text:
Fi 156 Рода () је једнокрилни дво- или троседи вишенаменски авион мешовите конструкције метал-дрво-платно са неувлачивим класичним стајним трапом. Производио се у Нацистичкој Немачкој у фабрици Физлер.

Развој
Прототип овог авиона чије летне карактеристике нису достигнуте више од 35 година - могао је да слети на само 20 метара - полетео је у пролеће 1936. године. Био је изузетно покретљив на малим брзинама и у потпуности је испуњавао СТОЛ услове. Такође, то један од свега четири типа авиона који су ратовали буквално од првог до задњег дана Другог светског рата у Европи. После испитивања заробљених примерака Савезници су закључили да је то авион без премца у свету у својој класи и да они немају ништа ни приближно тако добро. Шта више, Винстон Черчил је за свој лични транспорт користио једну од укупно 47 заплењених Рода. Овај тип авиона користио је и Ото Скорцени 12. септембра 1943. када је избавио Мусолинија из заробљеништва у планинском масиву Гранд Сасо. Само током рата произведено је 2.549 Рода, а после рата производња је настављена у Чехословачкој под ознаком К 65 Чап (-{Mraz K 65 Čáp}-) и Француској (-{Morane Saulnier MS 500}-).

Технички опис
Авион Fieseler Fi 156 Рода је једнокрили, висококрилни (парасол) вишеседи једномоторни авион мешовите конструкције.

Труп: Носећа структура трупа авиона је била направљена као заварена решеткаста конструкција од високо легираних хром молидбен челика високе чврстоће. Носач мотора је био од заварених челичних цеви. Предњи део трупа где се налазио мотор, био је пресвучен алуминијумским лимом, а остатак трупа био је обложен импрегнираним платном. У трупу се налазила кабина са три или четири седишта постављена једно иза другог. Пилот је седео на првом седишту. Кабина је била затворена покривена великом стакленом површином која је омогућавала изванредну видљивост околине авиона. Она је била шира од трупа авиона тако да је посада могла да гледа терен испод авиона не протурајући главу из кабине (шау фенстер). Кров кабине је такође био од плексигласа а по облику је пратио горњу површину крила.

Погонска група: Авион је најчешће био опремљен ваздухом хлађеним линијским осмоцилиндричним мотором обрнутог "V" распореда (цилиндри су окренути на доле), Argus Аs10C снаге 240 KS или Argus As10Р снаге 270 KS. Издувне цеви из цилиндара мотора су изведене кроз капотажу мотора на трбух авиона. На вратилу мотора је била причвршћена двокрака вучна, дрвена елиса, непроменљивог корака и пречника 2,60 m,

Крила су била дрвене конструкције, правоугаоног облика обложена импрегнираним платном. Оса крила је била управна на осу авиона. Дуж нападне ивице крила и то целом дужином су се налазила предкрила која су омогућавала повећање узгона. На излазној ивици крила такође целом дужином крила су се налазила закрилца. Овака конструкција крила су омогућавала овом авиону СТОЛ карактеристике.

Конструкције репних крила и вертикални стабилизатор као и кормило правца су биле направљене као металне конструкције пресвучене импрегнираним платном. Хоризонтални репни стабилизатори су затезницама били укрућени за вертикални стабилизатор авиона.

Стајни трап: Aвион је имао класичан стајни трап са два точка опремљена гумама ниског притиска (балон гуме) напред и клавирски гумени точак на репу авиона као трећу ослону тачку авиона. Предњи точкови су били опремљени механичким кочницама.

Варијанте авиона Fi 156 Рода
 Fi 156 A0 - A1 - авиони са различитим стајним органом (тражење                                                  најповољнијег решења)
 Fi 156 B          - модификација стајног органа
 Fi 156 C0 - C5 - авион са митраљезом, транспортна верзија, мотор Аs                                          10Р, тропска верзија са филтерима за песак и прашину
 Fi 156 D0 - D1 - санитетска верзија
 Fi 156 E0        - варијанта са посебном шасијом
 Fi 156 P          - бомбардерска верзија авиона "Рода"
 Mraz K 65 Čáp - чешка варијанта авиона "Рода"
 MS 500/502     - авиони "Рода" произведени у Morane Saulnier Француска
 ОКА-38 Аист   - руска верзија авиона "Рода" Fi 156 A направљен 1 прототип 1940. године

Оперативно коришћење
Укупна производња достигла 2.900 примерака. Производио се у Немачкој (Fieseler Flugzeugbau GmbH), СССР-у (Antonov) производен 1 примерак на основу лиценце, у Француској (Morane-Saulnier) је произведено 925 примерака, у Румунији (ICAR) је производено 80 комада на основу лиценце, а у Чехословачкој (Mraz) је направљено 138 авиона. Само током рата произведено је 2.549 Рода, а после рата производња је настављена у Чехословачкој под ознаком К 65 Чап (Mraz K 65 Čáp) и Француској (Morane Saulnier MS 500).

Авион Fi 156 са својим екстремним СТОЛ карактеристикама (каратко полетање и слетање) - развијен је као авион за везу, извиђање, корекцију артиљеријске ватре, фотоснимање, санитет итд., током своје дуге употребе доживео је веома различите примене. После рата овај авион је нашао широку примену и у цивилству. Коришћен је у пољопривреди за запрашивање и прихрану усева, за транспорт путника, поште и робе, за вучу једрилица и спортском ваздухопловству, у служби спашавања итд.

Југославија
Ваздухопловство војске Краљевине Југославије је 1940. купило двадесет Рода, које су углавном уништене у Априлском рату. Крајем рата јединице НОВЈ заробиле су осам Рода, а 1947. набављено је још 14 авиона из Чехословачке. Били су у наоружању РВ-а све до 1957. године када су предате на употребу ВСЈ, где је последњи примерак расходован 1960. године.

Крајем педесетих година разматрана је могућност да се оригинални Аргус мотори којима је истицао ресурс замене америчким боксер-моторима Лајкоминг (Lycoming), али се од тога одустало јер је рачуница показала да то не би било рентабилно.

Коришћење

Види још
 Ikarus Kurir
 Utva 66
 Списак авиона коришћених у НДХ

Референце

Литература

 О. Петровић; Војни аероплани Краљевине СХС/Југославије (Део II: 1931 – 1941), Лет 3/2004. Београд, 2004.

Спољашње везе

 http://www.vazduhoplovnetradicijesrbije.rs/index.php/istorija/fieseler-fi-156-storch
 -{www.airwar.ru}-: Икарус Курир

Извиђачки авиони
Транспортни авиони
Школски авиони
Цивилни авиони
Путнички авиони
Спортски авиони
Ваздухоплови ВВКЈ
Ваздухоплови РВ и ПВО
Југословенски и српски авиони
Авиони Другог светског рата


BATAVIA, IL (December 1, 2016) – Retired Covenant pastor Gary Ridout died Sunday, November 27. He was 82.
Gary was born September 28, 1934, in Buckeye, Iowa. He attended North Park College and earned a master's of divinity at North Park Seminary.
He married Patricia (Pat) Ridout on June 26, 1954. She preceded him in death.
Before attending seminary, Gary worked at several agricultural feed companies. He went on to serve the Evangelical Covenant Church in Savonburg, Kansas; Bensonvale Covenant Church in Omaha, Nebraska; Hillside Covenant Church in St. Peters, Missouri; and Mission Covenant Church in Blue Island, Illinois.
Survivors include three daughters, KoKay Renken, Koleen Persson, and Kris Wedekind; eight grandchildren, and 12 great-grandchildren.
A celebration of life service will be held at the Princeton (Illinois) Covenant Church in early 2017.


text:
Single compartment drug delivery
J Control Release. 2014 Sep 28;190:157-71. doi: 10.1016/j.jconrel.2014.04.049. Epub 2014 May 4.
Michael J Cima 1 , Heejin Lee 2 , Karen Daniel 2 , Laura M Tanenbaum 3 , Aikaterini Mantzavinou 3 , Kevin C Spencer 4 , Qunya Ong 3 , Jay C Sy 5 , John Santini Jr 6 , Carl M Schoellhammer 7 , Daniel Blankschtein 7 , Robert S Langer 5
1 The David H. Koch Institute for Integrative Cancer Research, Massachusetts Institute of Technology, Cambridge, MA 02139, USA; Department of Materials Science, Massachusetts Institute of Technology, Cambridge, MA 02139, USA. Electronic address: mjcima@mit.edu.
2 TARIS Biomedical, Inc., Lexington, MA 02421, USA.
3 The David H. Koch Institute for Integrative Cancer Research, Massachusetts Institute of Technology, Cambridge, MA 02139, USA; Harvard-MIT Division of Health Sciences and Technology, Massachusetts Institute of Technology, Cambridge, MA 02139, USA.
4 The David H. Koch Institute for Integrative Cancer Research, Massachusetts Institute of Technology, Cambridge, MA 02139, USA; Department of Materials Science, Massachusetts Institute of Technology, Cambridge, MA 02139, USA.
5 The David H. Koch Institute for Integrative Cancer Research, Massachusetts Institute of Technology, Cambridge, MA 02139, USA.
6 On Demand Therapeutics, Inc., Menlo Park, CA 94025, USA.
7 Department of Chemical Engineering, Massachusetts Institute of Technology, Cambridge, MA 02139, USA.
DOI: 10.1016/j.jconrel.2014.04.049
Drug design is built on the concept that key molecular targets of disease are isolated in the diseased tissue. Systemic drug administration would be sufficient for targeting in such a case. It is, however, common for enzymes or receptors that are integral to disease to be structurally similar or identical to those that play important biological roles in normal tissues of the body. Additionally, systemic administration may not lead to local drug concentrations high enough to yield disease modification because of rapid systemic metabolism or lack of sufficient partitioning into the diseased tissue compartment. This review focuses on drug delivery methods that physically target drugs to individual compartments of the body. Compartments such as the bladder, peritoneum, brain, eye and skin are often sites of disease and can sometimes be viewed as "privileged," since they intrinsically hinder partitioning of systemically administered agents. These compartments have become the focus of a wide array of procedures and devices for direct administration of drugs. We discuss the rationale behind single compartment drug delivery for each of these compartments, and give an overview of examples at different development stages, from the lab bench to phase III clinical trials to clinical practice. We approach single compartment drug delivery from both a translational and a technological perspective.
Keywords: Controlled release drug delivery; Local therapy; Microfabrication; Noninvasive; Single compartment; Targeted therapy.
Copyright © 2014 Elsevier B.V. All rights reserved.
Administration, Intravesical
Catheterization / instrumentation
Delayed-Action Preparations*
Drug Delivery Systems*
Molecular Targeted Therapy*
Delayed-Action Preparations
P30 CA014051/CA/NCI NIH HHS/United States
K99EB016690/EB/NIBIB NIH HHS/United States
R01EB016101/EB/NIBIB NIH HHS/United States
K99 EB016690/EB/NIBIB NIH HHS/United States
R01 EB016101/EB/NIBIB NIH HHS/United States

redpajama_set_name: RedPajamaCommonCrawl


text:
Funding Report
The core of our business
Our stories of impact
Creating a forever family
Breaking stereotypes
Building meaningful relationships
Regaining control of finances
How Sally escaped family violence during lockdowns
Brothers James (seven) and Tom (five) had not had a good start to life. From a young age they had been exposed to family violence and substance abuse, and eventually were removed from their parents and placed in the care of their grandparents, Kate and John.
The children now had a safe and loving home, but the arrangement was only temporary; the family desperately wanted a permanent solution to give them the stability and certainty they all needed to move forward.
"James would ask me when we could be a forever family." – Kate
When Kate began working with Bethany's Kinship Care Worker, Nicole, she felt anxious about forming a relationship with a new case worker and lacked trust in the system following the stress of recent events.
By focussing on open and transparent communication, and by validating Kate's experiences, Nicole was able to build a strong rapport with Kate and gain her trust. Nicole and Kate worked together to develop a timeframe for achieving their goal – permanent care for Tom and James – giving Kate the sense of hope she needed.
"No-one had ever spoken with me about timeframes for a Permanent Care Assessment.
It suddenly felt more real and achievable after we had that conversation." -Kate
Nicole helped the family to navigate the lengthy assessment process, and finally Kate and John were granted a Permanent Care Order. The children had the 'forever family' they had dreamed of.
With the security of a safe and stable family unit providing strong foundations, life has normalised for Tom and James, and their future looks bright. Kate and John are supporting the boys to create their own connections, including maintaining a relationship with their birth parents.
Bethany will continue to provide support to Kate, John, James and Tom through its Kinship Care program.
Through its Kinship Care program, Bethany supports children who are unable to live with their parents either temporarily or permanently, and who are in the care of a relative or another adult in the child's social network.
The Bethany team works with families, carers, networks and child protection services to ensure a stable, safe home environment for children like Tom and James. Bethany's kinship care workers provide practical and emotional support to carers like Kate and John, guiding the family through the complexities of the kinship care and child protection system, providing advocacy, facilitated support groups, and referrals to counselling programs as required.
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text:
<?php

namespace Application\Migrations;

use Doctrine\DBAL\Migrations\AbstractMigration;
use Doctrine\DBAL\Schema\Schema;

/**
 * Auto-generated Migration: Please modify to your needs!
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class Version20171115213934 extends AbstractMigration
{
    /**
     * @param Schema $schema
     */
    public function up(Schema $schema)
    {
        // this up() migration is auto-generated, please modify it to your needs
        $this->abortIf($this->connection->getDatabasePlatform()->getName() !== 'mysql', 'Migration can only be executed safely on \'mysql\'.');

        $this->addSql('CREATE TABLE feature (id INT AUTO_INCREMENT NOT NULL, short_description VARCHAR(255) NOT NULL, full_description VARCHAR(255) NOT NULL, PRIMARY KEY(id)) DEFAULT CHARACTER SET utf8 COLLATE utf8_unicode_ci ENGINE = InnoDB');
        $this->addSql('ALTER TABLE engine CHANGE car_drive car_drive ENUM(\'front\', \'full\', \'back\')');
    }

    /**
     * @param Schema $schema
     */
    public function down(Schema $schema)
    {
        // this down() migration is auto-generated, please modify it to your needs
        $this->abortIf($this->connection->getDatabasePlatform()->getName() !== 'mysql', 'Migration can only be executed safely on \'mysql\'.');

        $this->addSql('DROP TABLE feature');
        $this->addSql('ALTER TABLE engine CHANGE car_drive car_drive VARCHAR(255) DEFAULT NULL COLLATE utf8_unicode_ci');
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redpajama_set_name: RedPajamaGithub


It's been hard to avoid the latest social media dust up involving footy player Israel Folau.
In case you somehow missed it, he posted a meme sharing his strong religious views. I'm not even going to reference what he wrote, because it's extremely offensive to, well, almost anyone with a pulse.
Back to my point… A lot of people have reacted to his strong religious views. A lot of people have called for him to be sacked by Rugby Australia, rightly pointing out that his views do not align with the views of a sport that is trying to promote diversity and inclusion.
Rugby Australia heard the people, and they responded… ripping up his $4m contract along the way.
But here's the thing: why did Folau put his career and income at risk by continually sharing such divisive views?
A cursory glance at his Instagram page reveals that the highly charged Christian hype he's been posting has been accelerating in recent months. It went from the odd post about Jesus here and a thank you to God there, to a constant supply of very strong religious rhetoric.
Browsing the reaction on social media, I think one user had cottoned on to why.
"This is @izzyfolau on the cover of a gay magazine @starobserver promoting a gay rugby tournament @binghamcup. What that tells me is this guy is about his religion when it is convenient to him.
I am pro-freedom of speech as long as it does not discriminate against others. Israel can be pro his religion without denigrating other people. He clearly wants out of his deal.
It certainly puts a new spin on things, doesn't it?
What do you think? Should Izzy have been fired by Rugby Australia over this post? Do you think it was a strategic move as he has other career plans elsewhere?
Israel Folau may have had his constitutional right being violated by his employer. s116 of the Australian Constitution protects freedom of religious expression.
It's about money, alright. Qantas' money. Otherwise Rugby Australia would simply decree it is a matter for the individual and ignore it.


Brussels — With the direst warnings yet of impending environmental disaster ringing in their ears, representatives of nearly 200 nations gathered in Poland on Sunday to firm up their plan to avert catastrophic climate change.
The UN climate summit comes at a crucial juncture in humankind's response to planetary warming. The smaller, poorer nations that will bear its devastating brunt are pushing for richer states to make good on the promises they made in the 2015 Paris agreement.
In Paris three years ago, countries committed to limit global temperature rises to well below 2°C, and to the safer cap of 1.5°C if at all possible.
In a rare intervention, presidents of previous UN climate summits issued a joint statement as the talks got under way in the Polish mining city of Katowice, calling on states to take "decisive action … to tackle these urgent threats".
In Katowice, nations must agree to a rule book palatable to all 183 countries that ratified the Paris deal.
G20 leaders on Saturday agreed on a final communique after their summit in Buenos Aires, declaring that the Paris agreement was "irreversible".
Even solid progress in Katowice on the Paris goals may not be enough to avert runaway global warming, as major climate reports have indicated.
Just this week, the UN's environment programme said voluntary national contributions agreed on in Paris would have to triple if the world was to cap global warming below 2°C. For 1.5°C, they must increase fivefold.
While the figures are clear, global political consensus on how to tackle climate change remains elusive.
"Katowice may show us if there will be any domino effect" with US withdrawal, said Laurence Tubiana, CEO of the European Climate Foundation and a main architect of the Paris deal.
Brazilian president-elect Jair Bolsonaro, for one, has promised to follow the US lead during his campaign.
But many other countries are already dealing with the droughts, higher seas and catastrophic storms that climate change is making worse.
"A failure to act now risks pushing us beyond a point of no return with catastrophic consequences for life as we know it," Amjad Abdulla, chief negotiator for the Alliance of Small Island States, said of the UN talks.
A key issue up for debate is how the fight against climate change is funded, with developed and developing nations still worlds apart in their demands.
But wealthy states, led by the US, have so far resisted calls to be more transparent in how their contributions are reported, something that developing nations say is vital to form ambitious green energy plans.
"Developed nations led by the US will want to ignore their historic responsibilities and will say the world has changed," said Meena Ramam of the Third World Network advocacy group.


text:
The Thai Elephant Orchestra is a musical ensemble consisting of as many as fourteen Thai elephants near Lampang in Northern Thailand.  The elephants play music, essentially as conducted improvisations, on specially designed heavy-duty musical instruments. The orchestra was co-created by elephant conservationist Richard Lair of the National Elephant Institute  and the American musical artist and neuroscientist Dave Soldier.  They have released three CDs on the Mulatta Records label with an orchestra ranging in size from six to fourteen elephants.

The Orchestra currently performs for visitors at the center.  It was created as part of the center's effort to  provide a place for former working animals.  Their music has been described as "genuine" by some music critics.

Background
It has been noted since ancient times that elephants seem to have an affinity for music.   Performing circus elephants commonly follow musical cues, and early American circuses such as Adam Forepaugh and Barnum & Bailey even featured "elephant bands."  In the 1950s, German evolutionary biologist Bernard Rensch found that elephants can distinguish 12 tones on the musical scale and remember simple melodies, even when played on different instruments at various pitches, timbres, and meters.

Three albums of music created by elephant musicians was conceived by New York-based musical artist Dave Soldier (a.k.a. David Sulzer, PhD) and elephant expert Richard Lair, who works at the Thai Elephant Conservation Center in Lampang. Traditional Thai music is a genre familiar to the elephants, so they chose Thai music scales with a few blues notes. According to Lair, many of the elephants took to their assignment "with gusto".

Music
The Thai Elephant Orchestra primarily uses the Lanna Thai five-note scale, and most instruments are heavy-duty versions of traditional Thai musical instruments; additional instruments include drums and harmonica.

Their musical works are of two general types. The first type, which are on the recordings, features the elephants individually improvising on the instruments with the only human interaction being cues as to when to start and stop. The other type is compositional and requires mahouts to teach or train the elephants to perform human tunes as a hocket, with each elephant playing an individual note on angalungs.
Discography
 (2002) – The Thai Elephant Orchestra
 (2005) – Elephonic Rhapsodies
 (2011) – Water Music

References

External links

 — Story, photos and 4-part documentary
 Kinship with Animals : Thai Elephant Orchestra , article  by Dave Soldier
2013 Interview with Dave Soldier on Thai Elephant Orchestra on BBC
2013 Interview about The Thai Elephant Orchestra, NPR: All Things Considered by Jacki Lyden
Interview on WNYC Radio by John Schaefer
The Thai Elephant Orchestra in The Economist

Zoomusicology
Individual elephants
Thai musical groups
Animals in entertainment
Elephants in Thailand

redpajama_set_name: RedPajamaWikipedia


text:
Santo Tomé: the comparsas prepare to parade again | THE TERRITORY news from Misiones
by Earline Patterson
Tuesday, January 10, 2023 | 4:10 p.m.
The aroma of carnival can already be felt in the Capital of Rhythm, which will once again have parades on Parque Corsódromo avenue after three years. The dates for the King Momo 2023 party will be on January 21 and 28, and February 4, and the general admission will be 500 pesos.
From the Central Carnival Commission they confirmed that this week the contract will be signed with Cristian Berger, the funder of the party, and that from that heading the sale of spaces, the concession of food, beer and snow throwers will be published.
What themes does each group present?
This year Turma do Fon Fon will bring "A question of faith" to the avenue, where it will expose the manifestations of the mixture of African and Catholic religions, highlighting the tribes that believed in faith, which was sacred, and was made up of four elements , air, water, earth and fire. Religion and faith were passed from generation to generation and from town to town. Among the manifestations of this mixture of African and Catholic religions that occurs in practically all of Brazil are for example: OXISSI (Saint Sebastian), OGUM (Saint George), XANGO (Saint Michael the Archangel, Saint John the Baptist, Saint Geronimo), IBEYIS (San Cosme and San Damián), OXUM (Immaculate Conception of Mary), IANSA (Santa Bárbara), IEMANJA (Stella Maris/ Santa Ana), among others. His carnivalesques are Silvia Ávalos and Tata Ramírez Forte.
Ipanema this year will present "The fine line between the world of the living and the kingdom of the dead", making reference to Halloween and everything that terrifies mere mortals the most. The best-known horror characters in history will take to the avenue at the hands of the Tricolor. Halloween, the dreaded "witches' night", the centuries-old tradition that mixes bonfires, spells, pumpkins and candies. The ancients say that during Halloween night, witches and skulls take over the lonely streets, terrifying the unsuspecting. They ensure that ghosts fly over from the tombs, vampires come out of their sarcophagi full of cobwebs, and it is the ideal night for evil. The carnivalesque is Ariel Fernández.
"Response to time" will be the proposal that Marabú will represent on the avenue in the long-awaited edition of the 2022 carnivals. In the history and designs made by the carnivalesque Juanjo Caballero, Marabú will try to explain the foundations of its durability over time, going through its beginnings, the moments and eternal memories of its history and honored to those unforgettable marabuceros who shine in the sky and others who still offer us their art in different shades, Mario Merlo in sculptures and designs, Bicho Centurión in rhythm (recently deceased), Ester Copinni in the lyrics of the most sung sambas and Marisa Zacarías and her dance. Marabú returns with her memories throughout her history to say that she is still alive and to give a message of hope to her sympathetic fans, whom she hopes, after two years of standing still, to find again in a hug, the most sincere and tight all his life.
Categories Characters Tags comparsas, Misiones, news, parade, prépare, Santo, TERRITORY, Tomé
Supernatural Creatures We Want To See In Season 2 | Pretty Reel
The secret of the success of the most addictive game


text:
Anime Site Collaboration Project Vol. 15: Craftar Studios
Jun. 28, 2019 08:14
Japanese anime is more popular now than it has ever been before. These interviews with anime studios will reveal the behind-the-scenes processes and emotions that go into making anime. This is a large-scale project done in collaboration with anime news sites throughout the world, such as the anime news site Anime!Anime!, Tokyo Otaku Mode, which has 20 million fans on Facebook, the huge Chinese sites Bahamut and Manrenzhi, and more.
You can find all the interviews here.
Craftar, a film consulting company from Hakuhodo DY Group, was established as an animation studio in August 2017. Using its distinctive "smart CG animation" as its greatest weapon, the studio has created many high-quality anime movies and TV series, such as Ashita Sekai ga Owaru Toshitemo, Ingress: The Animation, Osomatsu-san VR, Garo: Vanishing Line, Drifters, and others. Along with AR and VR, they have had much success with image-heavy animations. They have collaborated with international companies, had their VR films screened in movie theaters, and developed initiatives that go beyond conventional wisdom. They advocate "creating anime starting from how it is created" and are actively expanding their horizons.
Ashita Sekai ga Owaru Toshitemo
Osomatsu-san VR
The office's simple but modern interior.
The office is quiet and each person's desk is kept clean.
Meetings are held in brightly colored booths.
Craftar Studios continues to evolve with its "smart CG animation," a unique technique that incorporates the latest IT techniques such as AI and real time engineering. They are expanding the world of fully digital anime with works such as Ashita Sekai ga Owaru Toshitemo and Ingress: The Animation, which is based off a game by Niantic, Inc., the company that developed and manages Pokemon GO. But what kind of studio is Craftar Studios? What are the creators' goals for the future? We asked anime director Yuhei Sakuragi and managing director Hidenori Kawashima.
[Interview/composition = Mayuko Takagi]
Managing Director Hidenori Kawashima (Left) and Director Yuhei Sakuragi (Right)
- Please tell us about the history of Craftar Studios.
Kawashima: At first there were two different companies: Craftar, which produced anime and commercials, and Lucky Pictures, which subcontracted animation. Craftar's CEO, Mr. Furuta, and I agreed that we wanted to seriously create Japanese creative works for the world. At the same time, we worked together with Director Sakuragi and Producer Tomohiko Ishii on a project and expanded with a merger and acquisition. Then Craftar Studios was created in Shinjuku, which is the destination of all information media and film companies.
- What are Craftar Studios's strengths?
Kawashima: I definitely think it's our staff. Director Sakuragi is in charge of a company-wide system that allows us to create original works. We have hired many talented designers and staff that have been drawing for a long time, as well as many generalists, a term for those who combine a diverse number of specialties.
For example, we have a different definition of "quality" than an engineer might. That's why we can't reach an agreement unless we include people with a wide range of knowledge, such as those well-versed in programming or designing. It's hard to finish a movie or series on a tight schedule of one or two years unless you can work together to complete something.
However, we have staff who can act as in-betweens, so as a studio we have a perfect balance of specialties, diversity, and management capabilities.
- How is the company organized and how do you educate young animators?
Sakuragi: We employ about 40 people, which is on the low side for producing major works as a studio. I want to have everyone to have skills at the directing level. In general, we educate so that everyone in the studio knows what happens in every step of the process so they can take command of any part of a work at any time. That is part of the reason we all work on the same floor. I want them to see what the director is doing and have meetings together as much as possible. I want all of them to be able to create a series on their own.
Kawashima: I think it's necessary to create an environment in which the staff can have a positive mentality and enjoy the act of creating content. I believe that creating VR, commercials, and collaborating with other industries to create content other than just anime gives animators the ability to learn from other industries and actively work to become excellent creators. By continuing those acts, both individuals and the studio itself will gain greater techniques.
- Please explain the studio's mottos of "creating anime starting from how it is created" and "creating everything with everyone."
Kawashima: Our approach is to dig deep into how we are going to make a piece of work and consider each and every technique beforehand. However, we're not doing anything reckless or eccentric. We just want to maintain our current quality while taking approaches that change slowly over time while actively adopting AI and other new technology to challenge ourselves in innovative ways. It's important to maintain a stance of agreeing with all new technological advances without getting tied up in existing workflows.
By continually committing to technology, calculations that wouldn't have been made if we had done things the same way all along will continue to come up. That is a good thing. We are professionals at creating anime, but of course we aren't professionals in anything else.
When it comes to challenging anime production by using new technology not found in the traditional anime industry, proactively engaging with people in fields and industries other than your own allows for the creation of even greater advanced animation.
From the position of our parent company, Craftar, we have connections that other anime companies have been unable to make. Proactively engaging with companies in other industries, such as Unity and Preferred Networks, is one of Craftar Studios's characteristics and strengths.
- Do you have any foreign staff? Also, what would you look for if you were to hire more animators?
Sakuragi: We don't at the moment, but the software is the same, so as long as they have the skills they could probably do the same work. Even if they can't speak Japanese, that gives us a chance to practice our English, so I think it would be a good opportunity (laughs).
Kawashima: Only if I can get an English teacher (laughs). It's true that if English were to become the official language of our studio, we'd be able to take on global work.
A poster in the meeting room for Ashita Sekai ga Owaru Toshitemo, a movie directed by Yuhei Sakuragi.
- Ashita Sekai ga Owaru Toshitemo (directed by Yuhei Sakuragi/2019) was nominated for the Annecy International Animation Film Festival. When making the film, were there any parts you wanted international fans to pay attention to?
Sakuragi: When making Ashita Sekai ga Owaru Toshitemo, I thought a lot about how the international crowd would receive it. After all, Ingress, which was broadcast worldwide, was made with character settings and a story that we thought foreign fans would appreciate. However, we and the Niantic staff had different perceptions, so some foreign fans may find a few things strange.
For example, how we used frames. This is also related to why we used motion capturing in Ashita Sekai ga Owaru Toshitemo, but with Ingress, we learned that the affectations of Japanese anime are rarely understood by foreign audiences. When we added slow motion zoom-ins and purposefully deleted frames to make the work more "anime-ish", the foreign audience genuinely thought we had forgotten to put in the frames.
On the other hand, Japanese people find motion capture to be too smooth and don't like looking at it, but foreign audiences think it is high quality. Those sort of differences exist. Right now Japanese youth view a lot of different content on the Internet, so I believe their reactions are similar to the reactions from foreign fans.
Our target audience for Ashita Sekai ga Owaru Toshitemo was people around the protagonist's age, so late teens to early twenties. We changed the pretences from old-fashioned anime to make them smoother so that anyone watching, even foreign audiences, would understand them.
Ingress: The Animation
- By the way, are you praised or criticized for different things by Japanese and international fans?
Sakuragi: Our core fans from both within Japan and overseas surprisingly like the same things about our anime. People overseas are used to seeing anime by now. When you go to events like Anime Expo, the series getting the most attention are usually the same series that made an impact with anime-lovers here in Japan. However, I feel like anime is still a small worldwide community. Even though so many people turn up for Anime Expo, that's only a tiny percent of the world's population. I feel like people who have never seen Japanese anime before would have a different impression.
- The CG in Ingress: The Animation and Ashita Sekai ga Owaru Toshitemo was very smooth and I didn't feel that anything was out of place, like the scenery. Did you take Niantic's opinions into consideration while creating those parts?
Sakuragi: They didn't have any particular demands regarding the details of movement or the animation's quality. I think it's because our team had skill and experience. We've used a technology called "smart CG" for our anime's look for a long time now, and many of those smart CG animators worked together on Ingress. With Ashita Sekai ga Owaru Toshitemo, we focused more on imagining how we would bring that level of quality into our next phase by doing things like using motion capture or adding new details to the overall look.
- Including techniques, do you think there are differences between Japan and other countries?
Sakuragi: Definitely with the budget and the number of staff. Japanese studios are nowhere near the scale of large projects overseas. Even with budgets, we'll be competing in the same arena and have to think of how we will go up against competitors. There are definitely fewer Japanese people in the industry, so we have to focus our most-talented staff on creating works that can compare to foreign works. In this industry, it feels like we excel the more we improve. You can't win unless you have the best of the best when it comes to Japanese animators.
Kawashima: The most important condition is scale. The amount of work we can take on is different. America and China are major economic powers, so it's a matter of how much power they have over us, Japan.
It's no longer a matter of one company going up against overwhelming economic power. It's all about how you put together your work in the time available. I think that's the only way to go if we seriously want to compete with foreign companies.
- Are there any other works or directors who have inspired you?
Sakuragi: It's a secret.
Kawashima: (Laughs) This is pretty standard, but I like Star Wars and Mitsuru Adachi's works. Being born and raised in Japan in the era I was, it's impossible to say that I was only influenced by one specific work because I was showered in anime and information. The generation before might have been able to pinpoint a single work, but our generation is different. There were so many hit series, such as Evangelion.
- Whether it's Japanese or from overseas, what kinds of things do you notice when watching anime?
Sakuragi: Things like layouts and how the cuts are connected. Basically what parts of the film are being connected to create the story. I think this may be one kind of occupational disease. I'm always looking to see how the characters' expressions and emotions are shown, how they're acting, and how information is being transmitted to the viewers.
I think things like, "They did this before us," "I want to try that next time," and on the other hand, "I don't think that works well," or "They could have done a better job." That is how I observe while watching.
Kawashima: When I watch animation from overseas, I often think about what audience they were targeting. Foreign animation feels like it is digging up the Asian market and the comic market in its country of origin, but that it is not made for viewers who like Japanese anime. It's obvious when watching something like Spiderman that it wasn't made for the average anime watcher.
However, I feel that Japanese anime and large-scale animation like that of Hollywood's Marvel series will increase the population of animation viewers in the future.
- What do you think about VR?
Kawashima: VR is an extremely powerful tool that can be used to expand the world of anime. And it wouldn't be an exaggeration to say that Crafter Studios is the anime studio putting the most effort into it here in Japan.
Right now VRCC* has a VR service that allows for simultaneous viewing by multiple users at one time which was used for the virtual entrance ceremony of N High School, made by Kadokawa. VRCC has two interesting points. The first is that you can experience three-dimensional sound like that of a cinema's and feel completely immersed in the VR. The second is that, although VR previously was poor when it came to simultaneous experiences, Shinjuku's Wald 9 cinema allows up to 80 people to experience VR simultaneously.
*VCRR: Acronym for VR Cinema Consortium, a joint venture made up of VAIO Corporation, Toei Company, Ltd., and CRAFTAR Inc. that provides an environment for watching VR movies at cinemas
- That's true. I've heard that recently, VR is being used to create characters and even attend cram school classes.
Kawashima: Yes. On the other hand, I think that part of the reason it is doing so well is because of the VR techniques that were cultivated through Japanese animation. In terms of technology, overseas companies are working hard, but the Japanese have better skills when it comes to creating VR characters. There are so many Japanese creators, as you can see from events like Comiket. Along with that inherent creativity, you need a large amount of assets when creating VR, so I believe it will gather more Japanese creators in the future. I also hope that our works made with VR, such as Director Sakuragi's Natsu wo Yarinaosu, will receive more attention.
- It is said that with 5G, lag may completely disappear from video games. Are there such predictions or trends you expect to see in the anime field?
Kawashima: Image data itself has not changed from the time it was film. It has always been shown on a screen, so I don't think it will change from here on out. Considering the flow of 5G and IoT, I think anime will naturally expand to become more realistic, like 2.5D.
Sakuragi: I don't think the nature of what we're creating will change, but it will be easier to work with others overseas. I also think that things like movie data being able to be transferred instantaneously has its pros and cons. While work will be able to be displayed in a variety of different media, I feel like the value of each piece of data will go down. For example, we could use 5G to diffuse data that previously could have only been transported using a hard disk. Since we are essentially creating data, I feel that the value of our work will change as the way we handle said data changes.
Kawashima: He's right. For example, depending on how blockchains become a part of anime, a work-driven system where you cannot view an anime unless you pay first may be created. But an anime we expected many people to view could collect a lot of blockchain revenue, which wouldn't be such a bad thing (laughs).
- Both as a studio and as a director, is there a goal for the kind of works you want to create?
Sakuragi: I want to arrange things so I can steadily release works with the quality of each work going up each time. Until now we've focused on adding staff and increasing our budget, but I want to create a system that allows us to include expressions we found difficult before now.
We're a young studio and most of our animators are around 30 years old, so I also want to increase skill levels across the board.
Kawashima: I want Craftar Studios to be the kind of place creators dream of working at, a place that is filled with talented people. I also want to not limit ourselves to AI, but to actively adopt tools like "deep learning" that have not been used in the anime industry until now. We're currently testing out some technology. However, no matter how good the technology is, we can't use it until it provides a certain level of quality for us, so it will be a while before we release it.
Sakuragi: Personally, I want to create works that convey the drama of everyday life. Surprisingly enough, I'm not very picky about how I express things. Sometimes things are different, but usually what moves the story along is the characters' emotions, so I want to make sure that the emotional parts are conveyed.
- Please give a message to your fans overseas.
Sakuragi: Craftar Studios often works alongside companies from overseas and focuses on distributing anime around the world, so please enjoy our works if you have the chance to see them.
We're currently running a project in which fans who read the interview can participate in which will allow you to send messages of support and gratitude directly to anime studios!
You can only support them through this within the official Otaku Coin app as a project within Otaku Coin, a community currency that Anime! Anime! is also a partner company in planning. Join in on supporting the anime studios after downloading the app.
Download the official Otaku Coin app from here!
Osomatsu-san
You belong in the TOM Fan Club. Don't keep TOM Senpai waiting: https://otakumode.com/fb/8iz
Anime Collaboration Project Vol. 14: Graphinica Part 1
Having animated renowned titles like Rakuen Tsuihou, Graphinica's next big step is its 10th anniversary project: HELLO WORLD.
Anime Site Collaboration Project Vol.13: David Production
David Production has created dynamic animation for unique works like JoJo's Bizarre Adventure and Cells at Work.
Anime Site Collaboration Project Vol.12: WIT STUDIO
WIT STUDIO has brought countless iconic series to life, such as Attack on Titan, The Ancient Magus' Bride and more.
Anime Site Collaboration Project Vol. 11: Orange
Orange is credited for creating high-quality CGI animation in works like Land of the Lustrous.
One Piece Stampede Previews Theme Song in New Trailer!


3 more days till Christmas and today we have Bad Piggies, brought to you by the creator of AngryBirds, now you play the game from the Piggies point of view. Download it today while its free. Merry Christmas.


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Q: Difference between fragment instantiation; I want to understand correctly the difference between these ways of get a fragment from constructor:
1
public MyFragment(DataClass data) {
this.dataClass = data;
}

2
public static MyFragment newInstance(DataClass data) {
MyFragment fragment = new MyFragment();
fragment.setDataClass(data);
return fragment;
}

3
public static MyFragment newInstance(DataClass data) {
MyFragment fragment = new MyFragment();

Bundle args = new Bundle();
args.putInt("myData", data.getData());
fragment.setArguments(args);

return fragment;
}

Thanks in advance.

A: First of all, Fragment should have empty constructor only!
Please check documentation, there is stated:
"Every fragment must have an empty constructor...".
Then check this post for nice explanation.
About options ##2 and 3 - as for me, both are appropriate.
Via Bundle - again post mentioned above says, "This way if detached and re-attached the object state can be stored through the arguments.".
But if you create newInstance of Fragment every time - #2 approach is also good. I use #2 approach, cause I don't store created fragments.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Hive, time taken for partitioned vs unpartitioned database So, I have 2 tables for a dataset which are unpartitioned table and partitioned table.
When I see the report for partitioned data, the cumulative CPU time decreased dramatically but the total time taken are the same compared to unpartitioned data.
Why is this ?

A: As this is a strictly theoretical question you will get a strictly theoretical answer. Partitioning causes a table to be split into smaller tables with same structure. This makes your SELECT queries to execute on different tables (effectively SELECT * FROM table_part1 UNION ALL table_part2 vs SELECT * FROM table).
The overall time will be same because you are reading same amounts of data. You can put table_part1 and table_part2 on different physical disks, which probably will make reading faster as you will have less IO wait. But in general, for tables partitioned within same tablespace you will see comparable time for both queries (partitioned and unpartitioned).
As for CPU, we can speculate that there is some optimization in place that makes operating smaller tables easier. It is possible that the partitioned tables simply fit better into memory (including CPU caches). In this case it is possible that results will depend on the size of the initial and partitioned tables - for super-large tables on both sides you may end up with same CPU load either way.


text:
Mišo Kovač (Šibenik, 16. jul 1941), hrvatski pevač zabavne muzike.

Rođen kao dete Zrinke i Jakova Kovača. Mišo je rastao u porodici sa bratom Ratkom i sestrom Blankom.

Zanat tapetara trebalo je da obeleži životni put Miše Kovača, ali je, na jednom takmičenju talenata u Karlovcu, s pesmom "I can´t stop loving you" Reja Čarlsa, doživeo veliki uspeh, te je tako određen životni, a i estradni put ovog harizmatičnog pevača.

Hit kojim je trasirao put ka najuspešnijem pevaču zabavne muzike, ikada viđenim na svim prostorima bivše Jugoslavije, bila je "Više se nećeš vratiti", pobednička pesma s nekad popularnog sarajevskog festivala "Vaš šlager sezone" (1969), delo tada mladog kompozitora i tekstopisca Đorđa Novkovića. Taj singl prodat je u pola miliona primeraka, a saradnja s Novkovićem obeležila je gotovo čitav Kovačev opus, i nastavila se sve do Novkovićeve smrti, 2007. godine.

Godine 1971. osvojio je festival u Splitu pesmom Stjepana Mihaljinca "Proplakat će zora", koja je takođe prodata u pola miliona kopija, i definitivno se učvrstio na tronu najpopularnijeg pevača u bivšoj Jugoslaviji, a, uprkos godinama, njegova harizma ni do danas nije izbledela. Nakon 1980. i pobede u Splitu sa pesmom "Dobra ti večer mati moja" dugi niz godina nije nastupao na festivalu.

Pevač je sa daleko najviše prodatih nosača zvuka tzv. zabavne muzike u bivšoj SFRJ.

Oprobao se i glumačkim vodama glumeći s Radetom Šerbedžijom u filmu "Poslijepodne jednog fazana". Muzička karijera i dalje mu je cvetala, pet puta je proglašavan pevačem godine, a 1989. godine proglašen je za osobu godine u bivšoj Jugoslaviji.

Od supruge Ljubice razveo se nakon četiri godine braka i 1973. se venčao sa Splićankom Anitom Baturinom, koja je bila mis Jugoslavije, sa kojom je 1975. godine dobio sina Edija, a dve godine kasnije i kćerku Ivanu. Na turnejama po Kanadi i Australiji 80-tih odbio je da peva pod Pavelićevom slikom čime stiče reputaciju "komunjare" među ustaškom emigracijom koja mu to nije oprostila. Pre prvih višestranačkih izbora u Hrvatskoj u velikom intervjuu danom u Nedjeljnoj Dalmaciji pod naslovom "Dalmacija u mom oku" izjavio je: "Ako ovi dođu na vlast, za mene ovdje više nema mjesta",misleći ma HDZ.

Godine 1992, njegov sin, Edi, koji se pridružio specijalnoj jedinici Hrvatske vojske zvanoj "Škorpioni" tokom rata u Hrvatskoj, bio je ubijen u Zagrebu pod sumnjivim okolnostima. Mišo tu vest nikada nije potpuno preboleo. Policija je objavila saopštenje u kojem tvrdi kako je reč o samoubistvu. No, Mišo Kovač i danas tvrdi kako je reč o ubistvu.

Nakon sinovljeve smrti, izjavio je da više neće nastupati. Nakon toga pristupa kratkotrajno Paraginom HOS-u slikajući se za novine u crnoj odori.

U depresiji, 14. januara 1999, u zagrebačkom stanu u ulici Maksimirskoj 69, Mišo Kovač pucao je sebi u prsa neprijavljenim pištoljem "Bereta", ali taj neuspeli pokušaj samoubistva doneo mu je saznanje da život mora ići dalje. Tokom tih istih 90-ih godina, osim sina Edija, izgubio je majku, kao i mlađeg brata Ratka. Pre Kovačevog pucnja u prsa, brak sa Anitom se raspao, te je pokušao ostvariti ljubavnu vezu sa 30 godina mlađom astrologinjom Silvijom plemenitom Kalvi Marković. Ali posle još jednog ljubavnog brodoloma, nova Kovačeva životna pratilja postala je Lidija Pintarić.

Po oporavku od pucnja u prsa, u Splitu je održao oproštajni koncert pred oko 50.000 ljudi. To je ponovio u zagrebačkom Domu sportova, a nakon toga usledila je cela serija oproštajnih koncerata. Ipak, to nije bio kraj Kovačeve karijere. Usledili su i novi albumi.

Godine 1999, Mišo je snimio album "Budi čovjek dobre volje", kako sam kaže zahvaljujući kćerki Ivani. Smatra da je to njegov najbolji album ikad.

Diskografija

Festivali

Singl ploče
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - EPY 3571, Godina izdavanja – 1966
A strana
1. Ja odlazim (Ya me voi) (Rodrigez - D. Britvić - S. Mihaljinec)
2. Odrasli smo (P. Gotovac - V. Lukatela - M. Prohaska)
B strana
1. Pomogni mi (Aiuta me a dimenticare) (T. Cushiara - M. Kinel - M. Makar)
2. Sviraj, maestro (M. Lentić - M. Lentić - S. Kalodjera)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - EPY 3763, Godina izdavanja - 1966
A strana
1. Vrijeme plakanja (Crying Time) (B. Ovens - D. Britvić)
2. Ne reci kuda ideš (Stjepan Mihaljinec - Dragutin Britvić)
B strana
1. Kad je umro pjesnik (Quande mori il poeta) (G. Becaud - S. Šelebaj)
2. Ja nisam taj (P. Gotovac - I. Krajač)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - EPY 3869, Godina izdavanja – 1967
A strana
1. San Francisco (John Phillips - Ivica Krajač)
2. Ne rugaj se, ljubavi (Stjepan Mihaljinec - Dragutin Britvić)
B strana
1. Daj da odem (Release me) (Miller - Yount - Williams - Harris - I. Krajač)
2. Htjela to ti ili ne (Lo quieras o no) (Georgie Dann – Slobodan Šelebaj)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - SY 1309, Godina izdavanja – 1968
A strana
1. Da je duži moj dan (If I Only Had Time) (Michel Fugain - Ivica Krajač - Stipica Kalodjera)
B strana
1. Tražim (Opatija '68) (Stipica Kalogjera - Arsen Dedić - Stipica kalogjera)
 KOVAČ MIŠO - Opatija '69, Izdavač - PGP RTB, Beograd - S 51 008, Godina izdavanja – 1969
A strana
1. ... (...)
B strana
1. Sve što mi život pruža (Đorđe Novković)
 KOVAČ MIŠO, Izdavač - Jugoton (Studio), Zagreb - SY 1391, Godina izdavanja – 1969
A strana
1. Više se nećeš vratiti (VŠS '69) (Đorđe Novković - S. Kalodjera)
B strana
1. Reci zbogom (Say goodbye) (Cara - Shakespear - I. Krajač - S. Kalodjera)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - SY 1465, Godina izdavanja – 1969
A strana
1. Čemu da živim (Đorđe Novković - Đorđe Novković - S. Kalodjera)
B strana
1. A kad se tebi opet vratim (Đorđe Novković - Đorđe Novković - S. Kalodjera)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - SY1571, Godina izdavanja – 1970
A strana
1. Za tvoju ljubav sve bih dao (VŠS '70) (Đorđe Novković)
B strana
1. Tužno srce moje (Zagreb '70) (Đorđe Novković)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - SY 1660, Godina izdavanja - 1970
A strana
1. Serenada (Đorđe Novković)
B strana
1. Bar sad živim sam (Đorđe Novković)
 KOVAČ MIŠO i PRO ARTE, Izdavač - Jugoton, Zagreb - SY 1734-F, Godina izdavanja - 1971
A strana
1. Tvoje lice (S. Kalogjera - D. Britvić - S. Kalodjera)
B strana
1. Marija (Đorđe Novković)
 KOVAČ MIŠO, Izdavač - Jugoton, Zagreb - SY 11902, Godina izdavanja – 1971
A strana
1. Mornaru za sretan put (Z. Runjić - arr. S. Kalodjera)
B strana
1. Vrbe (Z. Runjić - ar. I. Kelemen)

Reference

Literatura

Рођени 1941.
Шибенчани
Hrvatski pevači
Jugoslovenski pevači
Добитници награде Порин
Музичка сцена бивше СФРЈ
Учесници Југовизије


Mommy makeover surgery is on the rise. The procedure, which is actually a combination of a few different procedures, has grown in popularity steadily over the last 10 years. It seems that women are coming to feel that getting their bodies back after pregnancy is something that they deserve, if it's what they want. For women whose stomachs have become distended or whose breasts have drooped significantly following childbearing, a mommy makeover can be an incredibly gratifying experience.
If you're thinking about undergoing mommy makeover, it's important to wait until you have finished having children. If you're not sure if you want more kids or not, it's a good idea to hold off on mommy makeover surgery until you are positive. Going through with the procedure and then having another child will simply undo the whole process and could complicate breastfeeding if you choose to get breast implants.
If you're sure that your family is complete, wait at least six months following the completion of breastfeeding. Once your body is done lactating and you are back to a stable weight, you can start looking for a plastic surgeon.
Of course, there's no rush. That's the earliest you should consider undergoing surgery. If you have the time and flexibility, give yourself a little bit longer to make sure that your body is fully adjusted to its new state of being and that you actually want the procedure. You may find that once you grow accustomed to your new body, you might be perfectly comfortable and happy with it.
And remember that you will need help for at least a week following your procedure, and probably longer. If you are a stay at home mom, you'll likely want to arrange child care for at least the first few weeks following your procedure to give your body time to rest.
That said, if you're done having kids and want to give your appearance a boost, contact me today to discuss possible treatment options. As a leading plastic surgeon in Venice Beach, I have helped a number of women regain their confidence and figures following childbearing through female plastic surgery.


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From Transitional Arrangements to 2025 – The National Grid and Your Continuous Power Planning
It announced 'emergency measures' late last year to ensure that blackouts were avoided, but is the National Grid's latest announcement of planned 'Transitional Arrangements' auctions going to improve matters for 2016 and beyond?
Opening on January 26th, the auctions should secure electricity capacity for next winter and aim to offer targeted support to Demand Side Response (DSR) to increase levels of participation in the next two years before the full 'Capacity Market' comes into play during the winter of 2018/19.
The amount being auctioned is 900MW and will run until January 30th and participants in this transitional auction are not only DSR units, but also small, embedded generators. There will be four auction rounds each day, with a cap of £30/KW per year and this will be reduced by £2.5/KW per auction round.
With the auction being oversupplied, with the capacity entering it standing at 1,110.028MW, this by no means guarantees a success to yet another emergency measure by the National Grid, as it fails to provide adequate and timely replacements to its ailing coal and nuclear power stations reaching their decommissioning.
A new report from the Institution of Mechanical Engineers warns that the UK will be facing an even more serious power supply crisis by 2025, thanks to the closure of the aforementioned plants, leading to an electricity supply gap of up to a staggering 55%.
Not wanting to spread panic, but the National Grid's track record, coupled with the Institute of Mechanical Engineer's report together confirm that companies that depend on continuous power supplies in order to guarantee no break in their services would all benefit from a proactive strategic approach to their continuous power supplies, rather than a reactive approach.
To learn more about Uninterruptible Power Supplies, standby generators and how your company can guarantee continuous power 24 hours a day, 365 days per year, speak to a member of the shentongroup team now!


The word's been spreading like wildfire all afternoon – Birmingham, AL was included (as number 10) on Livability.com's list of the top 10 best downtown areas for 2014. Fort Worth, Texas topped the list, that also included cities like Providence, RI, and the other #bham, Bellingham, WA.
The announcement adds to an ever-growing collection of top 10-type lists on which Alabama's Magic City has been a part – including previous lists published by Livability.com. This isn't necessarily a bad thing as the website, launched in late 2009 and published by Franklin, TN-based Journal Communications, strives to be a resource about "America's best places" and "what makes cities truly livable" (according to their fan page on Facebook) while chronicling more than 500 cities across the country.
The city has been previously recognized as having one of the top 10 libraries for children (#9, 2012); one of the top 10 spring break destinations for families (#6, 2013); and a top 10 place to retire (#8, 2013).
The announcement that Peter Behrman will be leaving the BJCTA at the end of March was still a surprise to some despite the insane number of recent closed door meetings.
More disturbing is the number of people who've held the position. The transit authority has had 25 directors in 25 years.
The list is a pretty impressive one when you look at where some of them have ended up. Mr. Copling is currently a general manager for First Transit in Washington, DC, the folks responsible for the DC Circulator. Mark Stanley – he just became the executive officer for the Watershed Conservation Authority in California; he'd been serving as the director of planning for the Riverside Transit Authority since 2006. David Hill still serves as the deputy director for transit services for San Fransicso's Muni system – a position he returned to after serving as that organization's acting director of transit for just a little more than five months beginning in October 2009. If you want to visit Paul Ballard, just head up the road to Nashville. He's been RTA's CEO since January 2002. Looks like they like him a lot too.
Incidentally, you can also read one of Jerry Haight's short stories about his days as BJCTA general manager on his website or check out Jay Saxon's thesis (or maybe even this entire day of programming about transit) examining why he believes the system isn't functioning to its full potential. There are also fleeting references to Alfred Richards and Frank Martin online if you dig deep enough (including how the authority benefited from the 1982 beer tax).
Readers of the current edition of Esquire Magazine may have recognized the name of a local watering hole included in a very prestigious list of bars. Lou's Pub not only made the latest installment of the magazine's list of "The Best Bars in America" (PDF) it did so as the only representative from the state of Alabama.
It's the second time that the bar has been included on the list – the first being in 2007 (when mental_floss' Neely Harris (formerly of mental_floss; now of ESPN The Magazine) wrote this piece for the magazine). It's one of several bars that can claim that designation in Birmingham over the last few years – a list that includes Rojo, The Garage, The Bottletree, and Highlands Bar & Grill.
The full list is also available as well as an interactive map including bars previously on the list on the magazine's website.
Birmingham was recently included in a Forbes Magazine list of the nation's biggest brain magnets – it's on the list at number six.
While that result shocked some (maybe some of the same folks still in shock about UAB's NCAA tournament selection) visitors to BhamWiki really weren't. The volunteer-built virtual archive of the city's history (whose creator John Morse is still an occasional contributor to this site) is celebrating its fifth anniversary today.
Another reason to not necessarily doubt the ranking is the success of mental_floss magazine. Yesterday's announcement of its sale to magazine publisher Felix Dennis was the first time many learned (or realized) that the magazine is based in The Magic City (their offices are on Southside) or that one of the founders, Will Pearson, is from Hoover.
Neither one of these fine establishments are going anywhere anytime soon, but that's no reason to not go ahead and check them out.
Good People Brewing Company (GPB) was recently recognized as Alabama's representative in GOOD Magazine's list of the most popular microbrews in the United States.
The United States of GOOD Beer highlighted the best microbrew option in each of the 50 states. Every state was represented – except for Idaho.
GPB also celebrated a joyous moment last week Friday. Folks visiting some area groceries and restaurants in Birmingham and Huntsville were finally able to enjoy the Birmingham-based microbrewery's Brown and IPA in cans.
One of the cool things about the availability of the six-packs available is the 6-pack holders they're being distributed with. They're developed by PakTech, a company out of Oregon that was interviewed back in August by CraftCans.com about the design of the holders.
The holders are made of HDPE, a #2 plastic that is accepted at the Alabama Environmental Center's recycling station downtown.
Infographic: courtesy of GOOD Magazine.
This morning the Jefferson County Commission voted 3-1 to opt out of this year's back to school sales tax holiday, scheduled for August 7-9 (Commissioner Carns was not present for the vote). The commission says that the move would save the county approximately $200,000 and at least seven jobs. The Birmingham News posted a list of cities that will participate in this year's holiday on Monday; Birmingham has announced that it will be participating this year. The repeal will only affect the collection of the state's 2% worth of taxes, including the 1% educational tax.
It is interesting to note that yesterday was the deadline to notify whether or not cities or counties in the state would participate. You may also want to check out the list on the state department of revenue website to find out just what items are tax exempt during the holiday.


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2017 Should Be Mahershala Ali's Year
Mahershala Ali was prolific last year, appearing in Netflix's Luke Cage, Kicks, Moonlight, Free State Of Jones, and Hidden Figures. He was the Big Bad, a father figure with dubious morals, a runaway slave, and a heartthrob love interest. For his role in Moonlight Ali has been nominated for the following:
African-American Film Critics Association Award for Best Supporting Actor
Alliance of Women Film Journalists Award for Best Supporting Actor
Austin Film Critics Association Award for Best Supporting Actor
Boston Online Film Critics Association Award for Best Supporting Actor
Boston Society of Film Critics Award for Best Supporting Actor
Chicago Film Critics Association Award for Best Supporting Actor
Critics' Choice Movie Award for Best Supporting Actor
Dallas–Fort Worth Film Critics Association Award for Best Supporting Actor
IndieWire Critics Poll Award for Best Supporting Actor
Los Angeles Film Critics Association Award for Best Supporting Actor
New York Film Critics Circle Award for Best Supporting Actor
New York Film Critics Online Award for Best Supporting Actor
Online Film Critics Society Award for Best Supporting Actor
Palm Springs International Film Festival Award for Breakthrough Performance
San Diego Film Critics Society Award for Best Supporting Actor
San Francisco Film Critics Circle Award for Best Supporting Actor
St. Louis Gateway Film Critics Association Award for Best Supporting Actor
Toronto Film Critics Association Award for Best Supporting Actor
Vancouver Film Critics Circle Award for Best Supporting Actor
Village Voice Film Poll Award for Best Supporting Actor
Washington D.C. Area Film Critics Association Award for Best Supporting Actor
AACTA International Award for Best Supporting Actor
Black Reel Award for Outstanding Supporting Actor
Golden Globe Award for Best Supporting Actor – Motion Picture
London Film Critics Circle Award for Supporting Actor of the Year
NAACP Image Award for Outstanding Supporting Actor in a Motion Picture
Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role
Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion
Detroit Film Critics Society Award for Best Supporting Actor
Florida Film Critics Circle Award for Best Supporting Actor
Satellite Award for Best Supporting Actor – Motion Picture
Of those awards, three were nominations,three are pending, and the rest of wins. I am breathlessly awaiting Ali's nomination for Best Actor in a Supporting Role from the Academy of Motion Picture Arts and Sciences. I assume this will follow Ali's acceptance at the Golden Globes this weekend.
Ali was in three major titles this year, plus two that most people might recognize. This may finally be the year I stop explaining, you know, the handsome guy who is barely in The Hunger Games, or that guy everyone knows from House of Cards, no, not Kevin Spacey.
It would be a good start to a great year to have Ali, a Black, Muslim man, accept these awards in Trump's America.
Ali will appear in the Roxanne Shanté biopic Roxanne Roxanne, premiering at Sundance this month. (It might be fair to say that all three of the founding editors are interested in Roxanne Roxanne.)
Ali's interview with Trevor Noah on The Daily Show last year is embedded below:
http://media.mtvnservices.com/embed/mgid:arc:video:comedycentral.com:4c729a63-fe94-43dd-b8b1-12a68a5654f4
January 5, 2017 · Posted in Uncategorized · Tagged For Your Consideration, Luke Cage, Mahershala Ali, Moonlight ·
Weekend Box Office: January 6, 2017 »


text:
Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems
Nan Chen, Andrew J. Majda
Center for Prototype Climate Modeling
Solving the Fokker-Planck equation for high-dimensional complex dynamical systems is an important issue. Recently, the authors developed efficient statistically accurate algorithms for solving the Fokker-Planck equations associated with high-dimensional nonlinear turbulent dynamical systems with conditional Gaussian structures, which contain many strong non-Gaussian features such as intermittency and fat-tailed probability density functions (PDFs). The algorithms involve a hybrid strategy with a small number of samples L, where a conditional Gaussian mixture in a high-dimensional subspace via an extremely efficient parametric method is combined with a judicious Gaussian kernel density estimation in the remaining low-dimensional subspace. In this article, two effective strategies are developed and incorporated into these algorithms. The first strategy involves a judicious block decomposition of the conditional covariance matrix such that the evolutions of different blocks have no interactions, which allows an extremely efficient parallel computation due to the small size of each individual block. The second strategy exploits statistical symmetry for a further reduction of L. The resulting algorithms can efficiently solve the Fokker-Planck equation with strongly non-Gaussian PDFs in much higher dimensions even with orders in the millions and thus beat the curse of dimension. The algorithms are applied to a 1,000-dimensional stochastic coupled FitzHugh-Nagumo model for excitable media. An accurate recovery of both the transient and equilibrium non-Gaussian PDFs requires only L = 1 samples! In addition, the block decomposition facilitates the algorithms to efficiently capture the distinct non-Gaussian features at different locations in a 240-dimensional two-layer inhomogeneous Lorenz 96 model, using only L = 500 samples.
Block decomposition
High-dimensional non-Gaussian PDFs
Statistical symmetry
Fingerprint Dive into the research topics of 'Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems'. Together they form a unique fingerprint.
Chen, N., & Majda, A. J. (2017). Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems. Proceedings of the National Academy of Sciences of the United States of America, 114(49), 12864-12869. https://doi.org/10.1073/pnas.1717017114
Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems. / Chen, Nan; Majda, Andrew J.
Chen, N & Majda, AJ 2017, 'Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems', Proceedings of the National Academy of Sciences of the United States of America, vol. 114, no. 49, pp. 12864-12869. https://doi.org/10.1073/pnas.1717017114
Chen N, Majda AJ. Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems. Proceedings of the National Academy of Sciences of the United States of America. 2017 Dec 5;114(49):12864-12869. https://doi.org/10.1073/pnas.1717017114
Chen, Nan ; Majda, Andrew J. / Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems. In: Proceedings of the National Academy of Sciences of the United States of America. 2017 ; Vol. 114, No. 49. pp. 12864-12869.
@article{7d84df9911bb4b248d12472b1d02d2bc,
title = "Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems",
abstract = "Solving the Fokker-Planck equation for high-dimensional complex dynamical systems is an important issue. Recently, the authors developed efficient statistically accurate algorithms for solving the Fokker-Planck equations associated with high-dimensional nonlinear turbulent dynamical systems with conditional Gaussian structures, which contain many strong non-Gaussian features such as intermittency and fat-tailed probability density functions (PDFs). The algorithms involve a hybrid strategy with a small number of samples L, where a conditional Gaussian mixture in a high-dimensional subspace via an extremely efficient parametric method is combined with a judicious Gaussian kernel density estimation in the remaining low-dimensional subspace. In this article, two effective strategies are developed and incorporated into these algorithms. The first strategy involves a judicious block decomposition of the conditional covariance matrix such that the evolutions of different blocks have no interactions, which allows an extremely efficient parallel computation due to the small size of each individual block. The second strategy exploits statistical symmetry for a further reduction of L. The resulting algorithms can efficiently solve the Fokker-Planck equation with strongly non-Gaussian PDFs in much higher dimensions even with orders in the millions and thus beat the curse of dimension. The algorithms are applied to a 1,000-dimensional stochastic coupled FitzHugh-Nagumo model for excitable media. An accurate recovery of both the transient and equilibrium non-Gaussian PDFs requires only L = 1 samples! In addition, the block decomposition facilitates the algorithms to efficiently capture the distinct non-Gaussian features at different locations in a 240-dimensional two-layer inhomogeneous Lorenz 96 model, using only L = 500 samples.",
keywords = "Block decomposition, High-dimensional non-Gaussian PDFs, Hybrid strategy, Small sample size, Statistical symmetry",
author = "Nan Chen and Majda, {Andrew J.}",
note = "Funding Information: ACKNOWLEDGMENTS. The research of A.J.M. is partially supported by the Office of Naval Research (ONR) Multidisciplinary University Research Initiative (MURI) Grant N0001416-1-2161 and the New York University Abu Dhabi Research Institute. N.C. is supported as a postdoctoral fellow through A.J.M.{\textquoteright}s ONR MURI Grant.",
T1 - Beating the curse of dimension with accurate statistics for the Fokker-Planck equation in complex turbulent systems
AU - Chen, Nan
AU - Majda, Andrew J.
N1 - Funding Information: ACKNOWLEDGMENTS. The research of A.J.M. is partially supported by the Office of Naval Research (ONR) Multidisciplinary University Research Initiative (MURI) Grant N0001416-1-2161 and the New York University Abu Dhabi Research Institute. N.C. is supported as a postdoctoral fellow through A.J.M.'s ONR MURI Grant.
N2 - Solving the Fokker-Planck equation for high-dimensional complex dynamical systems is an important issue. Recently, the authors developed efficient statistically accurate algorithms for solving the Fokker-Planck equations associated with high-dimensional nonlinear turbulent dynamical systems with conditional Gaussian structures, which contain many strong non-Gaussian features such as intermittency and fat-tailed probability density functions (PDFs). The algorithms involve a hybrid strategy with a small number of samples L, where a conditional Gaussian mixture in a high-dimensional subspace via an extremely efficient parametric method is combined with a judicious Gaussian kernel density estimation in the remaining low-dimensional subspace. In this article, two effective strategies are developed and incorporated into these algorithms. The first strategy involves a judicious block decomposition of the conditional covariance matrix such that the evolutions of different blocks have no interactions, which allows an extremely efficient parallel computation due to the small size of each individual block. The second strategy exploits statistical symmetry for a further reduction of L. The resulting algorithms can efficiently solve the Fokker-Planck equation with strongly non-Gaussian PDFs in much higher dimensions even with orders in the millions and thus beat the curse of dimension. The algorithms are applied to a 1,000-dimensional stochastic coupled FitzHugh-Nagumo model for excitable media. An accurate recovery of both the transient and equilibrium non-Gaussian PDFs requires only L = 1 samples! In addition, the block decomposition facilitates the algorithms to efficiently capture the distinct non-Gaussian features at different locations in a 240-dimensional two-layer inhomogeneous Lorenz 96 model, using only L = 500 samples.
AB - Solving the Fokker-Planck equation for high-dimensional complex dynamical systems is an important issue. Recently, the authors developed efficient statistically accurate algorithms for solving the Fokker-Planck equations associated with high-dimensional nonlinear turbulent dynamical systems with conditional Gaussian structures, which contain many strong non-Gaussian features such as intermittency and fat-tailed probability density functions (PDFs). The algorithms involve a hybrid strategy with a small number of samples L, where a conditional Gaussian mixture in a high-dimensional subspace via an extremely efficient parametric method is combined with a judicious Gaussian kernel density estimation in the remaining low-dimensional subspace. In this article, two effective strategies are developed and incorporated into these algorithms. The first strategy involves a judicious block decomposition of the conditional covariance matrix such that the evolutions of different blocks have no interactions, which allows an extremely efficient parallel computation due to the small size of each individual block. The second strategy exploits statistical symmetry for a further reduction of L. The resulting algorithms can efficiently solve the Fokker-Planck equation with strongly non-Gaussian PDFs in much higher dimensions even with orders in the millions and thus beat the curse of dimension. The algorithms are applied to a 1,000-dimensional stochastic coupled FitzHugh-Nagumo model for excitable media. An accurate recovery of both the transient and equilibrium non-Gaussian PDFs requires only L = 1 samples! In addition, the block decomposition facilitates the algorithms to efficiently capture the distinct non-Gaussian features at different locations in a 240-dimensional two-layer inhomogeneous Lorenz 96 model, using only L = 500 samples.
KW - Block decomposition
KW - High-dimensional non-Gaussian PDFs
KW - Hybrid strategy
KW - Small sample size
KW - Statistical symmetry


Price drop! Just Dance 2016 (Xbox One) is on sale! It had a previous low price on Walmart of $20 and it now dropped to $19!
This entry was posted in Deal of the Day and tagged Price Alert, Sale, Walmart, XboxOne on November 19, 2016 by PriceAlert.


Small Business Resources > How Much Does a Dunkin Donuts Franchise Cost?
How much does a Dunkin Donuts franchise cost? For all Dunkin Donuts franchising territories, a minimum of $750,000 in liquid assets and a net worth of $1.5 million is required. If you have $750,000 available and meet the net worth requirement, read on.
There are a variety of exciting Dunkin Donuts franchise opportunities available for both individuals and corporate investors interested in developing five or more units. Dunkin' Brands offers site selection assistance and ongoing new product training following a comprehensive multi-week training process. They will also verify credit and perform a background check.
To open a Dunkin Donuts franchise, you must be dedicated to operations excellence and have a clear understanding of real estate development processes in your specific market. You also have to have a proven ability to manage an organization that recruits, trains, and motivates people efficiently and effectively. If you feel you have these qualities, Dunkin' Brands may be right for you.


text:
Q: Allow only specific file to run PHP via htaccess The following makes the list of extensions capable of executing PHP:
AddType application/x-httpd-php5 .php .php5

How do I allow only one specific file to be able to run PHP?
The following does not work:
AddType application/x-httpd-php5 example\.php9

A: You can not add filename to AddType directive. Only file extensions are allowed. To add php handler to a single file you can use this :
 RewriteEngine on

 RewriteRule ^thisfile\.php$ - [H=application/x-httpd-php5]

Or <filesMatch>
<filesMatch "^thisfile\.php$">
AddType application/x-httpd-php5 .php
</filesMatch>

Reference :
Mod-rewrite flags
https://httpd.apache.org/docs/2.4/rewrite/flags.html#flag_h
filesMatch
https://httpd.apache.org/docs/2.4/mod/core.html#filesmatch

A: You should use rewrite rule in htaccess.
 RewriteRule ^example\.php9/?$ exmaple.php


for those in the Middle East and Northern Africa, all three albums are now available on Anghami. love, e.
off to Alte Seileri now. very grateful to Internationales Künstlerhaus Villa Concordia, who have allowed me to practice on their beautiful piano/haunt their performance hall over the past few days. thank you Nora. see you this evening. love, eric.
chapter 7: a bespectacled chrysalis is moments away from passing through a gate. it is smuggling songs inside its brain.


For students with certification in Standard First Aid and CPR, it is necessary to take a recertification course at least every three years (before your current certification expires), in order to remain certified. In addition to keeping your papers up to date, there are other good reasons to take this refresher course every few years.
For most people, first aid and CPR are not things that they practice on a regular basis. If it has been some time since you've reviewed proper techniques, it is always a good idea to go over them again with qualified instructors so that if the need ever arises where you must use them in a real life and death scenario, you are both competent and confident enough to use those skills.
Another good reason to continue to get recertified is that sometimes techniques and best practices change. Occasionally better, easier and more effective techniques for first aid are discovered or developed and the student handbook is updated accordingly. Without regular recertification, you may be unaware of updates.
In the recertification course, you will review all of the skills covered in the Standard First Aid plus CPR course within a condensed timeframe (eight hours). It is recommended that you come to the class dressed in comfortable clothing as the session will consist of both theoretical (classroom) and practical (hands-on) learning.
Who Can Take SFA Recert?
To be eligible to take the recertification course, you must hold a current SFA certification and bring it to the class with you. Students with expired certifications will be required to take Standard First Aid again. It is always recommended that students keep their certification up to date.
At the end of the session, students will be required to demonstrate proper techniques as well as pass a multiple choice exam. Upon successful completion, recertification will be issued which will be valid for three years.
Whether you obtained your original certification with us or with another institution, ProSafe First Aid Training School can meet your needs for SFA recertification. We offer flexible course schedules as well as a clean and comfortable learning space. If you have a group of eight or more students who wish to take the same course, we can even come to your workplace or another suitable location. Our instructors are all highly qualified professionals with a passion to help others learn proven life-saving techniques.
If you are looking for a professional and friendly environment with top quality instructors to take your Standard First Aid Recertification, give us a call today.


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Algorithmic Trading Based on Algo Trading: Returns up to 12.03% in 7 Days
Top Performing Indian Stocks: This forecast is part of the By Country Package, as one of I Know First's algorithmic trading tools. The full forecast includes daily predictions for a total of 20 stocks with bullish and bearish signals:
Top 10 Indian stocks for the long position
Top 10 Indian stocks for the short position
Package Name: By Country – Indian Stocks
Forecast Length: 7 Days (06/11/2018 – 06/18/2018)
I Know First Average: 3.89%
The algorithm correctly predicted 9 out 10 of the suggested trades in the By Country – Indian Stocks Package for this 7 Days forecast. AJPH.NS was the highest-earning trade with a return of 12.03% in 7 Days. Additional high returns came from LUPN.BO and SUN.NS, at 11.29% and 7.92% respectively. The package had an overall average return of 3.89%, providing investors with a 4.08% premium over the S&P 500's return of -0.19% during the period.
Ajanta Pharma Limited is a holding company. The Company is a specialty pharmaceutical company engaged in developing, producing and marketing a range of branded and generic formulations. Its business includes branded generics in emerging markets of Asia and Africa, generics in the developed markets of the United States and Institutional sales. The branded generics business is spread in India and over 30 emerging countries across Africa, Commonwealth of Independent States (CIS), the Middle East and South East Asia. The Company serves a range of therapeutic segments, such as anti-biotic, anti-malarial, anti-diabetic, cardiology, gynecology, orthopedics, pediatric, respiratory and general health products. Ajanta has six formulations manufacturing facilities located in India and 1 in Mauritius. In addition, the Company also has an API manufacturing facility located at Waluj, India. The Company's subsidiaries include Ajanta Pharma (Mauritius) Ltd., and Ajanta Pharma USA Inc.
AJPH.NS APTA.NS ARBN.NS BJFN.NS LICH.NS LUPN.BO LVLS.NS SUN.NS SUVP.NS
Indian Stocks Based on Big Data: Returns up to 27.21% in 7 days
Indian Stocks Coverage Update
Indian Stocks Based on Artificial Intelligence: Returns up to 12.50% in 3 Days


text:
Is This What the Pentagon's 'Third Offset' Has Been Missing All Along?
Have changes to the U.S. industrial and technological sector posed new challenges for defense procurement?
By Robert Farley for The Diplomat
Credit: U.S. Navy photo by Petty Officer 3rd Class Kyle Goldberg/Released
Two weeks ago, the Center for New American Security released a new report on the future of U.S. defense innovation. Titled Future Foundry, the report introduces the concept of "optionality," an interpretation of the Third Offset; the idea that the United States can leverage technological advantage to offset the rise of China and the military re-emergence of Russia.
The authors (Ben Fitzgerald, Alexandra Sander, and Jacqueline Parziale) argue that changes to the industrial/technological sector have created new problems and opportunities for acquisition. The balance of research and development funding no longer favors the Defense Department, as the private sector (not to mention foreign countries) supply an increasing proportion of the overall pie.
DoD should respond to this new strategic and technological environment (perhaps better described as "environments") by de-emphasizing monocapability; the heavy investment in one project or capability at the expense of alternatives. Instead of having a lengthy competition of the sort that weeded out the F-23 in favor of the F-22, or the F-32 in favor of the F-35, DoD should facilitate the development of multiple programs with overlapping and potentially complementary capabilities. DoD could then tack in a particular direction as strategic and technological problems and opportunities shifted.
The idea is that phenomena like the "Century" series of fighters — jet fighters between the F-100 Super Saber and the F-110 Phantom II — have more features than bugs. The Century series resulted in seven different fighters (depending on whether we include the F-110, which became the F-4), each with a unique set of capabilities. Some of these fighters worked out; others did not. Some performed well in unanticipated situations; the F-101, designed as an interceptor, became a fine recon aircraft, and the F-105 a fine medium bomber. The F-102 failed, but the F-106 and other aircraft quickly picked up the slack. The F-103, F-107, and F-108 failed at or before the prototype stage. Having this variety of aircraft gave the United States the ability to meet a multitude of different strategic and technological challenges, whereas exclusive concentration on the multi-role F-35 leaves few options.
The report argues that DoD currently has few good tools for managing such an approach. Intolerant of risk, it struggles to let projects fail, while at the same time lacking the agility to support projects that show great promise. In part this is by design; DoD prefers monocapability projects in order to reduce the logistical confusion and expense of having multiple systems on the front lines. In part, however, it has grown out of a long and complex series of interactions between DoD, the services, Congress, and the defense industry that have left all four risk averse and out of step. The authors include a useful timeline of efforts at procurement reform since the 1980s. They also includes a useful visualization of the four kinds of techno-industrial systems the U.S. military has to procure; military unique systems with constrained competition (aircraft carriers), military unique systems with viable competition (jet fighters), military adapted commercial technology, and pure commercial technology.
The "optionality" concept doesn't solve every problem with U.S. defense procurement, but then it isn't supposed to. It does provide a useful foundation for discussion of how DoD might change a system that everyone agrees has failed to evolve with strategic and technological change. In a forthcoming column, I discuss some of the international implications of an "optionality" strategy, and point out some potential caveats to the underlying logic.
Robert Farley is an assistant professor at the Patterson School of Diplomacy and International Commerce.
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More than 2,600 readers call for Andrew Griffiths to resign as senior beer industry figures blast actions
The chief executive of the British Beer and Pub Association has been called to condemn his actions and stamp out 'sexism' in pubs
More than 2,600 people have called for the resignation of shamed MP Andrew Griffiths in Burton Mail online poll.
More than 3,000 people have voted in the poll which asked whether people felt that Mr Griffiths should resign as Burton MP.
So far 87 per cent of those who have voted have called for the father-of-one to resign as Burton MP, while just 13 per cent believe he should stay on in the job he done for the past eight years.
It comes as he resigned as minister for small businesses on Friday ahead it being revealed in the Sunday Mirror that that he sent 2,000 disgusting text messages to two barmaids. Some of which asked them to beat each other, while he referred to himself as 'daddy'.
In one message he asked them to tie each other up, and boasted: "I can be an evil ******* when I'm turned on."
Brigid Simmonds, chief executive of the British Beer and Pub Association (BBPA)
It comes as senior figures in the beer industry have condemned the actions of married father-of-one Mr Griffiths saying the revelations highlight the sexism experienced by bar staff nationally.
Tory council leader says 'Burton does not have a functioning MP'
The Tory MP had previously acted as chairman of the All Party Parliamentary Beer Group. Now, a senior figure in the beer industry has called on Brigid Simmonds, chief executive of the British Beer and Pub Association (BBPA), to condemn his actions and stamp out what they claim was sexist attitudes in pubs.
In a letter Inez Ward, founder of Justice for Licensees and vice-chairman of the British Pub Confederation, said: "As a woman, leading the British Beer and Pub Association, you will have been horrified as we are at the disgusting and degrading treatment of two female pub workers by Andrew Griffiths.
"As you know, female bar staff are all too often seen somehow as 'fair game' for verbal abuse and sexual harassment by sleazy, predatory men and much more must be done by those in the pub industry to stamp out this attitude and ensure that all women working hard in our pubs up and down the country are treated with respect.
Thousands sign petition demanding Andrew Griffiths quits after sex scandal
It is very notable - and also disgraceful - that Mr Griffiths has failed to apologise to the two women, the two bar workers, he behaved so disgracefully towards.
"As chief executive of the British Beer and Pub Association (BBPA), you will want to show leadership on this issue and will want to issue a strong statement condemning Mr Griffiths' appalling attitude towards these women who work in the pub sector and in support of all women working in pubs, bars and in the beer and pub sector to work without fear of sexual harassment.
"You should also call upon Mr Griffiths to apologise to the two pub workers involved and in doing so make a clear statement that Mr Griffiths' attitude and any sexism and sexual harassment of women working in pubs is wholly unacceptable and must be stamped out."
Andrew Griffiths (Image: Burton Mail)
She also added that in 2012 Mr Griffiths spoke out against other MPs who had condemned 'Top Totty' beer, with a pump clip featuring a woman in a bikini, bunny ears and carrying a tray, as sexists.
She said: "Now Mr Griffiths behaviour towards two female pub staff has come to light, this casual sexism towards women in the pub sector is even more revealing and troubling and must be condemned and stamped out."
Responding to the letter, Brigid Simmonds told the Burton Mail: "The BBPA has always been supportive of work and initiatives to combat any form of harassment in pubs, as the safety and wellbeing of staff is of paramount importance. The Drinkaware 'Crew' programme and 'Ask Angela' supported by Pubwatch are but two examples of this, as is the work we have done across the alcohol and retail trade associations to protect staff from harassment or violence.
"Andrew Griffiths was an effective chairman of the All Party Parliamentary Beer Group but he has rightly resigned his ministerial position and referred himself to the Conservative Party's internal procedures. I consider this a personal matter and would not wish to comment further."
Vile messages from shamed Burton MP Andrew Griffiths
The day after he first contacted Imogen – Mr Griffiths made reference to the fact it was Father's Day, adding: "Daddy's get treats. Do you think Daddy deserves a treat?"
On the same day he appeared on a BBC political show. At 4.24pm he tweeted a message to followers thanking the NHS for the care they gave his daughter. But at the same time he was messaging Imogen, asking if she was into "older men".
Then, at 4.30pm, he said his Father's Day was going "perfectly", before adding: "I just wish my little girl was sat on my knee. With those big t*ts in my face."
Mr Griffiths offered to rent an apartment so he could meet the girls for sex.
He fantasised about violent sex with the girls, offering to buy matching outfits and to take them lingerie shopping. He said: "Daddy doesn't know the prices of dresses and panties so why don't you suggest a budget?"
"You knew I would see your post and it would wind me up. Didn't you?...All the guys perving over you."
Amid more explicit messages, he said: "Daddy has been up making speeches and running the country. But what he really wants to be doing is ******* naughty girls' *******."
At 7.02pm: "Ladies, I was in a meeting. I'm sorry I neglected you, but daddy can be very demanding. He's wanting more than what's on your insta (social media Instagram account used for uploading photos). Don't make daddy get the flogger out."
"Show daddy something filthy, I think Ive earned it."
"He also wired £200 to the girls for 'treats', saying: "A horny daddy is generous daddy."
He said he had been up making speeches and "running the country" but wanted to be "licking naughty girls".
At 9.28pm: "I want her to own you. I want her to tie you up and beat that gorgeous big ass while daddy watches."
"Imogen ****, it's about time you treated with some respect. I'm the boss here."
"Are you going to hold XXX down for me while daddy gives her a beating?"
"Did she properly belt you? I hope she bruised you."
"If you need money you just need to ask...it's fine, baby, tell me what you want and I will arrange something. But I'm going to need something f***ing filthy to put a smile on my face first, I want to see you both naked."
"Would you have thought I was such a naughty man?"
Other messages sent
"I'm the daddy with power. I'm the daddy with the naughtiest streak."
"I'm going to need something filthy to put a smile on my face. I want to see you both naked."
One of the MP's payments was for Imogen to buy a dress. But he wrote: "Take off the bra & panties and I will transfer...you've got daddy in such a frenzy. If you look pretty in it , I want you to wear it often. I like you to turn heads.
"Make the vid and pics naughty and you can have your dress."
"I'm going to bring you to London and do whatever I want to you."
"I'm thinking maybe we need a flat for daddy's girls. I'm taken by you both. You girls are spectacular."
He said of one video she sent that her spanking of a girl "was nowhere near hard enough. Can she take a beating? I have to be slightly careful in my job."
Imogen cuts off contact