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Medieval Jousting Experience
Experience the ancient sport of knights!
1 locations
Valid until: 01/08/2018
Spectators are very welcome with an arena-side pavilion and viewing gallery seating available. No dogs are allowed on site.
Product code: GJST
£199Buy Now
This is an amazing opportunity to learn a unique skill. Life during medieval times might have been grubby, brutal and plague-ridden, but give them their due - they knew how to have fun! And so will you as you become a real jousting knight during this day of old fashioned antics.
On arrival you will be given a safety briefing and your riding will be assessed. After being dressed in medieval armour and costume with your very own title and coat of arms for the day, you will then learn basic jousting skills needed to strike a quintaine, how to use a lance, learn authentic mounted games, and learn how to weald a broad sword and staff fighting during your unique and fascinating day. You will have the chance to re-enact those dreams of being a knight.
After lunch put everything you've learnt into practise as you complete in the "Grand Gauntlet Challenge" Medieval Tournament before you take on the resident Black Knight in a mini-joust to gain your Knighthood!Traditionally jousting was only permitted for men to partake in, but fear not we take lady knights too! Come and throw down the gauntlet and challenge the men!
The day will end with the all important Knighting Ceremony and presentation of certificates, after which you can ride off into the sunset to find a few dragons to slay!
No real riding experience is needed to be able to participate in the jousting experience, but would be an advantage for certain activities. For safety reasons if the instructor on the day feels your riding is not strong enough for certain tasks, you will make it up in other activities. Jousting demands a different type of equestrian skill and the horses can accommodate any standard of horsemanship!
Key Information
When can you go?
Selected Monday to Friday dates and selected weekends, All year round May - Oct is best, limited availability between Dec and Feb.
How long does this activity last?
Your whole experience will last for approximately 6 hours.
You need to know
To participate in this activity you must be at least 16 years old.
The maximum weight is approximately 140kg (22 stone). You must have a reasonable level of fitness. Please advise at point of booking of any disabilities or if you are undergoing any medical treatment.
Knowledge of riding is not essential but it is an advantage. For safety reasons if the instructor on the day feels you're not experienced enough to joust you'll be able to do lots of other interesting activities at the centre.
This is for a voucher entitling the holder to any of the activities supplied by Activity Superstore up to the value stated.
You and how many others?
You will share your experience with up to 20 other people.
Family and friends
Spectators are very welcome with an arena-side pavilion and viewing gallery seating available. No dogs are allowed on site.
We can't control the weather!
This activity is dependent on appropriate weather conditions.


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Ten years after 9/11, we are still trying to make sense of that day and its consequences. Kurt visits the new national 9/11 memorial with its architect, Michael Arad. Kurt Andersen talks with Steve Reich about why it took him a decade to write music about the attacks that ravaged his neighborhood. A group of stand-up comics remembers what it took to get people laughing again, and illustrator Maira Kalman explains the tragedy to children in a book about a brave fireboat. [Broadcast Date: September 10, 2011]
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Here in Florida, we have an occassional thunderstorm…I use a Delkin Mini Mount suction cup unit and mount my camera to the side window of my truck. That way I can sit in the relative safety of my vehicle while attempting the capture.
Let's start with the given that lightning is dangerous, and if "safety first" is a criterion for intelligence, photographers are stupid. So combining photographers and lightning is a recipe for disaster.
Okay, seriously, because lightning is both dangerous and unpredictable, before attempting anything that requires you to be outside during an electrical storm, it behooves you to do your homework. And the more you understand lightning, how to avoid it and stay safe in its midst, the greater your odds of living to take more pictures. Not only will understanding lightning improve your safety, a healthy respect for lightning's fickle power will also help you anticipate and capture lightning.
The shocking truth about lightning
Lightning is an electrostatic discharge that equalizes the negative/positive polarization between two objects. (When you get shocked touching a doorknob, you've been struck by lightning.) The cause of polarization during electrical storms isn't completely understood, but it's generally accepted that the extreme vertical convective air motion (convection is up/down circular flow caused when less-dense warm air rises, becomes more dense as it cools, and falls; convection is also what causes bubbling in boiling water) in a thunderstorm carries positively charged molecules upward and negatively charged molecules downward. Because opposite charges attract each other, the extreme polarization (positive charge at the top of the cloud, negative charge near the ground) is quickly (and violently) equalized: lightning.
With lightning comes thunder, the sound of air expanding rapidly (exploding) when heated by a 50,000 degree lightning bolt. The visual component of the lightning bolt that caused the thunder travels to you at the speed of light, over 186,000 miles per second (virtually instantaneous regardless of distance). But lightning's aural component, thunder, only travels at the speed of sound (a little more than 750 miles per hour—a million times slower than light). Knowing that the thunder occurred with the lightning flash, and how fast both travel, we can compute the approximate distance of the lightning strike. At 750 miles per hour, thunder will travel about a mile in about five seconds: Dividing the time between the lightning's flash and the thunder's crash by five gives you the lightning's distance in miles; divide the interval by three for the distance in kilometers. If five seconds pass between the lightning and the thunder, the lightning struck about one mile away; fifteen seconds elapsed means it's about three miles away.
Lightning safety
The 30 people killed by lightning in the United States each year had one thing in common: each didn't believe he or she would be struck by lightning when they started whatever it was they were doing when they were struck. The only sure way to be safe in an electrical storm is to be in a fully enclosed structure or metal vehicle, away from open windows, plumbing, wiring, and electronic devices.
While there's no completely safe way to photograph lightning, it doesn't hurt to improve your odds of surviving to enjoy the fruits of your labor. (Unfortunately, photographing lightning requires being outside, at least some of the time.) Most lightning strikes within a six mile radius of the previous strike. So, if less than thirty seconds elapses between the flash and bang, you're too close. And since "most" doesn't mean "all," it's even better to allow a little margin for error. Thunder isn't usually audible beyond ten miles—if you can hear the thunder, it's safe to assume that you're in lightning range.
But if you absolutely, positively must be outside with the lightning crashing about you, or you simply find yourself caught outside with no available shelter, there are few things you can do to reduce the chance you'll be struck:
- Avoid water
- Avoid high ground
- Avoid exposed areas
- Avoid metal or electronic objects
- Avoid tall objects such as trees and open structures (and tripods)
- Stay at least fifteen feet from other people
- If you're surrounded by trees, position yourself near shorter trees, as far from trunks as possible
- Crouch with your feet together and your hands covering your ears
- Do not lie down
- A lightning strike is often preceded by static electricity that makes your hair stand on end and an ozone smell (best described as the smell of electricity—I think of bumper cars at the amusement park or the smell of my electric slot cars when I was a kid)—if your hair starts to stand up and/or you notice a distinct odor that could be ozone, follow as many of the above steps as you can, as quickly as possible (often you'll only have time to crouch)
Photographing daylight lightning with a lightning sensor
Photographing lightning at night is mostly a matter of pointing your camera in the right direction with a multi-second shutter speed and hoping the lightning fires while your shutter's open—pretty straightforward. Photographing daylight lightning is a little more problematic. It's usually over before you can react, so without a lightning sensor to recognize lightning and click your shutter, success is largely dumb luck (few people are quick enough see it and click).
A lightning sensor attaches to your camera's hot shoe and connects via a special cable to the camera's remote-release port. When engaged, it fires the shutter immediately upon detecting lightning.
There are many lightning sensors from which to choose. I went with the one that was the consensus choice among photographers I know and trust: Lightning Trigger from Stepping Stone Products in Dolores, CO. At slightly less than $400, it's far from the cheapest option, but from all I've read, heard, observed, and (especially) experienced first hand, lightning sensors are not generic products and the internal technology matters a lot. The Lightning Trigger is the only one I'd use (I get no kickback for this).
I won't get into lots of specifics about how to set up the sensor because it's quite simple and covered well in the included documentation. You should know that connecting it could disable the LCD replay, in which case you won't be able to review your captures or histogram without disconnecting (a simple but sometimes inconvenient task).
The Lightning Trigger documentation promises at least a 20 mile range, and I've seen nothing that causes me to question that. It also says you can expect the sensor to fire at lightning that's not necessarily in front of you—I can definitely attest to that too. For every click with lightning in my camera's field of view, I get many clicks caused by lightning not visible to me, or outside my camera's field of view. But when lightning does fire somewhere in my composition, I estimate that the Lightning Trigger clicked the shutter at least 95 percent of the time (that is, even though I got lots of false positives, the sensor missed very few that it should have detected). Of these successful clicks, I actually captured lightning in about 2/3 of the frames. The misses are a function of the timing between lightning and camera—sometimes the lightning is even faster than the camera. Usually the missed bolts are single strokes that start and finish far too quickly for capture. In general, the more violent the storm, the greater the likelihood of bolts with long duration, multiple strokes that are easier to capture.
The Lightning Trigger documentation also recommends shutter speeds 1/20 second or longer (the happy zone is 1/8-1/4 second)—faster shutter speeds risk completing the exposure before some or all of the secondary strokes fire; slower shutter speeds tend to wash out the lighting. To achieve daylight shutter speeds this slow, I shoot in Manual mode, using a polarizer, at ISO 50 and f16. Of course exposure will vary with the amount of light, and you may not need such extreme settings if you're shooting into an extremely dark sky. You can also use a neutral density filter to slow the shutter speed, but take care not to slow it too much and risk washing out the lightning entirely.
Because shutter lag (the time elapsed between the click of the shutter button and the shutter opening) is death to lightning photography, you'll need to turn off autofocus. Even though I use back-button focus, Canon says simply having autofocus on initiates a brief communication between the lens and camera that very slightly delays response (I can't speak for Nikon). If you must autofocus, go ahead and do it each time you recompose, then turn autofocus off as soon as you're focused. Similarly, while the Lightning Trigger documentation suggests Aperture Priority, I used Manual exposure mode to eliminate any camera-slowing metering when the shutter trips. And, also despite what the Lightning Trigger documentation suggests, I didn't worry about my noise reduction settings. Canon assures (again, I can't speak for Nikon) that noise reduction is a post-capture function that might slightly delay continuous frames, but it won't increase shutter lag.
Other equipment
In addition to a lightning sensor, you'll need a solid tripod and, ideally, a camera with a shutter lag faster than 60 milliseconds. Slower shutter lag won't shut you out completely, but it will reduce your success rate. The Lightning Trigger website has a good, albeit quite dated, camera shutter-lag table.
I also recommend (in no particular order):
- Rain gear that will keep you dry from head-to-toe
- An umbrella for shielding your camera and lightning sensor (many sensors, including the Lightning Trigger, aren't waterproof) while composing and shooting in the rain
- Lens hoods to reduce the raindrops that might mar the front element of your lenses
- Neutral density filter and/or polarizer to show shutter speed
- A garbage bag (my choice) or rainproof camera jacket (haven't found one I like) to protect your camera
- Extra lightning sensor batteries (better safe than sorry)
- An infrared remote to make sure the sensor is functioning (we borrowed the remote from our hotel)
- A towel (also borrowed from the hotel)
Getting the shot
I'm a Californian, which means lightning is a novelty for me. Because the lightning does't come to me, I go to the lightning—in this case that means an annual twelve hour drive to the Grand Canyon, in the heart of the summer monsoon season, with my friend and fellow pro photographer Don Smith. (We conduct annual Grand Canyon Monsoon Lightning workshops for similarly foolish photographers.)
Our plan is to find a location with an open view of the canyon and that allows us to set up our cameras within sight (and sprinting distance) of the car (so we could safely wait out the storms). The open views at the Grand Canyon are ideal for this.
Lightning is most likely to strike in or near the gray curtains (clearly recognizable as distant rain) that hang beneath dark clouds. The wider the composition, the greater your odds of capturing lightning, but the smaller it will appear in your image. Note the height from which the lightning originates and be sure to include enough cloud to get all of the stroke. My general approach is to identify the most likely lightning source (rain curtain) and find the best composition that includes it. I tend to start wider to ensure success, then tighten my composition once I'm fairly confident I captured something.
I also recommend that you don't check your captures until you're done (or better yet, until you upload your images to your computer). Since viewing the LCD requires disconnecting the sensor, doing so risks missing a shot (I sometimes think the lightning waits until the sensor is disconnected); you'll also find that many successful captures, especially wide compositions, just aren't that visible on an LCD viewed in daylight.
Do as I say (not as I do)
Be aware that electrical storms can move quite quickly, so you need to monitor them closely. Sometimes this simply means adjusting your composition to account for shifting lightning; other times it means retreating to the car if the cell threatens your location.
The image immediately above is a particularly dramatic bolt striking just behind Brahma Temple (Zoroaster Temple is the point in front of Brahma). I was on an exposed outcrop near Mather Point, less than six miles from the strike—closer than I should have been. (I've actually been quite a bit closer than this when lightning struck.) When I think back on some of the foolish risks I take at the Grand Canyon, I wish I could say I wouldn't do it again. But there's something irresistible about photographing lightning and I'm afraid I'm hooked. Lightning just may end up being the way I die, but at least I'll go out happy.
Join Don Smith and me in our next Grand Canyon Monsoon Photo Workshop, where lightning and rainbows are an almost daily occurrence
Read my article in Outdoor Photographer magazine, Shooting the Monsoon
Helpful links
- Lightning Trigger camera compatibility table
- NOAA lightning Q&A
- National Weather Service Lightning Safety
:: More photography tips ::
A lightning gallery
10 Comments on "Lightning"
Pingback: The Grand Canyon, lightning, and lots (!) of people « Eloquent Nature by Gary Hart
Keep me in touch of your next trip to the Grand Caynon. Sounds like fun.
Just bought a motion/lightning trigger and I'm trying to test the lightning mode by firing a strobe at it from across the room. Nothing happens. Should it? Motion mode works fine. Not sure if I have a IR remote laying around somewhere. It's still Winter here in Wisconsin so no lightning for awhile. I've got 28 days to send it back. Any advice would be greatly appreciated. Never used one of these before. Thank you.
Hi Gary,
Maybe you can help answer some questions given all the lightning workshops you run. Stepping Stone (http://www.ligtningtrigger.com) sells two models of Lightning Trigger, the LT3 and the LT-IV, but I've not been able to find any credible data/reviews outside of that site comparing the two. So:
1) Which model do you personally use?
2) Do you think it's worth upgrading to an LT-IV if you already own an LT3?
Thanks for any insight.


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ik win nix (jackpot) bij doubledown casino , tis een schande
I did got it once on the brady bunch, was 120 million.
I have been playing Double down for well over a year and no jackpot not even a 1st place in a tournament....so aggravating
One of the new games (dungeons and dragons) says the way to win the jackpot is to get free spins, and then get the 5 wilds on the FIRST free spin - DEFINITE RIP OFF!!!
i also experience that :(
@Margret. Same thing happened to me. I got 5 wilds on American Idol Slot. Damn near lost my mind.......UNTIL I realized that it only paid me for the standard lines, NOT the JACKPOT. VERY BUMMED about it.
I got 5 wild symbols and never got their so called "jackpot" I did get coins for the wild cards that were in order, but never ever got a jackpot. Also, I got their 5 bonus symbols at one time in the game and I was playing max bet for over 400,000 but the payoff was a rip off. At first I was excited to see the symbols and get the bonus, but it only gave me the same amount of free games even though I got all 5 symbols for the bonus....RIPOFF! and the bonus was a ripoff too......the tally was less than the max amount I bet on! AGAIN RIPOFF!!!!
I have played this game forever and never won jackpot...I wonder if anybody does..I'm sick of them ripping me off
YOu need to get five wild symbols on one of the paylines. You get a lot for those depending on the pot size.
Pure dumb luck. We won a couple 1sts and a couple others.


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Mike Wallace | 1993
Members of the "60 Minutes" staff gather at the Metropolitan Museum of Art in New York on Nov. 10, 1993, to celebrate the newsmagazine's 25th anniversary. From left are: Mike Wallace, Andy Rooney, Morley Safer, Steve Kroft, Ed Bradley, Leslie Stahl and the show's executive producer, Don Hewitt.
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The Evil Dead - End Title Theme MP3
End title music to the movie "The Evil Dead." Release date(s) October 15, 1981 (Premiere) April 15, 1983 (United States) Video is in 2160p I do not own any of ...
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I Don't Own anything In This Music, I Just Want Entertainment! . You can go to this link to watch the full movie. :) (http://clicktoview.org/yxil154hjrxw)
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Evil Dead (1981) Soundtrack MP3
Performed: Joseph LoDuca Song: Introduction.
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The SSD Anthology: Understanding SSDs and New Drives from OCZby Anand Lal Shimpi on March 18, 2009 12:00 AM EST
- Posted in
- Storage
The Anatomy of an SSD
Let's meet Mr. N-channel MOSFET again:
Say Hello
This is the building block of NAND-flash; one transistor is required per cell. A single NAND-flash cell can either store one or two bits of data. If it stores one, then it's called a Single Level Cell (SLC) flash and if it stores two then it's a Multi Level Cell (MLC) flash. Both are physically made the same way; in fact there's nothing that separates MLC from SLC flash, it's just a matter of how the data is stored in and read from the cell.
SLC flash (left) vs. MLC flash (right)
Flash is read from and written to in a guess-and-test fashion. You apply a voltage to the cell and check to see how it responds. You keep increasing the voltage until you get a result.
|SLC NAND flash
|MLC NAND flash
|Random Read
|25 µs
|50 µs
|2ms per block
|2ms per block
|250 µs
|900 µs
With four voltage levels to check, MLC flash takes around 3x longer to write to as SLC. On the flip side you get twice the capacity at the same cost. Because of this distinction, and the fact that even MLC flash is more than fast enough for a SSD, you'll only see MLC used for desktop SSDs while SLC is used for enterprise level server SSDs.
Cells are strung together in arrays as depicted in the image to the right
So a single cell stores either one or two bits of data, but where do we go from there? Groups of cells are organized into pages, the smallest structure that's readable/writable in a SSD. Today 4KB pages are standard on SSDs.
Pages are grouped together into blocks; today it's common to have 128 pages in a block (512KB in a block). A block is the smallest structure that can be erased in a NAND-flash device. So while you can read from and write to a page, you can only erase a block (128 pages at a time). This is where many of the SSD's problems stem from, I'll repeat this again later because it's one of the most important parts of understanding SSDs.
Arrays of cells are grouped into a page, arrays of pages are grouped into blocks
Blocks are then grouped into planes, and you'll find multiple planes on a single NAND-flash die.
The combining doesn't stop there; you can usually find either one, two or four die per package. While you'll see a single NAND-flash IC, there may actually be two or four die in that package. You can also stack multiple ICs on top of each other to minimize board real estate usage.
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Rasterman - Thursday, March 19, 2009 - linkThe problem with doing that is if you want to move your drives to another system they won't work, so upgrading is a pain. You could image them I guess, but plugging one drive in is much simpler. I had an older XP install that made it through 3-4 different systems.
I would also question real world results, if you're going at 250MB/s or 500MB/s its not even going to be noticeable unless you are doing some massive video editing or some other huge file operations, and as Anand says, SSDs don't fill this role right now as they are super expensive per GB. So if you really are editing video a lot, you are going to need a hell of a lot more space than SSDs can offer you. Reply
Gasaraki88 - Friday, March 20, 2009 - linkRAID is a universal standard so if you take two RAID0 drives out and move them to another computer with a RAID controller, it SHOULD just work if the original RAID was doing it correctly. Reply
coil222 - Wednesday, March 18, 2009 - linkYes I run a pair of MTRON 7500s in a raid 0 stripe for my OS and Gaming (wow). I don't recall numbers off the top of my head but tests were better on the raid 0 than a single drive configuration.
Watch this:
http://www.youtube.com/watch?v=96dWOEa4Djs&fea...">http://www.youtube.com/watch?v=96dWOEa4Djs&fea... Reply
sawyeriii - Wednesday, March 18, 2009 - linkI just wanted to state how much I loved the combination of technical and real world information in this article.
What is the possibility of having different page sizes built into a drive? I.e. you could have a drive with many 1k page packages on one die, 2k on another, and most others 4k. Could that theoretically help? Could the controllers work with that (or would you need to combine multiple 1k's into a 4k transfer size)?
PS One note on page 3, the VelociRaptor and Intel in the first chart (responce time) are switched, however the text is correct. Reply
StormyParis - Wednesday, March 18, 2009 - linkthe ugly truth is that an SSD won't let you do anything that you couldn't do without it, and due to its cost and small capacity, it's not a replacement drive, it's an extra drive: not less power consumption but more, not less noise but just the same. You just gain a bit of time when booting up and lauching apps... which I do about 1/week and 1/day, respectively. Assuming your system has enough RAM (and if it doesn't, buy RAM before buying an SSD !), you won't feel much difference once the apps are launched.
For the same cost, I'd rather buy a bigger screen.
It's urgent to wait for prices to come down. But I'm all for lots of people buying them now and help get the price down for us wiser buyers. Reply
Rasterman - Thursday, March 19, 2009 - linkI've already decided my next system in a few months will have one, after you go through 5 hard drive failures (over several years) lets see how much your willing to pay to not have to put up with it anymore. If you use your PC for anything useful (work) then an SSD is a no brainer even at $1000/64GB IMO if the data security is there, speed is secondary for me.
When you already have the best screen, video card, memory, why not have the best drive? And your argument is pretty dumb, almost any upgrade won't let you do anything that you couldn't do without it, not just SSDs. Reply
Calin - Wednesday, March 18, 2009 - linkYou get lower power due to the lower power use of the SSD and the fact that the other drive is not stressed with difficult access patterns (small random reads/writes). Remember that idle power of a SSD drive is very low Reply
7Enigma - Wednesday, March 18, 2009 - linkNo, his comment was accurate for most users. Due to the small capacities and high cost these will be used as boot drives primarily with maybe a single heavily used program (say the current game or program you are playing/using), the rest will be on an additional drive. So while the power consumption of the SSD would be less than the old drive, the aggregate power usage of both (even when the larger storage drive is primarily at idle) will be higher than the single HD.
And I believe you meant to say traditional HD for idle power? Reply
strikeback03 - Wednesday, March 18, 2009 - linkIf all you were going to throw on the drive is the OS and a game, a 32GB drive should be plenty. The reason the 80GB and up range is important is so general consumers can load all their programs on it.
But yes, in consumer usage other than a laptop, some people who were previously using one drive for both boot and storage would likely need a mechanical HDD is addition to the SSD. OTOH, those who were using a Velociraptor (or RAID array) for boot and another drive for storage will see their power consumption decrease. Reply
sawyeriii - Wednesday, March 18, 2009 - linkHave you used a SSD? (If so which)
I would state that it is not a luxary product, it is a premium product. The price difference you pay WILL translate to faster performance (if you choose correctly). More RAM only helps upto a point.
Remember performance is based on a system of parts...
Microsoft's Windows Experience Index has specific flaws, but the concept is sound... The system can only go a fast as the slowest component in the system (relative to the amount of time used by that component). Reply


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|Sandro Böhme <sandro.boe...@gmx.de>
|Re: Jackrabbit Best Practices/Design Patterns (an attempt)
|Mon, 12 Nov 2007 20:18:51 GMT
Jukka Zitting schrieb: > Hi, > > On Nov 9, 2007 10:57 PM, Sandro Böhme <email@example.com> wrote: >> Especially in this case a simple >> NodeIterator "node.getNodesByType(String nodeTypeName)" >> would be very handy. But as it is not available I would personally >> favor wrappers for that. >> >> Hoping that expert group folks are reading this: >> I'm just curious, was this usecase already considered by the expert >> groups and discarded for some reason? > > I wasn't around for JSR 170, so I can't say. > > Personally I tend to prefer using paths for node selection (for > example have all "songs" as <album>/songs/<song> nodes) and node types > only for deciding what to do with an already selected node. In my > experience such late binding works wonders for modularity and > flexibility. > > Such a design would for example allow you to make no distinction > between a custom mymusic:Song node and a standard nt:file MP3 node > uploaded through the standard WebDAV servlet. As long as your > application has handlers for both mymusic:Song and nt:file, it can > simply list everything within ./songs/*. In fact the application > doesn't even need to have such handlers, but the code that lists the > songs will still work fine. > > BR, > > Jukka Zitting > Hi Jukka, this solution is interesting. It clearly shows that one could also solve this problem using loose typing and the available API. Additionally I think it would just be cool if strong typing would also be supported with a method along the lines of getNodesByType(nodeTypeName). Bye, Sandro
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Friends with all this rain Texas has been having lately- we thought we would post a little guide as a reminder on how to properly care for your outdoor furniture in weather extremes. We've not had a break in the rain- so some of your wood may be soaked- it would be good to let … Continue reading
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|Message view
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|"Paulex Yang (JIRA)" <j...@apache.org>
|[jira] Updated: (HARMONY-27) The network related channels in java.nio.channels are not implemented
|Fri, 17 Mar 2006 06:29:20 GMT
[ http://issues.apache.org/jira/browse/HARMONY-27?page=all ] Paulex Yang updated HARMONY-27: ------------------------------- Attachment: luni.patch nio.patch make.patternsets.patch Pls. try the latest patches for this issue. These patches includes java files for network related channels, and some relevant refactoring of java.net classes in LUNI. Hopefully these patches can resolve the issue now. > The network related channels in java.nio.channels are not implemented > --------------------------------------------------------------------- > > Key: HARMONY-27 > URL: http://issues.apache.org/jira/browse/HARMONY-27 > Project: Harmony > Type: Bug > Components: Classlib > Reporter: Paulex Yang > Assignee: Tim Ellison > Attachments: FileDescriptorHandler.java, INetworkSystem.java, NetworkSystem-linux.zip, NetworkSystem.zip, Nio-net Refactoring.jpg, OSNetworkSystem.c, OSNetworkSystem.h, OSNetworkSystem.java, OSNetworkSystemWin32.c, hynio_patch.txt, java.net.JPG, luni.patch, make.patternsets.patch, nio.patch > > The following classes defined by Java Spec 5.0 in java.nio.channels are not included in the class library code > public abstarct class java.nio.channels.DatagramChannel > public abstract class java.nio.channels.ServerSocketChannel > public abstract class java.nio.channels.SocketChannel -- This message is automatically generated by JIRA. - If you think it was sent incorrectly contact one of the administrators: http://issues.apache.org/jira/secure/Administrators.jspa - For more information on JIRA, see: http://www.atlassian.com/software/jira
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- Description
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For Mature Readers.
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Photoshop Production for eLearning: Creating Lecture Slides
Mark Lassoff, Technical Trainer and Author
- 0.5x
- 1x (Normal)
- 1.25x
- 1.5x
- 2x
Preparing Your Photoshop Document4:00
Slide Typography7:59
Blurred Background Technique4:34
Partial Black and White Technique4:28
Old Poloroid Technique7:23
Quick Textured Backgrounds Technique2:45
Retro Comic Book Effect7:29
Project Video0:59
Section Complete Video0:33
About This Class
Do you want to create better visuals for your course? Do your slides look like something straight out of the Power Point defaults? Do you imagine your online students napping through your course? Do you simply want to create more engaging visuals?
You're not alone.
In this course, using Photoshop, you'll learn the process to compose visually engaging, educationally sound slides. You'll understand the basics of slide design, typography and then learn a number of effects you can use to create engagement. Course visuals help determine your credibility, so, don't you want them to perform as well as possible?
With better designed visuals...
... You'll keep learners engaged for the length of your presentation.
... You'll enhance your credibility with learners.
... Your courses will have more "staying power" and not appear to be in constant revision.
... You'll forge a stronger relationship with your online learners.
... You'll reduce cognitive load and increase learners' focus on your content.
... Much, much more
This course which will take just about an hour of your time includes a great activity that will take you step-by-step through the process of creating a great slide in Photoshop. You'll also get to apply an astounding special effect.
This course is part of the Beginning Photoshop for Online learning series, which teaches the most important Photoshop techniques eLearning developers need to know to create stunning visuals in their online learning content.
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Mark Lassoff 's parents frequently claim that Mark was born to be a programmer. Starting, in the mid-eighties at age 11, Mark was hard at work on his Commodore 64 writing games in the BASIC language. Today, Mark is a publisher, top technical trainer and author, providing software, mobile and web development training Mark is a sought after video trainer, speaker and host.
Mark has trained programmers at Fortune 500 companies and government agencies world-wide. Mark's clients have included Aflak, Discover Card Services, the US Department of Interior and Symantec. A recognized expert in front end web and mobile development, Mark continues to teach at conferences regularly.
Mark Lassoff currently works as founder of LearnToProgram, Inc., a Connecticut-based company that publishes online courses that teach mobile, web, and game development. Over 500,000 people have learned programming from Mark through online and live classes and free tutorials. Loads of free tutorials and courses can be found at www.learntoprogram.tv. Mark's twitter is @mlassoff.


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Showing results for tags 'per aspera ad astra'.
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TheEpicSquared posted a topic in Mission ReportsHello! Welcome to Through Hardships to the Stars (previously known as KSP Megastructures)! This is a fan-fiction illustrated story, played in sandbox mode, with many, many mods. Contents: Chapter 1 - StarDust (This Post) Chapter 2 - SpacePlane-1 Chapter 3 - Comm Fleet Chapter 4 - Station Science Chapter 5 - The End Chapter 6 - New Beginnings Chapter 7 - Further Than Any Kerbal Has Gone Before Chapter 8 - Merkury-Appaloosa Chapter 9 - Moving Forward Chapter 10 - The Mun and Brumby Chapter 11 - Interstellar Hazard Chapter 12 - Bigby Solar Observatory Interlude - The Plan Chapter 13 - Starting The Plan Chapter 14 - SpaceLab Operations Chapter 15 - Updating The Plan Chapter 16 - Satellites Galore Chapter 17 - The Grand Tour of Kerbin Chapter 18 - By SQUAD... Chapter 19 - Solar Trusses Chapter 20 - Gilly Chapter 21 - Getting Stuff Done Chapter 22 - The Hybridium Chapter 23 - A Discovery Chapter 24 - Duna Calls Chapter 25 - Maintenance Chapter 26 - Minmus Chapter 27 - Good and Bad Chapter 28 - Rebellious Chapter 29 - Unexpected Developments Chapter 30 - Pushing Forward Chapter 31 - Something Big Chapter 32 - Something Big II Want to submit a payload? Answer these questions and it'll be launched Note: Any mods are allowed except those that add life support (TAC-LS, USI-LS, Snacks, etc) and those that add different fuel systems (like RealFuels, EngineIgnitor, Cryogenic Engines, etc) Payload Submission Form: CHAPTER 1: STARDUST The International Kerbal Space Program wasn't going well. After the Kongress decided that manufacturing enough nukes to annihilate Kerbin three times over (with no conflicts going on at the time) was more important than space exploration, the IKSP had all fundings cut. The space program was bankrupt, with all their achievements being forgotten over time. After 4 years of uncertain-ness, Jerome Kerman, head of the IKSP, had no choice but to sell off the program to a private investor. That private investor was Dave Kerman. The IKSP was officially declared a private organization 4 years, 3 munths and 2 days after kovernmental funding was cut. Dave immediately set his sights on the IKSP's huge, but ageing, space station. It was officially named the Kerbal Space Station, but nearly everyone called it "StarDust". 4 years ago, it was an engineering marvel. The culmination of the entirety of Kerbin working together to reach into space, and stay there. However, now the station was slowly failing. The RTGs were losing power, the circuit connections were getting unstable and the atmosphere inside was escaping. Something had to be done, or StarDust would soon be rendered completely unusable. The first thing that Dave Kerman and his team decided on was to replace the old habitation arms with an all-new, modern habitation ring. Or more accurately, four of them. The 364-ton monstrosity needed an all-new launcher to get it into orbit: the SB-3, Station Builder 3. The SB-3 was just an SB-2 with 3 cores. The SB-1, compared to these huge rockets, was so small it was barely worth mentioning (it was still pretty big, having been made of 3.75m parts). The habitation ring was mounted on top of the SB-3. Unfortunately the fairing wasn't wide enough for the ring, so the entire assembly had to be botled to a rocket with a flat top. The brute force approach would have to be used, punching a hole through the lower atmosphere and getting out of it ASAP. The rocket was rolled to the launchpad successfully. With a crowd of exactly 14 kerbals in Mission Control, SB-3 with the Habitation Ring lifted off. The rocket followed an unusually steep gravity turn, focusing more on getting out of the lower atmosphere than building up horizontal speed. Booster separation: And finally, a stable orbit was reached. The closest approach was 47.2km. Not too bad for a private space program who had never docked before. Mission Control could work with that. All further maneuvers would be completed with the second stage, which had a full tank of fuel. All maneuvers were performed successfully and the stage was detached from the Hab Ring less than a kilometer from StarDust. The Hab Ring guided itself in under the power of its own RCS thrusters. Docking was completed on the light side of Kerbin, which is not at all right and proper, but it was the safest option for a first mission. The IKSP's first private mission was a complete success. Now all that was left was deorbiting the second stage: Most of the components overheated on reentry. Only the fairing base and docking port survived, which showed some strange aerodynamic properties... Since the base was practically gliding down, it was no surprise when it survived contact with the ocean. [This gave me an idea... can I make a glider out of fairing bases?? I'll have to try some designs.] The IKSP's first mission was a success. But Dave Kerman wasn't finished there...


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What to do with
Want to recycle glass but don't know if you can?
Glass bottles and jars are widely recycled. To find out if you can recycle them at home or need to take them to a bottle bank use our handy Recycling Locator tool.
What glass can I recycle?
|Yes please
|No thanks
|Bottles of any colour (e.g. wine, beer, spirits)
|Glass cookware (e.g.Pyrex)
|Jars (e.g. sauces, jam, baby food)
|Drinking glasses
|Non-food bottles (e.g. perfume, aftershave, face creams)
|Ceramics (e.g. crockery or earthenware)
|Nail varnish bottles
|Microwave plates
Why can't I recycle some glass items?
These types of glass do not melt at the same temperature as bottles and jars. If they enter the glass recycling process it can result in new containers being rejected.
Other glass items that should be recycled separately from glass bottles and jars are:
- Light bulbs/tubes
- Window glass (check with your local recycling centre first)
- Empty and rinse - it doesn't need to be spotlessly clean, a quick rinse will do. Left over liquid and residue can contaminate other recyclables which may mean they are not recycled.
- Lids and caps can be put back on - these will be removed and recycled. These are different types of metal to cans/tins/aerosols so are recycled in a differnt way and by putting the lids/caps back on glass jars and bottles it reduces the chance of them getting lost through the sorting process.
- Corks should be removed - natural corks can be home composted.
- At bottle banks, put the glass in the correct bank for clear, green or brown glass. Blue glass goes in with green glass
- Only use bottle banks during the day - the sound of smashing bottles can make a real racket and disturb people who live nearby!
- Remember not to litter the area around the bottle bank with your empty bags and boxes
Tips for recycling glass
What else can I do with it?
Return it!
- If a bottle is returnable it is better to return it, rather than to recycle it. For example, if your milk bottle came from the milkman, make sure he gets it back!


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Years Active: 2015
TWITTER @eddyceetee
Taking a break in the warehouse, Nick Prescott and Eddy Ceetee brush their beards together as they kiss—their hands roaming each other's bodies. Nick licks Eddy's stomach, teasing the stud's cock out of his jockstrap. He sucks him before they switch, Eddy gulping up Nick's massive boner. Nick grips Eddy's head and face fucks him, whipping his dick on the sucker's mouth as spit falls to the floor. Muscles clench all over Nick's chiseled body, a long shot capturing it in all its glory. He spits in Eddy's mouth, soon sucking his big cock again. Nick deep throats him, the sucker's steel shaft throbbing. He forcefully spits on Eddy's rod repeatedly, then offers his ass. Eddy gets the hairy hole wet, Nick's dick then bouncing as he gets rammed from behind—his muscles tight as he grips a barrel for support. Nick gets pinned to the floor, Eddy fucking him hands free in a hot sequence before turning the bottom over—Nick's hairy groin soon soaked.
SCENE 1: Eddy Ceetee with Nick Capra
Perched under a pickup truck in his shop, mechanic Nick Capra grabs his own bulge…getting the attention of beefy Eddy Ceetee, who bends down to start rubbing the stud's crotch. "You look like you like that," he says, Nick's initial apprehension quickly turning to curiosity ("Maybe I do…"). Eddy unclips the hunk's overalls and rubs his hairy muscle chest, then takes out Nick's big dick and strokes it. He soon has the thick shaft in his mouth, Nick getting more verbal with each slurp: "Wrap those lips around it! Wax that fat cock!" Nick sucks back, his own cock throbbing as he plants his noise in Eddy's pubes. "Take the whole thing…all the way!" instructs Eddy as Nick gulps it up. The two kiss, their cocks grinding together, before Nick bends over the hood to get his ass eaten ("Open up that hole!"). Eddy fucks him from behind, yelling "Back up on it!" as Nick moans. "Put it back in!" yells Nick as Eddy slides out. "Fuck! You're making my dick drip!" Eddy's pecs shake as he fucks hard and fast, Nick then sitting down on him—his own boner bobbing as Eddy grips his waist. On his back, Nick gets slammed some more before the two squirt on him.


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This item is currently out of stock. It will take up to 3 weeks to ship.
Recording King's Dirty 30's Resonator delivers tons of classic style and a vintage resonator tone perfect for old-school blues and slide players. The single 0 size resonator drips with vibe, from the f-holes and tailpiece to the classic sunburst matte finish.
Traditional resonator sound is delivered from a hand-spun 9.5" cone in a pedestal soundwell. Soundposts surround the circle of the soundwell and the cone vibrations are free to bounce within the full cavity of the body. The f-holes are placed to optimize bass and treble frequencies as they exit the body for the perfect dry, throaty resonator tone.
Whether you're a songwriter who wants vintage blues or slide sound, or a first-time player who wants something a little cooler, get traditional resonator tone in a road-worthy small body from the Recording King Dirty 30's Resonator single 0. Recording King's Dirty 30's Series gives players authentic vintage style with the reliability of modern design.
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Dual Enrollment
Monte Vista Christian School has partnered with West Hills Community College (WHCC) and Colorado Christian University (CCU) to offer dual enrollment courses. These courses allow students to earn college credits for classes that count towards their high school graduation requirements at MVCS.
How to Enroll
• Work with your Academic Advisor to choose the appropriate Dual Enrollment courses.
• Apply for admission at the appropriate college(s), for your ID number
Colorado Christian University (CCU): Visit MVCS.org /CCUenroll to get your ID number
West Hills College Coalinga (WHCC): If this is your first time enrolling for a dual credit course at WHCC visit MVCS.org/WHCCenroll to get your ID number.
If you are a returning West Hills College Coalinga student please obtain your original Student ID number and write that on your MVCS dual enrollment form.
• Submit MVCS Dual Enrollment Registration Form to your Academic Advisor
West Hills Community College
The credits earned in these courses are transferable to the California State University System, the University of California, and the California Community Colleges System.
Colorado Christian University
"Every major state university surveyed accepted the dual enrollment credit, as did most major private schools and all 27 Christian universities that participated in the survey." - ccu.edu/dualcredits/faqs/
Students can check with the admissions department of their colleges of interest to ensure transferability.
Transcript Requests
Students in the Dual Enrollment Program will have a MVCS transcript and a transcript from the community college they are enrolled in. Student is responsible for transcript requests from MVCS and the colleges they are dual enrolled in.
The dual enrollment courses will be taught by MVCS faculty who have qualified to be adjunct professors.


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Microchip Expands dsPIC DSCs for Appliance, Automotive and Industrial Applications
by WDD Staff
Microchip Technology (Chandler, AZ) announced a new family of dsPIC33 Digital Signal Controllers (DSCs) — the dsPIC33EP512GM710 family. This is an expansion of Microchip's dsPIC DSC portfolio that adds higher levels of integration for motor control applications. Features include:
- 12 motor control PWM channels (6 pairs).
- Dual 12-bit ADCs.
- Multiple 32-bit Quadrature Encoder Interfaces.
- Two CAN modules.
For more information, visit www.microchip.com