How Players of BH National Football Team survived the War?

first_imgDejan Lovren, football player born in BiH, who plays for the National football team of Croatia, in a documentary for Liverpool TV, told his life story – how he reached the status of football star from a refugee from BiH.He also expressed the support for refugees from Syria and Afghanistan…The territory of the former Yugoslavia is the one that caused the largest number of migrations during the 90’s. A war was raging, and the worst was in BiH where, according to official data, 2.2 million people fled, as reported by Goal.A large number of current players of the national team of BiH were one of those people, but not Edin Dzeko, the captain of the Dragons who spent his childhood in Sarajevo during the war and survived the massacre of children in the Sarajevo neighborhood of Otoka as a six-year-old.“I remember I cried a lot as a child because there was a possibility for someone to kill you at any moment. My mother saved my life when she did not allow me to play football with my friends on the meadow one day. A couple of minutes later, a grenade fell on the meadow and many of my friends were killed,” recalled Dzeko.Instead of prestigious academies, Dzeko nurtured his talent on the concrete sidewalk that was full of holes from shelling. And he succeeded! He left home and his family as an 18-year-old when he went to the Czech Republic where he needed only two years to attract the attention of Felix Magath and Wolfsburg. The rest is history…Unlike Dzeko, Asmir Begovic, Vedad Ibisevic, and Haris Medunjanin had to leave their homes in BiH during the war.Begovic was exiled from his native Trebinje as a four-year-old boy, his family first went to Germany and then to Canada, where he played for young national teams. His career was built through the English clubs who brought him up to the national champion Chelsea.“I was a child, but I know that the towns in my country were bombed, and people had to hide under the ground,” said Begovic in an interview for the British Independent.Vedad Ibisevic had to leave his birthplace as well. Vedo was born in Vlasenica, in which the life for Bosniak residents was anything but easy at the beginning of the war. During the war were killed close to 3,000 people from Vlasenica, and among them was Vedo’s grandfather.“My mother dug a pit in a forest near the house for me and my sister, it was wide and long about a meter and 0.5 meter deep. It looked just as grave. One morning she took us to this place that was covered with sheets and pillows and told us to hide. That morning, Serbian soldiers came to our street. We heard shouting, swearing and breaking into houses. My most important task was to prevent my three-year-old sister from crying. If they heard and found us, they would get us to the concentration camp,” Vedad recalled.His mother finally ‘bought’ exit from Vlasenica in exchange for a house and permission to go to Tuzla where Ibisevic started his football career. Since there was no normal life after the war, Ibisevic’s family went to Switzerland and then the United States. Vedad’s successful career later took him to France and Germany.Haris Medunjanin escaped to the Netherlands with his mother and sister. He was seven years old when they went from besieged Sarajevo back in 1992. His father stayed in BiH where he died.“We had nothing, we left Sarajevo with nothing, and mom still managed to find some things, I do not know where. I now play for them to be happy, I’m in the second place,” recalled Medunjanin, who played for the youth national teams of the Netherlands, and wears the jersey of native BiH since 2009.(Source: read more

Trouble on the Roof

first_imgOur expert’s point of viewHere’s how GBA technical director Peter Yost looks at it:Having investigated a number of SIP roof moisture problems, rule number one is to back up every panel joint that is foam-sealed with a pressure-sensitive adhesive (PSA) tape. Over time, even the best of foam sealants can develop hairline cracks with repeated contraction and expansion. The flexible PSA tape maintains the air barrier should the joint sealant fail. And because of wintertime stack effect, even the smallest of cracks at the roof line lead to warm moist air leaking into the panel joint and condensing. So, all SIP joints need to be sealed and taped to be part of a longterm continuous air barrier system. The need for this is greatest in the roof system, typically, because it goes through the most dramatic temperature and expansion-contraction cycles.In this case, I am afraid that the roofing panels need to be removed so that all of the SIP joints can be taped. Leakage may be most pronounced at the ridge, but sooner or later, you will almost certainly be needing that flexible backup PSA tape at all panel joints. And yes, the SIP installer is liable here, to the extent that best practice is belt-and-suspenders at panel joints.Rule number two: check the building pressure balance with the HVAC running. You need to know whether the HVAC system is making matters worse.Rule number three: check to see if your HVAC system is both properly sized and has the climate-appropriate Sensible Heat Ratio (SHR). An oversized AC unit could be short-cycling and not accomplishing enough latent heat (moisture) removal, aiding and abetting condensation at your interior roof finish. And a unit with the proper SHR means the AC unit is designed to “favor” latent heat or moisture removal in hot-humid climates. An SHR no greater than 0.70 makes sense in Kentucky. Jeremy Ballard is living in a relatively new home built with structural insulated panels (SIPs), and he’s already spotted something that’s keeping him up at night. The weather in Kentucky is turning hot and humid, and with the humidity has come condensation on corrugated metal panels installed on the interior of the roof.“Our center ceiling beams are dripping wet throughout the day, causing small puddles on the floor,” Ballard writes in a post in the Q&A forum at GreenBuildingAdvisor. “The ceiling is hot to the touch at the very peak on either side of the center beam. I believe hot outside air is leaking in.”As he starts a round of calls to his builder, the SIP manufacturer, and the manufacturer that provided the frame, Ballard looks for recommendations on how the problem can be corrected. Seams between SIPs are not taped, either on the inside or the outside, and they’re now inaccessible. Other possible clues: the unvented metal roofing is installed over furring strips and a layer of “double bubble,” a foil-faced product sold as insulation.Another question faced by Ballard: Who’s responsible for making it right? Among the candidates are the general contractor for the house, the manufacturer of the SIPs, and possibly himself.“I couldn’t sleep last night thinking how this cost our family over $32,000 for the SIPs and the first summer [they] are failing,” Ballard says.That’s the topic for this Q&A Spotlight. Suspect seals at the ridgeBallard can add some visual evidence that air leaks at the ridge are behind the problem. He provides a photo taken during construction showing a gap of at least an inch between SIPs at the ridge, with a bit of gasket material showing (see Image #2, below).“I was ignorant during construction, but realized this was not right,” he says. “I sent the picture to the manufacturer a year ago when it occurred and the response was that my concerns were not valid. I poorly chose to rely on the professional opinion. However, the evidence now is that my concerns are valid.”Ballard doesn’t quibble with any of the comments that have been posted, but the real question is how to fix it. He thinks a possible solution is to seal the entire ridge from the inside and “basically build the ceiling down below some sort of added seal and barrier.”Following that, he adds, the ridge should come off and the seam sealed from that side as well.“I have no idea what could seal it, but I wouldn’t be opposed to a solution of adding up to a couple of inches to the inside if it assured a bullet-proof seal,” he says.Start at the ridge, says GBA senior editor Martin Holladay, by removing the ridge flashing. “If the removal of the ridge flashing exposes enough of the SIPs on both sides of the ridge to install SIP tape,” Hollladay says, “then the fix would involve spraying the gap between the SIPs with spray foam; trimming the foam after it cures; and then installing SIP tape that is wide enough to stretch from the SIP on one side of the roof, over the ridge, and onto the SIP on the other side of the roof.”If removing the ridge flashing does not expose enough of the SIPs to do this work, the builder will have to remove enough of the roofing screws to lift or remove the roofing panels, “as needed to gain access to the ridge area.”And while this work is underway, Ballard might think about hiring a home performance contractor to find out why the house is depressurized in relation to the outside, a condition which is encouraging the influx of warm, moist air. The builder might be able to expose enough of the roof to correct the leaks by removing the ridge cap, but that prospect seems unlikely because in an unvented roof the metal roofing would extend very close to the ridge. “But perhaps,” he adds, “the ridge cap is large enough to allow some wiggle room up there.”He also suggests that a home performance contractor equipped with a blower door and an infrared camera might be able to identify other air leaks in the house. A good home performance contractor might also help determine whether the HVAC system is depressurizing the house and contributing to the problem.Exposing the ridge might also reveal the “other side of this coin,” writes Andy Chappell-Dick: “warm, moist air leaking out in the winter.”Everyone in the SIP business, from manufacturer to installer, knows the importance of a “belt-and-suspenders” approach to air sealing, he adds. “Due to the high pressures of winter stack effect, the most critical interior joint to seal is the peak, that one that is now inaccessible,” Chappell-Dick says. Yes, air leaks are the culpritDavid Meiland has no doubt the problem is a leaky roof assembly. “As you allude to, the issue is probably air leakage and the solution is to seal the joints where air is leaking in,” he writes.If the builder responds to Ballard’s requests for help, Meiland adds, he will probably want to correct the problem from inside the house by caulking the seam on either side of the ridge beam. But the real solution is elsewhere: on the outside of the house, where the seams between adjoining SIPs should be sealed with tape. Structural Insulated Panelscenter_img RELATED ARTICLES CONSTRUCTION DETAILS And who’s responsible for this mess?There seems to be some consensus on how to fix the problem (tackle it from the outside, not the inside), but now it gets a little sticky. Who is legally responsible for the repairs?Ballard had a general contractor/builder for the house, but he hired a SIP installation crew under a separate contract. To be precise, he says, he paid the SIP manufacturer, paid their installation crew, and then paid his GC to come in and finish the roof with flashing and trim. “In my mind,” he says, “the SIP install contractor is the person I need to be talking to.”That makes you the GC for the SIPs, says Holladay, adding, “It’s up to you to pursue the problem with the crew that you paid.”Stephen Sheehy, who practiced construction law, suggests that Ballard invite both the general contractor and the SIP contractor to the house for a chat.“Otherwise, it is highly likely that the SIP contractor will blame the GC and the GC will blame the SIP contractor,” he writes. “You need to emphasize that they have a problem and you need it fixed by either or both of them. I’d copy my lawyer on any correspondence.“One lesson you’ve learned the hard way is that there is significant risk in carving out a part of the construction of the building envelope and hiring a sub yourself,” Sheehy continues. “While the SIP installer may very well have screwed up, maybe the GC made matters worse. Maybe the GC should have noticed the problem before the roofing went on. But does the GC have an obligation to inspect work by subs hired directly by you? Probably not.” Green Basics: Structural Insulated PanelsHow to Protect Structural Insulated Panels from Decay Air-Sealing SIP Seams Q&A: How to Protect Structural Insulated Panels from DecayQ&A: SIPs RidgingStay Away from Foil-Faced Bubble Wraplast_img read more

New York Utility Finds Big Payoff in New Ideas

first_imgNew York electric utility Con Edison is using a mix of efficiency programs, neighborhood solar, and other non-traditional approaches to relieve looming power shortages in parts of New York City and to avoid spending $1.2 billion on a new substation. According to an article posted at Inside Climate News, ConEd realized two years ago that parts of two New York City boroughs, Brooklyn and Queens, would be demanding more electricity than the current grid could provide within a few years. The problem would be particularly acute on hot summer days, when air conditioning in the city is running at full tilt.Typically, the answer would be to build a new substation, but the $1.2 billion price tag helped convince ConEd to look for a different solution. ConEd asked for suggestions and to date has received more than 80, which have been bundled into the Brooklyn/Queens Demand Management program, or BQDM. It employs a mix of efficiency and conservation measures as well as distributed power sources such as fuel cells and small-scale solar to meet 52 megawatts of an expected shortfall of 69 megawatts of electricity in 2018, the website reported. The rest of the power, 17 MW, would come from traditional utility infrastructure projects.The cost? About $200 million, less than 20% of what ConEd would have spent on a new substation.“This could be a harbinger of similar types of pilots that could happen elsewhere,” Omar Siddiqui, a senior technical executive at the utility funded nonprofit Electric Power Research Institute, told Inside Climate News. “Other utilities are certainly paying attention to what’s happening here.”New York energy chief Richard Kauffman said that ConEd’s plan is something that could be replicated all over the country. “It’s not only an evolution of processes, thinking, and culture,” he said, “it’s also a gradual change in business models, evolving away from ‘programs’ to these activities being integral to the business itself.”Some details are still being worked out, such as how new sources of electricity and conservation can be integrated with its existing grid, and how commercial and residential consumers can buy or sell electricity, the website said.The ConEd service area covered by the plan includes about 310,000 customers, including 29,000 public housing apartments. Renters are the norm, the report said, and they are one of the “hardest markets to crack with incentives for energy efficiency.”last_img read more

Creating an Applause-O-Meter: Animation Synched to Audio in After Effects

first_imgDynamically 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, 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 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]last_img read more

7 days agoEl Clasico between Barcelona and Real Madrid postponed

first_imgEl Clasico between Barcelona and Real Madrid postponedby Carlos Volcano7 days agoSend to a friendShare the loveThis month’s El Clasico between Barcelona and Real Madrid has been postponed because of fears of civil unrest.The match was scheduled for 26 October but there have been days of protest in Barcelona after nine Catalan separatist leaders were jailed on Monday.Both Barcelona and Real Madrid disagreed with calls to switch the game to Madrid.The clubs must agree a new date by Monday.La Liga made the postponement request because of “exceptional circumstances beyond our control” as more protests are expected in Barcelona on the day of the match.Protests have continued into a fifth day in Spain’s Catalonia region with protesters clashing with riot police. About the authorCarlos VolcanoShare the loveHave your saylast_img read more

13 hours agoScholes backs Man Utd to sign Arsenal playmaker Ozil: The missing link

first_imgScholes backs Man Utd to sign Arsenal playmaker Ozil: The missing linkby Freddie Taylor13 hours agoSend to a friendShare the loveManchester United legend Paul Scholes thinks his former club could use Mesut Ozil’s skills.The German seems destined to leave Arsenal after being left out of their last five match day squads.United have struggled to break down deep-lying teams this season, and Scholes believes Ozil could solve that problem.Asked whether Ozil could be a difference-maker for United, Scholed replied: “Man Utd could do with someone like Ozil who can link a team together.”[He is] a player who can link teams together. He has got great quality, he’s shown that in his career.”He could be an answer short-term, I don’t know. I think that would be up to him, ultimately.”I can’t [see it happening], but he’s the type of player, short-term, who United could do with.” About the authorFreddie TaylorShare the loveHave your saylast_img read more

Harvesting Under Gov’t’s Cannabis Cultivation Pilot Expected in Four Months

first_imgStory Highlights Farmers in Accompong, St. Elizabeth, who are part of the Government’s cannabis cultivation pilot project are expected to commence harvesting the plant within four months. “The Accompong (farmers) already got their seedlings and they are about to move them out of the greenhouse and into the open field. We have already had 10 acres prepared, and those 10 acres are going to be planted with legal marijuana. We are hoping that we will be reaping within another three to four months,” the Minister informed. This is according to Minister without Portfolio in the Ministry of Industry, Commerce, Agriculture and Fisheries, Hon. J.C. Hutchinson.center_img Farmers in Accompong, St. Elizabeth, who are part of the Government’s cannabis cultivation pilot project are expected to commence harvesting the plant within four months.This is according to Minister without Portfolio in the Ministry of Industry, Commerce, Agriculture and Fisheries, Hon. J.C. Hutchinson.“The Accompong (farmers) already got their seedlings and they are about to move them out of the greenhouse and into the open field. We have already had 10 acres prepared, and those 10 acres are going to be planted with legal marijuana. We are hoping that we will be reaping within another three to four months,” the Minister informed.Minister without Portfolio in the Ministry of Industry, Commerce, Agriculture and Fisheries, Hon. J.C. Hutchinson (left), greets young patrons at the Montpelier Agricultural and Industrial Show, which was held at the Montpelier Showground in St. James on Monday (April 22). He was addressing patrons and participants attending the Montpelier Agricultural and Industrial Show, which was held at the Montpelier Showground in St. James on Monday (April 22).As part of the project, the Government is looking to cultivate 50 acres of the plant for use as raw material in a variety of commercial products, including oils and animal feed.The programme complements the Alternative Development Programme (ADP) that was implemented in Accompong and other communities in March, to provide small-scale farmers with a channel through which to benefit from the cannabis (ganja) industry.The ADP aims to prevent and eliminate illicit ganja cultivation and channel the process through legal streams.The pilot has been initiated in Accompong, St. Elizabeth and Orange Hill, Westmoreland.“We are (also) going to be moving into other areas where we are going to ask the traditional ganja planters to get themselves into groups so we can come and provide you with all the necessary information, so that you can be growing cannabis legally,” Mr. Hutchinson further highlighted.The Montpelier Agricultural and Industrial Show was organised by the St. James Association of Branch Societies of the Jamaica Agricultural Society (JAS).It is staged annually to promote the work of farmers in western Jamaica.last_img read more