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Share Facebook Twitter Google + LinkedIn Pinterest Current high prices for white oak and black walnut timber have created a recent increase in timber theft. Tree theft in rural areas of Ohio should be of concern to residents and landowners, and the Ohio Department of Natural Resources (ODNR) Division of Forestry offers tips to help residents prevent this activity.“Timber is a marketable commodity, with well-formed trees of some species having substantial value,” said Dan Balser, chief of the Division of Forestry. “Keeping an eye out for timber theft on your property or on your neighbor’s land can go a long way to deterring theft and significant monetary and resource losses. We have recently seen timber thefts from both public and private land in Ohio.”Timber poachers often work in secluded areas not visible from residences. They often remove the most valuable lower log section of the tree and leave upper sections and limbs. Thieves use small equipment like small trailers and winches, or logging equipment like loaders and large trucks.ODNR offers these tips when illegal tree theft activity is suspected:• Report suspicious activity to local law enforcement immediately. Do not personally confront anyone working a suspected timber theft operation. • Leave contact information with a neighbor, especially if you are an absentee woodland owner. Keep them informed of your plans for the property. • Inspect your property regularly. Cable or gate access lanes and install locks. • Mark all of your boundaries with paint or signs to deter potential thieves. • Conduct a timber inventory and estimate the value of your timber. • When conducting a timber sale, work with a professional forester to know what resources you own, follow a management plan with defined outcomes, use sustainable forestry practices, solicit multiple bids, research any potential buyer or logger, require a bond, use a contract for harvesting work and include best management practices to protect soil and water.Resources are available at callB4Ucut.com/ohio or by calling 877-424-8288.
Jive and Salesforce.com have been seen as competitors since at least the announcement of Chatter, which brought Salesforce.com into the enterprise 2.0 market. Jive has also started to encroach on Salesforce.com territory by announcing its Jive Apps Market, a competitor to the Salesforce.com AppExchange and Force.com platform.But now, Appirio is making the two vendors’ services work in harmony.Appirio announced this week a new series apps that will integrate customer relation management information from Salesforce.com with the enterprise collaboration features of Jive. The first of these apps, part of Appirio’s CloudWorks line, is based around what Appirio calls “collaborative selling.”The debut app is already available for Jive 5 beta customers, and will be available in the Jive Apps Market once Jive 5 officially launches. Future plans include applications for customer service, marketing, account management and partner management.The Appirio services demonstrate the value that systems integrators and third-party developers can bring to applications and services that have robust APIs.Appirio was founded in 2006 and is funded by Sequoia Capital and GGV Capital. It also offers integrations between Salesforce.com and Google Apps.This integration comes hot on the heals of the announcement that Salesforce.com will integrate with QuickBooks Online. IT + Project Management: A Love Affair 3 Areas of Your Business that Need Tech Now Tags:#enterprise#saas Cognitive Automation is the Immediate Future of… klint finley Massive Non-Desk Workforce is an Opportunity fo… Related Posts
The Largest Passivhaus Building in the U.S.Multifamily Passivhaus Project Starts in OregonPassivhaus Apartment Complex Would be a GiantPassivhaus Townhouses Are Underway in PhiladelphiaA Passivhaus Multifamily in Maine Nears Completion RELATED ARTICLES Passive House, but no room for frillsPassive House construction necessarily includes more insulation than conventional buildings, high-quality windows, and careful air-sealing, all of which can easily drive up costs. To stay within strict budget guidelines, Bayside developers looked for ways to trim unnecessary building elements — and that started with parking. Arguing that area residents owned fewer vehicles than average, developers successfully petitioned the city to overlook parking-space requirements that normally would have applied. (The building sits on what was a parking lot).The site is over a layer of marine clay, which is inherently weak. Designers worked to keep the building as light as possible, allowing it to rest on a floating concrete slab without the need to sink pilings for extra support.Project architect Jesse Thompson led a tour of the partially complete building in June, the last such tour on this year’s passivhausMAINE schedule.Interior finishes are simple: painted drywall, vinyl flooring, basic kitchen cabinets. Designers shrank interior hallways to bare minimums, and revisited building details repeatedly to look for potential savings.“The building got simpler and simpler as we went along,” Thompson said.While he and others working on Bayside might have preferred a few more upscale finishes inside, it just wasn’t going to happen with a minimal budget that had been set three years earlier. If kitchens got bargain cabinets with drawers that were stapled together, so be it. “Every dollar in there shows up very quickly,” Thompson said. “There’s no tolerance for glamorous here.”Designers did, however, manage to find enough money to keep vinyl siding off the building’s exterior. Instead, it will get fiber-cement cladding over a ventilated rainscreen gap.On the construction side, Wright-Ryan recognized that the longer builders were on site, the higher construction costs would be. Its construction managers, drawing on their experience at the Brewer Passive House project, looked for ways to speed up the process. They divided the building into sections, each with its own set of deadlines, to improve efficiency. Exterior walls are panelized rather than built on site. Even small steps helped: So workers would not have to sort through stacks of drywall to find the right thickness for a particular application, Wright-Ryan simply specified 5/8-inch wallboard throughout the building.If developers hit the November 21 completion date for the 38,500-square-foot building, it will mean a construction schedule of about 10 months. Many single-family homes, Thompson pointed out, take longer than that. Although construction started in January, Bayside Anchor has been in the works since 2013. That year it won a national competition, sponsored by Deutsche Bank, for innovative designs for affordable housing.Finding ways to cut costs has never been far from the minds of its developers, and efforts have paid off. The building will come in at $142 a square foot, project architect Jesse Thompson told a group touring the building recently, “substantially less” than the norm for new Portland housing. At the same time, residents will be getting the benefits of Passive House construction: low energy bills, high indoor air quality, and a superinsulated building envelope that will keep them comfortable.“You’ve got affordability baked into the building forever,” Thompson said. On November 21, three days before Thanksgiving, developers plan to complete Bayside Anchor, a mixed-use apartment building in Portland, Maine, built to meet the Passive House + 2015 standard on what amounts to a shoestring budget.The 45-unit building, about one-third complete, is located in the city’s Bayside neighborhood, a part of the city carved in half by a 1960s urban renewal project. It will contain mostly affordable one-bedroom apartments, plus a few two-bedroom and studio units. The ground floor also will house an office of the Portland Housing Authority, a Head Start program, and a police substation, making it a community hub and giving it its name, Bayside Anchor.Behind the project are the Portland Housing Authority and Avesta Housing, a private non-profit developer of affordable housing. The $7.6 million project is being financed mainly with low-income housing tax credits through MaineHousing, a state housing agency. The project was designed by Kaplan Thompson Architects of Portland. Wright-Ryan, which earlier this year finished a Passive House multifamily in Brewer, Maine, is the general contractor. The PHIUS standard is ideal for multifamily projectsInsulation R-values may seem low for a Passive House project, but Thompson said that’s because a large multifamily building has proportionally less outside wall area for a given volume than does a single-family house.“People are used to seeing PHIUS + and Passivhaus single-family houses with very large R-values,” he said. “Passivhaus was invented as a multifamily program in Europe. It was not a single-family construction program. The numbers work so well in multifamily. In Germany, the first Passivhaus was a townhouse, and the middle unit in a town house has two walls that face neighbors — they don’t touch the outside air.“You think of a middle floor apartment at Bayside Anchor and it’s got one outside wall. It’s 24 feet long and 8 feet tall,” Thompson continued. “So, thermally, it’s just incredibly easy because your ratio of house to walls is tiny.”Heat loss from the building is one-third through the enclosure, one-third from the ventilation equipment, and one-third though the windows, Thompson said. In a single-family house, the numbers are very different, with ventilation losses only 10% to 15% of the total.As a result , the 75% efficiency for Bayside’s ERVs is very important for overall building performance, especially with something like 2,000 to 2,500 cubic feet of air per minute moving through the building around the clock. With an ERV that efficient, when it’s 0°F outside, and 70°F inside, incoming air is in the mid-50s. It doesn’t take much energy to boost that to the set point. On a 30°F day, incoming air is in the low 60s. “Very little heat is needed to bring it up to a good temperature,” he said. Double-stud walls, and nix the OSBExterior walls consist of a structural 2×6 wall and an inner 2×4 wall with a 1-inch gap between the two. Wall cavities will be insulated with dense-packed cellulose, with a layer of CertainTeed’s MemBrain on the interior to control vapor and air movement.Thompson said that plans call for plywood sheathing on the exterior of the building rather than oriented strand board because plywood is more durable and more weather-tolerant during construction. Seams between sheets of plywood are sealed, and the entire outer surface is treated with a liquid-applied air barrier, Defendair 200, a mostly silicone product made by Dow Corning.When it came to windows, designers considered a range of products before settling on triple-glazed units with PVC frames made by Kohltech, a Canadian manufacturer. Passive House buildings often get European tilt-and-turn windows, but in this case designers chose a mix of casements and fixed-glass units, in part to meet requirements of the Department of Housing and Urban Development.As Thompson explained, Bayside Anchor will be required to provide air conditioning to any tenant who can present proof of a medical need. By using outward-opening casements, a tenant could use an air conditioner that sits on the floor and vents through a plexiglass insert in the window opening, thus meeting the HUD requirement, without installing AC for the whole building or investing in ductless minisplit heat pumps.Windows specs are the same throughout the building, with a solar heat gain coefficient of 0.40. The Kohltech units averaged about $30 per square foot.Other building details:Insulation. In addition to the dense-packed cellulose in the walls (about R-32), there are 8 inches of polyiso rigid insulation on top of the roof deck (R-50), and 3 inches of sub-slab expanded polystyrene. There is no spray foam in the building other than what was used to seal the rim joists between floors.Ventilation. Each floor has two RenewAire energy-recovery ventilators to supply each apartment with fresh air. The units, which operate continuously, are 75% efficient. Kitchens have recirculating hoods that are not vented to the outside.Space heat. Each apartment is heated with strips of electric baseboard that cost a total of $30,000. The bill to heat the entire building is projected at about $5,000 a year, Thompson said.Airtightness. Although the standard for the German Passivhaus standard is 0.6 air changes per hour at a pressure difference of 50 pascals (ach50), the PHIUS + 2015 standard uses a different metric: 0.05 cubic feet per minute per square foot of gross envelope area at 50 pascals. When this is translated to ach50, it becomes 0.37. Need for housing is very strongJay Waterman, development director for the Portland Housing Authority, said that Bayside Anchor will be both a catalyst for more development and a hub for the community. The area was completely changed by construction of Franklin Arterial, a main thoroughfare linking Interstate-295 on the west side of town and upscale Old Port, with its shops and restaurants, on the east.“It was small streets, a grid-patterned working-class neighborhood for many, many years, and then through urban renewal, Franklin cut a swath so the tourists could get over to the Old Port and people were displaced,” Waterman said. “It became more of a service center and industrial and lower income neighborhood, and I would say it’s still on its way up.”The demand for housing is strong in the Portland area. Bayside Anchor, while significant for the neighborhood, won’t put much of a dent in it.“Let’s put it this way,” Waterman said. “There is effectively a 0% vacancy rate in Portland right now and the city would like to have 2,000 more housing units built in the next four years. We’re doing 45, so it’s a real drop in the bucket compared to the demand.”
Dynamically link audio to animation in After Effects! In this video tutorial we show you how to use this technique to create a Noise-O-Meter (or Applause-O-Meter) in AE.Using expressions you can dynamically link audio to motion in your After Effects project. One example of this cool technique is the Applause-O-Meter or Noise-O-Meter that you often see on the big screen at sporting events – as the crowd cheers louder the needle on the meter moves on the meter.Buckle up for this tutorial! Motion designer and Premiumbeat blogger Evan Abrams gives you a quick crash course on creating your own Applause O Meter in AE in just over 10 minutes. The tutorial starts out by showing you how to create the visual elements needed for the crowd activated meter. Then, Evan will demonstrate two techniques for using audio amplitude to drive motion in After Effects:Writing expressions that drive the rotation of the needle based on keyframes:v=thisComp.layer(“Volume Control”).effect(“Volume”)(“Slider”) ;a=linear(v,0,100,-75,75);w=wiggle(8,v/5);a+wOr actual sound to animation based on imported audio imported into AE:i=thisComp.layer(“Audio Amplitude”).effect(Both Channels”)(“Slider”);linear(i,5,30,1,100)Evan is an After Effects pro, so you may have to start/stop the video often to catch up with his syncing animation to audio workflow. Although the tutorial details every step necessary to create a noise-o-meter, you can apply the same principles to any After Effects project where you want motion to correspond to audio or sound.Full Video Transcript:[color-box color=”gray”]This is Evan Abrams for PremiumBeat.com, and today we’re going to be making an applause-o-meter, or noise-o-meter in After Effects. Now this is something that use live events to gauge the amount of clapping that the audience is doing, and it’s basically just a decibel meter.So we’re going to be linking audio into the needle, but they also use just straight up key frames in order to do this to elicit the audience to make more noise and show more noise than there is. So it works basically by having someone yell for them to make noise and then, [clapping 00:34] just like that.We’re going to make this in After-Effects, we’re going to do both the key- framed and the audio driven version and let’s get to it. The first thing to do is make a new composition and it doesn’t really matter the presets. We’re going to use HDTV108025, call it whatever you like, and set the duration up to about a minute.Then we need to make a new background, it can be solid, make it whatever color you like. We’re going to go with yellow here, just because that’s kind of a pretty color I guess. Then we’re going to need to make the needle, and we’re going to make that out of a shape (?), call it needle. Then we’re going to add a rectangle to that, and then change the shape.You’re going to need to unlink those properties, so you just don’t make a square, but we’re going to make a rectangle about 50×250, then move it’s position up -125. That aught to do it, then we need to add a fill to that, give it a fill that’s maybe 20% dark, then we’re going to add a poly-star. Then change the poly-star to have three points, change it from a polygon, give it three points. Move it up, and then scale it down a little bit, a radius down to about 50, I guess.That looks about right. And we’re going to duplicate it and make it a little bit more visually interesting by adding a stroke to a layerunderneath. Just setting the stroke to like a red, then putting it up to like 16, 16 points is probably good. Then duplicating it again, and then setting that to be a white, but not totally white, 95 is good. You never want to go full white on things. Setting that up to 32 stroke, then select all of those and go layer, layer style, and give it a drop shadow. Just to make it pop a little bit.Take those, take needle two, and needle three and parent those to the first one, because we don’t want to be moving too many objects around. And as you can see when we rotate it, everything sticks together. So needle is complete.Up next we’re going to make the gauge, we’re going to make a new shape layer again, label it gauge. Then we’re going to add to it, an ellipse. Bring up the size of that ellipse, to be outside where the needle is, because obviously the border of this needs to be larger. About 950 should do.We’re going to add a rectangle, and this rectangle is going to be used to cutoff the bottoms. So make this rectangle larger than the circle, and then we need to make it taller and move it down so it covers the bottom half.Then we’re going to add another ellipse to make the center, which we’re also going to cut out. It doesn’t need to be too big. Now we’re going to add a merge [paz] to this, and you’ll see it adds a fill in a stroke for us. Now change the merge path to subtract, then you can just set the fill to clear because we don’t need that.Then go ahead and change the border down to be that 20% darker color, and we now have a lovely gauge to go around the outside. We’re going to duplicate that. We want to separate these, because we’re going to do something interesting with them in a little bit. Set that to be a solid color, use the color white, that off-white that we used before, and then take away its stroke, because it doesn’t need it.Then set it below everything, just on top of the background. Now we need to make the tick marks that go around the outside of this gauge, because it’s not a good applause-o-meter if you can’t tell how loud it is. We’re going to use the proportion grid to line it up in the center. Then just draw a line using the pen tool right in the center.Take away its fill, because it doesn’t need one and make sure it has a stroke applied to it. Make sure it’s the right color. Then we will be adding a repeater to this which will duplicate it without us having to do a lot of work. Then change the repeater properties to have more copies and we’re just going to transform it.Take the default, 100 away from the position and put 10 on the rotation, because we want it to rotate every 10 degrees and then change the offset to where it needs to be and then change the number of copies to fill out the rest. So that’s a pretty quick way to bring that up and take down the stroke a little bit.Now we’ll just select those, move to layer, we’ll go down to layer styles, and we will add a drop shadow to those. Now we’re going to setup the background here, taking that fill and the background. We’re going to set a track mat to punch a hole in that, and then move it up to the top of the stack. So it kind of overlays all of the things we’re looking at.Then we’ll duplicate the background layer and make a white version. Bring that down to the bottom, so now you can see we don’t have to look at the bottom part of the needle, and everything is covered up. Next we need to make the red zone where we know that things are going to be getting too out of control. So duplicate that bottom layer, and go layer up to solid settings, and then we’ll change it to be a red solid for this one.So, about 90 from the saturation, maybe 100 on the darkness, Okay, that’s good. Now we’re just going to use a radial wipe to remove the amount of this layer that we don’t want. Set that radial wipe up to whatever percentage you think is fair. Then change the start angel to be where you think it should be. That’s seems about right.So that’s most of our design elements all taken care of. We’re going to go ahead and pre comp the red solid so that that the radial wipe stays where we want it to be, and then we will move everything down, just to get it in the right place. You can lock that background layer, because it will never move, and we just want to move the mask that’s on top of it.We’ll shift this down more into the center so that it fits. Then we will add some text layer, call it the noise-o-meter, so people know what we’re talking about. We are just about ready to start adding some expressions and making this thing move.Let’s size this up a bit using B-bass new and we’re just going to apply an inner shadow to this. Remove that position grid, go layer, layer styles, add an inner shadow just for a little bit of visual interest. Add an inner shadow to that one too. Just tweak its settings just a little bit so that it’s not so harsh.Okay, we are ready to add some expressions. So make a new null object, and this will be one of our control layers. This will just stand in for the volume while we do the key frame commands. We add a slider control to that, which will stand in for the volume. Then we’re just going to go ahead and set some key frames so click the stop watch and we’re going to go from 0 up to about 100. Go ahead as many frames as you like, it’s not totally important at this point, just so that you can see that the value is going from 0 to 100.Then we’re going to take the needle, it’s rotation pull it up by hitting R, hit Alt, click on the stopwatch, so we’re going to create an expression and that’s going to be first setting the variables V= and then [inaudible 09:00] up to the control slider there, and then hit a semicolon to end that. And we’re going to type in linear expression, linear bracket,[V, 0, 100, -75, 75. So we’re remapping the values, 0 to 100 to -75, 75. Meaning that it’s going to rotate those values as the other values move from 0 to 100.Now this is all good, but, it doesn’t take into account the wiggling we want to have happen when things start to get a lot louder. So go ahead and add a new line in here. We’re just going to squeeze an A = in front of the linear and then put a semicolon at the end. So the linear is now generating a new variable called A, and then the next line is going to be A+W, where the W is going to stand in for how much wiggle is going to happen.Then we just have to define W=[wiggle] and then the parts of the wiggle are going to be 8x a second, V, for the volume; which will generate some interesting results because it’s going to be waving a round way too fast because the volume is too high. So, we’re just going to go back to the V,and then we’re just going to divide that by say 25, or 5, or whatever youneed to get it under control.And that pretty much wraps up how to use key frames to define all of this motion, but if you’re interested in using real audio to define what it’s doing, we’re going to have to take this one step further. So we’re going to go ahead and import some audio. Go ahead and click in your project panel and then import some audio.I’ve got the intro clip for this that I’m going to use. And then drag that down onto your timeline hit LL to bring up its wave form. You can see there’s actual values to work with. And then we’re going to go animation, key frame assistant, convert audio to key frames, and after waiting an appropriate amount of time, we’ll have an audio amplitude over the top that will have values in it for the left and right, and both channels combined.We don’t need the left and right, so just delete them. And then as you can see the values on the slider here have a certain range to them that we then want to map into that volume slider. So hit Alt and click on the stop watch for the volume slider, and then pick whip it to the slider of both channels.Now you can see something is happening, but it doesn’t quite get as far as you want because the value of both channel sliders is too low to make what we want to have happen. So we’re going to use another linear expression and we do this by first setting a variable, I = and then that pick whip value, semicolon at the end. And then we’re going to say linear [I say 5, 25, 1, 100. So this will remap the values 5 to 25 to the values 1 to 100.And that’s pretty close, but in order to know what values you actually have to be remapping, you’re going to have to open up the slider and have a look at those values as they’re graphed out. And you can do that by selecting the slider, hitting the graph, and you can see all of these points everywhere.If you change the view of the graph, you can see what those values actually are, and you can see it seems to hover under 15 units and it only goes above that up to around 25 units towards the end. Even then there’s not a lot of those. So you want to use these values to tell you what you’re going to be remapping and to where.Close that, and then we will edit the values to say it caps out at 30, and that seems to work pretty well. So now you can see when you scroll through, you’re going to be able to see the needle moving as the voice comes in and getting far more erratic towards the top end of the graph, and you’ve pretty much finished off the noise-o-meter.Feel free to make it look like whatever you like. Perhaps you like something grungier going on, and you might be able to map these expression to all sorts of interesting things, but this is the basics of how to make a noise-o-meter that is run by key frame, and one that is run by a voice.You can export this and then use it as show graphics in live places, and in general everybody’s going to clap loud so don’t worry about it. So this has been Evan Abrams for PremiumBeat.com.I want to thank you very much for watching, and subscribe to our channels, and come around to the website if you want to see more things on After Effects and interesting projects you can make. The blog is full of interesting tips and articles, and I’m sure you’ll love it. So again, I’m Evan Abrams, thanks for watching, and I’ll see you around the internet.[/color-box]
Failed candidate. Zhang Shuguang stood trial on corruption charges in a Beijing court last week. Revelations of government corruption hardly raise eyebrows in China these days. But Zhang Shuguang’s exploits have managed to shock a jaded populace. The “father” of China’s high-speed rail system, standing trial on corruption charges in Beijing last week, testified that he solicited bribes from businessmen because he needed money—a whopping 23 million yuan (about $3.8 million)—to burnish his credentials and influence votes in the biannual elections for membership in the Chinese Academy of Sciences (CAS) in 2007 and 2009. It turned out to be money ill spent, in more ways than one: Zhang failed to get elected not once, but twice. Becoming a CAS academician, or yuanshi, is considered one of the highest honors for a scientist in China. But unlike academy memberships in many other countries, the yuanshi title bestows more than respect: It comes with a host of privileges as well. For example, academicians can keep their jobs as long they wish; everyone else in government service, from China’s president on down, face mandatory retirement. Academicians help set the nation’s science policy, influence funding decisions, and some of them control large sums of research money.The railway ministry, which was broken up in March during an ongoing government crackdown on corruption, wanted its very own academician. According to an investigative report published in December 2011 in the Chinese business newsmagazine Century Weekly, then-minister Liu Zhijun picked Zhang, a deputy chief engineer, to be the ministry’s nominated candidate for CAS membership in the 2007 elections. 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That year, the magazine detailed, Zhang, using a slush fund provided by the businessmen, cloistered 30 experts from mostly ministry-affiliated universities and research institutes in a hotel for 2 months, during which time they churned out three books on high-speed rail technology that were credited to Zhang. That burst of authorship didn’t quite put Zhang over the top in the elections: His bid failed by seven votes.Two years later, Zhang pursued CAS membership with a much larger war chest, according to his court testimony. He hired ghostwriters to produce more volumes on his behalf and invited voting-eligible CAS members on all-expenses-paid tours of the high-speed rail system, lavishing them with gifts, according to Century Weekly. Zhang nearly pulled it off that time: He fell one vote shy of election. A source tells ScienceInsider that Zhang’s membership might have succeeded if not for an impassioned speech by an influential academician who derided Zhang’s credentials just before the final round of voting. In court last week, official state media reported, Zhang pleaded guilty to taking bribes, almost half of which were for his CAS membership bids.Zhang’s admission has touched off a firestorm in China, where many commentators are questioning CAS members’ integrity and calling for curbs on the perks of being a yuanshi. The government’s Xinhua News Agency on 11 September ran an article demanding to know whom Zhang bribed. CAS issued a statement on the same day saying that it had not received any complaints against its members for bribe-taking, but vowed to investigate if complaints are lodged.Candidates like Zhang who have both money and power at their disposal are rare, says an expert on history of CAS membership who asked for anonymity because he’s involved in an effort to overhaul the yuanshi system. A more common problem, the source says, is lobbying by organizations on behalf of candidates. With Zhang’s case getting so much attention, CAS will be under immense pressure to hold squeaky clean elections this November. Xinhua
New Delhi:- * Smartron smartphone event (1130hrs) * HP India press meet (1200 hrs) * Power Minister Piyush Goyal to inaugurate conference of state power ministers (1400 hrs) * Highways Minister Nitin Gadkari to inaugurate Integrated Transport and Logistics Exhibition (1600 hrs) * Toyota Innova Touring Sport launch (1830 hrs) Mumbai:- * SAT hearing RIL plea against Sebi ban and penalty (1030 hrs) * ICICI Bank Q4 earnings concall (1730 hrs). Bengaluru:- * Instadel press conference (1600hrs). PTI BEN ARS NSK TRK ABM
After Canadian tennis player Eugenie Bouchard knocked Maria Sharapova out of the Madrid Masters in a three set marathon, the 23-year-old explained the importance of her win against a player she had accused of cheating.The victory on Monday night saw Sharapova crash out of the second round as she continues her return to the WTA circuit following her suspension after being detected for using meldonium during the 2016 Australian Open, reports Xinhua news agency.Bouchard had been critical of the Russian in the past, even going as far as calling her a “cheat”, and admits she viewed the win as justification for her words.”I was extra motivated, I had never beaten her before and there were other circumstances,” said the Canadian in a press conference.”A lot of players had come up to me in private to wish me luck, players who I usually don’t speak to. And I also received a lot of messages from people in the world of tennis,” she said.The Canadian believes that these shows of support make it clear that Sharapova’s return is not popular with many of her peers.”It shows that the majority of the people have the same opinion that I have and although they are worried about speaking out in public, they will speak in private. I received a lot of support from them and that is why I was so inspired,” she commented after her 7-5, 2-6, 6-4 victory.WHAT A SHOT! ??How did @GenieBouchard get this in?! pic.twitter.com/GSZNossdZ3advertisement- WTA (@WTA) May 8, 2017
NAHA, Japan — Yuki Yanagita greeted Randy Choate with a two-run single in the eighth inning, and Japan beat the Major League Baseball All-Stars 6-4 Nov. 20 in an exhibition game following their five-game postseason tour.Japan won the series 3-2 and the teams split a pair exhibition games that preceded and followed.With Japan ahead 3-2, Nobuhiro Matsuda doubled off Jose Veras leading off the eighth, and Ginji Akaminai walked. After a pair of bunts, Choate relieved, Yanagita singled and Ryosuke Kikuchi tripled for a 6-2 lead.Justin Morneau had an RBI single in the bottom half, and Alcides Escobar hit a sacrifice fly in the ninth.Shota Takada won by allowing one run — unearned — four hits and four walks in three innings, and Yuji Nishino pitched the ninth for the save. Loser Hector Santiago gave up two runs — one earned — and four hits in four innings.Morneau’s sacrifice fly put the MLB All-Stars ahead in the first, but Kenta Imamiya hit a tying single in the second, Tetsuto Yamada had a go-ahead sacrifice fly in the fourth and Yoshihiro Maru tripled in a run off Tsuyoshi Wada in the fifth for a 3-1 lead.Evan Longoria homered in the bottom half off Takahiro Matsuba.TweetPinShare0 Shares
Asus is set to launch a new flagship phone in India on July 4, confirms the company. It will be the ZenFone 5Z. The Taiwan-based smartphone maker will host a launch event at 12:30 PM IST on the stated date. According to the Flipkart teaser that came into light earlier this week, the upcoming Asus ZenFone 5Z will be “Flagship Redefined”. As for the pricing, the ZenFone 5Z is expected to be priced under Rs 35,000 for the base model, which means, it will compete with phones like OnePlus 6 and Honor 10.Asus first launched the ZenFone 5Z at MWC 2018, back in the month of February this year in Barcelona alongside some of the most prominent phones like Galaxy S9, S9+, and others. The smartphone will be powered by Qualcomm’s Snapdragon 845 processor paired with artificial intelligence engine (AIE), reveals company via a tweet. Chances are, the same model of the ZenFone 5Z, which was launched in Taiwan earlier this year will come to India as well. This means, we already know the specs of the phone. The price and availability of the phone is however still a mystery.Let’s brush up the specs of the Asus phone. The Taiwan model of the Asus ZenFone 5Z comes with a 6.2-inch full-HD+ LCD display with a 19:9 aspect ratio and pixel resolution of 1080×2246. The phone includes a dual-SIM support and runs on Android 8.0 Oreo-based on ZenUI 5.0 on top. As already mentioned and teased by Flipkart, the Asus ZenFone 5Z is powered by Qualcomm Snapdragon 845 chipset coupled with an Adreno 630 GPU.advertisementIn Taiwan, Asus ZenFone 5Z comes in three models, the top-end model comes with 8GB of RAM and 256GB of internal storage expandable via microSD card. While the other two variants of the phone come with 4GB RAM/64GB storage and 6GB RAM/64GB storage, expandable via microSD card.The smartphone is backed by a 3300mAh battery and comes with support for AI charging. On the optics front, the ZenFone 5Z sports a dual camera system on the rear panel. It consists of a primary sensor of 12-megapixel with f/1.8 aperture, and a secondary sensor of 8-megapixel with f/2.2 aperture. The rear camera setup is paired with Softlight LED flash.On the front, the ZenFone 5Z comes with an 8-megapixel camera with f/2.0 aperture. The phone also comes with Face Unlock support, meaning users will be able to unlock the phone just by looking at the phone’s screen. On the connectivity front, the Asus flagship phone includes several options — 4G VoLTE, Wi-Fi 802.11ac, Bluetooth 5.0, a USB Type-C port, 3.5mm headphone jack and more.ALSO READ: Asus ZenFone 5Z has every ingredient in the book to make OnePlus nervousAs for the pricing, Asus launched the ZenFone 5Z for a starting price of TWD 14,990, which roughly translates to Rs 33,700 for the 6GB RAM/64GB. While the 6GB RAM/128GB storage variant comes with a price tag of TWD 16,990, roughly around Rs. 38,200. If Asus launches the same models of the ZenFone 5Z, the phone may have a starting price of under Rs 35,000.