The F-15 was originally designed as a pure air-superiority fighter with no compromises made for other missions, i.e. the original design philosophy was "not a pound for air to ground", so the F-15 was NOT created with air-to-ground strikes as being a major requirement. The F-15 is and was, a big, expensive fighter built to excel in a single role. The F-16 was designed to be a relatively low-cost multirole fighter, and the two together formed the backbone of USAF TAC (Tactical Air Command) from the 1970s to whenever it was that the USAF was reorganized. (SAC's (Strategic Air Command) province was mostly bombers, like the B-52). They were originally designed and built by two completely different defense contractors - McDonnell Douglas designed the F-15, and General Dynamics designed the F-16. These names are perhaps less familiar today (I don't know the history of all the corporate restructuring that goes on with defense contractors). But now, Boeing is responsible for later F-15 variants, and I think Lockheed Martin now handles contracts for the F-16.
As originally built, the F-15 is a larger and faster aircraft with a higher performance ceiling (meaning it can fly and fight at higher altitudes) than the F-16. It had/has 1 seat (F-15A, F-15C), and 2 seat (F-15B, F-15D) variants.
The F-15 is a MUCH LARGER aircraft than the F-16. Underscoring the point is the fact that the two fighters (as originally designed) used basically the same engine (Pratt & Whitney F100 turbofan), but the F-15 has two, while the F-16 is a single-engine fighter (one of the main reasons the USN opted for the F-18 instead; the Navy didn't favor the use of a single-engine fighter over water). Being much larger, the F-15 also carries a lot more fuel and has a much longer operational range - it has perhaps twice the combat radius of the F-16 (so, as a VERY rough approximation, an F-15 can cover missions ranging over four times the combat area and airspace than can an F-16 operating from the same airfield)
The Air Force used both to enhance flexibility on a given defense budget. (Yes, even though the US spends incredible amounts of money on defense, it's still not an unlimited budget). F-15s were the dedicated/specialized air intercept and superiority fighters, tasked with shooting down any and all enemy aircraft at all ranges, from dogfight (gun and Sidewinder range) to BVR (beyond visual range, Sparrow and/or AMRAAM range). The F-16 is a fantastically capable light fighter that performs both air-to-air and air-to-ground missions very effectively, but originally it lacked any medium-to-long range AAM capability (i.e. had relatively short-range aerial radar and was not cleared for Sparrow or AMRAAM). So the F-15s would mostly be tasked with air superiority, with the F-16s performing all other types of missions (other than very specialized roles like ECM or Wild Weasel) and supplementing with air-to-air where needed.
Lots of things change over the years, however, and the roles have changed considerably as the two aircraft continued to evolve and receive upgrades. Although the F-15 was originally designed as a specialist air-superiority fighter, its design and airframe turned out to be very adaptable to certain types of ground-attack missions, and the F-15E (Strike Eagle) performs mostly air-to-ground missions, although since it retains a significant portion the Eagle's air combat maneuverability and air-to-air suite, it's very capable of defending itself in aerial combat. (It does lose some of its intercept capability, however; the conformal fuel packs may be low-drag, but it does make the aircraft less capable as an interceptor). It's a primary candidate, where available, for missions where enemy fighters may be a problem. (The A-10 is a better CAS aircraft, but it's more vulnerable to enemy fighters - it's far from helpless, but it's much slower and would not be able to disengage as quickly if necessary)
Meanwhile, the F-16 received improved radar and avionics over the years and thereafter cleared AMRAAM trials, and so these upgraded F-16s can also conduct BVR engagements against hostile air assets. The USAF was no longer limited to using F-15s for that kind of duty.
So in the present day, the F-15 remains bigger, faster, much longer-ranged and somewhat more survivable due to its twin-engine design, but both fighters are (or have variants) able to perform air-to-air and air-to-ground missions.
There are no pre-fabricated, ideal airport layouts. Every airport evolves as its priorities change, and some look jumbled as a result. Still, some airport layout patterns have emerged. There is a method to the madness, at least some of the time.
First, layouts must balance spatial requirements of the airfield, terminals, and ground transportation facilities. A good layout allows all three elements to work well together.
Once runways are sited, there are lots of options for designing terminals. Some are better than others, in my opinion.
Retro Hub and Spoke Concourses This terminal design was very popular in the 1950's and 1960's, and it can still be seen in some of the older terminals still in operation. The security processing area is connected to the gates via a long hallway and a round waiting area, allowing for ample aircraft parking area.
EWR Terminal A Center Concourse, completed in 1973
Terminals like this one are miserable for passengers, in my opinion. Yes, they provide ample aircraft parking space, but passengers walk down unpleasantly narrow hallways to reach an overcrowded hold room area with many gates and limited seating. To add insult to injury, bathrooms are usually small and/or inconveniently located. There is limited space for concessions, lessening both passenger convenience and airport revenue.
This layout is almost never used for new terminals. Aircraft parking is important, but the features that airports give up with "hub and spoke" concourses do not make this design worthwhile. Several older airport terminals using this design are still in use, though. A few I can think of off the top of my head are SFO Terminal 1, IAH Terminal B, and EWR Terminals A and B.
Simple Main Terminal with Pier Concourse(s) Say you've tried this hub and spoke concourse model and think airports could be better planned. Where do you go from there? Probably to a simple main terminal with a connected, long concourse or two. Simple. Unfussy.
Houston Hobby Airport (excluding planned international terminal)
Indianapolis International Airport
This simple layout is excellent for small and medium hub airports. Unlike the hub and spoke layout, there is enough room for concessions and restrooms within the concourses. Navigation is easy and passenger walking distances remain reasonable. Note that Indianapolis' terminal was completed in 2008 and Hobby's is about 60 years older. This layout never goes out of style.
Larger airports, though, often need something different.
Parallel Midfield "Fishbone" Concourses This setup allows for a single processing area with transportation to separate concourses. Passengers arrive, check baggage, and go through security in one facility, and then they can either walk or take a train (people mover, in airport-speak) to their departure concourse. Parallel concourses provide aircraft with efficient access to taxiways and allow for future concourse construction as needed.
This layout makes the most sense for larger airports that want to minimize passenger walking distances, maintain expansion capabilities, and operate their airfields efficiently.
ATL Terminal Map with Parallel Concourses (note that this drawing does not include International Terminal F, which should be shown to the east of Concourse E on the right)
Hartsfield-Jackson International Airport is a great example of this layout. An underground "Transportation Mall" connects the Main Terminal to Concourses A-E and the International Terminal, and an underground people mover runs along side it.
Other airports using versions of this are Denver International Airport and Washington Dulles International Airport (complete with mobile lounges).
Perpendicular Midfield Concourses Perpendicular midfield concourses are a similar option with different geometry. Concourses that cross can lower passenger connection times, especially if the people mover system does not come regularly. For example, imagine the time needed to reach PIT Airside A (shown below) compared to ATL Concourse E from each airport's main terminal.
Pittsburgh International Airport "X" Midfield Concourses (People Mover is not shown)
In addition to the "X" midfield concourses at PIT, crossing midfield concourses can also take on a + shape relative to parallel runways, like those at Kuala Lumpur.
Kuala Lumpur International Airport "+" Midfield Concourses
Crossing concourses have a major drawback, though: aircraft parking. In the center where the two concourses meet, space is limited. Larger aircraft cannot park there, so the terminal square footage that needs to be constructed in order to accommodate a certain number of gates is much higher. This increases terminal construction costs and lowers flexibility in gate assignments. Plus, larger aircraft serving gates at the far ends of the terminals accommodate the greatest number of passengers, so the average distance walked goes way up.
Hybrids No airport follows a single layout prescription throughout its entire life, and the airports I've chosen as examples here are no exception. They follow a pattern right up until they need to change. Hobby is building a new international terminal right now. Pittsburgh's midfield concourses are emptier than their builders ever expected them to be.
In a given decade, an airport might need to expand rapidly, accommodate more connecting passengers, or cut costs substantially. Many layouts developed piecemeal, as airports grew in ways that their managers either didn't expect or couldn't accommodate under previous plans.
Every airport layout really has its own story, but hopefully this answer lets you recognize some of those stories' major elements.
It's a sanitary liner. In other words, what many women use to catch blood when they have their periods.
Well. I had a friend who worked as a flight attendant and she got into a mild argument with a guy who insisted on having EVERYTHING that was free or complimentary on the flight. He was highly annoying and constantly asked crew for stuff. If he saw someone next to him get something, he wanted it too.
At one point during the flight a lady asked for a sanitary pad to help her with an 'emergency' situation. He insisted he should have one too - cos you know, it's free, right?
My friend tried to reason with him. I'm not sure if his English was 100%, because he insisted again and seemed to assume the pad was one of these...
A sleep mask. Upon receiving his sanitary pad he proceeded to peel the paper backing off and expose the sticky side; he stuck the thing over his eyes and soon afterwards fell asleep...
After a few more questions, I curiously ask for his github username. Immediately, my friends and I politely look up his repositories. A few seconds later, we are stunned speechless. Yep. The creator of NodeJS. Right next to us. And had given us juices. Organic juices.
In short- he is a very enigmatically modest, stealth programmer.
My answer below is a direct recount from my experience of helping a Spanish friend of mine developing interest in Indian Classical music (I am mildly trained in Khayal and also basics of Western). I’ve tried to put things in as layman language as possible, assuming you have some degree of understanding of the Western music.
Key Differentiators Western music has harmony. Indian music doesn’t. It uses drone (functions to unambiguously establish the tonic). This is required as unlike in Western music where only a limited number of modes allow the listener to scout for inter-note intervals to identify the tonic, in Indian music profound abundance of modes makes imitating the former process practically impossible. Drone is the simplest part of the music structure.
Constituents Typically, the Indian classical comprises the elements of drone, melody and rhythm.
Melody - In the simplest possible abstract layman terms, melodious modes produced by instruments are called ragas.Melody instruments: Sushir vadya (blown air), Tantri vadya (plucked stringed instruments) and Vitat vadya (bowed instruments) Drone helps provide a constant pitch (again the simplest definition) so that the vocalist can find his tonic.Drone instruments: Tanpura (and many more) Rhythm refers to tala. Again in the simplest layman terms, tala provides the time when the raga should be played. Western music has measures for this. The key difference is while in Western music each measure has equal number of beats, Indian tala has cycles, which has matra (beats) which may have unequal measures (vibhag).Tala Instruments: Tabla , Pakhawaj, Mridanga, Dholak, etc.
Please note that most great artists play around with the traditional structure. Some of the great contemporary experts of Indian music also prefer to use rhythm as the structural basis of the music (eg: Ravi Shankar)
Apart from instrumental, vocal music is at the core of Indian classical. Its forms underwent more form introductions in Hindustani (North) due to constant cultural invasions. North - Dhrupad (meaning ‘fixed composition’) and Khayal (meaning ‘flights of fancy’) mainly. Later developed forms include: thumri, dadra, kajri, ghazal and dhun, bhajan and qwwali South - Kriti
What to listen to as a beginner? If you want to begin, I would advise you to initially pick up works of some most listened Indian artists and try to comprehend the mentioned differences yourself. You could either start by listening to purists or artists who engage in fusion music.
I recommend some of the following artist to listen to: Ustad Ali Akbar Khan, Ustad Amjad Ali Khan, Hariprasad Chaurasia, MS Subbulakshmi, Ravi Shankar, Shiv Kumar Sharma, Zakir Hussain, Pandit Debu Chaudhuri and L. Subramaniam
You can start the same as with any kind of music: sample a few tracks, pick a couple you like, buy those albums, follow the trail of that particular performer, instrument or vocal style, find friends (or online buddies) who seem to like similar things and ask for recommendations, etc. Indian classical music is a very social experience. You shouldn't really attempt it alone.
As much as possible, go to live concerts. Since the music is basically improv, no amount of CD listening will give you a true sense of what the culture is about. There's plenty of good stuff on YouTube. I don't use things like grooveshark and spotify, but I assume there's a good selection there.
If you want a book to start you off, I'd recommend Nad by Sandeep Bagchee (this is North Indian, but it'll also give you a decent understanding of Carnatic):
Should be especially useful if you are starting out from a Western perspective, because the structured improvisation model that is raga music is definitely an acquired taste. Without some basic idea of (for example) why there are long, apparently boring aalap sections in the beginning, you can give up too easily.
The one special thing about Indian classical is that learning to perform even a teeny bit, and very badly, vastly increases your appreciation. So if you can, take a few classes. Music appreciation and performance blur into each other much more strongly than in Western classical music. Listening well requires a certain degree of skill.
Whereas most listeners of Western classical music can easily identify Beethoven's Fifth from the opening bars after a couple of listens, most listeners cannot pick out the raga of a particular performance. I still cannot identify any ragas after many years of listening, partly because I don't have a good ear for that sort of thing, and partly because I never learned melodic performance of any sort (I learned some tabla, but that is not much help for raga identification).
Raga identification is not a vanity skill. By the time you get to that level, you really will have increased your appreciation level significantly. I gave up the effort at some point, but just trying to get there increased my appreciation a lot. If you are interested in finishing that marathon of skill development as a listener, there are CDs to help you, for example, Alain Danielou's Ragas of North Indian Music:
I gave up on this quite early, and gave the CDs to a more musically minded friend, but the journey seems worthwhile for people with good ears. Even if your primary interest is in other musical traditions, this might help you improve your listening (be warned though that Indian classical music does not use the Western chromatic scale, but something called a just-tempered scale, so it might screw with your head a bit, like trying to learn physics in SI units and apply it in FPS units).
But basically, all this is scaffolding for later serious and nerdy taste development. Focus on just listening to whatever you like, no rules, until you feel inclined to do more. You should adopt the performance style for your learning itself: start with a long exploratory aalap, then add more structure later.
Quick note on Carnatic: it is a significantly more conservative style, with a higher degree of codification (and therefore -- this is a personal opinion -- less creative improv by the practitioners and more rigidity/rule-following), less influence from Islamic styles and more old-fashioned aesthetically (it is like the now-obscure Dhrupad tradition of the north, which was once dominant, before Islamic influences made it evolve into modern Khayal). The composed semi-classical stuff is also more important (Krithis etc.).
This can go either way, taste-wise. I would say on average, I prefer North Indian if I had to pick out a CD blindly. But a lot of my favorite specific performances are Carnatic. Stuff I repeatedly listen to is dominated by Carnatic. Stuff I wander through is more Hindustani.
So just dive in and get started. It is easiest to start with performers rather than specific ragas (since you can't tell them apart initially, and may never be able to). Most available CDs tend to be based on a dozen or so popular ragas anyway (Bhairav, Malhar, Malkauns...), so if you buy the popular ones with lots of star ratings and comments, you're safe. It is generally the performances of really obscure ragas that are not fun (they are obscure for a reason... and performers who seek them out are often just looking for an artistic challenge rather than to entertain).
While there are always new and upcoming performers, Indian classical is something of a game for more mature performers. Younger ones may have clearer voices, more stamina and purer tones, but the older ones are generally more rewarding to listen to, due to the complexity and nuance in their performances. You can also ignore gharanas (schools) initially.
So you cannot go wrong with the basic older greats. Here's a quick top dozen if you really have no clue where to begin.
Bismillah Khan (Shehnai)
Vilayat Khan (Sitar ... I prefer him over Ravi Shankar)
Shiv Kumar Sharma (santoor)
Hariprasad Chaurasia (flute)
M. S. Subhalakshmi
Maharajapuram V. Santhanam
Zakir Hussain (tabla)
L. Subramanian (violin)
Some more unusual choices, just for fun:
Dagar brothers (Dhrupad)
Kamlesh Maitra (tabla tarang)
Imrat Khan (surbahar)
Chitti Babu (veena)
Listening to a lot of pure khayal (ragam-tanam-pallavi in Carnatic) can be tiring initially, so mix it up and pick up some random semi-classical from both North and South: ghazals, tarans, bhajans, kirtans (krithis in the south). For westerners, one of the most interesting experiences can be listening to chants or recitations. Semi-classical specialists are worth listening to as well (Nusrat Fateh Ali Khan, Jagjit Singh).
Some semi-classical favorites include Santhanam (Krithis on Vinayaka), M. S. Subhalakshmi (Namo Ramayana, Ganesha Pancharatna Stotram), Hanuman Chalisa (many renditions), Meera Bhajans, Gayatri Mantra etc.
Each person on the team had a hard time with whichever aspect they were working on. Mine was coming up with the unique abstract level design style, and staying away from the Wolfenstein 3D style of level design. For months Tom and I made very Wolf-like levels.
For John Carmack, it was probably dealing with the new world data structure (no more tile matrix, now it's line segment and sectors), figuring out how to speed up the rendering of the world through BSPs, and implementing multiplayer mode smoothly over serial/modem.
For Adrian and Kevin, it was probably trying out a new way to create our characters. First, Adrian used clay to model the player and Baron of Hell, but when he tried animating them, they tore apart. So he had to switch over to latex models, which we outsourced. We were using a video camera to capture the models on a lazy susan so we could have 8 rotations, then animate the model, and capture all 8 rotations again. Cleaning up all those frames of art was tedious. We were also using a NeXT Cube to do all the video capture.
You can find an extended list of cafes where you can sit and work or study here http://coworfing.com/l/Paris--Fr... It's an open source platform where users share the best spot for working they've found
In the middle of 2009, Brian Acton was the software engineer that no one wanted to hire. Despite a dozen years of experience at Yahoo and Apple Computer, he got turned down by two of the Internet’s brightest stars at the time. First Twitter said no in May. Then Facebook rejected him in August.
Teaming up with another Yahoo alum, Jan Koum, he cofounded WhatsApp
Facebook chief executive Mark Zuckerberg, announcing the largest acquisition ever by his social networking company, said it’s worth paying as much as $19 billion to buy WhatsApp because the mobile messaging company is on a growth track that dwarfs anything else he has ever seen.
No. It does have some great institutional and democratical features - on paper though. It's hard to stay measured when answering such a question, but a simple answer would be all good features have a dark side : high level of living can lead to an elitist mentality and tendency to xenophobia. Participative democracy can end up passing laws violating the European Human Rights Charter. Good banking system and stable finance can lead to financing obscure matters worldwide as long as it's profitable and no one watches. No common language can lead, well, to english. Balanced political institutions can lead to amazingly slow (hear : years, or decades) legislative processes. High security in cities can lead to people being so freaked out about losing it that they vote far-right party and end up being closed-minded, selfish and cold persons. Once again, it's about nuancing; Switzerland is neither an Utopia or a Heterotopia. (Neither are Norway or Sweden though). It's a lucky country which has though still a lot if room for improvement .
I had dinner with Professor Knuth 2 months ago (November 2013). The dinner took place at the Stern dining hall at Stanford. There were 8 people at our table - 2 professors and 6 students. To tell the truth, Donald Knuth turned out to be one of the nicest and friendliest people I have ever met. Answering the questions, he never missed a single detail and demonstrated a great sense of humor.
At first I think I should explain how I, a person with no computer science background (except for the CS106A at Stanford) got a chance to sit for 2 hours next to Donald Knuth - one of the greatest CS scientists in the world. It all started 2 weeks earlier, when I attended the talk on the "Art and Technology" at the Green Library at Stanford. Professor Knuth was one of the panelists at that talk and he came for the reception before the event.
I came at the reception as well and the first person I met there was Diego - a Stanford freshman who was crazy about computer science and admired Donald Knuth since he was a kid. He came to that event specifically to meet Professor Knuth and he was shy and didn't dare to talk to him. I cheered him up and we walked to Knuth's table together and introduced ourselves. We told professor Knuth that it was an honor to meet him and asked some questions about the event and his future talks at Stanford. After that Diego invited him to the Faculty Night - a monthly dinner when Stanford undergrads can invite any professor to their dorms' dining halls. And Donald Knuth accepted the offer. Diego also made sure that I could attend that dinner as well. That's how I got to that event.
Donald Knuth came on time and started his dinner with dessert. Only after he finished the cake he proceeded to the salad. He explained that order of courses by not being consistent.
We talked about Stanford, computer science, his books, family and many other topics. One student asked him why he stopped teaching. He said that he chose to spend his time writing books. To the follow-up question "why?" he said that anyone could teach computer science and only he could write his books.
Another student asked him whether he tried to solve the P versus NP problem. Professor Knuth answered that he tried and that he thought that P equals to NP, but the statement of that theorem needed clarification.
Somebody asked professor how he came up with the linear time string matching algorithm (Knuth–Morris–Pratt algorithm). Knuth said that once he read an article by a Berkeley scientist about push-down automaton with linear size stack. After that he spent 10 hours thinking how to apply that theorem to the string matching problem. By the end of the night he came up with the implementation of the linear time algorithm for that problem.
When Donald Knuth was talking about his family, I asked him why his daughter decided to major in biology rather than in computer science. He said that if she had chosen CS and published an article under her last name - Knuth, that would have attracted a lot of attention to her work.
He also shared a funny story from his life. For his 64th birthday his wife wrote to him "Happy 1,000,000th birthday", because 64 is 1,000,000 in binary.
After the dinner, he put on a helmet with a flashing light on the forehead and biked home. We stayed at the dining hall for some time sharing our impressions about how great that evening was and what an interesting, friendly and nice person Donald Knuth turned out to be.
I investigated the rape of a 14 year old girl many years ago. The incident happened in the winter, behind a garage on the grounds of a church. The offender was wearing a ski-mask during the attack, and we initially thought there there would be very little the girl would be able to provide us in the way of a physical description.
But I spent a long time trying to obtain even minuscule amounts of information from her, and she was very good at remembering details. I was rather surprised at how calm she remained throughout my interviews with her. She and her family cooperated with us completely.
She described the details to a police sketch artist, and the composite drawing ended up looking like a black and white version of a Pacman ghost.
The other detectives made fun of my drawing, telling me I had wasted the sketch artist's time, and that the drawing was of no value at all.
But I kept it pinned on my bulletin board all the same, and I was determined to catch the SOB that did this to the girl.
Several days after the incident I caught a break. The victim was able to give us a good description of his clothing, and in addition to the ski mask , the type of coat he was wearing. It was a ski jacket type and was somewhat distinctive with bright colors and stripes. One of our officers saw a guy shoveling snow, and remembered the description of the ski jacket. So he forwarded that to me, and I did some background on other encounters we'd had with him.
Also, the boots the offender was wearing at the scene of the crime left sole impressions in the snow. We photographed those impressions when we processed the scene. When I went to his house, I noticed some of the same footwear pattern impressions in the snow. Things just started to fit together. I was able to develop a suspect, but I had nothing close to probable cause to charge him. The guy lived not too far from the police station.
I stopped by his house to talk to him, and I asked him if he'd come to the police station to talk about a case I was investigating. I did not tell him what it was about, and he didn't ask.
He very confidently said yes, and he drove to the PD on his own.
In my office, I read him the Miranda warnings. I told him I was investigating the rape of a young girl. He said he didn't know anything about it.
I told him I knew he was lying, and that I had his picture. He said, "Prove it, pig."
Suddenly, I knew I had him. His response was not a denial, it was a challenge.
From my desk drawer I pulled out the Pacman sketch, and I said, "This is you."
He literally wet himself, then started crying. So I switched to "nice cop" mode, and he gave me a full written confession. The other detectives were very impressed.
He served a long time in prison. Last I heard he was out on parole, but would have to register as a predatory sex offender for the rest of his life.
I kept a copy of that sketch until the day I retired.
Assuming you are talking about extension toolbar buttons that you've added and hidden through the context menu, you can re-show those buttons by going to the Chrome extensions page (type chrome:extensions into the address bar), then pressing the 'show button' link next to the appropriate extension.
A linguistics professor was lecturing to her class one day. "In English," she said, "A double negative forms a positive. In some languages, though, such as Russian, a double negative is still a negative. However, there is no language wherein a double positive can form a negative." A voice from the back of the room piped up, "Yeah, right."
I did some research on this a while back, and discovered that 14% of all visitors to MediaUK.com used ad-blockers. (Our ads are all Google AdSense, and it's fairly easy to compare Analytics and AdSense figures). http://james.cridland.net/blog/t... might be an interesting read: particularly the comments underneath.
No. The mainframe isn't outdated, but the public perception of the mainframe certainly is. Today's mainframe runs Linux, Java, and even PHP. Even 'legacy' technologies like CICS now support WebServices natively.
Part of the problem, I think, is that when people talk about the mainframe being dead, they're thinking of the mainframe of the 1980's. Today's mainframe is significantly more open, runs a wider variety of work-loads and offers far better price/performance than its predecessors.
Did you know, for example, that the latest mainframe uses chips that run faster than any other chip architecture out there?
I ought to say at this point that my career began on the mainframe and that as an industry analyst I've been tracking the evolution of the mainframe for a decade and a half and one of my personal missions is to help people from an exclusively x86 background understand there there are scenarios where large-scale multiprocessor systems offer significant advantages over horizontally scaled x86 systems.
The second part of the problem is one of perception, and is highlighted by the response from 'ANON' above - 'the future clearly belongs to commodity x86 systems'. While x86 blades look inexpensive, compute power will always be a scarce resource. It is simply not possible to achieve the same levels of utilization from a horizontally scaled system as you can from vertical scaling.
The challenge faced by the mainframe is that there is a whole generation of IT professionals who simply don't know what today's mainframe is capable of. IBM, as the primary seller of mainframe technology, has a significant job to do in re-explaining the value proposition of the platform in terms of reliability, security, and flexibility.
There is a huge opportunity for the mainframe within the domain of cloud computing, the mainframe has over 40 years of heritage as a multi-tenanted environment in which computing resources can be shared at an extremely fine-grained level. In the x86 world, cloud providers are struggling to learn how to do things that the mainframe has been doing for as long as most of us have been alive.
The key lies in IBM being able to demonstrate the price/performance advantages of the mainframe in those domains (and for those workloads) where it really can deliver better value than scale-out.
I don't think that the mainframe is a 'better' choice in every case, but I do believe that in the next five years we'll discover a number of scenarios where for reliability, scalability and cost the mainframe will offer a very attractive alternative.
That the annual CO2 emissions per capita is around 5-6 metric tonnes. That's astounding efficiency for a developed nation. Compare that to 18-19 for the United States and 9-10 for Germany, 8-10 for Japan in recent years .
That the individual recycling rate of all recyclable materials in Switzerland is above 94% for glass, 91% for aluminium, 85% for paper and cardboard, 80% for PET plastic, and 69% for batteries as of 2010 . I read these numbers off a chart, so they may be +/-1%, but astounding numbers nonetheless. I don't think the United States comes even close. (Even here at MIT, supposedly a world class research institution, students, future CEOs, and even professors and deans routinely refuse to recycle.)
Switzerland's power grid is about 56% hydroelectric and 39% nuclear as of 2008 . That's less than 5% thermal, which typically account for the most pollutive sources. Compare that to the United States which runs on 41% coal and 25% natural gas, or China which runs on 69% coal.
Switzerland has 5,063 km of rail transport network. Over 99% of those tracks are electrified  and 75% of the railway power grid is hydroelectric , which means that a huge chunk of Swiss transportation is zero carbon and almost completely non-polluting. Also, 90% of those trains are less than 3 minutes late .
Switzerland has over 60,000 km of signposted hiking trails. Hiking is very much a national pastime from what I observed in my time there, and I feel it definitely contributes to their appreciation and respect for nature.
I think we all can learn a thing or two from the Swiss about sustainability and stop hitting the economic battles and political barriers we keep fussing about elsewhere in the world.
Let's say you have a flight from Zurich to Bangkok tomorrow and you're in the mountains in Switzerland a few hours away. You can go to a train station nearby, check your bags and pick up your boarding pass for your flight. You won't need to deal with your bags again until you arrive at baggage claim in Thailand!
This might not seem like a big deal on the surface, but think about the coordination on a national scale that is involved. The US doesn't even have a viable national rail system, but in Switzerland you can be in the middle of nowhere on a mountain and check your bags for a plane flight on the other side of the country. It's a great example of what centralization of transit systems can achieve in terms of efficiency.
Edit: On a side note (since I can't add two answers to one question): The average Swiss person will live 5% longer (83 years) than the average person from the US (79 years).
Several factors contributed to the SR-71's amazing speed, including the obvious ones like the design of the airframe and engine thrust. I will focus on one particularly under-appreciated feature of the SR-71 that unlocked the aircraft's true potential: The engine inlets.
These inlets were cone shaped "spikes" that had the ability to move forward and aft (automated by a computer), and whose sole purpose was to decelerate the airflow through the engine to a subsonic speed, despite the supersonic speed of the aircraft itself. The subsonic flow through the engine enabled combustion, which would not have been possible with supersonic flow given the rest of the engine's design. Similarities have been drawn between keeping a jet engine running at supersonic speeds and keeping a candle lit in a hurricane.
The need for subsonic flow through the engine is typical of all jet engines, with the exception of a scramjet engine, which is designed specifically to handle supersonic combustion. Scramjets are largely experimental, and little if any scramjet research had taken place before the SR-71 was designed and built.
The bay windows at Pixel Art Academy are vast and give a panorama from your studio over Retropolis. What’s that? You move towards the glass wall to take a closer look … the park, something’s different, are the trees changing for fall/ autumn? You scramble to put your glasses on to get a better idea, the trees look to be dressed for a carnival with all the colours of the rainbow. What’s going on? You log-in to a local news forum for an answer and are informed that the trees have been yarn-bombed!
If you haven’t come across it, yarn-bombing is where graffiti and crafts combine to make a wonderful art form. The point of it is to use yarn/wool/string/old tape ribbon to cover something like a tree or a statue, bridges are popular targets and if you search for ‘yarn-bombing phone box’ you get some delightful results!
Below are some yarn bombs that one day inspire you to create your own.
Magda Sayeg is credited as being the first yarn-bombing artist after they covered the handle to their shop. So… it seems a good starting point:
This picture is from Sussex St and Kent St, Sydney and taken by Project Jam.
Other Magda Sayeg. This picture is from Kent Ave, New York and taken by Eddie O.
Moving on. Urban Cross-Stitch use chain link fence to put their design on (for more designs and a how-to guide see here).
Aida Gomez in the project ‘Home is where the heart is’.
If you have been making granny squares for your pixel art realisation projects and have a few spare, this is one idea to use them:
This was a record breaking attempt to make the largest blanket, it’s not your average yarn bomb, Helsinki Cathedral in Finland.
And another inspirational picture without a reference by artist or photographer (I’m sorry):
It’s such a great idea, covering paving blocks in yarn to make up patterns (until it rains and makes it unsafe to walk on but it could look amazing over a whole area) or even a warning for people as to do this the block must be loose first.
Yarn bombing brings colour and vibrancy into overlooked places but may not be legal in every case! Yarn Bombing is also known as Yarn-storning, Yarn Graffiti (if you are looking for more information about it). Also see Urban Cross-Stitch.
Having seen some pictures you now have a better idea of why the trees are dolled up. You decide to take a walk in the park to get a closer look.
Product from Areaware physically recreates the playing cards of Windows 3.0 game featuring the original pixel graphic designs of Susan Kare:
Susan Kare created some of the most
familiar user interface designs in early computing. The icons she
designed for the original Macintosh operating system helped millions
navigate easily through our early and unfamiliar digital environment, and include the trash can, lasso, and Finder Icon.
“I worked on the original pixel
art for the on-screen Solitaire cards in 1990 using an IBM PC, Microsoft
Paint, and the typical 16 VGA color palette of the time. A lot of those
weren’t particularly attractive colors, but fortunately the card faces
only required black, red, and yellow. I was inspired by classic card
decks, and had the most fun trying to translate the complicated patterns
of the Jacks, Queens, and Kings to a 72 dots-per-inch grid.
25 years later, I got back in the 90s mindset to design matching Jokers
for the Areaware deck, since Solitaire doesn’t use them.
So I am a counselor at a camp for young writers (high school age) this week. This is my second week doing it and the first week went very well. So as I go into the second is there any advice you might have for me? Or any words of wisdom you think would be good to share with a group of young writers?
<p><a class="tumblr_blog" href="http://brianmichaelbendis.tumblr.com/post/147917487642/so-i-am-a-counselor-at-a-camp-for-young-writers">brianmichaelbendis</a>:</p>
<blockquote><p>tell them: finish what you start. </p><p>tell them that is the only way to figure out who you really are as a creative person. </p><p>finish what you start.</p><p>don’t just keep writing the first two pages over and over. go all the way to the end and then start to rewrite. the end reveals problems in the beginning you might not know until you get there. so all those first scene rewrites are useless.</p><p>and write honestly. from the heart, something they would buy, </p><p>and good on you for teaching.</p></blockquote><p></p>
Well guys. I finally listened to Sweet Emotion and I don’t like it. Now, you might be thinking, “Why would you start a blog about a song that you’ve never heard?”, and that’s an excellent question that I will choose not to answer.
Anyways, I believe it’s time to hang up my Aerosmith-logo-embroidered hat. You won’t be seeing any more Aerosmiths from me. I’ll still post any submissions that I get, so continue making them if you like. I’ve started a shiny new blog which I’ll be using frequently, j-e-r-m.tumblr.com. Follow if you want, I’ve got some neato things to post.
Stay tuned tomorrow for a video of every Aerosmith thus far. It’s pretty sweet
“Service journalism” got renewed attention this week with the news that The New York Times shelled out $30 million for The Wirecutter and The Sweethome. But shopping recommendations obviously aren’t limited to dedicated review sites. At its launch in 1968, New York magazine included a column called “The Passionate Shopper.” (From the May 6, 1968 issue: “If you like fresh sausage, and want to meet some of the men who make sausages, First Avenue below 14th Street is the place to go.”) “Service jo. show all text
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@NiemanLab: New York magazine turns a history of shopping recommendations into a new online revenue stream niemanlab.org/2016/10/new-yo…
Google is stepping up its efforts to serve speedy content to internet users with Accelerated Mobile Pages, but the initiative is getting mixed reviews from publishers as some worry about its impact on their advertising revenue.
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@NiemanLab: Some publishers aren't generating as much revenue from Google's Accelerated Mobile Pages as they'd hoped wsj.com/articles/googl…
Landmark employment tribunal ruling states firm must also pay drivers national living wage and holiday pay with huge implications for gig economy Drivers for Uber have won a landmark case after employment tribunal judges ruled that they were not self-employed and should be paid the national living wage. The case, taken by two workers, could open up the tech firm to claims from all of its 40,000 drivers in the UK, and force other companies with tens of thousands of workers in the so-called gig e. show all text
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@sivavaid: Uber loses right to classify UK drivers as self-employed theguardian.com/technology/201…
Je diffuse aujourd’hui mon principal projet de ces derniers mois, qui marque également l’aboutissement d’une réflexion engagée depuis plusieurs années sur Sciences communes : une étude critique sur les nouveaux modes d’éditorialisation des revues scientifiques en accès ouvert réalisée pour BSN — et très opportunément, cela tombe en pleine Open Access Week… Cliquez sur l’image pour accéder au rapport (hébergé sur scoms en attendant HAL) L’étude n’est que la version « synthétique » d’une quarant.. show all text
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@Dorialexander: A lire d'urgence, le rapport de @Dorialexander sur les nouveaux modes d'éditorialisation de l'Open Access scoms.hypotheses.org/744
by Julia Angwin and Terry Parris Jr. Imagine if, during the Jim Crow era, a newspaper offered advertisers the option of placing ads only in copies that went to white readers. That’s basically what Facebook is doing nowadays. The ubiquitous social network not only allows advertisers to target users by their interests or background, it also gives advertisers the ability to exclude specific groups it calls “Ethnic Affinities.” Ads that exclude people based on race, gender and other sensitive facto. show all text
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@RaeBeta: Facebook is disrupting the Fair Housing Act. propublica.org/article/facebo… pic.twitter.com/tc0no6Kbjx
New laptops significantly more expensive and already-existing machines have prices raised by hundreds of pounds as Apple adjusts for new US dollar-pound sterling rate If you’re a Mac user, everything just got a lot more expensive. Apple used the cover of introducing three new MacBook Pros at its latest event to quietly raise the prices of every single computer in its line. It’s the latest example of the Brexit effect, with prices updated to account for the new low exchange rate between the US d. show all text
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@guardiannews: Brexit hits Apple Mac customers hard as prices rise by up to £500 ebx.sh/2fdt5Zz
Journaliste RP à «Planète Santé» et critique à Espace 2.
Online Publishing | Geneva Area, Switzerland, CH
Journaliste web et print à «Planète Santé», je suis également journaliste musical dans l'émission Magnétique sur Espace 2. Je suis inscrit au registre professionnel suisse (RP).
J'ai, de 2008 à 2016 couvert la musique contemporaine pour le quotidien «Le Courrier». au sein duquel j'ai aussi assumé les responsabilités de secrétaire de rédaction (2010-2014) et rédacteur web (2012-2014). Membre de l'équipe des Bruits du Frigo de 2006 à 2012 (sur Radio Cité puis sur Fréquence Banane), j'ai aussi occupé le poste de rédacteur responsable de «Place Neuve», publication de la Haute Ecole de Musique et du Conservatoire de Genève.
Journalisme santé et scientifique (online et print). Journalisme culturel (print et broadcast). Secrétariat de rédaction (correction, titraille, typographie, iconographie). Journalisme web. Community management.
2016 - Present
Journaliste Musical / RTS - Radio Télévision Suisse
Journaliste musical au sein de l'émission Magnétique sur Espace 2.
2011 - Present
Journaliste web / Médecine et Hygiène
Journaliste web à «Planète Santé».
Journaliste Musique / Le Courrier
Contribution régulière d'articles sur la musique contemporaine. Annonces de concerts. Chroniques de disques.
Fourniture d'articles et de chroniques de disques sur la musique pop et électronique.
Rédacteur Web / Le Courrier
Lien entre la rédaction et le site internet du quotidien, promotion des contenus sur les réseaux sociaux, stratégie web.
Editionneur (secrétaire de rédaction) / Le Courrier
Editionneur au «Courrier» à temps partiel. Secrétariat de rédaction: relecture, correction, titraille et mise en pages des articles. Ecriture de la une et des affiches du «Courrier».
Chroniqueur Musique / Fréquence Banane Genève
Chroniqueur pop, rock US et musiques électroniques dans les Bruits du Frigo, le samedi de 19 à 20 heures sur Fréquence Banane.
Rédacteur Responsable «Place Neuve» / Conservatoire de Musique de Genève + Haute Ecole de Musique de Genève
Rédacteur responsable de «Place Neuve» bisannuel du Conservatoire de Musique et de la Haute Ecole de Musique de Genève. Rédaction, correction, titraille, iconographie. Collaboration avec la fabrication et les auteurs.
Journaliste remplaçant / Le Courrier
Remplacement de cinq semaines à la rubrique locale du «Courrier» en octobre 2009.
Stagiaire en rubrique culture / Le Temps
Stagiaire en rubrique culture durant trois semaines. Rédaction d'articles, chroniques de concerts, interviews et suivi de conférences de presse.
Editionneur remplaçant / Le Courrier
Editionneur au «Courrier», secrétariat de rédaction et unier. Relecture des articles, correction. Titraille et écriture de la une du «Courrier».
Journaliste remplaçant / Le Courrier
Remplacement d'un mois à la rubrique locale du «Courrier» en juillet 2009.
Chroniqueur/Animateur - Les Bruits du Frigo / Radio Cité
Membre de l'équipe des Bruits du Frigo (culture urbaine et alternative, du lundi au vendredi 20h-21h sur Radio Cité 92.2 FM). A ce titre, participation hebdomadaire à l'émission en tant que chroniqueur "larsen", i.e. chroniques musicales (pop, rock US, électro, hip-hop) ou animateur.
- responsable du contact avec les distributeurs (jusqu'à mars '07)
Stagiaire rubrique locale / Le Courrier
Stagiaire Journaliste en rubrique locale.
Collaborateur Administratif / Haute Ecole de Musique, Genève
Gestion académique Coordination
Collaborateur Administratif / Ville de Genève
Assistant (Coordinateur Administratif) / Ville de Genève
Centre de formation au journalisme et aux médias (CFJM)