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101 Thomas RV Way
Wentzville, MO 63385
Used 2017 Grand Design Reflection 29RS
This Grand Design Reflection fifth wheel model 29RS features an exterior TV and refrigerator, triple slides for added interior space, a convenient kitchen island, and more!
As you enter you can head right and step up to a side aisle bath and master suite. The bath offers a radius shower with skylight, toilet, corner vanity with sink, and linen cabinet within the bedroom slide. There is also a second sliding door allowing you access to the bedroom.
In the bedroom find a queen size bed, storage on either side of the bed, plus above the head of the bed as well. There is a slide out with two wardrobes for your clothing, plus the linen cabinet mentioned above that is accessible from within the bathroom.
Back down on the main level find a kitchen area with countertop and overhead storage space along the interior living area wall. There is a convenient kitchen island with a large sink and counter prep space. The first slide out is along the entrance door wall including a three burner range with convection microwave above, a refrigerator, and an entertainment center with a 40" TV plus a fireplace.
Across the rear wall of this Reflection unit you will enjoy a tri-fold sofa with storage cabinets above and end tables to store more camping items. Adjacent, in the second living area slide out you will find theatre seating for two and an optional free standing dinette (pictured) instead of a booth dinette.
If relaxing in the great outdoors sounds good, the outside TV and refrigerator will come in handy. This may become your favorite feature.
You are sure to enjoy the exterior unobstructed pass-through storage and all-in-one docking station, plus the spray port.
Great shopping experienceWanted to just do some investigating new campers. Our current camper came from here Our sales person, Scott Allen was fantastic. Very knowledgeable, no pressure, Came away with a great feeling of this is why I would like to buy another camper from them. We have several dealers much closer but this place is top notch - Dennis from Villa Ridge, MO
Stock# 10305
|30 ft 11 in
|Ext Height
|12 ft
|Hitch Weight
|1498 lbs
|Gross Weight
|10995 lbs
|Dry Weight
|8515 lbs
|Fresh Water Capacity
|60 gals
|Grey Water Capacity
|75 gals
|Black Water Capacity
|43 gals
|Furnace BTU
|40000 btu
|Available Beds
|Refrigerator Type
|Double Door
|Refrigerator Size
|8 cu ft
|Convection Cooking
|Cooktop Burners
|Number of Awnings
|LP Tank Capacity
|Water Heater Capacity
|6 gal
|15000 btu
|TV Info
|LR 40" LED, Ext. TV
|Awning Info
|Number of LP Tanks
|Shower Type
BTCamper.com is not responsible for any misprints, typos, or errors found in our website pages. Any price listed excludes sales tax, registration tags, and delivery fees. Manufacturer-provided pictures, specifications and features may be used as needed. Inventory shown may be only a partial listing of the entire inventory. Please contact us at 636-327-5900 for availability as our inventory changes rapidly. All calculated payments are an estimate only and do not constitute a commitment that financing or a specific interest rate or term is available.


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Registered substances
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Please note that some of the information on registered substances may belong to third parties. The use of such information may therefore require the prior permission of the third party owners. Please consult the Legal Notice for further information.
Please note that information on chemical properties of registered substances is directly accessible via eChemPortal.
The result of the search 'Substance has nanoform' returns all factsheets containing data related to nanomaterials. However, this does not mean that a registration covering nanoforms of the substance has been submitted in line with the revised annexes of REACH by all the registrants concerned. Note that since 1 January 2020, before manufacturing or importing a nanoform of a substance, the operators concerned must submit the required nano-specific information to ECHA using IUCLID version 6.4 (released on 30 October 2019).
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You are currently browsing the tag archive for the 'Calvin Klein' tag.
Working from home turned me into a Neanderthal woman.
Now, what does working from home entail? The fact whether you get paid for it or not is an irrelevant technicality. Remember that money never defines you. My new trade consists of whipping out versatile dinners for at least 5 nights a week, tossing loads of dirty clothes through the laundry machine (most of it Jason's since, you know, the Neanderthal factor), vacuuming the three area rugs spread across our apartment twice a day of all the nasty little wooden shells that have been falling off the trees surrounding our apartment and consequently dragging themselves inside our chamber of love underneath ours shoes for the last MONTH. Gasp for air. Other activities of a house worker involve watching Oprah and Food Network, Skyping with Mother, Cousin, and our handsome gay neighbors, scrubbing the bathroom floor with a toothbrush (oops, nope, that's Jason), and writing.
Anyone who's ever tried as much as to write a letter understands that the task is unlike riding a bicycle – once you've written something good it doesn't mean you'll now produce quality pieces with ease happily ever after. And it never gets easier. True, there are days I shoot out articles in no time, as if I dissolved 3 tablespoons of verbal Metamucil in a glass of aloe vera juice with a heavy drop of senna extract and washed it down my throat. However, quite commonly I just sit in front of my laptop and glance at its blank screen with such intensity I make myself run to the bathroom even without drinking the above-described concoction. That helps putting down the first paragraph on the page. Then nothing, nothing for a long time, and a little more nothing before the next paragraph sees daylight. Sometimes I find myself walking Cosmo, washing dishes, and knitting a sweater between single sentences. So when people (women especially) tell me "Don't talk to me about pain till you give birth", I scorn the challenger with the ole good "Been there. Done that. Three times a week, at least."
Yes, art requires sacrifices. First went the manicure and pedicure. Next, I killed make up. I take that back. I never leave the house without a few touches a concealer on my skin and brushing my eyebrows. The latter is especially crucial if I want to avoid causing any traffic accidents when women faint and children scream terrified by my sight, while old people gawk at me thinking "I thought I had seen it all…" It also takes an effort to ensure I have a fresh shirt on my back every morning. I suspect I could save money on heating the apartment if I finally got the nerve to burn all my bras. My boobs haven't seen one in months, because, why bother? There are days I forget to shower. It's gotten so bad in fact that lately I started having nightmares where my various …uhm… [I'm whispering that one] hairy parts are being exposed in public.
Irrefutably, crazy love and pure exhaustion keep my boyfriend from running away, maybe even blinded. When he comes home and hands me "You look beautiful. I love you" like a bouquet of flowers, I instantly look behind me expecting to see Eva Mendes stretching her baby-oiled body against the wall and sporting the Calvin Klein underwear. Is he really talking to me?
Such an image inevitably brings forth fear and motivation. For instance, I have already showered three times today, filed my nails, put on some make up even though the only things we had planned for the day was a quick trip to a coffee shop and a walk with our dog around the block. I applied all sorts of grooming, which I shall NOT describe. My efforts paid off faster than I thought when Jason and I walked by a Victoria's Secret's store and left with three new pairs of lace unmentionables.
All that pampering made me feel like a woman again, the modern variety with manicured hands, waxed unthinkable places, and trying to fit in clothes two sizes too small. As such, I couldn't fathom feeding my body with anything more than a simple salad.
The name of the salad pretty much says it all. If you're not familiar, mâche is also known as cow grass. Its leaves are very delicate and it is mild in taste.
Empty a bag of mâche into a large bowl; dice a ripe avocado and spoon it out on top of the greens. Feel free to add chopped scallions and diced tomato if you crave some color. It will all go swimmingly together. Now drizzle your salad with the dressing (recipe below). Gently toss everything around, and voila! Enjoy the treat and feel healthy, light, and beautiful. Size does not matter …in this case.
– 3 parts of good quality extra virgin olive oil
– 1 part of white balsamic vinegar
– 1 tsp of Dijon mustard
– 1 tbsp of honey
– sea salt + freshly ground black pepper to taste
Whisk it in a small bowl, or shake it up in a closed jar, or best – mix it together in a blender (or Magic Bullet) until the vinaigrette is evenly emulsified. It's that simple. And so delightful!


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The visuals in Zack Snyder's hyper-stylized Sucker Punch certainly have our attention (what with robots, dragons, and Jon Hamm). But what about the story? This featurette attempts to explain the surreal, girls-behind-bars film, with new footage.
Hmmm, OK we're still not 100% sure what's happening, and if Hamm is supposed to be evil or not. But we're still totally wrapped up in the insanity that is happening inside every little frame.
Here's the synopsis for those still lost (like me):
A young girl is institutionalized by her wicked stepfather. Retreating to an alternative reality as a coping strategy, she envisions a plan which will help her escape from the facility.
Sucker Punch hits theaters March 25, 2011.


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Research Articles
- Yuanmei Ma, Yongwei Wei, Xiaodong Zhang, Yu Zhang, Hui Cai, Yang Zhu, Konstantin Shilo, Michael Oglesbee, Steven Krakowka, Sean P. J. Whelan, Jianrong Li*. Messenger RNA cap methylation influences pathogenesis of vesicular stomatitis virus in vivo. Journal of Virology, 2013, In Revision.
- Yuanmei Ma, Yue Duan, Yongwei Wei, Stefan Niewiesk, Michael Oglesbee, Jianrong Li*. Heat shock protein 70 (HSP70) enhances safety and immunogenicity of human norovirus capsid protein (VP1) when co-expressed from a vesicular stomatitis viral vector. Journal of Virology. 2013. In Revision.
- Miyoung Kim, Yuanmei Ma, Yu Zhang, Jianrong Li, Yaoling Shu, Michael Oglesbee. Hsp70-dependent antiviral immunity against cytopathic neuronal infection by vesicular stomatitis virus. Journal of Virology. 2013, In Press.
- Yongwei Wei, Kurtis Feng, Xiangjie Yao, Hui Cai, Junan Li, Anne Mirza, Ronald Iorio, Jianrong Li.* Localization of a region in the fusion (F) protein of avian metapneumovirus that modulates cell-cell fusion. Journal of Virology. 2012, 86(21):11800-11814.
- Lizanel Feliciano, Jianrong Li*, Jaesung Lee, Melvin Pascall. "Efficacies of sodium hypochlorite and quaternary ammonium sanitizers for reduction of norovirus and selected bacteria during ware-washing operations". PLoS One.Vol. 7(12), e50273. 2012. --Featured by NBC news and OSU news
- Erin DiCaprio, Yuanmei Ma, Anastasia Purgianto, John Hughes, Jianrong Li*. Internalization and dissemination of human norovirus and animal caliciviruses in hydroponically grown Romaine lettuce. Applied and Environmental Microbiology, 2012, 78(17):6143-6152.
- Fangfei Lou, Pengwei Huang, Hudaa Neetoo, Joshua Gurtler, Brendan Niemira, Haiqiang Chen, Xi Jiang, Jianrong Li.* High pressure inactivation of human norovirus virus-like particles provides evidence that the capsid of human norovirus is highly pressure resistant. Applied and Environmental Microbiology, 2012, 78(15):5320-5327.
- Yu Zhang, Yongwei Wei, Junan Li, Jianrong Li.* Development and optimization of a direct plaque assay for human and avian metapneumoviruses. Journal of Virological Methods, 2012, 185(1):61-68.
- Yuanmei Ma, Jianrong Li*. Vesicular stomatitis virus as a vector to deliver human norovirus virus-like particles: a new vaccine candidate against an important non-cultivable virus. Journal of Virology,2011,85(6): 2942-2952.
- Fangfei Lou, Hudaa Needoo, Haiqiang Chen, Jianrong Li*. Inactivation of human norovirus surrogate by high pressure processing: effectiveness, mechanism and potential application in fresh produce industry. Applied and Environmental Microbiology 2011, 77(5):1862-1871.
- Kurtis Feng, Erin Divers, Yuanmei Ma, Jianrong Li*. Inactivation of human norovirus surrogate, human norovirus virus-like particle, and vesicular stomatitis virus by gamma irradiation. Applied and Environmental Microbiology 2011, 77(10):3507-3517.
- Ashley Predmore, Jianrong Li*. Enhanced Sanitization of a Human Norovirus Surrogate in Fresh Vegetables and Fruits by a Combination of Surfactants and Sanitizers. Applied and Environmental Microbiology 2011, 77(14):4829-4838.
- Gabriel Sanglay, Jianrong Li, Roberto Uribe, Ken Lee. Electron beam inactivation of a norovirus surrogate in fresh produce and model system. Journal of Food Protection 2011, 74(7):1155-1160.
- Fangfei Lou, Hudaa Neetoo, Junan Li, Haiqiang Chen, Jianrong Li*.Inactivation of human rotavirus, vesicular stomatitis virus, and avian metapneumovirus by high-pressure processing: lack of correlation between barosensitivity of viruses and presence of viral envelope. Applied and Environmental Microbiology 2011, 77(24):8538-8547.
- Xiaodong Zhang, Yongwei Wei, Yuanmei Ma, Songhua Hu, Jianrong Li*. Identification of aromatic amino acid residues in conserved region VI of the large polymerase of vesicular stomatitis virus is essential for both guanine-N-7 and ribose 2'-O methyltransferases. Virology 2010, 408(2):241-252.
- Wolf MC, Freiberg AN, Zhang T, Akyol-Ataman Z, Grock A, Hong PW, Jianrong Li, Watson NF, Fang AQ, Aguilar HC, Porotto M, Honko AN, Damoiseaux R, Miller JP, Woodson SE, Chantasirivisal S, Fontanes V, Negrete OA, Krogstad P, Dasgupta A, Moscona A, Hensley LE, Whelan SP, Faull KF, Holbrook MR, Jung ME, Lee B. A broad-spectrum antiviral targeting entry of enveloped viruses. Proceedings of the National Academy of Sciences USA. 2010,107(7):3157-3162.
- Amal Rahmeh, Jianrong Li, Philip J. Kranzusch and Sean P. J. Whelan. Ribose 2'-O methylation of the vesicular stomatitis virus mRNA cap precedes and facilitates subsequent guanine-N-7 methylation by the large polymerase protein. Journal of Virology 2009, 83(21):11043-11050.
- Jianrong Li*, Amal Rahmeh, Vesna Brusic, Sean P. J. Whelan*. Opposing effects of inhibiting cap addition and cap methylation on polyadenylation during vesicular stomatitis virus mRNA synthesis. Journal of Virology 2009, 83(4):1930-1940.
- Jianrong Li*, Amal Rahmeh*, Marco Morelli, Sean P. J. Whelan. A conserved motif in large RNA dependent RNA polymerase of non-segmented negative-sense RNA viruses essential for mRNA cap formation. Journal of Virology 2008, 82(2): 775-784. (*co-first author)
- Jianrong Li*, John S. Chorba*, Sean P. J. Whelan. Vesicular stomatitis viruses resistant to the methylase inhibitor sinefungin upregulate RNA synthesis and reveal mutations that affect mRNA cap methylation. Journal of Virology 2007, 81(8):4104-4115. (*co-first author)
- Jianrong Li, Jennifer Wang, Sean P. J. Whelan. A unique strategy for mRNA cap methylation used by vesicular stomatitis virus. Proceedings of the National Academy of Sciences USA. 2006, 103(22): 8493-8498. (This paper was highlighted as Research Focus, Harvard Medical School, June 2006).
- Yongwei Wei,Jianrong Li, Jiangtao Zheng, Hong Xu, Long Li, Lian Yu. Genetic reassortment of infectious bursal disease virus in nature. Biochemical and Biophysical Research Communications 2006, 350(2): 277-287.
- Long Li, Weihuan Fang,Jianrong Li, Li Fang, Yaowei Huang, Lian Yu. Oral DNA vaccination with the polyprotein gene of infectious bursal disease virus (IBDV) delivered by attenuated Salmonella elicits protective immune responses in chickens. Vaccine 2006, 24: 5919-5927.
- Jianrong Li, Errin C. Fontaine-Rodriguez, Sean P. J. Whelan. Amino acid residues within conserved domain VI of the vesicular stomatitis virus large polymerase protein essential for mRNA cap methyltransferase activity. Journal of Virology 2005, 79(21):13373-13384. (Editors choice: this paper was selected for a spotlight in Journal of Virology)
- Jianrong Li, Vanessa R. Melanson, Anne M. Mirza, Ronald M. Iorio. Decreased dependence on receptor recognition for the fusion promotion activity of L289A-mutated Newcastle disease virus fusion protein correlates with a monoclonal antibody-detected conformational change. Journal of Virology 2005, 79(2): 1180-1190.
- Judith G. Alamares, Jianrong Li, Ronald M. Iorio. Monoclonal antibody routinely used to identify avirulent strains of Newcastle disease virus binds to an epitope at the carboxy terminus of the hemagglutinin-neuraminidase protein and recognizes individual mesogenic and velogenic strains. Journal of Clinical Microbiology 2005, 43(8): 4229-4233.
- Jianrong Li, Quinlan Edward, Anne M. Mirza, Ronald M. Iorio. Mutated form of the Newcastle disease virus hemagglutinin-neuraminidase interact with the homologous fusion protein despite deficiencies in both receptor-recognition and fusion promotion. Journal of Virology 2004, 78(10): 5299-5310.
- Jianrong Li*, Xueya Liang, Yaowei Huang, Songshu Meng, Ronghui Xie, Ruitang Deng, Lian Yu. Enhancement of the immunogenicity of DNA vaccine against infectious bursal disease virus by co-delivery with plasmid encoding chicken interleukin 2. Virology 2004, 329(1): 89-100.
- Zhiyu Wang, Anne M. Mirza, Jianrong Li, Paul J. Mahon, Ronald M. Iorio. An oligosaccharide at the C-terminus of the F-specific domain in the stalk of the human parainfluenza virus 3 hemagglutinin–neuraminidase modulates fusion. Virus Research 2004, 99: 177-185.
- Jianrong Li*, Yaowei Huang, Xueya Liang, Mijia Lu, Long Li, Lian Yu, Ruitang Deng. Plasmid DNA encoding antigens of infectious bursal disease viruses induced protective immune responses in chickens: factors influencing efficacy. Virus Research 2003, 98: 63-74.
- Yaowei Huang, Long Li, Jianrong Li, Lian Yu. Rapid construction of infectious clones of infectious bursal disease virus. Acta Biochimica et Biophysica Sinica 2003, 35(4): 338-344.
- Lian Yu, Jianrong Li, Yaowei Huang, Ruitang Deng. Molecular characteristics of full-length of genomic segment A of three infectious bursal disease viruses in China: two attenuated strains and a field virulent strain. Avian Disease 2001, 45(4): 862-874.
- Jianrong Li, Yaowei Huang, Songshu Meng, Xueya Liang, Ronghui Xie, Lian Yu. Cloning and phylogenetic analysis of interleukin-2 gene in Xiaoshan chicken, a Chinese local chicken breed. Acta Biochimica et Biophysica Sinica 2001, 33(6): 713-718.
- Yaowei Huang, Lian Yu, Hongwei Ding,Jianrong Li, Kunhua Song. Amplification and cloning by long RT-PCR of full-length genome of larger segment of chicken infectious bursal disease virus. Acta Biochimica et Biophysica Sinica 2001, 33(3): 355-359.
Reviews & Book Chapters
- Erin DiCaprio, Yuanmei Ma, John Hughes, Jianrong Li, * Epidemiology, prevention, and control of human norovirus. Infectious Disease Clinics in North America. 2013. In Press.
- Erin DiCaprio, Fangfei Lou, Ashley Predmore, Jianrong Li*. Strategies for control of food- and water-borne viruses".Foodborne Viral Pathogens. 2013. In Press.
- Jianrong Li*, Yu Zhang. Messenger RNA cap methylation in nonsegmented negative sense RNA viruses. Methylation - From DNA, RNA and Histones to Diseases and Treatment. Rijeka: InTech Publisher, 2012.
- Jianrong Li*, Ashley Predmore, Erin Divers, Fangfei Lou. New interventions against human norovirus: progress, opportunities, and challenges. Annual Review of Food Science and Technology, 2012, 3:331-352.


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14:00 – 17:30
Registration: Sheraton Hotel Pre-Function Area (near Lalibela Ballroom)
17:30 – 19:00
Welcome Reception: Sheraton Hotel Patio - open to all registered delegates
Dress: Casual
19:00 – 22:00
Hub of Africa Designer Showcase (Part 1) – African Union Conference Centre – Dress: Smart Casual
Hub of Africa Fashion Week Addis Ababa celebrates Eco-fashion. This will be the first showing of a two-part event (the 2nd part being on Wednesday 25th), which will showcase the talents of 35 designers from across Africa. Designs will be created with commercial appeal and African flair, many using cotton and other raw materials & accessories sourced from the continent.
Eco Fashion is part of the growing design trend in sustainable fashion where a product is created and produced with consideration to its environmental and social impact. Simply put, "eco-fashion" refers to stylized clothing that uses environmentally sensitive fabrics and responsible production techniques.
Return to Hotels
SEMINAR THEME I: Technology and Machinery Development, Agricultural Practices and the link with Academia and Industry Needs
The world cotton, textile and apparel industry has seen fundamental changes in the past decades especially in new product development and new technologies, a direct response to rising costs and competition from other fibres. In this session, the impact of new product development, together with the need for a formal and new initiative to connect Academia and Industry, will be highlighted as an essential component for progress and development
09:00 – 10:45
Session 1Effect of Technology and Machinery on Production
Moderator: Mr. Rajeev Arora, Executive Director, ACTIF, Kenya
Navdeep Sodhi
Partner, Gherzi Textil Organisation, Switzerland
'The impact of Technology and Machinery on production: World Vs Africa'
Prof. Dorothy McCormick
University of Nairobi, IDS, Kenya
'Adjusting to Chinese Ascendancy in the Post-MFA Global Clothing Industry: Innovation, Technology, and Markets of the African Exporter'
Dr. Deepti Gupta, Associate Professor
India Institute of Technology
Functional clothing and its role in the future'
Session 2Bridging the Gap between Academia and Industry to Build Competiveness
Moderator: Prof. Tegegne Gebre-Egziabher, Addis Ababa University, Ethiopia
Areda Batu Gemechu
Institute of Technology for Textile, Garment and Fashion Design (IOTEX) Bahir Dar University, Ethiopia
'Overview of Ethiopian Scenario'
Prof. Ann Mastamet-Mason
Kenya Polytechnic College university
'Bridging the gap between academia and industry to build competiveness within the Textile and Apparel Sectors of Africa'
Mr. Gopal Bhasin
The Apparel Training and Design Centre, India
'Role of merchandising, production management, branding and communication for becoming a global professional'
10:45 – 11:15
Coffee Break – Terrace (adjacent to seminar rooms, 1st floor)
11:15 – 13:00
Session 3Good Agricultural Practices and Reducing Contamination
Moderator: Mr. Barry Fisher - Fiber, Textile & Apparel Component, USAID COMPETE, Kenya
Asefa Aga
Ethiopia Cotton Producers , Ginners and Exporters Association
'Overview of Cotton Production in Ethiopia'
Kwajjaffa Ali
National Cotton Association of Nigeria
'Overview of cotton production in Nigeria'
Dr C.N Waturu
Kenya Agricultural Research Institute
'Potential of Bt cotton Production in Africa'
Session 2 (continued) Bridging the Gap between Academia and Industry to Build Competiveness
Moderator: Mr. Prashant Agarwal - Jt Managing Director, Wazir Advisors, India
Prof. Bulent OZIPEKSchool of Textile Technologies and Design, Turkey
'Turkish Textile Technology and its linkages between industry and Academia'
Mr. Mithun Kamath
Centum Learning, Kenya
' Role of skill development for enhancing employment'
Mr. Harminder Sahni
Wazir Advisors, Mauritius
Bridging the gap between technology and Industry
13:00 – 14:30
Lunch Break (Ballroom Patio) & Trade Expo (Lalibela Ballroom)
SEMINAR THEME II: Investment and Innovations along the Cotton/Textile/Apparel Value Chain, Application and Design
The International Monetary Fund (IMF) data indicates that the combined size of African economy in 2010 was approximately US$ 1.7 trillion (current prices), which has grown annually since 2000 at a remarkable rate of approximately 11%. It is expected that by 2016, it will exceed US$ 2.6 trillion, thereby growing at a rate of approximately 7%, making it one of the fastest growing economic regions in the world. This session will highlight investment opportunities and related issues across the value chain of cotton, textile and apparel, including market access opportunities, cost competitiveness, niche markets potential, and the policy environment
14:30 – 16:30
Session 4
Investors Interactive Session
Moderator: Mr. Jaswinder Bedi, Chairman ACTIF
Dr. Hailu Beley, PhD
'Investing in Ethiopia Textile Industry: Turkeys Experience'
Mr. Arun Garodia, MD, Keshav Knits, India
Amit Ruparelia, Chairman, TEXPROCIL, India
Updeep Singh, Senior Textile Industry Executive, India
Mr. Arun Seth, Director, Sunflag, Kenya
Session 5
Exploiting Value of Unique Designs and Accessories
Moderator: Mr. Chad Schofield - USA
Prof. Jacqueline Robeck
Louisiana State University, USA
Changing Trends in the Fashion Industry
Mrs. Sabrina Ramsamy
Institute of Fashion and Design, Mauritius
Recycling Cotton Waste warps into Fashion Accessories
Mr. Tarun Pandey
Pearl Academy of Fashion, India
'Tapping the Niche segments in Africa'
16:30 – 18:00
Official Opening of Origin Africa 2012 (Ballroom Patio) – a special welcome from the Prime Minister of the Federal Democratic Republic of Ethiopia, H E Meles Zenawi
Hub of Africa Designer Showcase (Part 2) – African Union Conference Centre – Dress: Smart Casual
Origin Africa presents the Hub of Africa Fashion Week Part 2, "Designer Showcase". The showcase will culminate in three prestigious awards:
Origin Africa Award – participation at the Africa Fashion Week New York
Messe Frankfurt Award – participation at the Ethical Fashion Show, Paris
US Retailer Award – for outstanding commercial market potential (a supply contract)
08:00 – 16:00
Registration: Sheraton Hotel, Pre Function Area (near Lalibela Ballroom)
SEMINAR THEME III: Buyers Needs & Perspectives in doing Business in Africa
Africa is a blessed continent owing to the presence of unique resource, cultures, designs, talents and people. Africa has a lot to offer to its people and to the world. However this is yet to be fully exploited in order to generate maximum value. This session is dedicated to exploring the unique talent and manufacturing capabilities that Africa has, and how the continent and its industry can partner, and do business, with the international community and its consumers
09:00 – 11:30
Session 6
Interactive Session with Buyers and Manufacturers
'What is needed to be a preferred supplier for regional & international exports'
Moderator: Mr. J.C Mazingue, USAID COMPETE
Buyers & Open Floor
11:30 – 11:45
Coffee Break – Terrace (adjacent to seminar rooms, 1st floor)
11:45 – 13:30
Session 7 Building Value, Brands and Export Strategies
Moderator: Mr. Finn Holm-Olsen – Director, East & Central Africa Trade Hub, USAID COMPETE Program
Michael Scherpe
Messe Frankfurt, France
'Market, shows, strategies'
Skander Negasi
Trade and Fairs Consulting
'Value through expos and road shows'
Dr. Elke Kaschl Mohni
DirectorGoethe Institute, Addis Ababa
'Renaissance Fashion – An Initiative by Goethe Institute'
13:30 – 14:30
SEMINAR THEME IV: Green/Eco Manufacturing – The New Direction
This session will focus on the opportunities in the emerging niche sector and the different products and processes which are present but perhaps not taken advantage of. A key challenge that exists is finding the right mix of markets and buyers for the niche product needs, and the increasing importance of recognizing that the environment needs to be protected for future generations, to adjust our thought processes to produce finished products that meet the needs of modern society, and how to capitalize on this to create greater value for the people of Africa.
Session 8
Niche Markets - Africa's Potential
Moderator: Mr. Berhane Gebreyohannes Woldemariam - Chairman, Ethiopia Cotton Producers, Ginners and Exporters Association
Louis Gérin
Texworld & Apparel sourcing, France
Trends of Ethical Fashion
Mr. Mahesh Ramakrishnan
Arvind Mills, India
'Investing in Fair Trade Cotton Production'
Dr. Ben Sekamatte (TBC)
GIZ, Uganda
'Cotton Made in Africa – Case Study of Zambia'
Session 9 Investing in Carbon Footprint Mitigation and Green Energy
Moderator: Ms. Danielle Wong – Director, Mauritius Export Association
Prof. Godwell Nhamo
University of South Africa
Investing in carbon footprint mitigation and green energy within the Cotton Value Chain
Mr. Heinrich Schultz
Supply Chain Expert, South Africa
'Supply Chain Engineering and the "Eco Fit" for the Global Market Place'
Mr. Beas Cheekooree, General Manager of FM Denim Ltd, Mauritius
'What it Takes - The Mauritius Experience'
16:30 – 17:00
A "No Host" Evening, but…….. 'Discover' and have a taste of Addis Ababa, be it a dinner, jazz club, traditional/cultural location or other places of interest……..a guide list will be provided to assist in your selection
08:30 – 14:30
Registration: Sheraton Hotel, Pre Function Area (near Lalibela Ballroom)
SEMINAR THEME V: Value addition and the Role of Design Development
Limited value addition in Africa is a major drawback in the competitiveness of the regional cotton, textile and apparel value chain. This session will focus on examining the status and opportunities across the regional value chain and the role of design and brand development in creating value for Africa
Session 10
Designers Seminar
Moderator: Ms. Linda Murithi - Director, Clairvoyant
Gregory Lamaud
Texworld & Apparel Sourcing, France
European Fashion Market
Dr. Elke Kaschl Mohni,
Director Goethe Institute Addis Ababa
Renaissance Fashion – A Initiative by Goethe Institute
Ms. Llenay Ferretti (USA)
Home Decor and Fashion Accessories Advisor, ECA Trade Hub
'Integrating Design and Marketing'
11:30 – 12:00
12:00 – 13:00
Session 10 - Designers Seminar (extra time should this be needed)
14:30 – 18:00
14:30 – 17:00
Option 1 - Factory Visit
Ayka Addis Textile & Investment Group Plc – a very, very large vertically integrated textile manufacturer, covering spinning, knitting, dyeing, finishing and garment manufacturing
Option 2 - City Tour of Addis Ababa – by 'open top' bus (space limited, please book through sign-up sheets on registration)
Return to Hotels & Close of Trade Expo – but please continue your 'discovery' of Addis Ababa


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Sunday Morning Service
Date(s) - 11/29/2020
2:00 pm - 3:30 pm
Cavalry Chapel of the Niagara Frontier
Sunday morning service is held at 10AM. Please join us.
Adult Only Policy: Our services in the Sanctuary are designed for adults only. Our goal is to teach the Bible and to worship God in an atmosphere free of all distractions where people can focus on the Lord. For this reason, only children age 11 or older are permitted in the sanctuary.
Alternative Seating: We provide a room for nursing moms in the nursery area, as well as an overflow room in the café, for those parents who would prefer not to be separated from their children.
If you ever need help finding your way around the building, just ask any of our friendly ushers or greeters. We offer a variety of services for youth of all ages during the adult service on Sunday.
Children's Ministry is a quality, age-appropriate childcare ministry that is offered during Sunday service. Each teacher spends time in study and prayer before your child enters the classroom. The exciting classes and activities reflect the love and care of the Lord.
Junior High Ministry: Students in grades 6 though 8, meet every Sunday morning for Bible study during the adult service, as well as small group meetings and a variety of other events throughout the year to make solid Christian friendships.
High School Ministry: A fellowship of students in grades 9 through 12, regardless of where they attend school. With a focus to be built up as a group and as individual young men and women in the ways and will of the Lord, they meet every Wednesday evening during the adult service for fellowship, worship, and in-depth studies of the Scriptures. They also have a variety of other events throughout the year.


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Those of you who attended our annual conference earlier this month heard a lot about the changes facing investment advisers, broker-dealers and securities regulators alike.
My emphasis as president of the North American Securities Administrators Association (NASAA) will be our response to this evolving regulatory environment.
It should be little surprise that one of my goals as NASAA president is to fight against pre-emption or marginalization of state securities regulation by advancing our status as the most effective and balanced securities regulator in North America.
The events of the past year leave little doubt that this fight is far from over. Over the past 12 months, NASAA has battled against changes to Rule 506, crowdfunding and other preemptive provisions of the JOBS Act. We also fought Round One of the battle against imposition of a self-regulatory organization on state-registered investment advisers. While the first round of that battle may be over, I have no doubt that Round Two will start soon.
NASAA will continue to oppose state and federal legislation that may corrupt the delicate balance between investor protection and capital formation.
State securities regulators have long maintained a defensive position, using our admirable enforcement record to defend against attacks on our jurisdiction. But, reliance on our enforcement efforts has done little to stem the tide of preemptive legislation coming out of Washington.
The securities markets are too large and too diverse for one government regulator to oversee. Given the size and complexity of the market, state securities regulators are presented with a unique opportunity.
NASAA should conduct a critical self-examination, consider the changes to securities regulation brought about by globalization and rapidly changing technologies, and stake a claim to those areas where state securities regulators are the most efficient, effective and appropriate regulator—the regulator most likely to serve as a valuable resource to issuers, investors and the industry.
It is clear to me that NASAA should have an active voice that is not only heard by lawmakers, but heeded. However, history has proved that not to be the case.
How do we change this? We get aggressive, add offense to defense, and focus not only on protecting the existing jurisdiction of NASAA members, but utilizing our capabilities and expertise to expand this jurisdiction and influence.
NASAA must show that the role of state securities regulators strikes the most reasonable balance between investor protection and capital formation. If the JOBS Act is any indication, lawmakers appear willing to sacrifice reasonable regulation for perceived economic growth. However, reasonable regulation is essential to facilitate the investor trust necessary for economic growth. The new Regulation A+ (which refers to the new $50 million exemption under Title IV of the JOBS Act) presents an opportunity to show Washington and the industry what state securities regulators can accomplish.
The investment adviser switch presented the same sort of opportunity. State securities regulators excelled during the switch process, serving as invaluable resources to all those involved. Now it is up to us to prove that through reasonable, effective and efficient regulation of state-registered investment advisers, a self-regulatory organization is an unnecessary burden.
However, Regulation A+ and state-regulated investment advisers are not enough. State securities regulators should strive to be leaders in the timely development of uniform laws and regulations to address the rapidly changing issues in the markets.
This includes responses to developments in all areas of regulation. If NASAA members can speak timely with one voice on these issues, it will facilitate the continued development of a more efficient and effective system of state and provincial securities regulation across the board.


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NEW YORK - From "covfefe" to Sean Spicer's press briefings, the Trump administration has provided a steady stream of material for late-night shows.
NBC's Late Night with Seth Meyers now devotes up to 12 minutes of airtime three to four days a week with a segment called "A Closer Look."
During these segments, Meyers and his writers take an element of news and do a deep dive. On Monday it was President Trump's efforts to discredit former FBI Director James Comey while also trying to bolster his own reputation. He asked Cabinet members to give him compliments in an on-air round table.
"Is there anything creepier than Trump making his staff go around the room and praise him? Even Kim Jong Il is like, 'Dude, have some self-respect,'" joked Meyers in "A Closer Look" segment.
Meyers says his interest in current events and politics stems from his childhood.
"My parents are very much into reading newspapers, watching the news every night," he says. "I grew up in New Hampshire, so presidential politics were on our front door every four years for six months."
Late Night head writer Alex Baze says people are paying attention to politics.
"You can do your best work when the audience has a lot of information," he said. "When you have to explain the whole story and then make a joke, it really loses steam along the way."
Sal Gentile, designated writer for "A Closer Look," says it's "a lot of rapid-fire joke writing."
"First you're processing news and on top of that you've got to write jokes," he says. "It requires speed and discipline."
The "Closer Look" segment appears three or four times a week, and Late Night producer and showrunner Mike Shoemaker says it's "the thing that excites us."
"If you asked me a few years ago, 'Do you think you'll have 12-minute segments that will even go on YouTube much less get a million views by the next day,' I'd be very surprised. … People accept it at every length and sometimes even the longer ones do better," he says. "We learned to let the segment run and figure out the rest."
Meyers says there are no rules about "A Closer Look."
"I think one of the great advantages we have over real journalists who wonderfully have higher standards than we do is, when you're dealing with an administration that often doesn't have a lot of respect for integrity, comedy shows like ours are kind of better suited to call them out," he said.
He says the main goal of the segments is to entertain, but it's cathartic for him as well. "It's the best feeling to have a day where there are things in the news that are frustrating to you and stressful, but if you can go out and tell jokes, it is the best feeling. I'm very lucky. I feel very fortunate to tell jokes now more than ever."


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07 March 2013 | News | By BioSpectrum Bureau
Indian state of Karnataka gets new pharma policy
Bangalore: The Indian state of Karnataka, which houses the most number of life science firms in the country, unveiled its new pharmaceutical policy. The new policy intends to introduce the cluster concept by providing ready-to-use infrastructure for establishing pharmaceutical enterprises through pharma parks at several locations in the state.
The policy was released by the state's Health and Family Welfare Minister Mr Arvind Limbavali, in the eminent individuals from the life science industry, including Biocon CMD Kiran Mazumdar-Shaw.
The policy focuses the much needed development of human resource and aims to make readily employable manpower available at all levels to the pharma sector. Other features of the policy include enhancing facilitation mechanism to help investors set up projects with ease and less transaction cost and providing encouragement through various incentives and concessions.
Karnataka Pharmaceutical Development Council (KPDC) would be constituted by the Government to serve as a single point contact for pharmaceutical sector. The policy not only focuses on large pharmaceutical industries but also provides attractive incentives to encourage micro, small and medium manufacturing enterprises.
Mr Limbavali said that, "This policy makes Karnataka vibrant in pharmaceutical sector, which is bound to create additional employment opportunities for the people of Karnataka through inclusive development approach. There are incentives like exemption from stamp duty, concessional registration charges, waiver of conversion fine and exemption from entry tax. Similarly exports are encouraged through various incentives like exemption from payment of entry tax and refund of certification charges."


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Every week, WoW Insider brings you Totem Talk for elemental, enhancement, and restoration shaman. Josh Myers once only tackled the hard questions about enhancement but has recently expanded his sphere of responsibility to all shaman DPS specs. (And no, two-handed enhancement is still never coming back.)
DPS is an art. It's not art in the sense that the Mona Lisa or Friday by Rebecca Black are art, but it's art. It requires practice, knowledge, and dedication to make work, and judging by the Battle.net forums, Twitter, and various other social media outlets, it's an art form that a lot of people still have trouble getting right. As a DPS shaman (really, as any class), there are a few basic rules every player should follow to enhance their DPS.
1. Use addons that make up for what the default UI lacks. I know that there's a set of players out there who totally swear by using the default UI. In reality, I can understand that sentiment. I didn't realize it until I found myself with a sprained hamstring and only able to raid my borrowing my boyfriend's laptop and downloading an addon-less WoW onto it this week, but I actually thought the default UI looked really cool.
Unfortunately, despite how cool it looks, default isn't optimal. Doing the Raid Finder as elemental, I realized a couple of things -- that of my 30-plus-addon suite, I really only missed six or seven of them, and those six or seven I missed were ridiculously important. I was lacking OmniCC for watching my cooldown timers, and I didn't have Power Auras to watch Fulmination stacks or ForteXorcist for tracking my DoT timers (important for both ele and enhance). I know that I played sloppily as a result. I missed Lava Surge procs like crazy, I Fulminationed as Flame Shock ran off, and I made other small mistakes that I would normally not make because I have addons to help me keep track of the fight.


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You can have your Sony PlayStation Portable in any color you want, as long as it's black. Until later this month, that is. We've heard rumblings of the pink PSP, and now we know that's due on November 22. We're also hearing that Sony plans to start rolling out other colors, up to five in all.
The company announced the silver PSP will be delivered on December 14 with the blue one following closely behind on December 22. Is it us, or do these look like cheap toys? See two more colors and a couple of helpful hints, after the jump.
If you're really hot for different colors for your PSP, there's no need to buy a new one—just get a faceplate for $50, or you can get decal/skins in your choice of 40 colors for just $9.
Silver and Blue PSPs Coming Soon [Newlaunches]


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Brandon's Words of Wisdom
For those of you with audio, and particularly audio editing,
if you're trying to sync a long sound effect or a song to a show where you're
trying to get it to end perfectly with the chain of events, here's a quick tip
that I came up with tonight that I thought might help you with your shows.
The problem is that I was doing sound for a wedding, with all the music being from a digital playback source. During the processional they wanted to play Canon in D, a 6 minute song, but it only took them 3:30 to get down the aisle and into place. I really wanted to avoid a cheap fadeout, so I edited the song in Cool Edit Pro so that I had one version that was 3:35 and one that was 3:55 . That way I had one that was supposed to go perfectly with the processional ( 3:35 ) and a backup if something went wrong or people were walking slow.
Now, how do I switch between one or the other at the last moment? I created a new stereo WAV file, and put the 3:35 version on the left channel, and the 3:55 version on the right channel, starting at the same time, and then burned it to a CD. Hooked the CD player up to the board so that the Left channel has it's own fader, and the Right channel has it's own fader.
Now the left and right channels of Canon play at the same time, but I mute the right fader and leave the left fader up so the 3:35 version is playing to the audience via the left channel. If I get to 3:30 and people still have a ways to go, I switch channels while the CD is playing, and voila, nobody ever knows.
This was the plan initially, but I was able to expand on it by installing an 8-output sound card and running 8 different versions of Canon at the same time using computer layback.
Anyway, cheap solution to a simple problem (lesson: hire real musicians), but I figured I'd tell you guys just in case you're in this situation sometime!
Audio Technica microphones have their place - I've used them
for a lot of bands (a couple national) and have been very pleased with their
systems for guitars and vocals, and so have the artists.
Since you have enough experience to say that they aren't good, what was your application? When you used their wireless systems, did you check the frequency compatibility in your area with other wireless services? Did you use a properly distributed antenna system? Did you configure the frequency channels properly? Was the venue a suitable area for radio frequencies to be used?
And furthermore, Audio-Technica's products are used on tours everywhere, with very good results. Their condenser microphones are totally awesome, and they have probably recorded a component of 1/2 the music you listen to daily. And if you know anything about audio at all, you know that a fundamental rule is that you pick the right brand and product for your application, and you try different microphones/brands on the same source to see what sounds good. I can't count how many times I've put 3 microphones in the same kick drum and then mixed them together at the console, using each microphone's characteristics to make a beautiful, in-your-face, shake-the-room, clear, crisp sound.
So, with that said, given Audio-Technica's reputation and my personal experience with them, if you think their products suck, it's because you bought the cheapest thing you could and expected more than you knew it could produce, or you just flat out didn't know how to use audio equipment properly. :)
Sorry if that was a little harsh. I'm just kind of the wrong person to fight with over audio... and in this case, I and 300 other professional audio engineers can pretty much say, with confidence, that you're wrong, and I'm sorry that you had a bad experience. ;)
And, why would you want them? LOL
By the way, to add to the list... To be the ultimate know-it-all techie, you must be able to do the following: (by the way, I also call this my Brandon's Technical Observations on How To Get Chicks In Theater List)
A) Walk into a completely dark theater, go directly to the wall lighting controls, and press the right button (the faster the better)
B) Also with lighting, you need to be able to give that good, blank stare at the set like you're contemplating something philosophical, and you must have the ability to walk up to the back of the light board, and operate the controls quickly and effectively seeing the controls upside down. (This, also, will get you the chicks, depending on how fast you do it!)
C) Pyrotechnics. If you roll up in your steel toed black boots, walk in and start doing some funky things with flash powder, you WILL have a date that night.
D) You must posess knowledge of both sound and lights. However, this is not enough. To "warm up" the systems in front of everyone, you must have a fully prepared kickin' light show to accompany "Lords of Acid - Drink My Honey". When created and executed properly, you WILL be the cheese.
E) You must be able to climb the ladder to the flies with one hand. No excuses. How you figure it out is up to you. ;)
F) If you have the resources, create a "light board alarm". All you need is a MIDI-capable light board, a computer, and a little programming experience. Here's how I configured this little joke:
1 - I set the light board up to output all level changes / buttons through MIDI .
2 - I set the computer up to recieve MIDI .
3 - Programmed computer to have 2 modes ("Armed", "Unarmed")
4 - Connected computer to sound system, at fairly high volume level.
5 - Create 2 cues... 1st cue is all dimmers at full, 2nd cue is all dimmers at 0.
6 - Get a pretty good nuclear submarine alarm sound effect (add voice over if you wish)
7 - Synchronize 2 cues with nuclear submarine alarm sounds.
Now, the inspiration behind this was that people liked to come by the light board and just start pressing buttons to see what they did.
So, if you can imagine, before I walked away from the board, I "armed" the computer. Sure enough some little freshman came up and pressed a button. The scene that follows is kind of like this...
<button pressed>
FRESHMAN: Haha, this is fun!
<computer recieves MIDI message>
<computer activates sound effects>
<computer sends MIDI message to run cues 1 and 2, looping>
BUZZZZZZ <all dimmers full> BUZZZZZZ <all dimmers 0> BUZZZZZ <all dimmers full > BUZZZZZ "LIGHTING SYSTEM VIOLATION!" <all dimmers 0> BUZZZZZ "PLEASE STEP AWAY FROM THE CONSOLE WITH YOUR HANDS UP" <all immers full> BUZZZZ....
(buzzing needs to loop with dimmer effects until you come back and de-arm the system)
By the way, you might want to have an extra set of underwear on hand for that unlucky soul that presses the button...
Hi there!!
Express series - excellent choice... Any reason why your school chose the 48/96 over the 24/48 for an 80 channel system? you guys gonna dive into the world of moving lights?
First of all, a particular acronym comes to my mind - RTFM (read the friggin' manual). That will answer a ton of your questions and spark your creativity into what you can really do with that board. (actually, that board can handle almost anything you can dream of if you can spend the time programming it, the only thing you're limited by is the number of channels... and doing incandescent 80 dimmer setups you'll have no problems at all).
If you're looking for the fastest way to make a chase just so you can look at the stage and go "oooh, pretty!", then here it is (assuming I get it right off the top of my head)...
I would like to call this " Brandon 's Beginner Guide to Make Pretty Flickering Things"
1. Start board
2. Turn every little fader down and turn the master up, and the cue faders (A/B and C/D) up all the way.
3. Press [Cue] [1][0][0] [Enter] (this chase will be on cue 100 for the sake of this example)
4. Press [Type] (and it will display a menu in red) [3] (Effect) [Enter]
5. Slide up a couple faders for the first frame in your chase.
6. Press [Record] [Enter]
(note: this is the quick way, because it automatically fills in the cue number 100 because that's the last cue you were working with - the long way is [Record] [Cue] [1][0][0] [Enter])
7. Now slide some more faders around to get what you want for the second frame of your chase.
8. Press [Record] [Enter]
9. Repeat steps 7 & 8 for as many frames as your heart desires.
10. Now that you're done writing the chase, you'll want to see it, right? (btw - by default, the default fade time for effects is .2 seconds, if you have sensitive lights that don't like this, or you don't want your dimmer system rapidly going FULL, OFF, FULL, OFF for 5 times each second, then edit the effect before you run it, see below) So, press [Cue] [1][0][0] [C/D GO] (C/D Go is the Go button on the right side... A/B is the left one)
11. Now that the teacher and the other members of the class think you are THE mack daddy of lighting, stop the chase by pressing [C/D CLEAR] (it's located to the right of the C/D faders)
12. To edit various aspects of the chase (or see the programmed version of what you have just done) press [Blind] [Cue] [1][0][0] [Enter]
Enjoy! I recommend preheating your instruments at about 10% for 5 minutes prior to executing a chase like this... The higher-wattage bulbs don't like waking up that fast otherwise... (it would be kinda like being in a nice, deep sleep when your bed catapults you 40 ft away to wake you up)
Enjoy! Make some cards for yourself and keep them handy for when the chicks see what you've done and ask for your #. :)
Color Scroller
Hey guys, just got back online from the week of heck...
recordings of 4 orchestra groups, 47 tracks mixed, and 529 CDs sold... worked
my lil bootie off and customers are pleased, and nowwww there's enough in the
account to get my long-awaited WholeHog II!!!!! So forgive me if I seem a
little bit bubbly excited :)
Anyway, on to the homemade color scroller -
First I got a Radio Shack project box about the size of a normal scroller, and with a dremel tool, cut a big gel-sized square hole in the middle of it so the light could pass through.
Next I went to the mall and found these miniature cookie-dough wooden roller things (just a wood cylinder) that was just a little bit longer than the box not including the handles. I got two of them, one for the business end of the gel, and one for the other side. I measured and cut the handles off and part of the big cylinder so that they'd fit into the box with a few mm of clearance.
After that I ordered a bipolar stepper motor and it's control card and got it working with basic functionality with the computer.
Now back to the cookie dough rollers - With the dremel I made a long slice down the side of it so that I could stick a piece of gel into it and have it hold (kind of like those really old movie reels where you stuck the film into the little hole and then started turning it) and did the same for the other roller. Then in each of the rollers at the top created a little groove all the way around for a rubber band to go around. The result was that the rubber
band would be what makes both the rollers turn... please see Exhibit A1 for an overhead view...
Exhibit A1... an ASCII representation of this concept ;)
_________ <- rubber band
O________O <- cookie dough roller
I drilled 2 holes on the left side of the color scroller (where the motor would go), drilled really small holes for the motor's chassis to screw on to, and stuck the little rotating motor shaft thingy (yes, it's a technical term) through the hole on the bottom, secured the chassis of the motor to the project box, and then drilled a small hole on the bottom of the cookie dough roller. As far as securing the motor to the roller, the hole I drilled was slightly smaller than the shaft of the motor and it's little nut at the end, so I just forced the roller onto the shaft of the motor and eventually with enough force it stuck (story of my life)...
Next I positioned the rollers to about where I wanted them and then drilled through the box into the rollers, and after praying that the heat from the light wouldn't melt the glue, used a hot glue gun and inserted a dowel through the hole in the project box and into the roller. Repeated this process until the ends of the rollers (except for the one attached to the motor) had dowels and could rotate relatively smoothly in the box.
Then I realized that since the rollers were already in place there was no way I could get the gel in. So, I ripped the dowels off the ends (glue had already cooled by this time) and started the process over again, this time with a big strip of gel attached ;) In my planning I didn't leave room for the circut board so that got gaff taped onto the side of the box ;)
To attach it to the fixture I just used paperclips on the top (spaced far enough apart so that there was enough tension that it wouldn't fall through the gel slot in the fixture) and the bottom.
To control it I went and got another project box, a female RS232 connection, mounted that on the box, and 3 female XLRs on the other end and split the connection into the 3 XLRs at the box so that I could run it through the snake. (This caused a few problems because RS232 doesn't like to run more than 50 ft, but using 3 individual Whirlwind mics cables solved the problem)... for the color scroller end I just made an adapter and taped it
all together. ;)
And there ya have it. Since then it's been scrapped because of 1) the large amount of WD-40 it took to make those things spin around smoothly and 2) reliability issues with bigger shows.... but it sure was fun when it worked for the time being!!
re: Clipping.... I had a couple things I didn't agree with, regarding some of the things I read. The problem was that they blew 2 speakers. It didn't say whether how many of what size drivers the speakers had in them, which drivers blew in which speakers (or maybe if they were old, the cone itself committed suicide)...
Scott sez:
Which would cause clipping?
a) Speakers rated at 200 watts and an amp rated at 100 watts.
b) Speakers rated at 100 watts and an amp rated at 200 watts.
In situation A, underpowering a speaker does not necessarily mean that the speaker is going to die no matter what. It all depends on what kind of levels you're sending to the amps. In situation B, driving a 100w speaker with a 200w amp is actually a good power ratio, although in theater and concert applications, you're dealing with speakers that are 300w and up, and therefore should power them with amps that are 1.5 - 2x the RMS rating of the speaker. That way, you can exceed the peak rating of the speaker without
clipping the amp.
>>If you turn up the amp to it's max power, it'll start to clip the signal. If the speakers can handle more power, they'll try to produce that rough jagged edge of the cut off wave and that's what causes them to fry. They just can't move that way.<<
Well, hang on. There are two general groups of sound reinforcement people; Those who think the amps should be turned all the way up, all the time, and those who like to match the amp input gain to the system. Both are a fairly accepted practice, although in theater applications, it's best to match the input gain with the rest of the system, because it gives you a lower noise floor to start out with. It all depends on what kind of signal you're ending to the amp in the first place, and how much headroom you need for the application.
Keep in mind that when you turn up the input on the amp, you're not adjusting how much of the actual amplifier's power is being used. You're just adjusting the level of the signal that's going to that amplifier. Some manufacturers build extensive limiting circuts into their amps for the express purpose of turning them up all the way, giving you the maximum headroom available from that amplifier.
Lets see if I can get this right... here goes...
If you are just sending +24db (a buttload) signal to the amp from the board anyway, what happens is that during the time that a signal is flat-topped, the cones in the loudspeaker are not being moved at all, as it's essentially receiving a DC signal. All this energy goes to heating up the voice coils rather than producing sounds, and therefore is 100% efficient at converting the amplifier power into heat. A tweeter normally converts 75% of it's power to heat. So during clipping, it has to produce 1/4 more of it's power into heat.
A woofer normally converts 97% of it's power to heat, and therefore only has to produce 3% more of the power into heat, so, the more efficient the driver, the worse the problem (the tweeters will heat up faster). In addition, the tweeters have less mass to heat up since they are smaller, so they heat up faster, burning them up faster than woofers.
Someone also said:
>>You guys don't have any limiters?<<
That may or may not solve the problem. It depends where the clipping is occuring in the signal chain. If you have a microphone that is run pretty hot into the preamp of the console, when someone yells, the input clips, and regardless of the fader position, and any other electronic gizmos you have down the line, the signal is clipped, and it will come out sounding like some guy with a great subwoofer inside a loose trunk lid (you've all heard it... the guy that thinks he's going down the road lookin' cool with his loud stereo... but what he doesn't hear is the back of his car about to vibrate violently off it's wheels)...
A limiter CANNOT detect a clipped signal if it occured somewhere along the line before the limiter.
What I do for my system for protection is that I give a generous (7/8) amp input level so that I don't have to send a great deal of signal out of the board and the rest of the DSP chain, and I put a comp/limiter that starts compressing at +4db with a 8:1 ratio, and a VCA-based limiter that engages at +12db, that way I never get too high even in the yellow area, but with the amp input set where it is, the system still has plenty of room. However, I have to make sure that nothing is clipping on the board.
A war story....
I was guest mixing for an opener, and got to talking with the system provider afterwards, so I got to hang around in the FOH area for the rest of the show as an observer. The headline act (with their own band engineer) claimed that they were the loudest band that had ever come to the arena. The system provider said "well, we've put extensive limiters in the amp racks for this show so that they can't blow anything up no matter how hard they try." ha.
haha. There are 2 6x8 arrays flown with 10 subs on the
They get to rockin', and at this point I decide that there's something wrong with mixing a band wearing earplugs while you're wearing earplugs for an audience wearing earplugs... but that's beside the point. About halfway through the show, the board is showing nothing but clip, clip, clip. About 5 min later, something doesn't seem right. The room isn't vibrating as it should. Oh, but wait, there's someone running under the stage with a fire
extinguisher! Ahh! A subwoofer has burst into flames! Followed by.... the high end drivers! And that was the show! The promoter paid for all the blown drivers, as stated in the contract, should it occur. But just goes to show that limiters aren't the end-all solution!
Hey -
>>Isn't it usually fairly standard practice to have the mic inputs going into your soundboard, and then turn up the "Gain" on the soundboard until your max vocal level on the mic doesn't cause clipping in the soundboard output? Aren't the amps usually placed down the line from the board outputs before hitting the speakers, such that the input to the amps is gauranteed to be non-clipped as long as the people feeding into the mics
don't perform significantly louder than they do in the sound check?<<
It really depends on your sound console; Most consoles have a SOLO (Mackie) or a PFL (Pre fader listen - most other consoles) button on each channel that will engage a LED meter of some kind that will let you see where you're at as far as gain on that particular channel.
I don't care where you are, or what type of show you're doing, the performers, 99.9% of the time, will perform on average 6-10db louder during the performance than they will during sound check. I think it's a law...
Anyway, back in the old days the general practice was to "turn the input up on the channel until the clip light comes on, then back off a little" – no longer is that the case, since we have these fancy devices called METERS! A good practice is to set the level to a little below 0dB during sound check (0dB should typically be marked on your console at about the center or in the top half of the LED meter), so that your performers won't be clipping your inputs during show time (you have headroom).
>>Brandon- where have you learned all this about sound as only a high school student? Got any good resources I should check out?<<
I just started with sound at school, then proceeded to sound at church, which opened up the gateway to work with a few Christian bands, which in turn opened the door to work with some companies in the area for major shows, same with lighting... and recently the video world has started to open up for me... and I've learned from those mentors everything from connecting power to a panel in the middle of a restaraunt kitchen (which by the way I will never use since anybody who needs this service HIRES AN ELECTRICIAN, RIGHT PEOPLE?), to how to build a rack of useless equipment for the express purpose of making a lot of LEDs light up to attract the chicks (it makes you look
like you're doing something more important)... color, rapid movement, and quantity are the key to this idea....
>>By the way, a tip for anyone doing lighting- double check any fixtures wired by other techies who don't know what they're doing... wiring the ground lead into the hot pin doesn't feel very good when you try to turn on the PAR and all the current goes into the bolt you're holding on to!<<
What you're saying is that you should let whoever wired it hold on to it for the first time it's turned on, right? ;-)
Gain Structure Techniques
I'm waiting for a recording to transfer from recorder to
computer through network right now, so might as well add to the discussion...
To be considered a "show" in my opinion it would be something done only by the theater group, where a set is built, floor mics are put on stage, and lights are hung and pre- programmed....
If we included concerts and other departmental shows where the tech crew was just backup (no talking props--er, actors) used, that in itself would be right about 30 shows a year.
We keep track of hours worked in our theater... at the end of the year last year I had about 920 hrs of time (not doing specific things, just the hours that I was physically in the auditorium doing something)... dang, I might as well have moved a bed into the flies and slept there..
just make it work!! ;)
If you're going around renting intelligent lights you probably can come up with the funds to install a few phases of power distribution (read: HAVE A LICENCED ELECTRICIAN install a few phases of power distribution... don't put on a pair of gloves and start patching into your circut panels, otherwise some chinese guy will start coming toward you right when you have live rods exposed and start spraying water all around you... ah, another time, another gig...)... getting things powered properly is what draws the line between "doing it right" and "just making it work"...
Always match your power distribution system with the ratings on the lights with room to spare. If you have 50A of distribution, put 40A worth of lights on it, and use the appropriate gauge cable to do it. If you're just plugging in lights anywhere there's an outlet, and you happen to be pushing the limits of the existing (and maybe old) electrical system, and things are probably heating up somewhere along the line. It's really tough to pay for all those lights and then explain to the judge why you felt the system was adequate after the building has already burned down...
If it came down to it, I'd go with the generator idea when the other alternative is to use outlets that were designed for regular very low-amperage appliances... the power would at least be matched to the ratings of the lights and it would be extremely clean power which keeps the electronics in your lights happy. :)
Not to mention the sound crew will be extremely PO'd if they get all their equipment set up and working perfectly, and then you turn on your dimmers and intelligent lights to find out everything is on the same ground, and that you just turned your 80 ft of triangle truss into a giant radio antenna which is bleeding Radio Disney quite clearly into the sound system (which you can barely hear over the 60Hz hum anyway)... not that I've ever had this happen or anything like that.... O:)
In short, do whatever ya have to do to get the lights on their separate electrical system from the rest of the theater.
Oh, and while any DMX boards can handle moving lights... there becomes a point where you need a board that can handle moving lights WELL... you won't have much of a show if you have to spend your whole time figuring out why that one intelligent light goes into a color and prism spin while everything is fading out...
Rant over.. stepping off the soapbox...
Lighting Questions & Opinions
About trying to program moving lights with the Express --
The moving light support on the board (as far as doing things on the fly and frustration levels) pretty much downright sucks. BUT with a little time and preparation you can come up with some really cool things -
I'm doing a show now that uses 6 moving heads @ 13 ch each... but, I planned it out in advance, made a diagram of the stage, and drew areas on the stage and assigned them a number (which would later be the focus point)... Before the console was even rented I had colors programmed in groups, as well as certain gobos, and had all the cues written with focus points... All I had to do when I got there was put the disk in the drive, configure the moving
lights correctly, and sit for about 30 min programming focus points... after that, all the cues were updated, and I ran the show the first night of rehearsal, all I had to do was change the colors and press Record. :)
Off to bed -
New fixtures
If it's any indication, I used just 2 moving lights for a couple plays that made me end up not using 12 of the Source Four's.
Also made a light show for an orchestra concert out of them (that was fun too!)
Oh, and if something does come into contact with the mirror, one of three things will happen: either a) the mirror will fly off, but you can glue it back on, b) it will knock the mirror out of position and the mirror will be off calibration until the next reset of the fixture, or c) if the fixture has a sensor to correct the mirror then it will resume to it's intended position!
Be careful if you work with a large bank of moving head fixtures though. I made a mistake of ordering 42 of them for a large show/concert (biggest, baddest, and most fun and nervous show I've ever done) and then put them all on hanging electrics. I created a fast cue where all the heads moved in the same direction at once, and I looked up to see $200,000-some worth of intelligent fixtures swiiiiiiiiiiiiiinging back & forth. Needless to say those got secured with some good ol' aircraft cable. It did make a really cool ocean-looking wave effect when 3 electrics were swinging around though! Lesson: Secure truss is good! Mirrors good too, but not as cool. ;)
Putting Microphones on a High School Stage
>>So they placed 6 mics along the stage<<
Well, let's see... NyQuil before you go to bed and DayQuil right as you're getting up.. j/k, don't become an addict of some kind...
For me (in high school) my first class starts at 7:25 in the morning and I have classes all the way till 4:00 with a 15 min break in between for lunch. Then I go to after school rehearsal from 4 to 5:45, then from 5:45 to Community Theater rehearsal from 6 to midnight. I get home around 12:10 and finish homework and go to bed around 2:30-3.
I'll be the first to admit that this is not a healthy schedule and I can feel myself suffering from it. The best advice I've tried to live by is to use that lunch break to it's maximum potential, whether that's a nap, homework, etc and make sure you have Saturdays free enough so that you can sleep till 2-3 in the afternoon.
I also invested in a Palm Pilot and MS Outlook XP for my computer, that's the only way I can remember things, by putting my homework in my Palm "Student Assistant" program along with theater schedules, etc and then whenever I get home, link it to the computer, and it's all right there with what I have to do on Outlook XP. I could never remember everything if it wasn't for that.
Plus, if a hot girl comes over to the light board thinking that it is not just a console, but a shrine of modern technology, a beautiful piece of machinery, and that I'm the man for knowing how it works, if she asks "hey baby, what are you doing Saturday night?", it's just a quick flick of the cover as I whip out the palm pilot and happily proclaim to her that my Saturday is free after 3pm (sleep time) ;) (note: the above scenario has yet to be tested... I just don't get why it hasn't happened yet...)
Hummmm if it was me... here are some things I'd do, some cheesy, some fun.. Designate one side of the stage as the "sound board" and one side as the "microphone"... First one to connect 2 or 3 XLR microphone cables together with correct ends (male to sound board, female to microphone side) wins... First one who coils them up correctly wins. ;) Get an extension cord for everyone out of the closet.... first one to untangle it wins.. For the slower and perfectionist people... The one who cuts the best-fitting gel wins Ask random questions that everyone has an idea about but not a sure answer... i.e... How many outlets are there on a power strip, how many seats are there in this theatre, stuff like that
Some fun little tricks to play... some of our "oldies" during tech orientation a few weeks ago were showing people around then one of them pointed something out and said "Oooh, I'll always remember that fire extinguisher... poor little Tommy.." - then all the newbies go "WHAT?" and they all add a little piece to the story, like "We don't know exactly what he was doing, but he was walking around on stage with a lighter and there was this big explosion..... I'll always remember that trip to the hospital..."They left the meeting with wide eyes... it was great...
sound design
Well, looking at the pictures from the gym, that one doesn't appear to be as complicated as the theater installation. The big $$ seems to be in the amps and speakers side of things.
My suggestion, in order in signal path from microphone input to speaker:
Microphone: Shure Beta 58 Wireless Handheld... XLR cables and gyms don'tmix... better to have 1 or 2 great wireless microphones for everything so that 1) don't have to install as many XLR wall plates for inputs and 2) people can't trip over wireless stuff while they're playing basketball ;)
Mixer: Mackie DX8
The DX8 is a digital mixer designed for installed applications such as this... It's an 8 input, 2 output mixer, where most of the processing is set by computer inside, but the basic, basic controls are on the outside (gain, and 2 band EQ). I think anyone who can figure out the self-checkout line at the grocery store can figure this one out. And if for some odd reason you want to add a console later, there are 2 line inputs direct to mix outputs for it.
Processor / DSP: DBX DriveRack 480
99.9% of the driverack can be set by the installer and then password protected. The driverack has infinite configurations, but for this one, can take the input from the Mackie DX8 mixer and then split it into different signal chains (for the different speaker systems in the gym) and then apply individual EQ, dynamics processing, etc on each of the outputs. To switch between speaker systems, there are mute buttons located right below the output meters for each output. Just mute the speaker systems you don't want to use.
Amps: Crest Vs1500
Again, my favorite amp for installations. Self-explanitory. ;) If volume levels don't have to exceed much, then consider a couple Crown CTs 8200 (8 channels in one amp at around ~200w each)
Speakers: For a gym, being a reverberant environment where the echoes come back and hit you from 10 minutes ago, the further away you can get from a central speaker system, the better. Get the speakers as close to the people as possible and distribute as much as possible. But, a center cluster is great for those events that you need it loud and thumpin'.
Sporting event speakers: JBL Control Series
Approx. 3/4 of a buttload of these speakers can be put on the catwalk facing the bleachers around the perimeter of the gym. They can be divided into sections for individual muting purposes on the Driverack. If a center cluster is used in addition to these, then they should be delayed appropriately (no sweat with Driverack on this one)...
Graduation and other ceremonies: Something loud.... up to you! I prefer EAW stuff for vocal reinforcement such as this... but that's me! ;)
Gotta go get ready for the day....
Tales of Electricity, Episode I
Just got in from building this... For your entertainment I thought I'd do a write up... for those of you who don't enjoy breaker panel humor, just skip it...
When: This afternoon
Setting: An old warehouse in central NC, full of sound and lighting cables, odds and ends, etc
Scene I: The promoter's office
Earlier this morning, the multipinning of the effects racks and Whirlwind W-series multi snake was pretty uneventful. That's all good to go.
I sit in the comfortable chair, going down the checklist of items for the new lighting and sound systems that are making their maiden run Saturday.
Brandon: OK, as far as power... Where do I get or pick up the PD from?
Promoter: What's a PD?
Brandon: Power Distribution box/panel... you know, where the electricity comes from that powers all of this stuff...
Promoter: Oh, umm... we don't have one?
Brandon: No, someone was supposed to have it built, weren't they?
Promoter: Hmmm... I guess not... Can we make one?
Brandon: (thinking: CRAP)
When: Later that afternoon
Setting: The old, old basement of an old, old warehouse building in central NC
Scene II: The Panel
I wander around in the dark with no flashlight looking for parts to build a PD panel. Fuses, circut breakers, cable, anything. Suddenly my eyes fall (or maybe it was just me falling over something in the dark) upon a grey, 6 breaker panel with a service disconnect. I say:
Brandon: Hello, my new power panel!
Nobody knows what the circuts go to coming out of the panel. They aren't labeled. The service disconnect is off anyway. Good enough for me! After much breaking of screwdrivers, many band-aids, and other such oddities, the panel was no longer attached to the wall and was headed upstairs under my left arm.
The panel is already set up for 2 legs of 110v using the neutral as ground. Perfect.
When: Even later that afternoon
Setting: Home Depot Connectors Department
Scene III: Using the promoter's credit card
I need two range plugs. One male and one female. That's not so complicated now, is it? One that works in most every range plug installed between 1975 and 1995 across the USA.
Does Home Depot have it? Of course not. They have every freaking weird style of range plug other than the one I'm looking for. However, I happen to find 4 wire twistlock connections that are pretty industrial, that happen to fit the many 4-wire twistlock to Edison breakouts that I saw back at the warehouse.
I'd like 6 female and 3 male of these, please! $15 each, no big deal, not my credit card, and "Build a PD" was not in my job description for today either.
On the way to the cash register, I see a sale on Maglites, $15 for the big kind and a belt mini-mag. Yes, I'll take one of those too, thank you! (I'm sure the promoter wouldn't want me walking around in the dark now would he?)
When: Tonight
Setting: Back at the warehouse
Scene IV: Panel Surgery
Brandon: Do you have a pair of heavy wire cutters around here that I could use?
Promoter: Wire cutters?
Brandon: Yeah, okay. Nevermind. Are you going to use that pair of scissors on your desk for the next few hours?
Promoter: Nah, go ahead and take them.
I find 500 feet of 4-conductor 8/4 cable that looks pretty good. I chop three 5 foot pieces off and begin attaching female twistlock to one end, and then punch the holes in the panel for the cable to go through to get to the circut breakers. The pre-punched hole in the breaker panel is not big enough for the cable to go through.
Millions of sparks and 2 dremel bits later, that cable went through in all 3 holes, thankyouverymuch.
I made 100' sections of 4-wire twistlock extensions to go from panel to wherever, using 8/4 cable, WITH A PAIR OF FRIGGIN SCISSORS.
Now the scissors don't cut as well as they used to... and the screw in the middle is kind of falling apart...
When: Late tonight
Setting: The same place
Scene IV: The strain relief
I get everything connected, pick up the panel, and the cable slides in the 3 holes. Of course I didn't have any strain reliefs for them, and even if I did, it wouldn't have fit in the kind of egg/oval-shaped dremel holes in the panel. So my next task is to create a strong strain relief for this stuff.
I start digging around in cases, and I find the solution rather quickly. Three wraps around of Rosco glow tape, followed by a couple wraps of blue gaff tape on the inside of the panel, and that thing is not moving through the hole. Ever again.
And then I go home. Stay tuned tomorrow for EPISODE II: THE LOAD TEST.
Should I take some pics of this stuff throughout my adventures so that you can see the path of this gear, from creation/wiring to concert? And of my new flashlight? ;)
I started writing all this out and then figured it would
be better if you have visuals, so I made it into a web page (I got up to the
amps and then I'm not quite Shure what happened, but anyway, that's where I
stopped so far):
>>Go UHF, VHF is trash...<<
Put the 1604 right next to the Yamaha and go on your way.
One thing to remember with going from the 1604 with 1/4" TRS outputs to a Yamaha line or XLR input is that you have the proper cabling to do what you need to do... There are some issues when going from the main outputs of the Mackie to a channel on the Yamaha, I can't remember the exact solution whether it was balanced or unbalanced, etc, but if you get nothing in the Yamaha when your Mackie says it's outputting outrageous levels, either change the cable configuration or use the subgroup outputs to get your signal to the Yamaha.
Just a little tip that might save you a few hours so you don't have to do what I did an hour before a concert ;)


text:
ASU Electronic Theses and Dissertations
This collection includes most of the ASU Theses and Dissertations from 2011 to present. ASU Theses and Dissertations are available in downloadable PDF format; however, a small percentage of items are under embargo. Information about the dissertations/theses includes degree information, committee members, an abstract, supporting data or media.
In addition to the electronic theses found in the ASU Digital Repository, ASU Theses and Dissertations can be found in the ASU Library Catalog.
Dissertations and Theses granted by Arizona State University are archived and made available through a joint effort of the ASU Graduate College and the ASU Libraries. For more information or questions about this collection contact or visit the Digital Repository ETD Library Guide or contact the ASU Graduate College at firstname.lastname@example.com.
- Tong, Hanghang
- Wu, Liang
- Davison, Brian D
- 1 Arizona State University
- 1 Doupé, Adam
- 1 Liu, Huan
- 1 Public
- Machine learning
- Social networks
- 1 Artificial intelligence
- 1 Computer science
- 1 Data mining
- 1 Misinformation
- 1 Social media
- Reverse Fountain Cytoplasmic Streaming in Rhizopus Oryzae
- Diné Research Practices and Protocols: An Intersectional Paradigm Incorporating Indigenous Feminism, Critical Indigenous Research Methodologies and Diné Knowledge Systems
- Developing an Augmented Reality Solution for Mapping Underground Infrastructure
- Characterization of 2D Human Ankle Stiffness during Postural Balance and Walking for Robot-aided Ankle Rehabilitation
- Using Molecular, Cellular and Bioengineering Approaches Towards Understanding Muscle Stem Cell Biology
The pervasive use of social media gives it a crucial role in helping the public perceive reliable information. Meanwhile, the openness and timeliness of social networking sites also allow for the rapid creation and dissemination of misinformation. It becomes increasingly difficult for online users to find accurate and trustworthy information. As witnessed in recent incidents of misinformation, it escalates quickly and can impact social media users with undesirable consequences and wreak havoc instantaneously. Different from some existing research in psychology and social sciences about misinformation, social media platforms pose unprecedented challenges for misinformation detection. First, intentional spreaders of misinformation will …
- Contributors
- Wu, Liang, Liu, Huan, Tong, Hanghang, et al.
- Created Date
- 2019


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Flynn's Phoenix: FLYNN, PART 1
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Flynn's Phoenix: FLYNN, PART 1
on Thursday, October, 10, 2013 2:10 AM
ENCOM Corporate Office
Center City, California
"You have a light schedule today, sir. At ten you have another meeting with the board to discuss our workings in Mumbai, India, and then...."
Flynn wasn't listening. He couldn't care less. Meetings, Press Conferences, Paperwork; The board made him bored. What got him really excited was the Grid. A Digital Frontier. What started out as a new system optimized for games and simulations operated from INSIDE the computer had become so much more. There were big things on the horizon. He just had to bring it to each world easily.
In the Real World, he couldn't just come right out and tell everyone that there was a whole other world inside the computer. He'd be locked up in an asylum somewhere, and that Mackey kid would be running up the rungs of the corporate ladder as fast as he could. Flynn didn't really like Richard Mackey. He didn't quite "get it." But someday, everyone would.
Flynn figured he had to introduce them to the idea of programs being more than just a bundle of ones and zeroes slowly. It was the whole reason he wrote and published the TRON game. Put it out there as a story first, and someday, maybe, people would be more willing to accept the reality because they knew the story. He had tried to put as much of his experience inside the ENCOM 511 computer system as he could into the game, including Tron, what Clu must have seen, the Solar Sailor, the part he heard about later with Dumont even.
That was it. He was Dumont. Dumont was an I/O Tower guardian. He kept the two world from each other until they were ready, and then facilitated the contact. That was what Flynn was doing. He was protecting the two worlds from each other, and was preparing to facilitate the contact when they were ready.
But would they ever be ready? That was the question. This development that happened only a few days ago was mind-boggling.
Isomorphic Algorithms. Isos, for short. Digital beings, like programs, but different. So different. Their code was immensely complex. Flynn couldn't even begin to understand it, and they had no set purpose. A true free agent in the Grid. Written by nothing but the cycles of the System pulling at the code inside the Sea of Simulaiton.
Flynn figured that he was, in a way, their programmer. Sort of. He had put everything in place, without even knowing it, for them to come to be. What were the odds of that, man! He felt that he had been given a gift. A gift that he was to cherish, and share with the world.
He still had to take care of the Basics, though. He was actually looking forward to tonight. Tron had asked him if he could bring over Yori from the 511 system, without a purpose, to live like an Iso. So they could be together. It facinated him that these programs actually had emotions, feelings, attractions to each other.
It had been too long since he had visited the 511 server. He had been spending every spare moment of time building the TRON system. But all that would change tonight.
"...and most of our terminals are down now, and will be until about 11 AM, when the formatting is complete. After that-"
Flynn suddenly sat up straighter in his chair. "Wait, formatting? Which servers? Cmon, man, I don't have all day!"
The secretary was a little surprised. "Y-yes sir. Formatting, to install the Flynn OS. We're formatting 509, 510, and 511 today."
Flynn didn't wait to hear anymore. He could only imagine what formatting looked like on the inside to a program. Everything progressively being wiped clean... He jumped up, knocking his chair to the ground, and rushed toward the door, bumping his leg on his desk as he went. He limp-ran for a little bit at first because of it, but soon he was running at full tilt. He ran through the halls of ENCOM, racing, trying, hoping against hope that he wasn't too late. "NO! NO! STOP THE FORMAT! STOP THE FORMAT!"
It was bad enough that ANYTHING was being formatted. Flynn knew it had to happen, but he tried to be aware of when it did, and copy everything over onto another hard drive the night before. He couldn't bear the thought of all those lives being simply terminated, with no explanation, and no future plans. But this caught him by surprise.
He burst into the server room, where a group of technicians were huddled around one of the servers. The 511. "NOOOOOO!" He raced over and jerked the cord out of the wall. The server went dead. He stood straight, and ran a hand through his hair. "How far was that format?"
Stunned silence met his quiery. He banged the bottom of his fist against the server. "CMON man, how far was the format!?!"
"We were at 98%."
Flynn slumped against the server. 98%. Ninety-eight percent. All those programs, all of that beautiful world, destroyed, with only two percent left. He was too late to save that world. He had to fight tears from welling up in his eyes.
But, maybe... maybe, beyond all hope, in that two percent left...
He brightened up for a moment. He stood back up, and in his haphazard fashion, pulled the hard drive from the server, and began to walk away. The tech tried to stop him. "Mr. Flynn! We need that, we still have to install the new OS!"
"Use a new hard drive. And tell Marsha to cancel the rest of my schedule. I'm taking the rest of the day off."
He jumped on his Ducati and drove off. Ignoring every rule of the road, he was blessed to not get pulled over. The big neon "FLYNN'S" sign hadn't been turned on yet. School wasn't out yet, and the place really got hopping in the evenings, so Kevin figured he'd have plenty of time.
He pulled the TRON machine over, opening the secret door he had built behind it. It closed behind him automatically, just like he had set it up to do.
In just a few moments, he had the hard drive from the 511 hooked up, and was accessing it. Or, well, what was left of it.
He didn't really need much time at all.
There was only one encrypted folder left on the hard drive. Kevin tried every encryption cracking trick he knew, but there was no accessing that folder. It was cut off from any technology available to them. The rest of the hard drive was even corrupted, Flynn couldn't install anythng onto it. He couldn't use the laser system to get onto the other side of the screen, to see what it looked like from the inside.
He slumped in his chair. He couldn't beleive what had just happened. It took a few minutes for it to sink in. When it did, he cried. A whole world, SEVERAL worlds, gone, in an instant. And not just any worlds, worlds that housed his friends. Dumont. Yori. He would never see them ever again.
He sat and just cried in the basement of the Arcade for a while. How would he tell Tron? How would he explain his red eyes to Jordan?
He spent the night in the Arcade, and phoned home to let Jordan know that he was going to be working late.
The Grid was a place of endless, fantastic wonder. A place he was making into the perfect system. But tonight, he would have to bring sorrow.
{{OOC: Don't own that pic. It comes from
Also, more is coming. My friend Astraica is helping me with this.}}
Watch me stream TRON 2.0 on my YouTube channel!
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All SQL repository operations are performed with the current JTA transaction, if one exists. For example, when an application calls the Repository
updateItem() methods, for example, changes are immediately visible only to subsequent
getItem() calls that are made in that transaction. When the JTA transaction is committed, the repository item changes are committed to the database.
If you do not have a JTA transaction in place, each SQL repository operation that affects the state of a repository item creates and commits a transaction around the operation. Thus, a
setPropertyValue call by itself with no JTA transaction in place is committed to the database when the call returns.
Here are two examples:
If no transaction exists:
Begin JTA transaction.
Commit JTA transaction. At this point, SQL is issued and the changes are committed.
Using the
updateItem method:
Begin JTA transaction.
updateItem. At this point, SQL is issued.
Commit JTA transaction. Changes are committed.
Generally, you want to call
updateItem explicitly. This ensures that if you perform any queries between the change made in the
setPropertyValue call and the commitment of the transaction, those queries have the new property value available to them.
Distributed cache invalidation
You can configure the Oracle ATG Web Commerce platform to send repository item cache invalidation messages to other remote Oracle ATG Web Commerce servers. If you set an item descriptor to one of several Distributed Caching Modes, a cache invalidation message is sent to other Oracle ATG Web Commerce servers. You can also set an item descriptor to Locked Caching mode; when a server gives up ownership of the lock, it also invalidates the cache. For more information see the SQL Repository Caching chapter.
Transaction isolation
The SQL repository implements transaction isolation. The first time an item is accessed in a transaction—through
getItem(), or the first attempt to call
getPropertyValue() on an item that was retrieved in a different transaction—it is guaranteed to be up to date at that time. If another transaction changes the item while this transaction is in progress, those changes are visible only to a new transaction.


text:
Round Full Drilled Pearls
Round Full Drilled Pearls.
*Please note there may be a 6 week lead time on these pearls as preciosa have introduced a new manufacturing process. We are happy to check stock availability before you place an order, please call us on 01926 484214 or email us [email protected]