Sector Six acquired by OpTic Gaming’s holding company, Infinite

first_imgSector Six Apparel is the latest company to join the ranks of OpTic Gaming‘s holding company, Infinite Esports & Entertainment. The apparel brand is now among the ever-growing portfolio of Neil Leibman and Chris Chaney‘s firm.Announcing the acquisition on Twitter, Zachary Sass, Owner, Sector Six Apparel said the following: “As our fans probably noticed, Sector Six was on the quiet side these last few months. Our social media presence was allowed to lapse – and not without good reason. After all, when you have something potentially game-changing on the table, you want to make sure you get it locked down.”“This definitely counts: we are happy to confirm that we are now part of the Infinite Esports & Entertainment family, working under the same aegis as OpTic Gaming, Allegiance, and many other pioneering esports brands,” Sass continued.Sector Six Apparel lists OpTic Gaming, The Gosu Crew, Carnage, Team Allegiance, Continuum, and Apotheon, on its website among the teams it has provided apparel for previously.Sass elaborated on why Sector Six decided to embrace its new parent company: “Under the Infinite umbrella, we have gained access to full time apparel and merchandise designers along with a team of marketers. Moving into the Infinite family, we gain access to multiple professional organisations that will help expand our each into the esports industry.”Infinite Esports & Entertainment already counts OpTic Gaming, OpTic League of Legends, Houston Outlaws, Team Allegiance, GG Esports Academy, NGAGE Esports, Triggerfish, No Scope Media, and most recently Obey Alliance as part of its network of companies.Esports Insider says: It appears as if Infinite Esports & Entertainment is building an entire ecosystem around its competitive gaming brands, so it can be sustainable as a whole without relying on its biggest name: OpTic Gaming.last_img read more

Paschall’s 30 points not enough for depleted Warriors in New Orleans

first_imgNEW ORLEANS — Building off a strong performance against the Boston Celtics Friday, the Warriors entered Sunday’s game against the shorthanded New Orleans Pelicans with a good opportunity to earn its first win in almost two weeks.Only the Pelicans, who entered the night with eight players listed as out, can claim more injuries than the Warriors right now. Both teams were missing 15 players combined and went just nine deep in their respective rotations. However, it was the Pelicans’ available …last_img

Bluffing About Earth’s Magnetic Field and Life’s Chirality

first_img(Visited 59 times, 1 visits today)FacebookTwitterPinterestSave分享0 The headlines might make one think evolutionists have finally scaled two monstrous hurdles for their theory.Earth’s Magnetic FieldEvolutionary geologists have two big problems with Earth’s magnetic field: (1) explaining its origin and (2) explaining its longevity. We saw Nature reporting last January (1/25/16) about an energy crisis in leading theories of how a geodynamo started in Earth’s core. The best theories as of 2012 could not keep the dynamo running for more than 1/5 the assumed age of the Earth. Now, Nature reports new “Direct measurement of thermal conductivity in solid iron at planetary core conditions.” An international team succeeded in characterizing the behavior of iron at the high temperatures and pressures assumed to exist in the core. “Attempts to describe thermal transport in Earth’s core have been problematic, with predictions of high thermal conductivity at odds with traditional geophysical models and direct evidence for a primordial magnetic field in the rock record,” they say. “…. The result is in agreement with palaeomagnetic measurements indicating that Earth’s geodynamo has persisted since the beginning of Earth’s history, and allows for a solid inner core as old as the dynamo.” Science Daily portrayed this experimental result from a lab as evidence that the “energy necessary to sustain the geodynamo has been available since very early in the history of Earth.”In the same issue of Nature, a Japanese team reports “Experimental determination of the electrical resistivity of iron at Earth’s core conditions.” Their results are not encouraging for believers in billions of years. If the core has low electrical resistivity, electrons can move faster and dissipate heat quicker. “The low electrical resistivity of iron indicates the high thermal conductivity of Earth’s core, suggesting rapid core cooling and a young inner core less than 0.7 billion years old,” they say. “Therefore, an abrupt increase in palaeomagnetic field intensity around 1.3 billion years ago may not be related to the birth of the inner core.”Putting these two findings together, David Dobson writes for Nature that the findings seem contradictory. He sets up the core competency problem:In 2012, first-principles numerical simulations indicated that the thermal conductivity of liquid iron in the outer core is so high that this region might act as a pump that pushes heat towards the core–mantle boundary faster than convection can. If, as these controversial studies suggest, the core is losing heat at such a high rate, it means that the magnetic field must work in previously unimagined ways, and that the solid inner core must be less than a billion years old — a mere babe in planetary terms. In this issue, Ohta et al. (page 95) and Konôpková et al. (page 99) report studies that experimentally tested the simulations’ results using complementary, but distinct, approaches and come to different conclusions.How can geophysicists reconcile the high thermal conductivity with the low electrical resistivity? Dobson can only surmise that one or both teams used wrong assumptions, made experimental errors, or drew wrong conclusions. But neither team can keep the field going for the full assumed age of the Earth (4.5 billion years).The discrepancy makes a big difference to estimates of when the inner core formed, and hence when Earth generated a stable magnetic field — the inner core could be as little as 700 million years old, about the same age as complex life; or as much as 3 billion years old, about three-quarters of Earth’s age.Three billion years is only two-thirds the assumed age of the Earth. What changed after the first one-third? And what about other planets and moons that have magnetic fields, with and without iron cores?For more information about the magnetic field problem, see “What You’re Not Being Told About Earth’s Magnetic Field” (4/17/15) and “Earth’s Geodynamo: An Energy Crisis” (1/25/16).ChiralityCooper and Rios announce with gusto in PNAS that meteorites have been found with a substantial excess of right-handed sugar molecules over the left-handed forms. This “enantiomeric excess” holds true for both rare and common sugars, they claim. “Such data indicate that early meteoritic compounds may have influenced the enantiomer profile of subsequent biological sugars and their derivatives.” Since life uses only the right-handed (dextro or D-) form, evolutionists have long wondered how that arose.Inside the paper, though, the alleged excesses are only around 55%. One outlier, xylonic acid, has a claimed excess of 82%, but this 5C sugar is a metabolite of vitamin C that is excreted in the urine. Generally, the more carbons (4C to 6C), the more the excess, but there are exceptions. The authors do not provide any firm mechanism that would produce the slight excesses; in life, the sugars in DNA and RNA are 100% right-handed. The researchers mention old standbys that might be involved—circularly polarized light and magnetic fields from stars—but those are reversible mechanisms. They conclude with mere suggestions of possible roles in life. As usual, more research is needed.Asymmetric meteoritic compounds may have either played a direct role in the formation of the first homochiral biological polymers or influenced the chirality of their subsequent syntheses. It now seems possible that the EE of two meteoritic classes of compounds, sugar acids (D) and amino acids (L), qualitatively match the excesses of the corresponding classes in extant biology. However, although we have used criteria (rare compounds/enantiomer and isotope ratios) in attempts to discern extraterrestrial from Earth material in the present samples, it is critical that current and future space missions capable of enantiomer analysis examine and/or return samples of carbonaceous material to verify laboratory enantiomer measurements of meteoritic compounds.They did not address the dilution problem (the quantity of homochiral material required to be delivered), the racemization problem (keeping the excesses from reverting to 50:50 mixtures), or the probability problem (calculating the chance of getting only homochiral sugars to link up).These papers are important for showing that the very best that secular scientists can find does not solve their problems. These problems have existed for well over a century.For philosophers of science, one should question whether carefully-designed experiments in a lab dealing with tiny samples can  speak to a planet’s core many hundreds of miles in diameter, where variations in temperature and composition are likely. One should also ask what relevance scattered fragments of delicate sugars could have over vast oceans. And even if there was a “substantial” enantiomeric excess in some meteorites, could not the excesses go the other way in other samples, averaging out to racemic? What would maintain the excess once the meteorites land? What would prevent their racemizing in any hypothetical primordial soup?Researchers should be more reserved about the relevance of their findings to these major questions. To say the results “may have… played a role” in the origin of life or of the Earth’s magnetic field is very misleading. State the facts and let the reader decide.last_img read more

Iran Cyber-Army Strikes Digital Certificate Authority

first_img8 Best WordPress Hosting Solutions on the Market Top Reasons to Go With Managed WordPress Hosting “The IP address of the initial attack was recorded and has been determined to be assigned to an ISP in Iran. A Web survey revealed one of the certificates deployed on another IP address assigned to an Iranian ISP. The server in question stopped responding to requests shortly after the certificate was revoked.”Hallam-Baker rightly points out that seizing entry to such high-traffic consumer sites, all of which are communications properties, would be of particular use to “a government attempting surveillance of Internet use by dissident groups.” The hackers could, with such access, intercept communications from individual users, plant malware on their accounts, harvest login information and block circumvention addons.Was it Iran? Or was it a country Iran was helping? Or was it a false trail? Cyber-warfare is becoming all too common. Iran has done a lot of it. But some of it, like the Stuxnet virus, has been done to Iran. Online connections and nodes are starting to assume the warfare importance radio stations had once upon a time. Other sources: NYT Bits Tags:#news#NYT#politics#privacy#web curt hopkins Last Wednesday, Comodo Group, the digital certificate authority and internet security, got hacked. It issued issued nine fraudulent certificates for sites run by Google, Yahoo, Microsoft, Skype and Mozilla. It looks like the hack that got these certificates was run by the same Iranian cyber army that earlier hacked the Voice of America. In a blog post, Comodo explained that login information for an affiliate was obtained and used to break into the Comodo server and issue the certificates. According to Comodo’s Philip Hallam-Baker, the attacks came from Iran, though he warns the route may be a false trace. Why Tech Companies Need Simpler Terms of Servic… Related Posts A Web Developer’s New Best Friend is the AI Wai…last_img read more

We Are the 99% — AND the 1%

first_imgThe temperatures inside and outside your home are constantly changing. Sometimes the amount of heat your home loses or gains is low, and sometimes it’s high. Even over the course of a day, the loads change. For example, we might hit a low of 70°F at night in the summer and a high of 96°F, and all through the day, the loads keep changing.If we’re trying to keep the indoor air at 75°F, the temperature difference is close to zero in the morning and rises to about 20°F in the afternoon. As the temperature difference (ΔT) changes, the cooling load changes. As it turns out, though, most air conditioners installed in homes cannot change the amount of cooling they provide when the temperature conditions change. Yes, some systems do have variable capacity, like minisplit heat pumps, but most are fixed capacity. Check the numbersStill, anyone getting a new home or doing extensive remodeling should insist on accurate Manual J load calculations and equipment that matches the loads. If you’re a builder, homeowner, or HERS rater checking the Manual J reports, one of the first things you should look at are the outdoor design temperatures. The should match the 99% and 1% design temperatures from ASHRAE, which are also given in Table 1A in Manual J from ACCA.If the 1% summer design temperature is 91°F, as in Atlanta, a Manual J report showing that the load calculation was done with 97°F will result in an oversized air conditioner. Actually, even if the load calculations use 91°F, the equipment will be oversized because there’s about 15% of oversizing built into the protocol. Get your equipment sized for design loads, not extreme loads. Maybe it’s getting hotter in recent years, but it’s still best to use design temperatures based on 30-year averages — not the temperature it got to last summer for 3 hours. The 99% and the 1%Enter ASHRAE’s design temperatures. It turns out that if you have HVAC equipment with fixed capacity, this temperature will provide optimal performance. But what exactly is the ASHRAE design temperature?Winter: 99% design temperature. This is the outdoor temperature that your locations stays above for 99% of all the hours in the year, based on a 30-year average. Turning it around, the outdoor air where you live is going to be colder than this temperature for only 1% of the hours in a year. That happens to be about 88 hours per year. In Atlanta, the 99% winter design temperature is 23°F.Summer: 1% design temperature. Your location will go above this temperature only 1% of the hours in a year, again, based on a 30-year average. Here in Atlanta, that number is 91°F, so we go above that temperature for only about 88 hours in a year.Occasionally, you’ll run across something called the 97.5% and 2.5% design temperatures. It’s not what you may think. Those numbers were defined differently and are not used anymore. Because the definitions were different, the temperatures are pretty close to the 99% and 1% design temperatures.The difference between the outdoor design temperatures and the indoor design temperatures (70° F and 75° F) is the ΔT that should go into the load calculation. It’s getting hot!One of the ways that many HVAC systems get oversized is by someone using the wrong design temperatures in the load calculation. Here’s the skinny:Homes lose heat to the outside in winter and gain heat from outside in summer.The rate of heat loss or gain depends on the temperature difference between inside and out.ASHRAE (a bunch of engineers who know a thing or two about HVAC) has a table of outdoor design temperatures for winter and summer.ACCA (the trade association for air conditioning contractors) bases its Manual J load calculation procedure on the ASHRAE design temperatures.Contractors running load calculations regulary override the recommended design temperatures. We’re making progress! With the all the emphasis on energy codes and energy efficiency programs like Energy Star New Homes, more homes are getting Manual J heating and cooling load calculations these days. The intent is for the heating and cooling systems to be sized properly because oversized systems have problems (poor dehumidification, short cycling…). But just because an HVAC contractor does a Manual J, that’s not a guarantee that the system is sized properly.Martin Holladay has been running a great series recently on heating and cooling load calculations, and he has dived into a lot of the details of this first step to picking properly sized HVAC equipment. He mentioned in his article on cooling load calculations that you have to use the correct design conditions, but what exactly does that mean? If you understand Manual J, you probably know what they are, but I wanted to go into a little more depth on the topic.center_img RELATED ARTICLES Saving Energy With Manual J and Manual DHow to Perform a Heat-Loss Calculation — Part 1How to Perform a Heat-Loss Calculation — Part 2Calculating Cooling LoadsWhen Do I Need to Perform a Load Calculation? In defense of HVAC contractorsHVAC contractors don’t like to get called back because of comfort complaints, and oversizing solves some comfort complaints. Of course, HVAC contractors don’t have control over the building envelope and usually don’t know how much infiltration a house will have. Phil Mutz, one of the smart HVAC guys at Moncrief Heating & Air Conditioning in Atlanta, recently wrote about this issue on the Energy Vanguard Facebook page:Homes are rarely built as designed, meaning blocking/insulation/sealing almost always fall short of design. When the home is hot [in] mid-July, months after a customer has moved in, the customer is calling and yelling at the HVAC guy … not the insulation guy.With the testing and verification required in Georgia now, we should get a lot better at controlling some of these other issues for all homes. Programs like Energy Star have required inspections, testing, and equipment sized to Manual loads for years now, so we do know this can work when it’s done right. As the person doing the load calculations gets better data about the envelope, the results of the load calculations will match the loads in new homes better, and HVAC contractors will stop being afraid to put in systems that they think are too small. Allison Bailes of Decatur, Georgia, is a RESNET-accredited energy consultant, trainer, and the author of the Energy Vanguard blog.last_img read more

Falling Polaroids: After Effects Photo Montage Tutorial

first_imgCreate a falling photo effect in this Adobe After Effects video tutorial – a cool organic look for highlighting still images!In this video tutorial, we’ll demonstrate how to create an organic looking photo effect in AE.  Perfect as a graphic into or slideshow alternative, this After Effects photo montage can be created without any 3rd party plugins or filters.We’ll be using the After Effects 3D camera and lighting tools to give the photo montage depth.  To apply random motion to the falling photos, we’ll apply several After Effects expressions.  Expressions create random motion (limited by the parameters set in the expression) and are much faster than having to keyframe motion on each of the photo elements.  This After Effects photo montage has a wide variety of applications and can be tweaked for your custom needs.  Watch the tutorial below (best viewed full screen) or check out the full transcript for written instuctions on creating this AE photo animation and writing the After Effects expressions associated with it.Full Video Transcript:[color-box color=”gray”]This is Evan Abrams for, and today we’re going to make this falling photo montage in After  Effects you can use to display vacation photos or really any kind of photos, like they’re falling Polaroids. So let’s open up After Effects and get into it.The first thing to do is make a new composition. You can it make whatever you’d like, but we’re going to go with the HGTV1080 preset, 1 minute in length. First we’re going to make the actual photo template that we’re going to use. That’s done by making a new shape layer.Then we add to that shape layer a rectangle, and we want it to be as accurate to the size of Polaroids as we can. We know that it’sapproximately 350 x 425. Make sure that it has a fill and set that fill to white. Okay, now we’re going to duplicate that to create a new rectangle, and this will serve as the alpha channel for the photo parts. I’m going to change its size down to be 300 x 312.5. Then we will change its color to be red and just adjust it up slightly to be in the correct spot. And then we will just rename these appropriate to what they stand for, so that we don’t get confused.Now we’ll create some text using the text tool to make some labels. We’ll just label this, “Vacation?” and then use a font that looks kind of like a marker. I believe I have a font that has marker in the title. So we’ll use that and set the color to be black, but not quite totally black. Just as a pro tip, you don’t want to be absolute in your color values all time.Then we’ll just position this right there, and we’ll use the rotation and scale to get it just to the right size and shape that we would like. Thatlooks good, and now we are ready to add a photo into this.So go ahead and import a photo. Any photo will do. We’re going to use some tropical beach stuff. Just drag that below the red rectangle, and then scale it down to fit appropriately around it. Toggle switches and modes, and then set it to alpha mat of that red rectangle. We’ll go to positioning and you have created your Polaroid.Now we’re going to set all the boxes to be 3D for these layers, and we’ll just edit the position of that photo layer to be slightly higher, which is important to prevent tearing that happens in the 3D rendering process.As well just to hit AA on the bottom layer, and set it to cast shadows, which will be also important later. Select all of those, and then pre-compose them, calling that new composition, “Photo 1”. Click the Collapse Transformation button, so that all of the attributes inside thatcomposition will function out in the main composition. Create a new solid that will serve as our background. Make it a light greycolor, just to differentiate it from the white of the photos, and then set it below that photo layer. Make both of the layers, three dimensional by clicking their 3D switch boxes.Create a new camera and set its blurriness to 200, and its aperture to 1.4. Make sure that its depth of field is on.As well, make a new light. Make it a point light. Make it at least 100% intensity, so that we have some light in our scene. Now open up theposition of the light in the camera, and copy the camera’s position onto the light, which will put the light at where the camera is.We’re going to just push the background back a little bit. Open up its position and move that Z position back just so we can see the shadow coming around the photos. We don’t want no shadows for all of our hard work. So set that to a positive one, some low number. Then you can see the shadows in there. Just make sure that maybe the shadow darkness is at about 50% perhaps. It doesn’t need to be that dark.Now we are ready to actually animate on the photo. So let’s begin.We’re going to open up its transform properties and go into the position. We’re going to separate its dimensions by going through the menus and separating them. What we’re going to do is we’re going to key frame the Z position, which is the depth position, so how close or far away it is, by setting a key frame at about 3 seconds and 5 frames in, and then going back to the start and putting it at -2700, which puts it behind where the camera is. So it will seem to fall past the camera.Then we will easy ease that first frame, go into it’s graph editor, zoom in, and then pull the handle forward. So it seems to slow and then speed up as it gets away, coming to an abrupt rest. That’s pretty much it for keyframes. Most of the motion is actually going to be governed by expressions, and to use that effectively we’re going to need to make a control layer.So go ahead and make a new adjustment layer and call this Control. We’re going to add to it a slider control, and just drag that out onto thecontrol layer. Then twirl open the properties Alt, click on the Z rotation, and then open up the effects slider control slider, and we are going towrite in some expressions so that one can influence the other.The expression we’re going to use is:seedRandom(thisComp.layer(“Control”).effect(“Slider Control”)(“Slider),true); and then random();Make sure there’s a semicolon at the end of the top line as well, and that should do it.You can see it has offset the image, rotating it slightly. You’re probably going to want to multiply that result down there by some kind of higher value, perhaps 10 or something like that. That’s one way to influence the random number that it’s generating.You can see that by wiggling the slider around, it changes that, and if you go into the brackets of Random, and you say “-45, 45”, it’s going to generate a random number between there, and it will change what random number it is by changing the Random seed, which is the slider, and now we can reuse this on the other properties.Just go ahead and select that expression, copy it, and now we’re going to paste it onto other properties. So copy that. Hold and go to the P, hit Position, Alt click on the stopwatch, and paste it into the X position, and instead of using the random number, we’re going to use the wiggle. We’re going to say “wiggle(0,thisComp.width*.5)” to make half of the Comp width, so it will wiggle no times a second, up to a maximum units of half the width. Copy that, paste it onto the height position, and then we’re going to change it from saying width to height, so it’s doing basically the same thing, but up and down instead of left and right.Now we also want them to fall on top of each other, so Alt click on the Z position. Value-index , so you’re going to subtract the index value, in this case 4, from the value of the layers position. So it will always be 4 less, or when you duplicate it, will be 3 less or 5 less or whatever ,depending upon what the layer is, but this causes them all to stack on top of each other. Duplicate as many copies as you need, and that should be enough.Now you just need to offset their animation as they come on. So we’re going to trim all of the layers to be 30 frames long. So advance your play head 30 frames from the start, hit Alt and then close square bracket to trim them.Then select all of the layers and go Animation, Keyframe Assistant, Sequence, hit OK, and then set your play head at the end of thecomposition, and then hit Alt square bracket again to extend the layers.Now you can see they all animate on 30 frames apart, and they’re falling down quite nicely. If you’re ever unhappy with how they’re arranged, just change that slider value, and it will jumble them around into a new orientation.If you’re ever unhappy with where you’re looking at them, use the camera tool to reposition. Just remember your background is in fact 3D, so you’re going to have to go down to your background layer and just scale it slightly to make up the difference. In fact, you can scale it up as much as you’d like, because it’s a solid and you’ll never notice it.So you can reposition the camera, and everything looks totally fine. Just hit C to cycle through your camera tools.And it doesn’t do you any good to have a bunch of photos that are the same, so duplicate Photo 1, double click on Photo 2, and we’re going to go in here and we’re going to swap out this picture for a new one. Just import a new photo. This one of me hugging a bear is nice. Hold down Alt, and then drag it onto the selected layer. As you can see, it replaces it, and then just scale it up to fit, or scale it down to fit, or however you’ll need to scale it. Because when you replace something, it retains the replaced thing’s attributes, so scale position and all that stuff.Make sure you selected the thing you’re going to replace. Hold down Alt, drag on top of it, and then of course maybe change this to be a more appropriate title for the photo or not. It’s not really a question. It’s definitely me hugging a bear. But then go back to the first Comp, and then select the photo you wish to swap out, and do the same swapping maneuver where you selected. Hold down Alt, select Comp 2, and then drag it on top, and then it replaces it.Well, that should be enough to get it done for you, I’m Evan Abrams for Thank you so much for watching this tutorial. Check out our channels and stop by the blog at for more great tips and tricks in not only After Effects, but a lot of other applications as well. So thanks a lot for watching, and we’ll see you around the Internet.[/color-box]last_img read more

Changes to be made to voting ballot

first_imgFacebook Twitter Google+LinkedInPinterestWhatsAppProvidenciales, TCI, September 16, 2016 – Cabinet, on Wednesday approved changes to the  At Large voting ballot. The Elections Office presented a new form required because of the extraordinary number of candidates expected to offer.There are 22 in this category so far; five from each political party and the remaining seven of which Magnetic Media  is aware are running ‘independent.’ There was to be alteration in the layout and the colour; the ballot paper last election was green.The changes now have to pass through the House of Assembly.  Also discussed at that Cabinet meeting, hurricane readiness with the DDME; reordering of land in the Five Cays/Chalk Sound district and challenges at the prison.In recent years, including earlier this summer, inmates have been attacked and subsequently hospitalized; the incident this summer required the Police to restore calm at Her Majesty’s Prison in Grand Turk.   A working group has gotten the green light to help right the wrong at H.M.P. Facebook Twitter Google+LinkedInPinterestWhatsApp Related Items:cabinet approves changes to ballot, changes to be made to voting ballot, discussions in cabinet about security at HMPlast_img read more