduras, Kyle realizes how much he cares for life, only to be stopped short of enjoying it.
In "Life Guard", the third story, Brad, is briefly mentioned as an ex-cop, now working as a frustrated security guard. The short story introduces his character only for further mention in the manuscript.
"The Branches of Life" follows, introducing Tim, into the storyline. Tim is a well to do college student with a pull towards Paganism. This pull becomes increasingly stronger as Tim becomes more focused on his destiny; A destiny that could decide the fate of the world.
The final story, "Life Lines", reintroduces the other characters, Eric, Kyle, Brad, and Tim, while they come to grips with what seems to be a battle of the supernatural. With a plot twist near the end of the manuscript, the door is left wide open for a part two of "Breathe", which will be titled "Exhalation", in the near future.
In "Breathe", Reece tries to frame his chronicle with descriptions of the characters' inner thoughts and emotions, and with depictions of settings, supporting characters, and events.
"Breathe" Excerpt:
click here to download your free "Breathe" excerpt.
Closing the gap between writer and author


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GDC Technology is a leading manufacturer and provider of cinema equipment and solutions including cinema automation systems, cinema servers, cinema enterprise software, cinema storage, cinema audio solutions, and cinema projectors that meet the highly demanding performance, security and reliability requirements established by motion picture studios.
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USHIO manufactures the highest-quality digital cinema projection bulbs available. USHIO xenon short-arc lamps boast a spectrum that is closer to natural sunlight than that of any other artificial light source. In addition to commercializing products for search and spot lights, which demand precise, powerful white beam lamps, USHIO became the first in the world to develop a xenon short-arc lamp exclusively for large scale, theater-use movie projectors.
Ushio America Home Page
Christie is a leader in visual solutions for world-class organizations, offering diverse applications for business, entertainment, and industry. A leading innovator in film projection since 1929 and a pioneer in projection systems since 1979, Christie has established a global reputation as a total service provider and the world's single source manufacturer of a variety of display technologies and solutions. Christie offers comprehensive solutions for cinema, large audience venues, control rooms, business presentations, training facilities, 3D and Virtual Reality, simulation and education as well as industrial and government environments.
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QSC is the global leader in cinema signal processing, power amplifiers, and loudspeakers for all applications within today's modern cinema entertainment center. Our "SystemSynergy" design approach ensures that the entire system, from source to sound, delivers an audio experience as intended by the filmmakers. Beyond cinema audio for the movies, QSC also provides complete audio systems with network control and monitoring for other areas in the cinema entertainment complex, such as lobbies, concession, food service, arcades, and bowling centers.
QSC, LLC Home Page
Arts Alliance Media (AAM) is the global leader in digital cinema software and services, offering a wide range of solutions which help exhibitors to reduce costs, increase efficiency, and improve the cinematic experience for their customers.
AAM's extensive portfolio, including Producer, Screenwriter, Lifeguard, MX4D, and HeyLED, touches over 42,000 screens worldwide, while their network operations centre (NOC) supports several thousand screens.
AAM is part of the Luxin-Rio Group, the world's foremost cinema technologies provider.
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welcome to Cinionic
welcome to wow
These days, it's no longer just about technology, it's about experiences – WOW experiences. We are a team of cinema and technology experts from around the globe – Barco, ALPD, and CGS – who help you in creating surprising experiences. We combine innovative cinema technologies with our unique and comprehensive service models to guarantee your peace of mind. So you can focus on new ways to surprise and delight your customers for years to come. Together, we engage to deliver a world-class cinema experience - the one you've been waiting for.
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SHARP NEC Display Solutions' Digital Cinema Projector Series offers the most comprehensive digital cinema solution on the market today. These 3D-capable models enable theaters to deliver stunning digital images regardless of screen size, while simplifying theater management and reducing costs. All of SHARP NEC's digital cinema projectors meet DCI specifications for performance and reliability, meeting the requirements of today's cinema industry. SHARP NEC also offers full digital signage solutions, highlighted by its award-winning 32"-98" LCD displays, multimedia projectors and desktop monitors for lobbies, concessions and concourses.
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Strong Cinema, a segment of Ballantyne Strong, Inc., consists of:
Strong Technical Services (STS) that offers a comprehensive suite of cinema-focused services, including installation, maintenance, and technical support, to exhibitors throughout the United States.
Strong/MDI Screen Systems Inc. one of the world's leading cinema screen manufacturers that produces and sells specialty screens, screen support structures, and other film exhibition equipment for customers globally.
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The International Cinema Technology Association is a global network of professionals in the motion picture industry. Members of the ICTA are those companies that manufacture, service and create the equipment that goes into movie theatres. Our members are on the cutting edge of new technologies and have been the driving force in digital, 3D, immersive sound systems, high frame rates and lasers. The ICTA promotes technological advancements in the motion picture industry through educational seminars and programs. The ICTA logo stands for excellence and professionalism and when on a member's letterhead signifies that the company is reliable, competent and committed.
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The Inter-Society for the Enhancement of Cinema Presentation, Inc. promotes interactive dialogue and information exchange between cinema-related entities with the goal of resolving issues affecting the overall cinema presentation. Founded in 1978 by Eastman Kodak VP Ken Mason, membership is composed of its four charter trade organizations - International Cinema Technology Association (ICTA), the Motion Picture Association of America (MPAA), the National Association of Theatre Owners (NATO), and the Society of Motion Picture and Television Engineers (SMPTE) - along with over 40 member companies, made up of trade organizations, motion picture studios, exhibition companies, manufacturers, technical consultants, and other industry stakeholders.
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The EDCF is a not-for-profit voluntary organisation that aims to act as a "Forum" to discuss key issues surrounding Digital Cinema in Europe. The purpose of EDCF is to provide a basis of common understanding across all European territories of the business and technical matters of digital cinema.
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For more than a century, the people of SMPTE (pronounced "simp-tee") have sorted out the details of many significant advances in media and entertainment technology, from the introduction of "talkies" and color television to HD and UHD (4K, 8K) TV. Since its founding in 1916, SMPTE has received an Oscar® and multiple Emmy® Awards for its work in advancing moving-imagery engineering across the industry.
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The Union Internationale des Cinémas/International Union of Cinemas (UNIC) represents the interests of cinema trade associations and cinema operators covering 37 countries in Europe and neighboring regions.
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CineAsia 2022 has been scheduled for Dec 5-8, 2022 in Bangkok. Check links for more information. The CineAsia trade show is where cinema exhibition and distribution professional come to do business and network. The convention will also feature product presentations and screenings of major upcoming films, exclusive sponsored events, and seminars relating to current and future trends happening across the industry. Additional information on CineAsia can be found at www.cineasia.com.
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ShowEast 2022 scheduled to be held in Miami from Oct 17-20, 2022 at Fontainebleau Miami Beach, features a range of exclusive product presentations and screenings from both Independent and Major Hollywood studios to help you make important programming decisions for the 4th quarter box office. Powerhouse seminars offer valuable insight from top executives on the latest industry trends and concerns; while our EXPO experience offers delegates a glance at the latest and best technologies, entertainment, services, comforts, and conveniences to make their theatres must-attend destinations. ShowEast's International program draws a large contingency of Latin and South American delegates – more than any other convention of its kind. A one and a half day program dedicated to the latest content and concerns and within this rising region.
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CinemaCon 2023 has been scheduled for 24-27 April 2023 at Caesars Palace in Las Vegas. Check the links below for the latest information.
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CineEurope 2022, has been scheduled for June 20-23, 2022 in Barcelona. CineEurope promises to bring you another year with the very best in exclusive studio screenings and product presentations, cinematic technologies and innovations and educational seminars to keep your business on top of industry trends.
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James Cameron's Lightstorm Entertainment to Shoot Avatar Sequels on Sony's Venice Camera
New CineAlta Motion Picture System Chosen for Principal Photography on all-Sony Imaging Production; Unique Sony Extension System Enables Capturing What Used to be Impossible
James Cameron's Lightstorm Entertainment will use Sony's new VENICE motion picture camera system for principal photography on the upcoming "Avatar" SEQUELS.
The first "Avatar" movie, released in 2009 and also shot on Sony professional cameras, shattered box office records with its compelling story, immersive 3D and stunning visuals. These newest entries in the franchise will up the visual ante significantly with enhanced special effects, more elaborate production requirements and challenging live action sequences.
According to Lightstorm, the Sony VENICE camera system was the right choice to continue the Avatar storyline and give audiences an entirely new experience.
"The VENICE camera delivers the most astonishing image I've ever seen," said Director James Cameron, "The blacks are rich, deep and velvety, the highlights and source lights are amazingly bright. For the first time, we truly appreciate what the term High Dynamic Range means."
While principal photography on the "Avatar" SEQUELS using VENICE is expected to begin first quarter of 2019, performance capture is underway now. The process is supported by a variety of additional Sony imaging technologies including multiple Alpha mirrorless interchangeable lens cameras, PXW-Z450 and PXW-320 camcorders and the compact RX0 camera. The production is also using Sony's F55 and Alpha cameras to record behind-the-scenes footage and stills.
"I've enjoyed shooting with Sony CineAlta cameras for 19 years, but I'm really looking forward to shooting Avatar 2 and 3 with the new VENICE camera," Cameron added.
Sony worked closely with Lightstorm to customize VENICE for its specific needs, with regular meetings taking place between James Cameron, his production teams and Sony's engineering group.
"Our goal in this ongoing co-development collaboration is to enable Lightstorm to execute their vision and deliver their unique approach to storytelling," said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics. "For Avatar, VENICE will be put to use in very demanding environments. The camera's Full Frame sensor gives them complete flexibility and freedom to choose aspect ratios, various bokeh and lenses that match their shooting requirements."
The Sony-Lightstorm collaboration began in 1999, resulting in the development of a unique extension system allowing the camera body to detach from the actual image sensor block. A similar approach has been adopted for VENICE, with each sensor and camera body connected by a cable at distances of up to 20 feet with no degradation in image quality. For the upcoming "Avatar" SEQUELS, multiple VENICE cameras will be paired in various 3D stereoscopic rigs. Using the new Sony cabling system, the only part of the VENICE carried on the rig will be the image sensor optical blocks, significantly reducing on-board camera weight to about three pounds per sensor block. By lowering the weight and improving ergonomics, Cameron and the Lightstorm team will have the ability to shoot with greater flexibility and freedom.
"This new extension system is a perfect example of listening to our customers, gathering strong and consistent feedback, and then building that input into our product development," added Peter Crithary, marketing manager, motion picture cameras, at Sony. "The 'Avatar' SEQUELS will be among the first feature films to use the new VENICE Extension, but it also has tremendous potential for wider use with handheld Steadicams, drones and gimbals, and remote mounting in confined places."
For more information on the Sony VENICE camera system, visit sony.com/VENICE.
About Sony Digital Cinema:
Sony Digital Cinema combines a full range of Sony technologies, alternative content offerings, training and service to provide a broad range of solutions for exhibitors. The world's leading manufacturer of commercially available 4K resolution digital cinema projection systems, the group also offers Sony's TMS (theatre management system); digital signage hardware, software and content development; security systems and Network Operations Centre (NOC) services for the exhibition community.
Sony Digital Cinema Directory page
About Sony Corporation: Sony Corporation Directory page
About Sony Electronics, Inc.: Sony Electronics' Professional Solutions of America group develops and manufactures video and audio technologies for a range of professional applications. These include broadcast television and motion picture production, live event production, event videography, ENG/EFP, digital cinematography, digital cinema, videoconferencing, medical, visual imaging, digital signage, remote system diagnostics and monitoring, and IP surveillance and security. Sony professional technologies are used in market segments including houses of worship, government, healthcare, education, and hospitality, among others. Sony Electronics, Inc. Directory page
Sony Digital Cinema () Sony Corporation (Tokyo) Sony Electronics, Inc. (San Diego)
More Sony Digital Cinema News:
Oct 2, 2019 Alamo Drafthouse's New Colorado Location is the Latest to Feature Sony's Powerful 4K Laser Projection Technology
Sep 23, 2019 Sony Digital Cinema Expands Footprint with Galaxy Theatres
Aug 14, 2019 Star Cinema Grill Expands Adoption of Sony 4K Laser Projection to Outfit Two New Locations in Texas
Apr 2, 2019 UA Galaxy Cinemas Redefines Movie Magic
Mar 27, 2019 Sony Launches the First Sony Digital Cinema, Demonstrating its Commitment to Enhancing Premium Theatrical Experiences
Feb 13, 2019 Sony Announces the World Wide Launch of Sony Digital Cinema Premium Large-format Auditorium at Galaxy Theatres' Las Vegas Location
Feb 12, 2019 Sony VENICE used to capture latest Keira Knightley feature, 'Official Secrets'
More Sony Corporation News:
Jun 1, 2018 Sony Adding Powerful New Features and Capabilities to the VENICE Full-Frame Motion Picture Camera System
More Sony Electronics News:
Mar 27, 2018 Bob Raposo Joins Sony Electronics as Head of Theater Business
Sep 6, 2017 Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System
Oct 1, 2013 Sony Electronics Completes Sale of Convergent Corporation
Apr 8, 2013 Sony Goes Beyond Definition at NAB 2013
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text:
John Cunningham Geikie
John Cunningham Geikie (1824 – 1906) was a Scottish-born minister and author, primarily active first in Toronto, Canada, and then in England.
Step by step, He had raised their conceptions of Him nearer the unspeakable grandeur of His true nature and work. At first the Teacher, He had, after a time, by gradual disclosures, revealed Himself as the Son of God veiled in the form of man; and, now, since His crucifixion and resurrection, He had taught them to see in Him the Messiah, exalted to immortal and Divine majesty, as the conqueror of Death and the Lord of all.
The Life and Words of Christ (1886), p. 607.
Dictionary of Burning Words of Brilliant Writers (1895)[edit]
Quotes reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895).
Poor shepherdless sheep! it was His delight, as the Good Shepherd, to lead them to rich pastures; and as they sat and stood around Him, they forgot their bodily wants in the beauty and power of His words.
But now, the sounds of infancy, always nearest the heart, and sure to come to the lips in our deepest emotion, returned in His anguish; and in words which He had learned at His mother's knee, His heart uttered its last wail — "Eloi! Eloi! lama sabachthani?" "My God! My God! why hast Thou forsaken me?"
A moment more, and all was over. The cloud had passed as suddenly as it rose. Far and wide, over the vanquished throngs of His enemies, with a loud voice, as if uttering His shout of eternal victory before entering into His glory, He cried, " IT is FINISHED! " Then, more gently, came the words, "Father, into Thy hands I commend my spirit." A moment more, and there arose a great cry, as of mortal agony; the head fell. He was dead.
At Toulon, Napoleon, looking out of the batteries, drew back a step to let some one take his place. The next moment the new arrived was killed. That step brought the French Empire, and made possible the bloody roll of its victories and defeats. The rout at Waterloo turned on a shower of rain hindering Grouchy's advance. The resolution of a moment, with some men, has been the turning-point of infinite issues to a world.
P. 387.
An undivided heart, which worships God alone, and trusts Him as it should, is raised above anxiety for earthly wants.
Biography of John Cunningham Geikie
Retrieved from "https://en.wikiquote.org/w/index.php?title=John_Cunningham_Geikie&oldid=2367202"
People from Edinburgh


You're at a big scene, just nearing the end of a chapter. Your voice is on point, your material's spilling out faster than you can move your fingers to type it. And you see your deadline on the horizon and you think it is entirely possible you will even beat it.
Is your heart beating too fast? Are you aware of the days passing and can't stop thinking of all the time you don't have?
That's funny. Your ankles are itching. Now behind your ears. Now your sides. Your fingers feel like they're swelling up. Oh crap maybe they are.
Great job! You've just given yourself a solid case of nervous hives.
Yes, folks, I am allergic to my life. I've been on Benadryl, which helps, but guess what? It also tends to put you to sleep so you're too tired to write. NOT HAPPY.
I called my mom, as I always do when I'm sick (raise your hand if you continue to call your mom when you're sick!). My mom gave me good advice. Plus, she wants me to take a break today, so I am. I'll call the doctor tomorrow if this continues. Maybe I am allergic to something—I have no idea. Then again, I once got (huge, giant!) hives on my mom's wedding day because I had some buried anxiety about it, so this is not out of line for me. So annoyed at myself right now, you have no idea.
Ever wonder how many novels you have in you? Sometimes I'm sitting on the subway, watching the stations pass and hoping I get to work on time, and a novel I'd forgotten I wanted to write bubbles up and buzzes around my ears, trying to get my attention. A new title will come, a new plot twist. A character's name will emerge. An image that belongs to that unwritten novel and that unwritten novel alone is clear as day on the subway bench across from me and I'm almost reluctant to leave the train, for fear I'll walk up the stairs and hit the surface streets and forget it forever.
You can write it down, but it's not the same as seeing it in full-focus, in that moment. It's an immediacy that I have a hard time finding my way back to.
How many unwritten novels are in me at the moment? I'm counting… OMG (yes, this deserves an OMG), I've got nine.
Statistics: They're spread out over the ages—four are probably upper YA, though two of those could be crossover, two are tween/middle-grade, and three desperately want to be taken seriously as literary fiction. They're focused in place: three take place in New York City, though in different time periods, and all the rest are scattered throughout the Hudson Valley of upstate New York, where I'm from. All are about women or girls. Not all are in first-person, though most might be. They all have arguments in their favor. They're fighting one another right now, to see who's up next.
It's dangerous, to think of a future novel when your present novel is not yet done. Later, I tell the future novels, please wait for later.
So how many unwritten novels do you have swimming around in you today?
How do other people write novels? I'm at that point of the novel where I'm so deep in I must keep going as I have been, but I wonder: Am I doing it right?
Is there a "right" way?
This isn't my first novel, but it feels like my first novel.
This is Novel #7. But it feels fresher than the others. It feels real. It feels good. It feels, I don't know how or why, like I've skipped back in time and started over and am writing what truly is Novel #1. Weird.
I had an outline. I've made changes that drastically challenge the outline, I've taken notes from my editor and altered a lot in the story to address them. So many changes to what had been the outline that it's best now to not even look at the outline as I write. And anyway, I remember—I don't seem to need the reminders. I'll talk more about the outline later, much later, after I've finished this draft and my editor has seen it. Because at this point I don't know if the outline was a help or a hindrance, a building block or a road block, a leaping-off point or— I'll take stock later, see how it really went then.
The fun part of writing a novel is writing the novel, anyway, not outlining it.
Ahead of me is this sea of blank pages, I can see them, miles of them, expressionless, not giving me a hint of how it'll be.
How do other writers find their way to "The End"? In the past, I've advocated actually leaping forward and writing the final chapter, so you know where you'll end up. I've done that with this novel, almost, in my so-called outline, so I know the place, the room, the people, though adjustments have been made. I'm writing toward that spot. It just feels so far away.
The tourists taking flash photographs at the café table near me aren't helping. *flash* where am I? *flash* who am I? *flash* novel… what's that?
Anyway, back to work. A big scene to tackle today. I've given my first reader—what's that called, a "beta reader"?—the first 120 pages to read. My beta, otherwise known as the love of my life, e, is an honest, tough, and smart critic. He knows what I want from the story, and knows me, and once he sees what I have so far I can talk to him about my ideas for plot adjustmets for the third and final act. In the meantime, I'm forging ahead. Big scene. Much work.
Am I doing this right? Any way to know for sure? Please say.
I have an unhealthy interest in time travel. I like to be practical about it, as practical as you can be when you're contemplating time travel instead of doing the dishes. Like, for example, if I were to go back in time and do this one thing differently (not go to that grad school, take that job, write this book and not that one, call this person, wear these shoes, walk this street… the smallest of possibilities unending) where would I be now? I picture the different thing and then loop off from there, playing choose-your-own adventure with my memories, until I am the age I am now and I look around and see where it is I ended up.
If only I could really do this. I would change so much. What I wouldn't change is meeting E, my other half, that's the piece of time I keep intact, always, no matter where I travel and what bits of the past I scatter. It's good to have some grounding when you time travel, so you know what to hold on to.
As a time travel enthusiastic, I love the movie Donnie Darko, of course. My sister—not knowing my particular attraction to revising time, though maybe I told her, probably I told her—told me to read The Time Traveler's Wife, which is such a good book, and left me in tears by the end because it is so romantic. Love transcends time. I happen to believe that, too.
But, and this has perplexed me, what if I were to go back in time, far far back, to the ninth or tenth grade, and adjust a few of my bad choices? Yes, there's the danger my new life could go off the rails and I'd irrevocably change something that needed to happen in order to meet and catch E. And I worry about this, yes, and I also worry about what would happen to my mind if I step that far back into the past. I don't want to go back in this body, you see, I want to be the person I was before and make myself take different steps. This isn't time travel at all, possessing yourself in the past to force your hand, and I don't know what to call it. And then what if you land in your 15-year-old body, all set with a mission from the future to not sleep with that guy or to write the novel you wanted to write back then or to at least fix your hair because you looked awful, and yet once there you have absolutely no memory of the present? What if you land back in the past and you're just… in the past? Fifteen again, and forced to do it all over? The whole point in going back would be to bring along this wisdom, this wonder, this regret. Without it, you're just in high school again, and once was hard enough, thank you. Thinking this kind of thing stresses me out.
Maybe I should just wish that I could send myself messages. Letters that transcend time. Like, I'm 23. I'm in my second year of grad school. I'm starting a novel. And one morning I'm getting dressed in the dark to head off to that early class I signed up for and I don't remember why and I find a letter in my shoe, tugged up tight in the toe. I pull it out and it's a letter from me to me.
Don't start that novel. You will spend five years writing it and then you will give up and nothing will come of it and your dreams won't come true.
I'll read that, toss the note aside, and put on the shoe. I can see my self in the past ignoring my self from the future.
I am telling you the truth. Don't write it!
You will fail. Write something else.
When your thesis reader says he worries it will fail: He is right. Write something else before this happens.
p.s. Don't write the one about the astronaut either.
Will I listen? I wish I knew.
You know that point of the novel well about halfway when you start looking around wildly, flailing your arms, going where are we? how much longer? are we there yet? Maybe that's just me. Okay, so you know that point of the novel where you want to print out your pages just to bury yourself in them or sleep under them because you're forgetting what progress looks like and you don't know if you'll believe it unless it's on top of your head?
Okay, so you know that point of the novel when you wonder if you're typing in Turkish because your words make no sense? No? Polish. No? When you think you have made up an entirely new language using random keys on your keyboard and if only your story could be so inventive?
Um, you know that point of the novel where you're suspended over the highway and all the other writers are zooming past in their sports cars and you're losing your grip and now you're holding on by one hand and you wonder how far the fall is and you wonder how much longer you can keep hanging on?
Let's just say I'm at an indescribable point in my novel. Somewhere in the murky middle. Every day is one more day in which I worked on the novel, in which the novel got better than it was before, but it's still not near fast enough.
I saw someone, not a writer, who was trying to get a handle on my life: So you get up in the morning and you write. Yeah. Then you go to work at a desk job. Yeah. Then you go home and you do what? Sit on the couch, read, watch TV. Then on the weekends you go out to write more? Yup. All day. And you don't drink? No. And you don't get high? No. And you don't dance or do yoga? No. And you don't have a wii? No. I guess I spend a lot of time sitting down. I guess it's sad to describe a life this way, as a series of chairs.
My Life as a Series of Chairs: the black chair in the living room to the wooden chair in the café to the bench in the subway to the wheelie chair in the office to the bench in the subway to the couch to the bed. What a beautiful still-life that would make. My novel is making me fat, I think.


text:
Q: ERROR Exiting Kafka due to fatal exception (kafka.Kafka$) on Windows - Apache Kafka I'm getting below error while starting the Kafka-Server on Windows machine. I've downloaded Scala 2.11 - kafka_2.11-2.1.0.tgz from the link: https://kafka.apache.org/downloads and I did the following steps:

*

*Go to config folder in Apache Kafka (C:\Apache-Kafka\kafka_2.11-2.1.0\config) and edit "server.properties" using any text editor.

*Find log.dirs and repelace after "=/tmp/kafka-logs" to C:\Apache-Kafka\kafka_2.11-2.1.0\kafka-logs.
Now simply start the server:
>kafka-server-start.bat C:\Apache-Kafka\kafka_2.11-2.1.0\config

Error:
C:\Apache-Kafka\kafka_2.11-2.1.0\bin\windows>kafka-server-start.bat C:\Apache-Kafka\kafka_2.11-2.1.0\config
[2018-12-14 21:09:34,566] INFO Registered kafka:type=kafka.Log4jController MBean (kafka.utils.Log4jControllerRegistration$)
[2018-12-14 21:09:34,583] ERROR Exiting Kafka due to fatal exception (kafka.Kafka$)
java.nio.file.AccessDeniedException: C:\Apache-Kafka\kafka_2.11-2.1.0\config
        at sun.nio.fs.WindowsException.translateToIOException(WindowsException.java:83)
        at sun.nio.fs.WindowsException.rethrowAsIOException(WindowsException.java:97)
        at sun.nio.fs.WindowsException.rethrowAsIOException(WindowsException.java:102)
        at sun.nio.fs.WindowsFileSystemProvider.newByteChannel(WindowsFileSystemProvider.java:230)
        at java.nio.file.Files.newByteChannel(Files.java:361)
        at java.nio.file.Files.newByteChannel(Files.java:407)
        at java.nio.file.spi.FileSystemProvider.newInputStream(FileSystemProvider.java:384)
        at java.nio.file.Files.newInputStream(Files.java:152)
        at org.apache.kafka.common.utils.Utils.loadProps(Utils.java:560)
        at kafka.Kafka$.getPropsFromArgs(Kafka.scala:42)
        at kafka.Kafka$.main(Kafka.scala:58)
        at kafka.Kafka.main(Kafka.scala)

C:\Apache-Kafka\kafka_2.11-2.1.0\bin\windows>

Note: I've already setup Apache Zookeeper on my Windows machine and it's running on port 2181.
I run the command using run as administrator.

A: Try this after kafka-server-start.bat
use this: ....\config\server.properties with slash between 2 dots
in my case was

A: In general we must not use C: drive to store kafka-logs. You can try using the drive other than the C: for storing Kafka logs. It must work.
Change the property log.dirs={Drive other than C:}/tmp/kafka-logs present in KafkaHome/config/server.properties.

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text:
Legitimate governments must adopt respectable principles, and promote an honest, gifted and dynamic leadership. Leaders must learn from experience, accept responsibility, work under pressure if necessary, and commit themselves to advancing the good of society. This will only happen if politicians are accountable for their actions.
Politicians must be prevented from squandering funds and advancing their protégés. Politics will nevertheless remain the scene of contention between sectional and private interests. We must therefore separate institutions dealing with social and sectional problems, from those addressing matters of principle and long-term issues.
To do this, we propose a government on the following basis:
The Executive Authority will consist of the Presidency and the Government. The President will deal with national policy and long-term issues, the Government with the country's general administration.
The President, chosen in a general election, will be served by the following four councils: 1) The national security council, 2) the council supervising cultural activities, education and social issues, 3) the council in charge of economic policy, 4) the legislative and administrative council. The President will appoint the Prime Minister, who will select his ministers.
The Government must find the right balance between its political and professional interests. It will consist of: 1) a limited cabinet consisting of the ministers of foreign, interior, defense, financial, and judicial affairs, and 2) a larger cabinet of professional ministers. Those of the former will be chosen largely from among the political leadership, the latter mainly from the government and public sectors.
The Parliament will consist of an Upper and a Lower House.
The Lower House will deal with legislation, supervise government activity and determine the budget. Members will be chosen in general and proportional elections. Those of the Lower House, representing the various sections of society, will serve long enough to gain proficiency, without thereby becoming "irreplaceable".
The Upper House will deal with general policy, social and legislative issues, international treaties and long-term government loans, supervise government institutions and the division of responsibilities between the government and communal authorities. Membership will not exceed forty. The public will elect members of this House indirectly on a personal basis. Members will be over a minimum age, and suspend all previous political and business commitments. After serving for one extended period, they will not qualify for any other political appointment. Israel's constitution, endorsed by referendum, will determine the functions of the communal bodies, of the president, the government, and the Upper and Lower Houses. An Upper House judicial commission will interpret Israel's constitution. The government, a large number of citizens, or a referendum can introduce changes into the constitution. An Upper House commission supervising the activities of public representatives will outline basic rules of conduct.


Regis University (formerly known as Regis College) is a private, co-educational Roman Catholic, Jesuit university in the United States. Founded by the Society of Jesus in 1877, it is one of 28 member institutions of the Association of Jesuit Colleges and Universities. Based in Denver, Colorado, Regis University is divided into three colleges: Regis College, The Rueckert-Hartman College for Health Professions, and the College for Professional Studies.The university is accredited by the North Central Association of Colleges and Secondary Schools. Regis University educates men and women to take leadership roles and make a positive impact in a changing society.


Shetland's five star museum contains culture, archaeology, maritime and textile displays, offering something interesting for everyone.
Dating back 3000 years, the Clickimin Broch is an excellent example of a broch tower with secondary buildings from the Iron Age. This broch is open to explore and see first hand where people used to live.
One of the finest examples of a prehistoric archaeological site that still remains today. This 16th Century Laird's house dates back from 2500 BC up to the 17th century.
A 2,000 year old Iron Age Tower still standing strong on the now uninhabited island of Mousa.


I join many millions this week as we reconcile ourselves to the election results and what they tell us about our collective evolution and unmet needs. For me, this began with grief in all its manifestations. For others, it began with excitement. Regardless of who you voted for or who your clients voted for., there are strong reactions.
A friend challenged me via social media not to grieve too long. It was good advice, if lacking in sensitivity for the timing. It's never a good idea to tell someone what they should feel or for how long. Nonetheless, it was good advice because at some point, acceptance can slide into indulgence and our feelings start feeling sticky or self-righteous.
Accepting strong emotions is challenging. Find that well of compassion and empathy in yourself. You are going to need it. If you have self-care practices, good for you. Lean into them. They will serve you. We have work to do.
After this election, emotions are high and many are experiencing PTSD reactions. Our clients are coming in with a range of energy from euphoria to despair. If your practice is anything like mine, your clients, friends and family are beginning to talk about the fractures in their families and wondering how to deal with them. Are you prepared to meet them where they are without the imposition of your charged energy or using your therapeutic time discussing the election as you would with a friend?
Some of you may be wondering how do we help our clients accept their charged emotional energy when we may be swirling with our own mix of emotional and cognitive content?
Let's just pause a moment and acknowledge right here that counselors, coaches and clergy are called to play a pretty high game. We witness and walk with people into and through their pain and fear home to their real self. We open ourselves to the full range of humanity. We can't do that effectively if we are cluttered up with charged reactivity ourselves. How we are doing matters to our clients.
So, how are you? Seriously. How has this thing affected you?
What do you need? What's been challenging for you?
What kinds of things are you noticing in your practice?
I sincerely want to know. Let's create community and support each other. Pop a note in the comments.
In the meantime, I'll leave you with this short meditation. I recorded this after one of my groups last week. This group is focused on unmasking and untethering from the conditioned self through integration of various identities. These women have been deepening their appreciation of emptiness as a mechanism of change. Life changing. Anyway, we start each group with a meditation aimed at allowing our awareness to expand into emptiness. After the election, I added a heart expansion awareness. Perhaps it will help you in some way.
But before you go, how are you? Pop a note in the comments and let's have a conversation. Let's share resources. For those of you who know integration methods, share what you've been doing. I'll get the ball rolling and tell you about my personal practice.


text:
Q: Drawing a 2D square lattice (springs + balls) on a convex surface I need help with drawing a 2D square lattice made of springs and balls (see the picture) on a convex surface, such as spherical one. Could you please let me know is there a possibility of making this in PSTricks or TikZ? Thanks a lot.
I have linked [1] a related example in PDF with a grid on a spherical surface.

[1] http://www.texample.net/media/tikz/examples/PDF/spherical-and-cartesian-grids.pdf

A: Welcome to TeX.SE! Here is a proposal.
\documentclass[tikz,border=3.14mm]{standalone}
\usetikzlibrary{decorations.pathmorphing}
\begin{document}
\begin{tikzpicture}
\clip (-1,-1) rectangle (11,11);
\foreach \X in {-2,0,...,10}
{\foreach \Y in {-2,0,...,10}
 {\draw[decorate,decoration={coil,aspect=0.5,amplitude=1.5mm, segment
length=1.5mm}] (\X,\Y) -- ++(0,2) -- ++(2,0);
\node[circle,text=white,font=\sffamily\bfseries\large,inner
color=blue,outer color=black] at (\X,\Y) {+};}}
\end{tikzpicture}
\end{document}

It is straightforward to embed this into a spherical coordinate system. (Big thanks to @caverac for pointing out what the question really is.)
\documentclass[tikz,border=3.14mm]{standalone}
\usepackage{tikz-3dplot}
\usetikzlibrary{decorations.pathmorphing,calc}
\makeatletter
%from https://tex.stackexchange.com/a/375604/121799
%along x axis
\define@key{x sphericalkeys}{radius}{\def\myradius{#1}}
\define@key{x sphericalkeys}{theta}{\def\mytheta{#1}}
\define@key{x sphericalkeys}{phi}{\def\myphi{#1}}
\tikzdeclarecoordinatesystem{x spherical}{% %%%rotation around x
    \setkeys{x sphericalkeys}{#1}%
    \pgfpointxyz{\myradius*cos(\mytheta)}{\myradius*sin(\mytheta)*cos(\myphi)}{\myradius*sin(\mytheta)*sin(\myphi)}}

%along y axis
\define@key{y sphericalkeys}{radius}{\def\myradius{#1}}
\define@key{y sphericalkeys}{theta}{\def\mytheta{#1}}
\define@key{y sphericalkeys}{phi}{\def\myphi{#1}}
\tikzdeclarecoordinatesystem{y spherical}{% %%%rotation around x
    \setkeys{y sphericalkeys}{#1}%
    \pgfpointxyz{\myradius*sin(\mytheta)*cos(\myphi)}{\myradius*cos(\mytheta)}{\myradius*sin(\mytheta)*sin(\myphi)}}

%along z axis
\define@key{z sphericalkeys}{radius}{\def\myradius{#1}}
\define@key{z sphericalkeys}{theta}{\def\mytheta{#1}}
\define@key{z sphericalkeys}{phi}{\def\myphi{#1}}
\tikzdeclarecoordinatesystem{z spherical}{% %%%rotation around x
    \setkeys{z sphericalkeys}{#1}%
    \pgfpointxyz{\myradius*sin(\mytheta)*cos(\myphi)}{\myradius*sin(\mytheta)*sin(\myphi)}{\myradius*cos(\mytheta)}}

\makeatother % https://tex.stackexchange.com/a/438695/121799

\begin{document}
\tdplotsetmaincoords{70}{130}
\begin{tikzpicture}[tdplot_main_coords]
\pgfmathsetmacro{\R}{16}
    \path[clip]
    plot[variable=\x,domain=2.5:52.5]
     (z spherical cs:radius=\R,theta=80-2.5,phi=\x)
     -- plot[variable=\x,domain=2.5:52.5]
     (z spherical cs:radius=\R,theta=80-\x,phi=52.5)
     -- plot[variable=\x,domain=52.5:2.5]
     (z spherical cs:radius=\R,theta=80-52.5,phi=\x)
     -- plot[variable=\x,domain=52.5:2.5]
     (z spherical cs:radius=\R,theta=80-\x,phi=2.5);
    \foreach \X in {0,5,...,55}
     {\draw[decorate,decoration={coil,aspect=0.5,amplitude=1.5mm, segment
length=1.5mm}] plot[variable=\x,domain=0:55]
     (z spherical cs:radius=\R,theta=80-\X,phi=\x);
     \draw[decorate,decoration={coil,aspect=0.5,amplitude=1.5mm, segment
length=1.5mm}] plot[variable=\x,domain=0:55]
     (z spherical cs:radius=\R,theta=80-\x,phi=\X);
     }
    \foreach \X in {5,10,...,50}
    {\foreach \Y in {5,10,...,50}
     {\path let \p1=($(z spherical cs:radius=\R,theta=80-\X+1,phi=\Y)-(z
     spherical cs:radius=\R,theta=80-\X,phi=\Y)$),
     \p2=($(z spherical cs:radius=\R,theta=80-\X,phi=\Y+1)-(z
     spherical cs:radius=\R,theta=80-\X,phi=\Y)$),
     \n1={veclen(\x1,\y1)/12},\n2={veclen(\x2,\y2)/12},\n3={sqrt(\n1*\n2)}
     in %\pgfextra{\typeout{\X,\Y:\n1,\n2}}
     node[scale=\n3,transform shape,circle,text=white,font=\sffamily\bfseries\large,inner
color=blue,outer color=black] at (z spherical cs:radius=\R,theta=80-\X,phi=\Y) {+};}}
\end{tikzpicture}
\end{document}

As for your additional request: yes, it is possible. However, things depend on what you really want to achieve in the end. Here I present some example that heavily relies on Fritz's stellar answer. However, when trying to polish it by drawing things on different layers, I encountered unexpected problems. In any case, I have no idea what your real aim is. (See e.g. this great post for additional possibilities.) I would kindly like to ask you to make additional requests in form of a new question, which list all the requirements. Asking questions is free, after all. I leave you with
\documentclass[border=3.14mm,tikz]{standalone}
\usepackage{pgfplots}
\usepackage{xxcolor}
\pgfplotsset{compat=1.16}
\usetikzlibrary{decorations.pathmorphing,decorations.markings}
% Declare nice sphere shading: http://tex.stackexchange.com/a/54239/12440
\pgfdeclareradialshading[tikz@ball]{ball}{\pgfqpoint{0bp}{0bp}}{%
 color(0bp)=(tikz@ball!0!white);
 color(7bp)=(tikz@ball!0!white);
 color(15bp)=(tikz@ball!70!black);
 color(20bp)=(black!70);
 color(30bp)=(black!70)}
\makeatother

% Style to set TikZ camera angle, like PGFPlots `view`
\tikzset{viewport/.style 2 args={
    x={({cos(-#1)*1cm},{sin(-#1)*sin(#2)*1cm})},
    y={({-sin(-#1)*1cm},{cos(-#1)*sin(#2)*1cm})},
    z={(0,{cos(#2)*1cm})}
}}

% Styles to plot only points that are before or behind the sphere.
\pgfplotsset{only foreground/.style={
    restrict expr to domain={rawx*\CameraX + rawy*\CameraY + rawz*\CameraZ}{-0.05:100},
}}
\pgfplotsset{only background/.style={
    restrict expr to domain={rawx*\CameraX + rawy*\CameraY + rawz*\CameraZ}{-100:0.05}
}}

% Automatically plot transparent lines in background and solid lines in foreground
\def\addFGBGplot[#1]#2;{
    \addplot3[#1,only background, opacity=0.25] #2;
    \addplot3[#1,only foreground] #2;
}

% attempt to do similar things for discrete plots
\def\addFGBGSampleplot[#1]#2;{
    %\addplot3[#1,only background,gray!50] #2;
    \addplot3[#1,only foreground] #2;
}

\newcommand{\ViewAzimuth}{-30}
\newcommand{\ViewElevation}{30}

\tikzset{spring/.style={decorate,decoration={coil,aspect=0.5,amplitude=1.5mm, segment
length=1.5mm}}}
% pgfmanual p. 1087
\pgfdeclareradialshading{ballshading}{\pgfpoint{-10bp}{10bp}}
 {color(0bp)=(cyan!15!white); color(9bp)=(cyan!75!white);
 color(18bp)=(cyan!70!black); color(25bp)=(cyan!50!black); color(50bp)=(black)}

\pgfdeclareplotmark{crystal ball}{\pgfpathcircle{\pgfpoint{0ex}{0ex}}{2ex}
  \pgfshadepath{ballshading}{0}
  \pgfusepath{}}
\begin{document}
\begin{tikzpicture}
    % Compute camera unit vector for calculating depth
    \pgfmathsetmacro{\CameraX}{sin(\ViewAzimuth)*cos(\ViewElevation)}
    \pgfmathsetmacro{\CameraY}{-cos(\ViewAzimuth)*cos(\ViewElevation)}
    \pgfmathsetmacro{\CameraZ}{sin(\ViewElevation)}
    \pgfmathsetmacro{\R}{12}
    \path[use as bounding box] (-\R,-\R) rectangle (\R,\R); % Avoid jittering animation
    % Draw a nice looking sphere
    \begin{scope}
        \clip (0,0) circle (\R);
        \begin{scope}[transform canvas={rotate=-20}]
            \shade [ball color=white] (0,0.5) ellipse (\R*1.8 and \R*1.5);
        \end{scope}
    \end{scope}
    \begin{axis}[
        hide axis,
        view={\ViewAzimuth}{\ViewElevation},     % Set view angle
        every axis plot/.style={very thin},
        disabledatascaling,                      % Align PGFPlots coordinates with TikZ
        anchor=origin,                           % Align PGFPlots coordinates with TikZ
        viewport={\ViewAzimuth}{\ViewElevation}, % Align PGFPlots coordinates with TikZ
    ]
        % plot latitude circles
        \pgfplotsinvokeforeach{-75,-45,...,75}
        {\addFGBGplot[spring,domain=0:2*pi, samples=51, samples y=1]
        ({\R*cos(#1)*cos(deg(x))}, {\R*cos(#1)*sin(deg(x))}, {\R*sin(#1)});}
        % plot longitude circles
        \pgfplotsinvokeforeach{0,30,...,150}
        {\addFGBGplot[spring,domain=0:2*pi, samples=51, samples y=1]
        ({\R*cos(#1)*cos(deg(x))}, {\R*sin(#1)*cos(deg(x))}, {\R*sin(deg(x))});
        }
        % plot longitude circles
        \pgfplotsinvokeforeach{0,30,...,330}
        {\addFGBGSampleplot[only marks,mark=crystal ball,samples at={-75,-45,...,75}]
        ({\R*cos(#1)*cos(x)}, {\R*sin(#1)*cos(x)}, {\R*sin(x)});
        }
    \end{axis}
\end{tikzpicture}
\end{document}


Hugo is a long-haired, shaggy dog who works in Hollywood as a "Canine Action Specialist" (i.e., a stunt double). Ted Thomas interviews Hugo in episode 19 of From the Balcony about his work in the upcoming remake of The Shaggy Dog. Hugo eventually grows so annoyed by Thomas' questions that he attacks the interviewer.
The puppet uses the same design as the farmer's dog from The Tale of the Bunny Picnic.


Back in 1776, the founding fathers signed the Declaration of Independence to ensure that all Americans could live in a land of opportunity. Millions have fought and died to protect the fundamental freedoms that many of us take for granted. But a retired Army Staff Sergeant named Hank Robinson decided to pay tribute to the fallen heroes of the modern era when he engraved the entire aluminum body of a 2016 Ford F-150 show truck called Freedom Blues.
Over a 10 year span, Hank Robinson was deployed in the war zones of Afghanistan and Iraq. When he retired in 2011, he found that transitioning back into civilian life wasn't as simple as most people would think. One day you're fighting insurgents on a rooftop. And the next, you're fighting for a parking spot outside a Wendy's. Turning off Survival Mode isn't easy for many veterans unless they can figure out a way to channel their focus into the present and future. This is why Hank decided to use the G.I. Bill to attend welding school, where he wound up trying his hand at metal engraving. He enjoyed it so much that he began engraving one-of-a-kind gifts for family and friends, and eventually started Hanro Studios out of his garage.
The Freedom Blues Ford F-150 was intended to bring a message of hope to veterans that were struggling with the same issue. It was prominently featured at the 2016 SEMA Show in Las Vegas, and Hank even did live engraving sessions during the show to complete the artwork. The truck was then displayed at over a dozen shows, including the Goodguys All-American Sunday in Scottsdale, and it led a procession of bikes on a Ride for the Fallen.
After an extensive tour on the show circuit, the Hanro Studios Freedom Blues F-150 was featured on the cover of Truckin' magazine, and it garnered the attention of West Coast Customs owner Ryan Friedlinghaus, who invited Hank out to LA to do some engraving work on a Cadillac they were building for legendary rock star Kid Rock. Turns out the Coupe DeVille was originally owned by country music legend Waylon Jennings. WCC and Kid Rock wanted to rebuild the car as a tribute to Jennings, and the custom engraving work turned out to be the perfect finishing touch.
As far as the Freedom Blues show truck, it will be auctioned off in January 2018, at the famous Barrett Jackson Scottsdale auction. A portion of the proceeds will go to a fantastic organization called The Warrior Built Foundation, which provides veterans with the tools and training they need to explore a new life in the automotive and fabrication world. And to replace his now-famous show truck, Hank is building an all-new truck for the 2017 SEMA Show called "Aluminati".
The Hanro Studios Aluminati show truck is based on a 2017 Ford F-250 Super Duty, and the name was chosen from several hundred social media submissions (it's a play on words since the 2017 Ford Super Duty now has an all aluminum body). Hank purchased both show trucks himself, so this one will become his personal "mobile engraving station" once the car show season is over. In the back, it will have an onboard air, vacuum, and power supply system that was designed and built by Truck Vault. The overall concept and artwork were created by Robinson, and ECD Customs. Chris Payne from Truck Guru created the renderings and is acting as project manager for the build.
Since this will eventually be Robinson's "work truck", the interior will be all about luxury. Scottsdale Upholstery is installing black Roadwire leather seats, and Roadwire even provided enough extra leather to wrap the doors, dash, and console. On the outside, Troy Buck of FX Autobody laid down the slick black/silver color scheme. And Hank will spend an estimated 1,100 hours with his Dremel tool, carving multiple Hanro Studios themed designs into the body.
We at K&N would like to thank Mrs. Robinson for helping her husband's vision become reality. If you would like to check out the result of all their hard work, stop by the Truck Hero booth (# 61040) at the 2017 SEMA Show in Las Vegas.


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Presentations & Video
On Ecosystems, Adam Curtis and Positions of Power
I have a chronic habit of reaching more for biological metaphors to help describe how we inhabit a world of abundant technology and media. Two decades ago, when I was working on large IT systems in the civil service, Ian Franklin and I suggested a shift from thinking about these systems as engineering interventions to a more organic, gardening-style approach.
We got short shrift. Kevin Kelly took this thinking much further, and more rigorously, than I ever have in Out of Control: The New Biology of Machines… (large public sector IT systems, "out of control" — hmmm…). But I've come back to it in writing about foraging and discovery, a central metaphor in my book. And the read-across from the natural world is very clear in my work on Ken Thompson's Swarm Tribes platform.
I don't claim anything unique or especially prescient about about this interest in eco/bio ways of talking about things. You could tell it was becoming commonplace, if not mainstream, when Becta announced plans for a "content ecosystem" for learning (pdf). The plans themselves were old school, top-down and centralised with negligible scope for organic evolution based on selection and feedback. Practice and terminology rarely develop in sync.
With a much grander scope than technology platforms for learning, Adam Curtis, the documentary film maker and blogger, did a demolition job on the ecosystem idea during his recent BBC series All Watched Over By Machines of Loving Grace. It's a good thing to have your cherished notions challenged and put under the microscope, particularly by someone who you might expect to be sympathetic, like Curtis. I don't think Curtis's critique is watertight, but — as Alan Kay famously said of the Macintosh user interface — it's good enough to be worth criticising.
I was on holiday when the ecosystems film (episode 2 of 3 in the series) was broadcast. I had to follow the cat-and-mouse game between YouTubers and copyright owners to see it. At the time of writing, the full episode is available here:
The film is titled "The Use and Abuse of Vegetational Concepts". Curtis wrote his own text precis of its argument and Wikipedians offer another. There are blog posts here, here and (most interesting but mainly because it takes off in a different direction) here.
I'm going to pick out two strands of Curtis's argument and one question it seems to beg. There's more to it than this, but these are the points that most interest me in my appropriation of eco/bio terminology and concepts.
1. Are ecosystems unstable?
In Curtis's version, many of us like to think in terms of ecosystems because ecosystems offer a model that is self-organising, free of centralised control — there is no one entity "in charge" — and yet they seem directed to return towards stability, balance and equilibrium. Via the kind intellectual archaeology that he has made his trademark, Curtis traces this model back to a botanist called Arthur Tansley early in the 20th century, who, in turn, took the ideas of self-regulation from Freud's self correcting psychodynamic processes, all working in service of "great universal law of equilibrium".
Curtis boldly states that this "law" is wrong: nature is not stable (watch from 41 minutes in). The evidence from studies of wolf and moose populations in the 1970s showed that these populations fluctuated without ever settling to equilibrium. And other research also showed more flux than stability.
Well. According to Wikipedia, Curtis studied evolutionary biology at university. I didn't, but surely even a cursory familiarity with the field suggests that whether you see stability or chaotic fluctuation depends on the frame you choose for your data collection. Equilibrium clearly does occur at some levels. For hundreds of thousands of years, the Earth keeps its temperature more stable than changes in the sun's radiation might lead you to expect. Then it 'flips' into a glacial era, and stays more or less stable in that state for a long time, before flipping back again. At a quite different level, our own bodies experience stability in many respects (such as body temperature and overall chemistry) while undergoing continuous change through growth and ageing and weathering illnesses that disrupt equilibrium temporarily.
Can we agree that nature includes domains of stability, chaos and flux, all of which interact with each other dynamically?
Whether the term 'ecosystem' is appropriate in all the contexts in which it is used is open to question. Scientists like James Lovelock seem wary of the vagueness of referring to ecosystems beyond biology, ecology and Earth system science. To some extent this is surely down to their hypersensitivity to what is lost in translation when technically precise terms are applied more generally. But such translation is part and parcel of all metaphorical thinking, and perhaps 'ecosystem' has become a kind of boundary object.
We can argue the toss on terminology and the fine grain of concepts, but can we agree that nature includes domains of stability, chaos and flux, all of which interact with each other dynamically? Where and how you focus determines which of these will seem most dominant. Where you place the boundaries of the 'system' in an ecosystem is crucial.
2. Does systems thinking ignore power?
For Curtis, it's not just that the concept of ecosystems-in-equilibrium does not fit the evidence from ecology: he has two further, related criticisms. Firstly, it is bogus to believe that that thinking in terms of ecosystems somehow captures the wisdom of nature and the natural order. Secondly, that thinking in these terms blinds us to the exercise of power, especially by those who already have it.
Curtis says there's more system and not so much eco in ecosystem. Far from having its roots in nature, the language of feedback mechanisms and self-regulation is actually the language of machines. He's right that the field that defined itself through its studies of systems thinking and self-regulation is cybernetics. Cybernetics, according to Curtis, is "a computer's eye view of the world". And, thanks to our post-William Gibson perspective, where cyber is the prefix of disembodied virtuality, it's easy to go along with this. But long before Gibson and cyberspace were even conceived, the cyber prefix was in fact derived from the ancient Greek word for a steersman — not a number-crunching machine, but an active, sentient human making his way by adjusting his actions to adapt to unfolding circumstances, Quite organic, then.
The language of feedback mechanisms and self-regulation is actually the language of machines
This skirmish over what counts as natural and right, and what is artificial and suspect, is part of running battle that has been waged throughout the history of ideas. I'm not going to settle it in a blog post.
Curtis makes the case that applying cybernetic/eco systems thinking to society cannot encompass the role of power and politics. Hence it doesn't give the whole picture. One solution to this would be simply to say "OK, let's add power to the model, just add another feedback loop". One reason Curtis rules this out may be that the commitment to self-regulation in ecosystems should not admit regulation by "outside" forces like politics. In his portrayal, ecosystems = natural forces, while power = human forces, and he honours the Cartesian/Enlightenment divorce that set humans outside nature.
Tellingly, Curtis titled his film "The Use and Abuse of Vegetational Concepts" (taken from Arthur Tansley's reaction to what he saw as the misapplication of his early ideas about ecosystem self-regulation). What we now know about ecosystems is that they are messy and impure, riven by forces at many levels. Of course, vegetation isn't a system apart from the rest of the organic, and inorganic, world (in Lovelock's Earth-as-ecosystem Gaia hypothesis rocks and oceans play important regulatory roles).
Again, if Curtis's criticism of ecosystem models stems from them being 'vegetational', I'm tempted simply to correct this by adding the 'animism' of power, as well as any other forces that might be missing.
But in order to do that, I have to heal that Cartesian rift and make humans a part of nature rather than set apart from it. Curtis would say I risk falling into another trap here: the science of seeing ourselves as part of nature and natural equilibrium, he says, can easily be used by those in power to maintain the status quo. This is exactly what led Tansley to protest about 'abuse of vegetational concepts' when an early advocate of apartheid sought to justify white supremacy in terms adapted from Tansley's ideas about ecosystems.
Is this risk unique to ideas such as Tansley's? Surely not. Show me the metaphors for social organisation that have never been used in this way, the ideas so pure and unequivocal that lead those in power to buckle at the knees and surrender. Don't people in power resourcefully adapt whatever beliefs, values and research findings have currency to suit their own ends? There's a whole field of study into how they do that. I don't buy the idea that recognising my position within nature automatically leads to my becoming a cog in someone else's machine.
The science of seeing ourselves as part of nature and natural equilibrium can easily be used by those in power to maintain the status quo.
Saying that ecosystems models can be are no more prone to abuse than other models is not to dismiss the cases where they have been used and abused. We must stay alert to the question: Whose interests have actually been served by ecosystem and cybernetic approaches? Adam Curtis's film helps do this, as does work like Fred Turner's (Turner appears briefly in the film). This analysis goes back at least as far as Cameron and Barbrook's Californian ideology, which described a syncretic convergence of free love, free software and free markets, and it continues up to Brian Appleyard's reflections on Curtis's film:
… the idea of the ecosystem echoed the idea of the global mechanised markets. It also threatened our existence as active, involved individuals by turning us into mere nodes in a network. We would have no power over this network, we would merely have to be its janitors, ensuring its efficient and stability. It is this politically quietist view that leads to the cult of managerialism, the dominant and — Curtis and I agree — probably most pernicious ideology of our time.
It's one of the paradoxes of open democracy that it is often in the interests of power to be less than transparent about its own existence. "Don't shoot me, I'm only the piano player." The power that hides itself avoids stimulating resistance and opposition. Hence the appearance of managerialism, even when the managers are serving vested, ideological interests.
3. If not ecosystems, then what?
I'm not yet convinced by Adam Curtis's case for dismissing ecosystems models as a way of understanding at least some parts of society. When you pick it apart there are a several points at which it could unravel. And he offers no alternative framework for mapping the complex interactions of dynamic societies. "Follow the power" is not enough. This spoof of Curtis's approach is a caricature, but accurately points to the sleight of hand he uses in his storytelling craft (it's also quite funny, if you've seen the original films).
But let's admit, with Curtis, that thinking in terms of ecosystems has its limitations. First we need models that explain and predict flux as they do self-regulation. Not just the dynamics within a system, but the forces and events that morph the very boundaries and constitution of the system.
The power that hides itself avoids stimulating resistance and opposition.
Second, and related to this, we need the conceptual means to step outside the system in order to change the system. This balances out our awareness of the complex web of power in which we are embedded, which may make us feel less able to change things and challenge existing power. As Curtis himself puts it at the end of his film,
What we are discovering is that if we see ourselves as components in a system, then it is very difficult to change the world. It is a very good way of organising things — even rebellions — but it offers no ideas about what comes next. And just like in the communes, it leaves us helpless in the face of those already in power in the world.
The move outside the system is not without hazard, however. It's the Cartesian break of human from nature, again; the move to Planet Craft in Stewart Brand's terms when he says "We are as gods and have to get good at it". It's a cut-the-crap, don't-get-bogged-down-in-details attitude. Very male, and flirting with hubris. The risk with trying to improve the world, as John Cage reminded us, is that you will only make matters worse.
Image by: FotoBart
Original Post: http://alchemi.co.uk/archives/ide/on_ecosystems_adam_curtis.html
David Jennings, technology, digital living, ecosystems
With a background in organisational psychology, IT and communications, David works in the places where people, culture and technology come together – increasingly with a focus on exploiting the educational potential of archives and cultural assets using web technologies.
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The Good The Palm Treo 650 benefits from an improved display and keyboard, integrated Bluetooth, and a speakerphone. The world phone also has a 312MHz processor, Palm OS 5.4, multimedia, and e-mail support.
The Bad Sadly, the Palm Treo 650 has meager integrated memory, no built-in Wi-Fi, and a cumbersome Bluetooth setup. Also, the Treo 650 suffers from average audio quality, a low-resolution camera, a nonstandard headphone jack, and no analog roaming.
The Bottom Line Though it has its shortcomings, the PalmOne Treo 650 offers solid performance and adds some key features to maintain its reign as smart-phone leader.
When we made our wish list for the successor to the well-received Treo 600, it was to keep the great design but add several missing features. Fortunately, that's precisely what PalmOne did with its new Treo 650. This model offers a high-resolution display, a faster processor, Bluetooth wireless, Palm OS 5.4, and a removable battery--all notable additions. But the honeymoon ends with some shortcomings, specifically the stingy memory, the complicated Bluetooth implementation, and the lack of Wi-Fi. How you feel about these issues depends on your needs, but for our money, the Treo remains the best all-in-one communicator available. Though it's currently offered by Sprint PCS and Verizon Wireless, PalmOne plans to introduce versions for most major carriers in 2005. (A GSM model is available through Cingular.) At around $600, the price is hefty, but you can already find it for less with service. The PalmOne Treo 650 looks virtually identical to its predecessor. It is the same shape and size (4.4 by 2.3 by 0.9 inches, not including the stubby antenna) and only a hair heavier at 6.3 ounces. In fact, it looks so similar that during testing bystanders often did a double take and even then had to ask, "Is that the Treo 650?" No wonder--why tinker with a design that has stood the test of time? Of course, the Treo 650 is not the most compact smart phone on the market; models including the RIM BlackBerry 7100t and Windows Mobile 2003 smart phones such as the Audiovox SMT5600 and the Motorola MPx220 are all significantly smaller, though they don't have a full QWERTY keyboard.
Pocket buster: The Treo 650 is larger than many smart phones.
Still, there are some notable changes to the design. The most impressive new feature of the Treo 650 is its improved display. It is the same size (2.5 inches diagonal; 320x320 pixels) but now shows off 65,000 colors, compared to 3,375 colors on the Treo 600. The result: smooth, bright, and colorful images with no trace of the "screen door" effect on the Treo 600's display. Overall, the new display is on a par with that of the latest high-end handhelds--something that couldn't be said of the previous version at the time of its release. Another obvious change is the keyboard. The keys have been squished so that they are larger, flatter, and closer to one another. The keyboard still feels cramped, but generally, these enhancements make thumb-typing a little easier than with the Treo 600. The new white keys are also semitranslucent with bright backlighting.
Tap dance: The Treo 650's keyboard has been redesigned.
The Treo 650 retains the signature five-way navigational button, which is critical for easy one-handed operation. But there are several new buttons as well. The most prominent are the dedicated Talk and Power/End buttons, which operate much like those on most cell phones. Four buttons directly below the display provide quick access to the calendar, messaging, applications, and menus. And the volume buttons on the side have been replaced by a single rocker switch, which is easier to use, as well as one customizable quick-launch button (by default, it opens RealPlayer).
We were pleased to see that PalmOne kept the hardware switch on top that toggles between ringer and silent modes--a handy feature--along with the MMC/SDIO expansion slot and the infrared port. The camera is located in the same spot on the back panel but now has a tiny mirror for self-portraits; PalmOne will also offer a camera-less version for execs worried about security risks. The speaker and the panel for accessing the user-removable battery are immediately below the camera. Farther down on the bottom are the new Multi-Connector, for synchronizing and charging the Treo and connecting accessories, as well as a headphone jack. The Multi-Connector, first introduced on the Tungsten T5, replaces the unfortunately named Universal Connector of previous PalmOne devices, and it is not backward compatible. A minor inconvenience, the 2.5mm jack requires an adapter (not included) for use with standard headphones.
Cool controls: You'll find the new Treo's memory slot and ringer switch on the top of the device.
There's still no included cradle for charging or syncing. Instead, PalmOne includes USB and power cables that can be connected to each other or used separately. As with the previous version, the touch screen is unprotected and tends to get covered with dust and fingerprints quickly. You'll want to purchase a slipcase for it immediately since one isn't provided.
There is a good reason for this: the new nonvolatile file system (NVFS), paired with the 22MB of nonvolatile memory, means you no longer lose all your data if the battery dies or if you want to swap in a fresh battery--which wasn't possible with the Treo 600. In other words, the Treo 650 acts more like a cell phone and less like a handheld that needs to be tethered to a PC at regular intervals to recharge and to back up data. This is especially good news if you use client-server software that syncs directly with Microsoft Exchange Server wirelessly, such as ActiveSync for Exchange Server 2003 (now included) or GoodLink, which we used during testing. In that case, you will need to HotSync with your desktop only to install new applications or to transfer large files.
Nevertheless, the memory has caused a lot of hubbub, especially among Treo 600 users who upgraded, then discovered that their files suddenly gobbled up more memory. PalmOne is promising a ROM software update to alleviate the problem, and the company has also offered to send a free 128MB SD card to anyone who has memory management issues. Whether you get it from PalmOne or buy it yourself, the bottom line is that a nice, big SD card is a must-have accessory for the Treo 650.
Reflections: The Treo 650's camera lens now includes a self-portrait mirror.
In addition to wireless WAN voice and data, the Treo 650 includes both infrared and the much-needed Bluetooth. Theoretically, Bluetooth lets you do several things wirelessly: perform HotSyncs and connect to other Bluetooth devices or a wireless headset. But the devil is in the details. While the device is compatible with a variety of headsets on the market, not all support the Treo hands-free profile, which is necessary to automatically route incoming or outgoing calls to the headset. This isn't explained in the Treo 650 manual, though it is covered on the company's Bluetooth compatibility page. Only nine headsets support the profile, including Palm's own Treo headset, so be sure to check before buying a particular model. For headsets that don't support the profile (called Headset-Only), you must press a button on the headset to make or receive calls. Also, you can't use the headset to reject, redial, or swap calls--not the most convenient arrangement.


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Kiwi driver Hayden Paddon is back in Europe and getting set for a reduced workload of seven events in the World Rally Championship (WRC) in 2018.
Hyundai Motorsport has confirmed that Paddon and British co-driver Seb Marshall will share the #6 Hyundai with team-mate Dani Sordo and the Spaniard's new co-driver Carlos del Barrio, with Paddon contesting seven of the 13 rallies, while Sordo will also contest seven rallies with the team running four cars in Portugal.
The Kiwi/Brit pairing get their 2018 season underway at the WRC's only full-winter rally in Sweden in February. They then contest Portugal (May), Italy (June), Finland (July), Turkey (September), Great Britain (October) and Australia (November).
Paddon finished eighth overall in the 2017 WRC season in what was a horrible year for the New Zealander which he labelled the 'most difficult year of his life'.
But that is all in the past, and the 30-year-old looking to bounce back strongly.
"I am treating the 2018 season almost like a fresh start after our difficulties from last year," he said. "I want to put that behind me and use the positives from our podium results to spur us on to achieve what I know we are capable of.
"We will make the most of all seven events this year; being gravel rallies, these are all events that are strong for us and we have good experience of other than Turkey, which will be new for everyone.
"We have nothing to lose, so we will be going all out on these events to fight for podiums and get that edge back. Also by doing more events in second half of the year, it means we will also have an advantageous road position for most events."
Paddon admitted he would have preferred to compete in all 13 rallies in 2018, but accepts the situation he has been put in.
"I'd be lying if I said I wouldn't prefer to contest the full season, but I have to accept things like this and make the most of each opportunity we get throughout the year. Of course, we will do everything in our power to help the team towards their goal of winning the manufacturers' title.
"My ultimate goal and target remains the same, but it will have to go on hold for this year. This year is about getting it all back on track and work towards the future."


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Tagged: Models
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High-density lipoprotein cholesterol and cardiovascular disease. Four prospective American studies.
The British Regional Heart Study (BRHS) reported in 1986 that much of the inverse relation of high-density lipoprotein cholesterol (HDLC) and incidence of coronary heart disease was eliminated by covariance adjustment. Using the proportional hazards model and adjusting for age, blood pressure, smoking, body mass index, and low-density lipoprotein cholesterol, we analyzed this relation separately in the Framingham Heart Study (FHS), Lipid Research Clinics Prevalence Mortality Follow-up Study (LRCF) and Coronary Primary Prevention Trial (CPPT), and Multiple Risk Factor Intervention Trial (MRFIT). In CPPT and MRFIT (both randomized trials in middle-age high-risk men), only the control groups were analyzed. A 1-mg/dl (0.026 mM) increment in HDLC was associated with a significant coronary heart disease risk decrement of 2% in men (FHS, CPPT, and MRFIT) and 3% in women (FHS). In LRCF, where only fatal outcomes were documented, a 1-mg/dl increment in HDLC was associated with significant 3.7% (men) and 4.7% (women) decrements in cardiovascular disease mortality rates. The 95% confidence intervals for these decrements in coronary heart and cardiovascular disease risk in the four studies overlapped considerably, and all contained the range 1.9-2.9%. HDLC levels were essentially unrelated to non-cardiovascular disease mortality. When differences in analytic methodology were eliminated, a consistent inverse relation of HDLC levels and coronary heart disease event rates was apparent in BRHS as well as in the four American studies.