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xmbuf(3) [centos man page]
XmbufQueryExtension, XmbufGetVersion, XmbufCreateBuffers, XmbufDestroyBuffers, XmbufDisplayBuffers, XmbufGetWindowAttributes, XmbufChangeWindowAttributes, XmbufGetBufferAttributes, XmbufChangeBufferAttributes, XmbufGetScreenInfo, XmbufCreateStereoWindow - X multi- buffering functions SYNTAX
#include <X11/extensions/multibuf.h> Bool XmbufQueryExtension( Display *dpy, Display *dpy, int *event_base_return, int *error_base_return); Status XmbufGetVersion( Display *dpy, int *major_version_return, int *minor_version_return); int XmbufCreateBuffers( Display *dpy, Window window, int count, int update_action, int update_hint, Multibuffer *buffers_update); void XmbufDestroyBuffers( Display *dpy, Window window); void XmbufDisplayBuffers( Display *dpy, int count, Multibuffer *buffers, int min_delay, int max_delay); Status XmbufGetWindowAttributes( Display *dpy, Window window, XmbufWindowAttributes *attributes); void XmbufChangeWindowAttributes( Display *dpy, Window window, unsigned long valuemask, XmbufSetWindowAttributes *attributes); Status XmbufGetBufferAttributes( Display *dpy, Multibuffer buffer, XmbufBufferAttributes *attributes); void XmbufChangeBufferAttributes( Display *dpy, Multibuffer buffer, unsigned long valuemask, XmbufSetBufferAttributes *attributes); Status XmbufGetScreenInfo( Display *dpy, Drawable drawable, int *nmono_return, XmbufBufferInfo **mono_info_return, int *nstereo_return, XmbufBufferInfo **stereo_info_return); Window XmbufCreateStereoWindow( Display *dpy, Window parent, int x, int y, unsigned int width, unsigned int height, unsigned int border_width, int depth, unsigned int class, /* InputOutput, InputOnly*/ Visual *visual, unsigned long valuemask, XSetWindowAttributes *attributes, Multibuffer *left_return, Multibuffer *right_return); STRUCTURES
Events: typedef struct { int type; /* of event */ unsigned long serial; /* # of last request processed by server */ int send_event; /* true if this came from a SendEvent request */ Display *display; /* Display the event was read from */ Multibuffer buffer; /* buffer of event */ int state; /* see Clobbered constants above */ } XmbufClobberNotifyEvent; typedef struct { int type; /* of event */ unsigned long serial; /* # of last request processed by server */ int send_event; /* true if this came from a SendEvent request */ Display *display; /* Display the event was read from */ Multibuffer buffer; /* buffer of event */ } XmbufUpdateNotifyEvent; Per-window attributes that can be got: typedef struct { int displayed_index; /* which buffer is being displayed */ int update_action; /* Undefined, Background, Untouched, Copied */ int update_hint; /* Frequent, Intermittent, Static */ int window_mode; /* Mono, Stereo */ int nbuffers; /* Number of buffers */ Multibuffer *buffers; /* Buffers */ } XmbufWindowAttributes; Per-window attributes that can be set: typedef struct { int update_hint; /* Frequent, Intermittent, Static */ } XmbufSetWindowAttributes; Per-buffer attributes that can be got: typedef struct { Window window; /* which window this belongs to */ unsigned long event_mask; /* events that have been selected */ int buffer_index; /* which buffer is this */ int side; /* Mono, Left, Right */ } XmbufBufferAttributes; Per-buffer attributes that can be set: typedef struct { unsigned long event_mask; /* events that have been selected */ } XmbufSetBufferAttributes; Per-screen buffer info (there will be lists of them): typedef struct { VisualID visualid; /* visual usable at this depth */ int max_buffers; /* most buffers for this visual */ int depth; /* depth of buffers to be created */ } XmbufBufferInfo; DESCRIPTION
The application programming library for the X11 Double-Buffering, Multi-Buffering, and Stereo Extension contains the interfaces described below. With the exception of XmbufQueryExtension, if any of these routines are called with a display that does not support the extension, the ExtensionErrorHandler (which can be set with XSetExtensionErrorHandler and functions the same way as XSetErrorHandler) will be called and the function will then return. XmbufQueryExtension returns True if the multibuffering/stereo extension is available on the given display. If the extension exists, the value of the first event code (which should be added to the event type constants MultibufferClobberNotify and MultibufferUpdateNotify to get the actual values) is stored into event_base_return and the value of the first error code (which should be added to the error type con- stant MultibufferBadBuffer to get the actual value) is stored into error_base_return. XmbufGetVersion gets the major and minor version numbers of the extension. The return value is zero if an error occurs or non-zero if no error happens. XmbufCreateBuffers requests that "count" buffers be created with the given update_action and update_hint and be associated with the indi- cated window. The number of buffers created is returned (zero if an error occurred) and buffers_update is filled in with that many Multi- buffer identifiers. XmbufDestroyBuffers destroys the buffers associated with the given window. XmbufDisplayBuffers displays the indicated buffers their appropriate windows within max_delay milliseconds after min_delay milliseconds have passed. No two buffers may be associated with the same window or else a Match error is generated. XmbufGetWindowAttributes gets the multibuffering attributes that apply to all buffers associated with the given window. The list of buf- fers returns may be freed with XFree. Returns non-zero on success and zero if an error occurs. XmbufChangeWindowAttributes sets the multibuffering attributes that apply to all buffers associated with the given window. This is cur- rently limited to the update_hint. XmbufGetBufferAttributes gets the attributes for the indicated buffer. Returns non-zero on success and zero if an error occurs. XmbufChangeBufferAttributes sets the attributes for the indicated buffer. This is currently limited to the event_mask. XmbufGetScreenInfo gets the parameters controlling how mono and stereo windows may be created on the screen of the given drawable. The numbers of sets of visual and depths are returned in nmono_return and nstereo_return. If nmono_return is greater than zero, then mono_info_return is set to the address of an array of XmbufBufferInfo structures describing the various visuals and depths that may be used. Otherwise, mono_info_return is set to NULL. Similarly, stereo_info_return is set according to nstereo_return. The storage returned in mono_info_return and stereo_info_return may be released by XFree. If no errors are encounted, non-zero will be returned. XmbufCreateStereoWindow creates a stereo window in the same way that XCreateWindow creates a mono window. The buffer ids for the left and right buffers are returned in left_return and right_return, respectively. If an extension error handler that returns is installed, None will be returned if the extension is not available on this display. PREDEFINED VALUES
Update_action field: MultibufferUpdateActionUndefined MultibufferUpdateActionBackground MultibufferUpdateActionUntouched MultibufferUpdateActionCopied Update_hint field: MultibufferUpdateHintFrequent MultibufferUpdateHintIntermittent MultibufferUpdateHintStatic Valuemask fields: MultibufferWindowUpdateHint MultibufferBufferEventMask Mono vs. stereo and left vs. right: MultibufferModeMono MultibufferModeStereo MultibufferSideMono MultibufferSideLeft MultibufferSideRight Clobber state: MultibufferUnclobbered MultibufferPartiallyClobbered MultibufferFullyClobbered Event stuff: MultibufferClobberNotifyMask MultibufferUpdateNotifyMask MultibufferClobberNotify MultibufferUpdateNotify MultibufferNumberEvents MultibufferBadBuffer MultibufferNumberErrors BUGS
This manual page needs more work. SEE ALSO
Extending X for Double Buffering, Multi-Buffering, and Stereo X Version 11 libXext 1.3.2 XMBUF(3)


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Spectra is haunting Atlanta, too! They call it the Rennaisance Project, from Columbia, Tennessee through northern Alabama and north Georgia to Lawrenceville in Gwinnett County.
Staff Graphic for timesfreepress.com by Laura W. McNutt
Ben Benton wrote for timesfreepress.com 13 May 2012, Natural gas pipeline considered for tri-state region,
A high-volume natural gas pipeline could wind across a 230-mile gap from South Central Tennessee through North Alabama and Northwest Georgia on its way to link with a pipeline northeast of Atlanta.
Officials with Houston, Texas-based Spectra Energy Corp. say that, if a green light follows assessments by the Federal Energy Regulatory Commission and other federal, state and local authorities, the proposed pipeline will connect directly the company's Texas Eastern system in Columbia, Tenn., to the Transco Interstate pipeline system near Lawrenceville, Ga.
The pipeline's capacity is projected at Continue reading Another Spectra pipeline, TN-AL-GA Renaissance

subset: commoncrawl


text: On Friday, October 27, 2006, Hope Community, Inc. will host a press conference and unveiling of an historic mosaic by artist Manny Vega honoring the late Puerto Rican poet, Julia de Burgos. The 11:00 AM ceremony will take place in the heart of East Harlem's "Cultural Corridor" – in front of a Hope building located on the northeast corner of Lexington Avenue and East 106th Street. The momentous unveiling will be followed by a community reception hosted by El Taller Boricua in the Julia de Burgos Latino Cultural Center at 1680 Lexington Avenue. For more information, call (212) 860-8821, Ext 111.


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Nevertheless, we are persisting: families must have guaranteed paid leave.
This week we celebrate the success of the Family and Medical Leave Act that was signed into law by Bill Clinton as one of his first official acts after becoming president. NOW activists were thrilled to see this long-sought national policy become a reality. Prior to this, President George H.W. Bush had refused to sign the legislation which required companies with 50 or more employees to allow up to 12 weeks annually of job-protected parental leave for birth or adoption of a child or for attending to family needs, such as caring for an ill relative.
Unfortunately, the new law did not require companies to provide compensation to the employee while on leave – something NOW leaders had strongly advocated. Surveys taken since then show the FMLA to be a popular option, but most admit that their families cannot forego regular pay.
We know that the costs to employees, their families and the economy are great because of the lack of paid family and medical leave: of the 200 million times that the FMLA has been used, $500 billion is lost to the economy due to women's reduced labor force participation; that more than $300,000 in wages and retirement income is lost when an older person leaves the workforce to care for a parent; and, that four times as many workers leave their employers when paid leave is not provided.
This astounding fact remains: the United States is the only industrialized country in the world that does not require paid family leave. A handful of states like California, New Jersey and Rhode Island offer paid family leave through employee-paid payroll taxes – an approach that many countries take to assure that parents can receive at least partial pay during family leave. Financing a universal system of paid leave should be based on a broad social insurance plan of employer-employee contributions such as the U.S. has for retirement and disability. Certainly, paid leave – which Donald Trump said he supports – should not be paid for by cutting future retirement benefits, as is rumored to be in the works.
The time is way past due for the richest nation in the world to assure that families survive economically during family leave and that women – who carry major caregiving responsibilities – do not suffer financially. Paid family and medical leave is clearly a gender equality matter and NOW will persist in this effort until the U.S. decides to join the 21st century.


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Sweet Emotion, International Music & Café Diner in Nishi Azabu, Tokyo
Sweet Emotion, International Music & Café Diner in Nishi Azabu, Tokyo
A visible stand-out with its stylish exterior, Sweet Emotion is a popular eatery located in the middle of Tokyo's trendiest Nishi Azabu area. Offering a great mix of western cuisine and a wide selection of drinks at affordable rates, the restaurant is also known to host various live shows by performers and DJs from all over the world. Enjoy an excellent night out with delicious food and great music in a truly relaxed modern environment.
Sweet Emotion Information
Sweet Emotion
The Wall, 1st and 2nd Floor
4-2-4 Nishi Azabu, Minato-ku, Tokyo
11:30am-5:00am (Tue-Sat)
11:30am-23:00 (Sun&Hol)
Closed on Mondays (subject to party bookings)
Credit Cards


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Driveway editor Keith Morgan took a couple hot laps with F1 champion Sebastian Vettel and former Formula 1 racer David Coulthard, while the two of them and their Red Bull-Infiniti team were in Toronto before Vettel left for the Montreal Grand Prize in Quebec.
It was the second time Morgan had ridden with Vettel, and the second time their meetings have crossed just before Seb has finished on an F1 podium. (Vettel finished third in the 2014 Canadian Grand Prix, behind fellow German Nico Rosberg (2nd) and fellow Red Bull driver Daniel Ricciardo, who won.)
"It's all down to you," the champ said, while taking Morgan on a windy, whipping turn around the track at Bowmanville, Ontario.
Vettel, who has won the past four F1 championships from 2010 to 2013, is also Infiniti's Director of Performance.
VIDEO: Hot Laps with Sebastian Vettel
VIDEO: Driving with former F1 pro David Coulthard


text: about us I made this design specifically for our step by step tutorial. It allows me to show you how easy it can be to make an amazing website – by simply following along with me. We've made the design super easy to adapt to any industry, so you can use it to build any type of website. It is also super easy to update. For example, you can change the colors and fonts sitewide with a single click. This way you can try different designs fast – and build an amazing website in hours, instead of months. I gave it my all to try and make this the best possible design that you can start from. I love nature, and so Hope is a design inspired by nature. But we've used it to build sites for psychologists, doctors, restaurants, lawyers, personal trainers, gyms, and more. It is also one of the first templates built using the new Container. This means your website will load super fast. It took many people hundreds of hours of work, and lots of love, to make this template and tutorial possible. But your comments on our videos, like the one you can see below, make it all worth it. Thank you so much! I sincerely hope this helps you make a website that you can be truly proud of! Astrid Hartman Excellent tutorial, one of the best I've seen and I sorely needed this step-by-step instruction. Thank you! What My Clients Say


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35.53 - Hearing Conservation Program
- Position: Environmental Health and Safety Director
- Email: firstname.lastname@example.com
Last updated: August 18, 2005
A. General. To prevent university personnel from experiencing hearing loss due to hazardous noise exposure, the university has developed a Hearing Conservation Program (HCP). The program includes noise level monitoring, annual audiometric testing, and initial training and annual refresher training in hearing conservation issues and practices. Annual audiometric testing and training is available to all university personnel who, as a part of their duties at the university, may be exposed to a time weighted average of 85 decibels and above for an eight hour work day.
A-1. Regulatory Requirements. The HCP is based on information found in the Idaho General Safety and Health Standards, Section 160 and in Title 29, Code of Federal Regulations, Part 1910.95.
B. Process. Supervisors who believe that their employees or students are being exposed to noise levels at or above 85 decibels can request a survey by Environmental Health and Safety (EHS) personnel to assess noise exposures in their workplace. If survey results indicate that hazardous noise levels exist in the workplace, then engineering controls, administrative controls or hearing devices will be employed.
B-1. Hearing Protection. Employees or students who work in areas that have hazardous noise levels will receive hearing protection devices, training in hearing conservation and the use of hearing protection devices, as well as audiometric testing.
C. Procedures.
C-1. Requesting Noise Level Monitoring. University personnel who encounter equipment or an activity that may produce potentially hazardous noise levels should report their observations to their supervisor. The supervisor should call EHS to request noise level monitoring.
C-2. Mitigating Noise Levels. The preferred method of reducing or eliminating hazardous noise levels in work areas is by utilizing engineering controls such as acoustical insulation materials to attenuate the sound to below 85 decibels. Administrative controls may also be used to reduce the amount of time that an individual spends working in an area where potentially hazardous noise levels are produced. Hearing protection devices are least preferred due to the difficulty in assuring that employees always use hearing protection regularly and properly.
C-3. Procedure for Enrolling in the Hearing Conservation Program. University personnel who work in environments or with pieces of equipment which produce potentially hazardous noise levels as a part of their job at the university must enroll in the university's HCP. Supervisors can enroll those affected individuals by calling EHS.
C-4. Procedure for Participation in Audiometric Testing. Participants in the HCP must take part in annual audiometric testing, conducted at the university at specified dates and times arranged by EHS. A certified audiologist administers the tests. Supervisors will be contacted by EHS personnel to arrange for test times and locations for their staff enrolled in the program.
C-5. Procedure for Participation in Hearing Conservation Training. Employees enrolled in the HCP are required to attend a formal classroom training session presented by EHS at the beginning of their employment with the university. Formal classroom training sessions will cover such topics as: the physical and psychological effects of exposure to excessive noise levels; the proper selection, use and care of hearing protection devices; and the purpose and proper procedures associated with annual audiometric testing. EHS will announce the time, date, and location of each training session.
D. Information. For additional information about the Hearing Conservation Program, audiometric testing, requests for monitoring or the selection and use of hearing protection devices, please contact the Environmental Health and Safety Office at (208) 885- 6524.


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Saturday, June 3, 2017
The New York Times Whitewashes CIA's History in Iran
It is utterly baffling - inconceivable, really - that a major New York Times report revealing the identity of the Central Intelligence Agency's new chief of Iran operations makes absolutely no mention of the CIA-led coup that overthrew Iranian Prime Minister Mohammad Mossadegh in August 1953. The article, posted online on June 2 and appearing in print the following day, also contains no reference whatsoever to the agency's subsequent decades-long support for the Shah of Iran, including its leading role in creating SAVAK, the Shah's oppressive and violent secret police force.
Notorious CIA official Michael D'Andrea, who ran the CIA's murderous drone program and has been dubbed The Undertaker, Dark Prince, and Ayatollah Mike by colleagues, is now in charge of the agency's Iran operations, reports The New York Times. The appointment "is one of a number of moves inside the spy agency that signal a more muscular approach to covert operations under the leadership of Mike Pompeo," the article notes.
The Times scoop is rife with tidbits about the CIA's new Iran chief's vicious aggression, surly demeanor, and eagerness to use violence, as well as the well-established anti-Iran fever running through the whole U.S. administration. And while the report does note that "Iran has been one of the hardest targets for the C.I.A." because "[t]he agency has extremely limited access to the country — no American embassy is open to provide diplomatic cover — and Iran's intelligence services have spent nearly four decades trying to counter American espionage and covert operations," its authors Matthew Rosenberg and Adam Goldman omit the single most critical and resounding event in the CIA's history with Iran: the 1953 overthrow of Mossadegh.
The coup, a pivotal event of the Cold War, was the agency's first successful regime change operation and set in motion a chain of consequences that still reverberate to this day. That this essential fact was kept from readers by the paper of record is nothing short of surreal.
Such an omission is especially dumbfounding considering it was The New York Times itself that revealed key details of the coup, when journalist James Risen obtained a classified CIA history of the operation, dubbed TP-AJAX, in 2000.
"The history," wrote Risen, "says agency officers orchestrating the Iran coup worked directly with royalist Iranian military officers, handpicked the prime minister's replacement, sent a stream of envoys to bolster the shah's courage, directed a campaign of bombings by Iranians posing as members of the Communist Party, and planted articles and editorial cartoons in newspapers."
He adds, "Two days after the coup, the history discloses, agency officials funneled $5 million to Iran to help the government they had installed consolidate power."
While CIA culpability for the overthrow was widely known in Iran and elsewhere for decades, "many specifics have remained classified, and the secret history obtained by The New York Times is the first detailed government account of the coup to be made public," Risen noted.
It is additionally galling that the 1953 coup is ignored in the latest Times article considering the report's inclusion of statements made by US officials regarding the renewed policy of stoking regime change in Iran.
The article notes, for instance, that "Ezra Cohen-Watnick, the [National Security] council's senior director for intelligence — the main White House liaison to intelligence agencies — has told other administration officials that he wants to use American spies to help oust the Iranian government, according to multiple defense and intelligence officials."
Beyond this, and also left out of the article, are CIA chief Mike Pompeo's own regime change dreams, which he himself articulated last summer, before stepping into Langley's head office this year. "Congress must act to change Iranian behavior, and, ultimately, the Iranian regime," then-Congressman Pompeo demanded in an op-ed for Fox News.
Before that, Pompeo displayed an inhuman penchant for violence in place of diplomacy when he told a reporter roundtable in 2014, in the midst of ongoing multilateral nuclear negotiations, that bombing Iran wasn't too big a deal. "In an unclassified setting," he said, "it is under 2,000 sorties to destroy the Iranian nuclear capacity. This is not an insurmountable task for the coalition forces."
Who would join such a "coalition" was left unsaid.
The day the Joint Comprehensive Plan of Action (JCPOA), otherwise known as the Iran deal, was signed in 2015, Representative Pompeo declared, absurdly, that Iran "is intent on the destruction of our country," and insisted that the deal was "not foreign policy; it's surrender."
For The New York Times to leave all of this out of its report is an egregious abdication of journalistic responsibility. Without proper context and details, readers unfamiliar with the history of American clandestine actions in Iran (which, it's fair to say, is the overwhelming majority of them) are left to wonder exactly why, since 1979, "Iran has been one of the hardest targets for the C.I.A.," and how come it "has extremely limited access to the country," and why "no American embassy is open to provide diplomatic cover," and why it makes perfect, rational sense that "Iran's intelligence services have spent nearly four decades trying to counter American espionage and covert operations."
Whitewashing the CIA's destructive history of intervention in Iran makes the New York Times report on D'Andrea little more than a rewrite of a White House press release, albeit one with a better grasp on grammar and vocabulary.


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News archives
2016-04-15: KVIrc Nightly OS X Builds Are Finally Here
Great news for OS X users! The KVIrc Development Team Member staticfox has been working fervently for a week in order to fill a long standing gap in our nightly builds for one of our supported platforms. This is of course working binaries compiled for OS X.
The resulting dmg is built automatically via Travis, a continuous integration system which is also like what we use to build Windows binary installers for KVIrc.
The resulting builds are uploaded to a server kindly provided by staticfox located at https://kvirc.staticfox.net where you can download, install and enjoy KVIrc on OS X and start providing much valued feedback and bug reports via the GitHub issues page.
If you encounter any issues with these builds, aside from the KVIrc GitHub issues, you can also join our #KVIrc IRC channel on freenode where we will be happy to answer any of your questions.
Remember: KVIrc heavily depends on people's varied skills, time, interest and goodwill to help fix bugs, add features, and do general project related tasks for what is a free and largely thankless job.
Help KVIrc grow as a contributor by donating your skills, time and other expertise and see how you can make a difference to this opensource project and expand your knowledge, experience, and horizons.
Have fun in IRC from The KVIrc Development Team


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November 7, 2008: Pyramid: The Third IncarnationThis year, Pyramid turned 15 years old. When it started in 1993, Pyramid was a bimonthly print magazine. We were proud of it. It offered a wide variety of articles covering the entire gaming industry, it had a lot of loyal readers, and it won awards. Over time, buying habits changed, and printing costs rose. A print magazine was no longer economical, so after 30 print issues, Pyramid shifted to a weekly subscription access website, complete with archives, newsgroups, and a chat room. And that was good . . . for a while. Times have changed again. With more and more content of all kinds available free on the web, subscription sales slumped. We hoped that subscribers would be willing to pay for extra quality. In trying to reach that goal, we made Pyramid SUCH a good deal, in terms of price per word, that all our effort on it earned very little money. The obvious conclusion was to either kill the magazine completely, or bring it in line with other products with similar budgets. We didn't want to kill it, so we reinvented it again. The new Pyramid will be released monthly in PDF format. Each issue will contain four times the word count of the weekly Pyramid, and will be priced at $7.95 -- in line with our other PDFs of similar size. Each issue will have a specific theme. The first issue -- Tools of the Trade: Wizards -- will upload on Friday, November 21. We know that some people will drop away because of the increased price, and we're sorry, but this is economic reality. We hope the new format will attract new readers to offset the loss . . . both regulars, and one-shot buyers interested in an issue's specific theme. If not, well, we tried -- this may not work, but the old way wasn't working, so a change was necessary.
What happens to your current subscription?
We'd like to thank everyone who subscribed to both earlier versions of Pyramid, and all the creators who submitted articles over the years. Looking back, we've already had a run to be proud of. Looking forward, we've got a good shot at many more years of quality articles. Pyramid is dead (again)! Long live Pyramid! Share this post! |
Copyright © 2024 by Steve Jackson Games. All Rights Reserved.


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The name "Wyckoff" is familiar to many Seattleites. The family has a long history of entrepreneurialism and philanthropy in the Northwest, particularly in the arts and the environment.
The family name is also famous nationwide for its interesting history, being traceable to the early roots of America, to the very moment one young man, Pieter Claesen Wyckoff, stepped onto the muddy shores of New Amsterdam in 1637.
Pieter was my great, great, great, great, great, great, great, great, great grandfather. (see family tree photos at the end of the post)
Here is a bit of Pieter's story. (Excerpted from an earlier post.)
Voyage to the New World on the Ship Rensselaerswyck
In 1636, when Pieter was a young teenager, he left Texxel (near Amsterdam) on the Dutch Ship Rensselaerswyck. There were 38 passengers on board, many of whom were signed as indentured laborers or contract farmers to a wealthy Dutch diamond merchant named Kiliaen Van Rensselaer. They were on their way to Fort Orange (Albany, New York) and the settlement—also called Rensselaerswyck.
The entire trip took over six months.
It was a difficult trip, even by the standards of the day. For the first seven weeks, the captain's log tells of one bad day after another.
Arrival at New Amsterdam (now New York City)
After months at sea, finally reaching New York Harbor must have seemed like sailing into heaven for the passengers of the Ship Rensselaerswyck. It was March 4th, 1637—more than sixth months after the ship had left the Netherlands.
Fort Amsterdam and a windmill stood on a small hill surrounded by a scattering of rough buildings. There was no proper pier—people arriving by ship would have been rowed to the shallows to splash up the muddy shore on foot. It was a primitive settlement, and the few hundred inhabitants surely had no idea of the growth spurt their little town would undergo in the next few decades—let alone that this lonely outpost would one day be the financial center of the entire world.
The same view today:
Up the Hudson River to Fort Orange
After a spending a few weeks in New Amsterdam, the Ship Rensselaerswyck sailed up the Hudson River on the last 150 miles of its journey. On April 7, 1637, they reached Fort Orange—a tiny fortified settlement that had been hacked out of the towering pines a decade or so earlier. It was the last outpost of Dutch civilization.
To young Pieter and his fellow passengers, it must have seemed farther away than the moon.
Behind the fort, millions of square miles of wilderness sprawled across the continent, inhabited by the Native Americans that had lived there for thousands of years, and hordes of wild animals, birds and fish and other creatures. The location of the fort along the river was key—the waterways were the main travel routes for both wildlife and the people that hunted them. The Europeans were astonished at the abundance of fish and game in New Netherlands.
In 1637, the Europeans had no concept of how big North America was—there was even still some debate as to whether the earth was flat or round1. In his 1655 book, Adriaen van der Donck wrote that "several of our people have penetrated far into the country to at least seventy or eighty miles from the coastline."
Judging from the climate and the huge numbers of wildlife and migrating waterfowl, van der Donck concluded that the "land stretches for hundreds of miles into the interior…"
He would have been surprised to know it stretches for several thousand miles!
The main business at Fort Orange was beaver. The Mohawk tribe hunted the animals throughout the highlands and brought down thousands of pelts to be traded for European axes, kettles, glassware, knives, and before long, guns and alcohol.
Eventually, beavers were hunted to the brink of extirpation.
Pieter Claesen Wyckoff starts his life as a laborer
The 38 passengers of the Ship Rensselaerswyck were either farmers or laborers on a tract granted to Kiliaen van Rensselaer, a wealthy diamond merchant residing in Amsterdam. The estate, also known as Rensselaerswyck, stretched for about nine miles along both sides of the river from the Fort and inland a distance described as "two days' journey."
Simon Walischen was a Master Farmer and a lease-holder with van Rensselaer. He was favored by being given his choice of the laborers on the boat, and he chose Pieter. As master, Simon would have total control over Pieter's life for the next six years. In addition to Pieter, there may have been other laborers assigned to Simon.
After arriving at the Fort, they would have left by rowboat or small sailboat to Simon's assigned land, a large tract of previously cleared land on what is now Papscanee Island in Albany.
At least initially, they probably lived in a crude pithouse with a roof of planks or logs. Eventually they might have built a log and thatch hut, or even a small plank house.
Pieter stayed with Simon until the age of eighteen, then he collected his wages (a total of 375 guilders for 6 years) and left to rent his own farm on the Rensselaerswyck estate. He married Grietje Van Ness, the daughter of a prominent family, and later the two moved— possibly to a location near New Amsterdam or elsewhere on lower Manhattan Island.
At that time, New Amsterdam was a growing trading and port settlement, controlled by the Dutch. The map below shows New Amsterdam a few decades later, in 1660.
In 1652, Pieter signed a contract to "superintend the Bowery and cattle of Pieter Stuyvesant in New Amersfoort" (Flatbush, Brooklyn)—which was a West India Company- owned tract— and Pieter and Grietje moved to what is now known as the Wyckoff Homestead and Farm, the oldest structure in New York City and a National Historic Landmark.
In the mid 1600s Brooklyn and the rest of Long Island was still mostly wild country. There was a small settlement called New Amersfoort—centered a couple of miles to the southwest—that had been started about 20 years earlier as a farming community. At the time Pieter, Grietje and their 3 children moved in (they ended up with 11 kids eventually!) there were about 15 settlers living in New Amersfoort.
I imagine Pieter's farm might have looked something like this:
Pieter became one of the most prosperous and influential citizens, buying land, serving as magistrate, and helping establish the Flatlands Dutch Reformed Church (now the juncture of Flatbush Avenue and King's Highway). He adopted the invented name "Wyckoff" when the British took over New Amsterdam.
Pieter and Grietje had eleven children, all of whom married, had children and went on to live somewhat prosperous lives.
Here's the very same house as it looks today. It's now a museum, a National Historic Landmark, and officially the Oldest Structure in New York City. It's located in the heart of Brooklyn.
Climbing on the Family Tree:
The family lineage from Pieter to me:
Pieter Claesen Wyckoff, born 1625
Cornelius Wyckoff (one of 11 children!), born 1656
Simon Wyckoff, born 1683
Cornelius Wyckoff, born 1715
George Wyckoff, born 1745
George Wyckoff, born 1795
Cornelius Wyckoff, born 1820
(From here the lineage goes on the female side)
Read more about the Pieter Claesen Wyckoff House
Explore historic New Amsterdam:
Explore New York City before settlement:
To read the entire ship's log from the voyage: http://freepages.genealogy.rootsweb.ancestry.com/~clifflamere/Misc/MI-LogRenWyck.htm#Part%201
To read some of the ship's correspondence: http://www.rootsweb.ancestry.com/~nycoloni/rnscores.html
To read more about Fort Orange on the New York State Museum site: http://www.nysm.nysed.gov/albany/loc/fortorange.html#farmers
1. "A Description of New Netherlands", pages 6 and 70, by Adrian van der Donck, first published in 1655, and re-translated by Dederik W. Goedhuys.
Sources Include:
"A Description of New Netherland", by Adriaen van der Donck and first published in 1655. Newly translated by Diederik Willem Goedhuys.
"The Island at the Center of the World", by Russell Shorto
"New York", by Edward Rutherfurd
"Daily Life in Holland in the Year 1566", by Rien Poorttvliet
"White Servitude", by Richard Hofstadter (article on-line)
"Dutch and English on the Hudson", by Maud Wilder Goodwin (available on-line via project Gutenberg)
The Rise of Pieter Claessen Wyckoff, Social Mobility on the Colonial Frontier, by Mortom Wagman.
The Wyckoff Families of Old Canarsie Lane, by Mae Lubizt.
The Wyckoff Family in America, Published by the Wyckoff Association in America
Lucie Chin and Joshua Van Kirk, the Wyckoff Farmhouse Museum
Van Rensselaer Bowier Manuscripts: Being the Letters of Kiliaen Van Rensselaer
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Updated November 17, 2021 at 2:20 PM ET
Jacob Chansley, the self-styled "QAnon shaman" who became one of the faces of the Jan. 6 attack on the Capitol after storming the building in a fur headdress with horns, has been sentenced to nearly three and a half years in prison for his role in the riot.
Photographs of a bare-chested Chansley carrying a bullhorn and a spear adorned with the American flag while howling in halls of the Capitol became some of the iconic images of that violent, chaotic day.
At a hearing Wednesday in U.S. District Court in Washington, D.C., Judge Royce Lamberth sentenced Chansley to 41 months in prison, although he will be given credit for the roughly 10 months he has already served.
"You didn't slug anybody, but what you did here was actually obstruct the functioning of the whole government," Lamberth said. "You know what you did was wrong. I admire you for being able to come to terms."
The Justice Department says Chansley was among the first 30 rioters to enter the Capitol on Jan. 6 as the crowd of Donald Trump supporters overwhelmed police, bashed in windows and pushed into the building. The mob forced lawmakers to flee and temporarily abandon their certification of Joe Biden's election win.
Chansley was arrested days later and indicted on six charges, two of which were felonies, and ordered detained pending trial. He ultimately struck a deal with the government and pleaded guilty in September to a single count of obstruction of an official proceeding.
At Wednesday's hearing, Chansley addressed the court for around 40 minutes. He said he has spent much of the time he's been locked up reflecting on his life and his actions on Jan. 6.
"Men of honor admit when they're wrong. Not just publicly but to themselves," he said. "I was wrong for entering the Capitol. I have no excuse. No excuse whatsoever. The behavior is indefensible."
According to court papers, on Jan. 6, Chansley made his way into the Capitol and onto the floor of the Senate, where he scaled the dais.
After a police officer asked him to leave, Chansley refused and said: "Mike Pence is a f****** traitor." On the desk at the dais, Chansley scrawled a note on a piece of paper that read: "It's Only A Matter of Time. Justice Is Coming!"
Chansley also led rioters in an incantation over his bullhorn, which he concluded with the words: "Thank you for allowing us to get rid of the communists, the globalists, and the traitors within our government."
At Wednesday's hearing, Chansley admitted that he was guilty, but also said he's not a "dangerous criminal."
"I am not a violent man. I am not an insurrectionist. I am certainly not a domestic terrorist," Chansley told the court. "I am a good man who broke the law. And I'm doing everything I can to take responsibility for that."
He said he's struggled with mental health issues for years, a problem exacerbated by being locked up. He also said his time in custody has taught him a lesson.
"I will never re-offend again," he said. "And I will always, from here on forward, think about the ramifications of everything that I do and what it is I say and how it will be perceived."
Before announcing his sentence, Judge Lamberth told Chansley he believes that his remorse is genuine and heartfelt, but he also told Chansley that "what you did was terrible."
He said Chansley had made the right decision to plead guilty and take responsibility for his actions, instead of going to trial where he faced a much longer possible sentence.
"You were facing 20 years, Mr. Chansley. The one advantage you get here is you're only facing now 41 months," Lamberth said. "It may not feel it today, but let me guarantee you, you were smart and did the right thing."
The sentenced handed down was less than the 51 months the Justice Department had recommended for Chansley, whom prosecutors described as the "flag bearer" of the Capitol riot.
Assistant U.S. Attorney Kimberly Paschall told the court at the start of the hearing that such a sentence was necessary "to send a strong message" to Chansley and anyone who would wish to do harm to the country.
"The message today," she said, "is don't. Don't think that your illegal actions come here without consequences."
Copyright 2022 NPR. To see more, visit https://www.npr.org.


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04/22/02 Earth Day
The informative stand of the Animal Friends on the Earth Day
On the Earth Day, April 22, Animal Friends will set an informative stall on Starcevic Square in Zagreb. Beside the usual informative leaflets and other written material about protection of animals and animal rights, the informative stand will also offer the information about ecology, that is, the effect of raising animals on farms and meat industry on environment.
Animal Friends is the organization for the protection of animals and animal rights and promotion of vegetarianism from the ethical, ecological and health point of view. Since other existing associations dealing with ecology remain at the surface of ecological issues, and don't go deeper to tackle the underlying causes of the global pollution and destruction, we feel the need to stress the causes of pollution and habitat destruction and to urge citizens to change and act while there's still time.
It is essential to motivate and mobilize all the available forces in order to stop the mass destruction of the only planet we have. The meat industry and the habit of eating meat is to a large extent accountable for the irresponsible and needless consumption of resources and the massive pollution.
Natural resources and energy: Take, for example, the states of Washington, Oregon and California, which spend 17 billions kW/hours of electrical power just to raise cattle. This energy would suffice to lighten each house in the whole state for six weeks. The fuel consumed to meet the annual so-called "animal protein" demands of the family of four meat-eaters would suffice for 6 months of driving a car.
On the same patch of land allotted to production of just 1 kg of meat, one could produce - in the same period - for example, 200 kg of potatoes or 160 kg of tomatoes. One could, as well, produce not 50 kg of beef, but instead of it - 1,000 kg of cherries or 6,000 kg of carrots or 4,000 kg of apples.
To conclude: the land needed to feed just one meat-eater (carnivore) can feed 20 vegetarians. In contrast to other branches of economy, the meat industry - in almost all world countries - is heavily subsidized in other to yield profit.
Imagine yourself with a meal of 1 kg of beefsteak on your plate. And, now imagine other 45 to 50 people sitting at the table with - empty plates. These 50 plates could be filled with a cupful of cooked rice for the price of "feeding your steak."
Water: It takes 100 litres of water to produce 1 kg of wheat and 10,000 litres for 1 kg of meat. The quantity of water needed to produce 10 kg of steak is equal to annual water consumption of an average family. The meat production in the USA yields pollution equal to the rest of industrial production and all the towns taken together! Approximately 50% of the water pollution in Europe comes from the mass cattle rearing. Nitrogen from manure has reached such a high concentration levels in the underground waters, that some mineral waters do not meet the criteria for drinkable water anymore. 50% of the total word water consumption goes for massive cattle raising.
Forests: From 1970 on more than 20 mil. hectares of rain forest has been turned into-pastures for cattle! Million of hectares of rain forest are being destroyed every year in order to make more pastures. This kills and endangers many animal species, but also the local human population. Considering the enormous needs of meat industry, in 40 years, there will be NO more rain forests! One third (1/3) of the Eearth's surface is already used as pasture for cattle. Cattle farms are the source of more than 85% of the nitrogen in the form of ammonia, which is considered to be main cause of death of forests.
Soil: In the USA only in the last 200 years 1/3 of the primary surface layer of the soil (approximately 17 cm thick) was destroyed in growing cattle. And it takes from 200-1,000 years for merely 2 cm of surface layer to develop!
Air: Ammonia evaporating from cow stables causes more damage than all cars and factories in the world taken together.
The effect of massive cattle growing on the global warming completely equals the effect of car traffic, and when we include in this consideration felling of trees to clear the land for pastures and to produce fodder for cattle, turning savannah into deserts, the erosion of mountainous areas, the exceptionally high water and energy consumption, we realize that with each kilo of produced meat, we consume, destroy and pollute in every way our planet!


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Winterfell May Be Threatened in 'Game of Thrones' Season 8's Opening Scene
Cold open or no, Game of Thrones seasons always set the tone by their first scenes. The eighth and final year may even begin with a particularly chilly reception, as reports of Season 8's first scene could suggest Winterfell facing imminent danger.
Watchers on the Wall reports not only that Season 8 filming has resumed in Ireland, but also that filming may give us a clue to the final season's opening scene. According to the report, the latest Game of Thrones filming took place in Moneyglass, the estate in Toome that serves as both exterior and courtyard of Winterfell. The opening scene itself is said to take place in "Winter Town" outside of Winterfell, "home to the smallfolk who look to House Stark for protection." It's also where we saw Brienne and Pod lodging as they waited for Sansa's signal in Season 6.
Innocuous enough on its own, perhaps, but it's worth remembering that our last Season 7 image saw the Night King and his army finally breaking through The Wall, and beginning their march south. Given their relentless undead pace, it won't be long into Season 8 before the army starts coming across northern settlements and likely Winterfell itself. And what better way to open the final episodes than spotlighting some immediate threat or consequences to the series' most famous locale?
Not to mention, star John Bradley also previously hinted that every major Game of Thrones character would visit some new territory in Season 8, which could suggest that Winterfell no longer serves as a base of operations for Sansa, Arya, Bran or Jon. There are plenty of "ifs" here, granted, but Season 8 would likely have good reason to ease us back in through the Winterfell townspeople's perspective, before things start going horribly wrong.
It's still a long road to the 2019 premiere, so stay tuned for the latest on Game of Thrones' final episodes in the meantime.
Gallery: TV Twists That Fans Figured Out Way in Advance


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Sunday, September 21, 2008
Shader Workflow - Why Shader Generators are Bad
If you define shader permutations as having lots of small differences but using the same code than you have to live with the fact that whatever is send to the hardware is a full-blown shader, even if you have exactly the same skinning code in every other shader.
So the end result is always the same ... whatever you do on the level above that.
What I describe is a practical approach to handle shaders with a high amount of material variety and a good workflow.
Shaders are some of the most expensive assets in production value and time spend of the programming team. They need to be the highest optimized piece of code we have, because it is much harder to squeeze out performance from a GPU than from a CPU.
Shader generators or a material editor (.. or however you call it) are not an appropriate way to generate or handle shaders because they are hard to maintain, offer not enough material variety and are not very efficient because it is hard to hand optimize code that is generated on the fly.
This is why developers do not use them and do not want to use them. It is possible that they play a role in indie or non-profit development so because those teams are money and time constraint and do not have to compete in the AAA sector.
In general the basic mistake people make that think that ueber-shaders or material editors or shader generators would make sense is that they do not understand how to program a graphics card. They assume it would be similar to programming a CPU and therefore think they could generate code for those cards.
It would make more sense to generate code on the fly for CPUs (... which also happens in the graphics card drivers) and at other places (real-time assemblers) than for GPUs because GPUs do not have anything close to linear performance behaviours. The difference between a performance hotspot and a point where you made something wrong can be 1:1000 in time (following a presentation from Matthias Wloka). You hand optimize shaders to hit those hotspots and the way you do it is that you analyze the results provided by PIX and other tools to find out where the performance hotspot of the shader is.
21 comments:
- Ben Garney said...
Why can't shader generators generate fast shaders?
Compilers can generate fast code. The shader compilers especially work hard to optimize what you give them, and usually do a good job.
Sure sometimes you have to go in and really dial a shader in performance-wise. It would be foolish to lock yourself into only using your ubermaterial or shader generator or what have you. But if you can write a system to deal with 90% of the work for you, isn't that worthwhile?
It seems to me that shader generators are like scripting languages. You can get most of what you need done with them. The rest has to be done at a lower level, but that's ok, because you can then spend most of your time focusing on that since the other system deals with the rest. - September 21, 2008 at 2:07 PM
- Nick said...
I think we're tiptoeing around the fact that shaders can't make vectored function calls. Cg's so-called interfaces are a big fake, in the sense that the function calls are JIT flattened.
The lack of vectored execution leads to shader proliferation leads to unpleasant bandaids like shader generators and ubershaders.
I think we should be mentioning to TPTB that "exciting" GPU shader features and new stages are orders of magnitude less exciting than solving this issue. - September 21, 2008 at 2:14 PM
- repi said...
- This comment has been removed by the author.
- September 21, 2008 at 5:03 PM
- repi said...
Hmm, your post sounds widely generalizing and assumptive. But it is an interesting topic.
I would argue that shader permutation generation systems are really quite common for AAA next-gen titles. Just look at Unreal and the vast amount of licensees using that engine together with the graph-bases shaders and generated permutations of them (AFAIK).
And regarding material variation / artist workflows and shader generators, having the ability to easily create domain-specific shading, lighting & compositing with rich high-level tools (wether graph-based or not) and freely both experiment and optimize content without having to be spoon-fed by a rendering programmer is something I know many value.
In other words; having efficient & adaptable Workflows are generally more important than pure performance, esp. as of this and the coming generations.
Oh and there are people proposing solutions to the "shader permutation hell" problem that pretty much everyone is facing, wether you create every single shader by hand or generate permutations.
DX11 is a partial step in the right direction with static subroutines, but in my mind the full solution: dynamic subroutines (i.e. shader function pointers), will require more HW & API changes but is a logical & very plausible/practical extension. - September 21, 2008 at 6:10 PM
- Kim, Hyoun Woo said...
There're some interesting posts on shader generator systems around these days.
See the following post:
Graphical shader systems are bad - http://realtimecollisiondetection.net/blog/?p=73
Even though Unreal provides that system but it is more proper to flim industry or something that performance is not a priority. (yes, there might be some artist who even talented on shader programming though but it is not a common case :-)
Doesn't it enough to have a simple system which combines fragment code written by manually described at here - http://www.talula.demon.co.uk/hlsl_fragments/hlsl_fragments.html - September 21, 2008 at 6:40 PM
- Christer Ericson said...
Um, Wolfgang, I hate to point this out, but übershaders and graphical material systems (both of which I presume fall into your "shader generators" category as they generate shader permutations) are provably used by several AAA teams. When you then claim that "This is why developers do not use them" in reference to these systems -- which is trivially a false statement -- that makes your whole post rather vacuous.
- September 21, 2008 at 11:54 PM
- Wolfgang Engel said...
Having a well setup shader workflow the way I describe it does not mean that the artists can't tune shaders. They can tune a lot. In Table-Tennis we had per character 200 sliders :-) ... having very well tailored shaders in the pipeline you end up with lots of sliders for the artists.
Obviously the skin shader has different tuning values than the cloth shader etc.. because cloth uses for example Oren-Nayar or Minnaert lighting.
shader permutation hell ... never heard of that. This sounds like a strong lack of organization. My first question would be: did you guys had more than 20 different materials? I think the number 20 does not sound like hell and it was good for all projects I worked on so far.
Ok Christer; it depends on where you start counting AAA ... a very narrow view would be more than 4 million copies :-) ... that would exclude then most titles I know with licensed engine technology. - September 22, 2008 at 2:48 PM
- Wolfgang Engel said...
... but seriously all games I know do not use shader generators. I know that Unreal 3 has a material editor which does not work out well because Artists can't optimize shaders and they tend to do redundant stuff with it.
- September 22, 2008 at 2:56 PM
- Wolfgang Engel said...
btw. Christer I saw now your post at
It seems like we are not far away here. - September 22, 2008 at 3:40 PM
- Wolfgang Engel said...
I like actually this paragraph: "You rarely hear people say bad things about these graphical shader systems, but next time you're at GDC and have the opportunity to meet up with a bunch of developers who've used a graphical shader system, ask them how much work they spent on cleaning up shaders at the end of the project. The stories I've heard haven't been pretty." This is my experience. I didn't know that you have already written about it. So I will refer to your post next time.
- September 22, 2008 at 3:44 PM
- Robin Green said...
IMO, one of the reasons we have the combinatoric problem with shaders is that the language designers decided to leave out the linker stage. the only way to compose shader functions into the final result is to run the compiler front end over and over again on the same code fragments and produce binary shaders at the other end.
If there were a way to precompile shader segments and compose them at "link time", a lot less tine would be spent in the compiler front end. Instead we could compose fragments in intermediate representation (e.g. PS3.0) which then gets passed to the driver back end for the normal translation and peephole optimization stage.
Is there any good reason why the shader compilers work contrary to most other high level languages, other than the fact that they use a lot of inlining? I just get the feeling that someone (*cough*NVidia*cough*) took a shortcut early in the dev. process and we're all paying for it years down the line. - September 22, 2008 at 4:08 PM
- Christer Ericson said...
You missed the bit where I mentioned we opted for an übershader-approach for God of War 3, after considering all the alternatives. And contrary to your statements I believe we're typically considered an AAA team and I like to think we do understand how to program graphics cards!
- September 23, 2008 at 1:03 AM
- penwan said...
>>> I know that Unreal 3 has a material editor which does not work out well because Artists can't optimize shaders and they tend to do redundant stuff with it. <<<
It worked out really well for Epic last time I checked Gears of War's sales. And some of their licensees, e.g. 2k Boston/Australia. I'd certainly consider Bioshock a AAA title.
What I can agree with is that such systems have their problems as I well know (our team is using such a system). Optimizing shaders is more difficult. Seeing some of the shaders that content creators generate will make you want to cry.
I just think it's misleading to make such a blanket statement. Different tools make sense for different teams and for some teams a graphical shader editor makes sense -- even AAA teams. - September 23, 2008 at 12:24 PM
- Wolfgang Engel said...
You missed the bit where I mentioned we opted for an übershader-approach for God of War 3, after considering all the alternatives. And contrary to your statements I believe we're typically considered an AAA team and I like to think we do understand how to program graphics cards.
Yep my joke was not good. Let's say I owe you at least a beer next time we bump into each other :-) ... then I will be curious to hear how your ueber-shader approach went through (I think I can count three projects where I was involved with one) - September 23, 2008 at 8:01 PM
- Sinbad said...
I definitely agree with the sentiment - the results of tools like Mental Mill are enough to make a shader programmer have a small fit.
However I do think ubershaders can be excluded from this, simply because they're written by a coder anyway, and the combinations are finite - you can profile all the various options you allow. Eventually of course, the combinations may get too unwieldy and you'll be forced to either stop adding options, or split the shader into more than one ubershader with a tighter focus. I think multiple categorised ubershaders are a good middle-ground, since they allow you to include/exclude shader code, change semantic bindings and sizes etc depending on requirements without so much duplication as the separate shader appraoch, but with a programmer controlled 'break point' where you split things off for the sake of keeping a lid on the complexity & permutations. - September 25, 2008 at 1:53 AM
- Ryan Cleven said...
- This comment has been removed by the author.
- November 12, 2008 at 8:32 PM
- Ryan Cleven said...
To take a totally different perspective:
Shader Generators are currently a bad idea because little of the final look has anything at all to do with the writing of the shader but rather the artwork and parameters used to feed the shader. A good artist can wrangle something good out of almost any shading system.
True, excellent engineers can give artists more capability, speed or simplicity, but 90% + of the time actually spent making something look good come from the tweaking of the parameter space rather than the crafting of the behavior.
To speak to someone's earlier point, who is your audience for such a tool?
The engineer? Why take away power from them when the language tools they have are appropriate to the detail they want to work with.
The artist? They don't deal well with creating generalized behavior. They work very well using generalized behavior created for them.
The technical artist? The rare technical artist that is both a good artist and a good coder would be the perfect candidate, but these people are very hard to find. In addition, once they're a good coder they can make do with what's there. They are also rarely the majority of the art staff on a project.
The art teams I've seen on AAA products are usually much larger than the number of people authoring shaders. Wolfgang's estimate of 20 shaders rings very true.
All this said, once we have so much power in hardware, it doesn't matter anymore (look at film) then artist can make whatever they want in say, XSI, and it'll "just go". But that's not for at least a few years. - November 12, 2008 at 8:45 PM
- Scott Bean said...
A graph-based shader tool is as good as the guy who wrote it, plain and simple...
There has been many attempts, but not many graph-based shader tools exist or are being used effectively. I can agree that some graph-based tools are clunky, generate ugly and bad performing code, and make it harder on the developer to take full control of the output. This doesn't have to be the case!
I've been developing a graph-based tool for 8 years now called ShaderWorks which was pulled in by Activision a long time ago. I've been beating my head against a wall from day one, I knew this type of tool was very very powerful, but was on the fence about how well of a code generator and shader prototyping power it could be.
Only until version 4.0 have I jumped completely on the "graph-based" side of the fence.
The main things holding me back was that the code being generated was inherently horrid to look at and the template code which defined the graph/block/node and shader code was just too annoying to deal with. Even though not many have this figured out, I can honestly say it is possible to fix.
In most generators, there tends to be a ton of variable indirection and redundancies which make the generated code ugly ( if not done right ) but regardless these things are simple for the compiler to optimize away.
Another concern was weather or not to generate nested code ( all in one shader function ) from the graph blocks or to generate per-block functions. Either way seems to generate comparable performance but I chose function based as it keeps things very readable and clean and it lets the function inputs/outputs rename the variable names so everything ties in better with the templates.
A well done code generator can actually do a "perfect" job at packing / unpacking interpolator registers and making that part SO SO much easier to manage and change. So with those things covered, what is left that could be slower compared with hand written shaders? Not much since the code written in the graph templates are written by us, the developer, the same people writing the hand coded shaders, so any per shader optimization can easily be done in template, afterwards manually in your very clean shader output… - July 29, 2009 at 7:50 PM
- Scott Bean said...
(continues) - sorry, lots to say :)
Some argue these applications are not flexible enough for many types of techniques? Well again, if you have a good code generator, the output is as flexible as your material graph / template system makes it. You can go complex with your system, or have whole shaders handled mostly within few blocks / templates.
With performance dealt with, a graph-based shader tool can generate you MUCH better looking, organized and CONSISTANT shader code than what most coders churn out if given the time and MUCH more understandable than any uber-shader since the option filtering is done in the code generation pass, not the pre-processor pass( mostly ).
Alright now on to the template language. Coding HLSL is one thing, having to deal with horrible template code is a whole new can of worms. Yes this could be the case ( was for earlier version of our tool ) but that doesn't have to be how things work. A C/C++ like interpreter can make writing template code as easy as writing little bits of C code to manipulate shader string output and handle input/output ports, among many other useful utilities. I can assure you that having a flexible, error reporting, template language is possible and fun to use. It's like having VC++ built into our tool.
A graph-based shader tool ( with static tweaks ) can allow a good shader permutation system to generate and manage far less shaders and make it easier to add/remove features which in a if/def style ubershader would get out of hand VERY quickly. Remember, a graph-based shader tool is inherently a dynamic uber-shader generator.
Any shader tool ( like FX Composer ) because of its framework easily improves on iteration time and a well developed graph-based tool can even more drastically improve prototyping times AND lead to exiting new shader developments. For example, procedural effects are a bitch to envision, let alone develop blindly, doing so with a graph-based shader tool, it's a snap and easy to visualize and debug.
I'm not saying that this type of tool is for every studio, as it did take me 8 years to get to where I am with my tool, but I just wanted to say such a tool, if done right, would enhance a pipeline in MANY ways and lead to some amazing shader development / prototyping capabilities. - July 29, 2009 at 7:52 PM
- Scott Bean said...
Another misconception is that graphical shader tools are developed specifically for use by artists / technical artists and not coders. It's obviously a horrible idea to have artists develop shaders that go directly into the pipeline. Having them prototype new effects that can be handed off to a developer for later optimization is reasonable in certain cases. I mean, myself, i generate craziest 500+ instructions, 2000 lines shaders until I'm satisfied with the look and quality I was aiming for, then I hack away at it to get the instruction count down considerably for use in game.
On the other hand, most low level shader developers I've met are purist and performance junkies and shy away from any clunky mechanism getting in their way, unless they fully understand the shader system and know exactly what to expect from the code generation. I mean, if the tool is good enough, it's like trying to give your grandmother a cell phone, she'll fight it to death, but once she uses it a bit, she's texting all her 90 year old boyfriends... ( dramatization )
Ok, I'm done, I'm starting to sound like a crazed lobbyist or something! haha - July 29, 2009 at 8:26 PM
- Wolfgang Engel said...
Hey Scott,
nice to hear from you again. I believe I was one of your alpha testers 8 or 9 years ago with ShaderWorks. The tool looked very promising and I was quite excited about it.
What you say here sounds very good. I would be very interested in checking out your tool but I guess I would have to join Activision to do this :-)
I must say you describe shader/graphics programmers pretty good here :-).
The process of optimization shaders does not only consist of counting cycles, we also move for example parts of the lighting formula back and forth between the vertex and the pixel shader. We merge code pieces when we add for example for skin a subsurface scattering model or a Fresnel term etc.. I usually prototype with RenderMonkey or FX Composer because I can do it at home or while traveling and do not need access to my machine at work ... I also prototype with a piece of paper and a pencil by just writing a shader on a piece of paper that is just available.
If you have a library of shader sub-routines, you have a good starting point for writing shaders.
It is a shame that we can't try your program. I can only imagine what kind of progress you made in those eight years ... - July 29, 2009 at 9:27 PM


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- Step 1: Decide where you want to showcase the captivating glow and mark those spots on your wall.
- Step 2: Use a drill to create holes for the wall anchors.
- Step 3: Insert the wall anchors securely into the holes.
- Step 4: Attach the metal cylinders to the wall anchors by drilling screws through them. Remember, there are two shock bands that will help snugly secure the acrylic in place.
- Step 5: Finally, tighten the screws into the metal cylinders, ensuring a sturdy and secure installation.
*Free installation and hanging items are provided.*
Sizing Guide
Please keep in mind that the provided mockup image is for reference purposes only. The actual product you receive will correspond to the size specified in your order.
For larger sizes over 41 inches, the sign may be split into 2 or 3 pieces, depending on the design. This is done to ensure safe transportation and offer more reasonable pricing. Rest assured, the division of the sign will not affect its quality or aesthetics. The acrylic material used is transparent, and when the pieces are assembled, they will seamlessly come together, creating a flawless look. You don't need to worry about multiple wires either, as only one power cord is required to power the entire sign.
Shipping Information
We aim to process and prepare all HDJSign orders within 2-3 business days after receiving your payment. Please note that orders are not shipped or delivered on weekends or holidays.
Shipment method | Delivery Time | Shipment cost |
Free Express shipping | 5-7 Business Days | Free |
Urgent orders | 1-3 Business Days Days | Contact Us! |
Once your order is ready to be shipped, we will send you a notification email that includes a tracking number. This will allow you to easily track the progress of your package.
Please keep in mind that if any changes are made to your order, it may result in a delay in the delivery time. The extent of the delay will depend on the nature of the changes and the additional time required to adjust your order accordingly.
Each sign is made of a neon flex material, consisting of PVC or Silicon piping with LED lights, that is mounted on a acrylic board.
These materials allow us to create realistic neon signs, with bright lights and intense color, while being more durable, affordable, and sustainable than traditional neon.
Available for you are neon signs in multiple colors, whether you are looking for a bright green or a sky blue, the vivid yellow or the eye catching red… stylish purple or serene white, lively orange, pretty pink or classy blue, we have got you covered!
Browse through the colors and find the one you have wanted all along!
#1. Your customized LED neon sign
#2. Dimmer and remote (Optional)
#3. Screw install kit
#4. 12V power adaptor
#5. Hanging chain install kit
Our LED neon signs are mounted on high quality, clear acrylic backboards.
Backboards feature pre-drilled holes for easy wall mounting, and are ready for mounting.
With the durable hanging lines, it also can be easily hung.


text:
Some states are moving forward with plans to phase out sales of gasoline cars and pave the way for more electric vehicles on the road.
Because of that, agencies are taking a close look at electric car safety.
"We are seeing electric vehicles perform as well in our tests as their internal combustion engine counterparts and that's good news for consumers," said David Harkey, President of the Insurance Institute for Highway Safety (IIHS).
The IIHS recently crash tested two new fully electric vehicles made by Ford and Volvo. Both received top safety scores. The Volvo was slightly better only because its headlights performed better.
But as far as avoiding collisions through automatic braking and protecting drivers and passengers during a crash, they did well and perhaps even better than standard vehicles.
In fact, a recent study of insurance claims compared nine pure electric vehicles to standard engine cars. It found electric car owners had 40% fewer injury claim rates.
The IIHS believes that has to do with the fact that electric vehicles weigh more because of the battery, sometimes as much as a thousand pounds more.
"And we know historically from looking at the crashes over the years that when you're in a heavier vehicle, you're going to have lower forces exerted upon your body when you're in a crash, and thus you're less likely to be injured. 1057
The agency also looked at fire risk and found they are not seeing any elevated danger with electric vehicles.
They've tested less than a dozen electric vehicles, but plan to do a lot more as more manufactures start to sell them.


text:
The North Face Snowshoe
The Snowshoe has been discontinued. If you're looking for something new, check out the best 3-season synthetic sleeping bags for 2024.
I have broad shoulders, so this bag is tight. However, at 20 degrees, it allows one to sleep like in front of a heater. Never have tried it below 20 degrees. However, would believe it would be fine at 10 degrees or even at zero, considering the comfort at 20 degrees. For the cost, this is a keeper. If you are a big guy, just know that it is tight. Which is not a bad thing. Holds in the body heat. Just a bit difficult to get use to the tight mummy style.
- Very warm at 20 degrees.
- No moisture problems. Airs out and dries fast.
- A tight bag around broad shoulders.
- Well over Three and a Half LBS.
No cold spots. No drafts. The construction is solid. The hood covers completely. Plenty of foot room for a six plus footer. Zipper seems to be very good. Compresses well for a synthetic. Tight around my shoulders. But at 3AM in the morning, when it is really chill, it works. Otherwise, just keep it partially unzipped.
Doubt that I will ever sell it. It is a keeper for low temps in the Southland. Not a minus 15 or minus 20 bag. But good for 10 or so above. Zero or below. May need some extra protection to sleep well.
Source: bought it new
Price Paid: under $200
Really a great bag--very light relative to the warmth. However, like all bags, I've found that at 12,000+ foot elevations, you must assume the bag will not keep you nearly as warm as nearer to sea level. So, in the case of the Snowshoe, if you're up really high, it's basically a 10 to 20 degree bag, not a zero degree bag. I've pretty much frozen in a NF Cat's Meow on the Continental Divide Trail in southwestern Colorado in the summer; however, I've been mostly comfortable in the Snowshoe.
Design: Mummy
Fill: Polarguard Delta
Temperature Rating: 0 Farenheight
Weight: 3.7 pounds
Price Paid: $180
A very warm, not too heavy sleeping bag.
- Warm
- Pretty light
- Good in wet conditions
I've taken this bag on many trips, one of which was to Alaska. We were there through the end of August. On an average night it got down to the low 40s/upper 30s. However, there were some nights when it was quite went and got down to freezing or below while being very wet out.
This bag held up quite well. I should say that I usually sleep warmer than many people, but I always stayed warm in this bag. Once it gets down around freezing you definitely need to take advantage of the "mummy" part of the bag and zip it tight around your face. It was wet 90% of the time in Alaska. The bag dries well and doesn't allow a reasonable amount of moisture to penetrate.
It certainly isn't the lightest or smallest packing that a sleeping bag can get, but it is good enough for someone who doesn't want to spend $300-$400 on their bag. That is the only reason the bag doesn't get 5 stars from me...but if you understand that you aren't buying the best pack-light bag on the market, it will be 5 stars for you.
Source: bought it new
Price Paid: $150
I took this baby for many snow trips in the mountains and it did very well. However when temperature drops below -10°C it gets a bit tricky, so I always have an inliner fleece sleepingsack with me. Combining those two I've survived several night of -25°C.
I always sleep cold and have been using my hubby's Long -20 bag in Alaska summer for years with poly pro jammies. I actually had to take my poly socks off right away and ended up unzipping as I was too hot with the baby climbed in this me this last spring and it has been a repeated thing. I don't need socks to sleep in the summer in my bag anymore.
The collar feels a bit confining and claustrophobic, but I will enjoy it when temperatures require it. I've not used a women's bag before but this is reminiscent of sleeping in a down bag for warmth in about 20 degree weather.
Design: mummy
Fill: climashield PRISM - sinthetic
Temperature Rating: 0 F, -18C
Weight: 3 lb 8oz
Price Paid: $179
I think it is a very well made bag. I went camping at 9200' in Colorado in November and we had temps in the single digits F on some nights and I used a bag liner reactor and it worked OK.
I would not say it's a 0 degree bag, just 10 to 15 F to be real warm. Overall great buy for the price.
Price Paid: $179
I recently received this sleeping bag, but it has proven to be very strong because I ended up sleeping on just the ground for a night (it was cold out) and I was out like a rock through the entire night.
I recommend this sleeping bag to anyone looking for a nice, warm, comfortable night's sleep.
Design: mummy
Fill: chicken
Temperature Rating: 0 degrees Farenheit
Weight: ~3 pounds
Price Paid: $180
I bought this bag a little over six months ago and it has proven to be the best bag I have owned!! I have taken it winter camping several times in the snow and wind with the temperatures reaching sub-zero and I have always been warm!! Very lightweight bag, great for cold backpacking!!
Design: Mummy
Fill: Polarguard Delta
Temperature Rating: 0 celsius
Weight: 3 lbs 12 oz
Price Paid: $145
I have used this bag on countless trips over the last 2 years and it has performed flawlessly. The soft flannel-like lining is awesome and is warm when you first crawl into it.
This is a high quality bag and I recommend to anyone looking for a warm nigh's sleep.
Design: Mummy
Fill: Polarguard HV
Temperature Rating: 0 F
Weight: 4 lbs ?oz.
Price Paid: $200
This sleeping bag is very comfortable and very warm. It molds perfectly to your body and once you are in there and warmed up, it stays warm all night.
Price Paid: $147
Your Review
You May Like
Men's | |||
Regular | Long | ||
Price |
Historic Range: $122.95-$199.00 Reviewers Paid: $145.00-$200.00 |
Weight | 3 lb 8 oz / 1590 g | 3 lb 11 oz / 1670 g | |
Fill Weight | 2 lb 3 oz / 1000 g | 2 lb 5.5 oz / 1065 g | |
Temperature Rating | 0° F / - 18° C | 0° F / - 18° C | |
Fill | Climashield Prism Synthetic | Climashield Prism Synthetic | |
Shape | Mummy | Mummy | |
Max User Height | 6 ft 0 in / 183 cm | 6 ft 6 in / 198 cm | |
Shoulder Girth | 62 in / 157 cm | 64 in / 163 cm | |
Hip girth | 58 in / 147 cm | 60 in / 152 cm | |
Foot Girth | 40 in / 102 cm | 40 in / 102 cm |
Women's | |||
Regular | Long | ||
Price |
Historic Range: $119.83-$199.00 Reviewers Paid: $147.00-$179.00 |
Weight | 3 lb 7 oz / 1550 g | 3 lb 9 oz / 1600 g | |
Fill Weight | 2 lb 1 oz / 950 g | 2 lb 3 oz / 990 g | |
Temperature Rating | 0° F / - 18° C | 0° F / - 18° C | |
Fill | Climashield Prism Synthetic | Climashield Prism Synthetic | |
Shape | Mummy | Mummy | |
Max User Height | 5 ft 6 in / 167 cm | 6 ft 0 in / 183 cm | |
Shoulder Girth | 56 in / 142 cm | 56 in / 142 cm | |
Hip Girth | 60 in / 152 cm | 60 in / 152 cm | |
Foot Girth | 38 in / 97 cm | 38 in / 97 cm |


text:
The Princess Series Comes to UK Territories
Hey, check out these e-books that just came out in the UK and its territories!
All four books are still available in print and e-book from DAW in the United States, but there's never been a UK edition. Until now!
::Dramatic music plays::
Book one, The Stepsister Scheme, is £2.80, and the rest are £3.50. (That includes VAT.)
I'll be updating with additional sales links as the books go live at various vendors.
- The Stepsister Scheme: Amazon
- The Mermaid's Madness: Amazon
- Red Hood's Revenge: Amazon
- The Snow Queen's Shadow: Amazon
Here's the all-new cover copy for book one:
The epic, action-packed story of what happened after the fairy tales.
Once upon a time, a girl named Danielle (better known as Cinderella) escaped her evil stepmother, married a prince, and according to the stories, lived happily ever after.
The stories lie.
Danielle Whiteshore has no sooner moved into the palace when her stepsisters show up to kidnap her prince and steal him away to the realm of fairies. To save Prince Armand, Danielle needs more than the enchanted glass sword her mother left her. She needs the Queen's secret protectors: the deadly warrior and assassin Talia (Sleeping Beauty) and the fun-loving, flirtatious witch known as Snow White.
Plunged into a world of adventure and intrigue, Danielle must forge the trio into a team if they're to rescue her prince and survive the machinations of a foe far deadlier than her stepsisters.
I love that these books are finally available to a wider audience. (Even if it meant going back and adding all those extra U's to the words.)
And as always, I really hope people enjoy them!


text:
Main Menu HENRY COUNTY, OHIO |
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Request A Quote |
Sealing your Log Home with a quality Log Cabin stain --or caulking and sealing the Log Home checks in your Log Cabin can prevent the need for log replacement down the road.
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Contact The LogDoctors Today about your Log Cabin Maintenance, Log Cabin Repair or Log Cabin Restoration project.
Call Today To Speak With One Of
Our Henry County, Ohio Log Home Restoration Specialists:
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text:
I have setup an Arch Linux VM at work, and my company uses a transparent (cut-through) proxy with a self-signed certificate and requires authentication. Whenever I try to install any packages through pacman
I get the following error (e.g. trying to install lynx
error: failed retrieving file 'lynx-2.8.7-6-x86_64.pkg.tar.xz' from mirrors.kernel.org : SSL certificate problem: self signed certificate in certificate chain
It will throw this error for every mirror I have defined in /etc/pacman.d/mirrorlist
. I have similar problems trying to use any other HTTP/S clients such as curl
, but I do not have any issues with FTP (primarily because my company only monitors ports 80 and 443).
What I've tried already...
- Placing my companies self signed CA certificate in
, and/etc/ca-certificates
- Setting
to point to my company's proxy server with my credentials - Talked to the person who manages our proxy server, but he doesn't know anything about Linux, so doesn't have a clue where to begin.
For now, when I need to install something or access the Internet, I'm opening an SSH tunnel to my home server to get around this.
Below is the output of openssl s_client -CApath /etc/ca-certificates -showcerts -connect mirrors.kernel.org:443
CONNECTED(00000003) depth=0 C = US, ST = California, L = San Jose, O = The Linux Kernel Organization, CN = *.kernel.org verify error:num=20:unable to get local issuer certificate verify return:1 depth=0 C = US, ST = California, L = San Jose, O = The Linux Kernel Organization, CN = *.kernel.org verify error:num=27:certificate not trusted verify return:1 depth=0 C = US, ST = California, L = San Jose, O = The Linux Kernel Organization, CN = *.kernel.org verify error:num=21:unable to verify the first certificate verify return:1 --- Certificate chain 0 s:/C=US/ST=California/L=San Jose/O=The Linux Kernel Organization/CN=*.kernel.org i:/C=US/ST=MyCompanyState/L=MyCompanyCity/O=MyCompanyName/OU=IT/CN=MyCompanyProxyServer/[email protected] -----BEGIN CERTIFICATE----- ... blah blah blah -----END CERTIFICATE----- --- Server certificate subject=/C=US/ST=California/L=San Jose/O=The Linux Kernel Organization/CN=*.kernel.org issuer=/C=US/ST=MyCompanyState/L=MyCompanyCity/O=MyCompanyName/OU=IT/CN=MyCompanyProxyServer/[email protected] --- No client certificate CA names sent ---
Note I could probably try to simply use FTP mirrors instead, but that doesn't really solve the problem for other HTTP/S applications (e.g. curl


text:
The Living Passion
The people of Oliva de la Frontera all become actors as they act out Christ's Passion every Holy Week.
- Explore
- La Pasión Viviente
Faith scenes
Location and Contact:
- Tel.:+34 924 740 000
- Fax: +34 924 740 074
- Email: email@example.com
- Email: firstname.lastname@example.com
- Website address: https://pasionviviente.es/
- Website address: https://olivafrontera.com/pasion-viviente/
- Facebook: https://www.facebook.com/PasionOliva
- Twitter: https://twitter.com/PASIONVIV
The people of Oliva de la Frontera all become actors as they act out Christ's Passion every Holy Week.
Declared to be a Festivity of National Tourist Interest, Christ's Passion in Oliva de la Frontera involves the staging of the trial and death of Jesus. Over 500 locals take part as actors or extras in the fiesta.
Months of rehearsals and preparation go into the event for Palm Sunday, Holy Thursday, Good Friday and Easter Sunday.
On Palm Sunday Jesus will enter triumphant in Jerusalen.
Holy Thursday begins with the Last Supper at the gates of the Church of San Marcos Evangelista.
The actors then move on to the Plaza de España, suitably transformed into the Garden of Olives, where Jesus is arrested and then taken before the Sanhedrin located on the esplanade of the Town Hall Square. There, before Annas and Caiaphas the historic trial of Christ takes place, which ends with is conviction and imprisonment.
Good Friday sees the re-enactment of the passion continue with Jesus being brought before Pilate, whose court is situated on the steps of the parish church and who will eventually condemn him to death and free Barabbas. Jesus then carries the cross around the streets of Oliva, aided by Simon of Cyrene and followed by the townspeople and Roman foot and horse soldiers, meeting Veronica on his way who cleans the blood from his face.
The re-enactment ends in the hall to of the Sanctuary with Christ's Crucifixion and his later taking down from the cross to be laid in the tomb situated at the door of the beautiful Sanctuary of the Church of San Marcos Evangelista.On Easter Sunday the representations end showing he Risen Christ.
A special religious ambience prevails during this Festivity of National Tourist Interest, which recreates the last moments of the life of Jesus and uses the streets and town's emblematic spots as historical settings.
- Type:
- Festivity of National Tourist Interest
- Tourist Interest in Extremadura
- Event subject:
- History
- Religion
- Popular traditions
- Start date:
- 24/03/2024
- End date:
- 31/03/2024
- Events
Target audience:
- Families
- Young people
- Single people
- Senior citizens
- Children
- Couples
- Single people
More suggestions
Oliva de la Frontera
Amid one of the largest areas of dehesa pastureland in the world, Oliva de la Frontera has a strong character and long history.
Jerez de los Caballeros
Located between rivers and oak forests, its palaces and churches blend in with the legacy of Templars and the Order of Santiago.
From the pastureland to the table
Hams, shoulders, pork loins, chorizo sausages, pepperoni, morcillas and bacon: pata negra delicacies


text:
Về Math Wallet
MathWallet is the Multichain Wallet for Web3 that enables token storage of 100+ chains including BTC, ETH, Polkadot, Filecoin, Solana, BSC, Cosmos etc, supports cross-chain token bridges and multi-chain dApp store. Our investors includes Fenbushi Capital, Alameda Research, Binance Labs, FundamentalLabs, Multicoin Capital, NGC Ventures, Amber Group, 6Eagle Capital.
What is Conflux Network?
Conflux Network is an open protocol for a new world of DApps, finance, and Web 3.0. As a fast and secure public blockchain, Conflux Network combines Proof of Work and a Tree-Graph structure to power a new generation of decentralized commerce.
Born from the top minds of Tsinghua University and University of Toronto, Conflux Network is overseen by a diverse global team with the mission to promote cross border collaboration by developing decentralized open source technologies.
By adopting a scalability consensus mechanism and safely retaining fork blocks, Conflux realized a high throughput rate of 3000-6000 TPS.


text:
Workers can spend more time collaborating and creating colourful marketing materials with two new Xerox workplace assistant printers that personalise work experiences and support mobility with secure, wireless printing.
Designed for medium and large workgroups, the customisable Xerox VersaLink C8000 and C9000 A3 colour printers produce professional colour quality, backed by benchmark reliability at an affordable total cost of ownership. In addition, the C9000 is equipped with precision colour management tools, greater media flexibility and added productivity – must-haves for in-house graphic designers.
Exceptional user experience
The user experience, which sets these products apart, begins with a simple, wizard-based installation and configuration process. Designers, marketers and office staff have access to a powerful, yet accessible feature set, without requiring IT expertise.
The exclusive 5-inch, tilt-capable, color user interface responds to taps, swipes and pinches, much like mobile devices, and can be personalised for different work environments or individual users.
Further personalisation is provided by Xerox ConnectKey apps, available from the Xerox App Gallery. These apps provide one-touch, easy access to cloud services such as Dropbox, Google Drive and Box; and with @PrintByXerox, any email-enabled device can print a job while on the go.
This consistent user experience is available across all ConnectKey-enabled devices, enabling a standard workflow that fuels increased productivity.
Professional colour in a workplace setting
Both devices provide professional colour image quality with advanced EA Toner and high print resolution. For enhanced colour management, the C9000 supports the Xerox Precise Colour Management System, offering colour accuracy and precise tuning of Pantone and custom spot colours.
The C9000 also handles heavier stocks for greater media flexibility in developing applications such as brochures, proposals, posters, direct-mail pieces and signage. To automate the final output, optional finishing, available on both devices, offer saddle-stitch, crease, and booklet making.
"Like other members of the VersaLink family, the C8000 and C9000 let you work on your own terms, whenever and wherever you want," said Tracey Koziol, senior vice president, Global Offerings, Xerox. "They are true workplace assistants, adjusting to work styles and requirements while keeping up with the rapidly evolving, increasingly mobile workplace."
The VersaLink C8000 and C9000 are available immediately worldwide through Xerox direct and indirect channels.


text:
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text:
You can see a more complete history of the library here.
The East Liverpool Carnegie Library at 219 E. 4th Street, East Liverpool, Ohio was erected on the Bradshaw Farm property, 199 E. 4th Street, East Liverpool. In the gallery is a photograph of that home in 1895.
There were two libraries in East Liverpool prior to the building of the present Carnegie building.In 1899 two local businessmen contacted Andrew Carnegie concerning the possibility of a donation to the City of East Liverpool, in order to build a public library. Andrew Carnegie, by now a wealthy businessman and philanthropist, had spent much of his youth in East Liverpool with relatives.
Construction of the building began in 1899 after a visit from Carnegie to the city. Designed by A. W. Scott of East Liverpool and constructed by Harvey McHenry the exterior of the building was complete in 1900. (to the right is a view of the building in 1900). The Library was officially opened and dedicated on May 8, 1902.
The Library has seen many functions in its history. At times it has housed a museum, pottery exhibitions and the local Genealogical Society. It has served as a bomb shelter and was used by the Red Cross during World War I for service project work such as making and rolling bandages. To the right is a picture of the library showing the upper floor with the Red Cross emblem and a funeral procession in front.
The Library has been in the center of activity in East Liverpool for many years. Located opposite the East Liverpool High School until that building was closed, the library steps were frequently the site for High School photographs. The picture at right shows a statue of a Civil War soldier. This statue occupied several different places in the city including in front of the library from 1916 to 1942 when it was removed and moved to its present position in the Soldiers' Cemetery at the Riverview Cemetery overlooking the Ohio Valley.
The Library building has seen several renovations in its 100 years. However, the exterior of the building has remained predominantly the same as in 1900. The interior has seen several changes over the years to expand the collections, bring the building and its functions to legal codes and to keep abreast of technological advances.
In a world of growing costs the Library has maintained a policy of affordability and accessibility to the public of the East Liverpool and Tri-State area. Today it is cheaper to use the library than it was in 1962. Carnegie Public Library of East Liverpool is looking forward to serving the needs of its patrons into the 21st Century.
Here is a gallery of library images.