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How to Find Participants to Join Your Design Event?
This Article Explains Ways and Tips to Find Participants to Join Your Design Event
If you are working in an association, a community or an organization, you will one day organize an event such as a fair, an exhibition, a competition or an award, and you will need participants. Any event becomes an important event with a high number of participants and events become more credible, only if, your real niche is actually present in the organization as a sponsor or participant (i.e. your event is worthy of talk if the right people join your event). I will demonstrate the issue of finding event participants from the view perspective of organizing awards, as awards are great ways to communicate your organization. First of all, you should determine which kind of participants will join your event. For a design award, participants would be companies producing design goods, design studios, design businesses, freelancer designers, and other design related people. Lets' start with the companies, by asking yourself: Which kind of companies should join a design award? The answer is; all companies should participate in design awards, because design awards are a cheap way to advertise your product or service and there are many awards, many of them with exceptionally high returns of investment when compared to other methods of advertising, as awards not only help you reach further people but also create a reason to communicate and also increase the authority and credibility of the companies. Companies who have already won awards, should rejoin in order to increase their rankings or to establish or re-establish their positioning as a producer of design goods or supplier of design or high-end services. Companies who have good design products or really good services, should join in order to communicate themselves further and in order to reach a design sensitive audience by winning the award.So, now the question is how to find these companies and how to contact them? There are three easy ways to find the companies. Before all, you will want to make a spreadsheet file to keep a track of companies you contact and invite, therefore it is important to prepare this spreadsheet file first, your spreadsheet should also include column for a follow up – second call date as you will often find that companies will be very interested at first but will later forgot to participate, so by making a follow-up, you can remind them to join your award. Now let's assume that you have made your file, so let's fill it.First of all, what you would want to do is to find relevant companies and other participants to your niche. Here are three ways to do it. First of all, start with your organizations members, and continue with similar organizations members. Reach other associations member lists from their webpages. Second, if there are people who have joined similar other events, it is likely that they would join your event too, so if you are organizing a design award, contact people who had previously joined design awards, you can find the list of participants or list of winners from other awards pages. Thirdly, trade associations, interest groups and connectivity hubs will be relevant, for example conferences about design, are a way to start. After you find your companies, you will want to make a clear presentation of what your event is, and what are the benefits to the participants, in addition to further visibility and communication, talk about prizes if any. Once your presentation is ready, you should also write an email template which you will use to contact prospective participants.Contacting companies: After you prepare your presentation and email template, send the relevant people an email and call them as a follow-up. Relevant people are Public Relations, Marketing and Advertising department people. Talk you way to the relevant people (you will most probably have to explain yourself several times among the communication chain from the secretaries to the relevant decision makers). To practice, prepare a small sheet with facts you might want to talk, for example existing number of participants, other important participants, benefits etc, and start with smaller companies so that you learn how to communicate and pitch it better among the way. Once you call companies and talk to decision makes also make notes on how to improve your event, listen to their feedbacks as it is valuable; these people are successful people and their ideas should count in order to make a better event. You might want to prepare a survey of three questions. This can actually generate more leads as companies will understand that you are taking this event seriously. So, that is it for companies, to find individuals who are not yet member of your organization, however, is more difficult, you will most probably need mass reach or advertisement, for example you can do targeted advertisement campaign for keywords in search engines, reach prominent blogs or magazines, and advertise at relevant locations and other events, this will require some budget. A costless way is to prepare a presentation and press release of your event and contact the editors of magazines, blogs, and other media channels. Do a professional press release distribution, some editors might pick-up your event and advertise it for free, if they do not, you should indeed contact them, repeat your survey and talk with them. It is always the best to call them, after sending them an email to do a follow-up. Do a thank-you follow up if they feature you, it is nice to be nice and takes little or no time. Exerpt:If you are working in an association, a community or an organization, you will one day organize an event such as a fair, an exhibition, a competition or an award, and you will need participants. Any event becomes an important event with a high number of participants and events become more credible, only if, your real niche is actually present in the organization as a sponsor or participant (i.e. your event is worthy of talk if the right people join your event). I will demonstrate the issue of fi..
How to Find Participants to Join Your Design Event? Images:
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Sometimes Optimizations Cancel Each Other
In 1906, O. Henry wrote a short story called The Gift of the Magi about a poor couple, each of whom had one prized possession. They sold these possessions in secret to buy gifts for each other — and each gift was rendered worthless by the other's sale.
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Two rights can make a wrong in the software-design world, too. The most common case is when a language implementer sees that users tend to solve a particular program in a particular way, and go out of the way to make the implementation work efficiently when that solution appears. Meanwhile, some programmers think the obvious strategy is inefficient, so they choose what looks like a better alternative that winds up being slower.
One classic example is the technique of strength reduction, in which an optimizing compiler replaces an intrinsically slow operation such as multiplication a faster operation such as addition. For example:
for (int i = 0; i != n; ++i) a[i] = 0;
In principle, evaluating a subexpression such as
a[i] requires multiplying
i by the length of an element of
a. Even if the compiler is clever enough to realize that the multiplication can be replaced by a shift instruction, many computers take substantially longer to execute such an instruction than they would take to execute an addition.
An optimizing compiler will realize that
a[i] is being evaluated in a loop with the value of
i each time through the loop that is one greater than its previous value. It will therefore rewrite the loop to be something like this:
int* p = a; for (int i = 0; i != n; ++i) { *p = 0; ++p; }
Here, the compiler has replaced
a[i], which requires a multiplication, with
*p, which does not. In exchange for that gain, it has had to insert extra code to increment
p each time through the loop. In effect, it has replaced a multiplication by an addition.
Suppose that
a is an array, and that the programmer decides to make this optimization explicit; that is, to code the second of these examples in place of the first. If the compiler is clever enough to have rewritten the code automatically if the programmer did not do so, the hand optimization is a waste of effort. In fact, the hand optimization might even be worse than just a waste of effort, because when the compiler sees
*p = 0;
in user-written code, it is entirely possible that for all the compiler knows,
p might be pointing to
i at this point. Therefore, after executing this statement, there is the possibility from the compiler's point of view that the value of
i might just have been reset to zero. This possibility means, for example, that the compiler cannot cache the value of
i in a register, but must store it in memory and fetch it each time through the loop — just because of the possibility that the programmer might have reset
i during the loop.
Of course, if the compiler, rather than the programmer, does the optimization, it knows that each time through the loop,
p is pointing at an element of
a, and therefore cannot be pointing at the local variable
i. More precisely, whoever wrote the part of the compiler that does this particular optimization knows that there is no need for that optimization to take into account the possibility that
p might be pointing at
i. As a result, it is entirely possible that the compiler might do a better job of optimizing this loop than it is possible for the programmer to do.
This is one example of a common phenomenon: When you rewrite code to make it faster, it is often possible that you are conflicting with a compiler's effort to accomplish the same end. Sometimes the result of this conflict is that the hand optimization is wasted; other times, the hand optimization might even make matters worse.
Next week, we'll look at some cases in which optimizations that look similar on the surface to this one are different enough from it that they actually are worth doing as you write a program for the first time.


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Countries (ECI)
Products (PCI)
Municipality in State in undefined
Exports (N/A): N/A,
Imports (N/A): N/A,
The N/A of undefined with the highest exports in N/A were Rio De Janeiro ($11.3B), Duque De Caxias ($10.4B), Parauapebas ($7.02B), Canaã Dos Carajás ($4.93B), and São Paulo ($4.14B)
The N/A of undefined with the highest imports in N/A were Manaus ($10.1B), São Paulo ($10.1B), Rio De Janeiro ($9.48B), Itajaí ($7.3B), and Macaé ($5.31B)
This section shows forecasts for total exports and imports from Filadélfia. The forecast is based in a Long Short-Term Memory Model constructed using monthly trade data.
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ST. LOUIS (KMOV) -- It sounds like a made-for-TV movie, but instead it's a real life nightmare for one St. Louis woman.
It's a typical North County ranch house on a tree-lined street.
Catrina McGhaw signed the lease without worry. Her section 8 voucher covered 810 dollars in rent.
Until a family member told McGhaw to check out a cold case documentary about serial killers airing on the A&E network.
McGhaw is living in the same Ferguson, Missouri house serial killer Maury Travis used as a torture chamber. The landlord even gave her the dining room table; the same one from the crime scene photos.
"When she showed us the house, she said you can have this table if you want," McGhaw said.
But it's what happened downstairs that freaks her out the most. That's where Travis recorded some of his crimes; at one point he sent the St. Louis Post Dispatch a map to identify victim 17. Some of the victims were tied to a pole in the basement.
"This whole basement was his torture chamber and it's not okay," she said.
McGhaw called her landlord, begging to get out of the lease, but the landlord wasn't sympathetic.
Turns out the landlord is the killer's mom.
"She said 'no you signed a lease you need to stay there until the lease is up.'''
News 4 called Travis' mother; she claims she told McGhaw about the home's dark past. McGhaw says that's not true, she would have remembered the people murdered in the basement part.
A local agent said murders, suicides and violent crimes don't require disclosure - only material defects need to be noted.
Although News 4 couldn't get Travis' mom to budge, the St. Louis Housing Authority did.
McGhaw says she will be moving at the end of July, which can't come soon enough.
She says things keep getting weirder, and can't stop thinking about an incident with a two year old relative that was playing in the basement near the pole where Travis tied up his victims.
"She looked over and she was like she's scared like she saw somebody scared and crying and nobody was there, nobody there," McGhaw recalled.
It's not clear how many woman Maury Travis murdered. He killed himself in the St. Louis County Jail in 2002.


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Difference between revisions of "North America"
Revision as of 05:22, 8 August 2010
North America is the third largest continent, with a surface area of 24,221,490 sq km (9,351,969 sq miles). It is located in the northern hemisphere, between the Pacific Ocean and the Atlantic Ocean and to the north of South America. North America's highest point is Alaska's Mount McKinley, which rises to 6,194 m (20,320 ft) above sea level.
North America consists of three large nations and one large island territory that covers most of its area. They are Canada, the United States of America (USA), Mexico and Greenland. There are also seven smaller nations at its southern extreme (collectively known as Central America), around two dozen island nations and territories of various sizes in the Caribbean and one isolated French territory off the Canadian Atlantic coast. Although the Central American and the Caribbean regions are technically part of the North American continent, they are commonly listed separately from their larger neighbors to the north and hence the distinctive region names for both cultural and geographical reasons.
Other destinations
Get around
By air
Because population centers are often widely spaced, most long-range travel is by air, with an extensive network of major hubs and smaller regional airports, usually supplemented with car rental services to cover local travel (see "By car").
By bus
There is prolific long range bus service across most of the US and Canada, but travel times are excessively long (on the order of three to five times as long as a direct trip in a personal vehicle) and many stations are relatively unsafe. Most bus service is useful only for traveling within a dense metro area or along major commuter routes and is then limited or unavailable outside of business hours.
By car
Most travel in Canada, the United States, and Mexico is by personal vehicle. Almost all highways in Canada and the United States are well maintained, with amenities such as gas, food, and lodging ranging from adequate to very convenient to excessive. If you experience an emergency that endangers your life, safety, or property, you will be able to dial 911 from a compatible cell phone on almost any major highway and reach an operator at any time. Vehicle and medical insurance issued in either Canada or the U.S. is usually valid in the other, though the wise traveler will confirm with their insurer. Canada and U.S. insurance coverage in Mexico is sometimes limited or not honored. Again, the wise traveler will confirm with their insurer.
Car rental agencies are available at almost every airport. Usually a major credit card and proof of liability insurance is required. Some agencies offer short term insurance and additional coverage.
By train
Although it once held much of the continent together, and remains useful for local travel in many metro areas, intercity train travel now ranges from relatively convenient in the Northeast Corridor, to manageable in California and parts of southeastern Canada, to sparse in other parts of the continent. If you prefer to travel by rail, it's still possible (depending on where you go), but it offers neither speed nor convenience. As noted above, the exception is the Northeast Corridor area, which links Washington, D.C. to Boston with frequent stops in intermediate cities such as Baltimore, Philadelphia, New York City, New Haven, and Providence. It is explained in detail on the Rail travel in North America article.
Stay safe
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Joe Thomas named Miami Dolphins 2016 Walter Payton Man of the Year
Offensive lineman Joe Thomas received an award - Miami Dolphins 2016 Walter Payton Man of the Year. The Dolphins were proud to recognize Thomas contributions with this honor.
The award, named for Pro Football Hall of Fame running back Walter Payton, goes to one player on each of the league's 32 teams who displays community service and excellence on the field.
Thomas is the only Dolphins member to recieve the award multiple times. He received the honor in 2010 and was one of three NFL finalists in 2012.
In the 2007 NFL Draft, Thomas was the NO.3 overall pick. He played every possible offensive snap in his all 156 games, which is the longest active stretch in the NFL.
Thomas is the only offensive lineman in league history to be selected to the Pro Bowl in his first nine seasons.
Also, he is the Dolphins' 2016 Salute to Service Award recipent.


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If today wasn't my husband Mark's birthday I would have no idea that it's also Pi Day. But, thanks to him I'm well aware and every year, I have a great excuse to make him a pie. Last year, it was chicken pot pie. This year, it's silky, dreamy chocolate heaven on a plate!
I'm no baker, so my search for a simple recipe that didn't include Jell-O or a pre-made crust was no easy task. But, I eventually landed on this recipe, originally from Gourmet magazine, and knew I was in luck. This chocolate cream pie and its crust, baked from scratch top to bottom, was a piece of cake (or, pie) to make and absolutely delicious!
. . . Well, I only know that from a few finger swipes into the chocolate filling, which was like a subtly sweet chocolate mousse. But, I'm thinking that the whole thing together probably does taste pretty darn good!
Tonight, I'll cook him a nice dinner, probably sing a pretty bad rendition of "Happy birthday", complete with earplugs for all, and we'll go out for drinks to ease any pain inflicted. He'll open his gift and enjoy this pie with me and hopefully be happy with how his big 2-8 went down. This weekend, it's a celebration in San Francisco with his family, filled with good wine, food and lots of fun!
All my love, appreciation and happy birthday wishes to the sweetest guy I know. You get the big slice tonight, honey!
Craving more? Keep in touch on Facebook, Twitter, Pinterest and Instagram for new post updates and more. You can also check out my FAQ page, or contact me with any questions or inquiries!
Chocolate Cream Pie
Yield: Makes 8 to 10 servings
For crust
1 1/3 cups chocolate wafer crumbs (from about 26 cookies such as Nabisco Famous Chocolate Wafers)
5 tablespoons unsalted butter, melted
1/4 cup sugar
For filling
2/3 cup sugar
1/4 cup cornstarch
1/2 teaspoon salt
4 large egg yolks
3 cups whole milk
5 oz fine-quality bittersweet chocolate (not unsweetened), melted
2 oz unsweetened chocolate, melted
2 tablespoons unsalted butter, softened
1 teaspoon vanilla
For topping
3/4 cup chilled heavy cream
1 tablespoon sugar
Make crust: Put oven rack in middle position and preheat oven to 350°F.
Stir together crumbs, butter, and sugar and press on bottom and up side of a 9-inch pie plate. Bake until crisp, about 15 minutes, and cool on a rack.
Make filling: Whisk together sugar, cornstarch, salt, and yolks in a 3-quart heavy saucepan until combined well, then add milk in a stream, whisking. Bring to a boil over moderate heat, whisking, then reduce heat and simmer, whisking, 1 minute (filling will be thick).
Force filling through a fine-mesh sieve into a bowl, then whisk in chocolates, butter, and vanilla. Cover surface of filling with a buttered round of wax paper and cool completely, about 2 hours.
Spoon filling into crust and chill pie, loosely covered, at least 6 hours.
Make topping: Just before serving, beat cream with sugar in a bowl using an electric mixer until it just holds stiff peaks, then spoon on top of pie.
Adapted from Epicurious


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When my friend Lau (the one who gave me the piggy and likes compote aux pommes) played a few songs off of Israeli singer Noa's "best of" CD from France ("Le Meilleur de Noa") a few years ago, I was hooked. Within a year, I had bought almost all of her CDs, importing many from Israel. In particular, I love her 2002 remake of the Beatles hit "We Can Work it Out" with Palestinian Mira Awad. A note on Awad's nationality — on her website, she refers to herself as Palestinian, so I am deferring to her preference; I have elsewhere seen her called "Israeli Arab" and "Israeli Arab Christian." I think this song is a beautiful cover with a great message. And it appealed to my love of music and art (and dance) bringing people together.NOTE: This video is from a Dutch TV show that includes Noa's and Mira's opinions on the political situation in Israel. The song is on Noa's CD "Now" and on iTunes.
And then about 2 months ago, I learned that Noa and Mira Awad are again collaborating and I have been eagerly waiting to find out what they would come up with: they will represent Israel in the Eurovision song contest in May 2009. They composed 4 different duets and the winner, "Einayich" means "Your Eyes;" the English title is "There Must be Another Way" and it is sung in Hebrew, Arabic, and English. Since I first heard it a few weeks ago, I have found myself humming its refrain, loving how Noa and Mira's voices mix so beautifully.
Here are the words to the song, from Noa's website:
There Must Be Another Way
Words and music: Noa, Gil Dor, Mira Awad
There must be another way
There must be another way
עינייך אחות
– your eyes, sister –
כל מה שליבי מבקש אומרות
– say everything my heart wants to say –
עברנו עד כה
– we've come a great distance –
דרך ארוכה
דרך כה קשה
– our road has been long and hard –
יד ביד
– hand in hand –
והדמעות זולגות זורמות לשוא
– and the tears fall, flow, in vain –
כאב ללא שם
– our pain has no name –
אנחנו מחכות
– we are both waiting –
רק ליום שיבוא אחרי …
– for the day 'after' –
There must be another way
There must be another way
عينيك بتقول (עינייך אומרות)
– your eyes say –
راح ييجي يوم وكل الخوف يزول (יבוא יום וכל הפחד ייעלם)
– one day, the fear will be gone.. –
بعينيك اصرار (בעינייך נחישות)
– in your eyes there is determination –
انه عنا خيار (שיש אפשרות)
نكمل هالمسار (להמשיך את הדרך)
– that we can continue our journey –
مهما طال (כמה שתיארך)
– for as long as it takes –
لانه ما في عنوان وحيد للاحزان (כי אין כתובת אחת לצער)
– for there is no address to sorrow –
بنادي للمدى, للسما العنيده (אני קוראת למרחבים, לשמיים העיקשים)
– I cry to the open plains, to the merciless sky –
There must be another way
There must be another way
There must be another, must be another way
דרך ארוכה נעבור,
– a long and hard journey lies before us –
דרך כה קשה,
יחד אל האור,
– together, on our way to the light… –
عينيك بتقول (עינייך אומרות),
– your eyes say –
كل الخوف يزول (כל הפחד ייעלם)
– all the fear will someday disappear –
And when I cry I cry for both of us
My pain has no name
And when I cry I cry to the merciless sky and say
There must be another way
והדמעות זולגות זורמות לשוא
– and the tears fall, flow, in vain –
כאב ללא שם
– our pain has no name –
אנחנו מחכות
– we are both waiting –
רק ליום שיבוא אחרי
– for the day 'after' –
There must be another way
There must be another way
There must be another, must be another way
Obviously I'm not the only one to recognize the overt symbolism here (for example, there was an article written in Time about it last week) — an Israeli and a Palestinian, their voices rising together on the same stage, representing one country.
But, perhaps I was one of the few people inspired to make a salad!
The first time I made this particular salad was for my graduate school's multicultural food festival. I managed to step into a little controversy by being an American helping out the Israeli club and not quite following directions. We divvied up responsibilities – falafel, hummus, tabbouli, and Israeli salad — and I chose to make the salad because it was the healthiest. Plus, I figured I knew how to make typical Israeli salad of tomatoes, cucumbers, and parsley or mint because when I volunteered with the Israeli army through Sar El after my freshman year in college, we ate this salad with every single meal including breakfast.
Never satisfied to leave simple enough alone, I had just bought a new cookbook — Joan Nathan's The Foods of Israel Today — and browsing through it, found a recipe called "Kibbutz Vegetable Salad" that was described as follows:
Sometimes called Turkish Salad, this typical Israeli salad, served at almost every meal, has many variations. But one thing remains the same: the tomatoes, onions, peppers, and cucumbers must be cut into tiny pieces, a practice of the Ottoman Empire…
It sounded to me like a traditional "Israeli salad" with some peppers thrown in. I actually think of "Turkish" salad as a cooked salad, almost like a tomato sauce spiced with roasted peppers. In my mind, the salad described in the recipe seemed like a more colorful version of traditional "Israeli salad."
But when I brough this salad to the food festival, proud of my beautiful confetti of colors, one of my Israeli classmates looked at it, sneered, and said, "that's not Israeli salad, that's Arab salad." Hers looked something like this:
While perhaps not perfectly authentic, my salad didn't deserve a snub. This comment just made me want to throw my hands up in the air and say, "Can't we all just get along?".
And, actually, in doing my research, my understanding is that "Arabic salad" is more similar to "Israeli salad" than it is different. Both have finely diced cucumber and tomatoes. Both usually add onion, often spring onion. Both are dressed with olive oil and lemon. Both add a green herb, either parsley or mint or both. Neither ever includes lettuce.
So what was my classmate objecting to? The peppers? Was that supposed to be a statement? Please! The food festival was about food and sharing culture, not political statements. Granted, never having lived in Israel, I know I cannot understand the intricacies of Arab/Palestinian-Israeli relations nor can I fully appreciate the depth of the feelings and animosity between these two groups.
But I love the message that Noa and Mira Awad have shared with each other, with their communities, and, now more than ever, with the world. The current situation is unsustainable. There must be another way. And if Israelis and Palestinians come together and find common ground, slowly … eventually… we can work it out.
Yes, I am an idealist.
So, I used to call this Israeli salad. I no longer know what it actually is. But now I'm reclaiming it and renaming it.
Salade Mira-Noa
Adapted from Joan Nathan's The Foods of Israel Today. Dedicated to Noa and Mira Awad, and wishing them luck at Eurovision 2009 in Moscow.
This does take a long time to prepare because there is a lot of fine chopping. The salad is best eaten fresh alongside hummus and pita.
Serves about 10 people.
– 1 onion (I prefer red for its beautiful color)
– 1-2 T mild vinegar, either white vinegar or cider vinegar
– 2 cucumbers
– 5-6 tomatoes
– Peppers – I like a multicolor mix – 1 each of green, red, yellow, and orange to get that colorful confetti effect
– 2-3T olive oil
– 1 or 2 lemons
– kosher salt and freshly ground pepper to taste
– 1/2 – 1 t za'atar (a Middle Eastern spice mix that includes sesame and sumac)
Prepare onion first: chop and allow to soak in 1-2 T vinegar and a pinch or two of salt for ~30 minutes while you chop the rest of the veggies. Essentially this will give it a quick pickling to cut the onion's sharpness.
Finely chop the remaining vegetables – cucumbers, tomatoes, peppers — and mix in a large bowl with the onions.
Dress with juice of 1-2 lemons, a few pinches of salt, a few grinds of pepper, 2-3 T olive oil, and za'atar. Mix again.
Enjoy with friends.
[A very special thank you to Veronica and Joanna for helping me edit and edit and edit this posting, and to Judy for lending me the glass bowls.]


text:
- 1 Me
- 2 My Systems
- 3 Parent's Systems
- 4 System Customizations
- 5 Encoding
- 6 Custom Schedules
My Life
Electric Power Engineer living in Boston, MA
I can be reached for mythtv purposes at adeffs_dot_mythtv_at_gmail_dot_com.
My Myth Contributions
I don't really code, but I try to be active in bug and feature testing.
This project has been moved to Google Code to make managing it easier.
TVRage.com import perl script for adding archived shows to the MythTV Watch Recordings DB or the MythVideo? database (pre-0.22).
I wrote a script for handling my DCT-6200 cable boxes connected via firewire that changes the channel and uses firewire_tester to stabilize the connection before Myth tries to record. This has, over the last two years, allowed me to not fail in recording a single show.
To use, set it up in mythtv-setup as the channel change script. Give it the GUID of the box as shown in mythtv-setup. The script takes two variables, the first being the GUID (which is why you have to specify it) and the second is the channel number (which mythtv automatically feeds it at the end of the command you give it). The script then changes the channel on that GUID and runs firewire_tester. In running firewire_tester it requires that it show the connection is stable twice. If it iterates 10 times it will automatically re-tune the channel, and after 50 attempts total it will send Myth the "failed" result, otherwise it will send Myth the "success" result.
You can change the script to use another channel changer if you require.
#!/bin/bash # GUID=`echo "$1"|sed -r "s/[A-Z]+/\L&/g"` CHANNEL=$2 NODE=`plugreport | grep $GUID | awk '{if (($1 == "Node") && ($4 == "'"0x$GUID"' ")) print $2}'` echo "Node: '$NODE'" echo "Changing to channel $CHANNEL" 6200ch -v -s -g $GUID $CHANNEL #maybe a pause is needed? sleep 4 STABILIZE="1" COUNT=0 TOTALCOUNT=0 STABLECOUNT=0 echo "Stabilizing Firewire Connection!..." #maybe an initial run followed by a verification run? #initial run firewire_tester -B -r2 -n$NODE #while [ "$STABILIZE" != "Broadcast Fix: Success (already stable)" ] while [ $STABLECOUNT -lt 2 ] do STABILIZE=`firewire_tester -B -n$NODE|grep "already stable"` if [[ "$STABILIZE" != "Broadcast Fix: Success (already stable)" ]] then echo "Not Stable! Attempt $COUNT" ((COUNT+=1)) ((TOTALCOUNT+=1)) if [ $TOTALCOUNT -gt 50 ] then echo "FAILED to Stabilize!!" exit 1 fi if [ $COUNT -gt 10 ] then 6200ch -v -s -g $GUID $CHANNEL COUNT=0 firewire_tester -B -r2 -n$NODE fi else echo $STABILIZE ((STABLECOUNT+=1)) fi done echo "Stable!" exit 0
My Systems
I've since moved on from MythTV after moving out of the 5br apartment I lived in with housemates and now use a TiVo Roamio.
Dedicated Back End
- ASRock 970DE3/U3S3 AM3+ AMD 770 SATA 6Gb/s USB 3.0 ATX AMD Motherboard
- AMD FX-8120 Zambezi 3.1GHz Socket AM3+ 125W Eight-Core Desktop Processor FD8120FRGUBOX
- Crucial Ballistix sport 8GB (2 x 4GB) 240-Pin DDR3 SDRAM DDR3 1333 (PC3 10600) Desktop Memory Model BLS2KIT4G3D1339DS1S00
- Norco RPC-810 4U Rackmount Chassis (wonderful!!)
- Corsair CMPSU-650TX 650W Power Supply
- Maxtor 7L300R0 300GB System Drive
- 6x500GB 7200RPM 8MB cache, SATA Recording Drives via Storage Groups
- Tuners
- Ceton InfiniTV 4 - Quad-tuner Card, w/ CableCard
- EVGA EVGA 113-YW-E115-TR - LGA 775 NVIDIA nForce 730i HDMI ATX Intel Motherboard
- Intel Pentium E5200 Wolfdale 2.5GHz - LGA 775 65W Dual-Core Desktop Processor BX80571E5200
- 2x1GB DDR2, 2x512MB DDR
- CORSAIR CMPSU-750TX 750W ATX12V / EPS12V Power Supply
- 6x2TB SATA
- TV Rips, HDTV conversions
- Music
- Movies
Theater Room Frontend
- Antec Silver on Black Veris Fusion - 430 Micro ATX Media Center / HTPC Case with IR receiver
- Seagate ST3802110ACE 80GB system drive
- LG GH20NS15 SATA DVD Burner
- BIOSTAR N68PA-M2T TForce TF7050-M2 AM2 NVIDIA GeForce 7050PV HDMI Micro ATX AMD Motherboard
- AMD Athlon 64 X2 4000+ Brisbane 2.1GHz Socket AM2 65W Dual-Core Processor ADO4000DDBOX
- Kingston 2GB (2 x 1GB) 240-Pin DDR2 SDRAM DDR2 800 (PC2 6400) Dual Channel Kit Desktop Memory Model KVR800D2K2/2GR
- ASUS ENGT430/DI/1GD3(LP) GeForce GT 430 (Fermi) 1GB 128-bit DDR3 PCI Express 2.0 x16
- AVS Gear GP-IR01BK Windows Vista Infrared MCE Black Remote Control
Frontend Theater/Stereo Equipment
- Samsung PN60F5350AFXZA - 60" 1080p Plasma
- Denon AVR-3806 - being used as a Pre/Pro
- Parasound HCA-1205A - 5x120W Amp
- Sony BDP-S390 Blu-ray Disc Player
- Belkin PureAV PF-60 Power Center, Silver
- Logitech Harmony 700 Universal Remote Control
- Pioneer SP-FS51-LR Floorstanding Speakers
- Pioneer SP-C21 Center Channel
- Pioneer SP-BS41-LR 2CH Bookshelf Loudspeakers as surrounds
Old Speakers:
- Paradigm Reference Studio(v.2) 40's, Studio CC(v.2) and Titan's for surround
Current Personal Bedroom Equipment
- Home Theater Master MX-500 Universal Remote Control
- ASUS MT276HE Black 27" 2ms(GTG) HDMI Widescreen LCD Monitor
- Energy Take 5 Speakers, White
- Panasonic SA-XR57 A/V Receiver
- Oppo 981HD DVD/SACD/DVD-A player
Current Housemate Bedroom Equipment
- Logitech Harmony 650 Universal Remote Control
- Sony KDL32L4000 Sony 32" LCD TV
- Denon AVR-1909 Surround Receiver
- PlayStation 3
- Paradigm Atom x2, Titan x2, CC-50
Parent's Systems
I built a home Myth system for my parents, here's what they have.
Combined Backend/Frontend
- EVGA 112-CK-NF77-A1 - LGA 775 NVIDIA nForce e-7150/630i HDMI Micro ATX Intel Motherboard
- Intel Pentium E2160 Allendale 1.8GHz - LGA 775 65W Dual-Core Processor Model BX80557E2160 (overclocked to 3.0GHz and counting!)
- CORSAIR XMS2 2GB - DDR2 SDRAM DDR2 800 (PC2 6400) Dual Channel Kit Desktop Memory Model TWIN2X2048-6400C4
- SAMSUNG SH-S222A - DVD Writer
- ECS Silent Series NSGT220-1GQS-H GeForce GT 220
- 3xSAMSUNG EcoGreen F2 HD154UI - 1.5TB 32MB Cache SATA 3.0Gb/s
- 1xMaxtor MaXLine III 7L300S0 - 300GB 7200 RPM 16MB Cache SATA 1.5Gb/s
- 2xHauppauge HD PVR - High Definition Personal Video Recorder 1212
- 1x HDHomeRun with an HDTV Antenna
Kitchen Frontend
- Acer AspireRevo AR3700-U3002 - Nettop Intel Atom D525(1.80GHz) 2GB DDR3 250GB HDD Capacity NVIDIA ION graphics
Master Bedroom Frontend
- Acer AspireRevo AR1600-U910H - Desktop PC Intel Atom 230(1.6GHz) 1GB DDR2 160GB HDD Capacity NVIDIA ION LE
Office Frontend
Guest Bedroom Frontend
Spare (Old Personal Bedroom) Frontend
- Zotac MAG HD-ND01 Intel Atom 330 NVIDIA ION
- Western Digital Scorpio Blue WD1600BEVT 160GB 5400 RPM 8MB Cache 2.5" SATA 3.0Gb/s Internal Notebook Hard Drive
- AVS Gear GP-IR01BK Windows Vista Infrared MCE Black Remote Control
Spare (Old Housemate Bedroom) Frontend
As used by one of my housemates with his HDTV
- Foxconn NT-330I-A-B-NA-A Intel Atom 330 NVIDIA ION
- HITACHI Travelstar 5K500.B HTS545025B9A300 250GB 5400 RPM 8MB Cache 2.5" SATA 3.0Gb/s Notebook Hard Drive
- G.SKILL 2GB 200-Pin DDR2 SO-DIMM DDR2 800 (PC2 6400) Laptop Memory Model F2-6400CL5S-2GBSQ
- AVS Gear GP-IR01BK Windows Vista Infrared MCE Black Remote Control
Spare (Kitchen) Frontend
- Zotac ZBOX HD-ID11-U Intel Atom D510 NM10 NVIDIA ION GPU
- 2GB RAM (from MacBook upgrade)
- 250GB HDD (from MacBook upgrade)
- Rosewill Remote Control
System Customizations
Frontend Auto login
For those of us that want to run mythfrontend without a window manager, here is the information the dev's don't want you to see:
disable window manager
From, http://ubuntuforums.org/showthread.php?p=10798400#post10798400
assuming lightdm is being used,
echo "manual" | sudo tee -a /etc/init/lightdm.override
The splash screen can cause some problems, so I would suggest you to disable it. Edit the /etc/default/grub file and replace the line GRUB_CMDLINE_LINUX_DEFAULT="quiet splash" with GRUB_CMDLINE_LINUX_DEFAULT="quiet". Then generate a new Grub2 config file,
sudo update-grub
When X starts it looks to the users home directory for the .xinitrc file. There are two options at this point for how to use .xinitrc, one will load a window manager, the other will not.
No Window Manager
For no windowmanager, create/edit the user's .xinitrc and add,
xset -dpms s off xsetroot -solid black mythfrontend -l /home/mythtv/mythfrontend.log #mythtv-setup #xterm
This will turn off dpms, turn the X default background color black and log to /home/mythtv/mythfrontend.log. These options can, obviously, all be changed.
Also included is an easy way to access mythtv-setup or xterm, just uncomment the appropriate line and comment out the mythfrontend line.
Note that running mythfrontend without a window manager is not a supported configuration. You may run into focus problems when trying to press buttons, enter text and generally use the system. These issues have mostly been fixed in the newer versions of MythTV and many users run this method successfully, especially with Mythbuntu
X11 Remote Keymapping (ie LIRC-less)
ir-keytable or: How I Learned to Stop Worrying about the LIRC Kernel
Control your media player using your existing remote control
MythTV: Use All Buttons of Your Remote Control - Without LIRC
I've become somewhat of a mencoder/BASH scripting guru through my many adventures using it and writing scripts.
HR.HDTV script
I wrote this script to create my own versions of what "the scene" calls HR.HDTV encodes. These look decent on HDTV's up to about 50". Beyond that I highly recommend using x264 at 720p encodes. It may take a lot more processing to get done, but if your TV is that big you'll thank me for recommending it.
So what this script does is convert any 1080i or 720p recording to "HR.HDTV" which is basically a 960x544 resolution file with the original AC3 soundtrack. It will encode to the CD size standard of putting one hour of tv on a CD (ie 44minutes into 700MB, 22minutes into 350MB). It's also a good start to doing other conversions as the options can easily be changes to do things like encode to x264 at 1280x720(hint hint)...
You will need PerlCalc for some math in the script...
#!/bin/bash # # My script to create hr.hdtv encodes. # # This script will perform the following tasks: # 1. Analyze the original mpeg for # a. play length # b. audio size # c. frame speed (60fps/30fps) # 2. Calculate final file size (350MB or 700MB) # 3. Calculate final video size based on final file # size and audio size. # 4. Encode. # #variables overheadbytes=16 server_default=POT #Functions #Video Length Calculation function VideoSizeCalc() { audiosize=`pc $audiobitrate/1000*$totalseconds*0.1220703125/1024` echo "Audio Size in MB = $audiosize" # audiooverhead=`pc $totalseconds*1000/64` # videooverhead=`pc 23.976*$totalseconds` # totaloverhead=`pc $audiooverhead+$videooverhead` # overheadsize=`pc $totaloverhead*$overheadbytes/1024**2` # overheadsize=`echo `${overheadsize:0:4}`` # echo "(DD) Overhead = $overheadsize MB" totalseconds=`echo $totalseconds|sed -e 's/\.[0-9]*//'` # echo "(DD) Total Seconds = $totalseconds" if [ $totalseconds -lt 1800 ]; then totalsize=350 elif [ $totalseconds -lt 3600 ]; then totalsize=700 else echo "I don't know how to handle this length!" exit 1 fi echo "Total Size = $totalsize" # videosize=`pc $totalsize-$overheadsize-$audiosize` #original formula videosize=`pc $totalsize-$audiosize` # new one since overhead doesn't #really matter its so small videosize=`echo `${videosize:0:3}`` echo "Videosize = $videosize MB" } function FolderNameClean() { input=$1 input=`echo "$input" | sed -e 's/.[Aa][Vv][Ii]//'` input=`echo "$input".XviD-MythTV` folder_name=$input } #test for arguements if [[ -z "@ARGV" ]]; then echo "first arguement is the original mpg" echo "second arguement is the new folder name, will be used for filename" exit else #Reassign variables if [[ ! -e $1 ]]; then echo "no such input mpg!" exit else original_name=$1 fi folder_name=$2 FolderNameClean $2 file_name=`echo "$folder_name" | tr A-Z a-z` # display arguments echo "Original mpeg is: $original_name" echo "Folder name will be: $folder_name" echo "File name will be: $file_name" fi #Grab input file information echo "Determining total file length..." totalseconds=`mencoder $original_name -ovc copy -nosound -o /dev/null -quiet 2>&1 | awk '/^Video stream:/{print $10+$10/$12}'` echo "total seconds = $totalseconds" audiobitrate=`mplayer -vo null -ao null -frames 0 -identify "$original_name" 2>/dev/null | grep "ID_AUDIO_BITRATE" | sed -e 's/ID_AUDIO_BITRATE=0//' | grep "ID_AUDIO_BITRATE" | sed -e 's/ID_AUDIO_BITRATE=//'` echo "audio bitrate = $audiobitrate" videowidth=`mplayer -vo null -ao null -frames 0 -identify "$original_name" 2>/dev/null | grep "ID_VIDEO_WIDTH" | sed -e 's/ID_VIDEO_WIDTH=//'` videoheight=`mplayer -vo null -ao null -frames 0 -identify "$original_name" 2>/dev/null | grep "ID_VIDEO_HEIGHT" | sed -e 's/ID_VIDEO_HEIGHT=//'` videofps=`mplayer -vo null -ao null -frames 0 -identify "$original_name" 2>/dev/null | grep "ID_VIDEO_FPS" | sed -e 's/ID_VIDEO_FPS=//'` videofps=`echo `${videofps:0:2}`` echo "FPS: $videofps" aspect=`pc $videowidth/$videoheight` aspect=`echo "$aspect" | tr -s [:digit:]` echo "Aspect Ratio: $aspect" #Calculate Video size VideoSizeCalc sleep 10 videosize=`pc $videosize*1024` echo "Videosize = $videosize" if [[ -e "$original_name" ]]; then echo start `date +%H:%M`>$file_name.runtime if [[ "$videofps" -eq "59" ]]; then nice -n 17 mencoder $original_name -oac copy -ovc xvid -vf decimate=2:1000:1600:.001,scale=960:544 -ofps 24000/1001 -xvidencopts pass=1:vhq=0:me_quality=5:turbo:quant_type=mpeg:aspect=$aspect:max_bframes=0:bitrate=-$videosize -o /dev/null # nice -n 17 mencoder $original_name -oac copy -ovc xvid -vf decimate=2:1000:1600:.001,scale=960:544 -ofps 24000/1001 -xvidencopts pass=2:quant_type=mpeg:aspect=$aspect:max_bframes=0:bitrate=-$videosize -o $file_name.avi elif [[ "$videofps" -eq "29" ]]; then nice -n 17 mencoder $original_name -oac copy -ovc xvid -vf pullup,softskip,scale=960:544 -ofps 24000/1001 -xvidencopts pass=1:vhq=0:me_quality=5:turbo:quant_type=mpeg:aspect=$aspect:max_bframes=0:bitrate=-$videosize -o /dev/null # nice -n 17 mencoder $original_name -oac copy -ovc xvid -vf pullup,softskip,scale=960:544 -ofps 24000/1001 -xvidencopts pass=2:vhq=0:me_quality=5:quant_type=mpeg:aspect=$aspect:max_bframes=0:bitrate=-$videosize -o $file_name.avi fi echo stop `date +%H:%M`>>$file_name.runtime echo "Runtime" more $file_name.runtime fi exit
NeroAAC in linux
NOTE: Nero recently released a version of their encoder that is linux native, but I haven't updated my script for it since I actually rarely use it now, I've been using dbPowerAmp at work...
Recently Nero released their wonderful AAC encoder for "DOS" (command line app in windows). Since I'm a huge fan of AAC for compressed audio due to its quality I was hoping they'd release a linux version, but as it turns out their windows version was designed to work a-o-k in linux under WINE!
The only caveats I've found is that you need to have the folder where you music ready for conversion is mapped as a drive in Wine. As well, the filenames cannot have any periods in them except for the one that designates the extension (ie this.song.is.good.flac is no good but this song is good.flac is fine), which is an issue I know how to solve with a simple perl rename, but have yet to tackle in the script... Other than that, your good to go.
So what I did, is I wrote a script that will convert any format mplayer supports, as well as APE to M4A. Right now I really only have it setup for WAV, FLAC and APE though, but its pretty easy to add other formats. For mplayer supported formats look at the FLAC functions, for formats that require another decoder to get to WAV look at the APE section. This script can also recursively enter folders, so you can rip a whole lot of CD's (using cdparanoia or EAC under WINE of course!) into seperate folders and run this script from their root and it will go into each folder and convert! how handy!
This site has some great info on the encoder, as well as how to encode directly to M4A when ripping with EAC. This is a good guide to do the same in K3B.
This script has two command line options as of now. First it will allow you to delete the original after a successful encode using -e, or you can specify a specific directory with -d.
This script also has some defined options near the top, EncoderDir=~/.wine/drive_c/Program\ Files/Nero QualityLevel="0.8"
EncoderDir is obviously where your neroAACenc.exe file is, and Quality level is a numerical value for the recording quality setting. I don't like compressed audio and find that 0.8 is a good balance for my ears and my desire to keep file sizes down. This equates to about 300Kbps, which is rather large for even the MP3 format, so feel free to change this value for your needs.
For those that used the old Nero encoder with "Quality Levels", here's a quick conversion chart...
|Old Presets
|Quality Levels
#!/bin/bash # # IFS=$'\n' EncoderDir=~/.wine/drive_c/Program\ Files/Nero QualityLevel="0.8" CURRENTDIR=`pwd` directory=$CURRENTDIR function Main() { until [ -z "$1" ] do echo "Processing parameter of: '$1'" if [ ${1:0:1} = '-' ]; then tmp=${1:1} # Strip off leading '-' . . . parameter=${tmp%%=*} # Extract name. if [ "$parameter" = "e" ]; then echo "Will erase originals upon successful encode!" opt_e=1 fi if [ "$parameter" = "d" ]; then directory=$1 echo "Directory taken from command line as: $dir ectory" fi fi shift done echo "Working directory: $directory" for dir in $( find -type d ) do cd $dir for file in $( find -maxdepth 1 -type f -name '*.flac' -printf '"%f"\n'| sort ) do echo "FLAC format found! Converting \""$file"\"..." rename 's/\.{2,}//' $file file=`echo "$file"|sed 's/\.{2,}//'` basename=`echo "$file"|sed 's/\..*//'` basename=`echo "$basename"|sed 's/\"//'` RANDOM='time' TEMPFILE=/dev/shm/neroaac-$RANDOM DecodeMplayerSupported $basename.flac $TEMPFILE EncodeToAAC $basename $TEMPFILE rm -f $TEMPFILE RemoveOriginal $basename flac ls *flac done for file in $( find -maxdepth 1 -type f -name '*.wav' -printf '"%f"\n'|sort ) do echo "File "$file" already in Wave format, converting to AAC..." basename=`echo "$file"|sed 's/\..*//'` basename=`echo "$basename"|sed 's/\"//'` EncodeToAAC $basename RemoveOriginal $basename wav ls *wav done for file in $( find -maxdepth 1 -type f -name '*.ape' -printf '"%f"\n'|sort ) do echo "APE format found! Converting \""$file"\"..." basename=`echo "$file"|sed 's/\..*//'` basename=`echo "$basename"|sed 's/\"//'` RANDOM='time' TEMPFILE=/dev/shm/neroaac-$RANDOM DecodeAPE $basename.ape $TEMPFILE EncodeToAAC $basename $TEMPFILE rm -f $TEMPFILE RemoveOriginal $basename ape ls *ape done cd $CURRENTDIR done exit 0 } function DecodeAPE() { inputfile=$1 outputfile=$2 nice -n 17 mac $inputfile $outputfile -d } function DecodeMplayerSupported() { inputfile=$1 outputfile=$2 nice -n 17 mplayer -vc null -vo null -ao pcm:file=$outputfile:fast "$inputfile" } function EncodeToAAC() { filebase="$1" infile="$filebase".wav outfile="$filebase".m4a if [ "$2" ]; then infile="$2" fi echo "File base: $filebase" echo "TEMPFILE: $2" echo "Input File: $infile" echo "Output File: $outfile" nice -n 17 wine $EncoderDir/neroAacEnc.exe -q $QualityLevel -if "$infile" -of "$outfile" if [ $? -eq 0 ]; then echo "Encode Success!" success=1 # mv tmp.m4a "$outfile" else echo "Encode Failed!" success=0 # rm -f "tmp.m4a" # rm -f "tmp.m4a" fi } function DiscoverFormat { input=$1 } function RemoveOriginal { origfile=$1 extension=$2 if [ $opt_e -eq 1 ]; then if [ $success -eq 1 ]; then echo "Removing Original file: $origfile.$extension" rm -f $origfile.$extension else echo "Not Removing Original file!" fi fi } Main $@
Custom Schedules
Shouldn't be needed for 0.25 on
The Daily Show
program.title LIKE "%Daily Show%" AND HOUR(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) > 20 AND WEEKDAY(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) < 4 AND (WEEKDAY(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) = 0 OR program.previouslyshown = 0)
Colbert Report
program.title LIKE "%Colbert Report%" AND (MINUTE(program.starttime) = 30 OR MINUTE(program.starttime) = 31) AND HOUR(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) > 20 AND WEEKDAY(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) < 4 AND (WEEKDAY(DATE_SUB(program.starttime, INTERVAL 2 HOUR)) = 0 OR program.previouslyshown = 0)


text:
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Magnum Book Making Masterclass
May 20, 2013
by David Alan Harvey
View profile
From Henri Cartier-Bresson's creative partnership with the publisher Robert Delpire, to Alec Soth's experimental publishing house Little Brown Mushroom, the photobook as a means of expressing a body of work has been a critical preoccupation of Magnum's membership since the agency's inception.
At a time when Magnum Photos has completed the rebuilding of its own significant back catalog of photography books under the direction of Martin Parr, a major book collector in his own right, and to coincide with the Magnum AGM in London, Magnum are launching a new masterclass on the art of the photo book in the context of a Print Room exhibition also exploring the subject.
This book making masterclass will provide an exclusive opportunity to edit and construct a bespoke photobook of images by a Magnum photographer, in the presence of that photographer. Mark Power and David Alan Harvey, both of whom have produced numerous publications of their own work, will lead an exclusive group of enthusiasts through this unique book making process.
In partnership with GOST, the new publishing company launched by master designer Stuart Smith & Gordon MacDonald, Magnum's photographers will host a two-day event celebrating the agency's time-honoured history with the photobook, and exploring the creative process of this very special entity.
Participants will be given access to an exclusive pool of images selected by their chosen photographer, and using a template crafted by Smith (responsible for titles such as Magnum Contact Sheets, Magnum Magnum and new publications by Mark Power and Elliott Erwitt); will construct a unique publication in collaboration with GOST staff and their Magnum photographer. Each bespoke book will be printed & bound overnight, featuring a specially commissioned silkscreen cover.
Participants will return to the Magnum Print Room the following day for an inspirational schedule of talks and discussions about photography, books and creative processes, led by Magnum photographers and photographic industry specialists. Speakers include: Stuart Smith, Gordon MacDonald, Harry Hardie of Here Press, Philipp Ebling of Fishbar and Magnum photographers David Alan Harvey and Susan Meiselas.
Each bespoke book will be ready to be collected from the Magnum Print Room on Sunday 30th June, signed & annotated by your chosen photographer.
Participation is strictly limited to 15 participants per photographer and one book per person.
Tuesday 25th & Wednesday 26th June
Magnum Print Room, 63 Gee Street, London EC1V 3RS
Cost: £300 (includes one copy of your bespoke book and access to Wednesday symposium)
Apply now
The photographers
Mark Power
As a child Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens.
His interest in photography probably began at this pivotal moment, although he later chose to study painting and drawing instead. He 'became a photographer' (somewhat accidentally) in 1983, and worked in the editorial and charity markets for nearly ten years, before he began teaching in 1992 (Power is currently the Professor of Photography at the University of Brighton).
This move coincided with a shift towards long-term, self-initiated projects, which now sit comfortably alongside a number of large-scale commissions in the industrial sector.
Power's work has been seen in numerous solo and group exhibitions across the world and is in several public and private collections. He has published six books: 'The Shipping Forecast' (1996), 'Superstructure' (2000), 'The Treasury Project' (2002), '26 Different Endings' (2007), 'The Sound of Two Songs' (2010) and 'Mass' (2013).
Mark Power joined Magnum Photos in 2002
David Alan Harvey
Born in San Francisco, David Alan Harvey was raised in Virginia. He discovered photography at the age of 11. Harvey purchased a used Leica with savings from his newspaper route and began photographing his family and neighborhood in 1956.
When he was 20 he lived with and documented the lives of a black family living in Norfolk, Virginia, and the resulting book, Tell It Like It Is, was published in 1966. He was named Magazine Photographer of the Year by the National Press Photographers Association in 1978.
Harvey went on to shoot over forty essays for National Geographic magazine. He has covered stories around the world, including projects on French teenagers, the Berlin Wall, Maya culture, Vietnam, Native Americans, Mexico and Naples, and a recent feature on Nairobi.
He has published two major books, Cuba and Divided Soul, based on his extensive work on the Spanish cultural migration into the Americas, and his book Living Proof (2007) deals with hip-hop culture. His work has been exhibited at the Corcoran Gallery of Art, the Nikon Gallery, the Museum of Modern Art in New York, and the Virginia Museum of Fine Arts. Workshops and seminars are an important part of his life.
Harvey is founder and editor of the award-winning Burn magazine and BurnBooks, featuring iconic and emerging photographers in print and online. In 2012 BurnBooks won the Lucie Award for Book Publisher of the Year. Burn is the creator of the Emerging Photographers Award.
His latest book (based on a true story), a photo novella of Rio de Janeiro exploring a new form of visual literacy, won the 2012 Lucie Award, Pictures of the Year Best Photography Book Award and was listed as one of the top ten photo books of the year at Paris Photo 2012 and Best Books of 2012 by The New Yorker.
Harvey joined Magnum as a nominee in 1993 and became a full member in 1997. He lives in NC and NYC
GOST Publishing
GOST Books is a photography and visual arts publishers founded by Gordon MacDonald and Stuart Smith, and based in London. They recently published Mark Power's book 'Mass' to great acclaim, as well as 'Chateau Despair' by Lisa Barnard and 'Brisees' by Helen Sear.
Application Form
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Monday, March 12, 2012
Las Vegas: NASCAR On FOX TV Comments
The stage was set once the cars began to string-out on the Las Vegas Motor Speedway track. This race has been all about clear air, gas mileage and pit strategy for years.
The NASCAR on FOX pre-race team continued indoors this season. Chris Myers and the Waltrip brothers now have a format set that is very different from the Jeff Hammond days.
Mike Joy, Darrell Waltrip and Larry McReynolds discussed a lot of topics during the race. Two of them not discussed were passing under green and incidents due to racing on the track. This race looked a lot like practice on TV and there were certainly reasons why.
FOX has a philosophy of showing one or two cars at a time on the screen. They have done this for years. Only the big pack at Daytona pushed the cameras wider. At Las Vegas, the in-car cameras were frequently used on restarts which were the only laps that could have provided actual side-by-side racing on-screen.
Hammond was out and about, but his reports were inserted under green and often distracted from the racing. He was used frequently and sometimes seemed to be working to get into the coverage rather than offering some information that was on target for the situation in the race itself. This roving reporter is a new concept for the FOX coverage.
The network has the best corps of pit reporters on TV. After early use, these four professionals faded away as the voices in the booth dominated the telecast. FOX put the emphasis on Darrell Waltrip several years ago. Joy's role is to facilitate, not excite and that continued.
FOX inserted side-by-side commercials well after 5PM, which marked the final hour of scheduled coverage. This concept has been embraced and promoted by ESPN, but seems to be hit or miss with FOX.
There was a flurry of excitement in the closing laps, but it did not feature the kind of racing fans enjoy. The wideshot at the finish allowed the top ten cars to be seen crossing the line. FOX stayed past the scheduled off-time to conduct post-race interviews.
Every NASCAR TV network has the perfect right to present the sport as they choose. The FOX presentation is similar to last season. Tight shots mixed with extensive Waltrip commentary from the booth and a heavy commercial load.
This post is your opportunity to offer your opinion on the TV coverage. To add your comment, just click on the comments button below. Thank you once again for stopping by The Daly Planet.
37 comments:
- Roland said...
Broadcast was pretty good til halfway. Then the full screen replays and other full screen useless crap took over. Commercials were ill timed and the worst part is coming back from commercial we have more promos and stuff, so we would only get to see a few green flag laps at a time.
I went to PRN for my commentary and they did their usual superb job. It sure was nice to not have to listen to any Waltrips.
- March 11, 2012 at 6:40 PM
- w17scott said...
Mr Editor -
FOX continues to provide a sub-par telecast, but NASCAR is paid well for the rights ...PRN was a good listen ...surprised to hear Randy Lajoie and Wendy Venturini - they added to the broadcast ...production team never got away from two-car shots long enough to tell the story ...apparently the Waltrips call the shots and the shoddiness comes through
- March 11, 2012 at 6:46 PM
- AncientRacer said...
All I can say about this weekend is what my Grampy used to say about football on TV (Back in the Dark ages of NCAA on ABC and AFL and NFL on CBS & NBC):
"Its a shame when you have a better College Game on Saturday than a Pro Game on Sunday."
Thanks for Twitter, JD. It is frustrating but kinda fun.
- March 11, 2012 at 6:50 PM
- GinaV24 said...
awful broadcast. I muted the tv and followed via trackpass and twitter.
too many commercials, waltrips and close in shots. This isn't a race broadcast, its an infomercial and a bad one at that.
- March 11, 2012 at 7:16 PM
- Buschseries61 said...
I thought it was alright. I missed the first 50 laps coming home from lunch, but considering it was Las Vegas, I wasn't really rushing to get home.
Boring racing is hard for any network to cover. FOX did the best it could. I didn't really mind the booth chatter, at least they stick to NASCAR and avoid raving about other sports like the ESPN booth continues to do on a weekly basis. But the times FOX had just one car on the screen, it did appear like a practice session.
As for Hammond, your take on it is similar to mine. It's a hit or miss role for him that works great in the right situation, but forced when there is nothing new to offer.
My only major criticism of the broadcast was the ticker that chopped half the field the last 75 laps. Sometimes FOX recognized 22 cars on the track, at the end there were just ten. Every driver has a fan base, if the driver is still running, he belongs on the ticker.
- March 11, 2012 at 7:25 PM
- AncientRacer said...
Please let me add this: I believe it was on Jalopnik where I read how NASCAR fans are the "Most Information Hungry" of any Sports Fans anywhere except for, perhaps, baseball.
That is a point well taken especially in the Twitter Age, but it left out one detail, and having a person who works for me monitoring Twitter traffic (Volume) for the past three weeks I can tell NASCAR and Planeteers this. Because we are not baseball or football where games are played far and wide at this time or that; because we are concentrated in one stadium with one game with every team every week on the field and competing during one time period -- well --- we raise hell with Twitter's capacity.
This is something the profit centers will not be loathe to notice.
Folks, we ain't small; nor are we the redheaded stepchild.
We are, actually, a Mighty Thingy. :) @Ancient_Racer
- March 11, 2012 at 7:35 PM
- OSBORNK said...
I don't understand why Fox pays a lot of money for rights to broadcast a race and then not do it. For about 95% of the race they had the scroll across the top with no interval and they only showed one or two cars at a time. If your driver was shown in 10th place, you had no way of knowing how far behind he was. He could be 3 seconds or 30 seconds behind. The gadgets, war stories and general booth babble took up as much of the race broadcast time as the commercials did. That left only a little bit of time for them to show us the one or two car shots they call racing. If they are going to show so little of the race, I don't understand why they do it at all. I've had to endure DW since before he was called JAWS and I think I have suffered enough.
- March 11, 2012 at 7:37 PM
- saltsburgtrojanfan said...
Who sang the National Anthem
- March 11, 2012 at 8:20 PM
- Daly Planet Editor said...
Pia Toscano sang the anthem.
- March 11, 2012 at 8:27 PM
- Anonymous said...
@ancient racer.... Yes we probably are the most information hungry. In every other sport, there is really only one ball in motion at a time. Racing has 86, unless Danica is out there.
Seriously though, the tv can talk about a guy and show the racing. I dont need to see a close up of a 3 sec ahead leader only to abandon actual racing in the pack, When I'm at the track I can listen to MRN/PRN and watch whatever I want. I can multitask.
- March 11, 2012 at 8:50 PM
- saltsburgtrojanfan said...
Sorry I asked here JD
Don't do twitter nor do i plan to
And dont watch races on TV anymore
- March 11, 2012 at 8:50 PM
- Sally said...
Standard Fox broadcast of racing at a standard 1 1/2 mile track. Flurries of racing on restarts followed by lots of chatter and not much racing. Not much beyond the few cars that Fox chose to cover. Lack of intervals on the crawler make it impossible to know if your driver is closing on cars or falling back. Heaven knows we won't find out from the booth. Same old, same old.
- March 11, 2012 at 9:38 PM
- Zetona said...
I don't know how to spice up the racing on 1.5-mile tracks. It's really gone downhill recently except at Atlanta and Homestead. Hopefully the 2013 car will at least be slightly better about aero push.
As for the broadcast, FOX got DAMN LUCKY that Kurt crashed seconds after they went to break with 13 laps to go, because otherwise we would have missed 4-5 crucial late-race laps. Not quite as bad as when ESPN went to a full-screen commercial with 11 to go at Dover a few years back, but close. Seriously though, how can you make the final commercial-free segment of the race shorter than the time between the green flag and the first commercial break? At least we haven't seen Digger for TWO STRAIGHT RACES!!!1
The coverage was at its worst on restarts, the sole moments of tight groups of cars running side-by-side, when FOX totally ignored the racing in the back of the pack with its in-car shots.
- March 11, 2012 at 10:37 PM
- Buschseries61 said...
FOX has been getting slammed on some other sites, mainly for the excessive commercials. It's an interesting discussion.
Maybe since the floodgates opened for side-by-side commercials, fans have developed a smaller tolerance for full screen commercials.
Maybe the level of advertising in the sport has reached the point of excess. Logos are everywhere and anywhere they can fit at the track, on the cars and crew, on the corners of the tv screen and product placement on the broadcast. Fans are basically watching a commercial concert that is interrupted by more commercials. Besides the S&P cars, what more is left to sell? The asphalt?
- March 11, 2012 at 10:41 PM
- sbaker17 said...
Same boring coverage of a 1 1/2 mile race. Camera zooms in on one or two cars, announcers go blah, blah, blah, then cut to a commercial. The only thing I gained by watching today was while viewing the prerace I was reminded that I needed to pick up 2 bags of compost for my garden.
- March 11, 2012 at 11:40 PM
- AveryNH said...
Today was the first day Ive willfully stopped watching a cup race. I couldnt take how bad it was so i watched the celtics and the lakers. There were so many ads and only two cars ever on screen at a time. It made for an awful broadcast. If its gonna be like this for the next ten races then count me out till Michigan in June. I think I'll give the radio a try tho for Bristol next week.
- March 12, 2012 at 12:58 AM
- Anonymous said...
Not a great broadcast, but it was such a bad race I'm not sure what they could have done. I feel sorry for the people who make an entire weekend about going live to the track only to see cars 1.5 seconds apart after 1.5 laps. So boring!!!!
- March 12, 2012 at 1:55 AM
- The Loose Wheel said...
Was. Not. Impressed.
FOX had far too many commercial breaks and seemingly all season their breaks have been ill-timed. Once a caution flew the very second after they went to break. We missed caution flag stops entirely and had to settle for a replay. While in the big scheme of how the race played out, it was not a big deal, the fact that they refuse to interrupt commercial breaks the way they did only a few years ago is a bad sign. You went to break, aired the entire break, then came back for 2 minutes only to go back to another break. Something seems wrong with that to me. Also, a break with 13 laps to go? Even as a side-by side it does no good with horrendous camera work. Others have already mentioned single car shots. FOX is too tight and uses far too many "speed" shots which makes following the race difficult. I don't even care that they don't talk about that many drivers anymore, I just want them to leave the camera wide enough and do less camera switches so I can try to follow someone. Hopes and wishes though I guess.
As for the cutting of the ticker towards the end of the race, I am less bothered by that then most. The full field ticker comes back every few scrolls. ESPN used to have the ghost running order showing only the top 10 for a majority of their races and I really never minded it.
Just feeling like our old friend stricklinfan and giving up hope that things will improve.
The one thing I did notice, not a single driver got interviewed until after the race. That is without question the most disappointing thing I have ever witnessed.
- March 12, 2012 at 2:06 AM
- Anonymous said...
I thought that Sunday's race was one of their worst. It was very disjointed. They'd go to commercial and come back to a caution flag. Too many poorly timed commercials. There were a bunch of "debris cautions". They never showed debris. Then when it was announced that the caution was a debris caution, the three announcers would start talking fast about something else or toss to Hammond for more "smoke". When they'd go to a wide shot, just when you could recognize who was in the shot, they'd jump to something else. Whoever was in control of the tracker at the top of the screen should be shot!!!! Absolute stupidity. If you were interested in the top 10 or 20, you were all set. Mike Joy says some of the dumbest things. Travis's car erupts in a cloud of smoke, you can see the oil hit Kyle's windshield as he hits the wall. They show Travis's car in the garage and states that the beauty of the EFI system is that we can use the comuter in the system to see if the engine blew???!? Unbelievable. The broadcast team on-air thinks THEY are celebrities and that silence while broadcasting the race is unacceptable. I want them to shut up, let us watch and LISTEN to the race and help clarify situations that develop on the track. I've long thought that the producers/directors have no idea what Nascar racing is about. Their product Sunday was a joke.
- March 12, 2012 at 4:07 AM
- sue said...
I thought it was your typical 1.5 mile track race. Car in front gets a big lead and the rest follow. The end was exciting for this Stewart fan as Johnson tried his best to catch up.
I understand the reason for all the commercials but still don't like it. Thankfully we saw the race while the commercial was running.
I don't think the 2 Waltrips together are working in the pre race show. Something seems amiss with DW and Mikey just doesn't seem to fit.
I too didn't quite understand the ticker. Does fox know that there are more than 20 teams on track.
Well on to Bristol. The complaints about the commercials should be deafening on this blog next week.
- March 12, 2012 at 6:57 AM
- Anonymous said...
This a follow-on post to my comments at 4:07 am. The only other sport I watch on TV is the NFL Playoffs/ Super Bowl. ALL the TV crews broadcasting Cup races could learn a lot by watching the Super Bowl broadcast. It was clear, concise and objective. You didn't hear trivia, war stories or about some diner up the street 30 years ago that was frequented by famous drivers. A million things happen and for the most part, the booth and pit reporters are MIA.
- March 12, 2012 at 8:02 AM
- Bobby O said...
I watched golf again.
Switched to the race (on mute) when golf had a commercial.
Funny that golf is more exciting than racing because of the horrible tv coverage. Actually, amazing!
- March 12, 2012 at 9:53 AM
- Anonymous said...
West Coast Diane said:
They should never do tight shots. And few in car and bumper cams.
For sure they should never do them on restarts!
When we get back home I may just find a station on my iPhone (we don't have a local station for the races) and listen while doing stuff around the house.
The booth/Hotel seem intent on trying to manufacture excitement by raising their voices and talking fast.
Those of us who are "just" race fans and not into the flash and hype are fighting a losing battle.
- March 12, 2012 at 10:22 AM
- TEX said...
Why is Mikey able to mention his sponsor during any part of the telecast?
Yesterday during a race break he made it a point to call Clint Bowyers sponsor out loud when discussing the gamble his crew chief made to stay out under caution and move up several spots in the race.
He then mentions the other driver that did the same thing and his name was Brad Keselowski.
Not the Miller Lite Doge team and crew.
Mikey is a clown.
DW is about as bad...it's Toyota this and Toyota that...
- March 12, 2012 at 11:16 AM
- Zieke said...
JD, I know this no surprise to the usual followers, but the Waltrips have ruined NASCAR racing for me. I find myself turning over to the broadcast when I think there will be a few laps remaining, and watching golf and hockey the rest of the time. How sad. Krista is such a great addition to pit road, but not utilized nearly enough. The pxp guy and Larry Mac would be plenty of announcing in the booth, which would free up more time for pit road reports. Please try it FOX!!!
- March 12, 2012 at 11:25 AM
- MRM4 said...
I read some comments by fans on message boards that attended the race and said it was a pretty good race. You'd never know it by the Fox broadcast.
Their use of side-by-side is a waste of time. They're waiting too late to use it.
Pit reporters were nowhere to be found during the second half of the race.
Showing a pass for the lead after it's happened is a big fail. Apparently the director isn't paying close enough attention to what's going on. Then they have to go back and show the pass on replay.
- March 12, 2012 at 11:26 AM
- Garry said...
Buschseries61: Careful what you say, the asphalt companies might be calling FOX right now...lol.yintsab
- March 12, 2012 at 11:44 AM
- Anonymous said...
I have no idea why the networks can't jump back from commercial when the caution waves.. I really don't think anyone would mind if they went right back to commercial a minute later. That alone would make the broadcast somewhat better.
The ticker messed with me some at the end as well.
I wish they would trade wider shots for DW. He's becoming not needed. The whole thing appears to be a joke to him. A wider camera shot was used on occasion but even with my 20/20 vision I could barely focus on the cars before they jumped to a different shot. It also doesn't help that the wider shots Fox does use seem to be head on shots. That's definitely a reason it's harder to see the cara
- March 12, 2012 at 12:28 PM
- Anonymous said...
I thought cutting the ticker was absolutely absurd. Not everyones driver is on the lead lap. With 5 to go they only started showing the top 10. A horrible idea and another reason I can't wait until June
- March 12, 2012 at 4:27 PM
- Charlie Spencer said...
I'll try one more time:
Broadcasters, the only times there should be a single car in the shot are when it is in a pit box or in Victory Lane. If it's on the track, it should be shown in relationship to the cars around it. Otherwise you're just broadcasting wallpaper.
Please let me know what part of this concept you keep having trouble understanding.
- March 12, 2012 at 4:39 PM
- bowlalpo said...
I am not a robot but I seem to have the same opinion every time. There's no way I could watch a whole race without Hotpass. Thank you DirecTV (even though my rate went up $4 last month without a warning memo).
It was funny to hear the Hotel make up drama by saying there were angry hand gestures between the 88 and 55 after their backstretch contact. As I looked at it via HP, all Dale Jr. did was motion the 55 up beside him under caution to make sure there was no tire rub. I saw Jr. give the "OK" hand signal out the window to assure Mark Martin that he had no rub. I know neither guy was thrilled to collide, but am I wrong?
- March 12, 2012 at 5:04 PM
- Anonymous said...
Does anybody at Fox really listen to these valid complaints? I don't think so because its still the same old, same old. Remove the Waltrip brothers, just horrible self promoting loudmouths, its has turned into a huge informerical for selling stuff, cannot take it anymore, I will not buy your product because its on TV..get it??? We don't need it shoved in our face. Ticker? What ticker. There are many more race cars on the track then two, try showing. Cautions? What for??? Way Way too many commericals, I actually was among many who just couldn't take it anymore, boring racing, everything annoying, went shopping during the race.
- March 12, 2012 at 6:47 PM
- RWar24 said...
It's pretty bad when a race is 267 laps and you feel like you seen about 50 laps of it because of the coverage. I'll never understand how you're supposed to get hooked into a race when you're going to commercial after 10 laps. Especially this time of year with all the college basketball games that are on. The one set of pit stops were shown via replay. Sad really. Nascar doesn't help the cause either late in the race. You have delay throwing a caution on a spin, then you run like 3 extra laps for some unknown reason under caution. So instead of 7 or 8 laps to the finish, you have 4 laps. It's maddening.
- March 12, 2012 at 6:51 PM
- ptschett said...
I had the TV at half-volume and PRN at half-volume, and it was like there were two different events occurring the same place at the same time. 10-15 laps after a restart it seemed like the Fox cameras were finding one car by itself to show and sticking with it though it wasn't under any threat, while PRN was almost always finding a battle for position to report on somewhere. It's to the point that I'm not sure whether my dislike of 1.5-mile cookie-cutter tri-oval tracks is from their actually not having interesting racing, or just from the TV crews not doing what needs to be done to keep their presentation interesting.
- March 12, 2012 at 7:09 PM
- Jonathan said...
i watched from start to finish... It was a great race, and Fox did an ok job, could of been much better but it is what it is I guess. Not bad but yeah show me some more racing I did feel like I was watching practice at times like JD said. Still dont understand why Fox is the only station to do Crank It Up I LOVE that segment
- March 12, 2012 at 7:53 PM
- MortonGroveDon said...
I found myself switching over to ESPN2 to watch NHRA. At the time I was watching they were showing qualifying for ProStockBike. It was refreshing to hear announcers talk about guys that arent going to get into the elimination rounds. Does Fox talk about guys running from 20 back, NO, unless they are one of the Waltrip's chosen ones. I expect to see one car shots next week at Bristol too, which is so useless at that little track. Did anyone else notice how they found a way to get Mikey's Daytona runs in,,,even at a 1 1/2 miler???? another typical Fox race coverage..yawnnnnn
- March 12, 2012 at 9:14 PM
- AllisonJ said...
The argument that commercials pay the bills is lame.
Commercials pay the bloated salaries of all of the top players in the game. $1M/year? That's rookie pay. You gotta make ten times that.
We get commercials inside of commercials inside of commercials, with bits of racing in between.
Yeah, NASCAR's greed has ruined the sport for many, many fans.
To which they would answer, "we got a diecast for that".
- March 13, 2012 at 7:46 AM


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