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Leaders from Hindu, Sikh, Muslim and Christian community consolidated to emblematically introduce peace by ringing a congregation bell in Srinagar, the main city in the brutality torn Indian state of Jammu and Kashmir.
The bell at the 120-year-old Holy Family Catholic Church, the biggest in the city, rang Oct. 29 without precedent for a long time after it quit working. The bell and belfry was harmed in a fire 1967 and the financially poor parishioners had no assets to introduce another one until one of the 30 odd Catholic families in the area gave a 105 kilogram bell this year, Father Roy Mathews said.
"We wanted to share this occasion with well-wishers of other faiths who joined and prayed for peace and normalcy, brotherhood and mutual respect for values and beliefs," said Father Mathews the parish priest.
Religious flexibility in Jammu and Kashmir, India's just Muslim-majority state is "grossly misunderstood outside Kashmir. Our message to the world is clear that we are all one here and accept each other," the priest said.
Manzoor Ahmad Malik, a Muslim at the congregation work, advised that he was happy to see people from other faiths. "We want to give a message of peace to the world."
He mourn that Muslims were being introduced in India and outside as bigoted to different religions.
"People here want and have been living in peace," said Malik.
The locale saw turmoil since 1947 when British India was apportioned to make India and Pakistan. The two countries have battled three wars over the Muslim ruled area they now control in parts.
The Indian side of Kashmir has seen outfitted revolt to free itself from Indian manage and to set up a Muslim state or to influence it to some portion of Pakistan. In the tallness of rebellion in 1990, a large number of Kashmiri Hindus, referred to prevalently as Kashmiri Pundits, run off the valley.
"Today's church function is a message to Kashmiri Pundits to come back. We want them to come back and live like they lived before," Malik told to the sources.
Somewhere in the range of 20,000 Christians, for the most part Catholics, shape a modest minority in mostly Muslim populace of 12.5 million in Jammu And Kashmir State.
Prior, Bishop Ivan Pereira of Jammu-Srinagar, whose bishopric covers the whole state, told to CIP that Christians confronted no threat, in spite of secessionist savagery amid the previous three decades.
"Christians weren't focused on or insinuated," the cleric stated, including that Christians and Muslims live in concordance with different religions.


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The children in the 5 Day Pre-K Class had a busy week. The Letter Person, Ms. S., stopped by with supplies for the children. They enjoyed making letter flags to prepare for a surprise given to them by the Letter People. Later in the week, all the Letter People came to visit for the day! They wrote a story about the children. Each child giggled to hear their name in the story! The children had a Letter Person Parade throughout the school and ate cupcakes and played so many fun games with the Letter People. The party was a wonderful way to wrap up the year learning all about each Letter Person. The children learned so much this year but most importantly, they had fun in the process.
The children also learned about Claude Monet and his style of painting. They loved using water colors to create ponds and waterlilies. The children ended their week with pony rides. Many of the children left school saying, "best week ever!" Have a wonderful long weekend home and see you on Tuesday!
The entire celebration was fun! The children love learning with the letter people.

subset: commoncrawl


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National Geographic : 1915 Feb
THE NATIONAL GEOGRAPHIC MAGAZINE slightest pressure on the bar-even the weight of a visiting card or a pin causes these circles to expand outward, forming, as it were, a series of ripples like those made when a stone is dropped into the center of a still pond. The pres sure of one finger on the bar causes the formation of five or six new circles, showing that the bar has been bent about I/20,oooth of an inch, as each new circle means a movement of i/ioo,oooth of an inch. At first sight the testing of sugar would seem, to the lay mind at least, to belong to the department of chemistry rather than optics; but it has been found that the most perfect test of sugar is an opti cal one. The amount of impurity is found by watching the twist of a light wave passing through a sugar solution of a certain strength. This is effected' in an instrument known as a saccharimeter, and on these tests the import duty is based. Samples of sugar are sent daily by the customs service at the various ports of entry for check analysis, and in this way uniformity of analysis at the custom-houses all over the country is secured. In the division of chemistry nearly 9,ooo tests are made in a year and almost all of them for the government. Com missions are only accepted from private bodies when such work cannot be done anywhere else, for the Bureau declines to enter into competition with private laboratories; under exceptional circum stances, however, umpire testing or analy sis is undertaken. TESTS THAT INSURE THE SAFETY OF SKY SCRAPERS In the engineering division the most impressive feature to the layman is the huge Emery testing machines; the larger one has a 2,300,000 pounds compressive power and a pulling power of I,150,000 (see page 164), while the smaller one has a tension and compression strength of 230,000 pounds. These great machines are of wonder ful delicacy and power; for, after exert ing and accurately registering a pressure sufficient to break a huge steel girder, an egg-shell can be crushed and the force exerted recorded with equal accuracy. In the branch of the Bureau at Pitts burgh a still more powerful machine has been installed - the great Io-million pound Olsen testing machine (see page 167). These machines are used in a series of investigations conducted jointly by the Bureau and the American Society of Civil Engineers to check and correct the formulas for computing column strength, the formulas upon which the efficiency and safety of building con struction depend. Another very interesting series of re searches is in progress, which may have the effect of saving many valuable human lives. Railroad companies send to the Bureau rails that have failed, and ef forts are being made to discover a new method of testing them. At present when a rail (or any other piece of iron or steel) is tested it is destroyed in the process and becomes useless. Often a rail is full of flaws, like that shown on page 163, but at present there are no means of discover ing this until the rail fails beneath the pressure of the express that thunders over it. For the last six years the experts of the Bureau have been seeking for a method of testing the rails that will ac tually be used, and have conducted a series of mechanical and magnetic tests to discover some mechanical properties which can be proved always to accom pany certain magnetic properties. The results of the work are so hopeful that those engaged upon these researches are justified in believing that further studies along these lines will eventually lead to success. WHAT IS THE STRENGTH OF RED TAPE? In another division are tested a bewil dering variety of commodities used by the government-ink, paper, rubber, clay, bricks, oils, ropes, leather, cloth, silk, sealing wax, mucilage, paint, and a hun dred and one other things. Everything handled by the Federal government is tested here, from the steel for the locks on the Panama Canal down to the brushes used to sweep out departmental offices. 166
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Style of the Week: Belgian IPA!Leave a comment
April 24, 2015 by fhsteinbart
When I was asked how to make a Belgian Style IPA at the shop a while back, I simply asked what the brewer wanted to accomplish with their beer. As a new emerging style, we fellow Brewer's and Brewster's have the opportunity to help add to the growing body of practices to influence this new style of beer. While IPA's are typically more hoppy than Pale Ales, both in bitterness and in hop character, I find that the trend with the Belgian style is for a smoother bitterness, and a great deal more of late hop character. Most of this coming from late kettle additions for flavor, and aroma. Since you get half the bitter from a fifteen minute boil as compared to a ninety minute boil, you should therefore add twice as much hops to your kettle at the latter times to smooth out the bitterness, cut down on the chlorophyllic vegetative notes, and improve the hop flavors and aromas present in your brew. So my suggestion is to use more flavorful and aromatic hops in larger quantities during the later portion of the boil. Below is a recipe of mine that makes a very nice Belgian Style IPA. Just be careful about the fermentation temperatures so that the balance doesn't shift too much towards excessive yeast character, which should be either complementary to the hop character, or contrasting.
7 lbs. Extra Light DME
¾ lb. CaraMunich malt
¼ lb. Biscuit Malt
2 oz. Simcoe Hops (flavor and aroma)
1 oz. Amarillo and El Dorado hops (flavor and aroma)
2 oz. Citra hops (flavor and aroma)
Wyeast 3522, WLP550, or Fermentis Abbaye Ale
- Heat ¾ gallons of water to 165°F.
- Add steeping grains to kettle and steep for 30 minutes.
- Remove grains, and rinse with 165°F water
- Turn off heat and add malt extract, stirring until fully dissolved.
- Return to Heat, bring back to boil.
- At 20 minutes remaining, add the Whirlfloc tablet or Irish Moss.
- At 15 minutes remaining, add the flavor and aroma hops.
- At knockout, cool the mixture by placing kettle in an ice bath or use a wort chiller. Add the mixture to the fermenter, removing the hops, and bring total volume to 5 gallons using distilled, bottled, or filtered tap water.
- Aerate unfermented wort (shaking works well).
- Pitch yeast and ferment at 62°~65°F for 7 to 10 days.
- Allow to age an additional two to three weeks before packaging up as usual.
All Grain:
12 lbs. Pilsner Malt
¾ lb. CaraMunich Malt
¼ lb. Biscuit Malt
2 oz. Simcoe hops (flavor and aroma)
1 oz. Amarillo and El Dorado Hops (flavor and aroma)
2 oz. Citra hops (flavor and aroma)
Wyeast 3522, WLP550, or Fermentis Abbaye Ale
¾ gm. Brewing (Burton) Salts per gallon (~3.75 gms. or 1 level tsp.) in the mash and in the boil.
Infusion mash at 148°F for 1 hour. Sparge to 6.5 gallons of wort, and bring to a roiling boil. Continue boiling for 40 more min. then add Whirlfloc tablet or Irish moss. At 45 min. then add flavor and aroma hops. At knockout, cool the mixture by placing kettle in an ice bath or using a wort chiller. Add mixture to fermenter, removing hops, and aerate unfermented wort (shaking works well). Pitch yeast and ferment at 62°F to 65°F. Gravity may vary depending on system efficiency, so adjust accordingly.
Package up as usual; bottled versions should use 120 gms. corn sugar (approx. ¾ cup), or kegged to 20 psig, and allow two weeks to come into condition. Serve at 50°~55°F in a Teku glass, share, and enjoy! This beer will continue to evolve and change over the coming months, so make enough to last you through your next brew.


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Starting tomorrow morning I will start my first series for pinkklipstick called "Five Shades of Pink". It will be a series of five outfit posts that will be focused on styling these White Levi Demi Curve Skinny Jeans I picked up from Macy's.
I am excited about these posts and about kicking off 2013 with this series. I will do these once a month and they will feature a mix bag of items styled by me.
Are you guys ready for Five Shades of Pink? I know I am! See you guys in the morning!


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Following the release of her debut EP entitled "METAMORPHOSYNTH" last year, singer/songwriter MARCELLA FRUEHAN who first caught our attention with her single "Bite So Deep", is back with the music video to her latest single "Ease". With her solid evocative vocals, she is a talent ready to shine and should be. nI can't wait to hear more new music from her but in time, check out the video which was directed by Jaydn Gosselin below:
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Style# 2034604
$34.99 $17.48
Style# 2034604
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Kids love the comfort of the Crocs Classic Clog — and now there's a toasty, lined version to keep the feeling going all season. The soft, fuzzy liner adds to the cushion and comfort. They're great as slippers, yet capable outdoors, too. Croslite™ foam construction keeps them light and easy to wear. The pivoting heel strap gives kids a secure fit, or they can push it forward for an easy-on option.
- The legendary Classic Clog, now with a warm, fuzzy liner
- Incredibly light and easy to wear
- Heel strap for a more secure fit
- Great indoors or out
- Dual Crocs Comfort™
- Fuzz Liner: Made of 100% Polyester
- Imported
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- Width: Regular
- Upper: Foam
- Midsole: Foam
- Outsole: Foam
- Avg. Weight (pair): 3.4 oz.
- Closure Type: Slip On
- Water Resistance: Non-Waterproof
- Gender: KIDS'
Miscellaneous Attributes
- Best For: Casual Shoes
- Country of Origin: Imported


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respect for nature
the houses
garden house
beach house
landscape house
the region
how to get there
contact us
The Houses provide absolute privacy and special furnishing designed and employing reclaimed lumber, eucalyptus wood, cattail, and bamboo, adding coziness and elegance to the décor.
The condominium is formed by three types of houses: The Garden House, The Beach House and The Landscape House. They are all spacious, cozy houses, equipped with a sophisticated infrastructure, completely integrated with nature and absolutely private.
The structure of the buildings is made of eucalyptus and decorated with bamboo. All the furniture was specially designed and manufactured with fibers and reforested demolished wood.
Click on the map to select a house:
Copyright@2013 - all rights reserved


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I used a 4000 pts on ?40 spend today on some gift cards, fingers crossed
I used a 4000 pts on ?40 spend today on some gift cards, fingers crossed
I tried this recently and the 15,000 points did not post for an ?80 spend that was mostly GCs. Maybe they have fixed their IT.
Although it was not a till spit, but some vouchers we got in the post.
I may have to retract my previous statement. Out popped 3 x ?5 till spits today!
So the points didn't show on the receipt as normal points do, but clearly they must be against your account somewhere
Has anyone tried this recently and got
Points? I have a 8500 if you spend ?70 voucher tillspit and want to use it to include a couple of GC?
I tried to use a 7,000 point on ?70 spend tilspit.
it was fresh issued and the cashier and manager could not process it against ?70 of amazon vouchers.
I will try again later in the week with a little shopping mixed in.
I tried 2 weeks ago. I had a 3500 points off a ?30 spend. I bought an amazon GC and some bread. The cashier couldn't get the points added and called a manager over. The manager said it wouldn't go through as the till showed a message 'minimum spend not met'. Then she told me (very nicely and apologetically) that GC spends to not count for bonus points. It was worth a try though.


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Our Promise
To seek out local
& organic ingredients
& provide nourishing, delicious
food to the community.
Our Promise
To seek out local
& organic ingredients
& provide nourishing, delicious food
to the community.
Supporting a better food system!
Experience a global fusion of flavor, specializing in healthy, creative and delicious options. The ingredients are organic and locally sourced when available. We use quality meat that is sustainably raised.. Nothing artificial, no hydrogenated oil, corn syrup or preservatives, everything is whole foods based and created by us.
There are options for the meat eater, the vegan and special diets like gluten free.
Local Ingredients
Whole Food
Sustainable Meat
Find the Food!
Based out of Beautiful Durango, you can find our food at
events and festivals in the 4 corners area of Colorado.
Find the Food!
Based out of Beautiful Durango, you can find our food at events and festivals in the 4 corners area of Colorado.
Roasted sweet potatoes, sauteed kale, fried egg, cashew cream sauce, toasted sesame seeds (gluten free)
Brown rice, black beans, pico de gallo,
fried egg, feta, avocado. (gluten free)
Stir Fry
Mixed grilled vegetables served over brown rice served with sesame marinated tofu. Choice of Coconut curry, sesame ginger or cashew cream. (gluten free)
Ultimate Burrito
Whole wheat tortilla, roasted sweet potatoes, sauteed zucchini, bell peppers and onions, pinto beans, Tillamook cheddar cheese, fire roasted salsa, sour cream, guacamole.
Garden Hummus Wrap
Whole wheat tortilla, hummus, mixed baby greens, carrot, tomato, cucumber, red onion, feta cheese, toasted sesame seeds.
Chicken Taco's
Slow cooked shredded chicken, guacamole, siracha-lime-cashew cream slaw, fresh tomatillo salsa, Tillamook cheddar cheese. (gluten free)
Fresh Spring Roll
Brown rice wrapper, rice noodles, carrot, purple cabbage, red bell pepper, cilantro, toasted sesame seeds, served with a peanut dipping sauce (gluten free)
*Menu may change without notice
When I think to myself, "I need to eat something healthy...I think Mountain Stir Fry." I love the delicious choices and how Melissa and her cheerful staff are willing to cater to my lower carb needs If I ask. Consistent quality for a great price. Fresh, fresh, fresh. I highly recommend!
Love the variety of vegetables that go into my favorite choice of food at Mt Stir Fry- BURRITOS! I've been a fan from the beginning and have enjoyed the additions over the years. Besides the regular burrito, the newer breakfast burrito overflows with yummyness!
I would like to say the food at Mountain Stir Fry is fabulous! Who knew you could get a delicious and nutritious fresh meal at a food cart!
I've never been one to enjoy meals on the go at a festival, but this is truly an exception! It is one I enjoy over and over again!
I always am excited to see Mountain Stir Fry at a local event or farmers market because the food is outstanding, and I love that they use local and organic ingredients. I'd highly recommend the "Greengo" bowl. I can't wait for the farmers market season that is about to start!


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|Our Families
|Jeremy and Kristen | Dear Birthmother Letter | Around the Ranch | Our Families | Contact Us
|Help us build our family through adoption!
Here are some of our favorite pictures of our family!
Interested in learning more about us? Please contact Cindy Simonson at A Loving Alternative, 1-800-556-5635. Or, take a look at their site: www.alovingalternative.com


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The majority of China's export manufacturers cannot afford the investment required to run a fully sustainable production facility. But some are taking baby steps and modifying their equipment to decrease energy consumption. The high cost of investment and the long wait to see positive returns are holding back most China makers from "greening" their factories.
Many of those that have taken serious measures toward introducing more environment-friendly practices and equipment in their production lines have external funding. These include some Hong Kong-invested companies in Guangdong province that were qualified to receive subsidies from the SAR. By investing in advanced equipment, such businesses were able to reduce wastewater discharge from the printing lines or lower VOCs emitted during the painting process.
The return on investment, however, can take between five and eight years, and most SMEs are reluctant to wait that long. Nonetheless, about one-fifth of China's export manufacturers are willing to introduce small measures to lower their carbon footprint. Most steps are geared toward reducing factories' electricity consumption. Energy-saving modifications Plastic-injection machines, for instance, are being fitted with inverters that can decrease energy use by 30 to 60 percent. Widely used in many industries, the machines often need to run 24 hours daily. The inverter adjusts the pump speed automatically so that only the right amount of fuel is disbursed for each manufacturing step.
It costs about 30,000 yuan ($4,600) to fit a 37kW 350T plastic-injection machine with an inverter. Processing a plastic part generally takes 17 seconds, while the machine typically consumes 25kW per hour. Electricity charges, meanwhile, are 0.76 yuan ($0.12) per hour. By using an inverter, one unit running 24 hours daily can save as much as 4,100 yuan ($620) in energy costs. Modifying the plastic-injection machine's electromagnetic heating controller can reduce electricity consumption as well.
The retrofitted controller heats up fast and boosts thermal efficiency without affecting the temperature of the plastic-injection machine and the workshop. This is said to cut one-third of energy use. Meitu Plastic Ind. Co. Ltd is one of a number of companies that have invested in such energy-saving devices. A maker of plastic toilet seat covers, water tank fittings, and bathroom and kitchen accessories, Meitu converted 263 plastic-injection machines.
Now, each unit is said to consume 36 percent less electricity. Manufacturers of LED lighting products, meanwhile, are using their own products to lower energy usage. Guangdong Gangfeng Electrical Appliance Co. Ltd has already replaced all of the lighting at its new factory with LED versions, a move that cut monthly power fees by more than 50 percent. A handful of China makers are procuring environment-friendly equipment as well, mainly because the current machines are nearing the end of their service life and need to be replaced. But since they will be buying new units anyway, these companies decided to purchase ecologically safe equipment that can boost productivity.
Moreover, the central government has implemented preferential policies to encourage green manufacturing. In the ceramics industry, for instance, companies that buy eco-friendly machines receive a tax credit equivalent to 10 percent of the purchase price.


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Interview: Ayushmann Khurrana, actor, singer, writer, poet, Bollywood
With two back-to-back hits at the box office, Ayushmann Khurrana is Bollywood's star of the moment. The actor, who has built a career by green-lighting unconventional scripts on once taboo topics such as sperm donation and erectile dysfunction, has now hit the jackpot at the box-office in the same month with 'Andhadhun', in which he plays a blind pianist, and 'Badhai Ho', a film which raked in Rs 200 crore worldwide and made it okay to accept the radical idea that your parents are also human. In this freewheeling interview with Sharla Issar, the multi-faceted Khurrana — actor, singer, writer, poet — talks script selection and spirituality, addresses the #MeToo movement and reveals how he manages to do it all while maintaining a core of focus and ease...
Congratulations on your recent successes. Both your films 'Badhai Ho' and 'Andhadhun' have set the cash registers ringing at the box office.
This success feels great but it feels like déjà vu again because last time also it happened like that with the success of 'Bareilly Ki Barfi' and 'Shubh Mangal Savdhan' following each other but this time its sweeter because the commercial success is crazy. Both films are running house full and the business they have done is unbelievable. The kind of cinema that I endorse is more content driven. I think more about the content than the cover but the kind of love these films have received is amazing. I didn't do anything special to celebrate but I was in Chandigarh for Diwali for 10 days — that's a yearly ritual for us and we had a small get-together with friends and family. This time around the weather was good and there was festivity in the air and these two mega successes made the time all the more special.
Instead of playing the macho larger-than-life hero, your characters tend to be more rooted in real life. Has it been a conscious decision on your part to stay away from Bollywood potboilers or is playing the common man in films something that came about organically?
For me my priority has always been the script. I have always put it on a pedestal only then do I consider the role or my character. That's what I believe in because nothing is bigger than the script in a film. But even if I had to do a commercial pot boiler the script will have to make sense and it has to be unique at the same time. It doesn't matter if I'm playing the guy next door or someone who is larger than life or someone who is imperfect or perfect, whatever. More than anything else the script has to be perfect.
Bench mark
But good scripts are few and far between so how do you manage to survive during a dry spell in terms of good content?
That happened to me after 'Vicky Donor' because that film created such a bench mark that I was not getting scripts of that calibre. It was only two years later that I got a 'Dum Laga Ke Haisha'. So my journey in films started from there again. It's rare to find a great script but thankfully I am getting them and there are writers out there who are doing a tremendous job in terms of creative content.
What are the two things that you look for in a script?
One would be the novelty factor. It has to be something unique and out-of-the-box and also it should not have any reference point in Indian cinema. All the films that I have done are novel and none of them had been attempted in the past.
It has been pointed out that you made it a point to provide Tabu the space to shine in 'Andhadhun' and similarly provided a canvas for Rajkumar Rao to take away the whistles in 'Bareilly Ki Barfi'. That's very unlikely behaviour for a Bollywood star who would much prefer to be hogging screen space himself.
I can credit my lack of ego hassles and easy going nature to my theatre background. In every theatre production there are well-etched roles for all the characters and I've been doing theatre since childhood. So I come from that sort of creative background. Someone who has just stepped into Bollywood would be solely concerned with their own role which leads to a very myopic or selfish approach towards a film. For me I see a film in its totality. I consume a script as a whole and not just as a star vehicle for me. In theatre you learn to give and take between actors, about equal opportunity and giving elbow room to every character. In the end this only helps to enhance the film and if the film is good you are the one who eventually benefits. It is always better to look at the larger picture.
Most actors may start out so well-meaning but it must be difficult to maintain your equanimity and balance in an industry where actors soon begin to enjoy the trappings of stardom be it their entourages and the money and mass adulation.
I took baby steps towards success. It didn't happen overnight for me. I've been in the film industry for six years now and I have also seen my fair share of failure which has given me a great perspective about life and career choices. And at the same time in my personal life I have been lucky enough to have a stable home life. My family keeps me grounded. Apart from, that I am very spiritual as a person. I meditate, I chant, I also follow Nichiren Buddhism. I believe that all these factors culminate in a wonderful way. The universe really goes with you in a sense to help provide you with stability and perspective.
You grew up in Chandigarh where you did theatre and your father was a palmist.
We were quite well to do but our upbringing was very middle-class. My parents wanted their children to grow up with middle-class values because it makes children more independent. Even though my parents could afford a car I was told to use public transport. Everything that we children were given was earned either through good behaviour or achievements. When I scored well in college I was given a bike and if I got the best actor prize in a play I would get something else which is a very middle-class way of parenting. My father is a well-known astrologer in North India but he would never predict the future of his own family members. A lot of people think that I changed the spelling of my name just before I entered Bollywood due to numerology but my father decided my name should be spelt like this when I was born. My father is a great believer in karma and that there is no wrong time to do the right thing.
I thought of taking a sabbatical after my post graduation in journalism. I thought I would do more theatre, would learn dancing or horse-riding and then go to Mumbai to become an actor but my dad packed my bags, gave me tickets and I was thrown out of my house. So instead of me running away from home to become an actor, mine is a case of being chased towards Bollywood. I was very lucky to have a father who was so pro-active especially because I was not very ambitious as a person. I was a typical laid-back theatre person lounging about with a cup of chai and a samosa. In Chandigarh I used to stage my own productions and lead a very contented lifestyle but my father was ambitious on my behalf and I think in a way I am living his dream. My father is a do-er and we share a very mentor-student relationship.
Political film
The current political climate in the country is a hot-button topic what with elections around the corner and a mood of hyper nationalism in some sections. Will we see you star in a political film in the near future?
I would love to do every kind of film but having said that I think as an artiste I don't want to establish a political stance. I'm comfortable doing that as a character — whether it is playing a left-leaning liberal or a rightwinger. I feel an artiste should be like a clean slate. We should not be representatives of any particular religion, region or state or political party. For example, I played a rightwinger in 'Dum Laga Ke Haisha' but what if I am a left-leaning liberal in real life? Artistes should be apolitical and of course at the right time I will speak about my political leanings but I think this is not the right time.
What do you think of the #MeToo movement in India? Your wife Tahira Kashyap has been quite vocal about her views on social media.
I think it's the need of the hour. The #MeToo movement is long overdue. Men in India should understand consent and at the same time every work environment should be conducive for women to be treated as equals. This should be across all industries, not only the film industry, because sexual harassment is rampant. We live in a patriarchal society, especially Delhi is so unsafe. Mumbai is still better but sexual predators are everywhere. They could be at your work place or within your own family as a close relative, it could be anyone. So I think in such a situation, the #MeToo movement is the right step and because of this initiative any man will now think ten times before committing any crime. Having said that, an equal opportunity should be provided to both parties to put their side of the story in the public domain.
Your wife recently posted a positive Instagram message to disclose that she had been diagnosed with Stage I cancer.
I've learned a lot from Tahira. She's been a great teacher in my life because she has transformed me as a human being. I've really evolved as a human being and as an artiste. During our college days we used to compete with each other in competitions. We've done theatre together — she used to write and direct our plays while I was an actor and she was the first person to know that I wanted to take it up seriously as a career and she was not really happy about it initially. These days she is going through a personal health challenge and I'm proud of her for dealing with it in a very positive way. Right now she is in Amritsar delivering a lecture on cancer and is also undergoing chemotherapy. A while ago she underwent her fourth chemotherapy session and it's difficult for someone who is going through chemo to travel and to remain in good spirits but she has decided to fight it out. It's unbelievable and remarkable and even doctors say that with her attitude she should be an inspiration to other cancer patients. This health scare has also taught me that life is a great leveller – I'm having this professional high right now and at the same time my wife is fighting cancer. So this just proves that every life has a void, no life is perfect and we need to celebrate our life the way it is. There is simply no point cribbing or being negative.
The Proust Questionnaire
The Proust Questionnaire popularised by French novelist Marcel Proust provides insights into a person's true nature. Here are Ayushmann Khurrana's replies:
What is your idea of perfect happiness?
Perfect happiness means being able to strike a fine
balance between ambition and contentment
What is your greatest fear?
Losing my simplicity
What is the trait you most deplore in yourself?
Being over-critical
What is the trait you most deplore in others?
Which living person do you most admire?
My father and my wife
What is your greatest extravagance?
I'm not a very materialistic person but if I had to mention a recent purchase then right now it would be my new car, Mercedes S-Class.
What is your current state of mind?
Happy. I'm smiling
What do you consider the most overrated virtue?
Being over- humble. I think it's good to be a realist and your natural self. Don't put on the facade of being an overly humble or modest person.
On what occasion would you lie?
To cheer somebody up or to encourage somebody I can lie for sure
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I used to dislike my eyebrows but I think I am proud of them now
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What do you consider your greatest achievement?
To have managed to strike a great balance between my work life and personal space


text:
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custom color scheme layout (setup walkthrough)
Dec 04 2014 | 4:09 pm
Hi all I was trying to setup a default color scheme since Max7 came out. I would manage to do so but the custom colors would always get lost.
Finally got it to work with the help of Ben one the C74 support techs.
Here is a walk-through of the setup steps:
1. in a default patcher, make a bunch of objects and then in the Format Palette,change them to whatever colors you want
2. select all the objects in the patcher
3. in the Format palette, make a new style – this style will be for multiple objects
4. select the patcher to activate it in the Format palette
5. In the Style menu (located in the patcher inspector window), select the style you just made, applying it to the patcher level
6. delete all of the objects in the patcher
7. save a new template (in dropdown file menu "create template") and make it your default
Hope this helps
happy patching
Dec 04 2014 | 8:45 pm
Slight update about small glitch that c74 are aware of
There is still little glitches in the styles but in general it works.
What is a must for it to work.
Step 1. is important.
-you must start from a blank "Default Patcher Template" and choose "Default Max7" -you cannot copy/paste objects that you had already done your custom colors. You will have to start from scratch. one by one
-In the inspector window, make sure the "Appearance style" has nothing selected in it's umenu
then all the steps mentioned in the previous thread.
The Glitch/bug:
-Gradients objects do not work. For example, [message and umenu] would not keep my custom colors. Workaround, once you have started a new patch, reselect you're "custom_style" in the inspector Appearance and now it should work. (so yes, for now, as we start a new patch we will we have to make it a habit to always select our "custom_style" in the inspector window's appearance style.)
-Also, when you open you're older Max6 patches and/or the help patch and want to apply your new custom style template, make sure that in the "Format" dropdown menu you have selected the "cope style to library".
Once you've done this, you will be able to apply you're custom style to older/help patchers and resave them with your custom look. To do so, you open Inpector's Appearance again, and select your "custom_style" that will be in the Library style.
— The gradient bug is really a bug that c74′s Ben was able to reproduce and will be investigating further. I really , really hope they give us a borderline option in Future Max7 increments.
Good luck
Dec 06 2014 | 5:24 am
thanks. :) i had the gradient thing happen a few times had also had weirdness copying and pasting then then gave up. :)
so i didn't play with the gradients anymore, but you can hack the gradients into giving you a pretty hard edge along the top and it looks like a nice fake 3d, like an old bath tub...kinda. maybe a battery... the flattened gradient is pretty wonky to move around to place and sometimes zooming out in the patcher makes it flip out literally and invert the colors and it doesn't like re-sizing the message box much either, but still. it's a good look. lol
Dec 07 2014 | 6:08 pm
Super helpful, thanks phiol. Took me a couple tries but now I'm back to boring old black on white on grey :)
Dec 07 2014 | 6:12 pm
My Pleasure Gumi :-)
@Jonah, would you have a screen shot of your bath tub objects. I'm curious
Dec 08 2014 | 9:25 pm
Hi Phiol and thanks for the guide.. So there is no way to apply a favourite style for already existing patchers (eg helpfiles)? We must customize every single one patcher with our favourite style? That s so wierd! It is difficult for Cycling74 team to give us an option to change the default style inside "object defaults" menu?
Dec 08 2014 | 11:13 pm
Yep that's what I've been doing. Everytime open a Help file , I (cmd+shift+i) apply "mycustomstyle" from my libraries.
Sucks Moose but... shoulda stayed with the Max6 look or simply give us a "legacy look" option.
Dec 09 2014 | 1:49 am
Hmm, having trouble getting my custom templates to stick. Seems when I restart Max they disappear from the Style menu. Not a question–I'll figure it out or just learn to accept it–but I did want to say/ask: I'm not thrilled that all of my old patches open with the default Max 7 theme. Am I missing something? If so please let me know. If not, please read on...
I'm guessing many of us have spent a lot of time carefully designing the UI of our patches–especially patches we use in performance–for legibility and usability. The transition from Max 4 to 5 to 6 was pretty seamless in regards to the UI. But I opened some old patches last night and they fall apart in Max 7. Well, not fall apart so much as squish together. Not only is the default Max 7 theme applied (I can live with manually changing all that), but the objects *appear* to be closer together; they touch one another and overlap to the point that it's hard to distinguish at a glance where one object ends and another begins (I guess this gets into the missing border complaint, which I didn't understand until now). Moreover, many of my outlets/inlets are overlapping in edit mode, which makes grabbing the right patch cable difficult without moving objects around.
I have to work quickly during my performances. One of the primary ways I achieve rapidity is through a carefully designed UI. It's going to take a lot of time to redesign my patches for Max 7.
In the end, I can deal with the extra work. So far Max 7 is completely worth it and I'm not going to let UI challenges stop me from doing what's important: making weird stuff in Max. And I must say it is a sleek design; I can see the appeal to new users but it leaves us older users holding the bag of extra UI work when we'd rather be making weird stuff with sounds and images.
I'd like to ask C74 to refrain from a complete UI overhaul in future versions, or, if there is an overhaul, to ensure that our old patches won't need a corresponding visual overhaul. Or, to the extent possible, a "legacy look" option as suggested by phiol would be cool too.
Now, on for an evening of making weird stuff in Max...
Sep 02 2015 | 9:12 am
very helpful! thanks a ton!
Sergio Granada-Moreno
Sep 19 2015 | 2:52 pm
sick! it does work! :D
Oct 24 2015 | 8:05 pm
I can't get this to work. My custom style appears on the menu, but if I go out and try to select it in some other patch of mine it always has completely generic colors and, out of nowhere, size 12 font. Oh well. It doesn't look like this would be all that helpful anyway. Unless I'm mistaken, I'd still have to make this change subpatcher by subpatcher in every Max patch/device I have. It would be nice if you could apply the style just once in the topmost patcher and it would carry to all of its children subpatches.
Oct 24 2015 | 9:31 pm
The sad part is that C74 made Max look like ...... well unusable. Anyways, I've put together a wishlist for the next UI design which I hope they'll consider.
Been doing 40 hour weeks in touch designer for the past 2 months and let me tell you that the workflow is tenfold in speed.
Where c74 totally wins is, -encapsulate !! absolute magic -presentation mode.
now imagine if you got rid of message object and attrui all together and had all the (right-click left inlet) params neatly editable in the right menu. Not the cmd+i we have now.
All that would be left is a neat patcher with uniquely objects. no attrui/ no messages.
And for the love of god , make the patcher presets cmd+s savable. When you re-open your patch, all is there in the state you last saved it.
Also, it's a cool thing that C74 made it possible to just drag and drop a sound/videoclip in the patcher and voilà , you have a player module. But how about a quick export for Jitter videos. Yes I do know of all the ways to do so but it's not efficient. The creative workflow is lost.
Bill Canty
Feb 27 2016 | 10:18 am
Hey phiol,
What happens if you… - make a default colour scheme as described at the start of this topic - but don't include all the different types of objects - then some time later start using an object type you've never used before?
Do you have to start again? Or can you just add the new object type? Or do I obviously not understand the process?
Cheers, Bill
Roman Thilenius
Feb 27 2016 | 11:51 am
it seems that you always have to start from an emtpy patcher next time and can _not modify an existing style.
all very weird if you ask me, but nobody asked me, so never mind.
Bill Canty
Feb 27 2016 | 12:08 pm
Oh, ok… thanks Roman. Yet another moose-sucking nuisance. Think I'll keep a list of the objects I've used so I can simply add to it when I have to do it again instead of having to figure it all out again.
BTW, do you think it's all very weird? ;-)
Feb 27 2016 | 1:29 pm
Yup , you have to start from an empty patcher. It sucks , It suck huge moose cock The colors always change randomly after you save a patch and reopen it again. This behaviour is true for mac and pc. Max7 's UI is simply terrible design.
Feb 27 2016 | 7:24 pm
I concur. Can't keep patch cord color consistent. Or background color. Or font size, grid size, Snap to Grid, etc. etc. Sometimes it's right with new patchers, sometimes not. Seems like it's 50-50 and I can't figure out exactly why.
Bill Canty
Feb 27 2016 | 9:49 pm
Thanks guys. Hmmm, maybe I should stick to v6 after all. Maybe I should stick with it forever and never pay C74 another cent. So far, v7 was a complete waste of money for me.
The part that I find most "very weird" is that C74 seem to be intent on sticking with a UI that so many hate so much.
Roman Thilenius
Feb 28 2016 | 5:03 pm
@bill: for "per object" you could use prototypes. or copy and paste. or scripting.
Bill Canty
Feb 29 2016 | 12:45 am
Thanks again Roman. I'll keep all this in my notes ready for when necessity eventually forces me to make the big leap from v6. Hopefully, that won't be till after finishing my current several-years-long big project.
Yan Da
Aug 14 2016 | 6:30 pm
Just updated to the newest version 7.2.4. I have been waiting for migrating to 7, I bought it long ago, yet still hesitate to move in. I don't hate the new UI, but they are indeed very different especially when dealing with complicated patches in Max 6. It takes time to get used to it. That's why I have been wondering why c74 still hasn't released a color scheme which feels like max 6, so that more people like me would have more confident to dive into the new pool. The other thing is that, I still prefer the max 6 "border" then this "neo-max4 bar". If this nostalgic feature could also be an option in max 7, I would start the migration right away. As a graphic design person, though 7 does increase the fps significantly, I still have to stick to the slower max 6. On the other hand, even if it turns out that this neo max4 style is eventually superior in production, there is no harm to leave some options to the slow-minded nostalgic person like me, just like in many other design software, so that all the brilliant hardworks in max 7 could be enjoyed to more population.
Bill Canty
Nov 09 2017 | 6:41 am
Sorry to flog a dead horse, but I STILL can't get this working! I'm still trying to move from Max 6 to 7, first by making a colour scheme my eyesight can live with. But the latest attempt is being sabotaged at this step:
"5. In the Style menu (located in the patcher inspector window), select the style you just made, applying it to the patcher level"
There simply is no Style menu in the Appearance section of the patcher Inspector in my Max 7.3.4 (Mac 10.11.5). "Style" is there, but no menu, no nuthin'. I can't even choose one of the factory styles, although I'm pretty sure I could during previous attempts.
Does anyone have any solutions or suggestions for this one? (Apart from RTFM more thoroughly, which I thought I already had.) I've reinstalled the app but no change. Or should I just wait a few months for v.8 to see if there's any relief?
Roman Thilenius
Nov 09 2017 | 3:45 pm
i had a similar issue last week and solved it by (re)finding the /options/object defaults/patcher window.
it gives you access to at least half the things you need.
you can later still include that into styles or templates, but IMO the most important layer is really when you open an new emtpy document. i only wish you could turn font smoothing off right in the application (and not the macOS)
Roman Thilenius
Nov 09 2017 | 4:02 pm
p.s. patcher inspector in max 7 / appearance / style / is the topmost item in the inspector, but only visible under "all" tab.
tyler mazaika
Nov 14 2017 | 5:00 pm
I must say, although it took a little figuring out how to get styles / templates to be a way I liked, I've grown to appreciate the styling/theming options a lot. (I never much cared for the default theme of Max 7, either). Here's the flow I use for this.
1. Make and save a style_definition_template patch, with no style settings, and all of the objects you're interested in styling in your theme. I attached mine below. 2. Starting from your style_definition_template 1. With no objects selected, show the styles/formatting bar (along the top of the window) by clicking the paint bucket. 2. Set the background color. (It won't be persisted as part of your style, but it's easier to make a nice style around a background color you like) 3. Customize the colors (Object Accent Color, Object Background Color, etc.) in a way you find satisfying. This is the fun part. 4. In the style menu, select "Define New Style" and name it ("myCoolTheme") 5. Save this patch separately (e.g. "style_definition-myCoolTheme") so you don't overwrite your original style_definition_template. (This isn't strictly necessary, just useful for preserving your work). 6. In the style menu select "Copy to Library" 3. Make a new patch. 1. Configure your patcher attributes to your liking (such as the background color, uncheck "Show Toolbars on Open" etc. if you don't like the Max 7 window borders) 2. Set the style for the patch to be "myCoolTheme" 3. Save as template 4. Close this patch. 4. File > New from template > "myCoolTheme" or whatever you named your template 1. In the patcher inspector, set the "Subpatcher Template" attribute to be "myCoolTheme" (or some different template if you wish). 2. Save as template (overwriting the one you just made).
Bill Canty
Nov 17 2017 | 6:11 am
Thanks guys! Sorry I've taken a while to respond - haven't had computer access for nearly a week. Will get back to you soon.
Bill Canty
Jan 29 2018 | 4:12 am
This isn't "soon" but still...
After a few more bashes at this I'm still confused about precisely how patcher-level formatting, per-object formatting, style colours, etc. interrelate. None of the suggestions that I've tried enable me to simply open a new empty patcher and make objects with the correct colours, fonts, sizes. Patcher-level formatting seems to overwrite per-object formatting, some objects can't be properly formatted at the per-object level, etc. etc. so rather than waste more time I give up!
Thanks for your help, and I'm glad for those of you who've got it all happening. But I'll just keep my fingers crossed that v.8 has less of what Phiol aptly referred to as moose sucking.
Jan 29 2018 | 5:56 am
Max styles do not work for live.* UII objects. You have to make a prototype instead. Don't ask me where it is in the documentation, it is buried very deep in there.
Arthur Sauer
Apr 21 2018 | 9:37 am
@Tyler Mazaika: I've downloaded your patch, but there is an abstraction missing: M4L.api.colorsFromThemeForObject . This looks interesting. Can you post it? I'm reworking your patch and, when finished, I'll post it here. TIA
tyler mazaika
Apr 25 2018 | 4:53 pm
Hi Arthur, thanks for the interest.
I've made that (and related) patcher(s) available on GitHub since it has some dependencies of its own and made a forum topic on it: https://cycling74.com/forums/sharing-some-max-m4l-eye-candy-m4l-colorsfromthemeforliveobject
Cheers, Tyler
Bill Kleinsasser
Jan 29 2019 | 12:28 am
Now that a Max 8 user might have chosen one of four color themes (default, light, max7, and solarized) can you get the setting from within a patch using a "; max" type message? This would help set Max back to the user's choice after changing it to another setting (like light) when a patch opens using the "; max colortheme light" message.
Jul 17 2019 | 3:11 am
Hi, my problem is not the Style or the color of a object that should to be in Max7 or Max8 style, but the line of the waveform object, that existed in max6 and it was changeable. Now the line exist but is grey as default. I think this color can be changed using a JS painter File, but I don't know how to change one of the examples, that are referred only to bordercolors...anyone can help? thanx.
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About Visual Accompaniments
What makes 'visual accompaniments' different from video or slide shows? In a word, musicality. The term accompaniment is helpful because the visuals are performed live and reflect the moods, rhythms, and narratives in the score, beat by beat. The intent is to always enhance the music as written, so in the case of The Planets the visuals reflect Holst's astrological influences rather than contemporary space exploration.
A unique, no-compromises approach to performance timing means no click track is required and the conductor is freed to focus entirely on the orchestra. Behind the scenes an on-site video choreographer follows the conductor's direction much like a percussionist and uses state-of-the-art computer software to assemble hundreds of visual 'phrases' into a seamless accompaniment to the music. But the audience just sees a spectacular, perfectly timed video that magically responds to the conductor's baton.
For The Planets, synchronized lighting effects are available which makes for an even more immersive and engaging audience experience.
About Adrian Wyard
Adrian M Wyard is a Seattle-based visual artist, and former designer & program manager at Microsoft. He has over 20 years experience working in digital media, including computer graphics, photography & videography, as well as software design. Adrian also has a Masters degree in the history of science from Oxford University, and has been a longtime appreciator of classical music.
For larger projects numerous world-class collaborators play key roles, including animators, illustrators, photographers, and 3D artists.
For more information please see: www.facebook.com/adrian.wyard.art, photos.adrianwyard.com, and www.youtube.com/user/adrianwyard.
About 'The Planets Live'
'The Planets Live' is a visual accompaniment to The Planets by Gustav Holst. It features spectacular original animations and NASA media that are cued live to follow the conductor so no click-track is required. The visuals faithfully reflect the spirit of each movement as they evolve bar by bar, making them true accompaniments. This approach allows the imagery to add a new dimension to the experience while Holst's music retains center stage.
The premiere sold-out performance of The Planets was held on October 25th 2014 with the Northwest Symphony Orchestra. The visuals were subsequently programmed by the South Dakota Symphony Orchestra for their 2015 Young People's Concert that reached more than 5000 school children, and was broadcast on PBS. The visuals are regularly updated to include the latest imagery from NASA. Recent performances include the Tucson Symphony Orchestra, the Bath Philharmonia in the UK, the Colorado Music Festival, and The Florida Orchestra.
About 'Pictures at an Exhibition'
Mussorgsky's much loved composition is brought to life with fantastical original animations that are suitable for all ages. In keeping with the art theme, each movement has a very distinctive style. The visuals debuted with the Bath Philharmonia (UK) in June 2017. Special thanks are due to collaborators Ken Priebe, Anna Czoski, and Bojana Dimitrovski.
Bookings include The Bath Philharmonia, The Ann Arbor Symphony Orchestra, and the South Dakota Symphony Orchestra.
Three movements are available to preview online: The Gnome, The Ballet of Unhatched Chicks, and The Market at Limoges.
About Dvořák's Symphony No. 9 'From the New World'
Featuring glorious landscape imagery from all across America, these visuals premiered with the Tucson Symphony Orchestra in December 2017.
Each visual accompaniment is unique and for this piece a light touch was needed so that Dvořák's well-loved music remains the focal point of the experience. The visuals simply depict a journey across the country with each movement centered on a broad theme. For the first movement the theme is water, the second features the desert night sky, the third introduces animals and spring flowers, and the final movement tours majestic mountains through the seasons and concludes our journey across The New World.
This accompaniment features the work of remarkable landscape photographer, Tom Oord.
About The Planets Live source material
While many of the visuals are original animations, everything shown has some basis in fact and has as its source data from telescopes, orbiting spacecraft, or rovers on the planets' surfaces. Source images, video, and computer modeling courtesy of NASA, JPL-Caltech, SwRI, DLR, ESA, Johns Hopkins University Applied Physics Laboratory, Goddard Space Flight Center, The Space Telescope Science Institute, The Advanced Visualization Laboratory at the NCSA (esp. Drs. B. Robertson & L. Hernquist), Carnegie Institution of Washington, USGS, California Institute of Technology, Lunar & Planetary Institute (esp. Dr. P Schenk), Malin Space Science Systems, The Lunar and Planetary Laboratory at the University of Arizona (esp. Dr. P Smith) and the Institute of Geological Sciences at The Free University of Berlin. Special thanks to Bard Canning for the enhanced Mars descent, Arthur Lepage for 3D modeling, and Andy Ermolli for deep space astrophotography. To view these sources with a live performance see theplanetsonline.com


text:
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Vedhant Maharaj, Rebel Base Collective, Johannesburg, South Africa
Towards Yantra: Democratising Sustainable Design
Yantra presents a vision of sustainable design that acknowledges global technological development, responds to infrastructural needs and respects local context. It captures the founding principles of Rebel Base Collective, a collaborative space for changing design and designing change. For us, these principles translate into a committed engagement with:
Four prizes were awarded in the increasingly popular Next Generation category for students and professionals up to 30 years. This category seeks visionary projects and bold ideas, and gives young professionals public exposure and a platform to gain recognition. The first of four Next Generation prizes in the region went to Mengyuan Zhu from China. She developed a model for transforming and revitalizing the village of Guming near Nanjing. The second prize went to Vedhant Maharaj from South Africa. He designed a culturally sensitive water-treatment infrastructure in Varanasi, India. Andi Subagio from Indonesia received the third prize in this category. He designed a multifunctional school in Ruteng, Indonesia. The fourth prize went to Tzu-Jung Huang from Taiwan. He studied the interrelationships between developed zones and ecological systems in Taichung City, Taiwan.
The LafargeHolcim Awards is about more than just beautiful buildings. It stands out as the world's most significant competition for sustainable design. The criteria of the USD 2 million Awards are as challenging as the goal of sustainability itself. The competition seeks for projects at an advanced stage of design, not finished works. It acknowledges designs that go beyond current standards, showcase sustainable responses to technological, environmental, socioeconomic, and cultural issues affecting contemporary construction, and deliver truly visionary solutions to the way we build.
Defining sustainability
The first phase of the LafargeHolcim Awards competition takes place in five regions, leading to a global phase for the regional winners. The Asia Pacific competition region is particularly diverse in terms of cultures, countries, and climates. This was perfectly reflected in the more than 1,100 projects submitted. Jury member Marc Angélil, Professor of Architecture and Design at the Swiss Federal Institute of Technology (ETH Zurich), noted how the "target issues" for sustainable construction, set forth by the LafargeHolcim Foundation and its affiliated universities, allow diverse projects to be compared and ranked. These "target issues" define the principles of sustainability in a holistic way, independent to the type of project or its scale. Marc Angélil also noted the high quality of submissions: "Sustainability has become comprehensive, systematic and specific – you have to deliver a truly special entry to stand out!"
Gold: Home for marginalized children in India
atArchitecture from Mumbai, India, plans to replace an unacceptably deficient shelter for marginalized children in Thane, a city in western India. With a well-developed building concept and a clearly evident child-friendly design, the architects embrace both architectural and social sustainability. The center also accommodates community activities for senior citizens, for women's development training, and a crèche. "The proposal goes beyond social sustainability to include passive building technology, innovative design measures, and a viable economic model," praised the jury.
Silver: Microlibrary in Indonesia
The promotion and dissemination of knowledge is a recurring theme in the LafargeHolcim Awards – and is reiterated within the project by SHAU from Bandung, Indonesia. Their pavilion in a park is as minimalistic as it is well conceived – providing not only a public library, but also storage facilities, public toilets, and a prayer room. "The project is open on all sides to the park surrounding it, inviting the community to enter and explore; it constructs a territorial landmark reinforcing literacy and defining community," said the jury.
Bronze: Floating university building in Bangladesh
WOHA from Singapore aims to introduce buildings and open space on remediated swamp land in Dhaka, Bangladesh. They designed a university building that floats on a pond – and the overall design supports the cleaning of the pond. With vertical garden facades, photovoltaic panels, and controlled ventilation, this project could become a benchmark for sustainability in the Asia Pacific region. "Sustainability is deeply integrated into the building design, from thermal zoning to significant reductions in the use of energy and water," stated the jury.
Acknowledgement prizes: For the benefit of communities
In the regional LafargeHolcim Awards, four projects in each region receive an Acknowledgement prize. pppooolll architects from Jakarta, Indonesia, plan to promote organic agriculture in rural Java with a training center for young farmers. A team from Tsinghua University and the Beijing University of Civil Engineering & Architecture in China proposes strategies for improving a historic district in Beijing with the support of local residents. A team from the Massachusetts Institute of Technology in Cambridge, MA, USA, has designed an earthquake-resistant multifunctional building for water storage and flexible public use in Thecho, Nepal. Furthermore, Bangkok Project Studio from Thailand suggests a community hub in Rayong, Thailand, that multiplies the opportunities for cultural and community activities in the village.
Next Generation prizes: The future is in their hands
Four prizes were awarded in the increasingly popular Next Generation category for students and professionals up to 30 years. This category seeks visionary projects and bold ideas, and gives young professionals public exposure and a platform to gain recognition. The first of four Next Generation prizes in the region went to Mengyuan Zhu from China. She developed a model for transforming and revitalizing the village of Guming near Nanjing. The second prize went to Vedhant Maharaj from South Africa. He designed a culturally sensitive water-treatment infrastructure in Varanasi, India. Andi Subagio from Indonesia received the third prize in this category. He designed a multifunctional school in Ruteng, Indonesia. The fourth prize went to Tzu-Jung Huang from Taiwan. He studied the interrelationships between developed zones and ecological systems in Taichung City, Taiwan.
From project to reality: Community library and social recuperation
This is the fifth time the LafargeHolcim Awards competition is being conducted. Over the years, more than 200 projects have been awarded worldwide. More than half the winning projects have been built or are scheduled for completion soon. Thus, the LafargeHolcim Awards are not about "castles in the air" but about tangible measures that advance the science of construction. This aspect of tangible change is underscored by a prize that's being awarded for the first time in 2017: the LafargeHolcim Building Better Recognition. It is awarded for a winning project from a previous competition cycle, one which has been realized and has stood the test of time as a particularly successful example of sustainable building.
In Asia Pacific, this accolade went to Robust Architecture Workshop in Colombo, Sri Lanka, represented by Milinda Pathiraja. Their design for a community library in Ambepussa, Sri Lanka, built with the support of former army personnel engaged in the nation's civil war, shows that "turning swords into ploughshares" can be realized even today. The project received the regional LafargeHolcim Awards Bronze for Asia Pacific in 2014 and the Global LafargeHolcim Awards Silver in 2015. Today the library is a source of knowledge for veterans and the local community. The construction methods were selected specifically to help transition members of the army to civil life.
Prizes help make common sense commonplace
The magnified interest among architects, engineers, urban planners, and developers proves that sustainability has become embedded as "common sense" in the construction industry. The fifth cycle of the competition attracted more than 5,000 entries from authors in 121 countries. 3,606 entries were deemed valid, and more than half of these passed the pre-screening phase. They advanced for qualitative assessment by five independent expert juries in the competition regions Europe, North America, Latin America, Middle East Africa, and Asia Pacific. The juries evaluated the projects based on the five "target issues" for sustainable construction set forth by the LafargeHolcim Foundation – principles which define sustainable construction in a holistic way. The Gold, Silver, and Bronze winners from each region will compete for the Global LafargeHolcim Awards in 2018.
Winners of the LafargeHolcim Awards 2017 Asia Pacific
LafargeHolcim Awards Gold 2017 Asia Pacific
White Rabbit: Home for marginalized children, Thane, India
On a tight urban site, this project houses orphaned children in a building with a playful and generous vertical form.
By Avneesh Tiwari and Neha Rane, atArchitecture, Mumbai, India.
LafargeHolcim Awards Silver 2017 Asia Pacific
Microlibrary: Learning center, Bandung, Indonesia
Using simple construction, this "micro" library creatively promotes literacy and community across Indonesia.
By Daliana Suryawinata and Florian Heinzelmann, SHAU, Bandung, Indonesia.
LafargeHolcim Awards Bronze 2017 Asia Pacific
Floating University: BRAC university campus, Dhaka, Bangladesh
Remediating polluted swamp land and floating a new university building upon it, this project adds both open and built space to the city.
By Mun Summ Wong, WOHA, Singapore.
LafargeHolcim Awards Acknowledgement prize 2017 Asia Pacific
Growing Grassroots: Training center for organic agriculture in Parung, West Java, Indonesia
Organic farm and vocational center on the outskirts of Jakarta metropolitan region.
By Kamil Muhammad and Brahmastyo Puji, pppooolll, Jakarta, Indonesia.
LafargeHolcim Awards Acknowledgement prize 2017 Asia Pacific
Maximize the Minimum: Baitasi urban regeneration, Beijing, China
Regeneration of a historic neighborhood deploying minimal means for maximum effect.
By Yue Zhang, Liying Wu, Peiming Li, Cong Nie, Mengxing Cao and Yue Wang, Tsinghua University; and Shimeng Hao, Beijing University of Civil Engineering & Architecture, all in Beijing, China.
LafargeHolcim Awards Acknowledgement prize 2017 Asia Pacific
Water Collective: Multifunctional public space, Thecho, Nepal
A water-treatment and reservoir facility wrapped with social infrastructure.
By Miho Mazereeuw, David Moses, Aditya Barve, Larisa Ovalles and Hugh Magee, Massachusetts Institute of Technology, Urban Risk Lab, Cambridge, MA, USA.
LafargeHolcim Awards Acknowledgement prize 2017 Asia Pacific
Catenary Arches: Ban Chang town hall, Rayong, Thailand
Surrealistic pavilion that turns a local waste product into a durable contribution to community.
By Boonserm Premthada, Bangkok Project Studio, Bangkok, Thailand.
LafargeHolcim Awards Next Generation 1st prize 2017 Asia Pacific
Low-rise, high-density: Participatory village transformation, Guming near Nanning, China
Low-rise, high-density urban transformation of a rural village.
By Mengyuan Zhu, Southeast University, Nanjing, China.
LafargeHolcim Awards Next Generation 2nd prize 2017 Asia Pacific
Sacred and profane: Water treatment infrastructure, Varanasi, India
Poetic interpretation of a water-purification facility providing public space on the banks of the Ganges River.
By Vedhant Maharaj, Rebel Base Collective, Johannesburg, South Africa.
LafargeHolcim Awards Next Generation 3rd prize 2017 Asia Pacific
School hub: Vocational training facility, Ruteng, Indonesia
A school that is more than an educational facility – a hub for multiple communal activities and vocational training on the island of Flores.
By Andi Subagio, SASO, Jakarta, Indonesia.
LafargeHolcim Awards Next Generation 4th prize 2017 Asia Pacific
Meta(bio)lism: Exploring resilient ecosystems, Taichung, Taiwan
Exploration of material stocks and flows at multiple scales as an alternative to predominant modes of city development.
By Tzu-Jung Huang, Feng Chia University, Taichung City, Taiwan.
Water has always played an important role in the culture of India, both as a resource for everyday activities as well as a source of spiritual value. It is in this respect that the project, located on the edge of the Ganga River in Varanasi imagines a new typology of water purification infrastructure that transcends mere utility. Merging the disciplines of engineering, architecture, and urban design, not to mention sociology and anthropology, technical requirements are combined with places for social gathering and cultural rituals, in a set of carefully designed architectural interventions at the threshold between river and land. Key to the proposal is not only the treatment of the highly polluted water, but most importantly the making of a genius loci, uniting the sacred with the profane.
The jury praised the skilful presentation of the project's ideas and greatly appreciated the clarity and beauty of the submitted drawings that intelligently refer to Indian tradition, while acknowledging the present. This said, the jury wondered whether the technology deployed, particularly with respect to the water purification processor, could not have been partially substituted by more subtle and less intrusive methods as used in other parts of the project, for example, by means of rock and gabion water filtration as well as sedimentation pools. Criticism notwithstanding, the jury greatly valued the author's objective to regard infrastructure as more than a mere servant to utility – to be reclaimed as a truly public resource and thus as a matter of design.See more
Cleaning the polluted Ganga River through a national network of localized infrastructures
The building addresses a network of water pollution by creating a prototype which forms a catalyst for cleaning the whole river. By implementing a network of rehabilitation infrastructures along the river at all polluting tributaries, a 5,000 km-long infrastructural system, which adapts to various city conditions, is created. The sanctuary is located at the junction of the Assi tributary, which carries the waste of 500,000 people into the Ganga River in Varanasi. This water is treated in an omni-processor which turns waste water into potable water. River water is filtered through a series of charcoal and plant gabian walls and enters a "safe-water" stream along the river's edge. Scientific research facilities experiment with, monitor and test cleaning technologies.
Responding to the heritage, vernacular, sacred and ecological conditions of Varanasi
The built form fits into the heritage fabric of the majestic millennia-old stepped promenade of the city by mimicking its sacred form. This respects Varanasi's aesthetic quality and creates a gentle unimposing infrastructure into an old sacred city. The use of local sandstone and clay-brick masonry construction respects the materiality of the city and gives opportunity to engage local builders. The annual monsoon causes the water level on the banks to rise and fall. The building responds to the changing conditions both spatially and systematically. Floating wetlands are accessible year-round when the building becomes submerged. The wetlands and gabians gain ecological efficiency over time as plants grow in them. The building ages in a way that allows it to merge into the heritage.
Facilitating the daily water rituals and needs of the city
A central focus is the daily water needs of the city and its people. The site includes a number of treated water bodies that facilitate safe and convenient consumption and the practical, recreational and ritual uses of water. Floating charcoal wetland lavoirs allow people to wash clothes without polluting the river. Wetland pools can be used for swimming as well as ritual bathing. The bathhouses use water treated by the research facility, heated through the omni-processor plant. Safe, respectful spaces for women are created, addressing existing vulnerabilities. Scientific research facilities house various cleaning technologies, such as reverse osmosis and UV treatment facilities. Additionally, it houses a simulator room to develop other prototype infrastructures on the river's edge.See more
A complex water purifying infrastructure in the historically significant landscape of Varanasi aspires to be part of a …
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The winners of the major construction contracts for Britain's new railway include UK firms Carillion, Costain and Balfour Beatty.
The contracts, worth £6.6bn, will support 16,000 jobs across the country.
The huge infrastructure investment covers the main civil engineering work on the first phase of HS2 between London and Birmingham – including construction of tunnels, bridges, embankments and viaducts.
Transport secretary Chris Grayling announced the decision to award contracts today, which will mean the new high speed link reaching Birmingham by 2026.
Grayling said: "This is a hugely important step in the construction of Britain's new railway and underlines this government's determination to deliver an economy that works for all.
"HS2 will deliver vital links between some of our country's biggest cities, helping to drive economic growth and productivity in the north and midlands.
"As well as providing desperately needed new seats and better connecting our major cities, HS2 will help rebalance our economy.
"We will now get on with building the railway, while continuing to ensure affected communities get appropriate support and are treated with fairness, compassion and respect."
David Higgins, chairman of HS2 Ltd, said: This is a huge day for the HS2 project and for the country. These contracts will support 16,000 jobs here in Britain and will create opportunities for thousands of SMEs.
HS2 was always designed to be much more than just a high speed railway and today we can see the opportunities it brings right around the country - spreading prosperity, acting as a catalyst for investment and rebalancing our economy 10 years before the railway even opens. Business now has the surety to invest with confidence to build a legacy for Britain.
HS2 could carry more than 300,000 people a day. And with fast trains using the new line, there will be extra space for more trains on the existing rail network.
Benefits will be felt across the network with trains running as far as Scotland and the number of seats available out of Euston in peak hours more than doubled.
In total, construction of the full HS2 route to the north-west and Yorkshire will create up to 25,000 jobs and 2,000 apprenticeships. Another 3,000 people will operate HS2 and it is estimated that growth around new HS2stations will create another 100,000 jobs.In February, Parliament granted powers to construct the Phase One route from London Euston to Birmingham, with the route opening in 2026.
The winning bidders to build the first phase of the route are:
Area South
Euston Tunnels and Approaches – SCS JV (Skanska Construction UK Ltd, Costain Ltd, STRABAG AG)
Northolt Tunnels – SCS JV (Skanska Construction UK Ltd, Costain Ltd, STRABAG AG)
Area Central
Chiltern Tunnels and Colne Valley Viaduct – Align JV (Bouygues Travaux Publics, VolkerFitzpatrick, Sir Robert McAlpine)
North Portal Chiltern Tunnels to Brackley – CEK JV (Carillion Construction Ltd, Eiffage Genie Civil SA, Kier Infrastructure and Overseas Ltd)
Brackley to South Portal of Long Itchington Wood Green Tunnel – CEK JV(Carillion Construction Ltd, Eiffage Genie Civil SA, Kier Infrastructure and Overseas Ltd)
Area North
Long Itchington Wood Green Tunnel to Delta Junction and Birmingham Spur – BBV JV (Balfour Beatty Group Ltd, VINCI Construction Grands Projets, VINCI Construction UK Ltd, VINCI Construction Terrassement)
Delta Junction to WCML Tie-In – BBV JV (Balfour Beatty Group Ltd, VINCI Construction Grands Projets, VINCI Construction UK Ltd, VINCI Construction Terrassement)
Preparatory works are already underway, with main construction work starting in 2018/19 following a period of detailed design work.
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text: HomePoliticsOpinion Priority Is Jobs, Not Only For Americans, But For Egyptians By S.Noble - April 24, 2011 0 Hello! This makes no sense. Nation building just took an ugly turn for the worst! The columnist, Mark Shields, said that our most urgent priority is not just to find jobs for Americans but to find jobs for young Egyptians. Related


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Two days ago, Sea of Thieves was released by Rare Studios and Microsoft, and now, the game's servers are currently struggling to keep up with the massive influx of players worldwide. Some players are now facing problems such as connecting to the game, experiencing random disconnection, matchmaking errors and more.
Sea of Thieves was initially released early Monday morning in New Zealand, with other territories gradually being added until it reached North America by Tuesday morning. A few hours after the game was released in the US, the official Twitter account of Sea of Thieves posted the first message, about the concerns on server load.
As more players started coming in, especially American players who were able to purchase the game ahead of release and pre-loaded it on their PC and Xbox One, the connection problems doubled. Also, players who were able to access the game through the Xbox Game Pass added to the server traffic.
Currently, both Rare and Microsoft are working on updates to "ensure that the playing experience will be optimal." Hopefully, the developers will be able to keep up with players and ensure that everyone will be able to log into the game.
Did you experience any difficulty logging into Sea of Thieves? What is your impression of the game? Share your thoughts in the comments below.


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NFYK10017U Condensed Matter Theory 1 (CMT1)
MSc Programme in Physics
This course is an introduction to quantum field theoretical
methods aimed for both experimentalists and theorists with
particular focus on condensed matter physics. The content spans a
wide range of topics necessary for understanding concepts and
methods used in advanced solid state physics. Finally, the course
provides a good foundation for the course CMT2 and for doing active
research in condensed matter physics at the Niels Bohr
In the course, we focus on the interacting electron gas, describing metals and semiconductors, and use this as an example to illustrate the techniques taught. The course is meant to teach the fundamental field-theoretical concepts and techniques such as second quantization, equations of motion for operators, many-particle Green functions at finite temperatures, and Feynman diagrams.
Participants are expected to learn to:
Describe an interacting quantum mechanical many-particle system by the use of second quantization.
Handle (for example (anti)commuting mixed products of) boson and fermion quantum field operators in various representations (Schrodinger, Heisenberg, and the interaction picture).
Use real-time and Matsubara Green functions to solve interacting many-body problems.
Use mean-field theory to simplify interacting Hamiltonians to simpler manageable problems.
Use equation of motions techniques to obtain Greens functions.
Derive and use Feynman rules for perturbation theory within potential scattering, electron-electron, and electron-phonon interactions.
Perform a detailed calculation and regularization of the ground state energy for the interacting electron gas including the screening of long-range Coulomb interactions and its Landau damped plasmons.
Describe single-particle excitations in an interacting many-particle system in terms of renormalized quasi-particles. This includes being able to obtain effective masse and charge, Fermi surfaces, Z-factors and lifetimes.
To use all these acquired skills to solve relevant physics problems, including mainly issues within the physics of solid materials, quantum liquids and ultracold atomic gasses.
In the course, we focus on the interacting electron gas, describing metals and semiconductors, and use this as an example to illustrate the techniques taught. The course is meant to teach the fundamental field-theoretical concepts and techniques such as second quantization, equations of motion for operators, many-particle Green functions at finite temperatures, and Feynman diagrams.
This course will provide the students with the required background for further studies within this research field, i.e. the course CMT2 or a master thesis. The course will provide most of the modern formalism used in the scientific literature on condensed matter physics.
See Absalon for final course material. The following is an example of expected course literature.
Henrik Bruus and Karsten Flensberg: Many-Body Quantum Theory in condensed Matter Physics", Oxford University Press
As an exchange, guest and credit student - click here!
Continuing Education - click here!
- Credit
- Type of assessment
- Written assignment, 24 hours24-hour take-home assignment
- Marking scale
- 7-point grading scale
- Censorship form
- No external censorship
More internal examiners
- Re-exam
Same as the regular exam, unless 10 or less students are registered for the reexamination, in which case it will be held as an oral examination with a duration of 30 minutes and no preparation time.
Criteria for exam assesment
see learning outcome
- Category
- Hours
- Lectures
- 28
- Practical exercises
- 28
- Exam
- 24
- Preparation
- 126
- Total
- 206
Course information
- Language
- English
- Course code
- Credit
- Level
- Full Degree Master
- Duration
- 1 block
- Placement
- Block 2
- Schedule
- Course capacity
- No restriction
- Continuing and further education
- Study board
- Study Board of Physics, Chemistry and Nanoscience
Contracting department
- The Niels Bohr Institute
Contracting faculty
- Faculty of Science
Course Coordinators
- Mark Spencer Rudner (6-787b6a746b784674686f34717b346a71)


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The new Hall & Woodhouse brewery
Turnover at Hall & Woodhouse rose 2.2% in the year ending January 27, the company has reported, with pre-tax profit up 42.9% to £9,286,000.
The profit is so high because of an exceptional item — the sale of the old brewery. EBITDA fell 2% to £14.5m.
The funds from the sale of the old brewery site were re-incested in the purchase of The Boathouse, in Bath, combined with the opening of Cranberry Farm, just outside Exeter.
Chairman, Mark Woodhouse, said: "This year has delivered a strong performance from both our managed houses and our business partnerships, despite the challenging market conditions.
"Badger in the off-trade had a difficult year reflecting the continued structured challenge in the market.
"Once we look at the excptional items (which include the sale of the old brewery), then our profit has increased year on year by 42.9% to £9.3m. This has enabled us to reduce our net debt by £3.7m to £51m."
» Red Ramble for autumn from Badger Beer
» Hall & Woodhouse to launch keg IPA
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Found Bird Canary Gracey Lane, Bradford West Yorkshire BD6
This Canary Bird was found around Gracey Lane, Bradford West Yorkshire BD6
CANARY, Yellow and grey found in Bradford (BD6) on 19th March 2017
Location: Gracey Lane, Bradford, BD6
Sex: Unknown
Approx Age: Young
Main Colour: Yellow and Grey
Not yet checked for a Leg Ring/Id
Other Information: 9 Gracey Lane
Send finder a message
Pets Located Reference: BD008284
listing ref 80357 Added on 19 March 2017
CANARY, Yellow and grey found in Bradford (BD6) on 19th March 2017. CONTACT VIA PETSLOCATED.COM
Found: 19 March 2017
Report a found bird on our Bird Registers for free and we will do a pet match to display any birds which match in the area. You can also create and print your lost bird poster. Report a found bird here
click on button above to view the pet matches for this lost Canary
Save your favourite pet listings, save searches, email notification alerts, contact owners, send and receive messages to other members and more. Create your free account here and help make a difference.


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Kim Domingo is once again here to remind you why she should be considered as one of the country's natural wonders.
After a long hiatus from posting sultry pictures, the two-time FHM cover girl is back with a vengeance.
In a set of new sexy selfies posted this week, the actress gamely bared her glorious assets, not just once, but thrice.
The first picture is an outtake from her FHM cover shoot for this year's January issue.
On the other hand, the other two pictures were taken in the comfort of her own home.
What a sight to behold! Double-tap!


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Washington, DC
Event Dates
Thursday, 28 March 2019 to Friday, 29 March 2019
Evidence Integration in Chemical Assessments: Challenges Faced in Developing and Communicating Human Health Effect Conclusions
NAS will be holding a workshop on evidence integration (a summary step of the systematic review in human health assessment conducted by the U.S. EPA). Topic areas include:
- Lessons learned from Evidence Integration Colloquium that was held in Lisbon, Portugal in October 2017
- Best Practices in Evidence Integration
- Approaches for using mechanistic data to integrate evidence from animal and human studies
- Case studies of systematic review-enabled evidence integration
- Practical approaches to expedited evidence integration
Click here for more information, and to register to attend.
Poster presentation submissions are being accepted until February 1, 2019. For more information on acceptance guidelines and to submit, click here.


text: Share: Comments Print February 27, 2011 at 12:53 PM More on Locker and the combine Posted by Bob Condotta Figured I'd post a new entry with updated stories on Jake Locker's performance today at the NFL Combine instead of continuing to try to revise the prior post. To the right if an AP photo of Locker during the passing drills today. — Danny O'Neil of our staff has an updated entry detailing Locker's official 40 time of 4.59. — Rob Rang of NFLDraftScout.com says Locker helped himself. — The Sporting News says Locker was fast enough but still needs to work on accuracy. — Matt Maiocco says Locker was the third-best of the QBs today. — George WR A.J. Green says he thinks Locker answered a lot of questions today. — Here are the official heights and weights for the QBs, showing Locker at 6 feet, two-and-a-half inches and 231 pounds. — O'Neil also passed along this video of UW safety Nate Williams meeting the media today. — Oregon State DT Stephen Paea set the all-time Combine record with 49 bench presses of 225 pounds. All for now. Comments


text:
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03 9329 9030Contact us
The REIV today welcomed the announcement from the Victorian Government that planned regulatory changes to commercial licensing in Victoria would be repealed.
The previous Government had announced that regulatory changes, to take effect on 1 July this year, would remove the need to involve an agent in large commercial transactions.
REIV CEO Enzo Raimondo said that the decision is a commonsense one by the Andrews Government.
"This provides security for thousands of consumers and small business owners in this state.
"The changes would have opened up the commercial sector to a range of unlicensed and untrained operators," Mr Raimondo said.
Mr Raimondo said that the repeal of key sections of the Estate Agents Exemption Regulations 2014 is vital.
He said that commercial agent licensing is in place for a reason – and the changes would have shut licensed estate agents out of sales of $15million or more, or where the floor area was greater than 10,000 square metres.
"Agents undertaking these complex transactions are bound by a range of legislative measures, including the Estate Agents Act and Sale of Land Act.
"These agents are covered by codes of conduct and are bound by stringent probity checks.
"This delivers security to those buying and selling commercial real estate in Victoria."
"Today's decision is a win for small business and consumers in this state."
Source – REIV Media Release 27 May 2015.
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Davis Madrigal Singers
Madrigal Singers' Home
About The Choir
About the music
Contact Us
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Octet Requests
Italy Tour!
Alumni Page
Nugget Scrip Card
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2015 Video
About the music...
The repertoire of the Davis Madrigal Singers includes Gregorian chant, Renaissance motets and madrigals, selections from the classical choral canon, and music by both contemporary classical composers and pop icons.
Rejoice, O Jerusalem
Composed by
William David Cooper
for the Davis Madrigal Singers, using text from Psalm 122. Premiere conducted by the composer on May 31st, 2015.
Soloists: Hailey Levien, soprano, and Colin Unger, tenor.
O Sacrum Convivium
Composed by
Domenico Cardinal Bartolucci
, Director Emeritus of the Musicale Pontificia Sistina.