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Q: Python multiprocessing `spawn` start method throwing `context has already been set` Runtime error I am trying to set the multiprocessing.set_start_method() to spawn mode in my if __name__ == '__main__' code.
Running this on ubunu VERSION="18.04.6 LTS (Bionic Beaver)". I have to set this to spawn mode in order for my pytorch inference to work.
But when i run the program, i am getting the below error.
Error in Main function : %s Traceback (most recent call last):
  File "/home/ubuntu/multi-process-testing/main.py", line 22, in <module>
    set_start_method('spawn')
  File "/home/ubuntu/anaconda3/envs/conda-pv-pytorch-2/lib/python3.9/multiprocessing/context.py", line 243, in set_start_method
    raise RuntimeError('context has already been set')

RuntimeError: context has already been set

When i try to use the force=True, i am getting the leaked semaphores error/warning and my program is not executing.
(conda-pv-pytorch-2) ubuntu@ip-172-31-22-56:~/multi-process-testing$ /home/ubuntu/anaconda3/envs/conda-pv-pytorch-2/lib/python3.9/multiprocessing/resource_tracker.py:216: UserWarning: resource_tracker: There appear to be 2 leaked semaphore objects to clean up at shutdown
  warnings.warn('resource_tracker: There appear to be %d '

My main.py looks like below.
from consumer import ConsumerVideoHandlerProcess
from producer import ProducerVideoHandlerProcess
from sm import SharedMemoryHandler
from torch.multiprocessing import set_start_method, get_start_method, freeze_support
import multiprocessing as mp
import traceback
import sys, os

shared_mem_handler = SharedMemoryHandler()
shared_memory_object_tuple = shared_mem_handler.create_shared_memory()

if __name__ == '__main__':
    try:

        ## Creating shared memory handler to hold the image frames
        #ctx = mp.get_context('spawn')
        #global shared_memory_object_tuple
        # mp.set_executable(os.path.join(sys.exec_prefix, 'pythonw.exe'))
        set_start_method('spawn', force=True)

        ### Calling Producer class process

        producer_reader_process = ProducerVideoHandlerProcess(shared_memory_object_tuple)
        producer_reader_process.start()

        ### Calling Consumer class process
        consumer_reader_process = ConsumerVideoHandlerProcess(shared_memory_object_tuple)
        consumer_reader_process.start()

        producer_reader_process.join()
        consumer_reader_process.join()

        ## Cleanup

        producer_reader_process.terminate()
        del producer_reader_process
        consumer_reader_process.terminate()
        del consumer_reader_process
        del shared_memory_object_tuple
        print("Main Process completed successfully")
    except (ValueError, Exception):
        print("Error in Main function : %s", traceback.format_exc())

#if __name__ == '__main__':
    #set_start_method('spawn')
#    main()

I also moved entire code under if __name__ == '__main__' to a separate function main() and just called the main() method by setting the set_start_method('spawn') from if __name__ == '__main__'.
if __name__ == '__main__':
    set_start_method('spawn')
    main()

But this also throwing the same error. And also tried the below lines of code by getting the context and this also did not work.
ctx = mp.get_context('spawn')
producer_reader_process = ctx.Process(target=ProducerVideoHandlerProcess, args=(shared_memory_object_tuple,))
producer_reader_process.start()
consumer_reader_process = ctx.Process(target=ConsumerVideoHandlerProcess, args=(shared_memory_object_tuple,))
consumer_reader_process.start()

Could you let me know how can i fix this issue. Thank you in advance.
Update 1
I changed the code to below as per suggestions from @CharchitAgarwal.
from consumer import ConsumerVideoHandlerProcess
from producer import ProducerVideoHandlerProcess
from sm import SharedMemoryHandler
from multiprocessing import set_start_method, get_start_method, freeze_support
import traceback

if __name__ == '__main__':
    #freeze_support()
    set_start_method('spawn')
    print('Start method already set: ', get_start_method())

shared_mem_handler = SharedMemoryHandler()
shared_memory_object_tuple = shared_mem_handler.create_shared_memory()

try:
        producer_reader_process = ProducerVideoHandlerProcess(shared_memory_object_tuple)
        producer_reader_process.start()

        consumer_reader_process = ConsumerVideoHandlerProcess(shared_memory_object_tuple)
        consumer_reader_process.start()

        producer_reader_process.join()
        consumer_reader_process.join()

        ## Cleanup

        producer_reader_process.terminate()
        del producer_reader_process
        consumer_reader_process.terminate()
        del consumer_reader_process
        del shared_memory_object_tuple

        print("Main Process completed successfully")

except (ValueError, Exception):
        print("Error in Main function : %s", traceback.format_exc())

But the shared memory is not getting updated properly. It is always showing a numpy array with all zeros.  The producer class is generating a numpy array with non zero values and is placing in the shared memory. But the consumer class is getting all zeros when it is accessing the shared memory.
And at the end getting the below error.
Main Process completed successfully
(conda-pv-pytorch-2) ubuntu@ip-172-31-22-56:~/multi-process-testing$ /home/ubuntu/anaconda3/envs/conda-pv-pytorch-2/lib/python3.9/multiprocessing/resource_tracker.py:216: UserWarning: resource_tracker: There appear to be 2 leaked semaphore objects to clean up at shutdown
  warnings.warn('resource_tracker: There appear to be %d '

Upate 2
Tried different options to see how to fix this issue. Here is the minimalistic code that we can use to reproduce. Appreciate if someone can suggest a solution.
from multiprocessing import Process, Lock, set_start_method, Array
import numpy as np
import random
import time

def create_a_dummy_frame():
    count = random.randint(1, 50)
    shape = [1, 4]
    frame = (np.ones(shape) * count)
    return frame

def modify_array_1(sharedarray, a_buffer_arrray, shape):
        ### Acquire the lock in the 1st  process
        sharedarray.acquire()
        print("Address in the 1st process : ", id(sharedarray))
        image_frame = create_a_dummy_frame()
        np.copyto(a_buffer_arrray, image_frame)

        print("a --- {}".format(a_buffer_arrray))

def modify_array_2(sharedarray, b_buffer_arrray, shape):
        time.sleep(1)
        print("Address in the 2nd process : ", id(sharedarray))
        b_buffered_array = b_buffer_arrray.astype("uint8").copy()
        print("b --- {}".format(b_buffered_array))
        ### Release the lock in the 2nd process
        sharedarray.release()

if __name__ == "__main__":
    set_start_method('spawn')  ### spwan start method.
    #set_start_method('fork')  ### default fork method in unix.
    lock = Lock()
    image_frame_shape = [1, 4]
    shared_memory_array = Array('d', 4, lock=lock)
    buffered_array = np.frombuffer(shared_memory_array.get_obj(), dtype='d').reshape(image_frame_shape)

    p1 = Process(target=modify_array_1, args=(shared_memory_array, buffered_array, image_frame_shape))
    p1.start()

    p2 = Process(target=modify_array_2, args=(shared_memory_array, buffered_array, image_frame_shape))
    p2.start()

    p1.join()
    p1.join()
    #print(list(shared_memory_array))
    #print(list(buffered_array))

In the main method, if i use set_start_method('spawn'), the output is as below.
(conda-pv-pytorch-2) ubuntu@ip-11-22-33-44:~/multi-process-testing$ python3 test1.py
Address in the 1st process :  140169076553664
a --- [[9. 9. 9. 9.]]
Address in the 2nd process :  140534970750912
b --- [[0 0 0 0]]

Clearly two processes are not using the same shared array.
If I use the default fork start method, i can see the same output.
(conda-pv-pytorch-2) ubuntu@ip-11-22-33-44:~/multi-process-testing$ python3 test1.py
Address in the 1st process :  140170642829904
a --- [[22. 22. 22. 22.]]
Address in the 2nd process :  140170642829904
b --- [[22 22 22 22]]

Here the address for the shared array is same in both the processes.
How can i make sure the array variable can be accessed in both the processes when i use the spawn method.
I tried the suggestion from this post as well by creating a context object, but that also did not help.
context = get_context('spawn')
    lock = context.Lock()
    image_frame_shape = [1, 4]
    shared_memory_array = context.Array('d', 4, lock=lock)
    buffered_array = np.frombuffer(shared_memory_array.get_obj(), dtype='d').reshape(image_frame_shape)

    p1 = context.Process(target=modify_array_1, args=(shared_memory_array, buffered_array, image_frame_shape))
    p1.start()

    p2 = context.Process(target=modify_array_2, args=(shared_memory_array, buffered_array, image_frame_shape))
    p2.start()

Appreciate your help.


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Ghost of Tsushima – Release Date, Gameplay, Trailers, Story, News
Updated: 11 Aug 2018 5:01 am
BY: David White
Ever since we were introduced to exploration and action games like Assassin's Creed, the demand became increasingly high for a historical period piece set in ancient Japan. Over the years, the desire for such a game had rarely been satisfied. That was until the announcement of Ghost of Tsushima.
First announced in 2017 with a teaser trailer, Ghost of Tsushima has had a lot of mystery surrounding its gameplay and mechanics. Finally, this year at E3, the Sony conference gave us the information we were looking for. Not only did we hear about the details of the game, but we got an in-depth look into the combat, the story, and when to expect this much anticipated samurai game to release. With that information, we're going to break it down so that you know what to expect.
Ghost of Tsushima Story
In one swift move, Jin can release his sword and kill his foe at the same time.
Based on the first details of the game, you'll be playing as Jin, the last surviving samurai after a violent attack from the invading Mongols on the small island of Tsushima, located between Korea and the main island of Japan.
From the trailers, it appears that Jin is taking up the sword against the Mongols himself. Outnumbered but not outskilled, Jin must fight to protect his home and the people that live there. He uses his wits and stealth as a means of survival, hence the game's title, Ghost of Tsushima. It is also confirmed that, though Jin is a student of the samurai order, due to his circumstances he must adopt a new and stealthier fighting style that will give him the upper hand.
Ghost of Tsushima Release Date
Even after a few trailers and rumors milling about, Nate Fox, the creative director, has not given us the actual release date of Ghost of Tsushima but there is talk of it either coming later this year or sometime next year. This only remains speculative at the moment but the reason for the 2018 or the 2019 release date is the window of development that the game has been in, which looks to be a few years now.
Ghost of Tsushima Gameplay
Ghost of Tsushima E3 2018 gameplay trailer
From what we see here in the gameplay trailer, it's obvious that Ghost of Tsushima will be a beautiful, yet chaotic third-person action game set in feudal Japan. At the start, we follow Jin, a samurai on a quest to free his island of the invading Mongols. We get to see the horse riding mechanics as well as the gorgeous environment that has been confirmed to be explorable.
After a few peaceful moments of riding on the plains, Jin comes across of group of Mongols killing Tsushima civilians. Jin draws his sword and the Mongols attack, but in one fell swoop of his sword, the first Mongol falls dead. The other two stand firm, coming in for a more strategic attack, but Jin holds his ground – in a succession of blocks and attacks, he impales the other two, bringing on more Mongols to the fight.
This is where we witness dismemberment via katana. The second wave of Mongols attempt to defeat Jin, but in seconds, the first Mongol is killed and the second loses his arm to a heavy power attack.
Before last Mongol can attack Jin, he is shot in the back with an arrow. This reveals an ally of Jin's, Masako, a woman who is adept with a bow. Together, they go to free a mutual contact from Mongol captors. This is where we get to see the use of stealth and the attack abilities that come with that. As Jin climbs atop the building that the prisoner is in, he sneaks, quietly walking the rafters above the Mongol captors. He leaps down and strikes an enemy from above, then subdues his foes one by one as they scramble to make sense of the situation.
At the end of this fight, it is revealed that Masako is there to kill their mutual contact, but Jin is there to protect him. The two friends face off and battle one on one, that is, until the Mongols arrive and the two must ally up once again. Just before the Mongols reach Jin and Masako, the trailer ends. An exciting and riveting gameplay trailer that has heightened everyone's excitement for the game.
Ghost of Tsushima looks to drive character plots and even high tension to push a strong narrative.
Ghost of Tsushima Trailer
Ghost of Tsushima PGW 2017 Announcement Trailer
The release of the original announcement trailer gave us a look into the world of the Tsushima and what to expect. There is a contrast between the utterly gorgeous and the devastatingly destructive as the Mongols tear through the natural beauty of the island of Tsushima. We are also introduced to our protagonist, Jin, as he is asked by who we believe to be the antagonist of the game if he is ready to surrender. The answer is an obvious, "no", as we see Jin transform from his samurai armor and the burning village behind him, to a lightly armored "ghost" standing in a snowed out environment. Much of the theme of revenge is clear here from the story trailer, which goes to show that the game will not only be great for gameplay, but for those seeking a strong narrative.
Ghost of Tsushima Developer
Developed by Sucker Punch Productions, the same developer of the highly praised franchise known as Infamous, Ghost of Tsushima has been in the works for a few years now. When finished with the latest Infamous title, the developers wanted to work on something that was different from their previous work, but also something that was strong in its narrative, plot, and gameplay mechanics.
The desire to create a game based around Feudal Japan became a reality, fueled by the fantasy of playing as a samurai. The creators delved into the history of that time period and used authenticity to build the world itself, but also wanted to have the creative freedom to create their own story within that world. Nate Fox, the creative director, has said that the Mongol attack on Tsushima did not actually take place, as a typhoon actually prevented this from happening.
Ghost of Tsushima News
Ghost of Tsushima will be a third-person, free roam game set on a beautiful and expansive island for you to explore. The environments range from the open plains, to the thick forests, and even to the snowy mountains.
It is also confirmed that many of the characters that Jin interacts with will have side quests, even Masako, the ally we see in the gameplay trailer.
Although we still have some time before we have an announcement of the release date, what we can expect is this to be a PlayStation exclusive. This is not surprising as Sucker Punch's previous title, Infamous: Second Son was also a Sony Exclusive.
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ghost of tsushima |
action |
adventure |
As an avid gamer, it is my duty to talk about video games in great quantity, whether that's writing articles or annoying my wife.
Currently Playing: Spider-Man PS4
Top 3 Favorite Games:Resident Evil 4 Ultimate HD, Dead Space, The Elder Scrolls IV: Oblivion
Crossing the Battlefield
Just a piece of the battle ridden land of Tsushima

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Mark's is the earliest, shortest and most terse Gospel, it moves the story of Jesus on at a rapid pace and omits much that Luke and Matthew find room for and it contains none of the later theology of John.
Today's passage from Mark 9 is the lovely bit where Jesus puts a child centre-stage and tells the disciples that they had better shape up, stop quarrelling, forget about rank, and welcome children. Paul doesn't mention children much, so we don't hear about them in the Early Church, they were counted as just property for many centuries and the Victorians required that, if seen, they should not be heard.
It was, however, in Victorian churches that provision for children was first made in a big way through Sunday Schools. NCH Action for Children began in 1869. William Booth and the Salvation Army in 1865, started rescuing children from prostitution.
Go to occupied Palestine today, take a child from the streets, any child, observe the dirty clothing, the untreated cuts, the matted hair, the wariness about the eyes; not an attractive child. It takes a remarkable person, like 23 year old Rachel Corrie, to recognise the angelic importance of such children and to give her life under a bulldozer to defend them; or Jesus of course.
So, why are so many of our congregations today without children? Why do churches even lack the generation which can provide stimulating activities for them? On Sunday mornings you will find children all over the country being cared for by enthusiastic young men and women giving their time freely after a working week in tennis coaching, in football clubs, cricket clubs, rugby clubs, in swimming pools and gymnastic studios. Children are learning loyalty, endurance, techniques, the importance of turning up, the necessity to take care of their equipment; all vital life-tools. They are just not learning these things in churches.
Churches have not changed with the times; that is the problem. We are still teaching the few children who remain about Noah and Moses; about David and Goliath; about Jonah and a whale; about a blond preacher with blue eyes in Palestine. The way we tell it has no relevance to their lives. We have not put children at the centre of our churches; we insist that they fit in round the periphery.
The more we make our churches suitable and convenient for the aging congregation, the more we make them unsuitable for children. There is, maybe, time to change.


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What My Wife's Pregnancy And Derivative Works Have In Common
March 3, 2014 Greg Kanaan
Three weeks ago, Steph and I decided to publicly announce that we're expecting our first child (September 1st, dear readers! Mark your calendars). It was crucial to us that the announcement be memorable and fun, and almost immediately, Steph hit upon the idea that the announcement take the form of a movie poster. I'm a film buff after all, so I think she knew I couldn't say no. My initial concept was to do a horror-themed one sheet in the vein of Saw, but Steph didn't like the idea of equating our bundle of joy with murderous psychopathy, so we quickly settled on another well-worn trope: the bright, colorful, goofy posters for terrible Matthew McConaughey romantic comedies like Failure to Launch, or How to Lose a Guy in 10 Days. The poster would feature us against a white backdrop, Steph as the beautiful, glowing mother-to-be, while I acted the part of the hapless but gold-hearted man-child.
Concept in hand, we hired a friend and professional photographer, Alex Jones, to shoot the poster. I wanted this thing to be perfect and my camera gear - an iPhone 5 - wasn't exactly going to cut it. I also knew Alex could deliver what I was looking for with minimal direction; he did my headshots last year and those were universally praised. As expected, Alex's poster shots went above and beyond. And after two days of experimenting with layouts, fonts, and colors, here's what we came up with:
The announcement was a big hit with friends and family and it was also a creatively satisfying experience. So why am I telling you this? First, I'm proud of the way the poster came out and I just want to brag a little. Second, I thought the poster was a good example of the weird world of "derivative works."
A derivative work is an adaptation, translation, or modification of an existing copyrighted work. You see them all the time without even realizing it. A film based on a book, a photograph of a sculpture, a cover of a song, an English translation of a Russian novel, a collage of cat meme pictures... all of these are derivative works. And with the internet providing unlimited free access to all sorts of visual content, it's become pretty easy to build a career as a derivative work artist. As a result, I frequently get questions from collage artists and photographers asking where the line is when it comes to using the works of others in their own work.
Unfortunately for them, that line is pretty clear; the only person allowed to make a derivative work of the original is the owner of the original! It's codified in our copyright law as an exclusive right, which means that if you author a derivative work without permission of the copyright owner, you could actually be liable for copyright infringement (exception: photographing or painting exterior structures like buildings and sculptures for commercial gain are generally not copyright infringement if the structures are easily visible from a public place). Without that permission, your only recourse is the fair use doctrine, which I've been pretty vocal about being a lousy way to get out from under a copyright infringement claim.
To complicate matters further, if you author a derivative work, you will own the copyright in the parts of the work that are unique to you, even if the derivative was unauthorized. The original copyright, of course, will still remain with the owner. This weird overlap can lead to some sticky situations with both parties claiming some copyright interest in the work and neither being able to profit off the other's creation.
So looking at our faux-movie poster, how does this dynamic play out?
The copyright to the original photograph rests with the artist. Contractually, Alex maintains the rights to all his photos unless he conveys them away. The only right I possess is the right of non-commercial display (meaning I can show people the photo but I can't resell it).
The modifications I made to turn the photo into a poster do not constitute copyright infringement in this case because I had permission from Alex - I hired him specifically to carry out a preexisting vision - and because I'm not making any money from it. If Alex had not given me permission (either explicitly or implicitly), I would have been liable to him for copyright infringement.
While Alex owns the copyright to the photo, I own a copyright interest in the overlay changes I made to transform his photo into a movie poster. Yes I can actually claim a copyright in the layout, the wording choices, the color choices, and the overall aesthetic effect of the piece.
You'll notice that a big reason I'm safe is because I'm not making money off the poster. That, obviously, is no consolation to a working artist who needs to make money to survive. So my blanket piece of advice for artists who rely on the works of others to create their own: do your best to get permission, use older work that's in the public domain, or avoid using preexisting work altogether. And if you're not interested in that, please talk to a lawyer to see if your intended use is protected by fair use.
Ultimately, I think your time is better spent creating new work rather than defending yourself on an infringement claim because you used old work.
[Author's Note: I don't actually know Judd Apatow and A.O. Scott.]
In Copyright, Fair Use, Intellectual Property, Media, Movies, News Tags Copyright, Derivative Works, Fair use, Intellectual Property, Media, Movies, News, Pregnancy
The Maker of Candy Crush Saga Is Trying To Crush Your Ability To Use The Word Candy: A Trademark Misadventure
January 27, 2014 Greg Kanaan
Can you trademark a single everyday word? Even if you know nothing about trademarks, the answer seems obvious: NO. After all, if you can trademark a single word, what's to stop you from trademarking "foot" or "bike" or "candy" and then suing someone every time they used that word in a business setting? Such a reality would be absurd. Sadly, such a reality may be upon us because King, the maker of the hit game Candy Crush Saga, has just received approval from the United States Patent and Trademark Office (USPTO) to do just that.
King is trying to protect Candy Crush Saga, its big moneymaker, from a host of imitators who use the word "candy" in their titles. So it did what any reasonably copyright holder would do to protect its financial interest… it submitted an application to trademark the word "candy" in order to prevent other game developers from using it. I'm not being sarcastic here either; King's response IS reasonable because these imitators have confused the general public into thinking that these other Candy games were just like Candy Crush Saga, maybe even made by King. And with the public assuming all these games came from the same manufacturer, they became less likely to download the real deal and more likely to download the imitation, siphoning profit from King. This kind of marketplace confusion is exactly the type of problem that trademarks were designed to prevent.
The problem here isn't that King tried to trademark a single word. The problem is that the USPTO let it. This is troubling for two reasons. First, the USPTO approving such an application violates a basic tenet of trademark law: that a trademark must stand out, it must be distinct. According to the USPTO's own guidelines:
Generic words... are never registrable or enforceable against third parties. Because generic words are the common, everyday name for goods and services and everyone has the right to use such terms to refer to their goods and services, they are not protectable.
In this case, the word "candy" is too generic; it doesn't immediately reference a game for most people. It refers instead to a sweet food substance that a man my age shouldn't enjoy as much as I do. If, on the other hand, King had tried to trademark a unique version of the word like "Kan-D" the mark might have been stronger and more worthy of protection.
The second reason King's application is so troubling is that it's bad policy. If anyone can trademark any word, they can then clog up the federal court system (where trademark disputes must be litigated) with needless lawsuit after needless lawsuit. King clearly has no intention of legally pursuing every business that uses the word "candy". They simply want to prevent other game developers from making games that reference Candy Crush Saga. But you can't base policy on the intention of one party. You have to base policy on the potential actions of everyone affected. Frankly, other trademark owners may not be as nice as King when it comes to protecting their trademarks.
Luckily, the trademark process is a long and complication one. Here, the USPTO has not officially registered the mark (which is the final step that grants the trademark owner a wide swath of protective powers). They merely approved King's application, which means now that anyone who could be hurt by the mark has 30 days to contest the mark and try to persuade the USPTO why trademarking a single generic word is a bad idea. And believe me, there will be a lot of pushback on this, from immediately affected parties and policy wonks.
So what possessed the USPTO to approve King's application in the first place? Was it negligence? Does it signal a strange new shift in policy? Is it a long-term gambit designed to draw attention to single-word trademark applicants and whip the public into a frenzy, thereby dissuading future like-minded applicants? Who can say? In my estimation, King's registration will probably fail because of the pushback its application is going to get. But if the mark survives the contest period and officially registers, you can bet this won't be the end of the story. King may well have just saved Candy Crush Saga from imitators, but it also just painted a huge target on its back.
In Media, News, Trademark, Video Games Tags Candy Crush Saga, King, Media, News, Trademark, USPTO, Video Games
Anyone Who Argues Against Net Neutrality Is A Greedy Scumbag Who Wants To Take Your Money
I've always wanted to write a salacious hit-bait headline like that. Hopefully it worked and you're reading this. So now that I've gotten your attention, here's what I really want to say... anyone who argues against net neutrality is a greedy scumbag who wants to take your money.
This week, the D.C. Circuit Court of Appeals struck down the Federal Communication Commission's (FCC) rule protecting net neutrality. And that's unfortunate because net neutrality is a wonderful thing. For those who don't know, net neutrality is the principle that all internet traffic should receive free and equal service, regardless of source or content. For the past decade, this is how the internet has functioned. It didn't matter if you were reading an article on a news website, sharing your vacation pics on Picasa, or streaming Raging Bull on Netflix, you could access any content you wanted and it was all treated the same.
Net neutrality is what allowed Google, Facebook, Netflix, and Amazon to get a foothold in the marketplace and become the juggernauts they are today. Realizing the goldmine to be had by controlling access to the internet, the telecoms started implementing policies to do just that. So in 2010, the FCC passed an Open Internet Order allowing it to regulate internet companies the same way it regulates telecoms and cable companies. The goal was to keep access to the ENTIRE internet equal and open to all.
Unfortunately, Verizon hated this, so it sued the FCC, claiming that its Open Internet Order was an overreach of federal power. The D.C. court agreed. That means it's now legal for internet providers to:
Block any website they want for any reason,
Charge ISPs more money to host streaming content, meaning your Netflix subscription is about to increase by orders of magnitude,
Cap and throttle internet usage with impunity, charging higher fees for better broadband access.
So if Time Warner wanted, it could now block any website it's not affiliated with. Prefer to get your news from NBC, Fox, or NPR? Too bad. Time Warner owns CNN so that's the only news outlet you might be able to get. Even if it decides not to block those websites outright, it can charge ISPs higher fees to carry those websites, or throttle the bandwidth given to those websites making them load much slower. HuffingtonPost has a pretty solid rundown about how the internet might look in the absence of net neutrality.
Ultimately, the death of net neutrality will mean that a few giant companies can discriminate against sites and content they don't like and funnel your internet experience in ways they deem appropriate (during oral arguments, Verizon's attorney admitted they would be pursuing different economic schemes if not for the Open Internet Order). With the internet providers controlling content, fewer and fewer startups will be able to get a foothold in the market, significantly affecting innovation.
Net neutrality opponents have argued that so much traffic comes from "big video sites such as Netflix and YouTube, [that it] clogs up the system and imposes delays on everyone else. These companies should be paying their fair share." Which sounds eminently reasonable until you realize that Verizon made $2.23 billion in the third quarter of 2013 alone, so it's not exactly hurting for cash.
Pro-neutrality advocates have argued that there's plenty of bandwidth to go around and charging extra because of the nature of the content is "naked corporate greed." I agree, and so do Facebook, Google, Yahoo, Amazon, and Netflix, who favor net neutrality and stand to lose a lot of money if the telecoms get their wish.
How This Affects Artists
The loss of net neutrality is bad for everyone, but it's especially bad for artists because art is frequently visual in nature, and unlike text, visual media requires a lot of bandwidth. If I'm a filmmaker and I put my latest film on YouTube, how likely are you to watch if it takes 10 minutes to load because you're on a lower-tiered broadband plan which doesn't include video streaming? If I write a song that contains explicit sexual content, how will I get anyone to listen if Comcast starts arbitrarily banning content it deems to be pornographic in nature?
The end of net neutrality becomes another way for large corporations to trample the rights of individual artists, something I've railed about on this site for a while now. Limiting the artist's ability to display and promote his or her work not only affects the individual's ability to make a living, but it affects society at large because it stifles creativity and limits innovation.
Why There's Still Hope
The Atlantic's Kevin Werbach offers some credible arguments that, despite the ruling, there's some hope for the future. First, even though the D.C. court's ruling now eliminate the only rule preserving net neutrality, no rules even existed before 2010. And it's not like we were plunged into an internet-restricted hellscape during that time. In fact, immediately following the court's ruling, Verizon announced that there would be no changes to its services for customers.
Second, the court made it's decision on a fairly limited technicality and gave the FCC a roadmap for fixing this whole mess. In a nutshell, if the FCC placed internet services into the same category as it did the telecom giants, it would be able to reinstate the Open Internet Order in some form. The fact that internet providers are not classified as "common carriers" like the telecoms is the main reason the rule was invalidated by the court. And throughout the opinion, the court repeatedly references the FCC's "choice" or "decision" to classify internet providers differently than telecoms.
Given the Commission's still-binding decision to classify broadband providers not as providers of "telecommunications services" but instead as providers of "information services," see supra at 9–10, such treatment would run afoul of section 153(51): "A telecommunications carrier shall be treated as a common carrier under this [Act] only to the extent that it is engaged in providing telecommunications services."
Granted, reclassifying broadband providers as common carriers would require some legal jiu-jitsu by the FCC, and it's unclear to me that the law would easily permit FCC Chairman Tom Wheeler to make that choice. Even if he could, he might not want to since it would probably result in a political battle with congressional Republicans, who, it should be noted, absolutely hate net neutrality. Right now, the FCC is more likely to appeal the court's ruling than reclassify. But reading the decision it became clear to me that the court was telling the FCC how to regain the upper hand. The decision repeatedly slaps down Verizon's claims and states explicitly that it "think[s] it quite reasonable to believe that Congress contemplated that the Commission would regulate [broadband internet service providers]."
Probably the best way to resolve the matter is to get Congress to pass pro-net neutrality legislation, which is obviously easier said than done. Luckily, there's a lot of money in this fight and for once, it's not a case of the big guys (i.e. big corporations) lobbying against the little guys (i.e. you). Sure, Verizon, Comcast, and Time Warner have a lot of money to lobby Congress. But you know who else has a lot of money to lobby Congress? Facebook. Google. Amazon. Yahoo. And they fucking love net neutrality.
In Civil, Lawsuits, Media, News Tags Amazon, Civil law, Comcast, DC Circuit Court of Appeals, Facebook, FCC, Google, Lawsuits, Media, Net Neutrality, News, Telecoms, Time Warner, Verizon, Yahoo
Off With Their Heads! Graphic Content On Facebook Is Judged By A Disturbingly Uneven System
October 23, 2013 Greg Kanaan
I've never seen a video of someone being decapitated. I don't think I could handle it, frankly. Whatever morbid curiosity I possess, there are limits to the lengths I'll go to satisfy it. But if your curiosity was harder to tame and you wanted to watch such a video, then you probably won't have to look very far. A few days ago, Facebook lifted a six month old ban on decapitation videos (the ban originated over a user-posted video that showed a Mexican woman beheaded for committing adultery). Facebook now allows users to share graphic videos of decapitations because, according to a Facebook rep:
When people share this type of graphic content, it is often to condemn it. If it is being shared for sadistic pleasure or to celebrate violence, Facebook removes it.
Condemnation or not, Facebook backpedaled today and removed the video that started the whole mess after a public outcry that included Facebook users and British Prime Minister David Cameron. Facebook insists, however, that it didn't change any of its policies, nor will it inherently prevent other violent videos from being posted in the future. Each video will be reviewed on a case by case basis. Turns out that public pressure was a good tool to use in this case because there really are no legal mechanisms that prevent Facebook from allowing users full reign to post whatever content they want. Here's why...
1. Facebook doesn't owe a contractual duty to protect its users from any kind of harm. In fact, Facebook states pretty clearly in its terms and policies that it does not
control or direct users' actions on Facebook and are not responsible for the content or information users transmit or share on Facebook. We are not responsible for any offensive, inappropriate, obscene, unlawful or otherwise objectionable content or information you may encounter on Facebook. We are not responsible for the conduct, whether online or offline, or any user of Facebook.
2. Even if Facebook didn't have contractual protection through the above disclaimer, any tort-based lawsuit against the social network would fail because federal law absolves internet service providers like Facebook from legal responsibility when obscene content is posted by their users. The Communications Decency Act (CDA), which was originally passed in 1996 to regulate pornography on the internet, states that
No provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider.
It's worth noting that the CDA also prevents users from suing Facebook if Facebook removes content it deems to be obscene or violent. This means that the CDA is a Teflon-coated Kevlar shielded brick wall sprayed in bullet repellant; Facebook is essentially lawsuit-proof.
So if Facebook can't be sued for letting users post the videos, why did it lift the ban after six months only to backtrack when the public freaked out? My guess is that in the absence of litigation, public opinion is all Facebook can rely on to drive its policies. And, until recently, the public has been largely silent on the issue of graphic, violent content. In other words, Facebook assumed that people didn't care about violent content, so it let users upload the videos until the outcry became impossible to ignore.
But this raises a question that I actually find more interesting. Why has Facebook's handling of violent content been so much less even than its handling of sexual content? (For those who don't know, Facebook has a blanket policy to remove all nude media from user accounts, including breastfeeding pictures.) Call me crazy, but I have a hard time understanding why a photo of a mother breastfeeding her child, even when her breast is fully exposed, is more offensive than a video showing some poor fellow having his head sawed off, even when the reason for posting that video is to criticize and condemn the act. And it's not like the public has been silent on this issue either. When I googled "Facebook bans nude pictures," I got 38 million results.
I personally don't have a problem with Facebook censoring any user content (the First Amendment, remember, only applies to government censorship... Facebook as a private party can censor as much as it wants), but I'd like for its censorship policies to at least have some semblance of uniformity, especially if it won't explain why a photo of a boob is somehow more onerous than a severed head, or why decapitation videos get individual reviews by the Facebook team, while nude pictures get a ban hammer. I hope that we can convince Facebook that sexual content deserve at least the same type of case-by-case scrutiny that it gives to decapitation porn. If not, I fear the puritanical society we may one day become.
In Intellectual Property, Media, News Tags Communications Decency Act, Decapitation, Facebook, First Amendment, Intellectual Property, Media, News, video


DALLAS, TX - After injecting some much-needed life into the Southern offense last week against PVAM, quarterback Ladarius Skelton left the game early with an injury in Saturday's 21-7 win over Texas Southern.
Head coach Dawson Odums and company hoped their new spark plug on offense would carry over this Saturday in a crucial SWAC showdown with Texas Southern. Instead, Skelton and the Southern offense would go cold.
The Jaguars jumped out to a fast 14-0 start scoring two touchdowns in the first six minutes.
After that Skelton and the offense struggled to move the ball. He was held to just 134 yards of offense before exiting the game in the third quarter with an (unspecified) injury.
Southern and Texas Southern played in the famous neutral-site stadium known as the "Cotton Bowl" in Dallas, Texas. If the Jaguars can win out the remaining schedule, they'll win the West with tiebreakers against Prairie View and Grambling.


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Ivy Style Exhibit Coming To FIT: Sept. 14th – Jan. 5th
If you haven't already heard, The Museum at FIT in New York City is hosting an exhibition on the classic American "Ivy League style." The exhibit, simply titled Ivy Style, will show the development of the look over three distinct periods: the interwar years of the 1920s and '30s, the post-war era to the end of the '60s, and the style's revival from the '80s to present. In the first period, the interwar years, American clothiers Brooks Brothers and J. Press took classic English pieces such as tweed jackets and polo coats, and appropriated and modified them for young men in elite East Coast colleges. After the second World War, the "Ivy League look" started to disseminate across the United States. OCBDs, khaki chinos, and penny loafers were adopted by a much larger, more diverse population, including working class GIs and jazz musicians. Finally, after a period of dormancy in the 1970s, Ivy League style started to see a revival, from the '80s until today.
The exhibition will be on view from September 14th until January 5th. The museum is also running its annual fashion symposium on November 8th and 9th. This year's talk will be connected to the Ivy Style exhibit and will feature speakers such as Bruce Boyer and Christian Chensvold, as well as other scholars and designers. We'll publish info on that symposium as the date approaches, but for the time being, we encourage you to check out the exhibit.
For those not lucky enough to be able to attend, know that a more in-depth study of the Ivy League look will be featured in the accompanying book, also titled Ivy Style. It will contain essays written by the museum exhibit's curator, Patricia Mears; scholars such as Dr. Peter McNeil, Dr. Christopher Breward, and Dr. Masafumi Monden; and leading menswear writers Bruce Boyer and Christian Chensvold. Boyer and Chensvold, in my opinion, have written (and continue to write) some of the best material on classic men's style, and I'm really looking forward to reading their new project. You can pre-order it now on Amazon.
Filed Under: American Style, Bruce Boyer, Christian Chensvold, Ivy League Style, Ivy Style, The Museum at FIT


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Elisabeth Pihela (* 15. März 2004) ist eine estnische Leichtathletin, die sich auf den Hochsprung spezialisiert hat.

Sportliche Laufbahn
Erste internationale Erfahrungen sammelte Elisabeth Pihela im Jahr 2021, als sie bei den U20-Europameisterschaften im heimischen Tallinn mit übersprungenen 1,86 m die Bronzemedaille im Hochsprung gewann. Anschließend belegte sie bei den U20-Weltmeisterschaften in Nairobi mit 1,87 m den vierten Platz. Im Jahr darauf gelangte sie bei den U20-Weltmeisterschaften in Cali mit 1,80 m auf Rang sechs.

2021 wurde Pihela estnische Hallenmeisterin im Hochsprung.

Persönliche Bestleistungen
 Hochsprung: 1,88 m, 23. Juli 2022 in Pärnu
 Hochsprung (Halle): 1,88 m, 19. Februar 2022 in Tallinn

Weblinks

Hochspringer (Estland)
Estnischer Meister (Leichtathletik)
Este
Geboren 2004
Frau

redpajama_set_name: RedPajamaWikipedia


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2022 PTC Research Awards Recipients
Posted 6 January 2022
2022 PTC Research Awards Recipients2022-01-062022-01-06/wp-content/uploads/2017/01/ptc_3line_logo_lockup_2x.pngPTChttps://www.ptc.org/wp-content/uploads/2022/01/2022-research-awards-recipients-featured.png200px200px
Each year, PTC recognizes two scholars for excellence in research at the PTC Annual Conference, the Meheroo Jussawalla Research Award for the best participant research paper and the Yale M. Braunstein Student Award for the best student research paper.
Congratulations to the two recipients who will be presenting their papers at PTC'22: Reunite. Rethink. Renew.
Meheroo Jussawalla Research Award
Dr. George Ford, Chief Economist, Phoenix Center for Advanced Legal & Economic Public Policy Studies
The Meheroo Jussawalla Research Award for the best participant research paper submitted for the PTC Annual Conference is named in honor of the late international telecommunications scholar, Meheroo Jussawalla. A leading scholar in the economics of telecommunications, Jussawalla published 15 books in the field and garnered several national and international awards, including two from the Pacific Telecommunications Council.
The award for 2022 goes to Dr. George Ford, chief economist of the Phoenix Center for Advanced Legal and Economic Public Policy Studies, presenting his paper titled "Race and Broadband Adoption: A Decomposition Analysis."
Dr. Ford will present his paper at PTC'22 on Sunday, 16 January 2022 in Understanding Societal and Digital Divides: Race-related Factors, Misinformation, and Hate Speech from 15:30-16:45 HST online and in the MPCC, Nautilus.
Yale M. Braunstein Student Award
Qin Yuan, Doctoral Student, Southwest Jiaotong University
The Yale M. Braunstein Student Award for the best student research paper submitted for the PTC Annual Conference is named in honor of Yale M. Braunstein, a longtime PTC Member and contributor to the PTC Research Committee. Mr. Braunstein's contribution to students in the field of telecommunications and information, along with his advocacy to become involved with PTC, is immeasurable.
The award for 2022 goes to Qin Yuan, a doctoral student from Southwest Jiaotong University, presenting her paper titled "Different Types of Internet Use and the Perceived Impact of the Internet on Social Mobility: Results from a National Survey in China."
Qin will present her paper at PTC'22 on 19 January 2022 in Understanding Adoption Patterns for Services and Implications for Economic Development from 09:00-10:15 HST online and in the MPCC, Nautilus.


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You are here: Home / Music / British Invasion / Song Of The Day – The Jukebox Series #4 – The Kinks – "Starstruck" b/w "Picture Book" – German Pye 45 DV-14795 (G1/H1)
Song Of The Day – The Jukebox Series #4 – The Kinks – "Starstruck" b/w "Picture Book" – German Pye 45 DV-14795 (G1/H1)
August 4, 2020 by Eric Berman
Song Of The Day by Eric Berman – The Jukebox Series #4 – The Kinks – "Starstruck" b/w "Picture Book" – German Pye 45 DV-14795 (G1/H1)
"The Jukebox Series" focuses on the 80 records that inhabit my 1963 Seeburg LPC1 jukebox. I've had my jukebox (or as I like to call it "the prehistoric iPod") for a little over twelve years and in that time I'd like to think that I've perfected the mix of 45s within.
In a year that saw the release of The Beatles' White Album and Jimi Hendrix's Electric Ladyland, it's no surprise that a low-key gem like The Kinks Are The Village Green Preservation Society by The Kinks would fall through the cracks. However, when one considers the high caliber and quality of the album, it is surprising that it took so long for it to take its place amongst the greatest albums of the 1960s, easily equaling, it not surpassing the two aforementioned albums.
Part of the explanation for the record being ignored is that it was totally out of step with what was going on musically during the late 1960s. While bands were letting their freak flags fly with psychedelia, The Kinks dropped a laid-back nostalgic look at England on an unsuspecting public. Perhaps the record was also a little too British for American ears, but the fact is that The Kinks hadn't had a proper hit on the U.S. charts since "Sunny Afternoon" hit the top twenty in 1966, and the band's decision not to tour in support of the album upon its release didn't help matters either.
The last album by the original quartet of Ray and Dave Davies, Pete Quaife and Mick Avory also had a tough birthing process which saw an early 12-track version pulled at the last minute by Ray Davies because he wasn't satisfied with its quality. The band's label then balked at Davies' request to turn it into a double album, finally settling on the 15-track masterpiece we know today.
Today's Song Of The Day inhabits position G1/H1 in the jukebox and comes from a German single on the Pye record label. I purchased the single on EBay about ten years ago and it was quite pricey for a 45rpm record, but considering the greatness of both songs, it was well worth the price of admission to be able to have these tracks cycle through on the juke.
The single was released in many territories around the world including the U.S., and failed to chart in all of them. The A-Side of the single is "Starstruck" which is a tuneful cautionary tale about the foibles of living the nightlife, something Ray Davies was probably no stranger to at the time. While I've always loved the song, it's the B-side that got me to seek out a copy of the single for the juke.
"Picture Book" was one of a trilogy of songs about nostalgia for photographs that Ray Davies wrote around this time. The other two were "People Take Pictures Of Each Other" which ended up on the Village Green album, and "Pictures In The Sand" which wasn't released until 1973 on The Great Lost Kinks Album compilation.
The song finally gained wide exposure in 2004 when it was used in an award-winning Hewlett-Packard ad campaign for digital photography. After all those years as an album cut that was only familiar to die-hard Kinks fans, the song finally got heard. Ray Davies: "I always knew that song would have its day…sometimes you just know. It was never a hit, but it's become a hit in another way."
Filed Under: British Invasion, BritPop, Classic Rock, Comedy & Novelty, Folk, Garage Rock, Glam Rock, Jukebox Series, Music, Popular, Psychedelic, Song of the Day, Top 40 - AM Gold Tagged With: Dave Davies, Links - Rock and Roll, Mick Avory, Music, Pete Quaife, Picture Book, Ray Davies, Song Of The Day by Eric Berman, Starstruck, The Jukebox Series, The Kinks, The Kinks Are The Village Green Preservation Society
About Eric Berman


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Yves Mersch of ECB Speaks on Challenges Facing European Banking Sector
Yves Mersch, Member of the Executive Board of the ECB, spoke about the structural, regulatory, and technological challenges for the transforming European markets. He highlighted that banks face a number of challenges, which are visible in the weak financial performance of the sector, with low price-to-book ratios and meager profitability. Compared with the pre-crisis status quo, profound changes in the sector in terms of structure and business models will be needed to tackle these challenges.
Mr. Mersch pointed out the structural challenges in the banking sector in Europe. He noted that the stock of non-performing loans (NPLs) remains high in some countries and continues to depress bank profitability. This NPL overhang is tying up bank capital in failed or failing ventures and preventing the efficient flow of new lending to profitable projects. To overcome this challenge, he recommended the creation of Europe-wide banking groups, which would help break the bank-sovereign nexus and the consequent fragmentation of bank lending along national lines and through national interference that marked the crisis. He also suggested that setting up an effective Europe-wide securitization market for distressed debt should help banks to shift NPLs from their balance sheets and free up capital for new lending.
The final challenge for banks comes from the impact of technology, which is leading to increased competition from non-banks in domains traditionally considered to be the core business of banks. He emphasized on the fact that with regard to lending, technological advances have permitted the growth of internet and mobile banking, opening up the sector to newcomers and exposing incumbents with large branch networks to greater competition. There is also increased competition in the provision of retail payment services, made possible through new technology, which is disrupting banks' traditional business models. However, he highlighted that regulation has started to catch up with the new technology. The Second Payment Services Directive (PSD2), by providing a standardized system that operates across the EU, offers the basis for a new generation of financial services. He also noted that technology also affects the ways in which central banks carry out their operations. As per Mr. Mersch, "The advent of Distributed Ledger Technology (DLT) has the potential to change how central banks issue base money and operate payment systems. Only through detailed research and testing can we determine if, and how, we should use DLT."
With regard to banks facing stricter regulatory and prudential framework post the crisis, he said: "These measures aim to create a banking sector that works efficiently and smoothly. I recognize that tighter regulations do come at a higher cost to banks, but this should be set against the costs incurred by society over the past decade as a result of regulation that was too lax. Nonetheless, regulators should quickly agree on appropriate international standards to give banks certainty over long-term planning around business models." He concluded that regulation alone is insufficient and further efforts are required from banks to both consolidate and refine business models, to return the sector to sustainable rates of profitability. Efforts are also required at the national level to make national institutions function in line with the European legislation.
Related Link: Speech
Keywords: Europe, Banking, NPLs, PSD2, Fintech, Regtech, ECB
Valdis Dombrovskis of EC on the Joint MoU on Baltic Capital Markets
EIOPA Consults on Second Set of Advice for Review of SCR Calculation


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Laxmi Agarwal
Deepika Padukone shares her first look from Chhapaak
Mumbai: Bollywood actress Deepika Padukone on Monday shared her first look from her upcoming film, Chhapaak, in which she plays…
Vikrant Massey to star opposite Deepika in Meghna Gulzar's Chhapaak
Mumbai: Death in the Gunj actor Vikrant Massey is all set to play the lead opposite Deepika Padukone in Meghna Gulzar's Chhapaak.…
Deepika Padukone to play acid attack survivor in Meghna Gulzar's next
Mumbai: Bollywood diva Deepika Padukone, who was last seen playing the role of Rani Padmini in Sanjay Leela Bhansali's Padmaavat…


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Amazon and Liberty Global strike Prime set-top box deal
By George Bevir2019-04-23T13:47:00+01:00
Liberty Global strikes Amazon Prime deal
Rollout begins with Virgin Media in UK
Amazon Prime to be available from summer
Amazon Original: The Grand Tour
Virgin Media is set to be the first of Liberty Global's European operations to offer Amazon Prime Video via its set-top box.
The "multi-year" deal between TV and broadband provider Liberty Global and Amazon will make Prime Video available to Virgin Media TV customers in the UK from the summer.
Liberty Global said the deal builds on its strategy of "combining the very best over-the-top online video apps and offerings from major streaming players, with its own world-class content and TV functionality, in a seamlessly-integrated experience".
Liberty Global EVP and chief technology officer Enrique Rodriguez, said: "We're excited to partner with Amazon to deliver its highly-popular content, including Amazon Originals and Exclusives, directly to our consumers.
"We know our customers want to see their favourite shows and programming on their big screen at home, and our partnership with streaming services like Amazon continues to make that happen."
Read more Interview: Enrique Rodriguez
Amazon Originals include The Marvellous Mrs Maisel, Tom Clancy's Jack Ryan, The Grand Tour, upcoming Good Omens as well as some Premier League coverage.
Amazon Prime Video Europe vice president Jay Marine added: "We are excited that these shows and many others, award-winning movies and our forthcoming exclusive Premier League matches will all be available on Virgin Media's V6 box for millions of Prime members across the country."
Read more Amazon seeks telcos to distribute video
TV Everywhere
Free Ad-supported Streaming TV Success: Taking the FAST track
Sports industry gathers to go OTT in Madrid
While rights-holding broadcasters are increasingly determined to ensure their linear sports output is available to their viewers via online channels, the sports industry is looking to OTT as a means of democratising coverage to engage fans and generate new revenue streams. The SportsPro OTT Summit, held in Madrid at the ...
Content Everywhere: a look back at 2022


Home » Furniture Design » Tropical Furniture Style » Marvelous Tropical Furniture Style Posts Related To Balinese Furniture: Tropical Style Furnitures Are Popular.
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Tučepi is located in central Dalmatia at the foot of the Biokovo Nature Park, where the sea meets thick olive groves and pine forests. Another Bluesun pearl of the Makarska Riviera, Tučepi is a mecca for tourists who want to spend their holidays on the pebble beach in Tučepi.
Apart from its beauty, Tupeči Beach is also distinguished by a Blue Flag, the international symbol of clean and high quality sea water. Tučepi has combined tourism development with environmental care and has thus earned its place among the best Croatian tourist destinations. Tučepi has been inhabited since Ancient Roman times due to its excellent geographical position and its proximity to Makarska, Split and Dubrovnik.
Today, Tučepi is often visited by families with children due to its clean beach and long promenade, and by young people who enjoy being so close to Makarska, a town that offers plenty of nighttime entertainment during the summer.
The beach in Tučepi is the longest beach on the entire Makarska Riviera.
Additionally, Tučepi has a marina that can accommodate approximately eighty boats and smaller yachts.
Similar to other Dalmatian towns, Tučepi has warm and occasional hot summer days. The summer is characterised by long sunny days, while the winters are rainy, with occasional snow due to its location near the Biokovo mountain.


Login to the ACES portal with your Alamo Colleges District ID and Password (if you do not have your Alamo Colleges District ID you need to go through the admissions process to receive one: how to apply).
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Students can view and print their unofficial Alamo College District transcript in ACES Student Self-Service. The Alamo Colleges District transcript includes ALL courses taken at all of the colleges of the Alamo Colleges District and lists the college where each course was taken. The grade point average (GPA) combines ALL courses taken at the Alamo Colleges. The combined GPA may result in a change in the GPA and Academic Standing for some students. If you have questions about the contents of the transcript, contact the Enrollment Services/Admission and Records Office at your college.
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The index into the array of existing purchases. You can specify an index value that ranges from zero to the number of purchases minus one. You can retrieve the number of purchases using the paymentservice_event_get_number_purchases(event) function.
The paymentservice_event_get_purchase_id() function retrieves the unique ID of a purchase. This ID is required in order to cancel a purchase.


text:
Anderson Realty: No Place Like Home
A Family Business Built on Trust
Photos & Video by Ryan Stopera
Meet the leaders behind Anderson Realty: Mike Smith and Rebekah Cook. They lead one of the 12 values-driven businesses that have come together in support of Pollen's mission to change our collective story for the better. Together, they challenge Pollenites to raise $20,000 by Give to the Max Day on November 14, which they will match dollar for dollar.
Match the hive and donate today.
https://www.pollenmidwest.org/wp-content/uploads/2019/11/anderson.mp4
All About Anderson Realty:
It shouldn't surprise you that Anderson Realty helps people buy and sell homes and takes on real estate development projects. But there's more to Anderson, and what drives their work. "We care a lot about what it means to have a home, and what home means," says manager and agent Rebekah Cook. "We work hard so that our clients can truly live, laugh, love—sorry for being corny—but it's an honor we don't take lightly."
And it's an honor that goes back generations. "My grandmother Sylvia Anderson started Anderson realty in the late 1950s," says broker and owner Mike Smith. "I know that for her there was nothing more important than truly helping people. It is now my duty to carry on her mission—to work hard and put people first."
Anderson works hard to bring a high level of customer service, integrity and trust to what it means to have a real estate license. "When somebody puts their trust in a realtor, it's a really big deal," says Mike. "It's not transactional—it's relational. It's helping people investing their hard earned money to their future."
POLLEN: What responsibilities do you feel as a business leader in your community?
MIKE: To be honest and fair and care for people.
POLLEN: How do you go beyond transactional relationships to build real connection and meaning in your networks?
MIKE: Empathy and human connection, in my opinion, should be the core of any real estate brokerage. There would be no housing business if there were no people. Homes have evolved since the earliest man, even then they were decorating caves. Our homes tell our stories, whether we are aware of it or not, the decisions we make when purchasing or decorating houses reflect directly our worldview – it is a huge part of the human experience.
I truly believe that when we help people connect with the right homes we help them have better lives. A good realtor does this by listening and caring for people.
POLLEN: What is the story we need to be telling about our region?
REBEKAH: The cost of living is so much more affordable in the Twin Cities than in New York, San Francisco, Los Angeles, and we have just as diverse and robust of an arts and culture community. We think it's important that we help people understand the value and impact home ownership can have on their future wealth and ability to be able to then afford to take risks in their careers!
POLLEN: When times are tough, how do you keep moving forward?
MIKE: I do what my grandmother would do! It wasn't easy for her—but she would just drink some coffee, go to work, and make the tough decisions and move forward. People need us to work hard. It wouldn't be called work if we always wanted to do it.
Join Mike and Rebekah: DONATE TO MATCH THE HIVE TODAY
Find Anderson Realty and give them an online hug for supporting Pollen.
Rebekah Cook
Posted by Pollen on Nov 7, 2019


text:
Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves
Hiide Yoshino, Toshio Ariga, Akemi Suzuki, Robert K. Yu, Tadashi Miyatake
Neuroscience and Regenerative Medicine
The presence of immunoglobulin G (IgG)-type antibodies to the ganglioside, N-acetylgalactosaminyl GD1a (GalNAc-GD1a), is closely associated with the pure motor type of Guillain-Barré syndrome (GBS). In the present study, we isolated disialogangliosides from the motor neurons and motor nerves of bovine spinal cords by DEAE-Sephadex column chromatography. The disialoganglioside fraction contained GD1a, GD2, GD1b, and three gangliosides, designated X1, X2 and X3. Serum from a patient with axonal GBS with IgG anti-GalNAc-GD1a antibody yielded positive immunostaining with X1, X2, and X3. When isolated by preparative thin-layer chromatography (TLC), X1 migrated at the same position as GalNAc-GD1a from Tay-Sachs brain, suggesting that X1 is GalNAc-GD1a containing N-acetylneuraminic acid (NeuAc). TLC of isolated X2 revealed that it migrated between GD1a and GD2. On the other hand, X3 had a migratory rate on TLC between and GD1b and GT1b. Since both X2 and X3 were recognized by IgG anti-GalNAc-GD1a antibody, the results suggest that X2 is a GalNAc-GD1a species containing a mixture containing a NeuAc-and an N-glycolylneuraminic acid (NeuGc) species, and X3 is a GalNAc-GD1a species with two NeuGc. This evidence indicating the specific localization of GalNAc-GD1a and its isomers in spinal motor neurons should be useful in elucidating the pathogenic role of IgG anti-GalNAc-GD1a antibody in pure motor-type GBS.
https://doi.org/10.1016/j.brainres.2008.06.020
GalNAc-GD1a
Motor neuron
Spinal nerve root
10.1016/j.brainres.2008.06.020
Dive into the research topics of 'Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves'. Together they form a unique fingerprint.
Gangliosides Medicine & Life Sciences 100%
Motor Neurons Medicine & Life Sciences 78%
Cattle Medicine & Life Sciences 65%
Immunoglobulin G Medicine & Life Sciences 61%
Thin Layer Chromatography Medicine & Life Sciences 29%
GD2 ganglioside Medicine & Life Sciences 28%
sialogangliosides Medicine & Life Sciences 25%
Yoshino, H., Ariga, T., Suzuki, A., Yu, R. K., & Miyatake, T. (2008). Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves. Brain Research, 1227, 216-220. https://doi.org/10.1016/j.brainres.2008.06.020
Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves. / Yoshino, Hiide; Ariga, Toshio; Suzuki, Akemi et al.
In: Brain Research, Vol. 1227, 28.08.2008, p. 216-220.
Yoshino, H, Ariga, T, Suzuki, A, Yu, RK & Miyatake, T 2008, 'Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves', Brain Research, vol. 1227, pp. 216-220. https://doi.org/10.1016/j.brainres.2008.06.020
Yoshino H, Ariga T, Suzuki A, Yu RK, Miyatake T. Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves. Brain Research. 2008 Aug 28;1227:216-220. doi: 10.1016/j.brainres.2008.06.020
Yoshino, Hiide ; Ariga, Toshio ; Suzuki, Akemi et al. / Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves. In: Brain Research. 2008 ; Vol. 1227. pp. 216-220.
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title = "Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves",
abstract = "The presence of immunoglobulin G (IgG)-type antibodies to the ganglioside, N-acetylgalactosaminyl GD1a (GalNAc-GD1a), is closely associated with the pure motor type of Guillain-Barr{\'e} syndrome (GBS). In the present study, we isolated disialogangliosides from the motor neurons and motor nerves of bovine spinal cords by DEAE-Sephadex column chromatography. The disialoganglioside fraction contained GD1a, GD2, GD1b, and three gangliosides, designated X1, X2 and X3. Serum from a patient with axonal GBS with IgG anti-GalNAc-GD1a antibody yielded positive immunostaining with X1, X2, and X3. When isolated by preparative thin-layer chromatography (TLC), X1 migrated at the same position as GalNAc-GD1a from Tay-Sachs brain, suggesting that X1 is GalNAc-GD1a containing N-acetylneuraminic acid (NeuAc). TLC of isolated X2 revealed that it migrated between GD1a and GD2. On the other hand, X3 had a migratory rate on TLC between and GD1b and GT1b. Since both X2 and X3 were recognized by IgG anti-GalNAc-GD1a antibody, the results suggest that X2 is a GalNAc-GD1a species containing a mixture containing a NeuAc-and an N-glycolylneuraminic acid (NeuGc) species, and X3 is a GalNAc-GD1a species with two NeuGc. This evidence indicating the specific localization of GalNAc-GD1a and its isomers in spinal motor neurons should be useful in elucidating the pathogenic role of IgG anti-GalNAc-GD1a antibody in pure motor-type GBS.",
keywords = "GalNAc-GD1a, Guillain-Barr{\'e} syndrome, Motor neuron, Spinal nerve root",
author = "Hiide Yoshino and Toshio Ariga and Akemi Suzuki and Yu, {Robert K.} and Tadashi Miyatake",
note = "Funding Information: We are grateful to Dr. Misao Ohwada, Department of Pediatrics, Nihon University for providing Tay-Sachs brain. This work was supported in part by the Kimi Imai Memorial Foundation for Neuromuscular diseases (H.Y.), and Nakabayashi Trust for ALS Research, the Research Grant (5A-1) for Nervous and Mental Disorders (H.Y.), and the Research Grant for Neuroimmunological Disorders (H.Y.) from the Ministry of Health and Welfare, Japan.",
doi = "10.1016/j.brainres.2008.06.020",
journal = "Brain Research",
T1 - Identification of gangliosides recognized by IgG anti-GalNAc-GD1a antibodies in bovine spinal motor neurons and motor nerves
AU - Yoshino, Hiide
AU - Ariga, Toshio
AU - Suzuki, Akemi
AU - Yu, Robert K.
AU - Miyatake, Tadashi
N1 - Funding Information: We are grateful to Dr. Misao Ohwada, Department of Pediatrics, Nihon University for providing Tay-Sachs brain. This work was supported in part by the Kimi Imai Memorial Foundation for Neuromuscular diseases (H.Y.), and Nakabayashi Trust for ALS Research, the Research Grant (5A-1) for Nervous and Mental Disorders (H.Y.), and the Research Grant for Neuroimmunological Disorders (H.Y.) from the Ministry of Health and Welfare, Japan.
N2 - The presence of immunoglobulin G (IgG)-type antibodies to the ganglioside, N-acetylgalactosaminyl GD1a (GalNAc-GD1a), is closely associated with the pure motor type of Guillain-Barré syndrome (GBS). In the present study, we isolated disialogangliosides from the motor neurons and motor nerves of bovine spinal cords by DEAE-Sephadex column chromatography. The disialoganglioside fraction contained GD1a, GD2, GD1b, and three gangliosides, designated X1, X2 and X3. Serum from a patient with axonal GBS with IgG anti-GalNAc-GD1a antibody yielded positive immunostaining with X1, X2, and X3. When isolated by preparative thin-layer chromatography (TLC), X1 migrated at the same position as GalNAc-GD1a from Tay-Sachs brain, suggesting that X1 is GalNAc-GD1a containing N-acetylneuraminic acid (NeuAc). TLC of isolated X2 revealed that it migrated between GD1a and GD2. On the other hand, X3 had a migratory rate on TLC between and GD1b and GT1b. Since both X2 and X3 were recognized by IgG anti-GalNAc-GD1a antibody, the results suggest that X2 is a GalNAc-GD1a species containing a mixture containing a NeuAc-and an N-glycolylneuraminic acid (NeuGc) species, and X3 is a GalNAc-GD1a species with two NeuGc. This evidence indicating the specific localization of GalNAc-GD1a and its isomers in spinal motor neurons should be useful in elucidating the pathogenic role of IgG anti-GalNAc-GD1a antibody in pure motor-type GBS.
AB - The presence of immunoglobulin G (IgG)-type antibodies to the ganglioside, N-acetylgalactosaminyl GD1a (GalNAc-GD1a), is closely associated with the pure motor type of Guillain-Barré syndrome (GBS). In the present study, we isolated disialogangliosides from the motor neurons and motor nerves of bovine spinal cords by DEAE-Sephadex column chromatography. The disialoganglioside fraction contained GD1a, GD2, GD1b, and three gangliosides, designated X1, X2 and X3. Serum from a patient with axonal GBS with IgG anti-GalNAc-GD1a antibody yielded positive immunostaining with X1, X2, and X3. When isolated by preparative thin-layer chromatography (TLC), X1 migrated at the same position as GalNAc-GD1a from Tay-Sachs brain, suggesting that X1 is GalNAc-GD1a containing N-acetylneuraminic acid (NeuAc). TLC of isolated X2 revealed that it migrated between GD1a and GD2. On the other hand, X3 had a migratory rate on TLC between and GD1b and GT1b. Since both X2 and X3 were recognized by IgG anti-GalNAc-GD1a antibody, the results suggest that X2 is a GalNAc-GD1a species containing a mixture containing a NeuAc-and an N-glycolylneuraminic acid (NeuGc) species, and X3 is a GalNAc-GD1a species with two NeuGc. This evidence indicating the specific localization of GalNAc-GD1a and its isomers in spinal motor neurons should be useful in elucidating the pathogenic role of IgG anti-GalNAc-GD1a antibody in pure motor-type GBS.
KW - GalNAc-GD1a
KW - Guillain-Barré syndrome
KW - Motor neuron
KW - Spinal nerve root
U2 - 10.1016/j.brainres.2008.06.020
DO - 10.1016/j.brainres.2008.06.020
JO - Brain Research
JF - Brain Research


text:
Netflix squanders Super Bowl hype on lackluster 'Cloverfield: Paradox'
'Cloverfield: Paradox' jumbles a wide variety of science fiction tropes and genre conventions.
@gavincquinn
With "The Cloverfield Paradox," Netflix wastes a one-of-a-kind marketing strategy on a dime-a-dozen mediocre sci-fi thriller. The film dropped post-Super Bowl like a fresh Beyonce album, sparking hype and interest with its innovative release. The ingenuity of the release is matched by the film's lack thereof.
"The Cloverfield Paradox" feels extremely derivative of sci-fi thriller classics like "Alien" or "Event Horizon." There's something to be said for being influenced by previous artistic greats, but in the case of "Cloverfield Paradox," wearing your influences so brightly on your sleeve is more like living under the shadow of something much greater. Narratively, it's as though the film is walking you through the established plot beats of better movies. At times, I wondered if the screenplay was written with a tvtropes.com tab open.
That's not to say all movies have to be groundbreaking or revolutionary in their fields. If you're going to run the wheel though, at least make sure it's a well-oiled machine. "Cloverfield Paradox" is a creaky beast, offering almost no new takes on its traditional genre tropes. Even die-hard fans of the genre might be hard-pressed to find something really enjoyable here.
I suppose the film's ideas and ambitions could be admired: make a sci-fi film with the thrills of "Alien" and the emotional tug of "Interstellar." Unfortunately, the film's execution doesn't hold up to the weight. The horror is more shock value than genuinely unnerving and hardly lasting; the stirring plot threads are introduced far too late to impact audiences, even the characters are so thinly written that their only distinguishing features are their origin country's flag on their clothing.
On a technical level, "Cloverfield Paradox" is almost really impressive. Some of the more epic-scope shots of space attempt a feeling of grandeur that is never quite achieved because the shot compositions never live up. The set design, while looking expensive and futuristic, has way too much going on to make for any memorable settings.
Sound gets the real short end of the stick here; so much beeping and whirring goes on in the background without ever quite mixing with the actors' voices. Combine this with frenzied backgrounds and character accents that feel more like caricatures than actual human voices and you have a mess of a scene where instead of there being genuine confusion and terror, the only confusion is "what did that character say?" and the terror is "I still have 86 minutes left before I can write this review."
For those looking for more slow-building thrills found in "10 Cloverfield Lane," look elsewhere; if looking for the horror of space, try "Alien" or "Event Horizon", if you're looking for a good movie, try about anything else.
Tags: anthologies, book:cloverfield, clover, cloverfield, english-language films, film, kaiju, netflix, speculative fiction, untitled cloverfield sequel


text:
'The Original High' review: Adam Lambert lifts his game
Adam Lambert's "The Original High" arrives on June 16, 2015. Credit: Warner Bros.
By GLENN GAMBOA glenn.gamboa@newsday.com @ndmusic Updated June 11, 2015 3:37 PM
It's no surprise really that Adam Lambert left "American Idol" with a messed-up sense of how best to use his amazing voice. Like most singing competitions, that show values long, towering notes above all else.
The rest of the world? Not so much.
On "The Original High" (Warner Bros.), Lambert figures that out -- in part thanks to his touring run with Queen and teaming up with Swedish super-producers Max Martin and Shellback, who helmed his hit "Whataya Want From Me." And the results are spectacular.
It's not that Lambert eliminates the big notes entirely, he just uses them more sparingly and to better effect. They become the crowning glory of the lovely ballad "There I Said It," the calling card of the funk-guitar-driven "Evil in the Night."
However, it's the mix of stripped-down rock and dance music, which powers the charming first single "Ghost Town" and the groovy Kylie-influenced title track, where Lambert really makes his mark.
On the Disclosure-like "Things I Didn't Say," Lambert positions himself as the American Sam Smith, with power to spare in his soaring high notes. That's right where he belongs.
THE GRADE A-
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By GLENN GAMBOA glenn.gamboa@newsday.com	@ndmusic
Glenn Gamboa is Newsday's music critic, covering entertainment news and events since 2000.


Discovery Notes Medium moist, dark soil collected from backyard 27-9-2016. Sunny, 23 °C.
Naming Notes The name Abel is a heterograph and a homophone of able; having the necessary power. Mabel rename 2016-12-10. "M" added for it's ability to lyse M. smegmatis.
Plaque Notes Mabel is lytic. Plaque diameter is 4mm. Plaque phenotype according to incubation at 42°C for 48 hours. Of 21 measurable phage, average tail length was determined to be 134.5 nm and average capsid diameter 58.55 nm.


eSchool Solution gave you the state of the art facilities and features to empower and enrich your school.eSchool Solution is all in one solution which every school needed it gave you all facilities including Students and teachers management, Administrative task, Classroom Management and Data Management etc.
Teachers, Students and Parents Management.
Our eSchool solution manage teachers, students and parents activities including their results, onlineexams, schedule etc.
Attendance system check time and attendance of student for each subject and generate attendance statistics of students.
The Petronics eSchool solution have their own payment system and it also include online payment services.
Our eSchool solution have their own transportation system which used to manage the transportation of students and school staffs.
Our eSchool solution gave you the best and the easiest accessible E-Library for students and teachers.


text:
#1 Inciting growth
How will innovation impact the way we live, think and work? We share our insights from our conversation with Darktrace.
In the first episode^ of our New Frontiers podcast series, we spoke to infosec expert Max Heinemeyer of Darktrace. Darktrace is the world's leading AI company for cyber defence. It uses a self-learning AI to protect corporate networks against cyber threats and vulnerabilities.
What are our three takeaways from our conversation with Max?
Sean Duffy
Head of Technology, Media and Telecoms at Barclays
We can learn from the human body's immune system when building cyber defence technology
Darktrace's machine learning, the Enterprise Immune System, takes inspiration from the way the human immune system fights illness. The human body's immune system has the unique ability to understand 'self', which allows it to rapidly detect and contain emerging threats, such as DNA that constantly mutates.
Similarly, Darktrace's machine learning understands normal patterns of behaviour of every user and every device connected to a corporate network. This allows Darktrace to learn a sense of 'self' for each individual client, and to identify emerging cyber threats that would otherwise go unnoticed.
What's the result? Darktrace's Enterprise Immune System does not require previous experience of a threat, but is still able to detect and fight subtle attacks inside a network in real time. Its technology ensures that cyber attacks do not lurk unnoticed; they are stopped at their earliest stage.
Flat hierarchies can be highly beneficial for fast-growing companies
During Darktrace's rapid expansion, it introduced a flat hierarchy to ensure that its culture didn't dilute, to allow fast-paced decisions to be made, and to keep up momentum during growth. Here are some advantages and disadvantages of flat hierarchies:
Fast-paced decisions: decisions can be made at point-of-need, allowing organisations to act faster. • Increased employee autonomy: as employees become included in decision-making, they can feel empowered and engaged, boosting employee satisfaction.
Clearer communication: information does not need to pass through multiple layers, preventing miscommunication of ideas.
Encourages innovation: an environment is likely to be created that is suitable for innovation, agility and collaboration.
Emergence of informal hierarchies: the lack of formal hierarchies could cause destructive informal hierarchies to emerge, which could be based on personality or perceived skillset.
Lack of incentive: horizontal promotions may not sufficiently motivate employees and may not offer greater seniority or people management experience.
Reduction in supervision: a loss of oversight on employee productivity due to a reduction in supervision could cause employees' behaviours and outputs to deviate from the expected norm.
We need to continue to focus on gender diversity in the technology sector
Darktrace is focused on demonstrating the value that women bring to roles in technology. It has 2 female CEOs, and 40% of its employees are women. In 2018, it partnered with WISE, a social enterprise which works to promote the participation of women in science, technology, engineering and mathematics (STEM) subjects. They are working together to inspire more girls to consider STEM careers, and to increase awareness of exciting future roles that are emerging in the tech sector.
Of those currently working in the tech sector in the UK, just 17% are women1. Additionally, just 7% of students taking computer science A-level courses are female, and just half of the girls that study IT and technology subjects at school go into a job in the same field1. Clearly, whilst the tide is turning, we are still far from experiencing gender equality in this sector.
1Women in Technology and IT, https://www.womenintech.co.uk/^
#3 Generation Z
How will innovation impact the way we live, think and work in 2019 and beyond? We share our insights from our conversation with Supa Network.
#2 Responsible AI
How will innovation impact the way we live, think and work in 2019 and beyond? We share our insights from our conversation with CognitiveScale.