text:
Overhaul Games
And, Linux, OSX, PC
04/11/17 Overhaul Games
Planescape Torment: Enhanced Edition (iOS)
"What can change the nature of a man?"
You are the Nameless One, a hulking figure covered in scars and tattoos collected over the course of countless lives—none of which you can remember, but are now coming back to haunt you. You are prodded awake by Morte, a floating skull and keeper of secrets, to embark on an adventure taking the Nameless One from the dirty streets of Sigil into the mysterious Outer Planes and even into the depths of Hell itself.
Discover an incredibly rich story and a unique setting unlike anything else in fantasy. Defeat strange and alien creatures, engage in rich dialogue, and explore the dark and dangerous Planescape setting in this 50+ hour RPG classic.
Millions of Planescape: Torment fans have enjoyed the strange and dangerous city of Sigil and surrounding planes through the Nameless One's eyes. Now it's your turn. This is Planescape: Torment like you've never seen before.
Enhanced Edition - Key Features:
Enhanced Planescape: Chris Avellone, Lead Designer on Planescape Torment, has partnered with Beamdog to curate gameplay updates, bug fixes, and enhancements to best capture his original vision for the game.
Remastered Music: The full Planescape: Torment soundtrack has been remastered in-game to add more depth to Sigil and the multiverse.
4K Interface: Sigil has never looked this good! The interface of Planescape: Torment has been rebuilt in high definition with tons of new convenience features.
A Planescape For Today: The Enhanced Edition includes modern features such as tab highlighting, area zooming, combat log, quickloot, and more!
Source: Official Website
Latest Screenshots
Release Date Added to Database Marth 06th Apr 2019
Screenshot Added Marth 06th Apr 2019


"Great localtion and friendly staff."
"The location was absolutely perfect."
"The room was not clean ."
This is a beautiful hotel with an incredible staff. It is a block from Union Station and convenient to all public transportation. This makes it incredibly easy to get to all of the sites to see in DC and Georgetown. The complimentary coffee bar is wonderful. The rooms are immaculate and very comfortable. I would highly recommend this hotel and would definitely stay again if I were to travel back to DC.
Close to train. Cabs right out front if needed. Great value for the price. Convenient having a bar/food right in the hotel. Coffee provided in the morning. Very clean. Comfortable bed. Umbrella and one robe provided in the room.
Tiny elevators. Room was small. Only 1 tiny window in the room and we had no view. Shower door didn't stay closed. The water was $4 a bottle in the room. There was no dresser but rather 2 drawers located in the closet.
Last minute trip to D.C.
Draft from windows (they are not sealed),the bathroom is cold (no heating lamp there), the heating blows air straight to bed (not comfortable at all especially after taking a bath) no coffee maker in the room, and no hot drinking water in the lobby after 11 am.
The Phoenix has it all!
The proximity to downtown D.C. and the monuments was perfect! We loved that there were a few coffee shops and restaurants nearby, especially the Dubliner, an Irish restaurant and bar, that was situated right under the hotel itself. Staff was incredibly nice and the hotel was very clean - we plan to stay here whenever we come back to visit!
The only downfall is that walking around the area at night can be a little questionable, especially going to or coming from downtown D.C. It's eerily quiet.
My room was apparently newly remodeled, and was very modern, exceptionally clean, and very comfortable. The location - just two blocks from the parks surrounding the Capitol on the senate side, are hard to beat. It's a short block walk to Union Station if arriving via train or Metro. There is very little to the hotel other than the rooms - I didn't use the fitness center or the Dubliner restaurant next door, but if you are just looking for a convenient, impeccable room this is a great choice. I'll definitely return.
Via the phone and their web site, they required a 3-day minimum stay. Fortunately booking via Kayak let me book a single night, or I would have had to stay somewhere else.
Staff were very accommodating. Room was rather small, but very comfortable and immaculate. Restaurant and pub attached to hotel and cafe just down the corner. 5 minute walk to Union Station.
Only thing missing was coffee maker in the room.
The room was beautiful and clean. The location was excellent. All the hotel staff were Grundy and courteous.
Other room's room service trays sitting in the hallway for more than 24 hrs. Unbelievable that they charged $4 for the water bottles in the room. Tried to go for a drink in the pub, staff were not attentive; sat for over 15 mins without getting asked what we wanted or asked about drinks; simply left and no one noticed.
Comfortable rooms, helpful staff. Private setting with an interesting bar. The night we were there the bar was very busy and noisy yet the noise was completely isolated from the lobby. Irish themed, the bar had an excellent selection of beers and whiskeys. We didn't try the restaurant, so I can't give an opinion. The Phoenix Park is an excellent choice, especially for business travelers.
Nothing - good place to stay.
The hotel itself was pleasant despite being under repair such as an out-of-service elevator. The convenient location was key for us as we arrived and departed through Union Station, just a couple of blocks away. It's also reasonable walking distance to the capital building, China Town, Verizon Center, Pennsylvania Avenue, etc. The room was small but the bed and room were clean and comfortable. The desk staff were friendly and accommodating.
The amenities were bare bones. No frig in room, no comp breakfast or wine hour. The fitness center was a little lacking as well: small space and there were free-weights, but no benches on which to use them. The water pressure in the shower was very weak. It was like trying to shower with a toy squirt gun. Check-in could have been a bit smoother: we arrived around noon, so we had previously requested an early check-in (normal check-in is 3:00 PM and this is not explicitly stated until you complete your booking). We were told over the phone early check-in would not be possible. Once we arrived, we went to the hotel anyway to see if we could store our bags. It turned out we were able to check in early, so I'm not sure why were initially told that early check-in was not possible. Service at the restaurant was poor. We went for lunch after checking in. I ordered a drink after we were seated and I did not receive it until after we were finished eating and had received the check. There was some kind of problem with their taps. They were apologetic and did provide the drink for free since it took so long, which was nice.
The hotel itself was pleasant despite being under repair such as an out-of-service elevator and an out-of-service ice machine.
When I checked out, they tried to charge me for six nights when I had stayed five. When I pointed this out, there was no apology. Mistakes can be made, but overcharging by hundreds of dollars is a very big mistake and deserves some serious groveling. I waited about five minutes for them to correct this, but they couldn't even get logged into the computer. I told them I'd be in the breakfast room and to bring me the corrected receipt. After half an hour, there was still no corrected bill. I went back to the desk to ask about it. This time I got a mumbled "I'm sorry," but I wasn't sure if it was for overcharging or for taking so long. It seems they overcharged everyone in the hotel, and I was just the first to notice. They were sorting out the mess. Besides a serious apology, you'd think they'd be thankful to me for alerting them to a massive problem before they had a lobby full of irate guests. You might think they would at least offer to pay for my breakfast while had to wait so long, if not offering a free night. I got nothing but a long wait. I eventually got my corrected receipt and ran and caught my train to the airport by just one minute.
I liked the location and apparence about buiding, is a Tresaure of tourism in America. Bravo!
Search for Phoenix Park Hotel discounts in Washington with KAYAK. Search for the cheapest hotel deal for Phoenix Park Hotel in Washington. KAYAK searches hundreds of travel sites to help you find and book the hotel deal at Phoenix Park Hotel that suits you best. $154 per night (Latest starting price for this hotel) - Save up to 25%.


Smart thing to do. Obama eyes tax cuts. It's one of the only effective�things a government can do to try to shorten a recession.
In the end, though, recessions just have to play themselves out. It's the natural history of economies, and, now that economics�is fully global, local efforts can have minimal impact on the big picture.
Maybe (let's hope) Obama will be more practical and less ideological than has been feared.


text:
Mark S. Doss: Performing Opera, the Culmination of All the Arts
Mark S. Doss grew up next to a church rectory and was able to observe the kindness of the priests who lived there firsthand. He combined his childhood love of baseball with his desire to enter the ministry, and settled on being a baseball-playing priest.
But another interest crept into view when he was young–he watched a movie that featured an operatic feat of breaking a glass singing a high note. He asked his chorus teacher, Mrs. Hilton, how he could find the music the baritone was singing. She directed him to the library, and then arranged an opportunity for Doss to have a non-singing part in Aida, a Metropolitan Opera touring production.
That day in April 1976 was Doss's first exposure to a live opera performance.
He then took drama and chorus classes in high school, and performed in Godspell. That led to a city-sponsored arts training program, where Doss performed in The Wiz That Is as Daniel Galein. After that, he acted in The Man of La Mancha.
Photo from www.marksdoss.com.
Finishing a summer of performing, he entered the seminary program at Saint Joseph's College in Rensselaer, IN, still intent on the priesthood. He ended up ministering through a different means. "My goal was to become a priest, and declaring my minor to be music was certainly a way (I thought) to continue my study of voice and to use that to the best of my ability in my ministry," said Doss. "The comments I received early on did give me something to consider, but ultimately I knew that I wanted to use my singing to inspire others in a way that I, myself, am inspired, knowing that when one sings one does indeed pray twice. Certainly when I sing the words of Zaccaria in Nabucco, Jochanaan (John the Baptist) in Salome, or even Méphiso in Faust–the devil was once an angel–I am celebrating the gifts I have been given from God, and I am presenting back to God the fruits of those gifts, borne out through my hard work and dedication."
At age 21, he won the second competition he had ever entered, mere months after the first competition, where he tried to sing after coming down with a cold. He placed in the District Competition of the Metropolitan Opera held at Valparaiso University in Indiana.
Still, Doss took his GRE exams in sociology and not music. Then things began to shift. "I auditioned at the University of Illinois and I was offered a full scholarship, and then I auditioned at Indiana University's School of Music and received extremely enthusiastic responses from the faculty that heard me," shared Doss. "I expected to be told I should just line up behind the other one hundred nice voices they had heard that day, but that did not happen. Something just seemed to 'click' when I would sing, and this came to me profoundly at one of St. Joe's glee club concerts, when I found myself feeling extremely 'at home' while on stage singing 'Sunrise, Sunset' from Fiddler on the Roof."
Doss left seminary after his second year, graduating with a Bachelor's of Arts from Saint Joseph's. He earned his Master degree at Indiana University, during which he sang in his first opera role as Khan Konchak in Borodin's Prince Igor. This is also where he first performed his signature role, as Méphistophélès in Faust.
As much as the world of opera pulled Doss in, it has not been without its struggles. Without a large amount of musical training, Doss has had to be creative. "I have worked to develop many different techniques to compensate for what I consider a musical handicap," said Doss. "My brain seems to initially put words and music on two different tracks, so I am constantly trying analyze each of them separately and then to bring them back together."
In the years since he experienced his first live opera, Doss has performed all over the world in over 120 roles with more than 60 major opera companies, singing in 10 languages. He refers to opera as a "culmination of all the arts", and has found that the art form fits his desire to have a hand in everything. "The word 'opus' means work," explained Doss, "and the plural of that word is 'opera' (works). You have singing, acting, languages, dancing (ballet), scenery, makeup, wardrobe, the orchestra, and a number of other visual arts that are now incorporated into what we call opera. If you just want to sing, then you can do that with a piano or even a cappella, but it's not opera because you are always going to be missing five or six elements of the art form that can only happen when you bring all of them together. 'It takes a village.' When you bring so many people together and have them working together on a single operatic project it can be a thing of great beauty!"
Doss won a Grammy in 1993, on the Deutsche Grammophon recording of Handel's Semele, conducted by John Nelson. He was also honored with the Entertainment Award from Planet Africa for his artistic achievements while being a positive role model. He presents a Role Preparation Masterclass and continues to fundraise through Opera Susquehanna and the Bozeman Symphony. "Through my Role Preparation Masterclass I have presented as many elements of opera as I possibly can," explained Doss who splits his time between Erie, PA and Toronto, ON when not performing. "I offer them a smorgasbord of what opera encompasses, and so I encourage people to study every aspect of history, culture, literature, music, languages that let them be encouraged to let the art more choose them, if they have the gifts that should be showcased for the world to see."
Doss also willingly and eagerly provides advice to those who ask. "Whenever I am asked to offer suggestions on singing, starting a career or my thoughts on a certain character, I am very enthusiastic," Doss said. "Some of the conversations after performances have been very enlightening, when I get a chance to hear people telling me how many times they've seen me perform in other operas, or how many performances they've attended of the opera I am doing at the time. Some fans don't like certain productions, and I often share their feelings or I try to explain the director's concept in a way that might help them become more comfortable with different ideas. Primarily I want them to know that I am always more interested in playing a character on stage, than just being Mark S. Doss singing a few lines of music."
The efforts Doss puts into fundraising are to not only raise awareness and encourage attendance, but also reach those who don't have easy access to the art form. "I think there should always be private funding for opera, but also a balance of public funding because it really does allow so many people to be involved and employed, giving them a sense of worth and high self esteem," shared Doss. "I think the funding issues are difficult, but not impossible to overcome with more innovative ideas. When the economic times are difficult, I think it's very hard for people to attend performances of any type. My fundraising efforts have been to primarily help that situation and to constantly reach out to those in communities who might not be exposed to opera, inspiring them to see the possibilities the art form can offer them in its need to have a village to keep it going. Through the HD performances of opera, people have gone to theaters to enjoy the art form, when getting to the actual Opera House might be more difficult. This could be taking some people out of the seats, but it can also be inspiring more people to get their chance in the Opera House for the first time, and many times afterwards."
Mark Doss performed as Méphistophélès at the The Coade Theatre during the Dorset Opera Festival until July 29, and graciously took the time to answer my questions between staging and videotaping sessions. His next performance, starting on October 7, will be as a soloist at the Wyoming Symphony in Casper, Wyoming. Doss will also perform as a soloist October 28 & 29 in Bozeman, Montana at the Bozeman Symphony.
Learn more about Doss, see what he's performed previously and learn what's upcoming at his website or Facebook page.
This is the third and final article about appreciating, studying, and performing opera.
August 7, 2017 Silverstein, Writer	art, bass, bass baritone, drama, Local, Mark S. Doss, Marketing, opera, performance, Profile, singing, Stories, sustainability, Sustainable, voice	Leave a comment
Christine Sacchi: Writing about Opera in a Way that's Interesting to the Aficionado, Accessible to the Curious
Artistic talent and music appreciation runs in Christine Chase Sacchi's family, but opera unexpectedly captured her heart a few years ago.
In 2009, when Sacchi's daughter traveled to Italy as part of her art education, Sacchi, a homeschooling mother of seven, wanted to hear music that evoked the experience of being in Italy. She found Ildebrando D'Arcangelo, an Italian bass-baritone opera singer, on Youtube, and got hooked. "I looked up everything I could on Youtube and starting buying CDs," Sacchi said. "He sings a lot in Europe and not as much here."
She started to watch for a chance to hear him on stage, and was eventually able to see D'Arcangelo on the stage in Los Angeles, and continued to pursue her appreciation of opera in other ways. "I started being more interested in opera in general through being his fan," Sacchi shared. "I would get so full of words every time I would go to something. I would write and put it on Facebook. My girlfriends who were opera fans that I met through Facebook groups had an endless appetite for everything I wrote. They said, 'You gotta write a blog.' A girlfriend from Russia said, 'I read all the opera blogs, and I like yours better than theirs.' After a year, I got around to it."
Sacchi launched her blog on January 1, 2014, and now, over three years later, has hundreds of daily visitors reading her posts. "I'm having so much fun with it," Sacchi said. "I'm having people tell me on Facebook that they saw me at the opera."
Sacchi started adding interviews to her blog, in addition to her reviews. She interviewed two composers, Robert W. Butts and Marco Frisina, as well as bass baritone Mark S. Doss. Doss sings in twelve different languages, and flies around the world singing in many prominent opera houses. When Sacchi first reached out to Doss, he was singing in Italy. Doss is tall and strikingly handsome, and Sacchi was a bit nervous at first. "I thought, 'Oh my goodness, I'm kind of afraid, but my readers just love interviews,' said Sacchi, who was able to complete the interview in writing and eventually met Doss in New York. "This interview was perfect for my readers, since my blog is focused on basses and baritones."
While the opera blogosphere is full of good writing, Sacchi wants her niche to be writing for those who may not be musical experts or even opera fans. She wants to discuss things in a way that's interesting to the aficionado while accessible to the curious. "I'd like to be a bridge between normal people and the world of opera," Sacchi shared. "I want to appeal to the avid fan as well as the first time opera goer."
As she's attended more performances, Sacchi has been able to verbalize what she finds particularly appealing about opera. "I have distilled for myself why the art form is very special to me and why I'd like to see it perpetuate instead of dying out," shared Sacchi. "The human voice without amplification is a very beautiful instrument. The experience of it hitting not just your eardrums but your body can't be reproduced outside a live performance. To be in the room with the music is an experience of the whole body, mind, and soul."
Of course there's a place for microphones and recordings, Sacchi agrees. But hopefully through writing about opera she can reach people with the idea that live singing is a tradition well worth preserving in an electronic age.
In her quest to introduce more newcomers to opera, Sacchi admits encountering some familiar preconceived expectations. She responded, "Some people literally expect to see a large lady in Viking garb, horned helmet and all."
This raises the question of body image and the pressure on singers today to not only sound great but conform to standards of beauty driven by film and television. As to whether a large frame is necessary to sing well–it's not. "I've seen a lady five feet tall and slender fill an opera house with her voice," said Sacchi. "It's pretty amazing what they can do with professional training. It doesn't necessarily have to do with size at all. In the meantime, they're now dealing with being judged on how well they look, as well as how they sing. This modern standard of physical beauty is putting a lot of pressure on the opera world. The singers think, 'If I'm overweight, I won't get the role. And if I get the role, but I'm not someone's idea of slim enough, what will the critics say?' The critics can be vicious. Fans like me get nervous because I don't want people to get hired just because they're thin. I want them to be good singers. If the balance tips too far toward movie star looks, we could end up hearing lesser voices."
In addition to old stereotypes, technology has influenced how a potential audience views opera. "We can all hear the world's best at the touch of a button," Sacchi said. "What does this mean for audiences attending local shows? Will we become unrealistically demanding?"
When considering new material for her website, Sacchi looks for performances that revolve around a featured singer, a new opera, or a particular composer, especially if she's featured a certain person on her blog. "Because I'm interested in new music in helping opera not die out," explained Sacchi. "We need new opera. The old opera is very beautiful but I don't think we were meant to watch the same shows over and over. There's something stale there. Culture needs something of our own time."
She is also aware of how music continues to evolve. "In the 20th century, some modern music got very hard to understand, very intellectual and technical," Sacchi said. "Audiences became wary of new compositions. I think we're finding our way forward now to music that's very beautiful and relevant. Opera is just drama and music put together–people singing about their feelings and about life."
Sacchi writes in other forms as well and is working on her first novel, a murder mystery that revolves around a real-life church homicide. Catch the latest in her adventures on her blog.
This is the first of three articles about appreciating, studying, and singing opera.
July 26, 2017 Silverstein, Writer	art, basso, basso buff, drama, Local, Marketing, opera, performance, Profile, singing, Stories, sustainability, Sustainable, voice	Leave a comment

redpajama_set_name: RedPajamaCommonCrawl


text:
Home > Movies & Entertainment > Indian Drama & Theatre > Indian Theatre Schools
Indian Theatre Schools
Indian theatre schools are the professional institutions, teaching the aspired students different forms and techniques of theatre.
Natmandal
Theatre Education
Theatre Schools in Southe...
Indian theatre schools have attained popularity in India since a long time to nurture the talents of aspiring artists. Indian theatre, an integral diaspora of Indian entertainment scenario has its roots deeply seated in the antiquities of Sanskrit theatre. Indian theatre has been influencing all age groups who find pleasure in the arena of performing arts and Indian theatre schools are some such organisations that hone the talents of acting on stage. Characters in Indian theatre indeed played the major role in shaping the contour of theatre. The actors who play the characters in Indian theatre are usually the students or learners in Indian theatre schools. India being a multi-cultural nation, Indian theatre schools followed the fusion of cultures. The pattern of teaching in these Indian theatre schools cannot be associated with a unique trend and feature. Presently, major Indian theatre schools are spread in the metropolitan cities like Kolkata, Delhi and Mumbai for its vast exposure to Indian theatrical works.
Inception of Indian Theatre Schools
In ancient days, there were no Indian theatre schools, rather theatre in India began with the Rig Vedic dialogue hymns during the Vedic period, and Sanskrit drama was established as a distinct art form in the last few centuries BC. However, during the middle ages, the Indian subcontinent was invaded a number of times. This played a major role in determining the Indian culture and heritage. British India, as a colony of the British Empire, used theatre as one of its prime instrument to protest. To oppose, the British Government had to impose 'Dramatic Performance Act' in 1876. From the last half of the 19th century, Indian theatre schools experienced a boost in numbers and practice.
Bhartendu Academy of Dramatic Arts
Bhartendu Academy of Dramatic Arts is an Indian theatre school at Lucknow. This autonomous organization works under Ministry of Culture and was established in 1975 under the auspices of Sangeet Natak Akademi (Government of Uttar Pradesh). Its first batch passed out in 1977; in 1977 it became autonomous and in 2008 it gained the status of a deemed university.
Bangalore School of Speech and Drama
Bangalore School of Speech and Drama, situated in Bengaluru, is another premier institute affiliated with Trinity College, London. Trinity examiners visit the institute every year to administer the exams. It was established by Zulfia Shaikh in the year 2001. One major production is put up by the school every year.
The ITA School of Performing Arts
The ITA School of Performing Arts was established with the efforts of The Indian Television Academy and was founded in the year 2001 by Shashi Ranjan and Anu Ranjan. The school is known to provide good placement and exposure to the students with excellent infrastructure, facilities and industry connectivity.
Kalakshetra Manipur
Kalakshetra Manipur, located in Manipur, is another prominent Indian theatre group founded in 1969 by Heisnam Kanhailal. It is registered under Societies' Registration Act XXI of 1860. Kalakshetra Manipur organizes training and research programs and has been creating milestones in alternate theatre through spectacular performances over years.
National School of Drama (NSD), India's premier Indian theatre school situated at New Delhi and is an autonomous organization under Ministry of Culture, Government of India. This Indian theatre school was established in 1959 under the auspices of Sangeet Natak Akademi (Government of India), and its first batch passed out in 1961. This institution became autonomous in 1975 it and in 2005 it gained the status of a deemed university.
Ninasam
Ninasam is another Indian theatre school offering courses on theatre to the aspiring candidates. The year 1980 marks the beginning of this institute. It provides 10 months diploma course to around 20 students every year. Over years it has produced several plays gaining much appreciation.
School of Drama and Fine Arts
School of Drama and Fine Arts, located in Thrissur City of Kerala, is a theatre training institute. It is a department of the University of Calicut and is renowned as the only institute in the state providing formal education and training in theatre and drama. It is affiliated with National School of Drama.
Shri Ram Centre for Performing Arts
Shri Ram Centre for Performing Arts (SRCPA), in Delhi, works under the Indian National Theatre Trust. It works for promoting art and culture in India and nurturing the talents in performing arts. It offers a certified two years acting course.
India is one of the few countries, which can boast of an array of indigenous Indian theatre schools and the varied curriculum in the Indian theatre schools amidst their myriad forms and patterns further establish this art form to illustrate the unspoken thoughts. The journey of Indian theatre schools is long yet profuse. The Sanskrit drama gradually faded away leaving space to improvisations of the Indian theatre schools.
Recently Updated Articles in Indian Drama & Theatre
• Krishna Parijatha
Krishna Parijatha is a folk drama which narrates the story of Lord Krishna, Rukmini and Satyabhama. It is immensely popular in Karnataka.
• Naga Nritya
The dance form of Naga Nritya is basically the serpent dance that is performed as a symbol of fertility and life.
• Sangeet Natak Akademi Award for Kathakali Dance
Sangeet Natak Akademi Award for Kathakali Dance is an award given by the Sangeet Natak Akademi. It is the highest Indian recognition given to practicing artists. Some of the Kathakali Dancer Awardees are Kalamandalam M.P.S. Namboodiri, K. Kunhiraman Nair, Kalamandalam Ramachandran Unnithan, Madambi Subramanian and many others.
• Sangeet Natak Akademi Award for Kathak Dance
Sangeet Natak Akademi Award for Kathak Dance is an award given by the Sangeet Natak Akademi. It is the highest Indian recognition given to practicing artists. Some of the Kathak Dancer Awardees are Manjushree Chatterjee, Vijay Shankar, Uma Dogra, Jitendra Maharaj, Shobha Koser and many others.
• 2009 Padma Vibhushan Awardees
The number of recipients for the 2009 Padma Vibhushan Awards was 10, belonging from fields like science, trade and industry, science, public affairs, engineering and arts. Some of the popular 2009 Padma Vibhushan Awardees were Purshotam Lal, Govind Narain, Chandirka Prasad Srivastava, etc.
Subscribe to Free E-Magazine on Entertainment


Body Gossip has always made theatre shows and short films out of the body stories we receive, because our aim is to showcase and celebrate the real stories you guys send us about your bodies. But we're about to embark on the biggest theatre show we've ever made!
* Verbatim interview responses that our creative team and ambassadors have been collecting, having interviewed people all over the UK over the past few months.
We're going to create a new play that tells as many of these stories as possible!
We have a cast of five actors, who we'll be introducing to you over the next two weeks. They are brilliant, and are all so excited to be working with us on this project.
Our celebrity ambassadors are also joining us for a very special final scene.
Initially we're performing the play on 11th October 2013, at the Southbank Centre, as part of International Day of the Girl, to an invited audience of hundreds of girls from schools all over London. Then, we will be in talks with producers to tour the show nationally, and hopefully internationally - we want this new show to encourage and inspire thousands of people, with an ever-changing script of stories written by YOU about YOUR BODY!
1) We want to bring people together about an issue that so often makes people feel alienated, alone and 'not normal'. We're exploring the subjects of body image and self-esteem, specifically told by the general public - which is something that everyone can relate to. When you watch the play, you will see something you've experienced about your own body - confusion, pride, despair, hope, wonder, frustration, acceptance - beautifully told, in a way that will give you confidence, acceptance and affirmation.
2) We're also aiming to spark an entirely fresh and unique debate on a National conversation. The subject of body image is everywhere - but with our new play, there's an excitement in not knowing what you guys will send us; what you have written about. The script will change with the new stories we receive, which makes the play an ever-evolving debate, acting as an artistic catalyst that audiences will really relate to, and that will have a huge impact on everyone who sees it.
As you can tell, we're hugely proud and excited about the development of this new play, and we look forward to sharing with you our rehearsal blog and photos as it is developed.
Participate in our play: fill in our body image questionnaire!
Read some Body Gossip stories now: buy our book!


text:
"""
Scripts to drive a donkey 2 car and train a model for it.

Usage:
    manage.py drive [--model=<model>] [--web=<True/False>] [--throttle=<Throttle 0.0-1.0>] [--js]
    manage.py train (--tub=<tub>) (--model=<model>)
    manage.py calibrate
    manage.py (calibrate)
    manage.py (check) [--tub=<tub1,tub2,..tubn>] [--fix]
    manage.py (analyze) [--tub=<tub1,tub2,..tubn>] (--op=<histogram>) (--rec=<"user/angle">)
"""

import os
from docopt import docopt
import donkeycar as dk

def drive(cfg, model_path=None, use_joystick=True):
    """
    Drive the car.
    You will either drive to record data for training or drive to test the autonomous mode.
    Either use Web controls or Joystick to control the vehicle.
    If driving autonomous, give the model to load.
    :param cfg: Configuration for user defined values.
    :param model_path: Path to load the model.
    :param use_joystick Use parameter in startup to use joystick.
    """
    #Initialized car
    V = dk.vehicle.Vehicle()

    # Setup camera
    cam = dk.parts.PiCamera()
    V.add(cam, outputs=['cam/image_array'], threaded=True)

    # Select if only use bluetooth PS3 controller
    # Or web controller
    # Also set the max throttle
    if cfg.IS_WEB_CONTROL or not use_joystick:
        ctr = dk.parts.LocalWebController()
    else:
        ctr = dk.parts.JoystickController(max_throttle=cfg.JOYSTICK_MAX_THROTTLE,
                                          steering_scale=cfg.JOYSTICK_STEERING_SCALE,
                                          auto_record_on_throttle=cfg.AUTO_RECORD_ON_THROTTLE)

    V.add(ctr,
          inputs=['cam/image_array'],
          outputs=['user/angle', 'user/throttle', 'user/mode', 'recording'],
          threaded=True)

    # See if we should even run the pilot module.
    # This is only needed because the part run_contion only accepts boolean
    def pilot_condition(mode):
        if mode == 'user':
            return False
        else:
            return True

    pilot_condition_part = dk.parts.Lambda(pilot_condition)
    V.add(pilot_condition_part, inputs=['user/mode'], outputs=['run_pilot'])

    # Determine which training model to use
    # Run the pilot if the mode is not user
    # Default model type is Categorical
    if cfg.TRAINING_MODEL == cfg.MODEL_TYPE_CATEGORICAL:
        kl = dk.parts.KerasCategorical()

    if cfg.TRAINING_MODEL == cfg.MODEL_TYPE_LINEAR:
        kl = dk.parts.KerasLinear()

    # Check if other model type was selected
    if cfg.TRAINING_MODEL == cfg.MODEL_TYPE_NVIDIA:
        kl = dk.parts.KerasNvidaEndToEnd()

    if model_path:
        print(model_path)
        kl.load(model_path)

    V.add(kl, inputs=['cam/image_array'],
          outputs=['pilot/angle', 'pilot/throttle'],
          run_condition='run_pilot')

    # Choose what inputs should change the car.
    def drive_mode(mode,
                   user_angle, user_throttle,
                   pilot_angle, pilot_throttle):
        if mode == 'user':
            return user_angle, user_throttle

        elif mode == 'local_angle':
            return pilot_angle, user_throttle

        else:
            return pilot_angle, pilot_throttle

    drive_mode_part = dk.parts.Lambda(drive_mode)
    V.add(drive_mode_part,
          inputs=['user/mode', 'user/angle', 'user/throttle',
                  'pilot/angle', 'pilot/throttle'],
          outputs=['angle', 'throttle'])

    # Configure the throttle and angle control hardware
    # Calibrate min/max for steering angle
    # Calibrate min/max/zero for throttle
    steering_controller = dk.parts.PCA9685(1)
    steering = dk.parts.PWMSteering(controller=steering_controller,
                                    left_pulse=460, right_pulse=260,
                                    invert_steering_angle=cfg.INVERT_STEERING_ANGLE)

    throttle_controller = dk.parts.PCA9685(0)
    throttle = dk.parts.PWMThrottle(controller=throttle_controller,
                                    max_pulse=500, zero_pulse=370, min_pulse=220)

    V.add(steering, inputs=['angle'])
    V.add(throttle, inputs=['throttle'])

    # Add tub to save data
    inputs = ['cam/image_array',
              'user/angle', 'user/throttle',
              'pilot/angle', 'pilot/throttle',
              'user/mode']
    types = ['image_array',
             'float', 'float',
             'float', 'float',
             'str']

    th = dk.parts.TubHandler(path=cfg.DATA_PATH)
    tub_writer = th.new_tub_writer(inputs=inputs, types=types)
    V.add(tub_writer, inputs=inputs, run_condition='recording')

    # Run the vehicle for 20 seconds
    V.start(rate_hz=cfg.FPS, max_loop_count=100000)

    print("You can now go to <your pi ip address>:8887 to drive your car.")

def expand_path_masks(paths):
    '''
    take a list of paths and expand any wildcards
    returns a new list of paths fully expanded
    '''
    import glob
    expanded_paths = []
    for path in paths:
        if '*' in path or '?' in path:
            mask_paths = glob.glob(path)
            expanded_paths += mask_paths
        else:
            expanded_paths.append(path)

    return expanded_paths

def gather_tubs(cfg, tub_names):
    if tub_names:
        tub_paths = [os.path.expanduser(n) for n in tub_names.split(',')]
        tub_paths = expand_path_masks(tub_paths)
    else:
        tub_paths = [os.path.join(cfg.DATA_PATH, n) for n in os.listdir(cfg.DATA_PATH)]

    tubs = [dk.parts.Tub(p) for p in tub_paths]
    return tubs

def train(cfg, tub_names, model_name):
    """
    Train the model using the neural network based off the tubs given.
    The tubs contain the recorded data.
    :param cfg: Configuration for user settings.
    :param tub_names: Tubs to load.  This must be the full path.
    :param model_name: Name of the model to create.
    """
    # Get the configuration
    is_tensorboard = cfg.IS_TENSORBOARD
    is_plot = cfg.IS_PLOT_RESULTS
    epochs = cfg.EPOCHS
    lr = cfg.LEARNING_RATE
    is_stop_early = cfg.IS_EARLY_STOP
    early_stop_count = cfg.EARLY_STOP_COUNT
    dropout_1 = cfg.DROPOUT_1
    dropout_2 = cfg.DROPOUT_2
    optimizer = cfg.OPTIMIZER
    loss_weight_angle = cfg.LOSS_WEIGHT_ANGLE
    loss_weight_throttle = cfg.LOSS_WEIGHT_THROTTLE
    is_categorical = cfg.IS_CATEGORICAL
    is_lr_decay = cfg.IS_LR_DECAY

    X_keys = ['cam/image_array']
    y_keys = ['user/angle', 'user/throttle']

    def rt(record):
        record['user/angle'] = dk.utils.linear_bin(record['user/angle'])
        return record

    # Determine which training model to use
    # Run the pilot if the mode is not user
    if cfg.TRAINING_MODEL == cfg.MODEL_TYPE_LINEAR:
        print("LINEAR MODEL")
        kl = dk.parts.KerasLinear()
    # Check if other model type was selected
    elif cfg.TRAINING_MODEL == cfg.MODEL_TYPE_NVIDIA:
        print("NVIDIA MODEL")
        kl = dk.parts.KerasNvidaEndToEnd(learning_rate=lr,
                                         dropout=dropout_1,
                                         loss_weight_angle=loss_weight_angle,
                                         loss_weight_throttle=loss_weight_throttle)
    else:
        print("CATEGORICAL MODEL")
        # Default model type is Categorical
        kl = dk.parts.KerasCategorical(dropout_1=dropout_1,
                                       dropout_2=dropout_2,
                                       optimizer=optimizer,
                                       learning_rate=lr,
                                       loss_weight_angle=loss_weight_angle,
                                       loss_weight_throttle=loss_weight_throttle,
                                       is_categorical=is_categorical,
                                       is_lr_decay=is_lr_decay)

    tubs = gather_tubs(cfg, tub_names)

    import itertools

    gens = [tub.train_val_gen(X_keys, y_keys, record_transform=rt, batch_size=cfg.BATCH_SIZE, train_split=cfg.TRAIN_TEST_SPLIT) for tub in tubs]

    # Training data generator is the one that keeps cycling through training data generator of all tubs chained together
    # The same for validation generator
    train_gens = itertools.cycle(itertools.chain(*[gen[0] for gen in gens]))
    val_gens = itertools.cycle(itertools.chain(*[gen[1] for gen in gens]))

    model_path = os.path.expanduser(model_name)

    total_records = sum([t.get_num_records() for t in tubs])
    total_train = int(total_records * cfg.TRAIN_TEST_SPLIT)
    total_val = total_records - total_train
    print('train: %d, validation: %d' %(total_train, total_val))
    steps_per_epoch = total_train // cfg.BATCH_SIZE
    print('steps_per_epoch', steps_per_epoch)

    # Train with the data loaded from the tubs
    kl.train(train_gens,
             val_gens,
             epochs=epochs,
             saved_model_path=model_path,
             is_early_stop=is_stop_early,
             early_stop_count=early_stop_count,
             is_tensorboard=is_tensorboard,
             is_plot_results=is_plot)

def calibrate():
    channel = int(input('Enter the channel your actuator uses (0-15).'))
    c = dk.parts.PCA9685(channel)

    for i in range(10):
        pmw = int(input('Enter a PWM setting to test(100-600)'))
        c.run(pmw)

def check(cfg, tub_names, fix=True):
    '''
    Check for any problems. Looks at tubs and find problems in any records or images that won't open.
    If fix is True, then delete images and records that cause problems.
    '''
    tubs = gather_tubs(cfg, tub_names)

    for tub in tubs:
        tub.check(fix=fix)

def anaylze(cfg, tub_names, op, record):
    '''
    look at the tub data and produce some analysis
    '''
    tubs = gather_tubs(cfg, tub_names)

    if op == 'histogram':
        import matplotlib.pyplot as plt
        samples = []
        for tub in tubs:
            num_records = tub.get_num_records()
            for iRec in range(0, num_records):
                json_data = tub.get_json_record(iRec)
                sample = json_data[record]
                samples.append(float(sample))

        plt.hist(samples, 50)
        plt.xlabel(record)
        plt.show()

if __name__ == '__main__':
    args = docopt(__doc__)

    # Put config.py in the same location as manage.py
    my_cfg = dk.load_config()

    if args['drive']:
        drive(my_cfg, model_path=args['--model'])

    elif args['calibrate']:
        calibrate()

    elif args['train']:
        tub = args['--tub']
        model = args['--model']
        train(my_cfg, tub, model)

    elif args['check']:
        tub = args['--tub']
        fix = args['--fix']
        check(my_cfg, tub, fix)

    elif args['analyze']:
        tub = args['--tub']
        op = args['--op']
        rec = args['--rec']
        anaylze(my_cfg, tub, op, rec)

redpajama_set_name: RedPajamaGithub


Chinese-Icelandic KS Orka has finalised the acquisition of a 95% stake in the 30 MW Sokoria geothermal power project on Flores Island, East Nusa Tenggara, Indonesia.
In August 2016, we reported on the sale of the 30 MW Sokoria project on Flores Island by its owners. Now details emerge in a release by Chinese-Icelandic KS Orka.
KS Orka Renewables Pte Ltd of Singapore (KS ORKA) has signed an agreement to acquire 95% of PT Sokoria Geothermal Indonesia (SGI) from PT Bakrie Power and Xped Ltd. SGI holds the development rights to Indonesia's Sokoria Geothermal Power Project (SGPP), a 30MW geothermal power project located in Flores Island, East Nusa Tenggara, Indonesia.
KS ORKA intends to accelerate development of the Sokoria Project. The first geothermal power unit is expected to come online in December 2018. Commissioning of the Project will coincide with the planned completion of the integration of the Flores power grid by the national state power company, PT Perusahaan Listrik Negara (PLN).
KS ORKA, is a joint venture between Hugar Orka ehf, an Icelandic company and Zhejiang Kaishan Compressor Co., Ltd (Kaishan), which is listed on the Shenzhen stock exchange. KS Orka combines the Icelandic geothermal and project development expertise with Kaishan's power plant technology and manufacturing expertise to form Asia's only vertically integrated geothermal and waste energy company.


text:
Джелалудин Мухаремович (,  23 березня 1970, Сараєво, СФРЮ) — боснійський футболіст, що грав на позиції півзахисника. Виступав за національну збірну Боснії і Герцеговини. По завершенні ігрової кар'єри — тренер.

Клубна кар'єра

У дорослому футболі дебютував виступами за команду клубу «УНІС Вогошча», в якій виступав до 1992 року включно.

Своєю грою за цю команду привернув увагу представників тренерського штабу клубу «Желєзнічар», до складу якого приєднався 1994 року. Відіграв за команду із Сараєва наступні два сезони своєї ігрової кар'єри.

1996 року уклав контракт з клубом «Загреб», у складі якого провів наступний рік своєї кар'єри гравця. З 1997 року знову, цього разу чотири сезони захищав кольори команди клубу «Желєзнічар».

Протягом 2002 року захищав кольори команди клубу «Волгар» (Астрахань). 2002 року повернувся до клубу «Желєзнічар», за який відіграв 3 сезони. Завершив професійну кар'єру футболіста 2005 року виступами за команду «Желєзнічар».

Виступи за збірну
1997 року дебютував в офіційних матчах у складі національної збірної Боснії і Герцеговини. Протягом кар'єри у національній команді, яка тривала 5 років, провів у формі головної команди країни 18 матчів, забивши 6 голів.

Кар'єра тренера
Розпочав тренерську кар'єру невдовзі по завершенні кар'єри гравця, 2006 року, очоливши тренерський штаб клубу «Желєзнічар».

Останнім місцем тренерської роботи був клуб «Вележ», головним тренером команди якого Джелалудин Мухаремович був протягом 2015 року.

Титули і досягнення
 Чемпіон Боснії і Герцеговини (3):
 «Желєзнічар»: 1997-98, 2000-01, 2001-02
 Володар Кубка Боснії і Герцеговини (3):
 «Желєзнічар»: 1999-2000, 2000-01, 2002-03
 Володар Суперкубка Боснії і Герцеговини (3):
 «Желєзнічар»: 1998, 2000, 2001
 Найкращий бомбардир Чемпіонату Боснії і Герцеговини (1):
 «Желєзнічар»: 2000-01

Посилання

Боснійські футболісти
Боснійські футбольні тренери
Гравці збірної Боснії і Герцеговини з футболу
Футболісти «Желєзнічара» (Сараєво)
Футболісти «Загреба»
Футболісти «Волгаря-Газпром»
Тренери ФК «Желєзнічар» (Сараєво)
Тренери ФК «Вележ»
Боснійські футбольні легіонери
Футбольні легіонери в Хорватії
Футбольні легіонери в Росії
Уродженці Сараєва

redpajama_set_name: RedPajamaWikipedia


text:
Q: RJ45 over internet here is a scenario - I have two sites. Site one have some corporate connection + public internet. Site two have only public internet.
Is there any device which will provide me "long patch cable" so I can have corporate connection at site two? No NAT, something like switch with two ports anywhere in the world.
Thanks for tips

A: The way to go is a L2 Bridge, think this can be done by SonicWall or other Firewall or Routers.

redpajama_set_name: RedPajamaStackExchange


People say that diamonds are forever but I say that silk sarees are forever. It is often thought that silk sarees age young girls therefore a chiffon saree or a saree that is light and flowey is their choice for family functions or farewells. But that is a myth!
Silk sarees are classic and they add a touch of royalty and sophistication. If you feel like wearing a silk saree would age you, choose the brightest color that pops out like we did. Garvita choose a bright purple and pink saree and I choose a vintage blue embroidered silk saree because who can separate Charuta and vintage?
While Garvita took a modern take on the silk saree (you can read about it on her blog here), I took the vintage route. This beautiful blue hand-embroidered silk saree deserves a moment of its own. This saree is 25 years old and was gifted to my mother by my Nana (grandfather) when he came to visit her first time after her wedding. This is saree is especially hand-embroidered and made on order so it's one of a kind.
I wanted to stay true to the essence of the saree so I paired it with a powder blue brocade puffed sleeves blouse which is also my mother's and she had got it tailored to wear it for my second birthday. It is such a coincidence that puffed sleeves are back in fashion, I mean look at all the fast fashion brands cashing in on the trend.
To make the look extra and Indian wedding appropriate, I added a gold choker and wore a deep red lipstick.
Pro tip : if you forget your bindi use your to liquid lipstick to make one, that's what I did. I centre parted my hair and tied it in a low bun, my go to hairstyle with Indian wear (for the lack of better hairstyles) and tucked fresh flowers in my bun. Finally wore my sunglasses, kids do not wear your sunglasses if you are going to a night wedding.
Read about Garvita's look here.
What do you think about silk sarees?


text:
package com.xplus.server.balancer.ribbon.rest;

import org.springframework.beans.factory.annotation.Autowired;
import org.springframework.web.bind.annotation.RequestMapping;
import org.springframework.web.bind.annotation.RequestParam;
import org.springframework.web.bind.annotation.RestController;

import com.xplus.server.balancer.ribbon.service.HelloService;

@RestController
public class HelloControler {

	@Autowired
	private HelloService helloService;

	@RequestMapping(value = "/hi")
	public String hi(@RequestParam String name) {
		return helloService.hiService(name);
	}

}


Within the "Anime" neighborhood, Tokyo Ghoul for most fans and followers, "Anime" is "Anime and "Cartoons" are "Cartoons". For them both of the things are really totally different from every other.
To start with, many people get confused between an Anime and a Cartoon, just because both are animated that does not imply that they both are same. There are so many variations in Anime and Cartoons. While both are caricatures that may be animated, anime often has visually distinct features for characters. So, here I will now clarify the difference between these two. Anime are Japanese animated production, that come in several formats like, television collection corresponding to dragon ball z, Naruto, one piece etc., animated quick films, and full-size movies. But cartoons are two-dimensional illustrated visible artwork, non-realistic or semi-realistic drawings.
Anime characters have distinct facial and physical features which might be similar to reality, their big eyes and small mouth are created because of cuteness. Alternatively, cartoons physical features are very removed from reality than anime. Anime characters additionally show totally different sorts of distinguishable facial expressions whereas cartoons don't.
Cartoons are usually made to make people laugh, so the style mainly is comedy. However there are additionally many cartoons which might be educational, teaching something good to primarily toddlers and children in a fun, interactive way. For example, mickey mouse, Donald duck, bugs bunny etc.
Unlike cartoons, anime would not persist with just one or two genres. Anime shows and movies are all primarily based on some form of plot which continues by your entire collection, for example, bleach, one piece, Naruto, etc. Anime is predicated on real-life issues or something which can be closer to human emotions and have many more genres than cartoons resembling, drama, school life, slice of life, romance, action, etc.
But for those who look at both of them as separate entities, or as identical, you won't be able to discover a clear distinction between the two, and that's the reason most of the people get confused between the two and find yourself calling anime and cartoons are same.
The first cartoon was said to be produced in 1499. It depicted the pope, holy Roman emperor, and the king of France and England playing the game of cards. Nevertheless, Japanese animation began within the early 20's, when Japanese filmmakers were experimenting with completely different techniques. By Nineteen Thirties, as a substitute for the live motion industry, animation was established.
As cartoon are -dimensional figures drawn and utilized in animations, as caricatures in newspapers, and books. If we had been to outline what Anime is then the overall thought of a few of the frequent and agreed upon notions could be "Japanese, animation, vivid designs, and hand-drawn" would be predominant buzzwords.
In the present day, Anime solely appears to refer "animations solely from Japan" to make it more perceiveable for people. After all this is human nature to like the things which are simply perceiveable and easily categorized.
To make the distinction clearer, let's take the instance of the tom and jerry and dragon ball z. So, it's possible you'll think what is the distinction between the two once they both are animated and have good visuals, backgrounds, sound effects and even the animated drawings are nice. But, there are many differences in them which differentiate them from anime to cartoon. Like, their ideas are totally completely different, as you realize each episode of tom and Jerry is completely different and is not related to any of the previous episode or continuing some type of story from a degree however in dragon ball z every episode is related to the earlier one, and continue the story from where it stopped within the previous episode. And their genres are totally different too, as tom and Jerry is solely based mostly on a cat and mouse combat and made to make folks snicker and their watch time fun. Alternatively, dragon ball z is sort of a journey of a saiyan to save the Earth and the universe from a number of threats, he fights for saving everybody, with the assistance of his family, mates and fellow saiyans. Dragon ball z is might be categorized in many various genres, like motion, adventure, comedy, super power, etc.


text:
Partnership Lounge
GA4: Why the New Platform is Set to Revolutionise Marketing
Guest Writer August 8, 2022 — 3 minutes read
GA4 is the fourth major release of Google Analytics and the newest iteration of the free measurement platform. Unlike previous releases, it's an entirely new platform that will enhance all Universal Analytics capabilities and reduce brands' reliance on cookies across platforms and devices. Machine learning will be used to fill any gaps where users have not given consent for tracking, making GA4 a scalable and flexible solution in line with the deprecation of cookies.
Businesses, however, need to make the move now as the current version of Universal Analytics will cease to collect any data by the end of June 2023. For brands who may be reluctant to migrate to GA4, they will lose their year-on-year data. Transition timelines will vary from company to company based on the size of the business, how many properties they have, and their reliance on data-driven decision making.
Making the move in three simple phases
It's clear that the sooner a business starts its transition to GA4, the more confident its team will feel working with the new platform. The first step involves planning and implementation, focussing on creating the Google Analytics property and configuring the base tracking across a company's digital properties and apps. Once this has been established, marketers will need to set up platform links between their Google Marketing Platform, Ads, Optimise and BigQuery which is Google's Cloud Data Warehouse, before testing the initial implementation of GA4.
Following this, brands will need to start establishing the new GA4 capabilities and rebuilding any reporting and data pipelines for the new platform. Marketers can also begin to replicate any Universal Analytics audiences and segments, as well as implement any enhanced e-commerce tracking. It's vital at this stage to begin training the wider team to help them understand how best to leverage GA4 and its advanced capabilities.
To fully understand the platform and its capabilities, it's important for organisations to begin the final stage and trial the new GA4 features. In addition, marketers should undertake regular privacy audits to ensure that their brand adheres to any applicable data protection laws. GA4 is constantly evolving, so businesses need to ensure that they can quickly react to new changes and provide relevant training to help teams upgrade their skills.
Taking this all into account, it is recommended that brands implement a dual set-up, whereby GA4 is deployed on the web alongside the existing Universal Analytics property. When this process is completed, an organisation's website measurement data is sent to both the Universal Analytics and GA4 property. This approach ensures that marketers have sufficient time to transition reporting before the platform sunsets.
Bringing benefits to brands' digital assets
Whilst the upgrade may seem like a daunting process, GA4 will bring a host of new benefits to brands. Predictive Audiences is set to allow marketers to forecast when users will churn, convert and uncover lifetime value, which goes far beyond retargeting audiences. By predicting the purchase behaviour of users in the next one to four weeks, businesses have better opportunities for cost-effective paid campaigns and improved return on investment (ROI). Furthermore, Data-Driven Attribution Modelling will become available for non-premium properties. This move to a modelled approach to attribution takes into account each of the touchpoints on a website's conversion events and ensures that a brand's advertising spend works harder.
Businesses will also benefit from On-site Optimisation Integration with Google Optimise. This means that experiments can be run using user metrics instead of using the session scope of Universal Analytics, ensuring that a campaign is targeting a group of users who exhibit certain behaviours and attributes. Additionally, BigQuery exports will become available for non-premium properties. Previously, GA360 was needed for brands to automate data exports into BigQuery, but this can now be seamlessly achieved in GA4, opening up a new world of reporting, insight, and modelling capabilities.
GA4 is a privacy-centric platform as Google understands that it is vital for consumers to take charge of their data in order to build mutual trust. The new platform has been built with privacy in mind due to a selection of privacy features that help brands give control back to their customers. For instance, GA4 anonymises user IP addresses by default and can be used with consent mode to make tracking opt-ins easier and more reliable.
Aligning GA4 with performance marketing
It's no secret that GA4 is going to revolutionise the world of performance marketing and open up a plethora of tools that will bolster future business strategies. Google's integration with machine learning and AI will allow marketers to make better-informed decisions about their plans for campaigns and content. The platform can track trends and calculate advanced metrics that had not been previously tapped into. As a result, brands will be able to utilise these insights to ensure that they are making the most of their marketing budgets.
Traditionally, analytics has been restricted to devices or platforms that limited the end-to-end understanding of a buyer's journey. GA4 can help businesses fill in these gaps and truly gain the knowledge related to how individual customers relate to their website. This customer-centric approach means that brands can better adapt to consumer needs and make updates to the site for an improved online experience which aligns with user demands.
Meta's Latest Influencer Experiment – Super Livestreaming
A Day in the Life: Aaron King, Senior Account Director - Influencer Marketing, ITB Worldwide
CTV Advertising Moves Towards a Performance-Driven Model, But Brands Face Strategic Hurdles
Monthly Top Line – January 2023
After A Slow Start, TikTok Doubles Down On Ambition to Dominate Social Commerce
Admitad Launches New Parent Company 'Mitgo'
Marketers are Cautiously Optimistic as the IPA Bellwether Report Q4 2022 Presents an Overall Increase in Marketing Spend
Majority of UK Marketers Are Unprepared for Cookie-Apocalypse
With our news, insights and events - Hello Partner helps brands, creators, publishers and tech drive growth together through successful partnerships.
© Hello Partner 2023. All rights reserved.
You've successfully subscribed to Hello Partner


Hey I really think the X-Box cant cost less than 400 clams. But relly, I didn't read this anywhere, I don't have a braud knowledge of all the technical stuff. I honestly just think so. Anyone thinks otherwise, please tell me why. Anyone may agree please tell me why also, cause I don't quite know why I think this.
Why can't you believe that the Xbox is going to cost 299?
That's what they said it was going to cost.
Microsoft would have been dumb to make their console $499 theres gonna be 2-3 other consoles way below that it would guarantee almost certain death, I think the $299 they chose was a good price point, the only thing I have a problem with is that by then the PS2 will probably lower its price somewhat and the Cube, well the Cube SHOULD be lower than both of them so the Xbox will be the highest price console on the market, will it make it?? Only time will tell.
I think it should have been around $200. Because by the time the Xbox is out, the PS2's price will be around $200 or so. So Microsoft's price isn't competitive with Sony's.
I think the Xbox price is good but I dont think its competitive enough, oh well if ppl really want it theyll pay the extra $$, I think they shoulda priced it no more than $250 just to make the price look a little lower than $299.


If you get deeper into the checkout process you won't have the option to Check out with PayPal. All you need to do is click on the My Cart button in the upper right and it will take you back to the first page with the button.
Once you are in the PayPal area, make sure you are on the Debit or Prepaid Gift Card tab where you can enter the address and credit card details. Once you complete this on the PayPal page, you will be taken back to Proteinco where you can complete your order.
This will take you to a page where you can enter your Debit Card details. You need to fill out the Billing Address information as well as your phone number and e-mail address. Once this process is complete, you will be taken back to your Proteinco Shopping Cart to complete the order.
If this doesn't work for some reason, continue through the checkout process and enter your Debit Card in the credit card payment area. Your payment will be rejected so when that happens, close out your browser and the order will be saved in our Abandoned Cart area. Contact us where we will send an invoice you can pay directly then we will process and ship your order.
If your payment is rejected for any reason, contact us by e-mail or phone and we will gladly assist you with completing your order.
Click "Apply". If your discount qualifies, it will be displayed in the payment summary.
Only one coupon per purchase.
Please enter your name, invoice number and invoice amount. All our online payments are processed with Paypal. We accept all major credit cards and Paypal.


Have you ever looked at a black and white photograph and wondered what it would look like if it were taken in the modern day? The Dutch website NSMBL recently uploaded GIFs of vintage photographs being colorized. We are not only able to see the original range of black, grey, and white tones, but we can see the color each hue translates to. As each nostalgic scene turns to color, we realize how different contemporary technology is and how far it has come. The new colors and tones are not muted or faded like we might expect a color vintage photograph to be. They are ultra-bright and full of vibrancy, leaving each image looking near perfect.
Because the images look too high quality for real vintage color photos, they almost make it seem as if we were in the frame of the picture within the scene, or like the photos were taken in modern times. Either way, it breaks the time barrier that creates such a nostalgic distance between the photograph and the viewer. It makes you wonder what images would have been captured if they had better technology during those times, or perhaps, what advanced technologies will capture images of our lives in the future. Contemporary film photography is becoming more and more obsolete, as vintage film is becoming aged and damaged over time. These images are refreshing to see as these classic photographs are now often documented digitally. We can both marvel at the technological advances in film photography while still seeing the timeless and beautiful original.
Artist Dan Witz seamlessly combines traditional, academic realism with rebellious vibes of the underground punk scene to create his massive paintings of mosh pits. His impeccable technical skill allows him to paint photorealistic scenes that embody the pulse and energy of the punk music scene. Each painting is an energetic force to be reckoned that demands a serious presence. The amount of people crammed into each piece accurately captures the chaos and action involved in mosh pits in real life. Dan Witz's work is packed full of incredible movement and human energy that can be felt in the viewer. Because in almost all of these paintings the image is completely devoid of an environment or setting, they have a deeply psychological affect. An excitement and anxiety is created as you see the range of expressions on each person's face in the sea of bodies. As Witz fills each frame from right to left with herds of people, an unmistakable flow of powerful strength is formed.
Based in Brooklyn, Witz is a painter as well as a street artist. Spending time in punk clubs and playing in bands when he was younger influenced the subject in which he paints. However, we can also see the influence of classical painters due to his more traditional painting style. This type of hyper-real approach is often associated with a more academic way of thinking within the establishment. He is able to take this conventional method of painting and use it to rebel and revolt. Dan Witz's Mosh Pits series has recently been featured in this past month's issue of Juxtapoz. This quote from the interview explains the influence and effect punk rock has had on Dan Witz.
Somewhere between sculpture, fashion, and performance art lies the curious work of Daniel Ramosobregón. This Colombian designer's wearable art takes the form of dismembered components of the human body in a pure white slate. Each piece is created from porcelain casts of the particular body part that it represents. Then, they are attached to gold plated brass metal and appropriately worn almost always directly attached to the body segment it mimics, creating a deeply psychological affect. It is as if each human body section is jumping out of its place into the air only to be confronted by it own body once again. Ramosobregón's series is titled Outrospection inspired by the philosopher Roman Krznaric, who claims that humans must live towards the outside to truly know themselves. This meaning, experiencing life is how we discover and form our identities. The designer further explains the meaning behind his wearable limbs.
I have appropriated his concept while relating it to out-of-body experiences more commonly known as astral projections, by seeking to represent -in a metaphorical way- the mind being projected inside out of the body as a way of self-expression and representation.
These "out-of-body" experiences are represented in his work as ghostly and unnerving fractions of the body unnaturally detached. The most startling piece is the white, porcelain tongue that is only attached to the subject's body by part of it being held in his mouth. Ramosobregón's series Outrospection is a perfectly balanced mix of beautiful craft and amputation. Although the photos of his crisp white and well-designed sculptures appear somewhat unsettling, Ramosobregón's work is unarguably delicate and stunning.
What do you get when you combine underwater sea creatures with elegant and sophisticated lighting? You get the weird and whimsical octopus chandeliers of artist Adam Wallacavage. The Philadelphia based artist uses traditional ornamental plastering techniques to create working chandeliers in the shape of octopus and fantastical sea life. Each chandelier is created from a wide range of materials such as epoxy resin, iridescent powders, spray paint, and glitter. His inspiration and ideas come from a very eclectic range of sources such as flashy church decoration, tales of underwater adventure, and, not surprisingly, taxidermy. His absurd style is both gaudy and Victorian while still being absurdly fun.
Wallacavage's childlike imagination turns a seemingly normal object into wonderfully gaudy and kitschy chandeliers full of shiny colors and tentacles. Each chandelier Wallacavage constructs is unique with their wide array of pastel, glittery colors and their endless ocean-life motifs. These include green seashells, purple tentacles, pink pearls, and even big, round eyes starring straight at you. Some of his chandeliers seem to be inspired by the pastel colors and ornate design of the Rococo period, while his other chandeliers have a louder palette with strange faces and eyes. His octopus creations create a surrealistic atmosphere as each sea monster is suspended from the ceiling, reaching out its tentacles, which happen to hold the chandelier lighting. After seeing Wallacavage's highly imaginative and extravagant chandeliers, you realize how much chandeliers already looked like octopus! Not only can you find the artist's octopus chandeliers in several New York City galleries, Wallacavage is also an accomplished photographer. He even has a book published on his photography titled Monster Sized Monsters available in many museum stores.
The hilariously witty graphic designer Viktor Hertz takes the ever-annoying, monotonous progress bar and turns it into an image full of funny graphics that cleverly reference things like The Walking Dead, Star Wars, and existential questions. Each "progress bar" is turned into similarly shaped objects such as a chocolate bar and a cigarette. Even the buttons are now comical pop-culture references and decisions like "use the force" or "join the dark side." Instead of just the decision of clicking "okay" or "cancel," we now have interesting choices to make. Some of the buttons are not unlike video games, such as The Walking Dead progress bar asking us if we want to use a knife or a headshot to ward off the impending crowd of zombies. Other buttons are possible real life decisions such as whether or not to quit smoking. Nevertheless, the shapes and phrases Hertz offers us in these unusual graphics are much more appealing than the irritating and disruptive real life progress bars.
Being a talented graphic designer who has created many posters and logos, this fun side project takes Hertz's love of icons and symbols and turns them into silly pictograms. These amusing images remind me of what someone might doodle in school when they are bored, just to entertain themselves and get through the day. If only computers really did use these graphics instead of the normal, mundane "progress bars" and other delays that cause such a nuisance in our everyday lives.
Artist Serra Victoria Bothwell Fels converts reclaimed wood into unimaginable installations that will leave you lost in their endless, repeating triangles. She builds these spaces in settings as diverse as a convent, an abandoned secret society hall, and the Palais de Tokyo in Paris. The reclaimed wood used to build these impressively complex structures, mostly lath wood, is from unused building materials that Fels finds behind old plaster walls. This Brooklyn based artist says she has always been interested in building mechanics and how things work, which explains why her process exemplifies this curiosity as she takes pieces of the whole to create an entirely new and intricate structure.
Her process starts by creating a blueprint of the future piece, which is an artwork in itself. She then begins to use the found wood to create structures that contain abstracted patterns. Using mostly triangles, each of Fels's pyramid shaped installations are both organic and geometric. The receding triangles and repetitive lines pull you in and demand your attention. Each triangle in her installations seems to build off of itself, as it spreads and grows across each wall like moss. The structures beautifully transform and morph its surroundings into an entirely different environment that the viewer can often enter. The artist develops her inspiration from vast landscape and cathedral ceilings, both of which are apparent as her immense artwork adds a dramatic vastness to the space it inhabits. These cave-like installations are a wonderful way to make stunning use of salvaged material!
Spanish artist Guillermo Mora creates oozing folds of vibrant color from little more than piles of acrylic paint. An accomplished artist whose work was recently featured at this past Art Basel in Miami, this innovate sculptor creates incredible installations made from just two simple materials. Rubber bands and leather belts are the only things holding together his shiny clumps of paint. Mora's process is almost surreal, as he dumps buckets of acrylic magentas and baby blues onto the floor to begin. After the paint dries, he simply lifts the now hardened paint, and proceeds to fold and wrap his glossy, pastel creations. To add further to Mora's highly textural and tangible installations, many of the artist's sculptures have a crackled, rough grain to the paint.
Many of Mora's installations are unique, as his work often morphs and transforms to the space that it inhabits. Mora's choice of medium allows him to manipulate it to fit in the space as he sees fit, such as hanging from the ceiling, running down a wall, or folded into a corner. This allows the artwork to demonstrate a strong focus on color and form. Mora's use of seemingly traditional materials continues to mystify us as he changes the way viewers think about acrylic paint and what it is capable of.
This series lays out the event just as it would appear as a memory; in fragmented images that shift throughout time. There is no implication of a time or place in much of the imagery, just a window inward reflecting on the human psyche. The emotion of the woman shown, the photographer's mother, changes from bright and excited to isolated and alone. The Burial Cloud is a journey in which we must piece together a story we cannot fully understand. A story told through disjointed, stunning images that include roaring oceans, burning flora, and scenes of discontent. These ethereal photographs radiate feelings of discovery, doubt, youth, and fear. Sullivan shines light on a delicate subject while beautifully capturing his mother and a tragic past. The Burial Cloud will be released as an illustrated biography in 2016, and will include photographs, text, and collages.


text:
Sisters of Notre Dame de Namur Justice, Peace and Integrity of Creation
Reflections of African SNDs on Our Experiences in Nairobi
Migration, USA
Why don't they just immigrate the legal way?
September 23, 2011 sndden
Un-Documented.tv
For many Americans, whose ancestors migrated lawfully to the U.S., it is extremely frustrating that so many immigrants come today outside of lawful channels. Why don't they just come the legal way, the way that my ancestors did?
Many immigrants do come lawfully, of course, but there are an estimated 10.8 million undocumented immigrants currently in the U.S. who either entered unlawfully or, after entering lawfully on a temporary visa, overstayed. Why don't they just come the legal way?
Those are good and reasonable questions. We have to understand both a bit about our country's history and something of how current U.S. immigration law to answer them.
The reason that my ancestors migrated lawfully to the U.S.—mine came in the mid-19th century from Holland—is that there was no illegal way for them to come. You see, until 1882, there basically was no federal immigration law: anyone who arrived was welcome to make their life in the U.S.; there were no visas necessary, no consulting with a U.S. consulate before you departed; you boarded a boat and you built your new life in the U.S. That began to change in 1882, with the Chinese Exclusion Act, when the Congress decided that immigrants from China—who some argued were biologically inferior to Europeans—should be kept out altogether. Over the next four decades, we gradually restricted further groups—the poor, the sick, the uneducated, those suspected of holding questionable ideologies—until in 1924, Congress enacted a new immigration quota system that drastically limited immigration. It became extremely difficult to migrate, especially if you were from a country outside of the Northern and Western European countries that were granted the vast majority of the limited number of visas made available.
That changed again in 1965, when President Johnson signed into law a dramatic overhaul of the U.S. immigration system again. America could not and would not go back to an era of open borders, Johnson said as he signed the law, but the new law would base eligibility to immigrate not primarily on race or country of origin, but rather on family connections and employability.
In the nearly fifty years since that last overhaul, that system has worked fairly well for some people-spouses, minor children, and parents of adult US citizen and highly skilled workers with advanced degrees who could find an employer sponsor, for example-but, particularly as our economy has grown but visa quotas have not, the system is not working very well today. Because the quota numbers are much lower than demand, family members can wait up to twenty years to be reunited through the proper legal channels in some cases. The employment-based system is equally dysfunctional, particularly for "low-skilled" workers: under the law, a maximum of 10,000 permanent visas are available per year for employer-sponsored workers other than those who are "highly skilled" or "holding advanced degrees." The problem is that our economy produces many, many times more jobs for people considered "low-skilled"–jobs that require little to no education, but a willingness to do very hard work–than there are visas. To put things in perspective, back in 1910, an average of 20,000 individuals, most of whom would today be classified as "low-skilled," entered each week.
We can tell people to wait their turn in line, but, for example, for a Mexican (or a Guatemalan, a Filipino, a Pole, or folks from many other countries) who does not have a college degree and has no close relatives who are U.S. citizens or green card-holders, there is almost certainly no line for them to wait in: without reform to the legal system, they will not be able to migrate "the legal way" to the U.S., not if they wait ten years, not if they wait fifty years. But if they manage to come unlawfully—and historically we have not made it so difficult to do so, though our borders are much more secure now than they have ever been—they will almost certainly find work—because even in a time of high unemployment, there are certain jobs that most Americans have not proven willing to do. For individuals living in poverty, desperate to support their families, that has been an attractive option. Everyone would prefer to pay a reasonable fee and be granted a visa, but that has not been an option for most of those presently here unlawfully. That, in short, is how we got into this mess, and why so many immigrants—most of them family-oriented people—have ended up undocumented in the shadows of our society.
For a more thorough answer to these questions, we recommend reading chapters 3 and 4 of Welcoming the Stranger: Justice, Compassion & Truth in the Immigration Debate by Matthew Soerens and Jenny Hwang (InterVarsity Press, 2009). To go even deeper in understanding how history and policy relate to this topic, check out the resource page for further book recommendations.
Previous PostNew Africans in Old AmericaNext PostImpunity rules during Zimbabwe's "transition"
"I have come that you may have life to the full" – John 10:10
Our Corporate Position on Immigration
Our Corporate Position on Human Trafficking
Links to Sisters of Notre Dame
Download our latest
Sisters of Notre Dame Website
Sisters of Notre Dame at the UN
Notre Dame Virtual School
Notre Dame on Line
VATICAN: Pope Names Participants in African Synod of Bishops
Almost a third of world's tree species face extinction: Report
What It's REALLY Like To Be a Nun on the Bus
The 'hippo trench' across Africa: US military quietly builds giant security belt in middle of continent
Nuns' retreat house, built by Muslim benefactor, signifies interfaith bond
Insecurity, lack of resources challenge Congo sisters' health care work
Salvatorian nuns build houses for war victims, widows in Sri Lanka
Feast day of St Josephine Bakhita/ International Day of Prayer and Awareness against Human Trafficking
Religious network condemns slaying of Honduran rights activist
Crisis in the Congo: Uncovering the Truth Crisis in the Congo
Worth Dying For: A video tribute to those who have sacrificed their lives to protect the environment. Worth Dying for
Ingenious project gives thousands of poor Filipinos solar light by sticking plastic bottles filled with water and bleach into the roof of their homes A Liter of Light
Check out 1.5 min. video The Lost Generation
Defending the Rivers of the Amazon, with Sigourney Weaver
Webcasts of UN Climate Conference in Copenhagen
Sr. Liliane Sweko - The Women at the Synod for Africa
Stop Gambling on Hunger
The Story of Cap and Trade