A new CBSS Project Support Facility (PSF) call is now open for projects that put safety and security at the centre of Baltic Sea cooperation and strive to strengthen the resilience of the region. The call will be closed on 31 March 2019.
In 2019 the CBSS Project Support Facility call for projects focuses on the CBSS long-term priority 'Safe and Secure Region'. The ultimate goal of this priority is to make everyone feel safe and secure in every corner of our region. This can be achieved by strengthening the civil security and protection systems in the countries in the region, and by doing so in a coherent way – through cooperation.
The proposals responding to this call should refer to the societal security paradigm, which covers prevention, preparedness, response, and recovery to all sorts of threats, regardless of whether their origin is natural or man-made disasters or intentional human actions including exploitation. This concept promotes a comprehensive and coherent approach to reduce trans-boundary vulnerabilities and to build common capabilities for societal security and safety in the Baltic Sea Region. This holistic approach allows for addressing a broad spectre of challenges, from civil protection to prevention of criminal exploitation and trafficking in human beings, as well as combating organised and serious crime. Making the Baltic Sea Region a more safe and secure region is a complex endeavour that aims to develop a more resilient society and implement resilience at all levels of social organisation.
The prioritised areas put forward in the Joint Position on Enhanced Cooperation in the Civil Protection Area, adopted by the Directors General for Civil Protection in the Baltic Sea Region (May 2017), is a guide for proposals related to societal security. The Oslo Conclusions on identifying children at risk of exploitation and trafficking (May 2018) is another reference document.
Especially important are contributions that encourage building a common societal security culture in the BSR, by engaging civil society, in particular, volunteer organizations, children/youth, or senior citizens. Special emphasis should be put on people-to-people contacts, exchange of best practices and awareness raising for common attitudes to major threats and hazards as well as to situations of exploitation. Additionally, innovative solutions to common societal security challenges contribute to this objective. The way to achieve this is through the facilitation of cross-disciplinary and multi-level exchange of knowledge and experiences on societal security/safety issues.
Recognising the complexity of risk perception in relation to building resilience is also highly relevant. Attention should be paid to improving the individual citizen's resilience to different types of hazards and risks in society including exploitation, with special attention to vulnerable groups. Related to this is also the alignment of the perception of risks with real-world threats and supporting the policy level in decision making by providing evidence-based information. Proposals contributing towards awareness raising of climate change risks and creating evidence-based awareness campaigns tailor-made to different groups in society are also encouraged.
Initiatives strengthening, building upon and improving current anti-trafficking policies, preventive and protective work in the Baltic Sea region through a coherent and multidisciplinary approach as well as promoting the understanding of relevant aspects of the trafficking industry and disseminating the information gathered about the role and modus operandi of perpetrators, victims, their rights etc. are encouraged.
More information on the CBSS Expert Group on Children at Risk Unit here.
More information on the CBSS Task Force against Trafficking in Human beings here.
More information PA Secure here.
Please read the PSF-Manual before filling in the application.
The CBSS Secretariat will notify all applicants as to the outcome of their application within one month period after the CSO decision.
Here you can see the overview of the CBSS PSF 2017 funded projects.
Here you can see the overview of the CBSS PSF 2013-2015 and 2016 funded projects.
For more on current and past projects, see the menu on the right.
The CBSS Project Support Facility (PSF) was created at the 9th Baltic Sea States Summit in Stralsund, Germany, on 30 – 31 May 2012. During the first PSF period (2013-2015, with additional funding based on voluntary contributions of the CBSS Member States in 2016) 23 projects were funded.
The main purpose of the CBSS PSF is to co-finance the development and implementation of Baltic Sea Region (BSR) cooperation projects contributing to CBSS long-term priorities, bringing added value for the Baltic Sea Region, showing impact in regional cooperation and fostering sustainable partnerships. The total amount of the CBSS PSF for three years is one million euro.
The CBSS Committee of Senior Officials called upon by the Deputy Ministers of Foreign Affairs in the Warsaw Declaration of 8 June 2016 to "explore ways and means of project support for the implementation of the long-term priorities of the CBSS" and agreed at the CSO meeting in Stockholm on 30 November 2016 to continue the CBSS PSF. The revised PSF Manual is anticipated for a three-year funding period from 2017 to 2019 with one call per year. With this revised Manual the CBSS aims at increased efficiency and transparency during the new PSF period.
Regional Identity, aiming to develop and foster the concept of Baltic Sea Region identity and a sense of belonging to the Baltic Sea Region through engagement, dialogue, people-to-people contacts, macroregional networks and multilevel governance.
Sustainable and Prosperous Region, working towards developing the Baltic Sea Region as a model region of sustainable societies able to manage and use resources efficiently, and to tap the economic, technological, ecological & social innovation potential of the region, in order to ensure its prosperity, environmental protection and social cohesion.
Safe & Secure Region, with the goal to enhance societal security and safety in the Baltic Sea Region and to ensure that people of the Region are protected from and resilient to violence, accidents and emergencies through preparedness, and safeguarded against harm caused by criminal exploitation and human trafficking.
For more information please download the PSF Manual.
PSF project reporting templates for 2017-2019: PSF Progress Report (if needed), PSF Final report and Financial Report.


text:
Are U.S. Markets Oversold?
Matt Taylor, host of CNBC Asia's The Rundown, welcomes Frank Holmes back to the program to get his thoughts on the state of the current U.S. market. Frank says that according to a sentiment indicator used by the investment team at U.S. Global Investors, signs are pointing toward a correction on the horizon. The two also discuss the small-cap sector and why the Russell 2000, for example, has continued to show strength. To hear Frank's full thoughts on the matter, tune in to the replay below.
Watch the interview!
Want more on small to mid-cap stocks? Get the scoop by clicking here.
The S&P 500 Stock Index is a widely recognized capitalization-weighted index of 500 common stock prices in U.S. companies.
The Russell 2000 Index is a U.S. equity index measuring the performance of the 2,000 smallest companies in the Russell 3000. The Russell 3000 Index consists of the 3,000 largest U.S. companies as determined by total market capitalization.
Holdings may change daily. Holdings are reported as of the most recent quarter-end. None of the securities mentioned in the interview were held by any accounts managed by U.S. Global Investors as of 03/31/2018.
©2019 U.S. Global Investors • www.usfunds.com • 1-800-US-FUNDS

redpajama_set_name: RedPajamaCommonCrawl


text:
#include <stdio.h>
#include <stdlib.h>

#ifndef _WIN32
#include <dlfcn.h>
#endif

#ifdef _WIN32
#include <windows.h>
#define DLEXPORT __declspec(dllexport)
typedef HMODULE PluginHandle;
#else
#define  DLEXPORT
typedef void* PluginHandle;
#endif

#include "open_lib.h"

void* open_library(const char* lib_name, const int flags)
{
  void* HandleRes;
#ifdef _WIN32
  HandleRes = (void*) LoadLibrary(lib_name);
  if (!HandleRes)
  {
    int err = (int)GetLastError();
    printf("LoadLibrary error number %d while trying to open %s\n", err, lib_name);
    exit(err);
  }
#else
  /* -------------------------------------------------------------------------------------- *
   * For RTLD_DEEPBIND, see                                                                 *
   * https://stackoverflow.com/questions/34073051/when-we-are-supposed-to-use-rtld-deepbind *
   * We may want to change this behaviour                                                   *
   * -------------------------------------------------------------------------------------- */

#ifdef __APPLE__
  HandleRes = dlopen(lib_name, RTLD_LAZY | flags);
#else
  HandleRes = dlopen(lib_name, RTLD_LAZY | RTLD_DEEPBIND | flags);
#endif

  if (!HandleRes)
  {
    printf("dlopen error ``%s'' while trying to open library ``%s''\n", dlerror(), lib_name);
  }
#endif
  return HandleRes;
}

void* get_function_address(void* plugin, const char* func)
{
  void* ptr;
#ifdef _WIN32
  HMODULE pluginW = (HMODULE) plugin;
  ptr = (void*) GetProcAddress(pluginW, func);
  if (!ptr)
  {
    DWORD err = GetLastError();
    printf("Error %d while trying to find procedure %s\n", func);
    exit(1);
  }
#else
  ptr = dlsym(plugin, func);
  if (!ptr)
  {
    printf("Error ``%s'' while trying to find procedure %s\n", dlerror(), func);
    exit(EXIT_FAILURE);
  }
#endif
  return ptr;
}

redpajama_set_name: RedPajamaGithub


Bothell, Wash. – Emily Christian, Interim Director of UW Bothell Student Services, has been selected to receive a Fulbright Award from the International Education Administrators Program.
Christian is UW Bothell's fourth Fulbright winner this year, joining Professor Dan Jaffe and students Tyrell Edwards and Christopher Nelson.
Christian will travel to Germany in October to participate in the Fulbright Seminar for U.S. Administrators in International Education. This program helps U.S. international education professionals and senior higher education officials create empowering connections with the societal, cultural and higher education systems of other countries.


After your business has been registered with the Securities and Exchange Commission (SEC) and Bureau of Internal Revenue (BIR), your next step is to register with the Local Government Unit (LGU). The license/permit from the LGU is commonly known as the "mayor's permit or business permit". Some cities may require you to process your business permit first before registering with the BIR. Your business permit must come from the mayor's office where you intend to locate your place of business.
The requirements vary depending on the location of your business and your type of business activities.


BMI proudly manages several properties primarily located in the panhandle of Florida. BMI's current portfolio primarily consists of affordable multi-family housing in rural areas, but we have also developed and managed conventional apartment communities, warehouses, business centers, single family subdivisions, shopping centers and a private resort development in other states.
Please click on the links below to learn more about BMI managed properties in Florida.* From the Country Haven to Woodridge Apartments, when you live at a BMI managed property you can be assured of living in a contemporary home that will meet all your needs.


Jakarta is a dynamic, multicultural city with a significant expatriate community bringing together people of all nationalities. Building a network of international friends can be a tremendous source of support, especially with most families being far from home comforts.
The Australia and New Zealand Assocation (ANZA) Jakarta was established in 1970 for expatriate Australians and New Zealanders to meet and share their experiences of living in Indonesia. It is a friendly, inclusive association and welcome members from all over the world.
Expat.or.id is an expat focused website full of practical information for expats planning to move or already living in Indonesia with more than 1,000 article on a range of topics.
WhatsNewJakarta.com includes an events calendar, tips, guide and recommendations about living in Jakarta to the growing expat population.
Meetup allows members to find and join groups unified by a common interest, such as politics, books, games, movies, health, pets, careers or hobbies.
It may seem obvious to some but clothes in Asia tend to cater towards Asian consumers. With Indonesian people tending to be quite slight, it can be difficult to find larger sized clothing. Even large international chains like Mango and Zara often only ever have clothes that go up to size 12. Shoes and bras in larger sizes can be especially challenging to find in Indonesia so be sure to make sure you have enough clothing to get by if you have specific requirements.
The cost of living in Jakarta can come as a surprise to many people. Despite being a developing country, many items you take for granted can be very expensive relative to Western countries. Any imported products will consistently be more expensive than at home and some items are frustratingly, simply unavailable for weeks or months on end.
Buying from local stores, known as 'warungs', is the most affordable way to eat. You will be charged more than a local purchasing the same items but this is generally accepted due to the wage disparity between international workers and locals. Local markets will have a larger range and are a great place to buy fresh produce.
Western style supermarkets are the most expensive places to purchase food. Many locals shop at Hero and also stock a range of imported products. Sogo Food Hall, Ranch Market and Carrefour all cater towards Western tastes and have a number of items aimed towards foreigners.
Many that move to Jakarta take advantage of affordable domestic help to provide assistance around the house. Large properties can be difficult to maintain and expats often find that the relatively cheap cost of hiring local help is worth the expense.


text:
Pavin, Langer lead Senior British
July 24, 2010 at 12:06 a.m.
CARNOUSTIE, Scotland — American Ryder Cup captain Corey Pavin shot a second straight 2-under 69 Friday to share the second-round lead with Bernhard Langer of Germany at the Senior British Open.
Pavin and Langer (71) have 4-under totals of 138 and are one shot ahead of a quartet that includes Ian Woosnam (67) and Jay Haas (69). Americans Dan Forsman (71) and Larry Mize (70) are also tied for second.
Pavin was among the early starters and looked set to take a commanding lead before finishing with a double bogey 6 at the 18th after hitting his second shot out of bounds.
Langer had to deal with a biting cold wind later in the day but also got to 6 under before bogeys on two of the par-3 holes. At the short 13th, his tee shot landed in a deep pot bunker, and he then missed the green at the 16th with a 5-iron and was unable to get up and down.
Players go low at Canadian Open
TORONTO — Tim Clark shot a bogey-free 6-under 64 for a share of the second-round lead with Dean Wilson in the Canadian Open in another low-scoring day at St. George`s.
Wilson had his second straight 65 to match Clark at 10-under 130 on the hilly, tree-lined course.
Brent Delahoussaye and Steve Wheatcroft are a stroke back. Delahoussaye had a 69 a day after matching the Canadian Open record with a 62. Wheatcroft shot a 66.
Kevin Sutherland had the best round of the day, tying the tournament record with a career-best 62 to reach 5 under.
Wie struggles in France
EVIAN-LES-BAINS, France — Mika Miyazato of Japan shot a 5-under 67 for the second-round lead at the Evian Masters.
Michelle Wie started the day tied for sixth at 4 under, but slipped down the leaderboard at 1 over after a sluggish round (77) that included a quintuple bogey on the 10th hole.
Oosthuizen slips to third
STOCKHOLM — K.J. Choi shot a 5-under 67 for a one-shot lead at the Scandinavian Masters. Choi had six birdies and an eagle and three bogeys to reach 9-under 135, one stroke ahead of Richard Johnson of Sweden, who had a 66.
British Open champion Louis Oosthuizen was one of the overnight leaders, but he slipped to third after a round of 70, leaving him two strokes behind Choi and even with Rafa Echenique of Argentina.
Johnson had a bogey-free round in front of his home crowd put him 8 under after 36 holes.
Kaye falters in Nationwide event
COLUMBUS, Ohio — One day after setting the course record of 8-under 63, former University of Colorado golfer Jonathan Kaye turned in a 76 at the Children`s Hospital Invitational.
Kaye fell into a tie for 14th place, three strokes behind leader Michael Putnam.
BVSD high school students invited to submit entries for Title IX art exhibit
Unico signs 3 new tenants to Boulder's Pearl Street


text:
Poterna (francosko: poterne), pomožna vrata, prehod, običajno podzemni hodnik ali galerija za komuniciranje v fortifikacijah ali med njimi, na primer po mestnem obzidju ali  trdnjavi ali med njima, lahko pa tudi med fortifikacijo in zunanjim svetom.

Poterna je najpogosteje dolg hodnik, zgrajen iz kamna, opeke ali betona. Vstop in izstop sta zaprta s pregrado in praviloma skrita, da omogočata neopazno prihajanje in odhajanje vojakov. Med obleganji so branilci uporabljali poterne za nepričakovane izpade iz utrdbe. Poterne manjših utrdb so se uporabljale tudi kot ječe (kazemati) ali vojašnice.

Poterne v obliki galerij so omogočale spremljanje dogajanj v notranjosti večjih objektov oziroma  prostorov.

Fortifikacije

de:Schlupftür

redpajama_set_name: RedPajamaWikipedia


Thanks Kate, didn't know about that!
Sorry forgot toput link to new cams and pages. Doh!!
She does so what him to come down Awh!!!
EDIT apologies this was Rochdale. Doh!!
Have been trying to catch another glimpse, but noticed the Lovely Barnies with sound on this site.
That's a good find Kate, will be interesting to hear their sounds ... would you like a new thread headed up or just keep it on here?
"That's a good find Kate, will be interesting to hear their sounds ... would you like a new thread headed up or just keep it on here?"
You know me easy going, will go with the flow...not many followers at moment, and have to find history.
All LIVE Cam links to the right on this page.
Heard a dog barking quite loudly an hour ago!
Did you know there are three hatched at Bath yesterday & today Kate?


Kenneth Santana is a proud elementary school parent at Achievement First.
I remember being in your shoes a few years ago asking myself – which school will provide my child with the best education? My daughter Inez started at Achievement First in kindergarten and is now entering the third grade. As Inez enters her 4th year at Achievement First – I know now I made the best decision for her future.
The academic growth that Inez has shown is astonishing. My soon-to-be third grader is reading 2 levels above her grade – that's fifth grade! This school has ignited such a passion for reading and learning in Inez that she is excelling. Starting in kindergarten, scholars at Achievement First are not only outperforming their peers at neighboring schools but are also receiving the tools and knowledge they need for college and beyond.
My soon-to-be third grader is reading 2 levels above her grade – that's fifth grade!
I am incredibly grateful for the education my daughter is receiving but also for the love and support our family receives from teachers and staff at Achievement First. So much so that I have visited the State Capitol on multiple occasions to share my story with our elected officials, asking them to support the growth of such amazing schools. I am thrilled that YOU now have the opportunity to join us.
From one parent to another, we would love to have you as a part of our Achievement First family! Kindergarten seats are still available, and it is the best decision you can make for your little one – enroll today! Visit achievementfirst.schoolmint.net or call 718-623-2660 ext. 3. Tell them Kenneth sent you!


text:
Marine equipment, Market surveillance
EU approval
EU approval (MED)
Approval of marine equipment
Source: MarED Technical Secretariat/BALance TC
In implementation of the international requirements, the approval of marine equipment in the EU is regulated by the Marine Equipment Directive (MED) and its respective implementing regulations.
The implementing regulations contain an exhaustive list of marine equipment for which harmonised requirements already exist. If harmonised requirements do not yet exist, national approval by the flag state is required.
In the case of MED approval, the manufacturer may affix a symbolic wheel mark as a conformity mark, the identification number of the notified body and the year of marking to the equipment. Equipment marked in this way can be placed on the market, installed on board and used throughout the EU without further national approval.
United Kingdom conformity assesment procedures for marine equipment after a potential "No-Deal-Brexit"
The Maritime & Coastguard Agency (MCA) has issued procedures for the conformity assesment procedure and for the acceptance of marine equipment on board of European flagged vessels in the case of a "No-Deal-Brexit".
Electronic identification:
The marking of marine equipment may alternatively be carried out in electronic form. The EU Commission has published the relevant requirements:
COMMISSION IMPLEMENTING REGULATION (EU) 2018/608 (PDF, 484KB, Not barrier-free file.)
COMMISSION DELEGATED REGULATION (EU) 2018/414 (PDF, 403KB, Not barrier-free file.)
GS1 standards for the implementation of the Marine Equipment Directive (PDF, 5MB, Not barrier-free file.)
Marine Equipment Directive – MED
The European Directive 2014/90/EU (PDF, 1MB, Not barrier-free file.)is the essential set of rules on the subject of marine equipment. Among other things, it regulates the approval procedure for marine equipment on ships under European flags.
Implementing Regulation
The list of marine equipment subject to approval with the applicable performance and testing standards is published in the respective MED implementing regulations. Currently, this is the IMPLEMENTING REGULATION (EU) 2018/773 (PDF, 2MB, Not barrier-free file.). The following areas are covered in principle:
life-saving appliances
marine pollution prevention
radio-communication equipment
equipment required under COLREG 72
equipment under SOLAS Chapter II-1
equipment for which the set of standards for MED certification is not complete (MED approval is therefore not possible)
EU conformity assessment bodies (notified bodies)
For MED approval, a specific conformity assessment procedure must be carried out. This procedure can be ordered by the manufacturer from any notified body in the EU. The approvals by a notified body are valid throughout the EU.
EU conformity assessment procedure
The conformity assessment procedure is defined in Annex II of the MED. It usually consists of a combination of type examination (module B) and a quality assurance module (modules D, E or F). In individual cases an individual test (module G) may be carried out. With the exception of individual testing, proper approval always consists of a module combination (B + D, B + E or B + F). For each successfully tested module, the notified body will issue a MED certificate.
Please note this:
The conformity mark (wheel mark symbol) may only be affixed within the validity period of all relevant EU certificates. Once the validity of an EU certificate for module B, D, E or F has expired, the conformity mark may no longer be affixed.
If a device is already installed on board, it may continue to be used even after the certificate has expired, unless retrofitting is expressly prescribed.
If a device has been manufactured during the validity period of the EU certificates, is properly marked and still meets the valid requirements, it may still be placed on the market after the expiry of the certificates.
After receipt of the certificates, the conformity assessment procedure is concluded with the issue of the declaration of conformity by the manufacturer. He also affixes the conformity mark (wheel mark symbol) as well as the identification number of the notified body and the year of marking to the product. You will find an overview of marine equipment approved throughout Europe in the MarED database.
By issuing the EU Declaration of Conformity (DoC), the manufacturer declares that his product complies with the requirements of the Marine Equipment Directive. With this declaration, the manufacturer assumes the responsibility and obligations according to Article 12 paragraph 1 MED. The EU Declaration of Conformity must be carried on board as a central accompanying document. An overview of the essential contents of an EU Declaration of Conformity has been drawn up by the European market surveillance authorities.
Mutual recognition agreement EU – USA
Since 2004 there has been a Mutual Recognition Agreement (MRA) between the EU and the USA for tests and approvals under Directive 96/98/EC on marine equipment. Although Directive 96/98/EC has now been replaced by Directive 2014/90/EU, the original MRA with the US remains in place as it has not yet been adapted to the new Directive 2014/90/EU. The Annex to the MRA contains a list of marine equipment to which this Agreement may apply.
The website of the American Coast Guard (USCG) contains information on the current design of the MRA. In addition to the MRA, the USA accepts tests carried out in recognised laboratories (Accepted Laboratories). The USCG maintains a database for this purpose. The BSH test laboratory was recognized for individual aspects.
Shipping:
Marine equipment, Market surveillance:
24/7 Maritime Hotline +49 40 3190-7777
Ingolf Eckert 040 3190-7110marktueberwachung@bsh.de
Notified bodies
opens NANDO database
opens MarED


Katia has strengthened to a hurricane in the Gulf off the coast of Mexico, according to the National Hurricane Center (NHC).
The storm has maximum sustained winds of 75 mph and is expected to strengthen over the next 48 hours.
The government of Mexico has issued a Hurricane Watch, which means hurricane conditions are possible within the watch area, for the coast of the state of Veracruz from Tuxpan to Laguna Verde.
Tropical Storm Katia is forecast to become a hurricane and a Hurricane Watch could be required for parts of the Mexican state of Veracruz later Wednesday, according to the National Hurricane Center (NHC).
"Strengthening is forecast and Katia could become a hurricane before it approaches the coast of Veracruz in a couple of days," the NHC said, noting that an Air Force reconnaissance plane will check on the storm later Wednesday.
The storm is "moving little" in the southwestern Gulf of Mexico, the NHC said. As of 10 a.m. EST, it was centered about 135 miles east-southeast of Tampico, Mexico and about 175 miles north of Veracruz, Mexico. It is moving east-southeast at 5 p.m., and "little motion" is expected over the next day or so.
Katia's maximum sustained winds have increased to 45 mph, with higher gusts. Tropical storm-force winds extend outward up to 45 miles from its center, the NHC said.
As Texas recovers from Harvey and Hurricane Irma tears through the Caribbean with Tropical Storm Jose following behind, Tropical Storm Katia formed early Wednesday in the Gulf of Mexico.
Katia's maximum sustained winds are near 40 mph, and some strengthening is expected over the next two days, according to the National Hurricane Center (NHC).
Katia is centered about 105 miles east of Tampico, Mexico, and it is moving east-southeast at about 2 mph.
The storm is expected to remain offshore through Friday morning, according to the NHC.


Teenagers like having their room decorated with something fresh and stylish, but when it comes to decorate a small room, you will be limited by some things that you don't have to do. So, this is a very difficult thing since decorating a teenager room itself has given you many considerations, now you should have more considerations since you will decorate a small teenage bedroom. Well, actually you don't need to be stressful. There are some simple things you can to create beautiful teenage bedroom designs for small rooms.
Painting is the most considered thing since it can give a big impact to the whole room. This is also a very effective idea since this is cheap, easy and very effecting. Only painting ad changing the color of a room, the look, the mood and the atmosphere of a room will be different instantly. So, when thinking about great teenage bedroom designs for small rooms, you can paint the room to make a good design. Since the room is small, you have to consider using neutral or light colors to make it more spacious. You can paint not only the walls, but also the doors and the trim. Use the same color with the walls painting so that the space will look visually larger. You can use accents to add more character on only one wall. You can paint a wall with brighter colors or accents such as purple or green. After the painting, the storage should be the next thing need to be considered since this the room is small and need everything to be organized well. You can add or create storage areas in their room using clear plastic bins and place it under the bed as extra storage. Wall-mounted bookshelves are also good item for small bedroom since they don't take much space of the floors.
Creating teenage bedroom designs for small rooms is not difficult right? You can just to think about some little things that can give a big result.


Are you willing to serve within the Church? Or you know how to play any musical instrument. God needs your talent, please get in TOUCH.
We like to welcome new members to the RCCG EFA Leeds. We appreciate your coming. We hope to see more of you at all church events.
Copyright (C) 2012 RCCG Everlasting Father's Assembly, Leeds All rights reserved.


Eurohill Labels have been providing a wide range of high quality self adhesive labels for businesses for over 25 years.
Self Adhesive labels, self adhesive stickers and vinyl sticker printing.
CV Labels is a company specialising in the manufacturer of self adhesive labels.


text:
DOJ sues Google over its dominance in online advertising market | CNN Business
Jan 25, 2023 alphabet inc, antitrust and trade law, business, business and industry sectors, companies, continents and regions, domestic alerts, domestic-business, domestic-us news, domestic-us politics, economic policy, economy and economic indicators, economy and trade, electronic commerce, Facebook, google inc, government and public administration, government bodies and offices, government departments and authorities, government organizations - us, iab-advertising industry, iab-business, iab-business and finance, iab-computing, iab-economy, iab-financial regulation, iab-industries, iab-internet, iab-law, iab-marketing and advertising, iab-media industry, iab-politics, iab-publishing industry, iab-retail industry, iab-shopping, iab-social networking, iab-technology & computing, international alerts, international-business, international-us news, international-us politics, internet and www, justice departments, law and legal system, lawsuits and claims, marketing and advertising, marketing and advertising channels, media industry, meta platforms inc, north america, online advertising, online and home shopping, politics, publishing industry, retail and wholesale trade, social media, social media marketing, technology, the americas, trade and development, trade regulation and policy, trial and procedure, united states, us department of justice, us federal departments and agencies, us federal government
The Justice Department and eight states sued Google on Tuesday, accusing the company of harming competition with its dominance in the online advertising market and calling for it to be broken up.
The move marks the Biden administration's first blockbuster antitrust case against a Big Tech company. The eight states joining the suit include California, Colorado, Connecticut, New Jersey, New York, Rhode Island, Tennessee and Virginia.
The fresh complaint significantly escalates the risks to Google emanating from Washington, where lawmakers and regulators have frequently raised concerns about the tech giant's power but have so far failed to pass new legislation or regulations that might rein in the company or its peers.
For years, Google's critics have claimed that the company's extensive role in the ecosystem that enables advertisers to place ads, and for publishers to offer up digital ad space, represents a conflict of interest that Google has exploited anticompetitively.
In Tuesday's complaint, a copy of which was viewed by CNN, the Justice Department alleged that Google actively and illegally maintained that dominance by engaging in a campaign to thwart competition. Google gobbled up rivals through anticompetitive mergers, the US government said, and bullied publishers and advertisers into using the company's proprietary ad technology products.
As part of the lawsuit, the US government called for Google to be broken up and for the court to order the company to spin off at least its online advertising exchange and its ad server for publishers, if not more.
Google, the US government alleged, "has corrupted legitimate competition in the ad tech industry by engaging in a systematic campaign to seize control of the wide swath of high-tech tools used by publishers, advertisers, and brokers, to facilitate digital advertising. Having inserted itself into all aspects of the digital advertising marketplace, Google has used anticompetitive, exclusionary, and unlawful means to eliminate or severely diminish any threat to its dominance over digital advertising technologies."
The suit was filed in the US District Court for the Eastern District of Virginia.
Tuesday's suit marks the federal government's second antitrust complaint against Google since 2020, when the Trump administration sued over Google's alleged anticompetitive harms in search and search advertising. That case is still ongoing. Google has also been the target of antitrust litigation by state and private actors.
In a statement, Google said the DOJ suit "attempts to pick winners and losers in the highly competitive advertising technology sector."
"DOJ is doubling down on a flawed argument that would slow innovation, raise advertising fees, and make it harder for thousands of small businesses and publishers to grow," a Google spokesperson said, adding that a federal judge last year knocked down a claim that Google colluded with Facebook in a separate antitrust suit led by the state of Texas. That judge also ruled, however, that a number of monopolization claims in the Texas case could move forward.
The lawsuit is a frontal assault against Google's massive, primary business of advertising. Google generated $209 billion in advertising revenue in 2021, according to its annual report, a figure representing more than 80% of its total revenue. By comparison, the next largest giant in online advertising, Facebook-parent Meta, generated $115 billion in 2021.
Third-party estimates suggest that Google and Facebook accounted for the majority of US digital ad revenues, hitting a peak around 2017, with Google taking about a third of the market. Since then, however, others including Amazon have begun encroaching on that business.
The US complaint echoes concerns that have prompted similar antitrust investigations in the United Kingdom and in the European Union.
Google not only controls the platform publishers use to sell online ad inventory, the Justice Department alleged Tuesday, but also the advertising tools marketers use to claim that inventory and the exchange that facilitates those transactions.
"Google's pervasive power over the entire ad tech industry has been questioned by its own digital advertising executives," the complaint said, "at least one of whom aptly begged the question: '[I]s there a deeper issue with us owning the platform, the exchange, and a huge network? The analogy would be if Goldman or Citibank owned the NYSE.'"
Tuesday's complaint marks an opening salvo against Big Tech by DOJ's antitrust chief, Jonathan Kanter. Kanter has spent months laying the groundwork for a broader offensive against the tech industry's most dominant companies, reflecting commitments by President Joe Biden and others in the US government to hold powerful firms accountable. Under Kanter, Justice Department antitrust officials have pushed to bring more cases to trial as well as to prosecute cases involving unconventional legal theories.
In 2020, House lawmakers released a 450-page report finding that Google, along with Amazon, Apple and Facebook, hold "monopoly power" in key business segments. The report was the result of a 16-month investigation in which congressional staff reviewed corporate documents and interviewed the tech industry's many customers and rivals. It concluded, among other things, that Google was uniquely positioned to benefit from its powerful role in the online ad industry.
"With a sizable share in the ad exchange market and the ad intermediary market, and as a leading supplier of ad space, Google simultaneously acts on behalf of publishers and advertisers, while also trading for itself," the report said.
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Gunnhild Oftedal
Gunnhild Oftedal obtained a degree in biophysics and PhD in psycho-physio acoustics, with a focus on effects on hearing, in 1985 at the Norwegian University of Technology (NTNU). Currently, she is working as Research Co-ordinator at the Faculty of Information Technology and Electrical Engineering, NTNU. From the early 1990s, she has been involved in research on health effects of EMF in the ELF and the RF ranges, mainly with experimental human studies and observational studies. Her focus has been on symptoms attributed to electromagnetic fields, but she also has been involved in studies on pregnancy outcomes in populations exposed to RF fields. She is member of international organisations in the field of non-ionising radiation and participates in the work of WHO on the health risk assessment on RF fields. She is an ICNIRP commission member since May 2016.
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by Mark McCormick-Goodhart
This is a discussion of the basic concepts of the I* metric without encumbering the reader with mathematics. However, it does compare and contrast the I* metric to the color difference model ∆E (Delta-E), and it assumes the reader has some familiarity with color managment, Photoshop's LAB mode, and the use of ∆E in digital imaging applications.
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An Introduction to the I* Metric
By Mark H. McCormick-Goodhart
The I* metric (pronounced "i-star") was invented by Mark McCormick-Goodhart. The I* metric and methods for its use are also the product of several years of imaging research conducted jointly by McCormick-Goodhart, Inc and Wilhelm Imaging Research, Inc. The metric's chosen letter "I" signifies image information content. The asterisk honors the underlying CIELAB color model and the L*, a*, and b* values used to make the I* calculations. A technical paper on the I* metric and mathematics was published in 2004.1 The I* metric evaluates photographic tone and color reproduction accuracy by comparing a chosen sampling frequency of colorimetric values in one image to the values at corresponding locations in another image of the same scene. One image serves as as the reference image while the other becomes the comparison image. The I* metric was originally developed for image permanence studies where the same image is used for both reference and comparison by measuring it before and then after some aging time has occurred. The compared images may be made by the same or different technologies. Reflection prints, transparencies, images displayed on a computer monitor, LAB encoded digital images, or image files with embedded ICC profiles can be evaluated. When the I* method is applied to digital reflection prints, image resampling and resizing methods are useful to generate representative color patch samples. The samples are subsequently measured on spectrophotometers routinely used in color management work. An example of this technique is illustrated in figures 1a-d.
Color accuracy can be defined in more than one way. Conventional color difference models (e.g., ΔE, ΔE CMC, etc.) narrow the scope of the problem to side-by-side comparisons of two small color fields on a uniform gray surround. Deviation from a perfect match (i.e, loss of accuracy) is scaled by the psychophysical magnitude of the perceived difference between the two colors. A combined weighting of perceived hue, chroma, and lightness differences is used to calculate ΔE values. Color difference equations are very useful in industrial color matching applications such as paint formulation, textile and fabric selection, process control in the graphic arts, etc. However, when evaluating photographic tone and color reproduction, humans rarely isolate and compare corresponding color swatches for color's sake alone. Rather, we examine how the differences in color induce changes to the perceived information content of the scene. Is an overall shift in color altering the perception of the lighting quality? Do skin tones appear natural in one image and less so in the other? Does the reproduction of highlights, midtones, and shadows alter perceived shapes and details of objects in the scene? In other words, we go beyond just analyzing color differences. We perceive the color differences, but then we judge the image fidelity with respect to our ability to still interpret the scene content correctly. The I* metric therefore approaches image tone and color reproduction accuracy as an information content issue, not merely a color difference issue. The I* metric scales color and tonal accuracy as the percentage of retained color and tone signal conveyed by the patterns of hue, chroma, lightness, and contrast. Global and local image contrast assessment is a very significant part of this evaluation process and an essential requirement for visual pattern recognition. Unlike conventional color difference equations, the I* metric includes chroma weighted color accuracy scaling, colorimetrically defined limits for false color rendering, and a gamma function for the measurement of image contrast. Local image contrast is analyzed by comparing near neighbor lightness (L*) values that are sampled at a chosen spatial frequency.
The I* metric has two functions, one to measure color accuracy and the other to measure tonal accuracy. The color accuracy function evaluates hue and chroma retention. The tonal accuracy function evaluates lightness and contrast retention. The test scores from both functions could be combined to give one overall rank score, but treating color and tone as separate variables reveals more about imaging system reproduction characteristics. Even more insight is gained when the colorimetric data is used to filter the image reproduction for specific subsets of color and tone. I* tests can score specific areas within the image, for example, areas containing only highlights, midtones, shadows, skin tones, red, greens, blues, etc. We can also use the I* method to measure the color and tone reproduction accuracy of specific objects in an image, for example, a person's face, a bride's wedding dress, a red sports car, etc.
Figure 1a. Reference image – a digital camera image sized to make a 4×5 inch print at 200ppi.
Figure 1b. I* Reference image data – e.g., 805 color samples and corresponding L*a*b* values extracted from the reference image at 4ppi sampling frequency.
Figure 1c: Comparison Image – inkjet print made on plain paper with printer driver's plain paper settings. Average overall score: I*tone = 57%, I*color = 59%.
Figure 1d. I* Comparison image data – samples resized and printed with printer driver's plain paper setting to produce spectrophotometer-readable comparison data.
I* test results are scored on a percentile basis, and there is physical significance to the I* percentages. The scale between 0% and 100% defines practical boundaries for color and tonal accuracy although negative percentages have real meaning as well. Negative I* color values signify false color (e.g., a blue sky turned magenta, brown hair turned green, a red rose turned yellow, etc) while negative I* tone values signify inverted tonal relationships (e.g., as in looking at a photographic negative). Figures 2a-d illustrate the concepts of false color and inverted tonal rendering. Nonetheless, the 0% threshold justifiably means "no color fidelity" or "no tonal fidelity" is retained, whereas a 100% score signifies a perfect match between reference image and compared image. If one considers color information in an image as a signal then hue is analogous to the color signal frequency, and chroma is analogous to the color signal amplitude. Similarly, the spatial information content is essentially carried by the tone signal. Local area image contrast represents modulation in the tone signal amplitude. The I* method of sample selection at equi-spaced distances over the full image area correlates to the sampled spatial frequency of the tone signal. To summarize, the I* metric defines its color and tonal accuracy scores as a percentage of signal quality retention by comparing input signal quality (i.e, the reference image data) to the output signal quality (i.e, the comparison image data). In practice, a relatively low sampling frequency is suitable to evaluate overall image color and tone reproduction accuracy, but higher sampling frequencies, when measurable, can be used to examine a system's color and tonal fidelity with respect to the recording of finer details in the image.
Figure 2a. Reference image for figures 2b and 2c.
Figure 2b. Comparison Image – a precise color and tone match to the reference image, except for one local image area. The child's blue dress is now falsely colored green.
Figure 2c. Comparison Image – the L* values between 30 and 60 are inverted, thus causing major image areas of false tonality.
Figure 2d. The tone curve applied to the digital reference image to induce false tonality in figure 2c.
The statistical concept of a distribution curve or histogram rather than an averaged overall result is extremely important in image quality evaluation because problems are often observed to greater or lesser extents in local areas of interest within an image. Viewers respond to both overall color and tonal balance in an image as well as the variations in local areas that may be of special significance to the viewer. For example, overall image color balance may be judged as accurate in an image that nevertheless poorly reproduces the skin tones of a person in the scene. Thus, it can sometimes be misleading to consider only average test scores. Table I lists the I* test results for the plain paper inkjet print reproduction shown in Figure 1c. Table I tabulates average scores for the complete image as well as scores for specific "regions of interest" such as skintones, neutrals, reds, greens, blues, cyans, magentas, and yellows. Scores for highlights, midtones, and shadows are also reported. Additionally, scores for the worst performing 10% of all image data, plus worst 10% itemized region by region, are tabulated. Lastly, the percentage of samples falling below a chosen I* quality level is listed. Values of 20% I* tone and 0% I* color have been chosen as quality control (QC) limits for this calculation. By tabulating average overall I* values, the average I* values of the worst 10% of the samples, and the percentage of samples at or below an I* QC limit, the table indicates the nature of the full distribution curve. Because the data are collected at a chosen spatial frequency, a direct correlation also exists between the Average, Worst 10%, and QC categories and the amount of image area represented by the score. The full image (all data) row in the table therefore also describes how an image has been rendered on average over its total area, how the worst 10% of the image area has performed, and finally, what percentage of the image area is at or below the chosen I* QC limits.
Color Differences, Color Matching, and Information Content
Many digital photographers have already been introduced to color difference models in the form of ΔE values. ΔE values are often used to express an imaging system's color accuracy. For example, ΔE values are routinely published by digital photo magazines and websites in reviews of digital cameras and photo printers.
The ΔE equation and some of the efforts to improve upon it such as ΔE 2000 work relatively well at scoring nearly matching colors. However, if you have followed the discussion so far, you may now appreciate that color and tone reproduction accuracy is not strictly about the observance of color differences. Rather, the issue is how those color differences adversely affect the observer's ability to interpret color information and spatial information within the overall image. Another problem is that color and tone reproduction errors often overwhelm the ΔE scale, exceeding values that most color scientists agree have perceptual scaling significance. Furthermore, there is no ΔE limit to signify 0% color accuracy or 0% tonal accuracy where color and tone relationships are now so different that we begin to draw false conclusions about the image information content. Thus, ΔE is an open-ended scale that loses scaling significance when the ΔE errors become large. It might be argued that huge ΔE errors don't plague well behaved imaging systems and that systems with large ΔE errors should simply be avoided. Unfortunately, large ΔE errors are unavoidable due to intrinsic color gamut limitations when we make reflection prints and then compare them to their original source image. Those errors can become even more pronounced as an image ages over time. To summarize, photographic color and tone reproduction quality is seldom about exact color matching and usually about the sensible translation of color, brightness, and contrast relationships with respect to the original source image. The colors and tones must deviate from an exact match, yet in a proportional way that retains hue, chroma, lightness, and visual contrast to the maximum extent possible. Reflection prints by their very nature yield significant color differences that push well beyond the useful limits of color difference models. Because ΔE metrics do not measure image contrast and have no weighting function to account for the relative importance of low chroma colors over high chroma colors in establishing image color balance, ΔE scores can lead to erroneous conclusions. The images in figures 3a – d were created to illustrate these problems. Figure 3a is the reference image. Figure 3b is a comparison image suffering from an overall color cast. Figure 3c is a comparison image that has been reproduced a little darker yet without shifts in hue or chroma. Figure 3d is a comparison image with some inverted image tones caused by a curve adjustment in Adobe Photoshop. Figures 4, 5, and 6 show how the reference image file was altered to create the comparison images. An objective of this demonstration was to make comparison images that visually differ from the reference image in easily noticeable ways yet remain within ΔE error limits of 10ΔE or less. 10ΔE is within the functional range that color scientists generally accept as defensible psychophysical color difference scaling. Table II (see page 10) compiles the ΔE and I* metric test results.
The 2,350 color samples used to score the test were taken from each image at the same locations within the image (see figure 7b). The ΔE metric ranks the inverted tone image as the most accurate image reproduction of the three based on average score. A visual assessment of these images clearly shows the inverted tone image is misranked by the ΔE result. Also, as a record of scene content, the image with a color cast and the darkened image can be intuitively corrected in subsequent reproductions, whereas the tonally inverted image produces incongruous scene content that is exceedingly difficult to correct without detailed knowledge of the conditions that caused it. The worst 10% ΔE and Max ΔE statistics are also no help in ranking the images. They tell us that the worst parts of all three images are comparable in loss of accuracy which is clearly not true from an image quality perspective. Finally, the Max ΔE statistics show that the applied Photoshop curves came very close to their objective of not allowing any errors greater than 10ΔE. Because the maximum ΔE score represents just one sample out of 2350, the 2ΔE spread between all three comparison images and their reference image is insignificant. Without our own powers of observation to augment the ΔE results, the ΔE evaluation fails on its own merits to provide any meaningful results. It misranks the images, and we are unable to infer what kind of errors may be occurring or how they affect our interpretation of information content in the image.
In contrast to the ΔE scores, the I* metric scores the color casted image with 100% tonal accuracy but poor color accuracy (19%) over the image as a whole and essentially no color accuracy (1%) for the worst 10% of the image (ie. low chroma colors have changed greatly). The colorcast image has a problem with color accuracy not tonal accuracy. Next, the I* metric scores reveal that the darkened image has 100% color accuracy and good overall tonal accuracy (82%), plus the worst 10% of the darkened image still retains a satisfactory 70% I* tone score. None of the darkened image area has tonal errors that reach the QC limit. Note that 20% accuracy was chosen as a QC limit because 20% I* tone still retains some level of lightness and contrast accuracy that could be restored to higher levels if one were to attempt a subsequent reproduction using the affected image as the source data. Finally, the I* metric shows that the inverted tone image has 100% color accuracy, and a good overall tone score (83%). However, the worst 10% of the image area is now quite poor in tonality, dropping significantly to 46%, and 1% of this image's samples were detected to be below the I* tone QC limit. Although we cannot confirm false tonality based on the 10ppi sampling frequency used to extract the color samples in this test, some inverted tonality should be suspected due to the numerical spread (i.e., 83, 46, 1) in the I* tone distribution. Based on the I* evaluation, the darkened image has the best overall performance, the color casted image is second, and the inverted tonal image is the most problematic due to a large variation in tonal accuracy. Thus, the I* metric scored these images and provided insight into the reproduction errors consistent with what we visually perceive is occurring in the images.
Figure 3a. Reference image for comparison images in figures 3b,3c, and 3d.
Figure 3b. Comparison image – the image has a significant colorcast, but lightness and contrast are unchanged.
Figure 3c. Comparison Image – the image has been darkened (more in the midtones), but the color balance is unchanged.
Figure 3d. Comparison image – the image has a tone inversion affecting some midtones, but the color balance is unchanged.
Figure 4a (same as figure 2a). Reference image.
Figure 4b. Comparison Image – same image as in Figure 3b. The color cast was induced by the Photoshop adjustment curves shown in figure 4c.
Figure 4c. Linear shift of all image colors by -7a* units and +7b* units in the comparison image of figure 4b. The ∆a*b* shift with no change in L* from the two applied curves produces a maximum ∆E equivalent to the average ∆E for the whole image. The color difference over the entire image is ~10∆E.
Figure 5a. Comparison Image – same image as in Figure 3c. The image was darkened by applying the curve shown iin figure 5b.
Figure 5b. Tone curve applied to the digital reference image darkened the image without shifting color balance. Maximum color difference errors are ~ 10∆E .
Figure 5c. 5x enlarged portion of the Reference Image.
Figure 5d. 5x enlarged portion of the darkened comparison image.
Figure 6a. Comparison image – tone inversion has been induced by the Photoshop adjustment curve shown in figure 6b.
Figure 6b. Tone curve applied to the digital reference image creates inverted midtones. Maximum color difference errors are still ~ 10∆E .
Figure 6d. 5x enlarged portion of the tone inverted comparison image reveals the serious tone reproduction errors caused by the tonal inversion.
Influence of Sampling Frequency
The inverted tones in the comparison image shown in figure 3d were induced by a Photoshop curve adjustment that affected a narrow range of lightness values in the image (i.e, 50L* to 60L*). These specific L* changes were visually manifested in the children's and Santa Claus's skin tones as bright bands or "halos" at edges. Sampling the overall image at 10ppi was enough to detect significant tonal variations with the I* metric, but the observer's visual ability to notice the problem and the I* metric's probability of detection are both increased simply by evaluating the image at a higher magnification. Figures 7a-d illustrate the original 10ppi sampling frequency used to extract 2,350 samples over the entire image plus an increased 50ppi sampling frequency used to extract 2,350 samples from a 5x cropped portion of the image. Note that the reference image data must also be resampled from the same cropped portion of the scene to make the correct comparison. Table III lists the ΔE and I* evaluations for both sample populations. The results show that the ΔE analysis detects greater color difference on average in the cropped portion compared to the total image area, but little increase in worst 10% or maximum ΔE. The I* tonal score drops significantly from 83% on average to 65% accuracy and the worst 10% of the samples from the cropped portion are now at -23%, a clear confirmation of inverted tones. Also, 9.8% of the cropped portion of the image is now revealed to be at or below the I* tone QC limit. This result shows that the cropped portion of the image is much worse than average compared to the whole image, and indeed it was chosen because it has strange tonal effects in the skin tone areas of the child as compared, for example, to areas in the background scene. When tone and color errors affect fine details in an image more so than large areas (e.g., edge effects and changes in image sharpness) an increased sampling frequency is beneficial to detect these problems with greater certainty. Fortunately, the typical tone and color reproduction errors that affect reflection print systems tend to affect large and small areas alike, so high frequency sampling is generally not needed to conduct a meaningful I* analysis. Nevertheless, these results show that the I* metric can be extended for use with high frequency analysis when sample extraction is possible. High frequency sampling is often possible when dealing with digital image data rather than data measured directly from reflection prints.
Another way of thinking about the results listed in Table III is that the cropped portion of the image is in itself a new image. This new image has different percentages of image area dedicated to specific colors and tones than the full image from which it was derived. Because the I* method evaluates individual image performance one should expect an individualized I* score for the cropped image to differ from its full image counterpart.
Figure 7a. Comparison image – the tone inverted image shown previously in figures 3d and 6a.
Figure 7b. 2,350 color samples extracted from the comparison image at 10ppi sampling frequency.
Figure 7c. 5x enlarged portion of the inverted tone image shown above in figure 7a.
Figure 7d. 2,350 samples extracted from the 5x enlarged portion. This new sample population equals 50ppi sampling frequency in the full image.
Chroma Weighting in the I* Color Function
The I* color function includes a chroma weighting factor that allows increasingly greater Δa*b* errors as colors become more vivid. In other words, neutral colors in a scene have very little Δa*b* room to move before they lose the appearance of neutrality, whereas highly saturated colors can move more because their color signal strength isn't compromised as much by the same Δa*b* shift. Thus, the I* color function is unlike color difference models because it takes into consideration the initial chroma of the colors when calculating color accuracy. In fact, the I* color function works similar to Adobe Photoshop's hue/saturation tool. When one applies a Photoshop hue/saturation edit in LAB mode, the a* and b* values shift on a percentage basis of their initial values. This percentage-wise method of altering the image for hue and/or saturation allows perfect neutrals (i.e, a* and b* equal zero) to remain neutral because multiplication by zero is still zero. Yet the overall visual effect of the percentage-wise hue/saturation adjustment looks perceptually linear even though it means that ΔE values become increasingly larger in proportion to initial a* and b* values.
Figures 8a-e illustrate the difference between colors judged in isolation and colors judged in a scene context. Figure 8a is a set of "paint chip" colors identical to colors found in the image of Santa Claus and the children. The 10ΔE color cast applied in Photoshop as per figure 4c has been applied to these colors as shown in the second row of figure 8a. Next, the same colorcast has been applied to the reference image in figure 8b but selectively rather than globally so that:
1) in figure 8c, only the low chroma colors (walls, window sill, Santa's beard, etc) have the color cast.
2) in figure 8d, only the skin tones areas (i.e, faces, arms, and hands) have the 10ΔE color cast.
3) in figure 8e, only the vivid colors, (found in the gift wrapping and all clothing colors) have the 10ΔE colorcast.
The "paint chip" color swatches confirm that in isolation and as the ΔE model predicts, 10ΔE is observed with similar degree of visual magnitude for all the color patches, whether they are high or low in chroma. However, once placed in context in a photographic image, we interpret the impact of these color differences very differently. When the low chroma colors are altered (figure 8c) we interpret a distinct shift in scene color balance. The lighting in the scene now appears to be very yellowish-green in nature. Inability to adapt to the scene illumination rarely occurs in real life to the extent we see reproduced in this image, and when it does, the color quality of the light must be so strong that not only would the walls and window sills look tinted, but the skin tones and clothing should appear to be "bathed" in the same light. The image in figure 8c thus appears to be significantly wrong in color fidelity with respect to its reference image or to any scene we might normally encounter. In figure 8d, the same colorcast is now applied only to the skin tones in the scene and nowhere else. The correctly reproduced low chroma colors help us to establish a normal sense of the scene lighting. The skin tones now appear to be reflecting too much greenish-yellow light in comparison to the overall scene, but their initial moderate chroma levels helps them to hold up against the 10ΔE color shift better than the low chroma colors. We can still accept them as skin tone colors even if they aren't entirely accurate. Finally, in figure 8e the color cast has been applied only to the vivid colors in the scene. The vivid colors are present mainly in the clothing and the gift wrapping. Despite the fact that these affected colors occupy a large area of the image, their 10ΔE errors do little to through off our sense of scene color content like the low chroma wall colors or the moderate chroma skin tones did when they possessed the same ΔE color shift. Table IV itemizes the I* and ΔE scores for these images. Sampling frequency was 15ppi for a total sample count of 3,224 colors over the total image area. Also in Table IV, specific "regions of interest" (see column 1 cells marked in blue) narrow the analysis to only those color samples that belong to the select image edited areas as per figures 8c, 8d, and 8e. The percentage of image area affected by the image edits can be estimated by dividing the full sample count by the selected sample count. For example, the 10ΔE local color cast applied to the skin tone areas in Figure 8d affected 209 color samples, and 209/3224 represents approximately 6.5% of the total image area. In comparison, the application of the 10ΔE color cast to the vivid colors in figure 8e affected 807/3224 colors or 25% of the image area. The average I* color score for these two images is comparable (i.e., 96% vs 95 %) which indicates two things. First, the majority of the image area was unaffected by the local image edits, so overall accuracy is very high. Second, the contribution of different regions of interest to the overall average I* score is weighted both by area coverage and magnitude of the I* values. When we examine the worst 10% statistics, we see larger differentiation between the two images (i.e. 69% versus 75%) whereby the image with colorcasted skin tones is now rated with a lower (poorer) score. Thus, even using full image area statistics the I* color function rates figure 8c worse than 8d, and 8d worse than 8e. If we now examine these images in even greater detail by isolating the image edited regions of interest as listed in Table IV, the I* method ranks the order of color accuracy in these images with even more certainty. In comparison, the ΔE scores rate the image with colorcasted skin tones (figure 8d) more favorably than the image with colorcasted vivid colors (figure 8e). Look at the images in figure 8 and see whether you agree.
Santa Image "Paint Chip" Colors
Chroma =
Reference image colors:
10∆E color shift added as per comparison
image with colorcast.
Santa's Suit
Figure 8a. When removed from the context of a photographic image amd placed side-by-side on a gray background, the 10∆E color shifts in various scene colors within the reference image appear similar in magnitude as the ∆E equation predicts. When placed in photo context (see below), the viewer's interpretation is very different.
Figure 8b. Reference image – cropped so that high chroma colors occupy more image area.
Figure 8c. 10∆E colorcast applied only to low chroma areas.
Figure 8d. 10∆E colorcast applied to skin tones (moderate chroma) only.
Figure 8e. 10∆E colorcast applied only to high chroma areas.
Consider rating the images in figure 8 for color accuracy without the presense of the reference image shown in figure 8b. Figure 8c with its affected low chroma colors would be easily judged to have significant color accuracy problems based on two known memory objects in the scene. Santa's white beard and white gloves shouldn't appear as greenish yellow as the walls if the walls are indeed painted non-white in color, but the skin tones should reflect more of the greenish-yellow light if the illumination really is this color temperature. Thus, we can easily interpret a color cross-over effect and conclude that there is a significant color accuracy problem in the image. Next, the image in figure 8d would seem plausible but skin tones would be judged as less than optimum. They have the opposite problem of figure 8b. They appear to be reflecting more greenish-yellow light than we can now detect in the low chroma colors of the walls and window sills. This single stimulus judgement takes into account the fact that skin tones are indeed "memory" colors. We have learned from experience to expect certain skin tone colors within a range of colors that encompasses both ethnicity and scene lighting conditions. The 10ΔE error has not thrown the skin tones completely out of range, so skin tone areas in the image retain some color accuracy, but they don't appear to be highly accurate. Lastly, consider the image in figure 8e where all clothing including Santa's red suit has been contaminated with the 10ΔE color cast. To those of us who are aware of Western culture and St. Nicholas, Santa's red suit, white beard, white gloves, and rosy cheeks are also "memory colors". Yet the 10ΔE error in the red suit has not caused a serious challenge to our memory color perception. We don't sense the color cast in his red suit like we did when the walls took on the same ΔE shift, both in magnitude and in direction of the Δa* and Δb* errors. The reason is perhaps best explained by considering color signal strength, as embodied in the chroma weighting function of the I* color function. The colorcast signal overwhelms the low chroma color signal strength but is much less intense than the vivid color signal strength. We see Santa's red suit color mostly intact as are the color signals of the other clothes and thus interpret the scene color content similarly to the interpretation we get when looking at the reference image shown in figure 8b.
The I* metric calculates accuracy only, not whether the viewer finds the reference or comparison images pleasing. The choice of reference image is typically one that has optimized tone and color qualities for the chosen output media, but pleasing image quality in the reference image is not a requirement. If the viewer prefers the comparison image over the reference image, the I* analysis will seem at odds with viewer preference because by definition, any changes in the comparison image away from the color and tonal relationships in the reference image constitute a loss of accuracy.
I* scores are image dependent, and rightly so, because the proportions of different colors within an image are scene dependent. For example, the image in figure 1 contains a significant amount of red (pink) colors that might be entirely absent in another image. When reproduced on a system with poor red and magenta reproduction this image might suffer in quality compared to images that favor other colors. The assessment of both initial image quality and image permanence (i.e., image quality retention over time) are indeed influenced significantly by the choice of image.
Because photographic images have physical limits for minimum and maximum lightness values, changes in lightness anywhere along the tone reproduction curve automatically cause contrast changes in images that possess a full lightness range. A simple calculation of contrast by comparing changes to L*min and L*max is not adequate. Localized changes in image contrast cause local areas of information content loss within the overall image and can only be identified by evaluating lightness relationships between neighboring picture elements. The color samples must therefore be analyzed at a chosen spatial frequency by collecting data at equally spaced distances over the entire image. In so doing, the contribution of various color and tonal errors is weighted according to the amount of area the errors occupy within the image. Figures 1b, 1d, 7b, and 7d illustrate the equi-spaced color sampling technique. An exception to this image sampling technique is when a generic test pattern consisting of a predefined array of color patches (and, consequently, predefined local contrast relationships) is used to evaluate system performance. Figure 9 shows an example of a standardized test pattern used by Aardenburg Imaging. It samples 12 separate hues with varying lightness and chroma. The chroma increments were carefully selected to reproduce in the sRGB color space without color gamut compression. This test image also has three additional "skintone" hues with varying lightness and chroma, plus neutral and near neutral colors. In the lower right corner, the target also contains 24 color patches with the same d50 LAB colors and geometric arrangement of the Macbeth Colorchecker™ chart. Note that the only exception to in-gamut sRGB relative rendering of this file is the cyan color patch in the Colorchecker patches. It undergoes a slight amount of chroma reduction. The I* metric can be used to evaluate the Colorchecker chart as a special region of interest within this larger test target. Also, note the physical amount of image area dedicated to skin tones and gray/near gray colors which gives these colors extra weighted importance in an I* evaluation of this target image.
It is possible to reproduce images with 0% I* color accuracy yet high I* tone accuracy. Converting a color image to a black and white image is a classic example of stripping a color photograph of its color information while retaining its tonal information. Thus, for scholarly purposes where spatial recognition of objects is important, the retention of high I* tone values is often more important than the retention of high I* color values, but in applications where color fidelity is essential then the retention of high I* color values can be equally important.
1) Mark McCormick-Goodhart, Henry Wilhelm, and Dmitriy Shklyarov,"A 'Retained Image Appearance' Metric For Full Tonal Scale, Colorimetric Evaluation of Photographic Image Stability," IS&T's NIP20: International Conference on Digital Printing Technologies, Final Program and Proceedings, IS&T, Springfield, VA, October 3–November 5, 2004, pp. 680–688. (available in PDF format at Aardenburg-Imaging.com).
Mark McCormick-Goodhart has over thirty years of professional experience in imaging and materials science and holds eight U.S. patents in the field of imaging science and technology. He has also published over 30 papers related to imaging science and photographic conservation. Photography and printmaking has been his special interest for over forty years. From 1988 to 1998, he was the Senior Research Photographic Scientist at the Smithsonian Institution in Washington, DC. In 1996, Mark co-founded one of the first fully color-managed digital fine art printing studios, Old Town Editions, in Alexandria, Virginia with colleague Chris Foley. From 1998-2005, Mark collaborated with Henry Wilhelm of Wilhelm Imaging Research, Inc. to develop new image permanence test methods for evaluating modern digital print media. Since founding Aardenburg Imaging in 2007 to begin industry testing using his invention the i* metric, Mark has established AaI&A as the world's most advanced image quality and image permanence testing facility.


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Serial position effects in HIV-infected injecting drug users
Drenna Waldrop, Raymond L. Ownby, Mahendra Kumar
This study examined memory and serial position effects in HIV-positive injecting drug users (IDUs), HIV-negative IDUs, and nondrug using control participants. Exploratory analyses investigating a possible mediating role of executive functions with HIV infection, drug use, and memory were also performed. Control participants showed stronger primacy effects than did both HIV-positive and HIV-negative IDUs and also outperformed the drug using groups on all memory measures. Interestingly, analysis of the role of executive functions with HIV infection, drug use, and memory suggested that executive functioning may mediate the verbal memory deficits associated with HIV infection, but not those associated with IDU.
International Journal of Neuroscience
Serial position
Dive into the research topics of 'Serial position effects in HIV-infected injecting drug users'. Together they form a unique fingerprint.
Drug Users Medicine & Life Sciences 100%
HIV Infections Medicine & Life Sciences 63%
Executive Function Medicine & Life Sciences 49%
Pharmaceutical Preparations Medicine & Life Sciences 29%
Memory Disorders Medicine & Life Sciences 25%
Waldrop, D., Ownby, R. L., & Kumar, M. (2004). Serial position effects in HIV-infected injecting drug users. International Journal of Neuroscience, 114(4), 493-516. https://doi.org/10.1080/00207450490422803
Serial position effects in HIV-infected injecting drug users. / Waldrop, Drenna; Ownby, Raymond L.; Kumar, Mahendra.
In: International Journal of Neuroscience, Vol. 114, No. 4, 04.2004, p. 493-516.
Waldrop, D, Ownby, RL & Kumar, M 2004, 'Serial position effects in HIV-infected injecting drug users', International Journal of Neuroscience, vol. 114, no. 4, pp. 493-516. https://doi.org/10.1080/00207450490422803
Waldrop D, Ownby RL, Kumar M. Serial position effects in HIV-infected injecting drug users. International Journal of Neuroscience. 2004 Apr;114(4):493-516. https://doi.org/10.1080/00207450490422803
Waldrop, Drenna ; Ownby, Raymond L. ; Kumar, Mahendra. / Serial position effects in HIV-infected injecting drug users. In: International Journal of Neuroscience. 2004 ; Vol. 114, No. 4. pp. 493-516.
@article{8b80224cd6f4400890ecea47df5cfccc,
title = "Serial position effects in HIV-infected injecting drug users",
abstract = "This study examined memory and serial position effects in HIV-positive injecting drug users (IDUs), HIV-negative IDUs, and nondrug using control participants. Exploratory analyses investigating a possible mediating role of executive functions with HIV infection, drug use, and memory were also performed. Control participants showed stronger primacy effects than did both HIV-positive and HIV-negative IDUs and also outperformed the drug using groups on all memory measures. Interestingly, analysis of the role of executive functions with HIV infection, drug use, and memory suggested that executive functioning may mediate the verbal memory deficits associated with HIV infection, but not those associated with IDU.",
keywords = "Drug use, HIV, Memory, Serial position",
author = "Drenna Waldrop and Ownby, {Raymond L.} and Mahendra Kumar",
note = "Funding Information: Received 25 July 2003. This study was supported by NIH grants numbers DA 12792 and DA 13550. Address correspondence to Drenna Waldrop, The University of Miami School of Medicine, Department of Psychiatry and Behavioral Sciences, PO Box 016960 (M8l7), Miami, FL 33101, USA. E-mail: dwaldrop@med.miami.edu",
journal = "International Journal of Neuroscience",
T1 - Serial position effects in HIV-infected injecting drug users
AU - Waldrop, Drenna
AU - Ownby, Raymond L.
AU - Kumar, Mahendra
N1 - Funding Information: Received 25 July 2003. This study was supported by NIH grants numbers DA 12792 and DA 13550. Address correspondence to Drenna Waldrop, The University of Miami School of Medicine, Department of Psychiatry and Behavioral Sciences, PO Box 016960 (M8l7), Miami, FL 33101, USA. E-mail: dwaldrop@med.miami.edu
N2 - This study examined memory and serial position effects in HIV-positive injecting drug users (IDUs), HIV-negative IDUs, and nondrug using control participants. Exploratory analyses investigating a possible mediating role of executive functions with HIV infection, drug use, and memory were also performed. Control participants showed stronger primacy effects than did both HIV-positive and HIV-negative IDUs and also outperformed the drug using groups on all memory measures. Interestingly, analysis of the role of executive functions with HIV infection, drug use, and memory suggested that executive functioning may mediate the verbal memory deficits associated with HIV infection, but not those associated with IDU.
AB - This study examined memory and serial position effects in HIV-positive injecting drug users (IDUs), HIV-negative IDUs, and nondrug using control participants. Exploratory analyses investigating a possible mediating role of executive functions with HIV infection, drug use, and memory were also performed. Control participants showed stronger primacy effects than did both HIV-positive and HIV-negative IDUs and also outperformed the drug using groups on all memory measures. Interestingly, analysis of the role of executive functions with HIV infection, drug use, and memory suggested that executive functioning may mediate the verbal memory deficits associated with HIV infection, but not those associated with IDU.
KW - Drug use
KW - Memory
KW - Serial position
JO - International Journal of Neuroscience
JF - International Journal of Neuroscience


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text:
Dairy Farming Statistics for New Zealand 2016/17
Monday, 4 December 2017 at 10:23am
At the end of November the latest New Zealand Dairy Statistics report was released. This report shows statistics for the 2016/17 seasons.
Interestingly,, national cow numbers have decreased this past year but the average dairy cow produced more litres of milk containing more kilograms of milksolids than ever before. DairyNZ senior economist Matthew Newman says the trend for increasing per cow milk production shows farmers are opting for animals that are year-on-year more efficient at converting grass into milk – the industry's national breeding objective.
"We are producing similar milk quantities from fewer cows, partly because we are breeding better animals and feeding them well," says Matthew.
Dairy breeds and artificial breeding
The report highlighted that dairy breeds changes have continued, 48% of the national herd are Holstein-Friesian/Jersey cross-breeds, Holstein-Friesians make up 33.5 percent and Jerseys comprise 9.3 percent.
The number of cows mated by artificial insemination (AI) increased to 72.7 percent, up slightly on the previous season. The number of yearling heifers mated to AI also increased. The average six-week in-calf rate decreased 0.9 percentage points to 65.6 percent in 2016-17 (from 66.5 percent in 2015-16).
Sharemilking structure
Farm ownership structures have changed over the last couple of seasons. 27.3% of NZ dairy herds are operating under a sharemilking agreement in 2016-17, compared to 32.4% in 2014-15.
Herd-owning sharemilkers (50:50 sharemilkers) declined (-91 herds) for the fourth consecutive season and now account for 19.8% of all herds.
Owner-operator herds increased 188 to 8,503 herds in 2016-17.
Other Points To Note:
Other interesting stats from the report include:
The Waikato region has the most herds in NZ (33%)
The South Island now produces 43.4 percent of national milksolids, compared with 35.6 percent a decade ago.
Milk production in the South Island increased 1.2 percent in 2015-16, with increases in North Canterbury (+0.8%), Otago (+2.3%) and Southland (+4.9%).
North Island milk production declined 1.9 percent in 2016-17, with all regions except Taupo (+2.2%), Taranaki (+0.9%) and Manawatu (no change) producing less milk than in 2015-16.
The amount of export revenue NZ earnt from dairy farming (2016-2017) $NZ13.4 billion
Follow this link to read the full report:
https://www.dairynz.co.nz/publications/dairy-industry/new-zealand-dairy-statistics-2016-17/


text:
Ozzy Osbourne Song Lyrics - For What It's Worth
Home > Ozzy Osbourne > For What It's Worth
Album: Under Cover (2005)
There's something happening here
What it is ain't exactly clear
There's a man with a gun over there
Telling me I got to beware
I think it's time we stop, children, what's that sound
Everybody look what's going down
Battle lines being drawn
Nobody's right if everyone's wrong
People speaking their minds
Getting so much resistance from behind
Yeah, stop children, what's that sound
What a field-day for the heat
Ten thousand people in the street
Singing songs and carrying signs
Mostly say, hooray for our side
It starts when you're always afraid
Step out of line, the man come and take you away
Stop, children, what's that sound
Stop, hey, what's that sound
You better stop!
Album: Under Cover
All The Young Dudes
Rocky Mountain Way


OverRun doesn't seem that similar to Horde mode, either. I would say that Survival mode is a closer replacement, and even that isn't as good. I like the Scout and Medic abilities, and some of the Engineer stuff, but I miss in Horde mode that anyone could build and repair fortifications as long as it was between waves.
Since I had bought Judgment used, I took it back and got Bioshock Infinite, which so far is pretty good. I'll probably get Judgment again when it goes down in price. It just doesn't feel like a $60 game to me.
Okay, thanks for that. I think I'll stick with the other 3 gears of war games for now. I agree it's not worth the money at the moment especially since its still between $100 or $90 dollars here still.
Iv seen the bio shock infinite, what are your thoughts on that?
P.S sorry for all the questions.
Comparing Infinite to the original Bioshock, I definitely think the characters are more interesting and easier to relate to in some ways. I guess because there are two of them and they have conversations throughout the game, you kind of get to know them better.
I can say that from what I've played, Bioshock Infinite is worth the money.
Awesome, thanks. really appreciate the in depth description of the game. Gives me a lot to think about. I think I really need to give this new bioshock a go and also tomb raider. One question though, are you playing both these games on console or Pc? Because game play can vary from Pc to console. Some games are better on pc than console and vice versa. just curious.
That is true, some things that happen in games can make you wonder why, but like you said you have to keep in mind after all it is a video game and not real life, even though some games try to be as real life as possible which doesn't always work, depending on the game.
I'm playing both on the 360. I don't actually think that affects much, besides graphics. But both games still look great on the 360.
I actually finished Bioshock Infinite today, and I have to say I was disappointed a little. The twist in the ending was pretty neat but I'm reminded a little of M. Knight Shamalan movies, where Sixth Sense was really amazing but after you know that he likes plot twists, you kind of expect them. Overall I feel it doesn't live up to Bioshock. It's still a great game, though.
Awesome, thanks. I just thought I'd ask, some people are thingy about games on console vs pc. Which in some older games they were better on pc but new games it doesn't make much difference, well not to me at least.
I will still give it a go and see for myself.
As for this gears of war post, I'd have to agree.
My girlfriend gave me one Christmas present early!
I think I said this last year but grind your girlfriend is awesome. Most women in my life spend their time trying to dissuade video game and video game related activities; having an enabler is awesome!
Besides Halo 3, she also bought "me" Castlevania: Dracula X Chronicles for the PSP.
Probably FFXIII-2. I still need to finish the Requiem of the Goddess DLC. Hoping to get that done before Lightning Returns comes out.
I really need to buy FFXIII-2. I predicted earlier this year that the supply in local stores would drop to a minimum after this holiday season; I was right. I can barely find a copy locally. I might have to use Amazon to score a copy.
From what I have seen in reviews, FFXIII-2 fixed the complaints that people had about FFXIII, so I was strongly considering just skipping to the second game. Any thoughts on that?
Doesn't matter, locally both games are completely sold out. As I predicted, the supply has dried up entirely!


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Are you looking for a website design strategies for your small business that can boost your business sales? You must gone through with these best 5 website design strategies.
Small businesses need a website. But making a website for your small business can seem daunting and confusing, especially if you don't know anything about web design.
To help you out, we have listed the five best strategies for designing a website for your small business.
The key to making the perfect web design for your small business is to create a minimalist homepage. Your visitors don't really read everything you put on your website. They just take a quick look at your web pages and find something interesting. By thinking about the visitor's behaviors, you can stick to creating a web design that's more visually appealing and attention-grabbing.
Keep in mind that the less your visitors have to read on your homepage, the more they can process the information that's in front of them. This also helps in encouraging them to do something that you want them to do.
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If possible, you should limit your main navigation menu to just five tabs and put related pages under them. You must also provide a clear way for your visitors to get back on your homepage quickly, regardless of what page they might be on at the moment.
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Making a good web design for your small business can prove to be challenging. There are a lot of things to do and strategies to follow just to create the best possible web design for your business.
All of your efforts will be worth it, though, because good web design not only helps your business reach your target audience... it also helps improve conversions and leads to more sales for your business.
I enjoyed reading your article about best strategies for designing a small business website and I find it insightful and a great read.


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