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Published May 27th, 2006	in Personal Work, Writing, Film
I wrote this essay for a film theory course I took from Brian Henderson back in 2004 when I was a grad student at University of Buffalo. Ironically, when I was researching the topic I found that Brian Henderson, my prof, had written one of the most important essays on voice over narration. I guess he liked my take on it, because he gave me an A. I was intrested in termonolgies and structures; but I was mostly intregued by where these structures break down. So, I'm offering it up here on my site publicly for the first time.
Narratives that transcend simple labels are often the most innovative and groundbreaking; these hybrid narratives can also lead to greater understanding of the forms, systems, and terms themselves. Not all voice-over narration can be neatly divided into two categories; those of first- and third-person narratives.
"Narrator: The bizarre and often amusing pages which make up this odd story were discovered at the bottom of a deep crevice in the Great Northern Desert by members of our Earth Probe, Nimbus-II."
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Introduction: Talking Over It
All narrative mediums: literature, theater, song, television, film, etc. rely on a "narrator" or "narrative agency" to convey the narrative's story. This narrator can take many forms; in film it can describe both the camera and soundtrack itself as well as the overt narration of a voice-over. The voice-over is the easiest form of narrative agency to find and describe in film, in part because it is usually distinctly separate from the film frame. Not all off camera sound is narration, but the narrator is most often depicted as a nondiegetic sound or sound that does to emanate from objects inside the film frame. The voice-over track usually occurs during the beginning and ending of a film, but it can also occur anywhere within the film. Often the diegetic sound quiets and the voice-over becomes the predominant track. This separation of diegetic sound and voice-over reveals the connection between film's voice-over narrator and the narrator found in written texts.
Like all parts of film, film narration borrows heavily from textual narratives (such as short stories and novels) as well as theatrical narratives. Many films that have been adapted from plays or novels choose to retain some of the original narration, especially when the narration creates a voice of its own. The narration can also reveal the inner thoughts of major or minor characters. Sometimes these inner thoughts reveal ideas of issues that wouldn't be apparent without the voice-over. In many ways narration allows the viewer to have more information than even the main characters depicted in the story. To understand the functions of voice-over narration in film it is important to see its place in the overall structure or lack thereof, of narrative in general. The function as well as the form is influence by greater issues of narrative that encompass all types of narrative media.
Structure and Post Structure of Film Narration
While there is much disagreement about the terminology used to describe narratives and their forms, there is agreement, in that a narrative 'tells a story.' Mieke Bal, a narratologist, or structuralist narrative theorist, describes the narrative text through the manner of its telling. "A narrative text is a text in which an agent relates ('tells') a story in a particular medium, such as language, imagery, sound, buildings, or a combination thereof." (Bal 5) Bal notes that this narrating agent can be almost anything- from paintings to comics; most media have been used to express stories. The agent is who/what supplies the narration; who/what conveys the story is most simply described as the narrator. The narrator can be classified, if only contentiously, as first-, second-, and third-person. As Steven Cohan and Linda M Shires note in their analysis of narrative fiction, this distinction is largely linguistic. "Traditional criticism tries to keep agent and agency separate classifying narrators through linguistic designation: first- or third-person pronouns." (Cohen and Shires 90) These divisions help to situate the narrator relative to the story being told, and thus allow for greater analysis of the narrative structure.
In traditional criticism the first-person narrator is described as being in the story. Cohan and Shires describe the first-person as character bound- "When a narrator is also a character in the story, however peripheral, the narration is character-bound, told in the first person …" (Cohen and Shires 90) First-person narration is often little more than internal monologue; monologues that play well on the stage and the page but seem false in the "neo-realism" of the screen maybe internalized into voice-over. Again, the narration is fundamentally giving the audience information that would not have been easily conveyed in the main body of the movie. When the first-person narration comes from the main character it helps to solidify them as the protagonist and aids the audience in sympathizing with the character. But the 'truthfulness' of the third person narrator is always under suspicion, because as a character the audience is more likely to suspect them of having a objective viewpoint.
In opposition to the preserved subjectivity of the first-person narrator the third-person narrator provides the illusion of subjectivity. The third-person narrative is that which has no character, a narrator that is not a player in the story. Film theorist George Wilson points out that first-person narration depicts events through being remembered, dreamed, and so forth and is thus subjective where as third-person narration is not. "Third-person narration then subsumes all film narration that is not tied directly to the subjectivity of a character in there ways." (Wilson 127) He connects the idea of the invisible and passive camera to that of the narrator who is capable of only witnessing. In text, the narrating agency can be mistaken for the author; in film, the third-person voice-over might be mistaken for the voice of the camera.
The whole idea of third-person agency is under question. "In fact, the term 'third-person narrator' is absurd: a narrator is not a 'he' or 'she' – who might, incidentally, happen to be a narrator as well." (Bal 22) Bal asserts that the narrator may become a character and even refer to themselves as "I" without figuring into the story as an "actor." This voice-over narrator is part of the narrative agency, but it is not the final presence of narration. Sarah Kozloff, dialogue and voice-over film theorist, states that there is something beyond the narrator. "…behind the voice-over narrator there is another presence that supplements the nominal narrator's vision, knowledge, and storytelling powers. This is the narrating agent of all the films (with or without voice-over.)" (Kozloff 44) The narrating agent is the sum and the system of the narration; it is the voice-over, the actors, the writer, the director, the story, the frame, the plot, the light—the story manifest.
While it is impossible to totally untangle the system of narration it is possible to observe and notate, despite the slippery nature of the terms and medium itself. It is possible to further define narration, noting the 'registers' between the narration's history and discourse. Cohan and Shires define the qualities of history and discourse in relation to signs of agency. In other words, how truthful "versus" how "subjective" is the narration.
History and discourse, moreover, differentiate not between texts but between the narrational registers of a single texts. For a text narrates as both history and discourse, regardless of discursive narrator summarizes events matter-of-factly or recounts them scenically, signs of agency disappear form the text and this portion of the story is narrated as history. (Cohen and Shires 92)
History can be described as the 'truth,' when it is 'tainted' by perspective discourse is created. Even the passive third-person narrator narrates with discourse; even the use of any adjectives reveals the narrator's biases and subjective. While the terms and ideas of history and discourse help to unify theories of narration, they also help to undermine the strict structure of narratology critics like Mieke Bal subscribe to; though in recent interviews Bal has begun to distance himself from dogmatic adherence to linguistic/ mathematic styled formulas in narratives.
One of the foremost experts in narrative film theory, Gérard Genette, creates his own system of terminology regarding voice-over narration. Genette separates narration in to two major categories. heterodiegetic and homodiegetic. Heterodiegetic narrators, like third-person characters, do not affect the story. Homodiegetic narrators, like first-person narrators, do affect the story. He also defined extradiegetic narrators as those at the first or frame level, intradiegetic as those who tell an embedded story or a story with-in a story, and the metadiegetic narrators that occur in a doubly embedded story or a story with-in a story with-in a story. (Genette 244) These categories allow for greater specificity in defining narrative types, but do little to explain their meaning or significance. Sarah Kozloff writes that the "level of narrative" can affect the audience's perception of the whole film.
…films often create the sense of character-narration so strongly that one accepts the voice-over narrator as if he of she were the mouthpiece of the image-maker either for the whole film or for the duration of his or her embedded story. We put our faith in the voice not created but as creator. (Kozloff 45)
Like Wilson's connection of the camera to the third-person narrator, where the audience connects the voice-over's point-of-view to the camera's point-of-view. It is possible that the audience can be "fooled" into believing that the voice-over is that of the film-maker. Though there are a few instances where the director of a film narrates the film as the director, directly addressing the audience.
Form and Function of the Film Narrator
Before there was sound film there was narrative agency in film, as embodied by the film frame itself and well and more directly in the intertitles. Films were exploring new visual based narratives, quite unlike the narratives of theater and novels. Without sound, intertitles functioned as narration as well as dialogue. The moralistic narration of the D.W. Griffith's Way Down East (1920) clearly function as a narrator with heavy discourse, just like that of any third-person voice-over narration. Early film theorist, Rudolf Arnheim, asserts that while people watched silent films, the fact that they were silent interrupted the illusion of reality.
People took silent movies for granted because they never quite lost the feeling that what they saw was after all only pictures. This feeling alone, however, would not be sufficient to prevent the lack of sound being felt as an unpleasant violation of the illusion. (Arnheim 315)
Unlike Arnheim, Hugo Munsterberg earlier had reveled in the "photoplay's" limitation, such as its lack of color, lack of dimension, freedom from the order of time, and expression via pantomime. He believed silent film to be free from the constraints of space and time and thought that film could "overcome reality." This emphasis on free play encourages the mixture of narrative techniques, and exploring the film medium beyond the recording of 'reality.'
Ironically, newsreels and documentaries were some of the first sound movies to utilize voice-over documentary. These newsreel films (especially the March of Time series) were noted for their voice-of-god, omnipotent narration. The association of narration with non-fictional subjects, gave voice-over narration in fiction films a air of reality. Other genres adopted the voice-over narration into their style. Kozloff mentions the genres that are most commonly associated with voice-over.
…epics, Westerns, and fantasies. In these genres filmmakers need to impart a great deal of expositional information of unify a story that ranges widely in time and space; narration accomplishes both tasks effortlessly. Furthermore, precisely because it is oral, voice-over can remind views of traditional storytellers, and so evoke the proper atmosphere for the legendary or pseudo-legendary subject matter. (Kozloff 73)
Much like the authority imparted by the voice-of-god narration of the documentaries, the narrators historic connection to the storytellers helps to reinforce the authority of the narration, especially the third-person narratives. The narration can help to lend reality to a fantastical situation, like the unifying narration in the recent fantasy film Lord of the Rings: Fellowship of the Ring. (2001) The first five scenes of the film are narrated by the character Galadriel in which she explains centuries of back story integral to the complicated plot. This narration also helps to unify the environment and to set the tone for the films ahead. It isn't surprising to note that the Lord of the Rings film trilogy was based on a set of novels, but in this case the first-person film's narration is nothing like the novels' third-person narrator. A large percentage of the third-person narration in film come from book adaptations that have 'indispensable' narrators.
While many comparisons can be drawn there are undeniable differences between verbal and visual narration. As Kozloff notes, "Unlike in literature, in film the distinction between telling a story through verbal narration and showing it on the screen through images and action is not so easily discountable." (Kozloff 13) These differences are particularly significant due to the shift in the system of signs. Textual narratives use written langue to convey the story; in film there is an emphasis placed on the visual narrative. Film language relies less on textual language and more on the less "symbolic" visual language. This does not make film any more or less subjective than it's written counterparts. It is also contentious to say that film is any less of a form language than actual written language; as both subscribe to forms and are ultimately subject to personal interpretation.
The reliance on the narrator in book adaptations is criticized by film theorist, Brian Henderson; Henderson argues that film narrators do not replicate the functions of written narrators. He also criticizes much of the voice-over in film for being redundant. Narration is often used to "pile" on unnecessary time signifiers. Voice-over can be a successful narrative technique only as long as it conveys something different than the visual narrative and the narrative conveyed in the dialogue. "Double telling" is a successful device only if the point of the narration is to highlight information or themes already expressed in the plot. The question of the narratives purpose is only answered in that it will always give the audience more information and perspective on the characters, events and themes in the film's story.
Often the narrator is the implied author. In the case of Stanley Kubrick's adaptation of Peter George's novel Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb the narrator is not identified with the author but rather the film's creator. Narrator, a voice from the distant future, critiques the text and creates a report with the audience that could not possibly be the movie's true audience. Narrator-"The quirkish author of this ancient comedy seems intentionally to have omitted the names of specific countries, possibly in the hope it would land a certain Universality to his theme." (Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.) In Cecil B. DeMille's film, The Greatest Show on Earth; DeMille, the director, is in fact the uncredited narrator. In these cases the narration functions to make the audience give greater contemplation to the multiple interpretations of the texts by questioning the narrator's position in regards to the story.
Voice-over narration can help form ironic tension. Post structuralist film theorist, Seymour Chatman, writes: "The different components of the cinematic narrator as diagramed usually work in consort, but sometimes the implied author creates an ironic tension between two of them." (Chatman 484) This can be illustrated with the 1976 film, Taxi Driver; in the film the main character, Travis Bickle, is the source of the first-person voice-over. The narration becomes less attuned to the reality of the situation; it's calm belies the frantic psychopath that Travis becomes. Travis' first-person narrative starts with authority and truth, but deconstructs into an unreliable source. Reliable only to reveal the inner workings of the character's thoughts. In most films voice-over narration is given authority by the audience; the authority can be lost if the audience recognizes the narrator as unreliable.
The male voice of authority has long been associated with the conveyance of truth and perspective. The male voice carries with it the historical connection to power. For most of film history the most reliable narrators have been males: doctors, police, detectives, judges, professors, and writers among others. Mary Ann Doane asserts that the male voice has been unquestioned in its power. "In the history of the documentary, this voice has been for the most part that of the male, and its power resides in the possession of knowledge and in the privileged, unquestioned activity of interpretation." (Doane 369) Even the contemporary film, Personal Velocity (2002,) which was written and directed by a woman (Rebecca Miller) includes a male voice-over narrator. The film itself is about three women each fleeing from the men in their lives, each for the own reasons, each in their own way. The question remains, why would such a female oriented movie use the voice of a man to give the third-person narrative. Are men just more authoritive, and thus a natural choice for the third-person voice-of-god. In this case the choice of narrators was probably aestetitic rather than a political statement; but the lack of female narrators in general is more obvious that the dearth of female directors. The lack of both indicates issues of gender equality within the contemporary film system.
Examples of Voice-Over Narration in Film
The 'voice' of the narrator was heard in even in the earliest silent films via the use of intertitles. Griffith's moralistic narration is a perfect example of the narrative voice in silent film. In Intolerance (1916) the narrator states, "When women cease to attract men, they often turn to reform as a second option." The intertitle functions as the third-person narrator, giving details but interjecting a substantial dose of discourse. Pickpocket (1959), written and directed by Robert Bresson, has typical first-person narration. The main character Michel, begins the film with voice-over narration describing some of his exploits. The narration returns at the end of the film, to explain Michel's trip abroad and to reveal his inner thoughts; i.e.- love for Jeanne. While the narration provides some information it is certainly sparse; not providing very many details for the audience to examine. Lady from Shanghai (1947), written and directed be Orson Wells, also includes traditional first-person narrative both at the beginning and at the end of the film. In the science fiction film Blade Runner (1982) the main character, the android Deckard (Harrison Ford), begins to narrate during the final moments of the film. Deckard's voice-over functions as an epilogue, solidifying the ideas presented in the film. Deckard is forced to confront his connecting to the androids he has just slayed. Like Taxi Driver; Apocalypse Now (1979) and A Clockwork Orange (1971) feature a psychotic and/or unreliable first-person narrators. In A Clockwork Orange the narration directly refers to the audience. The main character, Alex, narrates frequently throughout the film; referring to the audience as "brothers," "only friends," and to himself as "your story-teller." This voice-over style is particularly effective in making the audience feel connected to the killer. Thematically this makes sense; as the Kubrick is making a point about society's joint responsibility to create a moral code of conduct- to prevent the emptiness that is Alex. As a first-person narrative To Kill a Mocking Bird is an interesting case as the narrator, Scout is an adult looking back and narrating a story that features her as a girl. So while Scout is technically a character in the story, thus a first-person narrator. The adult Scout is unable to effect the storyline and is markedly different from her younger self. This draws into question the use of the term first-person anytime when time has passed between the instance of the story and that of the narration. The passage of time can create a separation of the first-person narrator and the character that they were.
Both Little Foxes (1941) and Star Wars (1977) have long screens of written narration, setting the scene for the rest of the film. These narrations are clearly third-person, they attempt to be purely informative and objective. This is in opposition to the very visible third-person narrator in The Rocky Horror Picture Show (1975), at first the narrator takes the form of authoritative professorly scholar, shown in his office characteristically filled with books. As the film progresses the narrator reveals himself to be more in tune with the wild goings on in the film than would first be suspected, but the narrator retains his dry detachment form the entire situation. In a stranger take on the third-person narrator Woody Allen's film, Mighty Aphrodite (1995) uses a historical Greek chorus to provide the narration. The chorus at times directly communicates with the main character, Lenny (Woody Allen); but they maintain a separation from the 'real' story and thus are more third-person characters/narrators than they are true characters or first-person narrators. The Western Cat Ballou (1965) is narrated via song, Professor Sam the Shade (Nat King Cole) and The Sunrise Kid (Stubby Kaye) play minstrels that occasionally stroll through the scene and relate their narratives in song form; existing as both first-and third-person narrators. The narrator in the film-noir classic, Naked City is the prototypical omnipresent and omnipotent voice-of-god. The dry, pithy narration has obvious connections to the narration of the March of Time newsreels.
There are a number of films that include voice-over narration that is not easily categorized as first- or third-person. One such film is Wes Anderson's family epic, The Royal Tenenbaums (2001). The narration references that of a book; but the film is not a book adaptation it was originally written as a screenplay. The film opens with a shot of a book, the first edition of The Royal Tenenbaums, the book opens and the page reads "Chapter One." The voice-over narrator (Alec Baldwin) begins to read the text as the scene cuts to a five-story house and a older man ringing the doorbell. "Royal Tenenbaum bought the house on Archer Avenue in the winter of his thirty-fifth year. Over the next decade, he and his wife, had three children and then separated." The narration continues, in typical third-person style, by describing past events and introducing the main characters. But the narration continues into the body of the story, as do the glimpses of the chapter headings consistently reminding the viewers of the 'book.' This constant illusion to a non-existent book could be a way to draw the audience's attention to the allusions to literary classics such as authors like Joseph Mitchell, A. J. Liebling, Lillian Ross, J. D. Salinger, John O' Hara, E. B. White, James Thurber, and John Irving. This use of book trappings helps to reinforce the literary heritage from where the film's plot springs forth.
Many of the Coen Brother's films include voice-over narration, from their first film Blood Simple (1984) to their later films such as Hudsucker Proxy (1994), and O'Brother Where Art Thou? (2001) In Blood Simple the narration is clearly in first-person; the private eye, Visser, begins narrating during the film's opening scene. A barren Texas landscape cuts to a car rushing down a rainy road; the narrator speaks-
The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year–something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help–watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else–that's the theory, anyway. But what I know about is Texas… And down here… you're on your own. (Blood Simple)
This is the only occurrence of the voice over, in part because the Visser character dies at the end of the film. The narrator does little to fill in the viewer; instead it functions to set up the general themes of the film, self-reliance in particular. The Man Who Wasn't There is another Coen Brother's film that includes a first-person narrator. In this case the main character, Ed, is the source of the narration. The Ed character rarely speaks, but give frequent and detailed narrations that give the audience incite into this character and his plot. The narrators in Hudsucker Proxy, The Big Lebowski and O'Brother Where Art Thou? are far more complicated; they are both first-and third-person narrators.
The narration in The Big Lebowski is an example of Coens' post structuralist approach; from their overt genre switching to the breakdown of the narrator's authority. The narrator, the Stranger (Sam Elliot), is first introduced as any other third-person narrator. He introduces the main character and sets the scene. As the camera moves across the desert to the edge of Los Angeles the Stranger speaks:
A way out west there was a fella, fella I want to tell you about, fella by the name of Jeff Lebowski. At least, that was the handle his lovin' parents gave him, but he never had much use for it himself. This Lebowski, he called himself the Dude. Now, Dude, that's a name no one would self-apply where I come from. But then, there was a lot about the Dude that didn't make a whole lot of sense to me. And a lot about where he lived, like- wise. But then again, maybe that's why I found the place s'durned innarestin'. (The Big Lebowski)
The narration begins normally enough, but halfway through the film the Stranger returns, this time as an actual character. This time we see him as a cowboy, sitting at the bar in the bowling alley. The stranger engages the Dude in conversation, while the Stranger/narrator exists in the film as a visual character he does not effect the story and returns to his duties as the narrator at the end of the film. The fact that the narrator is a cowboy in a film that is best described as anti-film-noir is typical Coen genre switching. The cowboy narrator is probably referring to the common narration in Spaghetti Westerns. I Shot Billy the Kid (1950) a B Western includes voice-over narration in a fail attempt to class up the film. The Big Lebowski is a film-noir detective story starring the worlds most inept and unlikely detective. Noir-films often include voice-over narration, but the usually mode is the hero telling the audience his story with the use of flashbacks. The Coen's have turn the narrative structure of film-noir on its head and then turned around and switched the genre of the film's narrator. Perhaps they want the audience to question the films the accepting genre forms, or maybe they're just having a bit of surreal fun their film narration.
It is impossible to discuss film without using terms to describe phenomena and systems; but all ridged systems are doomed to fail. Thus it is important to acknowledge the limits of the terminology. It is often very revealing to study the areas were the terminology breaks down. Narratives that transcend simple labels are often the most innovative and groundbreaking; these hybrid narratives can also lead to greater understanding of the forms, systems, and terms themselves. Not all voice-over narration can be neatly divided into two categories; those of first- and third-person narratives. There are many examples of these complex and uncategoriable films; The Big Lebowski and The Royal Tenenbaums bring up issues that can be found to lesser degrees in all film narrations. The location and function of the voice-over is key to understanding the effects that it has on the story itself. But what the narration accomplishes is the most important issue involved in voice-over narration.
Arnheim, Rodolf. "Film and Reality." Braudy and Cohen, 312-6.
Bal, Mieke. Narratology: Introduction to the Theory of Narrative. Toronto: University of Toronto Press, 1985.
Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.
Braudy, Leo and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford University Press, 1999.
Chatman, Seymour. "The Cinematic Narrator." Braudy and Cohen, 473-86.
Cohan, Steven and Linda M. Shires. Telling Stories: A Theoretical Analysis of Narrative Fiction. London: Routledge, 1988.
Genette, Gérard. Narrative Discourse: An Essay in Method. Ithaca, New York: Cornell University Press, 1980.
Gunning, Tom. "Narrative Discourse and the Narrator System." Braudy and Cohen, 461-72.
Henderson, Brian. "Tense, Mood, and Voice in Film: Notes After Genette." Film Quarterly 36, no 4 (1983): 4-17.
Kozloff, Barbara. Invisible Storytellers: Voice-Over Narration in American Fiction Film. Berkeley: University of California Press, 1988.
Lothe, Jakob. Narrative in Fiction and Film: and Introduction. Oxford, New York: Oxford University Press, 2000.
Wilson, George M. Narration in Light: Studies in cinematic Point of View. Baltimore, Maryland: The John Hopkins University Press, 1986.
7 Responses to "Issues of Narration: Voice-Over in Film"
1 Daniel Salce Jun 7th, 2006 at 9:42 pm
I was curious if you had knew any films that had both a Heterodiegetic and Homodiegetic in the same film? I have been searching but still unsucessful. I thought the Twight light can be considered as one but im still in question to that.
2 Kevin Apr 22nd, 2009 at 7:22 pm
Nit-picky grammar: "This constant illusion to a non-existent book" I think is supposed to be "allusion."
A great article.
3 Ben at Voices.com Aug 28th, 2009 at 1:55 pm
This is a really great essay, Sarah! With all of the references to various films - and at so many different stages in the maturation of film as an art and industry - this would be a great help to lots of voice over actors. Great work.
4 fatima Oct 26th, 2009 at 9:30 am
Thanks for ur nice essey. I'm an MA student of Linguistics in Iran. My thesis is about the linguistic devices that are used in voice-over narrations in Persian and English film trailers. Would u plz do me a favor and send to me any related article, essey, etc. on the issue. I'd be so grateful if u do.
5 Timothy Arege Aug 30th, 2010 at 2:16 pm
Sarah, I have been interested in narration in film. Am glad you did the article. It is an eye opener to me. Am interested in some more and will be glad to get your help or any other person with insights on narration in film.
1 Voice-Over Narration as an Active Agent in Film « FlashAddict's Weblog Pingback on Dec 9th, 2009 at 9:17 pm
2 2 + 2 need not always be 4 « banno, dhanno and teja in bumm-bumm-bhole-land Pingback on Oct 22nd, 2010 at 11:44 am


Hello, I am having trouble connecting and trying to read through the logs. Is there any ports that need to be enabled on my router's firewall for synergy to work?
Edit> After some troubleshooting on my own, I have deleted the duplicate entries that were in my configuration, restarted my client pc again, and now it is working!! I hope it sticks! I think the duplicate connections may have been made because of my 2 network interfaces on my server pc? Otherwise I'm not sure what happened.


You might have noticed that around this time of year we start to talk about our latest high end GPU. Well, 2017 is no different and we in the Arm Mali team are delighted to welcome Mali-G72 to the High Performance GPU roadmap.
Following on from Mali-G71 released last year, Mali-G72 was launched at Computex 2017 and builds on the introduction of the awesome Bifrost architecture to provide even greater performance within an ever smaller area and power budget. Designed for High Fidelity Mobile Gaming and the emerging field of Machine Learning (ML) on device, Mali-G72 also takes the VR capability of Mali-G71 to a whole new level. Mali-G72 based devices will have 1.4x the overall graphics performance compared to devices based on its predecessor, guaranteeing it's ready to meet the needs of whatever fantastic new tech hits the industry next.
As I mentioned before, one of the major driving forces behind Mali-G72 is the rise of High Fidelity Gaming on mobile. Whilst there is still a huge market for casual games like Candy Crush, we're seeing more and more growth in the revenue generated by complex games, with 43% of the Chinese mobile gaming industry now made up of these titles. Photorealistic visuals, like the ones in Digital Legends' First person shooter, Afterpulse, used to be impossible on mobile. The power consumption of high vertex counts, numerous draw calls and more complex vertex and fragment shaders, as well as advanced graphics effects like dynamic shadows, was simply too high for the mobile form factor and reduced both quality and playtime. We consult and collaborate with our incredible ecosystem of partners and developers to ensure our newest products meet the needs of the market no matter their individual priorities. We worked closely with Digital Legends to ensure that the latest advanced rendering techniques could be supported alongside our fantastic optimization tools to maximise both performance and efficiency and were able to attain a 42% write bandwidth saving over Mali-G71. Add in the use of Pixel Local Storage (PLS) and you can save an additional 45%, making a total read bandwidth saving of 68%. It's this collaboration which breeds innovations like those in the Mali-G72 and makes feature-rich games like Afterpulse a reality for mobile gamers.
VR is evolving too, and we knew we needed to up our game even further to continue to lead this exciting market. More than 50% of existing mobile VR devices are powered by Mali, and the Mali-powered Mate 9 is one of the first Daydream certified VR devices available, so continuous innovation is a top priority. As you might have seen in our recent Circuit VR demo, released at GDC 2017, we've been working on techniques such as mobile Multiview to reduce the overhead of drawing things multiple times as you typically need to in VR (where you effectively need one complete render per eye). Add in foveated rendering, where you only see the section of the image directly in line with your fovea in high resolution, and you suddenly have four or more views to render and Multiview really comes to its own. Other techniques like Multi Sample Anti-Aliasing (MSAA) add blended pixels to either side of a line which should appear smooth in order to reduce the jagged effect which can sometimes be seen in the close quarters of the VR headset. Mali-G72 enables 8 or 16 x MSAA at minimal system cost. All of this of course comes on top of already existing, clever innovations such as Adaptive Scalable Texture Compression (ASTC), allowing us to incorporate higher quality textures without compromising on the amount of bandwidth used.
I also mentioned earlier that Machine Learning is another key use case on mobile, but let me clarify what I mean by this. Today, ML is often performed in the cloud, with large data sets used to train neural networks to begin to make intelligent connections, but more and more needs to happen on device. Not only is it costly to keep transferring large amounts of data to the cloud for simple applications like translation, but it's also slow. I don't know about you, but I don't have much time for latency. I expect my smartphone to do what I want, when I need it, and waiting for a connection or data transfer can put me off using even the best applications. This is why the focus is very much on directing ML inference to the device itself. Huawei have already seen the need for this in their latest premium device, the Mate 9, powered by the Mali-G71 and released a record breaking 8 months after they first received the product. In the Mate 9, the ML algorithm establishes which applications you use the most and intelligently prioritizes the power and performance to make sure they perform at their best. Mali-G71 with its innovative Bifrost architecture is already pretty good at ML inference, as you can see in the chart below – the Mali-G71 MP8 in the Huawei Mate 9 handles AlexNet 87% quicker than a low-end discrete graphics card, which has comparable graphics performance.
Well, Mali-G72 is even better. The arithmetic optimizations and increased caches we look at later really come into their own here, reducing bandwidth to such an extent that Mali-G72 can provide the most efficient and performant ML possible. So how do we support these use cases?
Retaining Bifrost's key high performance features such as full system coherency between the CPU and GPU, as well as index-driven position shading, clause-based execution and quads; Mali-G72 packs a few new punches too. Optimizations in the arithmetic efficiency as well as enhanced capabilities for both complex graphics performance and scalability, make Mali-G72 the obvious choice for next year's premium mobile products across smartphone, VR, ML and many other opportunities. But what exactly have we done?
We've increased tile buffer memory in order to allow the GPU to support more storage per active tile. This increases throughput in light loading situations as well as allowing greater utilization of Multi Sample Anti-Aliasing (MSAA) and Pixel Local Storage (PLS) and providing significant improvements to performance and visual quality. We've also rebalanced the execution engine data path to remove some rarely-used instructions and replace them with sequences of simpler instructions to reduce both area and power, lowering cost of implementation for our partners and increasing efficiency throughout the system. To support higher graphics complexity we've optimized the more complex operations, such as reciprocal square root, that are used most frequently, and increased caches in the tiler for better throughput. These changes improve performance scaling in high performing systems and provide a better graphics experience to the end user. In order to further reduce bandwidth we've increased the size of both the Level 1 cache and the writeback cache, as well as changing the instruction cache logic to allow better utilization and reduce cache misses in complex content without increasing the overall area or power. This careful balance of performance and efficiency is vital to those partners targeting a range of devices.
Mali-G72, with its many innovations on the Bifrost architecture, has achieved some serious gains over the previous generation product, including 25% higher energy efficiency, 20% more performance per mm2 of silicon and 17% more efficiency for Machine Learning. With all this AND 40% more in-device performance overall, it's only a matter of time until we see the Mali-G72 exceeding our expectations in next year's premium mobile devices.
Still no free drivers. Therefore totally unusable for professional applications.
Congratulations on the launch, Freddi, and also to our mutual customers who've already taped out this new ARM IP using Synopsys' Design and Verification Continuum Platforms.


text:
September 13, 2018 – Exercise KAKADU 2018, Australia's largest multilateral maritime and air exercise, drew to a close in Darwin today, after a fortnight of activities aimed at enhancing regional maritime security.
Minister for Defence, the Hon Christopher Pyne MP, said KAKADU was a military highpoint for Australia as well as a significant diplomatic achievement, with this year's exercise involving 23 ships, 21 aircraft, a submarine and 3000 personnel from 27 visiting nations.
"The size and success of KAKADU is evidence of Australia's growing reputation as a trusted and capable regional partner," Minister Pyne said.
"The exercise provided a useful opportunity to work with naval forces from across the Indo-Pacific and promote greater levels of regional military cooperation.
"We look forward to working with such a diverse group of nations again in the future."
DARWIN, Australia (Aug. 31, 2018) The Arleigh-Burke class guided-missile destroyer USS Michael Murphy (DDG 112) is anchored in Darwin Harbor for Australian exercise Kakadu 2018. Michael Murphy is participating in Kakadu to enhance maritime security skills with participating nations by highlighting the value of information sharing and multilateral coordination. (U.S. Navy photo by Mass Communication Specialist 3rd Class Morgan K. Nall/Released)
Participants, split into three task groups, tested their ability to work together in a range of scenarios including live fire, air defense, navigation, refueling, ship-to-ship communications, as well as humanitarian aid and disaster relief activities.
KAKADU also saw several South-Pacific nations conduct activities focused on patrol boat capabilities, designed to increase seamless regional interoperability.
"The attendance of Papua New Guinea, Cook Islands, Fiji and Timor-Leste was particularly pleasing, providing an opportunity to strengthen patrol boat interoperability and people-to-people links," Minister Pyne said.
"Australia will build on the lessons learned from KAKADU 18 as we continue to enhance our security partnerships across the region."
Participating nations at KAKADU included Australia, Bangladesh, Brunei, Cambodia, Canada, Chile, China, Cook Islands, Fiji, France, India, Indonesia, Japan, Malaysia, New Zealand, Pakistan, Papua New Guinea, Philippines, Republic of Korea, Singapore, Sri Lanka, Thailand, Timor-Leste, Tonga, United Kingdom, United Arab Emirates, United States of America and Vietnam
US Navy Contract Announcements September 12, 2018
USS Rhode Island Completes Post-Overhaul Sea Trials

redpajama_set_name: RedPajamaCommonCrawl


North Madison Veterinary Clinic is a full-service veterinary medical facility, located in Madison, IN. The professional and courteous staff at North Madison Veterinary Clinic seeks to provide the best possible medical care, surgical care and dental care for our highly-valued patients.
We are committed to promoting responsible pet ownership, preventative health care and health-related educational opportunities for our clients. North Madison Veterinary Clinic strives to offer excellence in veterinary care to Madison and surrounding areas.
Please take a moment to contact us today, to learn more about our veterinary practice and to find out more information about how North Madison Veterinary Clinic can serve the needs of you and your cherished pet.
On call - please call the clinic phone for emergency instructions.


Robert Green, Jr. (born July 2, 1970), better known by his stage name Spice 1, is an American rapper from Hayward, California. He has consistently been releasing solo and group albums since 1992. Spice 1 was ranked number 56 in The Source magazine's Top 115 Hip-Hop Artists from 1988–2003.
Steven Howse (born September 23, 1974) is a hip-hop artist known primarily for being a member of the group Bone Thugs-n-Harmony. He has also has gone by the names L-Burna and The #1 Assassin. He is the younger brother of fellow group member Flesh-N-Bone & cousin of group member Wish Bone. He is also a member of the rap group Bone Brothers and CEO of the record label Harmony Howse Entertainment.
Layzie is currently working on his latest album Perfect Timing, scheduled to be released on April 20, 2016, Layzie releases Cleveland is The City Featuring Aaron "D-Boyy" Dissell. The song was used by Fox News during the 2015 NBA Finals as the Cleveland Cavaliers theme song. Check out his FaceBook Page.


Creative Little House: My caulking husband would be proud!
My caulking husband would be proud!
See the black circle around the light (not the circle around the actual light bulb, now that would be funny if I caulked that! Hey Honey look what I did!!:)....any way the circle that's touching the ceiling.....that circle is begging me to be caulked! It was like finding a treasure....I thought I'm going to make you beautiful and no one, I mean no one (well except for Scotty) will notice it but me!!
Now that's better!... as my William would say after anything that's better, he'll say in his sweet little voice "that's better", like after putting clean underwear on "that's better"..can't help but agree with him on that one!
I left one light undone for Scotty to see when he got home...(the great before and after)... the one thought that went through my head as I was caulking, was my husband would be proud! And yes I was like a little kid who made a picture and couldn't wait to show off what I did. And yes it was the 1st thing I showed him when he hit the door....and he was proud!!
What a beautiful marriage....you finally caulked the knot and yes you will grow beautifully old together!!
and wants everything you have, which really works when it comes to eating...but not so much when it comes to paint!
Daddy snagged him just in time before his hand went to his mouth. I'm sure there will be more adventures like this to come....I just hope they don't involve blood!!!


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There is a wealth of information on the City Website. Take a tour. Helpful information for you as a city resident. Of course I will continue to update through this District 1 blog.
"We anticipate having all city streets plowed prior to Tuesday morning's commute," Kelley said.
The plowing starts at 3 p.m. Tuesday and should take about 10 to 12 hours, said Superintendent Chris Kelley. No snow emergency has been declared. Once the snow ends, Madison should be dry for a couple of days before the next chance for snow comes Thursday night into Friday, the National Weather Service said.
Last year the City Council approved a comprehensive study to evaluate the Madison Police Department. The study is now well under way and the consultants chosen, the OIR Group, is seeking public input. It is very important that OIR hears from our citizens. The feedback will help with their study, but more importantly, it may help to make us a better agency.
MPD has a person assigned to "leads on line" she monitors pawn shops for stolen property. Serial number searches leave little doubt of ownership.
Serial numbers allow us to enter your property into NCIC (a nationwide data base for police). If you recover your property call the police back to cancel the report and we will then remove the entry from the computer. If you don't have your serial number you may be able to contact your point of purchase to see if they have it in their records.Pictures of the stolen items also help in locating and identifying your property.
Contact MPD (if it is Madison) and ask for an officer to respond. The call taker in the 911 center will ask a few clarifying questions. MPD's "calls for service" triaged. If at the time you call us and an emergency is happening elsewhere your request will be placed in queue, you may have to wait a bit. Have a copy of your "self report", the case number and this email available to show the officer when they arrive. This will speed up the process considerably, reduce confusion and increase the likely hood of a positive outcome.Have the internet listing of the stolen property available to show the officer. The MPD officer will work with you to try to get the person "selling" your property to meet with the promise of purchase. The officer will problem solve the situation and create a solution. The officer will not want to allow you participate in the undercover buy.Sometimes we don't get positive outcomes- the bad guy doesn't show up, sometimes the property only looked like yours, and sometimes we can't prove it is yours. If we get the property back, in most cases, MPD will turn it over to directly.
Developing probable cause to arrest the person in possession of your property is different in every case.
Don't arrange a "buy back" on your own. Bad guys all too often take this opportunity to rob you at point of contact. Let the police handle it. If you buy or sell anything online, meeting at a police department parking lot for the exchange is a good way to increase safety. It is also a good way to sift out fraudulent sellers. Don't pay a "finder's fee" for a lost cell phone. Call us and let us get your phone back for free.
Record the serial numbers of the items of value.
Consider taking pictures of the serial number and storing them in multiple locations (the cloud can be a good spot).
It would be optimal if you could have the serial numbers available during your primary report with the MPD officer.
Consider tracking (GPS) apts for phones and laptops.
Back up all important data to any of the long term storage options so if you lose a device you can at least keep your data, pictures, music and contacts.
With the coming of spring and the warmer weather, many of us open our windows and doors to get some fresh air after the long winter.
Unfortunately, there are those who will take advantage of easier access to your home at any time of year. Recently we've had some burglaries in the central district; entry was made through unlocked doors or windows. Thieves often go the route of least resistance, checking for open doors and selecting those residences which are easiest to enter. They may also peek into windows looking for items of value like laptops, purses, or electronics that, if seen, promise a profitable burglary. One of the main drivers of burglaries throughout the City is opiate addiction; unfortunately this epidemic does not show any signs of abatement and we can expect this societal/public health crisis to continue to drive property crimes up in our community (and others).
If you are the victim of a property crime, please report it! One suspect is often responsible for multiple crimes and your incident may provide the clue(s) that lead to identification and arrest. *Don't open your door to strangerI include the last bullet point as a reminder that burglary is not the only motivation for a criminal to enter your home--unfortunately, they may be there to assault you and these crimes have enormous and long-lasting impact on the victims. Many of the steps above will not only protect you from property crime, but from far more violent crimes as well.


text:
Q: Observables combine with combineLatest Observables which are generated in a for loop I am trying to combine observables, where each observables gets the input in a for loop. My problem is, that I would know how to do it without the for loop, if I know the array the for loop would loop over in advance -> I would just put everything inside the combineLatest.
Does anyone know how I would do this, if I do not know the size of sections?
Many thanks in advance!
getArticleSectionsContent(pageId: string): Observable<any> {
 return this.getArticleSections(pageId).pipe(
  switchMap(sections => {
    return combineLatest([
      this.getArticleSectionContent(pageId, sections[0].index),
      this.getArticleSectionContent(pageId, sections[1].index),
      this.getArticleSectionContent(pageId, sections[2].index),
    ]).pipe(
      map(([a, b, c]) => {
        return { a, b, c };
      })
    );
  })
 );
}

A: If you do not know the size of sections, loop through your array with the map operator to convert it into an array of observables, like this:
getArticleSectionsContent(pageId: string): Observable<any> {
 return this.getArticleSections(pageId).pipe(
  switchMap(sections => {
    const articleSectionContentObsArray = sections.map(section => {
        return this.getArticleSectionContent(pageId, section.index);
    });
    return combineLatest(articleSectionContentObsArray);
  })
 );
}

redpajama_set_name: RedPajamaStackExchange


text:
Nick Macer from Stroud is best known as a specialist nurseryman and owner of Pan Global Plants, Gloucestershire, UK, but also as a presenter on BBC's regular gardening show, Gardeners World, where he looked at gardens specializing in hardy exotics during the autumn of 2016.

After, in his own words, a 'rebellious youth', he took a three-year course in arboriculture at Merrist Wood College. Then with a bank loan he started Pan-global Plants in 1997, now based in Frampton-on-Severn. He has travelled the world to find plants for his unique nursery which supplies plants to many significant gardens throughout the UK including the RHS, National Trust and Buckingham Palace.

References

External links
 http://www.panglobalplants.co.uk/

Living people
English horticulturists
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


The Sanchaya is the perfect venue for your luxury event.
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The Dahlia function room provides a number of options – from 48 guests for a sit-down dinner to accommodating 75 guests theatre-style.
➝ Download the Dahlia function room floorplan.
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ABOARD THE URSA TENSION LEG PLATFORM: When the Guinness Book of Records was looking for the tallest structure in the world in 2009, it selected Shell's Ursa platform, located about 130 miles southeast of New Orleans in the Gulf of Mexico.
The platform rests on the waterline, its visible structure measuring a mere 400 feet or so, but when the mooring tendons that hold it in place to the ocean floor are included, its total height from the seabed to the crown of the derrick is 4,285 feet – four times the height of Houston's JPMorgan Chase Tower.
Shell made its decision to moor the Ursa with tension legs based both on the conditions at the platform site and on engineering expertise in the technology gained from previous Shell tension leg projects.
"Being the pioneers, you like to design something and get it right in all aspects," said Bill Henry, Shell's vice president for upstream development, noting that Shell built five tension leg platforms in close succession and the water depth for Ursa was appropriate for such mooring.
"It allowed us to focus on getting all the dimensions right, refining that design and improving on it," Henry said.
Tension leg platforms are named for the steel tendons that reach straight down from the pontoon supporting the floating platform to the ocean bed, often more than a half a mile below.
Shell has used a tension leg system to moor five Gulf of Mexico floating deep-water platforms, and is using tension legs on its next platform, Mars B-Olympus, scheduled for completion in 2015.
Mary Grace Anderson, a deep-water development manager for Shell who led visitors on a recent tour aboard Ursa, said its engineers have made safety and efficiency refinements with each platform.
"We learn new things about distance, the placement of equipment, how different modules fit together and how they compensate for motion," she said.
The 16 tendons – four on each corner of the pontoon – that keep Ursa moored to the ocean floor look like steel rods, each 32 inches in diameter. Earlier designs used four to eight tendons, but experience has shown that 16 provide greater stability.
While the tension legs that make it all possible are underwater, the benefits of the technology are visible on the Ursa. The buoyancy of the pontoon maintains the tension in the tendons, so that they never go slack, which minimizes vertical motion on the platform.
Reducing movement allows wellheads to be placed on the platform instead of the ocean floor. That makes it easier to monitor and operate the wellheads – assemblies containing production control valves and other equipment- said Tao Wang, a naval architect with Aker Solutions.
Ursa has six decks, each 300 feet by 300 feet, with enough total deck space for wellheads, drilling and processing equipment and crew quarters.
It produces 150,000 barrels of oil equivalent per day from eight wells.
The high volume helped justify the larger platform and pontoon necessary to support the tremendous weight of the tension legs.
Anderson said Ursa's design allows for up to 14 wells, and tension leg platforms are preferred when multiple wells are clustered to serve a single platform.
The larger structure also can accommodate both drilling and production facilities, she said, making it possible to drill for additional wells even after production has begun.
Shell introduced its tension leg platform design with Auger in 1993, followed by Mars, Ram-Powell, Brutus and Ursa, which was built in 1999. All of these discoveries are in the Gulf of Mexico and fall within the 4,000- to 7,000-foot water depth considered appropriate for tension leg platforms.
Henry said the water must be deep enough to justify the complicated, costly technology, but not so deep that the steel tendons are too heavy for the platform to support and too costly to manufacture and install.
Ensuring stability, even in severe hurricane conditions, has driven improvements in tension leg design by Shell and others.
Chevron's Typhoon tension leg platform flipped over during Hurricane Rita in 2005 and had to be scrapped.
Its Bigfoot tension leg platform, now under construction, is designed to withstand 1,000-year storms, with improvements including 16 tendons.
"We are designing for a higher level of storm conditions and are confident that Bigfoot has the appropriate design," said Joe Gregory, general manager for Chevron's major capital projects in the Gulf of Mexico.
Ultimately, as with every vessel or structure that rests on the water, the most important consideration is how well it floats. "In the design, we start with the basics, and the basics that you have to consider are ballast and buoyancy," said Wang, the naval architect.
Buoyancy becomes even more important in planning how to link the platform to future discoveries nearby through a process called subsea tieback. A platform's ability to support tiebacks depends on its buoyancy.


HONG KONG As of Tuesday, India and Pakistan are again playing each other at their shared national obsession - cricket. Pakistan's president, Pervez Musharraf, is expected to visit India to watch the game. More remarkably, this time next month there should be a bus service operating between the two parts of the disputed territory of Kashmir, partitioned since 1949 along the Line of Control.
This progress toward normalization accords with majority sentiment in both countries. It also reflects the changes in the international landscape since Sept. 11, changed relationships with the United States, the ousting of the Taliban in Afghanistan and both countries' commitments to outward-looking economic policies.
But can accord be achieved on the basis of small confidence-building measures while leaving Kashmir to some final settlement, accepting the Line of Control as a de facto border for the foreseeable future? Can this dispute be left to history to resolve?
Desirable though that may seem to be, in practice it may stumble over an issue that receives scant attention: water. It is possible to envisage Pakistan permanently keeping its jihadis under control. Equally one can envisage the Muslim majority in Indian-held Kashmir enjoying peace and autonomy under an elected government. But, as a new paper by the Mumbai-based Strategic Foresight Group asks, can there be peace without a much broader settlement of issues like that of the waters of the Indus and its tributaries?
On the face of it, Kashmir is an issue about identity: India's identity as a secular state, Pakistan's as a Muslim one, and for Kashmiris, whether they would prefer just to be Kashmiris. For reasons more to do with Pakistan politics than anything else, it has also become a cause for jihadis.
But control of Kashmir also gives the ability to control the rivers that are the lifeblood of Pakistan and of India's part of the Punjab region. One of the wonders of the past 45 years has been that the 1960 Indus Waters Treaty has survived several wars and crises between the two countries. It allotted Pakistan 56 percent of the catchment flow and India the rest. It is a matter of debate which side did best, but the treaty enabled both countries to develop canal systems. It also gave rights to build hydroelectric plants so long as they did not permanently change water flow.
With 80 percent of its farmland relying on irrigation, Pakistan needs the Indus waters as badly as Egypt needs the Nile. So despite the treaty, the waters remain the crux of the Kashmir issue. Pakistan continues to fear that India will use its control of some of the headwaters. Meanwhile India sees Pakistan's support of jihadis and others pressing for the end of Indian rule in Kashmir as cover for its fears about water.
The treaty is open-ended, but given the increasing water and power shortages in both countries, it will come under increasing stress. Unless India and Pakistan can move toward enhanced cooperation on water issues, the treaty may end with one side abrogating it, setting the scene for turmoil. Cooperation would make usage of the waters more efficient, but it would require a much higher level of trust.
Tension over Kashmir's waters flows through to other areas of the subcontinent. In Pakistan itself, there are sharp disputes over sharing scarce water between dominant Punjab on the one hand and Sindh and Baluchistan on the other. India is accused of fanning consequent secessionist sentiments in a bid to weaken, if not break up, Pakistan. These accusations are mirrored by Indian allegations of its neighbor's involvement in the Maoist insurgency in Nepal and secessionist movements in its northeast states.
The consequence of this bickering, the Strategic Foresight Group argues, is not just an arms race and India's neglect of regional leadership and its global role. India has "not sought its destiny by rising above regional rivalries." The corollary is surely that India must see Pakistan not as a semi-equal nuclear rival but as a smaller state with a great sense of vulnerability to a large neighbor and to dependence on waters beyond its control.
So the cricket match this week is a small step on the long road to trust on the subcontinent. The hope must now be that having stepped back from fundamentalist tendencies, India and Pakistan will now be able to face the waters issues in the light of the direct benefits of cooperation - not only to their economies, but also to badly needed regional stability and trade.


Many times, ant bites are extremely distressing and create the pain, which continues for some time. Ant bite is the itch creating the pain which is uncontrollable and tough to deal with.
Lemon juice is an excellent home remedy if you have suffered from an ant bite on the skin. Lemon will aid you to decrease the irritation and pain whenever ant bites you. In this home remedy, you only need to squash few lemon pieces and extract the juice from it. After that apply it on the area of skin affected b ant bite, you will find relief soon.
Vinegar is the other home remedy to cure the irritation and pains produced by the ant bites. Use of vinegar will even assist you to decrease the odds of infection probable to be caused by this problem. For this, you must combine the little amount of vinegar in the water and later apply it on the skin area affected to get fast results.
Ice is also a recommended home remedial solution which will decrease the itching and discomfort caused when the ant bites you. Ice will even press the swelling caused, and slowly you will feel better. When you apply ice, you will feel some cooling benefits to your skin.
Honey helps you to offer the soothe aids to your skin in the form of the treatment of ant bites. Honey is necessary to decrease the swelling and itching done by the ant bite. For this, apply few amount of honey on the area of your skin bitten by ant bites and leave it for few minutes, later rinse off. You will observe instant relief after using this home remedy.
Herbal tea is helpful to cure the affected skin region of ant bite easily. Whenever ant bites you, polish wet herbal tea bag on the affected portion of the skin to attain the anticipated result instantly. Herbal tea comprises the anti-oxidant properties inside it; hence it will incredibly help you to decrease the swelling and pain done by the bite of an ant.
Cucumber is one of the easily available vegetables to cure the pain done from the ant bite. When you use cucumber, it will provide you the instantaneous cooling and respite from the frustration and aching done by the bite of an ant. Take a piece of cucumber and polish it mildly on the affected skin region to get relief.
Baking soda is considered to relieve you from infection of ant bite in the best way. This home remedy assists to cut down pain and discomfort done by the ant bite, stopping the chance of any taint. You first need to combine some drops of water inside baking soda and later apply the particular paste on the skin region; you will attain quick benefits soon.
Salt is the most easily available home remedy to relieve pain done by ant bite naturally. Applying salt will instantly decrease the swelling done by the ant bite. For this, take some amount of salt and combine the little quantity of water inside it. You must polish this mixture mildly on the affected portions of the skin to get instant relief.
Toothpaste is used to whiten the teeth and remove germs from teeth, but it is also the excellent home remedy for relieving from ant bites. Use of toothpaste will assist you to attain the direct cooling and respite from the ant bite. Apart from relieving, toothpaste also protects the affected area of skin from further swelling. To use it, take some toothpaste on the finger and put it on the affected region of ant bitten skin, then leave it for some time.
Vegetable and fruits juices extracts convey a soothing effect on the affected skin area from ant bites. The acidity present in such juices and extracts can assist you to counteract and heal the swelling as well as itching done by the ant's formic acid. For these, there are certain fruits and vegetables applied to cure ant bites. If you have any succulents accessible in the kitchen, cut them in half pieces and mildly polish its liquids on the ant bite to lessen the itching and swelling.
If you want to calm inflammation from ant bites, you can prepare a paste by combining powdered milk and water in 1:2 ratio. Then add a pinch of salt, put it in your ant bites region to get results. The enzymes comprising in the milk powder has the capability to counteract the ant's spite. Milk paste is one of the recommended and commonly used home remedies to treat ant bite itching and swelling. This treatment is very effective, so you must not neglect it but should follow it to avail the best results.
Onion is recognized for its medicinal values, and so it is included as a home remedy for ant bites. The anti-inflammatory characteristic of onion can decrease the inflammation and itching done by ant bite. For this, apply a fresh onion slice on the skin region where ant bite is affected to attain a relief from the bulge and inflammation caused by ant bites.
Hot water is recommended an approach to treating ant bites at home but don't make the water too hot that you get burned. You can make water hot to the level you can withstand the hotness without screaming. For this, place the affected region under the hot water and get quick results. Initially, you will experience that your itch has increased, however, after several seconds you will sense that the itch has been gradually disappeared. After applying hot water for 30-45 minutes, you will get relief from ant bites. You must not leave the skin under the hot water after several seconds of relief because there is no additional advantage by this. You will find that after few hours, the itch may return. However, you can reprise this treatment. You will observe that every time, your relief will continue for a long time and the effect of itching will be less.
The moment you get affected by ant bite, make use of ammonia to clean the affected area. A conventional produce comprising ammonia is Windex or similar window cleaner items that possess required properties to heal the ant bite. Ammonia will aid you to diminish the corresponding effects of the itching and swelling. Even a touch of ammonia on the region of ant bite will counteract the spite of ant instantly. Practically, this is one of the greatest effective home remedies that people must attempt applying at the comfort of your home in case if you are facing from this skin issue.
Ant bite is not a serious health hazard every time, but still, you might get pain if you have not treated it well. Particularly red ant is extremely dangerous in biting, and the red ant bite can let you feel frustrated as well as cause the itching in skin. You can try one of the listed home remedies to get better results as treatment of ant bites.
Why having sport as a Hobby is good for health?
How Important is Furniture for your Backbone?


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Q: Table in table, fill column width I'm trying to create a table inside a table. The second table doesn't use the full width of columns so there is a small space next to the vertical lines.
Currently it looks like this:

Is there some way to make the inner table use the full width of the outer column?
This my code:
\begin{tabular}{ | c | c | }
    \hline
    Byte 1 & Byte 2 \\ \hline
    \begin{tabular}{ c | c  }
        \begin{tabular}{ c | c | c | c }
            7 & 6 & 5 & 4
        \end{tabular} &
        \begin{tabular}{ c | c | c | c }
            3 & 2 & 1 & 0
        \end{tabular} \\ \hline
        Type & Id\\
    \end{tabular} &
    \begin{tabular}{ c }
        \begin{tabular}{ c | c | c | c | c | c | c | c }
            7 & 6 & 5 & 4 & 3 & 2 & 1 & 0
        \end{tabular} \\ \hline
        Data
    \end{tabular}
\\ \hline
\end{tabular}

A: \documentclass{article}
\let\MC\multicolumn
\begin{document}

\begin{tabular}{ | *{16}{c|} }\hline
\MC{8}{|c|}{Byte 1} & \MC{8}{c|}{Byte 2}\\\hline
7 & 6 & 5 & 4 & 3 & 2 & 1 & 0 & 7 & 6 & 5 & 4 & 3 & 2 & 1 & 0\\\hline
\MC{4}{|c|}{Type} & \MC{4}{c|}{Id} & \MC{8}{c|}{Data}\\\hline
\end{tabular}

\end{document}


text:
»Randall Rothenberg
The Big Story: The More Things Change …
The digital advertising world is changing faster than the seasons. At the Interactive Advertising Bureau, Randall Rothenberg, who held the top spot for 14 years, is stepping into an executive chairman role, while David Cohen, IAB president since March, is taking over. Not only will Cohen become CEO of IAB, he also inherits that same... Continue reading »
by Ryan Joe	// September 10th, 2020 //
IAB Names David Cohen As New CEO; Randall Rothenberg Moves To Exec Chair Role
The Interactive Advertising Bureau has a new chief exec. David Cohen, who joined the IAB as president in March (three days before the White House declared COVID-19 a national emergency), is stepping into the top role, the trade org said Wednesday. He'll also serve as CEO of the IAB Tech Lab, the body responsible for... Continue reading »
by Allison Schiff	// September 9th, 2020 //
Randall Rothenberg: The Cookie's Death Heralds A Better Future For The Web
"Data-Driven Thinking" is written by members of the media community and contains fresh ideas on the digital revolution in media. Today's column is written by Randall Rothenberg, CEO at the Interactive Advertising Bureau (IAB). Last week Google sent shock waves across the industry when it announced it would phase out third-party cookies for Google Chrome... Continue reading »
by AdExchanger	// January 24th, 2020 //
Comic: Great Expectations
A weekly comic strip from AdExchanger that highlights the digital advertising ecosystem...
by AdExchanger	// February 15th, 2019 //
Clean Ads IO: Consumers Are Forgotten Amid Industry Concerns
Advertisers don't have a strong enough grip on the technological ecosystem to make informed buying decisions, agreed leaders of several leading ad organizations at AdExchanger's Clean Ads IO conference. Panelists from the Association of National Advertisers (ANA), the American Association of Advertising Agencies (4A's) and the Interactive Advertising Bureau (IAB) got on stage in New... Continue reading »
by Alison Weissbrot	// May 26th, 2016 //
Ad Blocking – Unlike Fraud – Comes At The User's Behest
If ad blocking is war, long-tail publishers will likely be its earliest casualties. "Ad blocking is a threat to the whole industry, but it has an especially high impact for the small publishers who make up so much of the rich fabric that is the digital experience," said Randall Rothenberg, CEO of the Interactive Advertising... Continue reading »
by Allison Schiff	// September 29th, 2015 //
IAB Chief Randy Rothenberg On The IAB's Shift To Tech
The crowd at the IAB's Annual Leadership Meeting looked about the same as ever – composed of many publishers and tech companies – but with one big difference from last year. As of September, tech companies are now voting members of the IAB. Some at the meeting barely registered the change, since tech companies have... Continue reading »
by Sarah Sluis	// February 12th, 2015 //
IAB Vs Mozilla: Randall Rothenberg Takes The Gloves Off
As the debate over the intersection of consumer privacy and online advertising rages, a recent announcement that browser maker Mozilla would work with Stanford's Center for Internet and Society to create a "cookie clearinghouse" appears to have poured more fuel on the fire. Debuted by Mozilla CTO Brendan Eich's blog on June 19, and then reiterated in... Continue reading »
by John Ebbert	// July 1st, 2013 //
If 'Native' Is The New Advertising, Facebook And Twitter Are The New Networks
Both major publishers like Forbes and startups like Buzzfeed have found there's little point in trying to replicate the traditional ad model when it comes to digital. And even programmatic has its limits, in their view. In what was billed as a "debate" on the value or hype of native advertising at the Interactive Advertising... Continue reading »
by David Kaplan	// February 26th, 2013 //
At IAB Leadership Conference, The Push Is On For 'Big Ideas' To Match Big Data
It has become de rigueur at the Interactive Advertising Bureau's annual conferences for executives to take to the stage for sessions that were half encouraging and half lecturing industry professionals for getting the science of digital marketing right, while not quite nailing down the art side of the equation. This year's IAB Annual Leadership Meeting... Continue reading »


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Ventra Available to All CTA, Pace Customers
All customers can get Ventra fare payment cards; can board trains and buses by paying with contactless bank cards; and access additional benefits of new, modern fare payment system
VentraTM—the Chicago Transit Authority and Pace's new fare-payment system—makes its full public rollout today, bringing the convenience and flexibility of a single fare card to all transit customers throughout the region.
With the Ventra contactless payment system, transit riders board CTA trains and buses and Pace buses with a simple "tap" of a Ventra Card or a contactless personal bank card. Customers who register their card—a process that takes just a few minutes—will enjoy the benefits of an account-based system, including balance protection and easy account management. There are no extra costs to use Ventra for transit and fares are the same as today.
"Ventra replaces CTA's outdated, nearly 20-year-old fare-payment system and brings flexible, convenient amenities to customers who take nearly 1.7 million rides on the CTA each weekday," said CTA President Forrest Claypool. "This is another example of how the CTA is working to modernize our system while leveraging technology to better serve our customers."
"Pace and CTA are taking the next step forward in the evolution of fare payment technology to maximize convenience and account security for riders," said Pace Executive Director T.J. Ross. "Whether a rider uses transit every day or on an occasional basis, Ventra simplifies the process of boarding the bus and paying their fare."
Ventra will replace all CTA and Pace existing fare media by Dec. 15, 2013.
As part of an extensive outreach and education campaign that began last year, the CTA and Pace have deployed Ventra Ambassadors across the region to assist customers. Stationed at most of the CTA's busiest rail stations, the Ambassadors provide information, answer questions and assist customers with using Ventra vending machines. The Ambassador effort began last week and will continue into this week. CTA also has information specialists, identified by a yellow safety vest, deployed throughout the system to assist customers.
The new Ventra Card features two accounts—one for transit payments only and another optional prepaid debit account for everyday purchases anywhere Debit MasterCard is accepted. The prepaid card is an optional feature for cardholders who choose to use the Money Network® MasterCard® Prepaid Debit Account.
Today's full public introduction of Ventra is the latest step in a phased rollout of the new system. The CTA and Pace first introduced Ventra last month to select customers, including Chicago Public School students, U-Pass users and Chicago Card Plus customers. The phased rollout is designed to allow some customers to become acquainted with the system group by group, while allowing the CTA and Pace to closely monitor system performance.
Chicago Card Plus and registered Chicago Card customers continue to receive their cards in the mail, preceded by email notifications that let customers know when their cards are expected to arrive. Once those customers receive their cards, they must call the toll-free number on a sticker affixed to the card to activate it for immediate use, a process that takes just a minute or two.
The Regional Transportation Authority (RTA) will issue new Reduced Fare and Ride Free permits for customers who already receive reduced or free rides later this month. Chicago Card Plus and Chicago Card customers participating in the Transit Benefits program will begin to transition to Ventra starting this month through the fall.
The $5 Ventra Card purchase fee will be waived through December when ordered online at www.VentraChicago.com or by phone at 1-877-NOW-VENTRA (1.877.669.8368). Card purchase fees at Ventra vending machines and participating Ventra retail locations will be converted to transit value upon registration. Registration also provides balance protection in the event of a lost or stolen card—a significant benefit that was previously not possible for CTA and Pace customers using magnetic stripe cards.
Customers are encouraged to begin spending down the value of their Chicago Cards and magnetic stripe cards and to use multiday passes to prepare for the transition to Ventra. Both the old and new systems will overlap for a period in order to ease customers onto the new fare payment system. During the transition, customers will begin to notice a more limited ability to reload and purchase new magnetic stripe farecards in the coming weeks and months. CTA and Pace will issue reminders as these important dates approach.
To further assist customers with the transition to Ventra, the CTA and Pace will hold 27 balance transfer events across Chicago and the suburbs. Customers can transfer stored transit value from eligible magnetic-stripe cards and Chicago Cards to a new registered Ventra Card, which will be provided at no cost. Customers may bring a maximum of five eligible fare media cards at a time with a combined minimum of $5 in transit value. A list of the events is available at VentraChicago.com in the 'About Ventra' section. Additional balance transfer events may be added at a later date.
Those with a contactless credit or debit card can also register online or by phone for a Ventra Transit Account and use the bank cards already in their wallets to access the CTA and Pace.
CTA and Pace are the first major transit agencies in North America to offer a fare payment system which accepts all contactless forms of payment. The system was designed and developed by Cubic Transportation Systems.
For more information, and to view videos about the new system, visit www.VentraChicago.com.


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The Silence of Bey
I just read this article over at the New York Times about Beyoncé and I must admit that she is a genius! Here are the excerpts that made me go, hmmmmmmm;
It is part of the bargain struck between celebrities and the news media, where face time and a few juicy first-person revealations are traded for a starring role.
But inside Vogue's September issue, Beyoncé says not a word.
It may be unusual for Vogue, whose representatives declined to comment, but it is no longer unusual for Beyoncé. At some imperceptible point around 2013 to 2014, she appears to have stopped giving face-to-face interviews. A member of her team told a reporter in May that despite numerous apperarances, she had not answered a direct question in more than a year. Her publicist declined to clarify this stance. (When Beyoncé does anwer questions, it tends be in writing or, for TV, taped.)
"She's been able to reach this level of stardom in which she's manage -- in a way that I really think is unique even among other black women entertainers -- hyper-visability and inaccessibility simutaneously," Professor Brooks said.
With so many celebrites being misquoted and having their works chopped and screwed by all forms of media, I think that this is the most genius thing a celebrity has done. To literally NOT answer any direct questions in over a year is definitely a power move.
These are just my opinions and I am by no means a Beyoncé stan, but much respect to Bey.
Source: Beyoncé is Seen But Not Heard, New York Times
Tags: beyonce, september issue, vogue


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Why don't we have fusion yet?
The preamplifiers of the National Ignition Facility. The unified lasers deliver 1.8 megajoules of energy and 500 terawatts of power — 1,000 times more than the United States uses at any one moment. (Credit: Damien Jemison/LLNL)
The dream of igniting a self-sustained fusion reaction with high yields of energy, a feat likened to creating a miniature star on Earth, is getting closer to becoming reality, according the authors of a new review article in the journal Physics of Plasmas.
Researchers at the National Ignition Facility (NIF) report that while there is at least one significant obstacle to overcome before achieving the highly stable precisely directed implosion required for ignition, they have met many of the demanding challenges leading up to that goal since experiments began in 2010.
To reach ignition (defined as the point at which the fusion reaction produces more energy than is needed to initiate it), the NIF focuses 192 laser beams simultaneously in billionth-of-a-second pulses inside a cryogenically cooled hohlraum (from the German word for "hollow room"), a hollow cylinder the size of a pencil eraser.
Within the hohlraum is a ball-bearing-size capsule containing two hydrogen isotopes, deuterium and tritium (D-T). The unified lasers deliver 1.8 megajoules of energy and 500 terawatts of power — 1,000 times more than the United States uses at any one moment — to the hohlraum, creating an "X-ray oven" that implodes the D-T capsule to temperatures and pressures similar to those found at the center of the sun.
"What we want to do is use the X-rays to blast away the outer layer of the capsule in a very controlled manner.
That's so the D-T pellet is compressed to just the right conditions to initiate the fusion reaction," explained John Edwards, NIF associate director for inertial confinement fusion and high-energy-density science.
One major hurdle
Schematic of NIF ignition target and capsule (credit: M. J. Edwards et al., Physics of Plasmas)
"In our new review article, we report that the NIF has met many of the requirements believed necessary to achieve ignition — sufficient X-ray intensity in the hohlraum, accurate energy delivery to the target and desired levels of compression — but that at least one major hurdle remains to be overcome: the premature breaking apart of the capsule."
In the article, Edwards and his colleagues discuss how they are using diagnostic tools developed at NIF to determine likely causes for the problem. "In some ignition tests, we measured the scattering of neutrons released and found different strength signals at different spots around the D-T capsule," Edwards said.
"This indicates that the shell's surface is not uniformly smooth and that in some places, it's thinner and weaker than in others. In other tests, the spectrum of X-rays emitted indicated that the D-T fuel and capsule were mixing too much — the results of hydrodynamic instability — and that can quench the ignition process."
Edwards said that the team is concentrating its efforts on NIF to define the exact nature of the instability and use the knowledge gained to design an improved, sturdier capsule. Achieving that milestone, he said, should clear the path for further advances toward laboratory ignition.
The project is led by the Department of Energy's Lawrence Livermore National Laboratory and includes partners from the University of Rochester's Laboratory for Laser Energetics, General Atomics, Los Alamos National Laboratory, Sandia National Laboratory, and the Massachusetts Institute of Technology.
The article, "Progress toward ignition on the National Ignition Facility" by M.J. Edwards et al. appears in the journal Physics of Plasmas. Authors of this paper are affiliated with Lawrence Livermore National Laboratory, General Atomics in San Diego, Calif., the Massachusetts Institute of Technology, the University of Rochester, Los Alamos National Laboratory, and Sandia National Laboratory.
Physics of Plasmas, produced by AIP Publishing with the cooperation of the American Physical Society (APS) Division of Plasma Physics, is devoted to original experimental and theoretical contributions to the physics of plasmas.


Lanai's Travel Club is a group of like-minded people that enjoy traveling the world and gaining new experiences. From destinations like Gangnam, Fukuoka, and Alaska, to Spain, Italy, and Greece, your personal travel guide Lanai Tabura is enthusiastic about all the upcoming trips. Lanai is a special event host, comedian, and globetrotter and has the personality to make your vacation unforgettable.
Brought to you by Hawaiian Airlines and partnering with Hawaii Aloha Travel, Lanai's Travel Club is your complete guide to seeing the world. We take care of the planning, itinerary, payment process, and details so that you don't have to! It really is an easy way for those who are unfamiliar or new to traveling abroad. And the group size is no more than 50 people per trip, so you'll get to meet and mingle with a great bunch of people.
Lanai's Travel Club plans multiple trips in advance so you can browse through and see which one interests you. Lanai is experienced and knowledgeable, and creates daily itineraries that add excitement to your day.
Flights / cruise ship experience and amenities / private tours / exploring like locals / good food / great wine and drinks / city walks / ferry rides / unique shopping / live music / museums / history / entertainment / an eye-opening adventure!
Lanai is born and raised on the pineapple island of Lanai in Hawaii and is one of the state's most loved entertainers. Entrepreneur, owner and operator of a full service travel agency, comedian, morning radio host, actor and frequent traveler, Lanai has a handful of hobbies and interests that make him one-of-a-kind. Lanai owns one of the largest music libraries of Hawaii music and also has a successful wine label ("Look Me in the Eye") sold in Whole Foods, Ruth's Chris, Tamuras, Foodland, Wine Stop, and many more.
As Lanai's Travel Club's personal tour guide, this personality offers a unique and fun way to explore new countries. Growing in popularity and notoriety, Lanai is THE guy to travel with.


text:
Potassium Restoration in Hypertensive Patients Made Hypokalemic by Hydrochlorothiazide
Harold W. Schnaper, MD; Edward D. Freis, MD; Richard G. Friedman, MD; et al W. Thomas Garland, MD; W. Dallas Hall, MD; John Hollifield, MD; Adesh K. Jain, MD; Patricia Jenkins, MD; Allan Marks, MD; F. Gilbert McMahon, MD; Nancy C. Sambol, PharmD; Roger L. Williams, MD; Nathaniel Winer, MD
From the Center for Aging, University of Alabama in Birmingham (Dr Schnaper); Veterans Administration Medical Center, Washington, DC (Dr Freis); San Diego (Calif) Centre for Stress Studies (Dr Friedman); Margo Morgan Research Center, New Orleans, La (Dr Garland); Emory University School of Medicine, Atlanta, Ga (Dr Hall); Hypertension Center of Nashville (Tenn) (Dr Hollifield); Clinical Research Center Inc, New Orleans (Drs Jain and McMahon); Urban Cardiology Research Center, Garwyn Medical Center, Baltimore, Md (Dr Jenkins); Temple University Hospital, Philadelphia, Pa (Dr Marks); Drug Studies Unit, University of California, San Francisco (Drs Sambol and Williams); and University of Missouri School of Medicine, Kansas City (Dr Winer).
• Among 447 hypertensive patients, most with a history of diuretic-induced hypokalemia, 252 developed diuretic-induced hypokalemia while receiving hydrochlorothiazide, 50 mg/d. In a randomized study we evaluated the efficacy of three drug regimens in restoring potassium levels while maintaining blood pressure control: hydrochlorothiazide (50 mg/d) plus potassium supplement (20 mmol/d); hydrochlorothiazide (50 mg/d) plus potassium supplement (40 mmol/d); or hydrochlorothiazide (50 mg/d) with triamterene (75 mg/d) in one combination tablet. In all groups, mean serum levels of potassium rose within 1 week and showed no further change thereafter. However, the hydrochlorothiazide/triamterene and hydrochlorothiazide plus 40 mmol of potassium regimens were significantly more effective in restoring serum potassium levels than was the hydrochlorothiazide plus 20 mmol of potassium regimen. A significant increase in magnesium levels was observed only in the group treated with the hydrochlorothiazide/triamterene combination. Each regimen provided continued control of mild to moderate hypertension.
Schnaper HW, Freis ED, Friedman RG, et al. Potassium Restoration in Hypertensive Patients Made Hypokalemic by Hydrochlorothiazide. Arch Intern Med. 1989;149(12):2677–2681. doi:10.1001/archinte.1989.00390120043009


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Listowel (Irsk: Lios Tuathail) er en irsk by i County Kerry i provinsen Munster, i den sydvestlige del af Republikken Irland med en befolkning (inkl. opland) på 4.338 indb i 2006 (3.999 i 2002).

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