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La digitalizzazione è il processo di conversione che, applicato alla misurazione di un fenomeno fisico, ne determina il passaggio dal campo dei valori continui a quello dei valori discreti. Tale processo viene oggi comunemente sintetizzato nei termini di passaggio dall'analogico al digitale nell'audio, video, immagini e testo.

La misurazione della temperatura tramite un termometro o la rappresentazione di un suono tramite il tracciamento di onde sono esempi di grandezze di tipo analogico, in quanto i valori che possono essere assunti sono infiniti. L'operazione comporta una perdita di informazioni, che però in alcuni casi è accettabile in quanto si guadagna in semplicità di rappresentazione o in altri casi non è comunque percepita.

Nel campo dell'informatica e dell'elettronica, con digitalizzazione si intende il processo di trasformazione di un'immagine, di un suono, di un documento in un formato digitale, interpretabile da un computer, dove per formato digitale si intende un codice binario in cui tutto è rappresentato da combinazioni di zero o uno, quindi da stati del tipo acceso/spento. Un disco in vinile su cui è registrata una canzone rappresenta un esempio di riproduzione analogica di un suono; la stessa canzone riprodotta tramite un computer ne rappresenta il formato digitale. Nel campo delle telecomunicazioni invece il termine indica il passaggio dalle tecnologie a trasmissione analogica a quelle a trasmissione digitale.

Storia
L'obiettivo del fondo, identificato da alcune avanguardie della ricerca fin dagli anni trenta del secolo trascorso, è quello di riorganizzare la conoscenza in modo sempre più efficiente, semplificando la selezione delle notizie in un mondo sommerso dalle informazioni. In una estrema opera di semplificazione del processo, si potrebbe affermare che quell'obiettivo utopistico ha generato gli ipertesti, il PC, Internet.

Si è dovuto attendere l'invenzione del chip, dei primi computer e della rete Internet perché il bit diventasse davvero una rivoluzione. Rivoluzione spinta e alimentata dagli interessi congiunti dell'industria militare (negli anni cinquanta) e dei mondializzati commerci contemporanei. Il bit è stato allo stesso tempo causa e conseguenza del fenomeno della mondializzazione. Da una parte il progresso tecnologico ha dischiuso potenzialità impensabili sia dal punto di vista dell'accrescersi dell'intelligenza delle macchine, sia dal punto di vista della trasformazione, elaborazione e trasmissione delle informazioni. Dall'altra le esigenze dei governi e delle grandi aziende hanno liberato fondi ingenti per la ricerca e la sperimentazione di queste tecnologie.

Fino a ieri (finché c'era la guerra fredda) erano i militari a finanziare le ricerche di punta: caschi per la realtà virtuale o sistemi avanzati per l'addestramento dei piloti. Oggi è cambiato tutto: è l'industria dell'entertainment a finanziare i settori più avanzati. Le ragioni di questa tendenza sono evidenti. L'industria del divertimento può sperimentare in tempi rapidi sempre nuove applicazioni su una platea di giovanissimi, che sono certamente i più adatti ad apprendere tecniche avanzate. I videogiochi diventano così uno strumento di sperimentazione di massa di tecniche di interazione uomo-macchina, che poi possono essere riutilizzate in altri settori: dall'istruzione a distanza al commercio elettronico, per esempio.

La rivoluzione delle comunicazioni segue quella industriale e modifica il corpo stesso del suo essere: negli anni ottanta e novanta, si assiste così al passaggio da un'interfaccia statica ad un'interfaccia multimediale dell'informazione.

Il sistema mediale ingloba e subisce, al tempo stesso, le nuove acquisizioni digitali, ridefinendo sé stesso in virtù delle incredibili potenzialità tecniche dischiuse. In effetti, quelli introdotti dalle ICT's, solo latamente possono essere considerati "nuovi" media: fatta eccezione per Internet, si è in presenza di un'evoluzione e di una ridefinizione dei vecchi mezzi di comunicazione, in parte digitalizzati. I media "primitivi" come la stampa, la radio, la TV potevano solo "essere visti". Il broadcasting non consente interazione con i contenuti né tanto meno con la loro fonte, quindi può solo offrire una fruizione passiva dell'atto comunicativo. Resta impossibile produrre informazioni, essere all'interno del media, interagire, essere visti. L'architettura logico-tecnica many to many di Internet, consente all'utente di avere pieno controllo sulla comunicazione telematica, trasformandolo da spettatore a produttore di informazione. Internet viene incontro al bisogno di visibilità delle persone perché conferisce ad essi la piena autonomia della fruizione del mezzo stesso. Le nuove tecnologie dell'informazione e della comunicazione stanno modificando radicalmente anche il rapporto di interazione tra producer e consumer. Esse non si configurano più solo come strumenti per rendere più efficienti attività definite e quasi immutabili (le procedure, i flussi di lavoro), ma rappresentano prima di tutto delle opportunità, dei fattori abilitanti che rendono possibili il cambiamento dei tradizionali modi di produrre, di distribuire di organizzarsi, di scambiare e condividere il sapere, di cooperare: ciò che Levy ha chiamato intelligenza collettiva nel 1996.

La cultura della comunicazione, sconvolta dall'apparire di Internet, si ristruttura sulla base di tre elementi fondamentali che informano l'agire sociale e la trasmissione della conoscenza: multimedialità, ipertestualità e interattività. Il link diviene la metafora del nostro quotidiano rapporto con la realtà. L'avvento delle ICT's fa registrare fenomeni di cambiamento nei processi comunicativi e nell'industria culturale. La digitalizzazione si è imposta come sistema dominante perché da un lato rende più economica la produzione industriale delle informazioni e, allo stesso tempo, espande i mercati e i confini della loro fruizione. L'era analogica era caratterizzata da spazi confinati all'interno dei limiti imposti dai singoli mezzi di comunicazione e dai costi di produzione e di trasmissione. Quella digitale scopre i mercati globali e li raggiunge attraverso percorsi rizomatici. Le vecchie agenzie dell'informazione si trasformano anche in versioni digitali, entrando per di più in competizione con il consumer della Rete. Si scontrano globalizzazione e segmentazione estrema dell'informazione: le reti satellitari consentono una fruizione planetaria dello stesso segnale trasmesso, ma se guardiamo ad esempio alla TV digitale ci si rende subito conto dell'estrema tematizzazione dei contenuti veicolati: continuità e discontinuità, unificazione e targettizzazione, comunità virtuali e pay-per-view isolazionista. Come afferma Thompson (1998), pur non riferendosi esplicitamente alle nuove tecnologie, si è in presenza di un duplice fenomeno: da una parte, si assiste ad una globalizzazione delle telecomunicazioni, dall'altra ad una localizzazione ed individualizzazione della fruizione dei contenuti. Solo la discontinuità del digitale rende possibile la creazione di mondi collegati: la continuità della cultura contemporanea nasce dalla trasmissione discreta delle sequenze informatiche binarie. Con la nascita delle grandi rete di fibre ottiche l'informazione di massa diventa il suo opposto, cioè informazione personalizzata.

L'estensione della interattività e l'unificazione del medium (il pc-tv e la tv-pc), ovvero ciò che da più parti viene definita come "convergenza", completano il quadro e insieme fanno saltare in aria il tradizionale sistema dei media. All'interno della società della connessione, l'uomo digitale riesce a far convivere codici e linguaggi diversi all'interno della stessa macchina. Sempre la stessa, ma di volta in volta capace di implementare funzioni e utilità differenti. L'etica della discontinuità viene a configurarsi come causa e conseguenza del linkage quotidiano che l'uomo ha adottato come suo schema di pensiero. La traduzione di questa nuova struttura cognitiva è la convergenza di informazioni diverse sullo stesso supporto nonché l'alimentazione di diversi supporti attraverso le medesime informazioni. E così ritroviamo il frigorifero nel computer e quest'ultimo nella lavatrice, così come, l'industria del telefono in quella delle canzonette: il sogno fatto carne di Negroponte.

Stiamo infatti già assistendo all'estensione della interattività e all'unificazione del medium: processi che completano il quadro e insieme ridefiniscono il tradizionale sistema dei media e delle reciproche relazioni che la storia delle comunicazioni ha ciclicamente attraversato. Siamo dunque di fronte a un vero e proprio rimescolamento, molto più rilevante in quanto investe simultaneamente molti aspetti: le forme di comunicazione, i linguaggi, la mentalità corrente. Un unico mezzo per infinite funzioni, il concetto di multimedialità o meglio ipermedialità si estende anche agli oggetti fisici, non più solo al diverso approccio verso l'organizzazione dei contenuti. Con le modalità di trasmissione analogiche, diversi tipi d'informazione non potevano viaggiare insieme sullo stesso supporto ed essere decodificati dal medesimo terminale. Il segnale radio di un televisore era infatti totalmente diverso da quello di un telefono mobile e, per essere tradotto in immagini, aveva bisogno di circuiti dedicati assenti in un telefono.

L'adozione di una rappresentazione digitale in luogo di quella analogica, nel video, nella musica, nella stampa e nelle telecomunicazioni in generale, potenzialmente trasforma qualunque forma di attività umana di tipo simbolico in software, e cioè in istruzioni modificabili per descrivere e controllare il comportamento di una macchina. L'utente di fine secolo, la cosiddetta generazione Napster, trova la cifra della propria formazione culturale e della propria interazione con la realtà circostante nell'interfaccia e nell'ipertesto. Si tratta di due elementi che hanno cambiato radicalmente il nostro modo di rapportarci all'informazione generando un coinvolgimento continuo da parte dello spettatore, tanto da rendere questa parola desueta. Chi utilizza Internet è un utente che modifica l'enorme flusso d'informazione, secondo le sue esigenze, per il semplice fatto che se le costruisce attingendo da un archivio comune e spesso gratuito.

Questo è il risultato dell'incontro tra arte e scienza, della formazione di una nuova cultura che ha carattere popolare e si basa sulle conseguenze di una tecnologia che ha invaso il nostro ambiente culturale e promuove un processo di sviluppo automatico sostenuto dalle stesse innovazioni tecnologiche e da un permanente desiderio di cambiamento. La tecno-cultura realizza in parte la globalizzazione di una nuova generazione a cui è permesso l'accesso alle merci tecnologiche high-tech, e la conseguente familiarità con gli strumenti utilizzati, ma anche un dialogo con le derive culturali che contribuiscono a sviluppare nuove dinamiche all'interno del pubblico discorso. L'epoca digitale comporta, dunque, una diversa percezione delle cose, una percezione non-analogica che è molto più vicina al sentire tipico delle arti. Nel paesaggio mediale, nel villaggio globale, ogni comunità produce segni e significati, ogni cultura che si rispetti si fonda su un insieme di esperienze e di valori condivisi. Attraverso l'uso delle nuove tecnologie si va sempre di più verso una società sintetica, sintetica in diverse accezioni; innanzitutto si intende per comunicazione sintetica la velocità, l'accelerazione degli scambi comunicativi. Ma per sintetica intendiamo anche la sintesi di apparecchiature diverse che fino a poco tempo fa erano considerate assolutamente non reciprocamente interferenti e che con l'avvento delle nuove tecnologie possono, in realtà, interagire. E, ancora, sintetica anche nel senso di ricreazione di immagini, di oggetti fondamentalmente molto vicini all'originale: il sintetico si contrappone al reale o all'oggetto vero, all'oggetto-punto e alla riproduzione dell'oggetto in rapporto alla vecchia riproduzione delle tecnologie tradizionali (Bettetini, 1998).

La digitalizzazione crea un testo di dimensioni planetarie, che si sviluppa senza soluzione di continuità (De Carli, 1997), un ipertesto che nasce dai legami che si instaurano tra i vari testi immessi nella rete. Internet è la nuova "semiosfera" (Lotman, 1997), che come una pellicola, una sottile patina di segni e codici linguistici avvolge la biosfera, il pianeta-terra, "interamente fasciato di reti telematiche". A dispetto di quanti individuano una degenerazione della "società dell'immagine", Internet vive prevalentemente di comunicazione scritta. Ma la comunicazione a stampa, la "galassia Gutenberg", è fatta di carta, inchiostro, di fisicità, è immersa nel mondo materiale di cui subisce le leggi della creazione come dell'usura del tempo. Internet non sarà certamente un'intelligenza artificiale che ha acquisito una propria personalità; ma se è vero che il bit, come scrive Pancini, tende a divenire "quasi una nuova Weltanschauung dell'uomo prossimo venturo", sta nascendo progressivamente un altro mondo, fatto di quelli che Augé chiama "non-luoghi" (1993), che nondimeno vengono avvertiti nella loro surrealtà dai nostri sensi: sullo schermo dei computer c'è un mondo che non esiste e che comunque noi percepiamo come reale.

La commistione tra reale e virtuale non deve però trarre in inganno: fin quando si è immersi nel Cyberspazio, è percepibile un abbattimento netto della distinzione centro-periferia, ma non appena oltrepassata la sua soglia, re-immessi nel mondo reale, ci si accorge delle distanze abissali (e ancora analogiche) che separano dai luoghi materiali e immateriali.

L'equivoco contemporaneo risiede proprio nella confusione tra due mondi ancora distanti: quello della conoscenza e quello della programmazione. Il digitale si configura come una possibilità di rappresentazione del reale, ma pur sempre come una modalità di semplice trasmissione dei contenuti. Fornire i contenuti è (e resterà sempre) compito dell'homo analogicus.

Descrizione

Analogico e digitale
Per analogico si intende un sistema in cui una quantità fisica continuamente variabile (ad esempio, l'intensità di un'onda audio) viene rappresentata da un'altra (ad esempio, la tensione di un segnale elettrico) nel modo più fedele possibile. È il sistema dell'approssimazione, dell'imprecisione, dell'opposizione originale/falso. È digitale invece un sistema o dispositivo che sfrutta segnali discreti per rappresentare e riprodurre segnali continui sotto forma di numeri o altri caratteri. È l'universo nel quale le informazioni vengono rappresentate da stringhe di 0 e 1, attivo/inattivo, alto/basso, acceso/spento, vero/falso.
L'analogico che, come spiega la parola stessa, tende ad evidenziare il legame che esiste tra i fenomeni, secondo grandezze continue che subiscono progressive trasformazioni, è custode e testimone del tempo, della tradizione; il digitale è invece il regno dei caratteri discreti, discontinui, un mondo dove le cose non avranno sfumature. Saranno 0 o 1, dentro o fuori, bit o non-bit.

Nella parabola della sofisticazione di ciò che si ha intorno, non si inscrive solo un processo di miglioramento tecnologico, ma trovano spazio i geni nuovi di un cambiamento e di un ripensamento dell'intero modo di concepire il reale, le sue cose e gli usi che ne facciamo. Il passaggio dall'analogico al digitale non riguarda solo ed esclusivamente il mondo della tecnologia ed i suoi fruitori, non solo i massmedia e quanti, in questi anni, si sono occupati di vecchi e nuovi media. Parlare di analogico e digitale, in fondo, significa oggi parlare delle due esclusive modalità di produzione e fruizione del flusso comunicativo (o forse, delle più importanti categorie di gestione e comprensione della realtà).

Il termine digitalizzazione deriva dalla parola digitale; essa indica la trasformazione o la realizzazione di uno strumento di misura di una grandezza fisica, o di un'apparecchiatura di elaborazione
dei dati, oppure di un sistema di comunicazione in modo tale che la
grandezza di uscita sia espressa in forma numerica e non in forma
analogica. Il termine è anche riferito alla grandezza fisica stessa.

Livelli di analisi e pertinenza
È a questo proposito, dunque, che sarà opportuno scindere le coordinate di una riflessione sull'argomento in 3 livelli di analisi e pertinenza:
1) un primo livello attinente alle dinamiche del sistema produttivo più generale;
2) un secondo livello relativo ai percorsi di integrazione e differenziazione del sistema mediale;
3) infine, un'ultima dimensione, attenta alle ripercussioni verificatesi nel sistema sociale e culturale delle comunità investite dall'avvento delle ICT's.

Per quanto attiene la sfera produttiva, va detto che la rivoluzione digitale parte da molto lontano, trovando prodromi in tempi insospettabili. Essa va letta come un processo che non ha trovato una sua realizzazione fulminea con l'avvento del bit, ma attraverso un decennale percorso, alimentato dalle necessità che il sistema produttivo via via esprimeva. Già il telegrafo e le prime macchine computistiche funzionavano secondo una logica digitale, pur non possedendo la tecnologia del bit. Esisteva, insomma, già una prima esigenza nella catena produttiva.

Nel suono
Negli ultimi anni, di pari passo con l'avvento della digitalizzazione, le applicazioni multimediali si sono diffuse sempre più sino a diventare d'uso comune. Una delle caratteristiche della multimedialità è certamente l'utilizzo di audio digitale vocale e sonoro. Il più grande ostacolo legato alla digitalizzazione dell'audio è l'elevata dimensione dei file che si vengono a produrre, il che pone agli operatori del settore (in particolar modo quelli legati ad internet) il problema di ridurre lo spazio occupato dai dati per ottenere il duplice vantaggio di:

 risparmiare in termini di occupazione di memoria;
 risparmiare in termini di tempo di trasferimento sulla rete.

Per questa ragione, quando parliamo di digitalizzazione dell'audio, dobbiamo parlare anche di tecniche di compressione dei dati.
Le tecniche di compressione dei dati, di qualsiasi natura essi siano, si dividono in:

 lossy: comprimono i dati attraverso un processo con perdita d'informazione che sfrutta le ridondanze nell'utilizzo dei dati
 lossless: comprimono i dati attraverso un processo senza perdita d'informazione che sfrutta le ridondanze nella codifica del dato

A seconda della tecnica di compressione utilizzata sono stati creati vari formati. L'MPEG è uno standard comune per la codifica audio-video.

Parametri fondamentali
Il suono è un segnale continuo, per essere memorizzato deve essere campionato ottenendo così un segnale digitale. Tre sono i parametri che caratterizzano il campionamento, tali parametri influenzano sia lo spazio occupato sia la qualità del suono:

 numero di canali
 risoluzione
 frequenza di campionamento

Il numero di canali
Esistono due modi di ripartizione dei canali audio: Mono e Stereo. La modalità Mono ha un solo canale mentre quella Stereo ne ha due separati (sinistro e destro). Ovviamente un segnale Stereo occupa, in termini di spazio, il doppio di uno segnale Mono. Nelle applicazioni più recenti il numero di canali è notevolmente aumentato, si pensi al surround, ma come sempre nell'informatica il problema sorge nel passaggio da uno a molti, e non interessa se questi molti siano due, dieci o più.

La risoluzione
Rappresenta il numero di bit utilizzati per rappresentare i campioni; solitamente si utilizzano 8 o 16 bit per campione: nel primo caso si hanno 256 valori possibili, relativamente pochi, infatti offrono una qualità del suono inferiore a quella di un nastro, nel secondo si hanno circa 65000 valori.

La frequenza di campionamento
È il numero di campioni al secondo; può variare da 11 kHz adatta alla registrazione della voce, a 22 kHz adatta alla registrazione di un nastro fino a 44 kHz per una registrazione a qualità cd. Questo parametro merita una maggiore attenzione rispetto ai precedenti, infatti segnali analogici diversi possono dare luogo allo stesso segnale campionato.
Per questo motivo è possibile che segnali analogici diversi, se campionati con una frequenza troppo bassa, diano luogo alla stesso audio digitale.

La teoria del campionamento, in particolare il teorema del Campionamento di Nyquist-Shannon, ci fornisce la soluzione a tale problema, infatti per avere una relazione univoca fra il segnale originale e quello campionato è sufficiente che la frequenza di campionamento sia il doppio della massima frequenza del segnale originale. Sinteticamente può essere spiegato così:
"Se si prendono dei campioni molto stretti fra di loro (frequenza di campionamento alta), ed il segnale varia lentamente nel tempo (la banda del segnale è sufficientemente stretta) si possono ricongiungere i vari punti individuati dai campioni senza intaccare la qualità del suono originale."
Il famoso bitrate, non è altro che il prodotto dei tre fattori appena citati (numero di canali, frequenza e risoluzione), ovvero non è altro che il numero di bit necessari per riprodurre un secondo di suono e si misura in bit/s.
Esempio: Un minuto d'audio stereo con qualità CD occupa circa 10 Mb (2 canali *2 byte per campione *44.1 kHz *60 s) mentre la riproduzione richiede una bitrate di 1,4 Mbit/s (2 canali *16 bit per campione *44.1 kHz).

Le tecniche di rappresentazione
Attualmente esistono diversi metodi per rappresentare dati audio; di seguito sono descritti brevemente alcuni formati.

WAV, AIFF
Sono i formati più semplici creati rispettivamente da Microsoft-IBM e Apple. Si basano sulla tecnica di modulazione a codifica numerica d'impulsi (Pulse-Code Modulation o PCM), sono cioè, una registrazione fedele dei suoni in formato digitale. Entrambi occupano una notevole quantità di memoria, circa 10 MB per minuto, e sono utilizzati a livello professionale.

Midi
Questo formato nasce come standard per strumenti musicali digitali. Un file .midi può essere visto come uno spartito interpretato da un sequencer, infatti al suo interno contiene una sequenza di comandi che indicano quale nota far suonare, da quale strumento, con quale intensità e per quanto tempo. Questo comporta un notevole risparmio di spazio: un intero brano musicale, della durata di svariati minuti, può occupare qualche decina di kbyte, infatti ogni singolo evento MIDI occupa soltanto 11 byte.

Streaming audio: RAM, RM, ASF, ASX
Lo streaming è il trasferimento in rete dei dati audiovisivi in tempo reale; tutto questo senza tempi d'attesa derivanti dal download completo del file sull'disco rigido del computer. Con lo streaming, infatti, non viene scaricato l'intero file audio prima di consentirne l'ascolto, ma la riproduzione inizia per ogni blocco di due secondi d'ascolto; nel frattempo viene scaricato il successivo. Si possono verificare momentanee interruzioni nella riproduzione, nel caso in cui il traffico nella rete risulti congestionato. Le due principali tecnologie d'audio streaming utilizzate sono Real (attraverso Real Player), e Windows Media (attraverso Windows Media Player). La tecnologia dello streaming audio ha permesso, per esempio, alle principali emittenti radiofoniche di presentare sui propri siti web i loro programmi trasmessi via etere.

DAB: Digital Audio Broadcasting
È un sistema di trasmissione di segnali radio digitali via etere. Il DAB si basa su un algoritmo di compressione audio simile a MP3 ma evoluto per la trasmissione di bouquet di pacchetti che permettono all'emittente di presentare più di una versione dei suoi programmi. La qualità della trasmissione è variabile secondo la banda occupata. Durante la trasmissione sono usati i codici cyclic redundancy check (CRC) per correggere errori e mantenere la trasmissione ad un elevato livello qualitativo anche in condizione di ricezioni non ottimali.

Nelle immagini fisse

Un'immagine digitale è un insieme ordinato di numeri interi, ottenuti dalla scansione di un'immagine analogica (sorgente), utilizzando un'apparecchiatura speciale detta scanner (digitalizzazione di un'immagine analogica) o tramite l'utilizzo di fotocamere digitali che producono direttamente l'immagine digitale dalla scena ripresa.

Ogni numero dell'insieme ordinato rappresenta l'intensità luminosa media (livelli di grigio) di un'areola corrispondente nell'immagine sorgente, detta pixel (PICture ELement). L'areola è rettangolare e caratterizzata da due dimensioni dX (orizzontale) e dY (verticale), dette passi di campionamento della digitalizzazione, mentre i reciproci (1/dX e 1/dY) vengono detti frequenze di campionamento.

L'insieme ordinato di campioni assume l'aspetto di una matrice o tabella numerica composta da un certo numero di righe (M) e di colonne (N). Ogni campione o elemento di tabella è localizzato tramite il suo numero di riga e di colonna, supponendo che il primo pixel in alto a sinistra costituisca l'origine.

La capacità di ogni sistema di digitalizzazione di eseguire misurazioni più o meno fini viene detta risoluzione. Questa si divide in radiometrica e geometrica: Risoluzione radiometrica: è la minima differenza di luminosità rilevabile e viene anche detta profondità del colore in bit (da 0 → nero, a L-1 → bianco) e ogni sistema d'acquisizione utilizza una diversa risoluzione tra:

 in bianco e nero
 1 bit: 2 valori possibili (0,1)
 a livelli di grigio
 8 bit: valore standard (256 livelli di grigio possibili)
 10, 11, 12, 16... bit: per applicazioni sofisticate
 a colori
 24 bit
 30 bit
 36 bit
 48 bit

Risoluzione geometrica: è legata all'ampiezza delle areole, minori sono i passi di campionamento (dX e dY), maggiore è la risoluzione geometrica del dispositivo.
La risoluzione geometrica viene misurata in punti per pollice o DPI (dots per inch).

Le immagini digitali possono essere:

 Raster o bitmap (matrici di pixel)
 Immagini binarie
 Immagini a livelli di grigio
 Immagini a colori dotate di palette (o CLUT, color look-up table)
 Immagini RGB (True color, ogni matrice R, G o B è un'immagine a livelli di grigio)
 Vettoriali
 Immagini definite da moduli grafici (punti, segmenti, poligoni, poliedri...)
 Miste bitmap + vettoriale

Per ogni tipo di immagine occorre fare un discorso a parte sulla memorizzazione e sulla qualità/spazio occupato; per esempio in un file bitmap sono contenute informazioni quali: tipo di immagine, numero di righe e di colonne, profondità dei pixel (risoluzione radiometrica), palette del colore (se presente), valori dei pixel e informazioni aggiuntive come la data di creazione, le coordinate dell'origine, risoluzioni geometriche, etc.

Tecniche di memorizzazione dei valori dei pixel:

 Senza compressione (il numero dei valori memorizzati è M x N e non c'è nessun risparmio di spazio)
 Con compressione (il numero dei valori memorizzati è inferiore a M x N con un risparmio proporzionale al grado di compressione Y = byte originali / byte dopo la compressione)
 senza perdita di informazione (lossless)
 con perdita di informazione (lossy)

I principali metodi di compressione lossless sono:

 Run-length encoding (RLE): compressione delle sequenze di pixel consecutivi uguali
 Lempel-Ziv-Welch (LZW): ogni sequenza significativa di pixel viene isolata e immessa in un dizionario dei dati (inserito nel file) e sostituita dal suo numero nel dizionario

Il più usato e diffuso metodo di compressione a perdita di informazione, anche se non è il più efficiente è il JPEG (Joint Photographic Expert Group) che comprime separatamente i dati di luminanza e quelli di cromaticità con rapporto di compressione controllabile dall'utente tramite la percentuale di perdita di informazioni.

Ad ogni formato di file e a ogni metodo di compressione usato per le immagini, corrisponde un'estensione diversa del nome del file come: BMP (BitMaP), GIF (Graphics Interchange Format), JPEG, MAC (Mac Paint), PCD http://www.r4-dsi.it (KODAK Photo CD), PCX (PC Paintbrush File Format), PNG (Portable Network Graphic), PSD (Adobe Photoshop image format), TARGA (Targa Image File), TIFF (Tag Image File Format), RAW format (semplice memorizzazione della matrice dei pixel riga per riga).

Nelle immagini in movimento
Un video o filmato è costituito da una serie di immagini, chiamate fotogrammi, che si susseguono in rapida sequenza.

 I-Frames (fotogrammi di tipo I, chiamati anche Intra-Frames o Key-Frames ): vengono codificati utilizzando le informazioni contenute nel fotogramma stesso, non contengono nessun riferimento o informazione sui fotogrammi adiacenti e sono compressi identicamente ad un'immagine singola (per es. JPEG); essi vengono inseriti in genere quando c'è un repentino cambiamento tra due immagini successive, ma sono comunque spesso vincolati da un intervallo massimo tra loro (Maximum I-Frame Interval) che corrisponde solitamente a 10/12 secondi (circa 250/300 fotogrammi), utili per le ricerche di una particolare scena.
 P-Frames (fotogrammi di tipo P, Predicted Frames, chiamati anche Delta-Frames o Inter-Frames): vengono codificati utilizzando informazioni acquisite in base al fotogramma precedente, sia questo di tipo I o P e, quindi, utilizzando le somiglianze tra fotogrammi successivi, risultano più piccoli degli I-Frames; partendo dalla considerazione che per ogni secondo di video si susseguono 25 fotogrammi, risulta molto più efficiente memorizzare non i singoli fotogrammi in modo indipendente, ma esclusivamente le minime differenze tra loro, operazione resa semplice utilizzando questo tipo di fotogrammi, con il risultato di memorizzare un numero significativamente più basso di bit. Tali fotogrammi quindi contengono le informazioni della posizione (X',Y') nel fotogramma corrente in cui si è spostato un blocco che aveva coordinate (X,Y) in quello precedente (Motion Estimation / Compensation).
 B-Frames (Bi-directional encoding): con questo tipo di fotogrammi la ricerca del moto (Motion Estimation / Compensation) è effettuata sia sul fotogramma precedente sia su quello successivo, alterando l'ordine con cui i fotogrammi vengono archiviati all'interno del file video compresso del fotogramma corrente con quello successivo (per es. I B B P → I P B B);

Un concetto importante è quello di bitrate. Il bit-rate (velocità dei bit) è la quantità di bit che vengono trasmessi in ogni secondo e viene misurata in bps (bit per secondo); più alto è il bitrate, più alta è la quantità di bit riservata ad ogni fotogramma e conseguentemente maggiore sarà il numero di informazioni che possono essere memorizzate, quindi la qualità del singolo fotogramma.

Per quanto riguarda la compressione video, ci si comporta analogamente alla compressione di una singola immagine, moltiplicata per il numero di fotogrammi che si susseguono, utilizzando propriamente i tre tipi di frames e le regole di encoding/decoding.

Per effettuare la compressione vengono utilizzati elementi detti Codec video (Coder/Decoder), programmi composti da un encoder, il cui scopo è comprimere una sequenza di immagini (video) per archiviarla in un file e un Decoder, necessario per decomprimere la sequenza e poterla nuovamente visualizzare.

Le tecniche di compressione video possono essere suddivise in due grandi categorie:

 Lossless: la compressione è un processo perfettamente reversibile che avviene senza perdita di informazione e dove video originale e video decompresso sono identici in tutti i dettagli
 Lossy: tecniche di compressione non reversibile, nelle quali video compresso e decompresso non sono più identici in quanto al momento della compressione sono state volutamente eliminate alcune informazioni con lo scopo di occupare spazi ridotti; tali tecniche sono le più diffuse e conosciute, come le codifiche MPEG (1, 2 e 4), DivX, Xvid, etc...

Nei documenti cartacei

Nell'olfatto
Gli ultimi studi nell'ambito della misurazione degli odori hanno portato alla digitalizzazione e alla creazione di un naso elettronico. Si parla di sistema olfattivo artificiale (SOA).

Voci correlate
 Acquisizione dati
 Digitale (informatica)
 Distribuzione digitale
 Motion capture
 Dematerializzazione
 Document management system
 Applicazione web

Altri progetti

Teorie dell'informatica


Yacht Club Games, winner of several Indie Game of the Year awards in 2014, have released their debut title, Shovel Knight, on PlayStation Vita.
The game has officially launched in the US as part of the Spring Breeze promotion on PlayStation Network, meaning that US gamers will receive a 10% discount on their purchase of the game for the first week it's on sale, so make sure you grab that deal while you can.
In further news, news on the upcoming Challenge mode for the game has been revealed via a post on Yacht Club Games' official website, which will go live when the upcoming DLC, Plague of Shadows, becomes available via a free game update.
Be sure to stick with The Vita Lounge as we'll be sure to give you updates on the upcoming content for the game as well as a review for the base game in the coming weeks.
I'm all on this when I can cough up the dough! Look's great!


Oscar-winning actor Michael Douglas got a star on the Hollywood Walk of Fame on Tuesday in honour of his 50 years in show business. The megastar was joined at the ceremony by his 101-year-old father and Hollywood legend Kirk Douglas as well as Jane Fonda, who starred with him in the 1979 drama "The China Syndrome," about an accident in a nuclear power plant.
Also attending was Douglas's wife, the actress Catherine Zeta-Jones, and other family members. "This is a great honour and I'm not getting any younger, I want to enjoy it with (my family)," the 74-year-old actor said as the star was unveiled. Douglas got emotional and teary-eyed as he addressed his father, telling him that his presence at the event meant a lot.
"I'll say it simply and with all my heart, 'I'm so proud to be your son,'" he said, choking up. Speaking at the ceremony, Fonda wondered why it took so long for the younger Douglas to finally get his star. "Michael Douglas and I share something far more specific and unique than acting together," she said. "We both come from families referred to by the press as Hollywood royalty.


Mornings can be tough. Sometimes, a hearty breakfast and strong cup of coffee just aren't enough. Offering more than a rush of caffeine, best-selling author Paul David Tripp wants to energize you with the most potent encouragement imaginable: the gospel. Forget "behavior modification" or feel-good aphorisms. Tripp knows that what we really need is an encounter with the living God. Then we'll be prepared to trust in God's goodness, rely on his grace, and live for his glory each and every day.
Motherhood often looks like bottomless piles of laundry; a sink full of dishes; sleepless nights; and unshowered, nonstop, endless days. No wonder "Grumpy Mom" sometimes sneaks into your heart and home. Journey with Valerie and be inspired and equipped to find energy in the most unlikely places, pursue your own dreams, be set free from mom guilt, feel content despite unfinished to-do lists, spend purposeful time with God amid the daily chaos, and discover more joyous moments of motherhood. So take a holiday from Grumpy Mom, and enjoy life as the mom God made you to be.
Make your table a place where your family and friends long to be - where they will find rest, renewal, and a welcome full of love.
Beloved author Sally Clarkson (The Lifegiving Home, Own Your Life, Desperate) believes that meals lovingly served at home - and the time spent gathered together around the table - are a much-needed way to connect more deeply with our families and open our kids' hearts. Food and faith, mingled in everyday life, become the combination for passing on God's love to each person who breaks bread with us.
In The Lifegiving Table, Sally shares her own family stories, favorite recipes, and practical ideas to help you get closer to the people you love...and grow in faith together.
Loved this Book! Fantastic ideas and enlightening themes. Used this book in a Ladies Bible Study!
Inspirational for a mom in ministry!
I am a homeschool mom of three young boys, a missionary, and a pastors wife and I found this book a needed read for inspiration and encouragement to do what is my main ministry. Caring for my family does really spill over to others, and I get stuck and need this book to help me stay focused, gain ideas, and know I'm not alone!
I was so inspired while and after listening to this book. Easy to listen to.
Spoke to my heart and spirit!
I loved how down to earth the author is. Her suggestions and wisdom is practical and truly life-giving. So many takeaways, and I plan to purchase the hard copy to more easily follow the recipes she shares. This is one I will read more than once, share with others, and am inspired to lead a book club for it because it impacted me that much.


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Could Mercenaries Take on ISIS?
By Marian L. Tupy
In the aftermath of 9/11, the U.S. government urged counter-terrorism experts to think "outside of the box." What we got instead of innovative thinking was a rather conventional response to the 9/11 atrocities - invasions of Afghanistan and Iraq, followed by thousands of dead American soldiers and trillions of dollars in military spending and foreign aid. Today Iraq is, yet again, in the midst of a civil war, with large parts of Iraqi territory overrun by homicidal maniacs from ISIS. Afghanistan, if its present government is to survive, would likely require decades of American presence – something I along with millions of other Americans oppose.
Whether or not ISIS poses a threat to our homeland (and there are many doubters), the U.S. political establishment is united in believing that ISIS needs to be taken on. But, what is to be done? On the one hand, the aerial campaign does not appear to be achieving desired ends. On the other hand, the American public is understandably opposed to another ground invasion.
The rise of the nation-state has led many people to look to their governments for solutions to problems big and small. The nation-state, in turn, has crowded out other actors. When it comes to the application of violence, for example, why not try the time-honored alternative to national armies - the use of mercenaries?
This morning, The Telegraph ran an interesting story about an Eton-educated former Scots Guard and SAS man, Simon Mann. Mann became famous for partaking in an attempted coup d'état against the tyrannical ruler of the oil-rich African country of Equatorial Guinea,Teodoro Obiang Nguema Mbasogo. The coup failed, and Mann was caught and thrown in prison. Having miraculously survived 5 years in one of Obiang's jails, he returned to Britain. Today, Mann advocates for a mercenary approach to defeat ISIS. Should he be given a serious hearing?
To start, it is important to note that mercenary activity is more common and more beneficial than most people realize. Mann's "previous firm, Executive Outcomes," writes the Telegraph, "halted rebel movements in their tracks in both Angola in 1993 and Sierra Leone in 1995, the latter against the drug-crazed, limb-chopping rebels of the Revolutionary United Front. On both occasions it was in support of legitimate governments, and while some may have questioned the millions they were paid, nobody ever doubted their effectiveness…. [E]arlier this year, one of …[Mann's] old South African partners, Colonel Eeben Barlow, was back in action, this time fielding a force of fighters to help Nigeria defeat the Islamists of Boko Haram… [T]he group spent three months fighting alongside the Nigerian military, bringing with them years of hard-won experience in South Africa's apartheid-era bush wars. They had only around 100 men on the ground, but even in that brief time, they turned a demoralized and badly-led army into a fighting machine that finally pushed Boko Haram from its north-eastern strongholds…. With many of their men recruited from South Africa apartheid-era security forces, neither Nigeria nor the wider world has been keen to fete this achievement. But the fact remains that a group of mercenaries - or, to give them their polite name, a private military company - has succeeded in defeating one of the world's bloodthirsty insurgent groups, partly through sheer dint of being willing to put boots on the ground."
This is not to say mercenaries would be a panacea. America's recent experience in Iraq and Afghanistan with private contractors like Blackwater is a case in point. Blackwater employees were roundly criticized for reckless and unrestrained behavior, including wantonly killing civilians and bribing officials of foreign governments. Classified State Department cables, according to the New York Times, reported that the use of contractors "added to the war's chaos in Iraq."
Furthermore, it's not clear that private mercenaries could overcome the internal political problems in Iraq and Syria, which ultimately is what gives rise to problems like ISIS.
But is a private-sector approach to battling ISIS qualitatively better than a U.S. reinvasion of Iraq? Possibly. Let's outline some positives:
No U.S. casualties, except for those Americans who chose to join the mercenary outfit willingly. By the way, some Americans have already gone to fight ISIS as part of the Kurdish peshmerga.
No need to spend years and billions of dollars in a futile task of building up the Iraqi military. A mercenary outfit could be maintained relatively cheaply. All it would need is access to a bank account into which anyone interested in destroying ISIS could deposit money.
Anyone could join the anti-ISIS mercenaries: Arabs or Americans, blacks or whites, feminists and gay rights advocates. Hopefully, the multi-national and multi-religious nature of the mercenary force would dilute anti-Americanism in the region (i.e., the U.S. would no longer be seen as one of the chief participants in the region's conflicts).
On the downside, a successful push against ISIS would require U.S. aerial support and, presumably, intelligence sharing. But, the U.S. is doing that already - to very limited effect.
In the abstract, I do not see any principled libertarian objection to a multi-national and multi-religious mercenary force, which would be financed by anyone interested in the demise of ISIS. Heck, I would give them money.

redpajama_set_name: RedPajamaCommonCrawl


Surfs Up and these babies are ready to cowabunga in the cutest little long sleeved rashguard surfer suit. The crotch has our signature easy to open and close Snaps to change a dirty diaper on your salty baby. The New design has an adjustable keyhole tie in the back for extra comfort.


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Home Retail 'Disorder' Film Festival Offers Look at Siblings Touched by Rare Diseases
'Disorder' Film Festival Offers Look at Siblings Touched by Rare Diseases
Alice Melao
Rare diseases deeply affect not only the children who experience them, but also their healthy brothers and sisters, as their parents can attest.
Two entries in November's "Disorder: The Rare Disease Film Festival" will focus on what siblings go through, according to the San Francisco festival's co-founder, Bo Bigelow.
Bo Bigelow, left, and Daniel DeFabio, co-founders of "Disorder: The Rare Disease Film Festival." (Photo courtesy of Bo Bigelow)
"If you're a sibling of a child with a rare disease, there's so much going on — there's a lot to talk about," said Bigelow, whose 9-year-old daughter, Tess, has USP7, a disorder marked by a gene mutation that's been diagnosed in only 52 people worldwide. Lucas, son of the festival's other co-founder, Daniel DeFabio, has Menkes syndrome, which affects only 1 in 10,000 newborns.
Bigelow, who's also chairman of the Foundation for USP7 Related Diseases, said in a phone interview that he and DeFabio are delighted that several entries in the 2019 film festival will deal with subjects, such as siblings, that have not been covered before.
Some filmmakers in his year's entries also took different storytelling approaches than in the inaugural 30-film festival in Boston in 2017. Experimentation indicates the festival is maturing.
A festival poster promotes "Ian" by director Abel Goldfarb.
In all, 54 films will be shown Nov. 9–10 at the University of California-San Francisco's Mission Bay Conference Center. Ticket information will be available in mid-September on the festival's website and Facebook page. The full film lineup is here.
Rare disorders covered by this year's films include Batten disease, Sanfilippo syndrome, Angelman syndrome, Charcot-Marie-Tooth disease, sickle cell disease, cystic fibrosis, spinal muscular atrophy, Duchenne muscular dystrophy, multiple sclerosis, Friedreich's ataxia, hemophilia, Huntington's disease, epidermolysis bullosa, cerebral palsy, fragile X syndrome and mitochondrial disease.
Films about brothers and sisters are Jon Doflinger's "Unconditional: Raising a Glass Child with a PACS1 Sibling," which deals with a single rare disease, Blyth Lord's "Voices of the Siblings," which covers several disorders, and "At the Edge of Hope," Dan Salvo's tribute to those who grew in advocates, inspired by what family living with Batten, epidermolysis bullosa, and myofibrilar myopathy taught them.
Making room for every rare disease
Siblings whose parents devote most of their time to a sick child can feel jealous or neglected, according to the Seattle-based Sibling Support Project. They may also feel a range of other emotions, including the guilt of being healthy while a brother or sister is not.
To underscore their belief that each of the world's 7,000 or so rare diseases deserved its own film, Bigelow and DeFabio put word out that they would produce one about a disorder that had yet to be shot — and called for proposals.
From left, Tess Bigelow, Kate McCrann, Dana Bigelow and Bo Bigelow, co-founder of the "Disorder" film festival. (Photo by Patience Cleveland Photography)
The family they chose for the film that would become "Unconditional" has a son with the ultra-rare disorder PACS1.
"We didn't go in thinking about the sibling angle, but that's the direction Jon went in, and it was really eye-opening," Bigelow said.
Lord, executive director of the Courageous Parents Network, lost her daughter, Cameron, to Tay-Sachs disease. She interviewed a number of rare-disease patients' brothers and sisters on-camera. The idea was to "give space for those siblings to tell their stories," Bigelow said.
A typical rare disease film starts with parents explaining that they knew something was wrong with their child but did not know what, cuts to a doctor describing symptoms and a diagnosis, and ends with patents making a call to action — such as asking viewers to spread the word about the disorder or make a donation, Bigelow said.
One director who took a different approach this year was Dutch filmmaker Charlotte Driessen, who focused on how a rare disease brought a family together. Her film, "Kuluut," is about a cousin with Bohring-Opitz syndrome.
Bigelow said the question Driessen posed was one "that all us rare disease families wrestle with every day: How do I stay upbeat" in the face of never-ending challenges?
Celebrating 'inchstones'
Another film with an encouraging approach this year is Richard Krisher's "Hope for Haley," which celebrates the tiny triumphs of a girl with Bosch-Boonstra-Schaaf optic atrophy syndrome. Doctors describe the various developmental stages that healthy children go through as milestones. Krisher's film rejoices over Haley's "inchstones."
Lucas DeFabio flashes a smile at the first rare disease festival in Boston in 2017. (Photo courtesy of Daniel DeFabio)
Bigelow, a lawyer from Maine, and DeFabio, a New York filmmaker, met at the 2015 RARE Patient Advocacy Summit in Huntington Beach, California. They discovered that each had made films about their children's disorders — Bigelow's "Tess Is Not Alone" and DeFabio's "Menkes Disease: Finding Help & Hope."
DeFabio suggested they start a rare disease film festival.
When they called for entries for the 2017 initial event, Bigelow said, "we figured it was going to be our two films and a couple of other ones — and maybe we'd get a sponsor if we were really lucky."
Dozens of entries flooded in, and a flock of potential sponsors called to say, "Hey, we want to participate. How can we support this?"
Most of the films were done by professionals with a connection to someone who has a rare disease, Bigelow said. But a substantial number are the work of families with rare-disease members.
The quality of video in today's cellphones mean that amateurs can shoot excellent footage that can then be turned over to a seasoned editor to produce a finished product, he said.
The post 'Disorder' Film Festival Offers Look at Siblings Touched by Rare Diseases appeared first on Scleroderma News.
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YOU WILL OFTEN FIND OUR FLAMINGOS MARCHING OUTSIDE THEIR EXHIBIT DURING THE FLAMINGO MINGLE!
Caribbean Flamingos are bright pink or salmon in color, a result of eating shrimp. Chilean flamingos are pale pink with bright tips on their feathers. Caribbean Flamingos call North, Central, and South America their home – as well as the Galapagos regions. Chilean Flamingos reside further south, in the muddy wetlands of temperate South America.
Did you know a flamingo's signature pink color comes from its diet? In the wild, flamingos eat tiny algae and brine shrimp that live in the water. The brine shrimp and algae contain carotenoid pigments, the same nutrients that make carrots orange and beets red.
All New Starting Memorial Day Weekend!
We've added a new and memorable experience that will tickle you pink!
Thanks to a gift from The Family of Dan and Rhonda Hall, a new flamingo feed allows guests to come up close and personal with our flamingos by feeding them one of their favorite foods, krill! You can feed our flocks during one of three scheduled feeding times daily — 11am and 1 & 3pm. You need a feed ticket which is $3 or purchase the Total Adventure Package with all rides and feeds included in one price!
The Flamingos are located in the Flights of Fancy.
Have you ever seen a parade of flamingos?
In one of our newest animal demonstrations, you can follow these birds as they march — escorted by their keepers of course — the paths of the Encounters exhibit. Our flock of Caribbean flamingos was hand-raised and that makes them perfect for this encounter. You can tell them apart from our Chilean flamingos because the Caribbean species are slightly larger and a brighter shade of pink. Flamingos get their beautiful coloring from their diet of shrimp and other crustaceans. Don't miss out on this unique opportunity to connect with these amazing animals and learn more about them from the keepers themselves (they're the ones in the bright pink shirts).
The Animal Amigo program helps care for all of the animals at the Zoo by funding food, medical treatment, equipment, enrichment toys, and habitat improvement for the animals in our care. For a donation of $100 or more, you con sponsor a flamingo at the Indianapolis Zoo. You will receive a plush, collector card, certificate and recognition on the Animal Amigo donor board!


If you are new to our blog, then you should know that the one word most read about here on our blog space and the one word most said in our office space on a regular basis is magic.
We're all adults here, but as they say, growing old is mandatory and growing up is optional. So why not create your day, your life and your environment to be a magical one?
Let's start at the beginning. The word 'magic' as a noun has a meaning of a quality that makes something seem removed from everyday life, esp. in a way that gives delight. As an adjective, the word can mean wonderful and exciting.
Magic comes from creation. And to be able to create a business where people enjoy waking up in the morning to go to their job is magical in itself. Add a tablespoon of childhood memories mixed with four cups of beads, jewels and string, and you got yourself an Alter Ego by Erika Walton, one-of-a-kind, uniquely miraculous piece.
After you are done imagining that, open your eyes.
That place is real. It can be real for you, too. Create a structure that you can reference on a weekly—daily—hourly basis. Create something that you and your team can play together to constantly move –the business—your family—whatever it is you have at stake— FORWARD.
If we have nothing else to live for but the present, while creating the future of our dreams, then create magic.


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1 co untry, as they were mainly responsible
Topic: Culture › Cultural Diversity
1 Human Diversity and Cultural Background	Rachel White	RADR 1201	-012	Raul Puga	November 28, 20182 America has always been a nation of immigrants from the very beginning. It first started out with Native American tribes, in which they all interacted with settlers differently. It was so immensely diverse that many people of different countries and cultur	es from more than one European country of origin.
They all raided the new continent, helping to shape America in many different ways. Many of it was orchestrated by the French, British, Spanish, and Dutch. According to www.studyhumandiversity.com	, The German, Irish, Scottish, and Scandinavian were also amoung some of the many groups that came here next. The article also states that, "W ith the opening of the West to the relentless march of American expans	ion, these people would be the backbone of settling the Western frontier, as well as providing cheap labor on the eastern seaboard. They also were frequently the ones starting new settlements and states out on the Western frontier.
" Eastern Europeans, Ital	ians, Chinese and the Japanese came next. Around this time, as the industrial revolution came into full effect. These groups would be the ones who transformed American society.
The Chinese would make a very considerable contribution to the growth of the co	untry, as they were mainly responsible for much of the backbreaking work of building the railroads that would connect the East and West for the first time. This was an amazing contribution to the United States.	Lastly, since World War II, Mexican, Latin Am	erican, Middle Eastern, and South Eastern Asians have immigrated in large numbers. Today, many of these people open businesses and have been, in large part, responsible for the construction boom in America's ever	-growing economy.3 So	when you think about cultural diversity what is your first thought? Do you think of religion? What language do they speak? What is their culture like? W hat is their racial identification? Or W hat is traditional in their country? All of these questions mak	e up what cultural diversity is all about. Culture is what shapes us in this country. It influences our behavior, identity, and how we live.
More specifically, culture can also be known as our "way of living". Kind of like our shared language, beliefs, val	ues, norms, and materialistic objects that are passsed down from generation to generation. Many different cultures have different traditions as well.
For example, in Mexico, it is common for a girl to have a big celebration for her 15	th birthday, also know	n as a Quinceañera. It is a very traditional party in their country. Different kinds of races have such interesting traditions and beliefs that's why I find human diversity so fun to learn about. I believe this is what The United States of America is built	on.
Its built on human diversity and their cultural backgrounds along with religion as well. W hen other cultures bring their beliefs and religions here it gives us all an opportunity to explore their country and learn about their life and why they believe	and do what they do. All races encompass a multitude of different ethnic groups. Characteristics such as culture, language, and religion refer to an ethnic group. There are many upon many ethnic groups in the United States, this contributes greatl	y to America's cultural hertige. From African Americans to Mexican Americans, the United States is one of the most culturally diverse countries in the terms of culture.
Although the the term "culturally diverse" is often used with the concept of "multicult	urism." Multiculturalism is reffered to as beliefs and behaviors that recognizes the presence of all diverse groups in an organization or society, acknowledges and values their socio	-cultural differences, and4 encourages and enables their continued contribu	tion within an inclusive cultural context which empowers all within the organization or society. While talking about human diversity, it is also interesting to know about your cultural background as well.
Many of our ancestors came to this country hundre	ds of years back, so many people may not know much about their cultural background but it doesn't hurt to look into it. It can help you explore your place of upbringing, religion, ethnicity, and socio	-economic status along with other factors that created y	our identity as a person. But you must first understand your culture before you can respect anyone elses. This understanding starts off with recognizing the customs, values and views of the world passed down from grandparents to parents or acquire your own	experiences as you grow up. So if you are aware of your cultural background, it is definitely something to be proud of!5 References	www.britannica.com	www.
study.com	www.humanservices.com	www.nationalgeographic.com	www.reference.com
Who is responsible for Romeo and Juliet's death
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Executive Summary This case study is mainly focused on the problems faced during the design and construction of Bhakra-Nangal Dam which is ascertain in northern part of India across the Sutlej river
Virus protection The main purpose of antivirus software is mainly to protect the computer from getting a virus
Forests of Australia consist mainly of different species
Science Breakthroughs were made by researchers in Asia were mainly Muslim Hindu mathematicians came up with the Arabic numeric system Islamic tile patterns were based off of the many math advances Paper Originally came from China and passed through Silk Road Chinese used tropical plants Middle east used cotton fibers for smooth paper Shias Didn't believe in line of succession not from Mohammad's family = center of rebellions ISLAMIS = Shia sect emphasized the hidden truths of the Quran and importance of an imam
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Keeping secrets is an inescapable part of being human. The average person is keeping 13 secrets right now. Five of them are secrets they've never told anyone. Exposing something could make us vulnerable to judgment and scrutiny. However, the cost of hiding a secret is less obvious and more insidious.
Through the process of filming our documentary, Head to Head, my sister and I have interviewed over 20 women who literally come face-to-face with their biggest secret everyday and must choose to either fit in or stand out. These women have lost their hair for medical reasons, either from cancer treatment or autoimmune conditions, like Alopecia or Lupus. The women we interviewed explain how the most devastating part of losing their hair is the rift that forms in her self-identity.
For some, this persistent worry starts to make them frustrated, defensive, angry and tired. It's a vicious cycle, too. Disengagement from vital relationships and social life oftentimes leads to depression and/or other mental health issues, which impacts their physical ability to bounce back from the medical issues that are causing the hair loss.
These stories reach far beyond hair and teach us how important it is to feel comfortable presenting your true self, which is only possible if our environment fosters inclusion, compassion and understanding.
In a business context, inclusion is starting to become a bigger priority in work culture. Deloitte, a leader in diversity initiatives, argues why it should be. Deloitte conducted a major study, titled "Uncovering Talent: A new model of inclusion," which finds this perception of needing to cover up a piece of your identity to fit into workplace "norms" is extremely pervasive for everyone and, in fact, impacts productivity and satisfaction at work. The energy required to behave in conforming ways is energy taken away from getting work done. Deloitte challenges all businesses to encourage authenticity at work, starting at the top. Fostering culture of inclusion is not only the right thing, it's good business.
How/Why do I create "versions" of myself to fit in?
How does my environment, filled with social media blitzes, rapid-fire interactions, and insta-judgments, shape different iterations of myself tailored for different situations?
What would happen if I put it all out there and presented my true, authentic self?


For the first time, the widely used molecular synthesis technique known as click chemistry has been safely applied to a living organism. Researchers with Lawrence Berkeley National Laboratory (Berkeley Lab) and the University of California (UC) Berkeley have crafted a unique copper-free version of click chemistry to create biomolecular probes for in vivo studies of live mice. Conventional click chemistry reactions require a copper catalyst that is toxic to cells and organisms.
Along with the usual mix of teabags, banana skins and egg shells, compost bins of the future could contain biodegradable electronic circuits, according to researchers in the US. The electronic components could also be made biocompatible, so they could be implanted into the body for a short period of time before being broken down and absorbed without the need for a second operation to remove the implant. Such devices could include electronically activated drug-release systems or temporary biosensors, for example.
Super-efficient catalysts for conversion of waste carbon dioxide from power stations into useful cyclic carbonate molecules could help reduce emissions and the petrochemical industry's dependence on fossil fuels, say UK chemists.
A solid-supported catalyst that works at 60°C and atmospheric pressure could be integrated into power stations to remove CO2 from the flue gases and react it with epoxides to make cyclic carbonates, which are used as electrolytes in lithium ion batteries as well as environmentally friendly solvents and degreasers.
In revisiting a chemical reaction that's been in the literature for several decades and adding a new wrinkle of their own, researchers with Berkeley Lab and the University of California (UC) Berkeley have discovered a mild and relatively inexpensive procedure for removing oxygen from biomass. This procedure, if it can be effectively industrialized, could allow many of today's petrochemical products, including plastics, to instead be made from biomass.


With GERALD, a radically simple random generator was developed from November 21, 2017 to January 10, 2018, which generates mini-tours through museums at the push of a button, making expert knowledge and background information about exhibits accessible to everyone in a low-threshold manner. With the aid of a CMS, both the images for the search run and the dedicated descriptions of individual works are generated and the data is then automatically transferred to GERALD via USB stick.
The finished prototype was successfully tested and presented to the client museomix. Apart from this, a total of six other companies were involved in the project.
The collaboration with Fluxdock and the team was felt to be very productive and balanced. Above all, the various expertise that the team members contributed to the project was a great advantage.
Also in this project were the tools Slack, Trello, Doodle and Google Drive application. Slack was used as the project platform above which content and documents were exchanged. Google Drive was mainly used for the subsequent project documentation.


I have looked at every build diary on this website and continue to be in awe. The ingenuity and craftsmanship going into the cars and bikes people are building for LSR is very impressive.
This project will NOT be known for ingenuity or craftsmanship. While no racecar project is cheap this one is about as cheap as I can make it.
My 'shop' consists of half of our two car garage in my condo. My 'team' is myself. I don't have a trailer and if I did, I don't have a heavy enough vehicle to pull one. My sponsor is my wallet and although we live comfortably I am not in any danger of being hit by a tax on the rich. I have no welder which makes sense since I don't know how to weld. My 'lathe' consists of a collection of flat and round files. When the car is complete I will probably put a "Driver Has No Cash" sticker on it.
Way back about 8 years ago when I got the bug to go LSR the dream was to build a very small streamliner with a small (250cc) engine and try to set the world record in the FIA class for 250cc unblown engines. I had engines left over from my dirt track microsprint days. How hard could it be? I started to follow this website and set up an account under the name "LittleLiner". That is why a guy building a Gas Coupe is called Littleliner. The more I looked at the sport, the more reality set in. No way was I going to be able to build a streamliner. . . . I sold all the 250cc stuff I had and I went to plan B – build a Gas Coupe.
(see http://www.landracing.com/forum/index.php/topic,4642.0.html ) but I really want to go to Bonneville and hopefully get a record. So I sought a class with an open record. Near as I can tell, at this time (November 2009) no one has built a J/GC.
Now all I needed was a car and an engine . . . how hard could it be?
remember the Beltway Bandit story. Very cool! Looking forward to the new car!
Good luck with the build. Post many photos and ask questions.
Step 2: Get an engine: J Class is for engines 31 to 45 cubic inches (approximately 501cc to 750cc). I wanted a stock production engine for reliability.
I decided to go with a motorcycle engine because they have a high power per pound ratio. Motorcycle junk yards didn't have what I wanted at the price I wanted to pay. So I turned to ebay.
When looking for a motorcycle engine on ebay you run across the term "Car Kit". A Car Kit engine is one that is all together and includes the complete intake system, starter, wiring harness and sometimes even includes the radiator and/or the exhaust system.
I wanted a Suzuki GSXR750 engine but was getting outbid on the ones I liked. So I decided to look for something almost as good as a GSXR750 and settled on a Honda CBR600RR.
These engines redline at 15000rpm and produce stock horspower in the 110 to 118 range depending on the year. Torque is around 45 to 50 ft lbs.
The transmission is a six speed. If my back were not so messed up I could lift the entire engine without help. These engines are light and very compact which really helps when performing a swap into a car.
Next step - get a car.
This has me interested so I started looking on our local classifieds here in SLC. If I were in your boat I kind of like the Honda Del Sol. Looks pretty sleak, light, and there where quite a few for sale cheap. Just a thought.
The Del Sol is a two passenger car which puts you into GT or Modified Sports. There have been posts in the past here about wether a Honda Motorcycle engine would be legal in a Honda car (Del Sol, Insight, S600 etc) in GT. I think the conclusion was that it would not be considered a car engine and not be allowed in GT. Now there is Modified Sports (MS) available but the "lowest" SCTA engine class in MS is class I for engines between 751cc and 1000cc.
I am running Gas Coupe but intend to change the car over time to run in Altered and eventually in Competition Coupe. With a sports car you are stuck with only Modified Sports.
Also the Del Sol is front wheel drive. That creates some issues when running a bike engine. Wait for my posting about how I am mounting the engine and I will reveal some details that might help someone with putting a bike engine in a FWD car.
I'm looking at the Metro/Sprint line for a GC, you are way ahead of me in that you have th eparts and have participated at Maxton....mine is prolly just a dream.
I am very familiar with the Metro Gnome team. I have spoken with the owner/driver. I have also been in contact with the guy that helped build the car originally (PSI man). He profided me with the bearing hangers we are using to hold the diff in place. But we are getting way ahead of the story . . .
You see before the Geo there was a Chevette . . . .
Step 3: Find a car that fits the class. In 2004 I bought a 76 Chevette. It met my two criteria - It was small and cheap. But it had one major challenge and that was fitting a motorcycle engine up front in a rear wheel drive car. I had removed the unneeded stuff like engine, trans, interior and I was moving along (slowly). By the end of the Summer 2004 I had made very little progress other than stripping the Chevette. At that time we sold our house and I had to put the car in storage while our new place was being built.
Then I met Tom Bruch. Everybody knows Tom. It was the October 2004 meet at Maxton. At that time he was running a Geo Metro 3 cylinder with a Turbo and was setting several records including one pass just short of 131 mph. I began to think that perhaps I could fit my Honda engine to a Geo transmission and run a Metro instead of the Chevette.
By April 2005 I was settled in the new Condo and the Chevette was occupying the left side of our new two car garage. I built an engine hoist frame out of 2x4s and got back to work. After struggling with the issues presented by the Chevette/Honda swap I was beginning to think that this was a major mistake. Progress slowed to a standstill. The header would not clear the steering box and the engine had to be offset to the right which created all sorts of problems with the driveline design. Seemed like a Metro would be a better foundation for my gas coupe so I scrapped the Chevette. Back to ebay . . .
Ebay can be a strange experience. I've bought and sold a bunch of stuff there. My rating approaches 170 so there have been that many transactions at a minimum. I've bought and sold cars, motorcycles, engines, all kinds of stuff. So I went to ebay to find the "Perfect Geo Metro". I live in Pennsylvania. We get snow here. We cover our roads with salt to get around in snow. This really does a job on our cars. Geo's are made of metal, . . not much metal, but none the less . . metal. Metal rusts. When a Geo Metro rusts the problem is that the mounts for the front suspension rot out and the car is worthless. It costs more to fix them than they are worth. So there are a good number of worthless Geo Metros for sale around here. Many are on ebay.
I probably bid on a dozen Metros. Some never reached the reserve price. Some got too expensive for me. Some got snatched away through a last second sniper bid and I got aced out. I hate it when that happens.
Then . . . there was this Geo Metro, a 1990 with a bazillion miles and no title, it was not running ("ran when parked") - it was only about an hour drive from here - it was only a 5 day auction and only two days were left, - the bidding had started at $50 and there was only one bid – no reserve - the high bid would win. I figured it was probably rusted out. I email the seller to ask about some details. Never got an answer – so I bid $51. What the heck? Maybe there were a few good parts I could use when I found the right car.
It was actually in better shape than I expected. As best as I could tell there was little to no rust. The body had almost no damage, only a few very small dents, all the glass was good– It would be five weeks before the field dried out enough to get the car out. Part of the negotiation included me waiting till it was dry so his fields would not get all tore up pulling the Geo out.
I eventually flat towed it home with a tow bar, washed it and put it in the garage. Not bad for $51.00.
If you look close you can see the stash of acorns that field mice had put in the air cleaner housing . . . .
So . . all I have to do is swap engines and go racing. How hard could that be?
Gas Coupe rules restrict the design and modifications for this project. Two key gas coupe rule items that have driven the way I approach this are (1) "FWD cars that have been converted to rear wheel drive are not permitted in this class" and (2) the requirement for at least one of the following modifications to be used: - a non-stock supercharger, a quick change rear, or an engine swap.
How hard could it be? Retain Front Wheel Drive and swap in the Honda engine. All I have to do is order up an adapter to mate the Honda to the Geo Transaxle. . . OK, . . bad idea.
The initial plan was to fabricate a short (very short) coupler to join the Honda output shaft to the input shaft on the Geo Transaxle. The Honda clutch would be retained and the shifting would be applied to the Honda 6 speed. The Geo 5 speed and reverse would be retained but be set on one gear and not shifted during the running of the car. Think of the transaxle as a "quick change" with 5 speed and reverse.
So I pulled the geo engine. Lowered the Honda into position and realize that . . .well . . it didn't fit. The Geo transaxle sits on the left side of the engine bay with the engine on the right. The Honda was just a little too wide. To clear the bell housing would require cutting into the "frame rails" in the uni-body. Decided not to go that way. Which left the option of cutting away some of the bell housing to allow the Honda to drop in. The photo shows the cut bell housing and the critical components that all had to fit.
Also with the engine in this position it was lower than I wanted it to be. So for ground clearance I would have to get the oil sump modified. There was also limited ground clearance for using the Honda exhaust header which runs under the engine on either side of the oil sump.
Interference caused by the water pump and cooling hoses prevents installing any sort of universal in the coupler making engine to the transaxle alignment very important.
Early 'test fit' of engine next to transaxle . . .
. . . .So in review. . . A) the engine will barely fit. B) I need a very special one-off coupler. C) There is no room for a universal joint. D) So I will have to build some sort of mounts that hold the engine and transaxle in perfect alignment. E) The engine is too low in the car and will require custom headers and an oil pan sectioning job to get anything reasonable in ground clearance.
At this point I decided to come up with an alternative plan . . .
Did you consider ditching the factory transaxle, and making a center shaft with a sprocket on it to connect the stub axles? This way you'd be a spool, incur only one transmission loss, and have more ground clearance. The motorcycle engine probably wants closer gear ratios than the Sprint has in it, and you'll be able to change top gear ratios easy by changing countershaft sprockets.
Pat types faster than I do. Agree 100%. Looks like it would be less machining too. J.B.
How about taking the rear live axle from a quad and re-drill the wheel flanges to match the bolt pattern of the c/v joints? Already has a sprocket, You`d just have to mount it w/ carrier bearings and there are,no doubt,all sorts of after market ratios available.
This is like watching the movie after reading the book.
Methinks he has it figured out already and is just showing us his timeline of attempts gone awry.
May I assume you guys are suggesting something like this in place of the transaxle?


One of Dr Edward Bach's homes, whilst he lived for four years in the seaside town of Cromer, was at Brunswick Terrace, on the slipway. The view from house had a good vantage point overlooking the sea and lifeboat station and from here he, like his neighbours, would often have seen the boat going out to rescue those in peril.
On one famous occasion, during a ferocious storm in December 1933, Dr Bach witnessed the heroic rescue by the legendary Henry Blogg, and his RNLI crew, of two men who, for two hours, had been clinging to the wreckage of the sailing barge - The Sepoy.
When the half-drowned sailors were brought ashore they were "delirious, foaming at the mouth, almost frozen, their life despaired of".
Upon witnessing this dramatic rescue it is said that Edward went to his kitchen and quickly mixed a concoction of his flower remedies. He then rushed down the gangway and gave the first rescued man some of his newly created remedy.
Before the man had been stripped of his clothing and wrapped in warm blankets he was "sitting up, in his right mind, and asking for a cigarette". Was that seemingly impromptu concoction the birth of the now famous Rescue Remedy - a blend of Star of Bethlehem, Clematis, Cherry Plum, Impatiens and Rock Rose.
I have always wondered if that's why Dr Bach called his mixture 'Rescue' Remedy - as it was used in that famous sea rescue.
Dr Bach's Cromer home, Brunswick Terrace, and the view of the lifeboat station from the 1st floor window.
Our Comforter Essence is made using the same five Essence ingredients that Dr Bach used to make his Rescue Remedy™, as described above.
The photo of a field of flowers, on the front of the bottle, was taken by Alice in a field that's a 2 minutes walk from Dr Bach's former home - here in Cromer, Norfolk, England.


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Home Celebrities Funny Giant Blimp to Show Ads, TV in the Sky
Giant Blimp to Show Ads, TV in the Sky
In the Scary But True department, we have the Air Genie, a big old-fashioned blimp that would be covered with millions of LEDs that could spell out giant ads in the sky.
The blimp's surface would have 30 videocameras, enabling it to not only record what it sees but also show it. Imagine seeing one of these at the Super Bowl. You'd see the latest Pepsi commercial and then see the crowd's reaction to the ad.
Tom Shannon, a designer known for his out-of-this-world art, has been granted a patent for the Air Genie, which would have 61.5 million LEDs, to be exact. It could also land itself on the ground, using its retractable landing legs and motorized wheels.
It probably goes without saying that this big blimp would have radar, GPS, satellite transceivers, and 3D TV and audio broadcasting functionality, but we'll say it anyway. The specs also call for strobe lights, lasers, search beacons, a cloud maker, and all kinds of other fun things. We could even see the Air Genie turning itself into the world's largest disco ball.
For the record, the Air Genie is projected to have a diameter of 115 feet and a surface area of more than 41,000 square feet. It wouldn't top 20 mph but would run on new-age fuels like hydrogen and different kinds of oil.
Whether this idea ever sees the light of day probably depends on Shannon's ability to find big financial backers.
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Gotta Serve Somebody - Bob Dylan piano sheet music
Gotta Serve Somebody - Bob Dylan Free Piano Sheet Music
Gotta Serve Somebody description
"Gotta Serve Somebody" is a song by Bob Dylan from his 1979 studio album Slow Train Coming. It won the Grammy Award for Best Rock Vocal Performance by a Male in 1980. In response to "Gotta Serve Somebody", John Lennon wrote and recorded the song "Serve Yourself," which was a parody that mocked the injection of religion into Dylan's songwriting. Show Gotta Serve Somebody piano sheet
Bob Dylan description
Bob Dylan is an American musician, singer and songwriter. He has been an influential figure in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s when he was an informal chronicler and a seemingly reluctant figurehead of social unrest. A number of Dylan's early songs, such as "Blowin' in the Wind" and "The Times They Are a-Changin'", became anthems for the US civil rights and anti-war movements. Leaving his initial base in the culture of folk music behind, Dylan's six-minute single "Like a Rolling Stone" radically altered the parameters of popular music in 1965. His recordings employing electric instruments attracted denunciation and criticism from others in the folk movement. More piano sheets by Bob Dylan
Bob Dylan - I'll Be Your Baby Tonight
Bob Dylan - Mozambique
Bob Dylan - I Want You
Bob Dylan - Blowin' in the Wind
The Carpenters - Crystal Lullaby
Burt Bacharach - Raindrops Keep Fallin' on My Head
Backstreet Boys - Shape of My Heart
George Gershwin - I Loves You, Porgy
Shania Twain - You're Still the One
Learning How to Play Piano. 5 Tips for Beginners
So you decided to learn to play piano for your own pleasure. If you really want to make playing the piano a truly rewarding experience, you have to get past the recreational pursuit and gain true piano mastery and artistry. Do not treat your piano learning experience casually even if you have a lot of fun learning how to play piano. You should treat...Continue reading Learning How to Play Piano. 5 Tips for Beginners


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La Confederación Suiza cuenta con 22 Denominaciones de Origen Protegidas (en alemán, Geschützte Ursprungsbezeichnung; en francés, Appellation d'origine protégée; en italiano, Denominazione di origine protetta), abreviado AOP, que es un sello de calidad que garantiza el origen específico y único de un producto alimentario de calidad.

La Denominación de Origen Protegida certifica, según la ley suiza, que «todas las etapas de producción, desde la materia prima hasta el desarrollo del producto terminado, tienen lugar en la región definida», por lo que es más estricta que la Indicación Geográfica Protegida. En 2013, la denominación en francés AOP (Appellation d'origine protégée) sustituyó a la antigua AOC (Appellation d'origine contrôlée).

Listado

 Cardo espinoso de Ginebra (Cardon épineux genevois)
 Azafrán de Mund (Munder Safran)
 Sémola de maíz del Valle del Rin (Rheintaler Ribelmais)
 Pera de ramillete de Friburgo (fr. Poire à Botzi, ale. Büschelibirne)

 Productos de panadería

 Cuchaule, pan briochado de Friburgo
 Pan de centeno del Valais (Pain de seigle valaisan)

 Bebidas alcohólicas

 Abricotine, destilado de albaricoque del Valais
 Damassine del cantón de Jura
 Williamine del Valais (oficialmente llamada Eau-de-vie de poire du Valais, es decir, 'aguardiente de pera del Valais')
 Zuger y Rigi Kirsch, destilados de cereza

 Quesos

 Berner Alpkäse
 Bloderkäse-Sauerkäse
 Emmental
 L'Étivaz
 Formaggio d'alpe ticinese
 Glarner Alpkäse
 Gruyère
 Raclette del Valais
 Sbrinz
 Tête de Moine
 Vacherin fribourgeois
 Vacherin Mont-d'Or

Véase también

 Regímenes de calidad en la Unión Europea

Referencias

Gastronomía de Suiza
Economía de Suiza
Suiza

redpajama_set_name: RedPajamaWikipedia


Camp Akeela | Where Quirky Campers Thrive!
My counselors totally "get" me.
I never thought I'd try so many new things.
We'll be best friends for life.
A 3.5 week sleep-away camp in the beautiful Green Mountains of Vermont. Campers live in cabins with up to 8 peers and 4 counselors. Traditional New England camp program includes arts, outdoor adventure & ropes course, athletics, pool & lakefront aquatics, and more!
A 2 week sleep-away camp on the stunning Midwest campus of Lawrence University in central Wisconsin. Housing in college dorm halls is organized to create community and "cabin life" with peers and counselors. Program includes visual and performing arts, athletics, swimming, computer programming and more!
In addition to our camps for grades 3 – 10, Beyond Akeela prepares 11th and 12th graders for life after high school, with an emphasis on social skills, independent living, community service and FUN! Family Camp is a one-week Vermont overnight camp in mid-August for parents and children to bond and meet new friends.
The small setting and high counselor-to-camper ratio were great. The staff was fantastic. It's hard to find a camp for an older child who wants to attend for the first time and Akeela was a great experience for Chris.
I wanted to let you know how impressed I was with all of your staff. Billy loved all of the counselors and instructors. I was struck by the strong relationships that all of them had developed with our son over such a short amount of time.
Noah hasn't stopped talking about his experience at Camp Akeela. Seeing the outcome has exceeded even our most optimistic expectations. We already are looking forward to next year.
I just saw a picture of Amanda and I have not seen her that happy in a very long time!! Words can not express my gratitude!!
Zack is definitely a more mature, and more confident kid and we think Akeela played an important role in this transformation.
I was thrilled to hear of Meghan's many accomplishments at camp. I am thrilled to learn she expanded her comfort level to try them. We can not stop raving about the staff, programming and overall sense of love and encouragement we witnessed today. Akeela was a terrific experience for Meghan and is quite simply an exceptional place.
I am so grateful for the wonderfully affirming camp experience you created for Caitlin. There were so many aspects of the camp that were impressive, but the compassion of the counselors was absolutely inspiring. Thank you for your dedication to these kids.
Scott had a wonderful experience at camp. The counselors must be some special young men — they have made a huge impact on Scott. He misses them terribly and is already talking about next summer at Camp Akeela.
You have no idea how lucky I feel that we found you, that you're so excellent a camp and that I can give Jon this wonderful, happy experience!
Thank you for making Reed's first "away" camp such a wonderful experience. We missed him but are so excited to hear about his new friends and accomplishments. You're a very special group of people and we are so grateful for the time that you shared with Reed.
When asked about Debbie and Eric, Claudia wrote "They were happy I was there". The fact that you guys could make her feel this way says so much about what you have achieved in a few short weeks. I can count on one hand the number of times that Claudia has come away from a new social experience feeling better about herself than she did when she arrived. Kudos to you both. You are doing important work there and we thank you so much. Looking forward to her return already!
Debbie and Eric are my heroes. From our initial meeting in February to the video chat they had with my anxious camper (for an hour, no less) to an amazing summer… They are kind, compassionate, helpful and thorough. My trust in Debbie & Eric and the entire Akeela staff was immeasurable. I felt confident that it was the right place for Nate and I'd recommend it in a heartbeat.
I spent months looking for the right camp, and as you know many phone conversations being sure you were the right place. I could not have asked for better!
We would just like to say thank you for all this camp has done for Nicole! It was all we could have hoped for her! She was so apprehensive before going to camp and to see her with her new friends and counselors when we picked her up was priceless!
]Thanks, again for a terrific summer of growth, opportunity and fun. Alex loved camp and can't wait to go back next year.
I want to thank you for helping me to get Zoe's difficulty with her bunk-mate squared away. You're doing a terrific thing by having such a camp. You've certainly made a lasting impression on us. Your fun-loving kindness, dedication and hard work are clear and obvious. We hope nothing but good grows from what you have begun here. Thank you for everything.
I wanted to tell you how VERY pleased I am with Richard's experience at Akeela. I picked up a different boy than I sent. He was more polite and considerate, more caring and fun, more free in many ways.
Thank you so much again, I cannot thank you enough for this wonderful summer experience and all the changes it will bring in his life from now on. They say it takes a village… but I think it takes a CAMP!!!!!


STAR WARS: POE DAMERON #16 Written by Charles Soule Art by Angel Unzueta, Arif Prianto, and Joe Caramagna Published by Marvel Comics Release Date: June 28, 2017 Who is Malarus and what does she want? Meanwhile, the Resistance is running dangerously low on supplies. Poe and Black Squadron are on the case!
CAPTAIN AMERICA SAM WILSON #10 Written by Nick Spencer Art by Angel Unzueta and Chris Peter Published by Marvel Comics Release Date: June 22, 2016 CIVIL WAR II TIE-IN! In a time of crisis, Sam is called upon to honor a fallen hero– and speak to a divided nation. But is anyone listening?
CAPTAIN AMERICA: SAM WILSON #9 Written by Nick Spencer Art by Angel Unzueta and Cris Peter Published by Marvel Comics Release Date: May 4, 2016 STANDOFF Epilogue! With Steve Rogers back as Cap, Sam struggles to find his place. Can the country handle two Captain Americas?


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400 Locust Street, Suite 380, Des Moines, IA 50309
Brown, Gregory R.
Gamble, Joseph G.
Graham, Wesley T.
Graham, William W.
Higgins, Tara J.
Holman, Elissa M.
Langeness, James B.
McALLISTER, EMILY
Sjoblom, Kelsey R.
Stine-Reiher, Brenda
Select an attorneyBrown, Gregory R. Gamble, Joseph G. Graham, Wesley T. Graham, William W. Higgins, Tara J. Holman, Elissa M. Langeness, James B. McAllister, Emily Sjoblom, Kelsey R. Stine-Reiher, Brenda.
400 Locust Street, Suite 380
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First and Last with Mike Golic Jr.First and Last with Mike Golic Jr.
Mainand Mustangs
Watch Live: Cape-Atlantic League Playoff Final Four
The Cape-Atlantic League is down to the final four tonight as Wildwood Catholic takes on Atlantic City and Mainland will face St. Augustine Prep.
We'll have live video of both games on our website starting at 5pm, then at 6pm we'll pick up coverage on 97...