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Very important!! Before traveling, you should be simply aware of your own travel conditions, and double check if you have prepared a basic but required preparation for your traveling abroad. Also, try to know more about your destination country as it would help you for your ease and comfort to your traveling. At a minimum, you should ensure yourself that you are prepared as following for easy, comfortable and safe traveling to your adventure destinations Nepal.
Check your Passport & Its Validity
Please kindly check your passport and its validity before traveling. Entry to most of the countries in Asia could require a minimum validity in your passport.
For traveling to Nepal, at a minimum, you should have 6 months of validity to your passport on the date of entrance to Nepal. Also, simply check that your passport has an empty page (Esp. if you preparing to travel to the country who grants you a visa on arrival). If your passport has no empty pages, then (But you may not know this before), could create a problem (Mostly for the business travelers or world travelers who travel a lot in a short time frame).
Know about Visas Procedure
Also try to know about the visa procedure of your interested travel country as some of the countries you desired to travel may not allow visa upon arrival in Asian countries, such as Myanmar, Tibet Bhutan & INDIA. So if you simply know the visa procedure of the local country that you traveling, then it is easy and convenient to you to prepare for your visa beforehand.
Nepal Visa: All foreigners require a visa for entry into Nepal (Except Indian nationals). You could easily get Nepal Visa upon arrival to Kathmandu international airport. Or you could also obtain your Nepal Visa at your country at nearest Nepal consulate or Embassy before traveling. If you making your Nepal visa on arrival to Kathmandu, then you should be taking 2 passport size photos, should prepare to pay for the visa fee in USD cash or equivalent- (But not in Travelers Cheque).
Travel Health
Travelling to Nepal in different climates and environments zone can expose you to disease and health risks. You should be aware of the dangers and how to stay healthy. Diseases which may or may not be present in your own countries such as yellow fever, malaria, rabies and dengue fever could be an issue for traveling to South Asia & Nepal as well.
Vaccinations and Immunizations
Visit your GP as soon as possible to check if you need any vaccinations or other preventive measures (such as malaria tablets) to the country that you traveling. You should be prepared for traveling to Nepal with the vaccination of the endanger diseases such as Hepatitis A, Japanese Encephalitis, Polio, Rabies, Tetanus, Typhoid and Malaria etc,
General Travel Health Tips
Consult with your medical Doctor before traveling if
If you have a pre-existing medical condition
General Travel Precautions
To make your trip as smooth and as safe as possible, we recommend that you take the following precautions to your travel to Nepal.
Trekking at High Altitude
Remember: altitude can and does kill. To avoid Acute Mountain Sickness ascend slowly and acclimatize fully. Take professional advice, only work with professional local companies who are licensed and authorized by Nepal Gov. Take a reference to the company from Nepal Tourism Board or TAAN Directory & NMA.
Know Local Laws and Customs
Please be aware of the local laws and customers to your traveling country to be in safe hand traveling. Even if Drugs used are illegal in Nepal, but Nepal is facing are a problem of using illegal drugs in modern cities of Kathmandu, Pokhara, Chitwan, Nepalgunj, Biratnagar etc, so you should be aware of this.
Penalties for drug-related offenses are severe. Possession of small amounts of marijuana can lead to a prison sentence in excess of five years, usually after a lengthy and expensive legal process. The availability of Class A drugs are on the rise and an increasing number of people are being caught smuggling drugs in every part of the country.
Custom - You should respect local custom. Women should avoid wearing shorts and sleeveless tops in public places where this might be seen as inappropriate. Shoes should be removed before entering certain holy places. Non-Hindus are not permitted in certain temples.
Currency in Nepal
Nepal has its own currency called "Nepalese Rupee", but it is different than Indian Rupees. Nepalese rupees come in denominations of 5, 10, 20, 50, 100, 500 and 1000 rupee notes.
Please Note - AMEX Card is not widely accepted in Nepal so take an alternative card for traveling to Nepal instead of AMEX Card for your easy & comfort traveling.
But you do not need to obtain Nepalese currency prior to your traveling to Nepal. Upon arrival to Kathmandu international airport, you could easily get Nepalese rupees (ATMs in Kathmandu international airport is available at outside terminal areas).
Foreign Currency use in Nepal- United States Dollars, Canadian dollars, Australian Dollars, Euro, GBP Ponds, Singapore Dollars, etc are widely accepted in major cities in Nepal. ATMs - Major cities of Nepal such as Kathmandu, Pokhara, Chitwan, Nepalgunj, Biratnagar has the wide choice of ATMs use facilities and credit card, master card are easily accepted on ATMs.
Tribhuvan International Airport - Kathmandu, Nepal
Tribhuvan International Airport is an only international airport in Nepal and has its domestic section terminal along the side of the international terminal.
Radisson Hotel in Kathmandu operates an executive lounge for first and business class passengers for some airlines. But Thai Airways international operates a business lounge for its business class passenger separately as well as for the Star Alliance Gold Card holders.
As Tribhuvan international airport is newly renovated, now the distance from the international terminal to the airplanes is shorter. At present, about 30 international airlines connect Nepal to destinations in Asia, Europe, and the Middle East. The airport is about six kilometers from the city center, in the Kathmandu Valley.
Some Airport Facts:
Upon you would be landed to Kathmandu airport, you are requested to come through the immigration, where you mostly spend a minimum of 30 minutes as it has a queue of peoples for obtaining Nepal Visa and visa procedure simply takes a min of 10-15 minutes. But if you have Nepal Visa, then you could go to the visa check-in counter and it is pretty quick so you would not have to stay in the queue for long.
Baggage claim can be a bit disorganized, thus most of the times you can be slightly delayed to leave the airport at your arrival.
Most of the international airlines who are flying from Kathmandu request their passengers to check-in to their airlines counter a minimum of 3 hours before the flight leaves (But these days you could also do online check-in and if so you could only reach to the airport in a 2 hours to flight time).
Check in could always take a time if it happens that few plane is flying almost in a similar hour. You mostly have to stay in queue onto the pavement outside the terminal (Not pleasant at all), but when you are in, then the procedure is quick ahead.
Some travelers find the departure from Kathmandu a little difficult, saying staying in a long queue to get inside the airport where their ticket is checked. In the age of e-tickets, this is difficult, as the security guard could not read the tickets, and those who did not have their e-tickets printed out had to argue to their way in because security mostly wants to see your ticket printed on your hand while approaching inside the airport.
ATMs & Communications:
Tribhuvan international airport in Kathmandu has only one ATMs facility which is outside of the arrival terminal. Credit card or Master Card easily works at this ATMs (In Nepal, ATMs gives you Nepali Currency called Rupees and its current equivalent with USD is Approx of 85 rupees).
Also, at Tribhuvan International Airport in Kathmandu, it does have a few Telephone Booths for the communication facilities to the travelers.
Note: it usually has a problem to find sufficient trolleys as they are not usually found in the areas where they needed to be. And please avoid trolley collectors as they initially seem gentle to take your baggage's to your car/taxi then you would hassle you with asking a mandatory tips/ charge which is illegal. As they followed up and insisted for tips, you may need to be harsh!!! Please be aware!!! Or have small change for them!!!
Mode of Communication in Nepal
Nepal official language is called "Nepali Languages" and it is widely spoken at any side of the country. Nepal does also have 70 different ethnic groups and 90 different spoken languages and at every part of the country, you would find different types of peoples and ethnic groups but everyone speaks 'Nepali.
English- is widely spoken in the major cities in Nepal such as Kathmandu, Pokhara, Chitwan, Nepal Gunj, Biratnagar, Bhaiwahawa, etc but once you would be more in the remote mountains areas, you could have a trouble of communication as very fewer locals communicate in English in mountains and rural areas.
For your pleasant holidays in Nepal, you could also learn some Nepalese words or phrases.
Nepal Standard Time
Nepal is 5 Hours and 45 minutes ahead of GMT standard time so please set your time different with Nepal before traveling for your ease and comfort.

subset: commoncrawl


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Crazy Taxi is a near perfect video game. That's high praise, but nothing unprecedented for the game, as it has been hailed as an arcade classic since it originally came out in 1998. However, when I sat down to play it the other day for nostalgia's sake, I came away with more problems than I did positive things to say about it. The game is still incredible, and there's nothing that truly feels quite like it, but it's so close to greatness that it hurts. With only a few small tweaks the game could turn into a timeless masterpiece. Naturally I don't have the means to make or even pitch this hypothetical project, and I'm not sure there's a demand for this kind of game in the marketplace today. That being said, if I were at the helm of designing a quasi-remake/sequel of the beloved game, this is just a little wish list of what I'd like to see in this imaginary game.
The game's aesthetic is a time capsule of the 1990's, warts and all. This stylistic choice isn't innately garish, just look at Jet Set Radio to see an example of this style well made, but the game has aged incredibly poorly. It's intentions were never artful, and a game as goofy as Crazy Taxi shouldn't take itself too seriously, but the game right now plays it a bit too straight, as opposed to the over the top satire it's meant to be. That of course is my opinion based on how I perceive that game, it's possible the game was trying to be a genuine portrayal of the culture it embodies, but if that's the case it did an awful job. It seems much more likely the game was targeting parody, but as previously stated it's in a weird limbo in between satire and straight. The game could still be Crazy Taxi with a completely different aesthetic, and I encourage future game developers to experiment with the style as they wish, but for the sake of this think piece I'm going to critique the game as is. So in it's current state, I think the punk aesthetic is fine, it just needs to be turned up to 11.
The music is hands down the most obnoxious part of the game, and it has to be the first thing to go. The game seems to think of itself as a bit punk, but saying that it dips its toes into punk culture might even be an overstatement. If the game wants to be punk, an inherently anti-establishment genre, the poppy tunes are the anti-thesis to that, they have to go. The game's incredibly shallow dive into punk culture means merely presenting the parts of it that have seeped into mainstream culture. I need noise rock, I need no-wave, I need post-hardcore. The soundtrack doesn't even need to fall under the umbrella category of punk rock, there's tons of genres that embody that same "Fuck everything!" attitude. There's hardcore hip hop, industrial rock/rap, and metal just to name a few, and those are still leaning towards mainstream. There are a lot of artists that have one foot in the underground and the other in pop culture, bands that become mainstream despite their abrasiveness. Artists like Metallica, Nirvana, Nine Inch Nails, and Death Grips, for a more modern example. All these artists found their niche and arguably extended their reach beyond that, and made their way to a wider audience, and they would be a perfect fit with their straddling of artistic merit and broad appeal.
As for the rest of the aesthetic, it also needs to be pushed towards the more extreme side. It's a tough line to ride, lean too hard on the aesthetic and it'll come off as a gimmick, and less focus on it could prove boring. Crazy Taxi's art holds up about as well as it can due to it's cartoony style, and in order to modernize it not much is needed besides the upping of the texture quality. Luckily there's a modern art style in games that would fit Crazy Taxi in every way: cel shaded. The textbook definition of cel shading is "… a type of non-photo-realistic rendering designed to make 3-D computer graphics appear to be flat…". The most notifiable distinction to a layman is simply the thick bold outlines over every model, making them pop in a very stylish manner. You can see this in games like Borderlands, anything by Telltale, the list goes on and on. Jet Set Radio is probably the defining example, and it's a great parallel as it too embodies a kind of tongue-in-cheek tribute to punk.
Now for the main issue here that keeps this game from being the greatest thing ever made: the gameplay. The gameplay is already near perfect, but that's the key word right there: NEAR. Before I talk about what needs to be changed, I need to explain why the gameplay is so exciting as it is. Crazy Taxi is a pretty simple concept, as the taxi driver you have to drive around a small open world picking up passengers and dropping them at their destinations. The fun comes from how absurd the driving in this game is. You don't obey a single law of traffic, the passengers don't even seemed to be buckled in. You crash into cars that block your way and shoe pedestrians off the sidewalk so you can take shortcuts. The game lets you attain ludicrous speeds far above any legal limit, and let's you get insane airtime as you almost literally fly off makeshift ramps.
There's just an intrinsic excitement that comes from being able to go so fast and do such crazy stunts with zero repercussions. The problems arise when the game slows down. Basically, the game should never slow down, yet it often forces you to. The core gameplay loop is like so: Drive around until you find a passenger, slow down to pick them up, drive them to their destination so they can exit, then repeat. Notice how I mentioned that you have to slow down, this single action is so simple yet so frustrating. On paper, that probably sounds like a nitpick, but if you actually sit down and play the game yourself it's immediately noticeable and grating. In game design, every element of the game should reinforce the other, and all mechanics should reinforce the main one. There's an inherent dissonance in a game about speed telling you to slow down, even if it's just for an instant. It would be infinitely more fun if instead of having to slow down to park and pick up the passenger, you could speed past them and have them jump inside. Or maybe you could even drift into them, a la this absurd scene from Wanted. This would keep up the pace of the game and allow you to maintain and build your speed for as long as possible. Pedestrians already jump out of the taxi if you don't get them to their destination fast enough, and they're capable of superhuman acrobatics in order to avoid your erratic driving, so these aren't even far fetched suggestions.
The only time you should slow down is if you fail, so you're slowed as a punishment. This makes the times when you are reaching top speeds that much more rewarding as you need a certain level of skill to reach this point, making the experience feel earned. Maybe crashing into an immovable wall or flipping over and getting temporarily stuck. But maybe you shouldn't even stop then. Instead of a building blocking your path, you could bulldoze through it. In the original game, you can send cars flying when you run into them, but they impede your momentum a little bit. I say ramp up the cartoony slapstick nature of this and have the cars fly farther, with you not slowing down a bit. The problem then seems that if there are truly no obstacles in your way, where's the challenge? Tons of modern games have found ways to be fun and even challenging without such strict fail or win states, and some games have ditched them entirely. They're not an essential feature of game design anymore, at the very least not in a traditional sense. There's pacifistic walking sims, and games like Kirby's Epic Yarn where it's impossible to die. This is the extreme, the logical conclusion to fail states, but Crazy Taxi doesn't need to be that abstract, in fact it would probably be against it's ethos to do so. Still, the challenge and "failure" can come from elsewhere. The challenge of the game should just be on getting from point A to Point B as fast and as stylishly as possible, true to it's score attack roots.
My main gripe with the game was everything concerning speed, but I do have a few smaller points that I'd like to touch on before I conclude. These aren't really critiques as much as suggestions and little ideas; a series of unrelated points that, while more minor, will create a better game overall. The list follows:
1. Drop the gear changing mechanic. The whole mechanic of switching between driving and reversing is incredibly archaic and frustrating, and it's clear this was just a leftover from the arcade cabinets before it was ported onto consoles. It's arguable that all of the game has dated arcade design philosophies in it, and that it's just an inherent part of the game. This is true to extent, the games score chasing nature and quick sessions are clearly intact because of the games arcade origins, but these design choices actually work perfectly in a modern context, possibly more so then they did when the game originally came out. People are seeking shorter and tighter experiences in today's busy world, and the immediateness of an arcade title is innately exciting in the modern market.
2. Trim the fat. The original Crazy Taxi entries all have tons of unnecessary mini games. My reason for proposing these extra features be dropped is twofold. For one, this niche is already exhibited in other modern games. The Grand Theft Auto series for example, often devolves into these absurd mini-games in it's multiplayer aspects. You'd often find mods that would allow you to engage in activities, but as of the latest entry the game has legitimate game-modes such as shuffleboard with cars. And hell, Rocket League is a game entirely about Soccer with cars, and it was a hit! So, we really don't need another game occupying this niche, especially when the results would probably be lesser than the aforementioned examples. Which brings me to my second point: quality. With more focus on the core of the game, that part of the game will naturally be more polished. There's no need to tack on extra game-modes, or multiplayer, or whatever a modern publisher demands. A shorter experience that's amazing from beginning to end is always more compelling than a long experience packed in with filler and forgettable moments.
3. Make the locales interesting. Okay, I know I said those points would be brief, but this last one is admittedly kind of lengthy. Let me start off by saying that the San Francisco setting of the first game is far and away the best the series has ever seen. Whether this proposed new entry in the series is a sequel, a reboot, a remaster, whatever, it needs to take cues from the original's world map at the very least. The locales are fun and the city is a decent enough locale, but it's the level design that shines. It's entirely thanks to San Francisco's architecture, the steep streets lead to moments of absurd airtime, and all the cars and pedestrians provide hilarious obstacles. There are other locations that no doubt would also provoke similar tests of the laws of physics, and be insanely fun, this is only the first that comes to mind. The sequels had a few interesting ideas, but they were generally just lacking in any interesting level design. Perhaps this is because the game is rooting itself into reality too much, and needs to let loose with it's design. I'm not calling it to launch itself into the sci-fi genre immediately, I'm only saying that the levels don't have to be a 1:1 mirror of reality, or anything remotely close.
To add an extra layer of challenge it could perhaps be interesting to drop the obnoxious green arrow that's present above the player character's vehicle at all times. The point behind this would be to encourage the players to know where the locations where on the game map, making the time pressure even more intense as you're never sure of the objective fastest route, or even where the location is. This would also ensure that the developers are forced to make memorable landmarks that standout. In replacement of the giant arrow, I propose a new system that follows like so: The player picks up a person in their taxi, we hear the cliched but necessary exchange of dialog where the passenger tells the taxi person where to head, and a picture of the location along with its name pops up on screen.
So now we have the name of a location, and a picture of it, but how to get there isn't entirely clear. The player will have to rely on their knowledge of the game world and visual cues in order to navigate there (this whole system is reminiscent of the memories in Breath of the Wild). Dynamic difficulty can also be easily implemented into this system, the longer you take to reach the destination the more disgruntled the passenger becomes. The passenger will naturally start condescendingly reminding you of areas surrounding their destination, and questioning if "you even know where you're going." This both fits the games tone, and it's mechanics. It also just makes sense to have this kind of navigation system should the game still be set in the 90's, where GPS's were less advanced and accurate presumably.
The point of this article was to propose a completely theoretical successor to a game that is hardly talked about today, and frankly has little demand (as far as I can see, anyway) in today's landscape. And I myself don't have the necessary resources, funds, skills, or licenses to make such a game. So this is simply a pipe dream of mine I'm releasing on the internet for all to see. If by some miracle an executive decides to reboot this franchise (and in this climate, it'll probably happen eventually) and genuinely cares about making a quality product, then I do hope they also miraculously see this article and take my advice. As I said it's a pretty far out dream, but I hope there's a market for it.
It's been a while since my last article, so I thank you all again for keeping up with me. Expect more in the near future and, as always, thanks for reading.


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- 4 persons
- 42 m²
- Double bed
- Sofabed
- First floor
- Car park
- WiFi
- Cable TV
- Non smoking
- Furnished kitchen
- Dishwasher
- Washing machine
Temporary rental of a fully furnished 42 sqm apartment, on the 1st floor of a new block of apartments. A parking space completes this good.
- - an entry
- - a living room with a pull out couch, a coffee table, a bar for 4 people, TV, internet/wifi. Small terrace with a garden table
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Apartment equipped with a washing machine, dryer, iron and ironing board.
Leinen is provided (bed sheets, towels and tea towels) and beds are made on arrival.
1 reviews
Average grade: 0/5
Cliff K.
October 19, 2018
Fantastic location, apartment has everything you need.
Have booked again for our long term working stay.


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In July, the Air Force rolled out new policy permitting nursing mothers to wear a T-shirt designed for breastfeeding under the ABU or Operational Camouflage Pattern uniform, although it must stay hidden under a uniform blouse unless in designated nursing areas. There is no evidence that routine dental examinations or treatment should not be performed during an uncomplicated pregnancy. Retrieved 26 April
Effective 2 February , commanders will authorize up to 12 continuous weeks of non-chargeable maternity leave for eligible Regular Army Soldiers and reserve component Soldiers serving on call or order to active service for a continuous period of at least 12 months. Troop Program Unit TPU Soldiers are not eligible for maternity leave, but are excused from any battle assembly weekend drill and annual training occurring within the 84 calendar day period immediately following a birth event.
But this doesn't mean you need to eat twice as much. Women have a lot of health considerations to think about during pregnancy and it's easy to overlook dental health during this busy time. The following links provide helpful information on oral health to ensure that you maintain optimal health.
There is no evidence that routine dental examinations or treatment should not be performed during an uncomplicated pregnancy. In fact, not going to the dentist may cause problems such as oral infections that can cause the need for emergency care or affect the fetus.
You should make sure you have regular check-ups and cleanings any time during pregnancy to keep your mouth as healthy as possible. You have so much to think about during pregnancy, but don't overlook your dental health. Exercise during pregnancy and the postpartum period can reduce the physical discomforts associated with pregnancy and can promote a faster return to pre-pregnancy fitness levels. The P3T program is designed for pregnant and postpartum soldiers and is a proven resource for maintaining fitness during and after pregnancy.
By getting enough sleep, consistently participating in appropriate physical activity, eating a nutritious diet, and including stress management in your daily routine pregnant Soldiers can maintain health and fitness throughout pregnancy. This sets the Soldier up for success postpartum, when it is time to increase her physical training to successfully transition back into unit physical readiness training and meet physical fitness and body composition standards.
A PDF is available for download. Real parents offer advice and insight. Pregnancy changes your body in more ways than you might have guessed, and it doesn't stop when the baby is born. Taking good care of yourself and your baby is an essential part of postpartum care. By offering quality programs for children, youth and students, CYS supports the Army Family Covenant by reducing the conflict between mission readiness and parental responsibility.
Some normal changes during and after pregnancy can cause symptoms similar to those of depression. In July, the Air Force rolled out new policy permitting nursing mothers to wear a T-shirt designed for breastfeeding under the ABU or Operational Camouflage Pattern uniform, although it must stay hidden under a uniform blouse unless in designated nursing areas. Air Force Chief of Staff Gen. And they've never fit," Goldfein told airmen last October during an all-hands call.
So we're going to get at this. Follow her on Twitter at HopeSeck. This material may not be published, broadcast, rewritten or redistributed. You May Also Like. Solid black leggings Product Features Full-length legging in solid tone featuring high maternity waistband Waistband can be folded over for extra support or unfolded as pregnancy advances. We chose a high quality fabric and a cut we knew you would love!
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What bigger occasion than the birth of your child, you have prepared for 9 months! Bags are packed, everything new — you reach the hospital ward — the how many times passed down tatty old gown is gently placed in your arms — sound familiar? If not, it soon will….. Top five buttons with buttonholes and the rest are for embellishment.
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One short break from film photography (well, actually not a break, but since I am waiting for my Makina 67 rolls to be developed, I thought I should post a few images taken with the Voigtlander Super Wide Heliar 15mm f4.5 mounted on the Sony NEX 5N.
I chose the 5N over the NEX 7 for two basic reasons, better ISO performance and better compatibility with my wide angle Leica and Voigtlander lenses. Both the Voigtlander 15mm and 21mm lenses perform great on the 5N and especially the 15mm is a great alternative to the e-mount Sony 16mm pancake. It's also a much better lens optically. The f4.5 is not regarded as fast, but with the ISO performance of the 5N that's not really a problem.
A great advantage of the Voigtlander 15mm is it's small size. It fits perfectly on the NEX. It takes 52mm filters and despite not being an auto focus lens, it's an ultra wide angle lens, so depth of field is huge. Due to 1.5 crop, it behaves like a 22mm, which is pretty wide for most subjects. Optically is a superb lens, probably one of the best Voigtlanders I have ever tried, with great color and sharpness, and very flare resistant. I prefer it over the 16mm Sony pancake which I will only use when I absolutely need auto focus and the f2.8 aperture.
Enjoy the rest of the images.
(c)2012 Konstantinos Besios. All Rights Reserved.


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FASHIONING GENDER FASHIONING GENDER: A CASE STUDY OF THE FASHION INDUSTRY BY ALLYSON STOKES, B.A.(H), M.A. A THESIS SUBMITTED TO THE D EPARTMENT OF S OCIOLOGY AND THE S CHOOL OF G RADUATE S TUDIES OF M C M ASTER U NIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF D OCTOR OF P HILOSOPHY c Copyright by Allyson Stokes, August 2013 All Rights Reserved Doctor of Philosophy (2013) McMaster University (Sociology) Hamilton, Ontario, Canada TITLE: Fashioning Gender: A Case Study of the Fashion Industry AUTHOR: Allyson Stokes BA.H., MA SUPERVISOR: Dr. Tina Fetner NUMBER OF PAGES: xii, 169 ii For Johnny. iii Abstract This dissertation uses the case of the fashion industry to explore gender inequality in cre- ative cultural work. Data come from 63 in-depth interviews, media texts, labor market statistics, and observation at Toronto's fashion week. The three articles comprising this sandwich thesis address: (1) processes through which femininity and feminized labor are devalued; (2) the gendered distribution of symbolic capital among fashion designers; and (3) the gendered organization of the fashion industry and the "ideal creative worker." In chapter two, I apply devaluation theory to the fashion industry in Canada. This chap- ter makes two contributions to literature on the devaluation of femininity and "women's work." First, while devaluation is typically used to explain the gender wage gap, I also address symbolic aspects of devaluation related to respect, prestige, and interpretations of worth. Second, this paper shows that processes of devaluation vary and are heavily shaped by the context in which work is performed. I address five processes of devaluation in fash- ion: (1) trivialization, (2) the privileging of men and masculinity, (3) the production of a smokescreen of glamour, (4) the use of free labor and "free stuff," and (5) the construction of symbolic boundaries between "work horses" and "show ponies." In chapter three, I use media analysis to investigate male advantage in the predomi- nantly female field of fashion design. I find that the "glass escalator" concept typically iv used to explain male advantage in feminized work, is insufficient when applied to a cul- tural field. The glass escalator illustrates movement upward in well-defined organizational hierarchies where success is measured by pay and promotion. But success in cultural fields is also measured by symbolic capital (celebrity, cultural consecration, prestige). I find that male designers are attributed more symbolic capital by prestigious industry sources and the fashion media. In order to illustrate these advantages I make use of the concept of a "glass runway," whereby designers are pushed forward into the spotlight, rather than up- ward within a single workplace or organization. I also take note of how these advantages are structured by the intersection of gender and sexuality. In chapter four I investigate the gendered organization of creative cultural work in the fashion industry. Literature suggests that these types of work are characterized by: (1) the need to mitigate risk through entrepreneurial labor and (2) an ideology of passion. I find that these organizing logics create a gendered conception of the "ideal creative worker." Men more easily conform to this ideal since they have lower family responsibilities, are offered more flexible working arrangements, and since it is more culturally acceptable for men to put work before intimate life. Findings also suggest that gender intersects with age and class. The gendered organization of fashion not only reinforces inequalities between women and men, but also different groups of women. Women who are younger, child- less, and have independent financial support can more easily conform to the "ideal creative worker." Still, even women who closely match this ideal are questioned and criticized in ways that men are not. v Acknowledgments I would first like to thank my parents, Bernice and Edward Stokes. I owe to you my appreciation for learning, my love for writing, and my imagination. Thank you for being ever supportive of my dreams and choices, no matter how many times they have changed. Every time I need to take a break, come back to earth, regain some perspective, or just lighten up, I know you are the people to call. Mom, thank you for teaching me how to be a good teacher. Dad, thank you for teaching me that if it's my best, it's always good enough. Although this dissertation was written 3,222 kilometers away f


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Why Desires Are So Important/
A Buddhist Monk was once quoted, "Desires are what propel us forward." This phrase has stuck with me since being able to attend a workshop we held recently at Aviva Woman. If you haven't heard of the Desire Map, I think it is worth checking out, http://www.daniellelaporte.com/thedesiremap/
Take a look at some of these great words listed below. Imagine if we picked the words that express the way we want next year to be….AND THEN, create goals that will help us feel this way.
Passionate Transforming Wellness Worthy Radiance Renewal Thriving Purposeful Exuberant Energetic Brilliance Abundance Align Visionary Luminous Creativity Discovery Results Love Release Peaceful Results Uncover Solutions Quality Power/Powerful Compelling Exciting Accomplish Instantaneous Worthwhile Succulent Growth Imagination Courageous Serendipity Grace Harmonious Visualize Clarity Focus Persistence Service Philanthropy Faith Outrageous Prosperity Insightful Unlimited Unleash
Connected. This is a core desire of mine because connections are so important to me; connections at work or home, with my spouse or best friend, as a mother and a daughter. I thrive on feeling connected with the people that mean the most to me. So, I should look at my daily life and think about next year to set goals that surround connecting with my loved ones. Doing so will help me feel my best to perform my best in other areas of my life. And this is just one core desire.
Peaceful. Who doesn't want to feel this way? Well, I certainly do. The great part of these exercises is not to create more tasks in your day but to assign a purpose to the tasks you already do. For example, feeling peace is something I need throughout the day when kids are going and work is demanding and life is just passing by. I like being able to go into my room at the end of the day and feel peace. One way to ensure that to happen is making my bed. I love making my bed (when I am not in a hurry.) It seems trivial and even pointless to some. My husband could care less if the bed was made or not because we are just going to sleep in it again and there it goes needing to be made again. For me, walking into a clean room helps me mentally prepare for my next day and wind down. The rest of the room may be a mess, but the bed…the bed is ready. And then AWE! Getting into a bed that is straightened and not all wrinkly, it feels so easy to go to sleep.
Desires are going to help us live life with purpose. They say, 'Enjoy the journey and not the destination.' Deciding how you want to feel along that journey is key to enjoying the ride.
There are some great links to check out to learn more about the Desire Map on Facebook and on our website. You can also check out an intro class at the end of the month! Wednesday November 28 from 7-8:30pm. $20 for the class you can sign up here!


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Your benefits at a glance | Journals
Your own journal account: your benefits at a glance
We know how difficult it is, for editors, to find suitable peer-reviewers for papers which are submitted for evaluation. One of the reasons is also the lack of recognition for the reviewers. We believe that by rewarding reviewers they will be more motivated and, hence, more incline to accept the invitations as peer reviewer and to complete the task in the requested time. The review process will then become smoother and more expedited.
What are the advantages of creating a journal account on ReviewerCredits.com?
It is easy and free
Simply register your journal on our portal: there is no cost involved and it only takes a few minutes. If you prefer to join as a publisher, all your journals will be added to our portal and be available to your reviewers for their claims.
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Share how serious transparent your journal is with regards to peer review. This will qualify it as a reputable journal, with the added bonus of a certificate for all the peer review activity performed by your journal.
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Show your reviewers that you value their collaboration and offer them the opportunity to make their reviews count. You can set targets and goals with rewards for their review activity. You can also join our reward program, which enables reviewers to redeem their credits with tangible rewards.
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Bubbles & Bandannas
July 27th, 2019 1:00 - 4:00pm | 2001 N. Valley Mills Dr., Waco TX 76710
It's "Bubbles & Bandannas" 3rd Annual Dog Wash benefitting the Alzheimer's Association. Bring your pupper out for a bubble bath and support a worthy cause! Suggested donation of $5 for small dogs and $10 for large dogs.
Proceeds benefit the Alzheimer's Association.
This event is held at the Community Fellowship Church of the Nazarene on the corner of N. Valley Mills Drive & Cobbs Ave.


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If you want to pass a variable content between your aspx webforms than you can you choose one collection from ASP.NET Page Navigation Techniques. Techniques are:
1. QueryString
2. Cookies
3. Session
1. A Query String is a value specified in an HTTP query that can be accessed easily within ASP.NET. The query string is appended at the end of the URL following the question mark ('?') character. Multiple query strings can be specified in the URL by separating them by either an ampersand('&') or a semicolon(';').
QueryString: The Request.QueryString collection is a NameValueCollection. The NameValueCollection is associated with the String keys and String values that can be accessed either with the key or with the index.
Passing one Parameter
Passing two Parameters
Retrieve Value:
Label1.Text = Request.QueryString["NAME"];
Or Label1.Text = Request["NAME"]
Count Query String Variables: Request.QueryString.Count.ToString();
Advantages of this approach
It is very easy.
Disadvantages of this approach
QueryString have a max length, If you have to send a lot information this approach does not work.
QueryString is visible in address bar of your browser so you should not use it with sensitive information.
QueryString can not be used to send & and space characters.
3. Session State: ASP.NET allows you to save values using session state. The scope of Session state is to the current browser session. If different users are using your application, each
will have a different session state. In addition, if the same user leaves your application and then returns later, that user will also have a different session state. Session state is stored in the Session object as key-value pairs between server round trips.
A session refers to the time duration during which a specific user is connected to a particular Web site. It begins when the user connects to the site and ends after user leaves the site. You can create a session object in the following way:
Session("UserName") = "David"
You can retrieve the value of the session object in any page the user visits on your site in the following way:
Response.Write( Session("UserName" ) );
You can remove session objects from the session state by using the Remove or RemoveAll method.
Session.Remove( "UserName" )
Session objects can store any kind of information and there is no restriction on the size of the data.


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Messages Inbox
Access all your previous messages and communicate with voice talent right from your iPad. The list of messages in your Inbox is organized by most recent on top and you'll even see which messages are new as indicated by the blue dot.
To view the message details, simply tap the subject line to see the full message. On the message details screen, you can:
- Read the entire message
- Reply
- Mark the message as unread and go back to it later
- Go to related job
You can reply to the message by typing in using the touch-screen keyboard on your iPad. The above photo shows you what it looks like to reply to a message on your iPad.


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The Williston Basin is a virtual casebook of basement tectonic features repeatedly affecting sedimentation and hydrocarbon accumulation. Archean (>2.5 billion years old) and Early Proterozoic Trans-Hudson structures (1.85-1.95 billion years old) were subtly reactivated during the Paleozoic to guide aspects of deposition, and at least by Laramide time (Late Cretaceous to Eocene) they were significantly rejuvenated as faults and folds that control the distribution of important modern hydrocarbon pools such as the Cedar Creek and Nesson Anticlines.
Basement features in this area are clearly expressed in gravity and magnetic data. Their primary expression is as alternating relatively intense highs and lows that are fundamentally intrabasement lithologic contrasts. Because of the demonstrable reactivation of these lithologic contacts as structures, we can make some predictions about possible structural development in other, less obvious areas.
The Cedar Creek Anticline (gravity map at right) is a prime example that shows repeated rejuvenation of an Archean lithologic contact — possibly the contact that marks the edge of the Wyoming Craton. The Cedar Creek feature was a fault by late Silurian time (Clement, 1986), and it had a significant impact on paleotopography and facies during Mississippian time. The Laramide down-to-the-southwest fault along this line juxtaposes relatively magnetic material on the downthrown side of the fault; the magnetic high there correlates with a gravity low. Analogs to the Cedar Creek basement feature can be identified in several locations in the Basin.
Ordovician Red River facies trends may be affected by basement features similar to those at Cedar Creek.
The Nesson Anticline also follows old basement lithologic boundaries. Its north-south trend indicates that the contacts are part of the Trans-Hudson Orogen. The magnetic anomaly at Nesson Field comes from an intrabasement source, about 8,000 feet deeper than the Precambrian basement surface. This indicates that the Nesson structure extends well into the basement. Details of the geometry of the Nesson Field complex are visible in magnetic data. Possible analogs to Nesson are all smaller and deeper in terms of basement tectonics.
Subtle northeast-trending disruptions in the gravity and magnetic data correlate with lines of small fields and may be related to facies such as oolite shoals in the Mississippian carbonates. Basement tectonics, inferred from gravity and magnetics, can be used as a guide to exploration in many if not all parts of the multiple plays present in the Williston Basin.


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Mera D6601
This Animal is PENDING ADOPTION.
Adorable Mera was rescued from the shelter. She was timid at first but warms up and then is a very friendly, playful, and moderately active puppy. She loves to cuddle and get attention. Mera is playful with other dogs.
More information to come as Mera settles in at her foster home!
**Note: Adoption in SF Bay Area Only**
Details of Mera D6601
Most animals can be seen at one of our many Adoption Showcases.
See our How to Adopt page for more information on how the Furry Friends Rescue Adoption process works.
Furry Friends Rescue adopts animals that will be indoor family members only.
Furry Friends Rescue will only adopt to homes in the San Francisco Bay Area. If you're from out of the area/out of state, please check Petfinder.org for animals in need of homes in your local area.


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We're partnering with 100s of creative people and businesses to bring you 1000s of perfect products for you and your family (even your four legged friends!)… in just one place.
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2 Little Boys
This wonderful selection of gifts has a little something for everyone. Perfect for those smaller occasions, secret santas, stocking fillers or the awkward 'do I don't I get them a gift", this page is a treasure trove of small yet thoughtful gifts. Who says present buying has to be difficult?
Bracken Longline Check Scarf
Wensley Printed Scarf
Nessa Stripe Lightweight Jersey T-Shirt
Nessa Lightweight Jersey T-Shirt
Bo Jersey Vest
Brilliant Bamboo 3 Pk Socks
Brilliant Bamboo Shortie 3Pk Invisible Socks
Pink Cherry Blossom Pop Up Card
Show Jumping Pop Up Card
Game Birds Card Design
Land Rover Signed Limited Edition Print
Honey Lily Hand Cream and Organic Soap
Bee Lippy Raspberry & Vanilla Organic Lip Balm
Brilliant Bamboo Single Socks
Harbour Luxe Mini Me Jersey Top 0-12 Years
Pixie Screenprint T-Shirt 1-6 Years
Wilde Character Knee Leggings 1-6 Years
Active Drawstring Bag
Topsy Official Peter Rabbit™ Collection Welly Socks
Chomp Applique T-Shirt 0-6 Years
Raymond Glow In The Dark T-Shirt 1-12 Years


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Everyone would like to save money, so I went out and bought a new dishwasher this weekend because our 15 year old one quit washing the dishes. When I returned home I quickly began to remove the old unit.
The first thing I encountered was the braided steel on the water line had deteriorated so badly that the steel braid was interfering with my attempt to pull the water line through the hole in the cabinet so that I could pull the dishwasher out far enough to disconnect the line, but not until I had taken the valences off of the cabinet to allow room to reach in behind the dishwasher.
With some frustration and pulling, I was able to slowly feed the line through and disconnect the hose. After removing the old unit and cleaning years of "I'm not sure what" on the floor and other things the kids and cats had slipped under there, the space was ready for the installation, or so I thought.
I brought in the new dishwasher from the garage into the dining room and cut the container along the dotted line on the bottom. I moved it into the kitchen and began installation. As I was connecting the water line, I realized I needed the fitting from the old unit. So, back to the old unit to get the fitting and while I was doing this I noticed there wasn't a power cord on the new washer, like on the old one. There was just a black and white wire coming out of the motor and placed through the frame.
After completing the water and drain installation, I went back to the store where I bought the dishwasher, the next day. This turned into another time consuming task, and you will know what I mean if you have ever been to a large retail chain store (like Menards in my case). I spent at least fifteen minutes searching in the electrical department for an appliance cord that I could wire the dishwasher with and plug into the outlet that was already installed behind the installation location.
I decided to ask a young employee, who didn't seem to know what I was looking for. As he was going for help, another shopper interrupted him and there I was again looking on my own. After about another fifteen minute search I was able to find an appliance cord. Then I had the task of finding the collar that should go into the "knock out" hole for the wiring on the washer. (I knew this was an important item as it keeps the power cord from being pulled from the wiring on the washer if it is pulled too far from the power outlet.)
Returning home, I completed the wiring, re-installed the valences, corrected the height and secured it to the counter top. After checking the door clearance, I added the soap and rinse aid and loaded the dishwasher with a pile of dirty dishes (two kids can make a lot of them), hit "start" on the keypad and Voila, a new dishwasher up and running after only two days of frustration!
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The Resting Satyr in Augmented Reality
Host Organization: The Eskenazi Museum of Art
Supervising Faculty: Juliet Graver-Istrabadi, Dr. Julie Van Voorhis, Dr. Bernard Frischer
Collaborators: Andy Hunsucker, Leif Christensen
[SLIDE: Team Names]
Before I begin, I want to take a moment to thank all the members of this project, as well as our fantastic organizers, Angelica and Joe. The discussions and presentations yesterday were excellent, and I hope that we can have an equally enlivening discussion here at the American Academy today.
[SLIDE: Marble Faun]
There is something magical in viewing a work of art. In a moment of exchange, enchantment, and intuitive understanding, an epiphany occurs. We are struck, often speechless, for a few precious moments, and transported to another world. For many of us, this is how we came to study the material that we specialize in. Nathaniel Hawthorne, upon viewing the Resting Faun in the Capitoline, was inspired to give him a rather specific character: "Perhaps it is the very lack of moral severity, of any high and heroic ingredient in the character of the Faun, that makes it so delightful an object to the human eye and to the frailty of the human heart."
Art possesses an enigmatic capacity of being able to transport us to another world. Through augmented reality, we hope to heighten this epiphanic power by encouraging the museum visitor to pause, and look more closely. Digital presentations in museums, as we already saw yesterday, can bot educate and excite non-domain expert visitors.
[SLIDE: Augmented Reality Experience]
Questions remain, however, about the efficacy and impact of this technology. The deepest question - do we really need to augment art? - is one worthy of careful consideration. Designers of digital installations often claim that they will enhance the experience of a viewer. Yet curators often express concern that these presentations may in fact detract from the time a visitor spends looking at the actual objects.
In the fall of 2016, I was asked by Juliet Istrabadi, the curator of the Eskenazy Museum of Indiana University, and by our very pro-technology museum director, David Brenneman, to work with them to create an Augmented Reality experience that could help visitors to better understand the Roman torso of an ancient statue type known as the "Resting Satyr." Juliet had observed that, as a fragmentary sculpture, visitors tended to walk by the object without paying it much attention. She and her director turned to me, as someone in the doctoral program in Virtual Heritage, for help and assistance. I had previously experimented with the Microsoft Hololens, one of the most advanced AR devices currently under development. For me, the project offered the chance to apply my knowledge of this new technology to a concrete problem.
Since our first meeting, my team and I have grappled with the question that is the main subject of this paper: can Digital Humanities interventions, such as augmented reality exhibits, make material from antiquity more accessible in a way that does not detract from the primacy of the object, its materiality, and the potential for epiphany? Stated in another way, does augmented reality detract from the aura that surrounds a work of art?
[SLIDE: Goldfinch]
The aura is a unique phenomenon of distance that is tied to the presence of a work, and in the field of digital art history, it seems therefore critical to consider how we interacting with it. Walter Benjamin addressed a similar question in his essay "The Work of Art in the Age of Mechanical Reproduction." While his essay was primarily aimed at photography, the concerns underlying the decay of the aura with photography are almost identical to those at the heart of our question for today: do digital interventions detract from the original? The process of 3D digitization used by our lab begins with photography, so it is apt to briefly consider Benjamin's discussion. He relates a work of art to something akin to a cult object - the further away one is, for example looking at the alta, but unable to approach, the more heightened the impression of the aura. Prior to the invention of photography - and one could say by extension, digital photogrammetry, a pilgrimage was necessary to view a work of art. After the invention of mechanical reproduction the work of art was emancipated from its dependence on ritual.
[SLIDE: Capitoline Museo]
Yet while the pilgrimage is no longer required, people still chose to make it - years have passed since Benjamin's essay, and yet still people travel here to Rome, and visit museums such as the Capitoline, where they marvel at works of art such as the Resting Satyr, the subject of our discussion today. Why? Benjamin points out that despite the perceived decay of the aura through mechanical reproduction, aura is intrinsically tied to presence; there can be no replica of it. It is like an invisible cord, tied from our eyes to the sculpture itself. The singularity of the shot--the first step in creating a photogrammetric model--substitutes the camera for the public. Consequently, the aura vanishes. The cord snaps.
So much for photography. But what about photogrammetry, specifically photogrammetry applied to Augmented Reality experiences within museums? This is the large issue I wish to address in my paper today. I will first outline the art historical research that formed the basis of our design, summarize the progress of our project to date, and synthesize the methodology that we used to test the impression the experience makes on a visitor.
[SLIDES: Satyr in the Eskenazi]
Our augmented reality experience evolved out of a research question: how does the replica of the Resting Satyr in the Eskenazi relate to the material record of antiquity--including other sculpture, and display contexts? The Resting Satyr torso in the Eskenazi is fragmentary but exquisitely carved, and part of a large series of replicas. Elizabeth Bartman, in Ancient Sculptural Copies In Miniature, adding to the 1968 dissertation of Peter Gercke, catalogs over 100 replicas, of which one-fifth are miniature in scale. Several of the most famous European museums have at least one full-size replica of the Resting Satyr, including the Ny Carlsberg Glyptotek, the Glyptothek Museum in Munich, and the Prado, to name just a few. Bartman notes that Rome has the most copies, and yet even so, in antiquity these replicas were spread across the Roman empire: some as far as the Hadrianic Baths in North Africa. Partly because of its location, and its association with Hawthorne's The Marble Faun, the most iconic replica is in the Capitoline Museum.
[SLIDE: Glyptothek Satyr]
However, restorers have so thoroughly reworked the Capitoline piece that some scholars, including Oscar Antonsson, argue that it no longer qualifies as antique. By contrast, the Glyptothek Resting Satyr in Munich is not only one of the most complete of the extant replicas, it is also one of the best-preserved; for efforts in recent years have stripped it of accumulated "restorations" undertaken in the 18th century.
[SLIDE: Pliny Passage]
The Resting Satyr was attributed to Praxiteles by Johann Winckelmann primarily on the basis of a passage in Pliny: "Praxiteles, who was more successful in marble and hence was more famous also made, however, very beautiful works in bronze: the Rape of Persephone, a Katagousa, and a Dionysos with a figure of "Drunkenness" and the famous Satyr to which the Greeks attach the surname periboetos ["the much talked of" or "the notorious"]
[SLIDE: Satyrs]
To be sure not all scholars agree that the statue conventionally called "The Resting Satyr" is the sculpture mentioned in this passage. However, the majority of scholarship still supports the attribution. The Resting Satyr is often referred to as ἀναπαυόμενος (anapauomenos), the resting one. He appears to be between 18 and 20; a true ephebe. The musculature of his neck, shoulders, and torso is aquiline, and a long line extends from the leaning arm's right shoulder to the left hip. From other replicas, we know that this line would extend all the way to the ankle resting delicately behind the other foot. The relaxed contrapposto pose gives the impression that despite his precarious tilt, our Satyr is remarkably content and deeply settled into himself. We can imagine that if Dionysus called out, it would take our Satyr several seconds at least to stir. His left hand clasps an item within (unfortunately now lost) gently, not tightly. Even the fingers of the hand that rests on the hip are placed lightly, with the palm turned outward in a relaxed, yet sassy pose. Formally brilliant, the Resting Satyr mediates conflicting elements—human and animal, rustic and urbane, natural and posed. Perhaps it is this paradoxical quality that drew the Romans to reproduce him on such a large scale, and display replicas of him across the empire.
[SLIDE: Pausanius Quote]
Display context for Dionysiac sculpture such as the satyr varied between the Greek and Roman periods. Pausanias tells us in his Description of Greece that a satyr statue stands at the entrance to the sanctuary of Dionysus at Megara. "Polyidus also built the sanctuary of Dionysus, and dedicated a wooden image that in our day is covered up except the face, which alone is exposed. By the side of it is a Satyr of Parian marble made by Praxiteles."
[SLIDE: Passage 2]
He also notes that another Satyr is displayed in the Road of the Tripods. "The place takes its name from the shrines, large enough to hold the tripods, which stand upon them, of bronze, but containing very remarkable works of art, including a Satyr, of which Praxiteles is said to have been very proud."
[SLIDE: Vase Images]
The ancient Greeks considered Satyrs to be liminal creatures that could move easily between our prosaic world and the world of myth. They were dangerous, wild, and unpredictable. As early as the Homeric Hymn to Aphrodite, we find descriptions of their amorous relations with nymphs. On Greek vases, we find images of Satyrs that are often violent, dancing, drunk, or all three.
[SLIDE: House of Marcus Lucretius in Pompeii garden]
The Romans also associated the satyr strongly with Dionysus, and they are included, along with a host of other figures, in the festival procession described by Athenaeus. However, unlike the Greeks, Romans chose to display satyrs in spaces associated with rest, or otium. One of the most famous examples is the garden in the Villa of the Papyri, where we find not only the Drunken Satyr, but also a flute player. In atrium houses, such as the House of Marcus Lucretius in Pompeii, there is often an entire garden devoted to Dionysiac figures such as the satyr arranged around a central Bacchus. Such gardens were places for contemplation, but they are also playful. Placing a wild creature in a place for reflection is a curious choice. Such a combination of chaos and containment, reflection and ardor within the visual program of a garden, is a clever balance not unlike the paradoxical quality of our Resting Satyr.
[SLIDE: Bartman Reconstruction]
As the display context of the sculpture shifted from divine to domestic in the Roman period, so did the complexity of display. These so-called copies were often placed in new relationships to each other in the Roman period, and in displays never envisaged by their original artists. For example, the Resting Satyr, now in the Centrale Montemartini was part of a sculptural display in a Roman house, most likely dating from the 1st or 2nd century AD, that was discovered in the 1940s underneath the Via Cavour. In the pendant display, a Resting Satyr is positioned opposite the figure of a general, and behind these two sculptures stand two Pothos figures. As Bartman points out, this particular display seems to be arranged with style in mind rather than programmatic complexity.
[SLIDE: HoloLens]
Communicating such a complex narrative for a sculpture in a digital format has proved quite a challenge. Before we could begin to tell a story, we had to determine how to communicate visually with a museum visitor, using an entirely new technology: the Microsoft HoloLens.
[SLIDE: Bodystorming]
We therefore held a series of "bodystorming sessions" in a room designed to mimic the museum in lighting and formality. We placed a 3D printed sculpture on a pedestal, and asked participants to demonstrate how they might look closely and take notes on a sculpture with the HoloLens. During bodystorming, one viewer mentioned that they would particularly like to see related archaeological material or more complete examples of the same sculpture.
[SLIDE: Eskenazi]
In Version 1, our goal was to take the findings from the user interaction study and craft an entirely visual narrative. We chose three sculptures: the Glyptothek, the Montemartini, and a digital reconstruction of the Eskenazi Torso. We immediately faced some technological challenges.
[SLIDE: Video]
First and foremost was displaying the photogrammetric models in the HoloLens. The headset can only display fairly low-level poly models, whereas our models consist of 450,000 vertices on average. The HoloLens simply could not display all the models at once. To solve this problem, we implemented a reduction method that maintains the quality of the model and its texture. This method was invented by a visiting professor in our lab, Dr. Gabriele Guidi, and his research assistant, Davide Angelou. The next challenge was to secure permission from the museum to display the experience in the gallery. Yet again the question arose: will augmenting the work of art really help a visitor to examine the piece more carefully? In this case, the design seemed to speak for itself. There would be no audio in this experience—only holograms of other known and related works. The best analogy would be that the museum was borrowing a sculpture digitally, rather than transporting it. Of course this has legal implications that I deeply hope will be resolved by work such as the charter presented yesterday. For now, we rely on permissions for photographic reproduction.
[SLIDE: Methods]
User testing for the experience was designing by myself and Andy Hunsucker, a PhD student in Human-Computer Interaction Design at IU. We compiled a set of methods to capture both the visitor's initial impression, and their impression after having brief period to consider what they had seen. To capture the initial impression, we recorded the visitor's visual experience using an in-headset camera that is part of the HoloLens. We can see and hear exactly what the visitor is experiencing, along with their comments. Alongside this, we also recorded separate audio tracks, which are useful to extract the visitor's immediate auditory reactions. Finally, we setup a post-experience interview to collect visitor impressions after they had a few minutes to process what they had seen. I will share the highlights of these experiences, but full transcripts will be published at the end of the summer.
[SLIDE: Version 1]
In the first test, information about the three replicas of the Resting Satyr was displayed on small labels in augmented reality in front of the digital pieces. By placing the labels in augmented reality, we were able to reinforce the user expectation of the museum space. While all participants we interviewed agreed that the experience was consistent with their expectations within a museum, the purely visual experience failed to augment the sculpture. Most participants expressed that they had no sense of what they were supposed to be seeing. One visitor guessed that all the replicas were just more modern copies by different artists of a lost original. Another was more fascinated with the digital models than the torso in the museum. It quickly became apparent that, to achieve our goals, the experience needed an audio component.
[SLIDE: Version 2]
One of our primary concerns was avoiding designing cultural narratives into the experience, that while attractive in elegance are weak in historical support. For example, in Version one, I mentioned that one viewer guessed that each digital sculpture was just a more modern copy of a lost original. As Professor Elaine Gazda argues brilliantly in many books and articles, Roman artists were not merely "copying" Greek originals when they created a replica. Roman works of art were not merely straightforward copies of lost Greek "originals," known from literary references. Such narrativization often ignores or suppresses inconvenient questions about how the Romans integrated sculpture into their own cultural context and what they borrowed, emulated—or were inspired by—in a meaningful, even original, way. We did not want to communicate these restrictive viewpoints to visitors and inadvertently proliferate older art historical narratives that have since been revised. We therefore introduce our sculpture as one of many replicas, and discuss the Resting Satyr's importance and role in both the Greek and Roman period, as well as the notion of the "copyist addition." The Glyptothek Satyr presents an excellent opportunity to introduce this concept, as in this version, a cista covered with a Satyr mask rests beside the main figure, further connecting the satyr to Dionysiac ritual.
Based on our feedback from Version 1, to avoid inadvertently instantiating these types of narratives, the experience needed cues beyond the bare models and labels. The next version therefore included audio. Voice recordings presented a series of free-roam narrative segments related to the Resting Satyr. We hoped to achieve a conversational atmosphere, like you might have while visiting the museum with an expert as a guide. Like an audio tour, the experience is piped through the headset and does not interfere with the experience of other visitors. It solves the same problems as an audio tour in terms of enhancing the affordances of the museum label, but unlike an audio tour it is capable of tracking the visitor's changing visual focus.
Once complete, version 2 was presented to the friends of the museum. In post-experience interviews, viewers were much more responsive about the educational elements of the experience. For example, one participant found the additional models uniquely helpful for visualizing the complete sculpture, and the accompanying audio helpful in gaining a fuller historical understanding of the piece. Instead, most of the problems in version 2 instead surrounded user interactions. Viewers were not prepared to learn a new set of technology controls for audio within the five-minute experience. The advantage of the purely visual experience had been that it required no onboarding. After the introduction of audio, we frequently heard questions like "The sound went away. Can you fix it?" In addition, while version 2 had been more successful at communicating a complex narrative for the sculpture, it still did not give the viewer a sense of display context. In addition to providing additional education content, our hope was that adding in display context would also finally help enhancing the aura around the sculpture.
[SLIDE: Version 3]
The current design was produced in collaboration with a group of undergraduate students working under Professor Bernard Frischer and I. the students were asked to research the Resting Satyr, and their final project was to design a digital exhibit for the Eskenazi museum.
In the current design, a visitor wearing the Microsoft Hololens first encounters the physical Resting Satyr torso without any digital content. Some audio cues and small visual prompts slowly begin to appear after the HoloLens detects that the viewer has moved around the sculpture and looked carefully for a few minutes.
[SLIDE: Pasquino]
The augmented reality narrative begins in earnest with the Resting Satyr speaking to the visitor as if he were a speaking statue, like the ones right here in Rome. Rather than political and social commentary, however, he tells what he has seen during his long life. Beginning in the ancient Greek period, he discusses Satyrs themselves and their liminal role joining myth and reality. He considers workmanship and practices of sculptors, as well as his own materiality. He then takes a viewer to the temple of Dionysos, where they are invited to consider how he might have been displayed, who might have chosen to dedicate him there, and why.
Next, the Resting Satyr shrinks in size, and takes a viewer to a Roman atrium house. Studies of smaller decorative copies created for the courtyards of houses and private gardens and for less grand fountain houses and waterworks.
[SLIDE: Cicero]
To help the visitor question why certain sculptures were chosen for domestic display, we present the letters of Cicero to Gallus, which demonstrate how a Roman public figure like Cicero went about choosing sculpture in the first century BC. Authorized to purchase sculptures on Cicero's behalf, Gallus is said to have procured the wrong sorts of statues: he chose Bacchant subjects to adorn Cicero's library. Gallus seems to have justified his decision by comparing the statues to "Metellus's Muses" - a comparison which sends Cicero into a carefully staged rhetorical rage. After viewing several Roman display contexts, the visitor is invited to indicate which sculptures they also might have chosen for display.
Finally, the Satyr brings the viewer to Rome, to the pendant display underneath the Via Cavour. The viewer is invited to contrast the style of the Resting Satyr in the Montemartini to our Resting Satyr, as well as the style of the other sculptures in the pendant display. Then a reconstruction of the house surrounds the Resting Satyr torso, and the other sculptures from the pendant display slowly appear.
When the experience closes, the Resting Satyr returns the viewer to our gallery in the Eskenazi and invites them again to consider carefully his narrative, and how works of art both convey and accumulate stories around them. Although we foresee difficulties of previous versions persisting in our latest design, we are hopeful that it will be an excellent next step in achieving our goal of maintaining object primacy, while encouraging close looking.
[SLIDE: Conclusion]
The experience I've presented today, while not perfect, is the closest we've come to achieving our original goal of conveying the historical context of the Resting Satyr through natural, curious examination of the object itself. Although we have not been able to fully test this latest version, and are certain more revisions will be needed, it is an excellent next step. I hope you have found our design journey an interesting one. More than anything, I hope to have critically reflected for a brief period if an augmented reality experience detracts from the aura of a work of art. In the experience of the work of art we transcend the confines of our historical moment and the walls of the museum to touch, and be touched by, everyone else who has encountered it. We do not achieve such a transcendent encounter through technology; rather, the best implementations of technology remove the barriers between us and that encounter: egotism, ignorance. The aura and presence of the artwork insists on the humanistic process of mourning and explication. Augmented reality technology may help us tell the story, but it is the work of art that moves us. Thank you.


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"Tony, trying to get you to stop has been one of the few failures of my entire life."
"Avengers: Endgame" quotes(2019)
Title Avengers: Endgame
Year 2019
Directors Anthony Russo, Joe Russo
Genre Sci-Fi, Adventure, Action
Year 2019
Directors Anthony Russo, Joe Russo
Genre Sci-Fi, Adventure, Action
Interpreted by
- Robert Downey Jr.
- Chris Evans
- Mark Ruffalo
- Chris Hemsworth
- Scarlett Johansson
- Jeremy Renner
- Don Cheadle
- Paul Rudd
- Benedict Cumberbatch
- Brie Larson
- Zoe Saldana
- Evangeline Lilly
- Rene Russo
- Tom Hiddleston
- John Slattery
- Tilda Swinton
- Jon Favreau
- Hayley Atwell
- Natalie Portman
- Marisa Tomei
- Angela Bassett
- Michael Douglas
- Michelle Pfeiffer
- William Hurt
- Vin Diesel
- Bradley Cooper
- Gwyneth Paltrow
- Robert Redford
- Josh Brolin
- Chris Pratt
- Samuel L. Jackson
- Stan Lee
- Ken Jeong
- Sebastian Stan
- Tessa Thompson
Plot – In the sequel to "Avengers: Infinity War" every form of life in the universe has to deal with the consequences of Thanos' actions. The avengers who survived the titan's murderous fury must now, once again, join forces and restore the balance throughout the universe.
All actors – Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Benedict Cumberbatch, Chadwick Boseman, Brie Larson, Tom Holland, Karen Gillan, Zoe Saldana, Evangeline Lilly, Tessa Thompson, Rene Russo, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Tom Hiddleston, Danai Gurira, Benedict Wong, Pom Klementieff, Dave Bautista, Letitia Wright, John Slattery, Tilda Swinton, Jon Favreau, Hayley Atwell, Natalie Portman, Marisa Tomei, Taika Waititi, Angela Bassett, Michael Douglas, Michelle Pfeiffer, William Hurt, Cobie Smulders, Sean Gunn, Winston Duke, Linda Cardellini, Maximiliano Hernández, Frank Grillo, Hiroyuki Sanada, Tom Vaughan-Lawlor, James D'Arcy, Jacob Batalon, Vin Diesel, Bradley Cooper, Gwyneth Paltrow, Robert Redford, Josh Brolin, Chris Pratt, Samuel L. Jackson, Lexi Rabe, Ross Marquand, Joe Russo, Emma Fuhrmann, Michael James Shaw, Terry Notary, Kerry Condon, Ben Sakamoto, Ava Russo, Cade Woodward, Stan Lee, Yvette Nicole Brown, Callan Mulvey, Lia Mariella Russo, Julian Russo, Taylor Patterson, Agostino Rosalina, Ken Jeong, Ty Simpkins, Jackson A. Dunn, Lee Moore, Bazlo LeClair, Loen LeClair, Matthew Berry, Joy McAvoy, John Michael Morris, Michael A. Cook, Brent McGee, Brian Schaeffer, James Wedel, Anthony G Breed, Erica Ribley, Monique Ganderton, Jim Starlin, Jimmy Ray Pickens, Hye Jin Jang, Russell Bobbitt, Jack Champion, Sam Hargrave, Patrick Gorman, Aaron Lazar, Robert Pralgo, Tom Wisdom, John Posey, James Lin, Ameenah Kaplan, Olaniyan Thurmon, Jennifer Elmore, Mike Lutz, Jennifer 'Ms Fer' Russell, Raul Alcantar, Vincent Angel, Tevin Beech, Cameron Brumbelow, Jamaal Burcher, Daniel Callister, Eric Patrick Cameron, Timothy Carr, Jamel Chambers, Carrie Coon, Jaylen Davis, Kiersten Dolbec, Roe Dunkley, Nolan Ekberg, Steven Essani, Jacob Evans, José Alfredo Fernandez, Andy Field, Ami Fujimoto, Renah Gallagher, Daniela Gaskie, Brent Moorer Gaskins, Khalid Ghajji, Penelope Kathryn Golden, Emelita T. Gonzalez, Colin Goodwin, Anthony B. Harris, Maxwell Highsmith, Bobby Hoskins, Floyd Anthony Johns Jr., Jay D. Kacho, Mari Kasuya, Maurice P. Kerry, Camille Kinloch, Faith Logan, Monica Mathis, Shaun McMillan, Michael Pierino Miller, Samantha Mishinski, Marie Mouroum, Daniel L. Murphy, Keith Nussbaum, Robert Payen, Paul Pillsbury, Dustin Pitan, Ryan L. Price, Serkan Safak, Jan Strasek, James Robert Taylor, Kris Taylor, Travis Thompson, Greg Tiffan, Robert Tinsley, Eric Wallace, Benjamin Weaver, Miles Webb, Alexa Whitaker, Maria Z. Wilson, Eric Wordshow all
"Avengers: Endgame" Quotes 10 quotes
"You could not live with your own failure, and where did that bring you? Back to me."
"- Steve Rogers: Don't do anything stupid until I come back.
- Bucky Barnes: How can I? You're taking all the stupid with you."
"We lost. All of us. We lost friends. We lost family. We lost a part of ourselves. This is the fight of our lives."
"We go back, we get the stones before Thanos gets them, Thanos doesn't have the stones! Problem solved!"
"If you go into the past, that past becomes your future, and your former present becomes the past, which can't now be changed by your new future!"
"No amount of money ever bought a second of time."
"The world has changed. None of us can go back. All we can do is our best. And sometimes the best that we can do... is to start over."
"Thanos did what exactly he said he was gonna do. He wiped out 50% of all living creatures."


text:
Heroes 3.5: Wake of Gods Portal > WoG Revised download
WoG Revised download
Did you know...
Only Conflux mage guilds can teach heroes all four summon elemental spells.
|File Size
|02.01. 2018
This mod removes or fixes all bugged scripts from Era and replaces them with other options. A few ones were replaced because (IMO) they were decorative only and without any improvement to the game-play.
Changes in WoG 3.58 scripts:
[+] Henchman was modified by Berserker.
[+] First money script fixed (redraw status bar)
[+] Artificer will also purchase your artefacts for either mithril or gold.
[+] Fnord 3.59 script "Monsters will drop resources when defeated"
[+] Fnord 3.59 script "Monsters will drop artefacts"
[+] Secondary skills script was fixed (tactics again) BR->BF
[+] "Disable autosave" was replaced by Fnord 3.59 script "Swap troops between Heroes"
[+] Hints added to scripts which may not be compatible between or create impossible gameplay, ie random hero + enhanced warmachines + karmic battles, good luck
[+] Mithril enhancements fixed (AI will not receive negative gold after mithril conversion)
[+] Resolve Battle, by Valery and Berserker
[+] Call to Arms by Berserker
[+] Town Treasuries by Fnord
[-] Sabotage buildings was removed from Espionage III script.
[-] "Passable terrain" removed
[-] "Split decision" removed
Custom Scripts added
(Author: Berserker)
[+] Fast troops placement
[+] Gnolls marauders first strike
[+] Distant Death Stare
[+] The grand manoeuvre
New scripts:
Resolve Battle: click on auto-combat to instantly finish the battle, without any mana spent.
Monsters drop resources
All monster stacks on the map have gold and possibly either wood or ore or a precious resource (or sometimes wood/ore + a precious resource) that you can claim if you defeat them in combat.
And many more…