Flushed Game Show

[Faith Lienhard]

Flushedis an Australian children's game show, that is produced in Australia by SLR Productions and aired for two seasons from 16 March 2015 to 5 August 2016 on 7two. Starting with the third season on 3 July 2017, the show moved to Seven Network. The host for the first season was Shae Brewster; she was replaced by Candice Dixon starting with the second season.

In round 2, the winning team is placed on the show's weekly leaderboard and with 60 seconds on the clock, the winning team must construct a major link from two inlets on either side of the stage, to the centered outlets. Their major link must pass through five strategically placed pylons. Meanwhile, their round one opponents are now trapped inside a glass dome, with a giant dump tank of purple sludge perched precariously above them. Each time the winning team connects their major link to the pylon, the dump tank tips on an angle, bringing the sludge that much closer to dropping.

If the winning team can successfully complete their major link, not only do they win a prize, but they also get to crank a handle, resembling a ship's engine order telegraph control, to tip the dump tank one final time. Their opponents are then "flushed" (drenched with purple sludge). All competitors on Flushed! take away the players prize pack, and any team that wins a major link takes home a major prize. The winning team then became the carry-over-champions and face a new team of challengers. In their fifth and final major link game, the carry-over-champions compete for an ultra prize.

Issey Miyake on Friday had karate experts perform the ancient art while wearing his designs at the open and close of his show. Considering the grace and functionality of his clothes, the karate display was a lovely metaphor.

The Dior show is just always a lot of fun. Galliano looked to French designer Paul Poiret this season, but he wore the inspiration lightly. Galliano closed the show with some fabulous harem pants and sheer Indian-style embroidered gowns.

Isabel Marant is the label all the cool French girls wear and with styling by Emmanuelle Alt of Paris Vogue it seemed very Anita Pallenberg this season: thigh high boots and fur chubbies. I would prescribe that you steal all of these looks wholesale if you want to look like a French rockstar. (The label is sold at Hejfina.)

Sometimes I have to do some concrete structure proposals as an architect, and some are standard, like flushed concrete columns inside CMU walls. I keep getting issues because on the architecture plan views I do not want to see the columns. But on the construction/structural plans I do want the columns to be visible.

The join, unjoin and switch join order tool does not clear all the join lines between the columns and walls, there is always a good amount of columns that remain visible in the architecture plan view, sometimes the wall changes the size of the column and removes its volume (the column's volume). Also, the tool is very exhausting to use because every time I do a change, some join lines may appear or a wall may disjoin from all structural elements causing all the other concrete elements to show up.

Then in order to try to fix it, I go into Visibility graphics and make both walls and columns match. I also set the same material to both elements, but not all elements follow the join order. It gets really frustrating.

My idea is to give the options to override all concrete columns inside walls and remove the join lines for architectural plans where construction is not the main focus. And allow the columns to display in construction plans. Or provide with a join unjoin switch order tool by category.

Just Allow a clean wall regardless of what is inside of it! In meanwhile I just set everything, fill patterns, and lines into black, and set them to coarse but, sometimes some architects do not like that style and I struggle with the visibility settings.

Hens fluff their head feathers and blush to express different emotions and levels of excitement, according to a study published July 24, 2024, in the open-access journal PLOS ONE by Ccile Arnould and colleagues from INRAE and CNRS, France.

Facial expressions are an important part of human communication that allow us to convey our emotions. Scientists have found similar signals of emotion in other mammals such as dogs, pigs and mice. Although birds can produce facial expressions by moving their head feathers and flushing their skin, it is unclear whether they express emotions in this way.

To investigate, researchers filmed 18 female domestic chickens (Gallus gallus domesticus) from two breeds, as they performed routine behaviors on a French farm. They also filmed the birds while being captured and held by a human, and while being rewarded with an appealing food.

The researchers analyzed the position of their facial feathers and the color of the exposed skin on their faces in seven contexts that differed in their emotional valence and level of excitement. For example, birds preen their feathers when they are relaxed and content, whereas receiving a rewarding food generally causes excitement and happiness, and being captured is an exciting but fearful experience.

The results suggested that the position of the head feathers and the color of the skin varied between contexts. Fluffed head feathers were mainly associated with a state of contentment, whereas blushing indicated that the birds were positively excited or fearful.

Hens tended to have redder skin in contexts associated with excitement, and in those that caused negative emotions. In situations that caused both excitement and a positive emotion, the birds displayed an intermediate skin redness, indicating a continuum of blushing that can convey subtle emotional changes.

The study was the first to investigate facial displays of emotion in chickens, and suggests that domestic hens use facial expressions to show their emotions, much like humans and other mammals do. These findings offer a window into the emotional experiences of domestic birds, which could be used to improve the welfare of farmed poultry, the authors say.

The authors add, "The skin blushing on the face of the domestic fowl is a window into their emotions. The intensity of the blushing varies within a few seconds depending on the emotional situations they experience."

Inspired by this video from the 3d printing professor a few months ago, =zLJKxqVY-BaAQAoV I am embarking on a Proof of concept to see if I can completely eliminate wasted purge from my multi colour prints.

I have raised some of this as a suggestion on makerworld enhancements. Also I am hoping the v2 BL printers introduce something like automated nozzle swapping to eliminate a fair bit of the purge, or even bigger build plates which would mean more room for purge-to objects.

The main objective of the scripts is

a) To automatically select appropriate purge-to objects to go with each multi colour print.

b) If appropriate re-scale purge-to objects slightly so that their layer/filament usage profile better matches the multi colour object purge requirements.

Attached photos are a fairly extreme example - with auto calculated purge lengths - but by adding additional objects it is possible to get the purge ratio down from the about 150% 30g in this example to less than 0.5g. Or less than 2%.

Purge-to object selector - a pyQt6 application that analyses the G-code of the multi coloured object, then goes through a queue of plates of potential purge-to objects analysing their gcode - selecting the ones that most efficiently match the purging requirements of the multi-coloured object. It then creates a modified versions of the purge-to project 3mf files with just the selected objects in - so that they can be easily imported into the multi-colour print.

Also as a bi-product of developing this script I have finally solved the issue of how to automatically select the correct virtual extruders for each of the different coloured objects when importing multi colour models from Fusion 360.

Update after 3rd test print. 200% scale Xmas pudding tree decorations came out really well. Normal purge was 6g - so about 3 times what was predicted. There was also another 5g due to the brown filament running out and remaining on old roll having to be purged out. Prime Tower 7g.

I think that maybe 15% infill is too much for these models - and also not really sure whether the around 25g of filament saving is worth the effort for this type of print - probably more relevant for prints with more colours where having multiple copies of the same multi coloured object not really needed.

Also encountered some strangle slicer behaviours with Brims on Purge-to objects.

If the purge-to objects initial colour is different to the first layer colour on the main multi colour object then brims keep disappearing off of the purge-to objects.

Next up - more relevant to this thread - glad to see that there is a new totals column in the BS Preview screen showing the prime tower usage separately - rather than including it in the model (not flush) total in previous versions.

Further updates - firstly been doing quite a lot of single colour printing - concentrating much more on print quality than I have done before - mainly creating support free spheres and balls - the reason to mention this is that this has led me to needing to do some 100% infill printing which I have never done before - and 100% infill models are really good flush-into targets - especially parts like the internal double ended screw used to hold the two parts of my spheres together.

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Model on makerworld here Eight Ball

Will probably only let it run a few layers to avoid waste - main objective is to a) Check that the printer accepts a patched gcode.3mf file ok over wifi, b) check that movements are ok and c) to see what effect it has on the quality of the flush-into objects.

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