“Draymond really set the tone,” Warriors coach Steve Kerr said. “I’m not sure if I saw Draymond play … CLICK HERE if you are having a problem viewing the photos or videos on a mobile deviceOAKLAND — Within four seconds, Warriors forward Draymond Green defended an opponent in the post, at the basket and out on the perimeter.That second-quarter snapshot explains how Green’s presence lifted the Warriors to a 116-99 victory over the Minnesota Timberwolves on Friday at Oracle Arena.
SANTA CLARA – No Jerick McKinnon, again. No more waiting for Joshua Garnett. No breaking up the receiver corps for Jordan Matthews. And no quarterback getting trading.Saturday’s unveiling of the 49ers’ initial 53-man roster offered a few surprises, and more could be coming as they stand No. 2 in the waiver-wire queue.“We’ll be sitting around here, waiting for that (waiver list) to come and see who’s out there,” general manager John Lynch said on a media conference call, underscoring how fluid …
South Africa was built on mining, and its mines were built on migrant workers. Millions of black men across southern Africa were forced by economic circumstance and taxes to travel to the city of gold, leaving their families at home. (Images: WAM) • Fiona Rankin-Smith Curator Ngezinyawo – Migrant Journeys Wits Art Museum +27 11 717 1365 [email protected] • Benin gallery keeps African art in Africa • Exhibition exposes apartheid, celebrates South African photography • Soweto: from struggle to suburbia • Historic Soweto township turns 80 • Africanis – the dog of AfricaMelissa Jane CookAs the country emerges from a volatile five-month long strike in the platinum mining sector, the Wits Art Museum (WAM) opens an extraordinary exhibition focusing on migrant workers in South Africa. Migrant labour is fundamental to the making of modern South Africa and the exhibition tells the stories of these men.Ngezinyawo – Migrant Journeys is rich and diverse, and spans many years of collective heritage. Items on display include contemporary artwork, archival documents, photographs, films, music, artefacts from ethnographic collections, and interviews. It glaringly highlights that 20 years into democracy, there are still numerous, unresolved problems associated with the system of migrant labour.The elaborate art, dress, dance, music and song that migrants crafted to assert and express their humanity feature prominently. Life was and continues to be difficult for migrant workers. Performance and song played a vital role in passing on oral histories, for social commentary and artistic expression. These creative outputs show an ability to survive with dignity despite the daily hardships they faced.Like the migrants, visitors to the exhibition participate in a physical journey through the museum. They walk the road alongside early migrants to the cities, who mainly sought work on the mines. Overcoming hostility, harsh living conditions, violence, dispossession and loss are the recurrent themes at the exhibition – yet there are also themes of resilience and creativity.The glitter of goldSouth African society changed greatly when gold was discovered on the Witwatersrand in 1886. This discovery was central to South Africa’s industrial development and to the politics of segregation. Here, on the goldfields of the Rand, the lives of many people intersected. Within a decade, Johannesburg had developed into the largest city in South Africa, populated by tens of thousands. Prospectors, labourers, fortune hunters, shop keepers and immigrants from all over the world flocked to the city. Residential areas were hastily constructed and in the poorer sections slums developed.As the mines went deeper underground, the demand for cheap labour intensified. The Chamber of Mines asked the government to provide a cheap labour supply. Over time, the state introduced a number of measures to force more black men to work in the mines. These included introducing taxes such as the hut tax and the poll tax – they had to leave their land to work in the city to earn money to pay the taxes.For its part, the Chamber of Mines preferred to use migrant labour because they could be paid very low wages. The industry justified the low wages by claiming that the migrants’ families earned an additional income in the reserves. Because migrants were supposedly only part-time workers, the mine owners did not have to provide them with any kind of social security. Mine owners also preferred migrant labour because the workers could be controlled more easily. The men had to sign employment contracts. If they broke their contracts by deserting, which many did, they were arrested and got a criminal record. The migrants were also housed in closed compounds, or hostels, which were tightly controlled.Conditions on the mines were very bad in the early decades. Workers often laboured 14 hours a day. Deaths from major accidents, pneumonia, tuberculosis, silicosis and malnutrition were extremely high.Tracing the journeyTracing the journey from rural areas to the city, the interactive exhibition includes personal objects such as hut tax receipts and a stamped passbook. There are envelopes decorated by self-taught artist Tito Zungu. Using pencil, ballpoint pens and coloured pens, the envelopes were decorated with images of boats, aeroplanes and transistor radios. Moving between time and space, these envelopes made the journey from work to home, linking the migrants’ different worlds. They spent long periods of time away from their families and letter writing was the only means of communication.Personal objects such as walking sticks, snuff bags and pipes that the workers carried with them were powerful reminders of the homes and families they left behind. These objects can be thought of as symbols of the personal journey that they made.Single-sex compounds with concrete bunk beds and cold, bare walls were constructed to house migrant mine workers. Some of these mining compounds, or hostels, are still in use today, although the city of Johannesburg is renovating them and turning them into family units. Photographs and other remarkable objects on display provide insight into the living conditions and hardships encountered in hostels. But there are also extraordinarily creative everyday objects, music and performances that transcended the daily struggle. There are envelopes decorated by self-taught artist Tito Zungu. Using pencil, ballpoint pens and coloured pens, the envelopes were decorated with images of boats, aeroplanes and transistor radios. Kentridge filmA short film by artist William Kentridge is part of Ngezinyawo – Migrant Journeys. It is a dramatization of the inequality and oppression of life on the mines. Set in the over-exploited, scorched industrial and mining landscape around Johannesburg, it represents the legacy of a time of abuse and injustice.Kentridge develops the analogy between the landscape and the mind. A journey into the mines provides a visual representation of a journey into the conscience of the main character, Soho Eckstein, the white South African property owner who exploits the resources of land and black human labour which are under his domain. Throughout the film the imagery shifts between the geological landscape underground inhabited by innumerable black miners and Soho’s world of white luxury above ground. Soho sits at his desk in his customary pin-stripe suit and punches adding machines and cash registers, creating a flow of gold bars, exhausted miners, blasted landscapes and blocks of uniform housing. Soho sits at his desk in his customary pin-stripe suit and punches adding machines and cash registers, creating a flow of gold bars, exhausted miners, blasted landscapes and blocks of uniform housing.The issues surrounding migrants that are addressed in this exhibition are part of a history that continues to profoundly affect South African society. The difficult lives of migrant workers and their families, xenophobic violence and recent upheavals in the mining sector – culminating in the Marikana massacre and this year’s devastating strike in the platinum sector – are just a few of the headlines that confront contemporary South Africa.A book entitled A Long Way Home: Migrant Worker Worlds 1800 – 2014 has been published to accompany the exhibition and includes essays by leading local and international academics.Guardian of the exhibitionThe exhibition was curated by Fiona Rankin-Smith, veteran WAM curator and the force behind important exhibitions such as Figuring Faith: Images of Belief in Africa (2005) and Halakasha, the football exhibition mounted to coincide with the 2010 World Cup.For Ngezinyawo – Migrant Journeys, she collaborated with Peter Delius, the history professor and widely published author from Wits University. “South Africa is internationally infamous as the site of a systematic and pervasive system of racial discrimination. What is less well known, though, is how uniquely fundamental migrant labour was to the making of modern South Africa,” Delius explains.Ngezinyawo – Migrant Journeys is on display at the Wits Art Museum until 20 July 2014.
Share Facebook Twitter Google + LinkedIn Pinterest Scientists at the University of Illinois using co-products from the ethanol and human food industries are helping shed light on ways processing high-fiber animal feed ingredients can enhance pigs’ utilization of the nutrients and energy they contain. The co-products from these industries typically contain more fiber than the standard corn-soybean meal diet.“It is possible that the benefits of extrusion and pelleting are greater in high-fiber diets than in low-fiber diets. We set out to test that hypothesis, said Hans H. Stein, professor of animal sciences at Illinois.”Stein and his team tested effects of extrusion, pelleting, or extrusion and pelleting: using a low-fiber diet based on corn and soybean meal; a medium-fiber diet containing corn, soybean meal, and 25% distillers dried grains with solubles (DDGS); and a high-fiber diet containing corn, soybean meal, 25% DDGS, and 20% soybean hulls.Each diet was divided into four batches. One batch was fed in meal form, one was pelleted at 85 degrees C, one was extruded at 115 degrees C, and the fourth was extruded at 115 degrees C and then pelleted at 85 degrees C.“Regardless of the concentration of fiber in the diet, pelleting, extrusion, and pelleting plus extrusion increased the digestibility of indispensable amino acids relative to feeding in meal form,” Stein said. “For most indispensable amino acids, extrusion or extrusion combined with pelleting provided a greater increase than pelleting alone. There was no interaction between processing techniques and fiber level.”Pelleting of low-fiber diets increased digestible energy by 1.9% and metabolizable energy by 2.1%. Extrusion did not increase digestible energy or metabolizable energy of the low-fiber diet. Combining extrusion with pelleting did not increase digestible energy or metabolizable energy compared with pelleting alone.For the medium-fiber diets, pelleting increased digestible energy by 1.9% and metabolizable by 2.2%. Extrusion increased digestible by 2.3% and metabolizable energy by 2.7%. The combination of pelleting and extrusion did not increase digestible energy or metabolizable energy in these diets.Pelleting did not increase digestible energy or metabolizable of the high-fiber diets. Extrusion increased digestible energy by 2% and metabolizable by 2.9%. The combination of extrusion and pelleting increased digestible energy by 2.9% and metabolizable energy by 3.7%.Hindgut fermentation was not increased in pigs fed extruded, pelleted, or extruded and pelleted diets. Instead, the increase in digestible energy and metabolizable energy appeared to be attributable to increased digestibility of amino acids and starch.Stein concludes, “These data indicate that energy utilization may be improved by pelleting or extrusion or by a combination of the two, but the response seems to be greater for extrusion in diets that are relatively high in fiber.”The research is supported by funding from the National Pork Board, Des Moines, IA, and by Bühler AG, Uzwil, Switzerland.“Effects of pelleting, extrusion, or extrusion and pelleting on energy and nutrient digestibility in diets containing different levels of fiber and fed to growing pigs,” is published in the Journal of Animal Science. Oscar Rojas, formerly of the University of Illinois and now of Devenish Nutrition, and Ester Vinyeta of Bühler AG are co-authors.
Sam Enoka Tags:#Autonomous#BMW#Continental#driverless#Fiat Chrysler#Intel#Mobileye#Self-Driving#Waymo Fiat Chrysler has joined BMW’s growing consortium of automakers, tech companies, and suppliers, all working together to accelerate the creation of semi-autonomous and driverless vehicles.Alongside Fiat and Chrysler, FCA owns the Jeep, Maserati, and Dodge car brands, covering almost all consumer vehicle sizes. That should allow the consortium to modify self-driving software down to the type of car.See Also: Intel to deploy 100 self-driving vehicles worldwide by end of year“In order to advance autonomous driving technology, it is vital to form partnerships among automakers, technology providers and suppliers,” said FCA CEO Sergio Marchionne. “Joining this cooperation will enable FCA to directly benefit from the synergies and economies of scale that are possible when companies come together with a common vision and objective.”It is not FCA’s first foray into the world of self-driving, the company has supplied over one hundred modified Chrysler Pacifica minivans to Waymo. It has reportedly also been in talks with Uber and Amazon, although nothing appears to have come of these meetings.The eagerness to partner with others has not been matched by the company’s own self-driving research and development. FCA is estimated to be behind General Motors, Ford, and BMW, all three aim to have driverless vehicles on the road by 2025.FCA may look to the consortium to fill in the gaps. Intel and Mobileye can supply the processing power, sensors, and connectivity. Suppliers Delphi and Continental are looking to have major stakes in the self-driving market, possibly supplying other essential parts.With Waymo working on the self-driving software, FCA may only need to manufacture the cars, same as what they do now, to be successful. Related Posts IT Trends of the Future That Are Worth Paying A… For Self-Driving Systems, Infrastructure and In… Break the Mold with Real-World Logistics AI and… 5 Ways IoT can Help to Reduce Automatic Vehicle…
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]
Should you still cold call? Should you use social media instead? Is it wrong to interrupt someone at work to ask for an appointment? The answer is that prospecting methods are not mutually exclusive.