![]() The LEDs are the only Thing on the XTouch Mini, that are controlled directly via native Midi Commands. LEDs will illuminate or extinguish when the Layer is changed, dependenig on Aircraft State, given you are using the correct automated Scripts for the Aircraft. No need to test for the active Layer, just use Channel 11 and different Numbers than usual for the LEDs. Thats exactly was my suggested Solution does. Hi inital Question was about controlling the LEDs on each Layer separately. So doing this will lead to strange behavior of the rotary - especially if turned fast. And this will be interpreted as a RIGHT turn. What's happening now, when you turn another tick to the left? XTouch will send value 63 - and this value is HIGHER than the one received before (62). Assume this leads to internal position 64. NOW you are sending a new position to set the LED. Next "tick", value 62 - smaller than 63, so again left turn. Which is smaller than 64, so left turn detected. You turn to the left - so next value received is 63. XTouch encoder is exactly in middle position, so it is sending value 64. If the number is decreasing, then you are turning left. If the number is increasing, then you are turning right. Now you need to know, how AAO is detecting left turn/right turn - and it is doing this by comparing previous rotary value to current rotary value. When sending a value to that channel 11, it does reset this internal position to that value. Sending values between 0 (leftmost) and 127 (rightmost). In Std mode the encoders are working like an axis. What you are doing by using channel 11, is not setting the lights but setting the rotary - and the XTouch is then taking care of the LEDs itself. Hi might work fine for the buttons - but I can not recommend for the rotaries. ![]() MC mode is a compatibility mode and is active if the MC Mode LED is lit (above the Layer A/B buttons) ![]() However, if you switch layer but do NOT press any button, then the layer variable will NOT be adjusted. So whenever you press a button, the layer variable will be set accordingly. if you have Button 9 for FD on/off on Layer A and Strobe Lights on Layer B.Īssume script for Button 9 on Layer A is (pseudo code, not working!) Or - i would prefer this one - on every script triggered by the button, set the variable before executing the planned action.Į.g. No, there is no way to track from AAO which layer has been selected.Įither use an additional button to switch the layer variable (means you have to press 2 buttons, one Layer button to change the layer and then another button to toggle the layer variable). ![]()
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Zulily is not a scam because they will never take your money without shipping your items to you. ![]() ![]() ![]() The answer to the first question begins with a stroke of luck that was literally Jacobson's lottery ticket. How was everyone sentenced for their involvement?.How did Jerry Jacobson manage to steal the winning game pieces from a highly secure factory setting?.Think about it - how often have you sat through a show or series that presents an investigation, only for the screen to fade to black, leaving you with follow-up questions like, "What about the murder weapon?" or "Who actually was charged with what?"Įntering the sixth and final episode of HBO's "McMillions," there were three main questions that still needed to be answered: I know this sounds like basic stuff, but loose ends abound in the world of true crime. In this case, the kind you would make a deeply satisfying docuseries about (though there is reportedly an upcoming McDonald's Monopoly scandal movie starring Ben Affleck and Matt Damon in the works).Īnd what made "McMillions" - the story of how one man managed to defraud McDonald's out of $24 million in prize money by rigging the fast-food chain's popular Monopoly promotional game - so compelling, right up until the end credits, is that it paid off on every detail teased throughout the series. "You're doing something that seems like they would make a movie about it." "The McDonald's case was what we call a career case," says FBI special agent Timothy Adams in the "McMillions" season finale that aired Monday. Spoiler alert: This recap includes spoilers from the finale of HBO's docuseries "McMillions." ![]() ![]() He also points to a lawsuit that's been filed in U.S. But he says he is concerned about giant private corporations having unilateral power to shape internet speech - whether takedown decisions are being made by Twitter's trust and safety lead or Amazon Web Services (which recently yanked the plug on right-wing social network Parler for failing to moderate violent views). Kobeissi also takes that view, while adding the caveat that he's not "personally" concerned about Trump's deplatforming. President Donald Trump's access to their megaphones - a demonstration of private power that other political leaders have described as problematic. Interest in the space has been rekindled in recent weeks after mainstream platforms like Facebook and Twitter took decisions to shut down U.S. Extant examples include ActivityPub, Diaspora, Mastodon, P2P Matrix, Scuttlebutt, Solid and Urbit, to name a few. The list of decentralized/P2P/federated protocols and standards already out there is very long - even while usage remains low. Completely insane."Ĭapsule is just the latest contender for retooling Internet power structures by building infrastructure that radically decentralizes social platforms to make speech more resilient to corporate censorship and control. "But by the end of the day - last Sunday, eight days ago - I was running a Delaware corporation valued at $10 million with $100,000 in pre-seed funding, which is insane. I've been running a business based on consulting and based on academic R&D services," he continues. Instead the tweet "just completely exploded" and he found himself raising $100,000 "in a single day" - with $50,000 paid in there and then. ![]() "I posted that tweet and the expectation that I had was that basically 60 people max would retweet it and then maybe I'll set up a Kickstarter," he tells us. ![]() ![]() But Kobeissi says he was startled by the level of interest in the concept. A day later cryptography researcher, Nadim Kobeissi - best known for authoring the open-source E2E-encrypted desktop chat app Cryptocat (now discontinued) - had pulled in a pre-seed.For now there's nothing to see beyond Capsule's landing page and a pitch deck (which he shared with TechCrunch for review). Case in point: a startup called Capsule has been putting AI to use in video editing software to improve the speed and efficiency of.Ĭapsule gets $1.5M to build ‘super simple’ decentralized social mediaīy Adre's IT | 10 March, 2021 | Adre's IT Blog, Apps, bleacher report, Cryptocat, Cryptocurrency, Fundings & Exits, gig workers, mobile video, Nadim Kobeissi, online extremism, Polychain Captial, Recent Funding, shell, StartupsCapsule‘s plan to launch a super simple decentralized social media platform which is safe from censorship by Big Tech has advanced another stage: The nascent startup has closed a seed round of funding ($1.5M) led by Beacon Fund, a dedicated crypto fund by.Ĭryptocat author gets insanely fast backing to build P2P tech for social mediaīy Adre's IT | 19 January, 2021 | Adre's IT Blog, bleacher report, censorship, CloutHub, Cryptocat, decentralized, Fundings & Exits, Nadim Kobeissi, Security, shellThe idea for Capsule started with a tweet about reinventing social media. ![]() Capsule snags $4.75M for its AI-powered video editor that summarizes text, generates images and moreīy Adre's IT | 15 February, 2023 | Adre's IT Blog, AI, Apps, artificial intelligence, Asana, Cryptocat, The Nielsen CompanyAI’s ability to reinvent web search remains murky, but the technology’s impact on everyday tools seems to be more promising. ![]() ![]() To create patterns and color variations in the fabric, indigenous women used the jaspe method of resist-dyeing threads before weaving. Indigenous women of Mesoamerica were the primary weavers of the first rebozos, often crafted with body-tensioned or back-strap otate looms. But the cloth garment existed in the Americas long before Spanish colonization. ![]() ![]() The word rebozo comes from the Spanish “rebozar,” to coat or to cover. Together they could archive and teach others about the rebozo. In community with each other, the women of the collective found they each had a piece of ancestral knowledge, Perla says. We would research it online, but it was all coming from that didn’t have our background.” “We tried to seek that knowledge, but it wasn’t passed down to us, even though it is absolutely part of our ancestry. But while the women knew the rebozo was central, they didn’t know much about its history. “The rebozo, reclaiming it, would pave the way,” says Perla. Their inquiry became a focus for the Cihuapactli Collective, and they found the beginning of an answer with the traditional Mexican rebozo, a long shawl worn around the head, shoulders, and waist, used by women in many global cultures to carry babies and children. In the United States, mothers tend to keep and carry babies in high tech strollers, car seats, highchairs, walkers or other paraphernalia. When the two became mothers, they wondered how to carry their babies into the daily activities of their lives. Perla Farias, a mother of twins, first met Maria in MECha (Movimiento Estudiantil Chicano de Aztlán) at Arizona State University. They represent various ancestral traditions and heritages, including Mexican, Guatemalan, Afro-Cuban, and Filipino. Maria serves as its executive director.Īmong the collective’s partners are doctors, doulas, educators, therapists, activists, artists, midwives, documentarians, healers, and elders. Today, the collective works to support families and womb health through ancestral and traditional knowledge, including various rebozo practices. “Cihuapactli” in Nahuatl derives from the words “cihuame,” meaning women, and “pactli,” meaning medicine. The group eventually became the Cihuapactli Collective. “Three here earthside and one in the spirit world, each birth was a new traumatic experience, but I had the collective, a group of women to fall back on.” The women provided Maria a support system for the births of all four of her children, she says. The next time they met, fifteen women came. Ten women gathered at a Phoenix coffee shop. In a bout of postpartum depression, she asked a few friends for support. In 2015, after losing her mother and giving birth to her second child, Maria needed help. The rebozo, says Maria del Carmen Parra Cano, not only comforts her and helps her carry her babies, but also connects her to the other women in the room, to family, to community, and to heritage. Wrapped around one woman, is a colorful shawl, or rebozo, which hugs her shoulders and drapes her knees like a celestial robe. ![]() Their tether to the ancestors is less audible, but no less vivid. “We work at the pace of our children,” one woman in the circle says, “That is how it is driven. That their children are nearby is telling. The sounds of thunder and babies and young children at play add buoyancy to their conversation. ![]() It’s a monsoon summer night and a dozen comadres sit in a circle talking, planning, and organizing in a small retreat room. ![]() ![]() Do manga editors these days tend to always maintain a firm grip on the structure of a manga as it’s drawn? –Buichi Terasawa said there are two types of manga artists: People who can’t produce manga unless they have the whole structure of it figured out, like Terasawa himself and Hirohiko Araki, and people who simply create characters, which they then allow to act however they want. Isayama: It seemed like my editor wasn’t going to let the series start to be published unless I had an ending in mind. –So, I’ve read that you started Attack on Titan with the ending already decided. I could probably easily live the life of a hermit if access from the outside world were cut off. Isayama: I think I could actually pull it off so long as I have my living environment intact. –So you’re saying you would be fine so long as that infrastructure kept working? ![]() Living wouldn’t be so easy without the electricity and water infrastructure, though. Isayama: What, like, “Screw the world, let it all go to hell”? Yeah, I used to really think that quite a bit - like, I’d wonder what it would be like to live in a world without people, like in I Am Legend. –Would you say part of you wished the world would be destroyed? I still feel like it’s pretty shallow compared to the level of the sci-fi universes my older artist friends shared - like, I never read Mu or any of that. Isayama: I came up with the original idea for the one-shot called “Shingeki no Kyojin (Attack on Titan)” that won me my first ever prize, and then I didn’t think about it for a while after that until I was 22 or 23 or so, when my editor asked me to consider making that old one-shot into a long-term series, at which point I spent a half a year coming up with the details of that whole world. –I would say the idea for the walls and that universe you’ve created in general is pretty one-of-a-kind, though. Isayama: As manga artist friends of mine in their 40s tell me, manga magazines used to be full of apocalyptic stories until pretty recently, and I do think I’ve been influenced by those manga. –I’m sure you must’ve taken in your share of manga as well as video games and movies, but Attack on Titan comes off as something very fresh, something that doesn’t feel especially inspired by anything that came before it. So then I took that desire to see someone do something new and decided to try it myself. Relying on that stuff, you’ll never make anything new. Isayama: I was repelled by the sort of manga that’s based on marketing research about what sort of characters or plot elements will be popular with readers. ![]() –It’s true, though, that it’s not the kind of manga you would expect to appeal to a mass audience. Isayama: I thought it was great personally, but I figured that most aspiring manga artists must feel that way, and that I was just another kid underestimating how tough the industry really is. ![]() –I’ve read in a previous interview that you didn’t originally think the idea for Attack on Titan would make for a popular manga. Isayama: I knew that making a living from drawing manga is extremely tough, so my dream back then was just to make enough to feed myself with my manga, even if it never became a big hit - let alone the idea of becoming a millionaire. –Did you not dream about finding this kind of success back before starting out as a manga artist? People say things say things like my dreams have become reality, but ever since I won that first prize back when I was nineteen, it’s felt more like reality has been growing distant. Isayama: It feels like reality is getting farther and father away. I’ve been reading Attack on Titan since the first volume came out, but it’s since become such a smash hit that now you can find it at convenience stores. ![]() The magazine went on sale in November 2014, so the interview presumably took place sometime not long after volume 14 went on sale. You may notice that the interviewer talks to Isayama almost like a psychologist this is because he, in fact, is. Men’s culture magazine Brutus recently did a special issue on Attack on Titan that included a lengthy interview with the manga’s creator, Hajime Isayama, in which he talks about such topics as how it feels to have produced an ultramega hit, how he came to be interested in manga, his inspiration behind the characters he’s created, and his thoughts on recent kaiju films, among a lot of other things. ![]() ![]() ![]() Play your way, but be prepared to adapt.ĮXPLORE AND DISCOVER - Freddy Fazbear’s Mega Pizzaplex offers a variety of attractions for guests to enjoy - Monty Golf, Roxy Raceway, Bonnie Bowl, the sewers, and… Sewers? The Pizzaplex is vast and has no shortage of goodies to discover. Five Nights at Freddys: Security Breach is the latest instalment of the family-friendly horror games loved by millions of players. 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