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I'm on a bit of a 90s kick at the moment – dungarees, lots of plaid, long straggly hair, and Grandmaster Flash on the stereo.
And it's not just me feeling nostalgic, even the United Nations (UN) is rewinding to the 90s! You might not remember (I was only nine), but in 1992 the UN held its first ever conference on environment and development, otherwise known as the Rio Earth Summit. Lots of things came out of this conference, including an agreement on the Climate Change Convention (which in turn led to the Kyoto Protocol), and an agreement to "not carry out any activities on the lands of indigenous peoples that would cause environmental degradation or that would be culturally inappropriate".
In other words, it was at this conference that the world set standards for itself on how to develop in a sustainable way. Twenty years on we are, of course, struggling to meet these standards. Every day brings another headline about some environmental challenge or injustice that is happening somewhere in the world. The 2009 Copenhagen climate conference, where we had hoped to find solutions for many of these challenges, was widely accepted as a failure. It seems that we need another boost of inspiration, determination, optimism, and motivation to get things moving again in the right direction.
Cue the Rio Earth Summit that's happening this June, 20 years after the original (also known as Rio+20)! At this conference, the UN aims to get Heads of State and other bigwigs together, to assess how progress is going towards internationally agreed commitments, and to secure further political commitments to sustainable development. They will also be negotiating on two main themes, which are… drumroll….
- Green Economy in the context of Poverty Eradication and Sustainable Development
- Institutional Framework for Sustainable Development
It's not only bigwigs that will be there at this conference. Lots of representatives from 'Civil Society' will be there too, including NGOs, indigenous peoples, farmers, and an estimated 2000 young people! You can bet your bottom dollar that there will be a ton of lobbyists from business and industry too.
So, why am I telling you all this? Firstly, knowledge is power! And secondly, I will be one of the 2000 young people going to the conference! I'll be running workshops for the youth there on building green jobs alliances, I'll be following the negotiations, talking to our government's negotiators, trying to get media coverage and blogging. I'll be learning lots too and bringing lessons and stories back to the UK.
But, it takes a lot of carbon to get to Rio. Two tonnes, if you're flying (which I am). Here at Otesha, we have a really clear travel policy which states that 'All long-haul trips are made overland if possible. Flights are only taken as a last resort when no other transportation options are available and when the benefit of the trip is clear.' Since travelling to Rio overland is super, super difficult (although you can read about our friend Lucy Gilliam, who is on an Edwardian sailboat to Rio as we speak – wow!), we had to make a consensus decision as a team about whether we thought this trip to Rio would be of clear benefit – to the people that I'd meet, to those who would read my blogs and learn about the summit's progress, and to us as an organisation by bringing back learnings and contacts.
It was a really, really difficult conversation. We have a diverse set of beliefs here at Otesha, even if they are all rooted in the same principles. Like most people in this movement, we all differ slightly in what we think will create change, and how we should get there. Eventually, however, we decided that this was a pretty incredible and unique opportunity. It has been 20 years since the last summit, and who knows when the next one will be? Plus, when we co-coordinated the first ever UK youth delegation to the climate negotiations in Poland back in 2008, we created some pretty kick-ass youth campaigners and organisers as a result. I'm not sure if you can ever judge that one flight or another is more 'worthwhile', but we hope that being involved in this process will make a difference.
The exciting bit is, even though we don't really believe in the concept of 'carbon offsetting' (see parody site Cheat Neutral for a good explanation of why) we are going to 'spend a significant amount of time and money doing carbon-reducing activities' (another bit of our travel policy). After lots of discussion and ideas, we've come up with a three-part plan.
Part 1: We are going to spend £50 on buying pollution permits from Sandbag, who take excess carbon credits out of the EU Emissions Trading System. We are also going to donate £50 to a community project through Global Giving.
Part 2: We are going to go out as a team and spend a day planting trees in our local community. We might buy a tree pack, or volunteer with Trees for Cities or BTCV.
Part 3: I'm going to do a 30-day vegan challenge before I go to Rio, and other staff members might join me! A vegan diet is a lot less carbon intensive, but I've never tried it before so I'm a little nervous. If I can go longer I will, I just wanted to set myself an achievable goal first!
I will be updating on how our three-part plan goes, and of course, this blog will be inundated with updates and learnings from Rio come June. So keep your eyes peeled, and vegan cookbooks at the ready!


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Could the Miami Heat's Big Three become the Big Four?
The Heat are looking into creating a scenario in which they could retain potential free agents-to-be LeBron James, Dwyane Wade and Chris Bosh and add Carmelo Anthony this summer, ESPN reported Wednesday.
To make that happen, James, Wade and Bosh would have to agree to new contracts likely at a reduced salary rate to clear the way for the Heat to make a run at Anthony, the New York Knicks forward who could become a free agent later this month.
The Heat cannot make contact with Anthony until July 1 if he opts out of the final year of his contract. Anthony has a June 23 deadline to inform the Knicks of his intentions. New Knicks president Phil Jackson is expected to make a strong push to persuade Anthony to stay in New York and play out the final year of his contract.
Miami could have some flexibility with as much as $50 million in cap space this summer. The only player locked into a contract next season is guard Norris Cole at $2 million.
James, Wade and Bosh must notify the Heat by the end of June their intention to opt in or out of the final years of their contracts or become free agents on July 1.
Bosh has indicated a desire to remain in Miami. James has remained noncommittal all season.
"That's kind of like on the back burner right now," James said Wednesday after the Heat's loss to the San Antonio Spurs in Game 3 of the NBA Finals on Tuesday night.
Among the other teams mentioned as potential landing spots this summer for the 30-year-old Anthony are Chicago, Houston and Dallas if he decides on free agency.
On the flip side, should James choose to play for the $21 million the Heat owe him next season, the Knicks could make a run in 2015 at signing James to pair him with Anthony in New York, ESPN reported.

subset: commoncrawl


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It's assumed that if you are the type of person who makes lists, you are organised and on top of your work.
There is an expectation that you know what you have to do and when you are going to do it. But is this true? Are to-do lists the pinnacle of personal effectiveness or are they holding you back?
I'm a prolific list writer. With lists for what I need to do at work, in the garage, in my house, updates to my wardrobe, financials that need addressing, the list goes on and on. I can even remember waiting to go into a movie in Hobart years ago and jotting down a to-do list with tasks on it that I'd already completed, just so I felt good — but that's another story for another day.
There is evidence to indicate that writing lists for all the different compartments of your life creates more of a logical order in your brain and can help people feel calmer and less scattered, but it wasn't until a few years ago, when Christie, my business partner at The Performance Clinic, pointed out that my daily to-do list was becoming a carbon copy most days and that I wasn't actually getting a lot of it to-done.
So I decided to investigate whether lists do make you more productive. And guess what? There's definitely a chance you could be misusing your to-do list, just as I was. Here's why:
1. Lists can become overwhelming
According to studies in 2000 by US researchers Iyengar and Lepper in the Journal of Personality and Social Psychology, our brains can only deal with seven choices before we become overwhelmed. Their experiments were conducted in the field and in laboratory settings and indicated that individuals are more likely to buy gourmet jams or chocolates when their choices are limited to six, rather than having many more options available.
Now, I'm going to take a bet that the to-do list you've written today has a lot more than seven items on it. When we're faced with too many options, we're much more likely to do the opposite of what we need to do. We become overwhelmed (even comatose) and start surfing the web, calling friends or processing emails rather than putting our heads down and getting to work.
2. Lists don't allow for time allocation
Knowing what you have to do is great, but you also need to know how much time it's going to take you to complete each task. This was a big discovery for me. Most to-do lists aren't written with this element in mind and we just end up with a long line of items chunked together with no idea of how long each one will take. Your to-do list might contain a list of items that will take you 24 minutes to complete, 24-hours, or it could be 24 days.
3. Lists don't provide context
Writing a to-do list is not a surefire way to start writing your "done" list. This is because typical to-do lists do not show your planner or schedule at the same time or indicate when you have time to complete the item and how important it is in relation to the rest of the project/s you are working on.
So while to-do lists are useful for helping get thoughts out of your head and on to paper, there are better ways to plan your day so you can be more productive and effective.
Here are five tips to supercharge your daily planning:
1. Make it a habit
Like anything else in life, if you want to become good at something that doesn't come naturally, you need to practise and practise and practise. For productivity tactics, this would be committing to a daily planning method — every single day. Make it part of your daily routine when you arrive at work each morning or before you go home at the end of the day. If you need more inspiration to plan, find a great place in the morning and map out your plan in the beautiful outdoors.
2. Think like an athlete
I know, I know, another sporting reference — but the truth is athletes follow a proven goal setting process. Professional athletes and sporting teams start with a clear plan of what they are aiming for — say, an Olympics, national championships or state titles, and then they work backwards, or reverse engineer the goal-setting process.
When I moved into the corporate world it seemed like a no-brainer to bring these planning habits with me. I'd set a bigger goal, such as building a business, and then work backwards to see what I had to do every month, week and day to achieve that goal. Try adopting the same process with your daily planning. Set yourself an overarching, inspiring goal and then allocate the smaller, milestone steps that you need to make to achieve that goal.
3. Be both outcome and task driven
Sound complicated? Don't worry, it's easy. While you're writing your to-do list, think about the one thing that you would like to get done that day or week. Maybe it's finishing a proposal for a potential client, or completing a presentation for an upcoming meeting. Write down specifically what you need to do to get that outcome done, then estimate how long it will take you to complete each task. This way you know what you have to do and how long it's going to take.
4. Prioritise
If you're anything like most of my clients (or me), there is no way you will ever achieve everything you're asked to do. We're always busy and have way more on our plate than we can ever hope to accomplish. For this reason, you need to learn the art of prioritisation. Ask yourself, is it more important to spend two hours writing a draft of a proposal that is due tomorrow, or to spend half the day working on a presentation that is due in a month?
5. Recalibrate
In the corporate world, sh*t happens and it really is just a fact of life that we have to deal with it. No matter how good your daily planning is, it's highly likely that something (an interruption, an emergency, a bushfire of some sort) will arise to prevent you from getting all of your work done. For this reason, I recommend recalibrating a few times a day to ensure that what you are working on is still relevant and is the best use of your time.
What do you think? How do you plan for each day?


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What it does:
Do something dope for your brows. KUSH Fiber Brow Gel is for anyone looking to add some oomph to their brows. It's packed with tinted, thickening, heart-shaped fibers that adhere to skin and hair for long-lasting fullness, shape, and definition. The hollow fibers are also filled with formula for another dose of volume. Cannabis oil fuses the heart-shaped fibers to brows for thickness without flaking. Like a hair mask for your brows, nourishing, cannabis oil also conditions, sets, and won't cause stiffness. The tapered, tree-shaped brush with dense, firm bristles allows you to deposit gel evenly across your brows so each hair stays put.
The transfer-proof formula comes in three shades that adjust to work across all hair colors.
Let customers speak for usfrom 211 reviews
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Ordered the shade Medium, and it works well with my fair to medium skin. Blends easily and gives off a very natural look.


text:
Henderson Times. (Henderson, Tex.), Vol. 4, No. 30, Ed. 1 Saturday, August 29, 1863
Description: Weekly newspaper from Henderson, Texas that includes local, state, and national news along with some advertising.
Date: August 29, 1863
Creator: Dodson, J. M.
Item Type: Refine your search to only Newspaper
Partner: The Dolph Briscoe Center for American History


text:
Dolly Parton has voiced her disappointment after the abandoned dog she planned to adopt was returned to its owners.
The country legend vowed to take home the dog, which was found at Britain's Glastonbury Festival last month, after the animal was admitted to a nearby shelter and named Dolly to mark Parton's iconic performance at the event.
However, the dog's owners came forward to claim the pooch, and Parton has now expressed her sadness that she won't be taking a new pet back to America.
In a video message, she says, "I was kinda disappointed because I was planning to take her home, I was going to name her Glassie for Glastonbury. I couldn't have called her Dolly – that would have been a little confusing. … We got a call from the main people with the government and they told us that the true owners did come forward. There was a language barrier; I think they were from another country. They got the dog back, so I don't get to take her home. I was looking forward to it."
Parton insists she plans to check up on the dog regularly "to make sure she is good."


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At Pure 4Runner, you will find the largest selection of 4Runner parts and accessories on the web. We are dedicated to providing you with the best customer service around.
We do our best to ship all items the same day the order is placed, custom requests may take longer. We do our best to deliver most items within 5-6 business days, most will show up much sooner. Not all items come from our shop in Texas. If your order contains items from multiple suppliers/warehouses, you will potentially receive tracking numbers and items at different times.
Here at Pure 4Runner, a Pure Auto Parts Inc company, we understand the importance of maintaining our customers privacy online. We understand that in this time of spam e-mail, and credit card fraud our customers want to know and have the right to know how personal information is handled.
KC SlimLites feature a unique 6" round steel housing with a sleek, flat profile that allows them to fit where many other lights won't. These lights incorporate high performance halogen bulbs, optical quality glass lenses and precision polished reflectors to generate a super bright and specially focused beam of light. The two-axis mount provides for easy and accurate aiming. Also included are super tough ABS plastic Stone Guards for added protection and great styling.
Product 19/20
WARNING: This product may contain chemicals knownto the State of California to cause cancer, birth defectsand other reproductive harm.


text: There is genuine broadband internet through which I connect to my virtual desktop on clouddesktoponline; usually there isn't much of difference in the wayin which my business software run on a cloud empowered desktop vis-a-vis with my desktop Computer. Be that as it may, even with the technique in which Cloud desktops use dedicated RAMs at the server farms to provide the necessary computing power, at times while running graphics software to touch up high res pictures or even 3 dimensional models, I appear to run into discernible rate slack in the screen refresh rates. Any sort of suggestions on the most viable way to get rid of it?


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Bruce Alexander
Bruce D. Alexander was appointed Yale's inaugural Vice President and Director of New Haven and State Affairs in May 1998. He has led the University's initiatives for the revitalization of New Haven, the strengthening of relations with the community, and the extensive redevelopment of commercial properties adjacent to the Yale campus. Mr. Alexander also negotiated the purchase for the University of the 136 acre Bayer Healthcare complex. In February 2006, when he assumed responsibility for the oversight and management of facilities planning, construction, renovation, and operations, his title was changed to Vice President for New Haven and State Affairs and Campus Development.
Mr. Alexander retired in 1996 from the Rouse Company to engage in civic activities after twenty-five years as a senior executive with the company. At Rouse, he was Senior Vice President and Director of the Commercial Development Division, responsible for the development of retail and mixed-use properties throughout the United States. Many major urban projects were executed under his direction, including Harborplace in Baltimore, Miami's Bayside, and Boston's Faneuil Hall Marketplace.
Mr. Alexander was a civic leader in Baltimore, where he served on numerous boards including the Baltimore Symphony Orchestra; the Columbia Foundation, of which he was president; and Goucher College, where he chaired the Board of Trustees and was a recipient of the John Franklin Goucher medal for service to the institution.
In New Haven, Mr. Alexander chairs the Board of Market New Haven and serves or has served on the boards of the Economic Development Corporation of New Haven, Yale-New Haven Hospital, the International Festival of Arts and Ideas, the Community Foundation for Greater New Haven, Science Park Development Corporation, Tweed Airport Authority, and Connecticut Public Broadcasting. In 2009, he received the Greater New Haven Chamber of Commerce Community Leadership Award, and in 2013 the George H. W. Bush Lifetime of Leadership Award for Yale University
Mr. Alexander's late wife Christine was the volunteer Founder and Executive Director of New Haven Reads, and they jointly received the De Tocqueville Award in 2008 from the United Way for their philanthropic contributions to the community. Mr. Alexander, who has also served as an Adjunct Professor at the Yale School of Management, holds a B.A. from Yale College and a J.D. from Duke University.


text:
sunset softly
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3 responses
Raymond Fausel gave props (12 Aug 2013):
Andrea Petersen gave props (13 Aug 2013):
I love how the formation of clouds are reflecting below and the colors are very soothing as the sun goes down
Ann Reece gave props (16 Aug 2013):
So very beautiful!!! I agree with Andrea!
Also by Heather Mellon
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text:
Interested in Language
I've got a problem.
I would like to express the following thing:
My friend is going to look after my baby for 4 hours. But when I'm back I will change him.
Is this correct?
Can I express it in a different way?
"I will take turn"
"I will take over from him"
I'd be grateful for your help.


text:
Associated Press
COLUMBUS, Ohio: Public health officials say it�s difficult to know the exact size of Ohio�s rising tick population after funding cuts to a monitoring program.
The bugs and the diseases they carry, such as Lyme disease, become bigger concerns in warm weather, The Columbus Dispatch reports.
Ohio�s incidence of Lyme disease, spread by the black-legged tick, has reached a 20-year high. Recorded cases rose from 44 in 2008 to 93 last year, beginning with a spike in 2009.
At the same time, state lawmakers cut funding last year to a program that monitors ticks and other disease-spreading insects. A midterm budget bill passed by the Ohio House restores program funding. The measure still needs Ohio Senate and gubernatorial approval.
Lois Hall, executive director of the Ohio Public Health Association, said some county health departments have found ways to continue monitoring ticks and mosquitoes, which spread the West Nile virus and encephalitis.
�For the most part, our state was running around with its pants down, waiting for some epidemic to happen,� Hall told the newspaper.
State public-health entomologist Richard Gary said Ohio relies on education campaigns to limit cases of insect-borne disease.
He said the diseases can be treated if they are caught early. Some, including the Rocky Mountain spotted fever also transmitted through ticks, can be fatal if untreated.
�Unfortunately, it�s usually children who contract these diseases� he said.
Gary said Ohio�s numbers of Lyme disease cases are high, but not as high as in states with more prevalent tick populations.
Black-legged ticks are about the size of a poppy seed. They are smaller than other types of ticks that have been in Ohio for decades.


text:
Change the Navigation Menu on Your iWeb Site in iLife '11
The page templates for iWeb themes in iLife include a navigation menu with links to other pages in the Web site. The navigation menu is created automatically on every page, with links to some or all of the other pages. The size (depth) of the navigation menu depends on the number of links.
When you add a page to the site, a link to the page is automatically added to the navigation menu. But you can choose, page-by-page, whether the newly added page should be included in the navigation menu or removed. For example, you may have more pages than you want to include in the navigation menu (which in some templates can hold only about six to eight links without growing too large).
To remove a page link from the navigation menu, follow these steps:
Select the newly added page in the Sidebar.
Click the Inspector button to open the Inspector window, and click the leftmost button (Page Inspector) at the top to show the Page Inspector pane.
Click the Page tab in the Page Inspector pane.
Deselect the Include Page in Navigation Menu option.Turn the navigation menu on or off.
You don't have to put the navigation menu on every page — you may want to use custom navigation elements on some pages. while you're here, you can also remove the navigation menu from the page. Just deselect the Display Navigation Menu option.
If you change a page's name, iWeb also changes the link in the navigation menus on the pages where the menus appear.


text:
Thank you, Marie.
A couple of times over the last year, I did a thing for people who make comics called Three Panels Open. Literally, a three-panel comic. The only rules were that it had to be legible at a width of 640 pixels, which is the width of the content bar on this site, and that it had to be three panels long.
Perhaps you'd like to do a three-panel comic to be posted here. If so, email the image to email@example.com, and please include your name and the website and/or twitter account you'd like it to be associated with. Same rules apply: three panels, and it can't turn to mud when I run it at 640px. Ideally, it's a piece of new work, and not just a clip from your current comic. (Though obviously I'm happy to plug said current comic as thanks.) I'm only going to run the ones I like best, I'm afraid. However, there's no time limit on submissions. Three Panels Open will be a semi-permanent element of the site.


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All the riders on board a roller coaster at Six Flags America were rescued safely Thursday night after the coaster stalled about four hours earlier.
The Joker's Jinx has stalled with 24 people on board, according to Prince George's County Fire spokesman Mark Brady. The roller coaster car was stalled about 100 feet in the air and tilted at about a 20-30 degree angle.
RELATED: Teens rescued off stalled roller coaster say they'll ride again
Seven children and 17 adults were on board when the roller coaster stalled. Fire crews were able to rescue all 24 riders safely.
When crews responded to the scene, Brady said the riders are upright and don't appear to be in distress.
Even though all the riders were in good health and not in distress, Brady said the fire department was going to take its time with rescuing the riders to ensure everyone's safety. The estimated rescue time was four hours.
Brady says he has full faith that the rides at Six Flags are properly maintained. If something does go wrong, Brady says Six Flags has a great staff that is able to help people out.
Six Flags released the following statement Thursday night:
"Earlier this evening, Joker's Jinx did not complete its regular ride cycle causing it to stop at a safe location on the track. The Prince George's County Fire Department was assisted by the Anne Arundel County Fire Department in getting the riders safely off the ride, and this process was completed at 9:21 p.m. The safety of our guests is our highest priority and the ride will be closed for a thorough inspection before re-opening."
The same ride with the same amount of people became stalled in August 2014.
This is at least the fourth time since 2014 the Joker's Jinx has broken down with people on board, CBS News reports.
According to Six Flags America, the Joker's Jinx launches riders from zero to 60 miles per hour in just over three seconds. The rider lasts 75 seconds. It debuted at the amusement park in 1999.
Stuck in the air #jokerjinx #sixflags @sixflagsamerica #gothamcity
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Veterans Memorial
The purpose of the Greater New Britain Arts Alliance is to promote the creative, performing and visual arts, to provide a unified voice for the arts organizations, to serve as a catalyst for arts-related collaborations, to nurture individual creative abilities, and to advocate the arts as vital to the economic health and quality of life in the region.
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Copyright 2017 Greater New Britain Arts Alliance. All Rights Reserved. Designed by Katapilla Solutions.


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Weddingram Invitations
A few years back we were able to work with a great couple, Michelle and Brad, who wanted their wedding invitations to resemble old school telegrams. We went to town, turning small details from their life into design elements that really enhanced the suite; their dog was even incorporated as having given the "stamp of approval." Though the design is completely custom, we kept production costs to a minimum by using only one ink across the entire project (even on the envelopes, we used the same teal ink, which resulted in a great tonal effect). Letterpress printed on French PopTone Whipped Cream 1oo# cover, we duplexed these after printing to create a thick 200# stock. The envelopes are French's Blu Raspberry A7 square flap.


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Universal EZCast Support for All OS
Besides the universal DLNA support for Android (4.0 and above), iOS, Windows and Mac OS to push files;
EZCast dongle supports Miracast(please refer to EZMirror) for Android smart phones and tablet PCs, and for Windows PCs;
EZCast adapter also supports Airplay(please refer to EZAir) for iPhone, iPad and Mac PC and Macbook;
What's more, There're universal EZCast client software support for Android (4.0 and above), iOS, Windows and Mac OS to cast screen content (video, audio, picture, file, camera) to HDTV or projector. For illustrations please refer to the EZCast User's Manuals.
Related Linkes:
Universal EZCast support for Android (4.0 and above), for iOS, for Windows and for Mac OS;
DLNA for Android, for iOS, for Windows, and for Mac;
Miracast (EZMirror) for Android, and for Windows;
Airplay (EZAir) for iOS, and for Mac OS.


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I saw this speech when it aired in 1999. Not once since. Woke up thinking about it today, hoping it would be as great as I remember (or really, hoping it wouldn't suck). Turns out it was even better. I've got my reservations about Bono, but his ability to turn a phrase here is pretty remarkable.
Sharing because it's great. And so I don't ever have to Google it again.
Yeah, man. Bruce is a very unusual rock star, isn't he, really? I mean, he hasn't done the things most rock stars do. He got rich and famous, but he never embarrassed himself with all that success, did he? No drug busts, no blood changes in Switzerland - even more remarkable, no golfing. No bad hair period, even in the '80s. No wearing of dresses in videos, though there was those fingerless gloves in the '80s. No embarrassing movie roles, no pet snakes, no monkeys, no exhibitions of his own paintings, no public brawling or setting himself on fire on the weekends. Rock stars are supposed to make soap operas of their lives, aren't they? If they don't kill themselves first. Well, you can't be a big legend and not be dysfunctional. It's not allowed. You should at least have lost your looks. Everyone else has. Do you see them? It's like Madam Toussant's back there. Then there's Bruce Springsteen. OK. Handsome! Handsome mother with those brooding blue eyes; eyes that could see through America, and a catastrophe of great songs, if you were another songwriter. Bruce has played every bar in the USA, and every stadium. Credibility? You couldn't have more, unless you were dead. But Bruce Springsteen, you always knew, was not gonna die stupid. He didn't buy the mythology that screwed so many people. Instead, he created an alternate mythology - one where ordinary lives became extraordinary and heroic. Bruce Springsteen feels familiar to us, but it's not an easy familiarity, is it? Even his band seems to stand taller when he walks in the room. It's complex. He's America's writer and critic. It's like in Badlands, he's Martin Sheen and Terrance Malick. To be so accessible and so private: there's a rubric. But then again, he is an Irish-Italian with a Jewish-sounding name. What more do you want? Add one big African sax player and no one in this room is gonna fuck with you. No, no. In 1974, I was 14. Even I knew the '60s were over. It was the year of soft rock and fusion; the Beatles were gone, Elvis was in Vegas. What was going on? Nothing was going on. Bruce Springsteen was coming on, saving music from the phonies, saving lyrics from the folkies, saving black leather jackets from the Fonz. "Oh the greasers, they tramp the streets, or get busted for sleeping on the beaches all night; and them boys in their high heels - Oh Sandy, their skins are so white. Oh Sandy, love me tonight, and I promise I'll love you forever." In Dublin, Ireland, I knew what he was talking about. Here was a dude who carried himself like Brando, Dylan, and Elvis. If John Steinbeck could sing; if Van Morrison could ride a Harley Davidson. But he was something new, too. He was the first whiff of Scorcese - the first hint of Patti Smith, Elvis Costello, and the Clash. He was the end of long hair, brown rice, and bell bottoms. He was the end of the 20-minute drum solo. It was goodnight, Haight-Ashbury, hello, Asbury Park. America was staggering when Springsteen appeared. The president had just resigned in disgrace, the U.S. had lost its first war, there was going to be no more oil in the ground, the days of cruising and big cars were supposed to be over. But Springsteen's vision was bigger than Honda. It was bigger than a Subaru. Bruce made you believe that dreams were still out there, but after loss and defeat. They had to be braver, not just bigger. He was singing, "Now you're scared, and you're thinking that maybe we ain't that young anymore," because it took guts to be romantic now. Knowing you could lose didn't mean you still didn't take the ride. In fact, it made taking the ride all the more important. Here was a new vision and a new community. More than a community, 'cause every great rock group is kind of like starting a religion, sort of. And Bruce surrounded himself with fellow believers. E-Street wasn't just a great rock group, or a street gang, it was a brotherhood. Zealots like Steve VanZandt, the bishop Clarence Clemons, the holy Roy Bittan, crusaders Danny Federici, Max Weinberg, Garry Tallent, and later Nils Lofgren, and John Landau, John Landau, John Landau, John Landau. What do you call a man who makes his best friend his manager, his producer, his confessor? You call him The Boss. And Springsteen didn't just marry a gorgeous red-headed woman from the Jersey Shore; she could sing, she could write, and she could tell the Boss off. And that's Patty right there, I think. For me and the rest of the U2ers, it wasn't just the way he described the world, it was the way he negotiated it. It was a map - a book of instructions on how to be in the business, but not of it. Generous is a word you could use to describe the way he treated us; decency is another. But these words can box you in. I remember, when Bruce was headlining Amnesty International's tour for Prisoners of Public Conscience, I remember thinking, "Wow, if ever there was a prisoner of conscience, it's Bruce Springsteen." Integrity can be a yoke, a pain in the ass, when your songs are taking you into a part of town people don't expect to see you. At some point I remember riding an elevator with gentleman Bruce, where he just stared straight ahead of himself - completely ignored me. I was crushed. Only when he walked into the doors as they were opening did I realize the impossible was happening. My God - Bruce Springsteen, the Buddha of my youth, is plastered. Drunk as a skunk! Pissed as a fart. I had to go back to the book of instructions and scratch the bit out about how you held yourself in public. By the way, that was, on a personal note, a great relief. Something was going on, though. As a fan, I could see that my hero was beginning to rebel against his own public image. Things got even more interesting on Tunnel of Love, when he started to deface it. A remarkable bunch of tunes, where our leader starts having a go at himself, and the hypocrisy of his own heart, before anyone else could. But the tabloids could never break news on Bruce Springsteen, because his fans - he'd already told us everything in the songs. We knew he was spinning. We could feel him free-falling. But it wasn't in chaos or entropy - it was in love. They call him the Boss; well that's a bunch of crap. He's not the boss. He works for us. More than a boss, he's the owner, because more than anyone else, Bruce Springsteen owns America's heart. I'm proud to introduce to you Bruce Springsteen, member of the E-Street Band. Come on!


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WICHITA, Kan., April 3 (UPI) -- A new clinic offering abortion and women's health services is set to open in Wichita Kan., on the site of slain doctor George Tiller's clinic.
South Wind Women's Center will perform abortions only during the first 14 weeks of pregnancy, The Wichita Eagle reported. Tiller, who was killed in 2009, became nationally known as one of the few doctors in the United States willing to perform late-term abortions.
Julie Burkhart, founder of Trust Women, told the Eagle on Monday she is unsure of the exact day the clinic will open but she said it was taking appointments.
Trust Women, its website says, was founder to help women "control their reproductive lives, heave healthy pregnancies and deliver safely" and looks to "expand abortion care and maternal healthcare ... by opening more clinics."
The new Wichita clinic has also attracted its first protesters, Burkhart said. An anti-abortion rights group, Kansans for Life, also tried to stop it by going to court to have the building rezoned.
Burkhart has a court date Thursday.
She says Mark Holick, a Wichita pastor, has threatened her.
Tiller operated Women's Health Care Services from 1975 until his death. The clinic was firebombed in 1986, he was shot and wounded in 1993 and then, in 2009, killed while serving as an usher at Reformation Lutheran Church.


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by Yorik van Havre This tutorial is a general but step-by-step introduction to quick architecture modelling with Blender. It is focused primarily on architects who never really used Blender but know some 3D and who want to see how Blender can be used for their particular work. Blender users who are not used to architecture might find it useful too, although probably very simple. I will try to go slowly and explain everything, but there will be a couple of little things you will need to find out yourself... I am sure it is not hard and by searching a bit you'll quickly find your way. A good idea is to leave the blender manual open in another tab... And if you get really, really struck, use the talk page or suitable forum... This tutorial is about quick modelling, for building a good rendered image. It will not explore the details of precision modelling. It won't give you a correct model, that you could use to generate plans and sections. Instead, we'll try to find a balance between speed and correctness. Precision modelling takes much more care and time, so we'll treat that another time :) But I hope you'll be convinced, after reading, that we can obtain a pretty good balance, that may not be precise to the centimeter, but that is even so a correct representation of our building.So I will try to mix a bit of all this and start with a true, real-life, everyday-experienced situation that you probably know too well:
This sympathetic person is your boss (no it is not Mario Botta, unless Mario Botta is your boss, in which case don't read this tutorial at the office). He has drawn a very quick project this morning, and he would like you to mount a quick perspective of it so he can impress the client and sell the project. Of course it is now 9:00H in the morning and he wants it before 13:00H, because at that time he will have to go out for lunch with important people in an expensive restaurant in town and he wants to show them the image. It is a little appartments building, 12 storey high, to be projected for some location in the city.
This is the thoroughly detailed piece of art your boss wants you to transform into an image capable of hypnothizing the client. Before you even understand what is represented there, the boss went away to call one of his very important contacts. Since there is not much information drawn there, we'll have to invent quite a lot of things. This is quite common in 3D, the person who wants to see the project in 3D rarely has a complete idea of what he wants. Our boss, clearly, has no idea at all. So don't be afraid to invent, develop, do what you want, as long as he can recognize his "design" at the end. Actually we are going to use this drawing as a base, but most of the things we'll have to invent when we do it. Just as a note, if you are new to blender, you probably will need more than 4 hours to complete this tutorial, but I guarantee you that when you know blender well, doing this in 4 hours is perfectly possible, maybe even faster. I hope that at the end of this tutorial you'll believe me!
THE PREPARATIONSFirst thing we are going to do is to scan the drawing. If the drawing is bigger than the scanner, reduce it with the photocopy machine so it fits into an A4 sheet, or any format your scanner can scan. We don't need much resolution. Scan it in greyscale (it makes smaller files) and any resolution will do. Let's scan it at 300 dpi, which is normally the default resolution on most scanners. It will be much more than what we need, but we might need the drawing at a good resolution later, so better scan it one time for all. We only have 4 hours. Save it in whatever format you like, but jpg (with at least 85% quality) is fine. Now we need to clean the scanned image. Open your image in your favorite image editing program. You don't have a favorite image editing program? Then download the GIMP, which is a very good open-source image manipulation software. In fact, the Gimp is Blender's best companion... Many image professionals will tell you that Gimp is not good enough for them, but it is perfect for architectural work, since we rarely need to work with absolute professional color precision. How do we clean our drawing? We need to make it as clear as possible. So we will:
2. Resize and crop the image to 3. Increase the contrast what we need. background using the color>levels tool.
4. If necessary, finish the eraser. Just erase what's still very dirty.
Now we already have a good base to work. Or at least, the best possible. Last thing to do, since we will use this image as a background in blender, is to make a smaller version, otherwise it will slow down your work much. Save a version of the image that fits more or less in a 1000x1000 pixels square. That should be enough for you to see the details and for blender to work fast.
Now our image is ready for use. Let's open Blender and locate, in the view menu, The background image panel. That panel allows you to load an image and put it in the background of your view. There are several interesting options there, play a bit with the Blend value until it all looks comfortable. Next very important thing, we will put that image to scale. For that, obviously, we need to KNOW what size the building has. Well, the boss didn't tell us... We'll have to guess. There are a couple of things we can see:
The elevator is easy to see, at the center of the building. It has stairs around it. An elevator is a square of more or less 2.00m x 2.00m. That kind of stairs usually have a width between 1.00m and 2.00m, let's decide 1.50m.
There are two rooms on each side of the elevator/stairs box. Usually a room has between 9.00m and 12.00m, let's shoot for 11m. The proportion of those rooms looks something like 3/4, so that will give us a little bit less than 3.00m for the width. (3m x 4m would give us 12m).
We can now estimate the total width of that building, it would be something like 3m + 3m + 1.50m + 2.00m + 1.50m + 3m + 3m =17m. Let's put it at 18m, because we know that during a project development areas often tend to reduce, because we architects forget a lot of things when we begin a project... That 1m more is our little reserve for later.
Now place yourself in top view (7 NumPad), in case you are not. Remember to press that key again whenever you want to get back to top view. Now things are easy. We have a 18m-wide building. So let's prepare it. Select the default blender cube and erase it. Instead, add a plane (Space >> Add >> Mesh >> Plane). Switch to wireframe display (Z) so we can see through it, and get out of edit mode ( Tab). Then:
1. Scale the plane (S) so that its width occupies 18 grid units.
2. Increase values in the Background image panel so that the image comes to fit in the 18 units width. We can now see the building measures about 17m in height...
In this example I choosed to work in meters, so I decided that one blender grid unit equals one meter. I could have chosen something else, of course. I can also do all the work in meters, when it is still early in the design process, and scale it by 100 to work in centimeters later. In all this exercise, we won't worry much about precision (I have vague plans to treat that in another tutorial), since obviously our boss is not worried about having a precise result. So we will use much our eye and our sense of proportion to determine the size of things. What is important, whenever you work without precision in architecture, is to keep in mind what is important. For example: You see in the second image here above that it is difficult to know how to scale the image. The "walls" from the sketch occupy almost one meter! Should we scale it so our plane line becomes the exterior line of the wall? the center? the inner line? Look at the size of the rooms: We talked about 3m x 4m, and it is more or less there. So for me it is ok. "More or less" is a perfectly acceptable dimension in architecture, as long as you don't forget what is important: In this case, the people who will live there. Until the end of this exercise, always keep an eye on their spaces.
Now save your work (Menu >> File >> Save). Don't forget to save often during this exercise. An accident can happen easily. :)
We will now extend our base plane, moving the 4 first vertices to some correct position, then extruding and adding new vertices. First move (G) the first four vertices (they are already selected) to a good position, for example a corner (first image). Next, deselect the 4 vertices (A key) and select only two, that we will extrude (second image):
Now the trick is to analyze your plan, and look at where you will need divisions. We will extrude (E, then "Only Edges") our vertices several times, so we create vertical lines where we will need them. Don't forget you can force the extrusion to go horizontal or vertical pressingX
You should see now why we didn't extrude the whole length in only one big extrusion; we needed vertical divisions so we can extrude the balcony above. Of course, it would have been possible to extrude once, and then divide ( CtrlR) the face several times, we would have got exactly the same result. In Blender, as in any good program, there are always several ways to obtain the same result. In case you begin to get confused with keyboard shortcuts, Blender has a quite impressive toolbox, which is accessed by pressing theSpace
seconds. All actions that we are performing in ths tutorial can be accessed via this toolbox. I recommend you to have a look at all that lies there. There is also a hotkeysreference chart. Of course you have noticed our building is perfectly symmetrical. This is quite common in architecture, a bad and old habit that comes from antiquity and that architects use a lot, because it is easier and they are lazy, even if they will tell you any kind of other reasons. Well, for us it will be easier. We will simply add a mirror modifier to our plan, and everything we'll do on the left side will be also done on the right side. We can do it anytime, but let's do it now, so we have the pleasure of seeing our work growing at double-speed... Switch your buttons window to Editing (F9) and locate the Modifiers tab. Then, add a mirror modifier:
If you switch back to solid mode (Z) now, you'll see that the work we have already done has been mirrored, around the original center of our object, the one it had at creation time, that is, the place where the cursor was when we created the plane. By luck, it is exactly where we want it.
Let's continue, and fill the rest of our plan the same way: select 2 (or more) vertices, extrude, stopping at every change in the geometry...
If you activated the "Do clipping" option of the mirror modifier, you'll notice that you can't extrude anything across the mirror line. Very useful feature. Now there are still some subtilities of our plan that we couldn't achieve with extrusion. For example the lower part, or the curved balconies... There we'll do a little more precise work, by cutting ( CtrlR) faces or edges, moving and extruding single vertices, and creating faces (F) between vertices:
Experiment a bit with all this, don't hesitate to delete some of your vertices in order to re-extrude faces correctly. You see here above that we can easily cut through faces (CtrlR with at least 2 vertices selected) to create new vertex lines through our mesh. Do all the adjustments that are needed, and go out of edit mode ( Tab) and put in solid mode (Z) to admire your work:
When you are done, you should have something like this. If you still have imperfections, enter edit mode again ( Tab) and work a bit more on it. Remember that you can extrude one single vertex (it will produce an edge) and make a face by
key. Try to reproduce the maximum of details, angles, holes, corners, because
it will look better under the light. They will create more shadows. Don't hesitate to add a bit more here and there. Remember, our boss will have the impression he created it... Just don't add too much. Just "interpret" his sketch the way you prefer. The best way to obtain good results is always to model things you like... Also, have a look at all the modelling tools you have in the toolbox ( Space)... There is also a chapter in the manual describing it all.
and select all your vertices (A key until all is selected). Extrude (E key) region, and type 1.10.
enter. We just extruded all our plan to our first line. Do it again 3 times, using 0.50, 0.60, 0.80 distances. If by chance your extrusion went in the wrong direction, undo it (CtrlZ) and force it to follow the Z axis (Z) before entering the distance. This is because blender evaluates himself how to place the normals, which is not always the way we want them.
Great. Our first typical floor unit is already there. We'll now need to sculpt the balconies and the windows. But first, same way as we did the mirror, we could already have a look at how it looks with the 12 floors... Add another modifier: An Array modifier. Put its options on constant offset, z: 3m, count: 12 like below:
Well, not bad for a start, our building is here already. Now the boss can come, things will go faster. Ah, don't forget to save your work often, ok? Blender might crash some time, just like any other program... Notice there is a small icon in the array modifier to switch it off when you are in edit mode. Very useful so you can continue to work on your typical floor, but when you'll go out of edit mode you'll see how it looks on the whole building. So let's begin to work on the back balcony. Select the vertices you don't want, delete them, and extrude others to re-form the geometry. Don't forget you can force extrusions and movements in a certain direction ( X,Y andZ
can extrude (or move) a certain distance simply by entering it while extruding. You can also recreate faces when you have their 4 vertices ready by selecting them and pressing the F key. Another trick, you can work on vertices, edges or faces by switching the corresponding button in the header bar... Sometimes it is easier to work on vertices, sometimes faces, etc. You'll get used to it.
That will do it for now. Notice that I extruded a bit the windows inside, so it will give a little shadow when we'll render. For the rest, I didn't detail much the balcony, but most probably we'll do a view from the ground, so it doesn't matter much now. Let's create windows the same way in other places. Since the boss didn't draw any window, we are free to place them where we want, just like the ones here above. Try to have them fit in the lines we already have, so those lines will get reinforced, making our building look better, and it'll be easier for us too...
The living room's corner box wasn't very well drawn by the boss. This suggests he wanted "something" there but couldn't find an idea. This is where we can act, do something interesting, and he will naturally think he's the one who designed it... Fine for us... So let's do something. By lowering the 1.10m line and raising the 2.20m line, I made a kind of big glass aquarium there, so it will look like a giant glass column... And the apartment inside will have plenty of sun. You may choose to do something else, feel free :) Let's finish it, make the front balcony, and put some last windows here and there, on the front and on the staircase, at the back.
Okay! I think our typical unit is more or less ready. By now you must have understood well how vertices, edges and faces behave, and how to switch from one to another. To remind you if you didn't find out, there are those small buttons in the 3d view header, in edit mode, that switch between vertices, edges and faces. Let's get out of edit mode to see how it looks with all the floors:
Alberti said it, a building is like a human body: It must have feet, a body and a head. Well, our body is already there, we need to provide a head and a foot. Let's begin with the head: What can we do up there? We'll have some stuff, elevator's machine room, maybe a couple of technical rooms... We could just use them to create a nice volume work. So let's create a new plane object, and lift it to the top, to begin to work.
Before we do that, it might be a good idea to rename our body object, so later, when we'll have many objects, it'll be easy to find it in objects lists... Locate where the object's name is in the edit buttons below, an OB:Plane.XXX button. Rename it to, let's say, Apartments. Now let's invent something for the top: Add a new plane, add a mirror modifier to it, and place it above the 12 storeys:
Okay, that will do it for now. Later on we can refine it, but it is better to arrive quickly to a first "displayable" result. We don't have the whole day, remember. Let's switch to the foot. There it is more difficult, many famous architects have had many theories about treating the foot, over time. I will stick to a typical Moretti-style foot: simple, stone, smaller... What will we have on the ground floor? I don't care now. Let's just make it look nice, there will be many things to put in it later...
It is always a good idea, if you don't have any idea about what to do, to make a small sketch, that you can put as a background if you want, but in most of the cases it is not necessary, just the fact of drawing something on paper is enough to give you ideas on how you want your base to be. After that, you model much quicker because you already know what to achieve. When you get much used to Blender, you end up modelling directly, as-you-think... For now, let's sketch quickly something:
Fine. See that I raised the body and the head 3.00m higher, to give us space to work. Also remember that you have several view-related shortcuts (1NumPad, 3 NumPad
7 NumPad)
that can help you much to position things correctly. Again, we are
not looking for absolute precision (This will come in another tutorial). What we want here is to give our building a quick good look. So that's it, we have now a complete building. Ugly, but complete.
THE CAMERANow things will go easier. We already know how to move objects. We have a camera in the scene already, if you didn't delete it. If you did, just add a new one with theSpace
menu, then add, camera. Select it and place it somewhere you like,
and press the numpad 0 key to put the 3d view in camera view. If your camera is still selected, you can move it around, even in camera view. Useful shortcuts areG
to move in X, Y or Z directions,
to move
following camera's own original X, Y, and Z axis. You can also look at your scene the way you want, and then force the camera to adopt the current view (CtrlAlt0 NumPad). Now find a good view for our building...
You noticed our background sketch appears also in the camera view. This is of no importance, the 3d view background image is just for work, it doesn't appear in the renderings. But let's turn it off, because we won't need it anymore. Just go in the view menu, background image, then turn off the "use background image" button. While we are at playing with cameras and view, let's configure the rendering options already, so we can start rendering. Switch the buttons window to Rendering options (F10). Let's see what we might need here:
First we need to define the size of our rendered image, in pixels. This is obviously set by the SizeX and SizeY buttons, on the Format panel. You can specify already a big format, for final output, since blender allows us to do smaller renderings quickly by using the 100%, 75%, 50% and 25% buttons without having to change the image size parameters. Let's put here SizeX:2000 and SizeY:1500, which will give us an image of 3 Megapixels, which is good enough for an A4-size printing. Let's also press the 25% button. We'll do full-size renderings only at the end. Another important thing, the OSA button, which controls Anti-aliasing. It can be turned on and off, and has 4 quality levels, 5,8, 11 and 16. Let's turn it on now and leave it on 5, so we'll have basic anti-aliasing. Now.. There is one big nice button labeled "Render" that is just waiting for us... If you were able to control yourself until now and didn't push it yet, well... you may now kiss the bride... click it!
That's it... not exactly stunning, we could say. If you deleted the default light or if by bad luck it is inside the building, you might not see any light at all, your building is then completely black. This is just normal. No good illumination, no good image. Let's, then, solve that quickly, because the time passes and it's getting late.
Lighting is by far the most important factor for creating good-looking images. There are many ways and tools to light a scene, and be able to do it very well is something that takes much time to learn. Well, since we just have a bit more than one hour, we'll have to find some quick way. I'll show you here two quick tricks: a sun & sky setup, and a traditional photography studio setup. Both are very quick to mount and give you fairly basic-but-good result.
Note that the sun has also been rotated to point to the building. That's the direction of the sun's rays. Our shadows will depend on it. Switch your buttons window to "materials" by pressingF5
and give the sun a sun color, and the sky a sky color, like in the
images below. And since we want our sun to project shadows, turn on the "ray shadows" button in the sun material panel. The hemi light cannot project shadows, unfortunately.
Then, render again. and if you are not satisfied, play a bit with the color and energy parameters of your two lamps. The position of the sun is also important to make shadows bigger or smaller. At the end, you shoud arrive to a result like this one:
Your result can be a bit different, you can see that I kept the sky intensity quite dark, because I like to have strong, dark shadows, like if there was a very hot sun shining. You may want to do something else, but always try to imagine a real situation, it will be much easier.
The first one, the sunlight, has to be strong to produce sharp shadows. Let's make a spotlight (or a sun light if you prefer), yellowish color, with ray shadows turned on. Refer to the sun & sky method here besides.
The second one, the skylight, has to be blueish, weaker, and project soft, blurred shadows. Create a spotlight, orient it correctly and turn buffer shadows on. Put bias setting to the minimum possible, and raise the soft value to blur your shadow. Also set clipsta and clipend values to auto. The third one, the backlight, can be a simple lamp, with a medium grey color. Disable its shadow, since shadow is expensive, we won't use where not necessary. Also, disabling the shadows permit the light to cross the building and reach the front parts.
Of course yours can be a bit different. Try to vary the height of the three lamps so their focus areas are not all at the same height. When done, render it, and you should obtain something like that:
Final ThoughtsYou can see that both methods give about the same lighting, but the right one gives us much more control. Since the blue light is a real lamp, not a simulation, we can place it where we want and it since it projects shadows, we can have nice shadow effects on the blue side, and we see the geometry much better. Also, notice how the down side of the balconies get illuminated too. You begin to get the trick, don't you? More lights, more control. But be careful with that, too many lights make it VERY difficult to control. Try to stay with 3 lights, it's enough for 99% of exterior scenes. When you play with light settings, try to be very systematic: Modify one setting, render, modify other setting, render again. Render again every time you change one setting. That way you won't loose yourself. It takes a bit of manipulating to achieve a good image. With time, you'll get used to it, and you won't need to render that often. Also, see now why we set up the camera before the lights? The position of lights, in the right case, depends on the camera. When you make several views of a building, you usually need a different lights setup for each. In Blender, you do that creating several scenes. Last thing, don't forget to take the good habit of giving a name to all your lights (just like our other objects), so you can recognize them easily later.
THE MATERIALSWell, well, we are almost there, don't you think? Now let's see what materials we'll need: 1. 2. 3. A base wall material, let's make some sort of colored cement. Another wall material for special elements, like balconies, etc... Why not try a wood? A glass
Of course here the boss didn't specify anything, we'll have to shoot in the dark. Well, you must have a small idea of his color tastes, don't you? Bosses use to have well defined color tastes... I would suggest making the base wall material in his favorite color. The material 2 should be a color that goes well with the first one. There is a site that quickly proposes you
matching colors for the one you pick. Okay, we have our colors, let's build the first one. Switch your buttons window to Materials (F5). Select your apartments, and click the "Add new" material button. A fresh new material is created:
Let's now fill this material with what we want. Play a bit with the three colors values, and everything you find in the Shaders panel, so it looks more or less, basically like what you want. I'll pick a light orange tone, and put "spec" value to 0 because I don't want any "glow" (it's a cement... cements don't glow. Yes I know in Quake they do but we try to stay on earth). When you are more or less satisfied, let's choose a texture image for it, for example oncgtextures. Choose an image, and download it to some place on your computer. Then, in the Texture panel of our material, let's click "Add new" to, well, add a new texture... Then, switch your buttons window to Textures (F6).
And the texture settings. Rename your new texture, Choose the "image" type, and click the "load" button to take it from where you saved it. That's it, you have a new texture, made of your image.
Now switch back to material settings (F5). Notice that we have a pile of texture slots there, so we can add more later. Since we created our cement texture, the texture panel gained two more tabs: a "Map Input", for specifying how the texture will be placed, and a "Map To" for specifying what the texture will affect. Let's configure that for our cement:
These are the settings I choosed in the Map Input and MapTo tabs. They are explained below. Feel free to experiment with all those.
In "Map to" I activated the "col" button, so our texture will affect the diffuse color, and "nor" which will affect the bump value (in Blender it is called Normal). I reduced the "col" value (which, obviously, controls how much the texture will affect the color) much. Why so much? Well, the image we took on cgtextures.com is not seamless. That means, its left side doesn't match with the right side. So, when our image will be tiled on the building, the seams between the images will be
very visible. Lowering the color value is a quick way to hide a bit those seams. If we had more time we could also add another texture on top of it. The "Nor" value, which controls the normal effect, will stay at 0.50 for now. In "Map Input" I activated "Glob" and "Cube" buttons. Glob sets the texture scale to "Global", meaning "one texture image fits in one global blender unit". In our case, one meter. The default "Orco" means "one texture image fits in one object", which would obviously give you different mapping sizes on different object sizes. Since we make "real world" materials, we use the "glob" one most of the time. We want our material look exactly the same on big and small objects. The "cube" button tells Blender to apply our texture as if it was projected from a cube, instead of "flat" from above. This what we use in 99% of the cases in architecture. Note the size parameters set to 20% (0.20). How does that work? Remember "one image fits in one meter", right? Now, 20% of an image fits in one meter. In other words, one image fits in 5 meters. Our cement texture now is 5mx5m large. Now our cement is ready, let's test it. Remember we selected our building before making the material? Well, that means this material is asigned to it already. So, let's render:
Isn't that great already? We can see small problems, on the darker side we can see vertical repetition: 3 same "clouds" one above the other. We could solve that quickly by making the image twice bigger. Set the size settings to 0.10. That should do the trick. We could also apply another texture on top of it, with different size settings, etc... Texture repetitions are always a problem with image texturing, and we must always find tricks to make it disappear. Another solution is to use procedural textures, (all of blender's texture types other than "image"), which don't repeat patterns. Now let's make the second material. Click " Add new" besides the material name. This will create a copy of our cement.
Here I downloaded a wood texture, then did "add new" too in the texture panel (our new material was still using the cement texture), and assigned the new downloaded texture to it. I left all parameters like they were. Don't forget to give proper names to your materials and textures. You certainly understood now that materials and textures are two different things and materials can use whatever texture they want, so be sure to have clear names so you know what is what. Now let's create our third material, the glass. Create it, remove its texture and give it a strong and narrow glow (the "spec" values in the Shader panel), like below:
Note that we removed the texture ("clear" button besides its name) and activated the "Ray Mirror" button, and raised the "RayMir" value a bit. Hmm, there's not much mirror effect appearing on the rendering... That's mainly because there is nothing to reflect, the mirror is reflecting mirror that is reflecting the blue background... To look good, mirror materials must have something to reflect! This will happen right now. Now we have our three materials, we must assign them to our objects. There are two ways to do that: 1. 2. Split our objects by material, so each object receives one material Assign several materials to objects, and then control which of those materials each face receives.
What way will we use? Well, you begin to know me, you know which one we'll choose, don't you? Number 2 of course. The reason is simple, we want to leave our objects the way we modelled them. We wouldn't like to explode our objects to smaller parts, would we? What if the boss, in a creative crisis, decides to change EVERYTHING? Better to keep our stuff clean and easy to modify. Let's go, then. Select the appartments (which are probably selected already), and switch your buttons window to Editing (F9). Our appartments will need cement, wood and glass. so, locate the "links and materials" panel and create 3 material slots by clicking "New" two times:
Here we gave our object 3 material slots. Then, switch to materials ( F5) to fill each of these slots with a different material: See the same "3 Mat 3" button? browse through the three slots, and for each one assign a material. I put the glass in slot 1, the wood in slot 2 and the cement in slot 3, but the order doesn't matter. Now our object has three materials, but we didn't tell which face receives which material. It is very easy to do. Go back to Editing buttons (F9) and then enter EditMode ( header). Then: 1. 2. 3. Select some faces that will receive a material, let's say cement. In the editing buttons, panel "Link and materials" (like the image above), select the "cement" material slot (mine is 3) Click "Assign"Tab).
Now do that again, with all visible faces, and then with the foot and the head of our building:
Don't worry, it is much faster than you would think. We cared to model with few faces, so there is not much work. You can switch off the modifiers in editmode, so it's easier to see what you are doing. The top part only has cement on it, so I created only one material slot for it. When it's done, render again, and there it is, our fully-textured building is done! Now, if there is time, we can make some small adjustments. For example, I found my wood material a bit dark, so I whitened it a bit. Now, we can relax, the boss can come, the building is there. But since we still have 15 minutes, let's put some background and foreground, because the glass still looks very bad. Remember, the glass only reflects what's around.
And the "World" settings. notice that "Paper" is turned on, and how you use the sizeX, Y, Z and dX, dY, dZ to crop the image to exacly what you need.
You'll need to render a couple of times to adjust the d and size parameters. When done, it looks like this.
Now notice how our glass improved, specially on the darker side. But on the front side it is still a bit uniform blue. We can do several things to that, a common trick being to add a landscape or sky texture to our glass material. In other words, create an "artificial" reflection. But since our image is still a bit naked, let's add some real foreground objects, they will serve the double purpose of being reflected and "frame" our composition.
The foregroundHere you can put all kind of objects: Trees, cars, people, streetlamps, etc... We can add this as 3D objects, if you search a bit on the net you'll find many free 3D objects to use, but the quickest way is to add images that have transparency in them. Traditionally 3D artists use to put this in an image editing program after the rendering, but it's much better to add them directly in blender, so you can change your model, render again, and no need to open another program again. Those images with transparency (or alpha layer) are very hard to find on the net, but you can find a couple of them free to use on the blenderarchi site. You can also grab free samples from several texture vendors such asmarlin or got3d.
So, let's take two trees from there and place them in our scene. Since they are images, all we need to do is to make two big plates, or billboards, on the front of our scene, and make a new material for each, with our tree images as textures:
A couple of simple planes oriented to face the camera... The texture settings for our new materials, note the "use alpha" button pressed, this, of course, only works if our image has an alpha layer...
... And the material settings. Here we have the "A" value to 0 because we don't want the grey color to appear, "ZTransp" (basic transparency) turned on, "Traceable" and "Shadbuf" turned off because we don't want our trees to project shadows on the building, and the "Alpha" button in MapTo switched on because we want the alpha transparency from the texture to act on our material. I also turned on "Shadeless" because these tree images are already lightened, so we don't need our lights to alter that.
Well, I think that's it... Time to do a big scale rendering. Put it at 100% in the rendering ( F10) buttons...
Note that I also made two more copies of our trees to mask a bit our entrance, since it is not very well defined. Now it's about twelve, all we need to do is to print and give it to the boss. Probably, he will be back from the meeting with many changes to the building, but now, we know we'll be able to modify it easily. Well, that's it, I hope you enjoyed. If something is still unclear or if you are struck somewhere, you can download the tutorial01.blend blend file of this tutorial, and if nothing helps, just mail me! Cheers Yorik - yorik.orgfree.com with big help from Eon!


text:
Rising water bills will help fund £318m of investment in the region over the next 12 months, Yorkshire Water said.
The Bradford-based utilities firm has announced that from April 1 its customers' annual bills for water and sewerage will rise by an average of just over one per cent - or £5 - to £366 per year.
Attributing the rise largely to inflation, Yorkshire Water said its bills will be the second cheapest the UK and £33 cheaper than the national average.
Only Severn Trent's average combined bill works out cheaper (£329). The highest prices are paid by South West customers (£488).
Richard Flint, Yorkshire Water's chief executive, said: "The slight increase this year has been agreed with Ofwat and is largely due to inflation and the simple fact that the price of many of the products and services we use as a company has risen."
The firm's price increase comes in year two of an £3.8bn investment programme to 2020, which includes better water treatment works for Hull, Whitby and Sheffield, new storm tanks and river improvements.


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Braille Pad Student
iOS iPad Education
Braille Pad Student is a word processor for Braille. It can handle Unified English Braille (UEB or UEBC), Grade 1 (uncontracted) and Grade 2 (contracted) Braille.
Because this app uses a special braille font, you can email the text to people with no special software .
Braille Pad Pro was designed to be helpful for sighted people working to learn Braille. You can load, edit, save, email, and print files. BraillePad Pro natively supports files in the popular .DXB format. Files can be opened in BraillePad Pro directly from web links or from your email. There are many resources on the web that have complete Braille books that you can download for free directly into the app.
We have included an in-app dictionary that allows you to look up the Braille letters, numbers, symbols, and contractions by English or by Braille. This is NOT a dictionary of every word in English converted to Braille, rather it is a complete listing of the symbols and combinations of symbols you may find in a Grade 2 Braille document. The dictionary shows each of the multiple meanings where applicable (see screen shot for example). The dictionary currently does not support UEBC, if you have interest in seeing this added, please drop us an email.
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© Philip Townsend Archive
The Beatles with Maharishi Mahesh Yogi
by Philip Townsend
bromide fibre print, 31 August 1967
12 in. x 17 1/2 in. (304 mm x 443 mm) image size
Given by Philip Townsend, 2006
NPG x128616
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Alarm System and Passenger Compartment Monitoring
FCC Numbers:
Canada: 7812D-5WK50138
This device complies with Part 15 of the FCC Rules and RSS-210 of Industry Canada.
Operation of this device is subject to the following two conditions:
Changes or modifications not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.
The manufacturer is not responsible for any radio or TV interference caused by unauthorized modifications to this equipment.
Such modification could void the user's authority to operate the equipment.
The alarm system monitors the following alarm contacts:
– Alarm contacts in doors, luggage compartment lid, engine compartment lid and headlights.
– Interior surveillance: Movement in the interior when the vehicle is locked, e.g. attempted theft after breaking a window.
– Inclination sensor country-specific equipment: inclination of the vehicle (e.g. when attempting to tow).
If one of these alarm contacts is interrupted, the alarm horn sounds for approx. 30 seconds and the emergency flasher flashes.
After 5 seconds of interruption, the alarm is triggered again. This cycle is repeated up to ten times.
Switching on
Switching off
If button on the vehicle key is pressed and a door or the luggage compartment lid is not opened, the vehicle is locked again automatically after 30 seconds.
Switching off the alarm system if it is triggered
Switching off interior surveillance and
inclination sensor
If people or animals are remaining in the locked vehicle or the vehicle is being transported on, e.g. a train or ship, the interior surveillance system and inclination sensor must be switched off temporarily.
Using the vehicle key


text:
Nicolas Cage has taken a beating from critics over the past few years. First off due to the number of films he's made in recent years and secondly because they don't live up to the standards enforced by critics who are only interested in Oscar worthy projects for him to star in. The fact is that being an actor isn't just about awards; it's about being employed and working. And Cage always works when he makes a movie no matter what the topic. It's for this reason that his fans love him and why they won't be disappointed with SEASON OF THE WITCH.
Cage plays Behmen, a knight involved in the Crusades when the film opens. Along with his trusted friend Felson (Ron Perlman), they pair carve a path through history surviving one battle after the next serving the Church as it strived to cut a bloody trail through non-believers. After over 10 years the pair has had enough, questioning whether it is truly in God's service they are employed or simply that of an organization who wants control over all they can see. With the death of a young woman on his hands, Behmen and Felson leave and head home.
Problems follow them when they arrive in a small town only to be recognized as deserters. Thrown into a dungeon and waiting trial, they are saved when the Cardinal calls them to see him. Dying of the plague (as are most of the townspeople), he entrusts them with the task of taking a woman accused of being the witch that brought this plague to an abbey where the monks there will hold a trial for her. If found guilty, they will sentence her to death and end the plague.
Accompanying them on this journey is a priest named Debelzaq (Stephen Campbell Moore), another knight named Eckhart (Ulrich Thompson), a guide named Hagamar (Stephen Graham) and an alter boy named Kay (Robert Sheehan). Claire Foy plays "the girl" being transported and supposed a witch. But as their journey moves forward you wonder first if it could even be possible that this woman is a witch or simply a person in the wrong place at the wrong time. It seems the entire blame is a result of her showing up as the plague began, not just in this town but another as well. With little more proof than that one wonders why she was even accused.
But Cage took on the job with one demand, that the trial is a fair one and not just someone killed because of convenience. It's a job he takes seriously and one that requires him not to just protect his fellow men in arms but the young woman as well, from various beasts along to road to fellow members on his company.
As the film progresses numerous attacks fall upon the travelers. At one time they are witness to shadows once the girl escapes and leads them on a chase that results in the first death of one of the members. Another falls when a group of wild wolves surrounds the group before they can move to safety. And with each attack the viewer is left wondering if the girl is responsible or not, or does it just seem like she's a witch?
Many have taken to task the end battle of this film that happens in the abbey. I had no problem with it (but won't reveal it here so as to not ruin your viewing). They found it a let down and more often than not because those who hate it wanted more shots taken at religion. In short they wanted a different movie. I suggest they watch BLACK DEATH, another movie concerning the black plague that did just that (and that I wasn't a fan of). But for those who like Cage and Perlman as well, you'll get exactly what you would expect: an enjoyable, entertaining mystery wrapped up in a world of religion and supernatural that keeps you wondering, is she or isn't she?
The effects are satisfying (especially at the end), the photography is great, even more so since much of the film takes place at night or in darkened areas, the directing is steady and the acting takes what could have been cartoon characters and fills them with life. The movie doesn't go out of its way to make it seem like hard core reality, instead relying on the story to tell a tale.
If you like Cage in films like GHOST RIDER and DRIVE ANGRY then you'll find yourself enjoying this film as well. If it's the more serious Oscar hungry actor you're looking for them perhaps not. For me, I always want a film to entertain more than anything else and this one does it in spades.


text: ShareEmergency PreparednessEmergency Notification SystemRivier University has implemented an emergency notification system, powered by Everbridge (National Notification Network). The system allows the University to send emergency notification messages to all registered faculty, staff, and students during a crisis, emergency or weather closure. Click here for additional information on Rivier's emergency preparedness. Log-in to the Everbridge System: http://www.everbridge.com or http://www.everbridge.net. Registration Process The registration process for the Everbridge system is quick and easy. Invitations will be sent to all unregistered faculty, staff, and students at the start of each semester, via your Rivier email account. For new employees, an invitation will be sent shortly after you begin employment. Adjunct faculty must request an invitation. The sender of the message is: Rivier University email@example.com If you need to have your invitation resent, please contact David Bedard in the Office of Information Technology at email@example.com. Follow the instructions in the email invitation to register for the system. Review the information below for some helpful registration tips. You can also use firstname.lastname@example.com to request that you not be enrolled in the system any longer. Registering For The Everbridge Emergency Notification System (New Member) When you receive your invitation it should look like this:Subject: Rivier University Emergency Notification System Dear XXXXX XXXXXXXX,Rivier University has chosen EVERBRIDGE Inc. to provide notification services during emergencies and inclement weather. As a member of the Rivier University community, you are invited to register to receive notifications through the Everbridge Aware Emergency Notification System. Please take a few moments to register and provide your current contact information. If your contact information has already been entered in the system, please verify that it is correct. If you have any questions or concerns about the legitimacy of this e-mail, please contact David Bedard in Rivier's Office of Information Technology. You can reach David at (603) 897-8222 or firstname.lastname@example.com .Your authorization code is XXXXXXXXXXXXXXXX.Your member ID is XXXXXXXXX.1. Access any internet browser on any computer2. Go to https://www.everbridge.net/nns/pub/Login.jsp?destination=/NewUserAction0.do3. Enter (do not cut and paste) your authorization code provided above4. Click NO when asked if you "Are an existing Everbridge Member"5. Make note of your Member ID and create your Password6. Select a password reminder7. When prompted to create an alias, please provide a user ID and password that are easily remembered (you may wish to use your Rivier University email username and password to make things simple, though this is not required.) This password must include both alpha and numeric characters. The alias ID allows you to enter a memorable ID, rather than having to enter the numeric Member ID listed above each time you log-in to the Everbridge system.8. Follow the simple instructions to enter your contact information and contact paths. 9. Click Finish to save all of your information.*You need to set your own priority listing for the Emergency Priority, and for the Standard Priority field for each device you choose to register.Thank you for your cooperation.Rivier UniversityOnce you go to the New User page your screen should look like this:Fig. 1 Enter your Authorization Code and click NEXT. Your screen should look like this: Fig. 2 Click NO. Your screen should look like this: Fig. 3 Complete this screen and click NEXT. Your screen should look like this: Fig. 4 Complete this screen and click NEXT. Your screen should look like this: Fig. 5 Complete this screen and click NEXT. Your screen should look like this: Fig. 6 Setting Emergency PrioritiesWhen creating/editing your Everbridge profile, you must complete the Emergency Priority section. This section allows you to prioritize your phone numbers/email addresses according to the order in which you wish to receive messages during an emergency. You must enter a priority number for each phone number/email address—if the device has a setting of N/A, then you will not receive a notification to this device. You do not need to set priorities in the Standard Priorities section, as the University will only be using the Everbridge system during emergencies or weather closures.See example below of a properly configured Everbridge profile. Please note that each of the five phone numbers/emails entered below has a corresponding priority setting of 1 through 5 in the Emergency Priority section. This section is highlighted in red. Fig. 7 Complete this screen and click FINISH. You are now registered. Accessing your Everbridge Profile (Already a Member) Log-in to the Everbridge system, by visiting www.everbridge.net. You should get a screen that looks like this: Fig. 8 You can then log-in using your Member ID (username) and password. You will get a screen that looks like this: Fig. 9 You can edit your information and be sure to click the SAVE button at the bottom of the screen. If you click "New Member Registration" on Fig. 8, you will get a screen that looks like this: Fig. 10 This screen is for members who are registering for the first time. You will need an authorization code which is contained in the "invitation". If you are an existing member, you will not be able to get an authorization code. Updating your Everbridge ProfileYou can update your Everbridge profile as often as you like, and should do so each time your contact numbers change. Be sure to keep this information current at all times. You can easily update your information by logging into the Everbridge system. Save your changesYou must click the SAVE button to save your Everbridge profile.When will the system be used?The emergency notification system will be used during a crisis or emergency, and will be used to communicate closings of the University due to inclement weather. The system is secure and personal information is private and will not be shared.Testing of the systemThe system will be tested at a minimum of once each semester. You will receive notice of scheduled tests through your Rivier e-mail account and via the Rivier University website.What can you expect when the Emergency Notification System is used during an emergency or weather closure?All registered users will receive messages to the numbers/email accounts that are registered with the system. The emergency notification will be sent to each of your phones/emails until you confirm receipt. You can confirm the following ways:• Phone Calls: Remain on the line until you are asked to enter a "1" to confirm receipt.• Text messages: Follow the instructions at the end of the text message to reply with your confirmation.• Emails: Click the link in the body of the email to confirm receipt.The system will continue cycling through your registered devices until you successfully confirm receipt.Questions?Please contact the following staff members with questions:• Kurt Stimeling, Vice President for Student Affairs, (603) 897-8247• David Bedard, Telecommunications/Multimedia Services Manager, (603) 897-8234• Joe McDonald, Director of Public Safety, (603) 897-8477