Rsd Julien Shift

[Darth Gupta]

@kalter000 Shift teaches you how to learn and acquire the skillset, while PIMP explains the skill itself on a very practical level !

It's like the web and the internet, shift is the infrastructure and PIMP is the program

Shift is great. Very technical. EXTREMELY TECHNICAL. Inner game seems like it's in shift, along with any inner game improvement you are doing such as frequent meditation, good sleep, and on point diet. What city do you guys live in? ATL here

It also aims to help you to fearlessly get women attracted to you and advancing further by shifting your reality to creating beliefs that make approaching, attracting, and sleeping with women second nature.

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The state will also need to consider potential unintended consequences of actions it takes to ease the financial burdens of declining districts. For example, providing additional funding to declining districts would likely shift state support from inland to coastal regions, even though coastal incomes are generally higher. In short, the state will need to carefully balance student needs across districts experiencing a wide variety of enrollment trends, from growth to decline.

Since his debut as part of the Sankofa Film and Video Collective, Julien has gone on to become a renowned multidisciplinary artist in a career spanning 40 years, holding exhibitions in museums all over the world. Although Julien has found notoriety in his work in the medium of film, he has found unanimous critical acclaim in his exploration of other art forms; dance, photography, music, theatre, painting, and sculpture.

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A while ago, I wrote a short piece on how, since AI has been taking over representations of illustrators in the media, illustrators should take over the representations of AI. So this week, in lieu of a written essay, I\u2019m sending you a visual essay, in the shape of a moodboard.

While generative machine learning models have created a horizon of uncertainty for illustrators, and the companies operating them have unilaterally decided that creative work should be \u201Cimproved\u201D and made more efficient and less costly. In that scenario, illustrators are systematically framed as passive actors of this fate, waiting for an inevitable sentence. Embrace AI or perish, they say.

I suggest that illustrators have a specific power to claim as their own : that of creating representations. We\u2019ve seen many blueish robots and countless ethereal digital creatures used as metaphors for machine learning and its impact on social life. Yet, machine learning is first and foremost applied statistic, human labour, and material resources, and it\u2019s time that these aspect become part of the visual resource we use to visualize it.

Illustrators are the little workers behind how most things look like, and the visual language the rest of the population uses to visualize an issue often stems from the visual labour of illustrators, the concepts they articulate and the aesthetics they use. This means that by slightly shifting how we represent AI in the articles we\u2019re hire to illustrate, we might slowly shift its public representations and open the way for more critical engagement with it. What if instead of blueish, futuristic tones, AI illustrations were using the pinks, greens and yellows from lithium mines used to power computers, or the muddy greys of data centres consuming millions of gallons of water? What if instead of abstract robots AI was personified by the global south workers annotating data, or the obscure spreadsheets of datasets?

Using another technology of decontextualization and objectification of illustrators\u2019 work, the moodboard, I propose here a growing repertoire of inspirations for illustrators and art directors to draw from when representing machine learning becomes necessary in their work (I will continue to add images to it as an ongoing practice). This project echoes other initiatives directed at a wider audience like Philipp Schmitt\u2019s Blueprint For Intelligence or the Better Images for AI project, but is specifically meant as a working tools for commercial artists.

This project is also a way to ask how the moodboard could work as a tool of resistance within the creative industry. The ubiquitous format is often part of a complicated relationship between clients and illustrators but is also widely used across the industry. So maybe because of this pre-existing power of the moodboard in the industry, it\u2019s the perfect tool to create new paradigms of representations from the ground up.

I hope this project prompts a critical engagement with the power of illustration and the systems of power in which it is embedded and gives visual artists a repertoire of options that might challenge the already sedimented \u2014but not unshakable\u2014 representations of AI.

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The mechanisms and consequences of genome evolution on viral fitness following host shifts are poorly understood. In addition, viral fitness -the ability of an organism to reproduce and survive- is multifactorial and thus difficult to quantify. Influenza A viruses (IAVs) circulate broadly among wild birds and have jumped into and become endemic in multiple mammalian hosts, including humans, pigs, dogs, seals, and horses. H3N8 equine influenza virus (EIV) is an endemic virus of horses that originated in birds and has been circulating uninterruptedly in equine populations since the early 1960s. Here, we used EIV to quantify changes in infection phenotype associated to viral fitness due to genome-wide changes acquired during long-term adaptation. We performed experimental infections of two mammalian cell lines and equine tracheal explants using the earliest H3N8 EIV isolated (A/equine/Uruguay/63 [EIV/63]), and A/equine/Ohio/2003 (EIV/2003), a monophyletic descendant of EIV/63 isolated 40 years after the emergence of H3N8 EIV. We show that EIV/2003 exhibits increased resistance to interferon, enhanced viral replication, and a more efficient cell-to-cell spread in cells and tissues. Transcriptomics analyses revealed virus-specific responses to each virus, mainly affecting host immunity and inflammation. Image analyses of infected equine respiratory explants showed that despite replicating at higher levels and spreading over larger areas of the respiratory epithelium, EIV/2003 induced milder lesions compared to EIV/63, suggesting that adaptation led to reduced tissue pathogenicity. Our results reveal previously unknown links between virus genotype and the host response to infection, providing new insights on the relationship between virus evolution and fitness.

Winthrop coach Steve Indrisano led the Winthrop club. During the game, Julien offered tips to the coaches and players. Following each goal, Julien applauded his players. After each shift, Julien gave them taps on the helmets and fist bumps.

I am looking at adding a hexagon or honeycomb type pattern to a part in fusion. looking at pocketing out the hexagons leaving a lighter weight structure with the ribs still in place to offer some stiffness. Is there a quick way to do this that anyone has found? I dont want to have to draw and space all of the hexagons(or other shapes) if there is a simpler way. @Vince.Fab I know you have done something similar in some of your aluminum parts in the past. Thanks!

I find myself using the rectangular pattern feature (in sketch mode) very often. Combining two of these (shifted by half a period) from one single hexagon shape should get you there very quickly

The way fusion generates the model leaves THREE bodies here. If the construction is done using TWO circles in the second sketch, one offset by 6mm in X and 10.392 in y, then one rectangular pattern using both will produce the hex grid in one shot, giving a single body.

Global warming poses particular challenges to migratory species, which face changes to the multiple environments occupied during migration. For many species, the timing of migration between summer and winter grounds and also within-season movements are crucial to maximise exploitation of temporarily abundant prey resources in feeding areas, themselves adapting to the warming planet. We investigated the temporal variation in the occurrence of fin (Balaenoptera physalus) and humpback whales (Megaptera novaeangliae) in a North Atlantic summer feeding ground, the Gulf of St. Lawrence (Canada), from 1984 to 2010 using a long-term study of individually identifiable animals. These two sympatric species both shifted their date of arrival at a previously undocumented rate of more than 1day per year earlier over the study period thus maintaining the approximate 2-week difference in arrival of the two species and enabling the maintenance of temporal niche separation. However, the departure date of both species also shifted earlier but at different rates resulting in increasing temporal overlap over the study period indicating that this separation may be starting to erode. Our analysis revealed that the trend in arrival was strongly related to earlier ice break-up and rising sea surface temperature, likely triggering earlier primary production. The observed changes in phenology in response to ocean warming are a remarkable example of phenotypic plasticity and may partly explain how baleen whales were able to survive a number of changes in climate over the last several million years. However, it is questionable whether the observed rate of change in timing can be maintained. Substantial modification to the distribution or annual life cycle of these species might be required to keep up with the ongoing warming of the oceans.

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